The Dance Studio Theatre	Multimedia Learning Center
University Dance Laboratory	Sound Studio
Dance Studios	Renting Studio/Theatre Space

Sound Studio
The Concert Sound Production Studio – Studio 26
Nelson Fine Arts Center (basement level)

Introduction
Studio 26 records the components that are assembled for original sound scores on digital media. Narration, dialogue, one or more musicians’ performance, electronically produced music, original sound effects – almost anything imaginable is recorded. This includes pre-recorded, commercially produced music, for which permission is to be secured for use in a dance department performance.

Finished recordings are made for use in rehearsals, adjudications, performances, collaborative projects and choreography class projects.

You, the choreographer, are the director during the recording session. Make a list of every “event” in your soundscore in order on the timeline. This translates to a “task list” for the recording session. Things come together faster if you know what you want to accomplish.

As in the choreography experience itself, the soundscore communicates the essence of the dance work. Don’t miss the opportunity to “paint the picture” for your audience!

Main purpose
Assistance is given to dance department choreographers for dance works that are destined for concerts or choreography class projects. Studio 26 schedules production sessions by appointment only, with session time allotted based on your description.

The staff sound engineer is available by phone or e-mail to discuss your project prior to scheduling a session. If you aren’t sure if your project would benefit from a visit to Studio 26, contact the staff sound engineer.

Staff sound engineer, Bill Swayze: 480-695-3788; bill.swayze@asu.edu.

Soundscores
Student choreographers are encouraged to consult with faculty and staff about their project ideas. Choreographic ideas are sometimes organized around a soundscore idea. When the inspiration comes, it often can be accepted or rejected by the choreographer after assessment, based on work performed in Studio 26.

Complexity of Soundscores
How complex your soundscore should be depends on the dance piece itself. Soundscores should balance and support the movement onstage. One or two main components can work for solos, while more components support group pieces. Seek to create a soundscore of “equal weight” and intensity to the choreographic movement.

Choreography Class Projects
Work for Choreography Class is part of the academic mission at ASU and projects for class are not public performances. Student choreographers are invited to consult with the staff sound engineer for assistance with soundscores for class. There is no restriction on the use of copyrighted material in Choreography Class as this use is "educational." However, this changes when the class invites the public to a special showing, which is considered a public performance. The use of copyrighted material is restricted in public performance without permission from the copyright holders.

Adjudications or Auditions
As most concerts have an adjudication process tied to selection of pieces, it is appropriate to create soundscores in Studio 26 for adjudication. In the adjudication, sometimes only a portion of the dancework is shown. For this reason it is acceptable that the soundscore only be partially finished, recognizing that the piece is in development.

Your Piece is Selected to be in a Concert
If your piece is included in a concert and you will be using live or recorded sound, it may be necessary to further develop or “finish” the soundscore for the concert.

Choreographers whose pieces have been included in upcoming concerts will have scheduling priority over others. If you use live sound in concert you will need to discuss sound support in the theatre for live music, narration or other ideas with the staff sound engineer.

With recorded audio it is necessary to transfer your sound to the concert master disc for that show, even if your soundscore has already been produced by another composer or audio technician.

If your piece is to be performed in silence, report this to the Production Office and the staff sound engineer. Don't assume other production staff will inform the staff sound engineer; it is the choreographer's responsibility to do so.

Before Your First Recording Session
Some students arrive at ASU Dance with more experience with recording than others. If you are planning a visit to Studio 26 and it is your first appointment, here are some guidelines:

1. If recording text or scripted readings, the choreographer and the person(s) reading need to come prepared and well-rehearsed. Don't use studio time to decide what to record and don't let your recording session appointment be the first time the voice talent sees the text. The recording process takes enough time on its own, so be well-prepared.
2. Discuss with the staff sound engineer any live music to be recorded.
3. Please bring at least two CD-Rs that can be used with the studio’s computer CD-burning application, so you can have a copy of work completed to date. CDs labeled AUDIO ONLY or MUSIC CD are not always formatted for computer use, so don't bring those. CD media doesn't always record properly, so it is best to have a spare with you. Studio 26 does not provide CD media for choreographers.
4. Multiple CDs of your soundscore can be made for you to give to your dancers, usually within a short time after the session, so bring a CD for each copy you need, if it will help your rehearsal process. Most choreographers don't distribute CDs to their dancers until the final version is assembled, but pre-final copies of certain sections can be helpful to dancers in rehearsal of solo or duet sections.
5. If your plan requires using copyrighted music, for which permission for use in performance will be sought, please be prepared to supply all titles, artists, composers and publisher information, usually located on the CD. Copies of commercially available CDs cannot be duplicated in Studio 26. MP3 files are not the quality of the original CD track. Please bring original first-generation commercial CDs.
6. Except in specific circumstances, audio material supplied on LP vinyl disc or cassettes is not supported, as the sound quality has generally deteriorated by the time it gets to Studio 26. These inferior media have been replaced with digitally-based sources. Bring digital sources instead.
7. No food is allowed in Studio 26; covered drinks are fine as long as they remain on the producer's desk.

Frequently Asked Questions
Here are some Frequently Asked Questions for students planning their first recording session in Studio 26:

1. How soon should I make an appointment to do my soundscore?
   The sooner a choreographer assembles the components in Studio 26 the sooner you learn if it works with your piece. It is common to make a second appointment to adjust timing and volume of certain sections after using the soundscore in rehearsal. It is recommended that you try various samples in rehearsal and put it to the test.

   The sooner the soundscore is finished, the sooner the dancers can learn it. It is better to completely learn a dance, with soundscore, well before the dance will be shown, so the remaining rehearsal time can be used to “clean and polish” the finished piece. If any component of the dance, including the soundscore, is incomplete the choreographer loses the opportunity to run the finished piece multiple times to make it solid

2. What can I learn from playing the first version of the soundscore in my rehearsal, if it isn't completely finished?

   Volume problems are discovered using a soundscore in rehearsal. If you find that you run over to the sound system to turn down a certain section of the soundscore, or to turn it up at a certain section, note these needs and make another appointment in Studio 26 to correct the volume levels.

   In rehearsal the choreographer learns if the soundscore supports or fails to support dance movement. Decisions are made in rehearsal that can dictate how the soundscore needs to be fixed. Take good notes in rehearsal to facilitate the communication of corrections.

   Sometimes, the voice(s) chosen for narration or dialogue don’t work. Often the substitution of another voice or an alternate performance solves the problem. Remember this, especially if you were the one selected to read the narration, only to be replaced by another voice!

3. There is a section in the middle of the dance where there is silence. Do I put “timed silence” in the soundscore?

   Short silences between pieces of up to 16 counts are okay, as you can become accustomed to the length in rehearsal. Longer silent sections require a stage cue to resume playback of the soundscore.

Contact
Studio 26 sessions, by appointment only: Contact staff sound engineer Bill Swayze: 480-695-3788; bill.swayze@asu.edu.
Please include a brief description of your project and your target deadline.

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