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You are part of someone else's dream: dream it too.

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Think of the affect (emotional influence) of the situation on stage rather than portraying the situation itself, using sound materials grounded in the situation's spatial, cultural and aesthetic information.

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Always try a new compositional method or tool for each project.

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Do not recycle material unless the project asks for it.

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Be there as much as you can.

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Experiment with the social and emotional qualities of a venue and a company as well as its spatial parameters.

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Don't be afraid of high concept; don't be afraid of being obvious.

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Sound design is not just cues off a laptop: include all sound in your thoughts - the bleed from outside, the tones of voices, the type of language, the breath of the audience, the materials of the floor and walls, the buzz of the lights, the hum of the dimmers.

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Compose sound for rehearsal and devising processes as devoutly as for performance.

It actually requires more thought.

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Be open and receptive to feedback - a good director is a good editor; regardless, they're in charge.

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If you aren't the right designer for the project, don't do it.

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Silence is also sound.

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