Born and raised in Syracuse, NY, I graduated from the University of Miami in May with a degree in Music Engineering. During my four years at The U, I studied classical voice and took classes in a wide array of subjects, including advanced audio electronics, studio tracking and mixing, and even music theory and aural skills. Taking classes in such a vast range of topics has allowed me to come to the conclusion that I am devoted to combining my creative intuitions, my technical prowess, and my passion for collaborating with people in professional settings.
I have been well versed in many musical genres throughout my career. I grew up singing in choir and vocal jazz ensembles and starring in musical theater productions. When I was in high school, I had the honor to share the Broadway stage with theater greats Norm Lewis, Lea Salonga, and Brian D’Arcy James through Manhattan Concert Production's Broadway Series. In college, I studied classical voice and was able to continue singing musical theater and jazz. I also travelled to and sang in Vienna, Salzburg, and Prague with the Frost Chorale. In my last year of school, I formed a soul-pop trio, SAYGE, and we performed all around Miami. Being in SAYGE inspired me to begin writing my own contemporary music. My vast musical background has led me to create songs that smartly blend jazz and musical theater styles while telling stories of my real life experiences.
Running sound for a junior high school production of You're a Good Man, Charlie Brown was my first experience as an engineer, and I've been hooked ever since. I joined Recording Services at the University of Miami as soon as I was able, and quickly climbed from assistant to Chief Live Sound Engineer and Recording Engineer. During my time with Recording Services, I worked with a multitude of Frost School of Music ensembles, as well as guest artists such as Bruce Hornsby, DJ Mark Farina, and Ben Folds. During my senior year, I was asked to be the full time engineer for the American Modern Band, a top contemporary ensemble. I worked as a sound and recording engineer at the Caroga Lake Music Festival in Caroga Lake, NY after I graduated from The U. There, I was able to work and collaborate with classical chamber artists, jazz piano prodigy Matthew Whitaker, members of the Grammy-winning O'Connor Band, and many others. Currently, I am working as an engineer at Syracuse University Setnor School of Music.
I have been fortunate to be able to collaborate with many different people in many different disciplines throughout my career. For almost three years, I was a music and math tutor for University of Miami Athletics. Being able to watch student-athletes grow both in the classroom and on the field was amazing, and it was always such a joy to witness them finally understand concepts that they had been struggling with.
I'm willing to go out on a limb and say that I had one of the most interesting summer jobs before my senior year at UM. I was a part of a research team that was working on the Judy Edworthy Alarm Study. The purpose of the on-going study is to combat ear fatigue in emergency rooms by creating new iconic alarm sounds (i.e. drug delivery sounds like a pill bottle being shaken). My portion of the study involved testing new alarms in simulation environments with trauma center professionals.
During my senior year of school, the head of the Music Engineering department nominated me to be the president of the Audio Engineering Society UM Student Chapter. The club had been dormant for a few years and he had hopes that I could revive the club. I'm proud to say that the attendance grew at each meeting, we worked on a very cool beat-detection project, and the club continues to thrive today.
My most fulfilling professional experience thus far occurred when I was working as an studio intern at SubCat Studios in Syracuse, NY. Towards the end of my internship, I facilitated and assisted with the Music Technology Access Project (MTAP). MTAP is a two week program where Music Education graduate students from Syracuse University come to the studio during the first week and they learn every step of the tracking process. Then, during the second week, students with intellectual and developmental disabilities come in and the grad students teach them what they learned the previous week. It all comes together with a big tracking session with the kids and graduate students. I have never seen bigger smiles than the ones on those kids, and that will be something that sticks with me forever.