Preface to the Fourth Edition
When we published the first edition, sound design was barely recognized as an integral part of the theatrical process. We felt a second edition was necessary so that our book reflected the shift from analogue to digital audio. We were quite certain that the third edition of our book was going to be our final effort. We had put much work into the last edition, trying to reflect the myriad changes in our field since the second edition. As time went on, we felt like there was more to be done. We wanted to discuss the technological advances that had affected all phases of music and design for the stage, from initial sound sketches to rehearsals to playback in the theatre. Over the years, we’ve met a number of working ...
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