[Revised for QLab 4.1 13 JUL 17]
The problem with recorded telephones is getting them to sound natural, regardless of whether the actor picks up the phone in the middle of the ring, or during the decay.
This method is based on a technique by Rich Walsh, that he based on work by John Leonard. I have tidied this up for QLab 3 and, as I had a selection of rings that I had personally recorded, have bundled them in to a complete workspace with audio. There are British and US style cadences. Feel free to cut and paste them into your shows if you find them useful.
This video demonstrates how QLab is programmed.
How It Works:
There are 2 possible options in cue 2.5 when the phone is answered.
If the bell is between rings, the audio cue will devamp, exiting it’s loop and playing to the very end of the decay.
If the bell is ringing, then a second sample, consisting of a ping with the full tail will play, and the original audio is stopped.
Only one of these options is armed at any one time. A conditional loop runs alongside the audio loop in cue 2 and arms and disarms the appropriate options in Cue 2.5
You can download workspaces and the audio samples here
This is a new version of the workspace (v5). It contains a file for QLab 3 that will open in QLab 4.0 and a new version for QLab 4.1. Thanks to Bradford Chapin at the American Players Theatre, Wisconsin for finding a bug which could cause the ring to continue if answered within a fews hundred milliseconds of a ring starting.
Photo Credit: Photograph ©Mic Pool 2009 All rights reserved.
Telephone recordings by Mic Pool 2009 distributed here under a Creative Commons 0 License