At the forefront of Todd’s approach to mixing front of house are:
“One: What is the ticket buyer receiving and actually taking away at the end of the night?”
and
“Two: Is the artist’s vision for the music translating authentically, powerfully, and emotionally?”

He is mindful that for some in the audience, this will be first show they’ve attended; many others are coming to hear and see their favorite artist, to sing and move along with the current single and their favorite hits…live!; and there are also those who may have come casually, but who can potentially be transformed into fans.

Todd’s passion for live sound started with a love for music at an early age. His parents afforded piano lessons to him as a boy which served as a foundation for musical understanding. Later, he took up cello, then bass, and then guitar while also singing in choirs and ensembles. Some of the education he received was formal; some of his learning came from exploration. His high school choir teacher and a church youth pastor independently opened the pathways to live sound. Each needed help with their small sound systems; and each thought Todd may be a student who would be interested and responsible. 

As his enthusiasm grew for playing music and working with instruments, he found employment in a local music store in his home town. Part of the services offered by the store included small rental PAs which he regularly delivered and setup. At that time, the store was being managed by an entrepreneur, Alan Hulsey, who was making his name known regionally as an audio vendor and production provider. When Alan departed, purchasing the store’s pro audio assets and business, he asked Todd to come work for him. At first, it was much the same: working in retail and regularly delivering speakers-on-sticks. However, little by little, new opportunities and responsibilities arose within the company. Small, single-man jobs turned into multi-faceted corporate events and music festivals requiring flown PA, separate monitor systems, dedicated power services, and interaction with lighting and video personnel and other vendors.

All the while, Todd was studying at a local state university and taking private classical guitar lessons with hopes to transfer to music school. Following the audition, he was accepted into Belmont University’s School of Music. Attached to it was a performing arts facility, where Todd continued working in live sound and on stage, building on the skills he had been acquiring back home. He was also making first connections with peers in Nashville that would continue to be mutually beneficial in his career. After a few semesters of relentless practice and music study, he realized that, although he loved playing music, his skillset was more beneficial in sound reinforcement and music production. He shifted his study to audio visual production and incorporated business studies as well. While completing his formal studies, he began freelancing as a systems tech and mixer with local audio vendors. 

It was during this period that Todd met Hugh Johnson, Vince Gill’s FOH engineer and production manager. Hugh provided an opportunity for Todd to start working on the road as his A2, as well as begin working with Sound Image. Todd was also introduced to Phil Scobee, then manager of  Morris Leasing (predecessor to Morris Light and Sound), who exposed Todd to large scale audio system design and deployment. Under their mentorship, he began to hear more than just tonal balance and dimension from the perspective of a music mix; he was gaining the ability to listen for phase, alignment, and system balance for the audience’s benefit, especially in multi-zoned systems. They inspired questioning the status quo of system operations and design. They encouraged pushing boundaries and continued learning. Further strengthening the lessons were opportunities to participate in Meyer Sound’s system design classes and Rational Acoustics Smaart training which opened Todd’s horizon to system design, measurement, and optimization through use of sophisticated prediction and measurement tools. These building blocks were leading to a determined philosophy of making systematic and repeatable design and deployment choices with systems and in mixing.

After three years of working as an A2 and systems engineer came the first opportunity to mix FOH for a touring act, Kellie Pickler. In this role Todd became comfortable making the best with local provision. There were days of mixing in trenches, but moreover there were opportunities to build creative and intelligent routine for problem solving (with people and equipment) while working to make an artist shine regardless of circumstances. 

He continued his touring career through relationships with audio vendors and artist managers which led to mixing monitors for Gretchen Wilson and Bush; mixing house for Big and Rich, Cyndi Lauper, Olivia Newton-John, and Hunter Hayes; and production managing Olivia, Hunter, and Barenaked Ladies.

In early 2018, Todd began mixing FOH for Miranda Lambert. During his tenure with Lambert, he has had the opportunities to tour with Lauren Daigle supporting her Look Up Child project in theaters and arenas; to tour with Brett Eldredge for his Mr. Christmas shows showcasing his baritone in a big-band setting; to mix broadcast, corporate, and various musical events; and to serve within his church community using this skillset as a volunteer FOH and broadcast mixer. He continues working and pursuing this craft. He realizes live entertainment provides a space, albeit fleeting, where an artist’s dream becomes reality and in turn fosters dreams for the audience. Here, the weight of daily life is relieved. Here, people connect meaningfully. Here, Todd combines the art and science of modern sound and recording technology that delivers these experiences. His professional mission is accomplished when these moments meld to bring satisfaction in the moment and the memory.

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