Step One: Meet the Director

Once you have signed up to be a sound designer, one of the most important steps is to meet with the director of the play to discuss his or her vision, as well as what he or she expects from you. This may happen at a production meeting with all of the designers, or it may be one-on-one.

When beginning to work on Antigone Now, I met with my director, Ke’Leb. He and I have collaborating a number of times, so I already knew what to expect. Ke’Leb briefly explained his vision for the play and told me what kind of sound he was hoping to achieve. He then went through the script page by page, showing me where he was hoping to have musical cues or sound effects.

We will talk more later about using music in sound design, but at this stage it is important to get as much information about what your director wants as possible. As we looked through the script, my director described the kind of music he wanted with words like “earthy,” “wartime” and “feel good.” Descriptions like this can be helpful, but designers must be able to use their own judgement to decide what music works where.

After your director is done sharing his or her vision, it is a good idea to ask questions. If there is something you are confused about, now is the best time to ask. Once productions get kicked into full gear, it is much more difficult to get directors to sit down and talk about details with you.

After your meeting, it is a good idea to promptly begin your search for music and sound effects that fit your director’s vision. We’ll call this the Exploration Phase. Follow Staging Sound to stay updated with each step of the process, and feel free to leave comments or ask questions about this step below.


Why Did I Become Theatrical Sound Designer?

Although I was acting in plays before I ever picked up a microphone or played around with a D.A.W. (digital audio workstation), I didn’t see myself as a theatre geek when I entered college as a music technology student. In my second year of college, I dropped my music technology major and began acting in every play that my school put on. I acted in six plays in two years, playing everything from a Shakespearian patriarch to an egg in drag.

Although I enjoyed acting, it was the theatre community that kept me coming back. The experience of a large group of directors, designers, stage managers and actors all working together to achieve a common goal was constantly exhilarating and immensely fulfilling.

My acting streak hit a snag, however, when I began taking the upper level classes that my major required. I no longer had time to spend most evenings in rehearsal and the rest of my free time memorizing my lines. I struggled to create a balance between the two, but I wasn’t ready to give up my place in my college’s theatre community. This is when my choice to become a sound designer fell into place.

After having acted in a number of plays, I had seen a deficiency in quality sound design. The designs were usually mediocre enough to go unnoticed, but they were clunky and didn’t serve the play as a whole. This essentially boiled down to the fact that the directors and producers did not consider sound design as important as props or set design. And in some ways, they’re correct. Productions with bad props or set design will be logistical catastrophes. The stakes are seen as much lower for sound design, so it’s often the case that little attention or care is put into creating a sound design that matches the quality of the show.

Coming from a background in music technology, I took issue with this assumption. Sound design may not be a core part of theatrical instruction, but it ends up having a large effect on the final production. A sound effect that sounds unrealistic can ruin the audience’s suspension of disbelief. A harsh or misplaced musical cue can ruin the mood of a scene entirely.

Furthermore, sound can be a powerful tool when used correctly. When used well, even the most subtle musical accent can inspire joy, laughter, shock, anguish or sadness. Simple sound effects in the right place can help create a rich and realistic environment. Sound can intensify scenes or soothe the audience. Knowing how to use these sounds can be incredibly powerful.

After I realized that my passion for sound and music could have a place within theatre, I signed up to be a sound designer. After serving as the sound designer for a number of plays, I am currently in the process of designing sound for a production of Antigone Now by Melissa Cooper. Follow Staging Sound to track my progress with this play and learn more about the many processes and technique of theatrical sound design.