Jay Ashworth
Well-Known Member
In fact, my next-to-last house had a cantilever/hung booth, and the slope was into the booth, for other, fairly obvious, reasons.
FOH booth
- Thread starterSkervald
- Start date
I'm with Bill on this one. I have a bigger booth but there are around eight outlets around the booth and they all get used at some point or another. Better than having to run an extension cord or a power strip whenever I need to plug in my laptop. I may look into having a couple of them switched out for some that have usb ports now that you mention it.
Skervald
Active Member
Good discussion. Anyone ever mess around with dimable indirect lighting or am I better off relying on console lights and individual goose neck units? I was thinking having a strip around the inside edge of the wall might throw enough light down on the countertop to make reading scripts/notes etc. easier.
Unrelated, there are two 20 amp circuits available in this particular situation and amps will not need to be housed in the area.
Unrelated, there are two 20 amp circuits available in this particular situation and amps will not need to be housed in the area.
Jay Ashworth
Well-Known Member
BillConnerFASTC
Well-Known Member
My comments were about plugs above counter level for the convenience of the crew that was specifically asked about and the theatre people likely to be hanging out there during rehearsal, as well as before and after a performance. I assumed the consoles and show critical gear was already accounted for, since that part doesn't seem to be a convenience, but rather a necessity.
In my work I look out of the lighting, and that gets its own UPS, and I make sure there are enough outlets for the desk, monitor(s), and accessoires.
In my work I look out of the lighting, and that gets its own UPS, and I make sure there are enough outlets for the desk, monitor(s), and accessoires.
BillConnerFASTC
Well-Known Member
In a control room, and sometimes in open areas, I usually put track light in over the edge of the counter, small swivel fixtures with spot type lamps, and a local dimmer of some sort. Usually control rooms and follow spot rooms or decks. Since being criticized by a TD 20+ years ago for only having the local dimmer, I have since always put them on the central switching system, so you can turn them out from say a panel on stage or wherever you central controls are. I'm a bit fastidious about wanting every light in the auditorium, stage, and spaces that open directly into the auditorium and stage like control rooms, trap rooms, sound and light locks etc. I've been to enough shows and experienced enough "oh shaw" moments - sometimes audible by the audience - when the house lights go down and they discover a catwalk or gridiron left work light on. I want the technicians to have the option to easily check prior to house out and if they forget, be able to turn off the offending lights quickly, not after a trip to the grid.
I would recommend dimmable LED strips if you go that route. I got some LED tape to put under the lip of the top moulding of the booth and did not elect to get any with intensity control. Way too bright. You might also want to explore the feed to the booth and see if it's possible for it to share a panel with the amps. I don't think it's as big of a deal with the digital boards now a days, but I've got a lovely ground hum from the setup at my church from that very problem
You're doing God's work, Bill. My favorite related story is when around 1am after a particularly long day, I'm driving past my theatre after locking up and shutting down and out of the corner of my eye see a beacon burning brightly into the night. Our "Return to Seats" sign on the exterior (and lobby, bathrooms, etc) was flashing. With a heavy sigh I turned the car around and began the long climb to the top of our building where the switch for that flasher resides.
Similar threads
