Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.4) with PIPE id 4736468; Tue, 19 Oct 2004 00:19:03 -0700 X-ListServer: CommuniGate Pro LIST 4.2.4 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #167 Date: Tue, 19 Oct 2004 00:18:37 -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=-2.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, LINES_OF_YELLING,MAILTO_TO_SPAM_ADDR,NO_FEE 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 #167 1. address change by Bill Sapsis 2. Re: NSI DDS9600 Dimmer by Dale Power 3. Re: Lightwright survey results by John McKernon 4. Re: Lightwright survey results by "Jeffrey E. Salzberg" 5. LEDs in Theater Props & Scenery by SMANKO [at] aol.com 6. Re: Amateur/professional/academic by "Kirk Wahamaki" 7. Re: Amateur/professional/academic by doran [at] bard.edu 8. Re: Lightwright survey results by "Joe Golden" 9. Coffe pot and HogII library file by Herrick Goldman 10. Re: Coffe pot and HogII library file by "C. Andrew Dunning" 11. Mac 2k reset, was coffee pot library by Herrick Goldman 12. Re: Amateur/professional/academic by FrankWood95 [at] aol.com 13. Re: Amateur/professional/academic by Marty_Petlock [at] sarasotagov.com 14. In defense of lash cleats... by "Michael Finney" 15. Re: LDI Gathering lets try something new by "Joe Golden" 16. Re: Locking Rail/Rope light Thread by "LES LIND" 17. Re: Locking Rail/Rope light Thread by "LES LIND" 18. Campfire Ideas by Chris Fretts 19. FIRE by Kelsey Hedrick 20. Re: In defense of lash cleats... by Bill Sapsis 21. Re: Campfire Ideas by "Curt Mortimore" 22. Re: FIRE by Bill Sapsis 23. Re: Multiple LED Source by Mark Harvey 24. Prop authenticity question by "Hofmann, Christopher" 25. Re: Prop authenticity question by "Storms, Randy" 26. Re: FIRE by "Curt Mortimore" 27. Re: Prop authenticity question by "Jon Ares" 28. Re: Mac 2k reset, was coffee pot library by "C. Andrew Dunning" 29. Re: Campfire Ideas by howie 30. Re: In defense of lash cleats... by Mark O'Brien 31. DMX Coffee Pot by "Joe Golden" 32. Re: Prop authenticity question by "Jonathan S. Deull" 33. Re: Prop authenticity question by Mark O'Brien 34. Re: FIRE by "Waxler, Steve (waxlers)" 35. Re: Mac 2k reset, was coffee pot library by Herrick Goldman 36. Re: Campfire Ideas by "Waxler, Steve (waxlers)" 37. Re: Locking Rail/Rope light Thread by "Michael Feinberg" 38. Re: Prop authenticity question by Stephen Litterst 39. Re: Prop authenticity question by Steve Larson 40. Re: Locking Rail/Rope light Thread by "LES LIND" 41. Re: Campfire Ideas by Stephen Litterst 42. Re: DMX Coffee Pot by "Andrew Vance" 43. Re: FIRE by "Alf Sauve" 44. Re: FIRE by "Scott C. Parker" 45. Re: Mac 2k reset, was coffee pot library by "Paul Schreiner" 46. Re: DMX Coffee Pot by "Joe Golden" 47. Re: Campfire Ideas by MissWisc [at] aol.com 48. Re: Prop authenticity question by "Hofmann, Christopher" 49. Re: Prop authenticity question by Pat Kight 50. Re: Campfire Ideas by Christopher Haas CEHAAS 51. Re: Prop authenticity question by "Randy B." 52. Re: Mac 2k reset, was coffee pot library by "C. Andrew Dunning" 53. Re: Prop authenticity question by Kevin Lee Allen 54. Re: Mac 2k reset, was coffee pot library by Herrick Goldman 55. Re: Le Maitre G300 Error: F-PU & F-LO by "Kacey Fisher" 56. Re: Amateur/professional/academic by CB 57. Re: Le Maitre G300 Error: F-PU & F-LO by "Scott C. Parker" 58. Re: Prop authenticity question by "Jonathan S. Deull" 59. Re: Prop authenticity question by IAEG [at] aol.com 60. Re: Prop authenticity question by FrankWood95 [at] aol.com 61. Re: Prop authenticity question by IAEG [at] aol.com 62. Re: Amateur/professional/academic by "Michael Denison" 63. Re: Prop authenticity question by FrankWood95 [at] aol.com 64. Re: Prop authenticity question by Stephen Litterst 65. Re: Prop authenticity question by "Robert G. Anderson" 66. Re: Prop authenticity question by "Robert G. Anderson" 67. Re: Prop authenticity question by FrankWood95 [at] aol.com 68. Re: Prop authenticity question by IAEG [at] aol.com 69. Re: Multiple LED Source by "Daniel O'Donnell" 70. Re: Prop authenticity question by Mike Brubaker 71. Re: Lightwright survey results by Mike Brubaker 72. Re: spike tape on operating lines by "Delbert Hall" 73. Re: Locking Rail/Rope light Thread by "Mikkel Mynster" 74. Re: Le Maitre G300 Error: F-PU & F-LO by "Kacey Fisher" 75. Re: Prop authenticity question by "Alf Sauve" 76. Re: Prop authenticity question by Noah Price 77. Germany and Austria by "Nicholas Kuhl" 78. Re: Prop authenticity question: Outlook plain text by "Jonathan S. Deull" 79. Re: Prop authenticity question by Michael Feinberg 80. Re: Prop authenticity question by David Duffy 81. Re: Prop authenticity question by Michael Feinberg 82. Re: Prop authenticity question by David Duffy *** 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. ---------------------------------------------------------------------- Date: Mon, 18 Oct 2004 06:13:18 -0400 Subject: address change From: Bill Sapsis Message-ID: Sort of. Those of you who have been using my AOL address can stop now. I've finally gotten myself off that and over to my work account full time. So, for the future, please use Bill [at] sapsis-rigging.com Thanks Bill Sapsis Rigging, Inc. 800.727.7471 800.292.3851 fax 267.278.4561 sapsis-rigging.com We stand behind, and under, our work. ------------------------------ Message-ID: <4173A313.D7BDCC67 [at] swgc.mun.ca> Date: Mon, 18 Oct 2004 08:33:48 -0230 From: Dale Power Subject: Re: NSI DDS9600 Dimmer References: Daryl, Check to see if the ramp sensing lines are connected to the correct phase power feeds, if these are not connected properly you can get all sorts of nonsense as well. Cheers Dale ------------------------------ Date: Mon, 18 Oct 2004 08:55:38 -0400 Subject: Re: Lightwright survey results From: John McKernon Message-ID: In-Reply-To: > Yeah, like we care what *you* want it to do.... Actually, if all I did was what people specifically ask for, we'd be using not much more than a clone of Excel, and we'd still be running DOS. The trick is to read minds (including my own) and figure out what people *want*, as opposed to what they *ask for*. - John ------------------------------ From: "Jeffrey E. Salzberg" Subject: RE: Lightwright survey results Date: Mon, 18 Oct 2004 08:59:11 -0400 Message-ID: <001401c4b512$4397d800$6701a8c0 [at] Dell> In-Reply-To: > The trick is to read minds (including my own) and figure out > what people *want*, as opposed to what they *ask for*. Good advice for dealing with directors, too. Directors are, after all, people. Really. ------------------------------ From: SMANKO [at] aol.com Message-ID: <1d7.2d4ff045.2ea52011 [at] aol.com> Date: Mon, 18 Oct 2004 09:33:05 EDT Subject: LEDs in Theater Props & Scenery Perhaps of interest to the list. A NY Times article on LEDs for theatrical applications. http://www.nytimes.com/2004/10/18/technology/18led.html?th Just in the last year I've had several requests for specialty props that light up, glow, flash or all of the above. See any of you in LV at LDI later this week. What's a Propguy doing at LDI? ...... Looking for things that light up, glow, flash or all of the above. Michael Smanko B'way Prop Guy ------------------------------ From: "Kirk Wahamaki" Subject: RE: Amateur/professional/academic Date: Mon, 18 Oct 2004 10:16:37 -0400 Organization: Dogwood Center In-reply-to: Message-Id: <200410181012343.SM01324 [at] dogwoodkirk> When the decisions of what goes where how are made by "Can we afford it?" "Does it put butts in seats or give us more seats?", and "Is it worth what it costs in return revenue?" then its getting on towards pro. Chris "Chris" Babbie [Kirk Wahamaki] That would put most community theaters into the pro area based on the three questions above. I think Chris's statements lean more to the commercial vs. non-commercial as opposed to pro vs. amateur. ------------------------------ Message-ID: <1098109533.4173d25d0dffb [at] webmail.bard.edu> Date: Mon, 18 Oct 2004 10:25:33 -0400 From: doran [at] bard.edu Subject: Re: Amateur/professional/academic References: In-Reply-To: That was Herrick? I thought you were applying for the bell ringer/Lighting designer job! Damn! Andy C-D Quoting Brian Aldous : > I am considered a professional lighting designer (at least by those > who don't know me well - Herrick, stay off my back here) ------------------------------ Subject: RE: Lightwright survey results Date: Mon, 18 Oct 2004 08:44:07 -0700 Message-ID: From: "Joe Golden" > Actually, "make coffee" was a recurring request. Anybody know=20 > where to get a DMX-controlled coffee maker?...;) >=20 > - John >=20 >=20 DOUG FLEENOR DESIGN, INC.: BOOTH #1821 DMX COFFEE POT, MARK II "Finally!" is the word Doug Fleenor Design uses to reintroduce the DMX Coffee Pot, first debuted at LDI in 1997 and now available for purchase. Previously only available by lease, the company follows the lead of many moving light companies by allowing their technology to be purchased out-right. Operation of the Mark II has been simplified, featuring internal termination (there is no feed through) and remote address setting (there is no DMX address switch). Remote address setting is accomplished via RDM making this the first (and only) RDM Coffee Pot, as well. Watch out, Krups! Doug Fleenor Design, Inc. Arroyo Grande, CA www.dfd.com ------------------------------ Date: Mon, 18 Oct 2004 11:43:44 -0400 Subject: Coffe pot and HogII library file From: Herrick Goldman Message-ID: In-Reply-To: OK Whomever writes the library file for this on the whole hog II can you please please please not make it dump all the coffee on the floor whenever I spin the strobe channel!! (damn mac2k's grumble grumble grumble) On 10/18/04 11:44, "Joe Golden" wrote: >> >> > DOUG FLEENOR DESIGN, INC.: BOOTH #1821 > > > DMX COFFEE POT, MARK II > > > Remote address setting is > accomplished via RDM making this the first (and only) RDM Coffee Pot, as > well. Watch out, Krups! > Doug Fleenor Design, Inc. > Arroyo Grande, CA > www.dfd.com > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: "C. Andrew Dunning" Subject: RE: Coffe pot and HogII library file Date: Mon, 18 Oct 2004 11:06:07 -0500 Organization: Landru Design In-Reply-To: Message-ID: You just have to use the "Keep Separate" option in the Control Panel... C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com >OK Whomever writes the library file for this on the whole hog >II can you please please please not make it dump all the >coffee on the floor whenever I spin the strobe channel!! (damn >mac2k's grumble grumble grumble) ------------------------------ Date: Mon, 18 Oct 2004 12:14:31 -0400 Subject: Mac 2k reset, was coffee pot library From: Herrick Goldman Message-ID: In-Reply-To: That's interesting , ya learn something new every day. Just to play devil's advocate..if I have that option on in the control panel and I need to remotely re-strike the lamp how do I do that? I've just learned to live with this bug for the past few years as it only affects the Martin products. On 10/18/04 12:06, "C. Andrew Dunning" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > You just have to use the "Keep Separate" option in the Control Panel... > > C. Andrew Dunning > Landru Design -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8e.1792d2b0.2ea54a40 [at] aol.com> Date: Mon, 18 Oct 2004 12:33:04 EDT Subject: Re: Amateur/professional/academic In a message dated 17/10/04 23:14:43 GMT Daylight Time, mdenison [at] cottey.edu writes: > Okay, so the Passion Play at Oberammergau, Germany, is > "amateur" and the plays that the students at the Yale School of > Drama do are "amateur/academic" and the 800th road show of The > Odd Couple starring a has-been TV star and playing at a dinner > theatre in Boise is "professional". Do I understand all this correctly? Well, by the definitions mostly proposed, yes. Oberammergau, as far as I know, pays nobody; at Yale, on the contrary, the student actors will pay substantial fees, and the tutors and theatre staff will be paid by Yale; the road-show will be doing it all for money. The artistic merit just doesn't figure into the definitions, and neither does the competence of the actors and technicians. It's a funny old world. Frank Wood ------------------------------ Subject: Re: Amateur/professional/academic Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Mon, 18 Oct 2004 12:40:29 -0400 On October 17 Michael Denison wrote: "Okay, so the Passion Play at Oberammergau, Germany, is "amateur" and the plays that the students at the Yale School of Drama do are "amateur/academic" and the 800th road show of The Odd Couple starring a has-been TV star and playing at a dinner theatre in Boise is "professional". Do I understand all this correctly?" Well gee Mike; amateur is no more a synonym for bad than professional is for wonderful. I've seen acting at "Community Theatres" where everyone was energized and focused and much better than some LORT productions I've sat through. I think one qualifier for 'Professional' is a consistent, reliable result every performance, that doesn't mean it's the best, just dependable. There's something about being paid to produce a result that obligates you to a minimum standard but doing it for love obligates you to do the best you can do. My hall does 180+ performances a year and I look forward to working with the "Professionals", they mostly know what they want and can tell me up-front. The "amateurs" can turn out some brilliant stuff but it's usually labor intensive and a royal pain in the you know what. During the off season I've been lighting a small local Equity Company and I always like to say I've gotten out of Show Biz and gone back into Theatre. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ------------------------------ Subject: In defense of lash cleats... Date: Mon, 18 Oct 2004 09:54:47 -0700 Message-ID: From: "Michael Finney" On Fri, 15 Oct 2004 Mark O'Brien wrote: <> <> Good luck dragging everybody along with you into the wonderful world of modern tools. It kind of sounds like you could have a nice "identify the obsolete technology" session in the shop for any students who were interested! That being said, though, I gotta say that there are a couple of items in that list that I've actually found handy even in modern, high-cost/high tech productions. Well, maybe not the rabbit glue.... My two picks from that list would be ceiling plates (mounted them into several scenic elements on the last museum tour to use as both temporary hoisting points and as "tie-in" points for some stabilizing lines after installation), and lash cleats. Especially lash cleats, oddly enough. I learned how to use them back in the dark ages when I was in college (fighting dinosaurs on the way to the theatre, working with both Neanderthals and Homo Sapiens in the shop, etc) from an old time carpenter. For some odd reason, the chance to use lashed joints kept coming up while I worked in a few rep theatres (often in "true" rolling rep schedules) and on a number of touring productions. They worked great for making connections between walls on quick scene changes, and were nicely flexible when we needed a little "wiggle room" in different theatres. Quicker than most of the "solid" connections that were options (don't you just *love* trying to make a loose pin hinge joint in a hurry in the dark?). Not to mention the really odd looks (and "attaboys") I got from grizzled old stagehands when I threw a lashed joint together. Nothing like establishing a *little* credibility with the old hands when you're 20 years old. Actually, I used lashed joints relatively recently on a Disney/Buena Vista Pictures special event at the El Capitan here in LA - it ended up being the best choice for a very quick scene change ("get them close enough and then lash 'em!"). So how 'bout the rest of you all - any of you have any supposedly obsolete theatre hardware or technology that you wished more students learned about? Enquiring minds want to know! Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com =20 http://www.thinkwelldesign.com =20 PS: Herrick - once again your "Julie the Cruise Director" impersonation is spot-on! I think I foresee adult beverages in our future.... ------------------------------ Subject: RE: LDI Gathering lets try something new Date: Mon, 18 Oct 2004 09:55:44 -0700 Message-ID: From: "Joe Golden" I have made 100. Is that enough? When asking for them at our booth, ask for the "Stagecraft" sticker. I will try to let everyone working our booth to know about them. > Joe thanks for doing the stickers!! >=20 ------------------------------ Message-Id: Date: Mon, 18 Oct 2004 13:04:17 -0400 From: "LES LIND" Subject: Re: Locking Rail/Rope light Thread I don't really think the original poster (?) was using the lock as a brake. Just the wrong termonology. Ya know, kinda like using the e-brake on my truck. Ya don't really stop the truck with the e-brake but set it after the truck has stopped. Les >>> Marty_Petlock [at] sarasotagov.com 10/17/04 12:30:59 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >I am bothered hearing the locking handle a "brake". I've seen rails where people did that and after a surprisingly short time the ropes get the locking surfaces slicked up very smooth with a subsequent loss of gripping ability. Great way to set yourself up for a load to start slipping through the lock: Not a good thing. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ------------------------------ Message-Id: Date: Mon, 18 Oct 2004 13:04:58 -0400 From: "LES LIND" Subject: Re: Locking Rail/Rope light Thread I don't really think the original poster (?) was using the lock as a brake. Just the wrong termonology. Ya know, kinda like using the e-brake on my truck. Ya don't really stop the truck with the e-brake but set it after the truck has stopped. Les >>> Marty_Petlock [at] sarasotagov.com 10/17/04 12:30:59 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >I am bothered hearing the locking handle a "brake". I've seen rails where people did that and after a surprisingly short time the ropes get the locking surfaces slicked up very smooth with a subsequent loss of gripping ability. Great way to set yourself up for a load to start slipping through the lock: Not a good thing. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ------------------------------ Message-ID: From: Chris Fretts Subject: Campfire Ideas Date: Mon, 18 Oct 2004 12:19:10 -0500 I am looking for thoughts and suggestions about creating campfires onstage for a production of The Grapes of Wrath. We are in the early design stages and I have heard rumblings from design meetings and am trying to get a jump on things. I do not know any other details as yet. The show opens in Feb. so we have plenty of time to work on this. First off... the disclaimers #1. If we decide to work with live flame, and that is a BIG if, we will be working very closely with our local Fire Marshall's Office from the start to come up with an effect that will be safe and meet his approval. This production is transferring to Syracuse Stage and we will need to get an approval from that AHJ as well before we proceed too far down the live flame road. #2. I have searched the archives and did not come up with much. I did find a couple of relevent Tech Expo entries from past years. That being said... I am wondering if anyone has used any particular product or method that they might recommend for this project. I are definitely leaning toward a non-live flame effect if I can find something suitable. I am interested in Le Maitre's Le Flame units but have never used one myself and don't know if they might be appropriate - anyone out there used one in this way?. I have seen them at several USITT conventions and they are quite impressive. I am also aware of other silk/fan/light combinations that have been brought up in the archives and would appreciate any substantive comments about those experiences. And of course any ideas for live flame would also be of interest - specifically fuel choices, storage and plumbing. Additionally, ideas for safety features and considerations to think about would be appreciated. So... If you have any product or method to recommend, please reply to the list and let me, and all of us, know. Thanks, Chris Fretts Technical Director Indiana Repertory Theatre ------------------------------ Date: Mon, 18 Oct 2004 12:25:09 -0500 From: Kelsey Hedrick Subject: FIRE Message-ID: <416C6AE4 [at] Red2> Hey everyone, My name is Kelsey Hedrick and I am a student of technical theatre working on a project. I need help getting started with my project about how to create fire on the stage. Any ideas would be appreciated. Thank you all so very much for any input you have. Thanks, Kelsey Hedrick Carpe the Diem!!! Seize the Carp!! ------------------------------ Date: Mon, 18 Oct 2004 13:23:02 -0400 Subject: Re: In defense of lash cleats... From: Bill Sapsis Message-ID: In-Reply-To: on 10/18/04 12:54 PM, Michael Finney at mfinney [at] thinkwelldesign.com wrote: > My two picks from that list would be ceiling plates (mounted them into > several scenic elements on the last museum tour to use as both temporary > hoisting points and as "tie-in" points for some stabilizing lines after > installation), and lash cleats. Careful with those ceiling plates. Some of the ones on the market these days are junk. Dinky little u-bolt tack welded to the plat and the O ring isn't even welded closed. Ya gotta look before you leap. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Subject: RE: Campfire Ideas Date: Mon, 18 Oct 2004 12:31:53 -0500 Message-ID: From: "Curt Mortimore" Chris, Remember me? I worked with Stirling at CPIP some years back. Anyway, I have a Le Flame unit on the shelf if you would like to borrow = it for R&D purposes. I have not actually used a Le Flame unit onstage, = only at parties and conferences. I built a couple shop-built fan/light = fires years back with limited success. My hope is I have learned a thing = or two over the years and might do a better job today. The list of good reasons to use or not use live fire is endless. I find = it hard to make a recommendation as to what might be best for your = situation. IF you would like to play with the Le Flame let me know and I can ship = it to you. Curtis L. Mortimore Department of Theatre Graceland University 1 University Place Lamoni, IA 50140 Office: 151 Shaw Phone: 641-784-5265 Email: cmortimo [at] graceland.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Chris Fretts Sent: Monday, October 18, 2004 12:19 PM To: Stagecraft Subject: Campfire Ideas For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I am looking for thoughts and suggestions about creating campfires = onstage for a production of The Grapes of Wrath. We are in the early design = stages and I have heard rumblings from design meetings and am trying to get a = jump on things. I do not know any other details as yet. The show opens in = Feb. so we have plenty of time to work on this. First off... the disclaimers=20 #1. If we decide to work with live flame, and that is a BIG if, we will = be working very closely with our local Fire Marshall's Office from the = start to come up with an effect that will be safe and meet his approval. This production is transferring to Syracuse Stage and we will need to get an approval from that AHJ as well before we proceed too far down the live = flame road.=20 #2. I have searched the archives and did not come up with much. I did = find a couple of relevent Tech Expo entries from past years. That being said... I am wondering if anyone has used any particular product or method that = they might recommend for this project. I are definitely leaning toward a non-live flame effect if I can find something suitable. I am interested = in Le Maitre's Le Flame units but have never used one myself and don't know = if they might be appropriate - anyone out there used one in this way?. I = have seen them at several USITT conventions and they are quite impressive. I = am also aware of other silk/fan/light combinations that have been brought = up in the archives and would appreciate any substantive comments about those experiences. And of course any ideas for live flame would also be of interest - specifically fuel choices, storage and plumbing. Additionally, ideas for safety features and considerations to think about would be appreciated.=20 So... If you have any product or method to recommend, please reply to the list = and let me, and all of us, know. Thanks, Chris Fretts Technical Director Indiana Repertory Theatre =09 ------------------------------ Date: Mon, 18 Oct 2004 13:34:34 -0400 Subject: Re: FIRE From: Bill Sapsis Message-ID: In-Reply-To: on 10/18/04 1:25 PM, Kelsey Hedrick at hedrick [at] simpson.edu wrote: > My name is Kelsey Hedrick and I am a student of technical theatre > working on a project. I need help getting started with my project about > how to create fire on the stage. Any ideas would be appreciated. First you get an actor. Then you get a match...... Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Date: Mon, 18 Oct 2004 12:31:22 -0500 From: Mark Harvey Subject: Re: Multiple LED Source Message-ID: <851255.3307091482 [at] umd52-36.d.umn.edu> In-Reply-To: Is anyone aware of a panel of individually controlled LEDs? I'm looking for a way to connect 36 individual light sources to fiber optics to light 1/2" scale scenic models and thought LED sources might work better than 36 120 volt MR16s. Eventually, the LEDs would need to be able to be controlled by dimmers in some way so a 36 channel lighting console would be able to program cues for the model lighting. ____________________________________ Mark Harvey Associate Professor, Lighting and Sound Design University of Minnesota Duluth www.d.umn.edu/~mharvey ------------------------------ Subject: Prop authenticity question Date: Mon, 18 Oct 2004 13:34:54 -0400 Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C174FF [at] ex1.capecod.edu> From: "Hofmann, Christopher" Trying to save some time -=20 Anybody know when cassette tape recorders were introduced and widely = available for purchase? I'm working on an original piece set in the mid = to late '60s. The idea is that an inexpensive cassette recorder would = have been available for a teenager to purchase and use to record a = garage band. The designer and director are at odds as to whether this = is authentic or not. You can reply on or off list. TIA - Chris =A0 Creativity is the inability to follow someone else's rules. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0 - Cliff Stoll ------------------------------ Subject: RE: Prop authenticity question Date: Mon, 18 Oct 2004 10:41:12 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B7323965 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I'd say a reel-to-reel would be more likely for the time period... -- r. Randy Storms rstorms [at] bhan.wednet.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Hofmann, Christopher Sent: Monday, October 18, 2004 10:35 AM To: Stagecraft Subject: Prop authenticity question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Trying to save some time -=20 Anybody know when cassette tape recorders were introduced and widely = available for purchase? I'm working on an original piece set in the mid = to late '60s. The idea is that an inexpensive cassette recorder would = have been available for a teenager to purchase and use to record a = garage band. The designer and director are at odds as to whether this = is authentic or not. You can reply on or off list. TIA - Chris =A0 Creativity is the inability to follow someone else's rules. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0 - Cliff Stoll ------------------------------ Subject: RE: FIRE Date: Mon, 18 Oct 2004 12:43:04 -0500 Message-ID: From: "Curt Mortimore" Hey, that guy's funny! Kelsey, I would encourage you to start by looking at the GAM torch www.gamonline.com/catalog/gamtorch/index.php and the Le Flame http://www.lemaitreltd.com/ProductDescription.asp?idxProduct=3D67&idxCate= gory=3D12 Good luck and I am sure you will get other good advice from the list. Curtis L. Mortimore Department of Theatre Graceland University 1 University Place Lamoni, IA 50140 Office: 151 Shaw Phone: 641-784-5265 Email: cmortimo [at] graceland.edu First you get an actor. Then you get a match...... ------------------------------ Message-ID: <004201c4b539$ee3d13c0$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Prop authenticity question Date: Mon, 18 Oct 2004 10:43:08 -0700 > Anybody know when cassette tape recorders were introduced and widely > available for purchase? I'm working on an original piece set in the mid > to late '60s. The idea is that an inexpensive cassette recorder would > have been available for a teenager to purchase and use to record a garage > band. The designer and director are at odds as to whether this is > authentic or not. You can reply on or off list. I'm thinking it's too early for the cassette tape, but I'm no authority. I do recall that our family had one of those 'open reel', but mini, tape recorders. Not the big 1/4" tape ones - it seems to me the tape was smaller than that. The reels certainly were. Always reminded me of "Mission: Impossible" (the original - with the tape deck combusting at the end of the message). -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ From: "C. Andrew Dunning" Subject: RE: Mac 2k reset, was coffee pot library Date: Mon, 18 Oct 2004 12:45:42 -0500 Organization: Landru Design In-Reply-To: Message-ID: Herrick - I was just trying to make a "funny" regarding keeping the CoffeePot parameters separate from the MACs, but, since you asked... "Keep Separate" only works with parameters that are on different DMX channels that are part of the same general group - I, C, B, or F - not for "unalike" parameters that share channels. For example, Strobe and Iris are both "Beam" parameters, but can be recorded separately in palettes and cues. If I'm correct in remembering that on MACs the control functions are on the strobe channel - therefore what you're wanting to do may not be possible. Sorry. C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf >Of Herrick Goldman >Sent: Monday, October 18, 2004 10:15 AM >To: Stagecraft >Subject: Mac 2k reset, was coffee pot library > >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > >That's interesting , ya learn something new every day. Just to >play devil's advocate..if I have that option on in the control >panel and I need to remotely re-strike the lamp how do I do that? > >I've just learned to live with this bug for the past few years >as it only affects the Martin products. > >On 10/18/04 12:06, "C. Andrew Dunning" wrote: > >> For info, archives & UNSUBSCRIBE, see >> >> --------------------------------------------------- >> >> You just have to use the "Keep Separate" option in the >Control Panel... >> >> C. Andrew Dunning >> Landru Design >-- >Herrick Goldman >Lighting Designer, NYC >www.HGLightingDesign.com > >"To the scores of silent alchemists who wreak their joy in >darkness and in light bringing magic to life, we bow most humbly. "-CDS > ------------------------------ Message-ID: <41740150.6000504 [at] hillinteractive.net> Date: Mon, 18 Oct 2004 13:45:52 -0400 From: howie Subject: Re: Campfire Ideas References: In-Reply-To: Chris Fretts wrote: > I am looking for thoughts and suggestions about creating campfires onstage red light from below. some crumpled old red & yellow gel on top. Some half burned logs scattered around. too realistic a fire effect is a distraction from the acting. if anyone notices or remembers the fire you overdid it. -------------howie ------------------------------ In-Reply-To: References: Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: In defense of lash cleats... Date: Mon, 18 Oct 2004 10:48:30 -0700 The ones I found looked a bit scary... > > Careful with those ceiling plates. Some of the ones on the market > these > days are junk. Dinky little u-bolt tack welded to the plat and the O > ring > isn't even welded closed. > Ya gotta look before you leap. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Oct 18, 2004, at 10:23 AM, Bill Sapsis wrote: ------------------------------ Subject: DMX Coffee Pot Date: Mon, 18 Oct 2004 10:51:38 -0700 Message-ID: From: "Joe Golden" DMX Coffee Pot LDI price $149.99, pick up at the show... > >=20 > >=20 > DOUG FLEENOR DESIGN, INC.: BOOTH #1821 >=20 >=20 > DMX COFFEE POT, MARK II >=20 >=20 > "Finally!" is the word Doug Fleenor Design uses to=20 > reintroduce the DMX Coffee Pot, first debuted at LDI in 1997=20 > and now available for purchase. Previously only available by=20 > lease, the company follows the lead of many moving light=20 > companies by allowing their technology to be purchased=20 > out-right. Operation of the Mark II has been simplified,=20 > featuring internal termination (there is no feed through) and=20 > remote address setting (there is no DMX address switch).=20 > Remote address setting is accomplished via RDM making this=20 > the first (and only) RDM Coffee Pot, as well. Watch out,=20 > Krups! Doug Fleenor Design, Inc. Arroyo Grande, CA www.dfd.com >=20 ------------------------------ From: "Jonathan S. Deull" Subject: RE: Prop authenticity question Date: Mon, 18 Oct 2004 13:51:08 -0400 In-Reply-To: Message-ID: They were a big new thing for us in 1968-69. But we weren't necessarily pioneers. Jonathan -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of = Hofmann, Christopher Sent: Monday, October 18, 2004 1:35 PM To: Stagecraft Subject: Prop authenticity question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Trying to save some time -=20 Anybody know when cassette tape recorders were introduced and widely available for purchase? I'm working on an original piece set in the mid = to late '60s. The idea is that an inexpensive cassette recorder would have been available for a teenager to purchase and use to record a garage = band. The designer and director are at odds as to whether this is authentic or not. You can reply on or off list. TIA - Chris =A0 Creativity is the inability to follow someone else's rules. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0 - Cliff Stoll ------------------------------ In-Reply-To: References: Message-Id: <316E34F8-212F-11D9-A87F-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Prop authenticity question Date: Mon, 18 Oct 2004 10:57:36 -0700 I remember having a cassette tape recorder in the late 60's It was a wollensak with a funky joystick type control. It had a small red button nearby, when used in conjunction with said control, made recordings. As I recall it was Danish, or something. As cool as it was, it was a PITA. It also used 6 (I think) C cells, and used them often. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Oct 18, 2004, at 10:43 AM, Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > >> Anybody know when cassette tape recorders were introduced and widely >> available for purchase? I'm working on an original piece set in the >> mid to late '60s. The idea is that an inexpensive cassette recorder >> would have been available for a teenager to purchase and use to >> record a garage band. The designer and director are at odds as to >> whether this is authentic or not. You can reply on or off list. > > > I'm thinking it's too early for the cassette tape, but I'm no > authority. I do recall that our family had one of those 'open reel', > but mini, tape recorders. Not the big 1/4" tape ones - it seems to me > the tape was smaller than that. The reels certainly were. Always > reminded me of "Mission: Impossible" (the original - with the tape > deck combusting at the end of the message). > > -- Jon Ares > Program Director, West Linn HS Theatre Arts > www.hevanet.com/acreative > http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF09824E2B [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: FIRE Date: Mon, 18 Oct 2004 13:58:59 -0400 No, you have to have the match first, the actors run very fast. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Bill Sapsis [mailto:bill [at] sapsis-rigging.com] Sent: Monday, October 18, 2004 1:35 PM To: Stagecraft Subject: Re: FIRE For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 10/18/04 1:25 PM, Kelsey Hedrick at hedrick [at] simpson.edu wrote: > My name is Kelsey Hedrick and I am a student of technical theatre > working on a project. I need help getting started with my project about > how to create fire on the stage. Any ideas would be appreciated. First you get an actor. Then you get a match...... Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Date: Mon, 18 Oct 2004 13:50:25 -0400 Subject: Re: Mac 2k reset, was coffee pot library From: Herrick Goldman Message-ID: In-Reply-To: Ah my bad trying to educate myself thru sarcasm..:) On 10/18/04 13:45, "C. Andrew Dunning" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Herrick - > > I was just trying to make a "funny" regarding keeping the CoffeePot > parameters separate from the MACs, but, since you asked... > > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF09824E37 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Campfire Ideas Date: Mon, 18 Oct 2004 14:02:59 -0400 Played around with fluorescent starters (if you can find them these days) in series with the incandescent lamps or gelled lighting fixture. Provided a very nice, random, somewhat realistic flicker type flicker effect. It has been awhile. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati ------------------------------ From: "Michael Feinberg" Subject: Re: Locking Rail/Rope light Thread Date: Mon, 18 Oct 2004 14:05:43 -0400 Message-Id: <20041018180501.M29023 [at] joyce.eng.yale.edu> In-Reply-To: References: On Mon, 18 Oct 2004 13:04:17 -0400, LES LIND wrote > I don't really think the original poster (?) was using the lock as a > brake. Just the wrong termonology. Ya know, kinda like using the e-brake > on my truck. Ya don't really stop the truck with the e-brake but set > it after the truck has stopped. Les Which is why in this case I would consider the correct terminology to be "parking brake." :) -Michael Feinberg ------------------------------ Date: Mon, 18 Oct 2004 14:06:42 -0400 From: Stephen Litterst Subject: Re: Prop authenticity question Message-id: <41740632.34B476C [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Hofmann, Christopher" wrote: > --------------------------------------------------- > Anybody know when cassette tape recorders were introduced and widely available for purchase? I'm working on an original piece set in the mid to late '60s. The idea is that an inexpensive cassette recorder would have been available for a teenager to purchase and use to record a garage band. The designer and director are at odds as to whether this is authentic or not. You can reply on or off list. A quick Google reveals that the Cassette was patented in 1964. There's a good summation of Sony's experience with the Cassette here http://www.sony.net/Fun/SH/1-17/h1.html Sony introduced a cassette player/recorder in 1966 but they don't acknowledge a point when cassette overtook reel-to-reel as the dominant media. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Mon, 18 Oct 2004 14:06:36 -0400 Subject: Re: Prop authenticity question From: Steve Larson Message-ID: In-Reply-To: I had one in 66 or 67. There were also small reel-to-reels. I just bought two on eBay for next to nothing. One even works. The cassettes were flat, rectangular devices with a handle at one end. I had one for years, don't know where it went. Probably in a box in storage. Steve on 10/18/04 1:57 PM, Mark O'Brien at marko [at] email.arizona.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I remember having a cassette tape recorder in the late 60's It was a > wollensak with a funky joystick type control. It had a small red button > nearby, when used in conjunction with said control, made recordings. As > I recall it was Danish, or something. As cool as it was, it was a > PITA. It also used 6 (I think) C cells, and used them often. > > Mark O'Brien > Opera Technical Director > University of Arizona, School of Music > Tucson, AZ > 520/621-7025 > 520/591-1803 Mobile > > > Mark O'Brien > Opera Technical Director > University of Arizona, School of Music > Tucson, AZ > 520/621-7025 > 520/591-1803 Mobile > > > On Oct 18, 2004, at 10:43 AM, Jon Ares wrote: > >> For info, archives & UNSUBSCRIBE, see >> >> --------------------------------------------------- >> >>> Anybody know when cassette tape recorders were introduced and widely >>> available for purchase? I'm working on an original piece set in the >>> mid to late '60s. The idea is that an inexpensive cassette recorder >>> would have been available for a teenager to purchase and use to >>> record a garage band. The designer and director are at odds as to >>> whether this is authentic or not. You can reply on or off list. >> >> >> I'm thinking it's too early for the cassette tape, but I'm no >> authority. I do recall that our family had one of those 'open reel', >> but mini, tape recorders. Not the big 1/4" tape ones - it seems to me >> the tape was smaller than that. The reels certainly were. Always >> reminded me of "Mission: Impossible" (the original - with the tape >> deck combusting at the end of the message). >> >> -- Jon Ares >> Program Director, West Linn HS Theatre Arts >> www.hevanet.com/acreative >> http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm > > > ------------------------------ Message-Id: Date: Mon, 18 Oct 2004 14:10:16 -0400 From: "LES LIND" Subject: Re: Locking Rail/Rope light Thread Ah, terminology smerminology... Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> michaelf [at] joyce.eng.yale.edu 10/18/04 2:05:43 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- On Mon, 18 Oct 2004 13:04:17 -0400, LES LIND wrote > I don't really think the original poster (?) was using the lock as a > brake. Just the wrong termonology. Ya know, kinda like using the e-brake > on my truck. Ya don't really stop the truck with the e-brake but set > it after the truck has stopped. Les Which is why in this case I would consider the correct terminology to be "parking brake." :) -Michael Feinberg ------------------------------ Date: Mon, 18 Oct 2004 14:13:25 -0400 From: Stephen Litterst Subject: Re: Campfire Ideas Message-id: <417407C5.4E2AF63D [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Waxler, Steve (waxlers)" wrote: > --------------------------------------------------- > > Played around with fluorescent starters (if you can find them these days) in > series with the incandescent lamps or gelled lighting fixture. Provided a > very nice, random, somewhat realistic flicker type flicker effect. It has > been awhile. A couple of things on starters that I've learned over the years... 1.) Always have one constant circuit, it makes the flickering fire look more realistic. 2.) Use the FS-2 starters. They should be available at your local electrical wholesaler. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <026301c4b53d$ef7dd450$0500000a [at] anneb> From: "Andrew Vance" References: Subject: Re: DMX Coffee Pot Date: Mon, 18 Oct 2004 13:11:09 -0500 > DMX Coffee Pot LDI price $149.99, pick up at the show... What about the fine folk who can't make it to Vegas but still think it'd = be cool to have one? -- Sincerely, Andrew Vance Lighting Designer/Supervisor Omaha Theatre Company/Omaha Theatre Ballet ------------------------------ Message-ID: <024001c4b540$bfab3760$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: FIRE Date: Mon, 18 Oct 2004 14:16:01 -0400 Match? Match? Aren't they obsolete now? Today's smart young stage hands use Colibri Quantum Jet torches. As for me. I'm still into flint and steel. Alf ----- Original Message ----- From: "Bill Sapsis" To: "Stagecraft" Sent: Monday, October 18, 2004 13:34 PM Subject: Re: FIRE > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > on 10/18/04 1:25 PM, Kelsey Hedrick at hedrick [at] simpson.edu wrote: > >> My name is Kelsey Hedrick and I am a student of technical theatre >> working on a project. I need help getting started with my project about >> how to create fire on the stage. Any ideas would be appreciated. > > > First you get an actor. Then you get a match...... > > Bill S. > www.sapsis-rigging.com > 800.727.7471 > 800.292.3851 fax > 267.278.4561 mobile > > We stand behind, and under, our work. > ------------------------------ Message-Id: <6.1.2.0.2.20041018144013.04899208 [at] mail.hstech.org> Date: Mon, 18 Oct 2004 14:41:23 -0400 From: "Scott C. Parker" Subject: Re: FIRE In-Reply-To: References: You may find these pages helpful. http://www.hstech.org/howto/fire/fire.htm Scott At 01:25 PM 10/18/2004, you wrote: >My name is Kelsey Hedrick and I am a student of technical theatre >working on a project. I need help getting started with my project about >how to create fire on the stage. Scott C. Parker Production Designer/Technical Director High School Tech Production Web Site hstech~AT~hstech.org High Schoolers: come visit the HS Tech Web Site... http://www.hstech.org Our Mission: To assist High School Technical Theater students in their desire to learn about, create, and execute theatrical productions. ------------------------------ Subject: RE: Mac 2k reset, was coffee pot library Date: Mon, 18 Oct 2004 14:46:04 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74AD0F [at] exchange.rmwc.edu> From: "Paul Schreiner" > Ah my bad trying to educate myself thru sarcasm..:) Found (by my wife, actually) in a recent catalog...a sign that reads "Sarcasm. Just another service we provide." Sound like a list motto, anyone? ------------------------------ Subject: RE: DMX Coffee Pot Date: Mon, 18 Oct 2004 11:55:49 -0700 Message-ID: From: "Joe Golden" www.dfd.com . >=20 > What about the fine folk who can't make it to Vegas but still=20 > think it'd be cool to have one? >=20 > -- >=20 > Sincerely, >=20 > Andrew Vance > Lighting Designer/Supervisor > Omaha Theatre Company/Omaha Theatre Ballet >=20 >=20 >=20 ------------------------------ From: MissWisc [at] aol.com Message-ID: <140.34d34053.2ea56bd2 [at] aol.com> Date: Mon, 18 Oct 2004 14:56:18 EDT Subject: Re: Campfire Ideas Cc: cfretts [at] indianarep.com Went to the local fireplace store. Borrowed an electric insert that's designed to for inside a real fireplace (cost to purchase about $150). Insert consists of smallish bulb lighting a wooden frame holding red/orange/yellow gels and a tinsel-looking thing that rotated to make a crackling sound.) Mounted on caster dolly frame for ease of moving off and on stage. Arranged remainder of stage lighting to make light seem more "real". (i.e. very little down light, smallish lights behind the "campfire"/front light aimed to actors who were upstage of campfire, darkened but not black area lighting... embellish as you wish.) Surrounded by small logs borrowed from friend's firewood stack (firemarshal OKed for brief use without requiring flameproofing, had stagehand immediately offstage supervising it the entire time, extinguisher within reach, firemarshal rep onstage in wings also). Looked fine, no hazard. HTH Kristi ------------------------------ Subject: RE: Prop authenticity question Date: Mon, 18 Oct 2004 15:07:38 -0400 Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C17501 [at] ex1.capecod.edu> From: "Hofmann, Christopher" Thanks to all who have responded so far - you pretty much confirm what I thought. I've also done the google search and found introduction and patent dates. The piece I'm looking for that I don't seem to find easily is whether or not a cassette recorder would have been common enough and inexpensive enough in 1968 such that a teenager might have saved some paper route money and purchased one. - Chris =20 Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ Message-ID: <41741789.90800 [at] peak.org> Date: Mon, 18 Oct 2004 12:20:41 -0700 From: Pat Kight Subject: Re: Prop authenticity question References: In-Reply-To: Hofmann, Christopher wrote: > Thanks to all who have responded so far - you pretty much confirm what I > thought. I've also done the google search and found introduction and > patent dates. The piece I'm looking for that I don't seem to find > easily is whether or not a cassette recorder would have been common > enough and inexpensive enough in 1968 such that a teenager might have > saved some paper route money and purchased one. I was a teenager in 1968, and I had casette recorder. I'm pretty sure my parents gave it to me for Christmas or my birthday. We were a military family of modest means; if it was unusually expensive, I wouldn't have received it. Not definitive, but anecdotal... -- Pat Kight Albany (Ore.) Civic Theater kightp [at] peak.org ------------------------------ Subject: Re: Campfire Ideas From: Christopher Haas CEHAAS Date: Mon, 18 Oct 2004 15:38:11 -0400 Message-ID: Chris, Ball State has two of the Le Maitre Flame units if you want to take a look at them. Contact John Sadler, the shop supervisor. They owe you guys a few favors from the winches I borrowed a couple times. Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Message-ID: <006c01c4b54a$034fdf30$a0504898 [at] D10SKY11> From: "Randy B." References: Subject: Re: Prop authenticity question Date: Mon, 18 Oct 2004 14:38:05 -0500 Look here for the history of the cassette tape. http://www.recording-history.org/HTML/musictech10.htm I think also think mid 60's was too early for a cassette recorded. ----- Original Message ----- From: "Storms, Randy" To: "Stagecraft" Sent: Monday, October 18, 2004 12:41 PM Subject: Re: Prop authenticity question > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I'd say a reel-to-reel would be more likely for the time period... > -- r. > > Randy Storms > rstorms [at] bhan.wednet.edu > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Hofmann, > Christopher > Sent: Monday, October 18, 2004 10:35 AM > To: Stagecraft > Subject: Prop authenticity question > > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Trying to save some time - > > Anybody know when cassette tape recorders were introduced and widely available for purchase? I'm working on an original piece set in the mid to late '60s. The idea is that an inexpensive cassette recorder would have been available for a teenager to purchase and use to record a garage band. The designer and director are at odds as to whether this is authentic or not. You can reply on or off list. > > TIA > > - Chris > > Creativity is the inability to follow someone else's rules. > - Cliff Stoll > > ------------------------------ From: "C. Andrew Dunning" Subject: RE: Mac 2k reset, was coffee pot library Date: Mon, 18 Oct 2004 15:09:05 -0500 Organization: Landru Design In-Reply-To: Message-ID: Then you'd love my forthcoming book -The Sarcastic WholeHog-... (BTW, I have found that certain brands of fixtures do cause the occasional spouting of snide comments.) >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf >Of Paul Schreiner >Sent: Monday, October 18, 2004 12:46 PM >To: Stagecraft >Subject: Re: Mac 2k reset, was coffee pot library > >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > >> Ah my bad trying to educate myself thru sarcasm..:) > >Found (by my wife, actually) in a recent catalog...a sign that >reads "Sarcasm. Just another service we provide." > >Sound like a list motto, anyone? > ------------------------------ Date: Mon, 18 Oct 2004 16:11:55 -0400 From: Kevin Lee Allen Subject: Re: Prop authenticity question In-reply-to: Message-id: References: I had a three inch reel to reel at that time. On Oct 18, 2004, at 1:34 PM, Hofmann, Christopher wrote: > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- > > Trying to save some time - > > Anybody know when cassette tape recorders were introduced and widely=20= > available for purchase? I'm working on an original piece set in the=20= > mid to late '60s. The idea is that an inexpensive cassette recorder=20= > would have been available for a teenager to purchase and use to record=20= > a garage band. The designer and director are at odds as to whether=20 > this is authentic or not. You can reply on or off list. > > TIA > > - Chris > =CA > Creativity is the inability to follow someone else's rules. > =CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA= =CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA= =CA=CA=CA=CA=CA=CA=CA=CA - Cliff Stoll > > ----- Kevin Lee Allen Production Designer http://www.klad.com 973.744.6352.voice 201.280.3841.cell klad [at] klad.com =F0 ------------------------------ Date: Mon, 18 Oct 2004 16:08:58 -0400 Subject: Re: Mac 2k reset, was coffee pot library From: Herrick Goldman Message-ID: In-Reply-To: I don't need that book..that's what my programmers and assistants are for. "don't you know there are like 12 faster ways to do that?" , "What no coffee for the crew?", "I just push the buttons" "I don't know why Martin puts gobos on the color wheel but it sure looks purty when you spin thru them" "this is some rescue! When you came in here did you have a plan for getting out!?" oh wait that wasn't an assistant....hmmm -See you all at LDI On 10/18/04 16:09, "C. Andrew Dunning" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Then you'd love my forthcoming book -The Sarcastic WholeHog-... > > (BTW, I have found that certain brands of fixtures do cause the occasional > spouting of snide comments.) > > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: "Kacey Fisher" Subject: RE: Le Maitre G300 Error: F-PU & F-LO Date: Mon, 18 Oct 2004 13:48:09 -0400 In-Reply-To: Message-ID: Scott, For future reference, the quickest way to deal with error codes like that is just to call Le Maitre's tech support and they will take care of you. We've actually mentioned to them that the error codes are not in the manual and that would be a good addition. Sincerely, Kacey Fisher Fisher Theatrical 410-455-9641 410-455-9643-Fax www.FisherTheatrical.com > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Scott Parker > Sent: Sunday, October 17, 2004 8:44 PM > To: Stagecraft > Subject: Re: Le Maitre G300 Error: F-PU & F-LO > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > It was some sort of clog. I took the unit apart and blew out > the lines on both sides of the pumps and it's working again. > Thanks. Scott > > > > > seems like there is a clog or a leak in the line somewhere. > Is there > > a puddle of fluid under or in the machine? I have had the > FLO error, > > and it was a clog. > > > > Michael > > > -- > Take care, Scott > > Scott C. Parker > ------------------------------ Message-Id: <3.0.6.32.20041018135816.0196d810 [at] pop.west.cox.net> Date: Mon, 18 Oct 2004 13:58:16 From: CB Subject: Re: Amateur/professional/academic > Do I understand all this correctly? Well, you have it right, but I'm not sure that you understand it. For some reason, folks hear "amateur" and think "this sucks" and when they hear "professional" they think that its better. The problem is using the descriptor for how the situation arrived with the quality of the situation. 'Amateur' doesn't mean bad, or necessarily of a lesser quality, and we all have seen pros that really, really sucked. And I've been to Oberammergau. Those guys are amateurs of the best quality. There is a bit of a problem with nepotism, however, you almost have to be born into a part... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <6.1.2.0.2.20041018165803.0230db18 [at] mail.hstech.org> Date: Mon, 18 Oct 2004 16:59:53 -0400 From: "Scott C. Parker" Subject: Re: Le Maitre G300 Error: F-PU & F-LO In-Reply-To: References: Thanks Kacey, My problems occurred during our Sat. night tech and Le M.'s offices do not have a weekend number. A search of their web site didn't help either. I took the unit apart on Sunday morning and blew it out with air. Thanks again, Scott > > Scott C. Parker Production Designer/Technical Director High School Tech Production Web Site hstech~AT~hstech.org High Schoolers: come visit the HS Tech Web Site... http://www.hstech.org Our Mission: To assist High School Technical Theater students in their desire to learn about, create, and execute theatrical productions. ------------------------------ From: "Jonathan S. Deull" Subject: RE: Prop authenticity question Date: Mon, 18 Oct 2004 17:09:06 -0400 In-Reply-To: Message-ID: My recollection was about $250 for a sony stereo model. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Hofmann, Christopher Sent: Monday, October 18, 2004 3:08 PM To: Stagecraft Subject: Re: Prop authenticity question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Thanks to all who have responded so far - you pretty much confirm what I thought. I've also done the google search and found introduction and patent dates. The piece I'm looking for that I don't seem to find easily is whether or not a cassette recorder would have been common enough and inexpensive enough in 1968 such that a teenager might have saved some paper route money and purchased one. - Chris Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ From: IAEG [at] aol.com Message-ID: <196.318342ed.2ea58e76 [at] aol.com> Date: Mon, 18 Oct 2004 17:24:06 EDT Subject: Re: Prop authenticity question In a message dated 10/18/04 1:37:51 PM, chofmann [at] capecod.edu writes: << Trying to save some time - Anybody know when cassette tape recorders were introduced and widely available for purchase? I'm working on an original piece set in the mid to late '60s. The idea is that an inexpensive cassette recorder would have been available for a teenager to purchase and use to record a garage band. The designer and director are at odds as to whether this is authentic or not. You can reply on or off list. TIA - Chris >> i had an RCA battery powered Cassette recorder in the 9th Grade which would have been in 1967 it would have sounded awful if used to record a garage band ( it was mono only ) I didn't see a stereo, battery operated one until the 70's I used reel to reel for everything in Junior HS and HS, , home cassette models weren't very good for much of anything then, , , very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1e2.2c604c62.2ea59400 [at] aol.com> Date: Mon, 18 Oct 2004 17:47:44 EDT Subject: Re: Prop authenticity question In a message dated 18/10/04 18:37:51 GMT Daylight Time, chofmann [at] capecod.edu writes: > Anybody know when cassette tape recorders were introduced and widely > available for purchase? I'm working on an original piece set in the mid to > late '60s. The idea is that an inexpensive cassette recorder would have been > available for a teenager to purchase and use to record a garage band. The > designer and director are at odds as to whether this is authentic or not. You > can reply on or off list. Yes. The original Phillips machine was around then. About 8" x 4" x 1". Mono, of course, and with 'clunky' controls. But, it worked. I may still have one around in my junk pile. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <1a7.29daaf0d.2ea594d2 [at] aol.com> Date: Mon, 18 Oct 2004 17:51:14 EDT Subject: Re: Prop authenticity question In a message dated 10/18/04 5:48:44 PM, FrankWood95 [at] aol.com writes: << Yes. The original Phillips machine was around then. About 8" x 4" x 1". Mono, of course, and with 'clunky' controls. But, it worked. I may still have one around in my junk pile. Frank Wood >> yikes Frank, , I had forgotten about the BIG Phillips Cassette, , never really used one but do remember seeing a couple, I do believe he was asking about what we would now call "standard" Phillips cassette which was actually then the "minature" Phillips Cassette very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: <4173F551.24883.316061 [at] localhost> From: "Michael Denison" Date: Mon, 18 Oct 2004 16:54:41 -0500 Subject: Re: Amateur/professional/academic In-reply-to: My bad. I should have put a joke alert on this post. I have been working in amateur and academic and professional and military and government-sponsored and industrial and several other types of theatre since about 1962. It's all theatre, people. > On October 17 Michael Denison wrote: > > "Okay, so the Passion Play at Oberammergau, Germany, is > "amateur" and the plays that the students at the Yale School of > Drama do are "amateur/academic" and the 800th road show of The > Odd Couple starring a has-been TV star and playing at a dinner > theatre in Boise is "professional". Do I understand all this correctly?" ... Michael A. Denison Technical Director Cottey College 1000 West Austin Nevada, MO 64772 (417) 667-8181 x 2265 FAX: (417) 667-8103 mdenison [at] cottey.edu www.cottey.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <6d.35c8c108.2ea5968d [at] aol.com> Date: Mon, 18 Oct 2004 17:58:37 EDT Subject: Re: Prop authenticity question In a message dated 18/10/04 19:07:23 GMT Daylight Time, slitterst [at] ithaca.edu writes: > Sony introduced a cassette player/recorder in 1966 but they don't > acknowledge a point when cassette overtook reel-to-reel as the > dominant media. > Well, I don't know that it ever did. It depends on what you want to do. It was always "Low fidelity", even when it went stereo. Reel-to-reel held up until digital overtook it, for serious purposes. There are those, among whom I am not to be numbered, who say that it is still better. They are the advocates of vinyl discs, and valve (tube) amplifiers. Frank Wood ------------------------------ Date: Mon, 18 Oct 2004 18:01:11 -0400 From: Stephen Litterst Subject: Re: Prop authenticity question Message-id: <41743D27.D2A2187F [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 18/10/04 19:07:23 GMT Daylight Time, slitterst [at] ithaca.edu > writes: > > > Sony introduced a cassette player/recorder in 1966 but they don't > > acknowledge a point when cassette overtook reel-to-reel as the > > dominant media. > > > > Well, I don't know that it ever did. It depends on what you want to do. It > was always "Low fidelity", even when it went stereo. My bad. I should have said "as the dominant *consumer* media." Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <007401c4b560$728abf80$fce18b40 [at] 0016599365> From: "Robert G. Anderson" References: Subject: Re: Prop authenticity question Date: Mon, 18 Oct 2004 17:18:47 -0500 Chris: I bought my first real, honest-to-goodness cassette ( Norelco) in 1965. Bob Anderson ----- Original Message ----- From: "Hofmann, Christopher" To: "Stagecraft" Sent: Monday, October 18, 2004 12:34 PM Subject: Prop authenticity question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Trying to save some time - Anybody know when cassette tape recorders were introduced and widely available for purchase? I'm working on an original piece set in the mid to late '60s. The idea is that an inexpensive cassette recorder would have been available for a teenager to purchase and use to record a garage band. The designer and director are at odds as to whether this is authentic or not. You can reply on or off list. TIA - Chris Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ Message-ID: <00a601c4b561$32e8f6c0$fce18b40 [at] 0016599365> From: "Robert G. Anderson" References: Subject: Re: Prop authenticity question Date: Mon, 18 Oct 2004 17:24:09 -0500 As I remember, I paid somewhere around fifty bucks for the machine and a half dozen cassettes. Biggest expense was batteries...but it came with an adapter for 110 AC so you could use it without the batteries. ----- Original Message ----- From: "Hofmann, Christopher" To: "Stagecraft" Sent: Monday, October 18, 2004 2:07 PM Subject: Re: Prop authenticity question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Thanks to all who have responded so far - you pretty much confirm what I thought. I've also done the google search and found introduction and patent dates. The piece I'm looking for that I don't seem to find easily is whether or not a cassette recorder would have been common enough and inexpensive enough in 1968 such that a teenager might have saved some paper route money and purchased one. - Chris Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 18 Oct 2004 18:32:03 EDT Subject: Re: Prop authenticity question In a message dated 18/10/04 23:17:05 GMT Daylight Time, rganderson [at] nctv.com writes: > Chris: I bought my first real, honest-to-goodness cassette ( Norelco) in > 1965. > Bob Anderson I remember Viv Weeks and David Edwards demonstrating them to us, little later. BTW, have you heard anything from Viv Weeks? Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <1dd.2e3f6e34.2ea5a02f [at] aol.com> Date: Mon, 18 Oct 2004 18:39:43 EDT Subject: Re: Prop authenticity question In a message dated 10/18/04 6:17:05 PM, rganderson [at] nctv.com writes: << Chris: I bought my first real, honest-to-goodness cassette ( Norelco) in 1965. Bob Anderson >> and if I am not mistaken NORELCO is a Phillips brand name very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ In-Reply-To: References: Message-Id: <7D0E1EAA-2157-11D9-8A4E-000D9329F45E [at] mystykworks.com> From: "Daniel O'Donnell" Subject: Re: Multiple LED Source Date: Mon, 18 Oct 2004 18:46:02 -0400 NOUVIR has fiber optics that can have a shutter in line, so you can turn them on and off with a relay. On Oct 18, 2004, at 1:31 PM, Mark Harvey wrote: > for a way to connect 36 individual light sources to fiber optics to > light > 1/2" scale scenic models and thought LED sources might work better > than 36 --- Daniel R. O'Donnell dan [at] mystyk.com http://www.mystyk.com ------------------------------ Message-Id: <6.1.1.1.0.20041018174846.01c99e10 [at] mail.insightbb.com> Date: Mon, 18 Oct 2004 17:49:31 -0500 From: Mike Brubaker Subject: Re: Prop authenticity question In-Reply-To: References: Maybe your library has old Sears catalogs? Or similar. Mike At 02:20 PM 10/18/2004, you wrote: >enough and inexpensive enough in 1968 such that a teenager might have >>saved some paper route money and purchased one. ------------------------------ Message-Id: <6.1.1.1.0.20041018175243.01cac4d0 [at] mail.insightbb.com> Date: Mon, 18 Oct 2004 17:53:02 -0500 From: Mike Brubaker Subject: Re: Lightwright survey results In-Reply-To: References: Barely. At 07:59 AM 10/18/2004, Jeffrey E. Salzberg wrote: >Directors are, after all, people. ------------------------------ From: "Delbert Hall" Subject: RE: spike tape on operating lines Date: Mon, 18 Oct 2004 19:36:37 -0400 Organization: ETSU Message-ID: <000201c4b56b$50186280$6400a8c0 [at] delbert> In-reply-to: >--------------------------------------------------- > >Delbert Hall wrote: >> BTW, I like to spike >>mark to be at the top of the brake handle when at trim. It was incorrect of me to refer to the "rope lock handle" as a "brake handle" but since the earlier post referred to the "rope lock" as a "brake," and I new exactly what he we was referring to, I just responded using the same term. Yes, I know that it is a "rope lock" but after years of telling people that it is a "batten" not a "bar" I now often relent and call a lot of things whatever the person I am talking to calls it. I guess it is lazy of me to do this, and I will try to be better in the future. -Delbert ------------------------------ Message-Id: <200410190055.i9J0tiOV090928 [at] smtp3.adl2.internode.on.net> From: "Mikkel Mynster" Subject: Re: Locking Rail/Rope light Thread Date: Tue, 19 Oct 2004 10:55:39 +1000 In-Reply-To: Not wanting to disagree with the basic argument here - it should be used as a lock, rather than as a brake - but the usage of a rope lock is in fact remarkably analogous to the way a *hand*brake is used... I'm not thinking of handbrake turns here ;-> "Michael Denison" said; Mea maxima culpa. I'm the one who initially called a rope lock a brake. I myself never use them as brakes and I teach my students to use them correctly, however, I agree with all of you that even calling them brakes can mislead students to use them as such. So...I apologize. Okay? ------------------------------ From: "Kacey Fisher" Subject: RE: Le Maitre G300 Error: F-PU & F-LO Date: Mon, 18 Oct 2004 21:01:02 -0400 In-Reply-To: Message-ID: Ahh yes, that wouldn't have helped you then! Which is why we keep telling our rep there to put the codes in the manual! Maybe they'll have them in there soon! ~Kacey > > Thanks Kacey, > My problems occurred during our Sat. night tech and Le M.'s > offices do not have a weekend number. A search of their web > site didn't help either. I took the unit apart on Sunday > morning and blew it out with air. > Thanks again, Scott > > ------------------------------ Message-ID: <036e01c4b579$5a74f0a0$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: Prop authenticity question Date: Mon, 18 Oct 2004 21:06:52 -0400 I caught that. 110VAC. Which has creeped to 115, to 120, and now my Main Panels commonly read 130VAC on all three phases. We only buy 130V incandescent, now. And most of our fluorescent ballasts are intelligent electronic types which handle a wide range, including 277. Is that the target? 277? (Obviously, a US question.) Alf ----- Original Message ----- From: "Robert G. Anderson" To: "Stagecraft" Sent: Monday, October 18, 2004 18:24 PM Subject: Re: Prop authenticity question > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > As I remember, I paid somewhere around fifty bucks for the machine and a > half dozen cassettes. Biggest expense was batteries...but it came with an > adapter for 110 AC so you could use it without the batteries. > ----- Original Message ----- > From: "Hofmann, Christopher" > To: "Stagecraft" > Sent: Monday, October 18, 2004 2:07 PM > Subject: Re: Prop authenticity question > > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Thanks to all who have responded so far - you pretty much confirm what I > thought. I've also done the google search and found introduction and > patent dates. The piece I'm looking for that I don't seem to find > easily is whether or not a cassette recorder would have been common > enough and inexpensive enough in 1968 such that a teenager might have > saved some paper route money and purchased one. > > - Chris > > Creativity is the inability to follow someone else's rules. > - Cliff > Stoll > > > > ------------------------------ In-Reply-To: References: Message-Id: From: Noah Price Subject: Re: Prop authenticity question Date: Mon, 18 Oct 2004 18:33:15 -0700 Posted for Ken Holyoak -- if any list members know how to send plain text from Microsoft Office Outlook (Build 11.0.6353), please drop me a note so I can add the instructions to the "plain text" page! > From: "Ken Holyoak" > Date: October 18, 2004 3:09:23 PM PDT First I used was a Norelco in 1960. Large brick size case with leather cover. I remember that it had a mic with a remote on off that could be removed from the mic. It was also my first experience with the "din" connector. I was next to impossible to find adaptors. I believe that the cassette was developed by Phillips in Europe and distributed by Norelco. There were a lot of options by 1966 when I worked for Olsen Electronics, by then you could even get prerecorded cassette tapes. 1966 was the year that Olson started selling color TV's and I was able to give my parents their first color TV and I had a big black "portable" color set in my bedroom. ------------------------------ Date: Mon, 18 Oct 2004 21:40:36 -0400 Subject: Germany and Austria From: "Nicholas Kuhl" Message-ID: Out of curiosity, does anyone on the list live in Austria or Germany? I want thinking of spending a month abroad, either this summer or next, and if I could find some work while I'm there, it would make the trip that much more feasible. Thanks Nick Kuhl Boston University ------------------------------ From: "Jonathan S. Deull" Subject: RE: Prop authenticity question: Outlook plain text Date: Mon, 18 Oct 2004 21:47:28 -0400 In-Reply-To: Message-ID: In the version I have (Outlook 2003): Tools, Options, Mail format, Message Format, Plain Text Jonathan -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Noah Price Sent: Monday, October 18, 2004 9:33 PM To: Stagecraft Subject: Re: Prop authenticity question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Posted for Ken Holyoak -- if any list members know how to send plain text from Microsoft Office Outlook (Build 11.0.6353), please drop me a note so I can add the instructions to the "plain text" page! > From: "Ken Holyoak" > Date: October 18, 2004 3:09:23 PM PDT First I used was a Norelco in 1960. Large brick size case with leather cover. I remember that it had a mic with a remote on off that could be removed from the mic. It was also my first experience with the "din" connector. I was next to impossible to find adaptors. I believe that the cassette was developed by Phillips in Europe and distributed by Norelco. There were a lot of options by 1966 when I worked for Olsen Electronics, by then you could even get prerecorded cassette tapes. 1966 was the year that Olson started selling color TV's and I was able to give my parents their first color TV and I had a big black "portable" color set in my bedroom. ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 18 Oct 2004 22:44:47 -0400 From: Michael Feinberg Subject: Re: Prop authenticity question >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I caught that. 110VAC. Which has creeped to 115, to 120, and now >my Main Panels commonly read 130VAC on all three phases. We only >buy 130V incandescent, now. And most of our fluorescent ballasts >are intelligent electronic types which handle a wide range, >including 277. > >Is that the target? 277? (Obviously, a US question.) 277V compatibility is for commercial and industrial buildings that have power distribution as 3 phase wye 277/480V. You get 277V to run lighting and 480V three phase for large motors. As for US residential power distribution, it's got a confusing history. Officially it is supposed to be 120/240V +- 5% which gives a range of 114/228V - 126/252V, but often it is nominally referred to as 110/220V [much to the annoyance of people who are sticklers for accuracy] and the ratings on most residential electrical outlets are for 125/250V. To add to the confusion you have both 120/208V 3 phase wye and 240V 3 phase delta, so in the US (in the under 600V range) you can find nominal 120V, 208V, 240V, 277V, and 480V. Other values are allowable fluctuation (your power company may be choosing to be on the high side to achieve greater distribution efficiency) or line loss. Of course in other countries 100V, 110V, 220V, and 230V are common nominal values. I've heard that US nominal used to be 110V and was bumped up to 120V in the 30s to increase lamp life as the majority of available incandescent bulbs were 115V, but I have no evidence to back this up. If your mains are metering at 130V your electrical company is out of spec and in some jurisdictions could be subject to fines. ANSI C81.1 calls for +/- 5% at the service entrance and +6/-13% at the point of termination, but it's up to the local utility commission to regulate that. I believe that to be UL listed a product has to accept +/- 10% voltage fluctuation, but since you have to purchase UL standards, I'm not positive on that. -Michael Feinberg, CTS ------------------------------ Message-ID: <417480B1.9060308 [at] audiovisualdevices.com.au> Date: Tue, 19 Oct 2004 12:49:21 +1000 From: David Duffy Subject: Re: Prop authenticity question References: In-Reply-To: Michael Feinberg wrote: > I've heard that US nominal used to be 110V and was bumped up to 120V > in the 30s to increase lamp life as the majority of available > incandescent bulbs were 115V, but I have no evidence to back this up. Huh? Increased lamp life with 120V on a 115V lamp? David... ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 18 Oct 2004 23:01:11 -0400 From: Michael Feinberg Subject: Re: Prop authenticity question >>Michael Feinberg wrote: >>I've heard that US nominal used to be 110V and was bumped up to >>120V in the 30s to increase lamp life as the majority of available >>incandescent bulbs were 115V, but I have no evidence to back this >>up. > >Huh? Increased lamp life with 120V on a 115V lamp? >David... Doh. Of course not. Turn brain back on: This is the power company talking, so the actual rational is the opposite: increased brightness=increased customer happiness. Customer fails to notice the side effect of shortened lamp life. I remembered a switch due to 115V lamps and I guess I was trying to ascribe beneficial motivations to the power company. Sorry about that. Of course all of the above is speculation without any tangible facts. -Michael ------------------------------ Message-ID: <41748499.6020503 [at] audiovisualdevices.com.au> Date: Tue, 19 Oct 2004 13:06:01 +1000 From: David Duffy Subject: Re: Prop authenticity question References: In-Reply-To: Michael Feinberg wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >>> Michael Feinberg wrote: >>> I've heard that US nominal used to be 110V and was bumped up to 120V >>> in the 30s to increase lamp life as the majority of available >>> incandescent bulbs were 115V, but I have no evidence to back this up. >> >> >> Huh? Increased lamp life with 120V on a 115V lamp? >> David... > > > Doh. Of course not. Turn brain back on: This is the power company > talking, so the actual rational is the opposite: increased > brightness=increased customer happiness. Customer fails to notice the > side effect of shortened lamp life. > > I remembered a switch due to 115V lamps and I guess I was trying to > ascribe beneficial motivations to the power company. Sorry about > that. Of course all of the above is speculation without any tangible > facts. You personally remember the switch to 115V back in the 30's ? Maybe you just feel that old today! :-) David... ------------------------------ End of Stagecraft Digest #167 *****************************