OISTAT Cardiff Seminar list

  • 31 Aug 2018
  • 11:00 AM - 11:00 PM

Registration is closed

As part of the OISTAT 50th celebrations in Cardiff the ASD will be hosting a day of seminars. 

Based in beautiful Cardiff, these seminars form part of a busy program of activities related to all aspects of theatrical design. The day of design focused seminars will be concluded with one of our famous social events, but all OISTAT attendees will be invited, it promises to be a rare opportunity for networking and socialising with friends old and new across all the design disciplines.

CLICK HERE for accommodation details

Dates: Friday 31st August 2018

Venue: RWCMD Cardiff – North Road Cardiff, CF10 3ER  

Session One

Gareth Fry: Sound Design and Storytelling.


Presented by sound designer Gareth Fry, this seminar covers how we hear and perceive the world and how we can use that in theatre making. This seminar is designed to encourage and inspire directors, playwrights & performers in the various ways they can use sound and collaborate with a sound designer, introducing them to a variety of artistic and technical concepts. No prior knowledge of sound or music is required.

It will cover:

• Language and concepts of sound - how to talk about sound

• How we hear the world, our perception of it and the implications for storytelling

• The use of abstracted sound and music.

• The performer's voice and sound - manipulation, amplification and reinforcement

• Copyright law for using music and sound in theatre

• Q&A

Gareth Fry is a multi-Olivier and Tony award-winning sound designer who is known for his work with Complicite's Simon McBurney, John Tiffany, Katie Mitchell and Sacha Wares. Gareth's recent work includes Harry Potter and the Cursed Child, and The Encounter. Gareth has designed dozens of shows at the National Theatre, the Royal Court and across the fringe and the West End. Gareth is an honorary fellow of the Royal Central School of Speech and Drama.


Session Two

Paul Arditti: Theatre Acoustics for Set Designers: how your design affects what the audience hear!

Whilst the architecture of a theatre clearly has a huge effect on how well people can hear a show, the set can be equally helpful or damaging. Paul picks a few examples from his recent theatrical experience and suggests how sound designers and set designers can work together to make a show work well acoustically.

Paul is a theatre sound designer with over 30 years experience of designing plays and musicals. Although based in London, where most of Paul’s shows originate, transfers and tours have taken him around the world. Starting principally as a designer of “content”, Paul has watched how the expectations of audiences have changed with respect to “delivery” in recent years, and has become increasingly fascinated by the science and psychology of hearing and listening.

So far this year, Paul’s work includes Amadeus (Olivier nomination), Macbeth, Absolute Hell at the NT; Julius Caesar at the Bridge; Caroline Or Change at Hampstead; Beginning at the Ambassadors; Mary Stuart at the Duke of York’s, The Inheritance at the Young Vic; The Prime of Miss Jean Brodie at the Donmar; The Jungle at the Playhouse.

Session Three

John Taylor: How We Listen – How We Hear

How do we listen to music naturally and what happens when we use a traditional sound reinforcement system?

With the help of a live music ensemble, John Taylor of d&b audiotechnik will explain the function of the human ear/brain system in the perception of music and how this fundamental acuity enables us to mix in our heads on a millisecond by millisecond basis. Along the way, we'll discover how traditional sound systems effectively disable this ability, how that effects the way we mix audio and what this understanding means for the future of live sound reinforcement.

John Taylor: A veteran of broadcast TV, recorded and live sound, John Taylor has been pointing a camera, microphone or loudspeaker at someone or other for nearly fifty years.  He trained with the BBC in 1969 working in studios during the latter days of live black and white television, going freelance at the genesis of music video production.  In later years, he travelled the world as a freelance cameraman and sound recordist.  Having been primarily a television cameraman for so many years, he jumped the fence into his long time hobby of sound reinforcement, joining d&b audiotechnik in 1996, spending a large part of the last 22 years developing d&b’s training and education programme. He still has a passionate belief that what the audience hears should be as close as possible to what the performer intended. 

Please note, the ASD reserves the right to make changes to the programme without prior notice. Such alterations may occasionally be necessary due to circumstances beyond our control.

All events will be filmed and photographed - your presence confirms your permission for the ASD to use any images or recordings of you in our publicity materials and seminar archive.

The ASD does not accept responsibility for anyone acting as a result of information or views expressed on its training courses including course material. Opinions expressed are those of individual trainers and not necessarily those of the ASD. Participants should take professional advice when dealing with specific situations.


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