Theatre Design & Technology - Winter 1995 - 31

the tremendous amount of space the raw samples take up. If
the sound score designer wants to use the same sample in
two different cues with only a slight variation (e.g., the way
the sample is panned) that does not affecr the sample (a very
rypical case in a lot of theatre sound scores), the entire sample must be resaved. Given that the trend in samplers appropriate for theatre use is tOward larger and larger amounts of
RAM (e.g., 32-64 megabytes), a theme that is used throughOut the show could wind up using hundreds of megabytes in
redundant stOrage.
All new samples for a show should be stOred in the same
folder for ease in backing up these files. When the show is
finished, a determination can be made about whether these
samples will be used in another show (rypical for sound
effects) or retired permanently (rypical for music selections).
If a sample is used from the sample library in a show, it is, of
course, presumed to be already backed up. However, if the
raw sample is modified, a copy should be put into the show
sample folder to make sure that it is backed up with the
show data.

lJSEFCL SEQUL 'CER

TECH~

'IQUES

* PREPARING THE SEQUENCES
The next step in the preparation of the sound score is the
creation of sequences used in the show.
The development of powerful computer sequencing
capabilities has created an environment for the sound score
designer that allows for complete control over the entire
score, including analog recordings, on the sequencer. Since
the sequencer will be the heart of the system, it is imperative
that the sequencer is selected carefully. There are several
excellent sequencers available that will, in one way or
another, accomplish the tasks described in the following section. Remember when purchasing a computer sequencer
that it is the single most important control software in the
sound score designer's tOolkit. You will be endlessly adding
new synthesizers, samplers, and controllers. You will not
want to ever have to go through the trauma of learning a
whole new sequencer, so choose carefully and stick to a professional qualiry sequencer.
The first decision that needs to be made is whether to
create a separate file for every cue, or to stOre all cues as separate sequences in the same file. The primary problem that
can occur when stOring all of the sequences in one file is a
computer that runs the sequences tOo slowly. This has
become much less of a problem due to the advent of faster
computers. Therefore, the latter method has proven to be
much more advantageous, and will be used throughout this
discussion.
Once again, the first important decision needed to be
made is how to save the sequence. If your entire show is
being held hostage in a single sequence, Murphy's Law

would suggest that the file will become irreparably damaged.
It is important to devise a method of saving sequences that
always allows you to get back to the version you were working on before the disaster occurred.
The question that must always be asked when considering how often to save and how often to back up is, "How
much of this work am I willing to do again?" The answer is
almost always," ot very much." A good rule of thumb is to
save the current sequence about once every 15 minutes. If
you are extremely concerned about a damaged file, save your
work alternately with different titles:
D INDY

D
D

4/14 Ind>j Thorne I

53K

4/14 Ind>j Thorne 2

54K

Also, since all of your work will be kept in one file, it is a
good idea to start each work day by opening the previolls
day's file and saving that file with the new date attached. In
this way if the file ever becomes damaged you will have
access to old versions of the same file:
D INDY
D 4/14

D
D
D
D
D
D
D
D

Ind>j Thom< I

53K

4/14 Ind>j The"'" 2

54K

4/141nd>jThe"",3

54K

4/151nd>j The"'" I

54K

4/15 Ind>j Theme 2

591<

4/16 Indy The"'" I

69K

4/161nd>j Theme 2

70K

4/171nd>j The"'" I

I22K

4/171nd>jThe"",2

121K

You will create a separate sequence for every cue in the show:

.", Chunks
(lf1K[HIS

Note in the above example the sequences that house multiple variations of the same cue (e.g., Q30/40170/90, etc.).
This is a useful way of creating variations on a theme simply
by adding an additional track, or making tempo changes,
etc. Also note that the name of the sampler bank that must
also be loaded is listed in the Comments column.

* PREPARI G SEQUENCER TRACKS
Setting up templates: It is assumed that you will set up a
custOm template that is appropriate for your studio. This

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1995