Professional Mix Experience

Once: The Musical

Director: Michael Barresse

Sound Designer: Ed Chapmen

I mixed Once on a Yamaha M7CL-48. The production used 20 channels of ULX-D for performers, four channels of ULX-D for larger instruments and eight channels of Sennheiser 5212 for smaller instruments on stage. All the actors and instruments were on stage for the entire show, so my A2 had his work cut out for him if a wireless went down.This was a valuable opportunity to sharpen a skill professors drilled into us: "KNOW YOUR SHOW". 

Once was one of the very first digital mix scripts I finalized. I use an iPad Air 2 and a foot pedal to change my pages. Take a look!

Once Mix Script

The Music Man

Director: Malcolm Ewen

Sound Designer: Ed Chapmen

The Music Man was much more straight forward after having just mixed Once at Weston. It was a standard set up with wireless mics on stage and a usual pit. I used all 24 ULX-D transmitters with Courntrymen B3 elements for vocals and 16 to 20 channels of various microphones in the pit. 

Photo Credit: Hubert Schriebl

Photo Credit: Hubert Schriebl

The Royal Family of Broadway

Director: John Rando

Sound Designer: Joshua Reid

The Royal Family of Broadway is a brand new musical written by William Fin and Rachael Sheinkin. Working on a world premiere musical is definitely something everyone needs to do. You learn how to work quickly with script changes and very little time to implement them into your mix.

Photo Credit: Daniel Rader


Director: D. Lynn Meyers

Sound Designer: Fitz Patton

Cinderella was my first real A1 position outside a school setting. I used an LS9-16 and Sennheiser Evolution transmitters. As the LS9 does not technically have DCAs, I learned to work around this using mixes feeding matrices in place of DCAs. This early lesson would come in handy when I eventually designed Children of Eden on an LS9-32.

Cinderella marked the beginning of digital scripts for me. I used an LS9-16. Take a look!

Cinderella Mix Script

Educational Mix Experience

Seussical: The Musical

Director: Vince DeGeorge

Sound Designer: Sean Tingle

Seussical was a very interesting process. CCM was in the process of a major renovation. We have a large influx of brand new equipment. I mixed on a DiGiCo SD10T. 

Seussical Mix Script

Seussical was my capstone. This script is the most extensive digital script I have completed. My script underwent over 15 revisions. Take a look!

Photo Credit: Kaelin Butts

Having never mixed on a DiGiCo before, using one for my capstone proved to be a challenge. After countless hours of programming and reprogramming the console, I got a firm grasp on how the T software worked to our advantage.

Photo Credit: Kaelin Butts

20 Actors were clad with brand new ULX-D transmitters and a mixture of MKE-1, MKE-2, DPA 4061, and Countrymen B3 elements. We filled out our wireless mic needs with eight channels of Sennheiser 1046, four channels with Shure ULX, and four channels of Lectrosonics SSM. 

Photo Credit: Kaelin Butts

Big River

Director: Vince DeGeorge

Designer: Matthew Birchmeier

Big River was my first A1 position in college. I mixed on an Avid SC48. 20 channels of wireless consisted of eight channels of Sennheiser SK50, eight channels of Shure ULX, and four channels of Line 6.  There was a five piece band located in the balcony.

Photo Credit: Adam Zeek

Big River was a unique experience as CCM does not own the SC48. Typically, when we rent a console, it is usually in the Yamaha family. Getting to put my hands on an Avid console was an amazing experience. The SC48 was new for both the designer and me, but the learning curve was manageable.

Photo Credit: Adam Zeek