Lindsay Jones and Tim Kashani explore how audio technology in theater moves so fast it feels like a computer lab. Jones stays current by reading trade magazines and keeping sample libraries updated, but delegates the technical details to an assistant who handles sound system coordination while Jones focuses on the creative work.
Chapters
There's a huge amount of technology in both film and theater right now. You walk in during tech and it looks more like a computer lab than it does a theater. How do you stay current on that side of the thing, that side of the equation?
It's a constant challenge. I mean, this is a really exciting time, I think, for sound design and also theater technology in general. There are advances happening constantly, and I try to keep up with it by reading all the trade magazines, and looking on the internet. And another part of it is because I'm a composer as well, I'm constantly trying to stay up on top of using samples to make music and making sure that my libraries are the most current and the best sounding because I want it to sound great. And so with every new advancement, I try to stay with it as much as possible. But I can't track everything. So one of the things that I do is I usually have an associate or an assistant who helps me with technology. For example, this year, it on this show, is his specialty is really system— sound systems and how to coordinate them in a way that makes them sound great. So I have him to work with me, and so I sort of deal with more of the artistic side of creating the content, and I trust him to help me find the best way to utilize the newest technology to make it sound great.
