Claudia Zajic, Sound Designer
Claudia Zajic is in her [redacted] year at Hunter College and this is her first foray into any kind of design. It's been quite the experience! If you don't (occasionally) see her masquerading as an actor on stage, you'll often find her masquerading as stage crew on a ladder on stage. This is her 5th-- or 6th-- or 7th?-- time involved with the theatre department at Hunter, and she is just as ecstatic as her first time involved. She is forever grateful to have Beth Lake as a fantastic Sound Design mentor, and credits any kind of success to her wonderful teachings. She is also thankful for all of the support her friends and family provided her through this strange, sometimes
stressful, journey. She would be remiss not to thank the rest of the Loewe team, as they are the rest of the CoLaboration and have been an integral part in the whole design. The deep thanks absolutely extends to her director and stage manager, for keeping her sane throughout this process and letting her work her creative muscle. Much love to all involved in this crazy process!
Questions from Students
How can sound be layered as much as possible throughout the play without becoming a nuisance or distracting for the audience? (Joshua Martinez)
There are a couple of options when it comes to ambiances and sounds that sustain throughout the scenes. You can establish a mood early on in the scene (ideally within the transition or right after) with the various layers of sound and then fade it to nothing, or you can have it linger and have the undercurrent of sound throughout the scene. Humans are very good at tuning out sounds that are repetitive and ongoing, and so as long as the ambient noise doesn’t have a distinct sound in that loop (a loud, rhythmic banging, for example), audiences will generally tune it out. That being said, if the director doesn’t like sound being played the entire time, it can always be trimmed back to the first option.
How did you set the mood and control the pace for different scenes? (Tiffany Lopez)
The interesting thing about this play is the constant switching from the Overworld to the Underworld-- often with only a few lines of monologue within them. This poses an interesting problem: how do we make the transition clear enough to the audience and also make it smooth enough so the audience doesn’t feel like they are being used for Tug-of-War? My aural solution to that is to squeeze in the distinguishing sound of the Underworld (water, endless space) before the normalness of the Overworld (birds, natural life) as a sort of musical “button.” It is something to set the scene very quickly and as unobtrusively as possible if the transition between scenes is a matter of moments. Rhythm and tone goes a long way for setting the mood and pace within scenes. The high-pitched whistling mentioned in the Underworld along with all of the various sounds of water doesn’t make the Underworld sound very pleasant to spend eternity in-- but it is easier to endure when you endure it with someone you love.
EAX JFX88 - Black Q:3
JBL EON10 - Black Q:2
QSC K8.2 - Black Q:2
ELECTRO-Voice ZXA1 12" Subwoofer 700w amplified Q:1
ONYX 1640i Sound Mixer (16 channel) Q:1
MacMini 2018: OS 10.14 Q:1
Dell Monitor with appropriate adapters to above Mac Mini Q:1
Apple keyboard/mouse Q:1