DESIGN GUIDE: MUSIC AND DRAMA CENTERS
DG 1110.3.120
CHAPTER 3: ACCESSORY EQUIPMENT
JANUARY 1981
ventilated, fire protected booths and permanent
replica interiors and the like ("box sets"). The
mounts, much like carbon arc followspots. While
term properties generally refers to individual
large format film can be ruled out, it is still rec-
pieces within the acting space, such as furniture,
ommended that a suitably positioned booth with
vehicles and items carried by the performers.
at least two projector ports be installed at the
Sets and properties may be broken down and
rear center of a small house. For occasional use
reassembled or revised for several different
in a larger house, power supply to a demount-
productions.
able platform within range of the screen may be
5. Visual Monitoring For Control
desired.
Coordination of performance accessories over
time requires a viewpoint approximating that of
D. HEARING-RELATED ACCESSORIES
the audience. Hence, a control room is best lo-
cated at the rear of the house, unobtrusive but
Electronic amplification, recording and playback,
in communication with the stage, lighting and
microphones, loudspeaker systems, and inter-
rigging technicians, and performers. It must
communications readily come within the defi-
have complete surveillance of the action.
nition of accessory equipment as do any non-
electronic adjustable acoustic devices such as
6. Television Broadcast
reflectors and absorbers. But it should not be
If video recording or broadcast is contemplated,
forgotten that seemingly commonplace fittings
required facilities must be anticipated in plan-
like chairs and risers are equally important
ning the Room. Camera placements should not
equipment components for the enhancement of
interfere with audience sightlines and should not
performance quality and flexibility.
divert attention. If fixed or concealed camera
positions are provided, they must be carefully
A more thorough discussion of equipment func-
preplanned. Also note that higher illumination
tions and techniques is contained in Chapter 4.
levels (150 footcandles) are required for TV, es-
This section (3-8) is concerned with their impli-
pecially color-casts. These circumstances must
cations in architectural (Room design) terms.
be evaluated for their influence on performance.
Decisions about the seven topics treated below
A broadcast control booth need not impinge on
will affect dimensional, structural and material
the Room, since camera control deals with video
considerations.
images. Most broadcast networks furnish mobile
vans for this purpose and require only cable en-
1. Sound Source Positioning
trance and camera positions as built-in
Successful music presentation requires the abil-
components.
ity to locate musicians in varying relationships
to each other and to the Room. This is important
7. Film Projection
to balancing sound emerging from the stage. It
Except for its use as a scene accessory this ca-
provides essential flexibility for group size, in-
pability is not an essential element, but after
strumental makeup, and differences of presen-
other functional requirements are met, slide and
tation content.
movie film projection may be deemed a useful
accessory.
Consideration of accessory devices need be
The similarity between drama and cinema ends
given to the two principal areas of music per-
with the audience facing a framed image in a
formance - the stage (or platform), and the pit.
darkened room. Generally, a Frontal Room de-
signed for drama can accommodate film by pro-
For instance, the musicians' elevation relative to
viding a flown screen, with projectors adjacent
the audience tends to increase direct sound lev-
to the lighting control booth addressing the
els. Also, the position of musicians relative to
screen at a right angle to avoid distortion of the
the stage enclosure walls can be especially crit-
image. Obviously, available projector locations
ical in elliptical and parabolic geometries some-
may be less than satisfactory if their accom-
times found in large Rooms, and where sources
modation is not considered in the design.
of uneven intensity must be balanced (such as
16MM movies and 35MM slides are the most
soloists and ensemble, strings and brass).
likely formats, but standard portable equipment
does not have the light output sufficient for dis-
Similarly, a deep orchestra pit yields primarily
tances exceeding 30 or 40 feet. More powerful
reverberant sound. The treatment of the pit or
projectors, and equipment for 35MM and 70MM
the decision to do without one has considerable
movies of commercial variety require enclosed,
impact on the use of the Room acoustically quite
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