{"id":71,"date":"2025-10-15T06:08:12","date_gmt":"2025-10-15T05:08:12","guid":{"rendered":"https:\/\/blogs.napier.ac.uk\/imd\/?p=71"},"modified":"2025-10-15T06:09:56","modified_gmt":"2025-10-15T05:09:56","slug":"reimagining-sound-in-live-theatre-part2","status":"publish","type":"post","link":"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/","title":{"rendered":"Reimagining Sound in Live Theatre II"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><a href=\"#\" class=\"ez-toc-pull-right ez-toc-btn ez-toc-btn-xs ez-toc-btn-default ez-toc-toggle\" aria-label=\"Toggle Table of Content\"><span class=\"ez-toc-js-icon-con\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/span><\/a><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Part_2_Engineering_Actor-Controlled_Sound_Effects_with_IoS_Devices\" >Part 2: Engineering Actor-Controlled Sound Effects with IoS Devices<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Rethinking_Sound_Control_in_Theatre\" >Rethinking Sound Control in Theatre<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#What_Is_the_Internet_of_Sound\" >What Is the Internet of Sound?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Technical_Architecture\" >Technical Architecture<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Sensors_Used\" >Sensors Used:<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Interaction_Design\" >Interaction Design<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Pre-recorded_Samples\" >Pre-recorded Samples:<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Procedural_Audio_Models\" >Procedural Audio Models:<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Participant_Feedback_Findings\" >Participant Feedback &amp; Findings<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Benefits\" >Benefits:<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Challenges\" >Challenges:<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Engineering_Considerations\" >Engineering Considerations<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Sound_Design_Strategy\" >Sound Design Strategy<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Future_Directions\" >Future Directions<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/#Conclusion\" >Conclusion<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"Part_2_Engineering_Actor-Controlled_Sound_Effects_with_IoS_Devices\"><\/span>Part 2: Engineering Actor-Controlled Sound Effects with IoS Devices<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>This post builds on insights from Part 1 of our series on interactive theatre sound design. If you haven\u2019t read it yet, check out <a href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/09\/28\/reimagining-sound-in-live-theatre-part1\/\">Part 1: Collaborative Sound Design in Theatre<\/a>.<\/p>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Rethinking_Sound_Control_in_Theatre\"><\/span>Rethinking Sound Control in Theatre<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Traditional theatre sound design relies heavily on off-stage operators using software like QLab to trigger pre-recorded cues. While reliable, this model limits spontaneity and performer agency. This research investigates a shift: <strong>giving actors direct control over sound effects<\/strong> using networked Internet of Sound (IoS) devices embedded in props or costumes.<\/p>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"What_Is_the_Internet_of_Sound\"><\/span>What Is the Internet of Sound?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The <strong>Internet of Sound (IoS)<\/strong> is a subdomain of the Internet of Things (IoT), focused on transmitting and manipulating sound-related data over wireless networks. It includes:<\/p>\n<ul>\n<li><strong>IoMusT (Internet of Musical Things)<\/strong>: Smart instruments with embedded electronics.<\/li>\n<li><strong>IoAuT (Internet of Audio Things)<\/strong>: Distributed audio systems for production, reception, and analysis.<\/li>\n<\/ul>\n<p>This project leans toward the IoMusT domain, emphasizing <strong>performer interaction<\/strong> with sound-generating devices.<\/p>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Technical_Architecture\"><\/span>Technical Architecture<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The workshop deployed <strong>9 IoS devices<\/strong> built with <strong>Arduino MKR 1010<\/strong> microcontrollers, chosen for their built-in Wi-Fi and affordability. Each device communicated via <strong>Open Sound Control (OSC)<\/strong> over <strong>UDP<\/strong>, sending sensor data to <strong>Pure Data<\/strong> patches running on local laptops.<\/p>\n<h4><span class=\"ez-toc-section\" id=\"Sensors_Used\"><\/span>Sensors Used:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<ul>\n<li><strong>Accelerometers<\/strong> \u2013 for dynamic control (e.g., storm intensity)<\/li>\n<li><strong>Force Sensitive Resistors (FSRs)<\/strong> \u2013 for pressure-based triggers<\/li>\n<li><strong>Circular and Rotary Potentiometers<\/strong> \u2013 for pitch and volume control<\/li>\n<li><strong>Photoresistors<\/strong> \u2013 for light-triggered samples<\/li>\n<li><strong>Buttons<\/strong> \u2013 for simple cue activation<\/li>\n<\/ul>\n<p>Each performance space had its own router, enabling modular and fault-tolerant deployment.<\/p>\n<figure id=\"attachment_85\" aria-describedby=\"caption-attachment-85\" style=\"width: 506px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-85 size-full\" src=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BenBowSetup.png\" alt=\"Hardware set up in the main theatre space.\" width=\"506\" height=\"368\" srcset=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BenBowSetup.png 506w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/BenBowSetup-300x218.png 300w\" sizes=\"auto, (max-width: 506px) 100vw, 506px\" \/><figcaption id=\"caption-attachment-85\" class=\"wp-caption-text\">Hardware set up in the main theatre space.<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<figure id=\"attachment_84\" aria-describedby=\"caption-attachment-84\" style=\"width: 494px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-84 size-full\" src=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PiratesCoveSetup.png\" alt=\"Hardware setup in the rehearsal space.\" width=\"494\" height=\"364\" srcset=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PiratesCoveSetup.png 494w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/09\/PiratesCoveSetup-300x221.png 300w\" sizes=\"auto, (max-width: 494px) 100vw, 494px\" \/><figcaption id=\"caption-attachment-84\" class=\"wp-caption-text\">Hardware setup in the rehearsal space.<\/figcaption><\/figure>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Interaction_Design\"><\/span>Interaction Design<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Participants interacted with both <strong>pre-recorded samples<\/strong> and <strong>procedural audio models<\/strong>:<\/p>\n<h4><span class=\"ez-toc-section\" id=\"Pre-recorded_Samples\"><\/span>Pre-recorded Samples:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<ul>\n<li>Triggered via buttons, light sensors, or rotary knobs<\/li>\n<li>Used for audience reactions, chorus sounds, and character cues<\/li>\n<\/ul>\n<h4><span class=\"ez-toc-section\" id=\"Procedural_Audio_Models\"><\/span>Procedural Audio Models:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<ul>\n<li><strong>Spark<\/strong> \u2013 Triggered by button (gain envelope)<\/li>\n<li><strong>Squeaky Duck<\/strong> \u2013 Controlled by FSR (pitch modulation)<\/li>\n<li><strong>Theremin<\/strong> \u2013 Controlled by circular potentiometer (oscillator frequency)<\/li>\n<li><strong>Stormstick<\/strong> \u2013 Controlled by accelerometer (rain and thunder intensity)<\/li>\n<\/ul>\n<p>These models allowed for expressive, real-time manipulation of sound, enhancing immersion and authenticity.<\/p>\n<figure id=\"attachment_87\" aria-describedby=\"caption-attachment-87\" style=\"width: 183px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-87 size-medium\" src=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/Circular-183x300.jpeg\" alt=\"Circular potentiometer used to control a Theremin type sound effect.\" width=\"183\" height=\"300\" srcset=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/Circular-183x300.jpeg 183w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/Circular-625x1024.jpeg 625w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/Circular-768x1259.jpeg 768w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/Circular-937x1536.jpeg 937w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/Circular.jpeg 1249w\" sizes=\"auto, (max-width: 183px) 100vw, 183px\" \/><figcaption id=\"caption-attachment-87\" class=\"wp-caption-text\">Circular potentiometer used to control a Theremin type sound effect.<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<figure id=\"attachment_88\" aria-describedby=\"caption-attachment-88\" style=\"width: 505px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-88 size-full\" src=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/StormstickToPD.png\" alt=\"An accelerometer within the 'Stormstick' controls the gain of a rain synthesis model and the trigger rate of a thunder one.\" width=\"505\" height=\"227\" srcset=\"https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/StormstickToPD.png 505w, https:\/\/blogs.napier.ac.uk\/imd\/wp-content\/uploads\/sites\/182\/2025\/10\/StormstickToPD-300x135.png 300w\" sizes=\"auto, (max-width: 505px) 100vw, 505px\" \/><figcaption id=\"caption-attachment-88\" class=\"wp-caption-text\">An accelerometer within the &#8216;Stormstick&#8217; controls the gain of a rain synthesis model and the trigger rate of a thunder one.<\/figcaption><\/figure>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Participant_Feedback_Findings\"><\/span>Participant Feedback &amp; Findings<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<h4><span class=\"ez-toc-section\" id=\"Benefits\"><\/span>Benefits:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<ul>\n<li><strong>Enhanced Timing<\/strong> \u2013 Actor-triggered cues improved synchronisation<\/li>\n<li><strong>Creative Freedom<\/strong> \u2013 Enabled improvisation and dynamic adaptation<\/li>\n<li><strong>Authenticity<\/strong> \u2013 Increased believability and audience engagement<\/li>\n<li><strong>Actor Agency<\/strong> \u2013 Encouraged deeper integration into the production process<\/li>\n<\/ul>\n<h4><span class=\"ez-toc-section\" id=\"Challenges\"><\/span>Challenges:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<ul>\n<li><strong>Reliability<\/strong> \u2013 Wi-Fi dropouts and device failures were noted<\/li>\n<li><strong>Cognitive Load<\/strong> \u2013 Actors expressed concern over added responsibilities<\/li>\n<li><strong>Integration<\/strong> \u2013 Costume and prop design must accommodate sensors<\/li>\n<li><strong>Audience Distraction<\/strong> \u2013 Poorly integrated devices could break immersion<\/li>\n<\/ul>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Engineering_Considerations\"><\/span>Engineering Considerations<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>To ensure successful deployment in live theatre:<\/p>\n<ul>\n<li><strong>Robust Wi-Fi<\/strong> \u2013 Site-specific testing and fallback systems (e.g., QLab) are essential<\/li>\n<li><strong>Thermal Management<\/strong> \u2013 Embedded devices must remain cool and accessible<\/li>\n<li><strong>Modular Design<\/strong> \u2013 Quick-release enclosures and reusable components improve sustainability<\/li>\n<li><strong>Cross-Department Collaboration<\/strong> \u2013 Early involvement of costume, prop, and production teams is critical<\/li>\n<\/ul>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Sound_Design_Strategy\"><\/span>Sound Design Strategy<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Sound designers must consider:<\/p>\n<ul>\n<li><strong>Spot vs. Atmosphere<\/strong> \u2013 One-off effects may suit samples; dynamic ambiences benefit from procedural audio<\/li>\n<li><strong>Sensor Mapping<\/strong> \u2013 Choose intuitive controls (e.g., FSR for pressure-based sounds)<\/li>\n<li><strong>Actor Suitability<\/strong> \u2013 Confident performers are better candidates for device control<\/li>\n<li><strong>Rehearsal Integration<\/strong> \u2013 Early adoption helps reduce cognitive load and improve fluency<\/li>\n<\/ul>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Future_Directions\"><\/span>Future Directions<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The next phase involves deploying IoS devices in a <strong>live pantomime performance in December 2025<\/strong>. Beyond this, distributed performances across locations (e.g., London and New York) could leverage IoS for synchronised, remote interaction.<\/p>\n<p>Exploration of alternative microcontrollers (e.g., Teensy) and operating systems (e.g., Elk Audio OS) may improve scalability and reliability.<\/p>\n<hr \/>\n<h3><span class=\"ez-toc-section\" id=\"Conclusion\"><\/span>Conclusion<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Actor-controlled IoS devices represent a promising evolution in theatre sound design\u2014merging technical innovation with artistic expression. While challenges remain, the potential for more immersive, responsive, and collaborative performances is clear.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Part 2: Engineering Actor-Controlled Sound Effects with IoS Devices This post builds on insights from Part 1 of our series on interactive theatre sound design. If you haven\u2019t read it yet, check out Part 1: Collaborative Sound Design in Theatre. Rethinking Sound Control in Theatre Traditional theatre sound design relies heavily on off-stage operators using [&hellip;]<\/p>\n","protected":false},"author":470,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","footnotes":""},"categories":[10],"tags":[8,19,11,20],"class_list":["post-71","post","type-post","status-publish","format-standard","hentry","category-research-project","tag-edinburgh-napier-university","tag-foley","tag-research","tag-theatre-sound"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Reimagining Sound in Live Theatre II - Interactive Media Design<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.napier.ac.uk\/imd\/2025\/10\/15\/reimagining-sound-in-live-theatre-part2\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reimagining Sound in Live Theatre II - Interactive Media Design\" \/>\n<meta property=\"og:description\" content=\"Part 2: Engineering Actor-Controlled Sound Effects with IoS Devices This post builds on insights from Part 1 of our series on interactive theatre sound design. If you haven\u2019t read it yet, check out Part 1: Collaborative Sound Design in Theatre. 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