Caroline or Change |
Position: Sound Designer
A1: Desne Wharton Location: Penn State CBT Date: Fall 2018 |
Caroline or Change brought upon many challenges due to the script itself, our director's interpretation, and the physical aspects of the performance space.
Firstly, I needed to design a speaker system for the space as the "rep" system was inadequate for a musical of this scale. Secondly, the orchestration had to be reduced to four players using all electronic instruments (except for an onstage clarinet and guitar). The director viewed the "objects" in the play as Caroline's "ancestors." As such, I wanted them to be acoustically treated separately from the "real" people in the production. The system I implemented allowed me to process vocals and band instruments through effects in mainstage and route them through any combination of speakers (including surrounds) on a moment by moment basis. The keys were also setup with the ability to separately process and route any of the hundreds of patches through different speakers or effect processors to completely surround the audience with the sounds of Caroline's world.
Firstly, I needed to design a speaker system for the space as the "rep" system was inadequate for a musical of this scale. Secondly, the orchestration had to be reduced to four players using all electronic instruments (except for an onstage clarinet and guitar). The director viewed the "objects" in the play as Caroline's "ancestors." As such, I wanted them to be acoustically treated separately from the "real" people in the production. The system I implemented allowed me to process vocals and band instruments through effects in mainstage and route them through any combination of speakers (including surrounds) on a moment by moment basis. The keys were also setup with the ability to separately process and route any of the hundreds of patches through different speakers or effect processors to completely surround the audience with the sounds of Caroline's world.
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