BA in Sound Design and Production

This course explores all aspects and possibilities of Sound Design and Production. Grounded in theatre, you’ll learn the art of creating sonic worlds integral to dramatic narratives. You will develop the technical ability to control the sound environment of live performance, using state-of-the-art equipment and working with tutors who are active professionals.

Studying the Sound Design and Production specialism of the BA (Hons) Theatre Practice degree course, you will:

• Learn the skills and techniques of contemporary Sound Design for performance
• Production and Engineering work to realise Sound Systems for performance and installation
• Develop skills for Mixing Musicals and Sound Operation for plays
• An understanding of acoustic and technical theory
• Gain experience in one of the most rapidly evolving theatre disciplines
• Get real-world experience through professional placement opportunities and industry networks
• Collaborate on projects and work independently at the highest level

You’ll explore the newest professional performance technologies, including computer-based show control, audio recording, waveform editing, digital mixing, audio and computer networking, MIDI, scripting and OSC. Relevant acoustic and technical theory helps you use this equipment effectively in practice and allows you to adapt to emerging technologies in the future.

You’ll work with state-of-the-art equipment companies, including d&b Audiotechnik, Yamaha, Shure and Autograph Sound.

The course also includes projects in Immersive and Spatial Audio, Film Sound Design and Composition, Game Audio, Sound Art and Audio Drama.

BA (Hons) Theatre Practice: Sound Design and Production will prepare you for all elements of Audio work in a diverse range of settings and industry areas.

If you are interested in composition for performance, the relationship between the fields of sound design and music composition may be explored.

Year 1: Developing and extending your skill base

• Examine core aesthetic and technical understandings to inform practice in theatre sound, including content design and production sound.
• You are encouraged to understand the current professional practice and to develop your own design aesthetic.
• You engage in practical exercises, including speculative projects, looking at the link between theory and practice while expanding your understanding of working collaboratively in cross-disciplinary groups.

Year 2: Identifying an individualised career path

• Engage with principle areas of practice, working ‘in role’ across a variety of productions under the guidance of tutors, support staff and outside professionals.
• Take responsibility for sound design and production elements of public productions, working collaboratively.
• You will enhance your design and technical skill set and your ability to work as a valuable team member.

Year 3: Focus on professional development

• Undertake key sound design and production roles across a variety of public productions at Central, including the management of sound teams and budgets.
• You continue to research industry practitioners and practice.
• Begin integration with the professional industry outside Central through placements and/or offsite projects.

Industry links and partnerships

Theatre Sound was one of the first courses to incorporate the concept of industry partnerships at Central, looking at ways in which collaboration between audio and theatre industries could be mutually beneficial.

The programme is generously supported by major industry partners, including:

• d&b audiotechnik
• Autograph Sound
• DiGiCo
• HAVEsound
• Show Works
• Out Board Electronics
• Stage Sight
• and a variety of other companies and individuals.

Central played a major role in the establishment of the Association of Sound Designers (ASD), which provides a platform for continuing professional development and community support.

Many opportunities for sound students come through the network of graduates already well placed in the industry.

Graduate employment

Graduate employment and career pathways include:

Sound Designer

• West Side Story (Ivo van Hove - Broadway)
• Hamlet (Robert Ike - Almeida, West End & Park Avenue Armoury/New York)
• Scene’s with Girls (Lucy Morrison - Royal Court Theatre)
• Harry Potter and the Cursed Child (Jon Tiffany - West End, Broadway, Worldwide)
• Life of Pi (Max Webber – Sheffield Theatre & West End)
• All My Sons (Marianne Elliot & Miranda Cromwell, Young Vic & West End)
• Death of England (Clint Dyer - National Theatre)
• King John (Eleanor Rhode - Royal Shakespeare Company)

Production Sound

• National Theatre
• Royal Court Theatre
• Young Vic
• West End
• Autograph Sound
• Show Works
• Have Sound

Teaching and freelance Staff as professional practitioners:

• Peter Rice / Course Leader / Sound Designer / Jesus Hopped the A-Train / Young Vic
• Peter Rice / Course Leader / Sound Designer / Avalanche : A Love Story / Barbican
• Peter Rice / Course Leader / Sound Designer / The Tragedy of Richard II / Almeida
• Peter Rice / Course Leader / Associate Sound Designer / Yerma (Simon Stone – Young Vic, Park Avenue Armoury/New York)
• Donato Wharton / Course Tutor / Sound Designer / Three Sisters (Nadia Fall - National Theatre)
• Donato Wharton / Course Tutor / Sound Designer / Norma Jean Baker of Troy (Katie Mitchell - The Shed/New York)
• Helen Skiera / Course Tutor / Sound Designer / The Effect / (Anthony Neilson, Boulevard Theatre – West End)
• Dom Bilkey / Visiting Lecturer / Head of National Theatre Sound & Video / Sound Designer / The Lehman Trilogy (Sam Mendes – National Theatre / Park Avenue Armoury/New York)
• Claire Windsor / Visiting Lecturer / Royal Shakespeare Company / Sound Designer / Imperium (Gregory Doran – RSC, West End)
• Roisine Mamdani / Visiting Lecturer / #1 Sound / Company; The Lion, The Witch and The Wardrobe
• Emma Laxton / Visiting Lecturer / Sound Designer / Emilia (Nicole Charles – The Globe / West End)