Cambridge TECHNICALS LEVEL 3

PERFORMING
ARTS
Unit 20 – Stage sound design and operation
DELIVERY GUIDE
Version 1

ocr.org.uk/performingarts
CAMBRIDGE TECHNICALS IN PERFORMING ARTS

CONTENTS

Introduction 3
Related Activities 4
Key Terms 6
Misconceptions 7
Suggested Activities:
Learning Outcome (LO1) 8
Learning Outcome (LO2) 13
Learning Outcome (LO3) 19
Learning Outcome (LO4) 24
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INTRODUCTION
This Delivery Guide has been developed to provide practitioners with a variety of
creative and practical ideas to support the delivery of this qualification. The Guide
is a collection of lesson ideas with associated activities, which you may find helpful
as you plan your lessons.
OCR has collaborated with current practitioners to ensure that the ideas put forward in
this Delivery Guide are practical, realistic and dynamic. The Guide is structured by learning
outcome so you can see how each activity helps you cover the requirements of this unit.
We appreciate that practitioners are knowledgeable in relation to what works for them
and their learners. Therefore, the resources we have produced should not restrict or
impact on practitioners’ creativity to deliver excellent learning opportunities.
Whether you are an experienced practitioner or new to the sector, we hope you find
something in this guide which will help you to deliver excellent learning opportunities.
If you have any feedback on this Delivery Guide or suggestions for other resources you
would like OCR to develop, please email resources.feedback@ocr.org.uk.
OPPORTUNITIES FOR ENGLISH AND
MATHS SKILLS DEVELOPMENT AND WORK
EXPERIENCE
We believe that being able to make good progress in English and maths is essential to
learners in both of these contexts and on a range of learning programmes. To help you
enable your learners to progress in these subjects, we have signposted opportunities for
English and maths skills practice within this resource. We have also identified any potential
work experience opportunities within the activities. These suggestions are for guidance
only. They are not designed to replace your own subject knowledge and expertise in
deciding what is most appropriate for your learners.
English Maths Work
Please note
The timings for the suggested activities in this Delivery Guide DO NOT relate to
the Guided Learning Hours (GLHs) for each unit.
Assessment guidance can be found within the Unit document available from
LEVEL 3 UNIT 20
www.ocr.org.uk.
The latest version of this Delivery Guide can be downloaded from the OCR website.
UNIT AIM
Stage sound design and operation is an umbrella term which describes the various
processes involved in the creative and practical aspects of processing sound for theatre
and other performance contexts. These processes are to be found in some aspects of
the music events and exhibitions industry as well as the music industry and offer a wide
and stimulating range of career possibilities. The increasing importance of sound in the
theatre is, in part, down to new and improved technologies, but the current trend to more
immersive theatre has seen the reintroduction of low technology alongside state of the
art software and equipment. There is an increasing and significant crossover into film, TV
and radio.
This unit will give you an understanding of the diverse range of skills demanded by these
processes. You will learn about the role of the sound designer and the role of the sound
operations technician and the techniques and methods that are used. You will also have
an opportunity to fulfil these roles and develop your understanding of them further. You
will learn how to create designs to a design brief and construct a sound plan or plot which
you will use in operating a show. The skills that you will learn are transferable into a range
of other professions.
Unit 20 Stage sound design and operation
LO1
Understand theatre sound equipment, design methodology and their
purposes
LO2 Understand the design process of planning a sound plot to a brief
LO3 Be able to facilitate sound operations in a live performance
LO4 Be able to review sound design and operations in live performance
To find out more about this qualification, go to: http://www.ocr.org.uk/qualifications/
cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-
diploma-diploma-05850-05853-2016-suite
2016 Suite
• New suite for first teaching September 2016
• Externally assessed content
• Eligible for Key Stage 5 performance points from 2018
• Designed to meet the DfE technical guidance
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RELATED ACTIVITIES
The Suggested Activities in this Delivery Guide listed below have also been related to other Cambridge Technicals in Performing Arts units/Learning Outcomes (LOs). This could help with
delivery planning and enable learners to cover multiple parts of units.
This unit (Unit 20) Title of suggested activity Other units/LOs
LO1 Key practitioners Unit 19 Stage lighting design and LO1 Understand theatre lighting equipment, design methodology and their purposes
operation
Key terminology Unit 18 Production and stage LO1 Know the responsibilities of a production manger/stage manager during the
Features of amplifiers management process production process
The properties of sound
Film, TV and radio applications
Key performance characteristics of microphones
LO2 Measuring room acoustics Unit 18 Production and stage LO1 Know the responsibilities of a production manger/stage manager during the
management process production process
Drawing a basic signal flow diagram or graph Unit 19 Stage lighting design and LO2 Understand the design process of planning a lighting plot to a brief
operation
Ambience and soundscape Unit 18 Production and stage LO1 Know the responsibilities of a production manger/stage manager during the
management process production process
Cable runs Unit 19 Stage lighting design and LO2 Understand the design process of planning a lighting plot to a brief
operation
Musical instruments Unit 30 Music technology LO1 Understand the function of technology used in music production
LO3 Be able to produce a music product
Unit 31 Technical management LO4 Be able to set up and maintain instruments or technology for a music production
Foley Unit 4 Combined arts LO3 Be able to rehearse and perform a combined arts performance
LO3 Safety practices – risk assessment Unit 18 Production and stage LO3 Be able to evaluate safe working practices for a production
management process
Unit 19 Stage lighting design and LO3 Be able to facilitate lighting operations in a live performance
operations
Unit 21 Character design and LO3 Be able to facilitate lighting operations in a live performance
realisation
Unit 22 Set design and realisation LO3 Be able to realise a design for use in performance
Access equipment Unit 18 Production and stage LO3 Be able to evaluate safe working practices for a production
Rigging management process
Unit 19 Stage lighting design and LO3 Be able to facilitate lighting operations in a live performance
operations
Unit 22 Set design and realisation LO3 Be able to realise a design for use in performance
Sound board operation – part 1 Unit 19 Stage lighting design and LO3 Be able to facilitate lighting operations in a live performance
Sound board operation – part 2 operations
LEVEL 3 UNIT 20

Connectors

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This unit (Unit 20) Title of suggested activity Other units/LOs

LO4 Review design concept
Review materials and equipment
Review method part 1 (design)
Review method part 2 (operations)
Review technical performance outcomes
Review aesthetic performance outcomes
Review health and safety practices
LEVEL 3 UNIT 20
Unit 19 Stage lighting design and
operations
Unit 21 Character design and
realisation
Unit 22 Set design and realisation
LO4 Be able to review lighting design and operations in live performance
LO4 Be able to review design and realisation processes for live performance
LO4 Be able to review set design for live performance

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KEY TERMS
Explanations of the key terms used within this unit, in the context of this unit
Key term Explanation
Ambience The character and atmosphere of a place. A script may call for a scene set in an airport departure lounge. The sound designer would have to create this ambience
using appropriate background sound effects.
Cue sheet A version of the sound plot to be used by the sound technicians who will run the equipment during the performance. This will be on or near the sound desk
during performance so that the technician can follow it.
Direction The location of the sound in space and how sound travels from one location to another. A sound designer may decide to change the direction from which a
sound is perceived to originate. For example, the sound of a horse trotting by may begin stage left and ‘move’ across the stage to stage right.
Duration The length of time the sound lasts. In the example given above the sound of the trotting may fade in and then out again but from start to finish, the length of time
that the sound is active represents the duration of the effect.
PASMA PASMA is the Prefabricated Access Suppliers’ and Prefabricators’ Association. PASMA runs Health & Safety Executive approved courses in the use of access
equipment of the kind regularly used by theatre sound professionals.
Pitch  The wavelength or frequency of the sound. The pitch of a sound may be measured scientifically but is also appreciated by the human brain. Someone with a ‘good
ear’ for music will know when they hear a singer with ‘perfect pitch’.
Plot A list of all the music and sound cues for each act/scene. It indicates where the sound or music occurs, the page number of the script where it appears and the
equipment that will be used to produce it. The sound plot is the master document and versions of it will be used by sound operatives and stage management
staff at some point.
Soundscape An atmosphere or environment created by or with sound. The designer may create a soundscape track to provide the atmosphere demanded by the scene such
as in the example above but with more complexity often creating a narrative.
System layout A system layout shows the type and location of speakers on stage, on the set and in the auditorium. The system layout may also include a layout of how all of the
sound equipment will be interconnected. This is important when rigging as it shows the sound engineer where equipment needs to be located and how the
cabling connecting it to the control desk will be arranged.
Underscore Music accompanying action and dialogue. A musical underscore is most commonly found in cinema and TV where music is played under the action to create an
atmosphere: for example, tension or suspense. This technique may be used in theatrical applications also.
Volume  The loudness or quietness of the sound. Volume is proportionate to the energy of a given sound. It can be measured scientifically in decibels but is also dependent
upon other factors which might affect the way volume is perceived, such as how sound is absorbed or reflected by surrounding surfaces.
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MISCONCEPTIONS
Some common misconceptions and guidance on how they could be overcome
What is the misconception?
The role of the sound designer is
the same for any live performance
event
The terms pace, tone and pitch and
how they are used
Microphones all do the same thing
(more or less)
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How can this be overcome?
Learners may think in terms of a textbook definition of the role of ‘sound
designer’ i.e. the creation and execution of aural stimuli to enhance the
mood of a stage work and/or to facilitate the telling of the work.
Tutors may find it useful to draw attention to the many different genres
and styles of live performance and highlight how each may place a
different emphasis on what is required of the sound designer. A simple
example is that while one production may demand a large number of
spot sound effects another may have no use for these at all and place its
emphasis on soundscape and atmosphere instead.
These terms are often confused and used indiscriminately. Learners
need to be able to distinguish clearly between them and use them
appropriately. Explanations usually refer to vocal and musical contexts
and it may be necessary to investigate the physics behind these terms to
understand fully the implications for the sound designer.
There is a commonly held belief that since all types of microphone are
designed to pick up sound for amplification then they are interchangeable
and can be used in any circumstances. It is important that tutors introduce
learners to a range of microphone types and demonstrate why each type
is used for a specific purpose. Tutors should also clarify that microphone
outputs from the mixer have to be balanced to achieve optimum results.
Resources which could help
Organisation: Harada Sound
Resource Title: Sound Handbook
Website Link: http://harada-sound.com/sound/handbook/
Description: A guide to a wide range of professional sound contexts.
Organisation: Association of Sound Designers
Resource Title: What is a sound designer for theatre?
Website Link: http://www.associationofsounddesigners.com/whatis
Description: A definitive explanation of the role of sound designer.
Organisation: Music Appreciation Web
Resource Title: Sound, Pitch, Dynamics, and Tone Color
Website Link: https://sites.google.com/site/musicappreciationweb/
sound-pitch-dynamics-and-tone-color
Description: An explanation of the terms in a musical context with
technical diagrams.
Organisation: NDT Resource Center
Resource Title: The Components of Sound
Website Link: https://www.nde-ed.org/EducationResources/
HighSchool/Sound/components.htm
Description: An education resource providing explanation of sound
components.
Organisation: ProSoundWeb
Resource Title: Capturing The Stage: Microphone Approaches For
The Performing Arts
Website Link: http://www.prosoundweb.com/article/capturing_the_
stage_microphone_approaches_for_the_performing_arts/
Description: Helpful comprehensive guide to choosing and using
microphones on stage.
Organisation: Sure
Resource Title: Theater Audio: The Science Behind the Illusion
Website Link: http://shure.custhelp.com/app/answers/detail/a_
id/552/~/theater-audio%3A-the-science-behind-the-illusion
Description: Some pitfalls of using mismatched microphones and
other microphone guidance.
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SUGGESTED ACTIVITIES
LO No:
LO Title:
Title of suggested activity
Key practitioners
Key terminology
LEVEL 3 UNIT 20
1
Understand theatre sound equipment, design methodology and their purposes
Suggested activities Suggested timings Also related to
Tutors could provide learners with a short synopsis of the contribution made to the development of 1 hour Unit 19 LO1
sound design by key practitioners such as Murch, and Dugan, and follow this up with one or more (plus 1 hour self-
research briefs requiring learners to identify one or more current practitioners such as Cork and Shutt directed study)
and investigate their philosophy and approach, perhaps giving examples from recent productions.
Learners could annotate screen shots of lighting states which illustrate their findings.
Organisation: The Guardian
Resource Title: Now hear this: theatre’s revolution in sound design
Website Link: http://www.theguardian.com/stage/theatreblog/2008/oct/03/theatre.sound.design
Description: A look at current trends in theatre sound design from pioneering practitioners.
Organisation: Gareth Fry Sound Design
Resource Title: Current / Recent projects
Website Link: http://www.garethfry.co.uk/
Description: An insightful profile of one of the UK’s leading sound designers.
Learners need to be comfortable using the language of sound designers. To be able to communicate 2 hours Unit 18 LO1
their design intentions successfully they need to use the correct and universally understood
terminology.
Tutors could provide a very simple design project which will require learners to specify key
equipment. This might include microphones, mixers, amplifiers, recording and play-back equipment
and speakers. To help learners familiarise themselves with the equipment available tutors might
encourage learners either to create a short presentation or alternatively design an information poster
setting out the range of equipment available to the sound designer.
Organisation: Harvard Student Technical Theatre Handbook
Resource Title: Sound Systems
Website Link: http://www.hcs.harvard.edu/~htag/handbook/?q=wiki/sound_systems
Description: Helpful guide that includes a review of the key elements of a theatre sound system.
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Title of suggested activity Suggested activities Suggested timings Also related to

Features of amplifiers Learners need to understand that amplifiers are used in a very wide range of industrial applications 1.5 hours Unit 18 LO1
and that in both live and recorded contexts it is important that an amplifier is correctly suited to the
function for which it is intended.

Tutors could encourage learners to carry out their own research on the Internet visiting sites of
equipment and software suppliers so that they can familiarise themselves with the most commonly
found systems.

Again, hands-on experimental opportunities for learners will be much more effective than spending
too much time reading technical manuals. Tutors may wish to present learners with a simplified profile
of the kinds of amplifiers used in the performing arts and recording industries and then provide them
with live workshop opportunities to develop their understanding.

Organisation: Media College

Resource Title: Sound Systems
Website Link: http://www.mediacollege.com/audio/01/sound-systems.html
Description: An explanation of how sound systems work, including the amplifier.

Organisation: Explainthatstuff!
Resource Title: Amplifiers
Website Link: http://www.explainthatstuff.com/amplifiers.html
Description: A helpful guide to the wide range of applications for which amplifiers are used and an
explanation of how they work.
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Title of suggested activity Suggested activities Suggested timings Also related to

The properties of sound
Fundamental to the practice of sound design for the stage is an understanding of the properties of 1.5 hours Unit 18 LO1
sound and how they may be used to enhance the mood of a stage work and/or to facilitate the telling
of the work. From the outset, it is important that learners are shown how sound is fundamental to
the way we understand the world and how, in a theatrical application, the way a spot sound effect,
soundscape or atmosphere can radically affect the way an audience perceives the work.

It is essential that key concepts and properties of sound, namely frequency, wavelength, amplitude,
sound pressure/intensity, speed of sound and direction be covered early on, since these set the
parameters for everything which follows. There are many helpful resources that will assist the tutor
to communicate these concepts in an interesting way and a search of YouTube will prove useful. As
a basic introductory session it may prove helpful for an arrangement to be made with the physics
department to utilise some basic equipment such as a signal generator, oscilloscope and speakers
that will allow learners to experiment with sound and understand the way sound can be generated
and measured.

To assist tutors in formulating their objectives a list of topics for exploration may prove helpful and
may be found at:

Organisation: Khan Academy

Resource Title: Sound Properties
Website Link: https://www.khanacademy.org/science/physics/mechanical-waves-and-sound/sound-
topic/v/sound-properties-amplitude-period-frequency-wavelength
Description: A helpful video explanation of several sound properties. This site also contains other
useful video resources relating to sound. There is a facility for saving learning progress made while
using this site.
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Title of suggested activity
Film, TV and radio
applications
LEVEL 3 UNIT 20
Suggested activities Suggested timings Also related to
Learners should understand the potential for skills crossover between stage, film and broadcast 2–3 hours Unit 18 LO1
industries. Though sound designers may specialise in one of these areas the professional portfolio will
often include work in more than one and sometimes all of these. Although it is unnecessary to go
into deep technical detail, learners should be clear about the fundamental differences between these
applications.
Tutors could consider liaising with the media department and arranging for learners to spend some
time working with radio and/or video production students in practical recording sessions for both
studio and location projects. In this way key differences such as the use of directional (shotgun-type)
microphones and the use of portable mini audio mixer/recorders for example will become clearer.
Also important is the need to understand the role of sound post-production in recorded media.
Organisation: FilmSound
Resource Title: Sync tanks: The Art and Technique of Post production Sound
Website Link: http://filmsound.org/synctanks/
Description: An overview of sound applications for post-production sound.
If there is no opportunity to gain hands-on experience a clear and basic understanding of recording
techniques for film and video may be found on YouTube:
Organisation: George Black
Resource Title: Sound Recording Tutorial
Website Link: https://www.youtube.com/watch?v=xvDEAQT8aBU
Description: Tutorial describing the basic techniques and ways to record sound in film and video
production.
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Title of suggested activity
Key performance
characteristics of
microphones
LEVEL 3 UNIT 20
Suggested activities Suggested timings Also related to
It is important for learners to understand the different properties of microphone types. Often the best 1.5 hours Unit 18 LO1
way for learners to develop this understanding is to experiment.
After setting up a range of different microphones and ensuring that all relevant health and
safety guidelines are met, tutors could enable an immediate ‘hands on’ experience for learners. A
microphone’s suitability and effectiveness for a given purpose and position may be explored both
subjectively and objectively. Microphone types could be assessed against different sound sources,
proximity to the source and relative directional position. ‘Trying out’ different microphones in different
circumstances is the by the best way to learn about this topic.
Organisation: Media College
Resource Title: Directional Properties
Website Link: http://www.mediacollege.com/audio/microphones/directional-characteristics.html
Description: An explanation of the directionality of microphones and how they are divided into three
main categories.
Organisation: SOS
Resource Title: Mic Types & Characteristics
Website Link: http://www.soundonsound.com/sos/apr98/articles/mic_types.html/
Description: An explanation of the differences between dynamic and capacitor microphones.
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SUGGESTED ACTIVITIES
LO No:
LO Title:
Title of suggested activity
Measuring room acoustics
LEVEL 3 UNIT 20
2
Understand the design process of planning a sound plot to a brief
Suggested activities Suggested timings Also related to
Tutors need to explain the importance of acoustical properties of venues and how these properties 2 hours Unit 18 LO1
impact on sound design. It may be possible to locate a number of positions with different properties
within the teaching building, such as classroom, reception area, canteen etc. Learners could be asked
to experiment with the sound of a hand clap in each of several different spaces and suggest what the
perceived differences are and what might cause them. They could be asked to record these responses
and analyse them on playback. Further experimentation can take place using acoustic panels or
drapes to see what effect these have on the acoustic properties of the space.
Organisation: RecordingStudio9.com
Resource Title: Room Acoustic Analysis/Measurement
Website Link: https: https://www.youtube.com/watch?v=dYOlC1onguI
Description: A comprehensive and easy to follow tutorial explaining how to measure room and
speaker acoustic responses and how to equalise the room acoustic. Shows cheap i-phone apps and
links for free software to accomplish this.
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Title of suggested activity
Drawing a basic signal flow
diagram or graph
LEVEL 3 UNIT 20
Suggested activities Suggested timings Also related to
Before making a first attempt learners need to be able to recognise the basic symbols and layout used 2–4 hours Unit 19 LO2
in a signal flow diagram. For teaching purposes tutors need to keep examples and exercises simple
since signal flow schematics can begin to grow quite complex and may appear intimidating. There
is no need for learners to encounter a system of complexity but they do need to understand what a
signal flow diagram is and why sound designers need to understand how to draw one. Learners could
be given a simple pre-prepared system equipment list and then be asked to draw a basic diagram
representing this layout.
Once they are confident about the use of symbols and notation they might be tasked with creating
a simple signal flow diagram from absolute scratch explaining how this accurately represents a given
layout. This may take more than one session, as it is expected that tutors will need to offer guidance
until learners are confident in their process.
Organisation: Google Images
Resource Title: Signal flow diagram
Website Link: https://www.google.co.uk/search?q=what+is+a+signal+flow+diagram?
&espv=2&biw=1600&bih=861&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKE
wixyoG0rJDKAhWCXBoKHexgBdoQsAQIPw&dpr=0.9
Description: A wide range of examples are illustrated of varying complexity.
Organisation: Berklee
Resource Title: Basic Flow Chart Symbols
Website Link: https://mpe.berklee.edu/documents/curriculum/materials/mp-211/Course Handouts/
Flow Charts Symbols.pdf
Description: A guide to the commonest symbols used in the production of a signal flow chart.
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Title of suggested activity Suggested activities Suggested timings Also related to

Ambience and soundscape
Learners will benefit from being introduced to the ways ambient sound and soundscape may be used 1 hour Unit 18 LO1
in as wide a variety as possible and in different contexts. The opportunities to study the use of these
techniques and how they are planned and constructed are huge and include film and TV, gaming,
mood setting CDs as well theatrical settings. Tutors may like to ask learners to research recordings or
examples taken from any of the above media and bring them into class where they can present them
to the group and explain what they believe to be the composer/sound designer’s intentions. Analysis
of such examples will sharpen their understanding of the components, techniques and process
engaged in the planning, design and production process.

Organisation: MusicRadar
Resource Title: 27 essential ambient production tips
Website Link: http://www.musicradar.com/tuition/tech/27-essential-ambient-production-tips-166772
Description: A list of useful tips and ideas for the production of ambient sound tracks.

Organisation: Envato Tuts+

Resource Title: Creating Rich Soundscapes with Organic & Electronic Sounds
Website Link: http://music.tutsplus.com/tutorials/creating-rich-soundscapes-with-organic-electronic-
sounds--audio-1430
Description: A helpful tutorial which is music based but addresses the key techniques such as fades
and transitions, cuts and loops etc.
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Title of suggested activity Suggested activities Suggested timings Also related to

Cable runs Tutors need to bear in mind that learners need to consider the physical requirement to run cables. 2 hours Unit 19 LO2
They will need to be able to make critical judgements about the type and quantity of cable
required, where it will pass and the connectors needed. Much of this comes with experience but
tutors may like to set a simple challenge of setting up a sound rig for a simple small stage space
with speakers and both boundary and overhead microphones with the mixing desk some distance
away in the auditorium. Learners could be encouraged to measure the safest and most practicable
cable runs, consider how the cable could be gathered or suspended and what connectors will be
required. Additionally they should be required to consider any possible implications created by
electromagnetic interference or impedance with reference to speaker cables.

Organisation: ProSoundWeb
Resource Title: Stagecraft: Wiring The Stage Efficiently and Safely
Website Link: http://www.prosoundweb.com/article/print/stagecraft_wiring_a_stage_efficiently_
neatly_safely
Description: Primarily an audio resource this page covers the basics for all aspects of stage wiring and
is a good ground-level resource to assist with cabling requirements.

Organisation: SOS
Resource Title: Understanding Impedance
Website Link: https://www.soundonsound.com/sos/jan03/articles/impedanceworkshop.asp
Description: An explanation of what impedance is and how to deal with it.
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Title of suggested activity Suggested activities Suggested timings Also related to

Musical instruments
Unless they are practicing composers and musicians learners may not appreciate the role that 2 hours Unit 30 LO1, LO3
musical instruments can play in the sound design process. By being made aware of the potential for Unit 31 LO4
the design and creation of specific sounds using musical instruments, synthesisers and sampling,
learners will have a greatly expanded design vocabulary and will be equipped to create much more
richly varied work. It is likely that learners will have access to a synthesiser either as a keyboard
with a record/playback facility or in desktop Apple/PC software format and, given basic instruction
on its operation, they do not need to have musical skills to produce interesting and multi-layered
soundscapes and ambiences. Tutors could select either a genre(s) or a specific short clip(s) from a
movie(s) with the sound removed and ask the learner to experiment with producing a soundtrack to
underscore the action. The results may then be stored and played back in sync with the original clip to
encourage classroom analysis and feedback.

Organisation: Sound Design Live

Resource Title: Super Fun Instrument Design
Website Link: http://sounddesignlive.com/fun-instrument-design/
Description: A really engaging interview with electronic instrument designer and performer Moldover,
looking at how music technology can be used not only to play exciting live gigs but also to create
innovative soundtracks.

Organisation: Dubspot
Resource Title: Sound Design
Website Link: http://www.dubspot.com/sound-design/
Description: Considers the fundamentals of synthesis and sampling and provides guidance on how to
shape sounds and make sounds from scratch.
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Title of suggested activity Suggested activities Suggested timings Also related to

Foley In recent years as technology has become increasingly sophisticated and available to all, Foley 2 hours Unit 4 LO3
techniques (known as Footsteps in the UK) had been largely neglected or looked down upon in
live theatre contexts. Things have come full circle however and there is now a growing movement
championing a return to live sound effects in theatre applications. Small touring companies in
particular have embraced these techniques which are fast becoming re-established as a valid
alternative to recorded sound. Producing live sound effects can be a hugely enjoyable challenge
and learners should relish opportunities to rediscover tried and tested methods as well as perhaps
creating new sound effect solutions for themselves. As with the activity above, video clips can be
used but where possible it is certainly preferable for learners to have the opportunity to provide
accompanying effects for a live stage production. Tutors may like to identify a script which has
potential for sound effects and then assist learners to break the script down, highlighting what effects
would be appropriate and where, thereby creating a plan for a sound design. Learners could then go
on to realise the design in practice.

Organisation: FilmSound.org
Resource Title: Foley Artistry
Website Link: http://filmsound.org/foley/
Description: A website dedicated to the art of Foley with a number of links to specific examples and
discussions.

Organisation: /A\ News Vancouver Island

Resource Title: Live Sound Effects on latest Blue Bridge Theatre Production
Website Link: https://www.youtube.com/watch?v=qSMYlljMeeU
Description: A video showing the ingenuity of the Foley artist at work in a live stage production.
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SUGGESTED ACTIVITIES
LO No:
LO Title:
Title of suggested activity
Safety practices – risk
assessment
LEVEL 3 UNIT 20
3
Be able to facilitate sound operations in a live performance
Suggested activities Suggested timings Also related to
Observance of current health and safety legislation and its relevant practice is of paramount 1.5 hours Unit 18 LO3
importance in the theatre industry and learners must become familiar with the key legislation. There Unit 19 LO3
is no short cut for learners when safety is concerned and therefore tutors should endeavour to Unit 21 LO3
inculcate appropriate health and safety legislation and practice in every teaching session. It would Unit 22 LO3
prove useful for tutors to follow up a health and safety briefing with a risk assessment exercise based
upon a specific brief. By staging a small-scale event in a relatively intimate space and getting learners
to engage with and apply all the relevant health and safety practices tutors will be exercising learners’
risk aversity and practical judgement. Tutors may use standard risk assessment centre templates that
may be available but should ensure that whichever template is used it is suitable for the purpose
intended and focuses on live performance in a named space or venue. It may be necessary to edit
existing templates so that this focus is really clear. Generic health and safety risk assessment templates
should not be used.
Following a formal session examining the risks and hazards recording process and the system
for rating categories/priority levels, learners could be encouraged to pair up and investigate the
proposed performance space and its immediate environs identifying all potential risks and hazards
in accordance with the legislation they have covered. This could then lead into a class discussion
where each pair contributes suggestions to the body of knowledge whilst the tutor completes the risk
assessment form on screen.
Organisation: Health & Safety Executive
Resource Title: Theatre
Website Link: http://www.hse.gov.uk/entertainment/theatre-tv/theatre.htm
Description: Information to assist people who run theatres in controlling the risks to those working in
the theatre or attending productions.
19
CAMBRIDGE TECHNICALS IN PERFORMING ARTS

Title of suggested activity Suggested activities Suggested timings Also related to

Access equipment
The use of access equipment is an essential part of stage rigging activities. It is appreciated that 1 hour Unit 18 LO3
tutors may find both themselves and learners barred from using such equipment as a result of local Unit 19 LO3
regulations. If this is the case three options exist: firstly tutors and/or learners can complete the Unit 22 LO3
appropriate PASMA course or secondly, a venue should be found that will allow supervised working
at heights. A third option may be the deployment of access equipment on the ground, with each
stage and process following a check list and accompanied by a running commentary from the learner.
Thus every task involved in the safe rigging process may be achieved with the exception of actually
ascending to height.

Organisation: Health & Safety Executive

Resource Title: Theatre
Website Link: http://www.hse.gov.uk/entertainment/theatre-tv/theatre.htm
Description: Information to assist people who run theatres in controlling the risks to those working in
the theatre or attending productions

Organisation: PASMA
Resource Title: PASMA Training Courses
Website Link: http://www.pasma.co.uk/training/
Description: Information on the industry standard specialist courses in the use of access equipment.
LEVEL 3 UNIT 20

20
CAMBRIDGE TECHNICALS IN PERFORMING ARTS

Title of suggested activity Suggested activities Suggested timings Also related to

Rigging Using a head height bar tutors could begin to set low-level rigging tasks that will fulfil one-off rigging 2 hours Unit 18 LO3
procedures including cabling, connecting, hanging, etc, all of which may be accomplished from Unit 19 LO3
the floor. A useful exercise might be where tutors provide a simple brief to the learners in the role of Unit 22 LO3
sound technician. After nominating a show style (music/stand-up gig, drama, product launch etc) and
audience configuration, tutors could ask learners to provide a diagram or plan showing where and
how they would suspend microphones and speakers and the route to be taken by the cables back
to the control position. This exercise may be completed more than once for different styles of show/
audience configurations.

Organisation: Health & Safety Executive

Resource Title: Theatre
Website Link: http://www.hse.gov.uk/entertainment/theatre-tv/theatre.htm
Description: Information to assist people who run theatres in controlling the risks to those working in
the theatre or attending productions.

Organisation: PLASA
Resource Title: PLASA National Rigging Certificate (NRC)
Website Link: http://www.plasa.org/pd/qualifications
Description: Details about the PLASA national rigging certificate and the standards required of stage
riggers.

Organisation: ProSoundWeb
Resource Title: Capturing The Stage: Microphone Approaches For The Performing Arts
Website Link: http://www.prosoundweb.com/article/capturing_the_stage_microphone_approaches_
for_the_performing_arts/
Description: Guide to the basics of effective positioning of microphones and speakers to enhance
audience appreciation.
LEVEL 3 UNIT 20

21
CAMBRIDGE TECHNICALS IN PERFORMING ARTS

Title of suggested activity Suggested activities Suggested timings Also related to

Sound board operation – A core responsibility for the sound technician, sound board operation is a technique which must be 1–2 hours Unit 19 LO3
part 1 mastered. Learners who are unfamiliar with sound mixing may find the layout of the board daunting
at first, especially as the board has numerous channels. Tutors need to ensure that the familiarisation
process is a gradual one so that the function of faders and pots is clearly understood and that the
mixing process is demystified. This applies equally to virtual soundboards and mixing desks using
computer software. Tutors may like to set a series of brief tasks, each relating to a single specific
function of the desk. The first simple task could be related to input channel functions exploring the
effect of gain, aux and PFL in turn. Learners could be asked to record and/or explain the function of
these and the effect that they may have on a signal.

A second set of tasks might look at the output side of the mixer and focus on the busses and metering
aspects.

Organisation: Tekasza
Resource Title: Sound Tutorial – Tunning The Sound Board
Website Link: https://www.youtube.com/watch?v=EhFEGeeg00g
Description: A clear video tutorial covering the basics of mixer components and how to operate them.
Sound board operation – Following on from part 1, when learners are comfortable with the layout and function of the desk 1 hour Unit 19 LO3
part 2 overall it may be helpful to supply them with two or more microphone types and ask them to set up
each microphone channel so that the output from the different types of microphones are matched.
The success of this matching process can be measured both objectively and subjectively.

Organisation: Tekasza
Resource Title: Sound tutorial – running the sound board
Website Link: https://www.youtube.com/watch?v=EhFEGeeg00g
Description: A clear video tutorial covering the basics of mixer components and how to operate them.
LEVEL 3 UNIT 20

22
CAMBRIDGE TECHNICALS IN PERFORMING ARTS

Title of suggested activity Suggested activities Suggested timings Also related to

Connectors The sound technician will frequently be required to make up connectors. This is also a part of routine 1.5 hours Unit 19 LO3
maintenance. Learners should be familiar with the most common audio connectors and how to wire
them correctly. It is essential that a small stock of these be held in the centre. These may be used
exclusively for practice purposes and consequently may be reused almost indefinitely.

Tutors could task learners with producing a poster format reference aid which illustrates the common
connectors and also the specification of cable with which they are used. There is no substitute for
practice however and tutors are encouraged to ensure that learners get plenty of opportunity for
making up cables.

Organisation: Cables To Go
Resource Title: Audio connector guide
Website Link: http://www.cablestogo.com/learning/connector-guides/audio
Description: A commercial site for the purchase of cable connectors with very clear images and
explanations of function and use.
LEVEL 3 UNIT 20

23
CAMBRIDGE TECHNICALS IN PERFORMING ARTS
SUGGESTED ACTIVITIES
LO No:
LO Title:
Title of suggested activity
Review design concept
LEVEL 3 UNIT 20
4
Be able to review sound design and operations in live performance
Suggested activities Suggested timings Also related to
Having completed a sound design learners need to be able to reconsider the premise upon which 1.5 hours Unit 19 LO4
their design concept is based. Tutors could role play the director/production manager in a designer Unit 21 LO4
briefing session where the designer is explaining the design using appropriate documentation. In Unit 22 LO4
this way the learner as the designer will be required to explain and defend design decisions, showing
how the concept has met the requirements of the brief and how it will fulfil its purpose. Tutors can ask
questions and probe quite deeply to ensure that learners come to appreciate the relative strengths
and weaknesses of their design.
Organisation: Mic Pool
Resource Title: Step by Step Guide to Sound Design (1994 – updated 2009)
Website Link: http://www.micpool.com/STEP_BY_STEP_GUIDE.html
Description: A comprehensive guide to the whole design process which should help the learner to
interrogate his/her own process. With the exception of a couple of instances (flagged up at the head
of the web page) all the equipment and method are still in current practice.
24
CAMBRIDGE TECHNICALS IN PERFORMING ARTS

Title of suggested activity Suggested activities Suggested timings Also related to

Review materials and The actual equipment used by a sound designer will be affected by the operational context. Music, 1 hour Unit 19 LO4
equipment effects and atmospheres will use one set of equipment for studio production and then another Unit 21 LO4
set of equipment will be required for performance. Gig applications will be different from those in Unit 22 LO4
dramatic performance. The potential combinations are considerable. It is therefore important that the
production objectives are clear from the start and that learners understand the consequential design
parameters.

Hence learners should be able to show how the demands of the brief have influenced the selection
of materials and equipment. In most cases this will be constrained by the range of materials and
equipment available within the centre. However, learners should be encouraged to explain their
reasons for having selected, say, one piece of equipment over another. Where limitations within the
centre preclude the use of materials or equipment, making them unavailable to the learner, then the
learner should be able to justify why additional item(s) should be procured (even if ultimately this may
not be possible).

These learner responses could comprise a written report justifying the selection or be in the form of
a presentation which may provide a basis for the discussion of method in the Review method part 1
(design) activity on the next page. It is recommended that this is carried out separately from the first
activity above as the context differs; the parameters which operate here are operational as well as
technical with inevitable budgetary implications.

Organisation: Ask Audio

Resource Title: Five Pieces of Gear Every Sound Designer Needs
Website Link: https://ask.audio/articles/five-pieces-of-gear-every-sound-designer-needs
Description: An informed set of recommendations for essential equipment for the studio sound
designer. This forms part of a series of articles of interest to the sound designer.
LEVEL 3 UNIT 20

25
CAMBRIDGE TECHNICALS IN PERFORMING ARTS
Title of suggested activity
Review method part 1
(design)
Review method part 2
(operations)
LEVEL 3 UNIT 20
Suggested activities Suggested timings Also related to
Learners should focus on the way the design process evolved. It may be helpful to consider this from 2.25 hours Unit 19 LO4
a project management perspective. In other words tutors need to encourage learners to look at their Unit 21 LO4
process and explain and justify the way they went about it. Unit 22 LO4
It should be remembered that method applies to both design and operational functions. It may
therefore be helpful to the learner if this activity is split into two parts; one for design method and one
for operations method (see the activity below).
To assist the learner/designer in reviewing the design methods an illustrated presentation or
demonstration format may prove useful. This might include showing how research (words and
images) influenced the design, how initial audio samples etc were created and how the design was
finalised.
Organisation: Chicago Humanities Festival
Resource Title: Sound Design for Theater
Website Link: https://www.youtube.com/watch?v=8HzedVMQjaU
Description: Sound designer Joshua Horvath discusses and demonstrates the sound design process
for the show Rent at the Chicago Humanities Festival.
Organisation: National Theatre
Resource Title: Sound on Stage
Website Link: https://www.youtube.com/watch?v=GXXbRf_RD6k
Description: Yvonne Gilbert is the sound manager for the Lyttelton theatre, the National Theatre’s
second largest stage. In this video clip she explains some of the techniques used to integrate sound
effects into the stage and bring the set of a production to life.
For the operations review a report format may prove the most effective and certainly it would offer 2 hours Unit 19 LO4
the most accurate professional parallel. Though a presentation approach could be adopted, the Unit 21 LO4
information sought after here would be presented more formally since the allocation of both human Unit 22 LO4
and physical resources and the efficiency of the technical operation during get-in, rigging, focussing
and technical rehearsal should be evaluated for efficiency and quality. Tutors could consider it useful
to help learners identify a suitable report format for this activity.
Organsiation: BBC
Resource Title: Essential tips
Wesite Link: http://www.bbc.co.uk/newtalent/drama/advice_diey.shtml
Description: This resource is a step-by-step guide to sound design by Andrew Diey.
26
CAMBRIDGE TECHNICALS IN PERFORMING ARTS
Title of suggested activity
Review technical
performance outcomes
Review aesthetic
performance outcomes
LEVEL 3 UNIT 20
Suggested activities Suggested timings Also related to
Tutors should endeavour to ensure that learners are clear about the difference between technical 1 hour Unit 19 LO4
method in the activity above and technical performance outcomes. The latter focuses exclusively on Unit 21 LO4
the sound operations during the show. The review should not consider aesthetics, which are dealt Unit 22 LO4
with in the activity below. Under normal circumstances, providing the show has run as intended, this
review will not be unduly complex.
Tutors should encourage learners to consider a simple, clear set of audio outcomes and compare
these to the original objectives highlighting what worked well and what didn’t and why (this could
also be in the form of a SWOT analysis). A PowerPoint presentation may lend itself to this approach.
Organisation: Google
Resource Title: Powerpoint SWOT analysis templates
Website Link: https://www.google.co.uk/search?q=swot+analysis+example+powerpoint&sa
=X&espv=2&biw=1600&bih=861&tbm=isch&tbo=u&source=univ&ved=0ahUKEwi1t_jWsYb
KAhXGtBoKHcWFDE0QsAQIGw&dpr=0.9
Description: Examples of templates which could be adapted to suit the purpose of the activity.
Tutors could give learners a degree of latitude when they review the aesthetics of the sound used 1 hour Unit 19 LO4
in performance. It is not necessary to review an in-house production or one which the learners have Unit 21 LO4
worked on; any production will suffice where learners can form part of the audience and take notes. Unit 22 LO4
There are several possible ways to approach evidence; as well as the notes themselves learners can
participate in discussions, recorded video analysis, formal reports or essays and theatre reviews that
will enable learners to highlight, analyse and evaluate the ‘audience experience’ within an audio
context.
Organisation: BBC
Resource Title: Writing about and evaluating theatre
Website Link: http://www.bbc.co.uk/education/guides/zxs9xnb/revision/6
Description: A guide to topic areas for inclusion in a theatre review. The music and sound section
contains helpful headings for consideration.
27
CAMBRIDGE TECHNICALS IN PERFORMING ARTS
Title of suggested activity
Review health and safety
practices
LEVEL 3 UNIT 20
Suggested activities Suggested timings Also related to
Of paramount importance, a health and safety review is a critical part of real-world professional 1.5 hours Unit 19 LO4
practice and should be taken very seriously. However tutors decide to elicit feedback from students Unit 21 LO4
relating to the health and safety practice adopted within the production process, the key elements Unit 22 LO4
of risk assessment, incident reporting procedures, working at height, electrical safety and remedial
measures taken must form the central tenets of this review. It is likely that the sound design and
operations platform may dovetail into safety reviews from other departments. If this is the case it
should be made very clear which aspects relate specifically to sound (rigging, cable runs, decibel
range etc). If the tutor decides to produce an overall production health and safety review template
it should contain a clearly relevant section for each department and learners should be tasked with
completing the section relevant to sound. Any template produced would be most effective if the
headings therein encourage learners to examine their own health and safety practice in a methodical
way, area by area and aspect by aspect, such as access, lifting, rigging etc.
Organisation: Input Youth
Resource Title: Live Sound Engineer
Website Link: http://www.inputyouth.co.uk/jobguides/job-livesoundengineer.html
Description: An overview of the range of responsibilities of the sound engineer including those areas
which impact on the health and safety of technicians, performers and audience members.
28
The small print
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OCR’s resources are provided to support the teaching of OCR
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