Audio For Theater (2nd Edition)

Audio For Theater (2nd Edition)

$229.00

Audio for Theatre has been deconstructed and transformed! Teachers have 3 options for instruction:

An in-depth, 16-Day unit designed for Technical Theatre Classes and technicians who will be operating audio equipment for your productions.

A 7-Day unit designed for Survey Classes. This unit includes the basics of Sound Reinforcement and Sound design.

A 6 to 8-Day Day unit focusing on Sound Design.

Audio for Theatre has been deconstructed and transformed!

Teachers have 3 options for instruction:

Option 1:  An in-depth, 16-Day unit designed for Technical Theatre Classes and technicians who will be operating audio equipment for your productions.

Option 2:  A 7-Day unit designed for Survey Classes. This unit includes the basics of Sound Reinforcement and Sound design.

Option 3:  A 6 to 8-Day unit focusing on Sound Design.

The nuts and bolts section of Audio for Theatre is hosted by David Eisenhauer, an audio expert who served as the front-of-house audio engineer for Sheryl Crow, Bon Jovi, Kelley Clarkson, John Mellenkamp, Usher, Simon and Garfunkle, James Taylor, and many other artists. In addition to many hundred live performances around the world, David´s work has been heard on The Tonight Show with Jay Leno, Late Show with David Letterman, Today, and Saturday Night Live to name a few. With a laid back approach, David shares his vast knowledge of high-end audio at a level that is practical for today´s student.

Practical Applications of Audio Engineering

Audio for Theatre examines the components of a typical theatre sound system: wired and wireless microphones, mixing consoles, speakers and their placement, intercom and stage announce systems, playback systems for sound effects, and power sources. A section on troubleshooting covers common problems such as feedback, buzzes and ground loops. A significant portion of the program examines the variety and differences in microphones and helps students understand how to use the "right tool for the right job." Audio for Theatre does not teach acoustic and electronic theory, but focuses on the practical aspects of what an audio engineer needs to know to survive in today´s live entertainment environment and particularly in your theatre.

Sound Design

In a new section dedicated to Sound Design, we are very fortunate to have Robin Weatherall onboard. Robin has won numerous awards for his sound designs and compositions. He worked with the Royal Shakespeare Company for 17 years as a musician, and has worked all over the world as a director, musician, sound designer, and composer for live theatre, opera, movies and television programs.

If you bought the 1st Edition of Audio for Theatre from IEV or any of our distributors, we've got great news for you. Check out our Customer Loyalty Program for details.

OPTION 1: 16-Day Unit

Day 1 Identify major aspects of Sound Reinforcement and Sound Design. Describe the responsibilities of the FOH Sound Engineer, Audio Crew, and Sound Designer. Recognize basic elements of sound, and how components of an audio/sound system can shape and process sound so the audience hears exactly what the director wants them to hear.

Day 2 Review the material from Day 1 Differentiate areas of a theatre, and investigate how different audio sources travel to each of these areas.
Examine the responsibilities of different members of a typical audio crew.

Day 3 Summarize the Signal Path of the components of a Sound System. Differentiate between common audio sources in live theatre, and analyze which equipment is appropriate for these sources.

Day 4 Differentiate between common microphones, and the appropriate audio hardware needed to run those sources. Plan, prepare, and set up different microphones, depending on the hardware available at each school.

Day 5 Written Assessment #1

Day 6 Distinguish between the different controls on an audio mixer. Examine the function of the Gain and Equalization sections of a mixer.

Day 7 Further examine each remaining section of an audio mixer, in preparation for actually operating the mixer. Investigate the functions of Amplifiers and Speakers, and how they function. Operate an analog audio system under the guidance of the teacher.

Day 8 Decide if and when a performance space needs to be tuned. Troubleshoot room acoustics to solve equalization problems.

Day 9 Examine the advantages and disadvantages of Digital Mixing Consoles (DMCs). Develop parameters for different DMC configurations (“Scenes” or “Snapshots”), derived from a list of regularly scheduled events in your performance space the last 3 years.

Day 10 Analyze how to control a specific DMC (Soundcraft Performer SI). Configure and operate a specific DMC (depending on what kind of console your facility has).

Day 11 Written Assessment

Day 12 Diagnose common problems that occur during performances. Troubleshoot solutions for common audio problems.

Day 13-15 Examine, in detail, the function and operation of different components of a typical audio system.  Operate the audio system in your performance space. Assess the safety the audio system in your performance space, and propose fixes to the instructor if appropriate.

Day 16 Written Assessment

OPTION 2: 7-Day Unit

Day 1 Identify major aspects of Sound Reinforcement and Sound Design. Describe the responsibilities of the FOH Sound Engineer, Crew, and Designer. Recognize basic elements of sound, and how components of an audio/sound system can shape and process sound so the audience hears exactly what the director wants them to hear.

Day 2 Review the material from Day 1 Differentiate areas of a theatre, and investigate how different audio sources travel to each of these areas. Examine the responsibilities of different members of a typical audio crew.

Day 3 Summarize the Signal Path of the components of a Sound System. Differentiate between common audio sources in live theatre, and analyze which equipment is appropriate for these sources.

Day 4 Distinguish between the different controls on the Input Section of an analog audio mixer. Examine the advantages and disadvantages of Digital Mixing Consoles. Develop parameters for different DMC configurations (“Scenes” / “Snapshots”), derived from a list of regularly scheduled events in your performance space over the last 3 years.

Day 5 Examine the 2 main components of Sound Design, Sound Effects, and Incidental Music. Investigate ways to legally incorporate sound effects and incidental music into a production. Examine the collaboration with the director and other production staff in the creation of a sound plot.

Day 6 The learner will review the materials from days 1 through 5.

Day 7 Written Assessment

OPTION 3: 6 to 8-Day Unit

Day 1 Identify major aspects of Sound Reinforcement and Sound Design. Describe the responsibilities of the FOH Sound Engineer, Crew, and Designer. Recognize basic elements of sound, and how components of an audio/sound system can shape and process sound so the audience hears exactly what the director wants them to hear.

Day 2 Review the material from Day 1. Differentiate areas of a theatre, and investigate how different audio sources travel to each of these areas. Examine the responsibilities of different members of a typical audio crew.

Day 3 Examine the 2 main components of Sound Design, Sound Effects, and Incidental Music. Investigate ways to legally incorporate sound effects and incidental music into a production. Examine the collaboration with the director and other production staff in the creation of a sound plot.

Day 4 Examine how to create cues using common software. Investigate individual components of a multi-layered sound cue. Review for Written Assessment - Day 5.

Day 5 Written Assessment

Day 6-8 Read a play or musical assigned by the instructor, do a tech evaluation, and produce the paperwork necessary to create a sound plot. Assemble potential music and sound effects, confer with the director(instructor), and create a sound effects track for the chosen play. Evaluate the audio system in your performance space, and create a schematic block diagram for a recently produced musical using USITT graphic standards, and produce a student portfolio.