So, what does everybody do? When you read a programme you can see all sorts of music related jobs, many of which sound like the same thing. I’ve provided a brief outline of the most common roles below. Of course, many of these will be done by the same person in a smaller production, and you can even find one person doing the whole lot (although they don’t usually put that in the programme as it would take up too much space)
In a musical or music-heavy genre of theatre the music director is the person who makes artistic decision and controls the artistic side of the musical output. They will often conduct (or band-lead) and generally acts as the main point of contact for all musicians during the performance. This person shapes the overall contours of the music and is responsible both for achieving the desired sound and maintaining standards in performance.
This is similar to the music director, but has a slightly more administrative role. These are often used with compilation and pre-recorded scores, as their main job is to select appropriate music, suitable composers, and decide (often in collaboration) where cues should occur within the score. This is still a creative role within the music department, even if there is less of a focus on live musicians.
A mostly managerial and logistical role, the music manager performs the important function of coordinating all musicians, equipment, scores, rights and composers/songwriters. They can also be the fixer (the person who recruits and engages musicians) or the orchestra manager (the band equivalent of the stage manager who works with the orchestra during a run of performances).
Composing involves the planning and writing of the music for the performance, but does not include the performance or recording of the music. The composer will often be present at rehearsal or recording to ensure that the music works, but is not necessarily a performer.
Sound designers decide how sound will be used in the production, and the role can vary from the construction of soundscapes and effects to the planning of live sound rigs and acoustic design.
Once the music is in rehearsals the performers (particularly on-stage actors and singers) are supported by a repetiteur, an accompanist, or other members of the music staff. Their main job is to familiarise and coach the performers with the music for the production, to ensure that they are prepared for the introduction of the band or orchestra.
These are the people who perform the music on the night. They may be instrumentalists or singers or electronic musicians, and may even be members of the above areas also. These are the people who interpret the planned musical input (the score, the sounds, the songs) and replicate and present it each performance for the audience. They may also perform in a recording session so that the recording can be used for rehearsal or the performance itself (although this is frownedupon by musicians unions and performers).
I hope this sheds some light on the various roles and positions within the music department for a production. If you have corrections or suggestions leave them in the comments.
Ghosts are one of the most enjoyable things to create in the world of technical theatre, as they allow you to merge a live performance with technological enhancements to create something impressive and other-worldly.
These are a lot of fun, as you get to turn an actor essentially a classy cyborg. For me these are the most fun when you can conceal a radio microphone into the costume of the performer. Once you have their voice on a channel you can do all sorts of transformations with it some of which are below:
Adjust equalisation to change the tone of the voice
Route the sound to come out of specifically located speakers (say behind or under the stage)
Boost the volume to ride over music or texture effects
Apply any number of complex effects to the voice
Enhance gutterals, plosives hisses and other transients through microphone placement
All of these effects enable you to transform the sound to a greater/lesser extent. In some circumstances you may want to keep the sound subtle, in others you may want to go all melodrama with the ghostly presence. Miking up the performers in a ghost scene ables you to control the scene in such a way that the technology isn’t noticed but the effect is. I have worked on plays where a bit of simple reinforcement and bass-boosting, when combined with stage-fog and angular back-lighting, and of course a powerful performance from the actor, has got a standing ovation from the one speech.
An unseen ghost is simpler, as you can have a simple wired microphone, or even just shouting from the wings, with many of the effects above. Often, though, with an offstage ghost you will simply need to reinforce the sound so it can be heard in the auditorium. These are already (by their definition) other-worldly, but you can enhance this in some subtle ways so that the sound is taken out of the backstage curtains (which never sounds particularly ‘realistic’) and into the bowels of hell itself (or perhaps just the next room). You can also pre-record these lines to
Sometimes we do not need to see or hear the ghost to know that it is there. These situations give the opportunity for terrififying (or cathartic) sound composition, as we try to conjour up the emotional and spiritual state of the ghost, or perhaps the impact of the ghost on the scene. I like to transform real-world sounds into other-worldly echoes (see my post on soundscaping) and bring altered musical elements such as distant drums or harmonic feedback and sung voices. But of course the sounds you use will depend on the circumstances of the situation, as well as the length of the scene you are writing for.
Decisions that should be made are whether the ghost can be seen (and you are underscoring or mickey-mousing their actions), whether they are heard (against a supernatural texture or isolated and alone) or if we simply evoke the spirit of the ghost through musical and technological means. All of these can be done with a little effort, and you will often find all three variants in the same show.
Ghosts are hugely fun to create, and you get a real sense of control and artistic involvement when you design and operate a ghost in a theatrical setting. These morbid intrusions provide an opportunity for all elements of the theatre to come together to create something that can be moving, impressive, spectacular, emotional or entertaining, and with continual adjustment can provide a truly immersive theatrical experience for the audience.
Finding and using the right sound effect is difficult when starting out. While sound effects libraries aim to make finding the exact right type of running-water effect a simple task, the money needed to buy and license these effects can be prohibitive.
Record Your Own
By far the best method of getting sound effects is to record your own. You get the most control about the exact sound you get, and you own the intellectual property of the recording. It is surprisingly easy nowadays to get a usable sound effect recording: I have recorded items on my iPhone voice recording app (other smartphones are available) and then edited them in Audacity to make an effect. You can also use a handheld field-recorder or even a full-blown foley studio or field-recording kit, but the principle is the same. You get a microphone and hold it near the source of the particular noise, and then ask the actor/passerby/machine/animal to make that noise for you. Of course, you don’t have easy access to all effects. What if your play is set in the First World War, or the African Jungle? You probably don’t have access to heavy artillery and a tame lion. This is when we start hunting online.
The wonderful thing about the internet is that someone, somewhere, has found a series of heavy cannon, a biplane, and a tame lion, and recorded them. I don’t know why, but they have, and often a simple google search will turn up exactly what you need. The problem comes from how much they are asking for the recording. For a historically accurate biplane recorded in surround sound, they’ll probably ask a gefty whack. For some modern small plane recorded in mono at a low bitrate mp3 they’ll give it away, but it might not be worth it. In these situations I find the best solution is to compile your own. Cant find a battle sound? Pull together effects of guns, mortar, horses, footsteps, voices, wind, rain, machine and engine noises into one complex soundscape. You can even combine these sounds with your own recordings (get an actor to bark military instructions, record the cast marching on gravel etc). In this way you can get the perfect sound effect for your production with as much or as little detail as you need.
Keep them Legal
Make sure when you pull together sound effects that you keep track of what sound you are using, where it came from, and the license under which it is issued. Many sound effect sites use creative commons licenses, which is great, but you need to make sure that you are able to use it for what you need. If your production is charging for tickets you need to make sure it is suitable for commercial use, and if you want to mix it into a landscape of sound effects you need to make sure that they allow modification of their original source. Most creative-commons licenses ask for attribution, and it is up to you to decide how you attribute the sources of your sounds. Remember, this person braved a lion to get you that sound, at least acknowledge that!Some sources of sounds (free and legal)
you can trim smaller effects out of larger clips or pieces, but be sure you do so legally.
or just google untill you find what you need…
Once you have collected the sounds you wish to use for your effect, you will probably need to do some basic transformations to make them usable. This usually involves trimming off the excess sound before and after, increasing the volume (normalizing) of the sound, and perhaps basic noise removal. This should give you a clip that is only the sound you want, nice and clearly, all ready for you to drag into your mix.
You may also want to do some more advanced transformations, including (but not limited to) pitch/speed/time stretch, retrograding (flipping it backwards), or perhaps any echo or reverberation effect. All of these are best done in the DAW (digital audio workstation) of your choice, and you’ll have to look up how-to’s for these elsewhere.
So, you have all your sounds cleaned up and ready to go. Some of these can just be plugged straight into your show-cue system and built into the show (phone rings, doorbells etc), but others will need layering into a more extended soundscape. Here you can fire up your artistic ears and select the right sounds for the situation. If you drop these all onto separate channels of your DAW you have the greatest amount of control over every nuance of the sound, and can set individual levels, panning and effects for each sound, and even automate these to change during the clip itself.
Creating an aural space (panning, distance)
While there are no hard and fast rules on how you build your effects it could be wise to use the framework that R. Murray Schafer, a canadian electronic musician, wrote about when he coined the term Soundscape:
The basic foundation for a soundscape. The keynote sounds may not always be heard consciously, but they “outline the character of the people living there”. They are created by nature (geography and climate): wind, water, forests, plains, birds, insects, animals. In many urban areas, traffic has become the keynote sound.
These are foreground sounds, which are listened to consciously; examples would be warning devices, bells, whistles, horns, sirens, etc.
This is derived from the term landmark. A soundmark is a sound which is unique to an area.
In practical terms a theatrical score will primarily make use of a texture of keynote sounds with a couple of establishing soundmarks, and only use sound signals when indicated in the script.
You will also want to create an aural space through the illusion of space and distance. This is basically accomplished using panning (moving the sound left or right in a stereo mix or placing it within a surround sound layout) and reverberation or delay combined with judicious volume setting to create a sense of distance from the listener. Again, use your judgement and the cues given by the script.
In summary, you will collect and process sounds from a multitude of sources and use them to create a tapestry that provides a physical and emotional setting that envelops the audience and the production. How you do it is up to you, but many tools work in similar ways. A good soundscape is like an electronic composition, perfectly placed sounds interact with each other to develop the narrative and contexts of the play. A bad one is like a shuffle mix of a CD of sound effects, and adds nothing to the drama. Mess around with your resources and see what you can come up with, but make sure your end product is a work of art: subtle and perfectly placed. If you do it right, no-one will notice. Then you have won!