Sound Designer

This document details some of the work generally performed by the sound designer. It is not a definitive document as the duties of the sound designer will always be influenced by the needs of the production and the assigned crew.

Job description

The sound designer is responsible for everything that is heard within the performance. The sound designer determines what music or sound effects to use and how these will be created, the positioning and use of the speakers, and any vocal reinforcement required (eg microphones). The sound designer will supply the Head of Sound with a sound cue list, microphone requirements, and speaker placement diagrams. The sound designer may also be responsible for creating any original music or sound effects. During sound plotting they will determine the placement and levels of cues, and attend technical and dress rehearsals to make any necessary changes.

As soon as you are assigned to a production

• Get a copy of the script and read it, once to just read it, then again making notes on your first impressions of the sound design.
• Meet with the director to discuss your first thoughts regarding the design, and the director’s thoughts and requirements. It can be very difficult to describe sound, so use as many reference sound effects as you can get.
• With the head of sound, stage manager and production manager, set dates for rehearsal sound effects, final sound effects, and plot.
• Obtain information about the performance space, usual speaker positions and available equipment. These may be in the form of plans and lists.

The next step (as soon as possible)

• Begin creating your design concept and discussing it with the director. Focus on the overall “feel” of the sound rather than specifics at this stage. Use references where possible.
• Once you have formalised your design concept, begin sourcing your sounds, or creating new sounds/music if need be. Share them with the director in frequent meetings.
• Give a list to the head of sound, of any sound effects you would like them to source/create. Check in with them frequently.
• NOTE: If you are using copyrighted music, you usually need to apply for permission to use it in your performance, and should do so as early as possible. This is NOT required at the Hayman as an exception is made for educational purposes.

For each rehearsal session

• Read the stage manager’s rehearsal report to check for any relevant information, and respond to it.

Three to four weeks prior to first performance

• Meet with the head of sound frequently to share any sound files either of you have obtained. Continue to do this until all sound files are finalised.
• Attend any full runs of the show in rehearsal. From this, make additional notes about how the sound should “feel” at each point in the show, and any additional sounds.
• Notate cue points on the script. Use pencil, as these will likely change.
• Make a draft cue sheet and sound files, using QLab (sound playback software).

Two weeks prior to first performance

• Attend any more full runs of the show in rehearsal.
• Have a cue meeting with the director, stage manager and head of sound, where you discuss the draft cue sheet and sound files. This is an opportunity to make sure you are on the same page with the director and haven’t missed a sound effect, for example, and for the stage manager to start marking cues into her or his prompt script.

One week prior to first performance (production week)

• Oversee the sound bump in, if you are changing the placement of speakers and/or microphones.
• Plot the sound, with the director, stage manager, and head of sound. This is where each cue point is finalised and the levels (volumes) are set.
• Make any changes required from plotting.
• Attend all technical and dress rehearsals, and make changes as required.

For each performance

• Read the stage manager’s performance report for each show, and respond to anything relevant.

After the season (bump out)

• Final design documents should be archived for future reference.
• Evaluations and feedback