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SOPHIE WATKINS Sound Designer QUT Technical Production – Recipe Phone: 0458 447 674 Email: [email protected]

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SOPHIE WATKINS Sound Designer QUT Technical Production – Recipe Phone: 0458 447 674 Email: Sophie.Watkins@Connect.Qut.Edu.Au SOUND DESIGNER DOCUMENTATION BUNDLE QUT Technical Production – Recipe Queensland University of Technology Bachelor of Fine Arts (Technical Production) THIS DOCUMENT CONTAINS CONFIDENTIAL INFORMATION IF FOUND PLEASE CONTACT AND RETURN THIS DOCUMENT TO: SOPHIE WATKINS Sound Designer QUT Technical Production – Recipe Phone: 0458 447 674 Email: [email protected] Or return to: QUT Kelvin Grove Creative Industries Precinct Z9, Level 2 – Student Services Collab Works - Recipe Contents Page 1. Design Justification 2. Speaker Placement Plan 3. Speaker Section 4. Sound Schematic 5. Extracted Sound List 6. Reactionary Sound List 7. Sound Cue Synopsis 8. Qlab File 9. Compositions 10. Research Collab Works - Recipe Design Justification From the very beginning of this process I knew I wanted to compose as much music as possible for this play. Recipe was a project that luckily gave me the opportunity to take creative liberties and compose music based on what I was feeling from the scene. I realised early on that as this would be a play showing and not a full performance, there would likely be moments when the technical design elements would have to take over from the actors to portray the action and emotion, I kept this at the back of my mind when composing my music. After some research in to genres of music that I could explore in the show, I found two that interested me, and I thought could be an exciting angle. Jazz and hip hop are both genres of music that grew from oppression. Though it may not be the same kind of oppression that women have experienced through history, it is still a common thread that can link the worlds together. Hip hop and jazz are also both genres of music where women are vastly underrepresented and celebrated. This became the idea that I based my design trajectory on when creating the three different worlds explored in the play. While it was quickly discovered that building the world of 15th century Europe around the idea of hip hop music was slightly confusing, I still wanted to explore hip hop beats and grooves but portray it through instruments from the 15th century. I composed a hip-hop track with normal hip hop instruments and rearranged it with instruments from the 15th century. This gave it the vibe that I was looking for whilst also giving the track an obvious medieval sound. This technique was used throughout the 15th century scenes. The obvious choice of genre for New York City was jazz as it was the easiest way to pinpoint the location of the scene. However, the jazz I composed was only used in the second NYC scene. The first scene was very structured and formal and therefore required music that was also structed and formal. As Ethel Voynich was a classical pianist, I decided to compose classical music for this scene, as I imagined it would be something she would listen to if it were on the radio. The second NYC scene is more laid back which is why I decided a smooth lounge jazz track would be perfect. This music fades out over the entire scene to make way for the 1931 street atmos to fade up through the scene. This Sophie Watkins | Sound Designer *SUBJECT TO CHANGE* Version 1 E | [email protected] Page 1 of 2 Correct as of 22/05/19 M | 0458 447 674 Collab Works - Recipe Design Justification was to emulate how Nills’ and Ethel’s relationship was coming out to the public. Finally, in the last NYC scene a slow and sparse rendition of the classical music from the first NYC scene can be heard emanating from the kitchen speaker. There is no warmth to the sound, much like Nills in this scene. The Brisbane scenes, however, were kept much more “realistic”. The first two scenes do not feature any music at all but rather atmos to support the location they take place in. This decision was made due to the ideas and discussions happening in these scenes. They are very serious, and the design team made the decision to use the technical elements to create a stark, bleak and clinical atmosphere. This changes once Lucy has her breakthrough in the final Brisbane scene and the music that builds towards the end of the scene is to represent the power she is feeling from the manuscript, which is supported by the lighting and vision too. The final piece of the puzzle was the overall collaboration of the design team throughout this process. We were all very conscious of each other’s designs and how we could aid in supporting the text together. We achieved this through building content together, to ensure it worked seamlessly, and matching fade times and the overall tone of our content. The collaboration between the creative team, director, DSM and the actors allowed us to create a cohesive performance. Sophie Watkins | Sound Designer *SUBJECT TO CHANGE* Version 1 E | [email protected] Page 2 of 2 Correct as of 22/05/19 M | 0458 447 674 FOH L Dell 24” Monitor Inputs 1 Crown XLS 1 FOH R 602 Amp IN 2 Outputs 2 RFOH L Inputs Motu 16A Soundcraft SI 1 Crown XLS 1 Audio 1 1 Expression 1 Console 1 602 Amp Interface 2 2 OUT Outputs RFOH R 2 2 2 3 3 3 Mac Mini with Qlab 4 4 4 4 ATMOS L Inputs 5 OUT IN 5 5 ATMOS C 6 6 6 Outputs 7 7 7 Inputs ATMOS R 8 8 8 9 9 9 Outputs Network Switch SUB L 10 10 10 11 11 11 SUB R 12 VENUE PATCHING SPOT 1 Wired God Mic SPOT 2 Personal Laptop for screen sharing SPOT 3 Recipe Sound Schematic V3 *THIS DOCUMENT IS SUBJECT TO CHANGE* Key: JBL Control 30 Notes: Venue: XLR Dates: May 24th & May 25th QUT Kelvin Grove The Loft TRS to XLR Mackie SRM450 - Power not drawn. Thunderbolt - Wired keyboard and mouse will be connected to the Mac Mini. CAT 5 Mackie - Please refer to speaker placement plan for correct placement. SWA1501 Sub - Drawn By: HDMI Venue patching points TBC. Correct as of: 21/05/2019 - This document is not to scale. Sophie Watkins Presonus Eris E5 Monitor Collab Works – Recipe Extracted Sound List Act Scene Page Sound Blocking/Dialogue Time and Place Theme/tone Notes There is a large stone 15th Century Europe - Very late 1 2 Fire crackling oven/fireplace, with a fire burning Tense at night in the castle kitchen low inside I Rain A rainy day. New York City 1930. Ethel Sad, NILLS leaves her umbrella by the 3 10 Voynich’s apartment West 24th reflective, Fireplace door and heaves a large briefcase Street, Manhattan hopeful to the fireplace. Brigite’s work cottage, inside the Knocking grounds of Elisabeth’s castle. Off, shouting and knocking Europe. A cottage, inside the II 1 18 Angry Live? Key in a castle grounds Off stage a rattle and clunk of a lock/door large key in an old lock. opening Sophie Watkins | Sound Designer Version 1 M | 0458 447 674 *SUBJECT TO CHANGE* Correct as of 20/03/19 E | [email protected] Page 1 of 1 Collab Works – Recipe Reactionary Sound List Act Scene Page Sound Blocking/Dialogue Time and Place Theme/tone Notes Music Box composition EVA, here a child of six Europe, five PROLOGUE 1 Low sub, some sort of years, speaking to a hundred (or so) Playful texture added to support person we cannot see. years ago. the music box. Music box composition to S/C 1 EVA aging 10 years S/C - hip hop Fire crackling. 2 Airflow. Drafty atmos. Crickets, wind BRIGITE reads the Ambient /subby stuff note 3 Fire pulse ELISABETH throws Add ambient drone layer Europe, 15th first book in fire Tense, & hip hopping century, in the desperate, ELISABETH throws castle’s kitchen. At 4 Fire pulse angry second book in fire. night. 5 Add drone layer ELISABETH: Burn it. Fire pulse and intensity of fire increases. BRIGITE throws many 6 Drones build and pages in to the fire crescendo to end of scene. Whoosh in to next Transitions in to the S/C 7 Scene Change - - scene? Brisbane scenes Sophie Watkins | Sound Designer Version 2 M | 0458 447 674 *SUBJECT TO CHANGE* Correct as of 30/04/19 E | [email protected] Page 1 of 4 Collab Works – Recipe Reactionary Sound List Act Scene Page Sound Blocking/Dialogue Time and Place Theme/tone Notes should feel like a snap back to reality. Tense, Room tone, clock DEL in a police Brisbane, present 2 8 Office soundscape accusatory, ticking, paper interview room day. Police Station. heated shuffling? S/C 9 Swing composition Scene Change - - Noir film feel? Swing composition fades from FOH to spot Start of scene speaker to emulate a radio. New York City, 1930. Ethel Rain A rainy day. Sad, 10 Voynich’s 3 reflective, NILLS leaves her apartment West hopeful umbrella by the door 24th Street, Fireplace and heaves a large Manhattan. briefcase to the fireplace. ? Change in music Mid way through scene Off stage a rattle and Key in a lock/door Europe. A cottage, clunk of a large key in Live? 1 18 opening inside the castle Angry, upset an old lock. grounds II Hip hop ELISABETH stalks in ETHEL is at a table, New York City, 2 20 Car soundscape reading the Cipher Cheerful 1940. Ethel and manuscript Sophie Watkins | Sound Designer Version 2 M | 0458 447 674 *SUBJECT TO CHANGE* Correct as of 30/04/19 E | [email protected] Page 2 of 4 Collab Works – Recipe Reactionary Sound List Act Scene Page Sound Blocking/Dialogue Time and Place Theme/tone Notes Nills’ apartment.
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