20-05-2015, 02:24 PM
Introduction
The first use of Audio-Animatronics was for Walt Disney's Enchanted Tiki Room in Disneyland, which opened in June, 1963. The Tiki birds were operated using digital controls; that is, something that is either on or off. Tones were recorded onto tape, which on playback would cause a metal reed to vibrate. The vibrating reed would close a circuit and thus operate a relay. The relay sent a pulse of energy (electricity) to the figure's mechanism which would cause a pneumatic valve to operate, which resulted in the action, like the opening of a bird's beak. Each action (e.g., opening of the mouth) had a neutral position, otherwise known as the "natural resting position" (e.g., in the case of the Tiki bird it would be for the mouth to be closed). When there was no pulse of energy forthcoming, the action would be in, or return to, the natural resting position.
This digital/tone-reed system used pneumatic valves exclusively--that is, everything was operated by air pressure. Audio-Animatronics' movements that were operated with this system had two limitations. First, the movement had to be simple--on or off. (e.g., The open and shut beak of a Tiki bird or the blink of an eye, as compared to the many different positions of raising and lowering an arm.) Second, the movements couldn't require much force or power. (e.g., The energy needed to open a Tiki Bird's beak could easily be obtained by using air pressure, but in the case of lifting an arm, the pneumatic system didn't provide enough power to accomplish the lift.) Walt and WED knew that this this pneumatic system could not sufficiently handle the more complicated shows of the World's Fair. A new system was devised.
In addition to the digital programming of the Tiki show, the Fair shows required analog programming. This new "analog system" involved the use of voltage regulation. The tone would be on constantly throughout the show, and the voltage would be varied to create the movement of the figure. This "varied voltage" signal was sent to what was referred to as the "black box." The black boxes had the electronic equipment that would receive the signal and then activate the pneumatic and hydraulic valves that moved the performing figures. The use of hydraulics allowed for a substantial increase in power, which was needed for the more unwieldy and demanding movements. (Hydraulics were used exclusively with the analog system, and pneumatics were used only with the tone-reed/digital system.)
There were two basic ways of programming a figure. The first used two different methods of controlling the voltage regulation. One was a joystick-like device called a transducer, and the other device was a potentiometer (an instrument for measuring an unknown voltage or potential difference by comparison to a standard voltage--like the volume control knob on a radio or television receiver).
If this method was used, when a figure was ready to be programmed, each individual action--one at a time-- would be refined, rehearsed, and then recorded. For instance, the programmer, through the use of the potentiometer or transducer, would repeatedly rehearse the gesture of lifting the arm, until it was ready for a "take."
The first use of Audio-Animatronics was for Walt Disney's Enchanted Tiki Room in Disneyland, which opened in June, 1963. The Tiki birds were operated using digital controls; that is, something that is either on or off. Tones were recorded onto tape, which on playback would cause a metal reed to vibrate. The vibrating reed would close a circuit and thus operate a relay. The relay sent a pulse of energy (electricity) to the figure's mechanism which would cause a pneumatic valve to operate, which resulted in the action, like the opening of a bird's beak. Each action (e.g., opening of the mouth) had a neutral position, otherwise known as the "natural resting position" (e.g., in the case of the Tiki bird it would be for the mouth to be closed). When there was no pulse of energy forthcoming, the action would be in, or return to, the natural resting position.
This digital/tone-reed system used pneumatic valves exclusively--that is, everything was operated by air pressure. Audio-Animatronics' movements that were operated with this system had two limitations. First, the movement had to be simple--on or off. (e.g., The open and shut beak of a Tiki bird or the blink of an eye, as compared to the many different positions of raising and lowering an arm.) Second, the movements couldn't require much force or power. (e.g., The energy needed to open a Tiki Bird's beak could easily be obtained by using air pressure, but in the case of lifting an arm, the pneumatic system didn't provide enough power to accomplish the lift.) Walt and WED knew that this this pneumatic system could not sufficiently handle the more complicated shows of the World's Fair. A new system was devised.
In addition to the digital programming of the Tiki show, the Fair shows required analog programming. This new "analog system" involved the use of voltage regulation. The tone would be on constantly throughout the show, and the voltage would be varied to create the movement of the figure. This "varied voltage" signal was sent to what was referred to as the "black box." The black boxes had the electronic equipment that would receive the signal and then activate the pneumatic and hydraulic valves that moved the performing figures. The use of hydraulics allowed for a substantial increase in power, which was needed for the more unwieldy and demanding movements. (Hydraulics were used exclusively with the analog system, and pneumatics were used only with the tone-reed/digital system.)
There were two basic ways of programming a figure. The first used two different methods of controlling the voltage regulation. One was a joystick-like device called a transducer, and the other device was a potentiometer (an instrument for measuring an unknown voltage or potential difference by comparison to a standard voltage--like the volume control knob on a radio or television receiver).
If this method was used, when a figure was ready to be programmed, each individual action--one at a time-- would be refined, rehearsed, and then recorded. For instance, the programmer, through the use of the potentiometer or transducer, would repeatedly rehearse the gesture of lifting the arm, until it was ready for a "take."