Theatre Design & Technology - Winter 1981 - 30

*

The Sound
System
Design
for the New
Old Globe
by Dan Dugan

Dan Dugan and Roger Gans of Dan Dugan Sound Design were
contracted to design and specify the sound system for the New Old
Globe. A complete system was designed and then certain elements
were deleted to meet budget requirements. Missing elements are to be
rented when needed and acquired as the budget permits. To facilitate
the expansion of the system, all the racks, wiring, and patch points will
be installed as originally specified. The installation contract was awarded to Communications Company of San Diego.

The sound system has two main parts, communications and
music/effects. The communications system survived the budget
knife almost intact, being essential to the running of the shows. It
is an eight-channel Clear-Com system, using the S8-8 switchboard. The switchboard master station can be used in three
locations: the booth, in the house, or on stage right. The first four
channels on the switchboard are for headset communication,
and go to a matrix-switch patch panel where twenty-nine remote
station jacks may be assigned to the four channels. These will
typically be used for stage managers, lights, sound, and flies.
The second four channels on the master will control paging to
the dressing rooms, lobbies, booth and house (talkback). The
dressing room speakers include a volume control for the show
monitor with a relay that overrides it for paging.
There is also a permanent control box on stage right that
allows paging to the four areas, and' a handset in the house
manager's office that can announce to the lobbies or talk
privately to the stage managers.
Stereo monitor mikes on the auditorium ceiling pick up the
show which is available in stereo at the patch panel. A limited
mono mix is distributed to the booth and the dressing rooms,
and can also be sent to the lobbies.
The design of the music/effects system is centered around a
custom-built 16-input 24-output memory preset control console
that had to be cut from the installation because of the budget.
The Richmond 12 x 24 channel console will be used until the
custom console can be purchased.

The main inputs to the console are three four-channel tape
decks with dbx noise reduction and Dugan model FX headbump
equalizers. An existing Teac model 5A 8-input mixing console
will be used to handle mike inputs and miscellaneous inputs. A
digital delay unit with two outputs will be provided, and wiring for
three more units.
Inputs and outputs of all components in the system are wired
through a standard patch panel in the booth. Balanced lines are
run from twenty locations around the theatre, plus a connector
for an 18-pair snake at stage right. Provision is made for five tielines to each of three other locations, the Carter Centre Stage,
the Festival Stage, and a future sound production studio.
The console output channels go to racks of equalizers which
will be calibrated for the different speakers in their different
positions. Several different types of equalizers will be used,
UREI V3 octave, MXR 15-band, and Orban graphic-parametrics.
After the equalizers the channels go to crossovers and other
signal processors of various types which go with specific types
of speakers (see below).
The power amplifiers (Crown DC-300A) for four channels of
surround speakers (with space provided for four more) are in the
booth. These have 70-Volt line outputs, and go to a matrixswitch patch panel which allows sixty-four individual surround
speaker circuits to be grouped in any combination on eight
amplifier channels.
Upstairs in the lighting gallery there are two more racks which
hold twenty channels of Crown DC-300A power amplifiers (with
eight more provided for) and the main speaker patch panel.
These channels are wired at voice-coil impedance. There are
twenty-seven speaker outlets around the theatre, all wired with
four wires so that they may be used for a biamp system or for
two speakers at that location. Most of the speaker wire is #12
gauge except for a few locations where the conduits are too
crowded and #14 is used.
One pair of high-level speakers is provided. In productions
where sound is a major factor they will be designed into the set.
These are the incredible Meyer Sound Laboratories MS-3
speakers, which are an improved 1981 version of the Harry
McCune JM-3 speaker systems that John Meyer designed in
1972. The MS-3 is a bi-amplified two-way horn system which
can produce up to 125 dB at one meter with less than 3%
distortion, 135 dB continuously without damage, and 140 dB
peaks. It works with a special processor which provides the
functions of electronic crossover, time alignment circuitry, special equalization and protection limiters.
Two Meyer sub-woofer systems model 650-R2 each having
two 18" woofers may be used with the MS-3's or as a supplement to all the speakers in the system.
A pair of moderate-level bi-amplified speakers is provided for
onstage use, the Klipsch "La Scale" industrial model LSI-BG.
These might typically be used in the wings for off-stage effects.
There is a pair of compact bi-amplified speakers, Meyer Sound
Laboratories model UPA. These can be built into the set as
"primary image" speakers where the design won't allow space
for the MS-3's, or hung in a false proscenium. The portable
speaker armory is rounded out by four Bose 801 speakers.
There will be a column of eighteen heavy-duty 4" cone
speakers built into the splay wall on each side of the stage
opening. These columns can serve as main speakers when the
stage is bare and there is no false proscenium.
There is an extensive array of sixty-four surround speaker
positions in the walls and ceiling of the house. These will hold 8"
wide-range speakers. In the initial installation all of these will be
wired but most of the speakers will be left out, to be purchased
later. On the sides, the surround speakers are arranged in three
rings, orchestra rear (fourteen positions), balcony front (twelve),
and balcony rear (fourteeen). Twelve of these will be filled in the
initial installation, six in the orchestra ring and six in the balcony.
Holes and wiring for twenty-four speakers in the ceiling will be
provided, with four installed to start.D
USITIlWinler, 1981



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1981

Contents
Theatre Design & Technology - Winter 1981 - 1
Theatre Design & Technology - Winter 1981 - 2
Theatre Design & Technology - Winter 1981 - 3
Theatre Design & Technology - Winter 1981 - Contents
Theatre Design & Technology - Winter 1981 - 5
Theatre Design & Technology - Winter 1981 - 6
Theatre Design & Technology - Winter 1981 - 7
Theatre Design & Technology - Winter 1981 - 8
Theatre Design & Technology - Winter 1981 - 9
Theatre Design & Technology - Winter 1981 - 10
Theatre Design & Technology - Winter 1981 - 11
Theatre Design & Technology - Winter 1981 - 12
Theatre Design & Technology - Winter 1981 - 13
Theatre Design & Technology - Winter 1981 - 14
Theatre Design & Technology - Winter 1981 - 15
Theatre Design & Technology - Winter 1981 - 16
Theatre Design & Technology - Winter 1981 - 17
Theatre Design & Technology - Winter 1981 - 18
Theatre Design & Technology - Winter 1981 - 19
Theatre Design & Technology - Winter 1981 - 20
Theatre Design & Technology - Winter 1981 - 21
Theatre Design & Technology - Winter 1981 - 22
Theatre Design & Technology - Winter 1981 - 23
Theatre Design & Technology - Winter 1981 - 24
Theatre Design & Technology - Winter 1981 - 25
Theatre Design & Technology - Winter 1981 - 26
Theatre Design & Technology - Winter 1981 - 27
Theatre Design & Technology - Winter 1981 - 28
Theatre Design & Technology - Winter 1981 - 29
Theatre Design & Technology - Winter 1981 - 30
Theatre Design & Technology - Winter 1981 - 31
Theatre Design & Technology - Winter 1981 - 32
Theatre Design & Technology - Winter 1981 - 33
Theatre Design & Technology - Winter 1981 - 34
Theatre Design & Technology - Winter 1981 - 35
Theatre Design & Technology - Winter 1981 - 36
Theatre Design & Technology - Winter 1981 - 37
Theatre Design & Technology - Winter 1981 - 38
Theatre Design & Technology - Winter 1981 - 39
Theatre Design & Technology - Winter 1981 - 40
Theatre Design & Technology - Winter 1981 - 41
Theatre Design & Technology - Winter 1981 - 42
Theatre Design & Technology - Winter 1981 - 43
Theatre Design & Technology - Winter 1981 - 44
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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