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American Idiot

Winner of BWW 2015 Award for Best Sound Design in a New Production of a Play or Musical

The sound balance is excellent: you can hear all of Billie Joe Armstrong’s lyrics even on the odd occasion when you rather wish you couldn’t. 4**** The Independent

Delivers an energy and sound that is rarely seen in the West End. jonathanbaz.com

The band and ensemble sound exceptional. 4**** What's On Stage

The delivery of the songs, the sound of the live band – all of it brimming with authenticity and anarchy. The creative team have definitely done their homework. bargaintheatreland.com

And it’s loud, although the sound team deserve a mention for the clarity and quality of the production. musicaltheatrereview.com

Where it really excels is, of course, the music. The inclusion of a live band on stage is perfect, and they steal the show throughout. They are excellent, and I was so impressed with how they managed to capture a punk vibe without drowning out the vocals – perfect sound design!

adventureandanxiety.com

The band occupy the upper tier and bring tremendous music to the entire show, and while you might expect it to be too loud, it never is. It’s nicely balanced. asmallmindatthetheatre.blogspot.com

Thriller Live

The sound balance – so crucial – is superb: not overbearing, but beautifully calibrated. musicaltheatrereview.com

Chris Whybrow’s sound design — crystal clear and yet beefy and bold — is an integral element for the success of the production. Daily Review – Sydney, Australia

A visual and audio feast for fans of the legendary Michael Jackson. Birmingham Mail

Show-stopping Sound. Bath, Gazette & Herald

The sound is loud but doesn’t distort the really fine voices of the singers, so three cheers for the sound designer, Chris Whybrow. 5***** playstosee.com

The songs are great and the singing and dancing is outstanding, it also has the best live band I’ve heard in a theatre for a long time. Tony Blackburn

It’s all laid down with tremendous funk and fusion of lights, sound and dance moves. Micheal Coveney, The Independent

Breathtaking sound and light design. thecreativeissue.com.au

Mounted on a colourful set with plenty of eye-popping CG visuals and a zappy, effective sound design by Chris Whybrow, the cast of artists from UK, Australia and the US all exuberantly bumped and grinded their way through MJ’s famous hits. stagewhispers.com.au – Brisbane, Australia

The Live band at this production is exceptional with an ‘arena’ feel sound-system offering the full Jacko experience. celebrityradio.biz

The Thriller Live set design is by Jonathan Park. The terrific special effects come courtesy of The Twin FX Visual and are super complimented by Nigel Catmur’s electric lighting designs and sound to die for by sound designer Chris Whybrow.

eastmidlandstheatre.com

It arrives with genuine West End production values – the sound is phenomenal, the dancing sensational, the lighting awesome, and the Pavilion stage has never seemed so big, impressive, and utterly dazzling. Southern Daily Echo

The Rat Pack Live from Las Vegas

One of the best bands I have heard in a long time, led by Musical Director Matthew Freeman. The band’s arrangements are tight, incredibly well played and every instrument can be heard beautifully, with some lovely work by the sound department not to overpower the vocals. backstagepass.biz

20th Century Boy

Credit to Chris Whybrow’s sound design which was perfectly balanced on this first night in Wimbledon. jonathanbaz.com

Legally Blonde

Even the band, packed into a tiny marquee beyond the stage, spares no grandeur in the arrangements, and sounds fantastic. musicaltheatrereview.com

Philip Whitcomb’s set along with Chris Whybrow’s well-crafted sound design ensure all the action is both seen and heard as the sun sets behind the trees. Jonathan Baz - mytheatremates.com

Singin’ In the Rain

The quality of playing and the deft mixing make Kilworth’s sound design among the best on the circuit, and contribute enormously to the enjoyability of the production. stagereviews.co.uk

West Side Story

Electrifying production played with energy, spontaneity and passion. *****

Thoroughly Modern Millie

What makes musical productions so outstanding in this venue is that there are no walls to contain the sound. It swells and expands like something let loose into the atmosphere.
Just couldn’t be bettered – sheer joy from start to finish. ***** The Stage

Chris Whybrow’s sound ensured that lyrics were always clear and the balance between voice and orchestral texture perfectly poised. Stephen Collins, livetheatreuk.co.uk

The band sounds fantastic. stagereviews.co.uk

The performance of ‘Thoroughly Modern Millie’ was outstanding, from the live orchestra, who where perfectly tuned , who could be heard perfectly by the amazingly clear sound system, it was hard to believe you were in the middle of a forest. TripAdvisor User

Footloose Tour

Sound designer Chris Whybrow excels in technically delivering the perfect balance of music and voice through every number and dramatic sequence…. from the first opening of thundering drums of the Footloose theme you could tell sonically it was going to be good. behindthearras.com

Perfect clarity. mancunion.com

Madagascar The Musical – Tour

Chris Whybrow’s sound wraps itself in a zebra-hug round George Noreiega’s recorded score, supervised by Angharad Sanders where Mark Crossland’s ensures a big beast sound with a delicate roar: it never overwhelms the aural envelope and you can hear the singers. fringereview.co.uk

Sound quality throughout was crisp and clear, with no visible mikes. on-magazine.co.uk

We heard every word throughout the performance. Sound effects were executed in perfect timing, adding further realism to the show. whatsonhub.com

Knights of the Rose

The musical direction comes from the hugely experienced and sensitive Mark Crossland, who is a peerless interpreter of the vocal arrangements, orchestrations and additional music of the wonderful Adam Langston, their sounds given fulsome shape by Chris Whybrow’s confident and shrewd sound design.  You will never forget the moments of wonder they present: in particular, the effect of the men’s voices singing together in choral numbers is ravishing. britishtheatre.com

The show benefits from impressive use of sound and projection effects which add depth to the battle scenes. redguitarmusic.com

Guys and Dolls – Kilworth House Theatre

Pure musical theatre heaven in a scintillating, glowing revival of the Broadway classic. Mark Shenton, The Stage

Chris Whybrow’s sound design doesn’t just subtly overlay New York traffic sounds but in the romantic Cuban moments, listen carefully to waves lapping on the shore. jonathanbaz.com

A good chunk of the credit goes to Chris Whybrow, clearly something of a sound superstar, handling the difficulties of a live yet hidden-from-view band,  a company of 25 and the acoustics of an open-air theatre with aplomb. Lizz Brain, The Leicester Mercury

Joseph and the Amazing Technicolor Dreamcoat – Kilworth House Theatre

And the big numbers – culminating in a tearaway Joseph Megamix – are mighty and explosive. Pat Ashworth, The Stage

Top Hat – Kilworth House Theatre

The open-air setting of Kilworth House is skilfully tackled by the show’s team. Morgan Large’s set offers an Art Deco vision that is as ingeniously multi-functional as it is dreamily elegant, never overshadowing the performers, merely enhancing their work. Similarly Chris Whybrow’s sound design works well with the venue’s unconventional acoustics – not a word or note is missed. jonathanbaz.com

The Wizard of Oz, Blackpool Opera House

Chris Whybrow and Jack Weir have designed a sound and light show that delivers giant-sized effects to match the ambitious scale of an inventive and entertaining production. David Upton, britishtheatreguide.info

The sound and light effects when the Witch comes on stage are brilliant. Kim Bickerdike, whatsgoodtodo.co.uk

And while some of the other action gets a little dwarfed, musical director Dean McDermott’s marshalling of the seven-piece band helps the film’s much-loved songs and Mark Crossland’s lush arrangements to fill the venue to the rafters. Chris Bartlett , The Stage

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