Sound: Head of Department

Owned by Karen Cook (Unlicensed)
Last updated: Apr 29, 2016
2 min read

This document details some of the work generally performed by the Head of Sound on major shows. It is not a definitive document as the duties of the Head of Sound will always be influenced by the needs of the production and the assigned crew.

 

Job description

Responsible for all technical elements of setting up and operating the sound, in the form of amplification of live sound (using microphones) or playing back pre-recorded cues (music and sound effects). Specific duties include:

  • Sourcing, editing and compiling pre-recorded sound cues, often in collaboration with the sound designer.
  • Recording sound cues when necessary (eg voiceovers), often in collaboration with the sound designer.
  • Setting up microphones.
  • Recording levels during the sound plot.
  • Operating sound for performances.
  • Bumping out all sound equipment after the season, and archiving the audio files.

 

As soon as you are assigned to a production

  • Get a copy of the script and read it.
  • Meet with the sound designer to discuss the general design overview and sound effect list, if available. Determine if any sound effects or music will need to be composed specifically for the production, and if equipment will need to be hired or purchased. 
  • With the sound designer, stage manager and production manager, set dates for rehearsal sound effects, final sound effects, and plot.
  • Begin sourcing and creating sound effects and sharing them with the sound designer. Prioritise anything that is needed for rehearsals.

 

For each rehearsal session

  • Make available any rehearsal sound effects required, and the facility to play them.
  • 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

  • Attend any full runs of the show in rehearsal.
  • Discuss with the sound designer the need and placement of speakers and microphones.
  • Meet with the sound designer and director to discuss details of the sound design, listen to sourced and created sounds, and respond to feedback.
  • Based on this feedback, make changes and continue to meet with the sound designer and director.
  • If the sound designer has not already done so, make a sound cue list.
  • Arrange for any extra equipment to be bought or hired.

 

Two to three weeks prior to first performance

  • Attend any full runs of the show in rehearsal.
  • Continue sourcing sound effects and sharing them with the sound designer and director, and making them available in rehearsals.
  • Prepare the sound cues for playback, using QLab (sound playback software).
  • Share the finalised sound cues with the sound designer and director.

 

One week prior to first performance (production week)

  • Set up the sound system as required.
  • Set up comms (headset communications) if required and practical.
  • Check functionality of show relay to dressing rooms, the bio box, and anywhere else required.
  • With the sound designer, director and stage manager, plot the sound (setting levels and cue points in the theatre).
  • Operate the sound for all technical and dress rehearsals, and make any required changes.

 

For each performance

  • Arrive at the specified call time and carry out all pre-show checks. Use a checklist to ensure everything is checked and set correctly.
  • Operate the show as rehearsed.
  • After each performance, power down correctly.

 

After the season (bump out)

  • Pack up or bump out equipment as required.
  • Return any hired equipment.
  • Production notes and sound files archived for future reference.
  • Evaluations and feedback.