Subscribe on iTunes, SoundCloud, or Stitcher.
Support Sound Design Live on Patreon.
- How he first got work on Broadway.
- How he got the gig with Rock of Ages.
- The complicated setup procedure before every show.
- The sound system design and tuning.
- How to visualize sound in a room.
- What it takes to learn an intense Broadway musical.
- The moment of panic on every show.
People want to work with somebody who is a team player, who is going to do what they need to do to make sure their work isn’t compromised, but understands the big picture and approaches problems as a challenge as opposed to an annoyance.
- All music in this episode from Rock Of Ages (Original Broadway Cast Recording)
- Hardware/software: Avid Profile, LCS, Galileo, Sennheiser 5212 and HSP2 and MKE1, Ultimate Ears
- Think of it as light. How is it going to reflect off of walls and other surfaces?
- Rock of Ages is the most difficult show I’ve ever had to mix.
- It’s unlike any other show I’ve ever done, because you cannot make a mistake.
- The single most important decision I ever made was to approach a producer and lobby to be the production sound engineer on a musical…
- The only criteria [for hiring crew] was, “Is this somebody that you want to sit across from at dinner and have a fun time?” You want to be around people that you enjoy being around. And that’s probably what makes for success, aside from skills.
- This particular [Digidesign Profile] has more plugins on it than any other Profile in the world.