Why is a clarinetist writing sound control software?
(that one’s a real page-turner!) What we now affectionately call Theater Max got its start back in 2001 with a production of Eugene Ionesco’s Macbett, a very strange twist on that famous Danish play of similar name that can best be described as very…well…Ionesco. This was the first production in UCLA’s Theater Department to incorporate interactive technology into a mainstream theatrical production. The tracking system itself was quite impressive (authored by REMAP’s very own Executive Director Jeff Burke). Through a network of sensors on specific props and actors, this system gave the actors the ability to control and influence various aspects of the lighting and sound design during the performance by their position, gestures, and even behaviour as a group. Enter the Clarinetist (cue lovely clarinet music…probably the best you’ve ever heard…seriously…it’s really quite lovely). Prior to Macbett, I had no theatrical sound design experience, however I had done quite a bit of wor
