Archive for April, 2010

Sound effects & where to find them

Posted in Practice with tags , , , on April 29, 2010 by fgitler

Years before I progressed to musical compostion/digital constuction of music/sound for stage productions I had to provide sound effects for productions. When I directed for the first (and only) time, during my senior year of high school, we had to have the required sound cues (for Joe Orton’s The Ruffian on the Stair). Doorbell. Gunshot. Glass breaking.

A side note on timing

If a sound effect and a performed action need to be synced or timed with precision, using a recorded sound may not be the best option. in Ruffian we actually used a starter pistol on stage, rather than try to time the gunshot precisely with a recording. The doorbell was, actually a doorbell, bought at a hardware store and wired up on a board, with a button that a stage hand would press offstage–this way the sound came from the right place as well. Like the gunshot, this was not a panned sound coming through the stage right speaker, but the real thing. But breaking glass? That had to occur in tandem with a fish bowl tipping over on a table, supposedly caused by the gunshot. A stagehand was to — at the sound of the gunshot — quickly pull out the fishing line taped to the bottom of the bowl. The sound operator was also using the onstage gunshot as his cue, to play the glass breaking sound. Tricky. ‘Tragedy’ struck when the tape didn’t hold, and the bowl only wobbled. (Though worse was when the dead man started coughing after his demise.) This kind of thing HAS to be rehearsed in technical rehearsals (tech), multiple times, even it it means buying more fishbowls or whatever. (FYI no fish were harmed). Sometimes the answer is not to show it–just let the audience hear it and imagine. If the director is agreeable, that may create the illusion more convincingly. It’s all an illusion, after all.


But where do you get the right breaking glass sound? Or what if you need a particular gunshot sound (machine gun, cannon, etc.)? Animal sounds? Some sound designers will have Foley setups, record the glass–record at a firing range or at a zoo even with a portable recorder. But often we don’t have the time, equipment, budget, or experience for this approach. So we hunt down existing sounds. Thankfully today we have the internet, but you many not find everything for free. A few places to start:

Find Sounds is great in that you can narrow the search by format and quality, and that you can preview the sounds right in the search results. I haven’t looked at much, but it has a community based, creative commons approach–interesting.

Soundsnap was a free community, but has gone commercial. It looks like there are still some free sounds though.

Absolute Sound Efects
and on and on. Google is your friend of course. And then it’s up to you to make use of them. We’ll talk about free software such as Audacity in another post.

Old School
Then there are other places to hunt for your sounds. I tend to buy up old sound effects records (yes, vinyl LP records) at record fairs and thrift shops. Since these are NOT the Led Zepplin album that your uncle used to play when inebriated, they tend to be in good/decent shape, thus have minimal crackle/vinyl noise which you (usually) will not want (though they will need a cleaning). I have also bought cds, and environmental records at various points. I’ll do another post about my personal recorded library at another point. I seem to collect records for the strangest reasons…

Hope this helps you find what you need. Happy hunting.

Sound (Design) Poetry

Posted in Theory with tags , , on April 26, 2010 by fgitler

I liked what this person had to say on the topic of sound design…

“the goal of all productions is to be meaningful.

no one rule can describe the creative role sound design has in theatre.
the rules describe themselves from production to production.”

To me it’s not about agreeing with him (or me either) but about provoking thought, having an opinion, proceeding with intention, communicating…

much, much more at the link below.

Transporting a Place

Posted in Theory with tags , , on April 26, 2010 by fgitler

Director Tim Lee has had to hear me go on about these concepts and their execution many times, so it seems right to put it into [pixels].


A room full of seats, set aside for the enactment of a  staged performance, is just that – a room. People arrive in the room and sit in the seats, having walked in off a street, in a town full of cars, after their day at work, where their lives and the world they inhabit all around them, and they carry all that in with them.

This ‘Place’ inside is not that place outside. A fictional story is going to unfold. The fictional place is not a room just off a street. Directions on how to get to the building are written down. Directions on how to get to the fictional place are heard.


Sound Designers have an opportunity to assist the Director by transporting the audience from the place they have entered, to the created place where the performance is located. Pre-show music (or recorded atmosphere, speech, etc) can help create this other kind of place. The pre-show has the function of transporting the audience, and setting the mood for the performance that is yet to come.

I strongly advise against using familiar music (although some directors will strongly disagree with me on this). Even when it seems to make perfect sense, and seems appropriate, use caution. A piece of music that the audience may already know will carry with it associations to something outside, earlier, other, which takes them away from the place you are trying to create. Also, it is comforting to hear something familiar. That is not necessarily helpful. A pre-show sound design that has elements that create uncertainty, or tension, can prepare the audience for the journey ahead. Tension creates attention. Not to say it has to be painfully loud or dissonant, but it should be present, and have a specific purpose.

The first scene, the first lines, the first action – all of this will help inform you what it is that you are aiming towards. Where it is taking the audience, and how, is something you will need to help your director find, and they will help you.

starting out

Posted in Uncategorized on April 23, 2010 by fgitler

I decided to put my many odd years doing sound for theatrical productions to some good (secondary) use, and will be sharing technical and practical information, anecdotes, and some of my sound design work here in this space.

In the meantime, the sound design I created for Tim Lee’s 2009 London production of Ash Girl is available for high-quality download here: