{"id":79,"date":"2020-06-29T21:15:39","date_gmt":"2020-06-30T01:15:39","guid":{"rendered":"https:\/\/pressbooks.library.ryerson.ca\/productionhandbook\/chapter\/head-of-audio\/"},"modified":"2020-09-14T21:33:21","modified_gmt":"2020-09-15T01:33:21","slug":"head-of-audio","status":"publish","type":"chapter","link":"https:\/\/pressbooks.library.torontomu.ca\/productionhandbook\/chapter\/head-of-audio\/","title":{"raw":"HEAD OF AUDIO","rendered":"HEAD OF AUDIO"},"content":{"raw":"
\r\n

The HEAD OF AUDIO <\/strong>is responsible for all music and sound effects, mechanical or recorded, and for all production or venue-related sound reinforcement. The HEAD OF AUDIO <\/strong>is also responsible for the program video and backstage audio. This may involve simply sourcing and recording the DIRECTOR'S <\/strong>cue list, or may involve creative research and input into the sound design process itself.<\/p>\r\n

Under the unionized staffing structure, the existence of this job title is negotiated prior to the start of production. If there cannot be a case made for a separate Audio department, due to the simple requirements of the show, this position becomes the ASSISTANT HEAD ELECTRICIAN, <\/strong>and reports to the HEAD ELECTRICIAN<\/strong>.<\/p>\r\n

In the absence of a SOUND DESIGNER<\/strong>, the HEAD OF AUDIO\/ASSISTANT HEAD ELECTRICIAN <\/strong>is responsible for both artistic content of the sound design and the system design. They are also responsible for the program sound\/video system set-up.<\/p>\r\n

The responsibilities of the HEAD OF AUDIO, <\/strong>in addition to those of a HEAD OF\u00a0 DEPARTMENT<\/strong>, may include, but not be limited to:<\/p>\r\n\r\n

GENERAL<\/h5>\r\n
    \r\n \t
  • Meets with the DIRECTOR <\/strong>to determine the content and treatment of sound and music in the production: recorded or live sound or music, pre-show, intermission and post-show music<\/li>\r\n \t
  • Performs any research which may be required<\/li>\r\n \t
  • Makes a list of all sound, music and effects required<\/li>\r\n \t
  • Obtains these items, records them and constructs a high-quality audio files - may be required to produce numerous rehearsal CD's or audio files<\/li>\r\n \t
  • Edits and remixes these sounds as required<\/li>\r\n \t
  • Makes an inventory of all available sound equipment and checks the operational condition of same; reports any lost, broken, damaged or inoperable equipment immediately; logs equipment problems in the BOOTH RECORD<\/li>\r\n \t
  • Plans and drafts a sound plot, detailing the source, type, length and quality of each sound and mapping them against time<\/li>\r\n \t
  • Creates a cue sheet<\/li>\r\n \t
  • Produces and drafts a detailed plot showing the location, cabling, and connection for each piece of equipment in the show, including mixers, computer playback, equalizers, speakers and microphones; produces a patching diagram showing the state of the patch field connections.<\/li>\r\n \t
  • Installs, maintains, and strikes all sound and related equipment<\/li>\r\n \t
  • Plans the number and location of headset stations; ensures headsets are out and in working order prior to each level set, rehearsal and performance; returns headsets to storage after each use<\/li>\r\n \t
  • Plans the program sound\/video system, <\/strong>if not done by the SOUND DESIGNER<\/strong>, and ensures the set up of same<\/li>\r\n \t
  • Operates all elements of the sound system, except as delegated to other members of the production staff<\/li>\r\n \t
  • Plots and tracks the movement of any wireless microphones used by performers<\/li>\r\n \t
  • Records all levels and other settings to each sound effect using clear, concise notation; documents the levels of amplifiers and other preset equipment. Copies the STAGE MANAGER <\/strong>with this information<\/li>\r\n \t
  • Ensures back-up copies of the master audio files exist, and documents the location of storage with the TECHNICAL DIRECTOR<\/strong><\/li>\r\n \t
  • Attends rehearsal often to determine the blocking that will affect microphone or speaker placement<\/li>\r\n \t
  • Assigns crew members specific duties<\/li>\r\n<\/ul>\r\nADMINISTRATION AND SCHEDULING<\/strong>\r\n
      \r\n \t
    • Makes a detailed budget for the purchase, rental or borrowing of sound equipment needed for the production<\/li>\r\n \t
    • Contributes to the creation of a detailed WEEKLY and DAILY SCHEDULE, produced by the PRODUCTION MANAGER<\/strong><\/li>\r\n \t
    • Attends all production meetings and organizes department meetings as required<\/li>\r\n<\/ul>\r\n

      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.<\/p>\r\n

      To be used in conjunction with the HEAD OF DEPARTMENT <\/strong>job description.<\/p>\r\n

      The demands of this position, and the hours worked, will vary with each production.<\/p>\r\n

      THE DUTIES AND RESPONSIBILITIES OF THIS POSITION MAY BE ALTERED WITHOUT NOTICE BY THE RESIDENT STAFF AND FACULTY<\/strong><\/p>\r\n

      <\/p>\r\n\r\n<\/div>","rendered":"

      \n

      The HEAD OF AUDIO <\/strong>is responsible for all music and sound effects, mechanical or recorded, and for all production or venue-related sound reinforcement. The HEAD OF AUDIO <\/strong>is also responsible for the program video and backstage audio. This may involve simply sourcing and recording the DIRECTOR’S <\/strong>cue list, or may involve creative research and input into the sound design process itself.<\/p>\n

      Under the unionized staffing structure, the existence of this job title is negotiated prior to the start of production. If there cannot be a case made for a separate Audio department, due to the simple requirements of the show, this position becomes the ASSISTANT HEAD ELECTRICIAN, <\/strong>and reports to the HEAD ELECTRICIAN<\/strong>.<\/p>\n

      In the absence of a SOUND DESIGNER<\/strong>, the HEAD OF AUDIO\/ASSISTANT HEAD ELECTRICIAN <\/strong>is responsible for both artistic content of the sound design and the system design. They are also responsible for the program sound\/video system set-up.<\/p>\n

      The responsibilities of the HEAD OF AUDIO, <\/strong>in addition to those of a HEAD OF\u00a0 DEPARTMENT<\/strong>, may include, but not be limited to:<\/p>\n

      GENERAL<\/h5>\n
        \n
      • Meets with the DIRECTOR <\/strong>to determine the content and treatment of sound and music in the production: recorded or live sound or music, pre-show, intermission and post-show music<\/li>\n
      • Performs any research which may be required<\/li>\n
      • Makes a list of all sound, music and effects required<\/li>\n
      • Obtains these items, records them and constructs a high-quality audio files – may be required to produce numerous rehearsal CD’s or audio files<\/li>\n
      • Edits and remixes these sounds as required<\/li>\n
      • Makes an inventory of all available sound equipment and checks the operational condition of same; reports any lost, broken, damaged or inoperable equipment immediately; logs equipment problems in the BOOTH RECORD<\/li>\n
      • Plans and drafts a sound plot, detailing the source, type, length and quality of each sound and mapping them against time<\/li>\n
      • Creates a cue sheet<\/li>\n
      • Produces and drafts a detailed plot showing the location, cabling, and connection for each piece of equipment in the show, including mixers, computer playback, equalizers, speakers and microphones; produces a patching diagram showing the state of the patch field connections.<\/li>\n
      • Installs, maintains, and strikes all sound and related equipment<\/li>\n
      • Plans the number and location of headset stations; ensures headsets are out and in working order prior to each level set, rehearsal and performance; returns headsets to storage after each use<\/li>\n
      • Plans the program sound\/video system, <\/strong>if not done by the SOUND DESIGNER<\/strong>, and ensures the set up of same<\/li>\n
      • Operates all elements of the sound system, except as delegated to other members of the production staff<\/li>\n
      • Plots and tracks the movement of any wireless microphones used by performers<\/li>\n
      • Records all levels and other settings to each sound effect using clear, concise notation; documents the levels of amplifiers and other preset equipment. Copies the STAGE MANAGER <\/strong>with this information<\/li>\n
      • Ensures back-up copies of the master audio files exist, and documents the location of storage with the TECHNICAL DIRECTOR<\/strong><\/li>\n
      • Attends rehearsal often to determine the blocking that will affect microphone or speaker placement<\/li>\n
      • Assigns crew members specific duties<\/li>\n<\/ul>\n

        ADMINISTRATION AND SCHEDULING<\/strong><\/p>\n

          \n
        • Makes a detailed budget for the purchase, rental or borrowing of sound equipment needed for the production<\/li>\n
        • Contributes to the creation of a detailed WEEKLY and DAILY SCHEDULE, produced by the PRODUCTION MANAGER<\/strong><\/li>\n
        • Attends all production meetings and organizes department meetings as required<\/li>\n<\/ul>\n

          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.<\/p>\n

          To be used in conjunction with the HEAD OF DEPARTMENT <\/strong>job description.<\/p>\n

          The demands of this position, and the hours worked, will vary with each production.<\/p>\n

          THE DUTIES AND RESPONSIBILITIES OF THIS POSITION MAY BE ALTERED WITHOUT NOTICE BY THE RESIDENT STAFF AND FACULTY<\/strong><\/p>\n

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