Sound & Projections designer

Nathan Davis

Copyright 2013-2018. Nathan Davis. All Rights Reserved. 

To the right are a few screenshots of my digital audio workstation during the design of this cue.

​(Click to enlarge)

Play Documentation and plans

Cue #65

My Approach:

• This would be Prospero's epilogue underscoring (Act 5).  It begins with a sorrowful drone followed by a bit of string & orchestral music playing softly during his monologue.

Cue #47

My Approach:

• This is the god's song underscoring.  The music is a happy magical swinging string movement that is the background for the singing taking place onstage by the gods.  (Act 4, Scene 1, Line 121)  Note: this cue likely would never play to its conclusion and would be faded out by the following cue.

Cue #44

My Approach:

• This is an "god" entrance underscoring theme--such as one that would be used around Act 4 Scene 1 Line 67.  There are a few different variations of this cue.

Cue #43

My Approach:

• This cue is a bit of underscoring in Act 4 Scene 1 around Line 67 for the banquet.  It is a eerie but still magical bit of string-centric music as the gods begin to enter.

Cue #11

My Approach:

• This cue called for the "tempest maelstrom effect" to takeover (replace cue #4) as the ship breakup sequence (cue #10) continues.  Thunder and lightning sounds continue and increase in intensity along with the wind, rain, Ariel, the cries of lost sailors, and a touch of magic.

Cue #10

My Approach:

• This is the shipwreck effect in Act 1 Scene 1 around Line 63.  Essentially it is as advertised along with a confused rustling noise, wood creaking, wood breaking, sails flapping, and a touch of magic.

Cue #6

My Approach:

• This cue is the ominous and foreboding noise of wood creaking.  Played through the correct equipment it sounds very deep as if something massive is about to break.

Cue #4

My Approach:

• The Tempest Effect--or the maelstrom sequence.  The beginning of this cue is hallmarked by a "audience shacking" thunder / lightning sound.  It is accompanied with the sound of a great storm, churned sea, and ferocious wind gusts.
  

Cue #3

My Approach:

• This cue would be played immediately after the pre-show (airline "the exits are over there") announcement and blackout.  This cue begins the introduction to the actual tempest in the play by building the storm with increasing wind, surf, and gust intensity.

Cue #1

My Approach:

• I wanted to create a "light storm" ambience as the audience was entering the theatre.  This cue is essentially a light wind blowing with the occasional subtle build along with the rare ocean surf noise.

The Tempest  Sound Examples

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