Theatre Design & Technology - Oct 1965 - 14

rs

Fig. 6 plots distortion curves from individual distortion measurements at specific frequencies. While

Costs

the speed of recording is not part of the problem
here, the level at which measurements are taken

A concurrent and limiting consideration to the entire
problem is, of course, cost. Any estimate of cost

sometimes is. Total harmonic distortion of amplifiers
(THD) is often listed by manufacTurers on their

usua lIy is di sheartening and the "three ti mes the
cost of components" estimate for installed equipment often errs on the side of optimism. Neverthe-

spec i fi cat i on sheets as ta ken at one watt output. Th is
is not acceptable, for the truly revealing rating is

less, a complete installation of quality components

the one taken at the maximum output the

manufac-

following the same organizational pattern as above,

turer lists. A 2% distortion rating is quite acceptable

but with ten inputs, two channels, two three-channel

for a quality power amplifier at its full rated output.
Usually the distortion increases rapidly as full
power is approached and amplifiers have additional

pan potenti ometers, six speakers, and two tape
recorders, along with all necessary amplifiers and
other facilities, has been estimated at $25,000.00 on

power available but usually with TOO much harmonic
di stortion. 10

a realistic basis. Any estimate substantially below
this figure should be carefully examined. 12
The creative use of this system for production and
experimertal

projects

should

elicit a

comparable

professional imagination and resourcefulness of the
personnel in charge, including the director of each
production. The interdependence of theatre work
places a high premium on acquainting the personnel
with its potentialities. The routine of the procedure,
however, can and has been standardized along the

'"<
'"o
'"u

following lines:

"

Analysis

N

a
a
a

.,;
OJ
0::

and assessment

style
area

potentials.
of sound,

of

This

but

the play

evaluation

other

for

is

production

its production

mainly
areas

in

the

ore often

considered as they relate to it.

!l.

'"o
Correlation of

~

all

suggestions

for style from all produc.

by

the

in

OJ

-'

tion

~

decision on style.

-'

o
z
<

areas

director

charge:

the

director's

2

A re·evaluation of the powers of the playas they shape
the particular style of the production and its sound

""I

The translation of production style (from the standpoint of
sound) into production requirements and 0 production

'"OJ
>
<

environment.

I-

U

o
6

:I:
I-

schedule.
Listening,
100

gathering, and creating

elements

1000

for the production

the necessary

sound

(music and effects,

live

and recorded, scored and composed .. oil assiduously

FREQUENCY IN CYCLES PER SECQND

combined in a numbered log for retri eva!).

Fig 7. Reverberation Time. This is measured in the time it
takes the sound energy density to decay 60 db., i.e., to 0.00000 1
of
its original value.
octave intervals.

Measurements

were

oken

ot one·third

Recording

the

sound

on

tape

and

coordinating

its

use

with other elements of the production: cue identifico·
tion (from this point on, with few exceptions,
tope units ond associated equipment are used),

only

Assembling the master tapes and cartridges; cue identifi.

The results of the reverberation test on Fig. 7, helpful and qualifying information for all design of sound
effects, shows that the Indiana University Theatre
is excellent for what it was
designed-dramatic
speech, with a relatively short reverberation time.
At the central area of the normal listening range for
speech it is 1-0 seconds, usually written T500=1.0

cation;
An

tentative

additional

destruction
Technical

IS

component

copy

for

settings

insurance

and

sequences.

against

chance

necessary. Changes will still occur.

rehearsals

with

completed

effects only when necessary} to

tapes

develop

{and

live

sureness in

the duplication of effects for all performances.
changes should be made at this point.

Few

The functional use of the controllable properties of
sound, earlier briefly outlined as a basis for this

sec. For music the 500 to 1000 cps. average is
description of the sound system in the Indiana Uniusually taken,which at 0.9 second is a "dry"enough
versity Theatre, have become exciting possibilities.
hall to profit from the addition of reverberation to
With this system, the resources of flexibility - so
any music used. il
far barely realized, much less exploited - have whetThe ambient noise level test also has its practical ted the aural appetites of sound designers and
overtones. While the test revealed no excess condi- directors, both student and staff. The number of
tion in the seating area from the operation of lighting developments should increase, and improvements
equipment, the g;aph (machine-run and speed-re- should be accelerated. In addition to the sound
corded) did indicate an abnormal amount of noise in sources enumerated in the components list, other
the range from 40 to 500 cycles due to ventilation developments
increasingly available from audio
equipment. This has since been corrected.

engineers

and

the

instrumentation

designed

for

15



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1965

Contents
Theatre Design & Technology - Oct 1965 - 1
Theatre Design & Technology - Oct 1965 - 2
Theatre Design & Technology - Oct 1965 - 3
Theatre Design & Technology - Oct 1965 - Contents
Theatre Design & Technology - Oct 1965 - 5
Theatre Design & Technology - Oct 1965 - 6
Theatre Design & Technology - Oct 1965 - 7
Theatre Design & Technology - Oct 1965 - 8
Theatre Design & Technology - Oct 1965 - 9
Theatre Design & Technology - Oct 1965 - 10
Theatre Design & Technology - Oct 1965 - 11
Theatre Design & Technology - Oct 1965 - 12
Theatre Design & Technology - Oct 1965 - 13
Theatre Design & Technology - Oct 1965 - 14
Theatre Design & Technology - Oct 1965 - 15
Theatre Design & Technology - Oct 1965 - 16
Theatre Design & Technology - Oct 1965 - 17
Theatre Design & Technology - Oct 1965 - 18
Theatre Design & Technology - Oct 1965 - 19
Theatre Design & Technology - Oct 1965 - 20
Theatre Design & Technology - Oct 1965 - 21
Theatre Design & Technology - Oct 1965 - 22
Theatre Design & Technology - Oct 1965 - 23
Theatre Design & Technology - Oct 1965 - 24
Theatre Design & Technology - Oct 1965 - 25
Theatre Design & Technology - Oct 1965 - 26
Theatre Design & Technology - Oct 1965 - 27
Theatre Design & Technology - Oct 1965 - 28
Theatre Design & Technology - Oct 1965 - 29
Theatre Design & Technology - Oct 1965 - 30
Theatre Design & Technology - Oct 1965 - 31
Theatre Design & Technology - Oct 1965 - 32
Theatre Design & Technology - Oct 1965 - 33
Theatre Design & Technology - Oct 1965 - 34
Theatre Design & Technology - Oct 1965 - 35
Theatre Design & Technology - Oct 1965 - 36
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com