Preparation – Pre-Rehearsal

• Read the script several times.

• Gather ideas of how lighting can help tell the story through intensity, color, angle, texture, etc.

• Find moments in which sound can be bold and memorable (they don’t have to exist).

• Search for images that can help evoke your ideas to people who don’t understand audio.

• Craft a design statement (paragraph) to help others understand and ground your design work.

Preparation – Rehearsals

• With your design statement in mind, create a soundscape with music and / or sound effects to give a feel of what your design might feel like.

• Attend rehearsals / discuss with the director any other special moments and audio needs.

The Sound System

• Know where the space’s various speakers are located and determine if any extra speakers / specials need to be hung and cabled.

• Think about how each speaker will be controlled in QLab.

• Starting with the space template, consider a typical audio cue and create default settings.

• Starting with the Sound Board template, make sure the system is dialed in and that each speaker is set to the appropriate volume.

Light Hang

• If you do have any special speakers that need to be hung, ask the light crew for assistance and they’re typically comfortable with hanging objects from the catwalks. Also, speakers are usually pretty heavy so it’s nice to have a bit of help.

The Cue List

• Attend rehearsals, especially full act run throughs, in order to craft a cue list. If possible, video tape the rehearsal so that you can refer back to the recording while cueing.

• Craft a cue list identifying Cue # / Page / Line / Description

• Give the cue list to your SM at least two days prior to paper tech

• During paper tech, identify any efficiencies that can be made or updates that need to be fixed

• Remember: Some plays ask for more sound, some plays ask for less. Tell the story in front of you not the story that asks for the most flash and pizzaz.

Initial Programming

• Start by gathering all your media, making sure everything you need (or at least as much as you have ready) is readily available.

• Start off in QLab by converting your cue list into a QLab list. Drew has a handy script to make this happen. Ask for help.

• Sit down toss in all your audio cues. Be sure to set initial levels of all the audio cues and then add all the appropriate fade in, outs, ups, and downs.

• Remember: You’re telling the story through sound - often times your cues should live underneath text. Sometimes your sounds should take focus (i.e. transition music).

• Remember: Err on the side of quiet. Subtle cues are asked to be bolder. Loud cues are just cut, never to return from the digital abyss.

• Remember: The first cues are the most difficult – just start.

• Remember: It doesn’t have to be perfect – have something for every cue, even if you’re repeating sounds. It’s easier to edit than to create from scratch.

• Remember: Don’t get caught up in single moments. Save those for the end, or when you need an artistic change of pace.

• Remember: Have goals to keep you on pace (i.e “I’ll get through Cue 50 in the next hour”)

10 out of 12

• This can take several formats (see 10 out of 12 options), think about what’s best for you.

• This rehearsal is about timing, making sure that the cue calling is accurate and that it makes sense with the action of the play. If you have time to update aesthetic ideas, go ahead.

• If you need to take a significant time to fix a problem, just ask for “5 minutes please” or however much time you need. Don’t feel bad, this is why we’re here. Just take care of the other people and their expectations.

• Remember: The first cue sequence is always the most difficult.

Rehearsal Programming

• During tech rehearsals, and dress rehearsals – make as many fixes on the fly as you can. For things that you cannot, write the note down on your work note sheet.