Directed by Tim Dang
Sound Design by Alex Attalla
Production Engineer Belle Alatorre
Assistant Sound Design by Ari Hyman
Lighting Design by Milner Summers
Scenic Design by Jesus Hurtado
Costume Design by Emma Kremer
The director’s vision for this show was to show unity through individuality.
In order to accomplish this through my sound design, I used location specific placements throughout the show to aid in highlighting or blending in specific characters.
When speaking lines, I had the actors mic’s placed in only the mains (L’Acoustic Arcs) which were located at head level on either side of the stage. When singing, I moved their location to the center cluster hung above the proscenium with the intention of the movement being to highlight that soloists voice. The ensemble and non-highlighted soloists would be location placed throughout the surround system creating a vocal picture that surrounded the audience rather than coming solely from the stage which I felt was a picture that was too flat for the depth of this show.
To accompany the vocal movement and also add to the depth created in the space, the band was also balanced and moved throughout the system in specific cues. Band movement was automated and pre-programmed into the console file moving them from being only in the Front Fill speakers to filling in the system through the surrounds.
Speaker Plot
Mic Plot
Mic Plot
Mic plot detailing placements of all mics onstage including pit mics, foot mics used for picking up the dancers’ taps during the tap number, and area mics which were in the original plan but were cut due to the difficulty in trying to pick up the actors’ voices over the band with their placements onstage
Mic plot detailing mics on the floor and in the pit.
Orchestra Pit Layout
Input/Output List
I/O
Input list for all three parts of the opticore loop used for this show.
The SD rack was located in Front Of House under the console. The pit was patched into the SD rack through a house band snake that lived in the pit and was pre-ran to the front of house. It was a 1-to-1 patching from the house snake into the SD rack.
The SD Mini Rack was located in the RF rack which was held backstage in A2 land.
This was the input sheet that detailed what got plugged in directly to the back of the console.
The updates noted but not expanded upon here were changes made by the sound supervisor to the routing based on what was easiest for the way the house was set-up. All changes were communicated to me and noted on a printed sheet left in the hands of the sound supervisor entitled, “The Gospel”.
These two sheets detailed the outputs from the SD Rack and the board. The SD Mini Rack is an input only rack.
VCA Tracking
VCA Tracking
An example of the VCA tracking sheet made for the engineer and to help with the pre-programming of cues before the system was up and full functional and I had access to the space. The numbers dictate which fader each character fell on for each cue, what effects were happening to each voice to detail which kind of effects or movement needed to be added to that input channel as well as any design notes I felt were important.
The end console file, accounting for pre-programmed band movements and vocal movements for each character during the songs, ended up having 302 cues individually programmed and taken by the mixer at agreed upon points throughout the show.
Console File
Com
Mix video of chorus line
