Sound Design?

"The job of the sound designer in theatre is to wrest control over every sound heard by the audience, and to insure that it is appropriate, and adequate. Should the director choose to use a cap gun in his little play, and wish that it sound like a handgun, my job is clear. Should he wish to use the local children as actors, before they're adequately trained to hit the last row of the balcony, my job is equally as clear. Should he wish to pair a doddering old fool with the local opera diva, and wish that the fool's voice match hers in volume, if not quality, I also go to work. I rarely get to address casting. The job of the Sound Designer is to transport and transpose. You should feel the time of day, the year, the location, and the emotion. I train the very air molecules to do my bidding, and to caress the transducers of your brain, to delude them into thinking that it is possible, for just an hour or two, that faeries do exist; that there is a large sea-going vessel center-center; or that there is a door, and it leads to a dark, damp dungeon; or sometimes, if I'm not very lucky, that there is a loo just upstage of that wall. From nothing but electrons I quell disbelief, and form my own reality. The very ether is my canvas. I create not on the stage, but in your imagination."

Quote: Chris Babbie, Sound Engineer and Designer for Theatre, Live Music, and Film