DJ Broadway Musical innovation means news roles

BY KATE MORGAN

it’s not a stretch to say that Hamilton changed everything. Lin-Manuel Miranda’s hip-hop inspired opus changed the way musical pro- ducers and audiences think — not just about America’s founding fathers but also about the American musical itself. For Will Wells and Scott Wasserman, members of the show’s musical staff, the sheer novelty of Hamilton meant taking on jobs never previously seen on Broadway. Wasserman, whose background is in musical composition and orchestration, now works with software previously used primarily by DJs. His official title on the Hamilton staff is Ableton pro- grammer. He met music director Alex Lacamoire during the 2012 Broadway revival of Annie and was brought on to Hamilton when it “was just a couple of songs,” Wasserman says. “Lin was making demos and I was turning those into sheet music and figuring out how to teach them to an ensemble. We realized using the piano to ac- company these songs wasn’t effective and didn’t show off the style of music — that hip-hop and contemporary pop and radio sound. Alex asked me to look into this DJ software called Ableton.”

Will Wells, electronic music producer for Hamilton, ensured the quality and stylistic consistency of audio samples mixed into the show’s sound design.

PHOTO BY VINO FELICIANO

26 DRAMATICS • MAY 2017 MAY 2017 • DRAMATICS 27 Wells faced the challenge of creating them back into the context of the not only sounds that satisfied Miranda’s song, and use Ableton to program vision but also another entirely new all those new beats and sounds into job category. He served as the show’s place,” Wasserman says. electronic music producer. “For a show Part of Wasserman’s job is train- like this there was a challenge that had ing Hamilton percussionists, both on never existed before on Broadway,” Broadway and in the rapidly grow- he says. “These songs were written ing number of touring companies, to using the sonic language of hip-hop. use the innovative software during With that comes a lot of samples, and each performance. “That percussionist that meant I was looking through these is very busy in the pit,” Wasserman huge libraries of sounds and doing says. “He’s playing all sorts of drums, quality control. Are they processed? Are keyboard, shakers, and percussion they loud enough? It’s basically mixing toys. At the same time, he’s playing one individual sound after another.” an electric drum pad that Will and the “My job,” Wells continues, “was to team have created, using a foot pedal pay attention to the sonic quality and to play the Ableton tracks, and trigger either enhance and sweeten or find electronic sounds, lighting, and other and choose another sound. So I could effects in the show in perfect time say, ‘I think this sounds a little cooler, with the orchestra.” a little more contemporary.’ It wasn’t Wasserman remains involved with a small job. There are 50 songs in Hamilton, traveling to each new city that show, and the majority of them before the performances begin to use samples. There was a whole team act as a rehearsal DJ and train the — and stacks of spreadsheet — dedi- orchestra. Wells’ work on the hit cated to this.” show hasn’t ended either. “Every Many samples that ended up in time there’s a new Aaron Burr, for the show came from Wells’ personal instance, I have to do more of that library. As a producer, songwriter, and mixing work and process vocals,” musician who has worked with A-list Wells says. “Every now and then acts from Barbra Streisand to Wu-Tang there’s more processing that needs Clan, he says he’s got a little bit of to be done with other characters, everything. “I’ve collected and traded but particularly with the Burr vocals, samples over the years, and now I there’s a lot of delays that happen have this vast sample bank that I use,” and samples you hear using that per- Scott Wasserman originated the Broadway Wasserman used the software Wasserman says Lacamoire took fellow alumnus of Boston’s Berklee Wells says. “On tour with LMFAO, I’d former’s voice.” tech role of Ableton programmer, which to create a library of drum loops, those ideas to another member of College of Music, in 2011. “I was basi- constantly be asking people, ‘Hey, you Wasserman still takes on tradi- requires DJ software. scratches, and other familiar hip-hop the show’s music team, Will Wells, cally the music department intern on have any kits for me?’ For Hamilton, tional orchestration and composition

PHOTO BY KIM VERNACE sounds. “I put together accompani- who crafted each one into the dis- Bring It On, which was just starting I used some commercially available work, but he’s also taken his Ableton ment tracks for the early workshops, tinctive sounds fans of the show its national tour,” Wells says. “At the samples, but I’d usually end up pro- expertise to other Broadway stages. and that job grew into what I ul- now instantly recognize. “Alex time, Hamilton was just some demos cessing the sound and changing the “The role of an Ableton programmer timately do now for Hamilton on would send the sounds to Will and for what was going to be a mixtape. sonic identity based on what the track has now become its own thing in the Broadway and for the touring com- say, ‘I want this to be more ’90s I always told them [Lacamoire and required. We didn’t want to use any- Broadway community, and more and panies,” Wasserman says. “All those hip-hop or more like this artist,’” Miranda] that, whenever this thing thing stock. Whatever I could do to more shows are starting to use it,” electronic sounds and beats that aren’t Wasserman says. “Will’s knowledge was ready to go, I needed to be make it our own, I’d do.” Wasserman says. “We use it for Dear made by instruments started as stock in those areas is fantastic. He abso- there. I said, ‘I will drop anything Once the samples were perfected, Evan Hansen and Natasha, Pierre, sounds Lin would find and put to- lutely transformed each sound.” I’m doing and come work on this.’ A they’d go back to Wasserman and and the Great Comet of 1812, but the gether in a software called Logic. We Like Wasserman, Wells was in- few years later, I got that call. I flew his DJ software. “I’d take what Will way we’re using it in those shows is started with that as the base of the volved with Hamilton from its na- to New York in October 2014 to be worked on — say he changed the so different from Hamilton. Whenever idea of what he was going for.” scent stages. He met Lacamoire, a there on the ground.” sound of a snare or a high hat — put I arrange things now I’m thinking 28 DRAMATICS • MAY 2017 MAY 2017 • DRAMATICS 29 about how I can use Ableton to en- can put different parts of tracks in Wasserman recognizes the rare this, he suggests being open to a call out of the blue offering you a job.” says. “Another big skill set is learn- hance what I’m doing.” certain speakers. We can even swirl opportunity he’s had to originate a wide variety of entry level positions. And according to Wells, in his ing to transcribe music. You should Dear Evan Hansen incorporates the sound around the theatre.” tech theatre role. He sees limitless “Be willing to do the simple jobs, like fledgling field, when that job offer be able to listen to a recording of a distinct elements of video and projec- Technological innovations like potential for theatrical innovations as transcribing,” he says. “Sometimes it does come, the best preparation is song or vocal line and write down the tion, and Wasserman uses the Ableton Ableton software, Wasserman says, long as producers remain responsive takes time to prove yourself, but that’s organization. “Priority number one notes and the rhythm. It’s something software to meld the visual and musi- have fostered more collaboration to new software, programming, and how you build trust. From there, just is get your archival skills up to par,” you can learn in school, but it’s also a cal components of the show into a among the different teams involved in other technologies of the digital age. figure out how to keep adding value he says. “You should always be able skill you can learn on your own.” singular experience. “The set on that creating a Broadway experience. He “The first piece of advice I wish I’d to everything you do. At the begin- to find what you need very quickly. Wells suggests devoting time to ear show is primarily these moving screens sees a shift from profit-driven jukebox been given when I was younger is ning, I didn’t know what Hamilton There should be no downtime be- training, using smartphone apps like and TVs that project and playback musicals toward more avant-garde that you don’t need to do one thing,” would end up being, but I wanted cause you’re disorganized and can’t Tenuto. “Instead of looking at Ins- video that morphs as the show goes concepts. “I think that with Hamilton, Wasserman says. “A lot of teachers to continue to add value to it. That find a sample or a sound or a file. If tagram, use your downtime to train on,” he says. “What the director wanted and some of the shows that have been tried to encourage me to focus on meant meeting challenges with an you’re organized, you’re immediately your intervals and make your ear to accomplish was to connect what’s developed since, there’s a larger em- one set of skills, and that’s certainly open mind, trying different things and more valuable as soon as you start a better,” he says. His biggest piece of happening in the music to what’s hap- phasis on deeper and more poignant good advice at specific points in your listening to feedback. It allowed me project. When you’re organized, you advice, though, is much simpler. In pening on the set, and I was able to storytelling,” he says. “There’s a move life. But overall I say just don’t limit to be surprised by the work I did at can get the job done and move on to his opinion, the most important thing use the software to make sure things toward meatier content. Audiences are yourself. I’ve benefitted so much from the end of the day.” the creativity quicker.” for an aspiring creative professional are happening in tandem.” interested in complicated and chal- having experience across lots of areas. Wasserman also notes the im- In terms of specific skills to hone, to be is humble. “Be open to criti- On The Great Comet, Wasserman’s lenging material. People aren’t afraid I never set out to be an Ableton pro- portance of networking, especially Wasserman says aspiring Ableton cism,” he says. “Even if it’s your most Ableton programming allows the of that anymore. I think that’s made grammer — a few years ago I didn’t in creative fields. “It’s about making programmers, or anyone who wants precious creative baby. If you’re sound designer to create a cutting- producers more focused on making know what Ableton was — but it’s connections and talking with as many to work with music on today’s Broad- working on a project that requires edge sonic experience. “That show is art, and Ableton brings the different turned into one of the most rewarding people as possible,” he says. “You way, should be comfortable in front multiple levels of input, be willing performed basically in the round, and departments — music, lighting, set, opportunities I’ve ever had.” really never know which person you of a computer. “My suggestion is to to make changes, adjust, and com- the speaker system is complicated,” choreography — together in a way Wells emphasizes the importance meet is going to be your collabora- start by learning Finale, the music no- promise. Remember that the work Wasserman says. “Ableton sends the that allows them to be more ambitious of versatility, which he says comes tor on the next show. Never burn a tation software that’s standard in the always wins. Your ego doesn’t win. sound through another system that with the things they’re creating.” from diversity of experience. To gain bridge, because you’ll probably get a Broadway community,” Wasserman The music does.” t

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