Theatre Design & Technology - Spring 1976 - 36

provides only a brief description of the properties and applications
of each retardant. But enough information is provided to suggest
which retardants might be useful, and which manufacturers should
be pursued for a given application. The traditional fire retardants
frequently used in theatrical applications receive several pages of
discussion. It is reported that the venerable borax-boric acid
formula can have its glow-resistance increased substantially by
adding diammonium phosphate.
Finally, each chapter includes a long list of references. Many of
these are patents, from which the formulations discussed were
drawn. Others range from Gay-Lussac to U.S.D.A. household
pamphlets. Most are from professional journals and manufacturers' bulletins. Their volume and completeness indicate the scope
of the research involved in producing the book.
The only consideration that seems to have been neglected is
the possible toxic effects of the fire retardant compounds. There
appears to be some possibility of the formation of harmful substances from the retardants now used in children's sleepware.
Petjan et al reported in Science 187,742 (1975) that fire-retarded
polyurethane foam produces extremely toxic "smoke" when it
does burn. Could this be true of some fire-retarded textiles, particularly synthetics?
Last year's near disaster of the issuance of unsafe fatigue shirts
to New York City's firemen indicates that greater general knowledge of fire retardant techniques is needed. The Fire Resistant
Textiles Handbook is a good step in that direction, despite its
often highly technical nature. One of the conclusions that can
be drawn from the book is that the best and most durable retardants cannot be applied in the field. Many synthetics have no
retardant suitable for post-manufacturing application. The final
user of a textile must carefully consider its properties before it
is adopted.
Timothy H. Buchman
Amherst College

Here is another example of a book whose title does not accurately describe its contents. The title implies a rather dry, theoretical text, when, in actuality, this is a very interesting, non-theoretical, easily readible, and extremely practical little book. It does not
go into microphone design in depth at all, but rather describes in
general terms the different operating principles of the various
types of microphones in common usage. The area, in the title,
covering "application" is quite accurate since this is primarily a
common sense handbook for miking just about any type of performance one would normally encounter. In addition to miking
procedures, basic information on proper care and maintenance
of microphones is given. This book, in essence, presents a solid
core of practical information developed by the author throughout his professional career.
Aside from presenting a few basic guidelines this is not a "how
to" book. Rather its intent, as stated by the author, is to present
"pre-technique" information. This means that the book's primary
function is to provide a basis upon which one can begin to develop
a good microphone technique. The information in the book has
been developed and refined over the years from the author's lecture series notes. Its format is that of a reference book, organized
by topic, so that any specific subject or situation is readily available at a glance. Each topic of interest is listed separately as a
chapter, although the term "chapter" is probably a misnomer
since some of the "chapters" are only a page and one-half in
length. However, the specific information is there under its own
heading for easy reference rather than being combined with several related topics in a longer chapter.
There are 25 topics or chapters in the book. The first five
describe the various types of microphones, their characteristics,
inherent advantages, and disadvantages. The remaining 20 chapters
are a sheer delight of practicality. Almost every situation which

SPRING,1976

The text is straightforward and not highly technical. The book
contains numerous figures, illustrations, and sketches which very
clearly define the points discussed. In fact, the book seems to be
evenly divided between text and figures, which addes to its usefulness as a quick reference. One very important feature of the book
is the index which provides references not only for the text, but
also for the appropriate figures. The $20 .00 price tag may seem
high for such a small book, but a distillation of so much practical
knowledge might save you at least an hour's worth of time in
fumbling around with your microphone setup, making the volume
definitely worth its cost.
David P. Walsh

Wilson, Ihrig & Associates

HANDBOOK OF STAGE LIGHTING GRAPHICS
by William B. Warfel
New York, Drama Book Specialists, 1974 pp. 41 illus.
ISBN 0-910482-47-0
$4.95

MICROPHONES: DESIGN AND APPLICATION
by Lou Bu rroughs
Sagamore Publishing Co., Inc., 1974260 pp., 200+ illus.,
ISBN 0-914130-00-5
$20.00 hardcover

36

requires microphone pickup is discussed and the reasons for
recommended microphone selection and locations are given.
Such topics of interst include miking for multiple sources such as
an orchestra where interference, electrical cancellation, and leakage between individual musicians can present serious problems.
Microphone placement for interviews and group discussions is
also discussed and some unique solutions are offered. Perhaps the
most interesting topics are those dealing with miking for theatrical
situations which the author acknowledges as "one of the most difficult of all sound reinforcement applications". Here, he describes
in detail the requirements for miking a stage with single and multiple microphones as well a.s with single and multiple loudspeakers.
Other chapters delineate the proper types and use of microphones
for miking a theatre for audience reaction, microphones on
booms, as well as the correct techniques for utilizing hand-held
and lavalier microphones. The author even discusses such downto-earth problems as where a microphone should be placed in relation to a musician's music stand.

The publication of William Warfel's Handbook of Stage Lighting Graphics has once more proven the time-honored maxim that
good things come in small packages. Within the profusely illustrated 40 pages of text Professor Warfel logically spells out the
methodology of preparing a meaningful and communicative light
plot cum instrument schedule cum hook-up list. Although the
application of common sense would seem to obviate the need
for such a text, this reviewer has been exposed to a considerable
numbers of student and touring company.light plots in which
sound aesthetic ideas have been poorly presented. Thus, there is
reason for this volume to be on the reference shelf of any person
who is seriously committed to the effective communication of
their concepts to the many others who may be responsible for
their execution.
The "table of contents" tells a good part of the story, and is
indicative of the meritorious organization of this little gem. In
eight brief chapters, Professor Warfel gives the reader insight and
good instruction in drafting, the basic layout and section, instrumentation, annotation, the hook·up list, the equipment list, and
color keys. A one page appendix supplies the graphic instrument
symbols proposed for international usage for those as yet unfamiliar with them.
Most appreciated by this reviewer is the absence of dogma in
the text. For example, the author recognizes both the advantages
and disadvantages of numbering instruments by position and/or
in a consecutive sequence. In discussing the graphics of illustrating vertical mounting positions in plan view, he details three
equally viable methods (i.e. the detail method, the isometric
method, and the fold-out method) with sound advice as to when
each method might be appropriate.
Although this "handbook" is written for the student of stage
lighting, there is much to recommend it for a wider readership,
including many who are already in the field.
Bruce W. McMullan

THEATRE DESIGN AND TECHNOLOGY

Dartmouth College

I

USITT

I



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1976

Contents
Theatre Design & Technology - Spring 1976 - 1
Theatre Design & Technology - Spring 1976 - 2
Theatre Design & Technology - Spring 1976 - 3
Theatre Design & Technology - Spring 1976 - Contents
Theatre Design & Technology - Spring 1976 - 5
Theatre Design & Technology - Spring 1976 - 6
Theatre Design & Technology - Spring 1976 - 7
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