Phone rings revisited

A little while ago I posted a few thoughts about using phone rings in theatre sound design, and I posed some questions about the nature of ring tones, and how to communicate to the audience that a musical ringtone was actually a phone ringing and not just some song playing on a radio somewhere.

Here’s what I said at the time:

However, there’s a further issue in that most pop-song ringtones these days are mp3 snippets of the actual recording. This is a dicey thing when you’re dealing with diegetic sounds and scoring, because if the audience hears a short piece of music in a play or film, they’re not going to automatically think “telephone.” They might first think “radio” or “soundtrack.” You could make sure the song is filtered and sounds like a low-quality mp3 through a tiny speaker, but it still may not communicate “telephone” as quickly and directly as the electronic chirps.

Since then I’ve worked on a couple more shows that required celphone rings (including a production of Hamlet in which Ophelia sends and receives texts throughout the show), and I found a simple and –on reflection– pretty obvious solution to the issue. I recorded the distinctive brr-brr sound of a celphone vibrating, added that to the sound of the ringtone music, and voila. No question what that sound is, to a contemporary audience.

So simple it’s silly. Funny how the obvious solutions can escape us sometimes.


About toxicbag

Toxic Bag Productions, Inc. provides sound effects and music for independent films, animated shorts, theatrical productions, dance performances, podcasts and video games. They work out of their studio on the north side of Chicago.

Posted on February 1, 2014, in Theatah and tagged , , . Bookmark the permalink. Leave a comment.

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