The following notes will tell you a little more about the practical requirements of Sound and hopefully will make you want to get involved. If you have no previous experience of Sound in the theatre then it is usual to start by operating and move on to assisting in design and then to designing. Some people find that their interest remains in operating, others enjoy the challenge of researching for the ‘right’ sound effect or piece of music and then building and editing the cues that make up the sound tracks for a production.

Most of the work in making up the sound tracks is done before the production goes in to The Playhouse or Studio. Whilst the actors are rehearsing their lines the Sound Designer will be busy in the Dubbing Suite recording and editing the sound cues or creating or recording any special sound effects.

Sound reinforcement, required for some musical productions, and larger scale recording are usually dealt with by a more specialist team and are not covered by these notes.

Contact us
If you want to know more or get involved, talk to a member of the Sound Committee or e-mail sound@questors.org.uk - you will be very welcome

The Activity Descriptions (below) tell you more about the tasks involved in getting the Sound of a production up and running.

Background
Sound is part of the overall design of a production and is used to help create the overall audio-visual image essential for a successful production. The Sound Team have to consider how to create the sound effects required, whether it is a simple car arriving offstage or a large scale medieval battle scene. Music is also used to help in setting the scene and creating different moods and changes. An effective sound track will support the production without distracting the audience from following the plot or hearing the actors. A Sound Team effectively paints with sound constrained only by the limits of their imagination and ingenuity in creating the sound tracks.

The Sound Designer will work with the Director to contribute to the overall design concepts and will advise on any potential difficulties, from a Sound viewpoint, that are apparent from the proposed staging arrangements.

The sound tracks will be gradually built up and edited as required. The Designer may work in The Questors' Dubbing Suite, which is well stocked with a range of equipment including facilities for Computer Editing of sound tracks, or off site using their own facilities. The Sound Designer may have several sessions with the director listening to the sound tracks as they are built up and adjusting them as needed to meet the Director's wishes. As the sound tracks develop, the Sound Designer will begin to talk with the Sound Operator so that he or she will have more idea of what will be involved; for example, if there will be a lot of spot cues or mixing, to use different loudspeaker positions.

Some productions require special recordings to be made, a radio programme, off stage voices, music, public address etc, or may need a live microphone for an actor offstage.

Even though the production may be some weeks away, now is the time to get onto a crew list. Contact the Sound Designer, whose name will be on the Production Schedule on the wall in the Members' Office.

The get-in time arrives. In The Playhouse this is midday on the first Sunday. The Sound Crew will rig any cables for additional loudspeakers needed for special sound effects sources or to simulate the on-stage radio or CD player. These cables may have to pass through set walls or go under the stage floor.

Sound starts to be used as soon as the cast is rehearsing on the set, typically the third evening of a get-in period in The Playhouse or the second evening of a get-in period in The Studio. This is likely to be the first time the cast will have heard what the sound track is going to be like.

The next stage is to plot the various sound levels required for each cue and to build up the Production Cue Sheet. It is usual for the first Saturday to be spent on a Technical Rehearsal when all the sound levels, loudspeaker mixes and cue points are finally agreed with the Director and plotted in the script.

By the time the production moves into the final rehearsal stages and carries on into the run, the Operator(s) will have fine-tuned the plot and made any slight changes to sound levels that the Sound Designer has requested.

The Operator has to carry out a sound check before every performance to make sure that every loudspeaker to be used is correctly positioned, all sound sources are working properly and that the control desk is set up according to the plot.

SOUND OPERATOR

Duties:

To work as part of a team trying to achieve an optimum operational Sound design to meet set criteria.

To help install Sound rig in accordance with design plan within time scales allowed.

Adjust loudspeaker or microphone positions as required.

To de-rig Sound at end of production and return equipment to correct storage area.

To check for obvious repair needs on loudspeakers, microphones and cables.

To follow safety instructions at all times.

To declare any vertigo or other similar problem that could affect the safety of you or others.

Skills: (after any basic training required)

Awareness of electrical hazards and risks associated with working at heights.

Knowledge of the different types of Control Desk (mixer), loudspeakers, Mini disk, CD players and other sound equipment in use.

The ability to read and understand Sound design plots and notes.

Write cue sheets and mark up the script in a recognised format.

Concentrate on script and cues with appropriate speed of reaction.

The capability to make/produce/record simple Sound effects or music tracks.

Operate Sound Control Desks in use at The Questors.

Liase effectively with Sound Designer, Director and Stage Manager.

Carry out Sound checks pre production

Commitment required:

Willingness to attend liaison meetings with Sound Designer and to attend rehearsals to become familiar with the production. To work from start of get-in till the last night of the production - typically three weeks in the Playhouse or the Studio). Alternatively work a shift pattern with a second Operator.

Activity Progression

To Assistant Sound Designer or Sound Designer.

SOUND DESIGNER

Duties:
as for a Sound Operator (above) plus:

To execute an effective Sound design to meet the criteria agreed with the Director.

To ensure the Sound operation meets the design criteria.

Skills: (after any basic training required)
as for a Sound Operator (above) plus the ability to:

Translate an initial concept to a finished design based on the play script and other production criteria.

Translate conceptual ideas into practical solutions.

Prepare sound design plots.

Record and edit sound effect tracks.

Select appropriate music tracks.

Record music or other special items off-site if required.

Supervise the Sound crew installing the rig.

Supervise the Sound operation.

Commitment:

Willingness to work from the start of pre-production meetings to the last night of the production as required to complete an effective Sound design - typically several meetings pre-rehearsal, creating and editing sound tracks and attendance at a number of rehearsals. Plus two weeks get-in period (in the Playhouse) or one or two weeks (in the Studio), plus supervision of the production operation as required. An Assistant Sound Designer would carry out similar tasks working alongside the Sound Designer assisting to complete the overall Sound Design.