Cat on a Hot Tin Roof
Denver Center for the Performing Arts - 2025
Denver, COSound Designer
The Tennessee Williams classic. The incredible work done on stage was supported by a soundtrack of hard bop and cool jazz, underscored entirely by the swell of summer cicadas just outside of the walls. This show was my introduction to QLab 5’s new Object Audio feature, which allowed for quick overall adjustments and smooth transitions between predetermined mixes. Object Audio made quick work of implementation and adjustments throughout the process. Digico SD9, QLab 5.
Photography by Jamie Kraus Photography
Joseph and the Technicolor Dreamcoat
Dallas Theater Center - 2025
Dallas, TXAssistant Sound Designer
Sound System Tuning and Board Programming with Meyer GALAXY Galileo, Meyer LINA, d&b t10 Arrays, Yamaha DM7, Shure Axient, Sennheiser SM-series Wireless for a completely modernized and fresh orchestration of the Andrew Lloyd Weber’s work. The work of supporting vast swathes of musical genre across one large and cohesive show, while the score itself was being developed.
Costume Design by Cole McCarty; Lighting Design by Martha Carter; Sound Design by Cresent Haynes; Photography by Karen Almond
Broke-ology
Kansas City Repertory Theatre - 2025
Kansas City, MOSound Designer
A family drama that lures you in with tender comedic moments set and produced the hometown of the playwright. Supported by both body and area microphones, Broke-ology was an exercise in a subtle ambience of a lively neighborhood, interwoven with emotionally dense and reminiscent music. In the fantastical moments, nostalgia and loss pull at the heart strings and choices of our characters. Yamaha CL5, Shure ULXD, Meyer Galileo, QLab 5.
Lighting Design by Michelle Harvey
Rooted
Amphibian Stage - 2025
Fort Worth, TXSound Designer
A high-energy look on nature vs. nurture, packaged in a dark comedy and reflected in an even more convincing off-stage cult following. An extremely well tuned QSC system run through QLab 5 and an M32 Rack for an enveloping yet surprisingly directional sound. The addition of shaker drivers throughout the set heightened the stakes for the figurative and literal storm, layering on top of the mystical elements to verily shake the set and audience.
Lighting Design by Adam Chamberlin; Photography by Evan Michael Woods
Diary of a Tap Dancer
American Repertory Theater - 2024
Cambridge, MAAssociate Sound Designer
System Design, Sound System Tuning, and Board Programming for an immensely daunting 100+ inputs across the stage. Embedded contact mics, small-form condensers in close proximity, and body microphones all captured the spectacular energy of some of the best tap dancers currently living. And a full suite of microphones to transfer a 3-person combo switching between both digital and acoustic instruments; hand drums and drum set. All augmented by multiple delay zones both on and off the stage to provide crystal clear amplification and monitoring. Digico SD10, Meyer Galileo, Shure Axient, Aviom Personal Mixers, QLab 5.
Lighting Design by Brandon Stirling Baker; Sound Design by Sharath Patel; Projection Design by Katherine Freer; Hair, Wig & Make-up Design by Earon Chew Nealey;
Compositions, Orchestrations, and Arrangements by Carlos Cippelletti & Ethan D. Pakchar; Music Direction by Nick Wilders
Photography by Nile Scott Studios and Maggie Hall
Dracula: A Comedy of Terrors
Dallas Theater Center - 2024
Dallas, TXSound Designer
Sound System Design, Tuning, and Board Programming with Midas M32 AutoMix, TheatreMix OSC, QLab 5, Shure Axient for this new, skin-tight adaptation of Dracula.
Lighting Design by Nicole Iannaccone; Photography by Karen Almond
I Am An Island
Watering Hole Collective - 2024
Dallas, TXSound Designer
A world premiere play for a fresh theatre company with the mission to “produce socially conscious art that engages, inspires, and cultivates conversation and action”. I Am An Island was configured in semi-round with the audience on two sides of the stage. Throughout the play, our main character was to sink into the ground as the island around them is enveloped in waste and water. Three LR pairs for proper stereo imaging, as well as selective floor wedge placement enveloped the space in sound, where specters of the past and the ocean flitted through the space.
Costume Design by Sarah Mosher; Lighting Design by Aaron Johansen; Photography by Boy Howdy Co.
Disney’s The Little Mermaid
Dallas Theater Center - 2024
Dallas, TXAssociate Sound Designer
Complete Sound System Design, Simulation, Tuning, and Board Programming with Meyer GALAXY Galileo, Meyer LINA, d&b t10 Arrays, Yamaha DM7, Shure Axient, Sennheiser SM-series Wireless for a new orchestration of the Disney classic. All done from the blank canvas of the Dee and Charles Wyly Theater in its tried and true thrust configuration.
Lighting Design by Amanda West; Sound Design by Claudia Jenkins Martinez; Photography by Karen Almond
In the Heights
Cleveland Play House - 2024
Cleveland, OHAssociate Sound Designer
In this role, I oversaw the programming of a Yamaha CL5 console, training of our A1, and generation of run crew paperwork and an Audio Show Bible. The challenge of a Lin-Manuel Miranda show in a shallow but live space made for sensitive and minute adjustments, day by day.
Sound Design by Sharath Patel; Wig & Hair Design by Kellen Eason; Photography by Roger Mastroianni
Heroes of the Fourth Turning
Second Thought Theatre - 2024
Dallas, TXSound Designer
A meditative post-party convergence/reunion of Catholic college graduates, each seeking validation, meaning, and connection in a great turning point in their lives. While subtle, research into the fauna of the region as well as randomness built into the QLab keeps the world outside of the confines of the space alive. In tandem with the scenic and lighting, the entire space seeps into an immersive, almost voyeuristic experience. Oh, and by God that generator.
POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying To Keep Him Alive
StageWest Theatre - 2024
Fort Worth, TXSound Designer
A high-energy farce driven by a punk rock score. From transitions to keeping the momentum going in the action, this design in particular was an exercise in voice overs, grunge effects, and a convincing off-stage audience.
Fire & Air
Uptown Players - 2024
Dallas, TXSound Designer
A contemplative reflection on the life and relationships of Russian impressario Sergei Diaghilev through the development of the Ballet Russe. A design to flex my music background and showcase my favorite composers, Russian and otherwise. All two acts were peppered with the works of Debussy, Stravinsky, Shostakovich, Rachmaninoff. All with the through line of many, many arrangements of Prélude à l'après-midi d'un faune.
The Rocky Horror Show
Dallas Theater Center - 2023
Dallas, TXAssistant Sound Designer
In this role, I oversaw the implementation of the system design from paperwork, RF coordination and monitoring, PA needs to the Sound Designer, and the programming of a Line 6 Helix LT effects pedal. This show served as the theatrical premiere for the Yamaha DM7 console.
Costume Design by Ari Fulton; Sound Design by Brian McDonald; Lighting Design by Amanda West
Our Dear Dead Drug Lord
Second Thought Theatre - 2023
Dallas, TXSound Designer
A relatively new work to speak to the new wave of nostalgia plays, Our Dear Dead Drug Lord was fantastic exploration of how the external world’s expectations shape the views of teenage girls—both of themselves, each other, and the world. From realistic, referential, to juicy & gory, my design for Our Dear Dead Drug Lord took full advantage of a minimal, yet well tuned, Yamaha NEXO system of speakers and amps, as well as an implementation of QLab 5 and panLab 2.
Lighting Design by Lori Honeycutt; Props Design by Carson McCain
The Mountaintop
Circle Theatre - 2023
Dallas, TXSound Designer
Katori Hall’s The Mountaintop is a bucket list show for any designer, with a slow build of nuanced play between two strong characters to a large, earth-shattering climax. Augmenting an already impressive house system for an underground, 100-seat house, audiences were transported to polar icecaps, torrential downpour, and apocalyptic soundscapes. Textures ebbed and flowed with the action of the play, the storm outside reacting to the tension as a third character, motivated in its own moments.
Lighting & Projection Design by Adam Chamberlin and Jamie Milligan
Side by Side by Sondheim
Repertory Theatre St. Louis - 2023
Dallas, TXAssociate Sound Designer
In this role, I oversaw the implementation of the system design from paperwork, system tuning, A2 training, RF coordination, and all programming of a Yamaha CL5 console.
Projection Design by Camilla Tassi; Costume Design by Oona Natesan; Lighting Design by Xavier Pierce; Sound Design by Sharath Patel
Clue
Dallas Theater Center - 2022
Dallas, TXAssociate Sound Designer
In this role, I oversaw the implementation of the system design from paperwork and all programming of a Yamaha CL5 console and Meyer Galileo GALAXY, all through a Dante network.
Lighting Design by Christina Watanabe; Sound Design by Sharath Patel
The How To Be Project
Bishop Arts Theatre Center - 2022
Dallas, TXSound Designer
I had the unique challenge of designing 10 different plays, giving each one its own texture while giving the entire play festival a cohesive identity. From realism to quite literal Greek tragedy, the only way to have the audience buy in was to start literal and abstract and become referential along the way.
Music Composition
I was tasked with composing 16 looping bars of “other worldly, confusion, lost, baby, circus, limbo vibe.” This was achieved with the instrumentation, and spacializing the stems to be sure the arrangement didn’t stale.
Ordinary Days
Baylor Theatre - 2020
Waco, TXSound Designer
I mentored another student in live-mixing the show while I designed the system flow, fader bays, and sound effects for the production on a Presonus StudioLive 64S and QLab. All was done in mind for adapting the live experience to streaming.
Post-Production Audio
Taking what I learned from [title of show], the post-production stereo mix took on a different direction with a more spacious mix done in REAPER, with light adjustments in sound space and simulated acoustics to nail in a live-performance feel. Plugins used include: epicVerb, MeldaProduction FreeFXBundle.
[title of show]
Baylor Theatre - 2020
Waco, TXSound Designer
I took the role of mentoring a fellow student in live-mixing the show while I designed the system flow, fader bays, and sound effects for the production on a Presonus StudioLive 64S and QLab. All was done in mind for adapting the live experience to streaming.
Post-Production Audio
Recording all of the stems from the show through the built-in recording feature on the StudioLive, I brought the stems into ProTools to edit and mix the show, adapting it to be streamed via Vimeo on ShowTix4U. This was a learning experience in processing plugins, and applying my live mixing knowledge and audio production to a stereo format in collaboration with video.
Production Photography by Sarah Mosher
God and My Gay Ass
Independent Production - 2020 Online Reading via ZoomSound Designer
It was a learning experience to learn how to patch into Zoom with some clever audio routing manipulation. You can see at the top of the QLab session that there are mic cues. Those cues are hot-keyed to turn my microphone on and off so I could talk during tech rehearsals. All filters and effects to tracks and sounds are done in QLab through the Apple Audio Plugin Suite.
Music Arranging
Yoon really gravitated towards the motif found in the intro to Hillsong’s "I Surrender", so I extrapolated and arranged it to fit the world of the play, and formatted it to be heard over computer speakers. Throughout the play, the motif recurs, but with different textures, progressions, and ending cadences to transition from one scene to the next, or to underscore scenes.
Peter and the Starcatcher
Baylor Theatre - 2019
Waco, TXSound Design
A play with music, no mics, and in a large and acoustically live proscenium space. Speakers in the classic 5.1 surround set-up coupled with on-stage monitors enriched the environments on-stage and amplified a reduced pit orchestration.
Music Direction
With a foot in the music direction, the sound design and foley worked in tandem. Live sound cues triggered by musicians and patches curated; all with only two musicians and no conductor.
Hair & Makeup Design by Christina Calcote
Zeitgeist of Nowness
Baylor Theatre Workshop - 2019
Waco, TXSound Design
Revenge floods the cracks in domesticity and gender roles. This sound design is rooted in the tension created by subtractive subsonics and the ambient noise of everyday appliances.
Godspell
Baylor Theatre - 2018
Waco, TXSound Design
This show was particularly a challenge to design such a bombastic musical in the thrust configuration. To envelop the audience in a consistent and fully encompassing design while keeping the design grounded and not overwhelming was my focus.
Live Mixing
Speaker placement in the thrust space is flexible yet limiting, as audience seating completely up-ends the usual stereo image approach and instead lends itself to a design focused on spatialization and directionality.
Production Photography by Bobby Vowels
‘Lemonade’ Re-Design
Baylor Theatre Classwork - 2018
Waco, TXSpacial Sound Design
A thoroughly realized spacial design through a thrust theater rep plot, pushing QLab 4 on a Mac Pro to its limit. Narration was isolated using mid-side cancellation in Adobe Audition.