Index

A

Abstract form, 21–22

Abstraction, 19

Acoustic weapons, 16–17

Acoustics, overview of, 104–105

Actors

scripts and, 41

voice processing for, 180

Aliasing, 169–170

Ambiance

“establish and fade” technique of, 31–32

overview of, 27, 28

removing, 32

softening of, 32

spot effects and, 28–29

volume of, 31

American Conservatory Theatre, 8

American Society of Composers, Authors and Publishers (ASCAP), 60

American Theatre Wing, 81–82

Amplification, 104

Announcements, preshow, 25

Apple, Max, The Propheteers, 2

Appropriateness

of musical instruments, 18

of sounds, 18

of timing, 43

Archiving, of sound effects, 58

Art, 2

Artifacts, 169–170

Artistic directors, 85–86

ASCAP.See American Society of Composers, Authors and Publishers

Assessing cue parameters, 102–107

Audio industry, 2

Audio masters, 2

Audio show control system, 160f

Audio tools, 9

Aural identifiers, 105

Aural illusions, 34

Aural statement, 13

Aural vision, 12, 13

Auralizing, 13

Ayckbourn, Alan, Sisterly Feelings, 41

B

Backing up your work, 116

Balance, of sound cues, 34–35

Bandshells, 37

Barton, Todd

background of, 223

feedback from, 237–238, 243, 252, 260, 271, 272, 287

Baryshnikov, Mikhail, 10

Berkeley Repertory Theatre, 16

Beyond Therapy, 46

Blending

of live and prerecorded sounds, 182–183

of pitches, 176–177

Blocking, 3, 118

Blue Suede Shoes, 175–176

Blueberry Hill, 23

BMI.See Broadcast Music Incorporated

Brancato, Joe

background of, 186–187

feedback from, 191, 192, 194, 197, 198, 199, 201, 203, 206, 209

Brecht, Bertolt, 7

Broadcast Music Incorporated (BMI), 60

Bronze Age, 4

Budgets

for equipment, 49–50

limitations of, 92–93

margin for error in, 50

overview of, 107–108

for sound design, 48, 49–50

Budries, David

background of, 231

feedback from, 227–228, 234–235, 245, 250–251, 254–255, 261–262, 272–273, 278–281

Building the show, 112–113

C

Cables, for microphones, 101–102

Cart machines, 114–115

Cassette decks, 10

Casting directors, 86

Changes, in sound design, 136–137

Characters

hidden clues and, 43–44

musical instruments and, 52–53

unseen, 14–15

Checking, of equipment, 145–148

Chekhov, Anton, The Seagull, 5–6

Cherokee County, 20

A Christmas Carol (Dickens), 40–41

Cinematic design

cinematic form and, 19–20

preshows and, 20

Clark, Tom

background of, 288–289

feedback from, 290, 291, 292, 293, 295, 297, 298, 299, 301, 302, 302–303, 304

Collection list, 98f

A Comedy of Errors (Shakespeare), 40

Comic effect, 19

Commedia dell’arte, 4, 40

Commentary sounds, 24

Communication systems, multichannel, 132–133, 147

Compact discs (CDs)

disc format, 9–10, 10, 56–57

players for, 113–114

Company managers, 87

Complex sound sequences, 172–173

Composers

American Society of Composers, Authors and Publishers, 60

design process and, 3, 224–225

duties of, 2

equipment and, 9

research and, 52–53

sound designers and, 11

Compressing underscoring, 178

Computer-assisted playback systems

overview of, 115–116

sound booth and, 132

sound cues and, 112, 158–163

sound design and, 8–9, 9–10

sound plots and, 120f

Conceptual development, in design process, 40

Conference of the Birds, 22

Consistency, 19–20

Consumer audio products, 9

Contacts, 59–60

Contracts, 82

Contrast, 16–18

Copyright issues, 60, 60–61

Costume designers, 13

Costume designs, 45

Coward, Noel, 46

Tonight at 8:30, 26

Crash box, 34, 37, 116

Creative audio tools, 9

Crediting, of sound designers, 8, 12, 13

Crossfading, of sound cues, 73, 121, 174

Crowd scenes, 35

Cueing

language chart for, 159f

overview of, 30–34

rate of execution of, 31–33

volume and, 31

Cues.See Sound cues

Cue-to-cue rehearsals, 135

Curtain calls, 22–23

D

Danforth, Roger T.

background of, 187

feedback from, 191, 192, 195, 197–198, 199, 200, 202, 204, 209–210

DATs, 9–10

DAW.See Digital audio workstations

Deans, Jonathan

background of, 289

feedback from, 290, 292, 293, 294, 295, 296, 298, 299, 300, 302, 303, 304–305, 305

Delorio, Victoria (toy)

background of, 224

feedback from, 228, 230–231, 240–241, 242–243, 243, 246, 248–249, 254, 256–257, 263, 268–269, 274–275, 276–277, 282–283, 286

Design process

approaches to, 3

composers and, 3, 224–225

conceptual development, 40

directors and, 1, 2, 11

sound cues and, 14, 95

sound designers and, 1, 3, 4, 224–225

sound plots and, 98f, 97

Dialogue, and transitional music, 26–27

DiBucci, Michelle

background of, 224

feedback from, 233–234, 241, 245, 258–259, 262–263, 270–271, 273–274, 276, 283, 286

Dickens, Charles, A Christmas Carol, 40–41

Digital audio workstations (DAW)

overview of, 114

sound design and, 8–9, 9–10, 49, 113

Dimmers, 124

Directors

artistic, 85–86

casting, 86

design process and, 1, 2, 11

duties of, 86

hidden clues and, 44

managing, 86

meetings with, 47–48, 48

scripts and, 44, 48

sound cues and, 49

sound design and, 15, 46

sound designers and, 13, 14, 47–49

technical, 89–90

Distribution area, for loudspeakers, 78f, 127–128, 182

Domino, Fats, 23

Door slams, 107–108, 184

Doppler, Christian Johann, 174

Doppler effect, 174–176

Dramaturges, 52

Dress tech rehearsals, 138

Drum machines, 9

Dry tech rehearsals, 137–138

Du Boff, Jill BC

background of, 224

feedback from, 228–230, 238–239, 245–246, 253, 257–258, 263–264, 266–267, 274, 280–281, 283–284, 287

Dugan, Dan, 8

Dumb show, 4

E

Electrical power, 124–125

Elizabethan theatre, 4, 53

Emergencies, 165–166

Emotion, 16–18, 44–45, 185

English Renaissance, 4

Entr’actes, 22–23, 25

Environmental sounds, 6

EQ. See Equalization

Equalization (EQ), 35, 35–36

Equipment

budgets for, 49–50

checking of, 145–148

composers and, 9

costs of, 10

development of, 9

layout of, 122

rental of, 92–93, 106–107

sound delivery systems, 96, 103, 127–131, 128f, 129f, 144–145

sound delivery systems, 96, 103, 127–131, 128f, 129f, 144–145

sound designers and, 8–9, 9–10

striking when show closes, 166

“Establish and fade” technique, of ambiance, 31–32

Expressionism, 6

F

Fading

crossfading, of sound cues, 73, 121, 174

of lighting effects, 33

of sound cues, 32, 66, 178

Fees

schedules for, 82–84

for sound designers, 49–50

Field recordings

microphones for, 100–101

overview of, 177

Final rehearsals, 139–140

Final tableau, 33

First tech rehearsal, 134–136

Fish Head Soup (Gotanda), 100

Focus, 30

Framing cues, 22–23, 24–25

Fugard, Athol

background of, 187

feedback from, 191, 193, 195, 198, 201, 202–203, 204, 207

Function and intent, of sounds, 14–15

G

Gardner, Lewis, 1

Gas lighting, 5

Glass, Philip, 3

The Gospel According to St. Mark, 8

Gotanda, Philip Kan

background of, 188–189

feedback from, 212–213, 214, 216, 217–218, 219, 220, 222

Fish Head Soup, 100

Graces, Michael John

background of, 188

feedback from, 211, 213, 216, 219, 221, 222

Gray, Amlin

background of, 188

feedback from, 212, 214–215, 217, 218–219, 220, 221–222

Grounding effect, 30

Gutierrez, Gerald

background of, 187

feedback from, 193–194, 194, 197, 199, 201, 201–202, 203–204, 206, 209

H

Hair, 8

Hallas, Brian

background of, 224

feedback from, 226, 232–233, 241, 242, 245, 246, 252, 254, 261, 265, 269, 274, 278, 282, 286

Hamlet (Shakespeare), 53

Hard disk playback, 114

Harris, Jed, 6

The Haunting of Hill House, 17–18

Heartbeat:mg, 10

Henry V (Shakespeare), 10

The Heron, 37–38

Hidden clues

characters and, 43–44

directors and, 44

overview of, 43–44

High-frequency tones, 33

The Honeymooners, 23

Hooker, Michael K

background of, 224

feedback from, 226, 236, 242, 248, 249, 252–253, 260, 264–265, 270, 275, 277, 282, 286

Human reaction, to sounds, 16–17

Hurt, William, 47–48

Hylenski, Peter

background of, 289

feedback from, 291, 292, 293, 294, 296, 297–298, 299, 300, 300–301, 301, 302, 303, 304

I

Identification system, for loudspeakers, 71–72

Identifiers, 29

Identifiers, aural, 105

Incidental music. See Underscoring

Installation, of sound system, 127–131

Insurance, 82–84

Intellectual property rights, 82–84

Interconnectivity, 106

Internet, 54, 55, 57

Interpretation, of scripts, 44

Isolation, of sound booth, 123

Italian Renaissance, 4

J

Jacob, Abe, 8

Janney, Christopher, 10

Jesus Christ Superstar, 8

Journey into the Whirlwind, 20–21

Julius Caesar (Shakespeare), 53

K

Kanin, Garson, 7–8

A Small War on Murray Hill, 7

Kernan, Bob, 8

Kesselman, Wendy

background of, 189

feedback from, 213, 214, 215–216, 218, 219, 221

The King and I, 136

L

Lan, David, Sgt. Ola and His Followers, 14–15

Language chart, for sound cueing, 159f

Lawrence, W. J., 4

Lawson, David

background of, 224–225

feedback from, 231, 239, 240, 260, 261, 267, 268, 285–286, 286–287

Layering, 112

Layout, of equipment, 122

Lee, Phil

background of, 225

feedback from, 228, 231, 242, 243–244, 246, 249, 255, 258, 263, 267, 273, 278, 283, 286

Legal issues

copyright, 60–61

intellectual property rights, 82–84

union rules, 93–94, 127

Lennon, John, 3

Levels, of volume, 31, 133–134, 165

Libraries

public, 54–55, 55

of sound effects, 57–58

Licensing, of sound effects, 60–61

Lighting boards, 9

Lighting design, 1, 45

Lighting designers, 13, 33, 45, 158

Lighting dimmers, 124

Lighting effects, 6, 31, 33

Lighting, in sound booth, 125–126

Limitations, budgetary, 92–93

Lincoln Center, 6–7

Line indications, and sound design, 43

Liszt, Franz, 3

Live effects, 34, 37, 42–43, 116–117, 183–185

Location

movement and, 34

of sounds, 33–34

The Lone Ranger Theme, 24

Loudspeakers

distribution area for, 78f, 127–128, 182

identification system for, 71–72

overview of, 104

plots for, 76f, 77–79

as practicals, 184–185

for production monitor, 123

Love’s Labour’s Lost (Shakespeare), 99

Low-frequency tones, 16–17, 169

LPs, 57

Lucas, Craig

background of, 189

feedback from, 213–214, 215, 218, 221

M

Macbeth (Shakespeare), 17, 18, 33, 53, 184

Madame Butterfly, 27

Making Whoopee, 8

The Man Who Came to Dinner, 46

Managing directors, 86

Manually operated playback, 152–158, 153f

Mardikes, Tom

background of, 225

feedback from, 227, 235, 236, 239, 243, 244, 246–247, 255, 259, 265, 275, 278, 283, 286

Margin for error, in budgets, 50

McAnuff, Des

background of, 187

feedback from, 189–190, 193, 194–195, 197, 199, 200, 202, 204, 205, 206–207, 211

Measure for Measure (Shakespeare), 66

Medieval drama, 4

Meetings

with directors, 47–48, 48

with production staff, 92

Melodramatic effect, 26–27

Meola, Tony

background of, 289

feedback from, 291, 293, 294, 295, 296, 298–299, 299, 300, 301, 303, 304, 305

The Merchant of Venice (Shakespeare), 27

The Merry Wives of Windsor (Shakespeare), 53

Microphones

cables for, 101–102

for field recordings, 100–101

overview of, 106

stands for, 102

MIDI. See Musical Instrument Digital Interface

A Midsummer Night’s Dream (Shakespeare), 53

MiniDiscs, 9–10, 113–114, 121

Misalliance (Shaw), 51

Miss Saigon, 10

Mixing

production sound mixers, 2, 91–92

of sound cues, 38

of sound effects, 38–39, 111

systems for, 105–106

Modifying music, 176–177

Moscow Art Theatre, 5–6

Movement

location and, 34

of sounds, 33–34

Mozart, Wolfgang Amadeus, 3

Ein Musikalischer Spass, 41

Piano Sonata in D Major (K. 284), 61f

MP3s, 56–57, 100–101

Much Ado About Nothing (Shakespeare), 63–64

Multichannel communication systems, 132–133, 147

Munderloh, Otts, 21

background of, 289–290

feedback from, 291, 293, 295, 296, 298, 299, 300, 301, 303, 304

Music

conventions of, 22–30

modifying, 176–177

from practical sources, 19

required, 27

research on, 44, 52, 54

resources for, 54–57

segmentable, 61–63

styles of, 52

thematic, 26

timelines for, 53–54

transitional, 22–23, 23, 26–27

underscoring with, 22–23, 25–26, 178

volume of, 31, 145

Musical effects

choosing, 44–45

emotional characteristics of, 44–45

Musical indications, by playwrights, 42, 44

Musical Instrument Digital Interface (MIDI), 9, 180–181

Musical instruments

appropriateness of, 18

characters and, 52–53

Musical Instrument Digital Interface (MIDI), 9, 180–181

pitch range of, 39

Musicians, 5, 37–38

Ein Musikalischer Spass (Mozart), 41

My Heart’s in the Highlands, 142–143

N

National Shakespeare Company, 40

Naturalism, 5–6

Nemirovich-Danchenko, Vladimir, 5–6

Neoclassical period of theatre, 5

Networking, 59–60

The Night of the Iguana (Williams), 29, 34

Noises off, 5

The Normal Heart, 180

O

O’Brien, Jack

background of, 187–188

feedback from, 191, 192–193, 196, 199, 200, 203, 205, 207, 210

Offstage sounds, 5, 6, 14

Onstage action

sound cues and, 15–16

sound design and, 15–16

sound effects and, 38–39

Operator cue sheets, 65

Orton, Joe, What the Butler Saw, 22

Othello (Shakespeare), 45

Our Country’s Good, 172

Our Town (Wilder), 6–7, 21

Outboard gear, 106

Outside contacts, 59–60

Overdesigning, 3

Overmyer, Eric

background of, 189

feedback from, 213, 214, 215, 217, 218, 222

P

Panning, as sound effect, 103, 158–161, 174–176

Pantomime, 4

Paper tech rehearsals, 133

Paperwork, 126

Peaslee, Richard

background of, 225

feedback from, 226, 232, 239, 242, 243, 250, 254, 259, 266, 269, 274, 281–282, 287

Penn, Arthur, 7–8

People’s Art Theatre, 5–6

Phantom images, 34

Phrase, 61

Piano Sonata in D Major (K. 284) (Mozart), 61f

Piscator. Erwin, 7

Pitch range, of musical instruments, 39

Pitches, blending, 176–177

Playback

compact discs players and, 113–114

computer-assisted systems, 8–9, 9–10, 112, 115–116, 120f, 132, 158–163

devices for, 72–73, 103

of hard disk, 114

manually operated, 152–158, 153f

systems, 113–116

Playwrights

intent of, 14

musical indications by, 42, 44

musicians and, 5

Plots, sound. See Sound plots

Positional specificity, lack of, 34

Positions, in theatre companies, 85–92

Post-show shutdown, 150–152

Practicals

loudspeakers as, 184–185

music from practical sources, 19

overview of, 34, 116–117

realism of, 35, 147

volume of, 37

Preliminary sound plots, 48, 65–67, 66f

Prerecorded items

blending of, 182–183

sound cues, 14–15, 35, 110–111

sound effects, 7, 42–43, 57

Preshows

announcements and, 25

cinematic design and, 20

conventions of, 22–23

overview of, 24–25

Presley, Elvis, 175–176

Preview rehearsals, 138–139

The Private Ear, 16, 30

Producers, 86

Production managers, 80, 86–87

Production meetings, 92

Production monitor loudspeakers, 123

Production sound mixers, 2, 91–92

Production stage managers, 87–88

Progression of effects, 27

The Propheteers (Apple), 2

Public libraries, 54–55, 55

Q

QLab, 112–113, 161, 253, 280–281, 283–284

R

Rasputin, 7

Rate of execution, of sound cueing, 31–33

Realism

of practical effects, 35, 147

theatrical, 5–6, 6

Realistic approach

sound design and, 19–21

v. stylistic approach, 19

Recording engineers, 2

Reel-to-reel tape decks, 9–10

Reference books, 55

Rehearsals

cue-to-cue, 135

dress tech, 138

dry tech, 137–138

final, 139–140

first tech, 134–136

overview of, 118

paper tech, 133

previews, 138–139

sound design and, 118–119

technical, 8, 49, 121–127

Relative distance, of sound effects, 182

Removing, of an ambiance, 32

Renaissance, 4

Rental, of equipment, 92–93, 106–107

Representational form, 20–21

Required music, 27

Research

composers and, 52–53

on music, 44, 52, 54

Resources

for music, 54–57

for sound effects, 57–59

Restoration period of theatre, 5

Ritualistic gatherings, 4

Romantic period of theatre, 5

Ronan, Brian

background of, 290

feedback from, 290, 291, 292–293, 294, 295, 295–296, 296–297, 298, 299, 300, 301, 302, 303, 304, 305

Rosencrantz and Guildenstern Are Dead, 68f

Rudner, Sara, 10

Rumble effects, 16

Running crew, 108–109

S

Safety, 130, 127

Samplers, 9–10, 114–115, 169–170

Savages, 33

Schubert, Franz, 26

Scripts

actors and, 41

directors and, 48, 44

interpretation of, 44

sound design and, 41–44

sound designers and, 41–42, 51–52

The Seagull (Chekhov), 5–6

The Search for Signs of Intelligent Life in the Universe, 21

Segmentable music, 61–63

Segue, 27

Set designers, 13, 37–38

Set designs, 45

78s, 57

Sgt. Ola and His Followers (Lan), 14–15

Shakespeare, William

A Comedy of Errors, 40

Hamlet, 53

Henry V, 10

Julius Caesar, 53

Love’s Labour’s Lost, 99

Macbeth, 17, 18, 33, 53, 184

Measure for Measure, 66

The Merchant of Venice, 27

The Merry Wives of Windsor, 53

A Midsummer Night’s Dream, 53

Much Ado About Nothing, 63–64

Othello, 45

plays of, 4, 12

The Tempest, 167

Twelfth Night, 53

Shaw, George Bernard, Misalliance, 51

Shutdown, post-show, 150–152

Sisterly Feelings (Ayckbourn), 41

A Small War on Murray Hill (Kanin), 7

Softening, of ambiance, 32

Sound booths

computer-assisted playback systems and, 132

isolation of, 123

lighting in, 125–126

windows of, 122–123

Sound cues

assessing parameters of, 102–107

balance of, 34–35

characteristics of, 34–39

computer-assisted playback systems and, 112, 158–163

crossfading of, 73, 121, 174

design process and, 14, 95

development of, 7–8

directors and, 49

fading of, 32, 66, 178

language chart for, 159f

mixing of, 38

numbers/letters for, 74f, 73–77

onstage action and, 15–16

overview of, 30–34

prerecorded, 14–15, 35, 110–111

rate of executing of, 31–33

sheets for, 152–163, 153f, 157f

stage managers and, 88–89

summaries of, 68f, 74f, 76f, 77, 162f

timings of, 178–180, 179f

tone quality of, 34–35

volume of, 31, 34

Sound delivery systems

diagrams of, 128f, 129–130, 129f

installation of, 127–131

overview of, 96, 103, 144–145

Sound design

budgets for, 48, 49–50

changes in, 136–137

computer-assisted playback systems and, 8–9, 9–10

development of, 4–11

digital audio workstations and, 8–9, 9–10, 49, 113

directors and, 15, 46

evolution of, 1

foundation of, 12

line indications and, 43

onstage action and, 15–16

realistic approach to, 19–21

rehearsals and, 118–119

scripts and, 41–44

stage directions and, 5, 42–43

stage managers and, 15, 67, 139–140

stylistic approach to, 21–22

stylistic v. realistic approaches to, 19

theatrical forms/styles of, 19–22

Sound designers

composers and, 11

crediting of, 8, 12, 13

design process and, 1, 3, 4, 224–225

directors and, 13, 14, 47–49

duties of, 2

equipment and, 8–9, 9–10

fees for, 49–50

scope of job of, 50

scripts and, 41–42, 51–52

sound operators and, 141–142, 152

Sound effects, 6, 11

archiving of, 58

choosing, 44–45

conventions of, 22–30

informative characteristics of, 44–45

length of, 29–30

libraries of, 57–58

licensing of, 60–61

live, 34, 42–43

mixing of, 38–39

onstage action and, 38–39

panning, 158–161, 174–176

prerecorded, 7, 42–43, 57

recording your own, 99–102

relative distance of, 182

resources for, 57–59

stylized, 169–171

unidentifiable, 171–172

volume of, 38

Sound engineers

assistants, 90

duties of, 2, 90

Sound images, 13

Sound operators

duties of, 2, 9, 91

sound designers and, 141–142, 152

training of, 163–164

Sound plots

computer-assisted playback systems and, 120f

design process and, 97, 98f

for loudspeakers, 76f, 77–79

overview of, 74f, 95

preliminary, 48, 65–67, 66f

subsequent, 67–72, 70f

working, 48, 72–73

Sound reinforcement, 288

Sound sequences, complex, 172–173

Sound sources, 72–73

Sound supervisors, 2, 90

Sound technicians, 2

Soundchecks, 80–81, 91, 143–148

Sounds

appropriateness of, 18

blending, live and prerecorded, 182–183

characteristics of, 13, 16

commentary, 24

environmental, 4

function and intent of, 14–15

human reaction to, 16–17

location of, 33–34

movement of, 33–34

offstage, 5, 6, 14

subliminal, 4, 171

transitional, 22–23, 23, 26–27

Special effects, 80

Specific cues, 22–23, 23, 27–30

Splitting tracks, 112

Spot effects

ambient effects and, 28–29

overview of, 27, 28, 29

Stage directions, and sound design, 5, 42–43

Stage managers

duties of, 7, 88–89

sound cues and, 88–89

sound design and, 15, 67, 139–140

Stands, for microphones, 102

Stanislavsky, Constantin, 5–6

Storage space, 126

Striking the show, 166

Styles, of music, 52

Stylistic approach

v. realistic approach, 19

to sound design, 21–22

Stylized sound effects, 169–171

Stylized theatrical form, 21

Subliminal sounds, 4, 171

Subwoofers, 16

Supplies, for writing, 126

Swados, Elizabeth

background of, 225

feedback from, 226–227, 233, 239, 242, 245, 250, 256, 259, 266, 269–270, 276, 277, 287

Sweeteners, 29

Synthesizers, 9, 22

T

Tableau, final, 33

Tape recorders, 7

Tartuffe, 44

The Tavern, 28

Tech position, 131–133

Technical directors, 89–90

Technical rehearsals, 8, 49, 121–127

The Tempest (Shakespeare), 167

Theatre companies, positions in, 85–92

Theatrical design, 1–2

Theatrical forms/styles, of sound design, 19–22

Theatrical realism, 5–6, 6

Thematic music, 26

Thompson, Tazewell

background of, 188

feedback from, 190, 191–192, 195, 196–197, 198, 199, 202, 204, 207–209, 210–211

Thunder runs, 5

Timbre, 35–36

Timelines, for music, 53–54

Timings

appropriateness of, 43

final, 49

of sound cues, 178–180, 179f

Tomlin, Lily, 21

Tone quality, and sound cues, 34–35

Tonight at 8:30 (Coward), 26

Tony Awards, 81–82

Top-of-show preset, 148–150, 149f, 151f

A Touch of the Poet, 20, 29, 35–36

Touring considerations, 93–94, 164–165

Tracks, 73

Training, of sound operator, 163–164

Transitional sounds/music

conventions of, 22–23, 23

dialogue and, 26–27

overview of, 26–27

Turntables, 7

Twelfth Night (Shakespeare), 53

Two-channel panning, 175

U

U. S. A. (stage play), 16

Underscoring

compressing, 178

conventions of, 22–23

overview of, 25–26

Unidentifiable sound effects, 171–172

Union rules, 93–94, 127

United Scenic Artists, 82

Unseen characters, 14–15

V

Van Bergan, Jim

background of, 225–226

feedback from, 236–237, 241, 244, 247, 250, 256, 266, 270, 275–276, 278, 284–285, 287

Very low frequency (VLF), 16–17, 169

Victory at Sea, 44–45

Vision, 12

Visual artists, 13

VLF. See Very low frequency

Voice processing, for actors, 180

Voiceovers, 24, 27, 30, 180

Volume

ambiance and, 31

cueing and, 31

levels of, 31, 133–134, 165

of music, 31, 145

of practicals, 37

of sound cues, 31, 34

of sound effects, 38

W

WAVs, 100–101

What the Butler Saw (Orton), 22

Who’s Afraid of Virginia Woolf, 181

Wikipedia, 54

Wilder, Thornton, Our Town, 6–7, 21

The William Tell Overture, 24

Williams, Tennessee, The Night of the Iguana, 29, 34

Windows, of sound booth, 122–123

Working effects.. See Practicals

Working sound plots, 48, 72–73

Writing supplies, 126

Z

Zaks, Jerry

background of, 188

feedback from, 191, 194, 196, 198, 199, 201, 205

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