What I Learned This Winter

I learned a lot about running sound for a play, which was my 2018 late-winter, early-spring “experience.” I was the “sound designer” and FOH tech for a play, “Appropriate,” at the Sheldon Theater in Red Wing. I had a LOT to learn, since I have only been to kids’ and grandkids’ plays as a cheering section rather than participant or even an active and conscious observer. I have never thought about any aspect of sound for live drama . . . ever. When Bonnie Schock asked me to take this job back in late 2017, I asked about a few details and decided it wouldn’t be too much of a strain on my retirement. As I almost always am, when I say “yes,” I was wrong.

For starters, the reason I haven’t been a play-goer is because the historic quality of the performances or the non-subtle style of stage acting doesn’t work for me. I get the commitment and talent required and I respect that, but the art form just isn’t my bag. During my college years, a couple classes required watching video recordings of Shakespeare (who’s writing I love) performances and that reinforced my dislike of the aural aspect of stage acting. My wife, Elvy, is more of a fan of the format than me, partially because she enjoys the art of stage design. For her, the visual qualities distract her from the sound; as long as the audio isn’t awful. She really likes the traditional orchestra performances that are part of many plays, but I’d just as soon hear the orchestra without the play. I had given exactly NONE of that any thought when I agreed to be part of the Sheldon’s performance. At the time, it didn’t seem to matter much, because I figured getting a handle on the play’s audio would be fairly simple. Again, I was wrong.

I have done, and still occasionally do, sound design for television and budget film projects. It’s not like the job of creating audio cues and environments is foreign to me. However, that work has always involved a list of fairly concise sound-effect descriptions and audio cues that come reasonably far into the project’s development. There are usually some changes required, often determined after I deliver my first “draft” of the work, but the few directors I’ve worked with are pretty good at describing the changes they want and I’m billing them on an hourly basis so they have some motivation to be efficient. Plays are, apparently, not like that. The work is endless and the communications are as half-hearted as the focus on television and film audio was 50 years ago. In this production, I’d guess the director and stage manager put about 40 hours into the lighting design and about 15 minutes into the audio; although, there was always plenty of post-show and rehearsal criticism.


Like most facilities, the Sheldon’s FOH mix position is a good distance from ideal; sonically. As you can see from this picture, there is about 15’ of balcony overhang, a couple of very directional EV ceiling speakers, and a large projector shading the speaker and stage output from the FOH position. An upside is the extremely limited vertical dispersion (a claimed 5^o, if you can believe that) of the main speaker system. The diffraction from that balcony edge provides a very noticeable phase error signal-mix with almost any level of volume from the FOH speakers. I’ve only worked a couple of live music events here and I never know what the rest of the room is hearing. That, however, is true for everyone in that room, though. The historic 1900’s architectural features of the Sheldon Theater are acoustically hostile. Sound is oddly reflected, focused by concave surfaces, lost through glass and doors, co-reverberated by coupled spaces, and unevenly absorbed by stage curtains and padded seats. So, the upside is that no seat in the house sounds like any other seat, but only a few locations are capable of rendering decent fidelity under limited conditions.

I have some personality quirks that make me imperfect for theater work. I hadn’t put these pieces together before the third or sixth or tenth rehearsal, but there are no more than a half-dozen movies that I’ve watched twice in my life. There are maybe three I’ve watched more than twice. Most of those, I was doing other things while the second run of the movie was playing in the background in my shop. I have never learned to recite a poem because I get bored and wander away after one or two passes.

FOH tech, it is absolutely necessary to know the play almost as well as the actors, since no one cues the audio guy. However, you will have to listen to the lighting cues in your headset while you are trying to mix the show. Document the hell out of the script and color-code your documents. In the example at right, I have blue tabs are for my sound effects Pro Tools markers, the orange are sound effects fader positions, and the yellow are DiGiCo Snapshots. The underlined text are “key points” in the script to keep me in sync with the play action and the boxed text is where the Snapshots need to switch. Creating a document like this means I needed to be present for almost every full run-through of the play, which about quadrupled the amount of time I thought I’d need to invest in the project (Creating an hourly rate that I do not want to talk about.). Like I said at the beginning, I’m not a theater-goer, but I’d be surprised if many theater spaces are much better than this, acoustically or sonically. Theater is an art form mostly propped up by government and arts organization grants and one that mostly exists only in a few major cities. There are many reasons for that.

I can listen to the same ten second segment of a musical performance all day long without getting bored. The same is NOT true for a speech or play. I write a lot of stuff for a lot of outlets and industries, but once I’ve handed off a piece to an editor and I get paid or posted it to a blog, I do not ever re-read what I’ve written. No only does that mean I’m the wrong kind of audio guy for plays, but I have no chance of being a successful author because I would hate going to readings of my stuff. That is a deal-breaker.

The big picture for this kind of work is that you, the sound designer and/or FOH tech, are just a tool in the director’s pallet. More often than not, you will be the smallest, least important, least used tool in that toolbox. You will have as close to no control of your output as you would have working on a factory floor. Nobody wants your creativity, experience, or ideas unless those ideas can be morphed into the director’s vision. The audio tech is the low guy on the pecking order on stage, so expect to step and fetch for anyone from the props and scenery people to the lighting geeks. Audio is considered a necessary evil on the play stage and you are probably the only person in the organization who is not only unnecessary, you are unwanted. Keep that in mind when you ask for help, a budget, or equipment.

So, there are only two good reasons for doing this kind of job and, ideally, both justifications will be met in every project you do: #1 it pays a shit pile of money for the hours you’ll be working and/or #2 you desperately want the work to learn the equipment, the techniques, the credential, and the experience. I suppose you could do it for the art, too, but that means you don’t have any of your own and that’s just sad.

Epilogue: Not long after I wrote this, my wife and I watched a collection of big budget movies on our home theater system. The big takeaway from that experience was that with all of the talk about CG visuals and high tech videography, a substantial portion of all of those movies were . . . dark or pitch black. In other words, while we'd spent some money on our high resolution television, the audio system was about all that got a workout during several of these movies. 

As I wrote to a friend this week during a discussion about this play experience, "I did a bunch of television work between 1998 and 2010 and working the play was a lot like that. It's funny because when a camera guy screws up or a lighting cue gets missed or a whole bank of lights don't work, almost no one notices. It has to be a huge mistake before the audience will realize it wasn't an intended 'effect.' When one (out of a dozen or more) wireless mic cuts out or makes noise or a small part of the sound system fails or there is a break in the music, everyone is all over it. But we stay at the bottom of the pecking order because everybody thinks it's easy." It isn't and the general level of amateurism in most audio outside of movies and modern television demonstrates how hard audio is to do well and how "a little knowledge" isn't even close to enough to do a good job. 

When I was teaching audio students, I used to recommend that they stay to watch the credits roll after movies, just to see how many audio jobs there were in a typical big league film. The movies my wife and I watched this week were a good example; the audio credits roll for several minutes. As they should. Remember, sound without pictures is radio but a movie without sound is just pictures. These days, many people "watch" movies on their telephone or tablet screen but they listen to those movies on headphones. They are sacrificing the picture, but they don't lose much of the audio and they get the story just fine.