dissertation - theatre sound design, installation & operation

Final Report:

An investigation into the use of specific technologies

to design and install sound for theatre.

By Greg Brown 09002037

BSc (Hons) Music Technology

A project submitted in partial fulfilment

of the award of the degree of

BSc(Hons) Music Technology from Staffordshire University

Supervised by Mr. Simon Waite

Faculty of Arts and Creative Technologies

P a g e | 2

An investigation into the use of specific technologies to design and install sound for theatre Greg Brown | 09002037

1 Abstract P a g e | 3


1 Abstract

Hardware and software is rarely developed inherently for use within theatre, therefore sound designers within

this field have to keep track of technology being produced for use in other production areas, such as music

production and the film industry.

This document describes how to efficiently use the technology available to create, install, and operate an

effective sound design for theatre. Through extensive research into hardware and software, followed by

simulation of creating, installing and operating, the best solutions of the use of technologies are found.

Simulation involves working closely with a theatre company to create a sound design for a piece of theatre and

working with a different venue to install a sound system into a theatre for a run of performances. A

contingency plan was also used to create a piece of theatre involving all aspect of sound design.

Hardware and software was used to assist the planning, creation, installation and operation of sound within

theatre this includes looking at technology such as sound recording equipment, digital audio workstations,

audio restoration tools, sound reinforcement hardware, acoustic modelling software, theatre communication,

techniques for reinforcement and playback technology.

P a g e | 4 2 Acknowledgements


2 Acknowledgements

I would like to thank the following people for their help and support during this project:

Si Waite – Staffordshire University, FYP Supervisor

Richard Lloyd – Technical Manager, The Sands Centre, Carlisle

Sue Moffatt – Director, The New Vic Borderlines, Newcastle-Under-Lyme

Jody Draper – Actor and assistant for contingency plan

I would also like to thank all the administrative staff & technical crew at The Sands Centre and of Enchanted

Entertainment, as well as the technical staff of the Music Department at Staffordshire University for making

this project possible.

3 Table of contents P a g e | 5


3 Table of contents

1 Abstract ......................................................................................................................... 3

2 Acknowledgements ....................................................................................................... 4

3 Table of contents ........................................................................................................... 5

4 Introduction .................................................................................................................. 7

5 Aims and objectives ..................................................................................................... 10

6 Research ...................................................................................................................... 11 6.1 Creating a sound design for theatre ..................................................................................................... 11 6.2 Technology for sound and music creation and editing ......................................................................... 13 6.3 Technology for design and installation ................................................................................................ 18 6.4 Technology for testing and adjusting a sound system .......................................................................... 26 6.5 Playback and operation technology ..................................................................................................... 29

7 Method ....................................................................................................................... 32 7.1 Theatre sound design (New Vic Borderlines)........................................................................................ 32 7.2 Theatre sound installation (The Sands Centre)..................................................................................... 33 7.3 Contingency plan (Staffordshire University) ......................................................................................... 34

8 Results ........................................................................................................................ 36 8.1 Theatre sound design (New Vic Borderlines)........................................................................................ 36 8.2 Theatre sound installation (The Sands Centre)..................................................................................... 39 8.3 Contingency plan (Staffordshire University) ......................................................................................... 41

9 Conclusion ................................................................................................................... 45

10 Evaluation ................................................................................................................. 46 10.1 Theatre Sound Design (New Vic Theatre) ........................................................................................... 46 10.2 Theatre sound installation (The Sands Centre) ................................................................................... 46 10.3 Contingency plan (Staffordshire University) ....................................................................................... 47 10.4 Further research ................................................................................................................................ 47

11 Bibliography .............................................................................................................. 48

12 Webography .............................................................................................................. 50

14 Appendices ................................................................................................................ 51

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4 Introduction P a g e | 7


4 Introduction

Sound effects for theatre, up until 80 years ago, were created live onstage or backstage and musicians would

play an underscore live. In the late 1920s recording and playback was introduced with the cueing up and fading

of multiple sound effect records. Over time the hardware, software and quality has developed to that of today.

Directors will no longer settle for mere ‘library’ effects, pulled off the shelf and played on public address-type

systems; they now expect the quality of that in cinema. (Peaslee, Richard. Feb 1992 as cited in (Kaye & James,

1999))

Figure 1 - Mechanical Theatre Sound Effects (Leonard, 2001)

“Over one hundred years ago, actors and stagehands would use voices, props or mechanical noisemakers to

create every sound onstage or offstage. Mechanical noisemakers include wind machines, rain boxes,

thunder sheets, or thunder runs where, the effect was created by cannon balls being dropped into troughs

and rolled, these would be built into the theatre and run above the audience heads.” (Leonard, 2001).

P a g e | 8 4 Introduction


Sound for theatre requires hardware and often software to achieve a high quality production. A major problem

is that very little of this technology is developed primarily for use within theatre. It is more profitable to

produce software for consumer audio, professional music, recording or film markets, as the theatre industry

does not produce as much revenue. Theatre sound designers and technicians must keep track of technology

produced for these markets to see if they can be applied for use within the theatre. (Kaye & James, 1999)

Sound design is considered at all levels of theatre; from community theatre all the way to Broadway. Sound is

used to enhance the performance. There are many ways of doing this, all of which depend on production costs

and the piece of theatre.

Many productions now include sound in the design process and make use of the creativity available to them.

Some examples would include, attaching wireless microphones to a sword blade to heighten the quality of a

battle taking place on stage, or maybe placing speakers around the auditorium and over the audience’s heads

to produce the sounds of a helicopters arrival and departure (Kaye & James, 1999).

Technical sound design deals with the equipment used to amplify a show so the audience can hear the design

and reinforcement. This includes picking the right amps and speakers, deciding where to hang the speakers,

choosing a mixing console and any processing equipment needed. The role also includes planning any cabling

and racking of the equipment and specifying how every piece of equipment should be utilised. The technical

sound designer is also responsible for communication systems for the cast and crew including backstage show

relay, program calls, intercommunication for crew, and video communication for certain needs of the stage

manager. (Slaton, 2011)

There are many different theatre performing spaces including proscenium arch (Figure 2), thrust stage (Figure

3), traverse (Figure 4), theatre in the round (Figure 5), adaptable spaces and promenade performance spaces.

Each of these different spaces requires a different installation of sound to deliver full coverage to an audience,

each type throws up different problems. (Leonard, 2001). It is possible to spot problems before the installation

through use of acoustic design, modelling plans, and simulation software.

In 1927, turntables were introduced with the cueing up and fading of multiple library sound effects, these

were often noisy, scratchy, and inaccurate and timings were messy. In the late 1940s, long-playing records

were introduced giving better sound quality and storage of sound effects. Reel-to-reel tape recorders became

available in the 1950s, however, these were expensive and sounds were unavailable for years to come in this

medium. It was not until the 1980s when quality of sound was expected in theatre, with high-quality speakers

now technologically and economically accessible. Playback technology developed from cassettes (1962) then

compact discs (1982), digital audio tapes (1987) and minidiscs (1992), computer software started to be used in

the 90s. (Kaye & James, 1999) (Gronow & Saunio, 1998).

This project researches a range of hardware and software produced for sound production areas, such as

television, film and music production. This project experiments on how the technologies can be used within

the theatre and which pieces of technology will give the best results.

“It's encouraging that at every level of theatre, the incorporation of sound into a production is no longer a

novelty. Whether an actor throws a cassette or two into a boom box backstage, or a sound operator uses a

twenty year old reel-to-reel to play music and effects through borrowed home-stereo speakers, the attempt

to include sound is being made.” (Kaye & James, 1999).

4 Introduction P a g e | 9


Figure 2 - Proscenium Arch Theatre Layout (University of Washington, n.d.)

Figure 3 - Thrust Stage Theatre Layout (University of Washington, n.d.)

Figure 4 - Traverse Stage Theatre Layout (University of Washington, n.d.)

Figure 5 - Theatre in the Round Layout (University of Washington, n.d.)

P a g e | 10 5 Aims and objectives


5 Aims and objectives

The aim is to research and implement hardware and software for capturing sounds, planning an installation,

calibration of the installation and playing back of audio within theatre.

Objectives

Work with a theatre company (New Vic Borderlines, Newcastle-Under-Lyme) to create a sound design

for a piece of theatre (All Our Daughters) for a production (tour February 2013)

o Create and develop a sound plot as part of a theatre design team

o Use hardware and software to record, collect, edit, enhance and refine cues to the created

sound plot & the director’s descriptions

o Consider a method of playback for the show

Work with a theatre company (The Sands Centre, Carlisle) to design the install of sound into a theatre

for a production (a 31-show pantomime in a 1300-capacity venue, December 2012)

o Research acoustics of theatre, and techniques of how to fill the auditorium with sound

o Research each piece of the equipment within a system to find the best methods of use

o Find technologies to help plan and install sound into theatre

o Research the best ways to install sound to achieve the best quality results

o Research and create plans required for the installation

o Research methods of live sound reinforcement

Contingency plan (if either of the other two projects collapse due to third parties) – to create a piece

of theatre using sections of existing script and putting on a performance

o Create a professional script

o Create a sound plot

o Decide on equipment and its setup

o Create installation plans

o Collect sounds and music, editing and refining for the piece

o Determine a method of playback for the performance

o Use of basic theatrical lighting for a professional performance

o Operate sound & lighting for a performance

6 Research | 6.1 Creating a sound design for theatre


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6 Research

6.1 Creating a sound design for theatre

6.1.1 Developing the concept and design

The initial read through of the script is the only time the piece of theatre will be new and can be experienced

as an audience member. This creates an opportunity to experience and discover what emotions are conveyed

by the text, this will help when developing a theme for the music at a later stage. Notes should be made after

the first read through on initial ideas. On the second read, notes on obvious sounds should be noted in the

script for later discussion. When meeting with the director and design team it is a good idea to have a number

of musical samples, a list of ideas, instrumentation, themes, styles, genres and eras. It may also be necessary

to meet with the set design team if speakers need to be masked within the design. (Kaye & James, 1999)

6.1.2 Creating a sound plot

A sound plot should be created with the director whilst working through the script. This is in the form of a

table and lists every sound to be used in the piece of theatre. (See Figure 6). This should contain cue numbers,

page numbers, what type of sound the cue is (underscore, sound effects, etc.) and detailed notes. This is

essential for the director, as it will be used in the rehearsal process when directing or blocking the script. The

plot may also be of use to the rest of the design team; set design for any special requirements, lighting design

to match any lighting cues to sound, and costume design for placement of microphones. The sound plot is

most important to the sound designer, as this is a basis to work off containing what the director expects to be

created. (Leonard, 2001). (Kaye & James, 1999).

Figure 6 - Sound Cue Plot Example (Kaye & James, 1999)

6 Research | 6.1 Creating a sound design for theatre


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6.1.3 Preparing, recording, editing and refining cues

A list should be created of sounds required that make up each cue, including details of; duration, fade times

and special details such as material; for example, wood or metal crash. (See Figure 7). Information should also

be listed on how, where, when and what the sound will be recorded with. Sounds are then collected from

sound effect libraries or recorded with use of hardware and software (Section 6.2 Technology for sound and

music creation and editing). These sounds should then be edited and cleared of noise using appropriate

technologies before being blended together. Created cues should then be given to the director for feedback,

sometime with variations for the director to choose from, these cues may need to be refined, re-edited, and

then tested in rehearsals before possibly being refined and re-edited again. Some cues may be edited in

rehearsals to make sound and actions work together. The sound designer should also provide the theatre

company with tracks (however basic) for the company to rehearse with so it is clear that the sound design will

work with direction later down the line. (Kaye & James, 1999).

Figure 7 - Collection List Example (Kaye & James, 1999)

6 Research | 6.2 Technology for sound and music creation and editing


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6.2 Technology for sound and music creation and editing

6.2.1 Recording vs. use of sound effect libraries

There are many professionally produced sound effect libraries available on the internet, but many of them are

far from cheap and often not produced very well, there can be hiss in some tracks and background noise in

others; it is difficult to find the sound to match the material, harshness or length required. There is no need to

pay out lots of money for sound effects that would need cleaning up and reprocessing before being possible to

use them and still not meeting the requirements. This gives a good argument for custom recording sound

effects. (Viers, 2008). Custom recording new sounds keeps work fresh and exciting, not only this but custom

recording sound effects is a great learning experience, learning the mechanics of how things work and what

creates sound, as well as the creativity behind this using small items to get bigger sounds. Smaller props often

sell the illusion of size; breaking thick glass will sound dull where thin glass will often sound bigger and brighter

with the shards of glass staying in the air longer giving a longer ring-off. (Yewdall, 2012)

Sounds used in theatre need to be clean, clear and not draw attention away from the action, sounds must only

enhance the performance and should be transparent at all times. It is essential to record sounds at a high

quality, clean standard at the beginning to achieve the best possible results. This requires using the best means

of hardware available, and editing the captured sounds appropriately. (Kaye & James, 1999)

“Good sound designers won't merely dub thunder off an old tape or sound effect recorded. They may well

have their own libraries of material they've recorded themselves - in this case, an actual storm. At least

they'll make sure that what they're using is carefully edited and equalised for maximum effect. The sound

can then be greatly enhanced by the designer’s choice of speakers, and the use of stereo, quad, or panning

effects. Sound designers must be far more than technicians - they should understand how sounds work on

the psyche, and not be over literal” Peaslee, Richard Feb 1992 (as cited in (Kaye & James, 1999)).



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6.2.2 Hardware

6.2.2.1 Microphones

Microphones are devices that transform acoustic energy (sound) into electrical energy (an audio signal). There

is a large range of microphones and types that are intended for use for different purposes. (Davis & Jones,

1988). Microphones are used within theatre to record sound effects, Foley and voice-overs. They are also used

for sound reinforcement within the theatre for vocals, instruments and live effects.

Dynamic microphones are like miniature loudspeakers in reverse; when a sound strikes the diaphragm it

vibrates and moves a coil back and forth in the field of a magnet. As the coil cuts through the lines of the

magnetic force, a small electrical current is induced in the wire. Dynamic microphones are robust and reliable.

(Davis & Jones, 1988) (Jacobs, 2012)

Figure 8 - Dynamic Microphones (Media College, n.d.)

Condenser (or Capacitor) microphones are powered with a voltage ranging between 9 and 48 volts. As the

diaphragm of the microphone vibrates, its distance from the stationary metal plate varies, and as the fixed

electrical charge is applied between the diaphragm and the plate, a corresponding charge in electrical voltage

is produced. This change in voltage is then amplified in the circuitry inside the microphone. (White, Basic: Live

Sound, 2000). A condenser microphone can respond more effectively to higher frequencies than dynamic

microphones. (White, Basic: Microphones, 1999).

Figure 9 - Condenser Microphones (Media College n.d.)



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Different microphones pick up sounds in different ways, it is essential to pick the right microphone to capture

wanted sounds and try to eliminate unwanted sounds. (White, Basic: Microphones, 1999). Some are designed

to mainly pickup sound in the direction the microphone is

pointing; others will pickup sound in all directions.

In Foley recording, a shotgun microphone should be used to

pick up only the sound it is pointing at. If recording clean vocals

it may be desired to use a hyper-cardioid to pick up voice, chest

and breathing noises, and if recording ambience an appropriate

choice would be an onmi-directional microphone; picking up

sounds in all directions. (Ament, 2009) (Sandall, 2011)

6.2.2.2 Portable sound recording

Portable sound recorders are often small devices that come with high-quality condenser microphones,

recording onto flash memory for on-the-fly recordings. Often these devices have inbuilt microphones or a

connection to an external microphone. These devices are great for capturing ambience and sound effects on

location. (Sandall, 2011). Sometimes it is difficult to be able to control situations in the real world with external

factors being present in recordings such as aeroplanes, motor vehicles, wildlife and weather. Deadcats or Wind

Shields can be placed over the exterior of a microphone to reduce the effects of wind noise when recording

outdoors or when panning or gunning a microphone. (Ballou, 2008). Microphones are also subject to handling

noise, which occurs when vibrations transmit to the microphone from direct contact. A shock mount can be

used to absorb the vibrations and isolate the microphone from the stand with use of rubber bands. (Viers,

2008). Other accessories include; microphone stands (hold the microphone in positions), boom poles (places

the microphone closer to the action) and pop filters (for use in vocal recordings taming plosive sounds such as

“b” or “p”). (Viers, 2008). If possible, it is better to record sound effects/Foley in controlled situations such as a

studio where large, better quality equipment may be used and no external factors will be within the recording.

The Tascam DR100 and Marantz MPD611 provide a huge amount of detail and raw, transparent sound. The

machines offer high bit and sample rates to give detail for delicate and detailed editing later on. (Sandall,

2011)

6.2.2.3 Other hardware

When recording in a controlled situation, such as in a recording studio; hardware such as mixing consoles,

outboard effects such as compressors and delicate high-quality microphone may be used. Mixing consoles will

give ultimate control over pre-amp gain and pre-recording EQ to be able to record at a good level. Recordings

in a studio can go straight into a DAW (Section 6.2.3.1 Digital audio workstation (DAW)) for after capture

editing and manipulation. (Viers, 2008).

Figure 10 - Microphone Pickup Patterns (Jacobs 2012)



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6.2.3 Software

6.2.3.1 Digital audio workstation (DAW)

A digital audio workstation (DAW) is used to record, edit and playback digital audio. It is a piece of software

that runs on personal computers in the form of a sequencer and has many uses and facilities. This system is

portable (on a laptop) and gives a large range of tools. With a DAW it is possible to see waveforms of every

section of a sound, it is possible to magnify this and fine cut parts of the sounds, stretch this sound, pitch shift

it, as well as many other advantages (Ament, 2009). Any DAW is capable of manipulating and creating sounds

and they all have similar tools to help complete a task. Each piece of software has different advantages and

disadvantages.

DAWs are an invaluable tool for the modern sound designer, saving time and creating the flexibility of a

portable system allowing edits to be made at home, in the studio or during technical rehearsals at the theatre

(Kaye & James, 1999).

There are many DAWs available made by different companies all of which have their own strengths and

weaknesses, all have different features and most are similar in the way they route and mix sounds. Some

DAWs come with better in-built instruments, plugins and tools for easier cueing up and playing back sounds.

The computer system being used is the first point of consideration when choosing a DAW. The machine needs

to have a fast hard-drive and lots of processing power and memory to playback audio without digital glitches,

especially when there are many plugins used for a live performance. (Gottleib & Hennerich, 2008)

Avid’s Pro Tools is great for capturing high quality sounds in a HD Studio, with up to a 192kHz Sample Rate and

32bit Bit Depth with use of the correct hardware. This is beneficial for capturing extreme high quality with a

large dynamic range. This is great when editing sections of a sound, as there is so much more detail to work

with when time stretching or adjusting volumes. Pro Tools 10 is a portable version of the software that can be

run without any external hardware that Pro Tools HD requires. Pro Tools has the largest and best quality

plugins available, although often at a great expense, the ones bundled with the software are basic. Pro Tools

has a ReWire feature to send busses out to external software such as Reason, which comes bundled with a

large number of software instruments and plug-ins. (From AVID’s website, accessed 28/02/2013)

Apple’s Logic has a large range of free software instruments, samples and good quality plugins, which makes it

great for creating music. Logic has great scoring and MIDI mapping facilities, expanding on possibilities and

making scoring easy if composing for musicians. Logic has a good time manipulation tool and a comping tool

that easily allows selection of sections of multiple take recordings. (From Apple’s website, accessed

28/02/2013)

See Table 1 - Digital Audio Workstation Comparison p54 for more information.

“Digital audio workstations are not only utilised to manufacture cues, but they can be used to play them

back in theatre. Their use allows designers greater flexibility than they have ever had before. Adjustments

that once took all night in the studio can now be made in a few minutes in the theatre”

(Kaye & James, 1999)



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6.2.3.1 Audio restoration

Adobe Audition, Apple SoundTrack Pro and iZotope RXII are all pieces of software that can be used to repair

and restore poor quality audio known as “Audio restoration programs”. These plugins or pieces of software

can be used to remove noise, hums, hiss, clicks, and pops from recordings. (Bartlett, 2009). iZotope RXII is one

of the most comprehensive tools available, with special tools for selecting and previewing sections of the

frequency spectrum, to identify problems and repair them by taking samples from before/after the problem

audio. The software can scan the audio track to automatically find noise or clicks and pops, and remove these

from the file or this can be done more accurately manually. iZotope RXII also adds plugins to the DAW for

independent use. (From the iZotope website, accessed 20/03/2013)

6 Research | 6.3 Technology for design and installation


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6.3 Technology for design and installation

Proscenium Arch Theatre Research (Figure 2 - Proscenium Arch Theatre Layout on page 9)

There is normally space at the sides of the proscenium arch to allow loudspeakers to be mounted, however; it

is sometimes difficult to reach the rear of the auditorium, so often delay loudspeakers are mounted to the rear

of the auditorium. On stage, it is normally restricted to placing speakers at the sides and corners of the stage,

due to set movement and actors entrances and exits. Speakers can be hung from fly bars over the stage for

sound effects or fold back. (Leonard, 2001).

6.3.1 Equipment

6.3.1.1 Sound sources

A sound source is a piece of equipment that generates a sound in the form of an analogue, electrical or digital

signal such as; microphones, compact disc players, electronic keyboards, samples, etcetera. (Leonard, 2001).

6.3.1.2 Mixing desks / Multicore

A mixing desk is used to treat and balance the various sound sources of inputs, then distributes to a number of

outputs. (Leonard, 2001). Almost all digital mixers offer a much higher specification channel strip when

compared to that of an analogue mixer. (Stachowiak, 2011). On a digital mixer there is often: gain, pad, phase,

pan, gate, compressor, four-band parametric equaliser and a good number of auxiliaries and groups. Analogue

desks are normally much more condensed with very small number offering compressors, gates and containing

only a small amount of auxiliaries and groups. Digital desks often come with built-in effects and graphic

equalisers, where an analogue desk would require outboard rack equipment for gates, compressors, reverbs,

delays, etcetera. (Stachowiak, 2011).

See appendices Table 2 - Digital Sound Desk Compare on page 55 for further research.

One of the key benefits of digital over analogue within theatre is a ‘full recall’ function, which takes a snapshot

of every parameter on the desk and allows it to be recalled at any time. (Stachowiak, 2011). This is extremely

useful in theatre as often many microphones need to be switched on and off in seconds during a quick scene

change where actors run on and off stage. This can be quickly done with the scene recall feature. (Slaton,

2011).

A multicore is a group of cables that carries signals from one place to another for examples input and output

connections between stage and the mix position at front of house (FOH). (Leonard, 2001)



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6.3.1.3 Processors

Often the sound source is treated at the mix stage by using features of the mixer or outboard equipment. The

processors are used to change the original sound source for desired effect or enhancement this includes; echo,

reverberation, compression, limitation, equalisation and time delay. (Leonard, 2001). More information on

processors and effects can be found in Table 3 - Effects and Processors Definition (White, 2003) on page 56.

6.3.1.4 Amplifiers

Passive loudspeakers require amplification. Amplification increases the mixed and treated electrical signals to

a higher level for transmission to the loudspeakers. Amplification is sometimes built into the loudspeakers;

these speakers are called active loudspeakers (Leonard, 2001).

6.3.1.5 Loudspeakers

Loudspeakers are a type of transducer that convert the electrical energy into acoustic energy (Ballou, 2008),

i.e. sound waves that direct the resultant sound to the desired parts of the auditorium (Leonard, 2001). There

are two main types of loudspeaker; packaged loudspeakers and line-arrays which are designed from

loudspeaker components including cone-type loudspeakers and their enclosures, compression drivers and

their horns, and other components such as ribbon drivers and ring radiators. When choosing loudspeakers

there are many considerations such as; power handling, frequency range and response, sensitivity, coverage

pattern and sound quality (Ballou, 2008).

The main loudspeaker system is to be mounted in the theatre and then focused to cover the main area(s), but

sometime due to the loudspeakers coverage or the buildings design, fill speakers are need for use in other

areas such as under a balcony. These may need to be time delayed from the original sound source. (Leonard,

2001). More information in Section 6.4.1 Signal delay in sound reinforcement and Section 6.4.2 Speaker

testing.



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6.3.1.6 Communication systems

6.3.1.6.1 Intercom

Backstage communication is a vital job of the sound department, without it none of the scene changes,

lighting or sound cues would be able to take place, as the stage manager needs to give these audible cues to

each department for the show to run. (Patrick, 2002). Communication is needed during technical rehearsals

for the stage manager, who communicates with the director, designers, running crew, lighting, sound and

follow-spot operators to set cues. Sometimes separate communication lines are used between lighting, sound

and stage to the stage manager to reduce traffic and increase productivity. Sound would often have a

communication setup between the sound designer, the mixer and stage sound in order to set levels and solve

problems. During performances there needs to be communication between the stage manager and each

department via one grouped line or separate department lines to; sound, stage, lighting, follow spot, musical

director and the front of house manager for curtain call and intermission. (Patrick, 2002).

Figure 11 - Typical Intercom Setup (Slaton, 2011)

A sound designer can always get away with sound problems during the technical and dress rehearsals, but

if the intercom is not working nobody wants to hear excuses, nothing can get done. (Slaton, 2011)



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6.3.1.6.2 Paging system/Show relay

Paging systems are used for actors back stage to be called by the deputy stage manager. The system must also

relay the show for actors to listen out for cues. The system usually includes a 70v amp, 70v speakers, cables

and microphones. The speakers must be hung in all common places such as hallways, dressing rooms and the

Green Room. It is an Equity (actors union) requirement to provide paging, which includes good microphone

and a program feed for the cast. (Slaton, 2011)

6.3.1.6.3 Video / CCTV

The sound department is responsible for the closed circuit TV (CCTV) for a show, this video is not intended for

the audience but is crucial to the running of the show. Common camera setups are a conductor camera, front-

of-house (FOH) low-light camera and FOH colour camera. The conductor camera is often used for the band and

at the front of the stage for the actors. The FOH low-light camera is used for the deputy-stage-manager (DSM)

to know when to call cues during blackouts (for example, after the stage is clear during a blackout). Often

Infrared (IR) emitters are used to help the camera pick up detail in the dark. The colour camera is used because

sometimes the black and white camera is not always enough for the deputy-stage-manager to call the show.

Figure 12 is an example of a typical CCTV setup.

Figure 12 - Typical Video Setup (Slaton, 2011)



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6.3.1.7 Radio frequency systems (RF) and Interference

Radio Frequency systems include wireless microphones, in-ear monitors and wireless communications.

Frequencies need to be set to ensure no two devices are using the same frequencies. RF interference is not

hard to find, it is actually very difficult to avoid. Common sources of radiated RF include very high frequency

(VHF) and ultra high frequency (UHF), which includes FM radio, television, mobile communications, amateur

radio, weather radio, microwave, wireless LAN, Bluetooth, GPS and two-way radio. Devices that create

electrical sparks can also cause interference such as welders, brush-type motors, relays, power line insulators,

malfunctioning fluorescent or neon lights. Interference can be conducted via any wire coming into the

building. Inexpensive lighting dimmers, fluorescent lights, CRT monitors or any devices using a switching power

supply can cause other RF problems. (Ballou, 2008)

The RF interference energy becomes an audio noise problem when the RF is demodulated or detected by

active circuitry in various ways, acting like a radio receiver that adds its output to the audio signal. RF

interference can range from actual receptions of radio signals, a 59.94htz buzz from TV signals or various tones

from a mobile phone signal. (Ballou, 2008)

Cable shielding is the first line of defence against RF interference, using good quality, heavily braided copper

shielded cables and connectors can help eliminate RF interference as well as interference caused from the

magnetic field. Shielding and twisted pairs of balanced cables also insures signal integrity and maintains sound

quality. Ferrite cores installed over the outside of a cable near the receiver end reduces interference over

20mhz. These ferrite cores are often more effectives when the cable is looped through the core several times.

A ferrite core is made up of an inductive resistor in series with an inductor. The most efficient way of reducing

RF interference is by limiting the bandwidth of frequencies to that of what is required by the systems to

prevent out-of-band energy from ever reaching the circuitry. (Ballou, 2008)

The position of the antennas in an RF system and the correct use of the related components such as RF cable,

antenna boosters, antenna attenuators and antenna distribution systems are the key to trouble-free wireless

transmission (Sandall, 2011). Further reading within the Sound Reinforcement Handbook (Davis & Jones,

1988).

The designed RF system should be checked for intermodulation problems, which could be caused by

overpowering antennas or, 2 or 3 frequencies combined to create a frequency that is similar to one being used

within the system. This could happen if two or three radio packs become in close proximity creating a new

frequency. The maths is simple for calculating intermodulation frequencies (the sum and difference) but there

are many frequencies to calculate in a large system. A piece of software could be used to check for

intermodulation such as RF Guru or Intermodulation Analysis System. (Slaton, 2011).

If there are two radio channels in a system rf1 (100 kHz) and rf2 (101 kHz) intermodulation could be

created on two other channels, which is the sum and difference of the two frequencies.

rf1 + rf2 = Intermodulation 100kHz + 101kHz = 201kHz (intermodulation)

rf2 – rf1 = Intermodulation 101kHz - 100kHz = 1kHz (intermodulation)

In a system with 12 channels, there are 132 calculations this is where the software becomes useful.

Figure 13 Example of Intermodulation



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6.3.2 Computer-Aided Acoustic Design (CAAD)

A designer has to calculate the coverage of each loudspeaker and produce a plot showing where coverage

starts to become uneven at all frequencies (See Figure 14) (Leonard, 2001). This is done to achieve full

coverage of the auditorium and detail where and how many loudspeakers should be used.

Figure 14 - Auditorium Coverage Plan (Kaye & James, 1999)

There are a number of pieces of software available to manage the coverage and the acoustics of a venue.

Many loudspeaker manufactures create their own versions of this software although AFMG EASE (Figure 15) is

one of the leading pieces of software that many loudspeaker manufactures support. (Ballou, 2008)

EaseFocus is a three-dimensional, acoustic simulation software for the configuration and modelling of line

array systems, digitally steered columns and conventional loudspeakers. It takes user input of a venues

audience areas and loudspeaker placements and then calculates loudspeaker variables such as angles and

digital setting for best use in the position within the venue for maximum coverage. (from AMFG’s website,

accessed 28/01/13).

Figure 15 - EASEFocus Screen Shot



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6.3.3 Drawings; flow and rack diagrams

Flow diagrams (Figure 16) and rack diagrams (Figure 17) are essential when planning the installation and

deciding what equipment and cables are needed to complete a working system There are many pieces of

software that can produce flow and rack diagrams. Technicians can utilise common pieces of software such as

Microsoft Word or Excel with use of colours, keys and codes to create these kinds of diagrams, however these

plans are usually created using a drafting program like Vectorworks, AutoCAD or Stardraw. (Slaton, 2011).

Figure 16 - Output flow diagram (Slaton, 2011)



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OmniGraffle Pro is a mac only application that allows creation of professional diagrams, with a great support

network and catalogue of stencils, to make detailed technical drawings, stage or venue plans and rack plans.

(From the OmniGroup website, accessed 03/03/2013)

Excel could simply be used to create rack diagrams with using a row for 1U equipment. Through merging cells,

it is simple to create 2U, 3U and so forth. With the use of borders and typing in cells it is quick and easy way to

achieve a basic rack diagram (Slaton, 2011).

Figure 17 - Rack Diagram (Slaton, 2011)

6 Research | 6.4 Technology for testing and adjusting a sound system


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6.4 Technology for testing and adjusting a sound system

There are many pieces of hardware and software available for the process of testing and adjusting sound

setups in live situations.

6.4.1 Signal delay in sound reinforcement

Signal Delay in sound reinforcement is to delay one loudspeaker system to allow the sound from a remote

loudspeaker to catch up. (Ballou, 2008)

Fill speakers are often needed in venues to achieve coverage of the full auditorium; this could be due to

loudspeaker restrictions or the design of the venue. Whenever fill loudspeakers are needed and placed in

different locations, the fill speakers will probably need to be delayed, as sound traveling through the air is slow

compared to that of the electrical signal in a cable. If the fill speakers were not delayed, there would be two

main effects created; loss of localisation and loss of clarity. A digital delay line is the simplest way to solve this

problem to time-align the system in relation to the distance of the fill loudspeakers from the main sound

source. This is where a single line is split and one signal is sent to time-delay processors where the output

signal can be delayed in very small increments, each delay line is then sent to the appropriate fill loudspeakers.

The level of the delay speakers should be below that of the main sound source. The audience then perceives

the main signal source to be the stage and the speakers around it; the fill speaker signal does not reach the

listener before the main sound source. The delay times can be set by ear, by a calculation or a piece of

software such as Metric Halo’s SpectraFoo or JBL’s Smaart-Pro (Leonard, 2001), The software sends out a pulse

to each speaker and measures the time it takes for the pulse to return (Studio Six Digital). There are also

mobile apps such as AudioTools, which will also do this.

c = 331.45 + 0.597t

c = speed of sound

331.45 = speed of sound at sea level

0.597 = variation in the speed of sound depending on temperature

t = temperature in degrees centigrade (21°c in the below example)

343.987 = 331.45 (0.597 x 21)

V = x / c

V = time delay in seconds

x = distance between sound source and delay fill in meters (6.5m in the below example)

c = Speed of sound (344 from calculated from 21°c in (c = 331.45 + 0.597t)

6.5m / 344 = 0.018 seconds or 18 millisecond delay.

(Benediktsson, 2011)

Figure 18 - Delay Calculation and Example



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6.4.2 Speaker testing

Testing the speakers is an important element to the build. The speakers need to be tested to make sure the

components sound the same and the polarity is correct. If the speakers were out of phase they would fight

against each other cancelling out sound. Software such as Smaart, Cricket or a Minilyzer will complete these

tests (Leonard, 2001).

AudioCheck.net is a great online resource with downloadable wav files to check frequency response, phasing,

imaging and distortion sounds in the system.



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6.4.3 Equalisation

Sound system equalisation is a process of adjusting the frequency response of a system, to compensate for

uneven loudspeaker response and room acoustics. The goal of equalisation is to provide a natural-sounding

system and to minimise feedback that may be caused by peaks in certain frequency responses. (Ballou, 2008).

A room needs to be equalised to eliminate problem frequencies that will cause feedback; to do this a designer

turns on pink noise at a high volume and can use a variety of tools such as Smaart, Systune or Meyer Sound

SIMM or just use their ears. (Slaton, 2011).

For the system to be equalised the system must permanently have an equaliser installed in its signal chain just

before each loudspeaker. To setup the equaliser to suit the system and room, test equipment should be used

including; a calibrated flat-response microphone, a 1/3-octave real-time audio spectrum analyser and a pink

noise generator. The pink noise should be played through individual

loudspeaker at the designed volume ensuring no clipping, and the

real-time analyser should be observed in a number of different

listening locations observing any peaks or troughs in frequency

octaves. The equaliser should then be adjusted by cutting or

boosting the appropriate frequency bands until the real time

analyser shows as close to a flat response curve with high and low

roll offs in most listening positions. (Ballou, 2008).

Other pieces of software are available such a, AFMG’s SysTune, Rational Acoustics Smaart, XTZ Room Analyzer

or Room EQ Wizard, which guide the user through the process with inbuilt noise generators, sound pressure

level meters (SPL) and real time analysers (RTA). (Ballou, 2008).

Meyer Sounds SIM, Behringer UltraCurve Pro and the Samson D-1500 automate the whole process. The

hardware generates a signal, analyses the signal and then adjusts the equalisation to achieve a flat response.

The UltraCurve also automatically analyses fast fourier transform (FFT) and auto EQs if it detects feedback.

6.4.3.1 Real Time Analyser (RTA)

A real time analyser is a tool that measures the response of sound systems in their operating environments. A

signal from a test microphone is applied to a series of band pass filters of constant bandwidth octaves, and an

average output level of each filter is shown on a display. When the analyser is analysing pink noise it is possible

to see the curvature of the system. If a system is feeding back, the real time analyser is useful for spotting the

frequency feeding back which can then be cut on a graphic equaliser. (Ballou, 2008)

There are many pieces of free software RTAs out there for PC, Mac, Tablets and Smart Phones. They use an

inbuilt microphone to display frequency information. Test microphones can be bought in addition to gather

information that is more accurate; these special microphones have a flat frequency response. Six Studio Digital

have created a RTA app for iPhone and iPad and make use of the on-board microphone, which has been

calibrated to the frequency response of the chosen device to give an accurate reading (Six Studio Digital n.d.)

This app can also generate pink noise to be sent through the system when using the RTA and graphic equaliser

to equalise a room.

Figure 19 - Desired Room EQ Shape

6 Research | 6.5 Playback and operation technology


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6.5 Playback and operation technology

6.5.1 Hardware

Hardware is often still used in theatre for the reliability aspects as well as the financial impact of new

computerised systems.

6.5.1.1 Compact Disc (CD)

The compact discs digital information is read by a laser in streams of bits, which is designed to be sampled

44,100 times per second (44.1 kHz sampling rate) with a 16-bit resolution allowing sound that seems to

emerge from total silence, with a dynamic range in excess of 90dB. The CD can reproduce frequencies within

the 20 Hz to 20 kHz range over two channels (stereo) of up to 70 minutes of audio per channel. Because CDs

read a stream of sequential bits of data, if a section of that data is damaged, scratched or jumped there will be

corrupted sound where the data is missed. Many professional CD players have sophisticated circuitry,

monitoring samples before and after missing data and the CD player can interpolate what is missing and fill in

the gap covering over errors. This doesn’t always work especially if the laser reading the disc jumps due to any

movement. The compact disc became the medium of choice for recorded music and sound effects in the 1980s

and is still mass-produced around the world. Most home PCs now have CD burner drives installed allowing

anybody to burn CDs. Sound designers can record the sound cues for shows on a CD using their own PC

burner. (Patrick, 2002).

6.5.1.2 MiniDisc (MD)

The MiniDisc uses a magneto-optical digital recording medium similar to that of digital cameras and other data

storage applications. The MiniDisc records up to 74 minutes of stereo (2-channel) audio onto a 2½-inch disc

with the same sampling and bit rates of CD. MiniDisc recorders make it possible to name a track, which is great

for theatre applications, naming tracks corresponding to cues. The recorders also make it possible to trim,

combine, split, move and edit using A-B erase functions. Tracks can be moved around on the disc to re-order

sequences. All great in theatre if things change during technical rehearsals, tracks can be added, deleted,

reordered quickly with the single unit. Most professional MiniDisc players have many audio connections

including unbalanced analogue I/O and digital I/O on S/P DIF optical connections. This makes recording digital

sounds easy from CD or digital audio tapes (DAT). The Minidiscs are slightly more expensive than CDs but with

the added flexibility and functions to rerecord, they are worth it. (Patrick, 2002).

6.5.1.3 Digital Audio Tape (DAT)

A DAT deck is a combination of many other technologies including a sampler’s input electronics, a playback

circuit that functions similarly to a CD unit and a cassette system that functions like a tape player. The

recording/playback method utilises ultra-fine metallic pigments and the cassettes are available in 40, 60, 90 or

120 minutes. DAT has a dynamic range of 96 dB and a flat-frequency response from 2Hz to 20kHz. The

sampling rate can either be 44.1kHz or 48kHz. DATs record PCM-encoded signal that is similar to video, there is

rotating mechanical heads that pull the tape out of the cassette for recording and playback, which slows down

the time it takes to swap the medium compared to CD and Minidisc. DAT offers noiseless recordings with

sound effects emerging from silence. However, there are limitations to theatre applications since the digital

recording is on a tape medium, it takes a long time to advance the tape, which is no good for fast cue

sequences. DAT tape is more suitable for pre-show, intermission and background sounds. DAT machines are

often used in combination with CD, tape or Minidisc in theatre. (Patrick, 2002).



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6.5.2 Software

Over the last 20 years prices of sophisticated computers and storage media has been dropping all the time,

meaning these systems have become more popular for audio playback. They now offer instant, random access

playback capabilities with virtually no limitations. Some of the computer based playback software acts like

virtual samplers such as the DAWs mentioned in 6.2.3.1 Digital audio workstation (DAW) while others

incorporate levels, routing and cueing functions for performance applications such as QLab and SFX.

(Huntington, 2000).

QLab and SFX are pieces of software that manages the execution of sound effects that allows the control of

sound files stored on a computer’s hard drive. These pieces of software will also control MIDI devices (6.5.3

MIDI show control). An advantage of using a computer for sound cues is the files are stored with descriptive

names in a sound effect library that remains available for future productions. Selecting sound cues on a

computer is easy. Organisation, manipulation and editing are also easy with all work being completed on one

medium. Cues can be executed with the click of a mouse, a MIDI assigned button on the sound desk (via MIDI

show control) or even by incoming MIDI Time Code from another MIDI device such as a lighting console,

sequencer or MIDI instrument. (Patrick, 2002)

QLab features 48 independent channels of audio output per cue, sample-accurate synchronisation of audio,

completely customisable fade curves, easily transmit or receive MIDI Show Control messages, trigger from

incoming time code, independent matrix mixer for every cue and full application scripting support. QLab also

supports recorded or live video and animations. Many features of the above specification is free in QLab

although there are some limitations such as only a stereo output can be used; script, MIDI and video require a

pro licence. Depending what features are required a licence costs between $249-$599, although licences can

rented at between $3-$7 per day. (From the QLab website, Figure 53, accessed 22 March 2013)

“With the explosion of digital technology for sound, more and more productions are using hybrid

reinforcement/playback systems: the (human) reinforcement mixer for a Broadway show is now able to

press a single button and initiate complete sound-effects sequences.” (Huntington, 2000).



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6.5.3 MIDI show control

MIDI (Musical Instrument Digital Interface) was introduced in the early 1980s with later editions developed for

the sound industry; using note, velocity and control commands. MIDI then caught on to the entertainment

lighting industry. There was however, a problem with the translation of MIDI command messages with

lighting. Most companies came up with their own system but this caused problems when moving between

systems. In 1991, a standard protocol was introduced known as MIDI Show Control or MSC. MSC has been

kept as open as possible – the necessities have been defined but there are still ample room for expansion.

MIDI Show Control can control many different types of automation for a show including lighting, sound

reinforcement, audio playback, video, riggings, flies, lifts and FXs such as fog, smoke, haze and pyro as well as

any other automation. (Huntington, 2000).

6.5.4 Digital sound desk

Most digital mixing desks allow for total recall within scenes, which can be useful for a theatre performance,

recalling microphone mutes, level positions and aux sends. Each song or scene will require different

parameters and recalling all these on an analogue desk is near impossible. This leads to misses in microphone

pickups, which most directors have an extremely low tolerance for. They can forgive a horrible mix as long as

the correct microphones are always live. This is a challenge when a mixer is learning a show and the timing of

actors. (Slaton, 2011). This is where scenes on a digital desk come in, allowing one button to unmute and mute

a number of microphones as well as changing a number of other parameters.

7 Method | 7.1 Theatre sound design (New Vic Borderlines)


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7 Method

Having fully researched the projects objectives the following three plans were formulated for theatre sound

design, theatre sound instillation and a contingency plan if either of the other projects fails due to third

parties.

7.1 Theatre sound design (New Vic Borderlines)

A meeting is to be setup with the director of the theatre company to receive the initial resources such as the

script and a brief. The script will be read as that of an audience member and notes will be made on any sounds

conveyed by the text. On further reads more notes will be made and formed into a list to present to the

director when creating the sound plot.

From the research into style, genre and instrumentation conveyed by the text a theme will be created in the

form of a piece of audio. This audio will be created in Logic Pro. Audio restoration should be completed in

iZotope RXII. This theme will be fed back to the director for discussion and notes. A further meeting should

then be setup with the director and design team to decide on a theme, a genre, where sound effects and

music are needed and a draft sound plot will be created.

Further notes on sounds will be created and formed into a sounds to source list. Sounds and music will be

sourced from sound effect libraries, recorded in studios or on location with a Marantz. All sounds will be

edited and refined to achieve desired sound or effect. The director will approve all sound cues and any

adjustments will be made.

Throughout the production process rough sound files will be provided to the theatre company for use in

rehearsals to make sure the sound design will work with the blocking and direction. In technical rehearsals,

sound effect playback levels will be set so when the production goes on tour the mixer can keep the playback

fader at a nominal level for ease of operation. Sound cues will be transferred to minidisc for performances.

Backup minidiscs and compact discs will also be created in case of hardware failure whilst on tour.

7 Method | 7.2 Theatre sound installation (The Sands Centre)


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7.2 Theatre sound installation (The Sands Centre)

A meeting is to be setup with the Technical Theatre Manager to receive the brief and an equipment list (Figure

30 p62). All equipment is then to be researched to find the capabilities of each piece of equipment being used

in the system (Figure 32 p64).

A list of inputs and outputs for the system will be created (Figure 33 p65). This list will then be transferred into

a flow diagram of the inputs and outputs of the system (Figure 34 p66). A diagram of connections will then be

made with use of a key colour coding the different cables and connections (Figure 35 p67). Next a power plan

will be made in Excel (Figure 36 p68) containing the power consumption of each piece of equipment and how

it should be divided through the different power distribution boards. Formulas are to be used in excel to

calculate the power consumption used. This will then be made into a power connection flow diagram (Figure

37 p69). Plans will also be created for video connections (Figure 38 p70), intercom connections (Figure 39 p71)

and any network/computer connections. The venue will be measured of total area, audience areas and sound

sources (Figure 40 p72). This data will then be input into the acoustic modelling software EaseFocus (Figure 41

p73). The software will be used to help determine where to hang speakers and what angles will be used on the

boxes (Figure 42 p74). Diagrams will also be created for any racks to be built (Figure 43 p75). All diagrams will

be created in OmniGraffle Pro. These plans help utilise time in the build and solve problems that may later

arise.

Radio frequencies will be calculated with relation to intermodulation and will be pre-programmed into

Sennheiser’s WMS along with other settings including; gain, squelch and RF channel naming. Each receiver will

then be synchronised with a microphone transmitter at the get-in stage.

The M-400 desk will be pre-programmed with the planned patching, labelling and colour coding of all inputs,

outputs, busses and matrixes. A starting EQ, compression and filters will be set on all inputs channels. Effects

will also be setup and inserted into the planned channels. This will all be preprogramed with the M-400 RCS

software.

At the build stage, all racks will be built to the plans with labelling of all connections with use of colour coding.

Cable bundles will be built with all connections and cables labelled.

On the get-in, all equipment will be installed as to the plans, all connections made as to the labels and then all

equipment and signal paths will be tested. A house EQ will be setup with use of pink noise, a real time analyser

(RTA) (Studio Six Digital’s Audio Tools) and a graphic equaliser (GEQ). GEQs will also be inserted into each

monitor output on stage and equalised for maximum gain without feedback.

When the script arrives scenes will be setup on the digital desk for each microphone change or sound effect

volume adjustment. This will ensure each show sounds identical. EQs will be tweaked within each scene during

the technical and dress rehearsals.

On the final dress rehearsal, the show will be handed over to the mixer with a good explanation of the system

setup and how to run the show, with the scenes setup and following the script. Notes will be given at the end

of the final dress rehearsal before leaving sound in the mixers hands for the performances.

7 Method | 7.3 Contingency plan (Staffordshire University)


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7.3 Contingency plan (Staffordshire University)

A professionally formatted script will be created with the use of the software Celtx. This will be created from a

number of monologues that are able to demonstrate an interesting sound design. Initial ideas will be jotted

down including and obvious sounds and music indicated by the script (Figure 44 p77). A detailed sound plot

will next be created (Figure 45 p78). The sound plot will indicate how many outputs and what equipment is

required for the performance, this will be formed into an equipment list (Figure 47 p80). Plans will then be

created (as in section 7.2 Theatre sound installation (The Sands Centre)) including input/output flow diagrams,

power planning, radio plans, acoustic plans and any rack plans). Lighting plans will also be created (Figure 51

p84)

A table will be created of the sounds to be collected. These sounds will then be sourced or recoded using the

planned means and then be edited, refined and/or arranged with the DAW Logic Pro. After each cue has been

completed the created audio files will be imported into QLab to create the performance playback by setting

levels, output, fades and starts and stops. MIDI cues are also to be setup in QLab to trigger parameters in Logic

Pro, which are will handle live effects during the performance. MIDI cues will also be setup to send trigger to

the piece of lighting software Q Lighting Controller (QLC) to control lighting for the performance. A script will

be clearly marked with all sound, lighting and effect cues.

On the performance day the equipment will be gathered, installed, labelled, tested and outputs equalised (as

in section 7.2 Theatre sound installation (The Sands Centre)). A technical rehearsal will be complete with

tweaking of levels in QLab and any live sound effects. Lighting will be rigged, focused and programed. A live

performance will then be conducted. Finally all equipment will be de-rigged, de-prepped and returned.


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8 Results | 8.1 Theatre sound design (New Vic Borderlines)


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8 Results

8.1 Theatre sound design (New Vic Borderlines)

8.1.1 Initial meeting

A meeting was setup with the Director of New Vic Borderlines Theatre Company to discuss the project and

sound requirements. The Director requested a small portfolio of previous work to be able to determine

experience and lead the way into the sound design. The director explained that they wanted realistic sounds

without the use of obvious samples of virtual software instrumentation. The desire was to have real

instruments recorded, with original music, which had no copyright limitation. This caused a problem as the

project is set to be around technology and less around composition and gathering and recording musicians. To

overcome this problem it was decided to try creating the best possible quality material and if the director was

unhappy, too outsource the work of musical composition / recording to a third party. A brief was given to

create a musical theme and edit voice-overs, clean them up and contextualise them with the script.

8.1.2 Voice-overs

The vocals were cleaned up with the use of iZotope RXII. The original voice-overs were noisy and contained

unwanted sounds. IZotope’s Denoiser tool was used to reduce the noise in the recordings. This was done by

selecting a piece of noisy unwanted frequency information (a section where there were no vocals) and

‘training’ the denoiser. The tool was then applied to the whole track eliminating that frequency information

from the vocals. Smoothing was used to try and keep the audio sounding natural however sometime too much

frequency information was removed leaving the voices sounding robotic and unnatural. Reverb and EQ was

later used in Logic to further smooth the edges and make the vocals sound realistic once again.

Figure 20 - iZotope's Denoiser Screenshot



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There were other problems with the audio provided by the theatre company, with clicks, pops and

microphone-handling noise. With special tools within iZotope it was possible to make changes to the spectrum

by either removing certain frequency information for a certain amount of time, or attenuating or replacing

information from another area in the audio.

Figure 21 - iZotope's Spectral Repair Screenshot

Further editing was done to the voice-overs in Logic pro to remove sections of the speech to help the dialogue

flow better. As the speech was in interview form there were lots of ‘erms’ and muddled sentences. Through

splicing up the audio file it was possible to make the dialogue flow better and still sound natural.

Compression was used to make the vocals sound at a consistent level. EQ and reverb was also used to enhance

and make the vocals sound natural.



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8.1.3 Music and Theme

The theme music was composed and arranged in Logic Pro. Influences for the music came from the soundtrack

of ‘Bricklane’ (Gavron, 2007) and theatrical music from Duncan Sheik. VSTs were used to create long drowning

natural instrumental sounds that do not originate to any particular time or place. Experimentation was done

with pitch, reverberation, time stretching, and layering to achieve the sounds. Voice-overs were placed over

the music with time adaptations, automation fades of volume, delay and reverberation to create effects.

The voice overs where separated in a way to give dramatic time spacing between then, as can be seen in the

below screen shot; the last word of each sentence was copied onto a separate track and processed with delay

and reverberant effects to give the last word a trailing echo but allowing the rest of the sentence to be clearly

audible.

Figure 22 - Contingency | Theme Logic Screenshot

8.1.4 Outcome

The director was happy with the direction of the voice-overs but was unhappy with the music for undisclosed

reasons. The offer of the third party was suggested for creation of the music and a meeting to arrange

continuity was offered but no response was received resulting in the contingency plan for this project being

undertaken.

8 Results | 8.2 Theatre sound installation (The Sands Centre)


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8.2.1 Planning

Research was thoroughly completed on all equipment (Figure 30 p62) to be used in the system to find what

each device capability were and to make the best use of all equipment to meet the brief set by the client. This

was done by looking through broachers, manuals and testing with the equipment or offline softwares. Plans

were created to specification of the research and method sections in EaseFocus, OmniGraffell and Microsoft

Excel.

A problem was discovered at the planning stages with the band position and monitoring. The client wanted

the band front-of-house situated on a balcony in the auditorium. If the band had wedge monitoring there

would be confusion for the musicians with them being able to hear front-of-house (FOH) speakers as well as

their monitor wedge. There would be a time delay between the two mixes and this would result in many

timing problems. Wedge monitoring would probably also mean some of the audience would hear a click from

the track at times. It was decided to give the three piece band individual headphone monitoring so they could

each have what they required in there own mix, i.e. click, more of themselves, etcetera. A headphone

amplifier was supplied to each band member so they could control their overall volumes for there own hearing

protection.

Another issue was onstage monitoring, the only monitoring available on the equipment list provided by the

client was floor monitors or top hat (stand mountable) monitors. There was no option for flying monitors

overhead as required. This was an issue as to achieve full coverage on stage there would need to be

monitoring upstage, mid-stage and downstage and without flying monitors, cables would have to trail across

the floor which was not an option due to trip hazards and set trucks moving on and off stage. It was suggested

to the client to hire in some monitors with mounting brackets so monitoring could be flown overhead to give a

good coverage of the stage for the actors and reduce risks.

8.2.2 Build / Get-in

The build of equipment and preparation was smooth and went according to the planning. At the testing stage,

there was a problem with one onstage monitor crackling and popping. As the monitor was rigged on a truss

with lighting and set, it was difficult to now lower this speaker to the ground, therefore further testing had to

be completed at height. The monitor was tested with an iPhone cable plugged direct into the speaker playing

music to figure out if the speaker was the problem or whether it was something earlier in the chain. The music

played from the iPhone was clean and clear indicating that the problem laid elsewhere. A set of headphones

was plugged into the XLR output of the S4000 digital multicore and the signal being sent from the desk was

clean and clear indicating that the XLR cable between the multicore and the monitor was faulty. A new cable

was run out and the problem was solved.

Upon testing the headset microphones on stage there were problems with the actors not being able to hear

themselves and when the levels were turned up huge amounts of feedback would sound from the onstage

monitors. During a break from technical rehearsal all microphones were placed on stage in different areas and

levels were pushed until feedback rang, using Studio Six Digital’s Real Time Analyser app on an iPad it was

possible to identify the problem frequency and pull this out in graphic equalisers inserted within the signal

path of the onstage monitors. The level of the microphones was then pushed again until another frequency

rang out; this was repeated a number of times until enough level could be achieved on stage.

8 Results | 8.2 Theatre sound installation (The Sands Centre)


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8.2.3 Technical rehearsals

A problem developed upon receiving the script, there would be multiple microphones to switch on and off

within seconds, this just would not be possible for the mixer. A number of options were explored on how this

could be made easier including; assigning group faders within each scene so 1 fader could control as many

microphones as needed. This would take a lot of careful planning and extreme concentration from the mixer.

Another option was for every microphone, on or off, to be in a different desk scene. The scene would control

fader levels and mutes. This option seemed more sensible as the scenes could be built as the technical

rehearsals ran. On the first run an overall EQ, compression, gate, sends were set for each microphone and

then scenes were stored with fader and mute information. On the second run more attention was set on EQ in

individual scenes due to actors wearing different wigs/costume affecting sound, attention was also on send

levels for scenes when certain actors needed to hear themselves more in certain sections. This information

was then saved and recalled from scenes from thereon.

During the technical and dress rehearsals the deputy stage manager wanted to be heard in the onstage

monitors in order to control the actors. This caused problems later with her microphone channel accidently

stored into scenes and often recalling her microphone during the first performance. After the performance

each scene was carefully checked to ensure this would not happen again.

8.2.4 Dress rehearsals

The mixer did not always change scenes on time meaning late microphones on and off, which looks terrible

onstage when the actor is trying to speak but cat not be heard. The script was then clearly remarked for where

scenes needed to be changed and pre-warnings on page changes with use of colour coding. The mixer soon

improved and all microphone lives/mutes were completed on time.

8.2.5 Performances

During one performance there was a problem with an onstage microphones popping and crackling, there was

not an opportunity to change the belt pack for some time so the actor was handed the handheld microphone.

This resulted in the mixer having to be particularly visual with script, unmute the handheld at each scene

change. Meanwhile a spare belt pack was synced to the correct radio channel and the microphone pack was

switched as soon as the actor came off stage. The problem was the connection between the microphone and

the belt pack. This was fixed and returned to the actor for the next show.

8 Results | 8.3 Contingency plan (Staffordshire University)


P a g e | 41


8.3.1 Script

The script was put together with extracts from three pieces of script ‘Stockholm’ by Frantic Assembly, ‘Woman

in Black’ by Stephen Mallatratt and the film ‘2001: A Space Odyssey’. This was created in the piece of software,

Celtex along with stage notes and dialogue. This script was annotated with notes for the sound design. (Figure

44 p77).

8.3.2 Sound plot

A sound plot was created detailing all sound cues within the performance (Figure 45 p78). From here a plan

was formulate on how the sounds would be collected (Figure 46 p79). Throughout the project sounds were

added and withdrawn from the original sound plot as testing was done with the actor and discoveries were

made on what would and would not work.

8.3.3 Creating and editing cues

Sounds were collected from the planned sources; within the studio, on location with a Marantz or from sound

effect and music libraries. To create the sound scape, a recording of the dialogue was created in Logic Pro to

which each sound effect was synchronised to the dialogue to ensure each sound would work for the

performance. Each sound cue was then bounced out ready for use in QLab. This was a great way of working as

it gave a clearer indication of how long sounds needed to be as well as fade in and out times to ensure each

individual sound would work with the dialogue. Sounds were manipulated in Logic with use of; equalisation,

dynamic processing, flex timing, pitch manipulation and other effects such as modulation, delay and reverb.

Some sounds were mixed for multiple outputs, for example sending a clean signal through the main P.A and

having a reverberated signal from the rear of the auditorium.

Figure 23 - Logic Pro - Sound Design Woman in Black Screenshot

An effect plugin ‘iZotope Vinyl’ was used to add an effect to music, which was to appear to play from the

gramophone on stage, adding artefacts to the music making it sound dated, dusty and scratched.



P a g e | 42

8.3.4 Technical sound planning

From the annotated script it was possible to decipher what inputs and outputs would be required to playback

the sound design. First a simple flow diagram (Figure 49 p82) was created illustrating all inputs and outputs to

be used in the design. A plan of the venue was next made up from measurements of the auditorium, the stage

and the audience area. Notes were also made on where power connections were, as well as any important

connections such as lighting digital multiplex (DMX), audio and video inputs. A wiring diagram (Figure 50 p83)

was then created to help decipher exactly what equipment is required for the setup and to help on the build

and get in. This was finalised into an equipment list (Figure 47 p80).

Equipment was hired from Staffordshire University’s stores, sound departments and film departments. Any

equipment unavailable to hire was bought from a number of suppliers.

8.3.5 QLab playback

Each created sound file was imported into QLab, along with use of folders for grouped cues and fades to

transition between cues. Approximate levels and fades were pre-setup within the studio, however these had

to be tweaked on the performance day to match the noise floor and characteristics of the venue. MIDI cues

were setup to control Logic Pro, which would handle the microphone for the performance. The microphone

was set to the input of 5 separate Logic tracks, each with different effects and output routing. QLab was setup

(via MIDI) to control the faders of each of these tracks in turn. MIDI was also used to control the lighting

changes for the show; a MIDI cue was used to tell QLC+ to go to the next lighting state.

Figure 24 - QLab Screenshot - Fades Example

Figure 25 - QLab Screenshot - Output and mixing example



P a g e | 43

8.3.6 Build / Get-in

Equipment was gathered on the day and installed into the auditorium. The first job was to position the stage

and setup the overhead lighting. This had to be the first task as the only access to the lights was via mobile

platform ladders. The desired lights were focused onto the stage area and floodlights were used over the

audience area to be used as houselights. Next the installation of the sound system was complete to the plan.

Each output was then tested with the use of a test tone to check the full signal path.

The lights were then programed into QLC+ with the desired level set for each light within each state. Fade

in/out times were set accordingly.

Figure 26 (QLC+ Screen Shot - Plotting Lights)

Upon testing of the live microphone running through Logic Pro, it became clear there was an issue with

latency. The sound processed by the computer was greatly delayed from when it left the actors mouth. This

was greatly noticeable by the audience and gave a strange effect with the delay of vocals from the main sound

system than from the actor’s voice. The buffer speed was lowered in Logic to try and overcome this but there

were worries of the computer crashing with using such a quick processing time.

The cues within QLab were then ran one at a time and manipulated in level and output to match the desired

sound design. These were tweaked many times and tested from many audience positions. The microphone

was then tested and each track in Logic was ran and manipulated for a better sound within the venue. On the

second vocal track there was an effect that created distortion and reverberation, this effect caused serious

feedback in the main sound system, problem frequencies were removed from the track with EQ but new

frequencies appeared from the effect. This effect had to be changed considerably from the original design and

there was not enough time to perfect this as other tasks had to be complete before the performance.



P a g e | 44

8.3.7 Rehearsals

A technical rehearsal was next performed running the actors microphone, pre-recorded sound cues and

lighting. Each cue was run individually to make sure everything worked together. There were problems mixing

in the live vocals and the recorded sound cues with the vocals being masked. The vocals were as loud as

possible within Logic so each cue needed to be turned down in QLab to achieve a balance before lifting the

overall level on the analogue mixer. This was a time consuming process, which could have been spent better

perfecting levels and quality of cues. Each cue was then run again and adjustments were made to balance with

the live vocals.

Two dress rehearsals were then complete before the performance, after each notes was made on any issues,

which were later corrected and tested before the performance.

8.3.8 Performance

The performance went relatively smoothly on both a performance and technical aspect, all sound cues went as

desired and effects were portrayed to the audience as planned in the design. However one MIDI cue failed and

a fader was left up in Logic from a previous vocal effect, this was manually slowly faded out to slowly cover up

the error. The show was not affected in anyway by this technical error.

9 Conclusion P a g e | 45


9 Conclusion

The main aims of the project have been completed through exploration of the technologies within theatre

sound design, operation and installation. One main achievement of this project was successfully installing a

sound design system into a venue for a pantomime production at The Sands Centre, ensuring there was equal

coverage of the auditorium and the brief (Figure 30 p62) set by the venue was fully met. The other main

achievement was creating a successful piece of theatre, including a successful sound design, installation

system and operation system within the TV Studio at Staffordshire University. The New Vic Theatre company

project collapsed due to communication failure.

Over time the use of hardware and software has greatly improved the quality of sound within theatre whether

that is playback of pre-recorded material or live sound reinforcement. This project has completed a number of

objectives exploring many of these technologies and has produced a list of tools to assist with theatre sound

design, installation and operation. The project successfully found the areas of technology required to help and

improve sound for theatre. See fact sheet (Figure 29) within the appendices (p57).

P a g e | 46 10 Evaluation | Digital Desk Comparison


10 Evaluation

10.1 Theatre Sound Design (New Vic Theatre)

The New Vic Theatre project of sound design for theatre gave the experience of working with a real director

and company and dealing with the issues along the way. The project explored working with the director on

initial ideas for the piece and voice-overs were then edited and restored to that of a good recording quality. A

theme track was created for the piece, which met the director’s description, however the director was still not

happy with this. Due to a communication failure with the theatre company this lead to the failure of this

particular project.

If a similar project were to be completed realistic expectations would be clearly made at the initial meeting,

stating clear strengths and weakness of the sound designer. This could then lead onto conversations about

contingency plans, and making use of additional people to complete some aspects of the work, to assist the

sound designer to meet the theatre company’s expectations.


The theatre sound installation at The Sand Centre was completed remarkably well with the brief set by the

company exceeded. This included; providing sufficient monitoring on stage, which was achieved by using

overhead monitors focused at the correct areas and equalised for maximum gain. Full coverage of the

auditorium was also achieved by making use of a correctly setup line-array system, front fills and a delay

system. Appropriate intercommunication was also used including; crew communication, backstage relay and

show CCTV. This was all achieved by careful research of the available equipment and planning of use and

connectivity.

Some aspects of the project did become challenging at times, especially during the build and get in, working

with strict deadlines set by the theatre company to achieve the show opening on time. This included finding

faults in equipment, preventing feedback and training the mixer with the design and script.

If a similar project were to be completed again further research would be completed on sound reinforcement

techniques to achieve further control over feedback.

10 Evaluation P a g e | 47



The contingency project was a huge success, achieving a full theatrical event with the planning and execution

by just the sound designer and an actor.

The contingency project was a lot of work for a single personal managing a full theatre project and all aspects

within this including; the planning, sourcing and editing of sounds, rehearsing the actor, preparation, gathering

of equipment, build and get-in of the space including; staging, masking, lighting and sound, finally followed by

the performance operation. The project required huge amounts of planning to ensure things would run

smoothly on the day. Planning of the equipment, the installation and of time ensured the event was a success.

In the real world one person would never manage all aspects of a theatrical performance.

The sound recording, collection and management were also a success gathering well-recorded sound effects

and voice-overs. The use of software for the performance was another key success having programed one

piece of software to control all aspects of the event on the press of a single button by the operator. QLab

managed the houselights, theatrical lights, all music, all sound effects and all live sound reinforcement for the

event, reducing the workload of the operator, ensuring there was less chance of human error.

If this project was to be executed again help would be acquired to reduce the workload, which would improve

quality of the sound for performance, more time could be spent on the get-in / build of sound, as the project

desired, while other technicians could concentrate on the stage, masking and lighting.

10.4 Further research

This project covers only a handful of techniques and equipment available to the sound industry, many others

can be applied in theatre especially from the sound reinforcement industries. Further research into room

acoustics for auditoriums and concert halls, much more on research into acoustic modelling, learning further

microphone techniques and loudspeaker designs. Much further research could also be completed on the

collection and storage of sounds to complete a sound design, research can be completed here from the TV,

film and gaming industries.

P a g e | 48 11 Bibliography | Digital Desk Comparison


11 Bibliography

Ament, V. T. (2009). The Foley Grail. Oxford: Focal Press.

Ballou, G. (2008). Handbook for Sound Engineers. Oxford: Focal Press.

Bartlett, B. (2009). Practical Recording Techniques. Oxford: Focal Press.

Benediktsson, B. (2011, May 11). How to calculate a delay tower. Retrieved March 13, 2013 from Audio Tuts +:

http://audio.tutsplus.com/tutorials/production/how-to-calculate-a-delay-tower/

Biernson, G. A. (1988). Principles of Feedback Control: Advanced Control Topics (Volume 2 ed.). Wiley-

Interscience.

Coleman, P. (2004). Basics - a Beginner's Guide to Stage Sound. Entertainment Technology Press.

Davis, G., & Jones, R. (1988). The Sound Reinforcement Handbook (2nd ed.). Yamaha.

Owen, A. (Producer), & Gavron, S. (Director). (2007). Bricklane [Motion Picture]. United Kingdom.

Gottleib, P., & Hennerich, G. (2008). Recording on the Go: The Definitive Guide to Live Recording. Boston, MA,

USA: Course Technology.

Gronow, P., & Saunio, I. (1998). An international history of the recording industry. London: Cassell.

Huntington, J. (2000). Control Systems for Live Entertainment. Boston: Focal Press.

Jacobs, J. (2012, November 27). MXL FR-310 Hot Shoe Shotgun Microphone Review. Retrieved Feburary 27,

2013 from TechwareLabs: http://www.techwarelabs.com/mxl-fr-310-hot-shoe-shotgun-microphone-review/

Kaye, D., & James, L. (1999). Sound and Music for the Theatre: The Art and Technique of Design (Second ed.).

Focal Press.

Leonard, J. A. (2001). Theatre Sound. London: A & C Black Ltd.

Mort, S. (2011). Stage Lighting: The Technicians' Guide. London: Bloomsbury Publishing PLC.

Patrick, F. (2002). Sound for the Stage (Applications and Techniques). Entertainment Technology Press.

Roberts, R. (2011). Celtx: Open Source Screenwriting. Birmingham, UK: Packt Publishing.

Sandall, R. (2011, June 17). The Great Portable Digital Audio Recorder Comparison. Retrieved Feburary 28,

2013 from Dv Magazine: http://magazine.dv247.com/2011/06/17/portable-digital-audio-recorder-

comparison/

Sandstrom, U. (1997). Stage Lighting Controls. Oxford: Focal Press.

Slaton, S. (2011). Mixing a Musical: Broadway Theatrical Sound Techniques. Focal Press.

Sonnenschein, D. (2001). Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema.

Michael Wiese Productions.

Stachowiak, J. (2011, September 09). Digital Vs Analogue Mining. Retrieved March 03, 2013 from Absolute

Music: http://www.absolutemusic.co.uk/community/entries/206-digital-vs-analogue-mixing

11 Bibliography P a g e | 49


The Omni Group. (2012, August 27). OmniGraffle. Retrieved March 03, 2013 from Omni:

http://www.omnigroup.com/products/omnigraffle/

Viers, R. (2008). The Sound Effects Bible. California: Michael Wiese Productions.

White, P. (2000). Basic MIDI. Sanctuary Publishing.

White, P. (2000). Basic: Live Sound. Music Sales America.

White, P. (1999). Basic: Microphones. London: Sanctuary Publishing Limited.

White, P. (1998). Live Sound (Performing Musicians). Sanctuary.

Yewdall, D. L. (2012). Practical Art of Motion Picture Sound (4th Edition ed.). Oxford: Focal Press.

P a g e | 50 Appendices |12 Webography


12 Webography

AFMG. (2013). EASEFocus. Retrieved January 28, 2013 from AFMG: http://focus.afmg.eu/

Apple. (2013). Logic Pro. Retrieved February 28, 2013 from Apple: http://www.apple.com/logicpro

AVID. (2013). Pro Tools 10. Retrieved Feburary 28, 2013 from AVID: http://www.avid.com/US/products/Pro-

Tools-Software/

Figure 53. (2013). Figure 53. Retrieved March 22, 2013 from QLab: http://figure53.com/qlab/

iZotope. (2013). RXII. Retrieved 03 20, 2013 from Izotope: http://www.izotope.com/products/audio/rx/

Media College (n.d.) [Image Online] Retrieved January 14, 2013 from Media College:

http://www.mediacollege.com/audio/microphones/dynamic.html

Six Studio Digital. (n.d.). FFT or RTA? Retrieved 11 12, 2012 from Studio Six Digital:

http://www.studiosixdigital.com/fft_or_rta.html

The Omni Group. (2012, August 27). OmniGraffle. Retrieved March 03, 2013 from Omni:


University of Washington. (n.d.). [Image Online] Retrieved February 28, 2013 from University Libraries:

http://www.lib.washington.edu/subject/Drama/images/

http://focus.afmg.eu/

http://www.apple.com/logicpro

http://www.avid.com/US/products/Pro-Tools-Software/

http://www.avid.com/US/products/Pro-Tools-Software/

http://figure53.com/qlab/

http://www.izotope.com/products/audio/rx/

http://www.mediacollege.com/audio/microphones/dynamic.html

http://www.studiosixdigital.com/fft_or_rta.html


http://www.lib.washington.edu/subject/Drama/images/

14 Appendices P a g e | 51


14 Appendices

Non-sound related theatrical research .......................................................................................................... 52

Digital Audio Workstation Comparison .......................................................................................................... 54

Digital Desk Comparison ................................................................................................................................ 55

Effects and Processing Definitions ................................................................................................................. 56

Software Resources ....................................................................................................................................... 58

Resources ...................................................................................................................................................... 59

Useful Calculations & Equations .................................................................................................................... 61

Theatre Installation - Brief & Equipment List ................................................................................................. 62

Theatre Installation - Draft Venue Drawing ................................................................................................... 63

Equipment Research - Theatre Installation .................................................................................................... 64

Theatre Installation - Input & Output Table ................................................................................................... 65

Theatre Installation - Flow Diagram Desk Outputs ......................................................................................... 66

Theatre Installation - Sound Wiring Diagram ................................................................................................. 67

Theatre Installation - Power Calculation Plan ................................................................................................ 68

Theatre Installation - Power Wiring Diagram ................................................................................................. 69

Theatre Installation - Video Communication Plan .......................................................................................... 70

Theatre Installation - Communication Plans .................................................................................................. 71

Theatre Installation - Venue to scale drawing ................................................................................................ 72

Theatre Installation - Sound Sources Plans .................................................................................................... 73

Theatre Installation - Line-array Aiming Plan ................................................................................................. 74

Theatre Installation - Rack Plans .................................................................................................................... 75

Contingency - Annotated Script ..................................................................................................................... 76

Contingency - Sound Plot ............................................................................................................................... 78

Contingency - Sounds to Source ..................................................................................................................... 79

Contingency – Equipment List ........................................................................................................................ 80

Contingency – Theatre Layout Plan ................................................................................................................ 81

Contingency - Input / Output Flow Diagram .................................................................................................. 82

Contingency - Wiring Diagram ....................................................................................................................... 83

Contingency - Lighting Plan ............................................................................................................................ 84

Additional Research and Notes for Contingency Plan .................................................................................... 85

Dissertation CD Contents ............................................................................................................................... 86

P a g e | 52 Appendices |Non-sound related theatrical research


Non-sound related theatrical research

Script writing

Script writing needs to be in a professional standard format or directors and producers will not waste their

time reading it. Celtx is a piece of open source software that automatically formats scripts correctly. The

software also can be used for the storyboarding, sketching, cataloguing and producing production schedules

(Roberts, 2011). Script writing can be completed in common word processing packages but with difficulty to

achieve the correct formatting.

Theatrical Lighting

There are three main parts to a lighting system; lanterns/luminaires, dimmers and control. The lanterns

produce light are powered by cables or fixed circuits that are connected to either dimmer units (for generic

lighting) or independent switched circuits (for DMX controlled fixtures.) The dimmers are controlled by DMX

(Digital Multiplex) to control the intensity of each lantern. Lighting control is in the form of a desk or computer,

which operates the dimmers, moving light fixtures, LED fixture or special FX via DMX. Digital Multiplexing

(DMX 512) uses a computerised data system to control information in a series of ‘bits’ down a single data

cable. This is in the form of binary code. DMX recognises the binary as a lighting level between 0 ‘no light’ and

255 ‘full light’. DMX uses a two-core data cable that is capable of handling 512 separate control channels to

connect the control unit to lighting or effect units. DMX is connected together in a loop or ‘daisy chain’ via

DMX ‘in’ and ‘out’ sockets. DMX cables are either 5pin or 3pin XLR plugs and sockets. DMX addresses are set

on units via a digital keypad, miniature rotating switches or dipswitches. (Mort, 2011)

Lighting layout plans are used to show the position of lighting bards and the layout of all outlet sockets and

circuit numbers, the plan should also include basic measurements of the space. This will be crucial when

creating the lighting design plan. The lighting design plan should show where all lanterns are hung, their

channels, dimmers, gels, gobos and uses. This information will be useful when rigging and programing the

show. CAD (computer aided design) software or stage lighting software such as LxDesigner or LXFree can be

used to create such plans. (Mort, 2011)

Figure 27 - LxDesign Plan (Mort, 2011)

Non-sound related theatrical research P a g e | 53


Lighting plot sheets should be used when programming a show with cue no, time & type, action, levels, after-

cue and notes.

Figure 28 - Lighting Plot Sheet (Mort, 2011)

Q-File systems provide memory control of DMX information through computer technology. Computers are

often used to handle information and software instructs the computer of how to do so. With software

programming can be updated, downloaded, rewritten and improved. The software is run on a ‘hardware’

platform, which is the mechanical side of a computer. Most lighting control hardware include a traditional

computer (RAM, processor, hard-drive), then faders and keys process and compute information to outputted

as DMX. The processor can also provide exact information about channels, levels and on going fades (etc.) in

displays or monitors. (Sandstrom, 1997).

Personal computers can now be used to control lighting with use of software that runs on PC operating

systems such as Microsoft Windows, Mac OS X, and Linux. These pieces of software can be used with touch

screens, keyboard and mouse, or ‘wings’, which have traditional lighting keypads and faders. Often dongles

that convert USB to DMX512 can be used to output the control signal. ChamSys’ Magic Q and Avolites Titan

are examples of professional PC based systems although there are free open source apps available such as Q

Light Controller (QLC)

P a g e | 54 Appendices |Digital Audio Workstation Comparison


Digital Audio Workstation Comparison

Apple’s Logic Pro 9

Avid’s Pro Tools 10

Cubase

Highest Bit Rate 24 bit 32 bit

Highest Sample Rate 192kHz 192kHz

Max Audio Tracks 255 96 256

Max Instrument Tracks 255

64 64

Max MIDI Tracks 512

Max AUX Tracks 255 160 64

Max Busses 64 256 256

Max project length @96kHz 6 hours

Bundled effect plug-ins 87 75 66

Bundled Software Instruments 40 (1,700) 7 8 (2,808)

Rewire Yes Yes Yes

Mac Yes Yes Yes

PC No Yes Yes

http://www.apple.com/uk/logicpro/

http://www.avid.com/US/products/pro-tools-software

http://www.steinberg.net/en/products/cubase/start.html

Table 1 - Digital Audio Workstation Comparison

Digital Desk Comparison P a g e | 55


Digital Desk Comparison

Roland M-400

Yamaha LS9-16

Allen & Heath GLD-80

Inputs 48 inputs 32mono + 4 stereo 48 inputs

Outputs L C R Main 8 Matrixes 16 Auxiliaries

Stereo, Mono 8 Matrixes 16 Auxiliaries

Up to 20 mix Outputs 30 assignable busses (Aux, Group, Matrix, Main, FX Send)

Groups 8 16 16

FXs 4 Stereo FX or 4 Stereo GEQ

4 Stereo FX or 4 Stereo GEQ

8 Stereo FX

Graphic Equalisers (GEQ) 4 Mono 4 Mono All outputs with Comp & Delay

Channel EQ 4 Band Parametric 4 Band Parametric 4 Band Parametric

Channel Inserts 24 Gates & Compressors All ch’s Gate & Compressors

All ch’s Gate, Compressor & Delay

External Inserts 8

Unit Connections 8 XLR Inputs 8 XLR Outputs Stereo Phono In USB Recorder/Player Talkback XLR 2x REAC (Roland Ethernet Audio Connection) up to 80 channels of in/out

16 XLR Inputs 8 XLR Outputs 2TRK Digital In/Out USB Recorder/Player Expansion Slot

4 XLR Inputs 4 XLR Outputs 4 RCA Inputs 2 RCA Outputs SPDIF Digital Out AES3 Digital Out USB Recorder/Player 2x GLD-AR Up to 44 inputs and 16 outputs by Ethernet

Scenes 999 Yes

Data, Control and Other USB(A) Stick Control via M-400 RCS USB(B) MIDI

USB Ethernet MIDI Word Clock I/O

USB Ethernet MIDI

Computer Editor M-400 RCS LS9 Editor GLD Remote for iPad

DA/AD Conversion 24bit, 48kHz 32bit, 48kHz 24bit, 38kHz

Weight 19.8kg 12kg 16.5kg

http://www.roland.com/products/en/M-400/

http://www.yamahaproaudio.com/global/en/products/mixers/ls9/

http://www.allen-heath.com/uk/Products/Pages/ProductDetails.aspx?CatId=GLDSeries&ProductId=GLD80&SubCatId=

Table 2 - Digital Sound Desk Comparison





http://www.allen-heath.com/uk/Products/Pages/ProductDetails.aspx?CatId=GLDSeries&ProductId=GLD80&SubCatId




P a g e | 56 Appendices |Effects and Processing Definitions


Effects and Processing Definitions

Equalisation Equalisers allow cutting and boosting to the frequency spectrum of an audio signal. There are many different types of EQs. Bandpass Filter EQ is a filter that passes frequencies between two limits. These are often high pass (low cut) filters. They can contain a frequency selection (sweep) control and a cut or boost control. Parametric EQ (PEQ) is normally found on mixing desks and DAWs, which allows a frequency selection, cut or boost and a Q or bandwidth selection. Graphic EQ (GEQ) is a recognisable by a row of faders across its front panel, each of which controls a narrow section of the audio spectrum, allowing a cut or boost on the frequency selection on the fader.

Compressors A compressor reduces the difference in level between the loudest and quietest sounds. The user sets a threshold to start the compressor then sets a level of how much to compress in the form of a ratio. There is often also a post compress gain or makeup gain and attack, hold and release times. There is sometimes also a soft knee setting, that ease in the compression rather than everything happening as soon as the signal hits the threshold.

Limiters Limiters compress the signal to infinity to stop a signal peaking going above a curtain level. There is often a threshold and gain setting.

Gates & Expanding A gate is an automatic switch, which turns the audio signal off when the signal falls below a set threshold. There is often attack, hold and release time for gates.

Exciters and Enhancers An enhancer creates new higher frequencies providing the illusion that the sound is actual cleaner and brighter than original. Most exciters and enhancers combine elements of dynamic equalisation with harmonic synthesis and phase manipulation.

Delay Delay effects can be used to create slap-back echoes or a distinct single echo. Delay times can often be set and even linked to a tap tempo to add desired effects to a song.

Reverberation Reverberation is an effect that adds sound reflections from surfaces inside a confined space such as a building. Reverb units use digital signal processing chips for their operation. Most reverb units come with algorithms for halls, rooms, chambers and plates.

Pitch Shifting Pitch shifting is a process which changes the pitch of an audio signal without changings its duration. Most pitch shifters allow changes of up to 2 octaves up or down with fine tuning and semitone step adjustments.

Anti-Feedback Systems Manual feedback control is when the user uses a graphic equaliser (GEQ) to ‘notch out’ troublesome frequencies when they occur. The procedure known as ‘ringing out’ is where the operator raiser the gain until ringing occurs, then that frequency is taken out on a GEQ and the process is repeated until enough gain is achieved without feedback. Automatic systems use narrow bands of frequencies and automatic remove the problem frequencies during a sound check.

Table 3 - Effects and Processors Definition (White, 2003)

P a g e | 57


Figure 29 - Hardware & Software to assist Sound Design for Theatre

Hardware and Software to assist Sound Design for Theatre

Technology such as Word Processing and Spread sheets were helpful when creating sound design

plans and plot giving an easy method of editing, printing and emailing to the appropriate

personnel.

o Apple: Pages and Numbers

o Microsoft Office: Work and Excel

o OpenOffice: Writer

Digital Audio Workstations are an invaluable tool for the modern sound designer, giving great

flexibility to collect, edit, arrange and export cues in multiple formats.

o AVID Pro Tools

o Apple Logic Pro

o Steinberg Cuebase

Technical sound design planning is made easy with CADD and vector drawing tools, making flow

diagrams neatly and quickly and allowing for quick edits when changes are made.

o AutoDesk AutoCadd

o Omni-Graffle Pro

o Stardraw

o Vector Works

Technology for installing a sound design is great for achieving the best from equipment; from

aiming the speakers in the best positions, to equalising a system, or monitoring radio frequency or

battery levels.

o AFMG EASE / EASE Focus / SysTune

o Meyer Sound Simm

o Odeon Room Acoustic

o Rational Acoustics Smaart

Computer playback is a great tool and can control all aspects of a show, it proves to be very

reliable but there could be some bugs and it can become overwhelming with the number of cues

controlling each aspect of a show.

o QLab

o SFX

Manufacture equipment software such as offline desk editors, wireless management systems and

loudspeaker management systems are also valuable tools when using this equipment.

P a g e | 58 Appendices |Software Resources


Software Resources

Digital Audio

Workstations

Apple Logic Pro

www.apple.com/logicpro

Avid Pro Tools

www.avid.com/products/family/pro-

tools

Steinberg’s Cubase

www.steinberg.net/en/products/cuba

se

Ableton Live

www.ableton.com

Propellerhead Reason

www.propellerheads.se/products/reas

on

Cycling74 MAX

www.cycling74.com/products/max

Audio Restoration

iZotope RXII

www.izotope.com/rx

Apple Soundtrack Pro

www.apple.com/support/soundtrackp

ro

Adobe Audition

www.adobe.com/uk/products/auditio

n.html

Playback / Show

Control

QLab

www.figure53.com/qlab/

SFX

www.stageresearch.com/products/SF

X6/SFX6.aspx

Radio Frequency

Software

RF Guru

www.stageresearch.com/products/RF

Guru

Intermodulation Analysis System

www.professionalwireless.com/ias

Sennheiser Wireless Management System (WMS) en-de.sennheiser.com/service-support/wsm

Shure Wireless Workbench (WWB)

www.shure.co.uk/support_download/

downloads/software-drivers/wwb6

Planning & Drawing

Software

Microsoft Excel

office.microsoft.com/en-gb/excel

Microsoft Work

office.microsoft.com/en-001/word

OmniGraffle

www.omnigroup.com/products/omnig

raffle

Vectorworks

www.vectorworks.net

AutoDesk’s AutoCAD

www.autodesk.co.uk/autocad

StarDraw

www.stardraw.com

Acoustic Modelling

Software

AFMG EASE

ease.afmg.eu

AFMG EASEFocus

focus.afmg.eu

Odeon Room Acoustic Software

www.odeon.dk

Audio Analysis

Software

AFMG’s SysTune

systune.afmg.eu

Rational Acoustic’s Smaart

www.rationalacoustics.com/smaart

Meyer Sound’s Sim

www.meyersound.com/products/sim/

sim3

iPhone / iPad apps

Ambrosia’s Soundboard

www.ambrosiasw.com/utilities/sounb

oard-ipad

Audio Tools

www.studiosixdigital.com/audiotools/

FX Live

www.driftwoodsoftware.com/fx-

live.html

Lighting Software

QLC

http://qlc.sourceforge.net/

Chamsys Magic Q

http://chamsys.co.uk/magicq

http://www.apple.com/logicpro

http://www.avid.com/products/family/pro-tools

http://www.avid.com/products/family/pro-tools

http://www.steinberg.net/en/products/cubase

http://www.steinberg.net/en/products/cubase

http://www.ableton.com/

http://www.propellerheads.se/products/reason

http://www.propellerheads.se/products/reason

http://www.cycling74.com/products/max

http://www.izotope.com/rx/

http://www.apple.com/support/soundtrackpro/

http://www.apple.com/support/soundtrackpro/

http://www.adobe.com/uk/products/audition.html

http://www.adobe.com/uk/products/audition.html

http://www.figure53.com/qlab/

http://www.stageresearch.com/products/SFX6/SFX6.aspx

http://www.stageresearch.com/products/SFX6/SFX6.aspx

http://www.stageresearch.com/products/RFGuru

http://www.stageresearch.com/products/RFGuru

http://www.professionalwireless.com/ias

http://en-de.sennheiser.com/service-support/wsm

http://en-de.sennheiser.com/service-support/wsm

http://www.shure.co.uk/support_download/downloads/software-drivers/wwb6

http://www.shure.co.uk/support_download/downloads/software-drivers/wwb6

http://office.microsoft.com/en-gb/excel/

http://office.microsoft.com/en-001/word/



http://www.vectorworks.net/

http://www.autodesk.co.uk/autocad

http://www.stardraw.com/

ease.afmg.eu

focus.afmg.eu

http://www.odeon.dk/

http://systune.afmg.eu/

http://www.rationalacoustics.com/smaart

http://www.meyersound.com/products/sim/sim3

http://www.meyersound.com/products/sim/sim3

http://www.ambrosiasw.com/utilities/sounboard-ipad

http://www.ambrosiasw.com/utilities/sounboard-ipad

http://www.studiosixdigital.com/audiotools/

http://www.driftwoodsoftware.com/fx-live.html

http://www.driftwoodsoftware.com/fx-live.html

http://qlc.sourceforge.net/

Appendices | Resources P a g e | 59


Resources

Trade Magazines

The Stage

www.thestage.co.uk

Professional Sound

www.professional-sound.com

Sound on Sound

www.soundonsound.com

Online Resources

Blue Room

www.blue-room.org.uk

FOH Online

www.fohonline.com

Organisations and

Unions

ABTT – The Association of British

Theatre Technicians

www.abtt.org.uk

AES – Audio Engineering Society

www.aes.org

BECTU – Broadcasting,

Entertainment, Cinematograph

and Theatre Union

www.bectu.org.uk

Equity

www.equity.org.uk

Sound Effect

Libraries

Pro Sound Effects

www.prosoundeffects.com

Sound Dogs

www.sounddogs.com

Microphone

Manufacturers

AKG

www.akg.com

Audio Technica

www.audio-technica.com

Audix

www.audixusa.com

Newman

www.newmann.com

Rode

www.rodemic.com

Sennheiser

www.sennheiser.com

Shure

www.shure.com

Recording

Equipment

Edirol

www.edirol.com

Roland

www.roland.com

Sony

www.sony.com

Zoom

www.zoom.co.jp

Studio / Live Sound

Equipment

Alesis

www.alesis.com

Allen & Heath

www.allen-heath.com

Avid

www.avid.com

Behringer

www.behringer.com

Digico

www.digico.biz

Mackie

www.mackie.com

M-Audio

www.m-audio.com

Peavey

www.peavey.com

Roland

www.roland.co.uk

Tannoy

www.tannoy.com

Tascam

www.tascam.com

Soundcraft

www.soundcraft.com

SSL

www.solid-stage-logic.com

Yamaha

www.yamaha.com

http://www.thestage.co.uk/

http://www.professional-sound.com/

http://www.soundonsound.com/

http://www.blue-room.org.uk/

http://www.fohonline.com/

http://www.abtt.org.uk/

http://www.aes.org/

http://www.bectu.org.uk/

http://www.equity.org.uk/

http://www.prosoundeffects.com/

http://www.sounddogs.com/

http://www.akg.com/

http://www.audio-technica.com/

http://www.audixusa.com/

http://www.newmann.com/

http://www.rodemic.com/

http://www.sennheiser.com/

http://www.shure.com/

http://www.edirol.com/

http://www.roland.com/

http://www.sony.com/

http://www.zoom.co.jp/

http://www.alesis.com/

http://www.allen-heath.com/

http://www.avid.com/

http://www.behringer.com/

http://www.digico.biz/

http://www.mackie.com/

http://www.m-audio.com/

http://www.peavey.com/

http://www.roland.co.uk/

http://www.tannoy.com/

http://www.tascam.com/

http://www.soundcraft.com/

http://www.solid-stage-logic.com/

http://www.yamaha.com/

P a g e | 60 Appendices |Resources


Loudspeaker

Companies

D&B Audio Technique

www.dbaudio.com

dB Technologies

www.dbtechnologies.com

K-array

www.k-array.com

L’Acoustic

www.l-acoustics.com

EM Acoustics

www.emacoustics.co.uk

Martin Audio

www.martin-audio.com

Meyer Sound

www.meyersound.com

RCF

www.rcf.it

Retailers

Dv247

www.dv247.com

Canford

www.canford.co.uk

Gear4Music

www.gear4music.com

Thomann

www.tomann.de

ProAudioSystems

www.proaudiosystems.co.uk

Stage Electrics

www.stage-electrics.co.uk

Studio Spares

www.studiospares.co.uk

http://www.dbaudio.com/

http://www.dbtechnologies.com/

http://www.k-array.com/

http://www.l-acoustics.com/

http://www.emacoustics.co.uk/

http://www.martin-audio.com/

http://www.meyersound.com/

http://www.rcf.it/

http://www.dv247.com/

http://www.canford.co.uk/

http://www.gear4music.com/

http://www.tomann.de/

http://www.proaudiosystems.co.uk/

http://www.stage-electrics.co.uk/

Appendices | Useful Calculations & Equations P a g e | 61


Useful Calculations & Equations

Calculate power consumption in Watts

Power in Watts = Voltage x Current in Amps

Calculate current consumption in Amps

Calculating of resistance

Calculating time delay to set from main sound source

Calculate intermodulation Intermodulation = frequency 1 + frequency 2 Intermodulation = frequency 1 - frequency 2

Table 4 - Useful Calculations & Equations

P a g e | 62 Appendices |Theatre Installation - Brief & Equipment List


Theatre Installation - Brief & Equipment List

Figure 30 - Theatre Installation - Brief & Equipment List

Appendices | Theatre Installation - Draft Venue Drawing P a g e | 63


Theatre Installation - Draft Venue Drawing

Figure 31 - Theatre Installation - Draft Drawing

P a g e | 64 Appendices |Equipment Research - Theatre Installation


Equipment Research - Theatre Installation

Figure 32 - Theatre Installation - Equipment Research

Roland M-400 - Digital Sound Desk


This Roland V-Mixer is an extremely versatile digital mixing console with the ability to patch different

inputs or outputs to 48input channels, 16 auxiliaries or 8 matrixes. There is a fully four-band parametric

EQ on each channel and 24 gates & compressors to use across the inputs. There are 4 Mono 31 band

graphic equalisers (GEQ) and 4 (Stereo) assignable FX units or GEQ’s. There can be 8 mono external

inserts for outboard gear. Connections on the unit include 8XLR inputs & outputs, talkback XLR, Stereo

phono in, 2xREAC (Roland Ethernet Audio Connection) connections. The system offers full recall for up to

999 scenes over unlimited (storage dependable) projects. The system can be pre-programed with M-400

RCS software and connected via USB for uploading the project via computer. The RCS software can also

be used for live/remote editing.

Roland S4000S - Digital Stage Box (Multicore)

http://www.roland.com/products/en/S-4000S-MR/

The S4000 converts up to 40channels AD/DA to run down a single line of CAT5e via REAC (Roland

Ethernet Audio Connection). The CAT5e can be up to 100m where then it requires a CAT5e switch to

boost the signal. The Sands Centre owns 40 inputs and 40 outputs in groups of 4 - a module card. The

module cards need to be inserted in pairs, with inputs and outputs grouped together and inputs at the

left of the S4000 enclosure as to Roland Specification. The S4000 has high equality XR-1 Pre-Amps at the

stage box eliminating cable noise which is normally there when using traditional long analogue cable

runs.

Sennheiser G300 G3 - Radio Microphones

Head microphones

http://www.pulse-audio.co.uk/5051259018273.shtml

The pulse headset microphone comes with a huge frequency response from 20Hz-20kHz great for full

amplification of vocals, it is a highly sensitive, omnidirectional condenser microphone with a 3.5mm

locking jack to fit the Sennheiser SMK in section 4.3.1.7.


http://www.roland.com/products/en/S-4000S-MR/

http://www.pulse-audio.co.uk/5051259018273.shtml

Appendices | Theatre Installation - Input & Output Table P a g e | 65


Theatre Installation - Input & Output Table

Input Ch’s Output 1 Kick Main L

2 Snare Main R

3 Hi Hat Main Mono

4 Tom L Matrix 1 Line-Array Left

5 Tom R Matrix 2 Line-Array Right

6 Cymbal L Matrix 3 Front-Fill Left

7 Cymbal R Matrix 4 Front-Fill Right

8 Bass Matrix 5 Galleries

9 Keys 1 L Matrix 6 Delays

10 Keys 1 R Matrix 7 DSM

11 Keys 2 L Matrix 8

12 Keys 2 R Aux 1 Upstage Mons

13 Track L Aux 2 Midstage Mons

14 Track R Aux 3 Downstage Mons

15 Click Aux 4

16 Backing Vocals Aux 5 Drummer

17 FX / Instrument Aux 6 Bassist

18 Aux 7 Keys

19 Aux 8

20 Aux 9 Subs

21 Aux 10 Loop System

22 Aux 11 Backstage Relay

23 Aux 12 Communications

24 DSM Microphone Aux 13 Reverb Left

25 Aladdin Aux 14 Reverb Right

26 Abanazer Aux 15 Delay L

27 WisheeWashee Aux 16 Delay R

28 Widow Twanky

29 Jasmine

30 Emperor of China

31 PC Ping Pong

32 Genie

33 Maiden

34 Slave

35 Hand Held

36 Hand Held Backup

37 CD Left

38 CD Right

39 MD Left

40 MD Right

41

42

43

44

45 Reverb L

46 Reverb R

47 Delay L

48 Delay R Figure 33 - Theatre Installation - Input & Output Table

P a g e | 66 Appendices |Theatre Installation - Flow Diagram Desk Outputs


Theatre Installation - Flow Diagram Desk Outputs

Figure 34 - Theatre Installation - Flow Diagram Desk Outputs

Appendices | Theatre Installation - Sound Wiring Diagram P a g e | 67


Theatre Installation - Sound Wiring Diagram

Figure 35 - Theatre Installation - Sound Wiring Diagram

P a g e | 68 Appendices |Theatre Installation - Power Calculation Plan


Theatre Installation - Power Calculation Plan

Figure 36 - Theatre Installation - Power Plan

Appendices | Theatre Installation - Power Wiring Diagram P a g e | 69


Theatre Installation - Power Wiring Diagram

Figure 37 - Theatre Installation - Power Wiring Diagram

P a g e | 70 Appendices |Theatre Installation - Video Communication Plan


Theatre Installation - Video Communication Plan

Figure 38 - Theatre Installation - Video Communication Plan

Appendices | Theatre Installation - Communication Plans P a g e | 71


Theatre Installation - Communication Plans

Figure 39 - Theatre Installation - Communication Plans

P a g e | 72 Appendices |Theatre Installation - Venue to scale drawing


Theatre Installation - Venue to scale drawing

Figure 40 - Theatre Installation - Venue to scale Plan

Appendices | Theatre Installation - Sound Sources Plans P a g e | 73


Theatre Installation - Sound Sources Plans

Figure 41 - Theatre Installation - Ease Focus - Sound Sources Plan

P a g e | 74 Appendices |Theatre Installation - Line-array Aiming Plan


Theatre Installation - Line-array Aiming Plan

Figure 42 - Theatre Installation - Ease Focus - Line-Array Aiming Plan

Appendices | Theatre Installation - Rack Plans P a g e | 75


Theatre Installation - Rack Plans

Figure 43 - Theatre Installation - Rack Plans

P a g e | 76 Appendices |Contingency - Annotated Script


Contingency - Annotated Script

Appendices | Contingency - Annotated Script P a g e | 77


Figure 44 - Contingency - Annotated Script

P a g e | 78 Appendices |Contingency - Sound Plot


Contingency - Sound Plot

Figure 45 - Contingency - Sound Plot

Appendices | Contingency - Sounds to Source P a g e | 79


Contingency - Sounds to Source

Figure 46 - Contingency - Sounds to source

P a g e | 80 Appendices |Contingency – Equipment List


Contingency – Equipment List

Figure 47 - Contingency - Equipment List

Appendices | Contingency – Theatre Layout Plan P a g e | 81


Contingency – Theatre Layout Plan

Figure 48 - Contingency - Theatre Layout Plan

P a g e | 82 Appendices |Contingency - Input / Output Flow Diagram


Contingency - Input / Output Flow Diagram

Figure 49 - Contingency - Inputs & Output Flow Diagram

Appendices | Contingency - Wiring Diagram P a g e | 83


Contingency - Wiring Diagram

Figure 50 - Contingency Flow/Wiring Diagram

P a g e | 84 Appendices |Contingency - Lighting Plan


Contingency - Lighting Plan

Figure 51 - Contingency - Lighting Plan

Appendices | Additional Research and Notes for Contingency Plan P a g e | 85


Additional Research and Notes for Contingency Plan

Figure 52 - Additional Research and Notes for Contingency Plan

P a g e | 86 Appendices |Dissertation CD Contents


Dissertation CD Contents

1. Electronic Dissertation (DOCX)

2. Electronic Dissertation (PDF)

3. Supporting information for Theatre Sound Design (New Vic Theatre) (Portfolio)

a. Email exchanges (PDF)

b. Directors brief & expectations (PDF)

c. All Our Daughters script (PDF)

d. Original voice overs (Folder of AIF)

e. Cleaned voice overs (Logic file or bounced AIF)

f. Theme music (Logic file or bounced AIF)

g. Voice over comparisons (MP3)

4. Supporting information for Theatre Sound Installation (The Sands Centre) (Portfolio)

a. Email exchanges (PDF)

b. Brief & equipment list (PDF)

c. Research and product manuals (PDF)

d. Full plans (PDF)

e. M400 desk file

f. WSM file

g. Photos and screen shots

5. Supporting information for Contingency Plan (Staffordshire University) (Portfolio)

a. Research (MOV / MP4 / PDF)

b. Script (CELTX / PDF)

c. Sound Design Plans (PDF)

d. Sound Creations (Logic Files)

e. Technical Plans (PDF / DOC / GRAFFLE / LXPLOT)

f. Performance Files (CUES / QXW / Logic / AIF)

g. Performance Movie (MP4)

h. Photos and screen shots

dissertation - theatre sound design, installation & operation

Documents

theatre greg brown

meyer sound simm

michael wiese productions

power wiring diagram

sound wiring diagram

digital desk comparison

final dress rehearsal

digital audio tapes