Dialogues about sound

Dialogues about sound

September 20-21, 2022

Conference hall D1, entrance D, pavilion 1, 3rd floor

Open discussions on current topics for beginners and practitioners.

Live dialogues are waiting for you with respected specialists in the show industry. The conference will be useful for sound directors, engineers, technical directors, and anyone who is interested in professional sound.

September 20
Microphone systems in theatrical productions

Ekaterina Vachugova
Microphone operator, sound engineer

Working with microphones in theatrical productions is a technically complex task that requires a variety of knowledge and skills. Features of microphones of different systems and brands, the principles of radio frequency management, work with highly specialized software, the location of microphones and transmitters on the body of the artist, communication between the technical departments, cleaning and storage of microphones - these and many other aspects of the theatrical microphone operator will be disclosed in this topic.

Working with sound on tour with a rock band
Nikolay Lukyanov
Diana Arbenina's (Nochnye Snaipery) sound designer
  • Preparation (technical; musical; artistic; playback)
  • Defining one's role and assigning responsibilities
  • Installation/Dismantling (consistency; speed; equipment selection; microphones; monitoring; radio systems; consoles; processing)
  • Concert (sound check; show; PA)
  • Product (mix from console; multi-track; ambience)

SOUNDCHECK PARTY Bystromix: mixing Basta's track

Ruslan Dmitriev
Sound engineer of the band Basta

Demonstration of how a real pro can mix a track under time constraints


Webinar summaries. What reverb is silent and what the microphone is silent about
Alexander Astakhov
Concert and studio sound engineer.
  • Working with reverb,
  • Equipment selection,
  • Professional Development,
  • Sound in inners and much more

SOUNDCHECK PARTY Fast Mix Competition

  • Five Daredevils,
  • Ten minutes of time,
  • A zeroed in remote,
  • Your talent, skills and experience in mixing a track quickly,
  • Unbiased voting by the audience for the best contestant.
Soundcheck: how to do it quietly and quickly
Vladimir Gubatov
Niletto concert sound engineer. Founder of Sound Designer Parties

A brief plan of actions when there is no more than 15 minutes for soundcheck

September 21

A Systems Engineer's Checklist: Criteria for Evaluating System Design Correctness and Breaking Down Common Errors
Vladimir Zverev

System Engineer

You'll learn about the basic principles of system design, software use, setup, and methods for onsite system validation. These basic principles will be of interest to both touring engineers and designers of fixed sound reinforcement systems.

Selection of loudspeaker parameters
for different applications
Sergey Levshin
Tour sound system developer, concert sound engineer, engineer Leisya Pesnya, Zemlyane, Aria, Silence Pro
  • Peculiarities of sound reproduction at different venues
  • Requirements for different acoustic systems
  • Sources of distortion generation
  • Limit operating modes of drivers and loudspeakers
  • Acoustic measurement techniques

Sound Concepts of Mix Construction

Alexander Astakhov
Concert and studio sound designer

  • Using Dante, madi, and Aes protocols in combination with analog instruments
  • Mix's conceptuality and session organization in Dlive
  • The structure of the mix
  • How to create your signature style in sound
Sufficient number of subwoofers at the concert
Artur Vladikovich
Sound engineer of the band 25/17, Ice 9, Skriptonit, KVATRO.
  • Subwoofer configurations
  • Why so many subwoofers?
  • Approach to choosing a PA system
  • System design at the concert of Skriptonit in Adrenalin Stadium
Multichannel sound in theater

Anton Feshin
Audio Engineer, Sound Designer

Artem Kim
Composer, conductor, theater director and teacher. Lecturer of GITIS.
Modern theatrical sound is a discipline based on a creative alliance between composer and technician. Today, many manufacturers of sound reinforcement systems offer "immersive" systems capable of greatly enriching the palette of the audience's experience by creating original spatial sound images. However, no technology, even the most advanced one, can solve this problem on its own: like any unique instrument, a multichannel immersive sound system needs its own repertoire, created taking into account the technical capabilities of the system and the dramatic tasks of the theatrical performance. Let's talk about the creative tasks, technical possibilities and laws of repertoire creation for modern theatrical productions, where multichannel sound is considered as a means of creating new spectator experiences.
The School of Show Technology