The Sound Designer (SD) is the person (or people) who are in charge of the overall sound of a show as well as generally being in charge of the sound department (if there is one).

The general process to follow whilst being an SD, adjustments to consider for different types of shows, and probably some other stuff as well.

Before you apply for the role read the tech rider in the filestore and decide if you want to team up with anyone else before hand (i.e. co-SD). Then go to the show page in the forum and write a short post explaining why you want the role. If you plan on co-SDing you both need to apply but one of you can just say you agree with the other.

The directors may have already done some of this for you so ask them if they have a list of sound effects they want. For each effect you will want to find out:

• Where in the script it is (to the nearest page at least)
• A brief description of the effect
• How long the effect is
• Any other pertinent information (i.e position if you're using positional audio)

If the directors haven't given you a complete list of sound effects then you will want to go to a run, during the run you will want to aquire a copy of the script and skim through the stage directions looking for anything that a character might hear, you will also want to watch the run and note any points not explicitly in the script that the actors appear to be reacting to some kind of audio or points at which audio might make things clearer.
Having compiled this list it is a good idea to go through it with the directors and check you all agree on it, they may be planning on ignoring certain atmospheric sound effects or be able to give you more detail on what to look for.
At this point you should also ask the directors if they have a plan for house music.

Before the get-in you will want to work out where each instrument is going and which microphone(s) need to be used for each. In order to do this you will need to find out how many tiers the planned band pit will have (this is usually in the tech rider) and how many musicians there are (in case someone is playing multiple instruments). You will also want to check if Lighting is planning on using any additional dimmers since they will almost certainly wish to situate them in the band pit taking up a fair amout of space.

Whilst you should not need to create the mic plot you will need it therefore it is a good idea to ask the directors for it before you get to the tech run.
Additionally, you should remind the producers that they will need to purchase batteries for the radio mics and make sure they have arrived before the tech run.
It's worth assuming that they will need 2 AA alkaline batteries for each radio mic for each show. While the batteries normally last longer than this it's worth having spares as they can always be used in future shows.
For a normal show week, with a matinee, using 8 radio mics they will need 112 batteries and where 12 radio mics are used 168 batteries is needed.

Having got a list of the effects needed, you may need to find some if you haven't already been provided with them by the directors. Whilst doing this you will need to be aware that effects can sound different when listened to through headphones versus the speakers in the Annex.

Before the get-in find out how large the sound department is likely to be, if there are a few of you you may be able to delegate some of the things that need doing to others. You may also find it useful to distribute copies of the band pit plan and mic plot to the other soundies via an available techie/soundie group chat. When planning ahead it may also be helpful to bear in mind the various levels of knowledge present in the sound department.

The following tasks can be completed in pretty much any order however it is recommended you do taping last.

If in doubt label all of the cables stuff will be moved and it is important to be able to find it again.
You will need to set up several mic stands and accompanying microphones in the band pit. If you are using a drum screen try to run as many of your cables as possible before putting it in place, also the stage box can be used to help reduce the amount of cables needed.
It is important to remember that at some point Lighting are probabl going to want to put a ladder in the band pit so you may wish to wait for them to be finished, also if there is a two tier band pit you need to wait for Stage to actually put some decking in place.
You may also need to run cables for the band to plug headphones into to hear a mix of the instruments.

If the show calls for microphones such as an off-stage mic or a mic in a fixed location on stage should be set up with the appropriate cables. If an off-stage mic is used remember it may need to be moved for storage during the day.

Any speakers beyond the two in the rig should be set up and have cables run to them, whilst in the case of some speakers such as mons will need to be moved behind the tab at the end of an evening you will probablly be able to leave the cables in place.

Tape down any and all cables that are being left in place and could possibly be a trip hazard (aka. in contact with where someone could walk). This should be done using white gaffa tape and any cable that must cross a walkway should do so at a right angle to the probable direction of travel. Keep in mind that any joins between cables will be bulky and as such should be kept out of walkways at all times. Any excess cable should be coiled in a figure-of-eight and taped down.

You should aim to get parts 1 and 2 done as soon as possible. Also, you may wish to set up a talkback mic in order to not have to yell so much/to improve communication with the band.
Anything going through the soundweb will have a basic EQ applied to it.

Have each of the band members play, sort out an approximate level/gain for there instrument and apply an EQ to deal with any feedback issues. You will also want to sort out the mix of instruments being sent to each band members headphones. Having dealt with everyone individually you will want to ask the musical director (MD) to run a song in which everyone plays, sort out any issues with instruments being too loud/soft and then sort out any issues relating to the mix in headphones.

For any microphones not in the band pit you will want to have some one sing/talk into them (dependant on what they're being used for) and apply an EQ and set a basic level/gain. If multiple mics are being used simultaneously/with the band you will want to test them being used together in order to check everything.

With you're collection of sound effects ready you will want to migrate them into some kind of show control software. Make sure they are in the correct order and that the cues have sensible names, also you will to set some levels within the software for each sound effect to give you a good starting point on show nights.
If something happens at the same time as a lighting effect talk to the lampies you will need to coodinate it or it'll look messy.

Make sure that your cues have been written into your script. If you are using multiple microphones you may find it helpful to write the number of the microphone next to the lines in the script for which it should be on.

Aim to keep this as close as possible to an actual show.

Have the band run through a bit of music they all play in, again set rough levels and check that their headphone mix is okay.

Go through each mic individually setting an approximate mic level, ideally do this before any vocal warm-ups so that you can check it during that.

Run the show as you would on a show night however pay particular attention to things that could be improved, write these down for fixing after the run.

After the run it is likley that the directors, the MD and you all have ways in which you could improve the sound of the show, if possible go through these now and if not try to get through them before the first show.

By this point you should be ready to run the show, depending on the size of the crew/sound department you may need to organise a rota for who will be present at each show. If possible aim to give everyone (including yourself) at least one night off.
Be aware that you may need up to three or more sound operators (ops) each night dependant on the complexity of the show, also if a show requires consistency it may help to have the same person setting the audio levels each night.

You will want to run a band/mic check before each show to ensure everything is working, you will probably also want to play some house music. Deal with any remaining notes from preceding days.

During each show you or the sound ops should actively adjust any audio levels as needed, if an instrument or human using a mic is particularly loud try to avoid taking it completly out of the mix as this may make it difficult for the band trying to hear whats going on.

If you are using radio mics and any are low on battery make sure the batteries are replaced now, again you will probably want to play some house music.

Make sure all microphones are accounted for and ensure everything is packed away or behind the tab line, make any adjustments to the script annotations or cue list as necessary.

Aim to get this done as soon as the band have moved out since the chairs, mic stands etc. will be very much in the way of Lighting and Stage. Ensure all equipment is stored correctly and returned to its proper home.

Unplug any extra mics and store them in the mic coffin. Unplug any speakers not in the rig and return them to big store (excluding the sub which stays backstage). Ensure any cables are coiled and put away correctly.

Pack away the desk and other equiment at the back of the Annex, this can be left until last since it is unlikely to be in the way of anyone else.

Relax, you have put a lot of work into the show and you suddenly have a lot more free time (assuming you're not doing consecutive shows), remember to fill in the show feedback on the forum and smile .

These are generalisations and may not apply to every single show of the supposed “type”.

Generally these will have very few sound effects and may have intro/exit music for acts. They may require a single microphone for speech but are other wise straight foreward. Most sound effects will be provided.

Steps 3, 4, 7.1, 7.3, 8.1, 9.1 and 12.1 can probably be ignored.

Frequently require a range of sound effects and may request positional audio. Unlikely to require a microphone.

Steps 3, 4, 7.1, 7.2, 8.1, 8.2, 9.1, 9.2 and 12.1 can probably be ignored.

Will usually have a band but no additional mics on top of that.

Steps 4, 7.2 and 8.2 can probably be ignored.

Normally has a band, multiple radio mics and several sound effects

You will probably need to do all the steps.

• Anything involving a show control should be saved frequently
• If you only need one mic you don't need a sound desk
• If using the M32 save after each show/rehearsal
• Try to be organised
• If you don't know ask!