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	WPI Technical Theatre Handbook: Automation
	Automation Large sound systems can become incredibly complex fairly quickly. A large number of input devices, effects gear, and other equipment can make running a large show difficult. In situations where multiple cues have to be run in rapid succession or simultaneously, it can become nearly impossible for a single operator to run the system. These types of situations are where some form of automation can help immensely. Simple automation can be had by use of MIDI (Musical Instrument Digital Interface) to control effects. Most multi-effects units can be run via MIDI, allowing a simple way to control these units from a single control pad or a computer. Rather than having to set controls on a number of front panels, computer software can automatically send out the necessary commands to control the units. Many productions require sound effects to be played back precisely on cue. In complex setups, sounds may be made to come out of any of a number of speakers independently, so as to add realism to the effect. Cueing the sound and controlling the mixing console to position the sound in sound-space becomes a formidable task. Integrated systems for cueing and mixing sound help incredibly in this area. Unfortunately, most systems are well out of the price range of most college theatres. However, a system the author has co-developed, called SMsurround, has brought forth an affordable and powerful automated sound system. Automated playback of digital sound effects from computer and digital sampler, cueing and playback of compact discs, automatic fades and fader ``chases'', and MIDI control of equipment are all possible with the system. The system was developed at WPI as an independent study project in the spring of 1995 and was used for two productions thus far. Unfortunately, the prototype of the system has several shortcomings which will be addressed in a complete revamping of the system, to take place in late 1996 and early 1997. 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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