Orbital Sound Ltd

Continued Success for Orbital and The National Theatre Annual Training Scheme

Thumbs-Up for 7th Annual Training Course

As in previous years, the course fused theory with a hands-on approach. A particular emphasis was placed on production engineering in a digital domain featuring playback systems and desks. In addition, key aspects of audio production were featured including theatre communications and radio mic systems.

Roland Higham from d&b Audiotechnik hosted a dedicated lecture and presentation entitled "Electroacoustics and Sound System Design".

The week was rounded-off with students being grouped and asked to stage a selection of finale productions (mostly based on passages from Shakespeare - and all with a total emphasis on sound). Putting all their learning into practice, this added an extra practical - and absolutely hands-on dimension for the students, in preparation for their on-going careers in theatre sound.

Orbital's MD Chris Headlam commented:

"We believe that it is extremely valuable to offer students the opportunity to gain an extra level of technical skill and artistic understanding. Now in its seventh year, we feel that this course has become very established and provides a valuable role in expanding students' skills-sets to enable the level of competence necessary in contemporary theatre."

The National's Matt Evans added:

"This was a very successful edition of our course. It's great to see that it has grown in popularity and that students appreciate the opportunity to get to grips with technology, preparing them to enter the real world of theatre sound."

Theatre sound specialist Orbital and The National Theatre sound department have combined forces to deliver their seventh course for stage management and technical theatre students keen to pursue sound as a career. This year the course was expanded to fill five working days and combined in-depth theory lectures with practical hands-on sessions.

Both Orbital and The National are concerned that there is a skills shortfall - that young people entering the industry have little experience of the latest technology and techniques. The course is designed to enhance the "skills sets" of students in line with the growing expectations of directors, producers and audiences.

28 students all studying on technical courses at UK drama schools attended. Drama schools represented this year were: GSA Conservatoire, Guildhall School of Music & Drama, Bristol Old Vic Theatre School, Royal Scottish Academy of Music & Drama, Central School of Speech and Drama, RADA, Queen Margaret University and Rose Bruford College of Speech & Drama.


The course was co-designed by Simon Whitehorn (who spearheads Orbital's training programs) and The National Theatre's Rob Barnard and was hosted by staff from both organisations who led the seminars and work-shops.

Orbital's Theo Holloway, Gareth Owen, Bill Addison, Jeremy Ellis and Richard Carter presented various sessions. The National contributed with a detailed tour of its sound facilities hosted by NT in-house sound expert, Matt Evans.

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As in previous years, the course fused theory with a hands-on approach. A particular emphasis was placed on production engineering in a digital domain featuring playback systems and desks. In addition, key aspects of audio production were featured including theatre communications and radio mic systems.

Roland Higham from d&b Audiotechnik hosted a dedicated lecture and presentation entitled "Electroacoustics and Sound System Design".

The week was rounded-off with students being grouped and asked to stage a selection of finale productions (mostly based on passages from Shakespeare - and all with a total emphasis on sound). Putting all their learning into practice, this added an extra practical - and absolutely hands-on dimension for the students, in preparation for their on-going careers in theatre sound.

Orbital's MD Chris Headlam commented:

"We believe that it is extremely valuable to offer students the opportunity to gain an extra level of technical skill and artistic understanding. Now in its seventh year, we feel that this course has become very established and provides a valuable role in expanding students' skills-sets to enable the level of competence necessary in contemporary theatre."

The National's Matt Evans added:

"This was a very successful edition of our course. It's great to see that it has grown in popularity and that students appreciate the opportunity to get to grips with technology, preparing them to enter the real world of theatre sound."