Editing Sound design (section)

===Theatre===
{{See also|Sound reinforcement system|Architectural acoustics}}
Sound design, as a distinct discipline, is one of the youngest fields in [[stagecraft]], second only to the use of [[Digital cinema|projection]] and other [[multimedia]] displays, although the ideas and techniques of sound design have been around almost since theatre started. [[Dan Dugan (audio engineer)|Dan Dugan]], working with three stereo tape decks routed to ten loudspeaker zones<ref name=AES1969>{{cite journal |url=http://www.aes.org/e-lib/browse.cfm?elib=1540 |title=A New Music and Sound Effects System for Theatrical Productions |last=Dugan |first=Dan |date=December 1969 |journal=Journal of the Audio Engineering Society |volume=17 |number=6 |pages=666–670 |publisher=[[Audio Engineering Society]] |access-date=March 23, 2011}}</ref> during the 1968–69 season of [[American Conservatory Theater]] (ACT) in San Francisco, was the first person in the USA to be called a sound designer.<ref>{{cite book |first1=Deena |last1=Kaye |first2=James |last2=LeBrecht |title=Sound and music for the theatre: the art and technique of design |publisher=Focal Press |year=2009 |url=https://books.google.com/books?id=l2gHgjAjGPYC&pg=PT31 |page=8 |isbn=978-0-240-81011-9}}</ref>

A theatre sound designer is responsible for everything the audience hears in the performance space, including music, sound effects, sonic textures, and soundscapes. These elements are created by the sound designer, or sourced from other sound professionals, such as a composer in the case of music. Pre-recorded music must be licensed from a legal entity that represents the artist's work. This can be the artist themselves, a publisher, record label, performing rights organization or music licensing company.<ref>{{cite web|url=https://www.musicbed.com/knowledge-base/how-to-license-music/30|title=How to License Music|access-date=January 6, 2022|archive-date=January 1, 2021|archive-url=https://web.archive.org/web/20210101083827/https://www.musicbed.com/knowledge-base/how-to-license-music/30|url-status=live}}</ref> The theatre sound designer is also in charge of choosing and installing the sound system —speakers, sound desks, interfaces and convertors, playout/cueing software, microphones, radio mics, foldback, cables, computers, and outboard equipment like FX units and dynamics processors.<ref>{{cite web|url=https://www.asoundeffect.com/theater-sound-design-podcast-sound-production/|title=How to succeed in Theater Sound Design, Podcast Sound Design, and Podcast Production – with Kirsty Gillmore, Jeff Schmidt, and Matthew McLean|date=8 January 2020 |access-date=January 6, 2022|archive-date=August 5, 2020|archive-url=https://web.archive.org/web/20200805113948/https://www.asoundeffect.com/theater-sound-design-podcast-sound-production/|url-status=live}}</ref>

Modern audio technology has enabled theatre sound designers to produce flexible, complex, and inexpensive designs that can be easily integrated into live performance. The influence of film and television on playwriting is seeing plays being written increasingly with shorter scenes, which is difficult to achieve with scenery but easily conveyed with sound. The development of film sound design is giving writers and directors higher expectations and knowledge of sound design. Consequently, theatre sound design is widespread and accomplished sound designers commonly establish long-term collaborations with directors.

====Musicals====
Sound design for [[musical theatre|musicals]] often focuses on the design and implementation of a sound reinforcement system that will fulfill the needs of the production. If a sound system is already installed in the performance venue, it is the sound designer's job to tune the system for the best use for a particular production. Sound system tuning employs various methods including [[equalization (audio)|equalization]], delay, volume, speaker and [[microphone]] placement, and in some cases, the addition of new equipment. In conjunction with the director and musical director, if any, the sound reinforcement designer determines the use and placement of microphones for actors and musicians. The sound reinforcement designer ensures that the performance can be heard and understood by everyone in the audience, regardless of the shape, size or acoustics of the venue, and that performers can hear everything needed to enable them to do their jobs. While sound design for a musical largely focuses on the artistic merits of sound reinforcement, many musicals, such as ''Into the Woods'' also require significant sound scores (see Sound Design for Plays). Sound Reinforcement Design was recognized by the American Theatre Wing's Tony Awards with the Tony Award for Best Sound Design of a Musical until the 2014–15 season,<ref name="2010–2011 Tony Award Rules">{{cite web|title=2010–2011 Tony Award Rules|url=http://www.tonyawards.com/en_US/about/Rules-2010-2011FINAL.pdf|publisher=American Theatre Wing|access-date=26 December 2011|url-status=dead|archive-url=https://web.archive.org/web/20120319152200/http://www.tonyawards.com/en_US/about/Rules-2010-2011FINAL.pdf|archive-date=19 March 2012}}</ref> later reinstating in the 2017–18 season.<ref name=":0">{{Cite web|url=http://www.tonyawards.com/en_US/news/articles/2017-04-24/best_sound_design_categories_to_return_to_the_tony_awards.html|title=Best Sound Design Categories to Return to the Tony Awards|website=TonyAwards.com|language=en|access-date=2017-04-27|archive-date=2018-09-29|archive-url=https://web.archive.org/web/20180929040600/https://www.tonyawards.com/en_US/news/articles/2017-04-24/best_sound_design_categories_to_return_to_the_tony_awards.html|url-status=dead}}</ref>

====Plays====
Sound design for plays often involves the selection of music and sounds (sound score) for a production based on intimate familiarity with the play, and the design, installation, calibration and utilization of the sound system that reproduces the sound score. The sound designer for a play and the production's [[theater director|director]] work together to decide the themes and emotions to be explored. Based on this, the sound designer for plays, in collaboration with the director and possibly the composer, decides upon the sounds that will be used to create the desired moods. In some productions, the sound designer might also be hired to compose music for the play. The sound designer and the director usually work together to "spot" the cues in the play (i.e., decide when and where sound will be used in the play). Some productions might use music only during scene changes, whilst others might use sound effects. Likewise, a scene might be underscored with music, sound effects or abstract sounds that exist somewhere between the two. Some sound designers are accomplished composers, writing and producing music for productions as well as designing sound. Many sound designs for plays also require significant sound reinforcement (see Sound Design for Musicals). Sound Design for plays was recognized by the American Theatre Wing's Tony Awards with the Tony Award for Best Sound Design of a Play until the 2014–15 season,<ref name="2010–2011 Tony Award Rules"/> later reinstating the award in the 2017–18 season.<ref name=":0" />

====Professional organizations====
* [[Theatrical Sound Designers and Composers Association]] (TSDCA)
* The [[Association of Sound Designers|Association for Sound Design and Production]] is a charity representing theatre sound designers and engineers in the UK.
* [[United Scenic Artists]] (USA) Local USA 829, which is integrated within [[IATSE]], represents theatrical sound designers in the United States.
* Theatrical Sound Designers in English Canada are represented by the Associated Designers of Canada (ADC), and in Québec by l'Association des professionnels des arts du Québec (APASQ).