the echo 7 - association of sound designers · 2013-09-26 · the echo also in this issue interview...

Despite the proliferation of sound courses inrecent years, many of the real world skillsrequired to successfully design a theatricalproduction are learnt on the job. While technicaland theatrical studies certainly have their place,there is no substitution for being on the frontline, in the thick of it, learning from trial anderror, getting it wrong as much as you get itright.

In an attempt to share experience and allowveterans and beginners alike to learn from eachothers mistakes, I approached some of theworld’s top sound designers to share a hint, tipor trick they have learned over their years in theindustry. Here are just a few of their responses.

TERRY JARDINE has this advice for those sound-checking a theatrical cast:“Getting people to take a soundcheck seriouslycan sometimes be tricky – I find that, comesoundcheck time, getting the working lightsturned off, a lighting state up on stage, and thehouse lights turned down really gets people tofocus. It makes them realise, both backstage andFOH, that there is a rehearsal in progress and, asa result, they tend to respect that, cutting downdrilling noise, hoovering, hammering, andshouting by eighty percent. If you don’t do italready, try it – it really works!”

Sound design tips and tricks:part 1

GARETH OWEN

Maintaining the integrity of touring shows canbe tricky. MIC POOL has this nugget to share:“Make cues in your playback software consistingof pink noise routed to each part of theloudspeaker system. Adjust the level of the pinkusing the software level controls to obtain areading of say 80dBC in the centre of theauditorium on a hand held sound level meter orcheap smart phone app. Then if the show isrevived, transfers or tours, as a starting point,play these cues back and adjust the amplifierson the new system to give the same SPL meterreadings as your original. This is particularlyuseful for small and medium scale tours ofplays which utilize house PA systems. It is alsobrilliant for matrixing down a multichannelloudspeaker rig to two channels or fourchannels as a rehearsal or emergency versionwith accurately matched levels.”

Got a tip or trick to share? Email us [email protected]

SEBASTIAN FROST often sets up large multi-zoned multi-timed systems. One of his toptricks is:“Setting up delays for stage zones can be alengthy process – sticking a sheet of A4 paper toa mic stand as a target for a laser measuremeans you can calculate all delay valueswithout needing quiet time, making you all themore popular with the other departments. Placethe stand in the centre of your imaging pointand zap away to your hearts content. Inherentsystem latencies can always vary, so make sureyou do an acoustic check to finish as lasersshould be used to help your ears, not replacethem.”

BOBBY AITKEN offers us this insight in togetting a great percussion sound:“A current favorite technique of mine is usingparallel compression across the drums andpercussion group. It’s a fantastic technique thatcontrols the dynamics by effectively increasingthe level and detail in the softer passages. It isachieved firstly by creating two identical stereogroups one of which is heavily compressed. I liketo use two outboard Urei 1176LN’s set fairlyaggressively for this. The outputs of the twogroups are then summed back together on the‘rest of the band’ group. It’s interesting to notethat the uncompressed group will also requirean insert point with a couple of XLR jumpersinserted. This is to compensate for the insertlatency. Try it! It’s a really great technique.”

ANDREW BRUCE shares a tip to help you getthe speakers and microphones in the rightplace:“Cultivate your friendship with the scenic andcostume designers. Between them, they have farmore influence over whether your show soundsgood than any amount of EQ.”

Need to get the perfect mobile phone sound?JOHN LEONARD suggests:“If simulating a mobile phone ring via an IEM orother local source, when the phone gets takenfrom a pocket or bag, run two versions of thesame effect simultaneously: one with an EQsetting that reduces the high-frequency contentand one with a full range effect. Start with thefull range effect muted and when the phone isretrieved from the pocket, fast fade up the fullrange effect to a slightly higher level than theHF-reduced version. Perfect realism every time!”

Clockwise from left: Terry Jardine; Mic Pool; John Leonard;Bobby Aitken; Andrew Bruce; and Sebastian Frost

For a realistic sounding thunder storm, try thisadvice from GARETH FRY:“Making rain sound realistic can be tricky. Thebest technique I’ve found is to start off withmultiple recordings. If I were creating the effectof being inside a house listening to the rainoutside, I’d grab interior recordings of rainagainst a window, on a hard roof, and exteriorrecordings of rain running through gutteringand hitting a concrete floor, and finally thesound of rain hitting an umbrella. The umbrellarain I tend to feed into the surrounds at lowlevel, the rain on roof will go through the centrecluster or some other flown speaker, theconcrete floor sfx will go to upstage, and finallythe guttering will get hard panned to one sideof the theatre and the window sfx to the otherside. The effect of this is that you hear rainhitting multiple surfaces from multipledirections in the same way you do in real life.”

Gelling sound effects together in to onecohesive soundscape can be a tricky business.ADAM MCCREADY suggests:“When creating a soundscape or ambience for ascene that will contain many spot effects, trycreating a template in your DAW with inserts onthe master that include, amongst your preferredmastering plug ins, a reverb and/or delay thatcreate an appropriate ‘acoustic’ for your scene.Bouncing your spot sfx and ambience from thiswill mean all the sound elements for a scenewill have the same ‘acoustic’ and feel of thesame environment.”

Finally, when specifying a sound system for ashow, learn from my bitter experience:“When making decisions as to what equipmentto use for a show, beware of using too manynew toys. If you have a PA you have never usedbefore, a mixing desk you have never usedbefore, and radio mics you have never usedbefore, you have no idea where to turn whenthings don’t sound right. Try to limit yourexperiments to one major piece of equipmentper show, that way, when you can’t get itsounding right, you know where to concentrateyour efforts.”

Left to right: Gareth Fry; Adam McCready; and Gareth Owen

Was it interesting dealing with ‘live’ inputs?We have a couple of live instruments in theshow, guitar and likembe that have wirelessamplification. We wanted the music to feel as ifit were coming from the streets and notpresented in a theatre. We have a couple of ‘nothigh-end’ speakers right on stage that weplaced the instruments sounds into that reallyhelped with that feel.

Dealing with live mics was fairly new to me andwe had fun placing mics to help support certainareas of the stage or to use to add an effect to avoice. Most of the performance is done withoutany aid of mics so we had to be careful to notoverdo it when we did use them so as to nothave it be obvious.

Did you find it challenging not being able tocontrol the volume of the dialogue?During rehearsals I wasn’t having any issueswith controlling dialogue levels as we were in avery live room but when we started on thestage I did feel a bit helpless in that regard asthe voices didn’t feel the same. I had to adjustmy thinking that the dialogue level was kingand everything else had to be adjustedaccordingly.

Was it liberating to be able to make your sounddesign for a specific (and unusually shaped!)auditorium with a bespoke system rather than

How did you come to work on A Season in theCongo?During the final mix for Anna Karenina, JoeWright mentioned that he was directing acouple of plays next and asked if I’d beinterested in working with him on one of them.When he asked me I was actually looking for adifferent kind of project to shake things up a bit.

Presumably the whole process was considerablydifferent to most films you work on? The time I spent working on A Season in theCongo was about a quarter of the time that onaverage I spend on a film. Typically I’ll have a fewmonths to develop sounds and do some tempmixes before we head into a two or three weekpremix period followed by a three week finalmix. For the play it was a case of jumping righton board and creating sounds on the spot thatthen became part of the show. It was definitelymore instantaneous and raw feeling. Asrehearsals progressed we could fine tunesounds and music based on how things wereworking with the actors, which for me was quitedifferent than a final mix for film, which neverchanges once you hit the stop button.

Oscar-nominated sound designer, Craig Berkey, was inLondon recently, working with director Joe Wrightand sound designer Tom Gibbons on A Season in theCongo at the Young Vic.

Craig’s work has included: Alien: Resurrection, X-Men,Ice Age, Charlie’s Angels: Full Throttle, Big Fish, I, Robot,No Country for Old Men (for which he was nominatedfor an Oscar), Transformers, Burn After Reading, TrueGrit (for which he was nominated for two Oscars) andlast year’s film Anna Karenina.

We caught up with him to ask him about his firstforay into theatre.

Craig Berkey

making it work for a variety offormats/auditoria?This was one of the most interesting differencesfor me. I really enjoyed being able to placesounds where you wanted them. It was like abrand new shiny toy for me. There are newcinema formats that are emerging now that arestarting to change the film experience but Idon’t think it will get as unique and specific asfor theatre.

What did your relationship with [theatre sounddesigner] Tom Gibbons involve?I think Tom and I learned a lot from each other. Iwas bringing my film experience in the form ofsurround sound and panning and he broughthis theatre experience. It would work in a waythat I would describe how I would like a soundto play and Tom would show me how we couldaccomplish that but then he would come backwith an idea about how to push it farther. Therewas a good exchange of ideas as we werebuilding the show.

How did the the project develop overrehearsals, previews and the run?At first I thought that we would be creatingsome specific sound effects and a fewambiences to go along with some music cuesbut as things progressed it became obviousthat we needed more. Once we helped placethe audience in a particular location with

sound it wasn’t fair to not have that continueas it would feel quite different. By the end ofpreviews I think there were only two smallsections without some kind of sound playing. Itbecame more like a film soundtrack at thatpoint.

What was the biggest challenge in the show?I think one of our biggest challenges was theintegration of the 6.1 interleaved surround wavfiles that I was creating in Pro Tools into theQLab system. We had to figure out how toremap the channels once the file was importedinto QLab as the Pro Tools naming schememeant nothing. This took us a couple of days tocrack but once we had it importing becameseamless.

What was your favourite moment in the show?Aside from Chewitel’s performance which wasamazing to witness every day, my favouritemoment was when the Congolese army weregetting their weapons and then started todance to show them off followed by radio voicesdescribing attacks that were happening at thetime. This was a complex section for us as wehad music stems and loops that we were usingas well as radio whisper chatter sounds.

What was Joe’s feelings about the sounddesign?Joe was enjoying what we were doing and

particularly loved the use of the subwoofer. Wewere using it for music as well as sound effectsin a film mix kind of way. The first day on thestage Joe had us play some music from KinshasaOne Two that is used in the show as if we werein a nightclub, to christen the set. Joe also statedduring the first day on stage that one of thethings he was most excited about was thesound system.

Kurt Egyiawan as Maurice Mpolo and Chiwetel Ejiofor as Patrice LumumbaPhoto by Johan Persson

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Steve Brown25th May 1960 – 7th July 2013

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

The word ‘battle’ is extremely appropriate here,because for Steve it really was a battle. He foughtagainst the disease with same passion that hetackled everything else in his life and if there’sone word that sums him up very neatly, it’s‘passionate’: Steve was passionate about sound,about computers, about the internet, aboutfootball, about politics, about injustice and aboutpeople and you’d be caught up, within minutesof meeting him, in his passion, whatever the

Steve Brown

JOHN LEONARD

Photo by Paul Arditti

subject under discussion might be.

His theatre career started in the mid-1980s as afollow-spot operator at the Theatre Royal,Brighton, but he was soon working for the RoyalShakespeare Company and The National Theatreas a production sound engineer and anoperator, with a fast-growing reputation as anassociate and a sound designer in his own right.In 1995, Steve got his own theatre – the RoyalExchange in Manchester – taking over fromanother extraordinary soundman, Phil Clifford,and set about making it his own.

The next year, the theatre was extensivelydamaged by an IRA bomb and he was plungedinto the twin tasks of keeping the departmentrunning in a temporary space and working outthe specification for a completely new and verycomplex sound installation as part of therefurbishment of the Exchange, ended up withone of the most versatile sound systemsinstalled in any theatre in the country, almostendlessly adaptable to any type of production.He also did the difficult job of building andnurturing an excellent team of designers andoperators, who will carry on his work there.

He stayed with the Royal Exchange for the restof his life, designing shows, running thedepartment, challenging, innovating and at thesame time, expanding his interest in the widerworld of sound art, soundscapes and audioecology and it was this world that increasinglybecame what defined him as a creative artistand informed his theatre work. He embracedthe internet whole-heartedly and loved thefreedom to explore that it gave him. His website was one of the first that I found to beactually useful, because Steve wanted to sharethe information that he found with as manypeople as possible, not just to use his site as ameans of self-promotion. This also showed inhis teaching and he was made an HonoraryFellow of Rose Bruford College of Theatre andPerformance as tribute to his teaching andmentoring skills there.

The combination of his passion for sound andhis passion for dissemination of information ledhim towards OISTAT – The InternationalOrganization of Scenographers, TheatreArchitects and Technicians, where he teamed upwith Rick Thomas, David Budries, Veronka Voreland Joe Pino, and Steve ended up heading the

sound working group, which he continued forthe next thirteen years. He’d become so much apart of the international community that anyevent that didn’t have either his presence or hisinput in some way or another was a rarity.

It’s immensely sad that someone with so muchstill to give to that community should havegone at a time when much of what he’d workedso hard to achieve was to come to fruition in thesound design element of World Stage Design2013.

Listening to Steve talk about the plans he hadand the people he’d invited was like listening tosomeone who’d planned an amazing party andwas totally gobsmacked by the number ofpeople who’d said yes to his invitation.

Sometimes spiky, often controversial, Steve alsohad the rare ability to laugh at himself and ofthe many photographs that have been postedafter his death, very few show him without asmile on his face.

A memorial page for Steve is here atassociationofsounddesigners.com/stevenbrown

SOUND DESIGNERSFor more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Bobby AitkenTheatre: Viva Forever! Ghost, Dirty Dancing, Mamma Mia! WeWill Rock You, Grease. Opera: Bobby has been working tocreate techniques to deliver credible sound reinforcement forlarge scale, in-the-round opera production. London 2012:Sound Designer for the opening and closing ceremonies ofthe London 2012 Olympic and Paralympic games.

Paul ArdittiPaul is a multi-award-winning sound designer whose 2013projects include:The Audience (Gielgud); Charlie & TheChocolate Factory (Drury Lane); Feast and Scottsboro Boys(Young Vic); American Psycho (Almeida); Edward II, the NT’s50TH and King Lear (National Theatre). He’s proud to be afounder member of the ASD!

Helen AtkinsonDesigns include: 1001 nights (Unicorn), Mr Whatnot and AChristmas Carol (Northampton Theatre Royal), BravoFigaro:Mark Thomas (The Traverse), Macbeth (Cheek by Jowl).As associate designer: Chimerica (Harold Pinter) Tristan &Yseult (Kneehigh), DruidMurphy (Druid Theatre), Misterman(NT & Galway Arts Fest),The Convicts Opera (Out Of Joint).

Simon BakerSimon has worked extensively in devised theatre withKneehigh as well having designed major musicals, arenatours and straight drama in the UK and US. He was recipientof the Olivier for Best Sound for Matilda. Current workincludes The Light Princess (NT) and Josephine and I (TheBush).

Alex BaranowskiAlex is a composer and sound designer. Recent creditsinclude:The Cripple of Inishmaan (Michael Grandage),Macbeth (Jamie Lloyd) in West End and productions atNational, RSC, Donmar, Royal Court, Shakespeare’s Globe andROH. He works extensively in Film including twice BAFTAnominated McCullin and recently collaborated with The xx.

Dominic BilkeyDominic recently became Sound Manager of the LytteltonTheatre at the National after five years as Head of Sound atthe Young Vic. As a freelance sound designer recent creditsinclude: Birdsong, Private Ear/Public Eye (Original Theatre);London Wall (Two’s Company); Masterclass, Dr Marigold & MrChops (Bath Theatre Royal)

Danny BrightDanny is a sound designer and composer whose work hasappeared at The Global Composition, PQ2011, and the V&A.Recent credits include: Bond (Touring: UK and Australia); TheTuring Project (British and Manchester Science Festivals);Crusoe (Touring: UK, USA, Europe, Australia); commissions forMAGNA Science Adventure Centre and Octopus Collective.

Andrew BruceAndrew Bruce started Autograph with Phil Clifford in 1973 sothe company is 40 years old this year. Along the way he hasdesigned quite a few musicals and other shows both hereand abroad.

SOUND DESIGNERS

Paul BullPaul has been involved with performance soundprofessionally since 1978 working in a number of repertorytheatres. Since 1990, he has worked as a freelance SoundDesigner with experience ranging from Fringe through toWest End, and National / International touring.

Ed ClarkeEd has worked around the theatre and live music worlds forthe past twenty years. Recent designs include: Backbeat(Duke of York’s), Frankenstein (National Theatre), The Wiz(Birmingham,West Yorkshire), His Teeth (Only Connect),Happy Now? (Hull Truck), The Railway Children (WaterlooStation and Toronto).

Gregory ClarkeGreg is a Tony and Drama Desk Award-winning sounddesigner. He has over 20 years’ experience with a huge rangeof exceptional directors and theatre companies, from thecommercially brilliant to the brilliantly uncommercial.Whether drama or musical, building-based or site specific, hejust loves making air move.

Rick ClarkeRick is a highly experienced, independent sound designerwith 30 years of large scale musical credits including:WestSide Story, Chicago, Me and My Girl, all of the Rogers andHammerstein canon and many more, working bothnationally and internationally.

Andy CollinsAndy has been working as a sound designer for over 25 yearsfrom repertory theatre to national and internationalproductions. His sound design credits include musical theatreand major symphonic arena concert tours. Andy is a regularlecturer in sound at the Royal Welsh College of Music &Drama, Cardiff.

Andrea J CoxDesigned 50+ shows for the Royal Shakespeare Company,including The Histories (Roundhouse). Other designs include:The Oresteia Trilogy (Fisher Center, New York); Pieces(TheatrClwyd / New York); Onassis, Calendar Girls, Sex with aStranger, Yes Prime Minister (West End); Charlotte’s Web(Derby); Holes, Threeway (Edinburgh Festival 2013). Futureprojects include:True West (Glasgow).

Tony DaviesRecent productions:Twice Charmed, Villains Tonight, DisneyDreams, Toy Story and The Golden Mickeys for Disney CruiseLine. Various other freelance work. Work history: 1978-1983Swansea Grand Theatre, 1983-1987 London, various theatres.1987-2013 Swansea Grand Theatre. 2013- present Audio 1Disney Cruise Line.

Simon DeaconSimon trained at Guildhall in stage management & technicaltheatre. Our House UK Tour Autumn 2013, The Harder TheyCome (UK Tour), Blues In The Night, Little Shop of Horrors,Rock ‘n’ Roll Panto’s, Aladdin, Beauty & the Beast, SleepingBeauty, Cinderella, Dick Whittington, Jack & the Beanstalk,Sleeping Beauty.


George DennisGeorge is a London-based sound designer and composer,primarily working in theatre. Recent credits include:The LastYankee (Print Room); Dances of Death (Gate); Moth(Hightide/Bush); Beautiful Thing (Arts/UK Tour). He holds anMA in Electroacoustic Composition from The University ofManchester.

Ian DickinsonIan joined Autograph in 2009. Recent designs include:TheMachine (UK and US), To Kill A Mockingbird (Regents ParkOpen Air Theatre), The Weir (Donmar), Port, This House (NT)The Curious Incident Of The Dog In The Nighttime (NT andApollo) for which he won the Olivier Award for Best SoundDesign. Ian spent many years at both The Royal Court and TheRoyal Exchange designing shows!

Carolyn DowningCarolyn enjoys working closely with creative collaborators todevelop cohesive and fully integrated designs, namely:Chimerica (West End and Almeida) The Low Road (RoyalCourt); Beautiful Burnout, Love Song (Frantic Assembly);Double Feature (NT); Absurdia (Donmar) All My Sons(Broadway); Angels in America (Headlong); To Kill aMockingbird (Royal Exchange).

Mark DunneMark’s current and recent designs include: Storm In A FlowerVase, Baggage, The Killing Of Sister George; and Bette & Joan(Arts Theatre), Khadija Is 18 (Finborough Theatre), Bette &Joan (Tour)

Peter EltringhamHis work as a Sound Designer includes:West End Eurovision2013 (Dominion Theatre), Third Finger Left Hand (TrafalgarStudios), Sickert & The Three Graces (V&A Museum), AButcher Of Distinction (Kings Head Theatre), Nerve (BaronsCourt Theatre), The Ghost Train (The Lost Theatre), Guess HowMuch I Love You (UK Tour).

Gregg FisherGregg is a freelance Theatre Sound Designer and the SeniorLecturer in Theatre Sound Design at The Royal Central Schoolof Speech and Drama. He prefers rehearsal room-basedorganic design working closely with the company on new ordevised productions, and is an Associate Artist with LightworkTheatre Company.

Jamie FlocktonCurrent projects include: Sound designer for Fourth Monkeywith three shows at the 2013 Edinburgh Fringe; Colin Dunne -Out of Time - Sound Engineer for his international Tour dates.He enjoys working in a collaborative and devised manner,which gives him the freedom to create soundscapes in a stylewhich he loves.

Sebastian FrostSeb’s work encompasses a diverse range of projects includingWest End and Broadway theatre, artistic installations, large-scale public events, and other live events around the world. In2008 he received the first Best Sound Design of a MusicalTony Award nomination for Sunday In The Park With Georgeon Broadway.

Gareth FryGareth is an Olivier-winning designer best known for hiswork with directors such as Katie Mitchell and Complicite'sSimon McBurney. Work includes over 20 productions at theNational and countless more at the Donmar, Old Vic, YoungVic and in the West End. He is chair of the ASD.

Chris FullChris prides himself in innovative sound design, relishing thecreative process. Award nominated/winning work coverstheatre, opera, large scale productions, broadcast, recordingand immersive multimedia experiences. Recently including:Rock of Ages, Shrek, Sonic Topology (London) How to TrainYour Dragon (Worldwide Arena Tour), Death and the Powers(Monaco, US Tour)

Tom GibbonsTom trained at Central School of Speech and Drama. RecentTheatre includes: 1984 (Headlong), Lion Boy (Complicite), AsYou Like It (RSC), Julius Caesar (Donmar), The Spire (SalisburyPlayhouse), Roundabout Season (Shoreditch Town Hall, PainesPlough), Love Love Love, (Royal Court) As Associate: A Seasonin the Congo (Young Vic)

David GregoryDavid’s recent credits include: A Midsummer Night’s Dreamand Comedy of Errors 2014, Pocket Merchant, Taming of theShrew and Twelfth Night, Pocket Henry, Henry V and TheWinter’s Tale, Richard III and Comedy of Errors (PropellorTheatre Company tours), Peckham Soap Opera (Royal CourtJTU), Lament (Silent Opera).

Paul GregoryEmployed full time at the Library Theatre for nearly fifteenyears. Produced the sound design for every show, bar three,through that time, equating to approx. 100 shows!!!!! Smallnumber of external designs carried out during that time.

Paul GroothuisBorn in Holland, Paul trained at CSSD. Designed over 120productions at the National, including: Anything Goes (DruryLane), His Dark Materials, A Streetcar Named Desire, TheCoast of Utopia, Oklahoma! (Lyceum, New York). Other credits:The King and I (Palladium & tour), Endgame (Albery), Carousel(NT,West End, Tokyo), Oliver! (Palladium, Drury Lane).

Thomas HackleyGraduate of CSSD, Tom also designs for corporate eventsworldwide. Designs include:Trial of Ubu, Say It With Flowers,(Hampstead); L’ Isola disabitata, Clemency (Royal OperaHouse); Haunting Julia (Riverside); Fragments (E.N.O.) JesusHopped the A Train (Trafalgar Studios); Miracle, Exotic Tastes(Arcola); Senora Carrar’s rifles, Pope’s Wedding (Young Vic).

John HarrisJohn is a composer and sound designer based in Scotland.Recent work includes: the opera The Garden (Sound Festivaland on tour) and work for Dundee Rep, Traverse, NationalTheatre of Scotland, Tron Theatre, Naples and EdinburghInternational Festivals,West Yorkshire Playhouse and RSC.


Nigel HoggNigel specialises in sound design and musical direction forvariety and circus. Recent projects include: Seaside Special,Cromer Pavilion (nine years) and national tours of MoscowState Circus and Chinese State Circus. Also original music,arrangements and sound installation for circus andpantomime.

Theo HollowayTheo has over 60 professional credits, including West Endproductions and national tours; he is particularly proud of hison-going relationships with the Scoop Free Theatre and thePark theatre; he is also a technical specialist for live sound,specialising in Radio Frequency engineering and softwaredevelopment.

Martyn HuntSpecialising in Sound Design for Musical Theatre, Martyn’swork has been heard in the West End, Europe and in the USA.Recent Sound Designs for Musical Theatre include: Chess,Sweeney Todd, The Thorn Birds (UK Tour, dir. MichaelBogdanov),West Side Story, The Sound of Music, JCS and LittleShop Of Horrors

Terry JardineTerry is the Managing Director of Autograph Sound. Terry’sdesign’s include: many productions of Les Misérables, Cats(UK Tour, Zurich, Antwerp and European Tour). In the WestEnd: Crazy for You, A Chorus Line, She Loves Me, Passion,Parade, Grand Hotel, Spelling Bee, Sinatra and Guys and Dolls.

Dan JonesFilm Composer,Theatre Sound Designer and creator of largescale audio installations. Prague Quadrennial Special Jury Prizefor Sound Design of Kursk, 2011. Joint Artistic DirectorSound&Fury Theatre Company (Sound Designer and co-director,Going Dark, Kursk,War Music, Ether Frolics).Various works for theNational Theatre, RSC, Donmar, Almeida and other theatresacross the UK.

Dyfan JonesTheatre credits as composer and/or sound designer include:Love and Money (Waking Exploits); Rape of the Fair Country2013 revival, Humbug!, A Feast of Festive Fun, Flora’s War,Thinking Out Loud,Tall Tales, Festen, Great Expectations,Yesterday,Twilight Tales, Drowned Out, Measure for Measure(Clwyd Theatr Cymru).

Chris Jordan Design for Grease (South American tour). Associate SoundDesigner: Ragtime (Toronto, NY, LA, Chicago, US tour);Showboat (NY, Chicago and US / Canadian tours), Kiss of theSpiderwoman (Toronto, London, NY, Vienna and US tour),Phantom of the Opera (Edinburgh, UK tour). During five yearsat the National he designed more than 20 productions.

Simon KingSimon has worked in theatre sound for over twenty years.Recent Associate credits include: Ghost (Manchester, Londonand Broadway), Flashdance (Shaftesbury) and Dirty Dancing(Toronto, Utrecht, Berlin, USA and UK Tours). Previous designwork includes UK touring productions and at the Royal Court,Tricycle, Gate, and Piccadilly theatres.

Emma LaxtonEmma was previously at the Royal Court where her designsinclude:That Face (and Duke of York’s), My Name Is RachelCorrie (and Playhouse,West End; Minetta, NY; Galway andEdinburgh Festival). Other theatre includes:The Physicists,Making Noise Quietly, The Recruiting Officer (Donmar).

John LeonardJohn started working in theatre sound in 1971 and he hasn’tstopped yet. Venues include: Bristol Old Vic, RSC, NationalTheatre, Old Vic, Almeida, Hampstead, Donmar,West End,many UK regional theatres, Los Angeles, Broadway, France,Germany, Russia, Norway, Japan etc. Sound effects and musicrecordist, author, teacher and consultant. FGS, Hon. FHKAPA.

Nicholas LidsterNick is a senior member of the Autograph design team andthree x Olivier Award Nominee. Currently designing MissSaigon in Malmo. In the West End: A Chorus Line. Regent’sPark, Sound Of Music; Parade, Passion, Spelling Bee; MotherCourage, Lend Me A Tenor; Finding Neverland; Privates OnParade.

Tom LishmanOver the last 25 years, Tom has designed sound for manyplays and musicals in the West End, on tour, in producingtheatres and internationally. He also has a long associationwith the Edinburgh Fringe Festival, and sometimes works oncorporate events and exhibitions.

Tom MarshallSound Designer:West Side Story (NYMT), My Favorite Year(Bridewell), The Tailor Made Man (Arts), Legally Blonde (ArtsEducational), Pushing up Poppies (Theatre 503), Boys in TheBand (Aldwych). Associate and assistant sound designer:Stephen Ward (Aldwych), Highland Fling (Glasgow TheatreRoyal), The Bodyguard (Adelphi), Oliver! (2011 UK Tour).

Steve MayoRecent work includes: Our Share of Tomorrow (Theatre 503);Dirty Great Love Story (Soho Theatre and 59E59, New York);Unleashed (Barbican); The Tempest (Watermill, Newbury).www.steve-mayo.co.uk

Adam P McCreadyRecent designs and compositions include:The Glee Club (CAST,Doncaster); Butterfly Lion (UK Tour), Finding Nana (HotbedFestival);Tongues (Tristan Bates);Love Already (Ovalhouse);Intimate Exchanges, Arsenic and Old Lace, Roots,(MercuryTheatre Colchester);The Ashes (Nottingham Playhouse);TheTaming of the Shrew, Lysistrata,The Merchant of Venice,TheMountaintop, (Derby LIVE).

Matt MckenzieMatt joined Autograph in 1984.West End designs include:TheHouse of Bernarda Alba, Misery, A Streetcar Named Desire,Lysistrata, Amadeus, Car Man, Nicholas Nickeby, RSC includes:Hamlet, Julius Caesar. Musicals include: Sweeney Todd (Derby),42nd Street (Leicester), Carousel, Oklahoma (Chichester), Bluesin the Night, Singin’ in the Rain (West End).


Neil McKeownNeil has been producing music for 15 years, recentlyconcentrating on sound design and composition for theatreincluding: Mandrake (Brockley Jack), Mare Rider (Arcola),Talimhane (Arcola, Istanbul),When The Bulbul StoppedSinging, and Sound Director for the Olivier nominatedimmersive theatrical production You Me Bum Bum Train.

Jon McLeodLondon-based sound designer and composer, with a keeninterest in devised, site-specific and headphone pieces.Credits include: 66 Minutes in Damascus (LIFT), In Our Place(Pentabus), The Incurable Imagination of Anthony Jones(World Stage Design 2013) and his own play Organ’s Of LittleApparent Importance (HighTide Festival).

David McSeveneyDesigns include: A Doll’s House (Young Vic & West End), Posh(West End), Stones in His Pockets (Tricycle), One for theRoad/Victoria Station (Print Room & Young Vic), On TheRecord (iceandfire), Belong, Vera Vera Vera, Constellations, TheVillage Bike, Ingredient X, Posh, Disconnect, Cock, A Miracle,The Stone, Shades (Royal Court).

Mark MelvilleMark is a composer and sound designer and trained at LeedsCollege of Music. Recent work includes Mister Holgado(Unicorn Theatre); My Shrinking Life, Knives in Hens, MiracleMan (National Theatre of Scotland);Wonderland (VanishingPoint/Napoli Teatro Festival/Edinburgh International Festival);A Midsummer Night’s Dream (Edinburgh Royal Lyceum).

Ben MiltonBen has been involved with live sound for over 15 years.Notable recent work includes: London 2012 Olympics(Opening & Closing Ceremonies); The Queen’s DiamondJubilee (River Pageant); Piccadilly Circus Circus; The Queen’sCoronation Festival (Gala Concert); Glastonbury Festival(Pyramid Stage); Faithless; The Prodigy; Billy Idol & many more

Jon NichollsJon is a Prix Italia-nominated composer / sound designer.Equally happy with a live orchestra or QLab, he creates music/ sound scores for theatre, TV, film and radio drama. Workincludes NT, Shared Experience, Sheffield Crucible,Birmingham Rep, BBC TV / radio, C4, ITV and many others.www.jonnicholls.com

Gareth OwenDisney’s Litle Mermaid worldwide; Sister Act in five countries;Disney’s Beauty & The Beast, JCS, Glee Arena and Hairspray inEurope; Let It Be on Broadway; Top Hat, I Can’t Sing, andMerrily We Roll Along in West End; Singin’ In The Rain on tour.Two Tony, two Olivier nominations.

John OwensJohn is a Sound Designer and Associate Sound Designerspecialising in system design and integration. Sound Designsinclude: Betrayal (Donmar); Faeries (ROH2). Associate Designincludes Charlie and the Chocolate Factory,War Horse, BillyElliot, My Fair Lady, Mary Poppins. From October John will bebased in New York.

Colin PinkColin is a freelance Sound Designer / Engineer working intheatre , corporate and events. He specialises in reinforcinglarge orchestras. Recent highlights include: Derren BrownInfamous (West End and Tour) and Heading up the live SoundOperating Team for the 2012 Olympic Games.

Mic PoolMic is a Tony Award winning and Olivier nominated designer,who has been involved in theatre sound for over 36 years. Heworks across all scales of theatre including work for the RSC,National, Royal Court,West Yorkshire Playhouse,West End andBroadway He also works as a video designer.

Mick PotterMick has been a world renowned sound designer of musicalsfor over fifteen years. He has designed numerous worldpremiere West End and Broadway productions and wonmultiple awards around the world.

Nick PowellNick’s recent work for theatre includes composing/ sounddesign for Othello (National Theatre), Dunsinane (NationalTheatre Of Scotland/RSC), The Ritual Slaughter… (Royal Court),The Lord Of The Flies (Open Air Theatre, Regent’s Park), Falstaff(Centro Dramatico Nacional Madrid). He is half of the bandOskar.

Avgoustos PsillasAvgoustos joined Autograph’s Sound Design team in 2008.Theatre credits include:The Winter’s Tale (Regent’s Park OAT)Blues in the Night (Hackney Empire),The Machine (MIF and NYArmory), Olivier Awards Ceremonies 2009-2013 (Drury Lane andROH),The Curious Incident (Apollo), Spamalot (Playhouse),Avenue Q (UK Tours), Legally Blonde (Tour).

Adrienne QuartlyAdrienne is a Sound Designer/Composer who enjoys workingcreatively alongside the company, bringing integral designs toeach project. Recent: Inside Wagner’s Head (ROH);Too Clever byhalf (Told by an Idiot); Fräulein Julie (Barbican). InternationalCompanies include RSC, Schaubühne Berlin, Schauspiel Köln,Hong Kong Arts Festival, St. Ann’s Warehouse, NYC.

Clement RawlingClement has over thirty years experience designing sound fortheatre musicals and open air concerts. Recent designsinclude: Birmingham Royal Ballet The Nutcracker, (O2 ArenaLondon); The Mystery Plays, (York Museum Gardens); RadioTimes,Wonderful Town, (National Tours);White Christmas theMusical.

Peter RicePeter has recently designed sound for:The Witches ofEastwick (Watermill), Masque of Anarchy (MIF), ManchesterSounds (Library Theatre) and Cannibals (Royal Exchange). Inthe near future projects will include: Emil & the Detectives(associate sound designer, NT), That Day We Sang, Blindsided(Royal Exchange Manchester).


Ben RinghamRecent theatre includes:The History Boys (Sheffield Crucible),The Hothouse (Trafalgar Studios) Paper Dolls (Tricycle) The FullMonty (Sheffield Lyceum, UK tour), The Architects (Shunt),NSFW (Royal Court), A Taste Of Honey (Sheffield Crucible),Scenes From An Execution (NT), The School For Scandal (Bath).

Max RinghamRecent theatre includes:The History Boys (Sheffield Crucible),The Hothouse (Trafalgar Studios) Paper Dolls (Tricycle) The FullMonty (Sheffield Lyceum, UK tour), The Architects (Shunt),NSFW (Royal Court), A Taste Of Honey (Sheffield Crucible),Scenes From An Execution (NT), The School For Scandal (Bath).

Nick SagarNick’s recent Sound Design credits include: Bob Wilson’s Life &Death of Marina Abramovic (MIF/Toronto, NY); Dolls House(NTS/Edinburgh);Wicker Man (NTS/ Edinburgh); HorribleHistories (BSC/Garrick, Sydney, Melbourne, UK Tour); End of theRoad (Young@Heart Chorus/ NY, Singapore, Oslo);Tom’sMidnight Garden (BSC/ Bloomsbury). Recent composition creditsinclude:A Doll’s House (NTS)

Christopher ShuttChristopher is a Tony-winning designer whose work includes:War Horse; Macbeth (Manchester Int Festival);The Effect,Strange Interlude (National); Disappearing Number, Mnemonic(Complicite); Love & Information (Royal Court); Drum Belly(Abbey Dublin); Same Deep Water (Donmar); Bull (Sheffield andNY); All My Sons, Arturo Ui (New York).

Richard SillittoAs a result of his broad experience in Live and Post Productionsound for Broadcast and Theatre, Richard has a portfolio ofskills and equipment to support productions from thebeginning to the end.

Olly SteelDesign credits: Betty Blue Eyes and Babes in Arms (ArtsEducational), Aladdin (Qdos), Sleeping Beauty (Qdos), RebelCell (Edinburgh), Sweeney Todd (National Youth MusicalTheatre). Associate Design Credits: Beauty and the Beast(Paris), Sister Act (Netherlands), Let It Be (Westend,International and Broadway), Pippin (Menier), A Chorus Line(Tel Aviv).

Giles ThomasGiles is a Composer/Sound Designer: Untitled Matriarch Play,Mint, Pigeons, Death Tax, (Royal Court); Take A Deep Breathand Breathe, The Street (Oval House Theatre); Stop Kiss(Leicester Square Theatre); Three Men In a Boat (OriginalTheatre Company); King John (Unity Theatre); Shoot/GetTreasure/Repeat, House of Agnes (Paines Plough).

Alex TwiseltonAlex is currently Head of Sound at the Young Vic, London. Hisrecent designs include: A Man Of No Importance, DangerousCorner, Stepping Out, Epsom Downs (Salisbury); The Girl inthe Yellow Dress (Theatre 503).

Mike WalkerFor the National: Hymn, St Matthew Passion, Major Barbara,Caroline or Change, Jerry Springer – The Opera for which hewon the first Olivier Award for Best Sound Design. West End:Hay Fever, Crazy for You, Eurobeat (Almost Eurovision), Bat Boy– The Musical, The Full Monty, The Graduate

Rich WalshFreelance sound designer. Designs include: over 25 shows forthe National Theatre; Vernon God Little (Young Vic); Primo(Music Box Theater, Broadway); Dinner (Wyndhams).Associate Sound Designer on Cool Hand Luke (Aldwych); TheCat In The Hat (NT). Associate Soundscape Designer forLondon 2012 Olympic Games Opening Ceremony.

Sarah WeltmanThe Ring Cyclotrope (Royal Opera House); Crowning Glory(Stratford East); The Empty Quarter, Donny’s Brain(Hampstead Downstairs); A Passionate Woman (David PughLtd and Sheffield Theatres); As PE – The Full Monty (DavidPugh and Sheffield Theatres); Jeeves & Wooster (ATG);Associate SD - Swallows & Amazons (Fiery Angel).

Donato WhartonDonato is a composer and sound designer. His music ispublished on the City-Centre-Offices and Serein labels. He hasworked as a sound designer for theatre and dance theatre inthe UK and internationally. Currently, he is working on Exmachina’s Playing Cards 2: Hearts in collaboration with JSCôté.

Chris WhybrowChris’s interest in sound began from a young agecompounded by spending two seasons with the NationalYouth Theatre. He has worked throughout the world on largescale productions. Recent Credits include:Thriller Live (LyricTheatre,World Arena Tours); Anything Goes, My Fair Lady(Kilworth House Theatre); 20th Century Boy (BelgradeTheatre).

Matthew WilliamsKnown to all as, ‘Wills’, he is Deputy Head Of Sound at TerryHand’s Clwyd Theatr Cymru and has designed sound foraround 70 productions, including shows in London and NewYork. Also has been engineer / mastering engineer on around30 released albums / DVDs.

Tom AspleyI have been working as asound engineer withinmusical theatre for thelast ten years. During thistime I have working inmany roles includingproduction engineer, no.2and no.1 operator, bothon tour and in the WestEnd.

Hamish BamfordI have been based inLondon since lastSeptember, and I havebeen keeping my headdown. Slowly buildingcontacts. A lot of thework I have been doinghas been people skillbased, and has left melaying down a lot ofcommunication betweenassociates.

Rob BettleRob works primarily as aProduction Sound

Engineer for Theatre.Current projects includeAssociate SoundDesigner Scottsboro Boys(Young Vic) & PSEChimerica (HaroldPinter). Recentproduction sound creditsinclude: Charlie and theChocolate Factory (DruryLane); The Audience(Gielgud); Olivier Awards(ROH); One Man TwoGuvnors (Westend &Tours).

Zoe BlackfordCurrently working on LetIt Be as MonitorEngineer, Zoe is alsoAssistant SoundDesigner at GarethOwen Sound. AssistantSound Designer creditsinclude: Merrily We RollAlong (Harold Pinter),Hairspray (UK tour), andRocky Horror (UK tour).Previously, Zoe was

Sound Number 1 onWithout You (EdinburghFestival & Menier).

Frank BradleyFrank is Sound Tutor atBristol Old Vic Theatreschool. He designedmany shows including:Follies, Sunday In ThePark With George, A LittleNight Music, The Rink(Leicester); Guys andDolls (Dublin); Singing InThe Rain (Sadler’s Wells);On Your Toes (tour ofJapan). Also plays violin.

Amy BrammaGraduated from theLondon Academy ofMusic and Dramatic Artin July 2012. Since thenbeen operating showsand assisting the sounddepartment at the YoungVic, and have recentlybeen made Senior SoundTechnician.

Borneo BrownFreelance consultantworking on venuesaround the world. Headof Sound and Video atthe National Theatre2005-12. Openingoperator for many WestEnd musicals

Nela BrownNela is a Croatian soundartist and technologistcurrently doing a PhD inhuman-computerinteraction at QueenMary University ofLondon. Recent workincludes: sound designfor mobile phoneapplication(Stromatolite), interactiveaudio-visual installations(G.Hack), circuit bending(MTF, Barcelona MusicHack Day), organisingconferences (Flossie,SC2012) and teaching(QMUL).

Sam CharlestonSam trained at LAMDA,and is now working as afreelance SoundDesigner and Engineer.Currently working asSound Number 2 on TheCurious Incident of theDog in the Night Time.Sound Designs include:Hard Shoulders(Latitude), Six Rounds,American Bytes Back,(LOST Theatre).

Keri Danielle ChesserKeri is the ResidentSound Designer at theSpace Theatre. She hasbeen entirely self -taughtor has learned her crafton the job. Her mostrecent credits includeComedy of Errors(AmoTheatre), Crashed(Immer-city), Festen(Space Productions), TheSuicide (SpaceProductions).

Shaun ClarkCurrently working on TheRocky Horrer show. I ambased in London andwilling to travel.

Samuel Clarkson

Tom CoxTom is currently workingas Sound Number 2 onEvita for Bill KenwrightLtd where he also touredwith Joseph and theAmazing TechnicolorDreamcoat and workedon Dreamboats andPetticoats (PlayhouseTheatre,Wyndham’sTheatre). Tom has alsobeen working withBarisons Productionsmost recently designingElvis The UltimatePerformance.

PROFESSIONAL MEMBERSFor more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Stephen EdwardsStephen has spent timeboth as a live engineerand also in the world oftheatre developing hisskills. He has mixedmany bands, musicalsand sound designedamateur andprofessional productionswhilst at Theatre Severn,Shrewsbury and duringprevious employment.He recently became afreelancer.

Ed ElbourneEd designs sound andlighting for theatre,studio and small-scaletouring productions. Healso works as an acousticand theatre consultantfor Arup. Recent touringsound designs includeThe Pearl, Clockheart Boy(Dumbshow);Waiting forStanley, Sweeney Todd(Finger in the Pie)

Jeremy EllisFreelance PE: previouslySound-No1, ProductionSound-No1 & ProjectManager. I’ve workedon/with/at: Rich Brooker,Paul Groothuis, MikeWalker, Martin Levan,Gareth Owen, JohnOwens, Richard Sharratt,Chris Jordan, Greg Pink,Richard Ryan. Phantom,Oliver!, Superstar, Lautrec,Sunset Blvd, 9to5,Bodyguard, Nutcracker!,Hello Dolly, Rep.Autograph, Orbital.Trained at RBC.

Christopher EvansI work as a freelancesound engineer with myown equipment which Ihire out. I work for anumber of amateurmusicals societies and inlocal venues as a soundengineer or sound crew. Ialso work on wiring jobs.

Dan EvansDan is a London basedsound engineer withexperience both in theWest End and regionaltouring. He graduatedfrom LIPA in 2011. Recentwork includes: Rock ofAges (Garrick,Shaftesbury); London2012 OlympicCeremonies;Dreamboats andPetticoats (UK Tour);Peter Pan (Lowry); 3rdDegree Festival (LIPA).

Gareth EvansLondon based soundengineer, designer andtutor. Former head ofsound for ShermanCymru,Wales’ NewWriting TheatreCompany. Currentlyemployed full time asProduction Sound Tutorat the London Academyof Music and Dramatic

Art (LAMDA). Rollercoaster fanatic.

Ed FergusonSound Manager - OlivierTheatre. I’ve beenrunning the sound teamin the Olivier longer thana care to mention!

Adam FisherRecent productions asAssociate SoundDesigner include:Barnum (ChichesterFestival Theatre); LesMiserables (Japan &South Korea);Wizard ofOz (US Tour & Toronto).Also involved in 25thAnniversary concerts ofPhantom Of The Operaand Les Miserables.Upcoming projectsinclude Les MiserablesToronto, Broadway andAustralia

Paul GavinPaul loves odd, usual,challenging shows andhas worked on a fairnumber of them. Recentshows include: Every DayMaps for everyday use,Pack (Finbrough Theatre)For Trinity Laban OurHouse,Witches ofEastwick (StratfordCircus), SouthWestFest’spromenade productionof Passport to Pimlico themusical (around Pimlico).

Jeremy GeorgeLondon-based TheatreSound Operator andProduction SoundEngineer.

Andy GreenI am currently a freelanceProduction SoundEngineer moving severalUK theatre showsaround the country. Priorto this I spent two years

on the road as radio mictech and no.2 FOHoperator. Prior to this Ispent two years full-timeworking for OrbitalSound in TechnicalSupport and Engineeringdepartments.

Tom HaresBased at Sadler’s WellsTheatre as one of theSenior Techniciansdealing most often withsound and flys, this rolealso includes a broaderpurview of maintainingdepartmental financialrecords, administrativeduties and trackingbroader sectorresponsibilities, includingsustainability, educationlegislative changes, tradeunion representation andtechnical provision fordisabled patrons.

Daniel HiggottI am a Sound Operator,working in MusicalTheatre. Currently I amworking as Deputy Headof Sound on Wicked TheMusical.

Andy HintonAndy is a sound designerand technician, workingprimarily in musicaltheatre. Previous designsinclude:The Light In ThePiazza, The Producers(Bernie Grant Arts Centrefor Mountview Academyof Theatre Arts); Kiss MeKate, The DrowsyChaperone (TheatreSevern); Fire Island(Charing Cross Theatre);Armstrong’s War (TheFinborough Theatre).

Adam HockleyAdam is an engineerwho has mixed touringshows including Annie

(UK and Asia), Reasons ToBe Cheerful, HormonalHousewives and ThreePhantoms for which hewas Associate SoundDesigner.

Luke Hyde

Will Jackson Will is currently head ofsound on the UK tour ofThe Mousetrap and hasrecently designed: As Is(finborough); Just So,Pirates of Penzance andCharlie Brown (TabardTheatre). He has alsooperated ‘Gatz’ (NoelCoward) as well as anumber of other touringand West Endproductions.

Sungho JeongI am a Korean-bornSound/ Video engineermainly working on high-

profile corporate events.

Steve JonasHead of Sound & VideoQdos Entertainment Plc

Rob JonesRob is a sound designer,production engineer andoperator with heavytheatre bias. Recentlyworking in the mid-scaletouring market for ETTand Headlong, as well asoperating musicals forThe Watermill Theatre inNewbury. Sound designcredits: God of Carnage,Treasure Island, Tiger Tail,Bully Boy (NuffieldTheatre, Southampton).

Hyder KhalilCurrently working onWicked London as Headof Sound and Wicked UKTour as Associate SoundDesigner. Working in theWest End as a sound

engineer since Aug 2000.

Tshari KingTshari is a soundengineer and designerfor theatre, radio androck and roll. She is Headof Sound at RADA andalso works regularly withthe Wireless TheatreCompany and freelancesas a live sound engineerat various venues inLondon.

Sean KnowlesI had been working atThe National Theatresince early 2011 - mid2013. I have just finishedworking at The HaroldPinter Theatre onChimerica. I am currentlyon tour with People, AlanBennett’s latest play.

Karen LaukeKaren is a designer andcomposer creating

experimental music andsound for theatre,installation andexhibition. She wassound design curator forTransformation &Revelation (Cardiff).Recent designs include:Billy, the Monster and Me(24:7 Festival,Manchester), The Ghostof Someone Not YetDrowned (Victoria Baths,Manchester; V&AMuseum, London).

Ari LevyAri recently graduatedfrom the LiverpoolInstitute for PerformanceArts. Ari is a freelancesound technician withpleanty of experience inmixing Live Sound inmany types ofperformancecircumstances.

Chris MaceChris has been workingin theatre for over 10years specializing inProduction Engineeringfor musicals and plays.Credits include: Disney’sLittle Mermaid (Holland),Sister Act (UK, Milan,Paris, Holland), Fame(Monte Carlo), Grease(Cyprus), Evita (Beirut);UK Tours : Nine To Five,Sister Act, Strictly ComeDancing, Hairspray,Midnight Tango.

Tom MannTom is a freelance soundengineer with a widerange of experience inproduction. He hasworked as part of theproduction teams for theOlympic and Paralympicceremonies, The Book ofMormon and theEuropean Athletics. Tomis currently pursuing his


interest in sound designand projectmanagement.

Luke McGowanLuke has worked inTheatre, Concerts andCorporate events fornearly ten years. Havingdesigned and operatedshows in the West End,Touring Theatre, ArenaTours and Corporateevents. You can view hiswork on SJP and on hiswebsite.

Darren McMahonInvolved in all aspects ofaudio, professionally,since 1990 serving anunofficial apprenticeshipin live music. Moved intoTheatre on variousproductions and touredwith an prestigious Balletcompany as head ofsound. I also workregularly on corporate

presentations and havedabbled with film and TV.

Neil McNallyOperator credits include:Brigadoon, Around theWorld in 80 Days,Showboat, Aspects ofLove The Phantom of theOpera, Starlight Express,Valentine’s Day.International experienceincludes North Americanconferences, musicaward ceremonies,military shows andpolitical events.Australian arts festivalsas operator/designer.Middle Eastern tours asoperator/designer.

Tim MiddletonGraduated from theGuildhall School of Music& Drama (2009) havingspecialised in Sound.

Fergus MountFergus is a freelanceproduction soundengineer and operator. Heworks predominantly withComplicite and MichaelClark Company as atouring operator/engineer.Previously employed atthe National Theatre,credits include: Masterand Magerita, Shunkin(Complicite);Triple Bill,Come Been and Gone(MCC); One Man TwoGuvnors and many others(NT)

Dave NortonDave started his theatrework by freelancingaround the GreaterManchester area beforebecoming SoundTechnician in the RoyalExchange Theatre’s muchappreciated and ever busySound Dept. Recentshows as Production

Engineer include SaturdayNight Sunday Morning,Orpheus Descending,Lady Windermere’s fan,Cannibals & Too Clever ByHalf

Tomas O’Connor Currently ProductionSound Engineer: Grease,Chicago The Musical (UKtours), FFE Pantomimes.Sound no.1: Chicago TheMusical (UK tour);WestSide Story (UK Tour). No.1in West End: BriefEncounter. SoundDesigner: ColinsPerforming Arts CollegeProductions, GrovestockFestival.Production/SoundEngineer: Rambert DanceCompany. BarbicanTheatre: Full-time SoundTechnician.

Glenn Oxenbury

Matt PaddenMatt Padden has beenHead of Sound for theNational Theatre ofScotland since 2008,overseeing the Soundaspects of the Company’sprodigious output andacting as Sound Designerfor a number ofproductions includingCockroach, Long GoneLonesome and ChristmasCarol. He wishes theminijack connector didnot exist.

Sam PalmerCurrently touring asSound No.1 onDreamboats andPetticoats. UK basedsound engineer withexperience mainly inMusical Theatre andCorporate live sound.

Thomas PickeringBilly Elliot! the musical(Victoria Palace) as SoundNo. 3, Dear World(Charing Cross Theatre)as Sound No. 2, Shrek theMusical (Drury Lane) asSound Dep, Thriller Live!(Lyric) as Sound No.3 /Dep, Secrets (LeicesterSquare Theatre) as MicRunner, Hamlet! TheMusical (PleasanceBeyond) as SoundOperator.

Chris ReidCurrent: Charlie and theChocolate Factory (DruryLane - Sound No.3) Chrishas worked extensivelyas a sound operatorthroughout the UK andinternationally and iskeen to build up hisdesign portfolio. Previouswork includes: BlackWatch (National Theatreof Scotland, International

Tour 2013 - Tour AssociateSound Designer).

Morgan RogersI have been working as asound operator intheatre since graduatingfrom my second year ofGuildford School ofActing’s Technical BA in2005. I have worked invarious types of theatrewith a few live bandsand festivals thrown intoo.

Jon SealeyFOH/System Engineer forSonalyst Sound Ltd.Projects include TheBBC’s StrictlyConfidential UK Tour andRussel Brand’s MessiahComplex World Tour. JonSealey is an enthusiasticand skilled SoundEngineer and Operatorbased in SouthLincolnshire.

Kyle SepedeFreelance SoundEngineer / Designerbased in High Wycombe.

Steven SeymourMy most recent workwas at Soho Theatre asSound Designer forAddress Unknown, andAssociate for Pastoral. Imainly work as a SystemEngineer in Theatre &Music. Recently as PE forthe Comedy Stage atLatitude. I Freelance forSSE. I was Senior Soundat the NT.

Helen SkieraHelen is a musician anddesigner. Shows include:Advice for The Young atHeart, (Theatre Centre),The Epic Adventure ofNhamo..., (TiataFahodzi/Tricycle); SnowWhite, US/UK Exchange,(Old Vic NV); Meat (Bush),

Pandora’s Box, Sister Of,Miss Julie (Arcola),Concrete Jungle,(Riverside Studios).

Mathew Smethurst-EvansMathew manages ahybrid career of hands-on sound design andengineering; coupledwith his work as aconsultant withTheatreplan where hedesigns installed systemsfor performance spaces.This combinationprovides him with aninteresting breadth ofexperience andknowledge which hedraws upon in all hiswork.

Ian SticklandSenior consultant atCharcoalblue. Ianprovides consultancy inall aspects of theatre

design, specialising insound and audiovisualsystems for theperforming arts. He is agraduate of the Musicand Sound Recording(Tonmeister) degree atthe Institute of SoundRecording, University ofSurrey.

Mary StoneI am a sound operatorcurrently working at theNT on Light Princess.

Marek TkacikMarek is sound designer,production engineer,sound operator. Hisrecent work includeSound Design for theNeil Diamond musicalBrother Loves TravelingSalvation Show (UKtour); A Round-Heeledwomen (Aldwychtheatre, Riverside StudiosLondon); Sound No.1.

Midnight Tango 2013(Phoenix Theatre, tour).He is certified inAudiometry, Otoscopyand Impression taking.

Scott TostevinHaving Graduated fromMountview Academy ofTheatre arts in 2011, Iobtained a role as acasual technician at BeauSejour Leisure centre inGuernsey rigging andoperating events. andalso as a freelancer forDelta Sound in the UK.

Brad WardRecent designs: Into theWoods, and LesMiserables at BelmontUniversity in Nashville;Queen Elizabeth’s JubileeCelebration inManchester; .45 at TheHampstead, PMQ atTheatre 503. Previouswork: Sound Project

Manager for BlitzCommunications andLead Audio for Cirque duSoleil’s The Beatles LOVEin Las Vegas.

Phil WrightPhil has worked in theconcert, musical theatreand opera world for twodecades. Recent creditsinclude: BBC Proms,Anthems in Concert, ENBSwan Lake (RAH); UrbanClassic, BollywoodCarmen Live, RBL Festivalof Remembrance (BBCTV); ENB StrictlyGershwin (UK Tour); DrWho SymphonicSpectacular (BBCWorldwide).

Derrick ZiebaSince working at theRoyal National TheatreDerrick expanded intoother areas of audiodesign, including multi-


channel movie premiersin non-theatricallocations, such as Titanic3D and Skyfall at theRoyal Albert Hall. He alsodesigned the Sound forAnne Boleyn – The TMABest Touring Productionaward winner 2012.

NOT JUST FOR DESIGNERSNOT JUST FOR ENGINEERSNOT JUST FOR OPERATORSNOT JUST FOR TECHNICIANSNOT JUST FOR RF TECH’SNOT JUST FOR NO.1’S AND NO.2’SNOT JUST FOR PESNOT JUST FOR FIT UP CREWNOT JUST FOR WIREMENNOT JUST FOR CABLE BASHERS

JOIN NOWASSOCIATIONOFSOUNDDESIGNERS.COM

Association of Sound Designers

Gill AllenHead of StageManagement andTechnical Theatre Course,East 15 Acting School

Chris BarlowI’ve gained severalproduction credits, asdesigner, technician andoperator, picking up anomination for BestSound Design at the 2011‘Offies’ for Gotcha(Riverside). My mainincome is as a freelancetechnician in thecorporate AV industry.

Richard BellRichard is a freelancetechnician andProduction Manager forUniversal Quidem, whorun the New TownTheatre during theEdinburgh Fringe.Designs include runningapp,‘Zombies, Run!’,

nominated for Develop’sAudio Accomplishmentaward in 2012.

Simon BirchallSimon is a designer andoperator working in theEast Midlands foramateur societies. Recentwork includes Sound ofMusic,White Horse Inn(Buxton Opera House)(Derby Theatre), HelloDolly and Sound ofMusic (Repton)

Rachel BrownI started sound designingas a student atCambridge. I did musicaltheatre, live events, andsome paid AV work forconferences. I graduatedlast year and I am basedin London.

David BurtonDavid is currently basedat The Carriageworks

theatre in Leeds workingas a Theatre SoundTechnician as well asfreelancing when he can.

Ben DaviesProgramme Director atRose Bruford College

Stuart DeanSound for AmDram inSouth ManchesterRecent work includesSweet Dream Baby,JesusChrist Superstar,GirlsNight,Return to theForbidden Planet,EightMiles High at HydeFestival Theatre. Rent,Godspell and Chess forNK Theatre Arts,Stockport.

Alex DurrellAlex is a recent graduateof the Guildhall School ofMusic and Drama. Recentcredits include VenueTech/Sound (Assembly

Festival/EdinburghFringe); PSE for Rags,designer for NicholasNickleby,Toast (GSMD); AV& Sound Tech (Anomic).

David HarveyDavid Harvey contributesto smooth-runningbehind the scenes in arange of capacities. Hissound roles includedesign and operation fora number theatre groupsand fringe companies,and recording andediting audioplays.

David HatelyDavid maintains adiverse role in technicaltheatre and gets to workwith many differentproduction companies.Over the last two years,his work has beenconcentrated at Curve,Leicester.

Brian HughesRetired BBC engineer.Sound work with villagetheatre and, occasionally,Little Theatres.

B-D KelshI am currently SoundNo.2 on Phantom of theOpera. I have beenworking within thetheatre industry for thelast ten years but havebecome focused in soundfor the last two.

Karolin KilligKarolin is a multilingualdesigner working with afilm soundpostproductionbackground in Germanyand Europe. Recentdesigns include KasparHäuser Meer,Heim.Spiel.Essen,Wir allefür immer zusammen, DieWanze (Schauspiel Essen);DNA (Arche Bottrop)

Andy KirkpatrickSound engineer, withspecialist skills incomputer and audionetworking and as amotion graphicsdesigner. Also anexperienced musician(drums and trumpet)and some experiencewith studio sound.

Mark Malherbe,ProsoundBased in South Africa,Mark is a sound designerand company director ofProsound, having beenactively involved intheatre sound designfrom the late 1970’s.Currently working onJersey Boys, DirtyDancing and SunsetBoulevard.

ASSOCIATE MEMBERSFor more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Craig Nimens,Sound IdeasSound Ideas is theworld’s largest publisherof professional soundeffects, royalty freemusic, & productionelement libraries.

Ed Owen Retired school teacherworking in Theatre whenever I can.

Jon PrimroseTechnical Manager andtechnical tutor at theUniversity of ExeterDrama Department. Ialso am working oneducational material andsample resources for mywebsite.

David Ripley I have 30 yearsexperience in theindustry, in a variety ofroles, including Sound

operation and design,Lighting Design,Production and TechnicalManagement. I providespecialised, theatre-based training andservices in AutoCAD.

Mick RitchieA sound engineer anddesigner. Experiencedsetting up Qlab basedshows with sound videoand midi triggers. Sounddesign for video web andcorporate events. TeachesQlab and protools on siteand in colleges.

Tom RundleOperator, tech anddesigner for Corporate,Theatre, Live Events andMusic. Based in London /Cambridge, UK.

Sarah Rushton-Read,The Fifth Estate LtdCurrently taking care of

press and PR needs of anumber of high profilebrands in theentertainmenttechnology sector. I amalso chairman of theKnight of IlluminationAwards and founder ofWomen in StageEntertainment.

Davina ShahAgent and Producer, atMacnaughton LordRepresentation,representing sounddesigners Paul Arditti,Alex Barnowski, EmmaLaxton, Peter Rice andMelanie Wilson.

Thomas StevensonNo.2 and ProductionSound. Recently workedon Spend, Spend, Spendat Mountview Academyof Theatre Arts.

Daniel BalfourCurrently studying at TheCentral School of Speechand Drama whilstworking on independentprojects.

Harry BarkerNow in his final year atCentral, Harry is a SoundNo.4 Dep on We Will RockYou in London, whilstpreparing for some upand coming projects.

Bryony BlacklerBryony is a second yearstudent studying StageManagement andTechnical Theatre atLAMDA. She has alsoundertaken a recentwork placement with theSound Department atthe Young Vic.

Alice BrooksAudio Technician andSound Designer

Harry ButcherHarry is expanding histheatrical knowledge atRADA. Pervious soundexperience includes sixyears freelanceexperience in live events.Harry aims to bring acinematic quality to thestage to revolutionise thetheatre industry.

George ChristouWSD2013 ExhibitionFinalist. Head of Soundfor WSD2013

Thomas ClachersStudying at CentralSchool of Speech andDrama

Jack CondellI’m a third year studentat The Liverpool Institutefor Performing Arts. Ispecialise in sound forany type of performance,however I have a strong

interest for both musicaltheatre and live music.

Chris DrohanCurrently studyingTechnical Theatre at theRoyal Academy ofDramatic Art, with aspecialism in Sound.

Chantelle DysonStudying Theatre Soundat Central School ofSpeech & Drama.

Madison EnglishStudying Theatre Soundat Central School ofSpeech & Drama.

Aaron EvansPreviously worked asMusical Director for TheRed Lion Theatrecompany in Isleworth fortheir Christmaspantomime Sno’ Rightand the Seven Studs.

Adam FunnellAdam is a physicsgraduate of ImperialCollege, now studying atCambridge and UCL. Hehas designed andoperated various studentmusicals and dramaproductions, includingexperimental surroundsound work, in Londonand on tours.

Daffyd GoughStudying at Rose Bruford.

Ben GrantStudying at Central Schoolof Speech & Drama.

Laura HammondPast credits includeworking for the Pleasancein Edinburgh and on theParalympic Games.

Vicki HillVicki is a recent LAMDAgraduate and now is

working as a dep onJersey Boys and designingAntony and Cleopatraand Measure for Measure(Linbury Studio).

Naomi JordanDramSoc technical directorin spare time at ImperialCollege Union.Eventsrange from student nightsand corporate events tostraight drama andmusicals.Recent showsinclude soundscapingEarthquakes in London anddesigning and mixingParade.

David KayStudying Theatre Soundat Central School ofSpeech & Drama.

Joe KeatJoe is a dedicated hardworker who strives toensure his clients visionsare realised. He always

ensures that each andevery design is producedto the highest possiblestandard.

Dominic KennedyThe path to where i amnow was through musicproduction, I specialisedin a style of texturedambient music. I havedone a number of sounddesigns andcompositions for shortfilm and animation.

Alexander KosankeBegan studying BA(Hons) Theatre Practice:Theatre Sound in Octoberof 2011 at Central Schoolof Speech and Drama inLondon after years ofvarious projects withsmaller companiesthroughout Germany.

STUDENT MEMBERSFor more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

Frederick LoucksI am a young designerjust out of college whopractices the theatre artsin the Treasure Valleyarea. Credits include Lastof the Boys by StevenDietz, The Water Engineby David Mamet.

Pete MalkinPete is a youngenthusiastic SoundDesigner recentlygraduated from theCentral School of Speechand Drama. Recent workincludes: Lionboy, DieZauberflöte (AssociateDesigner, Complicité);Hamlet (AssociateDesigner, RSC); Marguerite(Sound Designer,Tabard)

Philip MatejtschukRADA PgDip SoundDesign student, withcredits including radio-dramas, films, concerts

and several RADA shows.A multi-instrumentalist,Phil enjoys composition/incorporating musicalityinto his designs, as well ashaving wide technician /operation experience.

James MellingStudying Theatre Soundat Central School ofSpeech & Drama.

Fraser MilroyI received an HDN inSound Production andam currently studyingProduction Technology &Management at theRoyal Conservatoire ofScotland.

Jing NgStudying at Rose Bruford.

James NicholsonJames trained at theRoyal Central School ofSpeech & Drama.

Recently he hascomposed for the onlineadversing of BeautifulThing, sound designedfor collaborative theatrefor children and workedas a sound engineer.

Charles ParryCharles is a MusicTechnology student anda fringe theatre soundoperator and designer.Recent work includesoperating Avenue Q andCrazy For You (Upstairs atthe Gatehouse) anddesigning and operatingRENT (The Tabard).

Harry Regan18 year old student,wanting to further mycareer in Sound Designat Central next year.

Nicola SalvageNicola is a student atMountveiw, progressing

into her final year, whichwill involve designingstudent shows. She is anenthusiastic team player,who works as hard aspossible to make everyshow great.

Harry Saxton McCannStudying Theatre Soundat Central School ofSpeech & Drama.

Graeme SneddonGraeme is a PhD studentat the University ofGlasgow. Recent sounddesigns include Guido! (Ctoo),The Twits, Disco Pigs,Jerry Springer:The Opera(ADC Theatre), Ruddigore(Minack Theatre) andHaggard (CorpusPlayroom).

Joshua TrepteJosh is a Theatre SoundDesign student studyingat the Royal Central

School of Speech andDrama. He has skills insound design contentand composition. As wellas sound engineering/production experience.

Nikolai VarlamovStudying Music andAudio Technology atUniversity of West ofEngland. Volunteering intheatre and festivals insound department forthe last 2 years.

Ella WahlströmElla’s recent workincludes Sound Designerfor The Bunker (Ed Fringe& Southwark Playhouse);Associate SoundDesigner for The Crippleof Inishmaan (NoëlCoward Theatre). She’s aRose Bruford graduateand a trained folkviolinist.

Jo WalkerJo is a London basedsound designer and iscurrently a creativeassociate with CuriousDirective, who’s recentwork include TheKindness Of Strangers,After The Rainfall, In TheImage Of You, Your LastBreath.

Henry WhittakerDeputy President (Clubs& Societies), ImperialCollege Union

Jamie WoodStudying The RoyalCentral School of Speechand Drama: BA (Hons)Theatre Practice:TheatreSound

Audio AllianceOliver Driver and NeilHughesAudio Alliance providessound design and rentalfor corporate, theatre andlive events.Specialising,forover a decade, in innovativesound solutions andproviding cutting edgeequipment and services toour clients worldwide.www.audioalliance.com

AutographAndrew Bruce, IanDickinson, Terry Jardine,Nick Lidster and MattMcKenzieAutograph are a leadingBritish sound design andequipment hire company,responsible for numeroustheatre productions athome and abroad,including Matilda, LesMisérables,Wicked,Mamma Mia,Warhorse,We Will Rock You, CuriousIncident Of The Dog InThe Nighttime,TheBodyguard, One Man TwoGuvnors, Jersey Boys, Cats,Priscilla and The Lion King.www.autograph.co.uk

Avid TechnologyDerk HagedornAvid creates the digitalaudio and videotechnology used to makethe most listened to,most watched and mostloved media in the world– from the mostprestigious and award-winning feature films,music recordings,television shows, liveconcert tours and newsbroadcasts, to music andmovies made at home.www.avid.com

Blitz CommunicationsMatt Dando, ChrisJordan, Richard Rogers,Adam Rudd, Peter RussellWe have supplied thesound equipment for‘The Phantom of TheOpera’ since it opened in1986 and video playbackfor ‘We Will Rock You’since it opened in 2002.We have been the soundsupplier to the MenierChocolate Factory since2010.www.blitzcommunications.co.uk

BoseSimon HolleyBose ProfessionalSystems Division is thearm of Bose responsiblefor all commercial soundapplications and coversall requirements fromsmall retail outlet withbackground sound tobars/pubs, clubs,churches, theatres andup to stadium andarenas.www.bose.co.uk

d&b audiotechnikStephen Jones, JohnTaylorFor over thirty years d&baudiotechnik has taken aholistic approach to thequest for excellence insound reproduction. It hasconsistently andsuccessfully championedthe complete systemreality by developingloudspeakers,electronicsand the d&b Remotenetwork designed for usetogether to satisfy themost demanding soundreinforcement applications.www.dbaudio.com

CORPORATE MEMBERSFor more information, or to get in contact with any of our members, visit www.associationofsounddesigners.com

DiGiCoDavid WebsterDiGiCo is primarily adigital mixing consolemanufacturer thatbrings together thedesign and developmentskills and digitalengineering expertisethat have helped createsome of the world’s mostpopular, successful andground-breaking digitalaudio solutions.www.digico.biz

DimensionMark Boden, AndyLaurie, Davy Ogilvy, StafRowleySince its inception in 1991,Dimension Audio has builta solid reputation forinnovation, flair andtechnical excellence,Delivering seamless highlytechnological projects toall sectors within the liveevent industry, Dimensionis dedicated to producingclear crisp sound forconferences, exhibitions,concerts ,Theatre and TVproductions.www.dimension.co.uk

Duran AudioNick Screen, AndrewTaylorDuran Audio is bestknown for their DigitalDirectivity Synthesis ‘beamshaping’loudspeakerarrays;which provideunrivalled directivitycontrol.The Duran Audioportfolio also includes afull range of ‘point source’loudspeakers that followthe companies ‘TotalTransparency’philosophy;the concept being thatyou shouldn’t hear theloudspeaker just anaccurate reproduction ofthe source.www.duran-audio.com

EM AcousticsEd Kinsella, MikeWheelerBritish loudspeakermanufacturer EMAcoustics takes simplicityto a new level, creatingmarket-leading passiveloudspeaker products.Celebrating 10 years inthe industry in 2012, EMAcoustics products canbe found on a widevariety of theatre showsand tours in the UK, theUSA and throughout therest of the world.www.emacoustics.co.uk

Figure 53Christopher AshworthFigure 53 makes tools forartists. Does anyone readthese bios? Let us know,we’ll give you a digitalhigh five.www.figure53.com

HAVEsoundThomas HackleyYour premier Londontheatre sound hirecompany. From 1997, wehave worked extensivelywithin Theatre,Conference and Events,and have providedsupport both nationallyand internationally.When you needreliability, affordabilityand quality; considercalling us whendesigning your nextshow.www.have.uk.com


Meyer SoundRachel Archibald, RichardBugg, Roger Harpum,Winnie Leung, JerryPlacken Meyer Sound systemscan be heard inperformances nightly, onBroadway and in theWest End as well as intouring shows and inmany global Cirque duSoleil productions.www.meyersound.com

Orbital SoundDan Bailey, DavidBartholomeusz, RichardCarter, Chris Headlam,Keith HutchinsonOrbital is a market leaderin theatre audio solutionsfor clients in any part ofthe globe and alwayscoupled with fanaticalattention to detail andoutstanding levels oftechnical support.Orbital’s sound systemsare synonymous withtheatre - everything fromLondon’s latestinternational musicals,world tours and amateurproductions - rental, sales,training and support areall embedded in our 20year plus culture.www.orbitalsound.com

Out BoardDave Haydon, RobinWhittaker, AlanHardimanOut Board specialise insource-orientedreinforcement (SOR)delay-matrix techniquesfor authentic localisationof voices, instrumentsand sound effects. Weoriginate and marketproprietary systems foraudio localisation, showcontrol and sound effectsmanagement, amplifiedopera, theatre sound andevent automation, AVinstallations and livesurround sound.www.outboard.co.uk

SennheiserAndrew Lillywhite, TimSherratt, Dave WoosterSound is Sennheiser’sgreatest passion; thedesire create the greatestand most exciting soundexperience for peopleworldwide is its goal.Approximately 2000Sennheiser employees in90 countries around theglobe, work as a team ina constant effort to fulfillthis promise.www.sennheiser.co.uk

ShureTuomo George-Tolonen,Stuart MootsThroughout our history,the success andreputation of the Shurebrand has been definedby our continuouscommitment to totalquality. What makesShure the most prolificprofessional microphonemanufacturer is howtechnology is applied inall product design andproduction, and it showswith every product wemake.www.shure.co.uk

Sound NetworkRalph DunlopSound Network Ltd wasestablished in 1996 todistribute DPAmicrophones in the UK.With the development ofthe 4060 miniaturemicrophone DPA soonestablished a high profilein the Theatre andBroadcast markets. TodaySound Network Ltddistributes a number ofprofessional audioproducts including LinearAcoustic, Smart Researchand Acoustics Energy.www.soundnetwork.co.uk

Stage ResearchCarlton GucDevelopers of audio,sound design andlighting software, StageResearch, Inc. offers arange of productsoriginally designed forcollege and universitytheaters, community andprofessional theaters,and touring productionswhose applications nowextend to many othervenues, includingexhibits and installations,cruise lines, airports,haunted houses andtheme parks.www.stageresearch.com

Stage Sound ServicesMike Beer, HuwSemmens, Phil HurleyWith over 15 yearsexperience, Stage SoundServices Ltd is a well-established hirecompany supplying thehighest quality soundand video equipment,with full projectmanagement andtechnical support, tocorporate clients andtheatre productionsacross the UK includingthe west End, nationaland international tours.www.stagesoundservices.co.uk

TTA StagetrackerJohn Torger Skjelstad,Flemming SorensenTTA StageTracker allowsthe creation of a moreimmersive, realisticlistening experience,where the reinforcedsound tracks theperformers onstage. Weare convinced thatlocalised, natural soundwill become one of thenext ‘big things’ in audio.We aim for StagetrackerFX to be at the forefrontof that revolution.www.tta-sound.com

Yamaha CommercialAudioKarl ChristmasYamaha CommercialAudio is a world leader inthe manufacture andsupply of professionalaudio products for a widerange of applicationsincluding live soundreinforcement, postproduction, recording,worship and broadcast.With a world-widepresence, Yamaha’sCommercial Audiosubsidiaries and dealernetworks providecomprehensive localservices backed by aglobal Yamaha CAsupport policy.www.yamahacommercialaudio.com


the echo 7 - association of sound designers · 2013-09-26 · the echo also in this issue interview...

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