Alena Milos Sound
*For full show credits, please click on images
Into the Woods
Sound Designer: David Gotwald
Audio Supervisor/Associate Sound Designer: Josh Brinkman
A2s/Qlab Ops: DJ Brannan, Derek Shaw, Paris Boddie
Into the Woods was one of 4 shows I mixed this summer at Idaho Shakespeare Festival. It had a 15 person cast and 8 person pit. It was mixed on a Yamaha CL3.
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Into the Woods was a bucket list show for me to mix, so I was incredibly grateful and excited to actually get to mix it! All the excitement led me to pour my heart into it. I put more effort into getting to know the show, building the mix script, and all other prep work than any other show I had mixed before, and, boy, was it necessary! Mixing Into the Woods was just as, if not more, challenging than expected. However, the challenge made it an incredibly fun and fulfilling show to mix, and I would love to do it again!
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As well as mixing shows at ISF, I got to A2, Qlab Op, help lead season load in/load out, and help with changeover between shows.
Mix Script
DCA Breakdown
The Sound of Music
Sound Designer: Justin Stasiw
The Music Hall Head Audio: Ian Martin
The Music Hall Assistant Audio: Liz Hobbs
Ogunquit Audio Supervisor: Sam Palumbo
A2s: Finn Dowling and Tyler Quinn
The Sound of Music was done through Ogunquit Playhouse at The Music Hall. It had a roughly 35 person cast and 8 person pit. It was mixed on a Yamaha CL5.
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This was an interesting mix, as it often would be calm for a significant amount of time, and then suddenly jump into a very difficult few pages. This, as well as there being 7 children, made me think very creatively about how I assigned DCAs and used scene changes. This was also my first time mixing children. Finding a way to push them to an appropriate level without feeding back, and adapting to day to day changes in their vocalization was a very fun challenge and certainly kept me on my toes!
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As well as mixing the show, I also had a lot of fun collaborating with The Music Hall sound team and helping to lead both the load in and load out of the show!
Mix Script
DCA Breakdown
Inventory
Private Jones
Writer/Director: Marshall Pailet
Sound Designer: Jay Hilton
Music Director: Myrna Conn
Private Jones was done at Goodspeed Musicals. It had a 12 person cast and 4 person pit of drums/percussion, fiddle, guitar, and keys. It was mixed on a Yamaha DM2000.
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Private Jones is easily my favorite show I have ever worked on, and one of the most challenging shows I have ever mixed. It is a new work that was in workshop for its entire run at Goodspeed. This meant we had rehearsals where often whole scenes and songs would be changed, added, or cut, and those changes would immediately be implemented into that night's performance. Quickly adapting to these changes was a journey at times, but being so deeply involved in the creative process at its core was incredibly fulfilling.
Mix Script
DCA Breakdown
Little Shop of Horrors
Sound Design: David Gotwald
Sound Supervisor: Josh Brinkman
Co-Lead Engineer: Alec Group
A2: Colton Brodeur
Mix Script
Little Shop of Horrors was done at Lake Tahoe Shakespeare Festival. It had an 8 person cast and the challenge of mixing a live cast to a tracked band. It was mixed on a Yamaha CL3.
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As one of two lead sound engineers at Lake Tahoe Shakespeare Festival, for the show I was responsible for mixing and at times A2ing. With there being two people mixing, it was a very fun challenge and collaboration to reach a consistent mix between the two of us and make sure that we were on the same page. Outside of the show, I was also responsible for leading prep, load in, strike, and maintenance throughout the season. I also helped to create a "sound bible" for the space, of which some work is pictured below.
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DCA Breakdown
Patch Panel Plot
Speaker Schedule
Pippin
Sound Design: Corbin White
Assistant Design: Dani Silver
Production Sound Engineer: Geoffrey Mintz
Submix: Mia Teboe
A2: Patrick John Kiernan
Pippin was done in Corbett Auditorium at the University of Cincinnati College-Conservatory of Music (CCM). It had roughly a twenty-person cast and a twenty-five-person pit. It was mixed on a Digico SD10 for a d&b Soundscape system. Getting to know both Soundscape and the SD10 was a fascinating experience. There were also many changes made to the script for CCM's performance, and learning how to quickly adapt to changes and notate changes on the fly was a very fun challenge.
Mix Script
Control Group Breakdown
*Modified slightly to redact actor names for personal privacy