Theatre Design & Technology - Winter 1978 - 22

laid over the stage floor, and a free-standing spiral staircase.
For A Winter's Tale, Robert Blackman closed the center panels to form an upper-level platform and several up-center
entrances. A carved polystyrene floor was then laid over the
stage floor.
While the stage was being built, a light/sound booth was
also built to house recently purchased and rented equipment,
replacing what had been destroyed in the fire. Masking the
theatre from the access road that surrounded it was a plywood "fence" at the back of the house and dark green canvas
lashed around light poles along the sides of the house. Only
three trees were removed from the site during construction.
The back of house area was built around ten trees that protruded upward through decking and back walls. Three trees
were located in the seating area, resulting in a partially obstructed view to a few seats, but sightlines were excellent and
no seat was farther than forty feet from the stage. An extensive
replanting project, including a bring-your-own-plant affair,
furnished hundreds of trees, shrubs, and plants from a supportive community and gave the finishing touch to the new
Festival Stage.
Although the final cost is still undetermined, it has been
estimated at close to $400,000-$25,000 in the form of a
special assistance grant from the National Endowment for the
Arts, the remainder from insurance and contributions.

LIGHTS
The entire lighting system, except for the patch panel, was
destroyed in the fire. The new board had to be portable
enough to be moved from the Festival Stage into the
Spreckels Theatre in downtown San Diego for the winter
season. A prototype memory system, the Strand-Century
Multi-Q II, was purchased on a recommendation from Bruce
Kelley of Kelley Associates, a San Diego lighting consultant.
T his system has a 192 dimmer capacity and is capable of
handling approximately 240 presets. (The preset load varies
slightly depending on how many dimmers are used-the Festival Stage used 96 dimmers with 241 presets.) Each preset
can be assigned multiple cues by using four sub-faders and
two cross-faders which have manual override, and there are
eight submasters available for grouping dimmers. Light intensity is variable on a 1-15 point scale instead of the usual 110, and there are ten non-dim control channels which are
programed through the memory. The board can also be
keyed for remote control operation. Mini-diskettes were used
to record light cues for each of the three plays in the Festival.
At the time the board was installed a back-up memory
system (the Strand-Century Micro-Q) was programed to take
over in case of emergency. This was used on the opening
night of Henry V when the main board failed to operate
because of a temperature control problem in the booth. The
M icro-Q was used to carry out a simplified version of the
original cues. After opening night the booth was air conditioned, and there were no further problems.
The fire also destroyed all the lighting instruments in the
original theatre so all new equipment was purchased or
rented. The lighting design, by Sean Murphy, used about 210
instruments with eight additional 500w PAR 64 lights used as
house lights, and square-head quartz lights used as work
lights and supplemental exterior light. A Strong Trouperetle
III follow spot was operated from the roof of the light/sound
booth. Upstage and rolling booms and cross-over bridge
instruments were used in Henry V and A Midsummer Night's
Dream for back light and special effects. Twenty-seven telephone poles-most contributed by San Diego Gas and Elec20

Theatre Design & Technology

tric-served as lighting booms, extending thirty-two to fifty
feet above stage level.

SOUND
The sound equipment emerged from the fire in better
shape than the lighting system. Two Teac 40-4's and a Sony
788 four channel W' tape decks were saved and installed with
a Richmond Sound Design 12 in, 24 out preset mixing/distribution console with "Auto-Pan," octave band equalization for
each of fourteen channels, all Crown power amplifiers, and
custom speakers by Harry McCune of San Francisco. The
front source for most cues was a pair of McCune JM-3 triamplified horn systems built into grilles for the permanent
set. Two Altec A-7 systems served for upstage left and right
sound cues, and another A-7 was placed on the cross-over
bridge upstage center and reflected off the trees for a distant
up center effect. A ring of eight McCune SM-3 bi-amplified
monitor speakers was hung on the light poles surrounding
the seating area. These were used for time-delayed reinforcement (of the tape) and special directional effects. Two A-7
bass boxes were placed below the front of the stage center as
bass supplement, but were mostly used for special sound
effects. There was no sound reinforcement of the actors, but
there were two multi-directional mikes placed house left and
right near the stage on the side aisles for a monitor system
hookup with the dressing rooms.
The original scores for all three plays were written by Conrad Susa. The composition period was less than one week for
each because it was necessary to see a complete run-through
of the play for timing while having the score ready for the first
technical rehearsal. The recording session, supervised by
Dan Dugan, sound consultant and designer for the Shakespeare Festival, took place several days prior to the first tech.
Each score required a different ensemble, from five'to twenty
instruments, and local musicians, generally from the San
Diego Symphony, were hired for a four to six hour session.
The recording was done in the nearby Church of Religious
Science which is a large, moderately acoustically absorbant
church. Dugan's recording technique used relatively close
multiple miking, using mostly AKG C-451 E's. For high-frequency pickup, on flute for example, AKG D-202's were used.
This year there was some experimentation with a couple of
Neumann KM 85's and a new Sennheiser system MKE 401.
One or two Teac Model 5 mixing consoles, an active 40 Hz
high-pass filter, dbx noise reduction, and Orban parametric
equalizers were used to flatten the response of the tape
decks. The parametric equalizers were used to correct the
low frequency response error that occurs with four-track
decks. The input is equalized before the signal is recorded,
thereby producing a standard tape which does not need
special compensation for playback.
During the recording session Dugan used two simultaneous four-track tapes. One tape is a "dry" four-track master,
with two tracks used for a stereo mix of most of the ensemble,
and the remaining two tracks used for more difficult to balance instruments or featured instruments, for remixing later if
necessary. The second tape records a live mixdown of the
whole sound, with echo added using an Orban unit, on its
front two channels. During recording the sum of those two
channels was sent to a digital time delay unit, a Lexicon
Model 92, and the outputs, delayed 30 and 660 milliseconds,
were recorded on the rear two tracks. This technique made it
possible for the mixdown tape to be edited the night after the
recording session and used in the theatre the next day. The
show tape had a stereo mix with two delayed channels, genUSITT/Winter, 1978



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1978

Contents
Theatre Design & Technology - Winter 1978 - 1
Theatre Design & Technology - Winter 1978 - 2
Theatre Design & Technology - Winter 1978 - 3
Theatre Design & Technology - Winter 1978 - Contents
Theatre Design & Technology - Winter 1978 - 5
Theatre Design & Technology - Winter 1978 - 6
Theatre Design & Technology - Winter 1978 - 7
Theatre Design & Technology - Winter 1978 - 8
Theatre Design & Technology - Winter 1978 - 9
Theatre Design & Technology - Winter 1978 - 10
Theatre Design & Technology - Winter 1978 - 11
Theatre Design & Technology - Winter 1978 - 12
Theatre Design & Technology - Winter 1978 - 13
Theatre Design & Technology - Winter 1978 - 14
Theatre Design & Technology - Winter 1978 - 15
Theatre Design & Technology - Winter 1978 - 16
Theatre Design & Technology - Winter 1978 - 17
Theatre Design & Technology - Winter 1978 - 18
Theatre Design & Technology - Winter 1978 - 19
Theatre Design & Technology - Winter 1978 - 20
Theatre Design & Technology - Winter 1978 - 21
Theatre Design & Technology - Winter 1978 - 22
Theatre Design & Technology - Winter 1978 - 23
Theatre Design & Technology - Winter 1978 - 24
Theatre Design & Technology - Winter 1978 - 25
Theatre Design & Technology - Winter 1978 - 26
Theatre Design & Technology - Winter 1978 - 27
Theatre Design & Technology - Winter 1978 - 28
Theatre Design & Technology - Winter 1978 - 29
Theatre Design & Technology - Winter 1978 - 30
Theatre Design & Technology - Winter 1978 - 31
Theatre Design & Technology - Winter 1978 - 32
Theatre Design & Technology - Winter 1978 - 33
Theatre Design & Technology - Winter 1978 - 34
Theatre Design & Technology - Winter 1978 - 35
Theatre Design & Technology - Winter 1978 - 36
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