From mixing the orchestra, to composing transition music, post production, and immersive sound effects, I've got you covered.
From sound systems to consoles, DSP to video distribution, design specifications to leading the installation team, I can help you out of your jam.
From Ambisonic audio to custom MAX/MSP programming, I will make sure everything works smoothly.
I have been making noise my entire life, and doing it professionally since 1994. I have designed sound in theatres from Broadway to Bogota, and from Syracuse to Singapore.
I am a dedicated mentor, student, and collaborator. I bring a lot of ideas to the table, believing that the best ones will be expanded on by my collaborators to make a whole that’s better than the sum of its parts. I work best when surrounded by others that have the same passion for excellence, creativity, and attention to detail that I do.
I have written music, designed sound effects and sound systems at every scale in theatres around the USA and internationally. My work has been rewarded with a Bay Area Theatre Critics Circle Award and an Austin Critics Table Award. I was nominated for a Helen Hayes Award in Washington D.C., and a New York Innovative Theatre award.
After spending a decade in NYC as a designer and Broadway associate, I spent 5 years running the Sound Design program at CCM at the University of Cincinnati.
In addition to designing sound and teaching, I have presented a session on Ambisonics (360º audio) in Taipei, led sessions at the Broadway Sound Master Classes, and been a keynote speaker at SETC (South East Theatre Conference). I acted as the Sound Design Trustee on the Eastern Regional Board of IATSE USA-829 for 6 years, and served on the negotiating committee for the Broadway and LORT contracts.
Since relocating to Los Angeles in the summer of 2018, I have designed an episodic podcast for Shudder and a haunted house adaptation of Macbeth. I'm very much looking forward to my next adventure!
Misery at Syracuse Stage as reviewed by Connie Meng
I found myself constantly taking notes on the sound. Jeremy J. Lee has created a soundscape that adds immensely to the production. He’s filled the blackouts between scenes with subtle creaks and groans, closing doors, water dripping and Paul’s typewriter that all reverberate and echo. Many unidentified sounds heard in the dark produce a chilling effect. Technically this is a terrific production.
Low Down Dirty Blues at The Cincinnati Playhouse as reviewed by Scott Cain
...the sound by Jeremy J. Lee is crystal clear.
The Studio at Signature Theatre as reviewed by Susan Berlin
The sound design by Jeremy Lee serves as another major component of the performance, providing a necessary underpinning to the three performances.
Somewhere at The Old globe as reviewed by James Hebert
Jeremy Lee’s expansive, Broadway-centric sound design and Charlotte Devaux’s eye-catching costumes convey a rich period sense...
Death of a Salesman at the Old Globe as reviewed by Pam Kragen
...creates a strange and haunting sound- and visual-scape, where audience members feel as if they, too, are trapped inside Willy's head, surrounded by his swirling memories.
Dance Dance Revolution Off Broadway as reviewed by John Huntington
...the sound design by Jeremy Lee was fantastic as always...
Martin Blank, playwright for Law of Return
Another person who has helped immensely was Jeremy Lee, the sound designer for the New York show. Maybe it’s because I started out in theatre as a sound designer and sound board operator, but I really responded to Jeremy’s ideas. He helped me see how to open the play up, and I added a prologue.
The Thugs Off Broadway as reviewed by Alexis Soloski
In his introduction to the script, Bock suggests “that the sounds and lighting in the office be treated both as background and as character.” Designers Ben Stanton (lights) and Robert Kaplowitz and Jeremy J. Lee (sound) and director Anne Kauffman are in keen agreement. The buzzing of the fluorescents, the clanking of pipes, the scratching of pencils, the ding and thrum of the elevator all create a sinister, layered atmosphere.
Two Gentlemen of Verona at Chicago Shakespeare Festival
It begins with a couple of musicians noodling around, as a pianist notates his latest ragtime tune. And for the next three hours the delicious music and irrepressible energy of that era never let up... and the flawless sound design of Jeremy Lee--merits a long discussion all its own.
Stop Kiss at the Oregon Shakespeare Festival as reviewed by Rob Kendt
Jeremy J. Lee's urban sound design is appropriately both playful and menacing.