SOUND, DESIGNER (STUDENT) - JOB DESCRIPTION

Transcription

1 SOUND, DESIGNER (STUDENT) - JOB DESCRIPTION TH 356 Theatre Sound Served on a CWU sound crew Served as an Assistant Sound Designer or Board Op on either an OFF-CENTER or a CENTER- STAGE show Designed a One Act Play or Student Project seen by the Theatre Arts Design Faculty The Sound Designer must register for the appropriate Production Application [majors & minors] or Rehearsal and Performance [non-majors] class. The Sound Designer must read and become thoroughly familiar with the script. The Sound Designer must complete an analysis of the script including: a plot synopsis, theme development, an examination of the playwright and why he/she wrote the play, historical background of the text, character relationships, and other ideas. This analysis is to be developed into a preliminary sound concept for the show and may include visual or audio support materials. The Sound Designer must consult with the Director and other members of the production design team and collaborate on the production concept and other design choices. The Sound Designer must, after script analysis, research, and in consultation with the production team, develop his/her individual sound concept for the show. The concept is to be stated in a written form avoiding the use of overly technical sound terminology. The Sound Designer must attend and participate in all production meetings. With the Production Manager, Director, Stage Manager, Master Electrician, T.D., and other members of the production team, the Sound Designer must follow schedules for all sound events such as design deadlines. This includes rehearsals, paper tech, equipment maintenance, load-ins, sound checks, cue setting, crew training, equipment rentals, completing a sound plot in conjunction with set and lights, cue sheet, Strike, etc. He/she will follow these calls and dates on the sound callboards. The Sound Designer must attend scheduled production run-throughs designated by the Director and Stage Manager. The Sound Designer must create a cue sheet and audio cues in cueing software while confirming the title/naming of cues with the Stage Manager. The Sound Designer must follow the deadline for submitting music for copyright approval as laid out by the Production Manager. All music used during the show should be contractually used, and/or approved by the original artist or their record company. The Sound Designer must consult with his/her Faculty advisor while the design is being developed, including submitting a rough draft of the plot and audio choices/compositions for approval. The Sound Designer will be responsible for designing and executing any music or sound effects for the show, including recorded effects, live effects, doorbells, phones, wind, and voice-overs. The Sound Designer must supply the Mixer and board operators with all the music and effects for the show at least one week prior to cue-to-cue to allow him/her enough time to become familiar with the show. The Sound Designer must supply any rehearsal music as requested by the director, in a timely fashion, within the deadlines agreed upon during production meetings.

2 The Sound Designer must attend and participate in the production s design presentation at the first readthrough if the Director requests their presence. The Sound Designer must be responsible for helping to supervise and mentor all sound personnel, including the work of the Sound Board Operator, Mixer, and the Sound Crew for the show. The Sound Designer must be responsible for the upkeep, cleanliness, safety, and maintenance of all sound areas and equipment. Including the sound rooms, electrics, the storage areas, and the sound control booth. The Designer will ensure that department policies and procedures governing the use of these facilities are strictly followed. This includes making sure booth doors are locked and secured. The Sound Designer must be responsible for staying within the budget that has been established for the production s sound needs. To that end, the Designer will check all equipment and storage inventories before requesting orders for tapes, cables, etc. (All expenses must be approved by the Faculty Sound Designer or T.D. before the expenditure is made). Emergency purchases in excess of allotted funding must be approved by both the appropriate Production Manager and the Faculty Sound Designer or Technical Director. The Sound Designer will process all purchases and rentals through the Faculty Sound Designer or T.D. in a timely fashion to meet the production deadlines. The Sound Designer must be present and help to supervise the set-up of all sound equipment. The Sound Designer must instruct the Mixer and/or Sound Board Op on the running of the sound board(s) and the recording and playback equipment. At Paper Tech, the Sound Designer will establish all sound cues with the Director and Stage Manager, and make sure that they are correctly inserted into the prompt book. This includes previously confirming with the Stage Manager what manner is the preferred way to label the cues that will be called. The Sound Designer must be responsible for maintenance and setup of the clear-com communication system and headsets in conjunction with the Sound Shop. The Sound Designer is responsible for making sure the cueing software is functional, organized, and ready for completing a level-set with the Faculty Mentor. The Sound Designer must attend Cue-to-Cue and Tech. Rehearsals to adjust cue levels and timing with the director and pass on / make these adjustments with the Stage manager and Board Operator. The Sound Designer must attend all technical, dress rehearsals and previews, (Unless excused by the Director and Production Manager); to make any needed cue changes and adjustments. The Designer will pass along these adjustments / execution notes to the Stage Manager and the Sound Board Operator - if they choose not to make the changes themselves. The Sound Designer must meet with their Faculty project advisor to discuss the progress of the design throughout the Quarter. Compile the following information: (1) Evidence of script and sound research (2) An approved concept statement (3) An approved Live Sound Plot (4) Cueing sheets (with script page numbers and cue timing) (5) Technical Information / Recorded Sound Sheets (6) Audio samples to show cue progression (7) Final Sound cue sheets from the production (8) Portfolio, including: audio samples, programs, reviews, critiques, etc.

3 SOUND, ASSISTANT DESIGNER (STUDENT) - JOB DESCRIPTION TH 356 Theatre Sound Served on a CWU sound crew The Assistant Sound Designer must register for the appropriate Production Application [majors & minors] or Rehearsal and Performance [non-majors] class. The Assistant Sound Designer must read and become thoroughly familiar with the script. The Assistant Sound Designer must research the script including: theme development, an examination of the playwright and why he/she wrote the play, historical background of the text, character relationships, and other ideas. This analysis is to be discussed with the Sound Designer with the understanding that the Sound Designer makes the ultimate decision regarding concept, design choices, etc. In case of emergencies, the Assistant Sound Designer should be available to answer design questions and attend meetings in lieu of the Designer, but should never make decisions without the input of the Sound Designer. The Assistant Sound Designer must discuss and confirm with the Sound Designer on whether their attendance at Production Meetings is required. With the Production Manager, Director, Stage Manager, Master Electrician, T.D., and other members of the production team, the Assistant Sound Designer must follow schedules for all sound events such as design deadlines, rehearsals, paper tech, equipment maintenance, load-ins, sound checks, cue setting, crew training, equipment rentals, Strike, etc. He/she will follow these calls and dates on the sound callboards. The Assistant Sound Designer must attend scheduled production run-throughs designated by the Sound Designer, Director and Stage Manager. The Assistant Sound Designer must either create, or help to create, a cue sheet and audio cues in cueing software confirming the title/naming of cues with the Stage Manager. All paperwork may be the responsibility of the Assistant Designer depending on how this is arranged with the Sound Designer. The Assistant Sound Designer must consult with his/her Faculty advisor while the design is being developed, including submitting a rough draft of all necessary documents the Sound Designer has requested be completed by the Assistant. The Assistant Sound Designer may also be responsible for designing and executing any music or sound effects for the show, including recorded effects, live effects, doorbells, phones, wind, microphones, and voice-overs in conjunction and with approval of the Sound Designer. The Assistant Sound Designer must help supply any rehearsal music as requested by the director, in a timely fashion, within the deadlines agreed upon during production meetings. The Assistant Sound Designer must attend and participate in the production s design presentation at the first read-through. The Assistant Sound Designer must be responsible for the upkeep, cleanliness, safety, and maintenance of all sound areas and equipment. Including the sound rooms, electrics, the storage areas, and the sound control booth. The Assistant Designer will ensure that department policies and procedures governing the use of these facilities are strictly followed.

4 SOUND, SOUND MIXER (A1, ENGINEER) - JOB DESCRIPTION TH 356 Theatre Sound TH 456 Sound Design (or permission of Department TD, Sound Design Faculty, or Production Manager) Served on a CWU sound crew Permission of Department TD and Production Manager The Sound Engineer must register for the appropriate Theatre Lab or Production Application [majors & minors] or Rehearsal and Performance [non-majors] class. The Sound Mixer must read and become thoroughly familiar with the script. This includes making script notes to help with mixing the show during the run of the show. The Sound Mixer, in conjunction with the Sound Designer, must set up schedules and deadlines for all sound events such as design deadlines, rehearsals, paper tech, equipment maintenance, load-ins, sound checks, cue setting, crew training, equipment rentals, and Strike. The Sound Mixer must attend scheduled production run-throughs. The Sound Mixer must help set up the sound system in accordance with the Sound Designer s sound plot (a floor plan showing were each piece of sound equipment is located in the theatre). The Sound Mixer will be responsible for running the mix during all performances of the show and some rehearsals. This includes Dress Rehearsals, Tech Rehearsals, and other rehearsals. The Sound Mixer must be available for a pre-established number of rehearsals to get the practice necessary to run the show during performances. This is to be discussed and confirmed with the Faculty mentor and Director. The Sound Mixer must be responsible for the upkeep, cleanliness, safety, and maintenance of all sound areas and equipment, including: the sound rooms, electrics, the storage areas, and the sound control booth. The Engineer will ensure that department policies and procedures governing the use of these facilities are strictly followed. The Sound Mixer must clearly format and label all mixer sliders either on the mixer (using an approved method) or via a formatted document explaining the labeling process. The Sound Mixer must be responsible for completing a mic-check before every performance. The Sound Mixer is responsible for making sure the digital mixing board is programmed in a logical and documented fashion. The Sound Mixer must convey performance notes to the Sound Designer, the Mic Techs, and Assistant Designer after each performance. This helps to ensure all sound personnel are kept up-to-date on failing mics, cables, etc.

5 SOUND, MIC TECH (A2/DECK SOUND, A3, A4, etc.) - JOB DESCRIPTION TH 356 Theatre Sound (or permission of Department TD, Department Sound Designer, or Production Manager) Served on a CWU sound crew The Sound Engineer must register for the appropriate Theatre Lab or Production Application [majors & minors] or Rehearsal and Performance [non-majors] class. The Mic Tech s main responsibility is to work with the wireless microphones. The Mic Tech will help to prepare mics, manage mic inventory, maintain the mics, mic the actors, and switch mics on actors. The Mic Tech will be responsible for helping to label every mic pack, receiver, and transmitter. This includes labeling every mic pack with a number, and cast member s name. The naming convention should be confirmed with the Sound Designer and/or Faculty Mentor. The Mic Tech will be responsible for helping to color the mic cable to match the actor s hair color if necessary. The Mic Tech may be responsible for helping to monitor the RF signal sent to the wireless receivers. The Mic Tech is responsible for knowing mic relevant cues backstage in order to ensure mic changes happen accordingly. This includes knowing when mic switches and costume changes that affect mics are to happen. Before each show, the Mic Tech will be responsible for ensuring all wireless pack batteries are checked with a VU meter and found to be at the correct voltage.

6 SOUND, SOUND BOARD OPERATOR/RUN CREW- JOB DESCRIPTION TH 356 Theatre Sound (Optional) Prerequisite Applied Experience: None The Sound Run Crew must register for the appropriate Production Application [majors & minors] or Rehearsal and Performance [non-majors] course. This position requires 10 additional practicum hours to be completed in the sound area before opening night of the production. The Sound Board Operator/Run Crew member must attend all technical and dress rehearsals and performances during the times specified by the Stage Manager. The Sound Board Operator/Run Crew member must work under the authority of the Stage Manager and the supervision of the Mixer, and Sound Designer to keep the sound running and execute all cues and quick changes as necessary. The Sound Board Operator/Run Crew member will be responsible for executing any live sound effects for the show; such as live effects, doorbells, phones, wind, and voice-overs, etc., on cue as instructed by the Stage Manager. The Sound Board Operator/Run Crew member must assist the Mixer with the upkeep, cleanliness, safety, and maintenance of all sound areas and equipment during the run of the show. This includes the sound rooms, electrics, the storage areas, the mixer area, and the sound control booth. All Sound Board Operator/Run Crew members must strictly adhere to department policies and procedures governing the use of these facilities. The Sound Board Operator/Run Crew member must assist the Sound Shop in the maintenance and set-up of the clear-com communication system and headsets during the run of the show.

7 SOUND, SET-UP CREW - JOB DESCRIPTION TH 356 Theatre Sound (Optional) None The Sound Set-up Crew must register for the appropriate Production Application [majors & minors] or Rehearsal and Performance [non-majors] course. This position requires 15 additional practicum hours to be completed in the lighting area before opening night of the production. The Sound Set-up Crew member must attend class during the times agreed to by the student and the instructor for the class. The Sound Set-up Crew must set up the sound system in accordance with the Sound Designers sound plot, (a floor plan showing were each piece of sound equipment is located in the theatre) and the Sound Engineer s directions. The Sound Set-up Crew will be responsible providing the means to produce any live music or sound effects for the show; such as live effects, doorbells, phones, wind, and voice-overs, etc. The Sound Set-up Crew must assist the Sound Engineer with the upkeep, cleanliness, safety, and maintenance of all sound areas and equipment. Including the sound rooms, electrics, the storage areas, and the sound control booth. All Sound Set-up Crew members must strictly adhered to department policies and procedures governing the use of these facilities. The Sound Set-up Crew must assist the Sound Designer or Assistant Designer in the maintenance and setup of the clear-com communication system and headsets.