Interactive Media Design

Tag: Sound Design

  • Reimagining Sound in Live Theatre

    Part 1: Collaborative Sound Design in Theatre – A Workshop Approach

    In an age where immersive experiences are reshaping the boundaries of performance, sound design in theatre is undergoing a quiet revolution. A recent workshop held at The Dibble Tree Theatre in Carnoustie explored this transformation, bringing together actors, sound designers, and experimental technologies to co-create a new kind of theatrical soundscape.

    Two pantomime characters
    The Dame and the Barron, ready to collaborate with our sound designers!

    Why Sound Design Needs a Shake-Up

    Despite its central role in storytelling, sound design in theatre has lagged behind lighting and projection in terms of innovation. Traditional tools like QLab remain industry staples, but they often limit sound to pre-programmed cues triggered by operators. This workshop challenged that model by asking: What if actors could control their own sound effects live on stage?

    Collaboration at the Core

    The workshop was designed as a playful, hands-on experience. Participants—ranging from amateur theatre enthusiasts to experienced backstage crew—worked in small groups to rehearse and perform short pantomime scenes. They used Foley props (slide whistles, rain sticks, thunder tubes), pre-recorded samples, and procedural audio models to sketch out their sound designs.

    Importantly, actors and sound designers collaborated from the outset, rehearsing together and experimenting with timing, mood, and interaction. This flattened hierarchy fostered creativity and mutual learning.

    A character and a sound designer
    Long John Silver performing his actions along with a sound designer on a slide whistle

    Enter the Internet of Sounds

    A standout feature of the workshop was the use of networked sound devices—custom-built tools powered by Arduino MKR 1010 boards and Pure Data software. These devices allowed actors to trigger sounds via sensors embedded in props or wearable tech. For example:

    • A motion sensor in a prop triggered audience reactions.
    • A rotary knob controlled volume and playback of samples.
    • An accelerometer and force-sensitive resistor enabled real-time manipulation of procedural audio.

    These embodied interfaces blurred the line between performer and sound operator, creating a more organic and responsive soundscape.

    Sound designer studying the script
    Sound designer studying the script with the Internet of Sound devices beside him.
    Sound designer performing
    Sound designer performing the sounds on the Internet of Sound devices, with script on other hand and watching the stage to get her timing right.

    What Participants Learned

    Feedback was overwhelmingly positive. Participants reported:

    • Greater appreciation for the complexity of sound design.
    • Enjoyment of the collaborative and playful structure.
    • Insights into how sound design principles transfer to other media like film and radio.

    Challenges included cognitive load—especially for actors managing props, cues, and performance simultaneously—and occasional technical glitches with Wi-Fi connectivity.

    Key Takeaways

    • Actor-led sound triggering offers better timing and authenticity.
    • Early integration of sound design into rehearsals is crucial.
    • Embodied interaction (e.g., using props or wearables) enhances engagement.
    • Collaboration between departments—sound, props, costumes—is essential for success.

    Final Thought

    This workshop offered a fresh perspective on how sound can be more deeply integrated into live theatre. By inviting collaboration between actors and sound designers and experimenting with interactive technologies, it opened up new possibilities for creative expression. While challenges like reliability and cognitive load remain, the enthusiasm and insights from participants suggest that actor-led sound design is a promising direction worth exploring further.

    In Part 2, we explore the technical implementation of actor-controlled sound effects using Internet of Sound (IoS) devices. Stay tuned for a deeper dive into the engineering behind the performance.

  • Designing Funny Sounds: A Practical Framework for Comic Timing, Texture, and Payoff

    Why are some sounds instantly funny, while others just miss the mark? Sound has enormous power in comedy, but it is rarely discussed in its own right. It is not just about squeaks and splats. Funny sounds are about timing, tension, layering, and audience permission. Done well, they can elevate a moment into something memorable. Done poorly, they can kill the joke.

    This article lays out a practical, principle-based approach to designing funny sounds, from animation and film to games, performance, and beyond. Whether you are a sound designer, editor, creative director, or someone who just enjoys thinking about what makes people laugh, this framework is for you.

    1. Funny sounds need a comedic foil

    No funny sound works in isolation. It needs a setup, something believable, serious, or steady to push against. This is the role of the comedic foil. A squeaky shoe is funny in a formal hallway. A wet splat is funny against silence. Without the foil, the comic moment has nothing to rupture.

    2. Mistiming is everything, even when it misfires

    Comedy lives in surprise. Funny sounds often arrive just too soon, or just too late. But sometimes what makes a moment land is that it does not land — the creak that never resolves, the fanfare that fails, the punchline that falls flat. These “failures” become part of the rhythm. They create nervous, awkward, or self-aware laughs. The mistimed moment says something went wrong, and that is the joke.

    3. Sequence, overlap, and layering

    No sound exists on its own. Comic moments are shaped by how sounds are arranged, layered, and spaced. A groan over a thud followed by a squeak can create a mini gag in sound alone. A quiet, odd noise buried under other activity can reward the attentive listener, a sonic in-joke. The best comic sound design pays attention to sequence and interplay, not just isolated gags.

    4. Do not leave me hanging

    Funny sound needs to feel either deliberately cut short or uncomfortably extended. A thud that ends abruptly, or a groan that goes on too long, creates a kind of tension that becomes funny through its refusal to resolve. This incomplete rhythm mirrors the social unease of awkward pauses or missteps, and gives the audience something to laugh through.

    5. Mismatch the dynamics

    Big moments with tiny sounds, or small moments with huge sounds, are comic staples. A whisper with the impact of a cannon. A major fall with the sound of a teacup breaking. This mismatch between visual scale and auditory response undermines realism and forces laughter. It is the wrong sound, delivered with full confidence.

    6. Escalate repetition

    The same sound is only funny if it builds. Repetition works when each instance raises the stakes, longer, louder, brighter, more absurd. The laugh comes from tension and excess, not just from hearing the sound again. Without escalation, repetition flattens. With it, the sound becomes a rising joke that demands release.

    7. Use texture to tip it over the edge

    Detail matters. A splat is funnier when it has brightness or a hint of filth. A creak becomes unbearable when it has upper harmonics. The texture pushes the sound closer to bodily, embarrassing, or disgust-inducing territory, just enough to provoke a reaction without crossing into revulsion. Funny sounds often sit right on this line.

    8. Let empathy in, just a little

    Comic sound often represents failure, pain, or humiliation. The audience laughs, but a part of them knows they probably should not. That flicker of empathy, just enough to feel the fall, not enough to stop the laugh, creates comic tension. The sound designer can dial that balance in texture, tone, and pacing.

    9. Place it in the world

    The reaction of characters matters. Does anyone hear it? Is someone embarrassed? Oblivious? Does the sound exist only for the audience? These choices shape the comedy. A sound acknowledged in-world lands differently than one the characters ignore. Comic sound must be worldised, not just audible, but meaningful in the story space.

    10. Leave space for the laugh

    If you do not leave room, the audience cannot laugh. Comic sound design must make space: a beat of silence, a held shot, a moment of stillness after the noise. Without this pause, even the best gag can disappear. The laugh often lives in what follows the sound, not the sound itself.

    11. Use afterthoughts for the final flick

    Sometimes the funniest sound is not the main event, but the tag at the end. A glob of pie hitting the floor. A delayed squeak after a pratfall. A faint ding as something small falls offscreen. These afterthoughts punctuate the moment, not by escalating, but by extending the rhythm in a new, often absurd direction.

    12. Preview the collapse

    Anticipation makes comedy stronger. Let the sound world warn the audience: creaks, rattles, drips, and growing instability. These are previews, and they invite the audience to imagine what is about to go wrong. The laugh builds before the gag lands.

    13. Let the audience in on the joke

    Not every funny sound needs to be big or shared. Sometimes the best comic sound is quiet, tucked into the mix, and heard only by those paying attention. These subtle, almost secret gags invite the listener into a private joke. They create a sense of complicity, as if the sound designer is winking directly at the audience.

    14. Stylise to make the pain safe

    When a comic moment pushes too far, when a fall looks painful or a slap sounds violent, stylised sound can signal that it is okay to laugh. Cartoonish exaggeration acts as an emotional buffer: a boing, a sproing, a rubbery wobble. These reassure the audience that no one is truly hurt. Stylisation protects the joke by softening its impact.

    These principles apply across comic styles, from deadpan realism to farce, but how far each is pushed depends on the tone of the piece.

    Comic sound is not about chaos or randomness. It is about control, of timing, contrast, rhythm, and texture. It is about how a squeak becomes a laugh because of when it lands, what surrounds it, and who reacts. Whether bold or barely noticeable, funny sound lives in friction. And the more carefully it is designed, the more effortlessly it lands.

    Have you used sounds to land a joke, or save one? We would love to hear how others approach funny sound, especially in screen media, games, or performance.