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THEA 3500 Sound Design I Department of Theatre, University of Utah Spring 2008 Tuesday and Thursday 9:10-10:30 in PMT Babcock Theatre
Instructor: Joe Payne Office: PMT 235C 801-585-5856 joe.payne@ptc.utah.edu Office hours by appointment
Prerequisite: THEA 1550 Scenography.
3 credit hours.
Course Description:
This course is an in-depth look at modern theatrical sound design. Students focus on the sound design process and apply the tools and technology necessary to create and execute professional sound designs. Basic sound design and engineering for the theatre.
Course Objectives:
The course will focus on the sound design process and give practical understanding of tools and technology of mounting a design.
This class aims to highlight the importance of sound design for live theatre and introduces students to the creative possibilities of sound within the vocational performing environment. An understanding of the artistic benefits of appropriate mood generation and the importance of using sound enhancement to ensure good performer – audience communication will be developed. The class aims to raise the students’ awareness of sound related issues such as effects, ambience, music, systems and techniques.
Course requirements: A combination of lectures, labs, and outside projects. Critical analysis and evaluation of students’ own and others’ work is fundamental for success in this class. Students should be able to articulate their own thinking using appropriate language, through discussion and evaluation, demonstrating a broader understanding of their creativity and receptivity to sound.
Lecture topics will include: The sound designer. What is sound?, and audio mediums. The mixer. Recording and editing: techniques, equipment, gain structure. Signal flow: reinforcement and recording. Reinforcement: Live mixing, acoustics and the space. Microphones: types, uses. Processors: reverbs, delays, compressors/limiters, equalizers, noise reduction. Moving to the stage: speaker placement, mic placement, cable runs, rigging. Paperwork: cue sheets, plots, track sheets, diagrams. Designer communication, and enhancing a production: level setting, design choices. Sound system troubleshooting. Communication systems.
Participation in labs: 20% of final grade (5% each) 1. Putting together a system, and troubleshooting that system. 2. Recording and editing. 3. Microphone placement for recording and live mixing. 4. Wireless microphones, practical application.
Midterm/quiz: 10% of final grade A midterm will be given, covering terms and concepts explored in labs and lectures.
Projects: 40% of final grade (10% each) 1. Keep a daily journal with 30 entries of sounds you listened to. Entries will be discussed daily. 2. Emotions: find a piece of music that evokes each of 4 assigned emotions. 3. Find music for an assigned play with an assigned concept, and document the process. 4. Create a unique sound effect and document the process.
Final project: 30% of final grade (all parts of the following must be completed to receive credit) Create and tech. a 6 cue sequence from a script of your choosing, to be cleared by instructor. Generate all paperwork for the production, including: 1. director’s concept 2. Sound plot, 3. cue sheets, 4. signal flow diagram, 5. speaker placement plot.
Record
6 cues in a sequence for the given
production. Extra credit / replacement project: 10 page paper, subject assigned by instructor. Worth 1 letter grade.
General policies:
Grading: Grading will be based on amount complete, quality of finished product, being turned in on time, effort, and participation. Late assignment / projects will be docked 1 letter grade for every class for which it is late. Unless you have a note from a doctor, or from a mortician. If you must miss class you can clear the dates missed ahead of time, but it will mean that your assignment will be due before the due date, not after. No exceptions.
Value, or Grading of individual projects: To earn an A, you must exhibit superior performance in all aspects of the project and produce work of the highest quality. To earn a B, you must exhibit high quality performance in some of the project, satisfactory performance in the remainder. To earn a C, you must exhibit a generally marginal performance and evidence of some learning. To earn a D, you must exhibit very minimal learning and low quality performance. To earn an E, you must exhibit a complete absence of evidence of learning.
Keep your syllabus. In many cases It may be the only written requirement for a project / lab that you get.
Other topics for discussion: Modern Techniques: Radio microphone systems and applications, split music/vocal systems, Recording Formats: Analog and digital tape based formats, and direct-to-disk hardware based systems. De-construction: Original design – equipment, application, purpose, success, areas for improvement, analysis of techniques Script/show synopsis: Identification of artistic requirements, areas for artistic enhancement by current technological practice Equipment, application, purpose. Identification of physical & technical issues crucial to the success of the design Venue: Size, shape, acoustics, audience capacity, technical services, staffing Frequency Response: System limitations at LF and HF, full range systems, split band systems, and Frequency specific absorption problems. Operating Level: Volume – perceived and actual, system limitations, legislation, realism, genre requirements Monitoring: On-stage systems, headphone systems, personal in-ear systems, foldback and talkback Hum, noise and distortion: specifications, analysis, sonic transparency, phase errors, comb filtering in multi-microphone situations appropriate equipment: Amplifiers, loudspeakers, front of house and monitor mixers, console automation, effects and processing, playback System interconnection/communications: Analog – balanced & unbalanced, -10dBu/+4dBu levels, Digital SP/DIF - AES/EBU, MIDI, MIDI show control, front of house radio microphone visual monitor systems Width: Panning, stereo sound sources, effects, ambience, Depth: Time differences, delay, reverberation, echo Sonic integrity: Manipulation of width and depth to re-create an acoustic setting, control of undesired artefacts – delay systems to re-integrate arrival times, separate ‘spot’ sound sources for effect & realism Effects: Spot effects – sourcing, achievement of realism, location, cueing, suitable playout systems Backgrounds: period, content, realism, suitability, duration, suitable playout systems Soundscapes: layers, processing and manipulation, recording/editing systems, digital editing and enhancement
Suggested reading: Kaye, Deena and LeBrecht, James Sound and Music for the Theatre 2nd Edition Focal Press
Leonard, John A. (2001) Theatre Sound A & C Black Davis, Gary and Jones, Ralph (1990) Sound Reinforcement Handbook Milwaukee: Hal Leonard Corporation Palmer, Scott (2000) The essential guide to Stage Management, Lighting and Sound Hodder & Stoughton Bracewell, John L. (1993) Sound Design In The Theatre Finelli, Patrick (1989) Sound For The Stage: A Technical Handbook David Huber and Robert Runstein, Modern Recording Techniques, Fourth Edition Richard E. Berg and David G. Stork (1995) The Physics of Sound, 2nd Edition, Prentice Hall
Graduate Programs with degrees in sound for live theatre:
http://careers.utah.edu/cs/careerdecision/majors/theatre.htm Spring 2008 Schedule:
lab #3 the schedule is TBA based on availability of a band. It will be announce no later than 2 weeks prior. It will take place between Week 13 and Week 15.
Project requirements:
Project #1 Journal: Purpose is to listen to the world you live in, and analyze what you are hearing.
total of 30 entries (1 per class held). Each entry should be a description of something you heard that day with insight into it's significance. Must be typewritten. Can be turned in printed or in electronic form.
Project #2 Emotions in music: Purpose is to listen to music, finding it's inherent emotional quality, and then to see the differences in other students choices.
4 different pieces of music must be brought to class on date due. Each piece of music must convey a different emotion assigned in class by the instructor. Format must be audio CD. Emotion depicted by the piece of music must be conveyed within the first 30 seconds of the excerpt provided. Class discussion / response / feedback will take place on due date and participation is required.
Project #3 Assigned music for Assigned scene: Purpose is to find appropriate music for a scene given restrictions that you may find in a real world situation. Also to teach you how to research music.
Scene and concept to be assigned by the instructor. A minimum of 2 pieces of music, and a maximum of 4 will be required based on the needs of the scene. Music must be appropriate for the scene and edited to the correct length. You must schedule 1 appointment with the Instructor for approval, notes , suggestions before it is due. Format must be audio CD. Documentation is required. It should include process, research, your defense, things learned, etc..., and should be as long as it needs to be. Documentation must be typewritten. Can be turned in printed or in electronic form. Class discussion / response / feedback will take place on due date and participation is required.
Project #4 Create an Original sound effect: Purpose is to create sounds that are uniquely your own from sources that may not be, and to experience why pulling sounds directly from sound effect CDs may not get you what you need.
A sound that must be created, mixed, and/or edited by you and would be appropriate for a theatrical production. The source can be found CDs, live recording, or any other source. Format must be audio CD. Documentation is required. It should include process, research, your defense, things learned, etc..., and should be as long as it needs to be. Documentation must be typewritten. Can be turned in printed or in electronic form. Class discussion / response / feedback will take place on due date and participation is required.
Final Project: Purpose is to experience the technical rehearsal process, and the full design process.
Design and create a sequence of 6 pieces of music and/or effects (at least 1 must be music and 1 must be an effect) for a scene of your choosing. All pieces of audio must be part of a sequence. The sequence must have continuous recorded sound, or overlap in some way. Format can be .WAV files for SFX software, or CD (single or multiple). Documentation is required. All documentation (paperwork) must be typewritten, computer generated, or professional quality drafting. Once your cues have been set, you will present it to the class. Class discussion / response / feedback will take place on due date and participation is required.
Paperwork to be handed in on date due:
1. Director's concept: Purpose is to give the class understanding of the project when you present it, and to help solidify your ideas as the designer.
Your concept for the scene. Includes important information such as time, setting, characterizations, etc... Also must include any background information that we, as a class, need in order for your design and scene to make sense. Must be typewritten.
2. Sound plot: This is a mandatory part of the design process and is always due before rehearsals begin.
List of cues for your sequence with information for you as the designer, the stage manager, and director. Must be computer generated.
3. Cue Sheets: Mandatory for board operators to complete their job, especially if computer playback is not used.
List of cues for your sequence with information for you and your sound board operator. Must include enough information for your board operator to execute the running of the scene, if the design were not in SFX software. must be computer generated.
4. Signal flow diagram: Purpose is to understand how your sound system is configured and useful for installation of the sound system, especially if you have a crew who sets it up.
A graphic representation of the hookup and flow of the sound system you will be using for your final project. Must be complete and correct. Must also be computer generated or professional quality drafting.
5. Speaker placement plot: Purpose is so that your crew (the class) can place your speakers on the set where you want them.
A ground plan of the set with graphic representation of you speakers with information regarding installation, such as type, hookup, and specific location.
Other items needed on due date:
6 pieces of audio in .WAV format or mixed down to CD. At least 1 must be music, and at least 1 must be a sound effect. If using SFX, files must be preloaded on the computer with SFX files created prior to your final presentation.
ADA statement. (www.hr.utah.edu/oeo/ada/guide/faculty/). "The University of Utah seeks to provide equal access to its programs, services and activities for people with disabilities. If you will need accommodations in the class, reasonable prior notice needs to be given to the Center for Disability Services, 162 Union Building, 581-5020 (V/TDD). CDS will work with you and the instructor to make arrangements for accommodations." Faculty responsibilities. (www.admin.utah.edu/ppmanual/8/8-12-4.html) "All students are expected to maintain professional behavior in the classroom setting, according to the Student Code, spelled out in the Student Handbook. Students have specific rights in the classroom as detailed in Article III of the Code. The Code also specifies proscribed conduct (Article XI) that involves cheating on tests, plagiarism, and/or collusion, as well as fraud, theft, etc. Students should read the Code carefully and know they are responsible for the content. According to Faculty Rules and Regulations, it is the faculty responsibility to enforce responsible classroom behaviors, and I will do so, beginning with verbal warnings and progressing to dismissal from and class and a failing grade. Students have the right to appeal such action to the Student Behavior Committee." Nondiscrimination and Disability Access: The University of Utah is fully committed to affirmative action and to its policies of nondiscrimination and equal opportunity in all programs, activities, and employment with regard to race, color, national origin, sex, age, status as a person with a disability, religion, sexual orientation, and status as a veteran or disabled veteran. The University seeks to provide equal access to its programs, services, and activities for people with disabilities. Reasonable prior notice is needed to arrange accommodations. Report evidence of practices not consistent with these policies to the Office of Equal Opportunity and Affirmative Action, 581-8365 (V/TDD)
Accommodations Policy: Some of the writings, lectures, films, or presentations in this course may include material that conflicts with the core beliefs of some students. Please review the syllabus carefully to see if the course is one that you are committed to taking. If you have a concern, please discuss it with me at your earliest convenience.
Respect for Diversity: We intend that students from all diverse backgrounds and perspectives be well served by this course, that students’ learning needs be addressed both in and out of class, and that the diversity that students bring to this class be viewed as a resource, strength, and benefit. Please let me know ways to improve the effectiveness of the course for you personally or for other students or student groups.
Sexual Harrassment: Sexual harassment is unwanted, unwelcome behavior of a sexual nature. It is a form of discrimination and a violation of University policy 2-6A, Student and Faculty Codes 8-10 and 8-12.4, and 2-32, as well as state and federal laws. All behavior in University-related arenas, including faculty and student behavior, is governed by the University's sexual harassment policy. Report any sexual harassment of which you become aware, and be sensitive to how others may view what you say and do. If you feel you are being sexually harassed or are uncertain about whether you are experiencing sexual harassment, talk to a faculty member or other University official, or contact the Office of Equal Opportunity and Affirmative Action, 135 Park Building, 581-8365 (V/TDD).
It is the policy of the University of Utah to maintain an academic and work environment free of sexual harassment for students, faculty, staff, and participants. Any student, staff, faculty member, or participant in university services or activities who believes that there is or has been sexual harassment should contact any of the following:
1. Cognizant academic chair of the department or the dean of the college within which the conduct occurred; 2. Immediate supervisor or director of the operational unit within which the conduct occurred; 3. Human Resources Division; 4. Directors or deans of Student Affairs and Services; or 5. Office of Equal Opportunity and Affirmative Action.
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