Verity's Blogbook

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 unit 69 criteria 3 ,unit 71 criteria 3

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unit 70 c4 unit 69 c4 unit 71 c5

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unit 70 c4 unit 69 c4 unit 71 c5

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so my videos are taking ages to upload sorry that they are late

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historical context presentation

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Unit 71 criteria 6

Health and safety: Hazards- 1.trip hazards -cables +speakers 2 . electrocution 3.lifting 4.working at height 5.squash hazard -falling equipment 6.noise levels Assessments: 1.trip hazards most likely occur in the wings, seating bank and the front walkways.To secure tape cables down or place glow tape near by. 2.open wires in cables, check everything has been pat tested and that theres no liquids anywhere near equipment and that metal has been earthed correctly. 3.make sure ladders are footed and do not carry things that are too heavy up them.make sure your balance is okay. 4.only lift what you can lift knees bent back straight LOLA lifting operations and lifting equipment. 5.A speaker falling can result in death, check brackets and bolts arent damaged and are tight.check for rust and check strops and safety chains. 6.noise levels if its above 80 db for more than 20mins ppe is needed as it can seriously damage your hearing. PPE -personal protective equipment such as steel toe capped boots, hard hats, ear plugs and rigging gloves. COSHH- hazardous substances like glue, nail varnish remover, adhesive and battery acid.

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Unit 71 criteria 4

Roles of the sound crew: Head of sound-In a receiving house theatre they are in chargr of the soundteam I.e. employment and budget, sourcing equipment and communicating with admin and the theatre manager.For a show they talk to the directors to find out the concept and talk to the musical director so they know what equipment they need to use, what sort of sound they are looking for and placement of speakers. Producers will give them a budget and certain requirements but they also need to speak to stage managers to find out where they will be for cans, tracklists, when to come in on show nights and the get in and sound check. Sound designer- They talk to design to see where sound equipment can be placed on the set.They talk to either the head of sound or producers for the budget and talk to directors to figure out what sound scapes they want plus the type of music, where actors come on so they dont trip on cables.They talk to the musical director to find out if theres a pit, is it acoustic, how many in the band, which instruments and how to get power to them, can they be seen on stage.They talk to lighting to see where they can place speakers that wont be in the way of lights, stage management for health and safety and where to put the monitors and costume to find out where mics are going and is it before or after changing. Sound operator aka sound 1 - They mix the show and sound check levels, monitors, check the data and the desk.EQ and gain edit using any effects such as delay and then line check to make sure they are getting signal.They talk to the musical director and the band to set the monitor levels.They also speak to the head of sound to know whats going on and what equipment they will be using.They also talk to stage management to find out call times. Sound number 2- They can be a secondary board operator or script prompt, they use qlab for effects and they stqnd in for sound 1 ehen its their night off.They speak to the rest of the sound team and sit in some production meetings. Sound number 3- They do the mic'ing up, turn on mic packs, check battery's and placement of mics.They speak to the rest of the sound team to find out whos being mic'ed and when.They also speak to to the dsm for call times.

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Unit 71 criteria 2

Tech rider for FMP 8 quitars 4 basses 4 keyboards 1 sample pad 1 tenor horn 8 vocals 2 drumkits (4 drummers) 1kick 2snares 4toms and cymbals Total 32 channels Equipment needed: .all fourways .4x DI boxes .8xmics sm58 & se835 .38xXLRs incase we need more .1xradio mic for tenor horn .4x overhead mics (condensers) .5x jack to male xlrs .12x iecs .2xmulticores 6xlooms The multicores will go underneath the stage and the looms on the patch bay channels 1-16 center stage right and channels 17-32 stage left. We will have more cables than needed incase of dodgy cable tjat need replacing on the night aswell as extra mic holders.

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Unit 71 criteria 1

(for acoustics see unit 69 criteria 1)

Natural and artificial reverberation-Natural reverberation is when when a room naturally echos back because every room

reflection-This is when sound waves bounce off of a material for example glass and wood.

absorption-This is when the sound waves with less energy are simply caught in a absorbing  material or eventually just lose energy completely.for example blacks are a great absorption material.

angle of incidence- The angle of incidence is where the sound wave hits an objects and what angle it bounces off of it.

Sound waves have a +/- which are the air particles are pushed in and out by the speaker i.e. compacting then dispersing.This is measured in SPL(sound pressure level) DB(decibels) DBfs (full scale-volume).frequency is the measurement of pitch which is the level of the note e.g. high or low.Frequency is measured in hertz which is how many times the wave reaches from 0 to + then back down to - per second.ADSR= attack,decay,sustain and release which is found withing every wave.

For everyday use we have two speakers up in the air in the center of the room two subs underneath the seating bank and two monitors in front of the seating bank.

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UNIT 70 CRITERIA 2

My original design for the FMP gig we did at college with cable runs,speaker and monitor placements. the majority of the speakers we use are mackies actives which we use as monitors and places subs underneath the seating bank.We placed 8 monitors around the stage because on stage we had 4 drummers,4 bassists, 4 keyboards,8 vocals,8 guitarists,a sample pad and a percussion horn.we also had to front of house speaker either side of the stages underneath and on top of deck.which we had to talk to about with lighting because their lights were also going on top of the deck.

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Unit 70 criteria 1 Different sounds designs for a variety of genres of performance.

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unit 69 criteria 3 and 4/ unit 70 criteria4,unit 71 criteria 3 and 5

i cant get the video of the pa system to upload yet.neither can i get any videos of myself mixing to upload

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UNIT 69 CRITERIA 2 and UNIT 70 CRITERIA 3

Recording and editing:

Setting up to record we need a condenser road nt 100 which needs phantom power microphone with stand and pop shield and a set of headphones so the singer can hear themselves with the music.we also need a small amp set up to the compactor.

how to record- press pause then record then when unpausing it will play the music and record.When recording make sure its  at the start of the track mute previous singers and double check red button is on the right track then when they are singing turn up the gain if not loud enough.Ensure the backing track is playing.

To edit you need to take out the highs and lows as necessary especially if there is echo from the room.add any effects you want if for a show.

Our recording experience was recording dancers singing for one of their tracks so didn't require any special effects, we did 2 dancers singing each time layering them up other the backing track.

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unit 69 sound criteria 1

Acoustics of venues:

Our venue the auditorium has both good acoustic abilities as well as bad.The control room is slanted so the angle of incident reflects the sound waves down to the audience instead of over their heads.The triangular shape of the seating bank is very good at absorbing sound waves especially with people sitting in it.Hanging drapes/blacks absorb high frequency wavelengths because they have less energy but low frequency will go through them and bounce back.Speaker placements are very important to get a even spread of sound but wherever you place them in the corners small pockets of bass will be trapped.Some bad things about our venue are that we have dance floor which absorbs sound as its a porous material.We also have a metal ceiling and no plaster on our walls thus the sound is unevenly absorbed and rebounded.Every room will have a frequency that fits in the room perfectly but sounds terrible to when you graphic EQ don't forgot to go through 20-150hz and drop out the ones that don't sound good.As mentioned earlier bass traps,drapes and polystyrene are all good ways of improving the venues acoustics.

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Theatre CV

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Theatre arts business criteria 2

Opportunities and training for jobs in the industry:

BTEC courses such as ours are an example of training for the arts industry with a qualification at the end of of it to show prospective employers that we have the necessary skills.

A-levels are another way of proving you have been taught the needed skills with a qualification.

Degrees from university's are another qualification we can get and most university's also do work placements to get real world experience.

Apprenticeships provide a qualification while still working alongside professionals and getting paid for it. It usually consists of two days a week doing theory work in a college then for the rest of the work working in a real job.

Placements can be advertized by theatre or company's such as the royal opera hour or ETC and it similar to work experience learning on the job with professionals to build up yours skills and network.

FOR MY PORTFOLIO PLEASE SEE MY OTHER BLOG.

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Theatre arts business criteria 3

There are a number of organizations and unions that help us out when we are working:

BECTU is the uks media and entertainment trade union and represents freelance,contract and staff based in the uk.Some of the services offered are:

Helping to negotiate pay,conditions and contracts with employers.

Personal advice and representation for individual members.

Advice and representation on health and safety.

Training support and courses

Networking events and career development opportunities

BECTU can be joined voluntary online and is funded by the subscriptions of its members.

EQUITY is another union that protects a range on performing arts members how ever unlike BECTU, Equity  has a larger range including circus performers and also has more partnerships like with Amnesty.

Their list of services include:

Negotiates pay and contracts

Campaigns and lobbies the parliament

Supports members when unfairly treated

Protects members when injured at work

Advises in many circumstances

These organizations help us when out working enabling us to get help with contracts and if we are being treated or paid unfairly.So are very important they help us with even the smallest things thing like our rights to have a break.

List of hire companies and how they support the arts industry.

White light is a lighting rentals and sales company they frequently offer sales and deals if your a regular customer they will occasionally send you extras with your orders like more cables. when renting equipment they offer to teach you how to use it and for large theaters you can go to one of their warehouses and set things up ready for when you go to the venue.Small things like sending extras helps establish a good connection with their customers although their customer care line can be a bit bad.Deals on their equipment helps the industry because it enables a wider audience to afford and use their equipment and therefore putting on more shows and helping the industry grow.

David Fitch is a prop hire company who also sells used equipment this is useful to our industry as it lets small company's buy equipment they normally wouldn't be able to afford.they also do installations such as cable runs and lighting bars.

Orbital sound is a sound rental and sales company who also sell used equipment and do installations much like David Fitch,they also do seminars on some sound equipment like ETC do with their lighting desk this supports our industry as it helps train the next generation of technicians getting the industry alive.