Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 5581696; Fri, 26 Nov 2004 03:01:36 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #207 Date: Fri, 26 Nov 2004 03:01:12 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-4.2 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, BEEN_TURNED_DOWN autolearn=ham version=3.0.1 X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #207 1. Re: Acoustics - a chance for the sound guys to show off! by "Nick Blower" 2. Re: Surtitiles by "Paul Guncheon" 3. Re: Sound guys by "Paul Guncheon" 4. Re: Some outdoor "rigging" by Bill Sapsis 5. Re: Some outdoor "rigging" by Dale Farmer 6. Re: Surtitiles by Boyd Ostroff 7. Re: Surtitiles, bleah! by Steve Larson 8. Re: Surtitiles by IAEG [at] aol.com 9. Re: Surtitiles, bleah! by Richard Niederberg 10. Re: Surtitiles, bleah! by Steve Larson 11. Re: Surtitiles, bleah! by IAEG [at] aol.com 12. Annoying occupations (was: Surtitiles, bleah!) by Boyd Ostroff 13. Re: Annoying occupations (was: Surtitiles, bleah!) by "Mike Rock" 14. Night at the opera (was: Surtitiles, bleah) by Boyd Ostroff 15. Re: Annoying occupations by Steve Larson 16. Re: Annoying occupations and back to Surtitiles by MissWisc [at] aol.com 17. new terminology by IAEG [at] aol.com 18. Re: Annoying occupations and back to Surtitiles by Boyd Ostroff 19. Re: RP System by FrankWood95 [at] aol.com 20. Re: Annoying occupations and back to Surtitiles by Steve Larson 21. Re: Acoustics - a chance for the sound guys to show off! by FrankWood95 [at] aol.com 22. Re: cue lights by FrankWood95 [at] aol.com 23. Re: Acoustics - a chance for the sound guys to show off! by FrankWood95 [at] aol.com 24. Re: Surtitiles by FrankWood95 [at] aol.com 25. Re: Acoustics - a chance for the sound guys to show off! by IAEG [at] aol.com 26. Re: Annoying occupations and back to Surtitiles by FrankWood95 [at] aol.com 27. Re: short term laser rental by Jerry Durand 28. Re: cue lights by Jerry Durand 29. Re: cue lights by CB 30. Re: Surtitles,,, again by CB 31. cue lights by CB 32. Re: cue lights by CB 33. Re: Acoustics - a chance for the sound guys to show off! by Richard Niederberg 34. Listmembers in the L.A. area by Sunil Rajan 35. Re: Listmembers in the L.A. area by IAEG [at] aol.com 36. Re: Listmembers in the L.A. area by Herrick Goldman 37. Re: Acoustics - a chance for the sound guys to show off! by "Nick Blower" 38. Re: Surtitles,,, again by FrankWood95 [at] aol.com 39. Re: Listmembers in the L.A. area by IAEG [at] aol.com 40. Re: Annoying occupations (was: Surtitiles, bleah!) by Mat Goebel 41. Re: Annoying occupations (was: Surtitiles, bleah!) by "Tony" 42. Re: Surtitiles by "Andy Leviss" 43. Re: Annoying occupations (was: Surtitiles, bleah!) by Mat Goebel 44. Acoustics - a chance for the sound guys to show off! by CB 45. Thanksgiving Baby by "Sam Fisher" 46. Re: References by June Abernathy 47. Re: Thanksgiving Baby by "Dr. Randall W.A. Davidson" 48. Re: Thanksgiving Baby by "Daryl Redmon" 49. Re: Thanksgiving Baby by Greg Persinger 50. Re: cue lights by seanrmc [at] earthlink.net 51. Re: Thanksgiving Baby by Herrick Goldman 52. Re: cue lights by Dorian Kelly *** 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. ---------------------------------------------------------------------- Reply-To: From: "Nick Blower" Subject: RE: Acoustics - a chance for the sound guys to show off! Date: Thu, 25 Nov 2004 12:31:11 -0000 Message-ID: <000401c4d2ea$a5f40730$0400a8c0 [at] silvertoe> In-Reply-To: Yay, A Level physics! :P I believe unless you are going to get down to the ultra 'nitty gritty' = then room size isn't such an important issue as the shape, material, and placement of the speakers. Room size in terms of .5-1m larger or = smaller, not large - small.. The cancellation effect you are talking about happens when two identical waves are exactly out of phase from each other (180deg or 1/2T). The simplest way to show this is to draw a sine wave and then draw another = so the mid points of the waves meet. If you take the average of any point = it will be 0. Likewise when the two waves are in phase then the waves will combine and = the amplitude will double. You can sort of hear this effect if you place two speakers playing a = mono track from 2-3m apart. Now move between them, apart from obviously = noticing that one is louder when you are closer, you should at least notice that = the sound is louder in the middle. Part of this is because the brain is = happier hearing two sounds of the same level, but the effect is present. This same effect is present is reflections from walls etc, therefore it = is a good idea to ensure that your speakers aren't pointing normal to a wall = and that they are spread across the room. Having walls that aren't straight, flat, or parallel will help with this. The material of your room will help greatly with this. A good example is = the concert hall at the Sydney Opera House. It is mainly made of wood and = the acoustical design is so good that you can hear someone on stage speaking fairly well. This makes it ideal for the classical concerts it houses. A rock gig in there would sound overly bassy and would have a large echo because the output volume is so much louder. The Royal Albert Hall in London is a good example of a venue that can = coap well with both types of music. When the hall was first build they paid little attention to acoustics, the roof was made of metal (bad for sound reflections) and was 'open'. To correct this acoustical 'mushrooms' were installed. These reflect and absorb some of the sound, some misses and = gets lost. Three canopies are installed above the stage which push the sound = from a live orchestra out, whilst for a rock gig they can be hoisted up out = of the way. Right that's enough from me. There's loads of books on acoustics which explain far better than me! HTH Nick =20 --=20 ______________________________________ Nick Blower (nick [at] redeggs.co.uk) Technical Manager and Chief Engineer UKC Radio, UKC Dramatics, Musical Theatre Society http://www.ukcradio.co.uk/ http://www.ukcdramatics.co.uk/ -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of MissWisc [at] aol.com Sent: 25 November 2004 06:07 To: Stagecraft Subject: Acoustics - a chance for the sound guys to show off! For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Was talking with a colleague today about room acoustics. He said = theaters=20 shouldn't have wall dimensions that are even numbers, e.g. 20' x 60', because=20 that increases the number of standing waves. Instead they should have = odd=20 numbered lengths, e.g. 21' x 63'. This idea came from a book on home = theatre - "Home=20 Theatre Design" by Rushing.=20 My acoustics class was 20 years ago so I'm a bit rusty when it comes to = room design but this doesn't make sense to me. IIRC, standing waves are = caused when=20 the direct sound waves are cancelled out by reflected sound waves. (Not = a=20 very technical definition and you could also have two reflected sound = waves=20 cancel each other.) Because there is no vibration where the two waves = cancel each=20 other out, they are places of no sound for that specific pitch.=20 It seems to make sense that different wall lengths could change which=20 frequencies (pitches) create the standing waves - as that would change = where the=20 standing part of the wavelength happens. Also seems to make sense that changing=20 frequencies with the original wall dimensions would change where the standing=20 waves happen. I'd even agree that pieces in the key of C (wavelength of Middle C=20 being approximately 2') might sound more "dead" if both dimensions of = the=20 room are evenly divisible by 2', but that's only one key out of 12 = possible and=20 it's not the key most often used by bands (F, Bb, Eb) or orchestras (G, = D, A).=20 I thought was that it was more important to have walls that are not = exactly=20 parallel (e.g. most theaters have side walls that fan out slightly = and/or use=20 acoustical shells/panels/curtains to reflect or absorb sound) so that = fewer=20 standing waves from any frequency occur. Thoughts??? Do acoustical consultants consider if more concerts in a = hall=20 will be orchestras versus bands when designing?=20 Kristi ------------------------------ Message-ID: <003101c4d2ed$fe0c7d50$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Surtitiles Date: Thu, 25 Nov 2004 02:55:07 -1000 << > I can't see how a projector mounted from a pipe, shooting into one or two > front surface mirrors, onto a specially constructed RP screen which now > probably has to hang into the proscenium opening will be a "better" system. Well, where else do you put a surtitle screen? I've never seen one anywhere else. >> Above the proscenium arch, out of the "picture" area. Laters, Paul "I unclogged the kitchen sink with a vacuum cleaner," Tom said succintly. ------------------------------ Message-ID: <003501c4d2f0$aec7cc10$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Sound guys Date: Thu, 25 Nov 2004 03:14:22 -1000 <> Sheesh... So how does this response help in your "fighting every inch of the way to be respected"? If I didn't respect the sound department, I wouldn't comment on them at all. This is family here, there's going to be teasing and jokes about all departments. I would recommend not taking it seriously... As it offends you, I will refrain from any more humor, or feeble attempts at it, concerning sound. Laters, Paul ------------------------------ Date: Thu, 25 Nov 2004 09:36:30 -0500 Subject: Re: Some outdoor "rigging" From: Bill Sapsis Message-ID: In-Reply-To: on 11/24/04 9:46 AM, Alf Sauve at alf [at] sauve.org wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Okay, so I don't do a lot of traditional rigging, but I had to remove an > extra steeple from one of the older buildings. > > http://sauve.org/steeple01.jpg > http://sauve.org/steeple02.jpg > > The spire part (about 25') was cut and removed first. Then this part was > taken down. > Co-workers shown in second picture for size comparison. That section was > 2,800pounds. Right at the limit for the crane at that boom length and > angle. > > Anybody want to buy a slighty used steeple? Or rather tall playhouse with > a pointy roof? Some assembly required. Available for pickup in Marietta, > GA, USA > > > Alf > Gee. That looks like fun. I'm curious though. Was the steeple originally built with the idea of picking the whole thing up and placing it on the roof. I can imagine that it was a bit tricky finding the right hanging points so that it didn't self destruct on the way down. Nicely done. I'd take it off your hands in a heartbeat if you were closer (a lot closer) to me. It would really piss off the neighbors if I put it in my front yard! 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: <41A5F1EC.11E06054 [at] cybercom.net> Date: Thu, 25 Nov 2004 09:53:32 -0500 From: Dale Farmer Subject: Re: Some outdoor "rigging" References: Bill Sapsis wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > on 11/24/04 9:46 AM, Alf Sauve at alf [at] sauve.org wrote: > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Okay, so I don't do a lot of traditional rigging, but I had to remove an > > extra steeple from one of the older buildings. > > > > http://sauve.org/steeple01.jpg > > http://sauve.org/steeple02.jpg > > > > The spire part (about 25') was cut and removed first. Then this part was > > taken down. > > Co-workers shown in second picture for size comparison. That section was > > 2,800pounds. Right at the limit for the crane at that boom length and > > angle. > > > > Anybody want to buy a slighty used steeple? Or rather tall playhouse with > > a pointy roof? Some assembly required. Available for pickup in Marietta, > > GA, USA > > > > > > Alf > > > > Gee. That looks like fun. I'm curious though. Was the steeple originally > built with the idea of picking the whole thing up and placing it on the > roof. I can imagine that it was a bit tricky finding the right hanging > points so that it didn't self destruct on the way down. > > Nicely done. > > I'd take it off your hands in a heartbeat if you were closer (a lot closer) > to me. It would really piss off the neighbors if I put it in my front yard! Most any church steeple built in the last 50 or so years was made to be built on the ground and lifted into place. Costs of putting up scaffolding to build it in place, plus worker liability insurance costs made that an easy call. There is a company in NH that specializes in removing old church steeples and renovating them. Sometimes the only thing that remains from the old steeple is the glass in the windows, they were so rotten. They work on them laying on the side in an old barn. --Dale ------------------------------ Date: Thu, 25 Nov 2004 10:34:12 -0500 (EST) From: Boyd Ostroff Subject: Re: Surtitiles In-Reply-To: Message-ID: References: On Thu, 25 Nov 2004, Paul Guncheon wrote: > Well, where else do you put a surtitle screen? I've never seen one > anywhere else. Above the proscenium arch, out of the "picture" area. Maybe I don't understand... do you mean the screen is hanging above the proscenium, in the FOH? I have seen this in some places. But I don't necessarily think it's the norm. The problem is sightlines from balcony seats, and seats under overhanging balconies. Placing the screen too high creates surtitle obstructions for those seats. If you don't work regularly in opera then you have no idea what a hot button this is. We finally did a "surtitle survey" where we sat in all the borderline seats and indicated which were surtitle-obstructed. Due to the odd nature of our historic 19th century opera house, it's just impossible to hang the screen so that it's visible from every seat. But we have to make an effort to include as many seats as possible. The result is that the bottom edge of the screen needs to trim 27' off the stage floor. If it's even 6" above that then we get nasty letters. Unfortunately this does intrude into the stage picture, and as a designer I'm not all that happy about this, but I just have to accept it. When we send info packets to guest designers we always let them know in advance about this, but also tell them that it is not negotiable. Just a couple days ago I was looking at a section somebody sent me from a production we're renting to Cleveland Opera. In their theatre the bottom of the screen trims something like 19' off the floor for the same reasons. That's really extreme. But my point is that the real issues involved with using title projections are NOT technical. It's all about keeping your audience happy (and since many of them just seem to be miserable people, that's a challenge ;-) I'm sure Frank will have some other "invention" to solve all these problems too... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Thu, 25 Nov 2004 10:40:18 -0500 Subject: Re: Surtitiles, bleah! From: Steve Larson Message-ID: In-Reply-To: Opera, why it is more than just annoying! Let's bury this dead horse. I'm sure that as different opera houses are one from the other, that whatever the folks in each house are doing, is the way that works best there. For some of us, we are thankful that we don't have to do opera anymore. Steve on 11/25/04 10:34 AM, Boyd Ostroff at ostroff [at] operaphilly.com wrote: It's all about keeping your audience happy (and since > many of them just seem to be miserable people, that's a challenge ;-) ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 25 Nov 2004 10:45:30 EST Subject: Re: Surtitiles In a message dated 11/25/04 10:33:04 AM, ostroff [at] operaphilly.com writes: >Just a couple days ago I was looking at a section somebody sent me from >a >production we're renting to Cleveland Opera. In their theatre the bottom > >of the screen trims something like 19' off the floor for the same reasons. > >That's really extreme. oh my goodness ! that's not only "extreme" that's AFWUL ! some foundation needs to give them the $$'s to do the seat back lcd screens like the MET ( and now La Scala too I believe ) very best, Keith Arsenault ------------------------------ Date: Thu, 25 Nov 2004 07:59:46 -0800 Subject: Re: Surtitiles, bleah! Message-ID: <20041125.075955.3272.1.ladesigners [at] juno.com> From: Richard Niederberg ALW operas make lots of money, and most Grand operas provide a high degree of professional stage employment, so let's not diss 'em too bad. /s/ Richard > For some of us, we are thankful that we don't have > to do opera anymore. > Steve ________________________________________________________________ Juno Platinum $9.95. Juno SpeedBand $14.95. Sign up for Juno Today at http://www.juno.com! Look for special offers at Best Buy stores. ------------------------------ Date: Thu, 25 Nov 2004 11:25:17 -0500 Subject: Re: Surtitiles, bleah! From: Steve Larson Message-ID: In-Reply-To: I'm not dissing the employees. Speaking of opera, anyone watch A Night at the Opera last night on TV? Was that really Kitty Carlisle's voice? Steve on 11/25/04 10:59 AM, Richard Niederberg at ladesigners [at] juno.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > ALW operas make lots of money, and most Grand operas provide a high > degree of professional stage employment, so let's not diss 'em too bad. > /s/ Richard > >> For some of us, we are thankful that we don't have >> to do opera anymore. >> Steve > > ________________________________________________________________ > Juno Platinum $9.95. Juno SpeedBand $14.95. > Sign up for Juno Today at http://www.juno.com! > Look for special offers at Best Buy stores. > > ------------------------------ From: IAEG [at] aol.com Message-ID: <19e.2bdb992b.2ed7631b [at] aol.com> Date: Thu, 25 Nov 2004 11:32:27 EST Subject: Re: Surtitiles, bleah! In a message dated 11/25/04 11:27:08 AM, tiptd [at] theatreinthepark.com writes: >Was that really Kitty Carlisle's voice? yep, , , we forget she was a B'way star , , , and she's the widow of Moss Hart, , and former head of the New York State Council of the Arts, , very best, Keith Arsenault ------------------------------ Date: Thu, 25 Nov 2004 11:56:52 -0500 (EST) From: Boyd Ostroff Subject: Annoying occupations (was: Surtitiles, bleah!) In-Reply-To: Message-ID: References: On Thu, 25 Nov 2004, Steve Larson wrote: > Opera, why it is more than just annoying! > For some of us, we are thankful that we don't have to do opera anymore. MULTIPLE CHOICE Pick one item from the list and insert into the statement below: -------------- [your choice here], why it is more than just annoying! For some of us, we are thankful that we don't have to do [your choice here] anymore. -------------- a. Opera b. Academic theatre c. LORT theatres d. Ballet e. Broadway f. Theme parks g. other (please specify) Happy Thanksgiving Steve... | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: <000d01c4d310$68505890$80fea8c0 [at] Fred> From: "Mike Rock" References: Subject: Re: Annoying occupations (was: Surtitiles, bleah!) Date: Thu, 25 Nov 2004 11:01:29 -0600 Dance shows, why it is more than just annoying! A bunch of parents crowding the wings space rolling their eyes when they are asked to leave, if they didnt pay so much for a student I might be able to turn them down. Wait Im thankfull for the check after a dance show. Mike Rock ------------------------------ Date: Thu, 25 Nov 2004 12:06:27 -0500 (EST) From: Boyd Ostroff Subject: Night at the opera (was: Surtitiles, bleah) In-Reply-To: Message-ID: References: On Thu, 25 Nov 2004, Steve Larson wrote: > Was that really Kitty Carlisle's voice? There's a pretty funny story about that, from an interview I saw with her on TCM. When they went to shoot her first opera scene they played back a recording of the aria, and it wasn't the one Kitty had made, it was another singer. She was very upset and complained. The director told her not to worry about it and just do the scene. She got so peeved that she locked herself in her dressing room and wouldn't come out until her agent came to get her. Evidently she was under the impression that the movie was really about her abilities as an opera singer. She said she didn't know anything about the Marx Brothers, and only took the part so she could sing Trovatore, which is why she was so upset when they played back another voice. Watching her give this interview as an old lady, you sort of wondered if she ever "got it." I met her when she was the head of NYSCA over 20 years ago. She was touring our production center in Syracuse which was pretty modest, located in a run down old school, but we did have shop and rehearsal space in the same building. I was introduced as the guy who was in charge of all this and she said that it was wonderful, that even the Met didn't have anything like this. When I responded "Well I don't think we're in quite the same league as the Met..." she put me right in my place by saying "Young man: I have WORKED at the Met, and I can TELL you that they do NOT have anything like this!" | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Thu, 25 Nov 2004 12:24:21 -0500 Subject: Re: Annoying occupations From: Steve Larson Message-ID: In-Reply-To: We do a very large production of A Christmas Carol. 30th anniversary this year. Since day one--- Parents are not allowed backstage, board members are not allowed backstage. If you ain't in it or running it, you are not allowed backstage. No exceptions. We have about 30 people under the age of 18 in the show. We have kid wranglers who escort the children wherever and whenever they have to leave the dressing room or the stage. When we tour out of town, all children must be accompanied by a parent whenever out of the theatre. No exceptions. We're in Columbia, SC for two shows this Saturday. I've made a lot of money over the years with dance school recitals. Rule 1 - No parents backstage, only kid wranglers. Rule 2 - No glitter, no home made sets Rule 3 - Payment up front (for several obvious reasons) It works for me. No exceptions. Using me and my space- you live by my rules. Never been turned down yet. It's all in the communication with the dance teachers. Steve on 11/25/04 12:01 PM, Mike Rock at rockm [at] new.rr.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Dance shows, why it is more than just annoying! A bunch of parents crowding > the wings space rolling their eyes when they are asked to leave, if they > didnt pay so much for a student I might be able to turn them down. Wait Im > thankfull for the check after a dance show. > > Mike Rock > > > > ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Thu, 25 Nov 2004 12:45:54 EST Subject: Re: Annoying occupations and back to Surtitiles In a message dated 11/25/4 10:55:44 AM, ostroff [at] operaphilly.com wrote: <> I vote for G... "second graders who throw up on my shoes during dress rehearsal, kindergarteners who forget they are potty trained during the show, and parents who are more concerned about videotaping Sonny's first performance than following the laws regarding copyright and fire cod much less good manners, and common sense". Now I have middle schoolers with parents who rival the opera snobs in whiny-ness. "How come Junior's in the back row? I couldn't get a clear photo of him with my camera!" The fact junior is 6' (2 meters) tall, towers over his classmates, and sings bass doesn't seem to matter. As for surtitles... it's OPERA not foreign film. The story of Tosca is the same as it's been for hundreds of years. La Boehm - Mimi's gonna die, bet on it. Die Fleidermaus - filled with humor... if you don't get the jokes, just laugh whe everyone else does to be polite. You can ask someone about it over a nightcap. Carmen doesn't need surtitles to show that she's one sexy dame...assuming you have a mezzo who can ACT in the part. Next thing they'll want the surtitles in English and Spanish just like DVDs. Read what's gonna happen before you get there. Come early read the program, they often have the storyline in it . Imagine a ballet with surtitles??? "Odette dances. She dances some more to show how she can look like a swan. Now lots of women in black dance the same steps to look like a murder of crows." Dance often tells stories too. Maybe that makes ballet audiences smarter than opera audiences. ;) (ducking for cover!) Have a great Thanksgiving Day my friends! I look forward to l-tryptophan induced acoustics instruction later this evening! Kristi ------------------------------ From: IAEG [at] aol.com Message-ID: <1ee.2f8f6dff.2ed775b8 [at] aol.com> Date: Thu, 25 Nov 2004 12:51:52 EST Subject: new terminology In a message dated 11/25/04 12:46:42 PM, MissWisc [at] aol.com writes: >throw up on my shoes after recently doing some work for a couple of theme parks, , I have acquired their terminology for this they refer to it as "A Protein Spill" sounds much better over the radio system, , , very best, Keith Arsenault ------------------------------ Date: Thu, 25 Nov 2004 13:04:15 -0500 (EST) From: Boyd Ostroff Subject: Re: Annoying occupations and back to Surtitiles In-Reply-To: Message-ID: References: On Thu, 25 Nov 2004 MissWisc [at] aol.com wrote: > As for surtitles... it's OPERA not foreign film. I like the way you think Kristi... maybe we can have you down for a pre-opera talk sometime ;-) > Next thing they'll want the surtitles in English and Spanish just like > DVDs. Truth is stranger than fiction, this has been happening for a long time. Montreal Opera has titles in French and English (with a dividing line down the middle of the screen. I believe European countries may do the same (Frank is the expert on that though). The Met's seat back titles have a feature that lets you choose your language (not sure if they are implementing at this time though). | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 25 Nov 2004 13:06:05 EST Subject: Re: RP System In a message dated 25/11/04 01:07:57 GMT Standard Time, slitterst [at] ithaca.edu writes: > Well, ours hangs above the proscenium opening, as designed. The > design team wanted the titles to be visually accesible, but not to intrude > upon the stage picture. It worked quite well for that production. Most European operhouses, old and new alike, have tall proscenium arches. The older ones are often very ornate and gilded. To reduce the height, a black border is usually flown in, and the surtitle engine sits between that and the main house tabs. Since the houss are also very tall, patrons in the stalls are liable to get a crick in the neck from having to look too far up to see them. The Met has individual displays built into the seat backs, I believe. This may lead to eye strain, as you have to keep shifting your focus. Normal ones work best from the higher seats in the house, as thay are closer to your eyeline when watching the opera. Since these seats are all I can usually afford, it suits me fine! Frank Wood ------------------------------ Date: Thu, 25 Nov 2004 13:13:37 -0500 Subject: Re: Annoying occupations and back to Surtitiles From: Steve Larson Message-ID: In-Reply-To: Hey, that's what I had for Thanksgiving Dinner. Steve on 11/25/04 12:45 PM, MissWisc [at] aol.com at MissWisc [at] aol.com wrote: "fire cod" ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <6d.391ba275.2ed77e68 [at] aol.com> Date: Thu, 25 Nov 2004 13:28:56 EST Subject: Re: Acoustics - a chance for the sound guys to show off! In a message dated 25/11/04 06:08:03 GMT Standard Time, MissWisc [at] aol.com writes: > Was talking with a colleague today about room acoustics. He said theaters > shouldn't have wall dimensions that are even numbers, e.g. 20' x 60', > because > that increases the number of standing waves. Instead they should have odd > numbered lengths, e.g. 21' x 63'. This idea came from a book on home theatre > - "Home > Theatre Design" by Rushing. Somebody having walked off with my Parker and Hale, I have to speak from memory. > > It seems to make sense that different wall lengths could change which > frequencies (pitches) create the standing waves - as that would change where > the > standing part of the wavelength happens. Also seems to make sense that > changing > frequencies with the original wall dimensions would change where the > standing > waves happen. I'd even agree that pieces in the key of C (wavelength of > Middle C > being approximately 2') might sound more "dead" if both dimensions of the > room are evenly divisible by 2', but that's only one key out of 12 possible > and > it's not the key most often used by bands (F, Bb, Eb) or orchestras (G, D, A) What is important is that, as far as possible, the room dimensions have as few common factors as possible which correspond to wavelengths in the audio band. The same problem arises, on a smaller scale, in the design of loudspeaker enclosures. The ratios 2.3:1.6:1.0 are recommended. > I thought was that it was more important to have walls that are not exactly > parallel (e.g. most theaters have side walls that fan out slightly and/or > use > acoustical shells/panels/curtains to reflect or absorb sound) so that fewer > standing waves from any frequency occur. This is helpful, certainly. So, funnily enough, is all the ornate plasterwork that our ancestors used. It transforms a specular reflector into a diffuse reflector, which is less likely to cause standing waves. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 25 Nov 2004 13:48:02 EST Subject: Re: cue lights In a message dated 25/11/04 06:59:00 GMT Standard Time, seanrmc [at] earthlink.net writes: > A couple reasons. > > All of our cable inventory is 12/3 stage lighting cable. I'd prefer to not > have to add another cable type just to support cue lights. I see what you mean, and, given the US method of using cue lights, I suppose that it works as well as you might expect. The US amazes me. Technologically advanced, and technologically conservative at the same time. Cape Caneveral, and Broadway. > > Occasionally cue lights are run as one circuit in a six-circuit mult. Bad > idea to mix line and low voltage due to the possibility of plugging the low > voltage load into a line voltage outlet. True. I shouldn't do it. I'ld grit my teeth to use mains voltage cue lights, but I'ld do it. > > Oh, and all the other parts are set up already to be line-voltage (plug boxs > on stage, the cable runs to them, the large supply of 7.5w lamps, and the > cage-protected sockets. Why the large supply of 7.5W lamps? Are they not very reliable? > > I just want an interface and a remote rack of relays to add to the system. > > That make sense? In your terms, yes. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 25 Nov 2004 13:56:38 EST Subject: Re: Acoustics - a chance for the sound guys to show off! In a message dated 25/11/04 12:32:23 GMT Standard Time, stagecraft [at] nick.redeggs.co.uk writes: > The material of your room will help greatly with this. A good example is the > concert hall at the Sydney Opera House. It is mainly made of wood and the > acoustical design is so good that you can hear someone on stage speaking > fairly well. I will just point out that the Greek theatre at Ephesos allows you to hear, clearly, a normal conversational voice in the back row. It's made of stone, and I don't know how they did it. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f9.2b60cb9.2ed786e6 [at] aol.com> Date: Thu, 25 Nov 2004 14:05:10 EST Subject: Re: Surtitiles In a message dated 25/11/04 15:33:04 GMT Standard Time, ostroff [at] operaphilly.com writes: > I'm sure Frank will have some other "invention" to solve all these > problems too... I'm sorry, but no. Like you, I am constrained by the laws of optics. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <102.54eea69a.2ed787ad [at] aol.com> Date: Thu, 25 Nov 2004 14:08:29 EST Subject: Re: Acoustics - a chance for the sound guys to show off! In a message dated 11/25/04 1:57:18 PM, FrankWood95 [at] aol.com writes: >> The material of your room will help greatly with this. A good example >is the >> concert hall at the Sydney Opera House. It is mainly made of wood and >the >> acoustical design is so good that you can hear someone on stage speaking >> fairly well. > >I will just point out that the Greek theatre at Ephesos allows you to hear, > >clearly, a normal conversational voice in the back row. It's made of stone, >and >I don't know how they did it. > > >Frank Wood but let us not forget, , the concert hall at the Sydney Opera was originally concieved as the Opera Hall, , and the Opera Hall was originally concieved as the Concert Hall very best, Keith Arsenault ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 25 Nov 2004 14:14:37 EST Subject: Re: Annoying occupations and back to Surtitiles In a message dated 25/11/04 18:02:50 GMT Standard Time, ostroff [at] operaphilly.com writes: > Truth is stranger than fiction, this has been happening for a long time. > Montreal Opera has titles in French and English (with a dividing line down > the middle of the screen. I believe European countries may do the same > (Frank is the expert on that though). I haven't seen that. But then, I don't visit bi-lingual countries. In France, the titles are in French: in the UK, in English. I can live with either. Heaven knows what they do in Luxembouirg. Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20041125113511.0407b190 [at] localhost> Date: Thu, 25 Nov 2004 11:41:01 -0800 From: Jerry Durand Subject: Re: short term laser rental In-Reply-To: References: At 11:21 AM 11/24/2004, you wrote: >Wow! 50mW?! What are you doing on stage? Cutting open a bank vault made of >titanium? Shooting down an enemy satillite? Lighting up the dark side of the >moon? Hey, I've used 1200W IR lasers (used to rebuild them) and my screwdriver handle only has a hole part-way through (and no holes in me). :) He's probably painting pictures with it (as in vector drawing), that can take a pretty powerful laser. Same with hologram projection (I believe we used a 1W argon one for holograms that were room-sized, long time ago). Many years ago I built a system that would take any bit-mapped picture and burn it (raster-style pixels) into whatever you could fit under the lens. It was for a customer, not sure where that ended up. ---------- 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 ------------------------------ Message-Id: <6.2.0.14.0.20041125124337.03fdbde8 [at] localhost> Date: Thu, 25 Nov 2004 12:45:42 -0800 From: Jerry Durand Subject: Re: cue lights In-Reply-To: References: At 03:06 PM 11/24/2004, you wrote: > But the plugs don't fit.. I have a house in France. I also have a 4-way >English adaptor, with a French plug on the end. This caters for my >scrwedriver, >telephone, and camera. Not to mention the CD player. All of these need UK >sockets, because the power supplies are built into UK plugs. Some other countries do use the N.American flat prongs with different voltages (Japan has at least two different voltages in the same country). Yes, a different plug is needed for some countries. We always keep a round-prong version in stock, haven't had any call for the huge UK plugs with the rectangular pins. ---------- 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 ------------------------------ Message-Id: <3.0.6.32.20041125141522.017fc750 [at] pop.west.cox.net> Date: Thu, 25 Nov 2004 14:15:22 From: CB Subject: Re: cue lights >Side note... I often wondered why so many electrical devices use "wall >warts" (those transformers with plugs on them that usually block all the >outlets and generally annoy). Most of the devices that use them have enough >space internally to house the transformer... so why? Actually, the main reason is that the same unit can be shipped to any number of countries with any number of electrical delivery specs, and you just ship a different wall wart with it. Far cheaper than having three setups inside the box or three different production runs. Usually the wallwarts are mass-produced by another manufacturer, and the gear man. orders what he intends to ship to whatever locale. The excuse they usually use is that noise is kept outside the box, but we all know that the way to the answer is to follow the money... 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: <3.0.6.32.20041125142902.017fc750 [at] pop.west.cox.net> Date: Thu, 25 Nov 2004 14:29:02 From: CB Subject: Re: Surtitles,,, again Frank Wrote: >Due to a spasm of my e-mail server, I haven't seen the questions. Send them >to me, and I shall answer them. And I quote, from a message from Frank Wood, (Stagecraft Digest #205, Message #29, Nov. 24, 2004): "If I were to want my supratitles to be eighteen feet wide, and eighteen inches tall (a minimum in some of the houses you suggest) how large a mirror would I need? How would that mirror be suspended, much less hauled into place, without bending or breaking it? How much would such a mirror cost? What about shipping? What about the AZ Opera here, which travels between Tucson and Phoenix, and sometimes Flagstaff? Would it be more reasonable to buy three, or perhaps trucking and re-rigging is cheaper? Can I find eighteen inches of clearance between the pro and the first rag or border in most houses, with a clear shot to where the projector will be mounted? Most projectors won't like to be mounted lens down because they need to evacuate so much heat, so I'll likely need a second mirror, albiet smaller." The last sentence implies the question, "Is it preferable to abuse the projector by pointing it down or use a second mirror?" This will be considered extra credit. 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: <3.0.6.32.20041125143556.017fc750 [at] pop.west.cox.net> Date: Thu, 25 Nov 2004 14:35:56 From: CB Subject: cue lights >Gee, would you really let humheads rig something that absolutely has to >work during a performance? > HMMmm.. Marty Petlock... M-A-R-T-Y P-E-T-L-O-C-K. Sarasota Fl. OK guys, its a green light. Remember, he's wearing a vest, so head shots are the mode o day! 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: <3.0.6.32.20041125144154.017fc750 [at] pop.west.cox.net> Date: Thu, 25 Nov 2004 14:41:54 From: CB Subject: RE: cue lights >I know it is in good clean joshing mode, but twice today this list has dissed sound- once with the make-up crack and now this. Chip, you just need to know how to interpret these comments. Think of them as an opportunity to return fire. One of the joys that working with a squint frined of mine is the constant barrage of 'attacks' that bounce back and forth during setup. Of course, moving lights get focused on the FOH sound position far too frequently, but that probably has something to do with dialing out the feedback while he's up on the lift focusing! ; > "Green light, take the shot!" 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... ------------------------------ Date: Thu, 25 Nov 2004 13:58:15 -0800 Subject: Re: Acoustics - a chance for the sound guys to show off! Message-ID: <20041125.135818.3272.2.ladesigners [at] juno.com> From: Richard Niederberg The Hollywood Bowl has done this, also, for the last +/- 90 years, while at the same time being safe for REAL fireworks ON stage... Of course, incombustible floors and walls [concrete/masonry help. Cleaning with 150 psi firehoses is easy, and so is delivery of equipment to the FOH light and sound positions because you can drive a truck on the cross-aisles. /s/ Richard > I will just point out that the Greek theatre at Ephesos allows you > to hear, clearly, a normal conversational voice in the back row. > Frank Wood ________________________________________________________________ Juno Platinum $9.95. Juno SpeedBand $14.95. Sign up for Juno Today at http://www.juno.com! Look for special offers at Best Buy stores. ------------------------------ In-Reply-To: References: Message-Id: From: Sunil Rajan Subject: Listmembers in the L.A. area Date: Thu, 25 Nov 2004 14:39:17 -0800 Cc: macfoh [at] yahoogroups.com Cc: daw-mac [at] yahoogroups.com Cc: THEATRE-SOUND [at] LISTSERV.AOL.COM (Discussion list for people working in sound for live theatre.) Hi folks, sorry for the bandwidth! While I haven't had a chance to meet any list members in the Los Angeles area yet, I would still be interested in meeting folks before my stay in town is over! I'm still working on The 10 Commandments: The Musical at the Kodak Theatre, and we're scheduled to close December 5th. I'll be in town until the 8th at least. We'll probably get a few more performances of comps if any of you are interested, or just need a good laugh. Drop me a line! Cheers, Sunil Rajan Freelance Audio Mercenary Monitor Mixer: The 10 Commandments ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 25 Nov 2004 17:52:39 EST Subject: Re: Listmembers in the L.A. area In a message dated 11/25/04 5:38:56 PM, squeakypig [at] earthlink.net writes: > >Hi folks, sorry for the bandwidth! >While I haven't had a chance to meet any list members in the Los >Angeles area yet, I would still be interested in meeting folks before >my stay in town is over! I'm still working on The 10 Commandments: The > >Musical at the Kodak Theatre, and we're scheduled to close December >5th. I'll be in town until the 8th at least. We'll probably get a few > >more performances of comps if any of you are interested, or just need a > >good laugh. >Drop me a line! >Cheers, >Sunil Rajan >Freelance Audio Mercenary >Monitor Mixer: The 10 Commandments is this the same 10 COMMANDMENTS that played in Orlando at the Orange Country Convention Center a few years ago ? very best, Keith Arsenault ------------------------------ Date: Thu, 25 Nov 2004 18:02:44 -0500 Subject: Re: Listmembers in the L.A. area From: Herrick Goldman Message-ID: In-Reply-To: No Keith it's the one with Val Kilmer as (gasp) Moses! I'll let Sunil fill us in if he chooses too. An old friend is in management so I shouldn't tell tales out of class. I Hear it's GrEAT!!! Really I do.... -- 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 ------------------------------ Reply-To: From: "Nick Blower" Subject: RE: Acoustics - a chance for the sound guys to show off! Date: Thu, 25 Nov 2004 23:04:47 -0000 Message-ID: <000a01c4d343$2a306220$0400a8c0 [at] silvertoe> In-Reply-To: Have a look at http://ffden-2.phys.uaf.edu/211_fall2002.web.dir/Quinton_Harris/home2.html It's obviously written by a student but is an ok intro to acoustics. Nick -- ______________________________________ Nick Blower (nick [at] redeggs.co.uk) Technical Manager and Chief Engineer UKC Radio, UKC Dramatics, Musical Theatre Society http://www.ukcradio.co.uk/ http://www.ukcdramatics.co.uk/ -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Richard Niederberg Sent: 25 November 2004 21:58 To: Stagecraft Subject: Re: Acoustics - a chance for the sound guys to show off! For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The Hollywood Bowl has done this, also, for the last +/- 90 years, while at the same time being safe for REAL fireworks ON stage... Of course, incombustible floors and walls [concrete/masonry help. Cleaning with 150 psi firehoses is easy, and so is delivery of equipment to the FOH light and sound positions because you can drive a truck on the cross-aisles. /s/ Richard > I will just point out that the Greek theatre at Ephesos allows you > to hear, clearly, a normal conversational voice in the back row. > Frank Wood ________________________________________________________________ Juno Platinum $9.95. Juno SpeedBand $14.95. Sign up for Juno Today at http://www.juno.com! Look for special offers at Best Buy stores. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1aa.2c133e5a.2ed7c66f [at] aol.com> Date: Thu, 25 Nov 2004 18:36:15 EST Subject: Re: Surtitles,,, again In a message dated 25/11/04 21:28:29 GMT Standard Time, psyd [at] cox.net writes: > And I quote, from a message from Frank Wood, (Stagecraft Digest #205, > Message #29, Nov. 24, 2004): > "If I were to want my > supratitles to be eighteen feet wide, and eighteen inches tall (a minimum > in some of the houses you suggest) how large a mirror would I need? About the same size. How > would that mirror be suspended, much less hauled into place, without > bending or breaking it? How much would such a mirror cost? What about > shipping? Rosco do a good line in mirror film. While less prefect than a surface silvered mirror, I think that it will serve. > > The last sentence implies the question, "Is it preferable to abuse the > projector by pointing it down or use a second mirror?" This will be > considered extra credit. Well, I don't know the projectors. You seem to. But an additional small mirror is no great problem. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <75.391c6628.2ed7c92c [at] aol.com> Date: Thu, 25 Nov 2004 18:47:56 EST Subject: Re: Listmembers in the L.A. area In a message dated 11/25/04 6:02:56 PM, Herrick [at] HGLightingDesign.com writes: >No Keith it's the one with Val Kilmer as (gasp) Moses! > >I'll let Sunil fill us in if he chooses too. An old friend is in management >so I shouldn't tell tales out of class. I Hear it's GrEAT!!! Really I >do.... the one in Orlando was a disaster, , , , horses on treadmills doing the chariot race, , etc etc, , , went bankrupt, , badly marketed, bad location , not sure what happened to the set, , I know someone at the venue and he had it "stuck" on his stage for at least a month after it closed very best, Keith Arsenault ------------------------------ Message-ID: Date: Thu, 25 Nov 2004 15:51:28 -0800 From: Mat Goebel Reply-To: Mat Goebel Subject: Re: Annoying occupations (was: Surtitiles, bleah!) In-Reply-To: References: Theme parks are the worst. A show gets old real fast 6 performances a day, 6 days a week. Not to mention the shows are never that good because there is never much resources put into them. And the sub-standard equipment breaks constantly. And you get guest complaints beacuse the show isnt funny. Grrrrrrrr...... -- Mat Goebel Cell: 510.693.1448 ------------------------------ Message-ID: <018301c4d34a$bf70ae10$0800000a [at] Tony> From: "Tony" Cc: mgoebel [at] gmail.com (Mat Goebel) References: Subject: Re: Annoying occupations (was: Surtitiles, bleah!) Date: Thu, 25 Nov 2004 23:59:02 -0000 ----- Original Message ----- From: "Mat Goebel" To: "Stagecraft" Sent: Thursday, November 25, 2004 11:51 PM Subject: Re: Annoying occupations (was: Surtitiles, bleah!) > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Theme parks are the worst. A show gets old real fast 6 performances a > day, 6 days a week. Not to mention the shows are never that good > because there is never much resources put into them. And the > sub-standard equipment breaks constantly. And you get guest complaints > beacuse the show isnt funny. Grrrrrrrr...... > > -- > Mat Goebel > Cell: 510.693.1448 > I don't know if that's valid across all parks, though? As I recall, having seen some shows twice in a day at the mouse parks in Florida (when you have kids, it often works that way!!) I have seen different cast members in both. Okay, they're still going to rotate SOME of them, surely? Mind you, one of the best pre-shows I've seen was this year at the Beauty & the Beast show. The main show was not the best, but before it started there was a 'techie' complete with full backstage blacks who came on to 'test' a microphone. He gets applause from the audience after a bit of rhythmic 'testing' and is then joined by another guy who says something like "Ain't you finished yet" and starts to shoo him off stage, only to get sucked into what turns (eventually) into a darned good 4-part harmony song set. They did 3 numbers, IIRC and an encore and was damned fun to watch/hear. If only all techies could sing, we wouldn't need so many of the crude talent.....!! Ynot 8-)))))))))))))))))))))) ------------------------------ From: "Andy Leviss" Subject: RE: Surtitiles Date: Thu, 25 Nov 2004 20:25:31 -0500 Organization: Duck's Echo Sound Message-ID: <001b01c4d356$d249b2f0$a19afea9 [at] AndyLeviss> In-Reply-To: Frank Wood wrote: > In a message dated 25/11/04 15:33:04 GMT Standard Time, > ostroff [at] operaphilly.com writes: > > > I'm sure Frank will have some other "invention" to solve all these > > problems too... > > I'm sorry, but no. Like you, I am constrained by the laws of optics. I'm hearing the mixed sounds of hell freezing over, Satan giving out free sleigh rides, and a discussion of the flourescence of objects under various colors of gel! ;o) Happy Thanksgiving, Andy Leviss Currently mixing "Sesame Street Live: Elmo's Coloring Book" in Milwaukee, WI --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.786 / Virus Database: 532 - Release Date: 10/29/2004 ------------------------------ Message-ID: Date: Thu, 25 Nov 2004 19:16:14 -0800 From: Mat Goebel Reply-To: Mat Goebel Subject: Re: Annoying occupations (was: Surtitiles, bleah!) In-Reply-To: References: I would submit that mouse parks are the exception because those are real shows with real talent and real resources put into them. I mean, (at least for the moment) they use IA labour. On Thu, 25 Nov 2004 23:59:02 -0000, Tony wrote: > I don't know if that's valid across all parks, though? > As I recall, having seen some shows twice in a day at the mouse parks in > Florida (when you have kids, it often works that way!!) I have seen > different cast members in both. Okay, they're still going to rotate SOME of > them, surely? > > Mind you, one of the best pre-shows I've seen was this year at the Beauty & > the Beast show. The main show was not the best, but before it started there > was a 'techie' complete with full backstage blacks who came on to 'test' a > microphone. He gets applause from the audience after a bit of rhythmic > 'testing' and is then joined by another guy who says something like "Ain't > you finished yet" and starts to shoo him off stage, only to get sucked into > what turns (eventually) into a darned good 4-part harmony song set. They did > 3 numbers, IIRC and an encore and was damned fun to watch/hear. > > If only all techies could sing, we wouldn't need so many of the crude > talent.....!! > > Ynot > 8-)))))))))))))))))))))) > > -- Mat Goebel Cell: 510.693.1448 ------------------------------ Message-Id: <3.0.6.32.20041125211237.017ef920 [at] pop.west.cox.net> Date: Thu, 25 Nov 2004 21:12:37 From: CB Subject: Acoustics - a chance for the sound guys to show off! >Was talking with a colleague today about room acoustics. He said theaters >shouldn't have wall dimensions that are even numbers, e.g. 20' x 60', because >that increases the number of standing waves. Instead they should have odd >numbered lengths, e.g. 21' x 63'. I think (or at least I hope) the your colleague mis-understood. The room should'nt have 'even' dimensions might have meant that the front wall to the back wall dimension at the side wall shouldn't equal the dimension at center. You are correct in your assumption that changing the dimension will only change the frequency (or pitch) at which this occurs. 'Uneven' dimensions (those that change as they get farther or closer to the side walls while remaining parallel to them) will help reduce standing waves. Having no surface parallel to another will greatly reduce standing wave problems. >IIRC, standing waves are caused when >the direct sound waves are cancelled out by reflected sound waves. (Not a >very technical definition and you could also have two reflected sound waves >cancel each other.) Because there is no vibration where the two waves cancel each >other out, they are places of no sound for that specific pitch. Standing waves produce areas of cancellation (no or very little sound in that frequency and its harmonics, or nodes) and area where the two waves will re-inforce one another (where the frew willbe loud, and feel almost continuous, called anti-nodes). For a great explanation of standing waves see >Thoughts??? Do acoustical consultants consider if more concerts in a hall >will be orchestras versus bands when designing? More often than not, no. Good ones will consider all options and make adjustments / alternatives, bad ones will build a box from a book theory, cash the check, and walk away. 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... ------------------------------ From: "Sam Fisher" Subject: Thanksgiving Baby Date: Thu, 25 Nov 2004 23:29:44 -0500 In-Reply-To: Message-ID: David Thomas Fisher Born 11/25/04 at 9:34am, 7 pounds, 19.75" Mom, Dad, and brother very happy. Sam Fisher VP - Fisher Theatrical, LLC. ------------------------------ Message-ID: <20041126044448.92471.qmail [at] web14103.mail.yahoo.com> Date: Thu, 25 Nov 2004 20:44:47 -0800 (PST) From: June Abernathy Subject: Re: References First, may I say what I neglected to before, which is Hooray for a class which teaches students something about the *business* end of the business! I have always thought that there should be a required class (or at least, section of a class) in every college curriculum to talk to students about how the business works! Resumes and pictures, portfolios, interviews, auditions, agents, showcases, UNIONS, contracts, etc. I occasionally go to talk to high school or college classes taught by friends, with a variety of stated topics. Sometimes the topic IS unions or resumes or business. Often, what is ostensibly a day to talk about audition technique or lighting or something BECOMES a talk about resumes, how auditions in NYC work, whether it's a good idea to join a union or not, and etc. I've done (or redone) resumes for dozens of people over the years, because there are very few good books or templates out there for a theater resume - none that I know of for a technical, directing, or design resume. And it never seems to get addressed in school. But, how the business of the business works and what employers are looking for is probably the most important thing that a young person can learn. Anyway, yes, it's amazing how often a reference contains outdated contact information, which tells you that they haven't been in touch with that person for a while. Even when the contact information is correct, you just shouldn't have to remind the person you are calling who the person you are calling about is. And, as some have mentioned, a startling number of people include people as references that they haven't talked to about being used as a reference. It seems basic, but apparently is not, that the people you use as references should be people who know you and know your work, and can be counted on to say good things about you if a prospective employer calls. You should obtain their permission to use them as a reference, and ask if it is OK to include their e-mail and phone numbers. (They may have a specific e-mail address or phone number that they would prefer for you to give out.) On the other hand, as Bill says, you expect people listed as references to say good things about the prospective employee. And as Richard has pointed out, they can hardly say anything else without fear of litigation. It is generally much more profitable to try to contact people they have worked with recently to get a closer picture. On the other other hand, just to be perverse, how do all these people who got bad references, didn't get hired, and subsequently brought lawsuits KNOW that they got bad references, and from whom? Do employers always say, "Well, I'm afraid we're going with someone else. And by the way, you might not want to use Bob Smith as a reference in the future."? I would think that if you got a bad reference about someone, you wouldn't need to pass on that fact, or at least, not specifically which person gave the bad reference. I think if you explain why you aren't hiring someone, in an effort to be helpful or constructive, you are often setting yourself up for either resentment or a lawsuit. Better, I think, to just tell them that you've decided to go with someone else, and good luck in the future. June Abernathy IATSE #321 FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? The all-new My Yahoo! - What will yours do? http://my.yahoo.com ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Thanksgiving Baby Date: Thu, 25 Nov 2004 20:52:22 -0800 Message-ID: <005201c4d373$b84361e0$726dfea9 [at] DrDoomsComputer> In-Reply-To: Wow. And congrats. doomster ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. April 4, 5, 6, 2005 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Sam Fisher Sent: Thursday, November 25, 2004 8:30 PM To: Stagecraft Subject: Thanksgiving Baby For info, archives & UNSUBSCRIBE, see --------------------------------------------------- David Thomas Fisher Born 11/25/04 at 9:34am, 7 pounds, 19.75" Mom, Dad, and brother very happy. Sam Fisher VP - Fisher Theatrical, LLC. ------------------------------ Message-ID: <001a01c4d376$f8430540$6500a8c0 [at] yourfsyly0jtwn> From: "Daryl Redmon" References: Subject: Re: Thanksgiving Baby Date: Thu, 25 Nov 2004 21:15:39 -0800 Congrats on the newest stagehand! No better time to be thankful than in the miracle of birth. Best regards Daryl Redmon Resounding Light > David Thomas Fisher > Born > 11/25/04 at 9:34am, 7 pounds, 19.75" > > Mom, Dad, and brother very happy. > > Sam Fisher > VP - Fisher Theatrical, LLC. > > ------------------------------ Date: Thu, 25 Nov 2004 23:22:27 -0600 Subject: Re: Thanksgiving Baby From: Greg Persinger Message-ID: In-Reply-To: Sam, Congratulations on the new baby and my condolences on your loss of sleep. :-) Greg Persinger Proud daddy of two kids ------------------------------ Message-ID: <23170541.1101447588584.JavaMail.root [at] waldorf.psp.pas.earthlink.net> Date: Thu, 25 Nov 2004 21:39:48 -0800 (PST) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: cue lights I'm not quite sure what is "technologically conservative" about using line-voltage cue lights? No, perhaps _I'm_ not using LEDs, so what? What's nice about using the 7.5w lamps (they're about the same size as a golf or ping-pong ball) is that they're a decent size and there really isn't much of a viewing angle limitation. Also, using line voltage also allows the use of other things (rope light, fans, etc). Large supply? Because we tend to use different colors for different thing--green or blue for actor entrances, etc, orange and red for crew cues (fly cues, automation, etc). Each cue light uses two lamps, and a large show will have 10-14 cue lights. Perhaps a stock of a certain lamp isn't a very convincing reason, as compared to the costs of other parts of the system. I'd just like to fix the parts of the system that ARE problems for me. Also, something that hasn't really been touched on yet. Nobody really seems to want to spend any money or time on things like cue lights. I'd sure prefer to use my budget to buy more Source-Fours than to buy high-tech cue lights. I'm pretty sure it's the same most places. I know our sound guys usually aren't drooling over buying new headsets for the deck crew, they're all ga-ga over a new console or amp. It's the way of our world. argh.. too much turkey... --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: FrankWood95 [at] aol.com >I see what you mean, and, given the US method of using cue lights, I suppose >that it works as well as you might expect. > >The US amazes me. Technologically advanced, and technologically conservative >at the same time. Cape Caneveral, and Broadway. >Why the large supply of 7.5W lamps? Are they not very reliable? ------------------------------ Date: Fri, 26 Nov 2004 01:07:43 -0500 Subject: Re: Thanksgiving Baby From: Herrick Goldman Message-ID: In-Reply-To: Congrats! Give him some pumpkin pie with his milk! > -- 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: In-Reply-To: Date: Fri, 26 Nov 2004 09:16:10 +0000 From: Dorian Kelly Subject: Re: cue lights >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >>Side note... I often wondered why so many electrical devices use "wall >>warts" (those transformers with plugs on them that usually block all the >>outlets and generally annoy). Most of the devices that use them have enough >>space internally to house the transformer... so why? Do you buy these from Wall-Wart Mart? DK ------------------------------ End of Stagecraft Digest #207 *****************************