It is only recently, with the recognition of sound design as a creative discipline worthy of inclusion in awards ceremonies, that critics have started to pay particular, if sometimes inaccurate, attention to our craft.
The following is a continuation of a discussion from You're Surrounded, Part One. I use surround in many ways to achieve different effects, to enhance atmosphere, to unnerve or frighten an audience, or to recreate a particular acoustic.
If you’ve been paying the least bit of attention to this series of ramblings, you’ll have realized that my formative years, aurally speaking, were in the late 1960s and early 1970s, a particularly rich period for innovation, both in terms of music and audio development.
Obtaining rights for the use of copyright music in theatre productions, both in the US and in the UK, can be a tortuous task. Increasingly, major labels want to negotiate on a per-show basis, but their frame of reference is often limited to film or television, and their awareness of the state of most theatre companies’ financial affairs is virtually nil.
Electronic dance music has shared a longstanding relationship with its sound systems. Led by Todd Konecny, this session covers the history of EDM as we know it, and what an integral part of that history the sound system holds....More
Michael Kohler will give you a background in how to best prepare your content for the various media servers out there today and explain how to avoid the most common pitfalls that could make your show come undone....More
Making the impossible possible is just a day at the office for WorldStage's technology specialist Michael Kohler, who breaks computers, hacks media servers, and renders hundreds of hours of video with every possible code....More