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	WPI Technical Theatre Handbook: Introduction
	Introduction Audio can be used as a tool to set moods and evoke feelings. It can add realism to a production, which can help to further immerse an audience member in the theatre experience. A sound system can also be used solely to reinforce the voices of actors on stage so that they can be heard in a large hall. Often times, a combination of music, sound effects and voice reinforcement is used in a theatre production. There are generally a few possible production positions that pertain to audio. Not all productions will have all of these positions, but it is certainly possible. Most common is the audio designer, who is responsible for determining what types of sound to use for the play, creating the effects, and designing the sound system. Sometimes the audio designer only determines what effects should be used, and an audio engineer creates and gathers the sounds and designs the sound system. On occasion, an audio operator is present to run the equipment during performances. It is not uncommon for one person to do all of these things under the guise of audio designer or audio engineer. The distinction between the positions is not clear cut, and there is a lot of crossover. In order to successfully design a sound system and audio effects for a show, a working knowledge of the equipment is necessary. Many diverse components are used to form a complete audio system, many of which are complex devices in their own rights. The intent of this chapter is to provide a reasonably broad exposure to the equipment and techniques used to create, edit, and reproduce audio effects in a theatre setting. 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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