14/12/2017 Sound Design Process - Department Handbook - Ithaca College

Department Handbook
Designer/Technician Guidelines

Sound Design Process

Design Process

The following is a basic description of a typical sound design process, however every production will
present unique challenges and the exact process will vary. Detailed information about the process will
be provided during the weekly meetings with the faculty adviser (see below).

The sound designer will obtain a copy of the script, read it several times, and develop a thorough
understanding of the structure of the play. They will also conduct preliminary factual and emotional
research in preparation for the first design meeting. The initial meeting with the director will occur
during the first design meeting as a part of the “Design Process” detailed above. However, the
designer should also hold separate meetings with the director in order to discuss the specific purpose
and function of the sound design for the production in detail. The expectations for each of the
following design meeting are described in the “Design Process” above.

The sound designer will initially meet with the faculty adviser to discuss the design and technical
requirements of the production. The faculty adviser will provide a list of available equipment and
information about the budget for the production. The sound designer will then meet weekly with the
faculty adviser to discuss the ongoing process of the sound design. The faculty adviser must also
approve the proposed design. All design materials should be reviewed and approved by the faculty
adviser before they are distributed to the rest of the production team.

Technical Process

Paperwork

The sound designer will prepare a package of specifications for the design. The package will include:

Sound Cue Sheets

Sound System Design
Scale Loudspeaker Plot and Section
Any other necessary detail specifications including drawings for unusual cable runs or other
non-standard installation details
Rack drawings as needed

The Sound Cue Sheets should first be distributed at Design Meeting 6 with revised cue sheets due on
the first day of rehearsal for a production. The rest of the above paperwork is due on the date that
says, “Snd Sys Des Due (Show)” in the production calendar. All paperwork will change throughout the
design and technical process and should be updated and redistributed appropriately.

After receiving the sound system paperwork from the designer, the sound engineer will create a shop
order listing all of the equipment, cable, and power necessary to successfully install the systems

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described. This shop order is due to the Sound Shop Assistant on the date specified in the production
calendar.

Rehearsal Cues

By the date specified in the production calendar, the designer will supply to the stage manager a CD
of rehearsal cues, complete with updated cue sheets, for every playback cue in the show. The stage
management team has equipment for playing the CDs. Cues that affect line delivery, blocking, and
stage business are the most important and should be the first priority in delivering rehearsal cues to
the stage manager. The sound designer should plan to attend rehearsals after delivery of rehearsal
cues in order to ensure that cues are working as intended.

Weekly Production Meetings

The designer and engineer will appear at the weekly production meetings and will be prepared to ask
necessary questions and to deal with questions related to sound posed by the director, stage
manager, other designers, or members of the technical staff.

Paper Tech

Paper tech is the meeting during which all cues are integrated into the stage manager’s prompt script.
The sound designer must prepare an updated cue list in advance of paper tech. Generally, only the
sound designer will attend paper tech.

System Balance and Sound Levels

The sound designer will have quiet time scheduled for the following activities:

System Balance: gain structuring, equalizing, time-aligning, and ringing out the system.
Rough Level Set: setting sound levels for playback cues

Quiet time may need to be shared with other production elements and the sound designer should
work to facilitate other areas without compromising their ability to complete their work.

Sound Over Rehearsals

Sound over rehearsals can be scheduled during on-stage staging rehearsals or run-throughs at the
discretion of the director and in coordination with the stage manager. Because rehearsal cues have
been in use, the actors, director, and stage management team should be accustomed to the cues, but
checking levels and timings with the actors in the space may be useful before tech. Under no
circumstances should the sound designer interrupt the rehearsal or run through during sound overs.
Care should also be taken not to disrupt the rehearsal with unexpected sounds or levels.

Technical Rehearsals

Technical rehearsals are meant to integrate all of the technical elements of the production. Because
rehearsal cues have been in use in previous rehearsals, timing of sound cues may not pose significant
problems, however, levels and other aspects of sound may prove difficult and can require holds. The
responsibility of the sound designer in technical rehearsal is to make sure that cues integrate
smoothly into the production. The sound designer may ask for a hold when a cue is not properly
executed or does not fit as intended in the production. However, time during tech is very short and
the designer should not request a hold unless the issue requires the actors, director, and other design
areas to be involved.

Note Sessions

Immediately following all technical and dress rehearsals, the production team gathers for a meeting.
The designer needs to get to this meeting as quickly as possible following the rehearsal. The director’s
notes and questions to the director are usually managed first, followed by discussions of problems

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among the design and technical staff, followed by negotiation of the following day’s work schedule.
The designer, sound engineer, and mixing engineer are all required to attend the post-rehearsal note
sessions. The mic dresser should check in with the designer and engineers after they have received
and secured the all of the wireless microphones. Because they occur at the end of the night, it is
important for note sessions to move as quickly as possible. The designer should only discuss items
that are important to multiple areas at this meeting. All other notes should be discussed one-on-one
with the party involved.

Opening

By opening, the sound designer must ensure that the show is archived with a complete set of updated
production paperwork, including the following:

Cue List
Complete list of audio equipment/cable used
System diagram
Loudspeaker plot and section
Rack drawings, if used
Pre- and Post-show Checklist for all operation positions

Strike

The designer, sound engineer, mixing engineer, mic dresser, assistant engineer, and all members of
the sound crew are required to attend strike. Prior to strike, the designer and the sound engineer
must prepare a strike plan in coordination with the faculty adviser. The sound engineer will contact
the technical director and the shop/electrical supervisor to coordinate the order of strike whenever
sound equipment is integrated with scenery or lighting.

Before the End of the Semester

Before the semester ends, the sound designer, sound engineer, mixing engineer, mic dresser, and
assistant engineer must schedule a time to discuss the design and the execution of the production
with the faculty adviser. No grade for the production will be submitted until this meeting has been
completed.

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