All info on sound department

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RowanElwell
Sound Department
The soundtechnicianorengineerisrequiredtomix the soundfora live performance.Theydothis
throughthe use of a ‘soundmixingconsole’(sounddesk),whichcanbe eitheranalogordigital.
In audio,a mixing consoleis an electronic device forcombining (also called "mixing"),routing,and
changing thevolumelevel, timbre (tonecolour) and/ordynamicsof many differentaudio signals,
such as microphonesbeing used by singers,mics picking up acoustic instrumentssuch asdrumsor
saxophones,signalsfromelectricor electronic instrumentssuch asthe electric bassor synthesizer,or
recorded music playing on a CD player.In the 2010s, a mixeris ableto control analog ordigital
signals,depending on thetypeof mixer. – Wikipedia
People we workwith
 Stage manager– to findoutwhere topositionthe hangingmicsinrelationtothe blocking
on stage (where the actorsare throughoutthe show)
 Costume department –to figure outthe bestpossible waytoattachthe radiomicsto the
actors and comfortable fitthemaroundtheircostume
 Musical director– to findoutwhichinstrumentsneed tobe providedwithamicand how
the MD wouldlike the bandtobe setup (theirphysical arrangement)
 DSM – to provide the soundopswiththe cueson stage
 Band – to provide cuesinthe musicfor the soundops tolistenoutfor
 Director– to sort throughthe SFXtheywant inorderto conformto theiroverall artistic
visionof the show
All roleswithinthe department
 Designer
 Operator/Engineer/Technician
 Programmer
Sound Design in Wicked
 Sounddesignreliesonrelationshipbetweenperformerandaudience
 Making itworknaturallywiththe audience,ratherthanputtingtoomuchemphasisonthe
sounddesignitself
 Findingbalance betweenmusicandlyrics
 Microphone packsheldonbodyunderneathcostume,withmiceitheroncheekoron
foreheadandthe wiresheldinplace bymedical tape
 Try to make sure the locationof the soundispannedto the correspondingpositionthrough
the speakersi.e.the orchestrasoundslike it’scomingfromthe orchestrapitand the voices
soundlike they’re comingfromthe stage
 Sounddesignerworkscloselywithothersoundrolestotell themwhatthe balance and
mixingshouldsoundlike,butthe engineersandmixerswill be the oneswhoactuallycarry
out the task of operatingthe designsetoutbythe sounddesigner
- https://www.youtube.com/watch?v=xCH4Tlf6R7U
More noteson soundrolesin Wicked

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RowanElwell
 The sounddoesmore than justamplifythe performer’svoices
 It crafts a soundscape
 Tony Meola– sounddesigner.
 Bringthe showoutto the audience
 Helpsto tell the story! – everyaspectworkstowardstellingthe story
 Controlswho’smicison, howitsoundsand how loudit is
 Try to make it soundlike the voicesare comingfromthe stage – panning
 The soundmixerperformseverynightwithoutabreak
 Everyline onthe desk,hasone microphone
 Have to mix the soundwhetheritsdialogue ormusic
 Needstoknowall the cues – orchestral andon stage
Mamma Mia
 FabianPeterson –headof sound
 Headof soundisresponsibleforall of the audiointhe show
 7:30 show,5pmall the soundteamcheckall the microphones,speakers –90 minute sound
check
 3 people involvedwiththis –1 at mixingdeskand2 people onstage
 Bad soundisimpossibletohide!
 40% technical,60%artistic– managingof the sound – a soundcrew memberneedstohave
a musical ear
 Theymix the vocalsand the band
 KEEP MUSIC LIVE – artisticintegrityandproductionvalues
SoundDesigner
 The sounddesignerplansandprovidesthe soundeffectsinthe play,includingmusicfrom
existingsources.Inaddition,acomposermaywrite original musicforthe show.All the
musicand/oreffectsina playconsideredasa whole make upthe "soundscape."
 In additiontothe soundsof the wordsspokenbythe actors, a playmayalsocall forsound
effectstorecreate lifelike noisesoruse musicorabstract and unidentifiablesoundsto
supportthe drama.
 Work done bySoundDesigner:
 Sounddesignersandcomposersbegintheirworkbystudyingthe script,gatheringasmuch
informationastheycanabout any soundor musicitcallsfor. Asin all otheraspectsof
design,anearlymeetingwiththe directorandthe designteamisessentialtogeta clear
understandingof the productionconcept.
 Some directorswill alreadyhave veryclearideasaboutwhatthe soundeffectsand/ormusic
shouldsoundlike,whileothersmayrequestthatthe sounddesigner/composersitinon
rehearsalstoassistwithdevelopingeffectsandmusictofitthe specificcontextsinwhich
theywill be used.Once theyhave aprecise sense of whatthe productionneedsoutof the
musicor sound,the composerbeginscomposingthe necessarymusical piecesandthe
sounddesignerbeginstogatherandcreate the necessarysounds.
 Soundsandmusicin the theatre can:

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RowanElwell
 motivate actionsonstage andindicate eventstakingplace offstage
 establishthe time of day,seasonandweather
 locate the actionin a specificplace
 create moodand changesinmood
 stimulate audience expectationsof whatistocome
 provide informationaboutthe characters
 buildtransitionsbetweenscenes
 offershortcutsthatrapidlyadvance the plotor recall pastevents
 The designerorcomposercombinesandvariesthe five controllable propertiesof soundto
create unique effectsormusicrequiredbythe productionof the play.
 The controllable propertiesof soundare:
 Pitch- the wavelengthorfrequencyof the sound
 Volume - the loudnessorquietnessof the sound
 Quality - howpitch andvolume combine togive eachsounditsowndistinctiveeffect
 Direction - the locationof the soundin space and how soundtravelsfromone locationto
another
 Duration - the lengthof time the soundlasts
 Planningtoolsof sounddesignersandcomposers
 Plot:A listof all the musicand soundcuesfor eachact/scene.Itindicateswhere the sound
or musicoccurs, the page numberof the scriptwhere itappears,preciselywhenitbegins
and ends,andthe equipmentthatwill be usedtoproduce it.
 Systemlayout:A systemlayoutshowsthe type andlocationof speakersonstage,onthe set
and inthe auditorium.The systemlayoutmayalsoinclude alayoutof how all of the sound
equipmentwill be interconnected.
 Cue sheet:A versionof the soundplotto be usedby the soundtechnicianswhowillrunthe
equipmentduringthe performance.
 Soundand musiccuesare oftendependentonthe precise timingof the onstage actionand
can onlybe set afterthe play'sblockinghasbeendetermined.Ideally,the director,castand
crewwill have several opportunitiestofine tune the timingof the completedmusic/sound
designduringtechnical rehearsals. - http://www.aact.org/sound-designer
SoundEngineeringTrainingRoutes(if you’renotdoingitthroughpure experience)
1.
https://www.bruford.ac.uk/courses/performance-sound/
The ‘BA (Hons) Performance Sound(LiveDesignandEngineering)’Degree atRose Bruford
College isone waytoget intoSoundEngineering.
The entryrequirementsforthis3year course (placementinc.) are:
• 96 UCAS points
As part of thisprogramme youwill share classesandprojectswithstudentsfromother
programmesfromthe School of Design,ManagementandTechnical Artsto learnaboutthe
performance,artsandeventsindustriesandhow touse experimentation,enquiryand
creative researchinyourwork,and prepare tobuilda successful career.
2.
http://www.bimm.co.uk/study/courses/brighton/live-sound/diploma-in-live-sound-
engineering-and-tour-management/

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RowanElwell
The ‘DiplomainLive Sound& Tour Management’atBIMM Brightonis anotherwayyoucan
go straightintoworkas a SoundEngineer.
It’sa one yeardiplomacourse,soyoutrain a lotquickerthana 3 year degree course.
However,thiscourse isspecifictothe musicindustrysoit won’tteachyou all the skillsyou
needtoengineerontheatre aswell.
The entryrequirementsforthis1year diplomacourse are:
• Five GCSEsat C or above (includingMathsand EnglishLanguage).
• Applicantsmustalsobe able todemonstrate evidence of abasicunderstandingof
the live musicenvironmentthroughrelevantworkexperience.