Sound designer plans logistics for memorable 1st production

As a sound designer in the theater, I have to look at the play as a whole and how sound is going to affect the show.

Before a show is cast, I work with a production team that consists of a director, lighting designer, scenic designer, costume designer and others. As a team, we talk about what we want to convey on stage.

The production team has a meeting to discuss everything from what the set and lights are going to look like to what kind of sound effects and music we will hear.

Some sound designers find and create their own music for a show, but in my case, I have a composer working with me.

When dealing with specific sound effects, I find specific sounds and then manipulate them to sound the way I want them to. I do this because I can’t always go somewhere and record a specific sound.

Even if I could record something, it doesn’t always sound the same as it does in real life. I have to manipulate the sound so it sounds normal. But sometimes I want the sound to be obscure.

I collaborate with the lighting designer if my sound cue goes with a light cue, such as thunder and lightning.

I also have to take into consideration the placement of speakers. If I want to have speakers on the stages, I must work with the scenic and lighting designers to make sure the speakers don’t interfere with the set or lights.

When dealing with the speakers, I can’t just turn them on and play a sound cue through them. I have to set the volume to make sure I get the sound I want.

Not every sound cue has the same volume, which means I have to go through each cue and adjust the volume until it sounds correct.

On top of setting the volume levels, I have to decide which speakers I want the sound to come from because I might want the sound to come from a telephone in a specific location.

The show “Dead Man Walking” has been an experience that I don’t think I will ever forget.

I’ve read the script multiple times and made notes on different sound effects I want. I may have wanted a certain sound cue, but then Dale McFadden (the show’s director) could decide to cut it.

If McFadden didn’t want it in the show, then I cut it out of my sound cues. If he wanted my sound cue to sound different, I would change it for him. I didn’t mind if he had me cut or change something because I knew it was only to better the show.

While working on the show, I knew I could go to the people on the production team for advice, because it was my first show as a sound designer.

This show has been a huge building block for me and has only helped me better myself.