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===Recorded sound===
Possibly the first use of recorded sound in the theatre was a phonograph playing a baby's cry in a London theatre in 1890.<ref>{{cite book | last = Booth | first = Michael R. | year = 1991 | title = Theatre In The Victorian | publisher = Cambridge University Press | isbn = 0-521-34837-4 }}</ref> Sixteen years later, [[Herbert Beerbohm Tree]] used recordings in his London production of [[Stephen Phillips]]’ tragedy NERO. The event is marked in the Theatre Magazine (1906) with two photographs; one showing a musician blowing a bugle into a large horn attached to a disc recorder, the other with an actor recording the agonizing shrieks and groans of the tortured martyrs. The article states: “these sounds are all realistically reproduced by the gramophone”. As cited by [[Bertolt Brecht]], there was a play about [[Rasputin]] written in (1927) by [[Aleksey Nikolayevich Tolstoy|Alexej Tolstoi]] and directed by [[Erwin Piscator]] that included a recording of [[Lenin]]'s voice. Whilst the term "sound designer" was not yet in use, some stage managers specialised as "effects men", creating and performing offstage sound effects using a mix of vocal mimicry, mechanical and electrical contraptions and gramophone records. A great deal of care and attention was paid to the construction and performance of these effects, both naturalistic and abstract.<ref>{{cite book | last = Napier | first = Frank | year = 1936 | title = Noises Off | publisher = Frederick Muller }}</ref> Over
Between 1980 and 1988, Charlie Richmond, USITT's first Sound Design Commissioner, oversaw efforts of their [[Sound Design Commission]] to define the duties, responsibilities, standards and procedures expected of a theatre sound designer in [[North America]]. He summarized his conclusions in a document <ref>https://web.archive.org/web/20070308153444/http://www.richmondsounddesign.com/txt/sound-design.txt</ref> which, although somewhat dated, provides a succinct record of what was then expected. It was subsequently provided to
===Digital technology===
[[File:Tainted blue studios control room.jpg|thumb|Modern digital control room at Tainted Blue Studios, 2010]]
[[Musical Instrument Digital Interface|MIDI]] and [[digital audio]] technology have contributed to the evolution of sound production techniques in the 1980s and 1990s. [[Digital audio workstation]]s (DAW) and a variety of digital signal processing algorithms applied in them allow more complicated soundtracks with more tracks
In [[theatre sound]], features of computerized theatre sound design systems have also been recognized as being essential for live [[show control]] systems at [[Walt Disney World]] and, as a result, Disney utilized systems of that type to control many facilities at their ''[[Disney's Hollywood Studios|Disney-MGM Studios]]'' theme park, which opened in 1989. These features were incorporated into the [[MIDI Show Control]] (MSC) specification, an open [[communications protocol]]
The rise of interest in game audio has also brought more advanced interactive audio tools that are also accessible without a background in computer programming. Some of such software tools (termed "implementation tools" or "audio engines") feature a workflow that's similar to that in more conventional DAW programs and can also allow the sound production personnel to undertake some of the more creative interactive sound tasks (that are considered to be part of sound design for computer applications) that previously would have required a computer programmer. Interactive applications have also given rise to
The [[World Wide Web]] has greatly enhanced the ability of sound designers to acquire source material quickly, easily and cheaply. Nowadays, a designer can preview and download crisper, more "believable" sounds as opposed to toiling through time- and budget-draining "shot-in-the-dark" searches through record stores, libraries and "the grapevine" for (often) inferior recordings. In addition, software innovation has enabled sound designers to take more of a [[DIY|DIY (or "do-it-yourself")]] approach. From the comfort of their home and at any hour, they can simply use a computer, speakers and headphones rather than renting (or buying) costly equipment or studio space and time for editing and mixing. This provides for faster creation and negotiation with the director.
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In motion picture production, a ''Sound Editor/Designer'' is a member of a [[film crew]] responsible for the entirety or some specific parts of a film's soundtrack.<ref>{{cite web|title=Sound designer|url=http://filmsound.org/terminology/designer.htm|website=FilmSound.org|access-date=13 October 2015}}</ref> In the [[Cinema of the United States|American film industry]], the title ''Sound Designer'' is not controlled by any [[professional organization]], unlike titles such as [[film director|Director]] or [[Screenwriter]].
The terms ''sound design'' and ''sound designer'' began to be used in the motion picture industry in 1969. At that time, The title of ''Sound Designer'' was first granted to [[Walter Murch]] by [[Francis Ford Coppola]] in recognition for Murch's contributions to the film ''[[The Rain People]]''.<ref>{{cite book |last1=Ondaatje |first1=Michael |last2=Murch |first2=Walter |title=The conversations: Walter Murch and the art of editing film |date=2003 |publisher=Bloomsbury |location=London |page=53}}</ref> The original meaning of the title ''Sound Designer'', as established by Coppola and Murch, was "an individual ultimately responsible for all aspects of a film's audio track, from the [[dialogue]] and [[sound effects]] recording to the [[re-recording (sound/film)|re-recording]] (mix) of the final track".<ref name=reeves>{{cite web|last1=Reeves|first1=Alex|title=A Brief History of Sound Design|url=http://www.theawsc.com/2014/01/31/a-brief-history-of-sound-design/|website=Advertising Week Social Club|publisher=Advertising Week|access-date=13 October 2015|url-status=bot: unknown|archive-url=https://web.archive.org/web/20160304084311/http://www.theawsc.com/2014/01/31/a-brief-history-of-sound-design/|archive-date=4 March 2016}}</ref> The term ''sound designer'' has replaced monikers like ''supervising sound editor'' or ''re-recording mixer'' for
The advantage of calling oneself a sound designer beginning in later decades was two-fold. It strategically allowed for a single person to work as both an editor and mixer on a film without running into issues pertaining to the jurisdictions of editors and mixers, as outlined by their respective unions. Additionally, it was a rhetorical move that legitimised the field of post-production sound at a time when studios were downsizing their sound departments, and when producers were routinely skimping on budgets and salaries for sound editors and mixers. In so doing, it allowed those who called themselves sound designers to compete for contract work and to negotiate higher salaries. The position of Sound Designer therefore emerged in a manner similar to that of [[Production Designer]], which was created in the 1930s when [[William Cameron Menzies]] made revolutionary contributions to the craft of [[art director|art direction]] in the making of ''[[Gone with the Wind (film)|Gone with the Wind]]''.<ref>{{cite web|last1=Bordwell|first1=David|title=William Cameron Menzies: One Forceful, Impressive Idea|url=http://www.davidbordwell.net/essays/menzies.php|website=davidbordwell.net|access-date=13 October 2015}}{{sps|date=July 2016}}</ref>
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