Sound Designer

I had the unique challenge of designing 10 different plays, giving each one its own texture while giving the entire play festival a cohesive identity. From realism to quite literal Greek tragedy, the only way to have the audience buy in was to start literal and abstract and become referential along the way.

Music Composition

I was tasked with composing 16 looping bars of “other worldly, confusion, lost, baby, circus, limbo vibe.” This was achieved with the instrumentation, and spacializing the stems to be sure the arrangement didn’t stale.

Ordinary Days

Baylor Theatre - 2020
Waco, TX

Sound Designer

I mentored another student in live-mixing the show while I designed the system flow, fader bays, and sound effects for the production on a Presonus StudioLive 64S and QLab. All was done in mind for adapting the live experience to streaming.

Post-Production Audio

Taking what I learned from [title of show], the post-production stereo mix took on a different direction with a more spacious mix done in REAPER, with light adjustments in sound space and simulated acoustics to nail in a live-performance feel. Plugins used include: epicVerb, MeldaProduction FreeFXBundle.

[title of show]

Baylor Theatre - 2020
Waco, TX

Sound Designer

I took the role of mentoring a fellow student in live-mixing the show while I designed the system flow, fader bays, and sound effects for the production on a Presonus StudioLive 64S and QLab. All was done in mind for adapting the live experience to streaming.

Post-Production Audio

Recording all of the stems from the show through the built-in recording feature on the StudioLive, I brought the stems into ProTools to edit and mix the show, adapting it to be streamed via Vimeo on ShowTix4U. This was a learning experience in processing plugins, and applying my live mixing knowledge and audio production to a stereo format in collaboration with video.

Sound Designer

It was a learning experience to learn how to patch into Zoom with some clever audio routing manipulation. You can see at the top of the QLab session that there are mic cues. Those cues are hot-keyed to turn my microphone on and off so I could talk during tech rehearsals. All filters and effects to tracks and sounds are done in QLab through the Apple Audio Plugin Suite.

Music Arranging

Yoon really gravitated towards the motif found in the intro to Hillsong’s "I Surrender", so I extrapolated and arranged it to fit the world of the play, and formatted it to be heard over computer speakers. Throughout the play, the motif recurs, but with different textures, progressions, and ending cadences to transition from one scene to the next, or to underscore scenes.

Peter and the Starcatcher

Baylor Theatre - 2019
Waco, TX

Sound Design

A play with music, no mics, and in a large and acoustically live proscenium space. Speakers in the classic 5.1 surround set-up coupled with on-stage monitors enriched the environments on-stage and amplified a reduced pit orchestration.

Music Direction

With a foot in the music direction, the sound design and foley worked in tandem. Live sound cues triggered by musicians and patches curated; all with only two musicians and no conductor.

Sound Design

This show was particularly a challenge to design such a bombastic musical in the thrust configuration. To envelop the audience in a consistent and fully encompassing design while keeping the design grounded and not overwhelming was my focus.

Live Mixing

Speaker placement in the thrust space is flexible yet limiting, as audience seating completely up-ends the usual stereo image approach and instead lends itself to a design focused on spatialization and directionality.