Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2) with PIPE id 4147577; Mon, 16 Aug 2004 03:01:40 -0700 X-ListServer: CommuniGate Pro LIST 4.2 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #103 Date: Mon, 16 Aug 2004 03:01:30 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.0-pre4 (2004-08-04) on prxy.net X-Spam-Status: No, score=-3.0 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.0-pre4 X-Spam-Level: X-prxy-Spam-Filter: Scanned X-TFF-CGPSA-Version: 1.4a3 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #103 1. Re: evacuation by "Dr. Randall W.A. Davidson" 2. Re: Hand Drafting et al. by Stuart Wheaton 3. Re: Olympics Opening by FREDERICK W FISHER 4. Re: Moon Box by "Paul Guncheon" 5. Re: Moon Box by Erik Minton 6. Olympics opening by "RICHARD FINKELSTEIN" 7. Re: Olympics opening by usctd [at] columbia.sc 8. Re: Olympics Opening by "Tracy Nunnally" 9. Re: Olympics opening by MissWisc [at] aol.com 10. Re: cad vs hand by Richard Niederberg 11. Re: Olympics opening by Tony Miller 12. Re: Olympics opening by Charlie Richmond 13. Re: Olympics opening by Charlie Richmond 14. Ryan Benjamin Price by Noah Price 15. Re: Ryan Benjamin Price by 16. Re: Olympics opening by Greg Bierly 17. LPG by Anthony 18. Re: chocolate by Jerry Durand 19. Re: Olympics opening by MissWisc [at] aol.com 20. Re: Olympics opening by "Big Fred Schoening" 21. Re: chocolate by Mike Brubaker 22. Re: Ryan Benjamin Price by Pat Kight 23. Re: Olympics opening by Charlie Richmond *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- From: "Dr. Randall W.A. Davidson" Subject: RE: evacuation Date: Sun, 15 Aug 2004 03:13:46 -0700 Message-ID: <00e501c482b0$8d8512a0$726dfea9 [at] DrDoomsComputer> In-Reply-To: Good for you. God bless you for your generosity. Take care, please. Dr. Doom ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. April 4, 5, 6, 2005 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Sandra Hunter Sent: Saturday, August 14, 2004 2:13 PM To: Stagecraft Subject: Re: evacuation For info, archives & UNSUBSCRIBE, see --------------------------------------------------- To Keith and all in the path of the storm Living in the "Tornado Belt", I have spent many a night in the basement with frightened animals and teens, I know how it feels to wonder if you will walk out intact. So far, the worst we have endured is a flooded basement and the loss of our lovely 65' walnut tree. The tree loved us, so it fell away from the house into the greenspace. It didn't even break the fence posts, just moved them out of the rails without even bending the nails! Our prayers are with you and I for one, am preparing to head down there to help as needed. If anyone wishes to join me, contact your local Red Cross and sign up. God bless Sandra Ghosheh -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Boyd Ostroff Sent: Friday, August 13, 2004 10:12 AM To: Stagecraft Subject: Re: evacuation For info, archives & UNSUBSCRIBE, see --------------------------------------------------- My thoughts are with you and others down there Keith. About a month ago we had a storm of "Biblical" proportions here in Medford NJ where I live - 11 inches of rain in less than 12 hours. I was fortunate enough not to have any real damage beyond a wet spot on my rug and a messy garden. But many others suffered terrible losses when multiple dams broke and released a torrent. It really made me think about how I have often seen tragedies like this on the news and thought it could never happen here... Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Message-ID: <411F566C.1090009 [at] fuse.net> Date: Sun, 15 Aug 2004 08:26:20 -0400 From: Stuart Wheaton Subject: Re: Hand Drafting et al. References: In-Reply-To: Paul Guncheon wrote: > >> But one of the first things I learned >> in drafting class, many moons ago, was that no one should EVER have to > > > take > >> a scale rule to one of your draftings. > > > > > > True. I disagree. If you are going to draft in AutoCAD, where such drafting precision is possible as to require a temperature and humidity standard to apply to the measurements, it is absurd to ask a carpenter to guess what the measurement is on a 1/2" scale rule, I can and do work to 1/16th inch dimensions, but even 3"=1' just gets you to 1/8" accuracy, so by scaling from the drawing you might as well be drawing in marker on newsprint. You must either provide all the dimensions or put a cad station and copy of the file where the carps can get at it. Assuming we are talking about a whole set of drawings for a show or project, then all drawings do not have to carry all dimensions, but as the large pieces and views are broken down into smaller and smaller units, more info should be made available. Some things MUST be dimensioned. I just tried to lay out a scenic piece Wednesday where one edge had two arcs running into each other making an s curve. I fought it for almost an hour trying to get the parts to fit properly. I re-measured every piece of steel, I checked every dimension, I pulled diagonals...then I zoomed way in in Autocad and found out that one arc was really 84.4 degrees around, and the two arcs didn't run into each other as nice tangents, but had a small inflection of about 5 degrees where they met. Had that little detail been in the drawing I would have finished the project an hour sooner. In a much better mood. Stuart ------------------------------ Date: Sun, 15 Aug 2004 07:24:57 -0500 From: FREDERICK W FISHER Subject: Re: Olympics Opening Message-id: <222fdd2281b9.2281b9222fdd [at] wiscmail.wisc.edu> > Richard Finkelstein wrote: > Interesting, to me is that while the tech was so "state of the=20 > art" it=20 > follows wonderfully on the shoulders of the ancient stagecrafters.= =20 > These=20 > ancient to modern techniques that I spotted included: I also found the references to ancient stage craft very interesting a= nd appropriate. I suspect that this was probably not apparent to mos= t viewers. Going back to earlier discussions, this is an example of = academic vs practical training. Knowing the history of stage craft m= ade the event more meaningful to me. I also liked the sequence of th= e drums at the beginning. The idea was the connection between the ve= nues of the original and current games. At the original site is a ro= ck that is supposed to have been struck be a lighting bolt from Zeus.= The arrow of flame from the screen to the pool lighting the olympic= circles was a nice reference to that. Especially, seeing as the lig= hting strike marked the spot for one country to hold its games and th= e new lightning strike lighting the five circles symbolizing the whol= e world taking part in the events 30 centuries later. The wagons wit= h the tableaus are also ancient theatrical devices. Of course even = older is the mime of competition=20 and victory, going back to earliest humanity. Fred Fred ------------------------------ Message-ID: <000b01c482ce$ab0ebc40$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Moon Box Date: Sun, 15 Aug 2004 03:49:20 -1000 <> This is the way I have built most moon boxes. Construct a frame of 3/4" x 6"-8'" plywood approximately 16" longer and wider than the desired diameter of the moon. Skin the back of the frame with 1/4" lauan and paint the interior white. Attach porcelain light bulb sockets to the inside of the frame (the bulbs will be pointing across the moon box) about every 10" - 12". Wire them in parallel. Add hanging hardware to the frame. Cut the moon shape out of a piece of 1/4" lauan (paint the "inside" white") and attach to the front of the frame. Paint the exterior black. That about does it. The box can be reused for any kind of illuminated sign. Let me know if you need any more information. Laters, Paul "look at that moon", Tom beamed. ------------------------------ Message-ID: <411F6BED.9000800 [at] bellsouth.net> Date: Sun, 15 Aug 2004 09:58:05 -0400 From: Erik Minton Subject: Re: Moon Box References: In-Reply-To: is this for the light facing the front or facing the back ------------------------------ From: "RICHARD FINKELSTEIN" Subject: Olympics opening Date: Sun, 15 Aug 2004 14:12:03 -0400 Message-ID: Hey all. Thanks for the info you have been contributing to my list of stats and personnel. Keep the info flowing. Some thoughts, reactions, amplifications, questions.... Indeed the sesigner seems to be Dimitris Papaioannou who also has served as director/choreographer. This seems to continue a little-reported on trend that I had noticed years ago. While directors (largely in the academic world) like to think of themselves as experts on both design and direction, all the names in the pro world that I can think of from Robert Wilson to Franco Zeffirelli were first highly successful and highly trained designers and fine artists. They used their design training as a springboard to directing. I find countless examples including in the film world. I do not find examples working the other way Directors moving on to receive top honors as designers. In Dimitris' case we have a mutual colleague it turns out so after the crunch of the Olympic work I will try to find out more, but from the mutual colleague I have already learned that here too he was trained first as a visual artist and then went on to dance training in the US. He seems to be successful as a choreographer but his specialty seems to be in the type of arts installation that uses humans performing as part of the visual whole - exemplified in what we saw on TV. In my experience when projects get as complex as this one, there are often a host of related designers making the systems really work....so thanks folks for sending me names of riggers, etc. Anyone know who did the laser work? I see so much crap in that discipline that I always want to see those who are real artists in the genre credited! Someone shared the name and website of Strage One Creative Services. As suggested I am listing them in my credit list but I am concerned as a visit to their website shows no evidence of this project! They list all sorts of projects that they have worked on but not the Olympics! And I don't see a mention of flying people. So I would love some verification. Charlie! No show control? Astonishing, and I am frankly impressed. I would not have believed that the mechanations of that head would be possible without show control of some sort. The maneuvers of the head pieces were some of the most complex mecanical staging that I have ever seen. Not only did the nested inside each other pieces fly coordinated and separately all over the space, but let's not forget that they arose all connected from through the water tank to start with. That is an amazing feat for any type of control! But then again, those who really understand the great machinery of the past from the Torelli's of the Renaissance to the extravagant music hall mechanations of the nineteenth century have seen lots of astonishing work from before computers. I'd still love to see some good explanation of how this rigging was done and run. On my single watching, that "cube" was also impressive. I couldn't see a visible bearing on which it was rotating, no axle wires or anything (except as noted, the performer's safety harness) One last question/observation. I had read and reported a figure of 2,000 stage lights and another reported 1572 automated lights which would leave less than 500 non-automated lights, which seems a bit low. Keep the info flowing and remember I'd still love to be able to give credit to any of the Stage Managers of these incredible events from the political conventions to the Olympics. RF ------------------------------ Message-ID: <46440.24.168.209.168.1092598980.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Sun, 15 Aug 2004 15:43:00 -0400 (EDT) Subject: Re: Olympics opening From: usctd [at] columbia.sc "Charlie! No show control? Astonishing, and I am frankly impressed. I would not have believed that the mechanations of that head would be possible without show control of some sort. The maneuvers of the head pieces were some of the most complex mecanical staging that I have ever seen. Not only did the nested inside each other pieces fly coordinated and separately all over the space, but let's not forget that they arose all connected from through the water tank to start with. That is an amazing feat for any type of control!" I find it hard to beleive that there was no show control. I may be wrong, but I am assuming Charlie meant that the show was called by a human (or in this case many humans) instead of being timed out on a computer after one massive GO. There is no way that the rigging effects were done with people using pickles and push buttons. If one person had sneezed, that whole head could have come apart. There had to be several front ends around with lots of numbers and limits. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > ------------------------------ Message-Id: <200408151847.i7FIle8l018196 [at] corn.cso.niu.edu> From: "Tracy Nunnally" Subject: RE: Olympics Opening Date: Sun, 15 Aug 2004 13:47:20 -0500 In-Reply-To: I agree with Richard about the harness work. Having trained a lot of performers to fly, I was very impressed with those guys!! I also found the tilting video screen that is right in front of the torch to be very cool. The one thing that bugged though me was the big sand bag hanging off the upstage side of the torch to keep it in balance. Does anyone know if that was an early choice. . or an "oops, this thing is too heavy for the machinery" choice? Inquiring minds want to know . . . Tracy Nunnally Technical Director Northern Illinois University School of Theatre and Dance ------------------------------ From: MissWisc [at] aol.com Message-ID: <42.55a3f5c3.2e5125f1 [at] aol.com> Date: Sun, 15 Aug 2004 16:47:45 EDT Subject: Re: Olympics opening Cc: rfinkels [at] msn.com In a message dated 8/15/4 1:12:53 PM, rfinkels [at] msn.com writes: << I'd still love to see some good explanation of how this rigging was done and run. >> Me too! If someone does find out, please post to the list. Kristi ------------------------------ Date: Sun, 15 Aug 2004 13:56:46 -0700 Subject: Re: cad vs hand Message-ID: <20040815.143506.476.0.ladesigners [at] juno.com> From: Richard Niederberg Dear Richard, Although I agree with your post, I feel that I must respond to this very frequently asked rhetorical question. One answer could be that in 'real life', the employer expects the employee not to reinvent the wheel on company time. The employer normally expects that the employee find the requested information and immediately apply it to the job at hand. That is why calculators are allowed in the educational environment. That is why a good engineer is never embarrassed look up the ratings of a particular cross-section of I-beam of a certain length in his or her 'pocket' ASTM booklet, and an electrician is encouraged to look up in a pocket NEC-excerpt how much the load capacity of a wire must be de-rated if it is run in a conduit that exceeds the 20% cross-section 'fill' regulation. Ostensibly, the government is providing billions of dollars each year to educate students to make them employable at the highest rate that the market will allow, so the government can collect the maximum amount of income, and other, taxes from them in the future. A crucial part of this education process is practical: knowing when to look up the answer and not conduct experiments when all the job requires is choosing the right capacity caster for beneath a platform based upon published specifications. I am not suborning plagiarism, or dismissing the importance of the arts in society, but I am suggesting a more realistic approach to postsecondary education. I was taught that a good Lawyer is a good Librarian. Why repeatedly do a research report when all you need to know is if a particular product or process is 'ISO 9000' compliant, for example? If I can pull the MSDS off the internet, I can use up a lot less time and litmus paper! /s/ Richard > These are the same students (or others) that would > ask "Why should a student write a paper when they > can just download one off the internet?" > RF ________________________________________________________________ The best thing to hit the Internet in years - Juno SpeedBand! Surf the Web up to FIVE TIMES FASTER! Only $14.95/ month - visit www.juno.com to sign up today! ------------------------------ Date: Sun, 15 Aug 2004 23:15:32 +0100 Subject: Re: Olympics opening From: Tony Miller Message-ID: > Charlie! No show control? Astonishing, and I am frankly impressed. I would > not have believed that the mechanations of that head would be possible > without show control of some sort. The maneuvers of the head pieces were > some of the most complex mecanical staging that I have ever seen. Not only > did the nested inside each other pieces fly coordinated and separately all > over the space, but let's not forget that they arose all connected from > through the water tank to start with. That is an amazing feat for any type > of control! I have no special knowledge of the Olympic opening but I have worked for Stage One many times in the past. They have their own Motion Control software called Qmotion which has been recently updated. The shows I have done with this software in the past has shown it to be a highly effective and adaptable platform to work with and with the new upgrade I am sure it was what was used to operate this show. I will see what else I can find out and let you know. Cheers Tony Miller. ------------------------------ Date: Sun, 15 Aug 2004 23:21:14 +0100 (BST) From: Charlie Richmond Subject: Re: Olympics opening In-Reply-To: Message-ID: References: On Sun, 15 Aug 2004 usctd [at] columbia.sc wrote: > I find it hard to beleive that there was no show control. I may be wrong, > but I am assuming Charlie meant that the show was called by a human (or > in this case many humans) instead of being timed out on a computer after That's what we have been told: that they wanted to cue the show on visuals and with headsets, in the time honoured (well, 20th century anyway ;-) way... > one massive GO. There is no way that the rigging effects were done with We would never have ever suggested a single GO and use time code for all timing. After all, it is a LIVE show with LIVE actors and there would many many hundreds of individual GOs in a show like this, timed off live actions... ;-) > people using pickles and push buttons. If one person had sneezed, that > whole head could have come apart. There had to be several front ends > around with lots of numbers and limits. There was certainly no lack of technology in all areas but just like most shows these days, no single show control system was keeping it all together - it was a huge contingent of technical people, SMs, ASMs, DSMs, operators and all - communicating verbally and visually. And, quite honestly, show control is best utilized when a show needs to be done many times repetitively without flaw or failure and it is often quite pointless to use it in a one-off like this where all sorts of possible situations may need to be dealt with on the spur of the moment. A huge crew is better for this but more costly on long runs! ;-) Charlie ------------------------------ Date: Sun, 15 Aug 2004 23:35:57 +0100 (BST) From: Charlie Richmond Subject: Re: Olympics opening In-Reply-To: Message-ID: References: On Sun, 15 Aug 2004, Tony Miller wrote: > I have no special knowledge of the Olympic opening but I have worked for > Stage One many times in the past. They have their own Motion Control > software called Qmotion which has been recently updated. The shows I have > done with this software in the past has shown it to be a highly effective > and adaptable platform to work with and with the new upgrade I am sure it > was what was used to operate this show. It sure was! But that's not show control ;-) It's motion control.... In fact they used an AVenger Conductor show controller to control their multiple Qmotion units AFAIK so they actually did use show control within their own discipline but it was not tied in to other systems other than motion control AFAIK. Charlie + Charlie Richmond - Richmond Sound Design Ltd - Aura Show Control Ltd + + http://www.RichmondSoundDesign.com -- http://www.AuraShowControl.com + +---- "Performance for the Long Run" ----- "Creativity in Control" ----+ ------------------------------ Message-Id: <11E4B1C7-EF35-11D8-A4BA-000A958ABBF8 [at] theprices.net> From: Noah Price Subject: Ryan Benjamin Price Date: Sun, 15 Aug 2004 20:33:41 -0700 Everyone's doing well! August 14, 2004 1:18 AM 7lb 9oz 19 1/2" Noah & Heather ------------------------------ From: Subject: RE: Ryan Benjamin Price Date: Sun, 15 Aug 2004 23:39:47 -0400 Message-ID: In-Reply-To: Congrats! -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Noah Price Sent: Sunday, August 15, 2004 10:34 PM To: Stagecraft Subject: Ryan Benjamin Price For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Everyone's doing well! August 14, 2004 1:18 AM 7lb 9oz 19 1/2" Noah & Heather ------------------------------ In-Reply-To: References: Message-Id: <8A074E07-EF3F-11D8-A456-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Olympics opening Date: Sun, 15 Aug 2004 23:48:38 -0500 I would love to hear more specifics about the projected DNA. I enjoyed many aspects of the ceremonies. Did anyone else cringe when they went to light the torch knowing how much "firepower" such a torch would have. I have also decided big fireworks are nothing.... chasing fireworks are the way to go. If anyone on the list was involved.... congrats and job well done. Can't wait for the closing ceremonies. ------------------------------ Message-Id: <5.1.1.6.2.20040816154108.01fac110 [at] firework.co.nz.b9> Date: Mon, 16 Aug 2004 15:48:59 +1200 From: Anthony Subject: LPG We have been asked to various LPG gas effects to a theatre that has Carbon monoxide detectors. The detectors cant be shut off. What they want to use are a big blue flame LPG burner to heat a thermal organ. This is quite brief, about 1 minute tops. As well they want to run a gas font with an orange flame. This runs for 5 minutes. As I understand it CO detectors pick up CO from the initial stages of a fire when it is mainly smouldering. CO production is high here. But a blue flame LPG flame does not produce CO unless it is oxygen starved like a cooking stove in a tent with hikers. The font orange yellow mainly produces carbon as soot not CO. Are there any knowledgeable sources or people here on this topic? Kind Regards Anthony Lealand Firework Professionals Ltd New Zealand www.firework.co.nz ------------------------------ Message-Id: <6.1.2.0.0.20040815205611.0295b0b0 [at] localhost> Date: Sun, 15 Aug 2004 20:59:14 -0700 From: Jerry Durand Subject: Re: chocolate In-Reply-To: References: At 08:26 AM 8/1/2004, you wrote: >It has been my experience that if you melt chocolate, in morsels or other >forms, it will remain "tacky" or "gooey" upon cooling. One must add >paraffin to get it to set so that one can pick it up without having the >chocolate stick to everything. I was just catching up on old messages and it just hit me, isn't most candy like M&Ms still coated with carnauba wax to protect it/you? I know there are a few other things candy is coated with also, like "confectioner's glaze". This is all to seal it and make it shiny. I believe some of this stuff may even be edible. :) ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com pgp: 45A2 0A52 1D56 70C2 B865 9D5C 83F2 2112 04CE 2B54 ------------------------------ From: MissWisc [at] aol.com Message-ID: <15d.3c973af2.2e518b93 [at] aol.com> Date: Mon, 16 Aug 2004 00:01:23 EDT Subject: Re: Olympics opening Cc: gbierly [at] dejazzd.com In a message dated 8/15/4 10:52:13 PM, gbierly [at] dejazzd.com writes: << Did anyone else cringe when they went to light the torch knowing how much "firepower" such a torch would have. >> YES! I kept repeating, "Oh no... oh no... no, they're not going to do that... Bad idea... "and my son asked why. I explained that the torch is filled with a gas the burns and that if they're not very, very careful, the runner is going to be Burnt Greek offerings. Has anyone found a place oneline with photos or video excerpts? Kristi ------------------------------ From: "Big Fred Schoening" Subject: RE: Olympics opening Date: Sun, 15 Aug 2004 23:02:56 -0500 Message-ID: <000201c48345$ef547c10$390110ac [at] PRODIGALBRAIN> In-Reply-To: So, for those of us who really wanted to see the opening ceremonies but missed them, are they recorded anywhere? Does someone sell tapes of present and / or past opening ceremonies? Thanks, Fred "Big Fred" Schoening Technical Director Dallas Theater Center Dallas, Texas, USA "...a root word of technology, techne, originally meant 'art.' The ancient Greeks never separated art from manufacture in their minds, and so never developed separate words for them." - Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance ------------------------------ Message-Id: <6.1.1.1.0.20040815231239.0b278ec0 [at] mail.insightbb.com> Date: Sun, 15 Aug 2004 23:24:38 -0500 From: Mike Brubaker Subject: Re: chocolate In-Reply-To: References: Tempering chocolate is required to get chocolate to have a glossy surface and smooth texture. Also, "[it] sets up quickly, pulls away from the sides of the mold when it dries, and releases easily." (from the Joy of Cooking). Here's the scoop, taken from the Joy of Cooking, by Rombauer, Irma S, Marion Rombauer Becker, and Ethan Becker. Scribner: 1997. Page 849. "Tempering is simply a matter of heating and cooling melted chocolate to predetermined temperatures so that the finished chocolate will have a glossy surface and a smooth texture when it dries. Chocolate is in that condition when it leaves the factory, and with proper handling and storage...Once you melt it, however, the tempering process must be repeated before you can use it to dip confections..." Joy then offers two means to temper the chocolate. Neither involves paraffin. Mike At 10:59 PM 8/15/2004, Jerry Durand wrote: >At 08:26 AM 8/1/2004, you wrote: >>It has been my experience that if you melt chocolate, in morsels or other >>forms, it will remain "tacky" or "gooey" upon cooling. One must add >>paraffin to get it to set so that one can pick it up without having the >>chocolate stick to everything. > >protect it/you? I know there are a few other things candy is coated with >also, like "confectioner's glaze". This is all to seal it and make it shiny. ------------------------------ Message-ID: <4120494F.8030108 [at] peak.org> Date: Sun, 15 Aug 2004 22:42:39 -0700 From: Pat Kight Subject: Re: Ryan Benjamin Price References: In-Reply-To: Noah Price wrote: > Everyone's doing well! > > > > August 14, 2004 > 1:18 AM > 7lb 9oz > 19 1/2" > > Noah & Heather Congratulations to you all! -- Pat Kight kightp [at] peak.org ------------------------------ Date: Mon, 16 Aug 2004 08:24:41 +0100 (BST) From: Charlie Richmond Subject: Re: Olympics opening In-Reply-To: Message-ID: References: On Mon, 16 Aug 2004 MissWisc [at] aol.com wrote: > Has anyone found a place oneline with photos or video excerpts? http://news.bbc.co.uk/sport1/hi/olympics_2004/default.stm And probably all sorts of other broadcasters' sites... Charlie + Charlie Richmond - Richmond Sound Design Ltd - Aura Show Control Ltd + + http://www.RichmondSoundDesign.com -- http://www.AuraShowControl.com + ------------------------------ End of Stagecraft Digest #103 *****************************