For sound designer Bart Fasbender, Broadway’s Bloody Bloody Andrew Jackson meant more of everything—“more speakers, more delay lines, a balcony we had to deal with, so it was three to four times more the system it was in the Newman, with boxes and amps but better and smaller wireless units,” he says, adding that the goal was to maintain the concept of a play with loud rock songs in it, so they tried to keep the book scenes as true to a straight play as possible without sounding reinforced. ...

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