Briefing sound
There is no point in having pictures on air if you don’t have the right sound to go with them. This can only be achieved by giving the sound department adequate information in sufficient time. While different broadcasters and countries run slightly different systems, generally sound departments have the same questions.
Before the programme reaches the studio
■ How many people are involved in the programme? Are they moving or static (i.e. do they need radio or cabled microphones)?
■ What are the presenters’ talkback requirements (radio or cabled, open or switched)?
■ Are there any specialist sound recording techniques (underwater/noisy props etc.)?
■ What music or sound effects (spot effects) are required?
■ Are there going to be outside sources or phone interviews?
■ Most regular programmes have a standard rig (that goes for cameras as well as sound). Generally sound want to know what is different from normal.
When you get to the studio
■ They want an accurate script or running order, which clearly shows where the spot effects or music are to be played.
■ They want a seating plan showing who will be sitting where.
■ They will need enough time to set levels from each of your contributors, and to line up all the incoming sources (VT, OS, etc.).
■ Ideally they like to hear the beginnings and ends of all inserts.
Many sound control rooms (SCR) work a two-person operation. While one concentrates on mixing the programme, the other checks and lines up incoming sources (outside broadcasts via satellite, microwave, VSAT etc.).