Theatre Design & Technology - Spring 1988 - 21

Soun~

A Sound Future (Part I)
BY CHARLIE RICHMOND

hare with me a dilemma for a moment, and then let me know if I'm
lost in the reverb. Sound designers have been waiting a long
time for a system that allows us
to create soundscapes easily, almost
intuitively - a system that would perfom1 as a transparent extension of our
desires, a tool that requires no interpretation between wish and result.
Of necessity, such a system would
incorporate a device commonly
known as a computer, although certainly in a more "transparent" form
than the one computers have generally taken for the last twenty years;
most artists don't usually find ell.-pression easy through a computer keyboard. I have been watching with intense curiosity the many forms that
the most commonly computerized
theatre design area has been taking.
Computerized lighting has developed
into a very powerful and reliable technology, yet incorporates somewhat
less than current computer capabilities. My perception is that tlus is a
result of the continued use of certain
conventions that were established during the earlier years of more primitive
operating systems.
Obviousl)\ people are hard at work
developing new approaches, but it remains curious that the most exciting
aspects of the more advanced systems
have not been embraced. One of these
is the concept of "What You See Is
What You Get" (WYSIWYG) exemplified by the current explosion of
desktop publishing software. Or
maybe there's a reason for this: exactly
what is it you are "getting" when
sound is designed; For example, just
how are you going to graphically show
a cue "going" or, more basically, a tape
deck starting, or a loudspeaker
switclung on; Perhaps those are toO
easy: juSt point at the picture of the
deck and click the mouse button and
the (graphically represented) reels will
start turning; click again and they will
Stop. Great, but what if it's a cart machine, and what about all the different
types of loudspeakers; Suddenly, [
start seeing a lot of work for our soft-

S

ware people and a delivery date of
sometime in the 1990s for a
customized system. So, we end up
with something in-between.
U we accept that the ideal is still
unobtainable (or more properly stated,
unaffordable), JUSt where is the happy
medium between COSt ,md a system
that genuinely improves the designer's
productivity? Looking again at lighting, it seems that graphics are being
underutilized by most current systems. For example, given the relatively
small number of different types of instruments, it seems that a menu of
types, graplucally displayed, could be
available to assign to dimmers or
patch circuits so that the designer (or
operator) could quickly see (and select)
the complement of instruments
within cues. Color, also, is an extremely important element in lighting, yet no one seems to use color capabilities to identify circuit, dimmer, or
cue color characteristics. Finally, since
lighting is an essentially visual medium, it seems that endless possibilities exist within the display capabilities of the video monitor.
The most comprehensive possibility nught be to mockup the stage
set on the video monitor and then program the show by "lighting" it on the
monitor. While we're at it, let's put
moving actors on and provide views
from different seating positions. Actually, considering the cost of some of
the lighting systems, such a situation
is certainly not Out of the question'
What does this have to do with sound,
you ask; 1am using this illustration as
an example so that you can answer for
me (and for yourselfl, "What is the
sound designer's version of this!" I'm
not really sure of the detailed answer,
although it would require a very comprehensive multichannel sound system with plenty of digital electronics.
It would certainly be a more expensive
system than the one the designer has
available in the theatre and would require more complex software to create
an artificial acoustical environment.
Referring to lighting again, I find it
increasingly curious that numerals

alone continue to be used to represent
the levels of hundreds of dimmers.
Posed with a similar requirement but
usinga larger amount of data by a factor
of ten, a sea of numbers swimming
around the screen seemed to be a very
non-intuitive way of presenting a tremendous amount of information. Why
not use small graphic representations
of common audio devices such as
faders and switches to quickly show
the relative levels and settings of many
channels simultaneously? Then we
could allow the user to quickly select
one of these for more detailed observation, a bit like a magnifying glass. But
switches and faders are only the physical entities that have been previously
used to create electrOIuc responses to
our wished. Perhaps there is a more
graphic manner of expressing "increase volun1e" and "switch tlus on."
In the theatre we want to be able to
send any audio source to any combination of outputS at varying volume levels in such a maru1er as a giant matrix
allows. Maybe we should be able to
display a big picture of the loudspeaker representing the Output in
which we want to increase the volume. We could represent the overall
volume of the loudspeaker by changing the overall size (volume') of the
graphic representation. But we actually have many different sound
sources, from microphones to tape
decks, being ent to this loudspeaker.
Maybe we could show smaller pictures of the sources inside the loudspeaker and change theilĀ· size to indicate their relative volumes.
Conversely, we could show a large picture of a source, say a specific nucrophone, and inside it representations of
all the different loudspeakers to which
it is being sent. Then we could change
the overall volume/size of that source
as well as the volume/size of the loudspeakers shown within it.
Great. Of course we would have to
include numbers or labels inside each
of these pictures JUSt to make sure everything is being correctly identified.
Also, any change made to a specific
continued on page 48
TD&T

*

SPRING 1 aBB

1a



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1988

Contents
Theatre Design & Technology - Spring 1988 - 1
Theatre Design & Technology - Spring 1988 - 2
Theatre Design & Technology - Spring 1988 - 3
Theatre Design & Technology - Spring 1988 - Contents
Theatre Design & Technology - Spring 1988 - 5
Theatre Design & Technology - Spring 1988 - 6
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