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Unit 4 Historical Context

https://www.dropbox.com/s/17oglsnfbsblxux/Unit%204%20Historical%20context.pptx

Unit 8 c4

I made sure that I did warm ups for my finger so that it was ready to press the space bar.

Unit 8 c3

I carried out the role of sound designer and sound operator for the dance show on my own and with very little help if any from any lecturers.

#Unit 8 #Unit 8 c3

Unit 8 c2

The requirements for the sound one is to operate the desk during shows. This means that they have to live mix a band and microphones if there are such things, like in the christmas show, but on a dance show they would only have to press play and sometimes press stop. The responsibilities of the sound one therefore are to mix, communicate with the band or other sound technicians and to press play or stop on a cd player.

#Unit 8 c2 #unit 8

Unit 59 c4

When making props I used the correct protective equipment independently...

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Unit 59 c3

During Monsters I was the only ASM working along side Dan the DSM, this meant that I needed too work independently and effectively so that the show could go as smoothly as possible from a stage managers perspective. During the shows I sat beneath the seating unit too make sure that the actors were quiet and to organise everything that went on under there. Before that I had to pre-set the stage which involved making sure that all of the props were in the proper positions and checking the roundabout was facing the right direction.

#Unit 59 #Unit 59 c3

Unit 59 c2

During the production process for "Monsters" I acted as the only ASM. I carried out the functions and applied the skills of an ASM independently with very little to no help from a lecturer and fixed any problems that arose. For example the roses were far too long and so i cut them all down to the right size and fixed any that broke.

#Unit 59 #Unit 59 c2

Unit 59 C1

The role of an assistant stage manager is to assist the DSM and SM in the running of the show that they are working on. An ASM will sit in on rehearsals to get to know the show and what the show needs. For example on Monsters I sat in rehearsals so that I knew what needed to be preset before the shows and where. Another job for the ASM is to source or make props for the shows, on Monsters we needed 10 clocks, 5 mugs, 30 roses and 2 police signs which I made for the characters Jon and Robert. The skills needed to be an ASM need to help you with all of these things, patience is a very important skill for an ASM as there is a lot of sitting around waiting involved, like during the shows when I had too sit underneath the seating unit just to keep the actors quiet. You need skills that you can use to make props, such as painting and other construction techniques. The only props I had to make were the signs where I used painting skills I have developed.

#Unit 59 #unit 59 c1

Unit 69 c1

The acoustics in the main space at the Miskin Theatre are atrocious. When the building was designed it was obviously not taken into account that theatre productions with live bands and loud actors were going to be taking place and so we have been left with a sports hall. The walls are flat and are made of bricks which bounce sound waves around the room to no end and give us a really quick reverb time. There are a number of things we can do too help the situation. The first is to knock it all down and start again but understandably we do not have the budget to do so.

Practical solutions include hanging theatre blacks along the walls of the room, this would act as a dampener which absorbs sound waves therefore removing the quick reverb time and the big echoes. You have to take the materials of big objects in the room for example the set and the seating unit which might interfere with the path of the sound coming out of the speakers and try to use them to your advantage. A crucial process of the sound design is EQing the room, this involves listening out for "bad frequencies" which make the mix sound wrong. The placement of speakers in the sound design is also very important for getting a nice sound across the audience and can help with our abysmal acoustics.

#Unit 69 #Unit 69 c1

Unit 71 c4

There are different roles in the sound team in theatres. At the top of the chain is the sound designer. The sound designer creates the design for the sound rig in the theatre and decides what equipment they want to include for the sound team to use for example, speakers, mixing desks and microphones. Next is the sound 1 who operates the desk during shows, the sound 2 stays on book during the show and gives the sound one their cues. Finally there is the sound 3 who's main responsibility is to fit up radio mic's to the actors as well as checking equipment.

#Unit 71 #Unit 71 c4

Unit 70 c1

When creating the sound design, there are many things that you have to take into account. A sound design for a theatre production would not work well for a music show and the same visa versa. This is because you need to take into account different needs for each show. You need to consider what speakers are best for the venue that you are designing for along with the placement of them, is the set going to be in the way of the speakers? Are you going to have to dress the speakers or conceal them in some way? Are you going to need delay stacks? These are just a few questions you need to ask yourself when making a sound design in the theatre.

A sound design at the Miskin is going to be completely different to a sound design at the Royal Albert Hall for example. This is mainly because of the difference in sizes, acoustics and audience placement. The Royal Albert Hall will have a massive sound design which can cope with the sheer amount of people who will be watching and listening to shows there. Whereas at the Miskin we have tiny sound designs in comparison. This is because we simply don't need a sound design that needs to allow thousands of people and different layers in the audience. We can get away with stacks at the side of the room in front of the audience and washing over them. We add fills at the back of the audience as well which gives the sound a nicely rounded feel.

#Unit 70 #Unit 70 c1

Unit 8 c2

The Sound 1 in the sound team is the person who operates the sound desk during shows. Their requirements are too know the layout of the desk and how to use it comprehensively. They work closely with the sound designer who tells them what to do and what they want as a finished piece when the show goes out. They mix the band live, if there is one, along with the radio microphones used by the cast. This means that they have to adjust levels so that what the audience hears is well balanced and sounds good. They take cues from the DSM who is running the show so they know when to raise or lower the band or radio mic's as the show goes on.

#Unit 8 #Unit 8 c2

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