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MSP_POD_NLP

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yep. first come, first serve. we were very lucky.
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okay. because that was one thing i was going to ask you about, with whether media has been involved in this-
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and people should also follow you on twitter because you post a lot of good audio related stories.
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i'm curious where you find all of these stories, steve.
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are they just things that you run across, you read in the newspaper? or are you following some other people that put out a lot of good articles?
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i follow a lot of people on twitter, actually. i think twitter's fantastic.
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i mean, i get most of my audio news off twitter now
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or i use something called scoop.it where i store all this information.
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which i do selfishly, really, because i think it's all going to be useful to me at some point.
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can you tell us some other good people to follow for audio related things on twitter?
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pop icon in the seventies, in the uk with bands like heaven 17 and human league.
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he's now a sound artist and involved in all sorts of other stuff. he's fascinating to follow.
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scanner is quite interesting, but he doesn't post very many links, but he's always quite lively.
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there's [coolum 00:06:36],
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an audio recordist, an englishman who lives in paris
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and his posts are just fantastic. i mean, he just posts some wonderful ambient sounds from paris that are just... you can just lose yourself in completely.
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tell me about your main gig at the royal exchange theater company in manchester.
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this is a large multi-room performance space just from the photos that i saw online and the information on the website.
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so do you supervise a team of technicians there or do you design all of their shows? what are your responsibilities?
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well, i'm head of sound for the royal exchange theater company in manchester.
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fantastically talented team of young sound designers, young technicians.
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i don't design all the shows there. i've designed, probably near enough, 100 shows there in my time,
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but we get in a lot of guest sound designers now.
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my job really is to supervise their work.
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it's an amazing theater. it's a seven-sided theater in the round
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and it's worth looking up online to have a look at some pictures of it. constructed completely out of steel and glass
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in the center of manchester. it actually sits in the old cotton exchange in manchester city center
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and it looks a bit like a lunar module has landed in the middle of this very old
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room, which is arguably the largest room in the world.
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and it seats 700 people, as i say, on three levels.
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as a sound designers dream, in many ways we can put sound above the audience, below the audience,
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inside the theater or outside the theater. it's about 400 tie lines around the building.
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wow. we can put loudspeakers virtually anywhere,
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to hopefully create a fully immersive.
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it's not a place where you'd probably want to design a show if you're new to sound design. there's a lot of choices. you have to make a lot of
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very critical decisions, very quickly.
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what would you say is the most challenging thing for the guest sound designers that are coming in? they're most surprised, what they say, oh, i have to decide this and that?
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it's the sheer number of loudspeakers you use, i think.
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we've got a large system. we can use anything between 70 and 120 loudspeakers.
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and for a drama show, that's actually quite a lot.
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it's not a huge amount if you're doing a big musical,
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but for a chekhov that's a lot of loudspeakers.
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the system is a meyer system. we have 56 upm ones,
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a load of msl-2's, upa's, usw's.
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we've also got a lot of control ones, which we use for surround sound.
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the biggest challenge for a sound designer coming in, is
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really, you need to plan what you're going to do.
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because we turn around shows quite quickly. if you're not clear about what you want to achieve,
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you can be going around in circles for hours and days.
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what are some of your favorite parts about the space that make you really like to work there?
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well, i think the most important thing about the space is that it's one that's really shared between the audience and the performer.
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the audience enter the auditorium through the same doors the performers enter and exit in performance.
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so it really is a shared space and no member of the audience...
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it's further than nine meters from the center of the stage.
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it's a unique design and-
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it truly is a remarkable place to experience any theater,
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and as the sound designer, you can make the audience feel as if they're in the...
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well, you can make them feel like a tiny grain of sand on a huge desert,
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so you can really use sound as a focusing tool in quite a unique way.
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but, i could never really see how i was benefiting, so i [inaudible] most of my memberships.
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the organizations i'm involved with, i wouldn't [inaudible] really call them unions, which i see as organizations which campaign on behalf of employees for better working conditions,
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and i used to, as a negotiating tool,
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for instance, oistat, which is the international organization of stenographers, theatre architects, and technicians
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has a sound design working group, which i lead,
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and really our primary objective is
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to support and encourage professional relationships between sound designers internationally
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and encourage knowledge sharing and mentoring,
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and also sharing a beer when we get together, on the rare occasions we all get together from various parts of the world.
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it really is an important organization
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for global communication, really, between sound designers.
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i mean, i've lots of friends who are sound designers in the united states, have lots of friends, obviously, who are sound designers in the united kingdom,
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but since i been part of the oistat sound design working group,
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i have some designers who are acquaintances and friends in bangladesh and india and japan and the philippines
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and all these amazing places where we don't really understand what they do,
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and they have a lot to offer in terms of techniques, ideas, attitudes,
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which we can all learn from, and what i'm trying to do, and what i try to do [inaudible] the oistat sound design working group,
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and make, really, an international community of like-minded professionals,
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but our next in-person meeting will be at world stage design, which is happening in cardiff next september,
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which is basically a theater design exhibition, and there's a number of workshops and presentations and all sorts of things,
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and i've been busy organizing a number of events
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for next year as well, [inaudible] design,
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which happens between september the 8th and september the 15th in cardiff in wales,
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and it's going to be at royal welsh college of music & drama, which is
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a fantastic, fantastic institution,
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which we're using. they've given me the concert hall for a week,
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to program various events.
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which is such a luxury. it's a fantastic honor as well.
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tell me about one of the events that you're programming.
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80% sure these people will be part of the event.
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there's a sound designer and director from india called dinesh yadav,
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who's a fascinating musician, theatre director, sound designer, composer.
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there's a guy called [bassam 00:00:03:14]... i'm hoping i'm pronouncing all these names correctly, by the way.
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[bethania cortes 00:03:19] from egypt, who's a sound designer from egypt,
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a guy from bangladesh called [ak azad 00:00:03:24], who's promised to bring over a small show of his,
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and i'm sure that'd be fascinating.
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we have some people coming over from the states, obviously.
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we have [vinnie olivieri 00:03:36] and brad berridge,
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who you may know. there's [joe young 00:03:41] from the uk, and [nick hunt 00:00:03:43] and [rachel nicholson 00:00:03:43] from the uk,
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david budries, hopefully, from the us, [olivera grassas 00:03:48]...
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i hope i'm pronouncing this right. olivera [gracanin 00:03:52]?
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