The best way to understand the world of Broadway sound is to start with a look at the people who make it happen. Unlike smaller community or regional theatre's where one sound person has multiple responsibilities, the sound of a New York show is the culmination of many audio people, all with particular skills and duties. While some hierarchy does exist, teams generally work together to get a show on its feet. Every team in every production functions with its own rules and delegation, but this is a general overview of who you'll see credited on a Broadway show.
The Sound Designer
The Sound Designer is the creative mastermind of the team. They are responsible for the entire aural environment of the show. This means designing an effective sound system and sound effects and, in some cases, even helping to manage the acoustic properties of the theatre itself. The designer works with the director, music team, and other departments to determine the content and needs of the show's sound. Based on this, they will design their system, including speaker placement, microphones for musicians and actors, and any other unique needs of the show. Each designer has their own distinct style. Some are composers or more content-focused, while others specialize in system design and supporting the natural sound of the actors and musicians. Though each designer is different, their work is always in service of the collective vision of the show.
The Associate
The Associate Designer sits right in the middle of the audio team; they are as much an ambassador as they are a secretary. Their primary responsibility is to take the designer's system and distill it into its parts and determine how it gets put together. The associate will also design video and communication systems between all departments. This means generating paperwork detailing the designed speaker positions, equipment rack layouts, and the miles of cable that keep it all connected. This requires a good understanding of their designer's individual peculiarities, aesthetics and how they envision their system functioning. Because of this, most associates will regularly, if not exclusively, work for the same designer repeatedly. Beyond the system, the associate is there to help create sound effects and communicate with the other departments.
The Assistant
The assistant is an associate with less responsibility and less agency. Like the associate, they are responsible for generating paperwork and working with the designer on the system and sound effects. However, they typically have less oversight and agency to make decisions independently. They may pass important meeting questions or decisions to the designer or associate rather than decide on their behalf. Often they are responsible for keeping paperwork up to date, distributing documents, and aiding the associate and designer with whatever else they need. Most shows either hire an associate or an assistant, but as shows get bigger, hiring both is becoming more common.
Production Audio
aka Production Sound aka Production Sound Engineer
What the design team puts on paper, the Production Sound person makes a reality. Their primary job is to oversee and manage the installation of the sound system. This means taking what the designer and the associate have laid out on paper and determining how that can be achieved. They will plan rigging, manage labor and budgets, and oversee the installation of every cable, speaker, and rack. Their job is to ensure the system functions as the designer wants and achieves it on budget and time. They often work with the design team to determine the most effective way to interconnect the system or specify equipment for video and communications. Once loaded in, the production person will be in charge of maintaining the system and overseeing any equipment changes, adjustments, or replacements. A Production person may sometimes have an assistant, associate, or "advance" team that helps them share the workload.
A1
aka Audio 1 aka Head Sound aka Mixer
The A1 is probably the first person an audience member thinks of when you say "sound person" The A1 is responsible for operating the show night after night. "Operating" is different for every show, but typically it means mixing the actor microphones and band and taking sound effects. In tech, the designer and the A1 will develop the sound of the show; once opened, the A1 needs to be able to re-create that sound every night. Not only does that mean pushing faders the same way or taking the cues properly, but it also means adapting to the myriad changes night to night. Understudies, new musicians, and even the weather and size of the audience will change how a show sounds between performances. The A1 does their best to wrangle these factors and keep the show sounding as close as possible to the designer's original intention.
A2
aka Audio 2 aka Deck Audio
While the A1 takes care of things in the house during the show, the A2 (or multiple A2s) handles things backstage. Their primary responsibility is the wireless microphones during show conditions. During tech, the A2 will construct and maintain the custom rigs used to place microphones on the actors according to the designer's needs, whether in a wig, secured to the actor's ear, or even hidden in a beard or hat. During show runs, the A2 will test the microphones, get them to the actors, and monitor them during the performance. They will also assist the musicians with any issues that comes up in the pit. As the A1 is actively mixing the show, the A2 is the first person to help troubleshoot problems backstage. On longer-running shows, the A2 often trains on the mix as a substitute or stand in for the A1.
*If you want to learn more about the roles of A1 and A2 Adam Savage of Mythbusters did a great set of videos here and here featuring the team from Hamilton in San Francisco in 2020.
Recognition
With some rare exceptions, every show on Broadway comes to life with some combination of the roles above. It may be surprising that just a few sound people run mega-musicals eight times a week. Everyone has their particular skill set and job, and most go unnoticed in the grand scheme. If you want to learn more about Broadway sound, or start a career in the industry, start by recognizing the people who put it all together. You'll find most of their names in a small typeface at the back of the playbill. But don't be fooled; they are all integral to the success of every Broadway show.
Have questions about these roles or learn what it takes to make shows happen? Leave a comment below, or feel free to email me at owenmeadowsdesign@gmail.com