When mixing a live show; for the first time or hundredth time; there are countless things running through your mind; foremost- this is live and you have to get it right!Whether you are working on Broadway; in a regional theatre or on the school production; having an understanding of the equipment; set up; and how sound behaves is crucial to the success of your shows performance.In this guide to live sound mixing for theatre; Shannon Slaton shares his expert knowledge and proven; effective techniques acquired from years of experience working on Broadway shows. Written in a clear and easy to read style; and illustrated with real world examples of personal experience and professional interviews; Slaton shows you how how to mix live theatre shows from the basics of equipment; set ups; and using sound levels to creating atmosphere; emotion and tension to ensure a first rate performance every time.
#564697 in eBooks 2012-11-12 2012-11-12File Name: B00ABM00JS
Review
4 of 4 people found the following review helpful. Lots of ideas for the small jazz groupBy BeagleThis is quite a remarkable book for its size and is quite unlike most of the other arranging books Ive seen. For me it is by far the most useful book I have seen on the subject. (Another that looks quite promising is David Bakers Arranging and Composing for the Small Ensemble: Jazz; R B; Jazz Rock; though I havent read it).As the title suggests; this book is for arranging small ensembles; while the majority of books you find are more directed at arranging for the big band. I play in a small jazz group consisting of trumpet (me); trombone; guitar; double bass; drums. Most of the material you find in a typical arranging book is just not applicable to this situation.The first thing you will see when flicking through the pages of this book is masses of musical examples from actual recordings (and these are all referenced in the index). Even if you dont know the particular arrangement; just knowing the tune will help to imagine how it would sound with the particular device being described in the text.The book doesnt spend too much time on three and four part writing (since in a small group there is far less scope for this than in a big band). Instead Rinzler dedicates most space to discussing the form of the song. He covers various forms of intros; interludes; and outros; style changes (e.g. latin A section/swing B section); rhythmic accents; variations in instrumentation; changes in time signature; modulation; time feel; and so on.My only criticism of the book is that it is too brief in parts. I think some concepts could have deserved more text to help explain how to achieve a particular effect. Also the book is largely a compilation of the different tools the arranger has available. It would be nice to see a chapter on putting it all together. In fact there is a brief section where the author takes a lead sheet and then presents an arrangement of the piece; but it would have been nice to see a bit more the process involved rather than just seeing the end product. However; I guess this is where the imagination and skill of the arranger comes in and a lot of this is just experience at combining the various techniques.If you play in a small group and need some ideas; this is a great book. As far as I can tell; it appears to be one of the few arranging books available which specifically focus on small jazz ensembles.