Sound design for musical theater - POPA
Gastón Briski

Sound design for musical theater


This course explores all the fundamentals of creating a large-scale sound design by tracing the technical and artistic journey from the starting point of a project to the post-release stage.

Gaston Briski trained musically in New York, Puerto Rico and Argentina. With more than 30 years of experience and with 12 international awards, he is today the most recognized sound engineer in the industry.

The course proposes unique tools to understand the world of sound design, from how to interpret and select spaces, content and equipment to optimize their use according to budgets, to millimetric preparation to achieve great performances in concerts, musical theater or conventional theater.

The modules offer new knowledge, never within reach before and wonderfully complement others, exploring the different types of designs and illustrating with plans and graphics all the explanations of how to make shows sound in theaters, open or closed stadiums and different spaces.

We will see all the decisions to be made in the pre-production, equipment selection, set up, rehearsal and post-premiere stages, and how to develop the enormous planning of each one of them.

A course for anyone with the concern to treasure all the concepts, advice, explanations, ideas and experiences of the sound designer of unique brands such as The Phantom of the Opera, Billy Elliot, Mary Poppins, School of Rock, Jesus Christ Superstar, Sunset Boulevard, West Side Story, Once, Cabaret, The Beauty and the Beast, A Chorus Line, Cats, Sweeney Todd, Spring Awakening, Nine, Miss Saigon, Chicago, Les Misérables, among many more.


  • Sound engineers
  • Sound designers
  • Musical directors
  • Directors
  • Producers
  • Tour managers
  • Stage managers
  • Set designers
  • Composers
  • Musical coaches
  • Musicians or people with an interest in aspects of music
  • Arrangers
  • Sound technicians from any field
  • Technical educators
  • Advanced students of this profession
  • Operators
  • Microphone operators
  • Journalists, art critics and related areas
  • People from disciplines linked to the theater industry and performing and visual arts
  • People interested in arts who want to discover how the different disciplines come together to make the magic of a show happen on stage


Module 1

1.1 Introduction.
1.2 What is Sound Design? – Part 1 -Creativity vs. technical skills.
1.3 What is Sound Design? – Part 2 – Concepts and branches.
1.4 What it takes to be a Sound Designer – Part 1 – Interests and curiosity.
1.5 What it takes to be a Sound Designer – Part 2 – Knowledge and skills.
1.6 A Brief history of Sound Design.

Module 2

2.1 First contact with the project.
2.2 Production calendars.
2.3 Studying the content.
2.4 The result.
2.5 Review and venues.
2.6 Content vs. Space interpretation.
2.7 Initial equipment decision Part 1.
2.8 Initial equipment decision Part 2.

Module 3

3.1 Initial pre-visit draft.
3.2 Line Array and preliminary drawings.
3.3 Foldback.
3.4 Choosing console and Patch – IN.
3.5 Choosing console and Patch – OUT.
3.6 Initial draft list.
3.7 Intercomms.

Module 4

4.1 A visit to the venue.
4.2 First impressions on the venue.
4.3 Confirmation of venue speaker placement.
4.4 Genre / venue compatibility.
4.5 FOH Control placement.
4.6 Visit summary and conclusions.
4.7 CREW.
4.8 Defining the final equipment list.

Module 5

5.1 Producers vs. Designers.
5.2 Final considerations before defining the final equipment list.
5.3 Analyzing a list.
5.4 Choosing a Sound Company.
5.5 Choosing a Sound Company – Subsitutions.
5.6 Preparing equipment in the warehouse.
5.7 Designs for touring.

Module 6

6.1 Introduction to fit-up.
6.2 Pre fit-up meeting.
6.3 Starting the fit-up.
6.4 Programming the console.
6.5 SFX.
6.6 Week before Cast on Stage.
6.7 System tuning.
6.8 SFX Adjustments.

Module 7

7.1 Checklist before Cast on Stage.
7.2 Cast on Stage Day 1.
7.3 Cast on Stage Week 1.
7.4 Cast on Stage Week 2.
7.5 Sitzprobe.
7.6 Orchestra Soundcheck Part 1.
7.7 Orchestra Soundcheck Part 2.
7.8 First day with orchestra and Cast on Stage.
7.9 Rest of the week with orchestra and Cast on Stage.

Module 8

8.1 Introduction to Sound Mixing.
8.2 The Mix Part 1.
8.3 The Mix Part 2.
8.4 Previews part 1.
8.5 Previews part 2.
8.6 Opening Night.
8.7 The Sound Bible.
8.8 After the Opening 1.
8.9 After the Opening 1.
8.10 Closing.

Gastón Briski

Musically trained in New York, Puerto Rico and Argentina, he has been working for more than 30 years in international musical theater productions such as Sunset Boulevard, The Phantom of the Opera, Once, Waitress, A Chorus Line, La Bella y la Bestia de Disney, Cats, Cabaret (under the direction of Sam Mendes), Mary Poppins, Los Productores, Sweet Charity, Nine, El beso de la Mujer Araña, Rocky Horror Show, among others. He has served as head of sound/engineer in theaters in the United States, Italy, Spain, Brazil, Mexico, Argentina, Russia, Korea, France, United Arab Emirates, Germany, Switzerland, Italy, and Australia, among other countries. He has been awarded for his sound design in works such as West Side Story, School of Rock, Billy Elliot, Priscilla, Hair, Piaf, Sweeney Todd, Jesus Christ Superstar, Despertar de Primavera, Eva, el gran musical argentino and Tango Feroz.


  • Audio: Spanish
  • Subtitles: English
  • Duration: 7h 14min of original material
  • Program: 8 modules
  • Price US$: 98
  • Price AR$: 9800