Brian Linds, Sound Designer for The Miracle Worker, answers some questions on what makes a good sound designer.

What does a sound designer do?
A theatrical sound designer is responsible for all the sound in a production. From writing the score to creating sound effects to choosing pre-show and intermission music, the sound designer works collaboratively with the director to enhance the production. The designer is also responsible for determining technical requirements: such as the choice of equipment, placement of speakers, placement and volume of the cues. The designer can create special effects to highlight significant moments. For example, last year as the sound designer for A Doll's House, I chose to alter the sound of the letter dropping into the mailbox. By using a microphone to amplify the sound, the cue served to accentuate the importance of the letter's arrival.

How do you begin your process of designing sound for a show?
The work of any designer begins with the demands of the script. I read the play many times. I listen for what the play suggests to me: What is the overall feeling or mood of the show? Is there a particular instrument or genre of music that suggests itself? What sound effects are suggested in the text? After compiling some initial ideas, I meet with the director. I share my impressions and play some possible cues looking for feedback and suggestions. Following this meeting, I refine my choices and begin building the sequences for the production. These sequences are constantly being adapted and tweaked throughout the rehearsal right up to opening night in an effort to make the sound support the work onstage in the best possible way.

Was there anything you did differently for this particular production of The Miracle Worker as it relates so specifically to sound issues?
I have used the solo cello throughout the production. When I reflected upon the play and upon Helen's struggle, the cello suggested itself to me as an instrument that characterized the loneliness and yearning to break through the barriers of her world. In imitation of Helen's world, I tried to use sound as sparsely as possible. The choice NOT to use sound became an important element of the sound design.

Has the improvement in theatre sound technology - bringing it to a similar level as lighting - been helpful for you as a designer?
Technology has transformed the work of the sound designer. In the past, sound cues were all performed live off stage: a thunder sheet, wind machine, and doorbell were all standard backstage equipment. Now, a computer is the sound designer's primary tool. A sound designer can employ software to compose, perform, mix, and edit the work. Technology has assisted in realizing the designers' creative ingenuity - enhancing the audience experience.

Could you describe your background and experience that helps make you a good sound designer?
It comes from my two great passions: theatre and music. I have been immersed in theatre as an actor for the past 30 years. I am also an avid audiophile, a record collector, and a lover of music. In approaching sound design, I believe that I have an intuitive understanding of the rhythm and cadence of a speech, a scene, an act. This comes from my acting background. As an actor, I understand the music inherent in the text. As a sound designer, I bring this sensibility to the ears of the audience. The melding of theatre and sound is a perfect fit for me.

I know you personally have this huge selection of music to draw on, could you describe the size, variety and media of your library?
I have around 10,000 recordings including 33s, 45s, 78s, 8-tracks, cassettes, CD's, and even some Edison cylinders. Aside from my physical collection, the age of computers and the internet has made it possible to source many more choices of pre-recorded sound. My collection is a great resource but I also connect with a lot of other people around the world who share the same passion for music and sound design.

Any suggestions for those wanting to start as sound designers?
Post-secondary programs offering many excellent sound design and production courses. Small independent theatre productions may not be able to pay handsomely, but they do offer opportunities for the neophyte designer to gain experience. Composers looking for more opportunities to create original work might consider theatre or film as feasible avenues.