#26
Posted: 2/27/15 at 4:38am
This entire thread is essentially what I would have put into a single post and everyone seems to be absolutely accurate.
You also have to remember that hearing and listening is not a skill set aside for the theatre. Theatre can not train an audience on how to listen when we have our day filled with headphones, amplified tv, blasting movies, etc etc.
The white noise of HVAC, intelligent lighting instruments, automation, etc are also dangerous to try to sing over. The reason white noise helps some people sleep is that it drones out everything else unless you blare it loudly.
Microphones also allow greater freedom not only for blocking, but the soundscape and effects that can be created.
One other point not touched on in the orchestration posts, all of which are absolutely accurate, is that architecture has also changed, as has scenic designs, and it is very common for at least SOME of the orchestra not to be located in the actual pit. Many orchestra pits have actually been reduced in size over the years to allow for more seating, then sometimes trap doors require some pit space, etc.. When the orchestra is spread over two or more rooms, you have no choice but to amplify the orchestra and, in turn, the actors.
Great sound design does exist, though it is more rare than anyone would like. It is not a matter of "turn up the volume". Sound coverage in a theatre that is clear and uniform and balanced is incredibly hard. Yes, the designer and associates SHOULD sit in every location and check clarity.. The good ones do. Some theatres will just always have a dead spot or two. And sometimes a speaker or a cluster can fail just before / during a show. They DO check every microphone and speaker before a performance.
I can tell you that MANY straight plays use amplification, but it is often far more subtle. There have been times where the only reason I could tell amplification happened was because I was told.
Area mics are often far more common in plays, so you will not spot them on actors and often, miss them on the set, unless they are along the apron.. But again, sometimes that is hidden well too.
Tours are always at a disadvantage because you have to have a system versatile enough to adapt to a variety of houses as best as possible and they only have a one hour sound check before the first show in a venue to get it as right as possible.
I DO know that Mary Martin wore a body mic in Peter Pan in 1954 at the Winter Garden because when she was in the air, she was often in locations where the stage would just swallow her voice and prevent it from traveling into the house and it was the ONLY fix.
You also have to remember that hearing and listening is not a skill set aside for the theatre. Theatre can not train an audience on how to listen when we have our day filled with headphones, amplified tv, blasting movies, etc etc.
The white noise of HVAC, intelligent lighting instruments, automation, etc are also dangerous to try to sing over. The reason white noise helps some people sleep is that it drones out everything else unless you blare it loudly.
Microphones also allow greater freedom not only for blocking, but the soundscape and effects that can be created.
One other point not touched on in the orchestration posts, all of which are absolutely accurate, is that architecture has also changed, as has scenic designs, and it is very common for at least SOME of the orchestra not to be located in the actual pit. Many orchestra pits have actually been reduced in size over the years to allow for more seating, then sometimes trap doors require some pit space, etc.. When the orchestra is spread over two or more rooms, you have no choice but to amplify the orchestra and, in turn, the actors.
Great sound design does exist, though it is more rare than anyone would like. It is not a matter of "turn up the volume". Sound coverage in a theatre that is clear and uniform and balanced is incredibly hard. Yes, the designer and associates SHOULD sit in every location and check clarity.. The good ones do. Some theatres will just always have a dead spot or two. And sometimes a speaker or a cluster can fail just before / during a show. They DO check every microphone and speaker before a performance.
I can tell you that MANY straight plays use amplification, but it is often far more subtle. There have been times where the only reason I could tell amplification happened was because I was told.
Area mics are often far more common in plays, so you will not spot them on actors and often, miss them on the set, unless they are along the apron.. But again, sometimes that is hidden well too.
Tours are always at a disadvantage because you have to have a system versatile enough to adapt to a variety of houses as best as possible and they only have a one hour sound check before the first show in a venue to get it as right as possible.
I DO know that Mary Martin wore a body mic in Peter Pan in 1954 at the Winter Garden because when she was in the air, she was often in locations where the stage would just swallow her voice and prevent it from traveling into the house and it was the ONLY fix.
