Theatre Design & Technology - Spring 2008 - 19

3

Hub board installed at the former San Francisco Fox Theatre.
Courtesy of Theatre Historical Society of America.

This concept of "mechanical mastering" was very quickly
adapted to the dimmers located above the switchboard. Once
again, a row of such dimmers was arranged so that selected
dimmers could be locked to a horizontal shaft operated by a
single master lever at one end. With such mastering capability
applied to the dimmers, it was usually no longer necessary to
provide this complication for the switches also. The dimmers
were often grouped according to "color" and individual color
master operating levers were provided. These levers, then,
could sometimes be locked to a "grand master" lever which
would then be used to run a cue.
For a "fade-out" cue at the end of a scene, the locking
dogs on the individual dimmers could be "preset" so that,
as the master lever was pulled down, each dimmer would be
"picked up" as the notch in the horizontal shaft passed its dog.
Of course, this would upset the lighting balance during the run
time of the cue. If more than one board operator was available, individual dimmers locked to the master lever could be
unlocked during a relatively slow opening cue so that the dimmers would remain at their proper settings. Alternatively, one
operator could run the master lever up to some average setting
and then unlock and "steal" individual dimmers up or down
slightly from that level to the proper levels for each.
Eventually, the dimmers themselves were located behind
the board along with the switches. Thus, the term "dimmer
board" came into use (although the use of the established term

18

theatre

design

&

technology

S P R I N G

"switchboard" persisted for a long time !). The board itself
could then be fabricated from steel plate rather than some form
of insulating material since all live electrical parts were behind
the board (a so-called "dead-front" board).
Thus, each control group on the board consisted of a
switch lever, a dimmer lever, and usually a pilot lamp to show
when that circuit was in use. Again, these individual circuit control units were arranged in color rows with a mechanical color
master for the dimmer levers at the end of each row. Usually,
the pocket circuits were grouped together and equipped with
their own group master lever as well.
On smaller boards, the grand master was in the form of a
single lever. This lever often had a pull-out extension to provide
additional mechanical advantage when a great many of the dimmers were locked on to the horizontal shafts.
On more elaborate boards, the grand master sometimes
took the form of what was called a "slow-motion" wheel. This
was a large diameter wheel geared to the shafting both for mechanical advantage and to allow for very slow cues to be run,
such as for sunrise or sunset effects. Also, on large boards, a
differential mechanical locking feature was sometimes provided. This allowed individual dimmers to be locked to the main
shafting either directly or through reversing gears. Thus, as the
slow-motion wheel was turned, some dimmers would run up
while others ran down !
Obviously, it was both physically and mentally demanding

2008



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2008

Contents
Theatre Design & Technology - Spring 2008 - 1
Theatre Design & Technology - Spring 2008 - 2
Theatre Design & Technology - Spring 2008 - 3
Theatre Design & Technology - Spring 2008 - Contents
Theatre Design & Technology - Spring 2008 - 5
Theatre Design & Technology - Spring 2008 - 6
Theatre Design & Technology - Spring 2008 - 7
Theatre Design & Technology - Spring 2008 - 8
Theatre Design & Technology - Spring 2008 - 9
Theatre Design & Technology - Spring 2008 - 10
Theatre Design & Technology - Spring 2008 - 11
Theatre Design & Technology - Spring 2008 - 12
Theatre Design & Technology - Spring 2008 - 13
Theatre Design & Technology - Spring 2008 - 14
Theatre Design & Technology - Spring 2008 - 15
Theatre Design & Technology - Spring 2008 - 16
Theatre Design & Technology - Spring 2008 - 17
Theatre Design & Technology - Spring 2008 - 18
Theatre Design & Technology - Spring 2008 - 19
Theatre Design & Technology - Spring 2008 - 20
Theatre Design & Technology - Spring 2008 - 21
Theatre Design & Technology - Spring 2008 - 22
Theatre Design & Technology - Spring 2008 - 23
Theatre Design & Technology - Spring 2008 - 24
Theatre Design & Technology - Spring 2008 - 25
Theatre Design & Technology - Spring 2008 - 26
Theatre Design & Technology - Spring 2008 - 27
Theatre Design & Technology - Spring 2008 - 28
Theatre Design & Technology - Spring 2008 - 29
Theatre Design & Technology - Spring 2008 - 30
Theatre Design & Technology - Spring 2008 - 31
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Theatre Design & Technology - Spring 2008 - 35
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Theatre Design & Technology - Spring 2008 - 37
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Theatre Design & Technology - Spring 2008 - 40
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Theatre Design & Technology - Spring 2008 - 45
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Theatre Design & Technology - Spring 2008 - 81
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