Preface to the Third Edition

When we wrote the updates for the second edition of this book, we thought the technology that sound designers and composers were using had really taken a leap forward since the first edition. If we could have looked ten years into the future, we would have been dumb-struck! For this third edition, we assume that many people will be using some sort of computerized playback system for their cues. However, we’ll still give thought to the folks using CD players and simple mixers in our discussions about using technology. We will also assume that the once-ubiquitous reel-to-reel tape deck has found its final resting place next to the dodo.

As we reviewed the last edition in an effort to update the text, it’s been inspiring to see that the technology available to designers and composers has evolved so greatly. Equally as inspiring is how the art of sound and music for the theatre has received greater recognition and has found its way into so many new frontiers. We are also thrilled that since the last edition, there are now two Tony Awards presented for sound design and that sound design programs are being offered at many colleges and universities.

We consider ourselves very fortunate that in the many years since we first began this exploration of the aesthetic of sound and music in the theatrical world, our colleagues have honored us with their participation in our forums. By offering their experiences and wisdom, our colleagues have given our readers insights that would have been available to them only via a face-to-face meeting. However, sorely lacking from our book and forums was any discussion on sound reinforcement. Our strong desire to acknowledge sound reinforcement designers led us to add a third forum to our book: No More Feedback: A Sound Reinforcement Forum. By no means do we consider our coverage to be comprehensive, but perhaps this new section will serve as an interesting basic discussion of this discipline by some of the foremost sound designers currently working in reinforcement.

We welcome the remarkably talented and astute David Budries to our latest literary effort. He has generously and graciously contributed his expert knowledge and experience to this edition.

We hope that our readers find this edition, with its many updates, to be useful and motivating. We are humbled to think that our book has survived close to two decades. If you listen carefully, you can hear us applauding the innovative sound designers and composers entering this still burgeoning and fascinating field.