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	<title>MixAction Theatre Sound Cue Software</title>
	<link>http://mixaction.com</link>
	<description>Theatre Sound Cue Software For Theatrical Mixing Of Music, Sound Effects And Stage Plays</description>
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		<title>Theater Sound Cue Royalty Free Music And Sound Effects – Theatre-Sound-Cues.Mixaction.com – Free Downloads</title>
		<description><![CDATA[We're happy to announce that that resource has just gone live.  CDROO 100% Royalty Free music and sound effects is our website dedicated to providing music and sound that can be used in your theatrical productions for a one off payment.  No ongoing license fees or forms to fill out. Discount voucher...]]></description>
		<link>http://mixaction.com/theater-sound-cue-royalty-free-music-and-sound-effects-%e2%80%93-theatre-sound-cues-mixaction-com-%e2%80%93-free-downloads/</link>
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		<title>Theatre Sound Cue Theory &#8211; How to Produce Quality Audio &#8211; Panning For Impact</title>
		<description><![CDATA[There’s a lot we, as theatre sound cue designers, can learn from the studio recording industry.  In the studio it’s very much about definition or clarity.  Frequently a “mix” bares little true relationship with the real world.  Rather it’s an implied accuracy designed to satisfy the listener. Creating satisfying sound cues, particularly  those composed of multiple tracks, can and indeed should use similar principles.]]></description>
		<link>http://mixaction.com/theatre-sound-cue-theory-how-to-produce-quality-audio-panning-for-impact/</link>
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		<title>Theatre Sound Theory &#8211; Avoid Feedback At Performance Time  Five Ways That Work</title>
		<description><![CDATA[Those of you who are old enough to remember the music of the 1980’s when it was new might recall a band called Ficher Z and their album named “Going Deaf For A Living” (hint it featured the song “So Long”).  As theatre engineers the album name rather aptly applies to us, it’s something we do indeed risk doing.]]></description>
		<link>http://mixaction.com/theatre-sound-theory-avoid-feedback-at-performance-time-five-ways-that-work/</link>
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		<title>You Were Asked To Do Sound Cues For A Local Theatre Group &#8211; Now What?</title>
		<description><![CDATA[Whether it’s your first time, or you’re a seasoned sound cue artist, organization is at the heart of preparing for theatre sound cue performances.  Those of you who are seasoned will have your own tricks for preparation – please feel free to share those in the comment section below – but if you’ve never done it before it may come as a surprise to learn...]]></description>
		<link>http://mixaction.com/you-were-asked-to-do-sound-cues-for-a-local-theatre-group-now-what/</link>
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		<title>Theatre Sound Cue Theory &#8211; Parametric Equalisers &#8211; An Introduction</title>
		<description><![CDATA[While most folks are are familiar with the “Graphic Equalizer” – arguably the most abused special effect after reverb and echo – I’ve not witnessed to many live engineers and in particular theatre sound engineers using Parametric EQs often.  A great pity as they are an awesome tool, once you get used to them, and useful in a variety of situations.]]></description>
		<link>http://mixaction.com/theatre-sound-cue-theory-parametric-equalisers-an-introduction/</link>
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		<title>Theatre Sound Cue Theory &#8211; Licensed To Kill &#8211; Destroying The Room Reverb Gremlins</title>
		<description><![CDATA[The article I posted recently generated some feedback here on the relative merits – or not – of using reverb effects in our sound cues for theatre.

Let me start this one by stating emphatically that I do not advocate washing sounds in reverb or any effect merely for the sake of it.  Less is definitely better and none is best if possible – beyond the process of creating “that effect” you need for a specific situation.  Effect abuse is a common malady of people starting out in audio mixing.]]></description>
		<link>http://mixaction.com/theatre-sound-cue-theory-licensed-to-kill-destroying-the-room-reverb-gremlins/</link>
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		<title>Learning From The BBC Goon Show For Theatre Sound Cues?</title>
		<description><![CDATA[One of my favourite things as a child was listening to the Goon Show from the BBC, re-broadcast here in Australia on ABC radio.  The humour appealed to me even then.   But it’s not the humour, as fun as it was, that I want to concentrate on in this article.  Here on this blog we’re primarily concerned with theatre sound and specifically theatre sound cues.]]></description>
		<link>http://mixaction.com/learning-from-the-bbc-goon-show-for-theatre-sound-cues/</link>
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		<title>What Happened To The &quot;TwoCan&quot;?</title>
		<description><![CDATA[Times change, companies shift their focus to match the needs of their customers.]]></description>
		<link>http://mixaction.com/what-happened-to-the-twocan/</link>
			</item>
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		<title>Theatre Sound Cue Theory &#8211; What&#8217;s Reverb?</title>
		<description><![CDATA[While most readers will probably be aware of reverb having been exposed to it in general life – bathroom to Grand Canyon, special effect “reverb units” and it’s abundant use in modern music and records, to use it effectively it’s important to understand it’s nature and the variety of types of reverb that are available...]]></description>
		<link>http://mixaction.com/theatre-sound-cue-theory-whats-reverb/</link>
			</item>
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		<title>Using Audio Software for Theatre Productions</title>
		<description><![CDATA[For most people starting out with pre-recorded audio, for use in theatre productions, it’s important that the basics are easily accessible with a minimum of fuss.  At the same time the more experienced and professional are increasingly turning pre-recorded theatre sound cues into part of the art of theatre.]]></description>
		<link>http://mixaction.com/using-audio-software-for-theatre-productions/</link>
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