Embedded Files
Sound Assistant & Sound Cue Operator - She Loves Me the Musical
Sound for Musical Theatre
A theatrical production’s sound design defines its overall atmosphere and its effectiveness at telling a story. It’s a critical component of the narrative and influences the audience’s perception of the play. For musical theatre, sound design includes everything the audience hears, such as the voice of actors, sound effects, soundtrack or live accompaniment, and props that generate noise. Effective, balanced, and clear sound design is essential to creating an enjoyable listening experience for the audience. Sound designers manage tasks like obtaining recorded or live sound effects, collaborating with the director on which sounds to use throughout the script, and setting up the playback equipment within the venue.
Sound Assistant & Sound Cue Operator
As the Sound Assistant, I mainly work between A1 and A2 to make sure that the performance goes smoothly in terms of how it sounds. Every day before the show, I came to the theatre 15 minutes before the actors are called to get mics ready for them to pick up. We put charged batteries into the mic pack transmitter and do a soundcheck to ensure that they all work. Also, considering the existence of a full orchestra, it is also crucial to check all the mics in the pit.
During the shows, one of my obligation as the sound assistant would be to communicate between the mixer (Vir) and A2 (Sarah) when there is a need because the mixer doesn’t usually wear a headset. My other obligation would be to closely keep an eye on the volume level/battery level of each mic and report if there is an issue. I also operate the sound cues during the show runs, so communicating with the stage manager and clicking the GO box at the right time were on my assignment lists as well.
After each show and after we shut down the FOH soundboard devices, I go backstage to help the A2 “debattery” all the mic pack transmitters.
Behind the Scenes
Preparation Work during Class
Assemble mic elements
Assist with Mic fitting & Calibration
Collect actors' information
Make clips & color the mic wires
Help actors get into their mic
A2 Station (Pre-Show Check)
Put batteries into the mic transmitters
Soundcheck with A1 & A2
Troubleshoot if needed
Inform the actors when mics are ready
Help to tape the actors
Orchestra Pit (Pre-show Check)
This is where the band and the conductor live during the performances.
Check the 10 mics in the pit with A1
Make sure the mics are in places
Check two video monitors with A2
Check the intercom with A1
Front of House Sound Booth
This is where A1 and I live during the performances.
Communicate between A1 and A2
Communicate with SM and Conductor
Monitor the RF receivers
Listen to the actors carefully and notice A2 if there is an issue
Trigger sound cues when SM calls the cue
Paperwork
Checklist for Sound Assistant
A checklist helps people working backstage to keep track of their assignments during each show. It is somewhat necessary because work backstage is always complicated and trivial, so it is more secure to put everything on a list instead of replying too much to one's brain.
SLM C1 Hookup.pdfFront of House Console Channel Hookup Assignment
SLM C2 Hookup.pdfBand Console Channel Hookup Assignment
Production Photos Photographer: Ken Bennett
About Me
Hello! I am Fuyuan (Freya) Zheng, a senior at Wake Forest University double majoring in Theatre and Anthropology. This is my last semester here, and I am beyond honored to get involved in this Wake Forest production of She Loves Me as part of the Team Sound. Other than my role as a sound assistant and sound cue operator, I also spent 3 of the 7 performances down there in the orchestra pit as a pit flutist. Thus, I would like to thank the Sound Team, especially Jeff and Julia, for allowing me to try as many possibilities as possible before I leave in May.
Through this special seminar in Sound Design for Musical Theatre, I have learned so much more beyond how a speaker makes a sound or how to make a spreadsheet. As a team together, we care about every detail related to sound on and off stage to ensure that the audience can hear the best intelligibility and the most comfortable balance day after day. To make this happen certainly required lots of communication, collaboration, and also individual efforts. Nevertheless, we still wanted our work to be "unheard" because this means everything there just sounded as natural as the actors were not even wearing mics.
Lastly, if anyone is interested in how I liked my position and how much I enjoyed working with these people, I guess the only thing I need to say is "I would love to go through this all over again with the exact same people from Day 1".
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