Yeast Nation , Content Design

Tectonic Plates

This cue played at varying intensities whenever the overarching theme of the show was challenged. Its intention was to help emphasize that the major theme of the show was destroying society and their physical world.

The muck is a new form of sustenance for the entities of this world. This sound played in conjunction with lighting whenever it appeared onstage. The muck was never seen, but only implied via a glowing metal bucket.

Muck Sounds

One of the biggest moments for this production is when the two protagonists breach the surface of the ocean to discover another source of sustenance for their kind. This sound was a complex sequence of bubbles in the middle of a song that would end with a big splash, to be called on the Stage Manager's GO.

Breaching the Water's Surface

Death Sounds

Death is a very common moment in this show. In this production, each death was paired with a solenoid drop, and light cue, and this sound cue. Each death shared a common motivation: being cut open and spilling their "jellies" (a.k.a their innards).

Console Program Change Via MIDI Cues

My A1 and I wanted to use this particular production as an experiment to see how we could maximize the use of QLab for show control, which led us to this: two separate cue lists. One cue list where I built the content for the show (below), and one cue list that my A1 would use to fire sound cues that were not controlled via OSC, as well as fire MIDI cues that executed program changes within the sound console (Yamaha CL3). We used a MIDI GO box to fire a MIDI program change into QLab which targeted the Primary Cue List. This allowed my A1 to mix the show and take all of their "GO's" while I edited sound cues live on a different cue list.

Yeast Nation QLab Session, Primary Works

The content design for this production was much larger originally anticipated; and with over four hundred light cues, the lighting designer and I decided to use OSC to take an immense burden off the Stage Manager. The lighting team wrote OSC strings that would fire specific cues in the "sound cue structures" cue list (identified with whole numbers and a green highlight). This allowed my A1 to use the "primary cue list" to fire his MIDI program changes as well as the few sound cues that were not fired via OSC (identified with decimal numbers).

Open Sound Control-Collaboration with the Lighting Designer

Yeast Nation QLab Session, SQ Structures