DG 1110.3.120
DESIGN GUIDE: MUSIC AND DRAMA CENTERS
JANUARY 1981
CHAPTER 3: ACCESSORY EQUIPMENT
Archival recording and broadcast functions uti-
tent-illusion, atmospheric mood and color, and
lize signals from monitor microphones sus-
thematic continuity. The effects system will be
pended in front of the proscenium over the first
independent of the reinforcement system, for the
few rows of seats (or derived from the reinforce-
very reason that directional illusion (or realism)
ment system inputs) which hear what the audi-
may demand that sound effects originate off-
ence hears. These signals may be fed directly to
stage or behind the audience or in a moving pat-
a remote broadcast/control booth where an an-
tern. Multiple outlet jacks are required for port-
nouncer's voice-over can be dubbed in, and/or
able speakers controlled through a special effects
to a recording control booth. Broadcast pro-
console.
grams are either recorded for replay or relayed
to the station for transmission. The architectural
6. Monitoring and Control
requirement is for cable entry to the building and
Production lighting control from the lighting
provision of a soundproof announcer's booth
booth is especially relevant to drama produc-
with a view of the performance.
tions where visual monitoring is essential. By the
same token, sound control where electronic sys-
The function of performance monitoring is two-
tems are involved should be properly monitored
fold: to communicate the performance to late-
from an audience reference point, also normally
comers waiting in a lobby area separate from
located in the rear quarter of a frontal house.
the Room, and to artists and technicians back-
stage, permitting them to follow the perfor-
Whereas lighting control is often separated from
mance from remote locations. It is intended to
the house by plate glass to avoid audible intru-
minimize interruptions and milling around while
sion on the audience, sound control requires the
waiting to be seated or to enter the stage. The
actual sound in the Room be heard for appro-
monitor system should be adjusted to operate
priate balance adjustment to be made. The con-
without supervision and without being heard in
trol console "cockpit" is best located in the au-
the Room. The requirements of public address
dience area. Solid state electronics allow it to be
systems apply here as well.
quite compact, tied into remote power amplifiers
of the reinforcement system. Location and con-
trol wiring connections will be specified by the
Finally, production communications are neces-
system designer.
sary during performance. One of these is actors'
call, enabling the stage manager to alert actors
7. Communications
waiting for entry cues backstage. This may be a
There are several important systems of com-
visual signal light system operated from the
munications to be considered. The principal de-
stage manager's position in the wings and/or a
sign requirement is separation of message chan-
voice communication "squawk box" from the
nels to limit them to those for whom the message
control booth.
is intended. This may involve separate wiring,
input and output sources, and isolated enclo-
A headset system connects the stage manager
sures. In this category are public address, broad-
with technical staff in lighting positions, fly gal-
cast and recording, performance monitoring and
lery and rigging control points, trap room and
production communications.
orchestra pit, sound reinforcement and effects
control consoles, lighting control, projection and
The purpose of public address is to make general
followspot booths-in short, with all the action
announcements to groups of people, which may
stations to be coordinated. Normally, a two way
mean the seated audience, those assembled in
single channel system (all-talk, all-listen) is suf-
the lobby or out-of-doors, and those assembled
ficient for this activity. Jacks must be provided
in the stagehouse or backstage during rehears-
at all relevant positions, unless wireless receiv-
als. Its key architectural implication is the acous-
ers are employed.
tic separation of message zones and restricted
control of input channels to prevent unwitting
Selective station-to-station communication should
intrusion on performance activities. This de-
also be provided via house telephone, connect-
mands appropriate door seals (and the discipline
ing stage manager, house manager, control
to keep them closed) and level adjustments of
booth, stage door security, and similar points.
the loudspeakers, with master controls in the
This may be an extension of the outside line tele-
control booth and stage manager's console.
phone system.
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