SOUND DESIGN AND PROPS

KEY DIFFERENCES FROM OTHER DESIGNERS

▸ The only design element that cannot be seen.

▸ Does not need to work as closely with other design

elements.

▸ Much of the design cannot be created until technical

rehearsals and dress runs.

▸ Only design that is not always present through the whole

show.

▸ The only design that can change each performance.

REASONS FOR SOUND DESIGN
▸ To amplify the actor's voices

▸ To supply incidental or dramatic music or underscoring

▸ To provide, special, realistic sound effects (Voice-overs,

Crickets Chirping, Thunder, Rain, etc.)
IMPORTANT STEPS IN THE DESIGN PROCESS

▸ Like all other designers, they must read the script and mark
any specific areas where music or sound effects are required

▸ They must also work with the stage manager and director to
discuss the style, number of actors to have microphones,
and any other pertinent information

▸ They must begin researching all sound effect and music they
will use. Any music they use must either be in Public
Domain, music that is free for anyone to use, or they must
obtain the proper permission and licensing to use the music.
DESIGN PROCESS CONT.
▸ Once music is set, the designer can begin putting together their
sound cues and cue sheets.

▸ If actors are wearing microphones, the sound designer will

begin setting levels once the actors are working on the sets and
with costumes.

▸ It is not until all elements are in that the designer can truly set
levels for the sound, how loud or soft it will be.

▸ The designer continues to work through until the production

closes as each performance needs to be adjusted live.
FACTORS THAT CAN CHANGE A LIVE SOUND DESIGN

▸ Audience Size

▸ Actor Health

▸ Understudies

▸ Equipment Malfuntions

▸ Outside Elements
 BASIC SOUND SYSTEM ELEMENTS
▸ Sound Board, also called the mixer or console: This is the heart of the sound system. All
levels and effects with sound are controlled through this.

▸ Equalizers: Balance the high, medium, and low frequencies of each sound source (i.e the
microphone) and blends them together.

▸ Amplifier: The power supply for the speakers.

▸ Speakers: Project the sound to the audience.

▸ CD Player, Digital Media Player, or Computer: Used for recording, editing, and playing
back sound

▸ Microphones: Wired or Wireless. Included Handheld mics, Body mics, Hanging mics,
floor mics, etc.

▸ Intercom System: Allows the sound operator and other crew member to communicate
with each other and with the stage manager.
PROPS AND WHAT THEY DO

▸ Props include anything the actors handle on stage as well

as furniture, draperies, carpets, or paintings on the set.

▸ The amount of props required can be great or small. It is

all based on the directors vision.

▸ More realistic shows may require many more props

▸ A more simplistic or minimalistic design may only require a

small number of props.
PROPS MASTER
▸ Person in charge of obtaining and organizing all the props for the play.

▸ Work with the set designer and director to decide any and all props
nessecary for the production.

▸ They must decide whether to borrow, build, buy, rent, or pull the
props.

▸ They create a props list, telling every prop in the show, as well as a
prop plot, telling when each prop is used and by whom.

▸ They are responsible for the props throughout the entire rehearsal
process and the show itself
TYPES OF PROPS

▸ Set Props: Items used to create the set such as furniture,

Carpets and Lighting fixtures.

▸ Decorative Props or Set Dressings: Details on stage such

as Paintings, newspapers, or curtains that add to the visual
representation of the show.

▸ Hand Props: Anything directly used by the actors during

the show such as letters and telephones.
THINGS TO CONSIDER WITH PROPS

▸ Functionality of the prop: Does it need to work? Does it

need to be reused? Are there any warnings necessary for
the audience?

▸ Perishable Props: Do the props need to be eaten on

stage? Where will they be stored until show time? Does it
need to be cooked or refrigerated?

▸ Authenticity: How realistic does this need to look? How

much of it will the audience see?
▸ Wicked: Sound Design

▸ Wicked: Oz Puppet