#unit 70

[animatronicappreciation]

Here is the pumpkin version of Krampus. I still hate the sound, but love the extra movement they’ve given the mouths. I’m attending Transworld again this year so I’ll see if I can get up close video of it. I’m sure it’ll be there.

__________

Dang! So many mouths! I wish I could go to Transworld tbh, I’ve wanted to for years. ;;

- Mod Rat

[lilysoundblog]

unit 70 c3

I went in the studio with Dan smith and recorded the end of the show monologue. we recorded it 3 times cut up into 3 section to make sure we had the best possible quality. i added a small amount of reverb to make it more fitting to the room it was played in. i did this withmlogic audio pro and a Samsung co1 condensing microphone.

[siggersblogbook]

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.

[jakessounddiary]

Unit 70: Criteria 3 - Recording & Editing

Recording

For the Intermediates show “The Insect Play” there were a few parts of the script that needed to be recorded as they were lines that were said when a particular actor was offstage, and only their voice was heard. This meant we had to record the lines, edit them, put them into Q-lab and play them at the right time in the show. We recorded in Matts’ office we took in the SoundCraft SI Compact 32 Mixing desk, and connected an Upright condenser vocal microphone to it with an XLR; we put the mic in a cradle on a mic stand and covered it with a pop shield. The desk was also connected to a mac computer and a pair of small active speakers (we used actives as they don’t require an external amplifier). We then used the Logic Pro software on the mac to record and edit the sound.

We tested the equipment to make sure that everything was working properly, we spoke into the mic and watched to see if the desk and mac picked up the signal from it, at first it didn’t work but then we realised that the 48V phantom power wasn’t switched on, we turned it on and tried again. The desk and mac picked up the sound perfectly and the speakers emitted it finely.

We stood the actors a couple of feet away from the mic and did a couple of takes to ensure we got the best result, we recorded the various sections of the script with logic pro and then listened back to them. We then used Logic pro to adjust the gain levels on each voice and balance everybody as some were a lot louder than others. We cut out the unwanted bits such as breathing noises and lines that were not needed in the recording, after that we added different kinds of reverb to each until we had the desired effect. We got the directors to listen to the clips and make sure all the gaps and spaces ere the correct length and that the effects matched what they wanted. Then we saved, bounced and put the clips onto Q-Lab ready for the show.

[jacks-sound-blog]

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.

[jacks-sound-blog]

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.

[jacks-sound-blog]

unit 70- crit 2

This was done on tutor observation