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unit 71- crit 4

there are 4 jobs on the sound team.

Sound designer- the sound designer is the person that decides where to place all the speakers to get an even spread across the whole theater so the people at the top of the seating bank can hear they same sound that the people at the bottom can. he is also the person that talks to the director to find out what he wants the show to sound like, he also writes out the rider for the show.

1. the person at operates the desk during the rehearsals and the show, he talks to the sound designer and the directors to create the proffered sound, he also has to have basic ideas of when the queues are.

2. the second job is back up for the first person so he knows what they want for the show. he also has to know all the queues and the script for the first person, they also check the batteries for all the radio mics. as-well he is in communication with the DSM so the person on the desk knows when to change seens and queues.

3. the third person is on mics, he changes the batteries when they run out and they put all the mics on the actors and make sure they are all turned on. and at the end always keeps they radio mic safe.

#unit 71 #unit 71 crit 4

unit 71 crit- 2

Basic ride pub gig

snare- musicans would bring

kick- musicans would bring

toms- musicans would bring

floor tom- musicans would bring

high hat- musicans would bring

ride- musicans would bring

crash- musicans would bring

bass guitar- musicans would bring

electric guitar- musicans would bring

2 Guitar amps- musicans would bring

singer

soundcraft MFX12 12 Channel Analogue Mixer £50 a day- http://soundinthecity.co.uk/audio_av_hire.html?gclid=CIbG-5biq7MCFe7MtAodCV0AYQ

lexicon FX unit

2 monitors- Mackie SRM- 450 v2 active speaker £35 a day- http://tucadomusic.co.uk/microphones-hire.html

2 FOH speakers- Mackie SRM- 450 v2 active speaker £35 a day- http://tucadomusic.co.uk/microphones-hire.html

1 18" 4PR08001AS active sub £55 a day- http://tucadomusic.co.uk/microphones-hire.html

2 speakers- Mackie SRM- 450 v2 active speaker £35 a day-http://tucadomusic.co.uk/microphones-hire.html

soldering iron- owned

tool kit- owned

sound check

18 XLR- comes with amps

6 mic stands £5 a day- http://soundinthecity.co.uk/audio_av_hire.html?gclid=CIbG-5biq7MCFe7MtAodCV0AYQ

4 sure SM 58 dynamic £10 a day- http://tucadomusic.co.uk/microphones-hire.html

2 AUDIX APS910 condensers

Sennheisei MD423 £20 a day- http://www.ticklemusichire.com/Cart/viewCart.php?UID=2012103117384192.21.30.84

1 AKG D112 dynamic £20 a day- http://www.ticklemusichire.com/

3 jack to jacks- musicans would bring

8 kettle leads- come with desk and amps

This is my basic ride for a pub gig i have included a few extra leads just in case some don't work on the night, i'v also included a tool kit and a soldering iron incase any of the equipment or cables brake. our budget was £1500 to rent all the equipment.

#unit 71 #unit 71 crit 2

unit 71 crit- 6

you can avoid hazards by using health and safety guide lines like COSHH and LOLER. COSHH stands for Control of Substances Hazardous to Health and LOLER stands for Lifting Operations and Lifting Equipment Regulations. COSHH advises you to find out what the health hazards are. deciding how to prevent harm to health. putting in controlled measures to reduce harm to health. making sure they are used. keep all health and safety measures maintained. train and instruct employees. monitor the health safety in appropriate cases. plan for emergencies. LOLER advises you to plan lifts properly, using people who are competent, you must supervise them properly and to ensure that they carry them out in a safe manner. There are other health and safety rules that have to be carried out, while working at hight there must always be some footing the ladder, tallascope or most other types of that equipment and a safety bar must be put on to increase structural integrity of the ladder or to prevent you falling from the platform. electrical safety and noise levels are also put in place to prevent major or minor injuries, so making sure the sound isn't too loud to damage someone's eardrum, and the frequency isn't too high to again make sure that it doesn't damage someone's eardrum. electrical safety rules for example cables cant be damaged showing raw wire and there has to be fairly ventilated so there are no fire hazards. we also have several fire exits that are well lit and easy to see.

#unit 71 #unit 71 crit 6

unit 69 crit- 3. unit 71- crit 3

How to set up a basic PA

you get 2 passive speakers and plug them into an amp using 2 speakon cables, you plug them into the left and right inputs. then you take two XLR's going from the output of the amp to the left and right inputs of the mixer, then you plug your mics into the channel you want and you can plug the guitar into a Di box with the jack into input and an XLR from the output into which channel you want. then you turn the mixer on first then the amp so you don't reck the speakers.

#unit 69 #unit 71 #unit 71 crit 3 #unit 69 crit 3

unit 69- crit 2

to set up our recording equipment we used dynamic and condenser microphones, a digital desk with a lexicon effects unit built in to it and Logic. we first plugged the microphones into the desk we had to use phantom power for the condenser because on the dynamic microphone it has a magnet with a metal coil around it so when sound goes into it the magnet moves and the electrical current that it produces is enough to push the signal down the cable, wear as the condenser has a pin that picks up a high range of frequencies but needs its own power supply.

then we plug the desk into the computer using a MADI cable and once the computer has logic loaded you just need to arm the track to ready it for recording. after you have done that you have to direct the output to the computer on the desk so it knows where the signal needs to go.

#unit 69 #unit 69 crit 2

unit 71- crit 1

Reference:

A Night Before Christmas.

School / Division:

Miskin Theatre

Location:

Auditorium

Date

Nov – Jan

2012/3

Assessed by:

Job Title:

Signature

Activity / Task:

Total Number exposed to risk

Total Company

Review Date

December 4th

2012

Ref no.

Hazards

People at risk

Likelihood

Severity

Employees and students

Members of public/visitors

Contractors

Young people

Mothers: new or expectant

Improbable

Remote

Possible

Probable

No injury

Minor

Major

Fatal

Total risk

Existing control measures

Adequate controls?

Trip hazards

Taping all cables down

Electrical shock

Voltage meater

Yes

Equipment at hight

Saftey chains

Batterys

Check batterys

Yes

Sound levels

Sound check

yes

Risk value (RV)

Total risk = Likelihood (RV) x Severity (RV) Total risk of 1 – 4 = ‘L’, low risk Total risk of 6 – 9 = ‘M’, medium risk Total risk of 12 – 16 = ‘H’, high risk

Reference:

A Night Before Christmas.

Remedial action required

Ref no.

Action required

Target date

Action by:

Date completed

Cover with dance floor

16/11/2012

Sound team

November 2012

Add strops for extra security

16/11/2012

Sound team

November 2012

#unit 71 #unit 70 crit 1

unit 2- crit 1

these are all the roles in the theatre

Artistic director

production manager

stage manager

deputy stage manager

assistant stage manager

techical stage manager

crew

set designer

senic artist

set painter

assistant set designer

head of construction

work shop assistants

costume designer

wardrobe manager

wardrobe assistants

lighting designer

cheif LX

LX assistants/ technitions

sound designer

head of sound

sound board operator

sound assistants

house manager

FOH team

bar/ conssesons manager

box office manger

box office staff

musical director

band manager

band

theatre administration

marketing manager

publicty designer

printer

distributer

associated directors

playwright

dramatage

actors

education out reach offices

#unit 2 crit 1 #unit 2

unit 69- crit 1

today we evaluated the acoustics of our theatre, we have put baffles up along with the set. We feel that it will be enough to soak up enough of the sound to get a good mix without that much of an echo. we also EQ the room first we picked a song that we knew well, and played it through the FOH and PA. Then we got the Graphic EQ up on our digital desk and started notching out levels that didn't sound right we went through all the frequencies on the Hi's and the Lows and we worked out that our theatre fits the frequencies between 200 Hz and 250z, it gives out a horrible reverberation around the room so we just dropped it out.

#unit 69 #unit 69 crit1

unit 70- crit 1

if we had 3 different sound designs one for a pub gig one for a conference and one for a full festival gig they would all have very different sound set ups. for example for a pub gig you would have maybe 2 fount of house speakers, 2 or 3 monitors and maybe a sub. where as for a conference you would have more surround speakers no subs and you wouldn't have any monitors and probably 2 FOH speaker stacks at the fount. on a festival sound set up you would have hundreds of FOH, subs and stacks hanging over the audience. there all different because they all have different requirements. for a conference you need for everyone to hear you and the sound has to be crisp and clear where as in a pub gig or a festival where you want the bass to really come through or if the instrument has an effect on it.

#unit 70 #unit 70 crit 1

Unit 2- crit 2, 3 and 4

we developed the ideas for a foley work in a team by pitching ideas to each other about how we can make each different sound. once we had our idea clearly writen down and we had worked out how we were going to record them, we went about collecting surplys. we made the crackerling fire out of ruserling a crisp packet and snapping polystiring. we made the wind by spining a rope above our heads, we also made the bubbling cauldren by blowiung bubbles into a milk shake to get the full thickness, and we made the crow sounds ourself. we have an appointed member of the group that goes to production meetings to get our point across and to get what we need for the show, hopefully we will get what we need for speaker placement and other issues we need met. after we recorded everything we leveled it and bounced in on logic ready for the show we also made other foley sounds like explotions and whoosing sounds for the flying dog.

#unit 2 #unit 2 crit 2 #unit 2 crit 3 #unit 2 crit 4

unit 2- crit 5

Actors mix- we used clean solid reinforcement. we couldn't push the levels up too high because we had slight feedback problems. we got rid of it mostly by baffling the the room with the set and hanging black throughout the theatre. we also had to EQ each actor by sweeping the higher frequencies out so we didn't get any feedback. we used sound effects on some of their voices, when the monsters roared we used reverb on his voice, but because we didn't like the sound of the reverb on our digital desk with a lexicon unit built in to it, we put it through a seperate effects unit to give it a bigger boost. we also put chorus on the moon too really make it fill the room, and really make it echo.

Band mix- the mix was a bit rough in places, and again we did get slight feedback at first but after we graphic EQ the room, and we swept the high frequencies out which stopped it. we also had to sweep the high frequencies out of the EQ on each band members level. we mixed it to give a clean crisp spread.

sound get in- when we did the sound get in we had some trouble with the head phone distro, the 7th channel, wouldn't send a strong enough signal, so the musician couldn't tell when his cue's were. we ended up having to split his head phones with someone else. we also had problems with the right overhead and and had to change it with another one but then the cable had a buzz so it was changed.

#unit 2 #unit 2 crit 5

unit 70 crit- 3

on our foley work for the performance we used different mics like the sennheiser e835, radio mics, samson co2 studio condenser and pencil condensers. we also used different mic placement to get our desired effect, we attached two radio mic's so our heads, for omni directional recording and swung a rope around our heads to make the sound of wind. we also used a range off different objects to make fire, crows, bubbling, flying whooshing dog and explosions. we also used mic placement on the drum kit to get the desired effect.

#unit 70 #unit 70 crit 3

unit 69 crit- 4 unit 70 crit- 4 unit 71 crit- 5

he Nose Operating as sound 1 Cueing We started cueing the show up, taking down all the sound cues for the under scores, transitions, songs and dances. we got the sound for the show cued up in 6 days we had a lot of cuts and edits to the script but once I gave all cues to the DSM we were ready to go. Sound Get In we had to set up a retro microphone with a 11.36 delay on it to create the right effect for certain scenes using an effects unit I have plugged into the desk. we also had to set up a dynamic seinnhiser e835 for scenes that need one of the actors to have hand held mic. we set up two pevie passive amps for front of house and a sub underneath the seating bank and a graphic EQ to EQ the room. I ran coms so the DSM could talk to me and the lighting operator. Health and saftey All cables were taped down with gaffer tap to insure no one trips over them. All cables were kept dry and in working order with no rips or brakes in the rubber saftey sleve. volume never gets so loud in can damage the ear. Issues we had some broken cables that we changed. a lead for an effects peddle broke, so the actor got a new one because there was no way to fix it. broken faders on the desk giving a horrible crackle, so we changed the channels and waited unit we could get the spray used to oil them. coms were crackling, so we changed the boxes over. also some of the songs where from the 1930's and were very crackely, so I EQ them by sweeping of the low frequencys doing so removed the crackel. What Went Well

the 3 piece band we used worked really well, they created an intense atmosphere where it was needed and a lighter atmosphere where it wasn't. our microphone with the delay effect on it really gave an amazing feel to some of the more sad songs in the piece.

Even Better If

some of the fades could of been alittle sharper, and at the end of the piece the song didn't give me enough time to bring in the last dance number. when we do it again i will talk to the singers and make sure they stop singing when the songs fading out so it gives me enough time to bring the dance in.

#unit 69 #unit 70 #unit 71 #unit 69 crit 4 #unit 70 crit 4 #unit 71 crit 5

unit 70- crit 2

This was done on tutor observation

#unit 70 #unit 70 crit 2

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