Theatre Design & Technology - Summer 1983 - 14

locations for loudspeakers exist as most
of the architecture predates electronics.
Communication systems are nonexistent
or crude conglomerations of leftover
parts twisted together by house
electricians.
These physical realities are one reason sound systems (as well as lighting
systems) are designed on a show by show
basis. And the advantages for some
shows are obvious. It is doubtful that
there is a theatre sound system in the
country that could fill the requirements
of the production Frankenstein with its
surround system and subwoofers capable of earsplitting thunderclaps (approximately 126 dB at 125 Hz) and other
sophisticated effects.
Many other productions, however,
could utilize a well-designed house
sound system. The problem is one of
economics. Sound equipment is much
cheaper to rent on a show-to-show basis
than to purchase. It is the show or "production company," as it is called, that
rents not only the sound equipment but
the lighting equipment as well. The production company also contracts for the
scenery and costumes to be built, and
rents a theatre to house the show. It is of
little value to the owners of a theatre to
stock it with sound (or other) equipment
at considerable expense when all they do
is rent the theatre to others.
Because the size of most Broadway
houses is 1000 to 1600 seats-with a
few larger exceptions-reinforcement of
speech is usually unnecessary for a
drama. Hence most sound systems are
for effects only. These could include
taped music, or off stage booths with
microphones for spontaneous effects or,
as in The Dressel; a presentation of King
Lear and a World War II air raid both
heard simultaneously.
An important consideration in the
generation of effects is to develop a concept or direction the show (with its effects) will take. This can only come
about by rapport with the director and
other members of the creative team,
such as lighting and scenic designers.
This assumes there is a sound designer
from the beginning which, considering
the reality of economics, may not be the
case. A general manager may not see the
need for a specialist in sound and one
may be hired only minutes before a
load-in-too late to attend rehearsals or
production meetings.

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Once a concept is established and the
effects identified, the system is created.
Can the effects be pulled from stock
libraries (disks or tapes), or do live reording sessions need to be scheduled?
Can a loudspeaker location double for
two or more effects, thus cutting cost?
At what levels are the effects to be
played? Can the production work with
40W amplifiers or do we need to shake
the foundation of the building with
800Wamplifiers? These are some of the
questions that must be considered and
answered in system design. Some effects
are so critical that extraordinary measures must be taken to assure that they
will work. If Katherine Hepburn sat
down to the piano in West Side Waltz,
for example, and the effect failed, the
show would literally stop. To back up
the taped piano in West Side Waltz, two
reel-to-reel tape decks were started and
stopped via a single remote control.
Should one fail, all the operator had to
do was quickly switch faders on the console-losing a beat, but saving the show.
If the remote control failed, incidentally, the decks were within easy reach and
one or the other could be operated
directly.
Next, equipment must be selected.
The word "select" is used here rather
than the more decisive "speci fy" used in
permanent sound system designs because there usually is a limited variety

and amount on hand at the very short
notice allowed by the budget. There are
also only two shops in New York that
supply Broadway and most touring
companies as well.
The shops themselves have certain
idiosyncracies. By labor agreement all
stage-related work on Broadway is performed by the stagehands' union
(I.A.T.S.E.) and this extends to the
shops. The sound shops may differ
slightly in wiring practices or convention. One shop uses 20 amp twist-lock
connectors for all loudspeaker cables,
for example, while the other uses standard Edison twin blade connectors. One
shop evolved its color coding from the
standard electrical practice of having
black colored wire being "hot," white
being "neutral."
This makes for a general incompatibility if one were to order items piecemeal from both shops. Thus, a single
shop will generally outfit a show. Selection of a shop is done by competitive
bidding (if enough time is alloted), the
designer's choice, or by default since one
shop can only do so much work at once.
Once a show is outfitted, it is loaded
into a theatre and the production process begins. Depending on the size andtype of show, the designer may operate
the show. Or the company may hire an
operator, which frees the designer to
check all parts of the house and confer

USITT I Su111 I11cr 1983/Theatre Design & Technology

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