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66-403: The Wwise authoring application uses a graphical interface to centralize all aspects of audio creation. The functionality in this interface allows sound designers to: Wwise allows for on-the-fly audio authoring directly in game. Over a local network, users can create, audition, and tweak sound effects and subtle sound behaviors while the game is being played on another host. Wwise also includes

132-413: A DIY (or "do-it-yourself") approach. From the comfort of their home and at any hour, they can simply use a computer, speakers and headphones rather than renting (or buying) costly equipment or studio space and time for editing and mixing. This provides for faster creation and negotiation with the director. In motion picture production, a Sound Editor/Designer is a member of a film crew responsible for

198-403: A digital audio workstation , and an understanding of game audio integration using audio engine software, audio authoring tools, or middleware to integrate audio into the game engine. Audio middleware is a third-party toolset that sits between the game engine and the audio hardware. Interactivity with computer sound can involve using a variety of playback systems or logic, using tools that allow

264-416: A background in computer programming. Some of such software tools (termed "implementation tools" or "audio engines") feature a workflow that's similar to that in more conventional DAW programs and can also allow the sound production personnel to undertake some of the more creative interactive sound tasks (that are considered to be part of sound design for computer applications) that previously would have required

330-435: A computer programmer. Interactive applications have also given rise to many techniques in "dynamic audio" which loosely means sound that's "parametrically" adjusted during the program's run-time. This allows for a broader expression in sounds, more similar to that in films, because this way the sound designer can e.g. create footstep sounds that vary in a believable and non-repeating way and that also corresponds to what's seen in

396-760: A form of theatre called Commedia dell'arte , which used music and sound effects to enhance performances. The use of music and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off-stage using devices such as bells, whistles, and horns. Cues would be written in the script for music and sound effects to be played at the appropriate time. Italian composer Luigi Russolo built mechanical sound-making devices, called " intonarumori ," for futurist theatrical and music performances starting around 1913. These devices were meant to simulate natural and man-made sounds, such as trains or bombs. Russolo's treatise , The Art of Noises ,

462-464: A guaranteed audience because of their location. They may be on cruise ships, in theme parks, Las Vegas or at destination resorts. These shows warrant very long-range development and planning and use stage managers to run almost all technical elements in the show, without many of the other traditional crew members, such as sound, lighting and rigging operators. In these cases, show control systems are installed and connected to all other technical systems in

528-471: A live performance. A record producer is responsible for extracting the best performance possible from the musicians and for making both musical and technical decisions about the instrumental timbres, arrangements, etc. On some, particularly more electronic music projects, artists and producers in more conventional genres have sometimes sourced additional help from artists often credited as "sound designers", to contribute specific auditory effects, ambiences etc. to

594-465: A manner similar to that of Production Designer , which was created in the 1930s when William Cameron Menzies made revolutionary contributions to the craft of art direction in the making of Gone with the Wind . The audio production team is a principal member of the production staff, with creative output comparable to that of the film editor and director of photography . Several factors have led to

660-613: A musical largely focuses on the artistic merits of sound reinforcement, many musicals, such as Into the Woods also require significant sound scores (see Sound Design for Plays). Sound Reinforcement Design was recognized by the American Theatre Wing's Tony Awards with the Tony Award for Best Sound Design of a Musical until the 2014–15 season, later reinstating in the 2017–18 season. Sound design for plays often involves

726-563: A musical production. This is because sometimes there exists a difference in interests between composers and electronic musicians or sound designers. The latter specialises in electronic music techniques, such as sequencing and synthesizers, but the former is more experienced in writing music in a variety of genres. Since electronic music itself is quite broad in techniques and often separate from techniques applied in other genres, this kind of collaboration can be seen as natural and beneficial. Notable examples of (recognized) sound design in music are

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792-410: A recording of Lenin 's voice. Whilst the term "sound designer" was not yet in use, some stage managers specialised as "effects men", creating and performing offstage sound effects using a mix of vocal mimicry, mechanical and electrical contraptions and gramophone records. A great deal of care and attention was paid to the construction and performance of these effects, both naturalistic and abstract. Over

858-808: A result, Disney utilized systems of that type to control many facilities at their Disney-MGM Studios theme park, which opened in 1989. These features were incorporated into the MIDI Show Control (MSC) specification, an open communications protocol for interacting with diverse devices. The first show to fully utilize the MSC specification was the Magic Kingdom Parade at Walt Disney World 's Magic Kingdom in September 1991. The rise of interest in game audio has also brought more advanced interactive audio tools that are also accessible without

924-425: A scene might be underscored with music, sound effects or abstract sounds that exist somewhere between the two. Some sound designers are accomplished composers, writing and producing music for productions as well as designing sound. Many sound designs for plays also require significant sound reinforcement (see Sound Design for Musicals). Sound Design for plays was recognized by the American Theatre Wing's Tony Awards with

990-706: A sound designer beginning in later decades was two-fold. It strategically allowed for a single person to work as both an editor and mixer on a film without running into issues pertaining to the jurisdictions of editors and mixers, as outlined by their respective unions. Additionally, it was a rhetorical move that legitimised the field of post-production sound at a time when studios were downsizing their sound departments, and when producers were routinely skimping on budgets and salaries for sound editors and mixers. In so doing, it allowed those who called themselves sound designers to compete for contract work and to negotiate higher salaries. The position of Sound Designer therefore emerged in

1056-606: A theatre sound designer in North America . He summarized his conclusions in a document which, although somewhat dated, provides a succinct record of what was then expected. It was subsequently provided to the ADC and David Goodman at the Florida USA local when they both planned to represent sound designers in the 1990s. MIDI and digital audio technology have contributed to the evolution of sound production techniques in

1122-560: A union known as the Actors' Equity Association , which also represents performers. In addition to performing their typical stage management duties (e.g., maintaining the prompt book and calling performances), Equity stage managers are also required to uphold the union's rules and rights for Equity artists. Union stage managers for opera, ballet, and modern dance are represented by the American Guild of Musical Artists and perform most of

1188-432: Is a broad field that is generally defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and provides complete organization to ensure

1254-426: Is employed in a variety of disciplines including filmmaking , television production , video game development , theatre , sound recording and reproduction , live performance , sound art , post-production , radio , new media and musical instrument development. Sound design commonly involves performing (see e.g. Foley ) and editing of previously composed or recorded audio, such as sound effects and dialogue for

1320-599: Is marked in the Theatre Magazine (1906) with two photographs; one showing a musician blowing a bugle into a large horn attached to a disc recorder, the other with an actor recording the agonizing shrieks and groans of the tortured martyrs. The article states: “these sounds are all realistically reproduced by the gramophone”. As cited by Bertolt Brecht , there was a play about Rasputin written in (1927) by Alexej Tolstoi and directed by Erwin Piscator that included

1386-466: Is one of the earliest written documents on the use of abstract noise in the theatre. After his death, his intonarumori' were used in more conventional theatre performances to create realistic sound effects. Possibly the first use of recorded sound in the theatre was a phonograph playing a baby's cry in a London theatre in 1890. Sixteen years later, Herbert Beerbohm Tree used recordings in his London production of Stephen Phillips ’ tragedy NERO. The event

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1452-447: Is seeing plays being written increasingly with shorter scenes, which is difficult to achieve with scenery but easily conveyed with sound. The development of film sound design is giving writers and directors higher expectations and knowledge of sound design. Consequently, theatre sound design is widespread and accomplished sound designers commonly establish long-term collaborations with directors. Sound design for musicals often focuses on

1518-426: Is still generally known for its integral relationship with theater. Many other types of productions and events have incorporated the position of stage management, however. Some of the most common are opera, music and dance concerts, film and television. For music concerts, stage management includes a large variety of responsibilities depending on both the venue and the size and expertise of the musical group coming into

1584-666: The Academy of Motion Picture Arts and Sciences recognizes the finest or most aesthetic sound design for a film with the Golden Reel Awards for Sound Editing in the film, broadcast, and game industries, and the Academy Award for Best Sound respectively. In 2021, the 93rd Academy Awards merged Best Sound Editing and Best Sound Mixing into one general Best Sound category. In 2007, the Tony Award for Best Sound Design

1650-497: The 1980s and 1990s. Digital audio workstations (DAW) and a variety of digital signal processing algorithms applied in them allow more complicated soundtracks with more tracks and auditory effects to be realized. Features such as unlimited undo and sample-level editing allows fine control over the soundtracks. In theatre sound , features of computerized theatre sound design systems have also been recognized as being essential for live show control systems at Walt Disney World and, as

1716-426: The Tony Award for Best Sound Design of a Play until the 2014–15 season, later reinstating the award in the 2017–18 season. In the contemporary music business, especially in the production of rock music , ambient music , progressive rock , and similar genres , the record producer and recording engineer play important roles in the creation of the overall sound (or soundscape ) of a recording, and less often, of

1782-413: The ability of sound designers to acquire source material quickly, easily and cheaply. Nowadays, a designer can preview and download crisper, more "believable" sounds as opposed to toiling through time- and budget-draining "shot-in-the-dark" searches through record stores, libraries and "the grapevine" for (often) inferior recordings. In addition, software innovation has enabled sound designers to take more of

1848-479: The addition of new equipment. In conjunction with the director and musical director, if any, the sound reinforcement designer determines the use and placement of microphones for actors and musicians. The sound reinforcement designer ensures that the performance can be heard and understood by everyone in the audience, regardless of the shape, size or acoustics of the venue, and that performers can hear everything needed to enable them to do their jobs. While sound design for

1914-776: The contributions of Michael Brook to the U2 album The Joshua Tree , George Massenburg to the Jennifer Warnes album Famous Blue Raincoat , Chris Thomas to the Pink Floyd album The Dark Side of the Moon , and Brian Eno to the Paul Simon album Surprise . In 1974, Suzanne Ciani started her own production company, Ciani/Musica. Inc., which became the #1 sound design music house in New York. In fashion shows,

1980-409: The design and implementation of a sound reinforcement system that will fulfill the needs of the production. If a sound system is already installed in the performance venue, it is the sound designer's job to tune the system for the best use for a particular production. Sound system tuning employs various methods including equalization , delay, volume, speaker and microphone placement, and in some cases,

2046-461: The director and possibly the composer, decides upon the sounds that will be used to create the desired moods. In some productions, the sound designer might also be hired to compose music for the play. The sound designer and the director usually work together to "spot" the cues in the play (i.e., decide when and where sound will be used in the play). Some productions might use music only during scene changes, whilst others might use sound effects. Likewise,

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2112-540: The door and serving as a prompter on stage. The prompter held the script and was prepared to feed performers their lines; this was a common practice of the time. Between the Renaissance and 17th century, the actors and playwrights handled stage management aspects and stage crew. In the Elizabethan and Jacobean theatre there were two roles that covered stage management: stage keeper and bookkeeper. The stage keeper

2178-428: The emotional expression aligns with the intended message. Successful performances are scrutinized for the strategies used to captivate the audience. Those responsible for bringing the performances planned by stage planners to life on stage are the staff. Consequently, stage planners organize various staff members responsible for directing, choreography, music, stage design, lighting, costumes, makeup, etc. They also oversee

2244-536: The entirety or some specific parts of a film's soundtrack. In the American film industry , the title Sound Designer is not controlled by any professional organization , unlike titles such as Director or Screenwriter . The terms sound design and sound designer began to be used in the motion picture industry in 1969. At that time, The title of Sound Designer was first granted to Walter Murch by Francis Ford Coppola in recognition for Murch's contributions to

2310-576: The experience including performers, audience, and any crews required. Stage managers often ensure safe working conditions in the theatrical space by working closely with theatrical unions to keep rehearsals and performances on time, safe, and efficient. Commonly referred to as Equity , AEA is the American union for stage managers and actors. The AEA works to negotiate and provide performers and stage managers quality living conditions, livable wages, and benefits. American stage managers work closely with

2376-464: The film The Rain People . The original meaning of the title Sound Designer , as established by Coppola and Murch, was "an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track". The term sound designer has replaced monikers like supervising sound editor or re-recording mixer for

2442-476: The first mounting of one of Sturges' plays on Broadway, The Guinea Pig , in 1929. In the United States, stage manager is a generic title that may be applied to anyone who performs stage management functions. On small shows, one person typically performs all the tasks of stage management, and is simply referred to as the stage manager . Larger shows often need two or more stage managers. In such cases

2508-507: The following components: Wwise supports the following platforms: Titles which have used Audiokinetic include: Wwise is intended to be compatible with proprietary and commercial engines. One play has used Wwise and its Interactive Music capabilities for live performance: Sound designer Sound design is the art and practice of creating soundtracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools. It

2574-459: The handling of finances, general directorial duties, and stage management. Stage management first emerged as a distinct role in the 17th century during Shakespeare's and Molière's time. During Shakespeare’s time the roles of stage management were left to apprentices, young boys learning the trade. There is still evidence of a prompter at this time. It was not until the 18th century in England that

2640-581: The head stage manager is titled production stage manager (commonly abbreviated PSM), and working under the PSM is one or more assistant stage managers (commonly abbreviated ASM). Shows that employ three stage managers have a PSM and two ASMs, though the program credits may list them as production stage manager (first or head stage manager), stage manager (second stage manager), and assistant stage manager (third stage manager). Some professional stage managers on plays and musicals may choose to be represented by

2706-568: The ideas and techniques of sound design have been around almost since theatre started. Dan Dugan , working with three stereo tape decks routed to ten loudspeaker zones during the 1968–69 season of American Conservatory Theater (ACT) in San Francisco, was the first person to be called a sound designer. A theatre sound designer is responsible for everything the audience hears in the performance space, including music, sound effects, sonic textures, and soundscapes. These elements are created by

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2772-438: The picture. The digital audio workstation cannot directly "communicate" with game engines, because the game's events often occur in an unpredictable order, whereas traditional digital audio workstations as well as so called linear media (TV, film etc.) have everything occur in the same order every time the production is run. Especially, games have also brought in dynamic or adaptive mixing. The World Wide Web has greatly enhanced

2838-553: The preparation process, secure the necessary funds, check preparations, and guide the director in staging scenes. One of the most notable Korean stage planners is Kim Sang-wook, the CEO of PLAN A, who has orchestrated numerous performances, including the 'Love Yourself' tour by BTS . Many live shows around the world are produced with the foreknowledge that they will have a very long run, often measured in years. These are usually known quantities that are very expensive productions and have

2904-463: The process runs smoothly and efficiently. A stage manager is an individual who has overall responsibility for stage management and the smooth execution of a theatrical production. Stage management may be performed by an individual in small productions, while larger productions typically employ a stage management team consisting of a head stage manager, or production stage manager , and one or more assistant stage managers . The title of stage manager

2970-583: The production of interactive sound (e.g. Max/MSP, Wwise). Implementation might require software or electrical engineering of the systems that modify sound or process user input. In interactive applications, a sound designer often collaborates with an engineer (e.g. a sound programmer) who's concerned with designing the playback systems and their efficiency. Sound designers have been recognized by awards organizations for some time, and new awards have emerged more recently in response to advances in sound design technology and quality. The Motion Picture Sound Editors and

3036-428: The production. These people are usually more versed in e.g. electronic music composition and synthesizers than the other musicians on board. In the application of electroacoustic techniques (e.g. binaural sound) and sound synthesis for contemporary music or film music, a sound designer (often also an electronic musician) sometimes refers to an artist who works alongside a composer to realize the more electronic aspects of

3102-465: The promotion of audio production to this level, when previously it was considered subordinate to other parts of film: The contemporary title of sound designer can be compared with the more traditional title of supervising sound editor ; many sound designers use both titles interchangeably. The role of supervising sound editor , or sound supervisor , developed in parallel with the role of sound designer . The demand for more sophisticated soundtracks

3168-553: The purposes of the medium, but it can also involve creating sounds from scratch through synthesizers. A sound designer is one who practices sound design. The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times when it was used in religious practices for healing or recreation. In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance. Plays were performed in medieval times in

3234-475: The run of the show. The ASM may take attendance or estimate audience size, may manage the backstage technicians, may act as a liaison between crew, cast and management, and may call some cues. Mundane tasks such as mopping the stage and brewing coffee or tea may fall to the ASM. If the stage manager is unable to perform his or her duties, the ASM must be able to fill in. The assistant may also be in charge of one wing of

3300-550: The same duties as their counterparts in plays and musicals. The American Guild of Variety Artists also represents variety performers, dancers and stage managers. In the UK, the structure of a stage management team depends on the type and size of the production. It can consist of stage manager (overseeing the running of the show), deputy stage manager (commonly called DSM), and assistant stage manager (commonly called ASM). A fringe theatre show may employ one stage manager to carry out

3366-510: The same position: the head designer of the final sound track. Editors and mixers like Murray Spivack ( King Kong ), George Groves ( The Jazz Singer ), James G. Stewart ( Citizen Kane ), and Carl Faulkner ( Journey to the Center of the Earth ) served in this capacity during Hollywood's studio era, and are generally considered to be sound designers by a different name. The advantage of calling oneself

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3432-448: The script to restart halted scenes. The deputy stage manager (DSM) is a separate position in some theatres, while in others the responsibilities of the DSM may be assumed by the stage manager or assistant stage manager. The assistant stage manager (ASM) has varied responsibilities, which are assigned by the stage manager. The ASM assists in finding and maintaining props during rehearsals and

3498-413: The selection of music and sounds (sound score) for a production based on intimate familiarity with the play, and the design, installation, calibration and utilization of the sound system that reproduces the sound score. The sound designer for a play and the production's director work together to decide the themes and emotions to be explored. Based on this, the sound designer for plays, in collaboration with

3564-715: The sound designer often works with the artistic director to create an atmosphere fitting the theme of a collection, commercial campaign or event. Sound is widely used in a variety of human–computer interfaces , in computer games and video games .  There are a few extra requirements for sound production for computer applications, including re-usability, interactivity and low memory and CPU usage. For example, most computational resources are usually devoted to graphics. Audio production should account for computational limits for sound playback with audio compression or voice allocating systems. Sound design for video games requires proficient knowledge of audio recording and editing using

3630-819: The sound designer, or sourced from other sound professionals, such as a composer in the case of music. Pre-recorded music must be licensed from a legal entity that represents the artist's work. This can be the artist themselves, a publisher, record label, performing rights organization or music licensing company. The theatre sound designer is also in charge of choosing and installing the sound system —speakers, sound desks, interfaces and convertors, playout/cueing software, microphones, radio mics, foldback, cables, computers, and outboard equipment like FX units and dynamics processors. Modern audio technology has enabled theatre sound designers to produce flexible, complex, and inexpensive designs that can be easily integrated into live performance. The influence of film and television on playwriting

3696-520: The stage, while the stage manager is on the other wing. Due to the recent global rise in popularity of K-POP and mainstream cultural arts, Korean stage planners are playing a significant role worldwide. Typically, stage planners determine the timing and venue of performances and take responsibility for the entire process leading up to the completion of the event, acting as overall directors. They conduct thorough analyses on what performances people desire, whether similar events have already taken place, and if

3762-606: The tasks of an entire team, whereas a West End theatre show in London might employ multiple ASMs. Professional stage managers are represented by the British Actors' Equity Association , which also represents performers. The DSM prompts actors and will usually cue technical crew members and sometimes cast, while following the orders of the director and stage manager. The DSM calls actors to hold while technical problems are sorted out during rehearsal, and determines where in

3828-516: The term stage manager was used. This was the first time a person other than actors and playwright was hired to direct or manage the stage. Over time, with the rise in complexity of theatre due to advances such as mechanized scenery, quick costume changes, and controlled lighting, the stage manager's job was split into two positions— director and stage manager . Many playwrights, directors, and actors have previously worked as assistant stage managers. Writer and director Preston Sturges , for example,

3894-405: The theatre, which are specifically designed to be controlled by show control and to operate safely with minimal supervision. Stage managers working these shows usually have the additional responsibility for programming the show control system, and often the other control systems as well. The role of stage manager evolved from an amalgamation of various positions in theater over several centuries and

3960-433: The twentieth century recorded sound effects began to replace live sound effects, though often it was the stage manager 's duty to find the sound effects , and an electrician played the recordings during performances. Between 1980 and 1988, Charlie Richmond, USITT's first Sound Design Commissioner, oversaw efforts of their Sound Design Commission to define the duties, responsibilities, standards and procedures expected of

4026-410: The venue. Some of the responsibilities of a concert stage manager include overseeing the schedule for load in and out of equipment, seeing to the comfort of the group which can include arranging refreshments and or transportation, sometimes arranging how and where merchandise is to be sold at the venue, and above all, as with all areas of stage management, watching out for the safety of all participants in

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4092-485: Was created to honor the best sound design in American theatre on Broadway . North American theatrical award organizations that recognize sound designers include these: Major British award organizations include the Olivier Awards . The Tony Awards retired the awards for Sound Design as of the 2014–2015 season, then reinstated the categories in the 2017–18 season. Stage management Stage management

4158-706: Was employed as an ASM on Isadora Duncan 's production of Oedipus Rex at the age of 16 and a half: When one is responsible for giving an offstage cue, even the simplest ones, like the ring of a telephone or a birdcall, demand considerable sangfroid, and the job is nerve-wracking. One is very much aware that everything depends on the delivery of the cue at exactly the right microsecond. One stands there, knees slightly bent, breathing heavily... Sturges didn't last long in this job, due to his calling for thunder and then lightning instead of lightning and then thunder, but 16 years later Brock Pemberton hired him as an ASM on Antoinette Perry 's production of Goin' Home , which led to

4224-414: Was felt both inside and outside Hollywood, and the supervising sound editor became the head of the large sound department, with a staff of dozens of sound editors , that was required to realize a complete sound job with a fast turnaround. Sound design, as a distinct discipline, is one of the youngest fields in stagecraft , second only to the use of projection and other multimedia displays, although

4290-573: Was not used until the 18th century, though the concept and need for someone to fill the area of stage management can be seen with the Ancient Greeks. The playwrights were usually responsible for production elements. Sophocles is the first known stage technician, supported by his employment as a scenic artist, playwright, musician, and producer. In the Middle Ages, there is evidence of a conducteur de secrets , who oversaw collecting money at

4356-453: Was responsible for the maintenance of the theater, taking props on and off stage, and security of performance space. The bookkeeper was responsible for the stage script, obtaining necessary licenses, copying/providing lines for the performers, marking entrances and exits, tracking props, marking when sound effects come in, and cueing props and sound effects. Between the Renaissance and the 16th century, actors and playwrights took upon themselves

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