Pre-Production

• Make best efforts to attend production meetings via phone or video conference as scheduled. Provide expertise on all audio related items, offering solutions and advising on limitations as necessary.
• Receive and review daily rehearsal reports for information related to the Audio Department.
• Be reasonably available by email or phone to answer any pertinent ad hoc questions that may arise during the rehearsal process.

Tech Rehearsal (Onboard)

• Abides by all NCLH guidelines and procedures concerning onboard conduct, ship access, and emergency procedures.
• • Serve as audio supervisor/programmer during the changeover process, completing minor programming, mix, and settings changes as required.
  • This position is NOT responsible creating new musical arrangements or versions of the show onboard.
• Ensure that onboard Audio Technican(s) or Stage Manager is properly trained in the operation of the show and prepared to run all performances before Sound Designer departs the ship.
  • Sound Designer will not mix performances except in extreme cases of need as defined by NCS and onboard Entertainment Management.
• Adheres to the agreed upon production schedule for completion of all tasks.
• Completes basic checks of Audio Systems in assigned venue(s) and brings any concerns to appropriate onboard and NCS Management. Checks to complete include but are not necessarily limited to:
  • Console and outboard gear check o PA Check (basic speaker functionality)
  • Microphone Check
  • Creates or updates show specific settings profiles of the room utilizing console level settings as required. There is no acess to the room’s DSP.
  •  Verifies manintenance status of gear as documented on onboard maintenance checklists (NCL)
• Under the direction of NCS Management and Creative Staff, ensures highest quality of Audio within the original Design Intent of the production by performing:
  • Performer microphone fittings and EQ.
  • Band checks and EQ (as applicable).
  • Monitor Mixing, including In Ear Monitoring Systems on some vessels.
  • Ensuring that playback system is functioning properly and that timecode is clean, etc. Coordinate with appropriate onboard and NCS management staff to implement needed corrections or improvements.
  • Ensure that all tracks are playing back properly and mixed correctly.
• Creates or updates all relevant documentation and running paperwork as necessary.
• Attends performances to take and implement necessary notes.
• Ensures that final backups of all relevant files, settings, and paperwork are delivered to onboard and NCS management at the conclusion of the install.
• Backup copy of final console file for contracted venue
• Backup copy of any other venue’s console file as applicable
• Full backup export of the playback file for contracted venue, including audio files
• Audio files should be stems in .wav format wherever possible
• .mp3 or .m4a are acceptable in cases of pre-show announcements, voice overs, or mixed down tracks that have been previously used in performance.
• Backups under above guidelines for any other venue the Sound Designer completes work in during the changover.
• Editable and pdf copies of Mic Plots, IEM Tracking/Assignment documentation, and audio cue sheets or “audio script.” Microsoft Excel format preferred.
• As Changeover schedule allows, Sound Designer may be requested to provide expertise and assistance to other onboard venues.

Post Production

• Completes and delivers Install Summary Report per NCS procedure, noting general overview of the changeover process from the departmental perspective, any updates/improvements completed, maintenance and follow-up recommendations, etc.
• Participates in scheduled postmortem meetings as required/requested.

Dimensions

• Reports directly to the Manager, Production Operations. Onboard, the Sound Designer reports directly to the NCS designated Director of the project and Install Production Stage Manager. 
• Position works closely with the Audio Technican and collaborates closely with the onboard Entertainment Management.
• Oceania and Regent: Stage Manager
  • NCL Legacy Fleet: Entertainment Production Manager and Technical Supervisor or Venue Technician
• NCL Mega Fleet: Technical Production Manager and Production Stage Manager or Venue Technican
• Required to travel domestically and internationally on board Norwegian Cruise Line Holding’s Fleet. Position is contracted on a per install basis.

Nature and Scope

• Ultimate control over the implementation of the original design intent lies with the NCS designated Director. Sound Designer may be asked to provide suggestions for updates or guidance on methods of implementation. 
• The Sound Designer adheres to the production schedule coordinated with other members of the Production Team. 
• The Sound Designer, in conjunction with the Techincal Production Manager, Technical Supervisor, or Stage Manager (dependent on Brand and Vessel) guides and advises the Audio Technician, Backstage Technicians, and onboard Electricians in duties relating to changeover process. The Sound Designer may provide suggestions and input to the appropriate management staff in regards the policies and procedure of anything relating to the Audio Design and equipment used in the Production Shows. Approval must be obtained prior to implementing permanent changes to equipment use or procedures. 
• Position works to refine the audio design to the best of their abilities, in the allotted time. The largest limitations to accomplish the desired goal are threefold: schedule, lack of pertinent paperwork, and equipment maintenance timelines. 
• Scheduling efficient time for audio is achieved by collaborating with the Production Team at meetings and scheduling

STANDARD SCOPE OF SERVICES – CAST CHANGEOVERS

• programming time (usually overnight when the theatre is free) and maintenance of equipment (usually when docked and ladders and lifts are allowed to be implemented). Any pertinent paperwork should be obtained through the Audio Technician or Technical Supervisor and updated or created by the Sound Designer. 
• Malfunctioning equipment should be identified by the Sound Designer and fixed by either the Audio Technician or the onboard Electrician. The onboard Technical Management can begin the purchase or process to request any necessary replacement parts for malfunctioning equipment.

Knowledge and Experience

• EDUCATION: Bachelor’s Degree in Theatrical Production with an Emphasis in Audio Design; or equivalent career experience.
• EXPERIENCE: Five years of professional audio design experience. Some experience in theatrical electrician work is beneficial in order to effectively troubleshoot problems and communicate efficiently with the Technicians. Experience with overseeing crews and communicating with people whom English may not be their primary language.  
• KNOWLEDGE & SKILLS: Flexibility in schedule, specifically the ability to work overnight. Ability to travel on board ships to domestic and international locations.