The Echo 7.Pdf

Sound design tips and tricks: part 1

GARETH OWEN

Despite the proliferation of sound courses in TERRY JARDINE has this advice for those sound- Maintaining the integrity of touring shows can recent years, many of the real world skills checking a theatrical cast: be tricky. MIC POOL has this nugget to share: required to successfully design a theatrical “Getting people to take a soundcheck seriously “Make cues in your playback software consisting production are learnt on the job.While technical can sometimes be tricky – I find that, come of pink noise routed to each part of the and theatrical studies certainly have their place, soundcheck time, getting the working lights loudspeaker system. Adjust the level of the pink there is no substitution for being on the front turned off, a lighting state up on stage, and the using the software level controls to obtain a line, in the thick of it, learning from trial and house lights turned down really gets people to reading of say 80dBC in the centre of the error, getting it wrong as much as you get it focus. It makes them realise, both backstage and auditorium on a hand held sound level meter or right. FOH, that there is a rehearsal in progress and, as cheap smart phone app. Then if the show is a result, they tend to respect that, cutting down revived, transfers or tours, as a starting point, In an attempt to share experience and allow drilling noise, hoovering, hammering, and play these cues back and adjust the amplifiers veterans and beginners alike to learn from each shouting by eighty percent. If you don’t do it on the new system to give the same SPL meter others mistakes, I approached some of the already, try it – it really works!” readings as your original. This is particularly world’s top sound designers to share a hint, tip useful for small and medium scale tours of or trick they have learned over their years in the plays which utilize house PA systems. It is also industry. Here are just a few of their responses. brilliant for matrixing down a multichannel loudspeaker rig to two channels or four channels as a rehearsal or emergency version with accurately matched levels.” Got a tip or trick to share? Email us at [email protected] Clockwise from left: Terry Jardine; Mic Pool; John Leonard; Bobby Aitken; Andrew Bruce; and Sebastian Frost

ANDREW BRUCE shares a tip to help you get SEBASTIAN FROST often sets up large multi- BOBBY AITKEN offers us this insight in to the speakers and microphones in the right zoned multi-timed systems. One of his top getting a great percussion sound: place: tricks is: “A current favorite technique of mine is using “Cultivate your friendship with the scenic and “Setting up delays for stage zones can be a parallel compression across the drums and costume designers. Between them, they have far lengthy process – sticking a sheet of A4 paper to percussion group. It’s a fantastic technique that more influence over whether your show sounds a mic stand as a target for a laser measure controls the dynamics by effectively increasing good than any amount of EQ.” means you can calculate all delay values the level and detail in the softer passages. It is without needing quiet time, making you all the achieved firstly by creating two identical stereo Need to get the perfect mobile phone sound? more popular with the other departments. Place groups one of which is heavily compressed. I like JOHN LEONARD suggests: the stand in the centre of your imaging point to use two outboard Urei 1176LN’s set fairly “If simulating a mobile phone ring via an IEM or and zap away to your hearts content. Inherent aggressively for this. The outputs of the two other local source, when the phone gets taken system latencies can always vary, so make sure groups are then summed back together on the from a pocket or bag, run two versions of the you do an acoustic check to finish as lasers ‘rest of the band’ group. It’s interesting to note same effect simultaneously: one with an EQ should be used to help your ears, not replace that the uncompressed group will also require setting that reduces the high-frequency content them.” an insert point with a couple of XLR jumpers and one with a full range effect. Start with the inserted. This is to compensate for the insert full range effect muted and when the phone is latency.Try it! It’s a really great technique.” retrieved from the pocket, fast fade up the full range effect to a slightly higher level than the HF-reduced version. Perfect realism every time!” Left to right: Gareth Fry; Adam McCready; and Gareth Owen

For a realistic sounding thunder storm, try this Gelling sound effects together in to one Finally, when specifying a sound system for a advice from GARETH FRY: cohesive soundscape can be a tricky business. show, learn from my bitter experience: “Making rain sound realistic can be tricky.The ADAM MCCREADY suggests: “When making decisions as to what equipment best technique I’ve found is to start off with “When creating a soundscape or ambience for a to use for a show, beware of using too many multiple recordings. If I were creating the effect scene that will contain many spot effects, try new toys. If you have a PA you have never used of being inside a house listening to the rain creating a template in your DAW with inserts on before, a mixing desk you have never used outside, I’d grab interior recordings of rain the master that include, amongst your preferred before, and radio mics you have never used against a window, on a hard roof, and exterior mastering plug ins, a reverb and/or delay that before, you have no idea where to turn when recordings of rain running through guttering create an appropriate ‘acoustic’ for your scene. things don’t sound right. Try to limit your and hitting a concrete floor, and finally the Bouncing your spot sfx and ambience from this experiments to one major piece of equipment sound of rain hitting an umbrella. The umbrella will mean all the sound elements for a scene per show, that way, when you can’t get it rain I tend to feed into the surrounds at low will have the same ‘acoustic’ and feel of the sounding right, you know where to concentrate level, the rain on roof will go through the centre same environment.” your efforts.” cluster or some other flown speaker, the concrete floor sfx will go to upstage, and finally the guttering will get hard panned to one side of the theatre and the window sfx to the other side. The effect of this is that you hear rain hitting multiple surfaces from multiple directions in the same way you do in real life.”

Was it interesting dealing with ‘live’ inputs? We have a couple of live instruments in the Craig Berkey show, guitar and likembe that have wireless amplification.We wanted the music to feel as if it were coming from the streets and not presented in a theatre.We have a couple of ‘not Oscar-nominated sound designer, Craig Berkey, was in How did you come to work on A Season in the high-end’ speakers right on stage that we London recently, working with director Joe Wright Congo? placed the instruments sounds into that really and sound designer Tom Gibbons on A Season in the During the final mix for Anna Karenina, Joe helped with that feel. Congo at the Young Vic. Wright mentioned that he was directing a Craig’s work has included: Alien: Resurrection, X-Men, couple of plays next and asked if I’d be Dealing with live mics was fairly new to me and Ice Age, Charlie’s Angels: Full Throttle, Big Fish, I, Robot, interested in working with him on one of them. we had fun placing mics to help support certain No Country for Old Men (for which he was nominated When he asked me I was actually looking for a areas of the stage or to use to add an effect to a for an Oscar), Transformers, Burn After Reading, True Grit (for which he was nominated for two Oscars) and different kind of project to shake things up a bit. voice. Most of the performance is done without last year’s film Anna Karenina. any aid of mics so we had to be careful to not Presumably the whole process was considerably overdo it when we did use them so as to not We caught up with him to ask him about his first different to most films you work on? have it be obvious. foray into theatre. The time I spent working on A Season in the Congo was about a quarter of the time that on Did you find it challenging not being able to average I spend on a film. Typically I’ll have a few control the volume of the dialogue? months to develop sounds and do some temp During rehearsals I wasn’t having any issues mixes before we head into a two or three week with controlling dialogue levels as we were in a premix period followed by a three week final very live room but when we started on the mix. For the play it was a case of jumping right stage I did feel a bit helpless in that regard as on board and creating sounds on the spot that the voices didn’t feel the same. I had to adjust then became part of the show. It was definitely my thinking that the dialogue level was king more instantaneous and raw feeling. As and everything else had to be adjusted rehearsals progressed we could fine tune accordingly. sounds and music based on how things were working with the actors, which for me was quite Was it liberating to be able to make your sound different than a final mix for film, which never design for a specific (and unusually shaped!) changes once you hit the stop button. auditorium with a bespoke system rather than Kurt Egyiawan as Maurice Mpolo and Chiwetel Ejiofor as Patrice Lumumba Photo by Johan Persson making it work for a variety of sound it wasn’t fair to not have that continue particularly loved the use of the subwoofer.We formats/auditoria? as it would feel quite different. By the end of were using it for music as well as sound effects This was one of the most interesting differences previews I think there were only two small in a film mix kind of way.The first day on the for me. I really enjoyed being able to place sections without some kind of sound playing. It stage Joe had us play some music from Kinshasa sounds where you wanted them. It was like a became more like a film soundtrack at that One Two that is used in the show as if we were brand new shiny toy for me. There are new point. in a nightclub, to christen the set. Joe also stated cinema formats that are emerging now that are during the first day on stage that one of the starting to change the film experience but I What was the biggest challenge in the show? things he was most excited about was the don’t think it will get as unique and specific as I think one of our biggest challenges was the sound system. for theatre. integration of the 6.1 interleaved surround wav files that I was creating in Pro Tools into the What did your relationship with [theatre sound QLab system.We had to figure out how to designer] Tom Gibbons involve? remap the channels once the file was imported I think Tom and I learned a lot from each other. I into QLab as the Pro Tools naming scheme was bringing my film experience in the form of meant nothing. This took us a couple of days to surround sound and panning and he brought crack but once we had it importing became his theatre experience. It would work in a way seamless. that I would describe how I would like a sound to play and Tom would show me how we could What was your favourite moment in the show? accomplish that but then he would come back Aside from Chewitel’s performance which was with an idea about how to push it farther.There amazing to witness every day, my favourite was a good exchange of ideas as we were moment was when the Congolese army were building the show. getting their weapons and then started to dance to show them off followed by radio voices How did the the project develop over describing attacks that were happening at the rehearsals, previews and the run? time. This was a complex section for us as we At first I thought that we would be creating had music stems and loops that we were using some specific sound effects and a few as well as radio whisper chatter sounds. ambiences to go along with some music cues but as things progressed it became obvious What was Joe’s feelings about the sound that we needed more. Once we helped place design? the audience in a particular location with Joe was enjoying what we were doing and

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JOHN LEONARD

Steve Brown 25th May 1960 – 7th July 2013

Steve Brown, died on July 7th, after a long battle with lung cancer.

The word ‘battle’ is extremely appropriate here, because for Steve it really was a battle. He fought against the disease with same passion that he tackled everything else in his life and if there’s one word that sums him up very neatly, it’s ‘passionate’: Steve was passionate about sound, about computers, about the internet, about football, about politics, about injustice and about people and you’d be caught up, within minutes Photo by Paul Arditti of meeting him, in his passion, whatever the subject under discussion might be. He stayed with the Royal Exchange for the rest sound working group, which he continued for of his life, designing shows, running the the next thirteen years. He’d become so much a His theatre career started in the mid-1980s as a department, challenging, innovating and at the part of the international community that any follow-spot operator at the Theatre Royal, same time, expanding his interest in the wider event that didn’t have either his presence or his Brighton, but he was soon working for the Royal world of sound art, soundscapes and audio input in some way or another was a rarity. Shakespeare Company and The National Theatre ecology and it was this world that increasingly as a production sound engineer and an became what defined him as a creative artist It’s immensely sad that someone with so much operator, with a fast-growing reputation as an and informed his theatre work. He embraced still to give to that community should have associate and a sound designer in his own right. the internet whole-heartedly and loved the gone at a time when much of what he’d worked In 1995, Steve got his own theatre – the Royal freedom to explore that it gave him. His web so hard to achieve was to come to fruition in the Exchange in Manchester – taking over from site was one of the first that I found to be sound design element of World Stage Design another extraordinary soundman, Phil Clifford, actually useful, because Steve wanted to share 2013. and set about making it his own. the information that he found with as many people as possible, not just to use his site as a Listening to Steve talk about the plans he had The next year, the theatre was extensively means of self-promotion. This also showed in and the people he’d invited was like listening to damaged by an IRA bomb and he was plunged his teaching and he was made an Honorary someone who’d planned an amazing party and into the twin tasks of keeping the department Fellow of Rose Bruford College of Theatre and was totally gobsmacked by the number of running in a temporary space and working out Performance as tribute to his teaching and people who’d said yes to his invitation. the specification for a completely new and very mentoring skills there. complex sound installation as part of the Sometimes spiky, often controversial, Steve also refurbishment of the Exchange, ended up with The combination of his passion for sound and had the rare ability to laugh at himself and of one of the most versatile sound systems his passion for dissemination of information led the many photographs that have been posted installed in any theatre in the country, almost him towards OISTAT – The International after his death, very few show him without a endlessly adaptable to any type of production. Organization of Scenographers, Theatre smile on his face. He also did the difficult job of building and Architects and Technicians, where he teamed up nurturing an excellent team of designers and with Rick Thomas, David Budries, Veronka Vorel A memorial page for Steve is here at operators, who will carry on his work there. and Joe Pino, and Steve ended up heading the associationofsounddesigners.com/stevenbrown SOUND DESIGNERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Bobby Aitken Alex Baranowski Theatre:Viva Forever! Ghost, Dirty Dancing, Mamma Mia! We Alex is a composer and sound designer. Recent credits Will Rock You, Grease. Opera: Bobby has been working to include:The Cripple of Inishmaan (Michael Grandage), create techniques to deliver credible sound reinforcement for Macbeth (Jamie Lloyd) in West End and productions at large scale, in-the-round opera production. London 2012: National, RSC, Donmar, Royal Court, Shakespeare’s Globe and Sound Designer for the opening and closing ceremonies of ROH. He works extensively in Film including twice BAFTA the London 2012 Olympic and Paralympic games. nominated McCullin and recently collaborated with The xx.

Paul Arditti Dominic Bilkey Paul is a multi-award-winning sound designer whose 2013 Dominic recently became Sound Manager of the Lyttelton projects include:The Audience (Gielgud); Charlie & The Theatre at the National after five years as Head of Sound at Chocolate Factory (Drury Lane); Feast and Scottsboro Boys the Young Vic. As a freelance sound designer recent credits (Young Vic); American Psycho (Almeida); Edward II, the NT’s include: Birdsong, Private Ear/Public Eye (Original Theatre); 50TH and King Lear (National Theatre). He’s proud to be a London Wall (Two’s Company); Masterclass, Dr Marigold & Mr founder member of the ASD! Chops (Bath Theatre Royal)

Helen Atkinson Danny Bright Designs include: 1001 nights (Unicorn), Mr Whatnot and A Danny is a sound designer and composer whose work has Christmas Carol (Northampton Theatre Royal), Bravo appeared at The Global Composition, PQ2011, and the V&A. Figaro:Mark Thomas (The Traverse), Macbeth (Cheek by Jowl). Recent credits include: Bond (Touring:UK and Australia); The As associate designer: Chimerica (Harold Pinter) Tristan & Turing Project (British and Manchester Science Festivals); Yseult (Kneehigh), DruidMurphy (Druid Theatre), Misterman Crusoe (Touring:UK, USA, Europe, Australia); commissions for (NT & Galway Arts Fest),The Convicts Opera (Out Of Joint). MAGNA Science Adventure Centre and Octopus Collective.

Simon Baker Andrew Bruce Simon has worked extensively in devised theatre with Andrew Bruce started Autograph with Phil Clifford in 1973 so Kneehigh as well having designed major musicals, arena the company is 40 years old this year. Along the way he has tours and straight drama in the UK and US. He was recipient designed quite a few musicals and other shows both here of the Olivier for Best Sound for Matilda. Current work and abroad. includes The Light Princess (NT) and Josephine and I (The Bush). Paul Bull Andy Collins Paul has been involved with performance sound Andy has been working as a sound designer for over 25 years professionally since 1978 working in a number of repertory from repertory theatre to national and international theatres. Since 1990, he has worked as a freelance Sound productions. His sound design credits include musical theatre Designer with experience ranging from Fringe through to and major symphonic arena concert tours. Andy is a regular West End, and National / International touring. lecturer in sound at the Royal Welsh College of Music & Drama, Cardiff. Ed Clarke Ed has worked around the theatre and live music worlds for Andrea J Cox the past twenty years. Recent designs include: Backbeat Designed 50+ shows for the Royal Shakespeare Company, (Duke of York’s), Frankenstein (National Theatre), The Wiz including The Histories (Roundhouse). Other designs include: (Birmingham,West Yorkshire), His Teeth (Only Connect), The Oresteia Trilogy (Fisher Center, New York); Pieces Happy Now? (Hull Truck),The Railway Children (Waterloo (TheatrClwyd / New York); Onassis, Calendar Girls, Sex with a Station and Toronto). Stranger, Yes Prime Minister (West End); Charlotte’s Web (Derby); Holes, Threeway (Edinburgh Festival 2013). Future Gregory Clarke projects include:True West (Glasgow). Greg is a Tony and Drama Desk Award-winning sound designer. He has over 20 years’ experience with a huge range Tony Davies of exceptional directors and theatre companies, from the Recent productions:Twice Charmed,Villains Tonight, Disney commercially brilliant to the brilliantly uncommercial. Dreams, Toy Story and The Golden Mickeys for Disney Cruise Whether drama or musical, building-based or site specific, he Line. Various other freelance work.Work history: 1978-1983 just loves making air move. Swansea Grand Theatre, 1983-1987 London, various theatres. 1987-2013 Swansea Grand Theatre. 2013- present Audio 1 Rick Clarke Disney Cruise Line. Rick is a highly experienced, independent sound designer with 30 years of large scale musical credits including:West Simon Deacon Side Story, Chicago, Me and My Girl, all of the Rogers and Simon trained at Guildhall in stage management & technical Hammerstein canon and many more, working both theatre. Our House UK Tour Autumn 2013, The Harder They nationally and internationally. Come (UK Tour), Blues In The Night, Little Shop of Horrors, Rock ‘n’ Roll Panto’s, Aladdin, Beauty & the Beast, Sleeping Beauty, Cinderella, Dick Whittington, Jack & the Beanstalk, Sleeping Beauty. SOUND DESIGNERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

George Dennis Peter Eltringham George is a London-based sound designer and composer, His work as a Sound Designer includes:West End Eurovision primarily working in theatre. Recent credits include:The Last 2013 (Dominion Theatre), Third Finger Left Hand (Trafalgar Yankee (Print Room); Dances of Death (Gate); Moth Studios), Sickert & The Three Graces (V&A Museum), A (Hightide/Bush); Beautiful Thing (Arts/UK Tour). He holds an Butcher Of Distinction (Kings Head Theatre), Nerve (Barons MA in Electroacoustic Composition from The University of Court Theatre), The Ghost Train (The Lost Theatre), Guess How Manchester. Much I Love You (UK Tour).

Ian Dickinson Gregg Fisher Ian joined Autograph in 2009. Recent designs include:The Gregg is a freelance Theatre Sound Designer and the Senior Machine (UK and US), To Kill A Mockingbird (Regents Park Lecturer in Theatre Sound Design at The Royal Central School Open Air Theatre), The Weir (Donmar), Port, This House (NT) of Speech and Drama. He prefers rehearsal room-based The Curious Incident Of The Dog In The Nighttime (NT and organic design working closely with the company on new or Apollo) for which he won the Olivier Award for Best Sound devised productions, and is an Associate Artist with Lightwork Design. Ian spent many years at both The Royal Court and The Theatre Company. Royal Exchange designing shows! Jamie Flockton Carolyn Downing Current projects include: Sound designer for Fourth Monkey Carolyn enjoys working closely with creative collaborators to with three shows at the 2013 Edinburgh Fringe; Colin Dunne - develop cohesive and fully integrated designs, namely: Out of Time - Sound Engineer for his international Tour dates. Chimerica (West End and Almeida) The Low Road (Royal He enjoys working in a collaborative and devised manner, Court); Beautiful Burnout, Love Song (Frantic Assembly); which gives him the freedom to create soundscapes in a style Double Feature (NT); Absurdia (Donmar) All My Sons which he loves. (Broadway); Angels in America (Headlong); To Kill a Mockingbird (Royal Exchange). Sebastian Frost Seb’s work encompasses a diverse range of projects including Mark Dunne West End and Broadway theatre, artistic installations, large- Mark’s current and recent designs include: Storm In A Flower scale public events, and other live events around the world. In Vase, Baggage, The Killing Of Sister George; and Bette & Joan 2008 he received the first Best Sound Design of a Musical (Arts Theatre), Khadija Is 18 (Finborough Theatre), Bette & Tony Award nomination for Sunday In The Park With George Joan (Tour) on Broadway. Gareth Fry Paul Gregory Gareth is an Olivier-winning designer best known for his Employed full time at the Library Theatre for nearly fifteen work with directors such as Katie Mitchell and Complicite's years. Produced the sound design for every show, bar three, Simon McBurney.Work includes over 20 productions at the through that time, equating to approx. 100 shows!!!!! Small National and countless more at the Donmar, Old Vic, Young number of external designs carried out during that time. Vic and in the West End. He is chair of the ASD. Paul Groothuis Chris Full Born in Holland, Paul trained at CSSD. Designed over 120 Chris prides himself in innovative sound design, relishing the productions at the National, including: Anything Goes (Drury creative process. Award nominated/winning work covers Lane), His Dark Materials, A Streetcar Named Desire, The theatre, opera, large scale productions, broadcast, recording Coast of Utopia, Oklahoma! (Lyceum, New York). Other credits: and immersive multimedia experiences. Recently including: The King and I (Palladium & tour), Endgame (Albery), Carousel Rock of Ages, Shrek, Sonic Topology (London) How to Train (NT,West End, Tokyo), Oliver! (Palladium, Drury Lane). Your Dragon (Worldwide Arena Tour), Death and the Powers (Monaco, US Tour) Thomas Hackley Graduate of CSSD, Tom also designs for corporate events Tom Gibbons worldwide. Designs include:Trial of Ubu, Say It With Flowers, Tom trained at Central School of Speech and Drama. Recent (Hampstead); L’Isola disabitata, Clemency (Royal Opera Theatre includes: 1984 (Headlong), Lion Boy (Complicite), As House); Haunting Julia (Riverside); Fragments (E.N.O.) Jesus You Like It (RSC), Julius Caesar (Donmar), The Spire (Salisbury Hopped the A Train (Trafalgar Studios); Miracle, Exotic Tastes Playhouse), Roundabout Season (Shoreditch Town Hall, Paines (Arcola); Senora Carrar’s rifles, Pope’s Wedding (Young Vic). Plough), Love Love Love, (Royal Court) As Associate: A Season in the Congo (Young Vic) John Harris John is a composer and sound designer based in Scotland. David Gregory Recent work includes: the opera The Garden (Sound Festival David’s recent credits include: A Midsummer Night’s Dream and on tour) and work for Dundee Rep, Traverse, National and Comedy of Errors 2014, Pocket Merchant, Taming of the Theatre of Scotland, Tron Theatre, Naples and Edinburgh Shrew and Twelfth Night, Pocket Henry, Henry V and The International Festivals,West Yorkshire Playhouse and RSC. Winter’s Tale, Richard III and Comedy of Errors (Propellor Theatre Company tours), Peckham Soap Opera (Royal Court JTU), Lament (Silent Opera). SOUND DESIGNERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Nigel Hogg Dan Jones Nigel specialises in sound design and musical direction for Film Composer,Theatre Sound Designer and creator of large variety and circus. Recent projects include: Seaside Special, scale audio installations. Prague Quadrennial Special Jury Prize Cromer Pavilion (nine years) and national tours of Moscow for Sound Design of Kursk, 2011. Joint Artistic Director State Circus and Chinese State Circus. Also original music, Sound&Fury Theatre Company (Sound Designer and co-director, arrangements and sound installation for circus and Going Dark, Kursk,War Music, Ether Frolics).Various works for the pantomime. National Theatre, RSC, Donmar, Almeida and other theatres across the UK. Theo Holloway Theo has over 60 professional credits, including West End Dyfan Jones productions and national tours; he is particularly proud of his Theatre credits as composer and/or sound designer include: on-going relationships with the Scoop Free Theatre and the Love and Money (Waking Exploits); Rape of the Fair Country Park theatre; he is also a technical specialist for live sound, 2013 revival, Humbug!, A Feast of Festive Fun, Flora’s War, specialising in Radio Frequency engineering and software Thinking Out Loud,Tall Tales, Festen, Great Expectations, development. Yesterday,Twilight Tales, Drowned Out, Measure for Measure (Clwyd Theatr Cymru). Martyn Hunt Specialising in Sound Design for Musical Theatre, Martyn’s Chris Jordan work has been heard in the West End, Europe and in the USA. Design for Grease (South American tour). Associate Sound Recent Sound Designs for Musical Theatre include: Chess, Designer: Ragtime (Toronto, NY, LA, Chicago, US tour); Sweeney Todd,The Thorn Birds (UK Tour, dir. Michael Showboat (NY, Chicago and US / Canadian tours), Kiss of the Bogdanov),West Side Story,The Sound of Music, JCS and Little Spiderwoman (Toronto, London, NY,Vienna and US tour), Shop Of Horrors Phantom of the Opera (Edinburgh, UK tour). During five years at the National he designed more than 20 productions. Terry Jardine Terry is the Managing Director of Autograph Sound. Terry’s Simon King design’s include: many productions of Les Misérables, Cats Simon has worked in theatre sound for over twenty years. (UK Tour, Zurich, Antwerp and European Tour). In the West Recent Associate credits include: Ghost (Manchester, London End: Crazy for You, A Chorus Line, She Loves Me, Passion, and Broadway), Flashdance (Shaftesbury) and Dirty Dancing Parade, Grand Hotel, Spelling Bee, Sinatra and Guys and Dolls. (Toronto, Utrecht, Berlin, USA and UK Tours). Previous design work includes UK touring productions and at the Royal Court, Tricycle, Gate, and Piccadilly theatres. Emma Laxton Tom Marshall Emma was previously at the Royal Court where her designs Sound Designer:West Side Story (NYMT), My Favorite Year include:That Face (and Duke of York’s), My Name Is Rachel (Bridewell), The Tailor Made Man (Arts), Legally Blonde (Arts Corrie (and Playhouse,West End; Minetta, NY; Galway and Educational), Pushing up Poppies (Theatre 503), Boys in The Edinburgh Festival). Other theatre includes:The Physicists, Band (Aldwych). Associate and assistant sound designer: Making Noise Quietly,The Recruiting Officer (Donmar). Stephen Ward (Aldwych), Highland Fling (Glasgow Theatre Royal), The Bodyguard (Adelphi), Oliver! (2011 UK Tour). John Leonard John started working in theatre sound in 1971 and he hasn’t Steve Mayo stopped yet. Venues include: Bristol Old Vic, RSC, National Recent work includes: Our Share of Tomorrow (Theatre 503); Theatre, Old Vic, Almeida, Hampstead, Donmar,West End, Dirty Great Love Story (Soho Theatre and 59E59, New York); many UK regional theatres, Los Angeles, Broadway, France, Unleashed (Barbican); The Tempest (Watermill, Newbury). Germany, Russia, Norway, Japan etc. Sound effects and music www.steve-mayo.co.uk recordist, author, teacher and consultant. FGS, Hon. FHKAPA. Adam P McCready Nicholas Lidster Recent designs and compositions include:The Glee Club (CAST, Nick is a senior member of the Autograph design team and Doncaster); Butterfly Lion (UK Tour),Finding Nana (Hotbed three x Olivier Award Nominee. Currently designing Miss Festival);Tongues (Tristan Bates);Love Already (Ovalhouse); Saigon in Malmo. In the West End: A Chorus Line. Regent’s Intimate Exchanges, Arsenic and Old Lace, Roots,(Mercury Park, Sound Of Music; Parade, Passion, Spelling Bee; Mother Theatre Colchester);The Ashes (Nottingham Playhouse);The Courage, Lend Me A Tenor; Finding Neverland; Privates On Taming of the Shrew, Lysistrata,The Merchant of Venice,The Parade. Mountaintop, (Derby LIVE).

Tom Lishman Matt Mckenzie Over the last 25 years, Tom has designed sound for many Matt joined Autograph in 1984.West End designs include:The plays and musicals in the West End, on tour, in producing House of Bernarda Alba, Misery, A Streetcar Named Desire, theatres and internationally. He also has a long association Lysistrata, Amadeus, Car Man, Nicholas Nickeby, RSC includes: with the Edinburgh Fringe Festival, and sometimes works on Hamlet, Julius Caesar. Musicals include: Sweeney Todd (Derby), corporate events and exhibitions. 42nd Street (Leicester), Carousel, Oklahoma (Chichester), Blues in the Night, Singin’ in the Rain (West End). SOUND DESIGNERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Neil McKeown Ben Milton Neil has been producing music for 15 years, recently Ben has been involved with live sound for over 15 years. concentrating on sound design and composition for theatre Notable recent work includes: London 2012 Olympics including: Mandrake (Brockley Jack), Mare Rider (Arcola), (Opening & Closing Ceremonies); The Queen’s Diamond Talimhane (Arcola, Istanbul),When The Bulbul Stopped Jubilee (River Pageant); Piccadilly Circus Circus; The Queen’s Singing, and Sound Director for the Olivier nominated Coronation Festival (Gala Concert); Glastonbury Festival immersive theatrical production You Me Bum Bum Train. (Pyramid Stage); Faithless; The Prodigy; Billy Idol & many more

Jon McLeod Jon Nicholls London-based sound designer and composer, with a keen Jon is a Prix Italia-nominated composer / sound designer. interest in devised, site-specific and headphone pieces. Equally happy with a live orchestra or QLab, he creates music Credits include: 66 Minutes in Damascus (LIFT), In Our Place / sound scores for theatre, TV, film and radio drama.Work (Pentabus), The Incurable Imagination of Anthony Jones includes NT, Shared Experience, Sheffield Crucible, (World Stage Design 2013) and his own play Organ’s Of Little Birmingham Rep, BBC TV / radio, C4, ITV and many others. Apparent Importance (HighTide Festival). www.jonnicholls.com

David McSeveney Gareth Owen Designs include: A Doll’s House (Young Vic & West End), Posh Disney’s Litle Mermaid worldwide; Sister Act in five countries; (West End), Stones in His Pockets (Tricycle), One for the Disney’s Beauty & The Beast, JCS, Glee Arena and Hairspray in Road/Victoria Station (Print Room & Young Vic), On The Europe; Let It Be on Broadway; Top Hat, I Can’t Sing, and Record (iceandfire), Belong, Vera Vera Vera, Constellations, The Merrily We Roll Along in West End; Singin’ In The Rain on tour. Village Bike, Ingredient X, Posh, Disconnect, Cock, A Miracle, Two Tony, two Olivier nominations. The Stone, Shades (Royal Court). John Owens Mark Melville John is a Sound Designer and Associate Sound Designer Mark is a composer and sound designer and trained at Leeds specialising in system design and integration. Sound Designs College of Music. Recent work includes Mister Holgado include: Betrayal (Donmar); Faeries (ROH2). Associate Design (Unicorn Theatre); My Shrinking Life, Knives in Hens, Miracle includes Charlie and the Chocolate Factory,War Horse, Billy Man (National Theatre of Scotland);Wonderland (Vanishing Elliot, My Fair Lady, Mary Poppins. From October John will be Point/Napoli Teatro Festival/Edinburgh International Festival); based in New York. A Midsummer Night’s Dream (Edinburgh Royal Lyceum). Colin Pink Avgoustos Psillas Colin is a freelance Sound Designer / Engineer working in Avgoustos joined Autograph’s Sound Design team in 2008. theatre , corporate and events. He specialises in reinforcing Theatre credits include:The Winter’s Tale (Regent’s Park OAT) large orchestras. Recent highlights include: Derren Brown Blues in the Night (Hackney Empire),The Machine (MIF and NY Infamous (West End and Tour) and Heading up the live Sound Armory), Olivier Awards Ceremonies 2009-2013 (Drury Lane and Operating Team for the 2012 Olympic Games. ROH),The Curious Incident (Apollo), Spamalot (Playhouse), Avenue Q (UK Tours), Legally Blonde (Tour). Mic Pool Mic is a Tony Award winning and Olivier nominated designer, Adrienne Quartly who has been involved in theatre sound for over 36 years. He Adrienne is a Sound Designer/Composer who enjoys working works across all scales of theatre including work for the RSC, creatively alongside the company, bringing integral designs to National, Royal Court,West Yorkshire Playhouse,West End and each project. Recent: Inside Wagner’s Head (ROH);Too Clever by Broadway He also works as a video designer. half (Told by an Idiot);Fräulein Julie (Barbican). International Companies include RSC, Schaubühne Berlin, Schauspiel Köln, Mick Potter Hong Kong Arts Festival, St. Ann’s Warehouse, NYC. Mick has been a world renowned sound designer of musicals for over fifteen years. He has designed numerous world Clement Rawling premiere West End and Broadway productions and won Clement has over thirty years experience designing sound for multiple awards around the world. theatre musicals and open air concerts. Recent designs include: Birmingham Royal Ballet The Nutcracker, (O2 Arena Nick Powell London); The Mystery Plays, (York Museum Gardens); Radio Nick’s recent work for theatre includes composing/ sound Times,Wonderful Town, (National Tours);White Christmas the design for Othello (National Theatre), Dunsinane (National Musical. Theatre Of Scotland/RSC), The Ritual Slaughter… (Royal Court), The Lord Of The Flies (Open Air Theatre, Regent’s Park), Falstaff Peter Rice (Centro Dramatico Nacional Madrid). He is half of the band Peter has recently designed sound for:The Witches of Oskar. Eastwick (Watermill), Masque of Anarchy (MIF), Manchester Sounds (Library Theatre) and Cannibals (Royal Exchange). In the near future projects will include: Emil & the Detectives (associate sound designer, NT), That Day We Sang, Blindsided (Royal Exchange Manchester). SOUND DESIGNERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Ben Ringham Richard Sillitto Recent theatre includes:The History Boys (Sheffield Crucible), As a result of his broad experience in Live and Post Production The Hothouse (Trafalgar Studios) Paper Dolls (Tricycle) The Full sound for Broadcast and Theatre, Richard has a portfolio of Monty (Sheffield Lyceum, UK tour), The Architects (Shunt), skills and equipment to support productions from the NSFW (Royal Court), A Taste Of Honey (Sheffield Crucible), beginning to the end. Scenes From An Execution (NT), The School For Scandal (Bath). Olly Steel Max Ringham Design credits: Betty Blue Eyes and Babes in Arms (Arts Recent theatre includes:The History Boys (Sheffield Crucible), Educational), Aladdin (Qdos), Sleeping Beauty (Qdos), Rebel The Hothouse (Trafalgar Studios) Paper Dolls (Tricycle) The Full Cell (Edinburgh), Sweeney Todd (National Youth Musical Monty (Sheffield Lyceum, UK tour), The Architects (Shunt), Theatre). Associate Design Credits: Beauty and the Beast NSFW (Royal Court), A Taste Of Honey (Sheffield Crucible), (Paris), Sister Act (Netherlands), Let It Be (Westend, Scenes From An Execution (NT), The School For Scandal (Bath). International and Broadway), Pippin (Menier), A Chorus Line (Tel Aviv). Nick Sagar Nick’s recent Sound Design credits include: Bob Wilson’s Life & Giles Thomas Death of Marina Abramovic (MIF/Toronto, NY); Dolls House Giles is a Composer/Sound Designer: Untitled Matriarch Play, (NTS/Edinburgh);Wicker Man (NTS/ Edinburgh); Horrible Mint, Pigeons, Death Tax, (Royal Court); Take A Deep Breath Histories (BSC/Garrick, Sydney, Melbourne, UK Tour);End of the and Breathe, The Street (Oval House Theatre); Stop Kiss Road (Young@Heart Chorus/ NY, Singapore, Oslo);Tom’s (Leicester Square Theatre); Three Men In a Boat (Original Midnight Garden (BSC/ Bloomsbury). Recent composition credits Theatre Company); King John (Unity Theatre); Shoot/Get include:A Doll’s House (NTS) Treasure/Repeat, House of Agnes (Paines Plough).

Christopher Shutt Alex Twiselton Christopher is a Tony-winning designer whose work includes: Alex is currently Head of Sound at the Young Vic, London. His War Horse; Macbeth (Manchester Int Festival);The Effect, recent designs include: A Man Of No Importance, Dangerous Strange Interlude (National); Disappearing Number, Mnemonic Corner, Stepping Out, Epsom Downs (Salisbury); The Girl in (Complicite); Love & Information (Royal Court); Drum Belly the Yellow Dress (Theatre 503). (Abbey Dublin); Same Deep Water (Donmar); Bull (Sheffield and NY); All My Sons, Arturo Ui (New York). Mike Walker Chris Whybrow For the National: Hymn, St Matthew Passion, Major Barbara, Chris’s interest in sound began from a young age Caroline or Change, Jerry Springer – The Opera for which he compounded by spending two seasons with the National won the first Olivier Award for Best Sound Design.West End: Youth Theatre. He has worked throughout the world on large Hay Fever, Crazy for You, Eurobeat (Almost Eurovision), Bat Boy scale productions. Recent Credits include:Thriller Live (Lyric – The Musical, The Full Monty,The Graduate Theatre,World Arena Tours); Anything Goes, My Fair Lady (Kilworth House Theatre); 20th Century Boy (Belgrade Rich Walsh Theatre). Freelance sound designer. Designs include: over 25 shows for the National Theatre; Vernon God Little (Young Vic); Primo Matthew Williams (Music Box Theater, Broadway); Dinner (Wyndhams). Known to all as,‘Wills’, he is Deputy Head Of Sound at Terry Associate Sound Designer on Cool Hand Luke (Aldwych); The Hand’s Clwyd Theatr Cymru and has designed sound for Cat In The Hat (NT). Associate Soundscape Designer for around 70 productions, including shows in London and New London 2012 Olympic Games Opening Ceremony. York. Also has been engineer / mastering engineer on around 30 released albums / DVDs. Sarah Weltman The Ring Cyclotrope (Royal Opera House); Crowning Glory (Stratford East); The Empty Quarter, Donny’s Brain (Hampstead Downstairs); A Passionate Woman (David Pugh Ltd and Sheffield Theatres); As PE – The Full Monty (David Pugh and Sheffield Theatres); Jeeves & Wooster (ATG); Associate SD - Swallows & Amazons (Fiery Angel).

Donato Wharton Donato is a composer and sound designer. His music is published on the City-Centre-Offices and Serein labels. He has worked as a sound designer for theatre and dance theatre in the UK and internationally. Currently, he is working on Ex machina’s Playing Cards 2: Hearts in collaboration with JS Côté. PROFESSIONAL MEMBERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Tom Aspley Engineer for Theatre. Sound Number 1 on Borneo Brown Sam Charleston Shaun Clark I have been working as a Current projects include Without You (Edinburgh Freelance consultant Sam trained at LAMDA, Currently working on The sound engineer within Associate Sound Festival & Menier). working on venues and is now working as a Rocky Horrer show. I am musical theatre for the Designer Scottsboro Boys around the world. Head freelance Sound based in London and last ten years. During this (Young Vic) & PSE Frank Bradley of Sound and Video at Designer and Engineer. willing to travel. time I have working in Chimerica (Harold Frank is Sound Tutor at the National Theatre Currently working as many roles including Pinter). Recent Bristol Old Vic Theatre 2005-12. Opening Sound Number 2 on The Samuel Clarkson production engineer, no.2 production sound credits school. He designed operator for many West Curious Incident of the and no.1 operator, both include: Charlie and the many shows including: End musicals Dog in the Night Time. on tour and in the West Chocolate Factory (Drury Follies, Sunday In The Sound Designs include: Tom Cox End. Lane); The Audience Park With George, A Little Nela Brown Hard Shoulders Tom is currently working (Gielgud); Olivier Awards Night Music, The Rink Nela is a Croatian sound (Latitude), Six Rounds, as Sound Number 2 on Hamish Bamford (ROH); One Man Two (Leicester); Guys and artist and technologist American Bytes Back, Evita for Bill Kenwright I have been based in Guvnors (Westend & Dolls (Dublin); Singing In currently doing a PhD in (LOST Theatre). Ltd where he also toured London since last Tours). The Rain (Sadler’s Wells); human-computer with Joseph and the September, and I have On Your Toes (tour of interaction at Queen Keri Danielle Chesser Amazing Technicolor been keeping my head Zoe Blackford Japan). Also plays violin. Mary University of Keri is the Resident Dreamcoat and worked down. Slowly building Currently working on Let London. Recent work Sound Designer at the on Dreamboats and contacts. A lot of the It Be as Monitor Amy Bramma includes: sound design Space Theatre. She has Petticoats (Playhouse work I have been doing Engineer, Zoe is also Graduated from the for mobile phone been entirely self -taught Theatre,Wyndham’s has been people skill Assistant Sound London Academy of application or has learned her craft Theatre). Tom has also based, and has left me Designer at Gareth Music and Dramatic Art (Stromatolite), interactive on the job. Her most been working with laying down a lot of Owen Sound. Assistant in July 2012. Since then audio-visual installations recent credits include Barisons Productions communication between Sound Designer credits been operating shows (G.Hack), circuit bending Comedy of Errors most recently designing associates. include: Merrily We Roll and assisting the sound (MTF, Barcelona Music (AmoTheatre), Crashed Elvis The Ultimate Along (Harold Pinter), department at the Young Hack Day), organising (Immer-city), Festen Performance. Rob Bettle Hairspray (UK tour), and Vic, and have recently conferences (Flossie, (Space Productions), The Rob works primarily as a Rocky Horror (UK tour). been made Senior Sound SC2012) and teaching Suicide (Space Production Sound Previously, Zoe was Technician. (QMUL). Productions). Stephen Edwards Jeremy Ellis Dan Evans Art (LAMDA). Roller Paul Gavin on the road as radio mic Stephen has spent time Freelance PE: previously Dan is a London based coaster fanatic. Paul loves odd, usual, tech and no.2 FOH both as a live engineer Sound-No1, Production sound engineer with challenging shows and operator. Prior to this I and also in the world of Sound-No1 & Project experience both in the Ed Ferguson has worked on a fair spent two years full-time theatre developing his Manager. I’ve worked West End and regional Sound Manager - Olivier number of them. Recent working for Orbital skills. He has mixed on/with/at: Rich Brooker, touring. He graduated Theatre. I’ve been shows include: Every Day Sound in Technical many bands, musicals Paul Groothuis, Mike from LIPA in 2011. Recent running the sound team Maps for everyday use, Support and Engineering and sound designed Walker, Martin Levan, work includes: Rock of in the Olivier longer than Pack (Finbrough Theatre) departments. amateur and Gareth Owen, John Ages (Garrick, a care to mention! For Trinity Laban Our professional productions Owens, Richard Sharratt, Shaftesbury); London House,Witches of Tom Hares whilst at Theatre Severn, Chris Jordan, Greg Pink, 2012 Olympic Adam Fisher Eastwick (Stratford Based at Sadler’s Wells Shrewsbury and during Richard Ryan. Phantom, Ceremonies; Recent productions as Circus), SouthWestFest’s Theatre as one of the previous employment. Oliver!, Superstar, Lautrec, Dreamboats and Associate Sound promenade production Senior Technicians He recently became a Sunset Blvd, 9to5, Petticoats (UK Tour); Designer include: of Passport to Pimlico the dealing most often with freelancer. Bodyguard, Nutcracker!, Peter Pan (Lowry); 3rd Barnum (Chichester musical (around Pimlico). sound and flys, this role Hello Dolly, Rep. Degree Festival (LIPA). Festival Theatre); Les also includes a broader Ed Elbourne Autograph, Orbital. Miserables (Japan & Jeremy George purview of maintaining Ed designs sound and Trained at RBC. Gareth Evans South Korea);Wizard of London-based Theatre departmental financial lighting for theatre, London based sound Oz (US Tour & Toronto). Sound Operator and records, administrative studio and small-scale Christopher Evans engineer, designer and Also involved in 25th Production Sound duties and tracking touring productions. He I work as a freelance tutor. Former head of Anniversary concerts of Engineer. broader sector also works as an acoustic sound engineer with my sound for Sherman Phantom Of The Opera responsibilities, including and theatre consultant own equipment which I Cymru,Wales’ New and Les Miserables. Andy Green sustainability, education for Arup. Recent touring hire out. I work for a Writing Theatre Upcoming projects I am currently a freelance legislative changes, trade sound designs include number of amateur Company. Currently include Les Miserables Production Sound union representation and The Pearl, Clockheart Boy musicals societies and in employed full time as Toronto, Broadway and Engineer moving several technical provision for (Dumbshow);Waiting for local venues as a sound Production Sound Tutor Australia UK theatre shows disabled patrons. Stanley, Sweeney Todd engineer or sound crew. I at the London Academy around the country. Prior (Finger in the Pie) also work on wiring jobs. of Music and Dramatic to this I spent two years PROFESSIONAL MEMBERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Daniel Higgott (UK and Asia), Reasons To profile corporate events. engineer since Aug 2000. experimental music and Chris Mace I am a Sound Operator, Be Cheerful, Hormonal sound for theatre, Chris has been working working in Musical Housewives and Three Steve Jonas Tshari King installation and in theatre for over 10 Theatre. Currently I am Phantoms for which he Head of Sound & Video Tshari is a sound exhibition. She was years specializing in working as Deputy Head was Associate Sound Qdos Entertainment Plc engineer and designer sound design curator for Production Engineering of Sound on Wicked The Designer. for theatre, radio and Transformation & for musicals and plays. Musical. Rob Jones rock and roll. She is Head Revelation (Cardiff). Credits include: Disney’s Luke Hyde Rob is a sound designer, of Sound at RADA and Recent designs include: Little Mermaid (Holland), Andy Hinton production engineer and also works regularly with Billy, the Monster and Me Sister Act (UK, Milan, Andy is a sound designer operator with heavy the Wireless Theatre (24:7 Festival, Paris, Holland), Fame and technician, working Will Jackson theatre bias. Recently Company and freelances Manchester), The Ghost (Monte Carlo), Grease primarily in musical Will is currently head of working in the mid-scale as a live sound engineer of Someone Not Yet (Cyprus), Evita (Beirut); theatre. Previous designs sound on the UK tour of touring market for ETT at various venues in Drowned (Victoria Baths, UK Tours : Nine To Five, include:The Light In The The Mousetrap and has and Headlong, as well as London. Manchester; V&A Sister Act, Strictly Come Piazza, The Producers recently designed: As Is operating musicals for Museum, London). Dancing, Hairspray, (Bernie Grant Arts Centre (finborough); Just So, The Watermill Theatre in Sean Knowles Midnight Tango. for Mountview Academy Pirates of Penzance and Newbury. Sound design I had been working at Ari Levy of Theatre Arts); Kiss Me Charlie Brown (Tabard credits: God of Carnage, The National Theatre Ari recently graduated Tom Mann Kate, The Drowsy Theatre). He has also Treasure Island, Tiger Tail, since early 2011 - mid from the Liverpool Tom is a freelance sound Chaperone (Theatre operated ‘Gatz’ (Noel Bully Boy (Nuffield 2013. I have just finished Institute for Performance engineer with a wide Severn); Fire Island Coward) as well as a Theatre, Southampton). working at The Harold Arts. Ari is a freelance range of experience in (Charing Cross Theatre); number of other touring Pinter Theatre on sound technician with production. He has Armstrong’s War (The and West End Hyder Khalil Chimerica. I am currently pleanty of experience in worked as part of the Finborough Theatre). productions. Currently working on on tour with People, Alan mixing Live Sound in production teams for the Wicked London as Head Bennett’s latest play. many types of Olympic and Paralympic Adam Hockley Sungho Jeong of Sound and Wicked UK performance ceremonies, The Book of Adam is an engineer I am a Korean-born Tour as Associate Sound Karen Lauke circumstances. Mormon and the who has mixed touring Sound/ Video engineer Designer.Working in the Karen is a designer and European Athletics. Tom shows including Annie mainly working on high- West End as a sound composer creating is currently pursuing his interest in sound design presentations and have Fergus Mount Engineer include Saturday Glenn Oxenbury Thomas Pickering and project dabbled with film and TV. Fergus is a freelance Night Sunday Morning, Billy Elliot! the musical management. production sound Orpheus Descending, (Victoria Palace) as Sound Neil McNally engineer and operator. He Lady Windermere’s fan, Matt Padden No. 3, Dear World Luke McGowan Operator credits include: works predominantly with Cannibals & Too Clever By Matt Padden has been (Charing Cross Theatre) Luke has worked in Brigadoon, Around the Complicite and Michael Half Head of Sound for the as Sound No. 2, Shrek the Theatre, Concerts and World in 80 Days, Clark Company as a National Theatre of Musical (Drury Lane) as Corporate events for Showboat, Aspects of touring operator/engineer. Tomas O’Connor Scotland since 2008, Sound Dep, Thriller Live! nearly ten years. Having Love The Phantom of the Previously employed at Currently Production overseeing the Sound (Lyric) as Sound No.3 / designed and operated Opera, Starlight Express, the National Theatre, Sound Engineer: Grease, aspects of the Company’s Dep, Secrets (Leicester shows in the West End, Valentine’s Day. credits include: Master Chicago The Musical (UK prodigious output and Square Theatre) as Mic Touring Theatre, Arena International experience and Magerita, Shunkin tours), FFE Pantomimes. acting as Sound Designer Runner, Hamlet! The Tours and Corporate includes North American (Complicite);Triple Bill, Sound no.1: Chicago The for a number of Musical (Pleasance events. You can view his conferences, music Come Been and Gone Musical (UK tour);West productions including Beyond) as Sound work on SJP and on his award ceremonies, (MCC); One Man Two Side Story (UK Tour). No.1 Cockroach, Long Gone Operator. website. military shows and Guvnors and many others in West End: Brief Lonesome and Christmas political events. (NT) Encounter. Sound Carol. He wishes the Chris Reid Darren McMahon Australian arts festivals Designer: Colins minijack connector did Current: Charlie and the Involved in all aspects of as operator/designer. Dave Norton Performing Arts College not exist. Chocolate Factory (Drury audio, professionally, Middle Eastern tours as Dave started his theatre Productions, Grovestock Lane - Sound No.3) Chris since 1990 serving an operator/designer. work by freelancing Festival. Sam Palmer has worked extensively unofficial apprenticeship around the Greater Production/Sound Currently touring as as a sound operator in live music. Moved into Tim Middleton Manchester area before Engineer: Rambert Dance Sound No.1 on throughout the UK and Theatre on various Graduated from the becoming Sound Company. Barbican Dreamboats and internationally and is productions and toured Guildhall School of Music Technician in the Royal Theatre: Full-time Sound Petticoats. UK based keen to build up his with an prestigious Ballet & Drama (2009) having Exchange Theatre’s much Technician. sound engineer with design portfolio. Previous company as head of specialised in Sound. appreciated and ever busy experience mainly in work includes: Black sound. I also work Sound Dept. Recent Musical Theatre and Watch (National Theatre regularly on corporate shows as Production Corporate live sound. of Scotland, International PROFESSIONAL MEMBERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Tour 2013 - Tour Associate Kyle Sepede Pandora’s Box, Sister Of, design, specialising in Midnight Tango 2013 Manager for Blitz Sound Designer). Freelance Sound Miss Julie (Arcola), sound and audiovisual (Phoenix Theatre, tour). Communications and Engineer / Designer Concrete Jungle, systems for the He is certified in Lead Audio for Cirque du Morgan Rogers based in High Wycombe. (Riverside Studios). performing arts. He is a Audiometry, Otoscopy Soleil’s The Beatles LOVE I have been working as a graduate of the Music and Impression taking. in Las Vegas. sound operator in Steven Seymour Mathew Smethurst- and Sound Recording theatre since graduating My most recent work Evans (Tonmeister) degree at Scott Tostevin Phil Wright from my second year of was at Soho Theatre as Mathew manages a the Institute of Sound Having Graduated from Phil has worked in the Guildford School of Sound Designer for hybrid career of hands- Recording, University of Mountview Academy of concert, musical theatre Acting’s Technical BA in Address Unknown, and on sound design and Surrey. Theatre arts in 2011, I and opera world for two 2005. I have worked in Associate for Pastoral. I engineering; coupled obtained a role as a decades. Recent credits various types of theatre mainly work as a System with his work as a Mary Stone casual technician at Beau include: BBC Proms, with a few live bands Engineer in Theatre & consultant with I am a sound operator Sejour Leisure centre in Anthems in Concert, ENB and festivals thrown in Music. Recently as PE for Theatreplan where he currently working at the Guernsey rigging and Swan Lake (RAH); Urban too. the Comedy Stage at designs installed systems NT on Light Princess. operating events. and Classic, Bollywood Latitude. I Freelance for for performance spaces. also as a freelancer for Carmen Live, RBL Festival Jon Sealey SSE. I was Senior Sound This combination Marek Tkacik Delta Sound in the UK. of Remembrance (BBC FOH/System Engineer for at the NT. provides him with an Marek is sound designer, TV); ENB Strictly Sonalyst Sound Ltd. interesting breadth of production engineer, Brad Ward Gershwin (UK Tour); Dr Projects include The Helen Skiera experience and sound operator. His Recent designs: Into the Who Symphonic BBC’s Strictly Helen is a musician and knowledge which he recent work include Woods, and Les Spectacular (BBC Confidential UK Tour and designer. Shows include: draws upon in all his Sound Design for the Miserables at Belmont Worldwide). Russel Brand’s Messiah Advice for The Young at work. Neil Diamond musical University in Nashville; Complex World Tour. Jon Heart, (Theatre Centre), Brother Loves Traveling Queen Elizabeth’s Jubilee Derrick Zieba Sealey is an enthusiastic The Epic Adventure of Ian Stickland Salvation Show (UK Celebration in Since working at the and skilled Sound Nhamo..., (Tiata Senior consultant at tour); A Round-Heeled Manchester; .45 at The Royal National Theatre Engineer and Operator Fahodzi/Tricycle); Snow Charcoalblue. Ian women (Aldwych Hampstead, PMQ at Derrick expanded into based in South White, US/UK Exchange, provides consultancy in theatre, Riverside Studios Theatre 503. Previous other areas of audio Lincolnshire. (Old Vic NV); Meat (Bush), all aspects of theatre London); Sound No.1. work: Sound Project design, including multichannel movie premiers in non-theatrical locations, such as Titanic 3D and Skyfall at the Royal Albert Hall. He also Association of designed the Sound for Anne Boleyn – The TMA Sound Designers Best Touring Production award winner 2012. NOT JUST FOR DESIGNERS NOT JUST FOR ENGINEERS NOT JUST FOR OPERATORS NOT JUST FOR TECHNICIANS NOT JUST FOR RF TECH’S NOT JUST FOR NO.1’S AND NO.2’S NOT JUST FOR PES NOT JUST FOR FIT UP CREW NOT JUST FOR WIREMEN NOT JUST FOR CABLE BASHERS

JOIN NOW ASSOCIATIONOFSOUNDDESIGNERS.COM ASSOCIATE MEMBERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Gill Allen nominated for Develop’s theatre in Leeds working Festival/Edinburgh Brian Hughes Andy Kirkpatrick Head of Stage Audio Accomplishment as a Theatre Sound Fringe); PSE for Rags, Retired BBC engineer. Sound engineer, with Management and award in 2012. Technician as well as designer for Nicholas Sound work with village specialist skills in Technical Theatre Course, freelancing when he can. Nickleby,Toast (GSMD); AV theatre and, occasionally, computer and audio East 15 Acting School Simon Birchall & Sound Tech (Anomic). Little Theatres. networking and as a Simon is a designer and Ben Davies motion graphics Chris Barlow operator working in the Programme Director at David Harvey B-D Kelsh designer. Also an I’ve gained several East Midlands for Rose Bruford College David Harvey contributes I am currently Sound experienced musician production credits, as amateur societies. Recent to smooth-running No.2 on Phantom of the (drums and trumpet) designer, technician and work includes Sound of Stuart Dean behind the scenes in a Opera. I have been and some experience operator, picking up a Music,White Horse Inn Sound for AmDram in range of capacities. His working within the with studio sound. nomination for Best (Buxton Opera House) South Manchester sound roles include theatre industry for the Sound Design at the 2011 (Derby Theatre), Hello Recent work includes design and operation for last ten years but have Mark Malherbe, ‘Offies’ for Gotcha Dolly and Sound of Sweet Dream Baby,Jesus a number theatre groups become focused in sound Prosound (Riverside). My main Music (Repton) Christ Superstar,Girls and fringe companies, for the last two. Based in South Africa, income is as a freelance Night,Return to the and recording and Mark is a sound designer technician in the Rachel Brown Forbidden Planet,Eight editing audioplays. Karolin Killig and company director of corporate AV industry. I started sound designing Miles High at Hyde Karolin is a multilingual Prosound, having been as a student at Festival Theatre. Rent, David Hately designer working with a actively involved in Richard Bell Cambridge. I did musical Godspell and Chess for David maintains a film sound theatre sound design Richard is a freelance theatre, live events, and NK Theatre Arts, diverse role in technical postproduction from the late 1970’s. technician and some paid AV work for Stockport. theatre and gets to work background in Germany Currently working on Production Manager for conferences. I graduated with many different and Europe. Recent Jersey Boys, Dirty Universal Quidem, who last year and I am based Alex Durrell production companies. designs include Kaspar Dancing and Sunset run the New Town in London. Alex is a recent graduate Over the last two years, Häuser Meer, Boulevard. Theatre during the of the Guildhall School of his work has been Heim.Spiel.Essen,Wir alle Edinburgh Fringe. David Burton Music and Drama. Recent concentrated at Curve, für immer zusammen, Die Designs include running David is currently based credits include Venue Leicester. Wanze (Schauspiel Essen); app,‘Zombies, Run!’, at The Carriageworks Tech/Sound (Assembly DNA (Arche Bottrop) Craig Nimens, operation and design, press and PR needs of a Sound Ideas Lighting Design, number of high profile Sound Ideas is the Production and Technical brands in the world’s largest publisher Management. I provide entertainment of professional sound specialised, theatre- technology sector. I am effects, royalty free based training and also chairman of the music, & production services in AutoCAD. Knight of Illumination element libraries. Awards and founder of Mick Ritchie Women in Stage Ed Owen A sound engineer and Entertainment. Retired school teacher designer. Experienced working in Theatre when setting up Qlab based Davina Shah ever I can. shows with sound video Agent and Producer, at and midi triggers. Sound Macnaughton Lord Jon Primrose design for video web and Representation, Technical Manager and corporate events. Teaches representing sound technical tutor at the Qlab and protools on site designers Paul Arditti, University of Exeter and in colleges. Alex Barnowski, Emma Drama Department. I Laxton, Peter Rice and also am working on Tom Rundle Melanie Wilson. educational material and Operator, tech and sample resources for my designer for Corporate, Thomas Stevenson website. Theatre, Live Events and No.2 and Production Music. Based in London / Sound. Recently worked David Ripley Cambridge, UK. on Spend, Spend, Spend I have 30 years at Mountview Academy experience in the Sarah Rushton-Read, of Theatre Arts. industry, in a variety of The Fifth Estate Ltd roles, including Sound Currently taking care of STUDENT MEMBERS For more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Daniel Balfour Harry Butcher interest for both musical Adam Funnell working as a dep on ensures that each and Currently studying at The Harry is expanding his theatre and live music. Adam is a physics Jersey Boys and designing every design is produced Central School of Speech theatrical knowledge at graduate of Imperial Antony and Cleopatra to the highest possible and Drama whilst RADA. Pervious sound Chris Drohan College, now studying at and Measure for Measure standard. working on independent experience includes six Currently studying Cambridge and UCL. He (Linbury Studio). projects. years freelance Technical Theatre at the has designed and Dominic Kennedy experience in live events. Royal Academy of operated various student Naomi Jordan The path to where i am Harry Barker Harry aims to bring a Dramatic Art, with a musicals and drama DramSoc technical director now was through music Now in his final year at cinematic quality to the specialism in Sound. productions, including in spare time at Imperial production, I specialised Central, Harry is a Sound stage to revolutionise the experimental surround College Union. Events in a style of textured No.4 Dep on We Will Rock theatre industry. Chantelle Dyson sound work, in London range from student nights ambient music. I have You in London, whilst Studying Theatre Sound and on tours. and corporate events to done a number of sound preparing for some up George Christou at Central School of straight drama and designs and and coming projects. WSD2013 Exhibition Speech & Drama. Daffyd Gough musicals. Recent shows compositions for short Finalist. Head of Sound Studying at Rose Bruford. include soundscaping film and animation. Bryony Blackler for WSD2013 Madison English Earthquakes in London and Bryony is a second year Studying Theatre Sound Ben Grant designing and mixing Alexander Kosanke student studying Stage Thomas Clachers at Central School of Studying at Central School Parade. Began studying BA Management and Studying at Central Speech & Drama. of Speech & Drama. (Hons) Theatre Practice: Technical Theatre at School of Speech and David Kay Theatre Sound in October LAMDA. She has also Drama Aaron Evans Laura Hammond Studying Theatre Sound of 2011 at Central School undertaken a recent Previously worked as Past credits include at Central School of of Speech and Drama in work placement with the Jack Condell Musical Director for The working for the Pleasance Speech & Drama. London after years of Sound Department at I’m a third year student Red Lion Theatre in Edinburgh and on the various projects with the Young Vic. at The Liverpool Institute company in Isleworth for Paralympic Games. Joe Keat smaller companies for Performing Arts. I their Christmas Joe is a dedicated hard throughout Germany. Alice Brooks specialise in sound for pantomime Sno’ Right Vicki Hill worker who strives to Audio Technician and any type of performance, and the Seven Studs. Vicki is a recent LAMDA ensure his clients visions Sound Designer however I have a strong graduate and now is are realised. He always Frederick Loucks and several RADA shows. Recently he has into her final year, which School of Speech and Jo Walker I am a young designer A multi-instrumentalist, composed for the online will involve designing Drama. He has skills in Jo is a London based just out of college who Phil enjoys composition/ adversing of Beautiful student shows. She is an sound design content sound designer and is practices the theatre arts incorporating musicality Thing, sound designed enthusiastic team player, and composition. As well currently a creative in the Treasure Valley into his designs, as well as for collaborative theatre who works as hard as as sound engineering associate with Curious area. Credits include Last having wide technician / for children and worked possible to make every /production experience. Directive, who’s recent of the Boys by Steven operation experience. as a sound engineer. show great. work include The Dietz, The Water Engine Nikolai Varlamov Kindness Of Strangers, by David Mamet. James Melling Charles Parry Harry Saxton McCann Studying Music and After The Rainfall, In The Studying Theatre Sound Charles is a Music Studying Theatre Sound Audio Technology at Image Of You, Your Last Pete Malkin at Central School of Technology student and at Central School of University of West of Breath. Pete is a young Speech & Drama. a fringe theatre sound Speech & Drama. England. Volunteering in enthusiastic Sound operator and designer. theatre and festivals in Henry Whittaker Designer recently Fraser Milroy Recent work includes Graeme Sneddon sound department for Deputy President (Clubs graduated from the I received an HDN in operating Avenue Q and Graeme is a PhD student the last 2 years. & Societies), Imperial Central School of Speech Sound Production and Crazy For You (Upstairs at at the University of College Union and Drama. Recent work am currently studying the Gatehouse) and Glasgow. Recent sound Ella Wahlström includes: Lionboy, Die Production Technology & designing and operating designs include Guido! (C Ella’s recent work Jamie Wood Zauberflöte (Associate Management at the RENT (The Tabard). too),The Twits, Disco Pigs, includes Sound Designer Studying The Royal Designer, Complicité); Royal Conservatoire of Jerry Springer:The Opera for The Bunker (Ed Fringe Central School of Speech Hamlet (Associate Scotland. Harry Regan (ADC Theatre), Ruddigore & Southwark Playhouse); and Drama: BA (Hons) Designer, RSC); Marguerite 18 year old student, (Minack Theatre) and Associate Sound Theatre Practice:Theatre (Sound Designer,Tabard) Jing Ng wanting to further my Haggard (Corpus Designer for The Cripple Sound Studying at Rose Bruford. career in Sound Design Playroom). of Inishmaan (Noël Philip Matejtschuk at Central next year. Coward Theatre). She’s a RADA PgDip Sound James Nicholson Joshua Trepte Rose Bruford graduate Design student, with James trained at the Nicola Salvage Josh is a Theatre Sound and a trained folk credits including radio- Royal Central School of Nicola is a student at Design student studying violinist. dramas, films, concerts Speech & Drama. Mountveiw, progressing at the Royal Central

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