Hey i do audio…and pretty decent at it if i sau so myself lolz..
n e wayz, i’m always learning new tricks when it comes to mixing and i was wondering if u have n e helpful tips with using reverb/compressor/and the equilizer….so yea what do say big guy? lol
I remember you from the forums. Major props to you and the Rap Dogs community. I listened to one of our tracks on SoundClick – “12-SupaStarr”
First of all it was a good track and good recording. You can definately play that in your car with pride. I’m assuming you want to elevate your skillz so let’s look at it more critically – to get it from “good” to excellent. Could this track be on a major label release? Sure, that’s a loaded question – anything could be on a major label release depending on the context. But if I was producing it there are some things I would do to it. I don’t have a Grammy yet, so maybe my advice is jacked up. (Key part of that last sentence is “yet”). You read, you decide.
Brush up on Hertz. 20hz is the low low end – 20Khz is the upper end of human hearing. So we refer to low end as 20hz (low end 808) – 80hz (low end on lowfi audio system) – 80-160hz (bass guitar) etc….up to 1khz – 5-6khz (human voice clarity) to 10-12khz (hi hats, cymbals sizzle).
Ok, let’s start! I wish I was at a mixing board, because I could do all this faster than it takes to explain it.
DANCING FOR THE EARS
Most tracks I hear don’t “dance” for the ears. Usually there’s a soundtrack bed and then vocals over the top. But to be “excellent” the whole track should be one entity – track and the vocals should present a unified front. So most of what I’m going to write here are things you can do to make this happen. Music should delight the ears, should be like candy. With lots of little elements to keep the mind interested and engaged in the production.
VOCAL MIXING
You have two different takes of the lead vocals (two leads at different spoken pitches) which is cool. But both are EQ’d the same. Your lead vox is usually going to be mixed center, if they have the samej processing then both leads are taking up the same audio space. What about thinning one of the leads out, or what about recording THREE leads – One center and full, and two slightly left and right thinned out a bit. Or what about recording EIGHT tracks of lead and stacking them. A lot of the major labels do insane amounts of stacking – that “wall of sound” approach. There’s only so much room in the audio spectrum – so give your lead vocal it’s window – and then eq the support leads so they don’t interfere with that window. Example: Boost the lead at 5-6khz maybe 2.5 db, then LOWER the background vocals 5-6khz 2 db. That’s the general idea of creating a window in the audio spectrum. Of course you need to adjust this by ear. I will pan the audio around the general frequency I want to tweak, in this case I would listen to where the clearness of the sound “jumps out” a bit – that would be the frequency I want to hit in this situation.
BACKGROUND VOCALS
Are the background vocals eq’d, compressed and effected the same as the lead vocal. If so, was that your intent, or did it just happen that way? I like processing the background vocals different – usually thinning them a bit, experiment with panning (make sure it’s balanced unless you intentionally want it lopsided). I also like using entirely different fx on the bgv tracks. Especiallly in hip hop – it really helps accentuate the different between the verse and chorus. Sometimes I’ll take a bgv and totally thin it out with a low end shelf – maybe cut everything from 4khz and below out, then drench in a long verb. Can be very effective. As always, the context of the music depends on what will work and what won’t.
WORKING WITH A PREMIXED TRACK
Assuming your background track is premixed – for hip hop you especially want that low end bass and sizzling hi hat. Try a little boost around 20hz for the sub to rock in a good car system (also check out around 80-120hz, which is the low end of a semi-crappy audio system – mix for the bad systems too). Then check out the hi hat action from 10khz to 12 khz. Add a little sizzle up there if you can. Another trick is to add some sort of processing to both the vocals AND the track – a way to make them sound a bit more like they belong together. You could try a light verb with the low end rolled off (like even rolling below 600khz off on the reverb – you don’t want verb on your 808 kick, etc.)
WORKING WITH THE ORIGINAL TRACKS
If you have the original tracks to work with I could write a book on how to approach it. But the thing to keep in mind is that everything should work together – let the vocals have their own space, and give each instrumental track it’s own flavor to keep the ears dancing. Work with panning so there’s movement between the speakers, and make sure the individual tracks are not getting the in frequency or panning space of the vocals.
REVERBS ON VOCALS
Try using two verbs. A short verb that will thicken the front of the vocal without being blurry – like a vocal plate set at 20ms or lower – then add a long verb with a delayed attack, like 20ms delay on attack to strengthen the sustain of the vocal. Or try short and medium verb – idea is to get two different fx working in tandem with your vocal. In general I don’t like to “hear” fx – if you listen to a track and say “oh, that’s a long reverb” then it might be too much. Exception is when it’s intentional to be that way. So crank the fx, get it tweaked where you want it – then back off to where you don’t hear it. I didn’t hear too much fx on your track, so sounds like you already understand “less is more”.
STACK THOSE VOX TRACKS
I got to work on a preproduction project for Aftermath last year and had the opportunity to work on the original protools session on my own computer. Talk about stacking! Twenty tracks for the lead vocal alone – and this was just for the demo! It was that thick. Try going nuts and stacking the hell out of your vocals and see what you come up with.
COMPRESSOR AND LIMITER
Another trick is to run the lead vocal on it’s own limiter at -.01db of peak, and run the track at let’s say -.05db of peack. This means the vocal will always be at least .04db above the track, regardless of what’s happening with each. For compression you should decide how tight you want the vocal compressed – in general if you can hear the pumping of the compressor – it’s too much. On an overall track compression would be very light – let’s say 1.5db at 2:1 at peack – but vocal could easily be 6db at 4:1 at peak, and you could even compress the vocal more from there. My experience is that you can compress the spoken word much more than a sung vocal track.
CAST (in order of appearance)
Charlie Davenport – Ryan Edwards
Dolly Tate – Sarah Simmons
Mac – Jordan Otruba
Little Girl – Anna Jenny
Mrs. Little Horse – Debbie Wolf
Little Sparrow – Abigail Wolf
Townspeople – Ann Nelson, Christine Wolf, Kelly Pollino, Tom Mueller, Luke Thompson
Cowboys and Indians – Anna Jenny, Christine Wolf, Jonathan Wolf, Sterling Mueller
Bad, Bad Man Girls – Claire Kidd, Lynette Cole, Natalie Howell, Sarah Howell, Sarah Jenny, Stacy Lazanis, Elisa Fuller, Ashley Rinas
Foster Wilson – Jim Otruba
Frank Butler – Kevin Pitman
Annie Oakley – Lyrica Mueller
Little Kate – Kristina Howell
Minnie – Ali Rinas
Mary – Susie Pollino
Nellie – Tisha Romero
Jessie – Leanna Crawford
Colonel William F. Cody – Ric Shallow / Carl K. Turner
Cowboys/Indians in Train – Debbie Wolf, Abigail Wolf, Christine Wolf, Jonathan Wolf, Sarah Howell, Sterling Mueller
Indian with Banana – Tom Mueller
Train Conductor – Bob Cole
Moonshine Lullaby – Bob Cole, Jordan Otruba, Luke Thompson, Ric Shallow, Ryan Edwards, Carl K Turner
Pawnee Bill – Harold Page
Chief Sitting Bull – Kevin Cobley
Spirit of Sitting Bull’s Daughter (Standing Holy) – Stacy Lazanis
Messenger – Luke Thompson
Mrs. Potter-Porter – Kris Hemenway
Mrs. Adams – Kelly Pollino
Debutantes – Ann Nelson, Ashley Rinas, Claire Kidd, Lynette Cole, Natalie Howell, Sarah Jenny, Sarah Howell
Featured Ballroom Dancers – Elisa Fuller, Luke Thompson, Stacy Lazanis, Ryan Edwards
PRODUCTION TEAM
Lighting Design – Steven Craig
Sound Design – Kyle Blevins
Costumes – Ramona Cooley, Darlene Kingma, Lyrica Mueller
Props – Sally Simmons, Sarah Simmons
Makeup/Hair – Ric Shallow, Wendy Howell, Natalie Howell
Graphics/Web Design – Debbie Wolf
Banner Photography – Eric Callies Photography
Marketing Team – Debbie Wolf, Ric Shallow, Kris Hemenway
Stage Manager – Ursula Schroepfer
Assistants to Stage Manager – Claire Kidd, Natalie Howell
Fly Captain – Dave Mumford
Firearms Handling – Bob Cole
Crew – John Hepola, Scott Cole, Bob Schroepfer, Jonathan Norris
Slugs make me happy. And I know you’re on the edge of your seat to know why. Everytime I see a slug I’m reminded that I’m back in the Pacific Northwest – and I really love it up here.
I remember as a kid hunting slugs (I wasn’t very fast) so I could drown them in salt. I have given up this barbaric practice for more peaceful ways, but have recently found out that some family members still enjoy the salt ritual. Mmmm…..apples don’t fall far from the trees, do they?
I also remember my sister telling me stories of a friend of hers as a kid that would eat slugs. Sure enough I brought up the subject of slugs at church today and was treated to a graphic story about someone’s childhood friend that ate slugs. Am I the only one who has never seen someone eat a slug? I feel like I’ve missed out.
There were also high tech slug experiments carried out in my youth. And I can tell you from repeated scientific experiments under controlled settings, that the guts do indeed pop out of the opposite end you step on. Eewwww…..you didn’t want to read that did you? 🙂
Good to be back in Washington. Where all slugs are welcome to roam freely and follow their dreams……….(just watch out for the salt).
Here are more photos taken from the orchestra pit at McIntyre Hall (Mount Vernon, Washington) during Lyric Light Opera of the Northwest ‘s production of Annie Get Your Gun. I just think photos from the orchestra pit are way cool.
Mount Vernon Presbyterian Church had their annual outdoor church service in the park today. The weather was on everyone’s mind. The night before it started raining but stopped by morning time. Our service started at 10am and it started downpouring early in the service. We all high-tailed it for cover and held the service in the adjoining picnic area.
In a way it was more beautiful this way. We were all wet and huddled together, warmed by our common bond of faith. The choir gave a short history of classic hymns, we had a skit, praise music led by Andy Thor on guitar and of course a great message by Pastor Steve Weber.
This is such a great church family and I feel like the luckiest guy in the world to be able to lead their music program. The warmth and commitment of this group is beyond words to me. I think it’s a very interesting story how I was brought to them. It was not by any work of mine, there was another hand in this. A hand much greater than mine.
Here are photos from the orchestra pit at McIntyre Hall (Mount Vernon, WA) for the Lyric Light Opera of the Northwest production of Irving Berlin’s “Annie Get Your Gun”. Produced by Leslie Asplund, Directed by Brenda Mueller and conducted by Conrad Askland.
2006 ANNIE GET YOUR GUN MUSICIANS:
Flute I – Alicia Jackson
Flute II – Lorie Wooldridge
Flute sub – Stephanie Bethea
Oboe – Rebecca Wright
Clarinet I – Ashley Hall
Clarinet II – Darian Asplund
Clarinet sub – Michelle Hanna
Trumpet I – Cindy Luna
French Horn – AJ Brodin
French Horn – Jim Gaudette
Trombone I – Brian Bernethy
Trombone II – David Andersson
Drums – Dean Bunnell
Bass – William Maxwell
Cello – Kathryn Murray
Cello – Sharon Sparling
Guitar – Paul Hixson
Harp – Christy Swartz
Keyboard I – Ruth Haines
Keyboard II – Lauren Lippens
Conductor – Conrad Askland
My favorite element about this particular group was the mix of seasoned musicians and young players. What a great way for young musicians to learn, and for seasoned players to share their experience!
The City of Mount Vernon is considering putting the historic Lincoln Theatre up for sale. For more info about the theatre visit the Lincoln Theatre Website. Please make your voice heard at the next Mount Vernon City Council Meeting on Wednesday, July 26th 7pm – The Mount Vernon City Council meets twice a month for regular Council sessions. Meetings are held at 1805 Continental Place, 7:00 p.m. and are open to the public.
I recently relocated to Mount Vernon Washington, and two of the draws for me was the beauty of the Lincoln Theatre and McIntyre Hall. Hopefully there’s an alternative so this venue can be kept as a classic live performance venue.
Here is an email on the subject from Kate Kypuros, META Performing Arts:
Can you imagine walking into the Lincoln Theater and
visiting it as a museum instead of a forum for arts
films, live theater, music and public comment?
That is one of the things being considered as the
Mt.Vernon mayor and city council decide what to do
with this historical downtown hub.
This coming Wednesday night there is a meeting at the
Lincoln Theater in downtown Mt. Vernon. If you want
to see the Lincoln remain the center of activity in
downtown Mt. Vernon, join others to make your voice
heard.
Call the Lincoln for more particulars. I do not know
them, but I felt it was important to get the word out
asap. I hope to see you there.
Kate
LINCOLN THEATRE HISTORY The Lincoln Theatre, a restored 1926 historic vaudeville & silent movie house in downtown Mount Vernon, presents a year-round schedule of concerts, current and classic films, and community events. The theatre works with local school districts, hosting school performances and workshops by performing artists on tour, as well as annual concerts by secondary school bands. The theatre hosts concerts by the local youth symphony, presents community-sponsored children’s theatre productions, as well as serving as a venue for fund-raising events by local service organizations. The Lincoln Theatre Center Foundation, founded in 1987, is a registered non-profit organization supported by over 2000 members from Skagit and adjoining counties.
Cost of Building: $100,000
Cost of Organ: $22,500
Cost of Furnishings & Equipment: $32,500
Weekly Payroll: $160
A 1926 SHOWPLACE
When the Lincoln Theatre was built, it was hailed for its originality and beauty. The Argus reported on May 13, 1926, “Nothing like it has ever been constructed before…the theatrical world is setting back astounded.”
The Lincoln is what’s called a period theater, which were in vogue around the time it was built. Some theaters built in the twenties had an Egyptian motif; one Seattle theater had a Chinese motif, but the Lincoln was a little different for the Northwest; it had a Spanish motif.
Manager Edwin Halberg ignored the pleas of his friends that he follow the crowd and make it Egyptian. He foresaw a time when movie fans would tire of such a motif. He personally designed the luxurious carpet, the decorative effect on the walls, the hangings and draperies, and the lighting effects.
The primary colors were blue, yellow, and red. The foyer was lighted with quaint, wrought-iron patterns of Spanish design. The walls have what’s known as a travertine finish.
WURLITZER MAGIC KEEPS TRADITION ALIVE
Of the 98 Wurlitzer organs remining in their original theaters in the U.S., the Lincoln Theatre’s Wurlitzer is one of only two 2-manual, 7-rank D-2 Full Unit Orchestra models. It has a full set of organ pipes, as well as a set of ‘toys,’ the mechanical sound effects for silent movies, as well as marimbas, drums, glockenspiel, xylophone, cathedral chimes, celeste, etc., and an original Wurlitzer piano.
The Lincoln Wulitzer features seven ranks of pipes, a remote piano, and a complete sound effect system for silent films, including beats, castanets, drums, cymbals, glockenspiels, and marimbas, as well as a set of silver chimes mounted on the auditorium’s painted columns.
Much work has been done by our pool of volunteer organists and technicians to maintain and repair our musical treasure.
The console has been pulled, cleaned, and rewired; several ranks have been gone through, with new leathers and blocks installed; and the “toy box” for sound effects has been rearranged for easier access and repair. All the work has been done by dedicated volunteers, including Gene Peden, Bob Martin, and Keith Thompson.
The volunteer organists who perform before each film showing are Dusan Mrak, Jeff Fox, Gene Reden, Glen DesJardins, and Ken Fenske. Thanks to all of them for keeping the theater organ tradition alive at the Lincoln!
We are always in need of more players. If you are interested in performing at the console, give us a call and you can play the pipes!
More on the history of the Lincoln and the pipe organ:
You are invited to join a humble little band of people to pray for our local theatre community next Tuesday. We have it on our hearts to gather as “two or more” to pray for safety, protection, wisdom, … so this is us stepping out in faith. Sharyn Peterson has graciously opened the music school as the space to meet.
Please feel free to forward this on to others who might be interested in joining this endeavor.
Peterson International Music School
The Old Towne Grainery 100 E Montgomery St, Suite 230 (by the train station)
Mount Vernon, WA 98273
Conrad will be teaching at the META Performing Arts Theatre Summer Camp at Skagit Valley College July 2006. http://www.metaperformingarts.org
META PERFORMING ARTS THEATRE SUMMER CAMP
JULY 2006 – Skagit Valley College, Mount Vernon, WA
Registration for July 10-14, full day and morning sessions will be outside the Phillip Tarro Theatre, Monday, July 10th from 8:30-8:45 a.m. Registration for afternoon only classes (including all 5-7 year olds) is outside the Phillip Tarro Theatre from 12:30-12:45 p.m. Your promptness is appreciated.
WEEK ONE, July 10-14 TEENS 1-2pm Melissa Rolnick dance Mon-Fri 2-3pm Dave James auditioning workshop Mon-Weds 2-3 Carl Turner Shakespeare Thurs 2-4 Carl Turner Shakespeare Fri 3-4pm Sharyn Peterson voice Mon-Weds 3-4 Steven Craig McIntyre backstage tour Thurs 8-11’s 1-1:30 Dave James theatre games Mon-Thurs 1:30-2:15 Joe Bowen stage combat Mon-Thurs 1:30-3:00 Dave James auditioning workshop Fri 2:15-3:00 Sharyn Peterson voice Mon-Thurs 3:00-4:00 Melissa Rolnick creative movement Mon-Fri 5-7’s 1-4pm Carrie James creative dramatics Mon-Fri
WEEK THREE, July 24-28 TEENS 1-2pm Scott McDade voice workshop for actors Mon-Weds and Friday 1-3 Bruce Weech stage combat Thurs 2-3pm Conrad Seussical vocal study Mon-Weds 2-4 Andy Friedlander auditioning workshop Fri 3-4pm Melissa Rolnick Seussical dance study Mon-Weds 3-4 Steve McIntyre Hall tour Thurs 8-11’s 1-2 Melissa Rolnick Seussical dance Mon-Thurs 1-4 Dave James auditioning workshop Fri 2-3pm Dave (Comedy) Mon-Thurs 3-4pm Conrad Askland Seussical music study Mon-Thurs 5-7s > 1-4pm Carrie James creative dramatics Mon-Fri>
Summer Camp Morning TEENS 9-10:30 Sami Detzer scene study Mon-Thursday 9-10:30 Sami cold-read auditioning Fri 10:30-12 Lynette McCormack musical theatre Mon-Thurs 10:30 –12 Lynette vocal auditioning Fri 8-11’s 9-10:30 Lynette McCormack musical theatre (Seussical) Mon-Fri 10:30-12 Sami Detzer acting skills for young actors Mon-Thurs 10:30-12 Sami auditioning conventions Fri WEEK TWO, July 17-21 TEENS 9-10:30 Sami Detzer monologue studies Mon-Thursday 9-10:30 Sami auditioning with a monologue Fri 10:30-12 Lynette McCormack “Rent� musical theatre study Mon-Fri 8-11’s 9-10:30 Lynette McCormack musical theatre (new) Seussical Mon-Fri 10:30-12 Sami Detzer auditioning skills for young actors Mon-Fri WEEK THREE, July 24-28 >TEENS AND 8-11’s >Sami Detzer and Lynette McCormack >Currently in development, call or check the website for updatesINSTRUCTORS!
We have assembled an incredible cast of instructors bringing together a vast array of talent and experience.
Lynette McCormack, Vocal/Dance Instructor and Director >Lynette has her Bachelor’s Degree in Music and Dance from the University Nevada of Las Vegas where she was principle singer at the Tropicana’s > Follies >Bergere. She has done a lot of industrial work on the road touring around the country. She has lived in La Conner for over 5 years and loves the warm friendly people and gorgeous countryside. >She has taught tap and jazz classes for AYA (Anacortes Youth Arts Dance Studio) and is currently teaching tap and country line dancing in Shelter Bay. She is vocal director for Meta Performing Arts based out of La Conner and has just finished directing and choreographing “The Little Mermaid.â€? She teachings a choral program at AHEP (Anacortes Home Educational Partnership). She loves to see the children grow in self esteem and confidence from their participation in musical theater. Music and dance brings out the best in us all….it soothes the soul and warms the heart. Andrew Friedlander, Teacher/Director of Theatre Programs – Skagit Valley College I am a theatre generalist with a specialty in acting, directing, Shakespearean performance and interdisciplinary studies. I have training in learning styles, cooperative and collaborative education, learning communities, critical thinking and writing skills reinforcement. > I have directed more than 125 productions in professional and academic theatre settings including the Idaho, Oklahoma and Western Washington Shakespeare Festivals, Centre Theatre Group of Spokane, Laughing Horse Summer Theatre, Eastern Washington University and Skagit Valley College. Representative titles include: Endgame, Is There Life After High School, Godspell, Once Upon a Mattress, The Rimers of Eldritch, Bedroom Farce, Antigone, Anything Goes and The Water Engine. Shakespearean productions include As You Like It, A Midsummer Nights Dream, Twelfth Night, Loves Labours Lost, The Comedy of Errors, Hamlet, Romeo and Juliet and The Tempest.
Carl Turner, Artistic Director of Theater Arts Guild Carl K. Turner comes originally from Tennessee where he received his BA in Speech from Middle Tennessee State Univ., and was a veteran performer at Opryland USA. He studied acting under William Ball and Speech under Edith Skinner at the American Conservatory Theatre in San Francisco in the Advanced Actor Training Program, and subsequently performed with San Francisco Shakespeare Festival, Eureka Theatre, San Mateo Civic Light Opera and various fringe theatres. He moved to Skagit County 10 years ago to finish his MA in Theatre Directing at Western Wash. Univ. > He currently serves as Artistic Director of Theater Arts Guild where he has directed Crimes of the Heart, Romeo Juliet, Blithe Spirit, Little Shop of Horrors among others, and has performed in Oliver!, Joseph and His. . . Dreamcoat and A Christmas Carol. Locally he has also directed Sam Shepard’s True West and David Mamet’s Oleanna. > In February of this year he directed his first production for META, The Crucible, and had appeared earlier as Lazar Wolfe in Fiddler on the Roof. He also staged Sharyn Peterson’s production of the opera Amahl and the Night Visitors for three seasons. He teaches acting and scene study, Shakespeare scansion, stage speech, dialects and accents, and audition selection and technique.>
Conrad Askland, Musical Director, Producer and more!
Conrad Askland is a music producer and keyboardist. His educational and live performance experience covers an extremely wide range of styles and formats. His formal music studies include Pacific Lutheran University (Composition and Voice), the University of Miami (Music Law), the Cornish Institute, the Seattle Early Music Guild and UCLA School of Film Scoring.
Conrad has extensive experience in live performance as a pianist for Knott’s Berry Farm, 4 years as touring keyboardist with Grammy Winner Freddy Fender of the Texas Tornados, vocalist with the Seattle Opera, touring keyboardist for Roy Rogers Jr., performances at the House of Blues and Prince Hotels (Tokyo), the Grand ‘Ol Opry and as a keyboardist with various Southern California and Las Vegas show groups. He has also toured extensively throughout Europe, Asia and Japan and the United States. Conrad has also performed in England, France, Denmark, Wales, Holland, South Korea, Tokyo, Okinawa and Hiroshima.
As a musical director and/or conductor he has worked full time with such diverse groups as San Bernardino Summer Theater Festival, National Educator’s Conference and Hollywood Superstars. He has over 2,000 performances to his credit and also works as a freelance musical director.
In addition to scoring and composing for the albums he produces at Road Records he has composed and arranged for corporate entities including GTE and Contel, World Library Publications and United Airlines. He currently composes ongoing for nearly two dozen corporate clients at Road Records as well as producing commercial artist albums.
JOSEPH D. BOWEN, Actor, Director, Musical Theater, Stage Combat STAGE EXPERIENCE: 1993 to present The Odd Couple (Female Version) – Jesus Costazuela; Inspecting Carol – Wayne; Kiss Me Kate – Suitor/Dancer; Blithe Spirit – Charles; Picnic – Hal; A Christmas Carol – Young Scrooge/Banker; Macbeth – Thane/Lord Lennox/Assassin; One Flew Over the Cuckoo’s Nest – The Chief; A Streetcar Named Desire – Stanley; Romeo and Juliet – Mercutio; Richard III – Lord Hastings/Soldier; Detective Story – Tami Giacopetti; Fiddler on the Roof – Russian; The King and I – The King; Seven Brides for Seven Brothers – Adam. OTHER PERFORMANCES Best of Broadway Revue – sang as Marius, Les Miserables; Moulin Rouge Revue – multiple singing and dancing roles; Murder Mistresses Dinner Theater – Improvisation; Northwest Children’s Theater – Upper Skagit Legends – Narrator/cedar flute performer. LEAD or PRINCIPAL ROLES Inspecting Carol; Blithe Spirit; Picnic; Romeo and Juliet; The King and I; Seven Brides for Seven Brothers MUSICAL and DANCING ROLES Kiss Me Kate (Show/Jazz/Ballet; duet romantic; assisted in choreography); Picnic (duet romantic, choreographed); A Christmas Carol (Show; assisted in choreography); Fiddler on The Roof; The King and I (duet romantic; self-choreographed). STAGE COMBAT Picnic (hand to hand, self-choreographed); Macbeth (heavy weapons; assisted in choreography); Romeo and Juliet (rapier duel); Richard III (heavy weapons) DIRECTING: 1997 to present Shadowlands; One Flew Over the Cuckoo’s Nest; Frankie and Johnny in the Clair de Lune; Proof; Paint Your Wagon.
KATE KYPUROS, Program Director at META Performing Arts Kate is currently the program director at META Performing Arts. She also teaches drama at Immaculate Conception Regional School in Mt. Vernon and at the HomeLink program for the Lake Stevens School District. Kate produced META’s recent production, “The Little Mermaid� and will be producing META’s upcoming show, “Seussical�, the musical at McIntyre Hall in November of 2006. Kate’s most recent directorial credits include Disney’s “Aladdin Jr.�, “How To Eat Like a Child, and Other Lessons in Not Being a Grown-up�, “The King and I�, “The Best Christmas Pageant Ever�, and “Tales From the Arabian Nights�. She is a certified facilitator for “Developing Capable Young People�, a program for parents and educators. Kate’s most recent acting credits include roles as a grandmother, a blind woman, a shameless hussy, and the owner of an abolition era speak-easy. Her favorite thing to do is to participate in improvisation. Her second favorite thing is storytelling.
Melissa Rolnick, Former Assistant Professor of Dance at Arizona State University (ASU) > She was the recipient of the Herberger College of Fine Arts prestigious Distinguished Teaching Award for the > 2003-2004 academic year. Previous to teaching at ASU, Melissa was a lecturer at Western Washington University for two years. She has a BFA in dance from SUNY Purchase College and a MFA from Mills College. > She has performed extensively with many notable choreographers including Emily Keeler, Joe Goode, Cliff Keuter, Elina Mooney, Ruth Davidson Hahn and Mel Wong. She was a member of the San Francisco Moving Company, Cliff Keuter’s New Dance Company, and the Margaret Jenkins Dance Company of San Francisco, performing nationally and internationally. She continues to teach, perform and choreograph nationally. Presently in her new home state of Washington she is teaching students of all ages at various community arts educations programs in Anacortes, Bellingham and Mount Vernon. In King County Melissa teaches for the Pacific Northwest Ballet Education and Outreach Program. > Most recently Melissa’s choreography has been produced by the University of Texas Pan American, California State University Fresno, Ann Green Gilbert’s Kaleidoscope Dance and On the Boards/12 Minutes Max in Seattle. Future projects include choreographing for the Cornish College Dance Ensemble in the fall of 2006.Sami Detzer, Actress, Musical Theater and META Veteran! Experience Juliet Romeo and Juliet Shakespeare Northwest Abigail The Crucible Phillip Tarro Theater Narrator Our Town La Conner Drama Department Sara Women and Wallace Skagit Community Arts Theater Lamb chops Fame (The Musical) META Performing Arts Anne Page Merry Wives of Windsor Shakespeare Northwest Ensemble Y. A. I. Showcase Seattle Children’s Theater Education La Conner High School Sept. 2002- June 2006 Intro to Improv 2000 Kate Kyporus Acting II 2002 Stella Ireland Storytime Theater 2002 Maura Marlin Classical Theater 2003 Carl Turner Advanced Acting 2006 Alban Dennis Young Actor Institute 2005 Rita Giomi- Director
Scott McDade, Actor, Writer, Director Scott McDade is a graduate of the University of Washington School of Drama (BA) and holds an MFA in directing from Ohio State University. Over the past several years McDade has directed and stage-managed a number of productions for Theater Arts Guild, including two musicals he co-wrote with his wife Fran. McDade has performed as an actor and singer with the Cirque Playhouse and A Contemporary Theater (ACT) in Seattle; and has appeared locally in Anacortes Community Theatre and TAG productions.
Sharyn Peterson, Violinist, Vocalist, and Conductor >Sharyn is a northwest native who solos regularly with local symphonies. In 1999 she founded the Starry Night Chamber Series, now under the non-profit umbrella of the Skagit Opera. In 2005 and 2006, she will solo with four different orchestras in the Sibelius Violin Concerto and the Mendelssohn Violin Concerto. >Ms. Peterson has performed in small chamber ensembles with the principal bassoonist of the Los Angeles Philharmonic, the Assistant Concertmaster of the Seattle Symphony, faculty members of New England Conservatory, Western Washington University, North Texas University, and numerous other fine musicians such as Paul Rosenthal-violin, Barton Frank-cello, Lisa Bergman-piano, and George Shangrow-harpsichord. > She has soloed with famed vocalist Erich Parce, soprano Terry Richter, soprano Julie Boyd-Penner, pianist Cullan Bryant, and many others. Ms. Peterson currently conducts the Mt. Baker Youth Symphony in Bellingham and the Fidalgo Youth Symphony in the Skagit Valley,as well as maintaining Peterson International Music School in Mt. Vernon, teachingviolin, viola and voice. Ms. Peterson’s students are frequent winners in various Northwest Competitions, and she is also an arranger and recording artist. She has twice been a guest soloist on violin and voice in the Monteverde Music Festival, Costa Rica. Each summer she directs the Summer Sounds Music Camp ( under the
auspices of the Mt. Baker Youth Symphony); an intensive week of symphonic, vocal, jazz, and art.
Her principal violin teachers were Emanuel Zetlin (from the faculty of the Curtis Institute), and Denes Zsigmondy, and her vocal instructors were Edison Harris and Paul Ingham, both associated with the University of Washington, where she received a Master’s Degree in Violin Performance. Ms. Peterson attended Tanglewood Music Festival on a full scholarship for chamber music, where she performed under Leonard Bernstein and Michael Tilson Thomas
David James, Director / Producer / Teacher: DIRECTOR FOR UPCOMING META PRODUCTION OF SEUSSICAL Currently teaches 10th grade Language Arts at Marysville Pilchuck High School, where he insists on pushing playwrights like Shakespeare and Chekov on impressionable teenagers. He attended classes at Skagit Valley College, got his AA from Whatcom Community College, a History degree from Western Washington University, an English endorsement from Seattle University, took a class from Seattle Pacific University, and just got his Masters in Education from Antioch University. >Has directed and produced plays and musicals in Stanwood with his wife, Carrie, for the last few years, including: Into the Woods, Jr. Anne of Green Gables Bye Bye Birdie Guys and Dolls, Jr. Annie, Jr. When he was in college, he was involved in the theatre program at Skagit Valley College, doing various tech and building jobs for all kinds of full-length productions and Short Play Festivals. He also did a bit of acting, for instance as “Trichinosis� in the Woody Allen play God. He began his theater career way back in middle school while working on musicals such as Annie (great musical) and P.T. Barnum, the World’s Greatest Showman (possibly one of the worst shows ever written… but still awesome, ‘cause everything in the theater is awesome!).
Carrie James, Director / Producer / Teacher : DIRECTOR FOR UPCOMING META PRODUCTION OF SEUSSICAL Education: University of Washington: BA Drama Western Washington University: Teaching Certificate Antioch University: Masters in Education Directorial Credits Include: Into the Woods Jr. Anne of Green Gables Bye Bye Birdie Guys and Dolls Jr. Annie Jr. Stage Managing Credits Include: The Tempest Fen Die Fleder Maus
Bruce Weech, Actor / Certified Stage Combat Instructor 35 years as a professional actor. I have appeared in over 100 stage productions, 10 commercials , and 2 films. I have worked with the Theater Arts Guild, Pacific NW ACT, Anacortes ACT, SCAT, Skagit Opera, and the Shakespeare Festival locally. I own Talisman Productions LLC providing professional technical support to theater companies throughout the NW. I am a certified stage combat instructor
Stephani Brink, Actor / Teacher
Stephani originally attended California State University of Long Beach as a Creative Writing major. She moved to Washington in 1992 where she decided to pursue a career in teaching. She has an added endorsement in Early Childhood Education and has taught several years of kindergarten and also third grade. She currently teaches first grade for the Stanwood School District at Utsalady Elementary
You’ve played a very broad range of styles, with many other well-known
artists, and in some world-reknown places.
Do you, after so many years as a professional musician, still play for
your own pleasure, and if so, what are you most likely to play?
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Hi Laura,
Slow blues improvisation, Bach or Classical improvisation. When I play for my own enjoyment I like to let my mind free and those three things do it for me. Sometimes I’ll try to find a series of notes or chords I don’t think I’ve ever played before, and see what happens. Sometimes I might play a slow blues for 45 minutes straight and get a “drone” going for my mind to escape, or sometimes switch between styles every ten seconds as a mental game.
When I play for myself I’m more interested in shapes and mental imagery of the music, than I am of notes. When I play for other people it has to sound good to THEM, but when I play for myself, it only has to be interesting for me. So sometimes it becomes a math/shape game for me, and probably only sounds good to me…..
