The Sound Designer (SD) selects or creates music and sound effects for the production. The material is then recorded and formatted for playback during performance using a sound system. Also are handled by the SD, are reinforcement, monitoring and intercom.
Duties during the Planning Period: Creative Process
l. Read the script and become familiar with the production concept.
2. Prepare a list of the required sound and music in the script. It is usually helpful to categorize items as follows:
· Live sound;
· Recorded sound;
· Live music;
· Recorded music; and
· Reinforcement or enhancement.
For each classification, note the type and quality desired.
3. Make a sound/music effects worksheet; in consultation with the Director, decide how these sound and music effects are to be obtained.
4. Coordinate in consultation with the Director the location and (possible) recording of musicians, if live music is to be used.
5. Plan the construction and/or location of equipment, in consultation with the Technical Director (TD), Lighting Designer (LD) and Stage Manager (SM).
6. Prepare a time schedule of work and deadlines. Commitments include practice rehearsals, special recording sessions, crew instruction sessions, level setting sessions, technical rehearsals and performances.
Duties during the Preparation Period: Creative Process
l. Organize and supervise the work of the sound crew. This includes run crew members, musicians and singers.
2. Check material available in the Department before ordering, purchasing, renting, or borrowing recorded or printed material. All purchases must be authorized by the Sound TA.
3. Preview all effects, recordings, sheet music, songs, etc. with the Director to assure that they are satisfactory; do prior to level setting sessions.
4. Complete a loan agreement form and Request for Inland Marine Insurance form for all rented and borrowed items.
5. Arrange times with the SM when you can attend rehearsal(s).
6. Do not allow non-authorized people to use audio equipment. KEEP ALL EQUIPMENT SECURED WHEN IT IS NOT IN USE.
7. Make complete and detailed sound cue sheets for all concerned: crew members, singers, conductors, orchestra members, etc. Paperwork must include mixer and speaker settings for stage and support systems as well as the show's patch network.
8. Determine both the ON and OFF stage placement of audio and effects equipment in consultation with the SM and TD.
Duties during the Technical Rehearsal and Performance Period: Creative Process
1. Attend all level setting sessions, technical rehearsals and monitor the progress of the show during performances to maintain quality.
2. Supervise the activities of the Sound Board Operator crew. This crew is responsible for all sound, music and communication, intercom and cue light systems used in the auditorium, lobby and support spaces.
3. Instruct your crew to speak and move about quietly in the booth and backstage areas.
4. Enforce smoking and beverage rules: Neither is permitted ON nor BACKSTAGE nor in the booths.
Duties during the Clean-up Period: Creative Process
l. Supervise the safe removal and storage of all sound, music and communication equipment during strike.
2. Return all departmental equipment to its assigned storage location.
3. Return all borrowed and rented equipment the first week-day following the final performance. Have the loan agreement forms signed by the owner and return them to the Sound TA.
4. After all sound equipment has been stored and the booth cleaned and restored, join the rest of the strike crew.
One crew is not finished until everyone is finished.
Line of Responsibility:
1. Your immediate supervisor is the Sound TA, followed by the Resident Technical Director.
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