Behind the Scenes

Traci Almeida

Name:  Traci Almeida

Birthplace:  New York City

City of Residence:  Pembroke Pines, soon to be Boca Raton

Occupation:  Sound Designer/Engineer

Credits and awards:
I've designed shows for the Hollywood Playhouse, Mosaic Theatre (with a Carbonell nomination for the Pull of Negative Gravity), and I'm the resident sound designer for the New Vista Theatre Company.

How long have you been a sound designer?
I've been designing for about nine years on and off, but more on than off in the past four years.

What got you interested in sound?
I've been a musician since grade school, playing percussion and piano.  I originally wanted to take that to college and ultimately play professionally.  In high school, I decided that my eclectic love for music and wanting to make it was changing more toward the recording studio area.  I thought that would be something I would like to explore.  I ended up going to Full Sail Real World Education in Winter Park, Florida.  The school specializes in audio, video/film, and digital media.  After graduating, I interned at a recording studio in Miami.  I didn't enjoy studio work as much as I thought, and pursued other areas and starting doing live sound touring with the Florida Grand Opera.  That's when I realized that live sound for theatre was what I was supposed to be doing.  I got my first engineer job at the Hollywood Playhouse and ran with it.

What is involved in creating the sounds in a show?
I read the script as soon as I get it, write down all the necessary sound effects and during meetings add more at the director’s request or my suggestion.  Some sounds are easy, like one thunderclap, but if it says storm, then I get to have some fun.  I find the perfect rain, thunder, and wind sounds, and build my very own storm.  Next I get each person a microphone, even if they only have one line, it's important to hear it.  Sometimes that will require microphone swaps backstage.  Sound checking each person and cueing them to make them sound as natural as possible is the next step.  The same steps are taken with an orchestra, if it's a musical.  A sound check is performed on each instrument as well.

How much of your direction for sound is in the script and how much is of your own design?
It depends if it’s a musical or a play and what the director wants.  With musicals, I don't usually add a whole lot of sounds unless it's in the script, the director requests it, or I really see the need for it.  With plays, I have more space to be creative, especially with scene shift music.  I read the script and get a feel for what kind of music will drive into the next scene perfectly.

Do you collect sounds, the way John Travolta's character did in Blow Out, the only film I can think of that dealt with a sound man?
I actually never saw the movie.  I have a collection of sound effect CDs that I pull from.  Sometimes the effect you want isn't available and you have to record it and make it yourself.  I save everything just in case.  You never know when you will need a good burp sound.

What shows present the biggest challenges?
The biggest challenges are shows with a large cast and a lot of microphones, such as Funny Girl.  I have 20 wireless microphones and there are a few scenes where they are all on at the same time.  As a designer you have to make sure there is no feedback.  Also, when you have 20 microphones on at once and they are dancing or singing in each others’ faces, you may have one person whose voice sticks out.  Then the investigation starts.

What inspires you?
There are a few things.  Since I'm my own engineer and run the shows as well, I get to sit there and listen.  There is nothing better than a great mix!  I literally get goose bumps and tear up, and when that happens, I know I've done a good job.  The other thing that inspires me is our older crowd.  When that little old man or lady comes up to me and says that it sounded good and they could hear everything, there's no better compliment than that.

What are the hallmarks of good sound?
Clarity and a well balanced mix.

What do you consider your proudest professional moment?
Every time I run a show.  It's the best feeling in the world.

What show or project have you most enjoyed working on and why?
It's really hard to pick just one, because I love all the shows I have worked on, but one experience sticks out.  I recently designed and ran Little Shop of Horrors for the West Boca High School drama department.  Yes, it was high school and yes, it was disorganized, but working with the kids was so gratifying to me.  The kids are there because they love it.  It's not a job to them yet, so they are always happy.

What is the best thing about working in South Florida theatre?
I love working with the same people all the time.  You really get to know them and how they work.  It makes a family atmosphere and you really work well together because you don't have to tread lightly.  You call them an asshole and a minute later you love them again.

Current and Upcoming projects:
Funny Girl: December 13-30, West Boca Performing Arts Theatre, 12811 Glades Rd., Boca Raton
Jacques Brel is Alive and Well and Living in Paris: December 20 to January 6, Miniaci Performing Arts Center, Nova Southeastern University, 3100 Ray Ferraro Jr. Blvd., Davie; January 17 to February 3, West Boca Performing Arts Theatre
The second season of the New Vista Theatre Company, as well as All Shook Up at West Boca High School