Jacob's Legacy in Broadway Sound Design
The evolution of modern musical theatre audio owes a significant debt to the innovative work of Jacob, a pioneer who bridged the gap between the raw energy of rock concerts and the structured environment of the Broadway stage. By introducing rock music aesthetics and advanced audio engineering to the theatre, Jacob transformed how audiences experience sound in live performances.
Modernizing the Stage with Hair
Jacob's entry into the theatrical world began in February 1970 when producer Michael Butler recruited him to address poor sound quality in the Boston staging of Hair. Jacob revolutionized the production by implementing a rock-inspired approach, increasing the number of loudspeakers for greater volume and utilizing fixed microphones for the band and singers. He also introduced one of the first VHF wireless microphones by Edcor for specific songs.
The results were immediate. Lighting designer Jules Fisher noted a stark improvement in quality, leading both men to be dispatched to other cities and Europe to modernize local productions. In these regions, Jacob faced resistance from traditional theatre crews in England and France, who found his dynamic designs difficult to implement. By January 1971, Jacob redesigned the original Broadway production of Hair. Notably, he began calling himself a sound designer, a term that was uncommon in the industry at the time.
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Saving Jesus Christ Superstar
In 1970, the concept album Jesus Christ Superstar became a hit, leading to a Broadway production at the Mark Hellinger Theatre. Despite having a team of collaborators from Hair, the show suffered from severe audio failures during previews. Producer Robert Stigwood brought Jacob in to rescue the production.
Jacob identified a critical flaw: the show relied on multiple wireless microphones from England that suffered from intermodulation—a phenomenon where two or more transmission frequencies interact to create spurious radio signals. Recognizing that wireless technology was not yet stable enough for multiple simultaneous users, Jacob made the radical decision to switch to wired microphones. This required the troupe to reorganize their choreography and the scenic designer to hide the cables.
Beyond the microphones, Jacob improved the acoustic environment by uncovering the orchestra pit, which had been sealed for isolation but was muffling the sound and overheating the musicians. He also replaced home hi-fi JBL Paragon speakers with professional McCune JM3 units to improve spatial imaging. Through his partnership with John "Jack" Shearing of Masque Sound, Jacob successfully navigated the suspicions of the IATSE Local 1 union stagehands, training operators like Michael O'Keefe in the use of 16-fader consoles.
Expanding Horizons: Bicoastal Ventures and Pippin
Between 1972 and 1974, Jacob balanced various roles, including a tenure as president of Electric Lady Studios to organize the Jimi Hendrix tapes. He also co-founded CMI Consultants for large-scale events and designed sound for the National Lampoon comedy Lemmings and the touring production of The Who's Tommy. His work on The Rocky Horror Show in West Hollywood and New York further cemented his reputation for a "delicious" rock-and-roll sound.
His collaboration with choreographer Bob Fosse on Pippin marked a milestone: the first time sound design was integrated into the staging and choreography from the very beginning. Jacob utilized shotgun microphones (highly directional microphones) as foot, area, and scenery spot mics. This allowed Fosse to direct performers toward specific microphones to emphasize their voices, resulting in a crisper and louder sound than contemporary productions.
The Beatles Tributes and Technical Innovation
Jacob's work on Beatles-themed productions pushed the boundaries of audio technology. For Sgt. Pepper's Lonely Hearts Club Band on the Road, he implemented a quadraphonic sound system with a four-bus mixer and joysticks to pan sound around the venue.
In Beatlemania, Jacob aimed for total faithfulness to the original recordings. He used a Mellotron keyboard sampler for tape loops and an Eventide Harmonizer to recreate the specific "Shuk-k-ka" sound of "Come Together." He also insisted on placing the mixing console in the center of the audience—a standard for rock concerts but a rarity for Broadway—to ensure precise balance. This production was hailed by peers as one of the best-sounding shows in history.
Decades later, in 2010, Jacob designed the sound for Rain: A Tribute to the Beatles. This production utilized modern digital technology, including a DiGiCo SD8 console, Meyer Sound line arrays, and Yamaha PM5D digital monitors with wireless in-ear monitors for the performers.
A Chorus Line and the Art of Naturalism
In 1975, Jacob worked with Michael Bennett on A Chorus Line, where the goal was a naturalistic, "audition-style" sound. He placed a row of shotgun microphones at the stage edge, with the choreography adjusted to accommodate them. To manage the offstage band, Jacob applied soundproofing to the loading dock at The Public Theater.
When the show moved to the Shubert Theatre, Jacob added an offstage vocal booth and a large EMT plate reverb unit to enrich the vocals. He used custom-made 16-channel stereo mixers by Louis Stevenson to blend the orchestra and vocals. In a unique psychological touch, Jacob coordinated with the building engineer to shut off the air conditioning during a pivotal speech by the character Paul, lowering the noise floor to increase tension.
Jacob's work on A Chorus Line eventually extended to London's Drury Lane, where he partnered with Jonathan Deans and Autograph Sound, sparking a long-term professional relationship.
Key Facts
- Pioneering Role: One of the first professionals to be credited as a "sound designer" in Playbill.
- Technical Firsts: Introduced the technique of hiding wireless microphones at the hairline (used in Chicago).
- Equipment Innovation: Integrated rock-concert technology, such as quadraphonic sound and high-volume loudspeaker arrays, into Broadway.
- Collaborative Design: First to integrate sound design into the early choreography and staging process (notably in Pippin).
- Industry Impact: Helped transition theatre audio from simple amplification to complex, immersive sound design.
| Production | Key Technical Innovation | Notable Equipment/Method |
|---|---|---|
| Hair | Rock music aesthetic | VHF wireless mics, increased loudspeaker volume |
| Jesus Christ Superstar | Intermodulation fix | Shift from wireless to wired mics; McCune JM3 speakers |
| Pippin | Integrated sound/choreography | Shotgun microphones as foot and area mics |
| Beatlemania | High-fidelity reproduction | Mellotron, Eventide Harmonizer, center-audience mix position |
| A Chorus Line | Naturalistic audio | EMT plate reverb, custom Stevenson mixers, noise floor control |
Frequently Asked Questions
What is intermodulation in the context of sound design?
Intermodulation is a type of radio frequency interference that occurs when two or more transmission frequencies interact, creating spurious signals. Jacob encountered this in Jesus Christ Superstar, which led him to replace the unreliable wireless systems with wired microphones.
How did Jacob change the role of the sound operator on Broadway?
Jacob pushed for the mixing console to be moved from the stage wings or balcony to the center of the audience seating area. This allowed the operator to hear exactly what the audience heard, enabling much finer control over the sound balance.
What are shotgun microphones and how were they used in Pippin?
Shotgun microphones are highly directional microphones. In Pippin, Jacob used them as foot and scenery spot mics, and the choreographer directed performers to stand in front of them to bring their voices to the foreground.
Why was the air conditioning turned off during A Chorus Line?
Jacob requested the air conditioning be switched off during a specific, revealing speech by a performer to lower the venue's noise floor, which created additional psychological tension for the audience.
What was the significance of Jacob's credit in Playbill?
Jacob was only the second person to be officially credited as a "sound designer" in Playbill, following Jack Mann in 1961. This helped establish sound design as a distinct professional discipline in musical theatre.