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	WPI Technical Theatre Handbook: Footnotes
	... second)6.1 An interesting side tangent from an Electrical Engineering giant named Nyquist: With digital sampling schemes, the maximum audio frequency that can be reproduced is half of the sampling rate. Thus, with a 48KHz sampling rate, a 24KHz audio signal may be represented. The range of human hearing is approximately 20Hz to 20KHz, so as you can see the range is well-covered. Audio purists argue that even 48KHz isn't a high enough sampling rate because sampling can't capture harmonics (multiples of frequencies) above the range of hearing, which may not be audible but still perceivable to humans. Most other people just shake their heads and don't really notice the difference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...distort6.2 This is a gross oversimplification, but it is, for the most part, true. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... sound6.3 As described in a project by R. Rubinstein and T. Guyette, and implemented in the 1995 WPI Masque production of Shakespeare's King Henry V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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