Creative consultant Abe Jacob reveals the line-up of sessions for the 2013 Broadway Sound Master Classes, including a performance of PIPPIN, with critique of the sound design
The BSMC will see the revival of PIPPIN on Broadway, with sound design by Jonathan Deans and Garth Helm.
A great line-up of sound designers and audio experts for the 2013 Broadway Sound Master Classes....
Friday, June 7, 2013
NYU Tisch School of the Arts, 721 Broadway
8-9am: Registration and Continental Breakfast
9-9:15am: ABE JACOB: Welcome and Opening Remarks
9:15‑10:30am: JONATHAN DEANS, GARTH HELM, & ABE JACOB: PIPPIN, then, now, and what happens when the sorcerer's apprentice gets a call.
10:45am–12pm: CARL MULERT, Theatre business rep for USA Local 829. All about Sound Designers and the Union: the good, the bad, and the beneficial.
12 2pm: Lunch and Manufacturers Showcase
2pm-6pm: LDI-NYC: Maufacturers Showcase open free to all industry professionals
2– 3:30pm: JOHN HUNTINGTON: Systems Thinking and Networks for Audio and Show Control: This session will cover some basic tenants of systems thinking for shows, where we must plan for and accommodate failure in our “show must go on” world. These ideas will then be applied to the design of Ethernet networks, which today offer both a common audio transport and a control infrastructure. These concepts together lead to modern system design for show control, where we connect between audio and other disciplines like lighting or video.
3:45 – 5pm: TONY MEOLA—Case Studies For A Revival And A Mega Hit: A look at the designs for the revival of The Mystery Of Edwin Drood and the world-wide hit, Wicked. Particular emphasis on dealing with the complexities of staging International productions of mega-hits and how one designer handles being in three different places at the same time.
5- 5:15pm: BREAK
5:15 – 6:30pm: NEVIN STEINBERG: "Just Take the Note," Said The Director To The Sound Designer"— An informal discussion with Tony-nominated director Thomas Kail (Magic/Bird, Lombardi, In The Heights) about the state of the art of sound design on Broadway, his views on the role of the sound designer, and how directors and designers work together to do good work in the high-pressure arena of commercial theater. A discussion about plays, musicals, audiences, architecture, actors, and questions about the relationship between a director and his creative team.
8-10pm: Pippin - sound design by Jonathan Deans and Garth Helm, plus post‑show Q&A
Music Box Theater (45th Street between 7th & 8th Aves, NYC)
Saturday, June 8
NYU Tisch School of the Arts, 721 Broadway
8:30‑9am: Registration and Continental Breakfast
9‑10:30am: BOB McCARTHY: What's Wrong with this Picture? Based on a childhood game—and true design stories (names changed to protect the guilty). We will examine a series of system designs which contain substantial errors in speaker selection, placement, splay angle, processing and more. Can you find what's wrong? What can we do to correct them?
10:45am-12:00pm: LEON ROTHENBERG: Presenting Your Design—Much of the success of your design depends on how you communicate it to others. This seminar will focus on the different ways in which aspects of your design can be effectively discussed and communicated through paperwork, system setup and person to person interaction. We'll discuss specific examples from several of my designs and explore how they are presented in different ways to the director, the sound department, the shop, the other design areas, and ultimately to the audience.
12:00‑2:pm: Lunch and Manufacturers Showcase
2‑3:15pm: JOHN GROMADA: Trip To Bountiful: Discussing the hybrid art of music and sound design for plays.
3: 30– 5pm: JOHN TAYLOR AND HIS DUMMY HEAD: Sound design is an integral part of a production, but showing sound design work when divorced from the production it was designed for does little credit to the craft and art of the sound designer. Capturing your work in a way that you can meaningfully show a director the wonderful moving soundscapes you created for a show or simply archiving it for your own use has not been a trivial task. John Taylor will show how combining binaural audio recording and video using a dummy head mounted on a video camera can capture a show from an audience members point of view to give you an "As if I were there" experience. 360-degree audio is faithfully captured binaurally and a nominal 60-degree video field is enough to complete the picture. Along the way, we'll look at how the human ear / eye / brain system works and how you can cheaply make your own dummy head.
5-6pm: ABE JACOB, close of classes. Final Q&A in lounge
6:30‑ 8:00pm: Cocktail party sponsored by Meyer Sound, and Live Design Sound Products Of The Year presentation; City Winery, 155 Varick St NYC.
REGISTER now and be part of this excellent professional training opportunity!