Theatre Design & Technology - Summer 1999 - 40

* Early Analysis
Phase one of this project began in 1993 with a Scope Analysis,
where Rae Ackerman, the Theatre Director and Thorn Weeks
of Waisman Dewer Grout Carter Inc., Architects (now of
Proscenium Architects and Interiors, Vancouver), talked with
all users and operators about all aspects of the theatres. In doing
so they determined what problems, inefficiencies and shortcoming they were dealing with and what ideas and dreams they had
for improvements. This resulted in a document for each theatre that succinctly listed all recommended improvements.
This document formed the basis for all future work.
Phase two required a team to start the process of putting
these ideas into a Long-Range Plan. Rae needed information
regarding the nature, complexity and cost of the renovations
that might take place in improving and modernizing the facilities. To this end, he hired a consulting team that included the
follOWing: Thorn Weeks and Jennifer Stanley, architecture and
interiors; John O'Keefe, acoustics; Doug Welch, theatre and architecturallighting; Engineering Harmonics Inc., sound systems; Doug Williams, structural engineering; Wolfe Schenke,
electrical engineering; Jerry Faubert, mechanical engineering;
and Jim Bush, cost consultant.
This consulting team analyzed the Vancouver Civic
Music Performance: Music Performance:
high-level
moderate-level
Level of Support support only

in-house

Theaters Scope Analysis report, as well as other data, and
developed recommendations and budgets for the longrange plan. This resulted in a 100-page document entitled
Vancouver Civic Theaters Renovation, Sound Systems
and Related Infrastructure, Schematic Design SummaJJ'
which was delivered in September, 1994. The author
thanks the Vancouver Civic Theaters for their permission to
use portions of this report here.

* Sound Analysis:
The Orpheum Concert Hall
The following are excerpts from the report Vancouver
Civic Theaters Renovation, Sound Systems and Related
InJrastl'ltcture, Schematic Design Summary prepared by
Engineering Harmonics. It illustrates one approach to
planning the future.

* Attendance Analysis by Types
of Performances
A five-year total 0989-1993) of performance types was
available from the theatre's records. We reassembled the
data into categories from a sound systems perspective. The

Music Performance:
low-level

Musical Theater

Dramatic Theater

Voice or AN
Presentation

in-house

not supported

not supported

sound: in-house;
video: support only

Table 3. Proposed Capabilities: in-house or support for external production systems

Scale of Installed System

* Medium connectivity requirements
* Consistent with output system

Elements of Installed System

* 24 mic channels to each of: SL, SR
* 24 mic channels to: fly floor, house
catwalks, balcony fronts, traps,
rehearsal hall, USC, production
position, CSC room
* 8 bi-directionallines to each of SL
and SR and pit
* 24 lines to balcony fronts, traps,
rehearsal hall, production position,
truck locations, CSC room
* [32 channel stage splitter]
* CER Patch system sends 32 channels
to mix
* Program inputs: CD, 2cassette, 2 OAT
* 24 mics, stands and accessories
* 4 wireless microphones

Support For Temporary Systems

* Recording and broadcast trucks
* PC controlled systems on network
* 8" empty conduit system between:
stage/house mix position/ACR/SCR,
numerous mouse holes

Table 4. Input Systems
38

5

U

M

MER

1 9 9

9

T'ZJ&T

Scale of Installed System

* Moderate processing requirements

Elements of Installed System

* Mix positions: rear center house,
control room
* Mix systems: 2 EFX rack, lline drive
rack, 11/0 patch rack, 1 insert patch,
1fold back, 24 x 4 x 4 x 2 x 1 console
with 8 auxes and dolly, independent
distribution mix to PPM, hearing
assistance, intercom, etc.
* Personal computer· CER patch and
racks

Support For Temporary Systems

* Removable seats three rows of center
orchestra for porta ble consoles in
house, 12' x8' center rear house mix
positions

Table 5. Mix and Processing Systems



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1999

Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
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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