New york

Sound Design Inspiration #4

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MUSIC

Jon Hopkins singularity album out last month has some awesome work on it, check it out on here.

https://open.spotify.com/album/1nvzBC1M3dlCMIxfUCBhlO?si=ZT6mAIsYSdO_TxWrAXlD5Q

THEATRE SOUND

The NY times interviewed the Sound Designers nominated for the newly re-instated Sound Design Tony Award, they all provided some excellent SFX and montages of their shows. I worked as Associate on both Harry Potter and the Cursed Child with Gareth Fry and 1984 with Tom Gibbons, Both are incredibly deserving of the nomination.

https://www.nytimes.com/2018/05/28/theater/tony-awards-sound-design-plays-nominees.html

VST

Spitfire audio have had a change in their Labs Scheme recently. The most recent update sees the beautiful Soft Piano and newly recorded 'Strings' patches with a newly designed user interface. As it's for free, download them here...

https://www.spitfireaudio.com/labs/

2017 Round up

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2017, Its about time for a round up of last year. This will be the longest post i’ll be doing for a while but I’m hoping to post much more frequently!


I started the year in New York after workshopping The Kid Stays in the Picture with Ben Grant as associate, and Simon Mcburney Directing. We worked with 7 US Actors for a few weeks and it was incredibly fun. At the same time I was stepping in to operate The Encounter on Broadway over New Year, again a lot of hard work but having been part of the show for years previously and now getting a chance to go back in and learn the op again it was very rewarding.


In early January I led my first design transferring to St Ann's Warehouse over the bridge from Manhattan in DUMBO, Brooklyn. An incredble space to work in, with it's own challenges, though the view from the back door has to be a highlight.

The show was Phyllida Lloyd's The Tempest. The third all female Shakespeare piece set in a women's prison. I led a great team at St Ann's and we updated a fair amount of the system compared to the original version in Kings Cross. I also switched from an SD9 to the in-house Yamaha CL3 which took some re-programming but was a fairly smooth transition. After some recommendations I also decided to use Valhalla room through Mainstage as an effects processor and it was great, especially as the cost implications are so minimal. We also went with a pretty much full Meyer speaker system which suited the shows content, the Sound Design isn’t particularly subtle so these provided a good impact for the upfront content to the audience.


In February I came back to the UK and began the rehearsal period for The Kid Stays in the Picture at the Royal Court, the same show we were workshopping at the end of 2016. I loved working at the Royal Court and once again was met by an astonishing team. Ben Grant as Associate. We had a brilliant set of operators Yamina Mezeli and Neil Dewar, alongside David, Maddy and Alice as part of the Theatre team. The show was technically complex for all departments and I had to come up with some interesting ways to react to the show's ever evolving set of needs. It’s a very engaging process to create with Simon and we were constantly reacting and refining throughout.


At the same time Ben and I re-mounted Beware of Pity at the Barbican Theatre, which we had made with Simon the previous year at the Schabuhne theatre in Berlin. It was my first design to be live streamed on youtube outside of The Encounter. They did an excellent job of capturing the audio for the show and I took 3 days of listening and tweaking the final product, heres a link to the Q&A of the Director, Simon Mcburney and Artistic Director of the Schaubuhne Theatre, Thomas Ostermeier.
http://www.complicite.org/live-stream.php


The Kid Stays in the Picture was a highlight of the year and I hope we can go back to the show over the next few years and continue the work we started.


Next up was Twelfth Night at the Manchester Royal Exchange. Directed by Jo Davies, I was yet again surrounded by a lovely team and welcomed into what is a weird, yet interesting theatre to work in and a beautiful building. I had the pleasure of working alongside Alex Baranowski who Composed on this one and it was a delight to work with him as a collaborator but also with his fantastic music. We worked closely with 4 musicians he and Jo bought onto the show to create the sonic world of the show.

A few years ago I started taking piano lessons as a way to develop my skills and having worked with Alex, it pushed me to continue to spend some time on developing those skills outside of the the Sound Design world and it's been refreshing to do so.

Harry Potter and the Cursed Child had it's first cast change in London spring 2017 and leading that change from an audio perspective was an interesting task of maintanance and preservation, whilst keeping in a position where the actors are changing and adding their own take on the piece, reacting to those updates.

Into June and Frogman, following a lot of research and experimenting with 3D video and audio,  I took a 3 week trip with Jack (Artistic Director) and Milla (Designer) from Curious Directive, to Brisbane, Australia. We worked with 4 young actors in a set made especially for our 3d film content. I took on the whole process of audio production on this project which meant planning, recording, processing all of the audio content from the on set filming. Then the theatre part of the project which was about finding the very best way to give an audience the 360 audio experience in a theatre context.

 

Milla was interviewd for a great piece talking about the Design elements of Frogman here

During those three weeks the Tony Awards Ceremony in New York took place, where Gareth Fry and I were awarded a Special Tony Award for our Sound Design work on Complicité's The Encounter. Not only this, but alongside our award The Tony's also announced that Sound Design categories will resume as a regular yearly fixture after they were axed in 2014. A huge moment in the year and a big step in the right direction for the recognition of Sound Design on Broadway!

Back over to Brisbane to finish off the filming and finally back to London to edit the recordings. I plan to do a set of short walkthroughs of the process so I can get a bit more detailed in that, but for now those interested should check out Facebook 360 spatial workstation. We then created the live theatre side of the show, I should explain that the concept of the show is part VR and part live theatre. Frogman will be back in the UK at Shoreditch Town Hall in 2018 and you can find out more here: https://shoreditchtownhall.com/whats-on/frogman

After a break in august I started working on two more Sound Design projects. The first was Simon Stephens’ adaptation of The Seagull, directed by Sean Holmes at the Lyric Hammersmith in London. The second called White Bike, newly written by Tamara Von Werthern, directed by Lily Mcleish at The Space in Canary Wharf. They were very different projects and both exciting to be leading the Sound Design of.


The Seagull gave me an opportunity to play with naturalistic content against a less naturalistic set and lighting design, working closely with the rest of the creative team, and lovely sound team at the Lyric in a fairly large/mid scale venue. The White Bike was in a much smaller venue and so smaller system also, but it’s content and the integration of the Sound Design had a more abstract sensibility. Again a wonderful creative team and we were pulling together a beautiful piece of work in a short time. We workshopped some ideas in 2016 and we found it useful to start a collaborative playlist on Spotify where Lily and I could form ideas for an auditory world, which grew over the year and played in rehearsals whilst devising, a large amount of which ended up in the show in one way or another.

Once finishing both of these I moved to Hull for a 4 weeks to work on The Last Testament of Lillian Billoca. Written by Maxine Peake and directed by Sarah Frankcom and Imogen Knight. We had been in conversations and meetings about the project since early 2017, it was a large scale site specific project in Hull’s Guildhall, a still fully functioning building in the centre of Hull. We used 4 main rooms and a handful of small auxiliary rooms around the building to tell the story of Lillian Billoca, a controversial, strong campaigner for the working rights of trawler men in the late 1960s.


I had to put together a strong team for what was a difficult venue to implament a design into, production engineer Guy Colletta, who worked with Gareth Fry and I on The Encounter, took on the production engineer role and getting our system into this none theatre building was a bit of a challenge but Guy is the master at this. We worked with live Music from The Unthanks in two of the rooms, one room was an audio/movment led sequence with a headphones and each room was very different in style and size. Part of the challenge was to decide how best to link or unlink the rooms and corrioors, depending on the audience experience and route around the building. It was a great situation to work our way around and we came away with something to be very proud of.

In December I decided to focus on music and composition. I went to the Tune Up event on the Southbank, which was an inspiring day, I took time learning more about the many sample libraries I’ve not delved into before and went much further into MIDI in Logic X. I've now begun writing music aimed towards media for a brilliant European publisher. This time away from Sound Design has been helpful to focus on my own projects outside of theatre, and I’m looking forward to bringing focus back into theatre again this year.

There are a lot of exciting Sound Design projects on the horizon, in and out of theatre, the UK and abroad. I plan to post more often, to put my thoughts down about projects I’m working on, software and hardware I pick up along the way, walkthroughs for things like 360 audio capture, sync, and getting that to a live theatre audience, composition, sound design content creation,  etc… Though, one of the hard things about posting about the show you’re working on in theatre is the secrecy behind it, especially before press have been in and reviewed the show, you want to keep the excitment. So I’m aiming to work around that and show the parts of my own process that I can. Some people pull this off in a very slick way so hopefully I can find some ways.
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