DESIGN GUIDE: MUSIC AND DRAMA CENTERS
DG 1110.3.120
CHAPTER 4: ELECTRONIC SYSTEMS
JANUARY 1981
Several commercial systems are available. The
Music reproduction for plays and dance is usu-
most popular for theater is a lightweight headset
ally handled through an adaptation of the effects
with single earpiece and boom mounted micro-
system using all of the same equipment here-
phone, connected to a separate belt pack that
tofore discussed. Stereo and quadraphonic ma-
will jack into a wall receptacle. On-stage crew-
terial can be reproduced as long as four input
men sometimes do not like the constriction of
channels and four output channels are available.
this arrangement and prefer their communica-
In some circumstances the reinforcement speaker
tion in an integral wall mounted unit so they're
clusters may be brought into play. (The rein-
not trailing any wires. A more sophisticated ver-
forcement system has been carefully adjusted to
sion of this same system would be a two channel
the Room acoustics.) However, when sound
system in which the technical lighting people
does not originate on stage, dancers and other
would be on their own separate cue channel.
performers may have difficulty hearing it in the
This is recommended for Drama with more than
stagehouse. In this situation, the music should
also be played on stage.
minimal scenic support.
When live music from the pit is miked through
The actor cue call and program monitor system
the reinforcement system to balance a weak pit
is usually combined as a single cable loop sys-
orchestra, the above method may need to be
tem starting from the stage manager's desk and
modified so that music played on the stage does
going to all the dressing room areas, manager's
not arrive in the house too long after the direct
office, cast bathrooms, assembly areas, techni-
and cluster sound. The onstage speakers should
cal crew chief's office and general crew offices
be located just behind the proscenium, directed
and staging areas. All of the rooms which are
to the actors. Directional pit mikes will minimize
wired to the system will have a single speaker
feedback. If actors on stage are miked (musical
and a wall mounted volume control. A micro-
drama) voice/music channel separation be-
phone hung just behind the main act curtain on
comes very important. A facility with minimal
stage will continually feed program and re-
reinforcement capabilities may find it necessary
hearsal material to all of the stations. Concur-
to place a small orchestra itself on stage behind
rently, whenever there is a specific cue call for
the action, where music and speech sound is
an actor, orchestra, chorus members, corps de
picked up by reinforcement microphones.
ballet, etc., the announcement emanating from
the stage manager's console and activated by a
Microphones: The selection and placement of
push button will override the program material
microphones for various activities is an art in
and announce the cue to all concerned. Should
itself and too difficult to describe in this Guide.
the program material be bothersome at any
We would recommend that the using service re-
given time, the control knob on the wall will al-
tain an experienced professional who can assist
low those in the room to reduce the volume to
them in this matter. Most touring drama and
an inaudible level. However, under no circum-
professional music groups are familiar with mi-
stances will this deactivate the override actor cue
crophone setups and can usually instruct the
capability. Therefore, even when the control
house crew as to their preference. It is good to
knob is at its lowest position cue calls will always
have a variety of microphones on hand for var-
be audible in the various rooms.
ious purposes and a good mix is suggested in
Table 4-5.1.
In certain rooms it might be desirable to elimi-
nate cue calls; rooms such as the manager's of-
fice, the stage manager's office, etc. In these
discussed under Section 3-8d. A production
cases the cue call override wire can be snipped
communication system is one which allows the
and only program material will be fed into these
individual in charge of the production to com-
designated spaces.
municate with members of the technical staff. A
minimal system would be a single channel sys-
Table 4-5.1 lists equipment recommended for
tem with the main control position at the stage
Army MDC's. Refer to Sections 3-12, 14 and 15.
Quantities depend on specific circumstances.
manager's desk in the stage wing areas. The
lighting control operator, the sound effects con-
Add to these as required (the equipment can be
rented) and have on hand at least half as many
sole operator, the spotlight operators and the
crew chief at the stage, pinrail and loading cat-
portable "bookshelf" speakers as there are ef-
walk would all be in communication on this sin-
fects output channels if not permanently mounted.
gle channel.
4-23
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