Sound Effects. Until the introduction of disc recordings into the theatre in the 1950s, all sound effects were produced live offstage, many by very old methods that still survived unchanged. It is widely held that the spontaneity of ‘live’ effects is superior to the recorded reproduction of reality, and some effects, such as weather and bells, are better when produced live. Some examples of live sound effects are:
Wind, produced by a wind machine, a hand-driven drum on to which is mounted a series of strips which rub against a length of sail canvas draped over the drum and fixed at one end. This is particularly effective when operated sensitively, but the machine needs regular maintenance.
Rain,
surf, and
hail, usually represented by dried peas or small lead shot being shaken in a shallow box containing some fixed obstruction, such as nails. A cylinder, which is easier to operate by hand, can be used instead of a box, and the substitution of larger shot or marbles produces an effective hailstorm.
Thunder is still produced most effectively by means of a thunder-sheet. This is an iron sheet, as large as practicable, at least 6′ by 2′6″, suspended in the flies and vibrated by jerking a handle at the bottom. Less resonant thunder can be produced in the same way by using large sheets of plywood. The thunder-sheet replaced the 18th-century thunder-run, a series of wooden troughs built into the theatre's back wall, each separated by a gap so that cannon balls rumbled down and fell with a considerable crash. This method lost favour because once the cannon balls had been released there was no way of controlling the effect. A thunder-run still survives at the Theatre Royal, Bristol (see
BRISTOL OLD VIC), though it is seldom used.
Door slams are only effectively produced by slamming an actual door. Should one not be available offstage, then a small door is used, 3′ by 2′ by 1″, fixed to a portable base and heavily constructed with all appropriate locks, etc.
Horses' hooves are still simulated most effectively by coconut shells, although much skill is needed in the operator. The shells can be used against each other, or against slate or carpet, to simulate cobbles, tarmać, or turf.
Explosions and gunfire. Individual explosions are best obtained by maroons placed in appropriate bombtanks and fired electrically. For shots, other than those obtained by striking wood against leather, a starting pistol should be used. (There are strict regulations governing explosions and the use of firearms in the theatre.) Recordings are the best way to convey the sound of continuous bombardment.
Bells. Doorbells and telephones best utilize their real components. It is desirable for actors to be able to press the doorbells themselves, and also that the operation of lifting the telephone handset cuts off the bell, although it is actuated from offstage. For chimes, a set of tubular bells is preferable to recordings.
Breaking glass is simulated by a quantity of broken glass and china flung from one bucket into another.
Effects recorded on 78 rpm discs persisted well into the 1960s, usually alongside live effects. A theatre would typically have two independent turntables and amplifiers, as an insurance against breakdowns, each with access to several loudspeakers. The records were generally hired from specialist companies.
Tape decks are also installed in pairs, for back-up purposes but also because one may be taken up by tapes of house-music or by loops—small continuous tapes of repetitive sounds such as birdsong. Other effects are combined on a conventional tape in the order in which they will be used. Many sound effects are now recorded on cartridge machines similar to those used for advertising ‘jingles’.
