Theatre Design & Technology - Fall 2007 - 32

Day 4: Sunday, 17 June 2007
Distorted Sound: Nancy Tobin
Nancy Tobin shared her sound design aesthetic with the Scenofest
audience primarily though demonstrations of four different projects she
has recently completed. In the first, Battaille (literally meaning "battle"
although in this production the term was used to explore the wider concept of "struggle"), Tobin used six piezo-electric speakers spaced across
the upstage wall at head height to complement the full-spectrum sound
system. This allowed her to create a different musical instrument out of
loudspeakers in contrast to the full-frequency capabilities provided by
the main speaker system. A self-described fan of minimal repetitive music, Nancy explored in Les Aveugle derivations of sounds suggestive of
vocalizations, leaves, the ocean, etc., that were all linked together by a
common color palette in order to magnify their ability to evoke emotion.
Tobin eschewed the use of pre-recorded sound effects. In Novecento, a
piece about a piano player stranded aboard a luxury cruise ship during
a war, Tobin derived all of the sounds of the ship's engines, etc., from a
piano. Finally, in Desnoyer, she explored actor-generated sound by taping microphones to dancers' legs, thus allowing them to create their own
sounds by manipulating the feedback between their microphones and guitar amplifiers located nearby.
Nancy also described an experiment that she was conducting with
the Scenofest crowd to study the effects of noise on the reception of a
sound design. In her experiment, she played back sound to each listener
first in silence, and then with noise in the background. She then discussed
the experience with the listener.

AudioScape 3D AA New Ambisonic Platform for
Sound Design: Paul Gilleron
Paul Gilleron and six members of the software development team
demonstrated Ambisonic's new platform, Audioscape 3D. They also provided a brief history of the company and ambisonics, and gave a practical
demonstration of the Audioscape 3D software which included several examples of performances and venues that have recently used it.
Deconstructing the Vocal Instrument: Curtis Craig
Curtis Craig next conducted a session in which he explored how the
physiology of the human vocal instrument produces sound, particularly
during speech and non-operatic singing. He geared the session towards
sound designers and sound engineers in order to provide practical information that would allow them to more accurately record and reinforce
the human voice.

Day 5: Monday, 18 June 2007
Monday was Laptop Connections Day as five groups of sonic artists with
laptop computers settled into locations setup at the Marysakovo Railway
Station in the Heart of Prague to stage a great sonic happening for travelers at the station and for the assembled PQ Scenofest participants. Joe
Pino organized the event, with support from Davin Huston, Cait Janpol,
and Jason Ducat. The group set up a wireless Internet connection that
provided the on-site participants with the capability to interact with other
laptoppers around the globe.
Shahrokh Yadegari (University of California, San Diego) worked
with Max/MSP at the train station, while connecting with Michael Dessen at the University of California, Sand Diego. Vincent Olivieri set up a
MIDI-controlled sequencer at the railway station, which allowed him to
trigger Daniel Baker's sounds in New York City, while Vincent triggered

Paul Gilleron and his Ambisonic Team
described the Audioscape 3D software. Photo
courtesy of Don Tindall.

Laptop Connections at the Marysakovo
Railway Station. Photo courtesy of Carol
Cunningham.

THEATRE
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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2007

Contents
Theatre Design & Technology - Fall 2007 - 1
Theatre Design & Technology - Fall 2007 - 2
Theatre Design & Technology - Fall 2007 - 3
Theatre Design & Technology - Fall 2007 - Contents
Theatre Design & Technology - Fall 2007 - 5
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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