Initially they could just record speech and by multiple sound tracks could add background sounds and music and the need for the sound design of television programming was created. After the introduction of high fidelity sound reproduction, more expertise was needed to achieve the best results with the new technology. Then after the introduction of Dolby sound, very sophisticated sound effects became possible and rather than just augment the program, sound effects, like visual effects became an integral part of the show. As a result, the sound design of television programming became one of the more important aspects of producing a TV program.
A sound designer is a member of the film crew who is responsible for all or a specific part of the sound track. Unlike some of the positions on a film crew, the union does not provide a specific definition of the responsibilities of a sound designer. This is true primarily because the position has existed for centuries in the world of theater and was introduced into the world of film making by director, Francis Ford Coppola. Sound design of television programming follows the same rules as it did in the movie industry.
Basically that means that a sound designer is ultimately responsible for all aspects of a program�s audio track, from the dialogue and sound effects recording to the re-recording of the final track. Re-recording is the process by which the audio track of a video production is created. As sound elements are mixed and combined together with the visual elements, it is frequently necessary to re-record some of the sound parts to achieve the desired final effects.
The responsibilities for the sound design of television programming can be compared with the role of supervising sound editor. In fact, many sound designers are also the supervising sound editor. This position became necessary as the demand for more sophisticated soundtracks emerged because they became expected by the viewing audiences. The supervising job for the sound design of television programming required the individual to be the head of the large sound department. These departments employ dozens of sound editors so that they can achieve fast turnaround times to keep the cost of production to a minimum.