Coursework and production work at Yale School of Drama

Currently I’m deep in the midst of an MFA degree in sound design at the Yale School of Drama. Included here is a small scratch at the surface of the many projects and assignments I’ve been working on for the past two years. Grad school so far has been what I was hoping for – a toolbox, a blank canvas, a community, and to be overly saccharine, some sort of quest. More complete versions of the paperwork pictured on the left are available upon request.

Theatrical Sound Design

In between my undergraduate and graduate studies I was fortunate to live in New York. I took advantage of what free time I had outside of the hours of my day job to work with student directors at Columbia University and other young artists producing shows on shoestring budgets. A collection of soundscapes is included here to detail the development in my design skills and the broadening of my portfolio that happened during this time. More detailed write-ups of specific shows are included here and here. The full list of shows from which these soundscapes are drawn is as follows: “Sex Play,” by Charly Evon Simpson; “Ella in the Tundra,” by Mariana Starolesky; “King Lear,” by William Shakespeare; and “How I Married Myself (and Other Misadventures),” by Mariana Starolesky. Note: “Sex Play” had a sound design that included soundscapes from myself, as well as music curated by a previous sound designer (Graham KG Garlington).

Audio Editing

Before I began my graduate studies, I interned at WQXR, New York City’s largest classical radio station, and continued to work there as a software engineer for nearly two years. Since WQXR falls under the umbrella of New York Public Radio, which includes WNYC and WNYC studios, I was exposed not only to classical radio, but to radio journalism and podcast production. Being in this environment allowed me to work on shows including “Young Artist’s Showcase,” and the “Great American Songbook,” which, in conjunction with world-class mentorship from the journalists and producers of NYPR, sharpened my skills in cutting tape and editing, and opened my eyes to an incredibly intimate form of storytelling for the ear.

Live Audio

For the last 8 years, I’ve worked semi-professionally and professionally as a live audio engineer. This has included running the audio systems in a diverse array of contexts including: small bar venues, (small) stages at music festivals, plays and musicals, radio stations, and music studios. I’m equally at ease behind a mixing board as I am in front of a computer running Pro Tools.

Capactive Noise, 2017

The capstone project I chose for my undergraduate degree involved creating an installation of touch- and proximity-sensitive objects.

<- video demo. Click Here for the full project write up.