Sound Design - The Process
NEW PAGE - UNDER CONSTRUCTION
This page describes the stages that a theatre sound designer should go through when taking on the role. The sound design process is broken down into a number of stages, which require different types of engagement with the project, from completely creative (reading the script and coming up with ideas with the director) to completely technical (specifying the system for playback / reinforcement). It’s not ‘sound design explained’ as there’s a lot more to it, but it will give you an overview of what happens in what order. Sound design for a musical is very different from a play, which is very different from an immersive site-specific installation, so this is a loose guide!
While this page is under construction, here are some videos to help.
Step One: Read The Script
Until the modern era of sound design in the early 2000s, the job of 'doing the sound' usually involved simply reading the script and looking for mentions of things that make noise. This is still a good place to start.
Does the script talk about cars arriving, doorbells ringing, offstage crashes, radios crackling and thunderstorms? If so, make a note!
However don't stop there. Does the script talk about an oppressive atmosphere? Changes in mood? How can you use sound to set the tone and to help the actors? Is it appropriate to use a soundscape to define the location in which particular scenes take place, even if there's no mention of sound in the script?
It may be the case that the script is being devised during the rehearsal process, from a very rough brief. So how can you support the process? Do you need a sound effects playback system in the rehearsals to help the cast to generate material? Your sound ideas may help the process of devising resulting in a fully embedded sound design.
Step Two: Discuss Ideas With the Director
Following your reading of the script or text, you can meet with the director(s) to talk through your ideas. Your thoughts may help them to move their process forward.
The Director may also have strong feelings of their own which may not be compatible with your ideas. Will you shift your view or will you try to persuade them your ideas are better? Is there a compromise?
Step Three: Determine Style
COMING SOON
Step Four: Lists
Cue lists enable you to keep track of what's happening when. You can also include the relevant filename in the list, or, even better, name the audio file according to its' cue number. The files will then be in the correct order when you drag them into Qlab.
| Cue No. | Sound | Action / Notes | Timing | Page No. |
|---|---|---|---|---|
| 1 | Preshow Music | Play loop as audience are entering | 4 minute loop | 0 |
| 1A | Fade out preshow | Fade out as houselights fade (with LX 2) | 7 second fade | 0 |
| 2 | Cityscape #1 | Very quiet, under scene 1 | 8 minutes, played twice | 1 - 4 |
| 3 | Crossfade into Crickets background | End of scene 1, crickets play through scene change | 1 minute 30 seconds | 4 |
| 4 | Car arrives | Just before Clive enters | 12 secs | 7 |
| 5 | Fade out crickets | With lighting blackout LX7 | 5 seconds | 9 |
Step Five: System
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Sound Playback
How many speakers do you need to playback sound effects and music? -
Sound Reinforcement
Do you need the actors to wear microphones? In a musical, the answer is usually 'yes'. But in a drama, in a small venue, it is unlikely to be necessary.
Step Six: Running
See also: