2018
Smokie, Live Wire AC/DC, Stiff Little Fingers,
Donnie Munro Band, Guns 2 Roses
Ironworks Venue, Inverness, Highland
Monitor Engineer
This is a large scale venue which was also fully analogue therefore I had to keep several detailed lists with the various patches needed for the different acts performing that evening as well as the different stage plots.
Declan Welsh, Definitely Oasis, Cuban Brothers
Ironworks Venue, Inverness, Highland
Front of House Engineer
These performances were when the venue was converted in half the capacity. I would have to create a patch list as well as organise and execute the sound check with all the artists.
The Green Room & The Twa Tams
Perth, Scotland
Front of House Engineer
At these small Perth based pubs, I would frequently work with a lot of local musicians and the occasional touring acts. Due to the venues being relatively small, I would always have to be mindful of the sound level while also creating a sound the act, audience and bar staff would enjoy.
Food In The Park
Blair Atholl, Perthshire
Front of House Engineer
This particular venue is based within a tent and only open during the summer months. While working here, I had to remain quite vigilant while working here as the sound level could not exceed 85dB while also ensuring the acts and audience enjoyed themselves.
The Royal Edinburgh Military Tattoo
Edinburgh Castle, Edinburgh
Sound No 3
Sound Designer: Sebastian Frost
Working as a part of a team of 9, my main role was to communicate with the musicians and performers and explain what it is we were doing. I would walk the length of the castle esplanade making sure that the correct people were wearing the correct microphone or TiMax tracker and communicating with the rest of the team if any issues arose and working together to identify and solve them. This was an outdoor venue and therefore I would have to be prepared to work in any weather situation and prep the equipment accordingly.
Beauty and The Beast
King's Theatre, Edinburgh
Sound No 2
Sound Designer: Richard Brooker
Working as a Sound 2, I would work predominately on stage during the performance ensuring that the radio microphones on the actors were all functioning correctly. I would also have to act quickly and quietly when problems arose either on stage or in the orchestra pit and communicate with the Sound 1 in order to solve the issue efficiently. I also worked closely with the actors and musicians in order to make them feel comfortable while performing.