The Sound of Things is an immersive musical performance created and performed by Daniel Duret. The piano is played live; orchestral elements, soundscapes and vintage radio interludes are recorded.
This overview provides a basis for an initial discussion with the venue. The detailed audio patch, final layout and lighting cues will be specified during technical preparation.
Download the general technical sheet (PDF in French)
Duration and preparation
- Performance: approximately 60 minutes.
- Setup: approximately 2 hours.
- Sound check and tests: approximately 1 hour.
- Strike: approximately 1 hour.
Preparation times are indicative, to be adjusted to the setup and the venue’s resources, then confirmed together. No fixed duration is specified for individual tableaux or interludes.
Stage layout and piano
- Stage: minimum 6 m wide × 4 m deep.
- Piano: stage right (jardin, on the audience’s left).
- Vintage radio: on a small table stage left (cour, on the audience’s right).
- Central space: approximately 3 m clear, to be adjusted to the venue.
An acoustic piano at the venue is preferred if available, with tuning arrangements to be agreed. Otherwise, a digital piano and seat must be arranged with the artist before confirmation. Any amplification and performer monitoring will be determined according to the piano and room acoustics.
Sound and connections
The reference configuration is 7.0 multichannel sound: front left and right, a centre associated with the radio, two side speakers, and rear left and right. Audience coverage and sound balance are assessed with the venue’s technician. A 5.0 adaptation may be considered and approved with the artist.
Speakers, amplification and the console or interface are to be arranged with the venue; independent routing capacity must be checked. A WavePlayer8 is planned as part of the artist’s setup, but the player actually used, routing, connectors and levels remain to be confirmed.
The initial setup envisages eight independent outputs and balanced XLR connections. Output assignments, adapters, piano microphones or connections, sequence triggering and any performer monitor will be agreed during technical preparation.
Equipment and power
- Planned from the artist: vintage radio with battery-powered LED, small table, battery-powered LED reading light, main cabling and XLR/TRS adapters, and black eye masks.
- To be agreed with the venue: piano and seat, sound system, amplification, console or interface, and additional cabling.
- Power: 230 V for the player and control equipment; power for a digital piano, where applicable. Cable lengths and routes to be agreed with the venue.
Lighting and listening conditions
Darkness is sought while maintaining the required safety lighting. Black eye masks are available to the audience; their use is optional.
Audience entry and exit require lighting suitable for moving around. During the tableaux, stage lighting is reduced or switched off; interludes use soft light on the piano and radio. Sources, levels, transitions and controls are to be agreed with the venue.
Provide a quiet environment and limit background noise. Sound levels are set with the venue’s technician; the audience is informed about darkness and changes in sound intensity.
Staffing and audience access
Sound, lighting and front-of-house responsibilities are to be shared between the artist and venue. Staffing numbers and attendance times are agreed before confirmation. The general technical sheet does not provide for a touring technical crew supplied by the artist.
Exits and circulation routes remain accessible. Entry, exit and assistance arrangements for people with reduced mobility and blind or partially sighted audience members are organised with the venue.
The sound layout diagram in the PDF is conceptual and not to scale. The final dimensioned plan, audio patch and lighting cues will be prepared for the hosting venue.
Technical contact: lebruitdeschoses13@gmail.com
