The role of theatre sound grows increasingly important, mirrored by technical advances and the ever-increasing expectations and perceptions of producers, directors and audiences. Both Orbital and the National are concerned about a skills shortfall and a gerneral lack of oppportunties for up-and-coming industry proffesionals to get hands-on experience with the latest audio technology.

The event was initiated by Orbital's Simon Whitehorn and the National's Rob Barnard, and took place at two locations - the National and Orbital's Brixton HQ - over a four day period. The creative and conceptual workshops were staged at the National, leaving the in-depth technical sessions to take place at Orbital Sound.

The course was designed as a 'top-up' for final year Stage Management and Technical Theatre students. Nine candidates were nominated by various London drama schools. They participated in ten carefully structured classes co-hosted by Orbital and National staff and engineers.

Rob Barnard, head of sound at the National, commented that he's worked with Orbital and Simon Whitehorn for many years and that combining their sources and expertise seemed a logical move, enabling them to realise the intensive training course.

Barnard and Whitehorn both graduated from drama school, so they feel that this type of training is ideal for sound in theatre. "Our aim is to help provide the more advanced skills as a 'top-up' to the excellent basic training given by drama schools," commented Whitehorn.

The four-day programme was offered at no expense to students or drama schools and covered a wide range of subjects. Particular emphasis was drawn to produciton engineering skills, specialist programming using Akai samplers and ProTools editing, as well as the programming of automated mixing consoles.