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The Role of an Associate Theatre Sound Designer

I’m at the beginning of my third week of a six-week contract as Sound Associate, otherwise known as an Associate Sound Designer, for a one-woman play with a complex score and sound design. Associate creative roles are quite common in UK theatre, but as I’ve had a few sound people in the past ask me what the role entails, I thought this would be a perfect opportunity to write about what you can expect if you take a job as a Sound Associate.

The basic role of a Sound Associate is to support the Sound Designer in realising the sound design for a show, when the Sound Designer has conflicting commitments or the volume of work required is too large for one person. A Sound Associate is more than an assistant. As well as often being a professional Sound Designer themselves, they have to be prepared to not only take on any sound design responsibilities that the Sound Designer can’t cover. These include standing in for the Sound Designer for when they can’t physically be at rehearsals, tech rehearsals, or a new venue.

I’ve hired Sound Associates in the past, because of this latter scenario: when a show I designed transferred to a different venue and I wasn’t available for the required dates. In these cases, I’ve entrusted my existing sound design to an associate, who then took on the responsibility of putting the show into the new venue. Their responsibilities included setting levels, making sure everything played out at the right time from the right speaker, and applying changes to cues requested by the director

Of course, all changes were fed back to me, because it was still my sound design. As it was the second run of an already successful production, I wanted my design altered as little as possible. I was aware that this didn’t allow my Associate to have much creative input, but then, the role of an Associate isn’t necessarily a creative one. A Sound Designer may ask you to source or create particular sound effects, and some sound designers may rely on an associate for a lot of creative input. However, it’s important to remember that the overall shape and realisation of the Sound design will always be the responsibility of the Sound Designer.

So why work as a Sound Associate? For one, if you’re at the start of your career, it’s an effective way to gain Sound Design experience or to work on a particular type of show. It’s also an opportunity to learn from more experienced Designers, and it’s a useful way to build relationships with production companies, directors, and creatives. For me, I wanted the opportunity to work on a unique production and immerse myself in a more practical, collaborative way of working with sound, which I hadn’t done for a while.

The responsibilities of a Sound Associate will differ from show to show, depending on what the Sound Designer needs. At a basic level, you should be prepared to do any of the following:

I think it’s this last point that separates a Sound Assistant from a Sound Associate. An excellent Sound Associate will protect the original design has much as possible and incorporate any changes without compromising the Designer’s overall aims. Whether an Associate is responsible for part of a show or from taking the show from rehearsals to the first preview, the Sound Designer has to trust that the show is in safe hands.

Tips for Getting the Vocals on Top

Down in the trenches of clubs keeping the vocals on top of the mix and loud enough in the monitors is a challenge. Here are some strategies that Karla Barrera utilizes.

The biggest problem I have is when mixing loud music like punk or metal is how to keep the vocals loud enough. When the musicians don’t hear themselves in the monitors, and they are on the edge of feedback? First of all, the sound starts with the stage volume always. You need to control your stage volume right off the bat.

First of all, the sound starts with the stage volume always. You need to control your stage volume right off the bat.

Check levels starting with the Kick drum and beyond. Once I get to the bass and guitars, I listen to what is coming off the stage and if you feel like the stage volume is too loud, here are a few things to think  about

Is the bass the tone too woofy and boomy? Instead of having the bass player turn down his/her level, should I suggest changing the tone a bit? (Familiarize yourself with the EQ knobs on bass amps, usually Hi, MIDS, LOWS, CONTOUR,  ETC… EXAMPLE: “Can you back off the low mids a bit so that the low end won’t wash out the vocals in the monitors? ”

Is the guitar just too loud? Should I suggest turning town some of the high-end on the guitar or should I have them turn down the master level? Can you get them to warm up their tone? Example “Maybe warm up your tone a bit to give more space for the vocals.”

Should I suggest to the guitar player to face the amp towards the wall so that the amp won’t bleed into the vocal mic as much and shoot at me/the audience? (some guitar players do not want to turn down because they want to keep their tone.)

Try to get the guitarists/bass players to run thru all of their pedals. Have them toggle through their boost, clean, distortion channels to search for any dramatic level changes that will change mix too dramatically. Take a moment and work with the guitarist. What you are looking for is consistency through levels. The boost will naturally be a little louder, because, well it’s a boost pedal for solos. Once you take a moment to check their pedal levels, you are that much closer to having control of the levels coming off stage. EXAMPLE: “Your clean channel is much louder than your distortion. Can you back off your clean level and turn up your distortion to even out the levels? ”

Don’t be afraid to school musicians. Let them know nicely that sometimes their tone does not translate the same as it does in their rehearsal space as it does in your venue. (which is why you give them these suggestions). Some musicians don’t play live very much.

Once you are done with the basic sound check line check and you are ready to hear a quick song during sound check, turn off the PA and let the band know that you want to hear what is coming off stage first before you turn up the PA and you will turn up the PA shortly. Listen carefully to the stage without your mix (30 – 60 seconds or till you hear a loud part kick in) that way you can tell what is actually happening on stage before you start turning things up.

Once you have done that, start turning up the vocals, get them nice and loud before you turn any of the band up. If you can’t get the vocals loud enough before putting the band in the PA the band should turn down, flip amps around or change tone. Sometimes, it’s the snare, or the cymbals and drummers will absolutely not hit softer. They hate that.

EXAMPLE: “Right now, I am struggling to get the vocals loud enough, and I don’t have any instruments in the PA, do you guys mind turning down a bit and I’ll put more of your guitars in the monitors?” (note this is not decreasing the stage sound and will not be ideal for a struggling vocalist)

EXAMPLE: “Any way you can tape your cymbals a bit? They are much louder than the vocal right now.”

EXAMPLE: “Can we mute your snare a bit with a little bit of gaff tape on the snare? It’s bleeding straight into the vocal mic.”

When you are mixing, and there is a certain element on stage that is sticking out too much, just take the snare mic or guitar mic or hi-hat out of the house. You may not even need it because it’s loud enough coming off the stage.

The 2nd problem happened to me for the first time last night. I put Shure Beta 91 inside the kick drum but later changed it to AKG d112. I had feedback coming from somewhere when the drummer hits the kick which stopped when I muted the main vocal microphone and the guitar microphone. We turned away the whole guitar cabinet, and it got better.

Both are great mics, but here is where you should start:

First of all, you need to EQ the monitors before the band arrives to make sure there is no feedback on stage BEFORE the band arrives. You need a graphic equalizer on every monitor mix and find all the frequencies that are feedback and need to be cut out.

Once you stabilize the stage, check the lead vocal in the house before the band arrives. Get a long XLR and take the mic to FOH if possible or have someone check the mic for you while you are at FOH. Make sure you have a graphic equalizer on the house too and get it as loud as you can. When you hear feedback, start taking out those frequencies that are feeding back. You can download an RTA mic app that can help you see the offending frequencies that way you know exactly which frequency to cut (I use the app FrequenSee)

The kick drum was making the vocal mics feedback because you had them cranked so loud and you were not equalizing the monitors or the PA properly. Think about the basics. GAIN STRUCTURE IS EVERYTHING! Less gain before feedback. Instead of gaining up your vocal, turn up your monitor outputs to +5dB that way you have more headroom to turn up before reaching for the gain knob.

Should the bands be less loud on stage? should I reconsider my mic techniques?

Maybe, try my steps from above to make sure you have control of the stage. Trying new mic techniques could work. I would have to know what you are doing.

Karla Barrera is a sound engineer at The Roxy and works freelance around Los Angeles. She previously worked as a Production Manager and Sound Engineer at The Viper Room. Karla is also the artist manager for Imaad Wasif. She attended The Arts Institute of California.

Attitude of Gratitude: Cool things about touring (that we sometimes forget…)

Many of us occasionally get a bit of jaded roadie syndrome. Maybe we get grumpy, and homesick, and miss our folks, and dammit if we hear that song one more time….. When life on the road feels a bit uphill, here are some of the great things about touring to remind ourselves of.

– You get to travel the world and get paid for it. Sometimes, if you’re lucky, you find yourself in some crazy places that you just wouldn’t ever visit as a tourist, and become richer for the experience, both literally and figuratively.

– You get to do this with a bunch of like-minded people who often become good buddies. Sure there’ll be one or two who aren’t your cup of tea, but that’s just life, and there are lots of others to hang with. Camaraderie is one of the best things about life on the road.

– Music! I’m guessing a love of music led you down this path in the first place, and now you get to work with that love. With a bit of luck, you like the band you’re touring with, and it can be so fulfilling to be part of that creative process.

– You don’t have to clean the bathroom THE WHOLE TIME YOU’RE AWAY!

– Or go to the supermarket.

– Or cook.

– Or do your own laundry…. You get the picture.

– Lovely people cook lovely food for you. In fact, you may need to pack your willpower if you don’t want to come home with some unwanted tour swag…. Especially when the load-out food and drink fairies visit the bus!

– You get to be ‘in flow.’ If you’re directly involved in the show, you can’t be thinking about anything else for that couple of hours… you have to be present because if you’re not, you’re going to mess up. And we all know what that means – Taxi!

– Every day is dress-down Friday. Except when you put on normal-person clothes to go out for dinner on a day off, and everyone looks really smart, and it’s all a bit weird…

– You know that thing when you forget where you are? (Umm…. stage left?) Well, that happens, but it’s sometimes because you haven’t looked at the day sheet beyond timings and so you genuinely don’t know! Which is kind of surreal….

– Sometimes you get to stay in really swanky hotels. The rooms are usually ready pretty fast because a bunch of crew tumbling off the sleeper bus in their pajamas isn’t quite the look the hotel staff had in mind for the lobby.

– You get to try some really weird and wonderful local cuisines and customs on the more far-flung legs of a tour. If you’re prepared to step outside your comfort zone and embrace the adventure then it’s never dull!

– There’s that cool little rush of adrenaline before a show, and the happy sense of satisfaction after a, particularly good one. Heck, even on those shows when everything that can go wrong, does, there’s that ‘blitz spirit’ of everyone pulling together to make this thing happen!

– You make your living by contributing, in some tiny way, to the sum of human happiness. See all those shining faces in the crowd? You’re a part of that.

– Finally, when you get home after a long tour there’s nothing quite like it for making you truly appreciate life’s little pleasures. Early nights in your own bed; a proper cup of tea in your favourite cup; making whatever you fancy to eat; your own shower; catching up with home-friends; and of course the biggie of seeing your loved ones…. these things take on a new level of joy, and that alone is worth hitting the road for!

Live Recording of a DVD of Sertanejo

“Sertanejo” is a Brazilian music style that would be similar to “country music” in the USA, but entirely different in musical terms. It is the most popular type of music here in Brazil and a very competitive market for artists. Artists often will record a new studio album, tour the new songs and, at some point, record one of these concerts and release a live DVD, right?

But not in Brazil! Here we do everything differently. In Sertanejo it’s common to record a new DVD instead of a new studio album, including, artists just starting their careers. Don’t ask me why.

So our DVD production process is the same as a new studio album,  with the difference, it is live. The first step is the choice of repertoire between the music producer and the artist (sometimes with the manager as well). Once the songs have been defined, the producer starts pre-production arranging with MIDI instruments, which I send out to the musicians to study and learn the songs, so they are ready when the rehearsals start, before the recording. Instruments like acoustic guitar, accordion, and part of the percussion are recorded in the studio. I create a playback session in Pro Tools with a click track and the timecode, and I’m responsible for playing live the recording session.

And here we find another peculiar thing; the band selected for recording the concert is not necessarily the band of the artist. In most cases, the band that plays live is formed by musicians chosen by the music producer himself, just as it is done on a studio CD. Also, most Sertanejos DVDs are always recorded by the same musicians, because they already have the expertise in this type of work. The sound team is also chosen by the music producer.
The day before the “big day,” we go to the venue for the soundcheck. The whole system is designed to give priority to audio and video capture. The volume of the sound for the audience is lower than normal and, sometimes, the house mix doesn’t stay in the center of the venue.

As mentioned before, I run the Pro Tools session using two systems (one is the backup) with a Macbook Pro 2016 running version 11 of the software and the interface Apollo 8 Duo, from Universal Audio, sending the pre-recorded sounds to every place needed.  I’m also responsible for all the recorded files and copying them to at least three different external hard drives, for backup. Usually, the rented recording system is always from the same company, which provides us a console mixer AMEK BIG for previous equalization and filters, recording in a ProTools HD, and the backup is made in a TASCAM X48.

Back in the studio, along with my assistant, we separate the songs individually so that we can edit more easily. After that, I’ll contact the video director and confirm which takes are used, and then start editing. From the live recording, we usually only use the drums, bass, voices and some percussion stuff. If it is necessary, will record in the studio adding overdubs, percussion, and vocals. My favorite DAW for this step is Cubase. Using it, I quantize all the instruments, clean unwanted leaks and add drums samples if my boss (the music producer) wants to. To tune the vocals I use Melodyne.

With all the edited files, I prepare the mixing sessions in ProTools (already with video) for my boss to mix and master. When it’s over, I have to send the songs to the artists to listen and approve them, or to ask for changes they want.

Phew! This is our DVD recording process here!

I would like to say that unfortunately, for the most of the time, I am the only woman in the backstage on the DVDs I work on. Fortunately, I have never faced prejudice from my colleagues. Instead, many of them encourage me and refer me for jobs.  I have started my own company, Quantize, which works in parallel with my job as an assistant in the NaHouse studio.

I hope to have more women working with me on the next jobs!

Karen Ávila graduated in Musical Production from Universidade Anhembi Morumbi and has been working with sound for six years. Currently, the assistant for Eduardo Pepato, one of the greatest music producers in Brazil. At least four of the “top 10” songs on Brazilian radio stations, were produced by him. Besides being Pepato’s assistant, she founded “Quantize” – a company specialized in audio editing that serves producers and artists.

Delaware – Intern at The Ladybug Music Festival

 

 

 

Ladybug Music Festival is looking for SoundGirls members to volunteer for the 2017 festival. There are many positions available for any level of experience.

The event is July 20th in downtown Wilmington at various stages near 2nd and Lower Market Streets. They will have 8 to 10 small indoor venues they are looking for engineers to run sound at. Some are simple singer-songwriter artists with one or two inputs. Some are full band and may require more experience. The main stage is run by Electro Sound and volunteers are needed to assist at that stage with setup and artist relations.

Volunteers to mix sound at one of the smaller stages would need to be available between 4pm and 10pm. (there may be a small pay for this position only)

Interns to help with setup of the sound systems in these smaller venues would need to be available between 2pm and 5pm.

Interns to help with artists load in would need to be available between 3pm and 7:30pm.

Water and Limited Food Vouchers will be given to volunteers. Free parking is available through the organization. Anyone interested in volunteering or running sound for Ladybug Music Festival should email a resume and cover letter no later than June 15th to soundgirls@soundgirls.org

 

SoundGirls in Muscat – Workshop

April 21, 2017, marked the first-ever SoundGirls workshops in Muscat. Two workshops were held at the Classical Music and Arts Institute in Qurum, kindly supported by manager Thanae Pachiyannaki. The first workshop was for 10-15-year-olds and the second for 16+. Due to the interest booking had to be closed earlier than expected and a waiting list for places was created.

Claudia and Dianis, music teachers at the Classical Music and Arts Institute, helped set up for the event and managed the door. A very wide range of people from across the community attended. Teachers, students, and musicians. All had a keen interest in the audio profession and had plenty of questions to ask.

A basic sound system was set up for the event. Two UPJ’s on stands, an Allen and HeathZed-12FX, a wired SM58 and two Zaxcom transmitters and receivers.

After a short introduction and explanation of the aims of ‘SoundGirls,’ the equipment was used to explain basic signal flow, with plenty of hands-on time. As my background is mainly musical theatre-based, we then looked at radio mics; the basic theory of how they work and some of the uses. We watched a clip from ‘Matilda the Musical’ and talked about the challenges that are faced on large-scale musicals including working with remote bands and how communication is maintained between stage and pit. Given that the Royal Opera House is the only theatre in the region, most of the workshop attendees had seen at least one performance. This gave rise to some enthusiastic discussion about the type of performances that we have here and cultural sensitivities in the region.

We rounded out the hour with some short feedback forms, differentiated to the needs of each group. The overwhelming response was that attendees enjoyed the workshop and would like to be involved in future events. In the future, I hope to arrange themed workshops, based on more specific areas such as live music, theatre, archiving and creating sound effects.

‘Community’ is ever more important in a city such as Muscat with such a hugely transient population. Friends come and go, and it is easy to get caught up in a world of work and not much else. Giving back just a small amount of time is immensely rewarding.

A wise friend once taught me that to serve another person is the greatest gift that you can give. As much as I hope that the workshop attendees gained new knowledge and inspiration, my own wish to serve this community was also fulfilled.

Huge thanks must go to everyone who helped support this SoundGirls event: Thanae Pachiyannaki, Claudia Reynaldo Prado and Dianis Catas Salas at The Classical Music and Arts Institute and Max White and Mike Compton at the Royal Opera House Muscat.

How to Make and Input List, Stage Plot and Patch a Stage

What’s a stage plot?

A stage plot is literally a diagram of what your onstage setup looks like and the relative location of where everything on that stage should be.

 

 

How to Create a Stage Plot and Input List

Apps and Programs to help you design a Stage Plot

What’s an input list?

An input list is a list of how many outputs you have for the band, the required mixer inputs, and the specifics involved. You need to include the outputs for everything you do that your sound tech will need to patch. This is also the place where you should indicate what type of stand mics you need to use. For example, if your guitarist sings background vocals and needs a boom stand to make sure the mic can be placed properly, that information should be included here.

How to Patch a Stage

 

It’s Time to Get that Job

Hiring and maintaining staff is an important part of running a venue.  Venues need their regular full-time employees as well as the staff they keep in their ‘back pocket‘ for larger events.  Working at the university, I often get to be the first person to introduce potential future staff of these venues to the wonderful world of sound.  (Stage and lighting too, but that’s for a different group of people). Throughout the hiring process, I have noticed a trend with job candidates, in particular with their applications. So I thought I would highlight a few tips for people about to hit the job market and get those coveted interviews.

First, take a look at what SoundGirls and their contributors have already provided you with information regarding your resume. This resource provides excellent knowledge and tips to build or update your resume as well as your cover letter and social media tips.

Second, a lot of organizations will ask you to fill out an application to submit with your resume. My advice, fill out the application completely and follow all of the directions provided. This may sound simple, but out of all the applications, I receive every year at least half have a question or two left blank, or they didn’t follow the directions. Sometimes they are simple things like filling in their contact information.  Other times it’s completely missing the skills/experience questions on the second page.  As for following directions, if it says something like please type your answers, don’t turn it in handwritten in pencil or if it says attach a resume, make sure you do that too. Incomplete applications won’t make it far, and you certainly won’t make it to the interview phase if people don’t know how to get in touch with you. Help yourself out and carefully read through and complete the application.  Also, make sure to turn your application in by the deadline, doing so will reflect that you are a person committed to getting things done on time.  Keep in mind that applications are often pre-scanned, either by recruiters, HR departments, or automated processes.  Attention to the details is critical.

Third, assuming you’ve made it onto the interview process (we all know you will because you have filled out the application completely and you have a great resume!) prepare for the interview. Research the organization you have applied to, better yet do that before you even apply. Make sure the culture of the organization will work for you just as much as you will work for them. Prepare questions to ask, as interviewers we know you have them, but if you don’t ask them it makes us nervous that perhaps you will never ask questions on the job, and we are aware you don’t know everything. Asking those questions now will also allow you to gain more clarity for the position you are going to spend hours of your life working in and believe it or not it also helps the interviewer get to know you better as well.  A well-asked question lets the employer gain insight into how you think and how you process information.

As an interviewer, I’m always impressed by someone who has done their homework and asks a question that isn’t found in a Google search of the top 20 questions to ask during an interview.  Outside of preparing questions to ask, be prepared to answer the questions that may come your way too.  There are three questions that you always want to be ready to answer; they have typically phrased something like the following:

Tell us about yourself –  When you are asked to share a bit about yourself, it is usually the first chance you have to speak for yourself outside of the application and resume you have submitted. Take advantage of that and make a lasting impact. Introduce yourself, say your full name, so the interviewer knows how it’s pronounced, provide them with your preferred name too. Share something that will make you stand out, but also remember to remain professional. Share a bit about your educational and work background too.  Think of it this way, if you had to tell someone the most relevant things about yourself in one minute, what would that be?

What interests you in this position –  In advance of the interview, review in detail the information provided in the job description and application process.  Find one or more areas that you can focus on when answering this question. The more specific your answers, the better.  Share your interests in the position; like what specifically in the job description made you think – I have to apply for this job! Share what you think you can contribute to the organization and share how you hope the organization will help you.

Be prepared to answer situational questions such as tell us about a time when you did “X,” how did it go, what was the outcome –  Interviewers often ask for examples of how you handled certain situations in the workplace.  While your resume may say that you have experience with certain tasks and responsibilities, interviewers like to see how you handle situations. It is important to give specific examples, don’t just tell the interviewer what you think they want to hear. You will impress them more by being yourself and specifically relating your experiences to the questions they are asking.  Tell them what you have learned through your experiences and how learning those things have shaped you to become the professional you are. To be prepared with answers to these kinds of questions it is important to think about examples before you’re in the hot seat. That way you can have many different examples to use which will also show the interviewer that you have had many relevant experiences and make you stand out amongst other applicants.

While these are all words to the wise, it can be hard to remember all of this advice during an interview.  Practice interviews can help you be on your game when it’s time for the real thing.   Practice with friends, mentors, or even employment services in your local community.  You can get feedback regarding your answers as well as your demeanor during these practice sessions. This can help you make sure you are representing yourself in the best way possible.  Practice could also help you be less nervous when you are in a real interview.

Radio Mics and Vocal Reinforcement, Part 2

Continuing from my last blog post, here is some more about the vocal reinforcement techniques I have learnt in relation to radio mics. Read Part 1 Here

Addams Family


This is a photo of a production of the Addams Family musical. This was the same setup, in principle, as Rent. The band is at the back of the stage – there is not much separation between the stage and the band. The mics are in the hairline; you can see the odd mic poking out but they are pretty well hidden. So, what is going on here? Why does this mic position work for The Addams Family musical and not for Rent?

It’s the score. The Addams Family is much more traditional in terms of musical theatre: the line-up of instruments is more traditional and there is room in the score for the vocals. The overall level of the show is quieter and that means we can get away the mics in a more discrete position.

Let’s look at the difference between the mic positions within the show, considering everything else is the same.

Ear hanger

In this photo, you can see Uncle Fester. Uncle Fester has no hair so the hairline isn’t an option at all. What can we do for uncle Fester? Uncle Fester needs an ear hanger.

You can’t see the ear hanger in this picture – I couldn’t find a shot of him from the correct angle. The ear hanger is quite long –  you would probably make it shorter and paint it to match the skin or hair tone.

Sometimes the hairline can’t be used because you have a hat situation that isn’t going to resolve itself in the way you’d hoped. So, what are the problems with this?

If you have to go for an ear hanger, it’s generally a step down in audio quality from the hairline position. Although they are omni-directional mics, there is a muddy quality to the audio when you put the mic over the ear. They are probably far more visible but they will keep a constant distance from the mouth. They can be liable to sweat-out, and if the actor is laying down, or head to head in profile with someone, then that can cause noise problems. But it can be a good solution if you can’t get the mic in the hairline.

It is common to use an HF boost cap on an ear hanger to try to help with the difference in EQ that it will need.


American Idiot



Boom mic

I did a production of American Idiot at the Bridewell Theatre. You can see they are all on boom mics here. American Idiot was a loud show and we had a great band who were up on a balcony at the back. Everyone in the cast was on a boom mic. It gave us the level we needed to get the vocals over the band and to have that great impact at the start of the show.

What are the downsides of boom mics? Well, they get in the way. Obviously, the actors lying on the floor is an even bigger problem here because there is more of the mic to crush. Any scenes where the actors have to kiss can be awkward. The mics move and, depending on where they are anchored, they may move relative to the mouth of the actor. They have to be anchored and fitted really well to not move about. Heavy breathing can be a problem and there is a very distinctive look to them. But they are worth it. So long as they are fitted properly, they will give you lots of level.

Chest mic

This is the least useful mic position for live sound. In theatre, it can bring all sorts of issues.

It is so difficult to make chest mics work as the actor can turn their head away from the mic – that will generate an inconsistent level. There can be loads of clothing noise and they really get in the way of costume changes.

Live effects on radio mics

Mic-ing every line of dialogue can you give you the opportunity to impose SFX on top of certain actors’ voices, so you’re not just restricted to amplification.

I was the sound designer for a production of Ghost.  One of the main characters in the show, Sam, is dead. He dies during the show and refuses to go away. He is not the only Ghost in the production.

The problem was one of how to make Sam otherworldly. There were some physical magic tricks to make that happen, but we wanted to give him that sudden transition into a ghost. We couldn’t do it visually – we couldn’t make him transparent, or black and white, or any of the other standard visual tricks used to represent a ghost – so I decided that whenever someone died they would have their own reverb. All their personal dialogue after they died would have its own reverb.

When they launched into song, the difference between the speaking effect reverb and the reverb needed for a number created a bit of a conflict, but subtle mixing fixed that.

I played with a similar thing on a version of the Nativity that I designed.

The play starts with the Book of Genesis, so before the world existed there was God and the angels and they all had a vocal reverb when they spoke as well.

The same actor that played God also played Death. I wanted to create something for Death that was different from the human characters in the play, but also something different than the reverb effect we had used for God and the angels. We used a pitch shift and, although you could still hear her acoustic voice, there was an undercurrent of something more menacing and subtle that gave enough of a difference to her voice to make an impact.

I’ve covered some of the things I have learned about radio mics here, but it’s a constant art of just doing what works and not being afraid to change the way things are done if they aren’t working the way you need them to for the job in hand.

Recap
In the last two posts I have covered five different types of mic-ing:

In the hairline: Looks good and sounds good, if you aren’t doing a very loud show. Minimal interference with the actor, unless they do a lot of forehead acting. Hair products and sweat can be a problem.

On the forehead: Still sounds great, but isn’t as discrete and is more prone to forehead acting.

Over the ear: Can sound muffled and needs some EQ work. It can get in the way if the actor is laying on their side. Sweat can be a problem. picks up costume noise, and doesn’t sound great.

Boom mic: Great for level, but can really get in the way physically.   Heavy breathing can be a problem. They are not at all discreet.

Chest mic: Can be very noisy, causes problems with costume changes.

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