Sound Design for Theater

If Only The Lonely Were Home
The Playhouse at White Lake (Formerly the Howmet Playhouse), August 2021

Directed by Cindy Beth Davis - Dykema
Performed by the White Lake Youth Theater

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The second of two youth theater programs produced for the Playhouse at White Lake's 2021 Summer Season. Finegan Kruckemeyer's If Only the Lonely Were Home is told from the perspective of Penny, a girl who endeavors to help her classmate, a boy known only as "The Lonely". The Lonely is isolated and depressed as a result of crippling shyness and absent parents, and sinks into reclusiveness after a series of misfortunes lead him to believe he is becoming "invisible". Penny altruistically endeavors to boost the Lonely's confidence by attempting to prove to him that he is visible.
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If Only the Lonely Were Home presents its story in a manner more poetic than narratively straight, and utilizes a tone that is highly evocative of a picture book. I approached the sound design with these qualities in mind, creating cues that emphasize the gently fantastical environment of the story and sonically illustrate abstract ideas associated with the character of The Lonely. About 90% of the real-world sound effects heard below (e. woodwork, bike crash) are original recordings that I captured in my backyard, as they required a specific performance and ambience that I would have otherwise proved difficult to find in a pre-existing sound library.  

 
If Only The Lonely Were Home opens with the a description of the historical origin of Penny and the Lonely's hometown. The events described are illustrated with construction foley to paint an aural picture of an unsettled pasture growing into a community. 
 
The narrative turning point of this play occurs when a boy crashes his bike and breaks his leg. Petty gossip amongst the villagers lead to this moment spiraling into a rumor that pushes the Lonely to isolating himself. Because of this moment being a source of such interest for the townsfolk, it has a very over the top quality. I performed the crash by picking up my childhood bike, throwing it against my backyard patio and layering the most clamorous moments together from several separate takes.
 
The Lonely, in his stupor, tries to deflect Penny's efforts by scaring her away with feelings that make him sad, which he verbally visualizes. 

The "echo no one answers" is pre-recorded phrase that performed by the actor, that I processed to linger endlessly until Penny dissipates the feeling.

The "long scary shadow" is a couple of disparate recordings that have been heavily pitched down and reversed to give them a scary quality. A heavy sigh is played at a very slow rate to give them impression of a stifling darkness. 

 
The most sonically abstract moment in the play occurs when Penny opens a cellar of happy memories that The Lonely keeps locked. 

I gave the memories a twinkling quality by playing sampled crotales that I ran through a granular echo effect. Lots of the background memories (the ones not described by the actors onstage) are sourced from candid videos that I captured around my hometown when I was a teenager. They were selected based off of the universality of their content, consistency with the story's setting and consistency with the young age of the characters.

 
If Only the Lonely Were Home includes two musical numbers. This production features original composition by Renee Carpenter. The actors sung live onstage, but because of Renee's busy schedule, her piano performance was pre-recorded by me and played back with in the theater with QLAB. Pre-recording the accompaniment of the two songs also proved beneficial by giving the actors a demo that they could practice along with in rehearsals and outside of them.

Summer Shorts
The Playhouse at White Lake, August 2021

Directed by Jason Bertoia and Debra Freeberg
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For the Playhouse at White Lake's annual anthology of short plays, two directors focused on two distinct acts of this program.    Jason Bertoia helmed the comedically based first act, while Debra Freeberg directed the more serious and dramatic second half.
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With each of these small plays, sound served a purpose that was different from the others, but part of my design was also to weave a connecting thread through all of them with a music cue. These cues effectively faded out the previous narratives with lyrical, compositional or historical content relating to it's story.   
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Photos 1-4 by Aidan Lynn Smith, Photo 5 by Cindy Beth Davis-Dykema, Photo 6 by Tyler Quinn
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Alexa - Perfect Harmony - Tyler Quinn
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Perfect Harmony

The first play sees a couple meeting shortly before seeing a show and idling away time jovially by listening to music, played from an Amazon Echo. The couple's divergent tastes are humorously illustrated when they verbally command the device to stop playing the other person's music.

In this short, the Alexa is treated as a third character, and even has scripted dialogue. To fully immerse the audience in this situation, I used Amazon's Polly service to procure text to speech files of the scripted lines, so that they could be spoken by the very recognizable Alexa voice. The provided sound clip demonstrates the most humorously chunky bit of dialogue given to it.
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Hawaii Ambience and Phone Buzz - The Aloha Life - Tyler Quinn
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The Aloha Life

The Aloha Life offers a candid view of the dynamics between a vacationing husband and wife, Anna and Jack, who begin the short with a light argument about uprooting their lives and moving to Hawaii, despite the financial risks. When a dubious warning shows up on Anna's phone, heralding an incoming missile, she panics as Jack shrugs it off as being fake.

This short is given an ambience that is very detailed and animated. It paints a vivid portrait of a tropical paradise, but is also able to support the juxtaposing intense narrative beats with it's often overwhelming density.​ 
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Kids Voiceover - Bookstore - Tyler Quinn
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The Bookstore

This short uses it's unconventional characters (literally sentient books) to explore themes of mortality, identity and purpose. After a YA bestseller is made nervous by about the potential life they will lead by an envious tome of poetry, they are confronted by their destiny in the form of a horde of kids, excitedly picking them off the shelf.

 The kids in question are not seen, but are present as a loud voiceover played back over speakers in the theater to give them an imposing, larger than life quality with which the bestseller sees them as having. For these voiceovers, I enlisted the help of some of the youth theater performers to ad-lib these lines based off of my direction. They were recorded by the onstage mics during downtime of a rehearsal for the previous show. 
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Clock Ticking - The Pain in the Poetry - Tyler Quinn
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The Pain in the Poetry

This play marks the first short of the second act, which had a more dramatic tonal style. This play is especially delicate as it presents a prolonged moment where an unhappy, aging married couple throw emotional daggers at each other by revealing the passions they had previously kept secret from one another.

This play is constantly underscored by the ticking of a clock. This element emphasized the delicate atmosphere of the play, given it's nature as a quiet, constantly repeating impulse. I also chose it because of it's strong association with the homes of elderly couples.
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Wind, Reverb and Whale - Pequod Meets the Ocean Steward - Tyler Quinn
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Huge Storm - Pequod Meets the Ocean Stewarad - Tyler Quinn
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The Pequod Meets the ocean Steward 

In this play, Captain Ahab is in the thick of his destructive obsession for revenge against the whale that took his leg. During the chase, he comes face to face with Stevens, an anti-whaling activist. An argument ensues between the two, which sheds lights on past traumas of both Ahab and Stevens that have proved destructively prophetic in both of their lives. In the end, both parties switch alignments, with Ahab renouncing his destructive obsession and Stevens seeking symbolic revenge against the tormentors of his past, using the white whale as a composite of these figures.

This play is underscored by still sea soundscape. I decided to forgo using wave and ship sounds and instead use only the sound of an ominous, droning wind. This gives the ambience a limbo-like quality that supports both characters asocial, objective driven existences. While mixing live, I boosted the reverb on Ahab's voice while he was giving monologues, to give it more gravitas.

The short ends with the sound of an enormous storm. Whereas the still-ocean wind illustrates the exterior world of the characters, the storm represents the inner world of their psyches. It's chaotic, angry and hellish. To create it, I layered over a dozen discreet sounds together to achieve the right feel. Several different recordings of crashing waves are layered together and distorted to make them heavier. Very detailed deluge sounds are made from recordings of myself pouring a watering can of liquid into a plastic basin outside. I also layered in the chiming vintage ship bell owned and performed by my grandmother.
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Dingy Atmosphere - The Presentation - Tyler Quinn
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The Presentation

The final short of the anthology examines the very topical theme of toxic masculinity through the perspective of an occupational therapist, who has her work cut out for her, having to lead a trio of vikings to the realization that their barbaric behavior is unacceptable at every level. 

When designing for this short, I chose to underscore the comedic elements of the shorts by creating an ambient soundscapes that placed the overqualified occupational therapist and the vikings in a miserable environment that evokes that of a poorly maintained community center. I used original recordings of a particularly gritty toilet and flourescent lights.

TWO One-Acts
The Playhouse at White Lake, July 2021

Directed by Cindy Beth Davis - Dykema
Performed by the White Lake Youth Theater

 

I. Paper or Plastic

The more light-hearted first half of the 2 One-Act youth theater shows for the Playhouse at White Lake's 2021 Summer Season is about a girl's stressful first job as a cashier at her local grocery store. She gets an illuminating glimpse of the ugly side of the real-world through unruly customers, apathetic management and exhausting work routines.
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At the time of my work on this production, I was working a day job at a grocery store, and used my experience there as influence for the sound design. For instance, the preshow music was comprised of the ubiquitous, inoffensive pop songs from the years of 1996 - 2013 that I heard over the PA shift after shift.  
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Photos by Cindy Beth Davis-Dykema

 
Store Announcements - Paper or Plastic - Tyler Quinn
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Paper or Plastic is comprised of numerous vignettes where Sarah, the heroine of this story, is faced with a different customer, each offering their own challenge. These vignettes segue between amusing interludes, where a voice advertises products in absurd, comical ways over the PA.

These voiceovers were performed live in the theater by one of the actors, who spoke into a handheld microphone. I had this audio feed running through a harshly bandlimited equalizer to give the effect of aged intercom technology. The clangy sounding reverb was carefully constructed in the board to mimic the rather unattractive effect of sound reflecting off of the densely arranged surfaces of a large grocery store.
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Drum Music - Paper or Plastic
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Drum music played a significant role in the narrative of this production. Before Sarah decides to throw in the towel and quit her job, she meets Angus, a long-time employee of the store who reveals to her the secret of maintaining his sanity, despite the drawbacks of the jobs; meditation, specifically in the form of listening to loud music (pictured right). The curtain call (pictured below) happens right after this episode, so the director and I decided together to run with the idea of using music, and used a Purdy Shuffle drum solo because it had a dryly playful quality that complimented the overall tone of the show.

Angus's drum music was recycled from drum tracks I recorded for a past project. The curtain call music is an unused original recording that I set up to test a microphone configuration for a studio recording project.
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II. Our Place

The more heavy-hearted second half of the 2 One-Act youth theater shows gives glimpses of the lives of several characters over multiple time periods who are united only by their connection to well-worn swampland dock.
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My overall design concept for supporting this play with sound was to create rich, detailed ambiences that immersed both the audience and the actors in the titular place, as it is the very nucleus of this story. All of the vignettes of this play have a different tonal nature, ranging from romantic to wistful, to humorous to carefree to tragic and the ambiences reflect these emotional tones.  

 
Nighttime Ambience - Our Place - Tyler Quinn
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In this first Vignette, Jake and Holly meet on the dock in what Jake intends to be a romantic date. His attempts at wooing Holly take the form of spouting impressive anecdotes about himself ad nauseum. When Jake's ex girlfriend, Anne, unexpectedly shows up on a date of her own, Jake's anecdotes quickly become exposed as falsehoods. 

I designed this ambience to have a romantic, almost fantasy-like quality to evoke a sense of warm nostalgia that would compliment the nocturnally idyllic nature of this vignette. I recorded the crickets and waves at a fishing bridge near my house after midnight and the higher pitched insects in my front yard.
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Still Ambience - Our Place - Tyler Quinn
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Fishing Cast - Paper or Plastic - Tyler Quinn
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This piece shows Beth attempting to comfort her father, Jonathan, by taking him to the dock for a morning of fishing, as he suffers with the late-term effects of Alzheimers. Beth desperately uses the familiar environment and activity to jog her Father's memory and despairs after failing to remember the fishing cast technique that Jonathan had taught her. However, shortly after giving up, a breakthrough is made and Jonathan once more demonstrates to his daughter the fishing cast.
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For this vignette, I used an ambience that would fit this more elegiac story. I pulled an ambient recording from my own library of the early morning stillness from the shore near a lakeside cottage in Michigan that my family has vacationed at for decades. 

I briefly immerse the audience in Jonathan's Alzheimers with sound. Beth recounts an incident where Jonathan believes he is trying to pick his daughter up from preschool. In doing so, Jonathan subconsciously reaches for his keys. I supported this moment with a brief soundscape of raucous voices of young children, and processed it to sound distant and hazy to reflect Jonathan's fading memories.

The fishing cast was given a special sound effect to accent it as a moment of great significance in the story. The actors flicked a fishing pole prop onstage that would produce a brisk whooshing sound that was audible to the whole audience. When the cast was unsuccessfully, all that would be heard was the flick, but when the cast was successful, I would follow it with the sound of the fishing reel jettisoning the line into the distance, and the plop of the lure hitting the water after a brief pause.  

 
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Vacation Ambience - Our Place - Tyler Quinn
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Face Hit - Our Place - Unknown Artist
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This piece of Our Place gives a bit of levity to the heavy vignettes before and after it. It tells a far more comedic story with two parents, Al and Brenda, taking their two kids, Nicky and Sherry on a family vacation to the lake. Although Al is possessed by an unbridled optimism, the rest of his family has mixed feelings about the rustic surroundings, and the ramshackle appearance of the dock and canoe. The hijinks reach a head, literally, when Al asks his daughter to hand him the oar, and she smacks him in the face with it, sending him reeling into the lake, as a result of her overexcitement. 
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I designed the ambience of this part to be as animated as possible, and to give it a quality that suggested a muggy, uncomfortable quality. I used the sound of cicadas to give this ambience the hot feeling it needed.

The sound of Al being hit in the face with the oar combines the sounds of multiple wood impacts and the sound of flesh being struck. But the secret ingredient I used to give this moment a bit of extra impact and comedic oomph was the slamming of a particularly resonant toilet seat I recorded in my basement. This sound is somewhat reminiscent of the Hanna-Barbara stock sound effects associated with their cartoons, and also prevents the sound from being too realistic.
The final vignette of our Place tells the heartbreaking story of Stanley and Sidney. Stanley struggles with behavior problems and doesn't see eye to eye with his mother and stepfather, so he runs away to the dock. Unbeknownst to him, his stepsister, Sidney has tracked him to the dock. The young girl enthusiastically badgers him for a winter swim in the lake, leading Stanley to angrily drown out her voice by listening to heavy music on his headphones. He doesn't hear when she slips off the dock and falls to her death, drowning in the icy winter lake.

The script of Our Place calls for the soundscape to be dominated by loud music when Stanley puts his headphones on. The director and I were initially hesitant to include this element because of how cinematic of a technique it seemed, and we weren't sure if would emotionally resonate or would be distracting. To our surprise, the moment worked best when we included this technique. The piece of music I used was programmed in QLAB to play from the top of the vignette as Stanley put his headphones on, and fade out abruptly when he removed them, and was replaced by the nighttime ambience, and could be switched back and forth with the press of a button based off of what the actor did with the headphones.

It's a Wonderful Life: Radio Theatre
The Playhouse at White Lake, December 2020

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Directed by Cindy Beth Davis - Dykema
Performed by the White Lake Youth Theater
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This play was produced by the Playhouse at White Lake in response to the constraints and societal zeitgeist surrounding the COVID-19 Pandemic. Voices actors were recorded 6 feet away from each other with masks on and sound effects were recorded individually on stage during a separate session. The audio was synced to a festive video of a yule fireplace and livestreamed to patrons who purchased a ticket. 

Since the radio drama has become a distinctly retro form of storytelling entertainment, I designed the overall sound quality to give a vintage impression, rather than distractingly evoking the limitations of 1930s radio broadcast quality. This was achieved through a combination of my choice of microphones and digital effects used during editing.

The sound effects were all created by using small antique props and household items to create impressions of larger than life sounds to support the modest scope of the story and medium.

 
Intro -
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This piece demonstrates the overall quality of the program, with dry, heavy, grainy vocals and the underlying musical motif of a solo violin.
Ice Cream Shop Scene -
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Multiple foley props were used to create the detailed soundscape of the ice cream shop including a glass mason jar, an ice cream scoop, a door in the theater, an antique brass bell and a pack of jelly beans. Additionally, a baseball glove was struck to evoke the sound of Mr. Gower hitting George.
Taxi -
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3 main components were used to create the sound of Bert's taxi, including an antique coffee grinder for the motor, a vintage style brass horn and a lidded plastic filing box for the door.
Windows Breaking -
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I designed the sound of windows breaking out of a satin bag filled with tiny pieces of metal surrounding a glass bottle that were violently jerked and shaken.
Mary's House and Telephone -
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Telephone sounds were created using a bicycle bell and a non-functioning rotary phone. For the sound of a voice heard through a receiver, the respective voice had several bands of high frequencies removed at an instananeous value, creating a very harsh, gritty and unnatural tone. The comedic moment with Mary's mother was emphasized by placing the sound of it low in the mix, with high frequencies removed (this time gradually, creating a physically natural tone) and far to the right in the stereo field, to create a the sonic illusion of it happening on the other end of the house.
Piano and Tension Increasing -
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In this scene, George Bailey's breakdown is accompanied by the unnerving sound of a child practicing piano. In the first part of this scene, it is unobtrusively muffled and quiet, creating a sense of space and supporting the quiet moment between George and his young daughter. During the second part, it is far more present, functioning as a disturbing score for George's utter loss of control, and the ensuing silence is made all the more uncomfortable. 

The piano was performed by me. To approximate the sense of a child learning how to play the piano, I recorded myself writing an arrangement of Silent Night in real time, using my less than intermediate skills on the instrument.
River and Angelic Descent -
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For this scene, where George Bailey is standing at the edge of the bridge contemplating suicide, I directed the water and winds sounds to have an intense turbulance, creating an intensely dramatic weight. 

I created the sound of Clarence descending from heaven with a heavily processed wind chime.

Vintage Hitchcock
Howmet Playhouse, July 2018

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Mr. Sleuth's Entrance & Ominous Nightime Ambience (The Lodger) - Tyler Quinn
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Mrs. Bunting interrupts Mr. Sleuth - Tyler Quinn
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The Bird Shop (Sabotage) - Tyler Quinn
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Countdown to the Bomb Detonation (Sabotage) - Tyler Quinn
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Increasing Stress and Stabbing (Sabotage) - Tyler Quinn
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Street Ambience (Sabotage) - Tyler Quinn
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Brawl and Gunshots (The 39 Steps) - Tyler Quinn
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Cue List
Working Prop List
Directed by Adrianne Lewis
Performed by the White Lake Youth Theater
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Vintage Hitchcock is an anthology play combining three stories from Hitchcock's earlier filmography. The show is presented as a live radio drama, thus all of the sound effects are performed live by the actors. My official job title for this show was "foley designer". I was responsible for locating objects that the performers could use to make the sounds as well as instructing them on the best ways of producing sound with said items. 

Sound 1: The thunder was created with a narrow spring drum, while a different performer created wind with the sound of an aeoliphone. Mr. Sleuth's distinctive limp was created by having one performer strike a wooden cabinet with a wooden dowel, and another striking it with a hard soled dress shoe. 

Sound 2: The squeaky door was created by a performer slowly opening an old rusty door hinge and the sound of the dinner set falling was created by dropping a crash box filled with Corelle plates. 

Sound 3: The sounds of birds were created with as many as four of the performers whistling at the same time and the cash register ringing up "no sale" was created by ringing an old bicycle bell. 

Sound 4: The countdown is achieved by layering three different ticking sounds starting with a metronome ticking at 60 BPM (roughly the pace of clock). More sounds are added to increase the tension and raise the sense of urgency such as the flicking of a switch on a type writer and twisting a rather loud knob. The clock chime was produced by striking the plate of a metal candle holder with a brass bar and the explosion was created with the aeoliphone. 

Sound 5: Dinner plates were set on the foley table by performers to set the scene, and a performer pretended to chop vegetables on an empty wooden cutting board, and increased the speed and forcefulness of their strikes as the character of Winnie became more stressed. The stabbing sounds were created with a performer vigorously plunging a salad knife into a watermelon. 

Sound 6: The sounds of the cars were created with handheld brass horns, twisting knobs on an antique typewriter and turning the crank of an old coffee grinder. 

Sound 7Punching sounds were created by the performers punching their palms and vigorously patting their chests, and the gunshots were created by loudly clapping the soles of tuxedo shoes together. 

If interested, please enquire to hear a runthrough of the entire play.

Documents

 
Photo by Claire Beaman

Fox on the Fairway
Howmet Playhouse, July 2017

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Phone Squacking - Tyler Quinn
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Golf Starter Voiceovers - Tyler Quinn
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Amplifier Destruction - Tyler Quinn
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Directed by Jason Bertoia
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Fox on the Fairway is a farce that takes focus on a country club and it's regulars. The owner finagles his assistant into competing in a golf tournament after betting the ownership of the club with his rival. I used sound to augment the comedy and support the 80s inspired design that was also utilized for the set and costumes. Sound for comedic purpose was used in cue 1, with the overtly silly phone squawking sounds, whereas the phone would be silent in a more serious production. Another instance occurs with cue 3, when Bingham's wife destroys the club's defective PA system. The hits are cued by her individual swings and the feedback is overly dramatic and almost expressive. To support the 80s design, I pulled the sound of an eighties office phone ringing in cue 1 and used stimulus progression muzak to play quietly in the background of the club for the duration of the play.

Slaughter City
Unrealized Theatrical Sound Design, January 2016
Runner up to Recipient honor for KCACTF Region III Design competition for Sound Design, 2016

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Slaughter City Killing Floor Ambience - Tyler Quinn
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Brandon's Casette Tape - Tyler Quinn
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Triangle Shirtwaist Dream Music - Tyler Quinn
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Mr. Sausage's Music - Tyler Quinn
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Pipes Bursting/Brandon's Death - Tyler Quinn
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Triangle Shirtwaist Inferno - Tyler Quinn
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Slaughter City takes a central focus on a motley crew of slaughterhouse workers. They toil away at an unforgiving job every day of their lives and there is little hope that they'll ever be able to break free from a life where all they know is miserable work, and just scraping by financially. Thus, I designed the sound to turn the slaughterhouse environment into a sonic limbo. The entirety of the soundscape was to revolve around a central soundscape (the killing floor ambience) that melded every sound the workers would hear on a daily basis, into an endless, inescapable cacophony of death, filth and misery. Additional cues are used to convey the Sausage Man's supernatural powers and manipulation, such as tracks three and four. The third track is a warped, distorted song that seems to weep. The fourth track is also a musical cue that evokes a dreamlike quality. It plays during the surreal moments where Cod witnesses her mother's death and bargaining with the Sausage Man during the triangle shirtwaist fire.