Production
Audio prodution in a nutshell, is determining what types of sound to use for the play and running the equipment during performances. Theatrical sound production involves the acquisition, recording and remastering of audio to best suit the needs of the developing play, then operating the sound system on cue. Depending on the situation, actors may use or be equipped with microphones for live audio.
A stage sound producer will be working in the control booth. They are responsible for all generating all produced sound during a performance, with the exception of actors that are not using microphone for part of their performance. Cues are relative to practiced rehearsal times in conjunction with script punctuation.
Acquisition
Sound files can be found online, within current GAPS CD collections, or in archives of past performances. Both sound effects and soundtracks are a part of what must be accrued to provide a properly entertaining theatre audio production.
Recording
Hear something you'd think sounded perfect for a part of the next performance? Record sounds in the field to remaster later.
Remastering
It is likely that any of the audio, the exception being if it is CD quality, will need remastering to carry properly over a potential audience of near 1,000 people. Sound mastering programs such as Sound Forge are available through GAPS Director Joseph Ferreira. Sound Forge can warp, balance and heighten the quality of audio through its professional quality programming. It will reduce static, increase output or change the pitch of all sounds, as well as much more.
Live Audio
Microphones are used in most public events attended to by GAPS as well as often playing some part of a KP Drama & GAPS performance. Microphones are not a constant. Batteries go dead, signals need to remain constant, placement and static can interfere with acoustics. Sound technicians should test equipment regularly, note all variations in sound level and keep impeccable track of where equipment is at all times.
Live audio means the sound must always be correct, cycled through tracks, from different sources and from mute to active in perfect time or a mistake will occur.