Theatre Design & Technology - Winter 2010 - 76

with the usitt sound commission in ensuing years, participating in the
2005 World stage design exposition in toronto, the 2007 Prague Quadrennial, and the 2009 World stage design exposition in seoul. this collaboration is ongoing with preparations under way for the 2011 PQ.
in 2004, david e. smith became the sound commissioner, in 2006
david also joined the commissions steering committee. in 2006, William
liotta was named co-commissioner with david, and in 2007 smith stepped
down and Jonathan darling became co-commissioner with liotta. inevitably, this article has left out more than it has included in sketching the history
of this very active commission. space precludes going into detail for more
recent years, but one look at the exciting programming for the 2010 conference listed on the usitt website suggests that far from resting on laurels,
the commission is moving forward at a brisk pace. We hope to have you join
us for the exciting ride to come in the next fifty years. v
Professor Dave Tosti-Lane is Chair of the Performance
Production Department and Sound Design Area Head at Cornish
College of the Arts in Seattle. He serves as Vice Commissioner for
Programming for the Sound Commission, and Associate Editor for
Sound Design for TD&T.

A lifelOng lOVe/hAte AffAir

by Charlie Richmond

My life has been interwoven with usitt for many
years, starting in 1972 when i exhibited a prototype programmable theatrical sound control system on a table at san
francisco state college in conjunction with the conference that year. this
generated a small amount of interest amongst a few sound people but it
primarily allowed me to meet for the first time dr. John bracewell, who
had just begun to teach technical theatre at Whittier college. this began
many years of lively correspondence in which he continued to encourage
me to develop my ideas for such systems and to promote them to the theatre
world. the system i showed had been custom built for the american conservatory theatre's performance space in the Marine's Memorial theatre,
in which i worked as an operator and assistant designer. it also began a
lifelong friendship with dr. John which now continues after his retirement
from ithaca college.
this encouragement made me start richmond sound design ltd.
which then produced a range of commercial theatre sound control consoles
that we marketed over the next fourteen years and which evolved into computer controlled sound systems. one of our early customers was Purdue
university who installed one of our Model 816Q consoles into their experimental theatre and i was invited in 1976 to commission this installation in
conjunction with a conference on advanced theatrical lighting and sound
control systems which was organized by van Phillips and his newly hired
instructor richard K thomas (for whom i would write a recommendation
for tenure many years later) and included about a dozen of usitt's most
significant luminaries of the time. being a very junior member of the group,
my presentation was eminently forgettable although it did foreshadow the
computerization efforts which we turned into a commercial product less
than ten years later.
Meeting all these impressive individuals so intimately involved with
usitt resulted in being invited to demonstrate a prototype computer

74

theatre

design

&

teChnology

W I N T E R

2010

controlled sound system at the university of Washington in conjuction with
the seattle conference in 1979, at the invitation of dick devin. this was also
the last year i actually designed a show (Romeo and Juliet for act in san
fracisco-my fifty-fifth professional design, and the last, mainly because
my rates had risen too high for this industry). this was done on the Model
816Q which was installed at act the same year. the discussions in seattle
focused heavily on the fact that many people thought usitt should have
a lighting and sound design commission since there was so much more
intense interest in these areas at that time so dick devin and i resolved to
push it forward.
sometime in 1980 this effort began and in 1981 there was born a lighting & sound design commission which was headed up by dick and myself
as co-commissioners but i was actually unprepared to attend the 1981 conference and was unable to make the very first commission meeting. i did
make the one in 1982 in denver and it was a reasonable success, adding a
substantial number of sound designers and sound students to the commission rolls. in fact, my recollection is that for the next few years, more sound
programming was created by this new commission than lighting and it was
decided in 1984 to split the commissions into two separate entities in order
to allow more conference programming.
rsd introduced our command/cue computerized sound system at the
1986 conference and even greater interest in these systems and sound in the
theatre ensued. in fact, by 1988 i was accused of running the sound design
commission as a private fiefdom for my own benefit only (with of course
absolutely no substance) so i resigned and dr. bracewell took over for a
couple of years. i joined the usitt board of directors in 1989 and began
four years of conflict with some directors over the role of the commercial
exhibitors. i thought the institute was too focused on the educational community and needed to direct more attention to members who were out in
the "real world" making and selling new products. in the meantime, rick
thomas became the sound design commissioner and some of the best sessions ever done were sponsored.
in 1987 i assumed the role of sound design editor of TD&T and
because of the almost total absence of submissions (and extremely poor
quality of the few that were submitted) basically used the magazine as a
forum for my own views and beliefs on theatre sound design, much to
the chagrin of the editors. after i had run dry, i turned my attention to
show control and started a Midi forum on usitt's callboard network,
which used the resources of the early internet to allow people around
the world to communicate.
i and about two dozen others, mainly lighting manufacturers spent
January through september of 1990 developing a show control standard
which was presented to the Midi Manufacturers association in January,
ratified by them and the Japan Midi standards committee by June and

Richmond Sound Design's
Model 816 (8 inputs and
16 outputs) Theatrical
Sound Console for
small- and medium-sized
theatres.



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2010

Contents
Theatre Design & Technology - Winter 2010 - 1
Theatre Design & Technology - Winter 2010 - 2
Theatre Design & Technology - Winter 2010 - 3
Theatre Design & Technology - Winter 2010 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
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
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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