About
Adam is a sound engineer with 20+ years of experience covering a wide range of industry disciplines, musical genres, and performance media.
  • Biography
    Music has always been part of my life.

    I started out playing piano at a very young age and while formal lessons weren't always a priority, continuing the study of music in one form or another always was front and center. At that young age, I was also very interested in computers and the computer-user experience. In my teens, I would end up finding ways to bring these passions together as a sound engineer. It is in the fusing of both the technical and the artistic that I have found my success in this industry – not only being able to have an ear for what is musical and what isn't, but also being able to leverage the latest technological advancements to achieve better and better results.

  • Live Sound Engineer
    I have a wide range of experience in many live sound engineering roles including Front of House (FOH) Engineer, In-Ear Monitor Engineer, and Large Scale PA Systems Engineer across an expansive world of genres.

    As a FOH Engineer, I leverage an artistic intuition borne from a lifetime of studying and performing music. I also bring forth the quick, honed judgment of years of experience in the hot seat. Combining skills from some of my other disciplines and my own musicianship, I pride myself on putting together well-polished, impactful mixes that captivate audiences and fulfill the artistic missions of the performers who hire me.

    As an in-ear monitor engineer, I have experience mixing some of the most technically massive tours not only pushing the boundaries of current technology but also the boundaries of equipment capacity in terms of inputs and outputs. As a lifelong musician, I am able to speak the language of the performers on stage to maintain a unique dialogue.

    As a systems engineer, I have deployed all types of sound systems of all sizes. The process of designing, deploying, and perfecting a sound system in a new space is something I get extreme gratification from.

  • Broadcast Mix Engineer
    Mixing for live broadcast is a world unto itself. Many of my peers and I have sat next to some of our industry's most talented TV broadcast mix engineers, guiding a mix for a client. I have also had the joy of being able to also step into that mix seat. Like my other experiences, it merges a lifetime study of multiple genres of music along with technical understanding of the limitations of the broadcast media. Unlike a FOH mix which is tailored for a single unique sound system and acoustical environment, a broadcast mix must be designed to translate on multiple outlets: TVs, radios, computers, tablets, smartphones, etc.

    You can see examples of some of my broadcast mix work in the "Streaming" and "Post-Production" tabs on the left. Also check out my work in remote broadcast mixing, bringing broadcast-quality audio to streaming performances.

  • Post-Production Mix Engineer
    Post-Production narrative coming soon! In the meantime, check out examples of my Post-Production mixing by clicking the "Post-Production" menu item.
  • RF Coordinator
    In recent years, our requirements for wireless systems in live performances has increased while our airwaves have become more and more crowded. Alongside all this has been a gradual sell-off of the airspace our production equipment operates in. Shows of all sizes today need solid RF coordination, whether you're deploying a couple channels of wireless mics alongside in-ear systems or handling 100+ wireless devices. In my touring history, as my shows' RF needs became larger and larger, I adapted my skills to suit their needs and through that education and exploration have become well versed in wireless coordination for large concert events in dense RF markets.
  • Audio Project Consultation
    As someone who tours the world, I have first-hand experience on what various performance spaces need to achieve the best coverage and fidelity from their sound systems. Too often, systems are designed and installed by people who will never use them. They spec great gear, but in many instances different gear and different implementation are required to maximize performance and a client’s budget. We’ve all watched venue owners get duped into installing gear that the vendor wants to sell, not what they necessarily need, and spending more money than is necessary. It all looked great in the sales pitch, but didn’t translate in practice. For all this, I have consulted on many different short term and long term (installation) projects, bringing my experience and expertise to a new venue.