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Sound Design Portfolio Highlights

As It Is In Heaven

Sound Designer

As Sound Designer for the University of Memphis's production of As It Is In Heaven, I created, sourced, and edited music and sound effects, creating layered environmental soundscapes as well as celestial soundscapes in an abstract interpretation of angelic sound. Implementation and EQ-ing in the space, as well as tracking paperwork, was also completed by me.

Director: Holly Derr

Scenic Designer: Maya Holmes

Costume Designer: Kenann Quander

Lighting Designer: Anthony Pellecchia

Photography: Daniel Nguyen

Tragedy Sound

Sound Designer

As Sound Designer for Playhouse on the Square's production of Tragedy Sound, I created, sourced, and edited music and sound effects, creating layered environmental soundscapes as well as underwater sequences and exploring abstract memory vignettes. Implementation and EQ-ing in the space, as well as tracking paperwork, was also completed by me.

Director: Domenic Andolina

Scenic Designer: Alex van Blommestein

Costume Designer: Waverly Strickland

Lighting Designer: Melissa Andrews

Photography: Halo

Sound Designer

Emerge 2025

As Sound Designer for the University of Memphis's production of Emerge, I sourced and edited music, including making cuts and additions, putting effects on song tracks, and creating layered environmental soundscapes. Implementation and EQ-ing in the space, as well as tracking paperwork, was also completed by me.

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Moonlit

Choreographer: Ella Lark

00:00 / 08:34

Starlit Music & Soundscape

Director: Rachael Arnwine

Scenic / Props Designer: Brian Ruggaber

Costume Designers: Margaret Andrews, Sphinx Curtis, Jasmine Gillenwaters Casey Gurlen, Caelan Ingram

Lighting Designers: Drew Hamby, Chris Hanian, Robert Kovacs, Elliot Norton, Anthony Pellecchia, Rowan Sullivan, Josh Williams

Photography: Ziggy Mack

Solace

Choreographer: Madison Hill

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Asst. Sound Designer

Ride the Cyclone

00:00 / 00:30

RTC Preshow Soundscape DEMO

As Assistant Sound Designer for The University of Memphis's production of Ride the Cyclone, I helped with various forms of tracking paperwork, I sourced and implemented a number of sound effects for the production, and I helped with physical setup. I also created the preshow soundscape consisting of eerie, ghostly carnival ambient sounds layered on top of and alongside one another.

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Director: John Yorke

Sound Designer: Rowan Sullivan

Scenic Designer: Clare Kelly

Costume Designer: Cole Hudson

Lighting Designer: Anthony Pellecchia

Photography: Bill Simmers

Asst. Sound Engineer / A2

The Most Happy Fella

As Assistant Sound Engineer and A2 for The University of Memphis's production of The Most Happy Fella, I helped with various forms of tracking paperwork, served as the intermediary go-between for sound and costumes, built various forms of mic rigs, served as one of the A2 mic wranglers for each performance, and helped with physical setup.

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Director: Ben Smith

Sound Designer: Christopher Plummer

Scenic Designer: Brian Ruggaber

Costume Designer: Kenann Quander

Lighting Designer: Chris Hanian

Photography: Bill Simmers

00:00 / 02:00

DID WE JUST BOMB YOSEMITE?

Trigger Warning: Guns / Violence

Theoretical Sound Design

DID WE JUST BOMB YOSEMITE?

As a theoretical sound design, DID WE JUST BOMB YOSEMITE?  is a soundscape inspired by the video game Horizon Forbidden West. The sound design intends to portray feelings of deep, bone-shaking fear and bloody violence under the point of view of the narrator: just one apocalyptic soldier who managed to survive slightly longer than the rest, knowing their time is swiftly coming to an end and they can do nothing to stop it. Implementation of this concept includes crackling and the occasional distortion of sound due to data corruption, reinforcing the idea that these were past events possibly coming through a radio transmission that may have occurred so long ago that some of the data has been lost to time. It includes the sounds of metal machines clicking and whirring, coming from the war machine, Horus, and the robot swarm. The sound design includes sounds of battle, running, and a plane rushing by, reinforcing the idea of panicked, urgent movement. It also includes labored breathing, ears ringing sharply, shouting, explosions, and the like, reinforcing the idea that humans were experiencing mass death and destruction, promoting the idea of humanity and sympathizing with the soldiers of Earth.
Timing and volume play an incredibly important role. It fades in with chaos and destruction, sounds of vehicles and tanks and guns, followed by a plane and a rather large explosion, followed by more destruction, and ending with loud ears ringing, heavy breathing, and the aftermath. The Yosemite state park music at the end serves as something ominous and unsettling, as well as reinforcing location as well as the idea of black humor tied to the soundscape.

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by Lyz Rieger. Powered and secured by Wix

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