bio box?

Does anyone know where the term bio box comes from?


Thou venomed clapper-clawed bugbear!

As far as I understand, "bio box" is derived from the term "biography box", due to it's original use as a cinema projection box.

I think it's a term that is peculiar to Australia, but I might be wrong.

Kath

actually, I meant to type "biograph" in my last post, not "biography".

Kath

Walter - It comes from the Biograph film projector developed by the American Machine Company -that successively became the fist cab off the rank in movie viewing.
As there were no purposely built venues at the time. Halls & theatres were converted to show films by erecting rooms or boxes to house the projector - thus the name biobox. It could have easily became Kine or Cinebox.
This was covered a fair while ago on this board - Grant might be able to post a link to the thread =- which might help you!
However since the advent of Rock n roll shows being produced at theatres. The lighting operators took the advantage of being able to view the performance - instead of doing so from the wings, where they traditionally were. The term sort of stuck to designate the control room.
Chookas
Joe

I've been wondering about the origin of the term for some time also.

But it is a pity that the sound operator is locked away up/out there also as all the "boxes" I have encountered thus far bar one are absolutely abysmal for hearing what the audio actually sounds like from the punters perspective, and none of them have any readily accessible means to change that, (headphones plugged into the desk is not a solution), whereas all the lighting operator needs is a clear line of sight (just like the projectionist) which, because of the position of the box, is not a problem.
Ideally the audio should be operated from a position within the house that relates to where the audience are actually sitting and hearing from. Unfortunately this would/could mean several seats that could be used for paying customers being frittered away on crew. A workable alternative is to have the sound operator near the back, but not right at the back, or in a corner as that can lead to echo/reverb/delay problems, and right over on the side is also not a good spot.
One solution I have employed is to use my own extension leads for the desk and sit right behind the back row off centre, and not to the exclusion of any punters (but even then there seemed to be hesitation about letting me escape from the box with all the gear for aesthetic reasons) but I am only able to that because I do have the appropriate cables and adaptors (of my own which I just happen to have - not the theatres) so if anyone else wants to follow suit they also must provide their own as those sort of luxuries don't seem to figure too high on the supplies list.
I shall now step down from my soap box (and go hide away back in the bio box).

Anyone else have any thoughts or comments?

While I tend to agree with some of your comments. I have reservations, especially when it comes to theatre audio & the ideal position. In my experience - once you have EQÂ’d the venue for a performance & adjusted for the size of the house [BOSÂ’s] - itÂ’s a set & forget - only riding & monitoring for subtle adjustments as required. In which case you ensure there is a decent monitoring system fitted in the biobox &/or bring your own. In most instance where the audio operator requests to be located in the house, to my mind, it is just to satisfy their ego - especially for rock n roll performances. To the point where I have had requests from them, to be lit as well, in order to be seen while they are twiddling about. But thatÂ’s another story!
When lighting equipment became smaller, compact & more portable, it made it better to operate from the biobox. Unfortunately audio equipment became more technically sophisticated much later, so the box was the obvious place for it to go.
Maybe you should start a push to have it relocated as a pulpit built out from the centre of the balcony into the house - in fact some of the very old theatres still have ‘Limes’ Pulpits off the God’s balcony,that could be used!
IÂ’m afraid I have never as yet been convinced of the necessity to have the audio operator in the middle of the auditorium along side the bums on seats!
But IÂ’m still open to a persuasive argument!
Chookas Mate
Joe

I think it probably depends on the exact type of sound involved.

Most theatre productions use pre-recorded effects. The audio technician should be in the auditorium, hearing it as the audience will, while setting levels and EQ during the tech; however if the operating only requires pushing cue buttons, with no changes to settings, then there's no real advantage to the tech being in the house. If you want to improve the sound foldback in the bio box, invest in a better auditorium mic' and bio-box speakers.


It would be a different story if the sound needed complex adjustment. To use "Living In The 70's" as an example again, this was a stage production in a small theatre, so general dialogue didn't need to be mic'd. But the live musical numbers were played as a pub-level rock band (everything amp'ed to balance the drum kit) and there was dialogue on mic' during musical numbers. The constant resetting of sound levels needed an audio engineer at a desk in the auditorium (much like any live band requires).

I imagine big musical numbers with a live band, as opposed to taped backing, would be better with an in-house sound tech as well. (because the volume of a live orchestra can fluctuate from show to show). I seem to recall that's how they operate sound in venues like His Majesty's, and that's never bothered me aesthetically...I'm too busy watching the stage.

Cheers
Craig

There seems to be some misunderstandung of what was stated.
Like any other live human being I do have an ego but I would never want to be in the middle of the auditorium alongside the punters per se as that will be a distraction for both them and me. (maybe not never but the impracticability of it rules it out)
I would refer you back to the comment on the workable alternative.
And to want to be lit also, I thought the warm props ego's were about as big as you could get. I am there to do a job and not be seen, but it is nice to be aknowledged at the very least with a credit in the programme which is the usual case.

What you're talking about, Joe, sounds like the ideal professional venue, and I would agree in the main, but I am involved with fairly basic limited community theatre venues which are not purpose built and they don't have any monitoring in the box, other than to open the window, so to be able to hear what is going on onstage and to be able to balance the prerecorded sound with their live sound is a battle at times. Add to that they are not miked (how many venues have the required hardware? - doesn't seem to be a priority) and don't have the strongest of voices to project or don't know how to and face upstage etc... and the noise of the dimmers and fan(s) of the power amps and the position of the house speakers which usually leaves a lot to be desired and I think you may hear what I am getting at. (I have trained as an audio engineer)
Perhaps we should go back to the previous century or further and do away with all electronic audio and have all effects and accompaniment live and everyone learns how to project.
Asking the director during rehearsal "how does it sound?" can be very vague at times especially when they are not audio type people and having an empty house versus a full or in between one can alter the acoustics greatly. However I have happened across a couple of directors who know exactly what they want in the audio area and they have given me very precise instructions as to levels etc, even providing fine tuning after or during the first night because of those changes with having an audience to soak up the sound. But then as an audio engineer I am aware of those potential changes and try as best as I can within the constraints of the bio box "monitoring" to adjust.

I agree with crgwllms comments. But an auditorium mic and bio box speakers - once again I have not been anywhere in the community theatre scene that has them. (limited exposure?)
If I go to a professional venue I expect to see the audio somewhere in the house (about two thirds back and off centre) as that is the only way to do it properly - lighting and audio do not need to be next to each other, if they need to communicate that's what headsets are for, but they will no doubt have them to allow comms with the SM.

I am not advocating being in the house for every show which requires the playing of prerecorded audio - too difficult setting up and clearing down for every performance as most are multiple use shared halls. But for the major productions (usually musicals) then yes, I want to be in there where I can hear what is going on exactly as the customers will. I figure if I can provide the best service that is possible then I am doing what I am supposed to be. The difference between trying to balance the sound from in the box as opposed to in the house can mean that the punters go away saying it was ok to good or absabloomin' fantastic. And I feel good because I have given the best I can with available equipment.

Cheers

I agree with naisperg. I don't think wanting to operate in the auditiorium is showing ego, I think it shows common sense. Any professional musical has the operator in the audtiorium. That way they are hearing what the audience is hearing. I would think that nine out of ten sound ops would prefer to be in the auditorium than the bio box.

I donÂ’t disagree with what has been posted on the lack of considerations, of most community theatre venues. When it comes to audio requirements & the difficulty of operating in them. In most audio & itÂ’s caustics are an after thought or an all so ran to the overall management of the venue. Very few if any are purposely built for theatre & are converted buildings or halls previously used for other functions. Therefore what there is there is what you get & have to work with. Therefore what is an ideal working situation, so as not enter the equations - usually restricted by the available dollar.
I must admit that audio is the least of my worries for a play & only a factor for musicals. Which becomes cobbled together to assist the performance, not as crutch for performers. Who unfortunately have never been taught how to project or do breathing exercises, thus become totally reliant upon the technology available.
Now a days a lot of performers are unable to function without a mike stuck up their nose or blanket mike coverage of the acting area. So therefore they are not required to project ‘from the diaphragm & out the parrots beak’.
IÂ’m sure the problem will be sorted out some day - So until then it is the noisy & less ideal area of the Biobox with a programme speaker in most venues.
I doubt also this is being motivated by pure ego, but after receiving a request to be ‘lit in view’ - made me think otherwise!
IÂ’m sure none of the audio operators, working in community theatre, are ego driven anyway. As I have always found them to be hard working & genuine in all their endeavours.
Very artistically sensitive bods too!
GÂ’d onyas!
Chookas
Joe

bio - life
box- box

box of life!!!