Evita 1

So, here we are the Friday before tech week. My work as sound designer is done. Now, I become a technician.

Just what is the job of a sound designer? Traditionally, a sound designer reads the script and marks all the locations that require audio cues not provided by a live band. Then, the designer builds effects for each cue. I’ve was told at a sound seminar that designers can create, buy, or steal effects, and I’ve found that to be quite a true statement. A designer also works with the director to finds all instances of music not produced by the band, whether for pre-show, act break, of after show. Now, designing for Evita is wonderfully simple. We have one cue: the opening movie, which is actually an excerpt from one of Eva Peron’s movies! Scott usually picks pre-show music, but hadn’t figured anything out yet this time. I did some research this morning on traditional Argentinean music and found a movement called Nueva Canción, which combines folk and rock. It was mostly created to protest social issues, and was often censored by none other than President Juan Perón!

My other duty as New Line’s designer is to talk to our audio supplier and plan out a system to rent, as the sound system at the Washington University South Campus Theater is original to the 1980’s building and practically unusable. This involves lots of phone calling, e-mailing, and simply dealing with the limitations of the space. We came up with something that I think will sound pretty good. As any good sound guy, I always want more and better gear. There comes a point, however, where I have to realize that I have enough to make the show great, and any more will just be feeding my “soundy” ambition.

Now, on to the sound system! We usually use the house sound board, an A&H GL2200, and rent speakers, wireless mics, ensemble mics, and band monitors. This time, we’re trying QSC K12s as the main speakers, which is exciting, because I’ve heard a lot of good things about them but haven’t gotten a chance to actually hear them. Wireless will be 4 Shure ULXP and 2 Shure SLX with Countryman E6 headsets, except Eva, who gets a MKE-2 on the forehead (due to wig changes). I really like ULXPs, they’re a solid mid-grade professional wireless. Do I want UHF-R’s? Well, yes, but they’re not something I really need. I’m a bit concerned about the SLXs, but they’re a hell of a lot better than the fixed frequency consumer grade wireless I used last time. I also like the E6s. I’ll talk in a later post about why I like headsets better than lavs, but let’s just say I’m relieved that I can use them!

We’re getting some sort of speaker processor (I’m not sure exactly what) and there’s a DBX160 compressor and Klark Teknik DN405 parametric EQ in the back room. I’m going to try hard to come up with two more compressors and two more parametrics before Monday so I can insert them on the three leads. If I can’t come up with anything, I’ll give a listen and see who needs it most. Hopefully we’ll get everything I need provided by the rental and I won’t have to use any of my personal equipment, but I’m sure I’ll forget to ask for something and need to bring it myself.

We’re loading in the sound equipment tonight, so next I’ll report back on what happens and talk about what it means to be a technician.