OCR LEVEL 3 CAMBRIDGE · PDF fileCAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN ... The...

OCR LEVEL 3 CAMBRIDGE TECHNICALCERTIFICATE/DIPLOMA IN

PERFORMING ARTS

STAGE SOUND DESIGNK/502/5641

LEVEL 3 UNIT 44

GUIDED LEARNING HOURS: 60

UNIT CREDIT VALUE: 10

TECHNICALSCambridge

2www.ocr.org.uk

stage sound designK/502/5641

LeVeL 3 unit 44

aim of unit

The fundamental purpose of theatre sound has changed very little since its introduction, however, the techniques and equipment have changed beyond recognition, making this a challenging and exciting branch of creative, technical theatre. The recent advancement of the sound designer as a fundamental member of the creative production team should encourage those theatre students with an aptitude for ‘sound for performance’, to pursue their interest. This unit allows students to combine creativity with practical experience to explore and understand the role of the sound designer. Ideally, the delivery of this unit should allow the student some practical experience within either a professional or amateur performance space. Whilst there is no requirement to study ‘Stage Sound Operations’, the study of this unit would provide the foundations of sound theory and an understanding of the complimentary role of the sound operator.

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stage sound design Level 3 Unit 44

assessment and gRading CRiteRia

Learning outcome (Lo)

The learner will:

Pass

The assessment criteria are the pass requirements for this unit.

The learner can:

merit

To achieve a merit the evidence must show that, in addition to the pass criteria, the learner is able to:

distinction

To achieve a distinction the evidence must show that, in addition to the pass and merit criteria, the learner is able to:

1 Know the components of existing stage sound designs

P1 outline generic sound design attributes and compare alternative approaches to sound design

M1 give an explanation of the sound designer’s choice of methods and effects and how they enhance a production

2 Be able to undertake the role of sound designer within the production process

P2 produce designs that mainly follow conventions and show some ability to react to production requirements

M2 produce a rehearsal tape for a particular design

D1 produce a cue sheet which corresponds to the rehearsal tape

3 Be able to apply advanced studio techniques to a range of production genres

P3 use studio techniques to produce usable products suitable for public performance

M3 demonstrate a practical understanding of the production of composite effects which are fit for purpose

D2 evaluate the effectiveness of the chosen production techniques and sound effects in relation to the chosen genre/s

4 Be able to operate sound equipment for performance

P4 operate as stage and FOH operator following codes and conventions of the genre

M4 carry out a sound check and set controls and volume levels for effective communication

4www.ocr.org.uk

teaChing ContentThe unit content describes what has to be taught to ensure that learners are able to access the highest grade.

Anything which follows an i.e. details what must be taught as part of that area of content.

Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work though these do not need to be the same ones specified in the unit content.

Know the components of existing stage sound designs

• Understand the use and role of sound within a variety of production genres including – drama, ballet, dance, musicals, opera, classical/rock/folk/pop music events.

• Understand the difference between a realistic /stylistic approach.

• How sound is used to : motivate actions onstage and indicate events taking place off stage; establish the period, time of day, season, weather; locate the action within a specific environment; create and change mood and atmosphere; stimulate audience expectation; provide information about characters; provide transitions between scenes and acts; provide continuity; recall past events; advance the plot; move around the performance space; transmit the human voice.

• Use of live speech, music and song within various genres.

• Basic methods and operation of recording, using a variety of equipment both analogue and digital (to be covered in more detail later in LO3), how to edit recorded sound and the realisation of sound both live and recorded.

• Research – the variety of sources used for finding effects, storage, production, copyright.

Be able to undertake the role of the sound designer within the production process

• Consideration of the venue, acoustics, equipment, operating position, power outlets

• Script analysis

• Working with the director, creative and technical production team, instruction of the sound operator

• Working to a budget

• Consideration of other design elements – set, lighting, costume

• Sourcing and recording the effects

• Preparing the sound plot, system layout and cue sheet

• Integrating the sound planning, role and responsibilities during rehearsal, direction of the sound operator, making modifications

• Preparing the rehearsal tape, backing up work

Be able to apply advanced studio techniques to a range of production genres

Understand the function, possibilities and control of a range of equipment including:

• Analogue and digital recording/computers and MIDI

• Looping

• Sampling

• Splitting tracks

• Speed variation

• Echo and reverberation

• Compression

• Equalisation

• Editing – music, speech

• Use of microphones.

Be able to operate sound equipment for performance

• Awareness of health and safety when setting up, moving, checking, operating equipment

• Acoustic check

• Check position of equipment/position stage microphones/affix radio mics

• Run sound check

• Set volumes and controls

• Understand the cue sheet

• Responding to cue calls

• Operate playback equipment/computer/mixer desk

• Post production responsibilities.

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deLiVeRy guidanCe

Learners should complete a SWOT analysis of their current skills base prior to embarking on the unit; this will allow the tutor to modify the delivery of the unit according to the learner’s experience. Tutors should deliver this unit using a variety of teaching methods including lectures, demonstrations and practice, workshops, evaluation and discussion. Tutors may wish to use a professional sound practitioner to deliver elements of the unit. Ideally tutors should develop links with local theatres and performance venues to enable learners to benefit from specific work experience and placements.

Know the components of existing stage sound designs

Before using the equipment, the learner should understand the health and safety implications of all the equipment.

Learners should initially experience the use of sound within a variety of productions/genres. Tutors should guide learners through the experience of comparing and contrasting how sound is used within the productions. Learners should be taught how a sound designer analyses a script in order to create a sound design and how they research, compile and demonstrate their ideas and effects initially to the director. Learners should be taught how designers use conventions to record sound designs. Following specific guidelines, learners should undertake their own research project and present their findings for discussion and evaluation. The learner is instructed to compile a subject ‐ specific vocabulary list which they will add to throughout the unit which should provide a useful reference tool. Learners should be ‘introduced’ to a range of equipment specific to the role of the sound designer/operator. Before using the equipment, the learner should understand the health and safety implications of all the equipment. They should be instructed in the use and control of the equipment. Learners should be guided through the various means of finding, collecting and recording effects and should understand the basic conception of copyright in relation to the use of sound effects/music/songs.

Be able to undertake the role of sound designer within the production process

The learner should be taught how to consider the opportunities and problems that a range of architectural performance spaces afford the sound designer, in particular, the acoustic nature of the space. Learners should understand the role and attributes that a sound designer needs to have to be a successful member of a collaborative and creative

production team. The importance of inter ‐ departmental co-operation and communication to ensure a successful production should be reinforced. Learners should use their experience of script analysis prior to preparing a rehearsal tape. Learners should be guided through the various methods and layouts of preparing a cue sheet. First hand or hypothetically, the learner should be guided through the acoustic attributes, operation position and necessary sound equipment within a given performance space. The learner should be further guided through the method of preparing and presenting a system layout sheet for the performance space. The role and duties of the sound designer during rehearsals as well as the production and post production should be understood by the learner and, where possible, the learner should undertake some practical experience.

Be able to apply advanced studio techniques to a range of production genres

Learners should be guided through the safe use and control of a range of recording and dubbing equipment. Learners should be given the opportunity to combine their creativity and confidence in using the available equipment, initially experimenting in a workshop environment with guidance. The learner should be encouraged to fulfil their potential, working towards an independent approach to designing and creating a range of sound effects for a variety of genres suitable for public performance.

Be able to operate sound equipment for performance

Learners should have the opportunity for some ‘hands on’ experience within a performance space. They should take some responsibility for the positioning of equipment as appropriate to the production, e.g. speakers, microphones and with due regard for health and safety. With guidance they should use their experience of acoustics to carry out a sound and equipment check within the space and set levels appropriately. They should understand how to read a cue sheet and be cognisant with how cues will be called and the proper response to calls. Through discussion with the stage manager/tutor, they should understand their role and duties post production.

6www.ocr.org.uk

assessment and gRading CRiteRiaKnow the components of existing stage sound designs P1, M1

To achieve P1 the learner should produce a report which outlines and describes the use of sound within two contrasting productions. To achieve M1 the learner should expand their report and look at one of the performance texts from P1 evaluating the use and effect of sound within the production. They should present their ideas to peers/tutor. This could be in the form of a learner ‐ led group discussion, question and answer session or more formal presentation. The evaluation session should be recorded on DVD, formatted and retained for moderation with the report.

Be able to undertake the role of sound designer within the production process P2 M2 D1

Ideally, the learner should have the opportunity to work on an ‘in house’ or ‘live’ production and prepare a sound design for part of the production. Alternatively, if it is not possible for the learner to be part of a production team, the tutor should provide a suitable text extract which would allow the learner to fulfil the remit in simulation. The choice and length of extract should afford the learner the opportunity to demonstrate both their practical capabilities and their creativity thereby fulfilling their potential. They should provide analysis of the text in terms of the sound opportunities, purpose and effect for an audience. This will provide evidence for the moderator and prompt a discussion between the director/tutor and the learner as sound designer. Further evidence of the learner’s aptitude and capabilities should be provided by the tutor. For M1 the learner will produce a fit for purpose rehearsal tape and for D1 an accurate corresponding cue sheet. All evidence should be available for the moderator.

Be able to apply advanced studio techniques to a range of production genres P3 M3 D2

This element of the unit should allow the learner to build on their growing understanding of how to design and create sound effects. The learner should be given a remit which includes a variety of short extracts from a range of different production genres or a variety of sound cues/effects which could be found in differing performance genres. For P3 the learner should provide recorded evidence of their chosen effects. To achieve M3 learners should provide recorded evidence of several composite effects which are fit for purpose. To gain D2 learners should provide an evaluation, either in written or audio/visual format. They should reflect on their conception, and interpretation of the genre/s, the intentions and effect for the audience and the application of the range of sources and techniques used. All evidence should be suitably recorded or formatted and made available for the moderator.

Be able to operate sound equipment for performance P4 M4

Ideally, the learner should take some responsibility for a live performance and their ability to operate as a confident and successful stage and FOH operator with due regard for health and safety should be assessed by the tutor. Where this is not possible, the learner should be given a ‘mock’ situation to show their understanding of the roles and of how to read a cue sheet and follow appropriate codes and conventions of the genre.

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ResouRCes

the learner must have access to recording and editing facilities that will allow them to fulfil the requirements of the unit.

Sound and Music for the Theatre Deena Kaye & James Le Brecht Focal Press 978-0240-81011-91

The Ultimate Live Sound Operator’s Handbook Bill Gibson Hal Leonard Books 978-814-2341-9716

Theatre Sound John A. Leonard A&C Black 978-0713-648034

www.stagelightingtraining.co.uk

www.futuremediaststems.co.uk

www.associationofsounddesigners.com

www.prospects.ac.up/sound _technician_broadcasting_film_video.htm

www.aurasound.co.uk/theatre-sound

www.livedesignonline.com

www.getintotheatre.org

LinKs to nos

Suite Reference NOS

Community Arts CCSCA5 Assist in developing a community arts project

Proskills PROHSS 1 Make sure your own actions reduce risks to health and safety

Music performers and composers CCSMPR 47 Use safe practices in the creation, production and performance of music

Sound SKSS14 Mix recorded sound

Sound SKSS20 Edit sound

Sound; Live Events & Promotions Management SKSS2 Identify and manage sound requirements

Technical Theatre & Live Performance (Stage Management)

CCSSM9 Prepare and manage the rehearsal process


CCSSL25 Co-ordinate the rehearsal of sound


CCSTP68 Support the rehearsal process


CCSSM6 Prepare and support the rehearsal process


CCSSL24 Rehearse sound


CCSTP60 Rehearse the technical aspects of a performance


Unique Ref Number

Contribute to the planning of sound requirements for a performance


Unique Ref Number

Plan sound requirements for a production

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CCSSL19 Develop and refine ideas for sound


CCSSL28 Operate sound for a basic live performance


CCSSL30 Provide amplified sound for a live performance


CCSSL26 Record sound for a live performance


CCSSL23 Set up and check sound equipment


CCSSL29 Fit wireless equipment for a basic live performance

Live Events & Promotion; Sound Recording and Music Technology

CCSNT34 Prepare and operate live sound and performance technology


CCSMT14 Operate professional audio equipment, OB, ambiance sound recording and studio sound recording


CCSMT13 Assist with recording of live sound locations sources

Live Events & Promotion CCSLE5 Support venue and stage crew in the preparation of a performance at a live event

Sound Recording and Music Technology CCSMT8 Use essential analogue and digital sound recording skills

Sound Recording and Music Technology CCSMT21 Use essential analogue and digital sound recording skills

Sound Recording and Music Technology CCSMT1 Follow health and safety practices in music and sound industries

CONTACT USStaff at the OCR Customer Contact Centre are available to take your call between 8am and 5.30pm, Monday to Friday. We’re always delighted to answer questions and give advice.

Telephone 02476 851509Email [email protected]

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