Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script from the Director.
2.    Attend all Production Meetings.
3.    List all sound and music effects (both live and recorded) in chronological order as called for in the script.  (Music will hereafter be implied as part of sound).
4.    Confer with the Director to determine what additions or deletions (s)he wants to make; and the kind, quality, duration, and direction of sound for each effect.
5.    Know what equipment and effects are available to you from the Sound Assistant and learn how to use the equipment.
6.    If live musicians are used, consult with the Musical Director to find out what his/her needs are in the form of musician’s stands, lights, mics, speakers, power lines, instruments, etc.
7.    Plan placement of microphone, speakers, cables or other equipment wherever needed.
8.    In conference with the Director plan on time schedules for sound rehearsals.

Working Period
1.    Supervise the work of the sound crew and be responsible for all sound for the show.
2.    Learn what is available in stock, what can be borrowed, rented or bought and from where, and what can or must be constructed.
3.    Have the Director check on the sound., if possible, before recording it on the final tape.
4.    Make the final show tape on top-quality tape with adequately marked leader tape between cues on reel-to-reel tapes.  be sure to double check order of cues, duration’s, and timing, and relative sound levels.
5.    Instruct the Sound Board Operator how to operate the equipment (s)he will be using during the performance.
6.    Check to make sure all headsets are working. If they are not, report same to the Technical Director.
7.    Prior to technical rehearsals, in consultation with the Director only, but with the aid of the Sound Board Operator, take tentative readings of sound levels for each cue.

Technical Rehearsals
1.    Attend all technical rehearsals and remain in close proximity to the Director and be prepared to effect immediate changes or to take notes on further work that still must be done.
2.    Be prepared to take over the Sound Board Operator’s position in case of an emergency during any of the technical or dress rehearsals or performance.

1.    Strike and secure all sound equipment in its proper place.
2.    Report to the Stage Manager when your work is finished so (s)he can check you out.
3.    Return any borrowed items on the next Weekday following strike.