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Essay - Set up Audio for a 'Musical' (Local Theatre) - PLAN

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Essay - Set up Audio for a 'Musical' (Local Theatre) - PLAN

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A local theatre group is staging a musical to be held in the town hall and asks you to plan, prepare and operate sound for the show. Describe the production process that you would undertake from pre-production through to the final performance. If you include diagrams or schedules in your answer, make sure you label them clearly.
Essay Plan

Chief in Charge of Sound

Sound Designer (dependant on size of show; e.g. Small Show - Single Person, Big Show - Team)

Pre-Production

Collaborating/Fleshing out Ideas

Meeting with Director

Site Visit (Acoustics in Place, Size/Orientation of Audience)

Meet with Lighting/Set Designer (Production Meeting) - How does the sound integrate with the sound?

Script Reading (Lead Roles/Mics)/Annotating Script (Cue Points)

Mic Plot - Allocation of Microphones to Actors

Orchestra/MD Meeting (Band Set-Up, Instrument Choices, Musical Choices)

Production

Bump-In: Speakers, Radios, Cables, Microphones, Console, Stage Boxes

Dress Rehearsal - Mic Up Actors (Mic Tech)

Sound Check (Individually Test Mics - Frequencies “Ringing out the mics” (Setting specific equalisation for each mic/voice type)/Speakers/Console/Foldback/Orchestra)

Scene Bank (On/Off Microphones per Scene)

Sitz-Probe (First Rehearsal between Singers, MD and Orchestra)

Troubleshooting/Evaluating Issues - Meeting Demands of Director

Post- Production

Bump-Out: Pack up equipment - Stored, Returned, Prepared

Evaluate Finances

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Essay - Set up Audio for a 'Musical' (Local Theatre) - MODEL 2

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Essay - Set up Audio for a 'Musical' (Local Theatre) - MODEL 2

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Sound design is one of many elements of production for a musical. Sound design refers to the process of  taking creative control of sound sources common in musical theatre, including actors voices, actors singing, external  sound cues (such as from a pre-recorded source) and live sound  from the orchestra. Designing sound includes manipulating and balancing ‘into a mix’ the varying sound sources, with the intention of facilitating a greater listening experience for the audience.

The first step for designing sound for a musical is attending a meeting with the design team in the pre-production phase of the production process. This meeting is usually chaired by the director who has ultimate control of artistic decisions and will make known to the sound designer what sound requirements form part of their artistic vision. In this meeting, a director will also discuss how the sound design fits into the other elements of the production, such as in the design of the set or lighting where sound can contribute to the creation of atmosphere and mood of particular scenes.

In communication with the director, the sound designer might outline to the director what potential equipment that may be required, such as sound reinforcement and amplification of solo actors and chorus through the use of microphones. Sound designer might also request what personnel they require to work in the operation of sound equipment and indicate roles for each of these personnel. The sound designer might also need to liaise with the intended musical director of the orchestra, to discuss this major component of the overall sound design. At pre-production meetings, all creative designers and other personnel should discuss any potential issues of workplace health and safety and collectively produce a risk assessment.

Following on from pre-production meetings, sound designers will assess the venue at first hand, for a number of reasons. Firstly, it is imperative to identify hazards and plan for safe work practises. For example, it may be necessary to bring to the venue a considerable amount of sound equipment which needs to be safely handled and rigged in a safe manner. Sound equipment that has been hired will arrive in a truck and move through the dock to the stage. There should be consideration and procedures decided upon for the movement through each part of the theatre, with the priority of harm minimisation to all personnel. Efficient and safe handling of sound equipment facilitates the bump-in of other production elements, with the movement of all equipment sequenced carefully.

When assessing the venue, sound designers need to also plan and account for the unique acoustic properties of this particular theatre. Acoustics can be tested by simple means, such as by clapping and listening for the reflective echo, or by more sophisticated means, such as by utilising software and a tablet to test acoustic spaces. Identifying the acoustic properties of a space and visually assessing the space, assists a sound designer in determining what specific equipment is required; such as the size and design of microphones, amplifiers and speakers.

Some sort of sound reinforcement through a Public Address system is a usual requirement for music theatre. This is because in many venue’s acoustics can favour the orchestra more so than the lead actors and chorus. It is often difficult to project an unamplified sound from a human voice over competing instrumental and other sound sources. Singing actors require their vocal sound to be amplified via microphones connected to a Public Address system. The amplified sound needs to be also controlled by a crew person operating a sound console usually at the back of the theatre, The sound is finally projected to the audience via speakers, which a strategically positioned facing the audience.

The choice of microphone, amplifier power, control console and speakers should be considered carefully to achieve a clear and balanced sound audible to all of the audience. Many different microphones are available to a sound designer, including both dynamic and condenser, small and large diaphragm types. The choice of console is dependent on the number of audio channels that are required, which is according to the number of microphone sources required  on stage. Within the console, there is capability to manipulate and control the quality of the sound, such as by equalising frequencies. Speaker choice for the sound designer is according to the required level of amplification (wattage), frequency and direction of sound.

A sound designer needs to liaise with the director and musical director throughout the pre-production and production phases. There is a great need to fine tune the sound, for example tweak the equalisation of individual microphones to accommodate each actors different voice types to minimise feedback and remove (zero out) ugly frequencies. The musical director may require fold-back; a close located speaker playing the vocal feed. This is to assist and the other musicians in integrating the keeping in sync the orchestra and chorus. A sound designer coordinates the development storage and operation of pre-recorded sound cues, under the direction of the director and stage manager. Sound cues are recorded in the stage manager’s prompt copy, in order for the stage manager to call these audio cues to a sound controller during the show.

The sound design in a musical is an integral part bringing together a piece of musical theatre. The sound designer works with other members of the creative team to organise and choose appropriate equipment and crew, provide sound reinforcement for actors, produce and execute sound cues and bring all audio elements into a workable and creatively pleasing mix.

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Essay - Set up Audio for a 'Musical' (Local Theatre) - MODEL 1

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Essay - Set up Audio for a 'Musical' (Local Theatre) - MODEL 1

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The implementation of sound reinforcement for musical theatre is a complex production process that occurs through the pre-production, production and post production time frame of each event. In the pre-production time period, production meetings focus on a coordination and collaboration between director and designers to establish the creative intentions and vision of the director and how to realise this. The sound reinforcement system that is chosen to support this vision and work in with other production systems, needs to be designed itself through identification of audience attributes, alignment with the text and requirements for technical gear such as plotting the microphones for each actor. During the production, the sound system is in operation, and issues may occur which require problem solving and rectification. After the production has finished, the equipment needs to be bumped out.

Before attending a production meeting, the sound designer needs to have an understanding of the venue size and orientation, and what size of audience is intended for the show. The sound designer will do a site visits, where they will observe the stage location in relation to the audience and what acoustic the venue has. This information will contribute to redesign of sound reinforcement, such as what size of amplification and speaker is required to cover the entire audience. If the venue has already an installed front of house system, such as a line array speaker stack, then this can be considered in the overall design of sound. In this instance, it is still possible for there to be adaptation and add ons such as location speakers in and around the audience space for special effects and or sound to every nook and cranny of the audience space.

In the preproduction phase, the director discusses the sound requirements with the chief sound designer at production meetings. A director will have specific requirements for implementation of sound such as sound effects in particular moments to support the plot. For example, if there is a gun shot on stage, the sound of the gunshot will be played back through a speaker located somewhere near the actor’s position. The director will discuss with the sound designer the requirement for each lead part to have microphone reinforcement in the scenes where they feature as a singer and when they have dialogue. The microphone plot determines the number of microphones required, who (what character in the musical theatre piece), and specifically when they require their microphone. Often, microphones are shared, and so the swapping of a mic requires planning and documenting in the mic plot.

In the meeting with the director, the sound designer will also work through the script to map out audio cues points according to each requirement of the director. For example, an audio cue can be placed at the start of a scene, so that the an actor’s mic is switched on on their entry to the stage and this precise moment.

Get from ‘Truck Arrives’ to ‘Sound Check’

Unsafely unload truck

Coordination with director to determine where to position everything

Everything (speakers, consoles, cable, mics) positioned using team of crew

Wire up + test.

Sound Check

Once the truck has arrived at the location with gear, sound equipment should be carefully and safely removed from the vehicle. Once the gear has been safely stored, a discussion with the director should take place, to determine the positioning of speakers (FOH and foldback), cables and consoles + mic receivers. The crew will then set the equipment in the coordinated positions. Wiring of speakers, consoles and microphones should then take place, with equipment tested to make sure that all gear is operational. Once the equipment has been positioned and tested, the sound check should take place, with all sound effects, music, etc.

Sound Coordinator, Music Coordinator

Sound designer meets with other key players (stage management, musical director) to discuss songs to be played. They discuss type of songs being played, how many people are needed for a piece, placement of mics, speakers being used (fold backs, FOH speakers). Also discuss problems and their solutions such as musicals that need large orchestras, balance between singers and instruments. Examples of this include trying to balance the voice of 5 singers in the song “Tonight” in West Side story alongside a large orchestra.

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Compression is the process of lessening the dynamic range between the loudest and quietest parts of an audio signal. This is done by boosting the quieter signals and attenuating the louder signals. The controls you are given to set up a compressor are usually: ... as compression often attenuates the signal significantly

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An Audio System Comprises of sources, output devices, a console, connections (cables) and effect devices.

Systems are adaptable so long as you maintain signal flow

In the system the electrical energy is weak at the source and is strong at the output (has been amplified)

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The console serves as a tool to control and mix all sources that are inputted and turn them into a pleasurable mix for the listener.

The sounds that come in are known as inputs and can be from a number of sources (vocal microphones, instruments).

The sound that comes out is known as the main mix. Often as two channels for two main speakers (left and right)

Audio consoles provide opportunity to route sound (direct sound) combine sounds (mix or group together), and also change the attributes of a sound (e.g. equalise or adjust balance of frequencies)

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Channel | The separate locations for each source to be inputted into a mixer. Mixers have  various numbers of 'channels' according to the mixer size

Channel Strip Channel Strip is a complete input module with mic pre, dynamics processing, precision EQ and output level control.

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Gain | 1) The level of amplification given to a signal or of a system. 2) A control of the amount of pre-amplification given to a sound signal on its way into a mixer. Particularly important for microphone inputs - a quiet vocal will require a lot of gain, a loud singer less so.

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EQ(Equalisation) | -The capacity to manipulate and fine tune the gain level for a specific range of frequencies- adjusting the volume of a source according to individual frequency ranges

Semi-Parametric EQ [3-band Sweepable EQ] Common to channel strips is a 3-band Sweepable EQ. This means you can control volume of  Highs, Mids and Lows, whilst also sweeping through the frequencies of that band to cut and boost with more accuracy.

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Auxiliary output or send  | a signal path to an additional output device eg effects processor

Auxiliary input  or return | a signal path from an output device back into the mixer.

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Channel Strip - Pad, Pan and Pre-fade Listen

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Channel Strip - Pad, Pan and Pre-fade Listen

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PAD | A switch on a mixing desk input channel which attenuates (reduces the level of) a signal. Used if a loud / high level signal is causing the desk to be overloaded.
Pan | Pan - directing the sound left or right in a stereo field
Pre-Fade Listen | Often shortened to PFL. Control on a sound mixing desk which allows the user to check the presence of a signal, and its quality before bringing up the fader. Also vital for fault-finding, where the route of a signal can be PFL'ed around the desk until the point where the fault occurs. Also known as CHECK and CUE.

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Master | An overall control fader or lever on a lighting or sound control board. The Grand Master takes precedence over all other controls and allows the operator to fade out the entire output of the lighting desk.

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Jack | Segmented audio connector. Mono Jacks have two connections - tip and sleeve, and are unbalanced. Stereo jacks have three connections - tip, ring and sleeve.

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Insert | An additional route into a sound desk.
Insert Cable A cable that splits a TRS plug to two TS plugs, with separate signals carried on the two split plugs. ... Insert cables are often used to access the send/return on a mixer insert

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Intercom | Usually refers to microphone/headset communications equipment. Abbreviated to 'comms'. Also known as 'cans'.

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Voice Over | Refers to a technique for recording an actor's voice and replaying it during the performance to indicate a thought process, or for more practical uses such as covering a scene change or costume change. Abbreviated to V.O.

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Line Level Signal | Standard' level at which the inputs and outputs of domestic and professional sound equipment operate. Slight variations are that some equipment works at +4dB, some at -10dB.
Mic Level Signal
A mic-level or microphone-level signal describes the voltage generated by a microphone when it picks up sound, typically just a few thousandths of a volt. ... Of the four main types of audio signals, mic level is the weakest and requires a pre-amplifier to bring it up to line level.

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XLR | A type of connector used in audio leads such a microphone cable. They have 3 pins and can be safely clipped in to be secure from disconnection
Microphone Lead | Connects the microphone to an input within a sound desk. Has an XLR connection

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Power Amplifier | Converts sound signals of line level (approx 1 volt) into tens of volts, with currents of around 1 Amp to drive speakers.

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Multicore | A flexible electrical cable composed of several well-insulated cores covered in a strong PVC or rubber covering. Enables a number of different circuits to be carried down one piece of cable. Both lighting and sound multicore's are available. Sometimes known as a Multi or Snake.
Loom A neatly-organised bunch of cables. A wiring loom is used to avoid messy runs of cables by keeping the cables going in the same direction (to the same piece of equipment) tied together.

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Sound is a form of physical energy that is converted to an electrical signal in an audio system

There are various ways to describe the attributes (e.g. frequency,

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Signal to Noise Ratio | The ratio of the average signal (recorded or processed) to the background noise (due to the recording medium or electronic processing). The ratio is usually expressed in decibels.

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Treble | the higher end of a musical scale (higher pitch)

Bass |  the lower end of a musical scale (lower pitch)

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Feedback | It’s the squeal phenomenon)  A loud whistle or rumble heard emanating from a sound system. It is caused by a sound being amplified many times. (E.g. a sound is picked up by a microphone and amplified through the speaker. The microphone picks up this amplified sound and it is sent through the system again). Feedback can be avoided by careful microphone positioning, and can be reduced by use of Equalisation to reduce the level of the frequency band causing the feedback.

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Noise Gate | A piece of sound processing equipment that reduces background noise by muting a sound signal when it falls below a certain level, restoring it when the level increases again. Must be used on vocal microphones with care, because it may cut the signal off, although the vocalist is still singing quietly. Also known as an Expander.

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Chorus | An audio effect (echo overtone to each note)

Reverb(Reverberation) | Effect which may be added to sound effects during recording or to a voice during performance. Sustains the sound longer than normal, as if the sound was reverberating around a large building (eg cathedral). Persistence of sound after the source has ceased.

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Gain | 1) The level of amplification given to a signal or of a system. 2) A control of the amount of pre-amplification given to a sound signal on its way into a mixer. Particularly important for microphone inputs - a quiet vocal will require a lot of gain, a loud singer less so.

Head Room | The amount of gain possible before feedback occurs

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Earth Loop | Normally refers to audio interference resulting from a situation where two pieces of sound equipment are connected together over a long distance. The earths of the equipment are at different potential, and this results in an audible hum or buzz. Can be cured by removing the screen connection on one end of the signal cable. Electrical earth connections must never be removed.

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Plot | List of preparations and actions required of technical crews during the performance (eg Sound Plot = list of sound cues and levels in running order.)

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Feed | A power supply to a piece of equipment or installation is termed a 'feed'. Sound equipment and sensitive computer equipment should have a clean feed - that is, a supply that is free from interference from other equipment.A signal from one system to another is also known as a feed (for example, an audio signal from the FOH desk to a TV company videoing a concert is known as a feed.)

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Balanced line  | Balanced line - A method of carrying sound or data signals which reduces interference by using a third conductor, the shield

Positive/Negative/Earth | The three pins in an XLR cable. They create an electrical circuit but also has a shield connection for the balance signal

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Decibel (dB) | Relative measurement for the volume (loudness) of sound. One dB is the smallest variation in loudness that the human ear can detect. Also used to measure the difference between two voltages, or two currents. See ZERO DB.

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Bandwidth - The range of a piece of sound equipment. If an equalizer has cutoff frequencies of 200 and 2000 Hz, then the bandwidth is the difference between them, in this case 1800 Hz

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DI Box | Interface unit to convert the high impedance unbalanced output of an instrument (e.g. Electric guitar) into a low impedance balanced signal of low level suitable for connection to the microphone input of a mixing desk. Usually has an output jack socket so that the instruments unprocessed signal can be passed direct to the musicians amplifier. DI = Direct Injection.

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An equalizer, or EQ, is a filter that allows you to adjust the volume level of a frequency, or range of frequencies, within an audio signal. In its simplest form, an EQ will let you turn the treble and bass up or down. In professional audio circles, equalization is a highly sophisticated art that can be used to sculpt the tone of instruments in a mix, counteract anomalies in a room, or just pump up the bass.
Graphic Equalizer
A graphic equalizer allows you to alter sound by boosting or cutting certain frequencies across the audible band width of frequencies.

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A woofer or bass speaker is a technical term for loudspeaker driver designed to produce low frequency sounds, typically from 50 Hz up to 1000 Hz. 

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Tweeter | Part of a speaker system designed to handle the high frequency part of the signal.

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Monitor | An onstage speaker which allows a performer to hear the output of the PA system, or other members of a band. 'Wedges' are speakers located on the stage that point backwards to the musicians. They are intended to assist the musicians here their own playing and other members of the band

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Fills | Term for speakers additional to the main PA to improve the sound in particular locations (e.g. 'Front fills' add sound at the front of the auditorium which might be just out of range of the main PA stacks at the sides of the stage).

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A line array is a loudspeaker system that is made up of a number of usually identical loudspeaker elements mounted in a line and fed in phase, to create a near-line source of sound. They send sound waves farther than traditional horn-loaded loudspeakers, and with a more evenly distributed sound output pattern.

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Front of House Speakers or FOH Speakers | The main speakers directed at an audience projecting the sound of the performers and /or audio that the arrives from the main audio mixer

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'CANS'  [Headphones] | Headset earpiece, microphone and beltpack used for communication and co-ordination of technical departments during a performance. (e.g. "Electrics on cans", "Going off cans", "Quiet on cans!").

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Passive Speaker | Passive speaker - a speaker that does not contain a power amplifier nor requires to be plugged in to a power source

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Active speaker | A speaker with a power amplifier built in and the requires connection to a power source.

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Lavalier Microphone | Originally, a mic worn around the neck on a string. Now applies to a small 'tieclip' microphone. These microphones are used for TV and also in musical productions requiring the amplification to be 'invisible'. The mic is worn in clothing, in hair / wigs, over the ear or on the face (heavily made-up).

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Boundary Microphone - A microphone mounted on a flat plate which acts as a reflective surface directing sound into the mic capsule. Used for general pick-up over a large area. A PZM (Pressure Zone Microphone) is an omnidirectional boundary mic for picking up sound from all around. A PCC (Phase Coherent Cardoid) picks up only from in front of the microphone.

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Pop Screen | A thin gauze screen placed between a singer and a microphone to reduce vocal 'popping' and other breath noise. This noise is particularly produced by pronunciation of plosive sounds (P, B, T).

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Pick-up |

1) Device which, when attached to an acoustic musical instrument, converts sound vibrations into an electrical signal.

2) A way of describing the directional sensitivity of a microphone.

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Source -  Where the sound comes from

Performer

Instrument

Voice

Device

CD player

PC

Audio sources that go into a mixer can be either live or pre-recorded. Live sources include microphones (vocals, instruments) and DI box line inputs (Guitars, keyboards). Pre-recorded inputs include CD’s, AUX inputs (phone audio, laptop).

All these sources go into an AUDIO MIXER DESK to control volume and where to send the signal to.

In general terms, a live sources purpose converts physical sound energy into electrical energy for it to be transported and manipulated.

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- Omnidirectional
An Omnidirectional microphone has equal pick-up from all around,
- Unidirectional (Cardiod)
a Cardoid microphone is more sensitive from the front, a Hypercardoid has very strong directionality from the front.
- Bidirectional
A figure-of eight microphone picks up front and rear, but rejects sound from the sides.

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Microphone | Device that amplifies ‘Picks up the sound’ Physical force to electrical current  | Dynamic microphone (turns the signal from physical to electrical). Generally has a Cardiod pick up field. Has a “pop filter” which stops very obvious “p” sounds. Condenser microphone requires phantom power to operate

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Dynamic Mic | Robust type of microphone which picks up the sound on a diaphragm connected to a coil of wire which moves within a magnet. An alternating current is induced into the wire which provides the electrical output. Most dynamic mics have low output impedances of 200 Ohms.

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Condenser Mic(Capacitor Mic) | A microphone that uses the varying capacitance between two plates with a voltage applied across them to convert sound to electrical pulses. Condenser microphones need a power supply to provide the voltage across the plates, which may be provided by a battery within the case of the microphone, or it may be provided from an external phantom power supply. A condenser mic is more sensitive and has a faster reaction to percussive sounds than a Dynamic mic and produces a more even response.

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Latency | In digital live sound systems there are tiny time delays due to the processing time required to convert sound from analogue to digital and back again. This time period is known as the LATENCY of the system.

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Snap | A lighting or sound cue with no fade time - the cue happens instantly.