| Sound Design for the Theatre Interpretation, Research, Composition, and Execution by Michael Rasbury, Assistant Professor of Sound Design Department of Drama, University of Virginia |
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| Execution By this time in the process, a concrete plan has developed for delivering the sound score through a sound system customized for the concept of the production and its performance space. Various printed illustrations and rosters have been created to illustrate the plan to the other designers, director, and crew. This same paperwork becomes a blueprint for installation of the sound system in the space and is especially useful when a crew is present to assist with the job. Once the system is installed in the performance space, sound analysis tools are employed to fine-tune the quality of the system to the room it inhabits. This involves playing the spectrum of frequencies the ear can perceive through the sound system and measuring how these frequencies are colored by the sound technology. Equalizers and digital delays are precisely set to adjust resonating frequencies due to the characteristics of the space and timing differences caused by the physical space between the speakers and the speed of sound in air. When the production requires sound reinforcement, each microphone is tested in relation to the sound system. Minute frequency changes are made using equalizers to prevent feedback and to extend the volume potential for each microphone. Each piece of music, sound effect, and sound collage is designed for delivery through the particular sound system. Denser compositions have been broken into smaller components and placed into an executable list within a software platform (Example 6) for triggering sounds and music in real-time during the performance. In rare instances when a computer is not available, the same components are captured on some other repeatable medium such as a compact disc, mini-disc, or other media.
The sound operator receives a printed plan for executing each sound event perfectly with the living timeline of the production. The job of the sound operator is an important one because the quality of the design is greatly impacted by the quality of the operator’s performance. The operator’s job often requires the mixing of multiple microphones while triggering each sound and music event with particular lines or actions in the performance. A series of technical rehearsals are held just before the play opens. These are primarily designated for the designer to concretely set the design so that it may be precisely repeated during each subsequent performance. The technical rehearsals and subsequent dress rehearsals allow the sound operator and related sound crew to rehearse the execution of the design elements toward achieving perfection in performance.
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