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	WPI Technical Theatre Handbook: Speaker-Level
	Speaker-Level There are many means for connecting speakers to amplifiers, some straightforward and others somewhat complex. Speaker cables are fairly heavy gauge unshielded cables. Eighteen gauge wire (commonly referred to as lamp cord or zip cord) is about the smallest speaker cable found in professional audio systems, while twelve or ten gauge is about the largest. Large cable is needed because of the high currents necessary to drive the speakers. Small cable can not adequately carry the signal to drive large speakers, and will significantly degrade performance if it is used. Many types of connectors are used to hook speakers to amplifiers. Sometimes bare wire is used with 5-way binding posts on the speakers and amplifiers. This scheme works reasonably well for permanent installations, but is impractical for portable systems that must be taken apart frequently. Phone plugs, often used for line-level signals, are also frequently found on speakers. Companies such as Neutrik, Inc. produce advanced locking multi-conductor speaker connectors. These types of connectors are ideal in bi-amped or tri-amped systems, where several individual speaker connections have to be made. Often racks of amplifiers and the speaker cabinets are outfitted with multi-conductor connectors such as Neutrik Speak-Ons. A special multi-conductor speaker cable with mating Speak-On connectors is used to connect the speaker to the amplifier, making the process of connecting up a tri-amped system incredibly simple. These types of connectors are used at WPI on the school's largest sound reinforcement speakers. Other non-standard connectors such as twist-locks are used at WPI, because of availability and because of their locking characteristics. Figure 6.14 depicts the speaker connectors most commonly used at WPI. Figure 6.14: Commonly used speaker connectors. Twist-lock is rarely seen for audio use outside of WPI. 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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