I am sound designing for the Potomac Theatre Project’s 32nd Season. Reviews and links inside!Read More
I am Composing music and Sound designing Uncle Vanya at the Atlantic Stage 2 Theater.Read More
I am doing the Sound Design for Potomac Theater Projects 31st season of theater. This year the company is performing Pity in History by Howard Barker and Arcadia by Tom Stoppard. Information on the production, tickets and reviews.Read More
This is my third season with the Potomac Theater Project. In an article for Time Out New York, Jan Maxwell (who plays the lead in Scenes) reveals that she will be retiring from theater. This play, her swan song is being very well reviewed.Read More
"The Witchelor" had it's day at Atlantic Theater Company, March 20 to 22nd to sold out performances. I have been lucky enough to work with the amazingly talented John Early and Nicole Spezio on this project since it first premiered at Ars Nova Ant Fest, 2011.Read More
I have been working with the Obie Award winning Potomac Theater Project on there new production of, The Castle by Howard Barker. Below are some pictures, reviews and an album of the music and design.Read More
Good Television is getting terrific reviews and has been extended. I created the Sound Design and Original Music for the show and am so proud of the reviews' 'we're receiving. Here are some of the reviews with highlights:Read More
A wrap up of the technical elements behind Giant Killer Slugs. I did the original score, sound design, projections and opening movie. Produced by Pipeline Theater Company, Giant Killer Slugs is a staged 1950's creature feature horror movie.Read More
LA WEEKLY PICK OF THE WEEK!
I did the music and sound design for this terrific play at the Meta Theater in Hollywood called "The Laughing Cow" by Jessica Abrams. A little about the play:
If a Scream Happens Inside The Cubicle of a Hollywood Studio, Does anyone hear it? This is just one of the questions answered in Jessica Abrams new work. The starlet with a secret, angling for a comeback. The downtrodden assistants, vying for a break. Welcome to Hollywood, where everyone has a story. Some get to tell it, some don't. But when the general counsel of a family entertainment company expresses his political opinions and gets flagged by the FBI, decisions must be made and lives must change Jessica Abrams’ television writing credits include The Profiler for NBC and Watch Over Me for Fox/MyNetworkTV. Her play The First To Know was read in the MaD Play Reading Series last April, and her solo piece If I Look This Good, Why Do I Feel Like Sh*t? was read at the ExAngeles Writers Collective’s A Month of Sundays Reading Series this past October. She was a guest artist at the Kennedy Center Playwriting Intensive in 2010
We also got a pretty nice review from LA Weekly in addition to being pick of the week, with a nice shout (though not by name) to my work:
You can see the rest of the review here:
The producers and the production team were great, it was a lot of fun to work on and had a lot of new challenges. Here are a couple of things that I did for the production.
The music for the show was one of the most but challenging parts. I was brought in a little over a week before the final dress rehearsal and there were limited run throughs. The show contains about 25 scenes all with set changes. The changes moved fairly quick but there was no way to get a final time on each one (nor would I necessarily try and lock those in with such limited time). So I had to attack the problem in two ways:
- Music Composition - Design each music cue so it can be looped from multiple points in the music with a clean ending
- QLab Program - Program the show into Qlab using the vamp feature
Here is a theme for the character Rebecca. She actually has six or seven scenes, so I created multiple versions of this cue (varying up the instruments, adjusting the mix, etc.). Here are two of them:
I used tighter sounds (such as xylophones or string plucks) and limited reverb so I could loop the body of it, or just the vamp at the end. I had to commit where the vamp would go in Qlab for the show, but doing the recordings like this let me fine tune it all the way up to opening night. Eventually, I'd see that the cue ran between 8 to 12 seconds (where it would just need an end vamp) or it would run 15 to 25 seconds (where the body would need to loop).
Here's another example which was used for two scenes that took place in The Desert.
This cue I used some softer instruments with more sustain, but you can tell that they never sustain past a measure of four allowing me to do clean vamps in either the body or just the end. As it turned out, the first time I used it it just had the end vamp. The second time it needed the full body.
This is where the fun began - the Devamp Cue. This is by far one of my favorite cues in the QLab tool box. It allows you to run an infinite loop and than trigger that loop to finish the loop and go onto the next cue, or play out the cue. You need to rent the audio license for it, but it is well worth it.
The settings are incredibly easy to use and are setup almost as if you were conducting a pit orchestra for a musical.
As usual, I found myself singing the praises of QLab to the producers who were blown away by it's power. We ran projections in addition to the sound effects and music. All in all, there were over 225 individual cues called in the show either by the stage manager or automation (One sequence ran across a scene for over four minutes and contained over 20 continuos cues).
One more weekend left for the show! Check it out at the Meta Theater and you can get tickets here: