Abstraction, 19
Acoustics, overview of, 104–105
Actors
Ambiance
American Conservatory Theatre, 8
American Society of Composers, Authors and Publishers (ASCAP), 60
Amplification, 104
Announcements, preshow, 25
Apple, Max, The Propheteers, 2
Appropriateness
Archiving, of sound effects, 58
Art, 2
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
Auralizing, 13
Ayckbourn, Alan, Sisterly Feelings, 41
Backing up your work, 116
Bandshells, 37
Barton, Todd
Baryshnikov, Mikhail, 10
Berkeley Repertory Theatre, 16
Beyond Therapy, 46
Blending
Blueberry Hill, 23
BMI.See Broadcast Music Incorporated
Brancato, Joe
Brecht, Bertolt, 7
Broadcast Music Incorporated (BMI), 60
Bronze Age, 4
Budgets
margin for error in, 50
Budries, David
background of, 231
feedback from, 227–228, 234–235, 245, 250–251, 254–255, 261–262, 272–273, 278–281
Cables, for microphones, 101–102
Cassette decks, 10
Casting directors, 86
Changes, in sound design, 136–137
Checking, of equipment, 145–148
Chekhov, Anton, The Seagull, 5–6
Cherokee County, 20
A Christmas Carol (Dickens), 40–41
Cinematic design
Clark, Tom
Collection list, 98f
A Comedy of Errors (Shakespeare), 40
Comic effect, 19
Commentary sounds, 24
Communication systems, multichannel, 132–133, 147
Compact discs (CDs)
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
sound designers and, 11
Compressing underscoring, 178
Computer-assisted playback systems
Conceptual development, in design process, 40
Conference of the Birds, 22
Consumer audio products, 9
Contracts, 82
Costume designers, 13
Costume designs, 45
Coward, Noel, 46
Tonight at 8:30, 26
Creative audio tools, 9
Crediting, of sound designers, 8, 12, 13
Crossfading, of sound cues, 73, 121, 174
Crowd scenes, 35
Cueing
Cues.See Sound cues
Cue-to-cue rehearsals, 135
Danforth, Roger T.
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
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)
Dimmers, 124
Directors
casting, 86
duties of, 86
hidden clues and, 44
managing, 86
sound cues and, 49
Distribution area, for loudspeakers, 78f, 127–128, 182
Domino, Fats, 23
Doppler, Christian Johann, 174
Dramaturges, 52
Dress tech rehearsals, 138
Drum machines, 9
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
English Renaissance, 4
Environmental sounds, 6
EQ. See Equalization
Equipment
composers and, 9
costs of, 10
development of, 9
layout of, 122
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
Fading
Fees
Field recordings
Final tableau, 33
Fish Head Soup (Gotanda), 100
Focus, 30
Fugard, Athol
Function and intent, of sounds, 14–15
Gardner, Lewis, 1
Gas lighting, 5
Glass, Philip, 3
The Gospel According to St. Mark, 8
Gotanda, Philip Kan
Graces, Michael John
Gray, Amlin
Grounding effect, 30
Gutierrez, Gerald
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
Hidden clues
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
Hylenski, Peter
background of, 289
feedback from, 291, 292, 293, 294, 296, 297–298, 299, 300, 300–301, 301, 302, 303, 304
Identification system, for loudspeakers, 71–72
Identifiers, 29
Identifiers, aural, 105
Incidental music. See Underscoring
Installation, of sound system, 127–131
Intellectual property rights, 82–84
Interconnectivity, 106
Interpretation, of scripts, 44
Isolation, of sound booth, 123
Italian Renaissance, 4
Jacob, Abe, 8
Janney, Christopher, 10
Jesus Christ Superstar, 8
Journey into the Whirlwind, 20–21
Julius Caesar (Shakespeare), 53
A Small War on Murray Hill, 7
Kernan, Bob, 8
Kesselman, Wendy
The King and I, 136
Lan, David, Sgt. Ola and His Followers, 14–15
Language chart, for sound cueing, 159f
Lawrence, W. J., 4
Lawson, David
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
Lennon, John, 3
Levels, of volume, 31, 133–134, 165
Libraries
Licensing, of sound effects, 60–61
Lighting boards, 9
Lighting designers, 13, 33, 45, 158
Lighting dimmers, 124
Lighting, in sound booth, 125–126
Line indications, and sound design, 43
Liszt, Franz, 3
Live effects, 34, 37, 42–43, 116–117, 183–185
Location
The Lone Ranger Theme, 24
Loudspeakers
distribution area for, 78f, 127–128, 182
identification system for, 71–72
overview of, 104
for production monitor, 123
Love’s Labour’s Lost (Shakespeare), 99
Low-frequency tones, 16–17, 169
LPs, 57
Lucas, Craig
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
Measure for Measure (Shakespeare), 66
Medieval drama, 4
Meetings
Meola, Tony
The Merchant of Venice (Shakespeare), 27
The Merry Wives of Windsor (Shakespeare), 53
Microphones
MIDI. See Musical Instrument Digital Interface
A Midsummer Night’s Dream (Shakespeare), 53
Misalliance (Shaw), 51
Miss Saigon, 10
Mixing
Movement
Mozart, Wolfgang Amadeus, 3
Much Ado About Nothing (Shakespeare), 63–64
Multichannel communication systems, 132–133, 147
Munderloh, Otts, 21
Music
from practical sources, 19
required, 27
styles of, 52
thematic, 26
transitional, 22–23, 23, 26–27
Musical effects
Musical indications, by playwrights, 42, 44
Musical Instrument Digital Interface (MIDI), 9, 180–181
Musical instruments
Ein Musikalischer Spass (Mozart), 41
My Heart’s in the Highlands, 142–143
National Shakespeare Company, 40
Nemirovich-Danchenko, Vladimir, 5–6
Neoclassical period of theatre, 5
The Night of the Iguana (Williams), 29, 34
Noises off, 5
The Normal Heart, 180
O’Brien, Jack
Onstage action
Operator cue sheets, 65
Orton, Joe, What the Butler Saw, 22
Othello (Shakespeare), 45
Our Country’s Good, 172
Outboard gear, 106
Overdesigning, 3
Overmyer, Eric
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
Phantom images, 34
Phrase, 61
Piano Sonata in D Major (K. 284) (Mozart), 61f
Piscator. Erwin, 7
Pitch range, of musical instruments, 39
Playback
compact discs players and, 113–114
computer-assisted systems, 8–9, 9–10, 112, 115–116, 120f, 132, 158–163
of hard disk, 114
Playwrights
Plots, sound. See Sound plots
Positional specificity, lack of, 34
Positions, in theatre companies, 85–92
Practicals
Preliminary sound plots, 48, 65–67, 66f
Preshows
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
QLab, 112–113, 161, 253, 280–281, 283–284
Rasputin, 7
Rate of execution, of sound cueing, 31–33
Realism
Realistic approach
Recording engineers, 2
Reference books, 55
Rehearsals
Relative distance, of sound effects, 182
Removing, of an ambiance, 32
Renaissance, 4
Rental, of equipment, 92–93, 106–107
Required music, 27
Research
Resources
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
Samplers, 9–10, 114–115, 169–170
Savages, 33
Schubert, Franz, 26
Scripts
The Search for Signs of Intelligent Life in the Universe, 21
Segue, 27
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
Measure for Measure, 66
The Merchant of Venice, 27
The Merry Wives of Windsor, 53
A Midsummer Night’s Dream, 53
Othello, 45
The Tempest, 167
Twelfth Night, 53
Shaw, George Bernard, Misalliance, 51
Sisterly Feelings (Ayckbourn), 41
A Small War on Murray Hill (Kanin), 7
Softening, of ambiance, 32
Sound booths
Sound cues
assessing parameters of, 102–107
computer-assisted playback systems and, 112, 158–163
directors and, 49
language chart for, 159f
mixing of, 38
numbers/letters for, 74f, 73–77
prerecorded, 14–15, 35, 110–111
sheets for, 152–163, 153f, 157f
Sound delivery systems
Sound design
computer-assisted playback systems and, 8–9, 9–10
digital audio workstations and, 8–9, 9–10, 49, 113
evolution of, 1
foundation of, 12
line indications and, 43
stage directions and, 5, 42–43
stage managers and, 15, 67, 139–140
stylistic v. realistic approaches to, 19
Sound designers
Sound engineers
Sound images, 13
Sound plots
computer-assisted playback systems and, 120f
Sound reinforcement, 288
Sound sequences, complex, 172–173
Sound technicians, 2
Soundchecks, 80–81, 91, 143–148
Sounds
Special effects, 80
Specific cues, 22–23, 23, 27–30
Splitting tracks, 112
Spot effects
Stage directions, and sound design, 5, 42–43
Stage managers
Stands, for microphones, 102
Storage space, 126
Striking the show, 166
Styles, of music, 52
Stylistic approach
Stylized sound effects, 169–171
Stylized theatrical form, 21
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
Tableau, final, 33
Tape recorders, 7
Tartuffe, 44
The Tavern, 28
Technical rehearsals, 8, 49, 121–127
The Tempest (Shakespeare), 167
Theatre companies, positions in, 85–92
Theatrical forms/styles, of sound design, 19–22
Thematic music, 26
Thompson, Tazewell
Thunder runs, 5
Timings
Tomlin, Lily, 21
Tone quality, and sound cues, 34–35
Tonight at 8:30 (Coward), 26
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
Turntables, 7
Twelfth Night (Shakespeare), 53
Two-channel panning, 175
U. S. A. (stage play), 16
Underscoring
Unidentifiable sound effects, 171–172
United Scenic Artists, 82
Van Bergan, Jim
Very low frequency (VLF), 16–17, 169
Vision, 12
Visual artists, 13
VLF. See Very low frequency
Voice processing, for actors, 180
Volume
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
Zaks, Jerry
background of, 188