Knowing how to create an Audio cue in QLab is the easy part. Building a QLab workspace capable of surviving rehearsals, technical changes, previews and eight performances a week is a
You press GO. The cue starts. The playhead moves and QLab’s meters show audio. But nothing comes through the sound system. If you work with QLab for long enough, you will see this at
You have finished your theatre sound course. You understand signal flow, radio microphones, mixing desks and QLab. Yet most job adverts ask for professional experience. This creates the usual problem. You
Theatre sound departments record performers all the time.
Rehearsal recordings. Vocal sessions. Announcements. Understudy material. Sound effects. Show recordings. Archive material.
What has changed is what software now lets us do with
Mixing for musicals is not the same as mixing a band.
That is the first thing you need to understand.
A band mix usually starts with balance. You set the drums, bass,
How to Tape Radio Mics for Theatre
Taping radio mics for theatre looks easy until you do it on a real person, under time pressure, with a costume change happening behind
Most people think the Sound No.2 is “the person backstage with the radio mics”.
Fair.
Radio mics take up a large part of the job.
But a good Sound No.2 does far more
Jesus Christ Superstar at The Watermill
When I was told the Watermill was doing Jesus Christ Superstar, I thought they were mad. I honestly didn’t think the space—or the concept—could handle
I'm always getting asked "What are the best live sound mixing techniques for theatre?" or "How do I improve my live sound mix during a show?". So below are some
You might've heard the phrase "spatial audio in theatre sound design" popping up more often lately. But what's the big deal? And why should you care as a theatre practitioner