[SML] Glazing of Control Booths

[Richard Niederberg]

Seating footprints have changed with the passage of the Americans with
Disability Act in 1990. Recently, I have been placing the Front of House
sound position in the same double-deep row as Wheelchair seating spaces,
with ALD headphones also available to patrons in that row. With no
wheelchairs in the way, its easy to secure the sound console by rolling it
away after the show, using an elevator designed for patrons, wheelchairs,
pianos, or the restocking of concession or custodial supplies. All you need
to 'plug it in' is an AC outlet and a Fiber Optic connection.
/s/ Richard
_________

On Wed, Jul 29, 2015 at 9:14 AM, Riter, Andrew via Stagecraft <
stagecraft at theatrical.net> wrote:

> > > Has anyone ever heard of the new construction of large, unglazed
> > > window openings for Lighting/Sound/SM booths that open directly onto
> > > the audience seating area?
>
> >and he responded, "Don't you have a problem with reflections?"
>
> Fair question.
>
> **urg**
>
> I can appreciate the operators being in the house (sometimes).  I can also
> see the demand for having the operators away in a sound proof booth.
> That's my preference.  Remember the ETC console with very **clicky**
> buttons.
>
> 1 venue I used to work at years ago had 3 "separate" sections of booth.
> The SM booth was totally enclosed, the middle sound booth had a large
> window that could be dropped out for a live mix show, and the Lx operator
> was beside that, behind glass (no solid wall in between).  1 day someone
> got into the venue and stole the wireless com station and belt packs (later
> returned when an IA brother spotted the venue sticker when being shown the
> gear by a touring sound guy who just picked them up from a pawn shop).
>
> So to answer the original poster: yes, security to me is a concern
>
> Our mix position is centre of the house, with audience behind.  With the
> advent of digital consoles, we are concerned by, and get complaints about,
> the number of video screens, the brightness of them, and the flashes as the
> operator changes from screen to screen.  For touring amplified shows, it's
> one thing; for a more subtle, re-enforced chamber strings concert (with a
> different audience) it is something else.
>
> Our console is not locked up, but the accessory drawers should be locked
> up every night.  Security screws for the gear in the racks.
>
> Occasionally we move the Lx console into the house for a touring musical
> act, but then it goes back in the booth after the 1-night stand.  It is
> nice sitting the house for a show, but given our typical event type, I
> wouldn't want to be there for every show.
>
> What I wish was a pass through port in the booth wall under the window so
> we could run wires (touring video cameras, extra mic lines) into the booth
> without leaving the window open.  (we have a pull tube, the smoke alarms
> under the floor get set off).
>
> Andrew M. Riter
> Assistant Technical Director / Head Lighting Technician
>
> 604-822-2372
> Andrew.riter at ubc.ca
>
>
>
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-- 
/s/ Richard
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