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	WPI Technical Theatre Handbook: Editing and Processing Effects
	Editing and Processing Effects Once the basic sound effects have been acquired, they often need to be edited to suit the particular production. For example, some effects may be too long and need to be shortened, while others may need to be processed to have different tonal qualities than the original. Computer-based digital audio editing software and sound cards provide a set of extremely powerful tools for the audio designer. Commonly available digital audio editing tools are only now becoming mainstream, and are still not being used to their full potential in many settings. Unless the original sound effects are already in digital format on a computer, they need to be digitized (sometimes called sampled) into the computer. Most sound cards have audio inputs, and can sample sound at CD-quality or better. Once the sounds are sampled, they are usually saved on the computer's hard disk. The most common format for saving digital audio on computers is the Microsoft .WAV format. Because of this, sampled files are often called WAV (pronounced 'wave') files. Figure 6.15: Sound Forge 4.0, digital audio editing software by Sonic Foundry, Inc. Software such as this allows quick and easy editing of digitally-stored sound effects. Most sound cards come with simple software for editing audio files. Third-party companies such as Sonic Foundry, Inc. produce comprehensive packages that provide many more features than the software shipped with cards. Packages such as Sound Forge provide features such as equalization, fading, panning, reversing, slowing down or speeding up, pitch changing, delay, reverb, flanging, etc. They also allow the content of the sound to be edited, allowing for words to be rearranged in a speech or sounds to be strung together, such as an explosion following a gunshot. Learning to use audio editing software is one of the most useful things an audio designer can do, as it affords flexibility and power that were not possible until recently. Once the sound effects have been edited and are to the satisfaction of both the audio designer and director of the production, they can be cued directly off of computer or burned onto a compact disc. Consolidating the effects to a single media is desired, as it makes the audio operator's job much easier when running the sound for a production. It is much easier to cue all of the sound effects off of a CD than it is to cue some off of CD, some off of tape, and still more off of a computer. Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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