Theatre Design & Technology - Summer 1989 - 47

matically divide itself into highpriority time-sensitive sections as
well as lower-priority sections. The
high-priority sections (indeed, the entire network) can then operate in a
synchronous mode providing optimum data-transmission speed between any two nodes.
What speeds are we talking about?
Enough to transmit 24 chaImels of
digital audio or a fully digitized highdefinition video picture all in real
time. In addition, the network can redefine itself at any time to perform
real-time control functions again.
And, with FDDI's current transmission rates, the potential of fiber optics
is only being partially utilized. These
cables are capable of 10 to 100 times
these speeds, depending on the distance involved, and can be increased
to that level when the transmitter and
receiver teclmology is developed.
When these data rates are available,
our existing FDDI system can still utilize the same fiber-optic cables along
with the newer high-speed equipment. The new system will handle its
own data as well as identify FDDI data
and pass it on to our "old" system.
Although the current FDDI node hardware is unable to handle such extremely high speeds, future hardware
will easily acconm10date our needs as
a simple subset of its local communication options. Or it may be more cost
effective to simply replace all FDDI
nodes with new ones that do everything the old ones did, but at a faster
clip.
Yet another suggestion for inCI·easing fiber-optic transmission density is
to use different wavelengths of light to
transmi t different channels of data on
the same fiber. In effect, a different
color of light can be used for each
chaImel and the different colors can be
both merged for transmission into the
fiber and split upon reception via
prismatic refraction. When we count
the number of ways in which we can
foresee increasing the already enormous capabili ties of fiber optics, the
future for this communications medium seems virtually unlimited.
As usual, the needs of the theatre
will play an insignificant role in the
ultimate development of these standards since they are really driven by
users with much larger budgets. What
remains a great satisfaction to me in
this age of high technology is the
knowledge that the theatre will continue to use man's most advanced
achievements to communicaIe his
most fundamental emotions.*

SOUi\jD IS...
DIALOGUE
1~~·lspeeeh lells the story. Sound system m ierophones must reach out for the expressive
voice. and the loudspeakers must project
it effort:essly to the last row of the balcony
Altec Lansing theatre sound systems let the actor
speak directly to each theatregoer. in a shout. .. or
a whisper
,

The Voice of the Theatre Takes the Words. the Emotions.
the Music of Man and Projects Them to Mankind.

ALTEC
c 1986 Altee LanSIng Corporation

PO Box 26105· Oklahoma City. Oklahoma 73126-0105· USA
405-324-531 1 * TELEX 160-369 * FAX 405-324-8981

TD&T·

SUMMER 19S9

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1989