PS301 Main show Role Sound designers Diary/Blog for: Scenes From An Execution 12th January 2012 Initial

al Design Meeting Sound Dark powerful soundscapes - suspense, Big, Epic Struggle, political - audio work. Venicians vs turks The battle of Lepanto 20 scenes in play. Scene changes to a minimum, with lots of transitions Caravaggio as an influence. "Bassey" strings - Orchestral No particular date/era/period Barker is not really bothered about historical accuracy. The approach of Barker seems to be more about design and symbolism

Muslin gauze comes down from flybars half way through the show. ------------------------------------------------------------------------------------Technicals - only be needing the Yamaha LS9?, see if the Vi1 is free for the period - Budget for whole show is -5,500 - Wonder if I can get around 500 (10%) of that? - Asked the production manager when a mass site visit to be arranged - The final Final design meeting will be Monday, 23rd Lamorbey House 2pm, so got to have a good idea of what equipment I'll be needing by then ------------------------------------------------------------------------------------What types of sound is likely to be coming through the system? Instruments? Vocals/Speech? - How many in the cast? -11 cast playing 20 parts - How much time do i get for Sound "quiet time" on 28th February? - What is the audience Capacity? - Can i get my hands on the plans for the space/dimensions/Technical specification. Get information about the logistics and Transportation arrangements to site/? Visit site: Design Plot 23 Jan 2012: Final Design meeting: National Maritime Museum - Got a painting of the war between the turks and the Venetians. Must really get on down there to visit!! Atimeza Rome - naples - venis. Woman that this person was based on (galactia) - Painter. Gentileschi Major and lesser characters, warped, texture. these were keywords mentioned, I recon this is going to be quite a abstract piece.

Scene 14 : Design, when the fly-bars down, we definitely need the "breaking down of the scaffolding" sfx -----------------------------------------------------------------------------------------------------------------------------------------2nd Feb. In rehearsals with group from 1pm-6pm, cast still going through chapter 5. Painting the turk. started my sound design in reaper. Had a 30 minute vi1 refresher with Tom Rundell. 3rd Feb 9am-11am carried on with audio at home. Confirmed the radio Mic quote with Keith at nk audio. Arranged to use tash's laverlier Mic accessories. Production meeting, to introduce operator. Qs: 1. What style of hair is carpeta and galactia wearing. 2. Are Mic head cradles fine for carpeta and galactia? Started making my default Vi1 Patch on the mixer. 6th Feb. Responded to Katie about Galactia having radio mic all the way through the show. forwarded to Billy aswell. 7th Feb Reverb will be needed on Oestintable (Daniel Tiplady's) voice during scene 8. Church Scene. Oestinsible will thus need to be fitted up with a radio microphone. 8th Feb Time dedicated making sound scapes in my Digital Audio Workstation

Battle of Lepanto Researched - http://en.wikipedia.org/wiki/File:Battle_of_Lepanto_1571.jpg The battle of lepanto was at sea, kinda shocked because the dialogue makes it sound like the battle was based on a field. Rehearsal notes wanted me to specify for more vocal which would come from backstage. For ("The dying, The Dying, scene 8"), an Sure SM58 on a stand will be appropriate.

9th Feb - Went in to college, booked equipment for rehearsals playback, and made use of the college studio to get a better perspective on the audio mixes in reaper. Carried on with my design from home. Actually missed a run through and told the DSM that 10th Feb Tutorial 1-1 Meeting with Marina at 13.30, Had some very interesting things to say about the type of bells in Venice seeing as she is from Venice. Tasked to look at mpcs-prs for licencing Palestrina for the show. http://www.prsformusic.com/users/recordedmedia/corporate/Pages/Public%20Exhibitions%20(SG4).aspx ASD - Association of Sound Designers. - Must think about signing up to these guys. Venetian Funeral Bells, generally sound more muted. Slower. Lepanto near Greece will always sound different - Mediterranean sea Phone calls to suppliers Spoke to Keith @ NK audio to talk about payment methods - Purchase order needs to be raised. Spoke to Lucy Jenkins @ Orbital Sound, - Purchase order is required to validate the hire. Production meeting Explained the sounds would be in rehearsals this week, requested a sound meeting with director and explained about all the requests the director had in rehearsal notes through the week. 10th Feb Performance run through. - Scene 8: The sailors look at the canvas 1min long or looped all the way through to the sketch-book? - From the DSM's notes the director announced that he would like the sound in rehearsals as soon as possible, curious as earlier in the day I told him that's what i planned. This was also in the production minutes from earlier in the day. ---------------------------------------------------------------------------------------------------11th Feb Researched the sound of funeral bells through italian churches. They seem to be more muted and solemn than the normal time keeping bells. Sourced examples via youtube videos. Eg: http://www.youtube.com/watch?v=QGyHDFDc1nc eg: http://www.verdin.com/bells/church-bells.php eg: http://www.ehow.com/about_6579946_significance-number-rings-church-bell.html eg: http://en.wikipedia.org/wiki/Santa_Maria_Formosa - Purchased the recording of Venetian church bells from Audiosparx.com: Track Name: Venice Bells Santa Maria Formosa Catalog Id: 276357 Artist Name: Laurel Hill Recordings Price: $13.55 Media: Personal or commercial project or production Term: Perpetuity Territory: Worldwide - Carried on refining soundscapes in my DAW.

Researched more appropriate Renaissance composers at the time of the battle to Lepanto 1571. http://en.wikipedia.org/wiki/List_of_Renaissance_composers 15511586 Giulio Caccini (15511618) One of the founders of opera Benedetto Pallavicino (c. 15511601) Girolamo Belli (1552 c. 1620) Luca Marenzio (c. 15531599) Lodovico Agostini (15341590) Illegitimate son of Agostino Agostini Paolo Bellasio 15541594) Cosimo Bottegari (15541620) Girolamo Dirutac. 1554 after 1610) Giovanni Giacomo Gastoldi (c. 15541609) Gabriele Villani (c. 15551625) Giovanni Croce (c. 15571609) Alfonso Fontanelli (15571622) Giovanni Gabrieli (15571612) Giovanni Bassano (c. 15581617) Scipione Stella (1558/15591622) Felice Anerio (c. 15601614) Brother of Giovanni Francesco Anerio Giulio Belli (c. 1560 c. 1621) Dario Castello (c. 1560 c. 1640) Scipione Dentice (15601635) Carlo Gesualdo (15601613) Ruggiero Giovannelli (c. 15601625) Antonio Il Verso (c. 15601621) Stefano Rossetto (fl. 15601580) Active in Italy and Germany Leone Leoni (ca 1560 1627), maestro di cappella at Vicenza Jacopo Peri (15611633) Francisco de Peraza (c. 1564 c. 1600) Erasmo Marotta (15651641) Sicilian composer Paola Massarenghi (born 1565; fl. 1585) Ascanio Mayone (15651627) Giovanni Pietro Flaccomio (c. 1565 - 1617) Sicilian composer, chapel master at the court of Philip III of Spain (de:Giovanni Pietro Flaccomio) Alessandro Piccinini (15661638) Lucia Quinciani (c. 1566 fl. 1611) Lorenzo Allegri (15671648) Giovanni Francesco Anerio (c. 1567 buried 1630) Brother of Felice Anerio Claudio Monteverdi (15671643) Massimo Troiano (fl. 1567 to 1570 after 1570) Adriano Banchieri (15681634) Ottavio Vernizzi (15691649) Diomedes Cato (c. 1570 after 1615) Worked all his life in Poland Giovanni Paolo Cima (15701622) Simone Molinaro (c. 1570after 1633) Salamone Rossi (15701630) Claudia Sessa (c. 1570 between 1613 and 1619) (ca:Claudia Sessa) Francesco Usper (c. 15701641) Also known as Spongia Salvatore Sacco (1572 c. 1622) Cesarina Ricci (c. 1573 fl. 1597) Giovanni Bernardino Nanino (15601623) Brother of Giovanni Maria Nanino Giulio Cesare Martinengo (1564 or 15681613) Michelagnolo Galilei (15751631) Active in Bavaria and Poland. Son of composer Vincenzo Galilei, brother of astronomer and physicist Galileo Galilei Stefano Venturi del Nibbio (fl. 15921600); active in Florence. Collaborated with Giulio Caccini on the early

opera, Il rapimento di Cefalo Vittoria Aleotti (c. 1575 after 1620) Believed to be the same person as Raffaella Aleotti (c. 1570 after 1646) Caterina Assandra (15801632) Adreana Basile (c. 1580 c. 1640) Gregorio Allegri (15821652) Sigismondo d'India (c. 15821629) Antonio Cifra (15841629) Francesco Rognoni (c. 1585 before 1626) Stefano Landi (1586-1643) - Shortlist of composers for Renaissance music http://en.wikipedia.org/wiki/Palestrina http://en.wikipedia.org/wiki/Claudio_Monteverdi http://www.youtube.com/watch?v=iqggJbVP_fU - Came across a website with free Composer scores with Palestrina scores which have been distributed under the Free art Licence http://artlibre.org/licence/lal/en http://www.cipoo.net/music_mz.html Tasked myself with the challenge Downloaded some Palestrina, and will use if can recreate the music.

12th Feb - Time taken to work on sound-scapes -----------------------------------------------------------------------------------------13th Feb - Got sound system into rehearsals 1pm, and went through the initial cues with my operator. - Research was done on the terms of licensing requirements with MCPRS(rang them). Main Contacts for PRS for Music: Postal address: Copyright House, 29-33 Berners St, London W1T 3AB Switchboard: 020 7580 5544 Fax: 020 7306 4455 PPR licence. - Made a provisional booking with Beth the DSM with regards to syncing her cues to my sound cues. --------------------------------------------------------------------------------------------14th February 2012 Received sound notes off David via Sammy. He would like included: - Sensual heavy breaths (male and female), war sounds and water, for scene 1 - loop - Prison scene (8?), Rats squeaking and scurrying, drips and ambience. - More sketch sounds for another scene - A recording of Stone scraping on stone for scene 17 (galactia trying to draw with stone on stone wall in prison) - Radio Mic's will be on Galactia and Carpeta throughout the prison scene (17) (will the guard be using the backstage mic and prisoner man will be using a radio mic.) --------------------------------------------------------------------17th February 2012 - Production meeting. Risk assessment and hanging plot, and transport object lists by Wednesday prior to the technical fit-up. Thursday meeting for sound cues at Lunchtime 1pm.

--------------------------------------------------------------------18th February 2012 - Final mix-down on the Reaper DAW project, making sure that everything is separated appropriately to give me the maximum possibilities of options for tech rehearsals. Venetian door research for door sounds in the production. - Researched the type of doors that were used in Architecture at the time of Renaissance Italy. (seems to be a wooden heavy style door with a iron style bolt lock.) http://lambiarts.photoshelter.com/image/I0000Eom4h8PFTfc

http://en.wikipedia.org/wiki/File:Florenca146.jpg

Other Sources I used for my research http://en.wikipedia.org/wiki/File:Paradies_tuer_florenz.jpg http://beckydaroff.com/arthistory/gates_of_paradise/ http://www.historytoday.com/joseph-black/saving-lagoon-renaissance-venice http://en.wikipedia.org/wiki/Andrea_Palladio http://en.wikipedia.org/wiki/I_Quattro_Libri_dell%27Architettura http://en.wikipedia.org/wiki/Palladian_architecture

Palestrina, Giovanni Pierluigi da.

http://www.emusic.com/listen/#/album/-/-/10872185/? fref=150939&a.1=ytid&t.1=r&a.2=pay&t.2=r&pay=1&ytid=7Pp0XUU6Rmk From: Phil Clarke [mailto:phil.clarke@unicorntheatre.com] Sent: 20 February 2012 11:24 To: Kody Hicks Subject: RE: Production rider Thanks Kody, We are sorting out parking as per your Transport Schedule. Do you have any ground plans, flying plots, lx design plans yet? and also the initial risk assessments from your model box? Also regarding PRS, yes we have a licence, but as mentioned to Aylssa, if the music is interpolated you MUST apply for permission to use it prior to the production. That is to say, if the music is heard or reacted to by the actors, it is interpolated. If it is just selected music for Curtain up / down or a scene change, then you dont need permission from PRS, you just fill out a declaration at the end of the production, and a fee is calculated from the percentage of music used against

box office income. Also, yes you will be able to use the projector and screen at no charge. Hope that answers your questions. Best wishes Phil ------------------------------------------------------------------------From: Ferguson, Michelle <Michelle.Ferguson@prsformusic.com> Subject: Application for Dramatic Right Clearance v.2012.xls Date: 20 February 2012 13:29:33 GMT To: jcoyle191@bruford.ac.uk Hi John, Please note above the application fom for your show. Can you please complete and return the form to the following: dave.cork@prsformusic.com Kind regards Michelle Ferguson Music Sales Advisor This e-mail and the information it contains are confidential and may be privileged. If you have received this e-mail in error please notify the sender immediately and delete the material from any computer. Unless you are the intended recipient, you should not copy this e-mail for any purpose, or disclose its contents to any other person. PRS for Music is not responsible for the completeness or accuracy of this communication as it has been transmitted over a public network. Whilst PRS for Music monitors all communications for potential viruses, we accept no responsibility for any loss or damage caused by this e-mail and the information it contains. It is the recipient's responsibility to scan this e-mail and any attachments for viruses. Any e-mails sent to and from PRS for Music servers may be monitored for quality control and other purposes. PRS for Music is the trading name for The MCPS-PRS Alliance Limited which is a limited company registered in England under company number 03444246 whose registered office is at c/o 29-33 Berners Street, London, W1T 3AB ------------------------------------------------------------------------------------------------Phillip Glass - Another Look at Harmony Part ---------------------------------------------------------------------------------------20th Feb 2012 - Phillip Glass for Urgentino's entrance - red has just been draped. Something chilled. Phillip Glass is to be used as a layer below want different door church close The sea at war - pairing the dying. A kick drum for actors, as choreographed break points in the painting the dying feature. Scene 2 intro sweeping, sea, curtains.

- Phillip Glass - scene 9 is the start of Act 2. need an underscored composition, which functions

as something to build tension for the second part of the performance. - Me and the Director have an encounter over PRS licensing, I have told him that we couldn't just include extra music into a production without appropriate clearance from MCP PRS guidelines. And the way in which the director wanted to use composed music in the performance wasn't allowed unless extra applications were made to 3rd party members through PRS. The issue was that the way PRS regulations were interpreted, that we would need to clear every bit of music, which would have an impact on the sound budget. - The director was not happy about this and stormed out to find Sam Naylor because he had never come up against this problem before, where-as we as a sound department had always come up against this issue. - Speak to the Production supervisor, find out that Sam Naylor has in receipt, an agreement to waiver all PRS Royalties as an education body. This means I don't have to do PRS applications for the music, sound used. Am told that we can use whatever music we want to, as long as we do a return of music used. Later in the day I see Sam Naylor who tells me that this is the colleges official line, and that Sam does quarterly returns to PRS, and as a educational body we are exempt, and that my design will not be effected. I believe that this is not entirely the case, and that the technical interpretation of the colleges official exemption may be wrong. ---------------------------------------------------------------------------------------21th Feb 2012 - In rehearsals at 9am to record down vocal effects for soundscapes in the performance - Worked in DAW all the way through from 4pm to 3.30am. ---------------------------------------------------------------------------------------22th Feb 2012 - Prison scene - Distant door slams, distant, tortured cries, door clangs - Demolition sounds suggested to be coming from the back of the stage, use the mackies. ----------------------------------------------------------------------------------------23rd Feb 2012 In rehearsals and completing all the outstanding pre-production proformas for suppliers, the production manager and 24th Feb 2012 Go to orbital to pick up the stage floor mics. Return to RB by 12pm, the RF mic irack has already been dropped off by NK Audio and Billy Millar has picked this up from the SM office. Production meeting Getting ready to go now, got all paperwork done! Asked Kody, production manager. transport leaves on 6th March @: 3pm. Must be ready for this, so that PA equipment goes back. Meeting with Thyge ,for transport. We decide to do the sound logistics for the two weeks in one run, would be logical to do that and less of a footprint. 25th Feb 2012 My team and Thyge's team meet in college on saturday to prep the equipment ready to go on Monday. 27th Feb 2012 - 6th March Compressed notes Technical fit up went well. We met at RB to get all the equipment into the Van, and progress to travel to the unicorn. We spent most of the day installing the VI1, installing all microphones and the stage/RF mic rack. And going through the desk programming the Mixer cues into the desk. We also spend a little time Eqing the outputs on the desk for the venue.

28th Feb 2012. We spend most of the day working out the signal routing (patching) in the venue and making sure the radio mics sound good. 1st and 2nd March 2012 Sound Plot. Am not happy because the Director has been giving all the plot time to the lighting team. It seems that his vision is set around the lighting of the actors and sound has become an afterthought. I've mentioned this to the production manager and the director himself, and the issue has been shrugged off by saying we don't have any time. This is not true for lighting matters though. 3rd & 5th March 2012 Shows. Spent day doing show notes and making amendments. Happy with the way the team have been dealing with the time matter.