SOUND DESIGNER

THE JOB DESCRIPTION FOR THIS POSITION WILL INCLUDE THE COMMUNICATION STANDARDS INCLUDED IN THE LIGHTING/SOUND DESIGN SECTION OF THE FOLLOWING DOCUMENT:

Associated Designers of Canada, A.D.C. Standards and Working Procedures

THIS POSITION IS REQUIRED TO SIGN A CONTRACT.

The SOUND DESIGNER, a member of the production’s design team, is jointly responsible for the artistic concept and, through the Audio department, the technical execution of sound cues and effects. In addition to creating the “sound environment” that supports the DIRECTOR’S or CHOREOGRAPHER’S vision, the SOUND DESIGNER designs the sound system, specifying equipment and playback methodology. The building of show tapes may be done by the DESIGNER, or delegated to the HEAD OF AUDIO.

Conceptual direction and input comes from the DIRECTOR or CHOREOGRAPHER, who, with the SET, COSTUME, LIGHTING and SOUND DESIGNERS, works toward a unified and cohesive look for the show. As well as putting their individual concepts and styles on stage, all designers must work to support the DIRECTOR’S and/or CHOREOGRAPHER’S vision.

Designers do not fit clearly into the theatre hierarchy: although production staff works to realize their designs, designers do not supervise in a management sense. All requests for unapproved work or changes to the design resulting in increased costs must be negotiated with Production Management (for budget and scheduling implications), Technical Direction (for overall technical implications) and Heads of Department (for delegation and supervision of staff). The SOUND DESIGNER works very closely with the HEAD OF AUDIO, and both are responsible for executing the design by managing the crew and time assigned to the Audio department.

The SOUND DESIGNER is in regular contact with the DIRECTOR or CHOREOGRAPHER, PRODUCTION MANAGER, TECHNICAL DIRECTOR, STAGE MANAGER, HEAD OF AUDIO, and other DESIGNERS.

At the School, all DESIGNERS must sign a contract, indicating acceptance of all duties and obligations, and outlining design due dates. Failure to perform according to contractual obligations may lead to academic penalty.

The responsibilities of the SOUND DESIGNER shall include but not be limited to:

PRIOR TO REHEARSAL

• Reads the script and makes appropriate notes
• Obtains all necessary and pertinent plans, drawings and inventories; these may include: all plans and sections of the venue; inventories of all speakers, playback and processing equipment, cables, adapters, etc. in the venue; preliminary, completed and approved set designs and other technical drawings of the production
• Initiates a meeting with the DIRECTOR or CHOREOGRAPHER, to discuss concepts
• Meets with the SET DESIGNER to discuss concepts, practical fixtures, fly line and trim height restrictions, masking, etc; meets with LIGHTING DESIGNER to discuss fixture placement, trim heights, and cable runs; meets with the TECHNICAL DIRECTOR to confirm all gathered information is accurate
• Meets with the HEAD OF AUDIO to discuss inventory limitations, hanging positions, cabling, room equalization, sound board capabilities, etc.

DURING THE REHEARSAL PERIOD

• Attends rehearsal often, adhering to the established “Visitor’s Policy”
• Becomes acquainted with the blocking of the show
• Creates a SOUND DESIGNER’S PROMPT BOOK, with blocking and cue placement
• Meets regularly with the DIRECTOR to ensure accuracy of artistic vision, and to obtain on- going approval of recorded sound cues and effects
• Reads, and promptly responds to, all DAILY REHEARSAL NOTES; meets daily with the STAGE MANAGER to obtain clarification and confirm status of requests
• Arranges for a meeting with the STAGE MANAGER (and DIRECTOR and/or CHOREOGRAPHER, if necessary) prior to the Level Set/Sound Cue session in order to develop cue placement and timing in the script
• Researches, either alone or with the HEAD OF AUDIO, any potential sound effects, rental costs, etc. to be aware of budget and time implications when presenting the PRELIMINARY SOUND DESIGN

AT THE PRELIMINARY SOUND DESIGN MEETING

Comes prepared to discuss all preliminary design requirements, including rough inventory of equipment, loan/rental needs, special rigging concerns, rigging over and above the theatre’s standard positions, masking, trim and sightline issues, program sound, and headset issues, and any other aspect of the design expected to cost time or money

Produces, for the meeting, rough sketches, drawings and preliminary plans/sections deemed necessary to explain preliminary design requirements

AT THE FINAL SOUND DESIGN MEETING

Comes prepared to submit and discuss all final plans and lists, including:

• Speaker/Microphone plot (plan)
• Centre Line Section, with trim heights
• Mixing Console layout and patch plot
• Preliminary Cue List
• List of all non-standard or rented items
• Room Equalization strategy
• Program sound/video
• Headset routing

NOTE: Number 7 and 8, Program Sound/Video and Headset routing, may be delegated to the HEAD OF AUDIO, but must be presented at this meeting

AT THE INSTALL/SOUND HANG/ROOM EQUALIZATION

• Attends the install/hang and room EQ session to answer any questions and to make on- the-spot decisions
• Ensures, in an positive manner, the accuracy of the install/hang and room EQ

AT THE CUE SETTING SESSION

• Comes prepared to set sound cues and levels with the DIRECTOR and STAGE MANAGER;
• Works through the show with the DIRECTOR or CHOREOGRAPHER, cue by cue, building cue states and ensuring their accurate placement in the STAGE MANAGER’S script
• Requests additional, dedicated cuing time through the TECHNICAL DIRECTOR and PRODUCTION MANAGER

AT THE Q – TO – Q and TECHNICAL REHEARSALS

• Is present at all technical and subsequent on-stage rehearsals
• Is on headset and, observing established protocol, makes changes on-the-fly where possible, to the levels and placement of cues; makes notes of major changes or time- consuming corrections when headset traffic prevents on-the-fly changes
• Is off headset as of Final Dress Rehearsal, depending on the state of the production, but makes notes of changes/correction

GENERAL

• Attends and participates in all production meetings, including the PAPER TECH
• Takes the initiative in arranging meetings/communication, when necessary, with the DIRECTOR or CHOREOGRAPHER, other DESIGNERS, STAGE MANAGER, and other production staff, to obtain information
• Submits to the TECHNICAL DIRECTOR any documentation deemed necessary to the TECHNICAL BOOK (the technical archive of the show)

AFTER THE SHOW

• Attends and participates in the STRIKE as a crew member
• Attends and participates in the Post Mortem
• Submits written evaluations of all management staff and other personnel with whom they had regular contact, no later than the start of the Post Mortem

This information is intended as a guideline only. It is not intended to replace the required reading or research in your area, or information gained in the classroom.

The demands of this position, and the hours worked, will very with each production.

THE DUTIES AND RESPONSIBILITIES OF THIS POSITION MAY BE ALTERED WITHOUT NOTICE BY THE RESIDENT STAFF AND FACULTY