Theatre Design & Technology - Winter 1998 - 23

tic. the confetti cannons (thirty-two per float). most of the
built in electrics (grain of Irheat lamps). the on hoard ETC Impression. and the audio srstem." The Impression then shoots
D~L\ to onboard dimmers. relars. and the onboard moring
lights. Each float is a standalone Oi\L\ nellrork. and each f]oat
uses identical addressing. In fact. each float is identicallr laid
out in erel~' sense. But ther aren't as identical as they should
be. "Ther hare their 011"11 personalities." said Lindser. "Some
of them are grouchy. Charlie and Delta are the Irorst. and
Delta is the float from Hell." (.-\ couple of the teciUlicians presetting the f]oats all around us in the warehouse chuckle :U1d nod.)

EAW units normally in the park. "One of the nicest things
about the E-\Ws is that they Ivill paint 'emlO order. so Ive don't
hare 10 eren think about it. They do it to our specs. Of course.
it's a good speaker too," he smiled.

·!r}/;I/i{!/

';;'{){'// c/o// _ ((((Ito ,!!I.r/m/
Each float has its 011"11 standalone audio srstem. The music is
run bv the MIDI coming down from the DECS br radio, which
keeps each float's Alcorn-~lcBride digital plavbacks (one for
each f]oat) srnchronized. The digital plarback (the shOll' audio is slOred on PC~ICL -\ cards) is IIO\" AC. The Crest amps
are 2-t\". the speakers (eight per side of each f]oat) are off-theshelf ]BLs. As equipment is described. Lindsey and other staff
members are careful to sar that Disner doesn't endorse any of
the products they use. "This is not a testimonial.·· lI'as the often
repeated refrain.
"If Ive had had more time, Iwould\e had some speakers
custom-built. Ivith a lillie lI'ider coverage. but we only had SL\
months to build all this from start to Dnish. so Ive Irent Irith
these." Lindser said. The ]BLs on the f]oat combine with the

Light Magic lias dereloped orer several years, Gale told me.
"Erery fell' months. I'd meet lI'ith the team Irorking on it."
he said. "they Irould ask about Ivhat Ivas po sible. lI'hat
could Ive do. Then I'd go back 10 other projects." Gale
frowns slightly, "You hare to understand. Imagineering
works on projects for vears-we all \\"ork on many
projects at a time.
But, when it all comes down 10 it, the time bellreen the Dn:L1 'go' from the corporate side and the scheduled opening
MtS about six months. The f]oats e\terior scenic designs Ivere
done bv a team at Disneyland Entertainment (formerly 'Entertainment Art") led by Greg Lucas. "Entertainment is ultimately
responsible for the design of the shOlr; it isn't really an
Imagineering project. I'm on loan you might say. Erel~' once in
a while. Ive [Imagineers] crossover to do sho\\'s at the park.
But I had a good team. 100." (See credits. p. 26.)

J7tc !fJ!ol
..It really isn't four plots, even though there are four f]oats,"
Gale said... It isn't even fourteen plots. even though there are a

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1998
