Leading Regional Theatre. Manage, Design, Build, and Create full sound design. Recording, editing, and processing effects to create hyper realistic sound. • Work with leading contemporary DJ’s to remix masters sessions (The Mother F**ker With the Hat)• Created 17 channel surround sound system• Recorded hearing impaired actor through full enclosure headset to recreate their experience of hearing• Developed new MIDI technology and code to seamlessly connect interactive projections with electronic player piano (Tribes)• Responsible for Department Budget Management, rental acquisition, and securing rights for commercially recorded music• Site specific Foley effects recording to recreate naturalistic environment• Management and maintenance of sound studio: advocating, specification and relocation of full studio• Additional Productions: The Price

Design and collaboration in both new and old venues. Significant experience designing on small scale budget. Repair and use of old technologies to provide design on par with new technology.• Developed technology to record heartbeats and biological effects to create modulated acoustics tailors to each actor’s voice. (Blood Knot, True West)• Create detailed sound plots for multiple stage configurations.• Investigation of the sound of silence over complete through score.• Guiding and teaching new sound intern program.• Detailed multi focal, moving image rendering of the Cell Phone Ballet. (Dead Man’s Cell Phone)• Additional Productions: Buried Child, Eyes for Consuela, My Children! My Africa!, The Road to Mecca, In the Next Room or the Vibrator Play

Complete responsibility for all aspects of sound department including rentals, budget, installation, sourcing new equipment, and drafting all sound related paperwork.• Ground up creation of special sound effects in personal recording studio.• Significant experience bending and modulating unique effects including cat vocalizations, storm sequences, and creating the sound of the color ‘green’.• Work in multiple venues and stage reconfigurations. Consultation in proper stage acoustics.• Only consistent designer in annual production of August Wilson’s Century Cycle. (The Piano Lesson, King Hedley II, Jitney) • Specified and balanced theatre and house for Portland Playhouse’s first live musical. (Bloody, Bloody Andrew Jackson)• Additional Productions: Angels in America, The Scene, The Huntsman, After the Revolution, The Brother Sister Plays

Taught multiple sound design, engineering, physics, and mathematical master classes while in residence as Guest Artist. Designed spring and fall mainstage productions. Worked closely with Department leaders to hone academic program. • Collaboratively conceptualized true hand held microphone production and created props with exact weight, movement, and balance for use in rehearsal. To date, highest grossing and attended YDA production. (Rent)• Expertise in complete reconstruction of vintage recording and playback technologies coupled with leading research and instruction in dead technologies.• Guided a student composer to writing score with three dimensional music mix in a proscenium space. (Arcadia)• Unique approach to teaching and critical student acclaim resulting in tripled sound budget and increased resources.• Mentored students in creating full scores in multi instrument and multi voice. (Summer and Smoke)• Introduced and Integrated new microphone technologies within organization while simultaneously training successors in continued use.• Additional Productions: Translations, Carousel, Sweeney Todd, The Drowsy Chaperone, Parade

Acted both as guest faculty and designer working with all skill levels and multiple venues while in residence. Complete acoustic specifications and mix design of musicals from initial concept phases through final performances.• Experience designing mix for maximum vocal audibility in both indoor and outdoor venues.• Additional Productions: Cherry Orchard, Ragtime, Bye, Bye Birdie, To Kill a Mocking Bird, Cheaper by the Dozen• Additional Productions as Assistant Sound Designer, Live Mix Engineer, and Sound Board Operator (1999-2001): OVST 75th Anniversary Musical Review, Grease, Noises off, The Wizard of Oz

Work through Hilary Clinton’s NGO to design and redesign production globally in multiple venues with multiple casts. Significant experience in all levels from concept to completion of international protocol related to sound department for mounting and producing live stage event.• Work with multiple nationalities, languages, power sources, and levels of production value.• Seamless integration of wireless microphones through all phases of production across multiple cultural differences in technology.• Redesigned, balanced, and installed production Globally; International Women’s Forum (France), Vital Voices of Asia (India), Goldman Sachs (London), Royal Aeronautical Theater (England), Sydney Harman Hall (D.C), The Ideas Festival (Aspen), The Culture Project, Harvard, NYU, The 92nd Street Y, and Butler University.

Responsible for all aspects of Sound Design including management of paperwork, installation, and implementation.• Detailed knowledge of sound rigging in true Hemp House and fly loft.• Full music recording and effects creation responsibility.• Experience with World Premier Scripts and collaboration from conception to final production. (Alive and Well)• Redesigned long running annual production A Christmas Carol from ground up three times. Initial design 2008, post hurricane flooding 2009, post new playback system installation 2010.• Additional Productions: Poetry of Pizza