Before attending a production meeting, the sound designer needs to have an understanding of the venue size and orientation, and what size of audience is intended for the show. The sound designer will do a site visits, where they will observe the stage location in relation to the audience and what acoustic the venue has. This information will contribute to redesign of sound reinforcement, such as what size of amplification and speaker is required to cover the entire audience. If the venue has already an installed front of house system, such as a line array speaker stack, then this can be considered in the overall design of sound. In this instance, it is still possible for there to be adaptation and add ons such as location speakers in and around the audience space for special effects and or sound to every nook and cranny of the audience space. 

In the preproduction phase, the director discusses the sound requirements with the chief sound designer at production meetings. A director will have specific requirements for implementation of sound such as sound effects in particular moments to support the plot. For example, if there is a gun shot on stage, the sound of the gunshot will be played back through a speaker located somewhere near the actor’s position. The director will discuss with the sound designer the requirement for each lead part to have microphone reinforcement in the scenes where they feature as a singer and when they have dialogue. The microphone plot determines the number of microphones required, who (what character in the musical theatre piece), and specifically when they require their microphone. Often, microphones are shared, and so the swapping of a mic requires planning and documenting in the mic plot. 

In the meeting with the director, the sound designer will also work through the script to map out audio cues points according to each requirement of the director. For example, an audio cue can be placed at the start of a scene, so that the an actor’s mic is switched on on their entry to the stage and this precise moment. 

Get from ‘Truck Arrives’ to ‘Sound Check’

Once the truck has arrived at the location with gear, sound equipment should be carefully and safely removed from the vehicle. Once the gear has been safely stored, a discussion with the director should take place, to determine the positioning of speakers (FOH and foldback), cables and consoles + mic receivers. The crew will then set the equipment in the coordinated positions. Wiring of speakers, consoles and microphones should then take place, with equipment tested to make sure that all gear is operational. Once the equipment has been positioned and tested, the sound check should take place, with all sound effects, music, etc.

Sound designer meets with other key players (stage management, musical director) to discuss songs to be played. They discuss type of songs being played, how many people are needed for a piece, placement of mics, speakers being used (fold backs, FOH speakers). Also discuss problems and their solutions such as musicals that need large orchestras, balance between singers and instruments. Examples of this include trying to balance the voice of 5 singers in the song “Tonight” in West Side story alongside a large orchestra.