Mixing a Musical

Shannon Slaton is a sound designer based in New York. He has designed the tours Elf, Kiss Me Kate, Noise/Funk, The Full Monty, Contact, Tap Dogs, Hairspray, The Producers, Sweeney Todd, The Wizard of Oz, The Drowsy Chaperone, Sound of Music, Bullets over Broadway, and The Wedding Singer. His Broadway work mixing includes Man of La Mancha, Bombay Dreams, A Christmas Carol, Sweet Charity, Jersey Boys, Dirty Rotten Scoundrels, The Drowsy Chaperone, Spring Awakening, Fela!, Anything Goes, Holiday Inn, Annie, Cabaret, Springsteen on Broadway, and Legally Blonde. Off-Broadway he assisted on Hurly Burly and on Broadway he assisted on Steel Magnolias and was the Associate on Barefoot in the Park, Blackbird, An Act of God, Present Laughter, Meteor Shower, and was the Production Sound on Wicked. Regional designs include shows at George Street Playhouse, Casa Manana, and NCT.

Dedication Introduction PART I – THE CAREER PATH Chapter 1: What Does It Mean to be a Theatrical Mixer Chapter 2: History of Theatrical Sound Chapter 3: Different Positions in Theatrical Sound Chapter 4: Different Levels of Theatrical Sound PART II – THE PREP Chapter 5: Design Team’s Job Chapter 6: Mixer’s Job Chapter 7: The Shop Chapter 8: Build Schedule Chapter 9: Build Techniques PART III – THE TAKE-IN OR LOAD-IN Chapter 10: Design Team’s Job Chapter 11: Mixer’s Job Chapter 12: Unions Chapter 13: The Schedule PART IV - TECH Chapter 14: Tony Meola on Mixing Chapter 15: Design Team’s Job Chapter 16: Mixer’s Job Chapter 17: A2’s Job (Mic’ing Techniques) Chapter 18: Troubleshooting Chapter 19: Mixing the Musical Chapter 20: My Advice to Mixers Chapter 21: Tips from the Pros Chapter 22: Suggested Projects for Mixers Epilogue Index