Sound Design for the Stage
Published by Crowood Press in April 2019.
This is the blurb:
Sound Design for the Stage is a practical guide to designing, creating and developing the sound system for a live performance. Based on the author's extensive industry experience, it takes the reader through the process of creating a show, from first contact to press night, with numerous examples from high-profile productions. Written in a detailed but accessible approach, this comprehensive book offers key insights into a fast-moving industry.
Topics covered include:
how to analyze a script to develop ideas and concepts
how to discuss your work with a director
telling the emotional story
working with recorded and live music
how to record, create, process and abstract sound
designing for devised work
key aspects of acoustics and vocal intelligibility
the politics of radio mics and vocal foldback
how to design a sound system and, finally,
what to do when things go wrong.
This is the bio:
Gareth Fry is an Olivier and Tony award-winning sound designer. His recent designs include Harry Potter and the Cursed Child and Complicité's The Encounter, building on years of experience designing plays, musicals, dance and opera productions worldwide, including over 20 productions at the National Theatre. He has also created work for exhibitions and events, from the V&A's David Bowie Is exhibition, to the Opening Ceremony of the 2012 Olympic Games. He holds three Olivier Awards, two Tony Awards, two Drama Desks Awards, two Helpmann Awards and an Evening Standard Award. Gareth is an honorary fellow of the Royal Central School of Speech and Drama.
You can pre-order the paperback from Crowood Press’s website for £18.00 + £2.50 postage (for the UK), or from Amazon for £22.50. Click the Purchase from Crowood Press button below to re-direct to Crowood’s website and add it to your basket. You can also pre-order it from Amazon for Kindle.
Whilst writing this book I’ve focused on topics that aren’t typically written about. Rather than writing about the physics of loudspeakers, or recording sound effects, I’ve looked at how the industry works, how creative teams are put together, hot to get work, how to discuss ideas with a director, how to generate ideas to form a foundation for your sound design, and how to turn that into a reality. And rather than just talking about, for example, the different types of radio mic’s, I’ve focused more on why and when to use them, the politics surrounding them and the often delicate issue of vocal foldback. I’ve had a lot of successes in my career, but I’ve also had lots of failures, and made many mistakes. Some of those mistakes have been technical, and I offer advice in the book on how to analyse why your show might sound bad and how to fix it. Some of those mistakes have been political or personal, and I offer advice on how to navigate them and how to deal with anger and stress. There are also some brief interviews with sound designers Ian Dickinson, David McSeveney, Gareth Owen, and Melanie Wilson (on page 217).
If you want to read some books about the physics of loudspeakers, or recording sound effects, here are some good ones to start with. There are also some great other books about theatre sound too.
Sound Systems: Design and Optimization: Modern Techniques and Tools for Sound System Design and Alignment by Bob McCarthy
The Sound of Theatre: A History from the Ancient Greeks to the Modern Digital Age by David Collison
The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament
The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects by Ric Viers
The Art of Theatrical Sound Design: A Practical Guide by Victoria Deiorio
Sound and Music for the Theatre by Deena Kaye and James Lebrecht
If you’ve read the book, you’ll know I mention technology becomes obsolete faster than books get printed. So here’s an up to date list of things that are useful for a sound designer to have. There are some more resources on this website too, in the Resources section, or in the Schematics section, which has some of the paperwork I generate for shows. I’ve also written many articles for the Association of Sound Designers’ magazine, The Echo. You can read some of them in the back issues section here. Topics include Using Copyrighted Music in Theatre, Tax and National Insurance for Freelancers, VAT, Procedural Audio and VR technologies; amongst many other articles, showcases and interviews with, and by, many other talented sound designers.
Errors and Corrections
“Styles of microphoning” - I think one of the editors didn’t like the commonly-used term “mic’ing” and replaced it with the never-used term “microphoning”.
Every now and again I’ll put together some updates to the text, useful audio clips and videos that demonstrate some of the concepts in the book. If you’d like to stay updated, or to tell me what you think about the book, please, fill out the form below.