basic sound
DESCRIPTION
Basic Sound. Oliver Trojak. StageSoc Training 2011-2012. What I iz coverin ’ innit !. Techy things (Signal path, general equipment etc) Equipment in The Annex Design ‘Doing the design’ (sfx, micing, communications w/ director etc) Choosing equipment Crew Etc. Basic of Basics. - PowerPoint PPT PresentationTRANSCRIPT
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StageSoc Training 2011-2012
Oliver Trojak
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Techy things (Signal path, general equipment etc)
Equipment in The AnnexDesign
‘Doing the design’ (sfx, micing, communications w/ director etc)
Choosing equipment Crew Etc
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The Signal Flow
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AKG C1000sSM57sAllen & Heath MixWizard 16:2FOH amplifierPeavey auxiliary amplifierSpeaker ‘wedges’Ramsa Speakers Install and relayBehringer DI boxes
C1000
MixWizard
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Two areas: Balancing the sounds on stage with the
sound of the orchestra (sound reinforcement)
Adding sound effects to add atmosphere to the performance, or simply to tell part of the story (eg. phone ringing)
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Before reinforcement the stage might sound like this!
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Our aim is to BALANCE the sound, not to necessarily make it louder!
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Our aim is to BALANCE the sound, not to necessarily make it louder!
The listener hears a combination of the two
Stage Sound
PA Sound
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Sound effects alone are a huge part of the sound design allowing plenty of space for your creative flair to get to some exercise!
They can either be a distinct event…Or can be used to add atmosphere
Sound effects or a sound-scape aimed to set the scene
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Where can you get them? Variety of internet sources, some you have
to pay for some you don’t. Sfx libraries
Make your own! Much more fun Useful for a very specific sound
Use a DAW or waveform editor to ‘sculpt’ your sound to literally anything you want!
Then use CD/MD/computer for playback
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Most of the time we’ll use many more speakers than simply a FOH PA May add ‘fill’ to boost/mimic FOH PA
where there is no coverage Often speakers will be placed around
the auditorium or on stage Foldback Source speakers (hidden behind a
telephone or TV, or perhaps for a more general use)
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Dynamic Close micing, versatile,
crude sound
Condenser Close & ambient micing,
precise sound
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PZM Ambient micing, Boundary
mics
Electret Head worn mics, used
with radio mics
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Omnidirectional Response is identical in all
directions Mostly used in lav-radio
microphones
Cardioid Heart shaped pickup Don’t pickup anything from
behing Most widely used polar pattern
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Hypercardioid Narrower pickup at the top Small pickup at the back Good at rejecting sounds
from other sources
Shotgun Long narrow pickup pattern Good for picking up the
stage from a distance Construction aids polar
pattern
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Pre-amplification
Equalization
Auxiliaries
Fader/Routing
Master Section
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Smoothens out a waveform
Used to tighten up a sound….
Or can be used to make a sound more punchy
Essentially limits the maximum sound level
Limiter, gate
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Time based effect The sound of a
room Used to stop the
singer sounding ‘dead’
Could also be used for a very deliberate effect
Echo, Chorus
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Now that we know what equipment we have at our
disposal, and how to get the most from it, we can think
about doing the sound sound designdesign
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Designer and technician/engineer overlap surprisingly often
Sound CuesSystem Design and Equipment
selectionSound Department (your crew!)Logistical Co-ordination
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Get to know the show! Read the script Read the book Watch the film Listen to the soundtrack See rehearsals (note the plural additive ‘s’!)
Figure out what your doing for each cue/idea Including speakers/microphones
Be prepared to make changes! Director/logistics/finance
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Communicate with the director and other members of the production team
It is important that your design matches the lighting, set, and director’s ‘vision’
The director may have a very specific idea of what he/she wants from the sound (and lights)
Elements of the set and lighting can have a large impact on your design, especially with respect to speaker placement
Start sourcing/making sfx
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Make sure you’re in budget!!! Try and plan in detail FOH console, Loudspeakers (and
cabling), Amplifiers (and cabling), playback devices (and cabling), microphones (and cabling), fx units (and cabling), radio microphones (and cabling? :S)….oh and what happens if something goes wrong??
How well do you know the equipment? How many people will it take to run/get-
in the rig?
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The size of the sound crew will depend on how many people you need to implement your design (and how many budding noise boys there are!)
You don’t need experts… But anyone keen and a quick learner Who you think will make a good noise boy
Make sure your team can all contact you and each other!
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Pre get-in Make sure everyone in your team knows what
is going on….BEFORE the get-in! Confirm equipment delivery, check you’ve
got everything you will need. Organise a sound plan on paper)
Get-in & fit-up Make sure all equipment is there Introduce you and your team to house
techies And you have completed and
implemented your successful design!
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There is no right or wrong way
Experiment
Have fun!!!