BRIAN McELROY | COMPOSITION & AUDIO DESIGN
AUDIO RIGHTS — PLEASE READ
While productions using proprietary, licensed, or non-original samples or clips make up the majority of Brian’s designs, with some having won MAC awards (TIME STANDS STILL | LTW | 2019, EVERY BRILLIANT THING | LTW | 2018, alongside 10 other nominations), it would be inappropriate and more to the point illegal to share the audio here. Only those audio pieces which have been modified sufficiently beyond the original licensed material, or composed originally in their entirety, are the sole intellectual property of Brian McElroy. All rights to this audio are his and distribution of the below without permission is strictly prohibited.
Below you’ll find only original audio or music generated from scratch in a DAW. Besides the below projects, as suggested above, he has designed for United Solo Festival, Winding Road Theatre Ensemble, Arizona Onstage, Roadrunner Theatre, and others.
BY THE NUMBERS
10+ years of audio design
20+ years of trombone, guitar, piano, and vocal performance
55 production designs
CLIENT
Pima Arts
DATE
NOV 2023
COMPOSITION, SOUND DESIGN, & LYRICS
Brian McElroy
MAIN THEME COMPOSITION
RYAN GREEN
PIMA ARTS PRESENTS
RICHARD III
This project includes 31 original compositions ranging from simple fanfare effects to a complete, original proto-punk rap diss track. The production design was post-apocalyptic steampunk and I wanted the audio design to be crunchy, electric, distorted, and often phrenetic.
Because the work generated in this project is archetypal to the preferred style, scope, and strategy of Brian’s musical and audio design, sound design for Richard III is the primary highlighted project in this portfolio. Please check out each of the below for underscoring, scene transition, and original music.
CLIENT
LIVE THEATRE WORKSHOP
DATE
SEP 2022
SOUND DESIGN
Brian McElroy
ASST. SOUND DESIGN
ojas sanghi
AN ALMOST
HOLY PICTURE
This one-man-show was a breathtaking narrative about self, personal journey, and faith. I wanted the design to not be heavy-handed, focusing on flourishes to give the narrative space to speak for itself. There were over 70 samples used in this piece, and those that required thorough editing in a DAW — or combination to create a soundscape — are featured below.