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 7503707; Mon, 06 Dec 2004 21:00:29 -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 #218 Date: Mon, 06 Dec 2004 21:00:08 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Status: No, score=-5.2 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.1 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #218 1. Re: Rigging and Lighting ?? by Dorian Kelly 2. Re: Question about plugs and connectors by "Alf Sauve" 3. Costa Rica by "Stephen E. Rees" 4. Re: Costa Rica by IAEG [at] aol.com 5. Do I really need a hoisting license? by "Hofmann, Christopher" 6. Glad Press 'n' Seal blood effects by clindau 7. Re: Do I really need a hoisting license? by "Jeffrey E. Salzberg" 8. Re: Do I really need a hoisting license? by "Jeffrey E. Salzberg" 9. Re: Current Threads by Wood Chip-P26398 10. Re: Do I really need a hoisting license? by Herrick Goldman 11. Re: Do I really need a hoisting license? by Greg Bierly 12. Re: Question about plugs and connectors by FrankWood95 [at] aol.com 13. Re: welding wood by kruling [at] esta.org 14. Re: color mixing by kruling [at] esta.org 15. Re: Do I really need a hoisting license? by "Delbert Hall" 16. Re: Question about plugs and connectors by "Jon Ares" 17. Re: Current Threads by FrankWood95 [at] aol.com 18. Re: Do I really need a hoisting license? by David Marks 19. Re: Fixtures & Luminaires by CB 20. Re: Question about plugs and connectors by Steve Larson 21. Re: Award for the longest signature by CB 22. computer tech support - was: Do I really need a hoisting license? by Nathan Kahn/Look Solutions 23. Re: Award for the longest signature by Nathan Kahn/Look Solutions 24. Re: Costa Rica by Herrick Goldman 25. Re: Fixtures & Luminaires - Temp vs Portable by CB 26. Re: Award for the longest signature by IAEG [at] aol.com 27. Re: computer tech support - was: Do I really need a hoisting license? by "Nicholas Kuhl" 28. Central Clusters by "Moore, Martin W." 29. Re: computer tech support - was: Do I really need a hoisting license? by Nathan Kahn/Look Solutions 30. Custom Gobos by Jason Tollefson 31. Re: Central Clusters by John Bracewell 32. Re: Question about plugs and connectors by Dale Farmer 33. Re: Do I really need a hoisting license? by "Hofmann, Christopher" 34. Re: Do I really need a hoisting license? by Dale Farmer 35. Ideal Shop Space by "Nimm, Christopher Kehoe" 36. Re: Do I really need a hoisting license? by "Hofmann, Christopher" 37. Re: Question about plugs and connectors by Greg Bierly 38. Re: Question about plugs and connectors by Jerry Durand 39. Re: Costa Rica by Greg Bierly 40. Re: Question about plugs and connectors by "Waxler, Steve (waxlers)" 41. Re: Custom Gobos by Greg Bierly 42. Re: Costa Rica by Jerry Durand 43. Re: Custom Gobos by "John Vink" 44. Re: Ideal Shop Space by "Haagen Trey P Civ 34 TRW/SDAT" 45. Re: Ideal Shop Space by Dale Farmer 46. Re: Ideal Shop Space by Wood Chip-P26398 47. Re: Central Clusters by FrankWood95 [at] aol.com 48. Re: Central Clusters by "Dr. Randall W.A. Davidson" 49. Re: Listmembers in the L.A. area by "Dr. Randall W.A. Davidson" 50. Re: Central Clusters by "Jonathan S. Deull" 51. Re: Ideal Shop Space by "Stephen E. Rees" 52. Re: Listmembers in the L.A. area by IAEG [at] aol.com 53. Re: Ideal Shop Space by "Curt Mortimore" 54. the ethos of sound ( and light ? ) long post by IAEG [at] aol.com 55. Re: the ethos of sound ( and light ? ) long post by "Dr. Randall W.A. Davidson" 56. Re: Ideal Shop Space by "Joe Meils" 57. Re: the ethos of sound ( and light ? ) long post by John Bracewell 58. Re: the ethos of sound ( and light ? ) long post by "Jonathan S. Deull" 59. Re: computer tech support - was: Do I really need a hoisting license? by "Delbert Hall" 60. Re: the ethos of sound ( and light ? ) long post by IAEG [at] aol.com 61. Re: computer tech support - was: Do I really need a hoisting license? by "Jeffrey E. Salzberg" 62. Re: computer tech support - was: Do I really need a hoisting license? by "Nicholas Kuhl" 63. Re: computer tech support - was: Do I really need a hoisting license? by gregg hillmar 64. Trio 600 by "holyoak1" 65. Re: Ideal Shop Space by "Waxler, Steve (waxlers)" 66. Re: Vectorworks problem du jour by gregg hillmar 67. Re: Ideal Shop Space by "Curt Mortimore" 68. Re: Vectorworks problem du jour by Herrick Goldman 69. Re: Vectorworks problem du jour by gregg hillmar *** 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. ---------------------------------------------------------------------- Message-Id: In-Reply-To: Date: Mon, 6 Dec 2004 11:51:45 +0000 From: Dorian Kelly Subject: Re: Rigging and Lighting ?? >> >> I don't think you can get real gelatins >>> anymore -- or would want to. >>> -- Matt > >Especially the colors with Chromium and Cadmium in them (well, at least for >a while...) > >Mick Alderson Also Cinemoid No 8 which I believe contained a slightly radioactive element as well as toxic fluorescene. I ve been up a few ladders with that held in my mouth Dorian ------------------------------ Message-ID: <012d01c4db8b$ca233aa0$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: Question about plugs and connectors Date: Mon, 6 Dec 2004 06:35:35 -0500 Ah the joy of unwrapping things. Try unpacking and putting together 100 PCs in an afternoon. Your fingers get numb untwisting the tiewraps. After your second PC you start using the diagonal cutters. Why do they put 3 tiewraps on the cord of every keyboard and mouse??? In the electrical supply industry, the contractors pretty much demanded the panel boards (circuit breaker panels) come with the screws in the "out" position. When you're building a subdivision of 100 homes, it can waste a lot of time unscrewing each connector. (7,500 screws) The way the manufacturers keep screws from coming loose is they make all the holes slightly oval. Contractors also didn't want to deal with much waste, so the packaging is minimal. Not a problem if you're buying in cartons by the truck-load, but not so handy at the retail level. Since I replace a lot of power plugs, I've noticed they come in the unscrewed position. At least the ones I buy. Alf ----- Original Message ----- From: "Jerry Durand" To: "Stagecraft" Sent: Monday, December 06, 2004 12:13 AM Subject: Re: Question about plugs and connectors > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 09:05 PM 12/5/2004, you wrote: > >When I get a new plug or connector out of the box, I usually plan to > >install it on the end of a wire or cable. In fact I've never, in my 20 > >plus year career, NOT intended to put it on a cable! So why do the Damn > >manufacturers insist on tightening every screw in the F***ing things? > > I guess it's the same reason that makes enclosure manufacturers shrink-wrap > every box with the screws in a little plastic bag inside. I've asked to > buy the lids, bases, ends, and screws all packed separately. If I order a > few thousand a month, yes, otherwise no. > > What fun unwrapping boxes and cutting open bags of screws. > > > ---------- > 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: <41B46A7C.9000708 [at] fredonia.edu> Date: Mon, 06 Dec 2004 09:19:40 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Costa Rica Hi, Has anyone on this list had any experience with the Compania Lirica Nacional (National Opera Co. of Costa Rica) in San Jose, Costa Rica? A colleague and I have been offered a scene design, set construction and lighting design for Madama Butterfly in July. I know nothing of the facility, the city, the country, etc. Before I respond, I'd like a bit of clue of any pitfalls. Any help on any topic would be very much appreciated. TIA and Regards, Steve Rees, TD SUNY-Fredonia ------------------------------ From: IAEG [at] aol.com Message-ID: <1aa.2cd68075.2ee5cb98 [at] aol.com> Date: Mon, 6 Dec 2004 09:50:00 EST Subject: Re: Costa Rica In a message dated 12/6/04 9:38:56 AM, Rees [at] fredonia.edu writes: > I know nothing of the >facility, the city, the country, etc. Before I respond, I'd like a bit > >of clue of any pitfalls. Any help on any topic would be very much >appreciated. I am assuming that this company plays in the only real theatre in San Jose, , Teatro Nacional I last played there over 15 years ago, , It's the "jewel" of Costa Rica, a more important building than the National Assembly etc, It's about a half scale replica of The Paris Opera, built with money from the big Coffee families in Costa Rica about 1895 + / - Narrow proscenium, ( 35 ' ? ) raked deck, was a turn of the century hemp system when I was there, , and a first generation Multi ( or was it a "Micro" ) Que console and a so so set of lighting instruments. Have no idea what condition the venue is in these days, , but I would take the assignment in a heartbeat, it's turning back the page 100 years, I have some photos here, , I will try to scan and send you off list, the frescos were done by the same Italian artists who had just done the Marinksy / Kirov theatre in St Petersburg, Costa Rica is great, highest literacy rate in the Western Hemispheare, no standing army, , more teachers than police and national guard. Very US friendly environment, , lots of ex patriots there, near the theatre is a neighborhood with three or four "gringo" bars where the yanks hang out. There's a daily paper in english as well. do it, , could be one of the experiences of your life, , very best, Keith Arsenault ------------------------------ Subject: Do I really need a hoisting license? Date: Mon, 6 Dec 2004 10:59:46 -0500 Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C1757E [at] ex1.capecod.edu> From: "Hofmann, Christopher" Looking to the wisdom of the list for some guidance and clarification. I tried to access the archives this morning, but was unable - so I apologize if this has been covered recently. I've just been informed by my head of Maintenance that, in order to operate the JLG lift that I and my students have been safely using for over three years, Massachusetts law states that I must obtain a hoisting license. And, that only licensed personnel are to be allowed to use the lift (effectively negating any student use.) I've read the code and I'm very confused. I'm not convinced that a license is actually needed for a personnel lift. I'm not trying to cut corners with safety here - I just want to make sure I'm being told the truth. How do other educational institutions deal with this? Anybody else in Mass on the list have any specific information one way or the other? Thoughts, ideas, anecdotes greatly appreciated. - Chris =20 Creativity is the inability to follow someone else's rules. - Cliff Stoll ------------------------------ Message-ID: <41B492E9.5010201 [at] mninter.net> Date: Mon, 06 Dec 2004 11:12:09 -0600 From: clindau Subject: Glad Press 'n' Seal blood effects For last season's production of Othello, I used a "seal-a-meal" machine and cheap sandwich bags to make the blood packs. I wish I'd known about the Glad product; it would've made making Emilia's eensy-weensy blood packs a lot easier, not to mention storage of the kit while on the road. Cindy Lindau Guthrie Theater Local 13, Mpls/St Paul ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Do I really need a hoisting license? Date: Mon, 6 Dec 2004 12:11:39 -0500 Message-ID: <000201c4dbb6$c1866e00$6501a8c0 [at] Dell> In-Reply-To: My customer number is 47476327. I subsequently found two tech support people who told me that the output voltage was 110V (that's the input voltage) and one who told me it was 12V (which is just plain wrong). I also had a frustrating 2-1/2 hours online in chat about the fact that my Axim cannot read or send email, browses the web very slowly, and does not connect to MSN Messenger at all. Despite the fact that I told the technician repeatedly that the same wireless router works flawlessly with 2 other devices and that my signal strength was "Excellent", he kept claiming that the problem must be with the router. It's still not working, but I finally found a customer service rep who agreed to exchange it. Previously, the floppy drive on my Dimension 8400 would not format or read any disks. I told the tech support person that it would not accept any disks and that all of the disks I tried worked fine in 2 other computers. She told me that there was no problem with my floppy drive and that every one of my disks must be bad. Finally, I got another technician who issued the repair call and, guess what? It *was* a bad floppy drive. You have a serious problem in tech support. They simply do not pay attention to what the customer says. I realize that a high percentage of people who contact you are ignorant, but Dell makes a serious mistake in assuming that we're all idiots. I purchase a computer every year or so (and frequently make recommendations to friends and colleagues); at this point, I've had 5 interactions with customer/technical support and 3 of them have been nightmares -- it's not likely that my next purchase/recommendation will be Dell. Regards, Jeffrey E. Salzberg (201) 379-3138 - home (917) 238-7430 - cell > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Hofmann, Christopher > Sent: Monday, December 06, 2004 11:00 AM > To: Stagecraft > Subject: Do I really need a hoisting license? > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Looking to the wisdom of the list for some guidance and > clarification. I tried to access the archives this morning, > but was unable - so I apologize if this has been covered recently. > > I've just been informed by my head of Maintenance that, in > order to operate the JLG lift that I and my students have > been safely using for over three years, Massachusetts law > states that I must obtain a hoisting license. And, that only > licensed personnel are to be allowed to use the lift > (effectively negating any student use.) > > I've read the code and I'm very confused. I'm not convinced > that a license is actually needed for a personnel lift. I'm > not trying to cut corners with safety here - I just want to > make sure I'm being told the truth. > > How do other educational institutions deal with this? > Anybody else in Mass on the list have any specific > information one way or the other? Thoughts, ideas, anecdotes > greatly appreciated. > > - Chris > > Creativity is the inability to follow someone else's rules. > - Cliff Stoll > ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: Do I really need a hoisting license? Date: Mon, 6 Dec 2004 12:17:16 -0500 Message-ID: <000301c4dbb7$706d83e0$6501a8c0 [at] Dell> In-Reply-To: > My customer number is 47476327. Ooops. Sorry about that. ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: Current Threads Date: Mon, 6 Dec 2004 10:38:14 -0700 Thank you. As part of the 8-10% color-blind males I cringe every time someone brings up using color as a differentiator. When things are painted red as in emergency or danger, all I see is a dark color. I realize that there are very few, if any, colorblind LDs but please think hard about using color backstage. Chip Wood -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Paul Schreiner I also painted on stenciled numbers with the lengths in black in case there were any color-blind crew. As I now work at an all-woman's college (and the fact that color-blindness in women is very rare), that's not really a consideration for me any more. ------------------------------ Date: Mon, 06 Dec 2004 12:44:57 -0500 Subject: Re: Do I really need a hoisting license? From: Herrick Goldman Message-ID: In-Reply-To: DuuuDe!!! I'm so NOT getting a Dell! On 12/6/04 12:17, "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> My customer number is 47476327. > > Ooops. Sorry about that. > > -- 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 ------------------------------ In-Reply-To: References: Message-Id: <98DBBAFA-47AE-11D9-9D8B-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Do I really need a hoisting license? Date: Mon, 6 Dec 2004 12:45:19 -0500 >> My customer number is 47476327. > > Ooops. Sorry about that. > Hopefully you let them know that you "accidentally" forwarded your message to an international list-serve consisting of thousands of computer users. Maybe that will help get their attention. Whatever happened to good customer support? Good luck. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <154.45b633ce.2ee5fca2 [at] aol.com> Date: Mon, 6 Dec 2004 13:19:14 EST Subject: Re: Question about plugs and connectors In a message dated 06/12/04 07:30:53 GMT Standard Time, jonares [at] hevanet.com writes: > > I guess it's the same reason that makes enclosure manufacturers > > shrink-wrap every box with the screws in a little plastic bag inside. > > I've asked to buy the lids, bases, ends, and screws all packed separately. > > > If I order a few thousand a month, yes, otherwise no. > > > Yeah, what's with that? And why are products now shipped in bullet-proof > plastic (multi-layered) packs that require heavy duty scissors or a knife to > > open, only to result in slashed fingers and hands in an attempt to get the > packaging open? This high-density plastic, or whatever it's called, is > dangerous, and probably provides an immense impact on landfills. I presume that it's to make sure that none of the vital bits get lost in transit, and to provide the shops with suitable means of displaying them. Yes, it's a nuisance having to loosen all the screws, but it's an even bigger one if one is missing. For dealing with plastic packs, I have an excellent tool. A pre-war Scout knife, Bowie style, with a 4" blade, a sharp point, and a solid handle. As for slashed fingers, I learnt at the age of five or so always to keep the cutting edge away from me. The hard way, of course. Frank Wood ------------------------------ Date: Mon, 06 Dec 2004 13:18:56 -0500 From: kruling [at] esta.org Subject: Re: welding wood In-reply-to: Message-id: <41B45C40.30795.952AA5 [at] localhost> On 5 Dec 2004 at 3:00, Stagecraft wrote: > Can you weld wood" > in a very smart tone of voice, his response was " YOU CANT WELD > WOOD!!!" which was adapted into one of our crews slogans. But you can. However, the wood still has to be alive, and the "welding" is called "grafting." It's slower than even gas welding with metal. ------------------------------ Date: Mon, 06 Dec 2004 13:18:56 -0500 From: kruling [at] esta.org Subject: Re: color mixing In-reply-to: Message-id: <41B45C40.29861.952C99 [at] localhost> On 6 Dec 2004 at 3:00, Frank Wood wrote: > > Look at how your colour printer works, with Cyan, Yellow, and Magenta > inks. Theatrical colour mixing can work that way, but Red, Blue, and > Green work better. Cyan, yellow, and magenta are indeed the colors of the filters used in automated luminaires for subtractive color mixing. Red, blue, and green work for additive color mixing. It's ALL lighting. What's different is whether the coloring process is subtractive or additive. ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: RE: Do I really need a hoisting license? Date: Mon, 06 Dec 2004 13:19:22 -0500 Chris, Your maintenace guy might be correct if this is a boom type of personnel lift, but for a typical personnel lift that you find in most theatres I would say your maintenance guy is incorrect. Here is the short version of what I found: Hoisting Licenses are required by the Commonwealth of Massachusetts Department of Public Safety to operate numerous heavy duty machines, in construction and landscaping work, as follows: Class 2A Hoisting License, needed for the operation of front end loaders, backhoes and excavators. Class 1C Hoisting License, needed for the operation of a hydraulic boom without cables, forklifts and lulls. You might want to contact the MA Dept. Of Public Safety, tell them percisely the type of lift that you use, and get them to fax you a letter stating whether or not you need a hoisting licence (and if so, which class). I hope this helps. -Delbert Delbert L. Hall 423-773-HALL (4255) > >I've just been informed by my head of Maintenance that, in order to >operate the JLG lift that I and my students have been safely using for >over three years, Massachusetts law states that I must obtain a hoisting >license. And, that only licensed personnel are to be allowed to use the >lift (effectively negating any student use.) ------------------------------ Message-ID: <000e01c4dbc0$d957f300$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Question about plugs and connectors Date: Mon, 6 Dec 2004 10:24:39 -0800 > As for > slashed fingers, I learnt at the age of five or so always to keep the > cutting > edge away from me. The hard way, of course. I was referring to the hard plastic packaging cutting our hands. The plastic is lethal - razor sharp and nastier than a paper cut. And it's slippery too - when trying to carefully cut around the product, and through the plastic but not into the product, the knife often skates around on the packaging. Just a few days ago, I was trying to open the 3 layers of plastic containers holding the new hard case for my Palm Zire. Why so many layers? Sheesh. -- 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: FrankWood95 [at] aol.com Message-ID: Date: Mon, 6 Dec 2004 13:29:57 EST Subject: Re: Current Threads In a message dated 06/12/04 17:39:13 GMT Standard Time, Chip.Wood [at] motorola.com writes: > Thank you. As part of the 8-10% color-blind males I cringe every time > someone brings up using color as a differentiator. When things are painted > red as in emergency or danger, all I see is a dark color. I realize that > there are very few, if any, colorblind LDs but please think hard about using > color backstage. Fair comment. This is why it is UK practice to use a green and yellow striped conductor for earth (ground). Getting live and neutral crossed is a very minor sin, but the earth needs to be right. Hence the stripes. Frank Wood ------------------------------ Message-ID: <41B4A69B.6040107 [at] att.net> Date: Mon, 06 Dec 2004 13:36:11 -0500 From: David Marks Subject: Re: Do I really need a hoisting license? References: Delbert Hall wrote: > Your maintenace guy might be correct if this is a boom type of > personnel lift, but for a typical personnel lift that you find in most > theatres I would say your maintenance guy is incorrect. It may be possible that your insurance company is requiring certified operators however. The maintenance guy may be confused about that or using the state as the bad guy. Dave Marks ------------------------------ Message-Id: <3.0.6.32.20041206120428.01808fb0 [at] pop.west.cox.net> Date: Mon, 06 Dec 2004 12:04:28 From: CB Subject: Re: Fixtures & Luminaires >I guess as a result of the Ruling this could only >apply to Randy Johnson on stage crew today. That would be 'The Big Focusing Unit", and only if he were on the electrics crew (or maybe video...) 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: Mon, 06 Dec 2004 14:04:43 -0500 Subject: Re: Question about plugs and connectors From: Steve Larson Message-ID: In-Reply-To: To make it hard to steal. Steve on 12/6/04 1:24 PM, Jon Ares at jonares [at] hevanet.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> As for >> slashed fingers, I learnt at the age of five or so always to keep the >> cutting >> edge away from me. The hard way, of course. > > > I was referring to the hard plastic packaging cutting our hands. The > plastic is lethal - razor sharp and nastier than a paper cut. And it's > slippery too - when trying to carefully cut around the product, and through > the plastic but not into the product, the knife often skates around on the > packaging. Just a few days ago, I was trying to open the 3 layers of > plastic containers holding the new hard case for my Palm Zire. Why so many > layers? Sheesh. > > -- 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: <3.0.6.32.20041206121155.01808fb0 [at] pop.west.cox.net> Date: Mon, 06 Dec 2004 12:11:55 From: CB Subject: Re: Award for the longest signature >Chris, , you have WAY TOOO much time on your hands, , I had posted this after a 38 work-hour to 18 off-hour weekend, and ws trying to point out that I have way too LITTLE time on my hands to be wasting it trying to weed out nuggets of wisdom from the thrice quoted nuggets previously posted at least twice. Then I came to the realization that anyone incapable of following simple posting suggestions or using the delte key probably has few nuggets, if any, to contribute. Thanks for the thought, though. Were I to have more time, I'd probably have an impirical data collection to back up who has it worst, by dept and divided into 'academia' and 'real world'. No, academia is real, let's call it 'not academia'. Next summer, maybe... 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: <5.0.0.25.2.20041206140059.0173d828 [at] 212.86.129.164> Date: Mon, 06 Dec 2004 14:11:04 -0500 From: Nathan Kahn/Look Solutions Subject: computer tech support - was: Do I really need a hoisting license? In-Reply-To: References: At 12:45 PM 12/6/2004 -0500, you wrote: >>Ooops. Sorry about that. > >Hopefully you let them know that you "accidentally" forwarded your >message to an international list-serve consisting of thousands of computer >users. Maybe that will help get their attention. Whatever happened to >good customer support? Good luck. I must say that I've heard several horror stories from friends regarding Dell tech support, the last few years. Of course you only hear about the failures, never the success stories, but there still seems to be an awful lot of them . . . At the risk of being off-stagecraft-topic I would like to give a big kudos to Linksys technical support. I own many Linksys products and have called tech support several times, sometimes it's not even the Linksys product that's at fault but the settings on the PC or DSL modem that's connected to it. They always get me back up and running for free, and without much time on hold. It's reached the point where I will only buy Linksys brand router/wireless products simply because the tech support is so good. I can't think of any other mfg - computer or otherwise - that I can say the same about. (Well, except for course for Look Solutions foggers and hazers!!!!!!! :-) Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ Message-Id: <5.0.0.25.2.20041206141201.0180a8a0 [at] 212.86.129.164> Date: Mon, 06 Dec 2004 14:14:53 -0500 From: Nathan Kahn/Look Solutions Subject: Re: Award for the longest signature In-Reply-To: > >First place, obviously, goes to Doom as well, but Steve and Tony made a > >run > >at the title that day with a one-line-to-56 new to re-posted ratio > >responded to by a one-WORD-to-72-line quip, successfully requoting > >themselves at least once in every post. > > Chris "Chris" Babbie > > Location Sound > > MON AZ > > >Chris, , you have WAY TOOO much time on your hands, , > >very best, > >Keith Arsenault My thinking exactly as I was reading his post! But . . . Aren't we glad he does, so he can do things like publish a cable-coiling video, which I think we all agree is a great help and great PR for our industry! Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ Date: Mon, 06 Dec 2004 14:16:13 -0500 Subject: Re: Costa Rica From: Herrick Goldman Message-ID: In-Reply-To: And if/when you go you MUST tour the country! It's gorgeous and you can get from rain forest to beach in a few hours. Easy to get around and ridiculously cheap! Try the Caipirinhas at Billy's Karaolas in Manuel Antonio. The fresh sea bass isn't bad either. _H On 12/6/04 9:50, "IAEG [at] aol.com" wrote: > > In a message dated 12/6/04 9:38:56 AM, Rees [at] fredonia.edu writes: > >> I know nothing of the >> facility, the city, the country, etc. Before I respond, I'd like a bit >> > > do it, , could be one of the experiences of your life, , > -- 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: <3.0.6.32.20041206122024.01808fb0 [at] pop.west.cox.net> Date: Mon, 06 Dec 2004 12:20:24 From: CB Subject: Re: Fixtures & Luminaires - Temp vs Portable >However, Plug-in Luminaires we use are portable, not temporary. While the >usage may be temporary, it's not the installation. The installation is >portable equipment plugging into a permanent installation or a portable >distribution system. A subtle, but important difference. Thinking back, the word being discussed *was* 'portable', not 'temporary'. Temporary indicates portable, but doesn't necessarily define it. Yeah, take out 'temporary' in my post and insert 'portable', and it more accurately represents what I was trying to say. Thanks! (That's what the skweeks get for trying to jump into a lighting thread..) 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: IAEG [at] aol.com Message-ID: <6b.39de3403.2ee60b14 [at] aol.com> Date: Mon, 6 Dec 2004 14:20:52 EST Subject: Re: Award for the longest signature In a message dated 12/6/04 2:10:42 PM, psyd [at] cox.net writes: > >I had posted this after a 38 work-hour to 18 off-hour weekend, and ws >trying to point out that I have way too LITTLE time on my hands to be >wasting it trying to weed out nuggets of wisdom from the thrice quoted >nuggets previously posted at least twice. point well taken, , , , very best, Keith Arsenault ------------------------------ Subject: Re: computer tech support - was: Do I really need a hoisting license? References: Message-ID: Date: Mon, 06 Dec 2004 14:38:04 -0500 From: "Nicholas Kuhl" In-Reply-To: > I must say that I've heard several horror stories from friends regarding > Dell tech support, the last few years. Of course you only hear about > the failures, never the success stories, but there still seems to be an > awful lot of them . . . Dell support used to be really good until they started outsourcing it, and then it went down the hole and is still digging. I seem to remember that they're moving away from the outsourcing though, hopefully they will return to their former status of best tech support in the business. Continuing OT, Netgear has possibly the worst tech support I've ever dealt with, aside from also having crap for products. Another product of outsourcing it seems. Nick Kuhl ------------------------------ Subject: Central Clusters Date: Mon, 6 Dec 2004 14:40:04 -0500 Message-ID: From: "Moore, Martin W." Isn't it time to say goodbye to central clusters? I went to see Dame Edna aka Barry Humphries one man show on Broadway for old times sake (we both did Maggie May in London longer ago than any of us would care to remember -- back then he projected and didn't need a mike) Am I just being old and cantankerous that I found it disconcerting that Dame Edna's sound image in the mezzanine at the Music Box was central and overhead regardless of where Dame Edna was on stage. Doesn't the technology exist to avoid centralized sound images nowadays? Back in the olde country back then they tried for a stereo image on miked shows with line arrays on each side of the prosc. -- didn't always work too well. Martin ------------------------------ Message-Id: <5.0.0.25.2.20041206144806.01806d38 [at] 212.86.129.164> Date: Mon, 06 Dec 2004 14:50:53 -0500 From: Nathan Kahn/Look Solutions Subject: Re: computer tech support - was: Do I really need a hoisting license? In-Reply-To: References: At 02:38 PM 12/6/2004 -0500, you wrote: >Dell support used to be really good until they started outsourcing it, and >then it went down the hole and is still digging. I seem to remember that >they're moving away from the outsourcing though, hopefully they will >return to their former status of best tech support in the business. >Continuing OT, Netgear has possibly the worst tech support I've ever dealt >with, aside from also having crap for products. Another product of >outsourcing it seems. I believe Linksys is outsourcing tech support also, judging by the accents of the people who answer the phone. However, their agents seem to have been properly trained . . . Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ Message-ID: <20041206200008.92109.qmail [at] web51009.mail.yahoo.com> Date: Mon, 6 Dec 2004 12:00:08 -0800 (PST) From: Jason Tollefson Reply-To: jason [at] tollefsondesigns.com Subject: Custom Gobos In-Reply-To: Does anyone have instructions for making your own custom gobos? The production I'm currently involved in doesn't have the budget to purchase so I want to explore other options. I used to have instructions for acid etching custom patterns but now can't find it. Thanks, Jason Tollefson www.tollefsondesigns.com ------------------------------ Date: Mon, 06 Dec 2004 15:19:07 -0500 From: John Bracewell Subject: Re: Central Clusters In-reply-to: Message-id: <5.2.0.9.0.20041206150856.00b39328 [at] pop.lightlink.com> >Isn't it time to say goodbye to central clusters? Probably, but I don't know of a really good replacement yet, at least in some situations. In a show with high sound levels, probably nothing is really going to take the image away from the loudspeakers short of some really, really fancy systems that can do some fast number-crunching. I haven't heard any of Tom Clark's shows recently. I know he was very interested in Delta Stereophony and tried to use that system to localize image to the performer. He may have succeeded by this time. Delta Stereophony works when you can duplicate the conditions to make it happen. To my knowledge, no one has found a way to make it work with 50 performers on stage, or even with 5 to 10 performers. The other system that I 've heard of that has tried to create a localizable image is TiMax, and I haven't heard a great deal about that system for some time now. None of the shows that I've heard recently seem to have made the least attempt to do anything other than get adequate audibility and intelligibility into the FOH systems. Mostly, I've seen side stacks and clusters. I haven't even seen very many shows with low front fills recently (which could just be due to the fact that I haven't seen many shows recently.) As for clusters, particularly clusters with low front-fills, if you're in a situation where the performer can project and you can really use sensible precedence delay, a cluster can work quite well. -- JLB ------------------------------ Message-ID: <41B4C443.A4047C04 [at] cybercom.net> Date: Mon, 06 Dec 2004 15:42:43 -0500 From: Dale Farmer Subject: Re: Question about plugs and connectors References: Jon Ares wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > I guess it's the same reason that makes enclosure manufacturers > > shrink-wrap every box with the screws in a little plastic bag inside. > > I've asked to buy the lids, bases, ends, and screws all packed separately. > > If I order a few thousand a month, yes, otherwise no. > > Yeah, what's with that? And why are products now shipped in bullet-proof > plastic (multi-layered) packs that require heavy duty scissors or a knife to > open, only to result in slashed fingers and hands in an attempt to get the > packaging open? This high-density plastic, or whatever it's called, is > dangerous, and probably provides an immense impact on landfills. > > Nursing two recently-lascerated knuckles opening such packages.... Well, the reason that all the loose parts are in a bag is so that the manufacturers don't have to worry about inumerate and illiterate assembly workers getting things wrong. If what goes into the final box is, for example, one box, one lid, and one bag with all the other bits, this can be conveyed to the package assembler with a simple cartoon drawing. Fast, easy, and less prone to error. Bags with all the right numbers of parts are easy to assemble, there are companies that specialize in just doing that for other companies. The machine has bins full of nuts and screws, washers, and so on, and it counts out the correct number into the bag nearly every time, and heat seals them into the plastic. Human beings just keep the hoppers full and take away hampers full of filled bags. --Dale ------------------------------ Subject: RE: Do I really need a hoisting license? Date: Mon, 6 Dec 2004 15:48:16 -0500 Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C17580 [at] ex1.capecod.edu> From: "Hofmann, Christopher" > what I found: >=20 > Hoisting Licenses are required by the Commonwealth of Massachusetts > Department of Public Safety to operate numerous heavy duty machines, in > construction and landscaping work, as follows: > Class 2A Hoisting License, needed for the operation of front end loaders, > backhoes and excavators. > Class 1C Hoisting License, needed for the operation of a hydraulic boom > without cables, forklifts and lulls. Thank you Delbert - I had found that information as well which seems to contradict the regulation that says that a license is required for anything that lifts over 10' or 500lbs. Thus my confusion. I've emailed the Commissioner of Public Safety for some guidance - we'll see where that leads. For everyone's information, the piece of equipment in question is a JLG 25EL lift. It's a standard AC powered telescoping lift with a max height of 25' and is rated for 350lbs. -Chris Sure I can run sound - up is loud! - Kenny Kool=20 ------------------------------ Message-ID: <41B4C7F6.45A19A9F [at] cybercom.net> Date: Mon, 06 Dec 2004 15:58:30 -0500 From: Dale Farmer Subject: Re: Do I really need a hoisting license? References: David Marks wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Delbert Hall wrote: > > > Your maintenace guy might be correct if this is a boom type of > > personnel lift, but for a typical personnel lift that you find in most > > theatres I would say your maintenance guy is incorrect. > > It may be possible that your insurance company is requiring certified > operators however. The maintenance guy may be confused about that > or using the state as the bad guy. > > Dave Marks Many years ago, a particular venue in Boston was saying to us that we had to have licensed elevator operators to operate the freight elevators. This was, of course, a dodge to hire their very expensive in house elevator operators for the load in and out. I was able to go to the state licensing bureau and get a elevator operators license for ten bucks, taking a 15 question test that someone with three functional brain cells could easily pass. Walked out with a license in hand that was good for 90 days, and if I paid the thirty bucks or so licensing fee, would get one in the mail good for a few years. The maintenance guy may be trying to get some overtime for the crew on your budget. I would expect that if you were to call the company that made your lift, buy the safety video for the machine, and then take the state test for it for not much money. --Dale ------------------------------ Subject: Ideal Shop Space Date: Mon, 6 Dec 2004 15:01:30 -0600 Message-ID: <51312EBFCD0B1A4789781739FE26AAE25A996B [at] PEPSI.uwec.edu> From: "Nimm, Christopher Kehoe" This subject may have been discussed before, but I'm going to bring it up again anyway. A fellow student and I have been given an assignment of designing a scenic shop for a community theatre. The room that's designated for the purpose is approximately 55'x33', and has seven 8'x8' room off to the sides. So far we've decided that we'd need a lumber rack (board and sheet storage), a flat storage rack, a platform storage area, and then also decided that it would be cool to construct the work tables out of the stock 4'x8' platforms on sawhorses so that they'd be easily removable. The smaller rooms could be used for tool storage, props, paint, and lighting equipment. The space would also need some revamping of the lighting system; it's too dark in there. So, are there any tips, ideas or things to watch out for that any of y'all can think of? We'd really be interested in the collective knowledge on this subject. Thanks, Chris Nimm UW - Eau Claire Theatre Department ------------------------------ Subject: RE: Do I really need a hoisting license? Date: Mon, 6 Dec 2004 16:03:45 -0500 Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C17581 [at] ex1.capecod.edu> From: "Hofmann, Christopher" > the crew on your budget. I would expect that if you were to > call the company that made your lift, buy the safety video for > the machine, and then take the state test for it for not much > money. >=20 > --Dale There's not an issue with the test - my employer will pay for me and my part-timers to take a class and the test. My question really has to do with a larger school like UMass Amhurst - do they license all their students? Do they have a designated licensed person to supervise? Do they ignore the regulation? Are they "Grandfathered" somehow? Or am I being misled? No sarcasm meant - just honest questions. Christopher Hofmann Technical Director =20 Tilden Arts Center Cape Cod Community College 2240 Iyanough Road West Barnstable, MA 02668 =20 Office 508.362.2131 x4356 Fax 508.375.4113 Box Office 508.375.4044 ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Question about plugs and connectors Date: Mon, 6 Dec 2004 16:36:20 -0500 > Just a few days ago, I was trying to open the 3 layers of plastic > containers holding the new hard case for my Palm Zire. Why so many > layers? Sheesh. > -- Jon Ares Let me know how you like the Zire. I have one on my Christmas list. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: <6.2.0.14.0.20041206132640.0407c8b0 [at] localhost> Date: Mon, 06 Dec 2004 13:43:12 -0800 From: Jerry Durand Subject: Re: Question about plugs and connectors In-Reply-To: References: At 12:42 PM 12/6/2004, you wrote: > Bags with all the right numbers of parts are easy to assemble, there >are companies that specialize in just doing that for other companies. >The machine has bins full of nuts and screws, washers, and so on, and >it counts out the correct number into the bag nearly every time, and >heat seals them into the plastic. Human beings just keep the hoppers >full and take away hampers full of filled bags. So how about a bag with 400 screws, another with 100 tops, another with 100 bottoms, and one with 200 end plates? I will say that Lansing ( www.lansing-enclosures.com ) has been very good about packing tops, bottoms, bezels, end plates (wrapped with separator paper to prevent scratches) and screws all separate. Too bad we don't use more metal boxes. ---------- 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 ------------------------------ In-Reply-To: References: Message-Id: <251507C6-47D0-11D9-9D8B-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Costa Rica Date: Mon, 6 Dec 2004 16:45:28 -0500 I was there 4 years ago for my sisters wedding. We took a canopy tour that was awesome! Make sure you look at their equipment before you go to make sure it is safe. Our guides pointed out they were using captive pulleys unlike a fly by night competitor that had a previous fatality. The only other thing to watch out for is your valuables. My sister left her car unattended as we were packing up at the resort and someone reached in and took her bag with all her jewelry and cds and a few other things. We still believe it was an inside job. Amazingly beautiful country with excellent food and accommodations. Flora and fauna is breathtaking. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0ABE302C [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Question about plugs and connectors Date: Mon, 6 Dec 2004 16:46:34 -0500 I have been looking at the TREO 600. It is a little bigger than the phone I carry but it does include the pda. Is anybody using the TREO? Steve Waxler Technical Director College Conservatory of Music University of Cincinnati Let me know how you like the Zire. I have one on my Christmas list. Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: <90F790B7-47D0-11D9-9D8B-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Custom Gobos Date: Mon, 6 Dec 2004 16:48:29 -0500 Check with you local shop dept. and see if their cnc machine can knock one out from a CAD drawing. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: <6.2.0.14.0.20041206134829.0405d730 [at] localhost> Date: Mon, 06 Dec 2004 13:51:16 -0800 From: Jerry Durand Subject: Re: Costa Rica In-Reply-To: References: At 01:45 PM 12/6/2004, you wrote: >My sister left her car unattended as we were packing up at the resort and >someone reached in and took her bag with all her jewelry and cds and a few >other things. Just a reminder to everyone everywhere...doors (car and house) have locks, use them. Also, don't leave anything in sight that looks valuable. I know several people who have gotten all upset that the purse left on the front seat of an unlocked car overnight was stolen. ---------- 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 ------------------------------ From: "John Vink" Subject: RE: Custom Gobos Date: Mon, 6 Dec 2004 15:15:19 -0700 Message-ID: <004301c4dbe1$125436d0$6501a8c0 [at] canadiansales> In-Reply-To: If you have any Selecon Pacific 575W ellipsoidal spotlights to use, you can project custom color images printed on overhead transparency plastic film. www.seleconlight.com/english/support/gobos-desktop.htm John Vink Johnson Systems Inc. > > Does anyone have instructions for making your own > custom gobos? > > Thanks, > > Jason Tollefson > ------------------------------ Subject: RE: Ideal Shop Space Date: Mon, 6 Dec 2004 15:15:09 -0700 Message-ID: <67CADCB91D266042A8DAB3B981DCFD140412CB [at] AFAMAIL2.USAFA.afspc.ds.af.mil> From: "Haagen Trey P Civ 34 TRW/SDAT" Chris: I just went through this process. Here are a few thoughts: The 8 x 8 rooms. It would be nice if they all had 4' wide doors. =09 I love mine. And maybe a door between two rooms. One with a big window for an office or shop foreman =09 The main loading dock should have a minimum of 10' w x 10' tall overhead, insulated door, as well as a 4'wide door. Windows are nice. AC everywhere. 24" as well as 52" of the floor. Three times as many=20 as the architect or twice what the consultant thinks you need. Don't=20 forget the higher voltage machines. Put 'em on every wall. If you do not think you will ever need them... You will. Recess all boxes into the block or concrete. And a few from the ceiling will prove nice to have. Dust collection system outside. Connections recessed into the block. Pneumatic connections at that 52" level. Again, recess into block. More than you think you will need. ( And outside ) Unistrut built into the block at 8', 10', and 12' off the floor. Lots and lots of light and not controlled by just one or two switches. If the shop is connected to the stage, a dedicated circuit just for blue running lights. Fire stand pipe and fire extinguisher boxes built into the block. =20 Well marked and preferably with dedicated red lights or illuminated signage=20 above. Ask for a variance and get these boxes above 52" so things don't block them. 'Ya need at least two deep sinks in the paint area but don't forget another sink for coffee and an eye wash station. I build everything on wheels. Lumber racks with 1200# casters. Three men and a=20 pachyderm to move them, but I can when I need to. 14' chop saw table that can wheeled on stage, and on and on. Cleaning is much easier and when I need space, I shove it outside. (I wish I had put drain outlets in the floor ) This can go on and on depending on what the theatre does, BUT, do not forget that when positions change, people have their own preferences. Don't make any one space too specialized. And for goodness sake, do not make them nice. It could end up a "found" office space in the future. Trey Haagen Arnold Hall Theatre USAF Academy =09 =09 =09 =09 =09 =09 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Nimm, Christopher Kehoe Sent: Monday, December 06, 2004 14:02 To: Stagecraft Subject: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- So, are there any tips, ideas or things to watch out for that any of y'all can think of? We'd really be interested in the collective knowledge on this subject. T ------------------------------ Message-ID: <41B4DE47.8EA4D53D [at] cybercom.net> Date: Mon, 06 Dec 2004 17:33:43 -0500 From: Dale Farmer Subject: Re: Ideal Shop Space References: "Nimm, Christopher Kehoe" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This subject may have been discussed before, but I'm going to bring it > up again anyway. A fellow student and I have been given an assignment > of designing a scenic shop for a community theatre. The room that's > designated for the purpose is approximately 55'x33', and has seven 8'x8' > room off to the sides. So far we've decided that we'd need a lumber > rack (board and sheet storage), a flat storage rack, a platform storage > area, and then also decided that it would be cool to construct the work > tables out of the stock 4'x8' platforms on sawhorses so that they'd be > easily removable. The smaller rooms could be used for tool storage, > props, paint, and lighting equipment. The space would also need some > revamping of the lighting system; it's too dark in there. > > So, are there any tips, ideas or things to watch out for that any of > y'all can think of? We'd really be interested in the collective > knowledge on this subject. > > Thanks, Can you raise the ceiling at all? Always good to have lots of vertical space. Built in dust collector system, including floor sweep in ports. A painting area that you can curtain off with a fire-proof ventilation system, so you can spray paint with all paints. Compressed air outlets all over the place, backed up by an air compressor with a big reserve tank. Really good ventilation, with overrides for off hour operation. Noise insulating doors so that shop work noise does not mess up rehearsals or performances. Plenty of electrical power outlets around. Dedicated tool maintenance bench. Lots of lights. Have fluorescent, incandensant, and HMI lights, so you can see what things look like under the different lights. --Dale ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: Ideal Shop Space Date: Mon, 6 Dec 2004 15:41:33 -0700 Another thought: Put 3-way or more light switches at EVERY possible exit /enter point. There is nothing more fun than tripping though a dark work shop looking for a light switch. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Haagen Trey P Civ 34 TRW/SDAT Lots and lots of light and not controlled by just one or two switches. If the shop is connected to the stage, a dedicated circuit just for blue running lights. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <65.39f5c7d2.2ee63b27 [at] aol.com> Date: Mon, 6 Dec 2004 17:45:59 EST Subject: Re: Central Clusters In a message dated 06/12/04 19:41:11 GMT Standard Time, MOOREM4 [at] rpi.edu writes: > Isn't it time to say goodbye to central clusters? Yes. It has never been the time to say 'Hello' to them. > > Am I just being old and cantankerous that I found it disconcerting that > Dame Edna's sound image in the mezzanine at the Music Box was central > and overhead regardless of where Dame Edna was on stage. No. You are being an acute observer. > > Doesn't the technology exist to avoid centralized sound images nowadays? Yes, and it has done for years. Some twenty years ago, a friend and I designed, built, and installed a surround sound system. It worked well. Then, we got a lot of money from the lottery. Now, we have a big, commercial system, which is largely useless. In terms of what the audience hears, we have moved back fifty years, if you are talking about effects replay. It was specified and installed under the supervision of a PA specialist. You need to consider what the sound system is for. > > Back in the olde country back then they tried for a stereo image on > miked shows with line arrays on each side of the prosc. -- didn't > always work too well. Frank Wood ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Central Clusters Date: Mon, 6 Dec 2004 15:32:51 -0800 Message-ID: <008501c4dbeb$e834abe0$726dfea9 [at] DrDoomsComputer> In-Reply-To: I am that old that all of the productions I directed, I never allowed a microphone for any performer. The very old school called projection of the voice, and it always, and I mean always worked. 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 Moore, Martin W. Sent: Monday, December 06, 2004 11:40 AM To: Stagecraft Subject: Central Clusters For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Isn't it time to say goodbye to central clusters? I went to see Dame Edna aka Barry Humphries one man show on Broadway for old times sake (we both did Maggie May in London longer ago than any of us would care to remember -- back then he projected and didn't need a mike) Am I just being old and cantankerous that I found it disconcerting that Dame Edna's sound image in the mezzanine at the Music Box was central and overhead regardless of where Dame Edna was on stage. Doesn't the technology exist to avoid centralized sound images nowadays? Back in the olde country back then they tried for a stereo image on miked shows with line arrays on each side of the prosc. -- didn't always work too well. Martin ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Listmembers in the L.A. area Date: Mon, 6 Dec 2004 15:40:10 -0800 Message-ID: <008701c4dbec$edbfc7b0$726dfea9 [at] DrDoomsComputer> In-Reply-To: A disaster, as I did the risk assessment of it and its production .... egads. Million of $$. And for what? 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 StevevETTrn [at] aol.com Sent: Saturday, December 04, 2004 4:47 PM To: Stagecraft Subject: Re: Listmembers in the L.A. area For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >the one in Orlando was a disaster, , , , horses on treadmills doing the >chariot race, , etc etc, , , went bankrupt, , badly marketed, bad location , That was "Ben Hur" you are thinking about. Was staged at the Orange County Convention Center's Theatre. SteveV Orl, FL ------------------------------ From: "Jonathan S. Deull" Subject: RE: Central Clusters Date: Mon, 6 Dec 2004 18:43:03 -0500 In-Reply-To: Message-ID: "I am that old that all of the productions I directed, I never allowed a microphone for any performer. The very old school called projection of the voice, and it always, and I mean always worked. Doomster" That would be really nice, and I find myself frequently annoyed by the overuse of amplification in legit theatre today. But I find living by rules to be limiting, and prefer to try to figure out what works best under the given set of circumstances. Our production of The Who's TOMMY would have been "challenging" without mics, in any space and under any conditions. Jonathan Deull Edmund Burke School ------------------------------ Message-ID: <41B4F0CE.7040002 [at] fredonia.edu> Date: Mon, 06 Dec 2004 18:52:46 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Ideal Shop Space References: Dale wrote: > Can you raise the ceiling at all? Always good to have lots of > vertical space. As a caveat, you don't want this to get out of hand however. I.M. Pei gave us a scene shop 25' x 100' with a ceiling at 30'. :( I would much rather have had a 20' ceiling and another 10' in width. This was done to conform the look of the structure as viewed from outside to that of a monolithic sculpture. It sort of looks like a nuke cooling tower for the vast expanses of naked concrete. Air handling is problematic because of height and location of duct work (which I have no control over). Regards, Steve Rees ------------------------------ From: IAEG [at] aol.com Message-ID: <1c2.2151df3a.2ee64d82 [at] aol.com> Date: Mon, 6 Dec 2004 19:04:18 EST Subject: Re: Listmembers in the L.A. area In a message dated 12/6/04 6:40:52 PM, doomster [at] worldnet.att.net writes: > > A disaster, as I did the risk assessment of it and its production .... >egads. Million of $$. And for what? Doomster misguided producers who thought they could present it at the Convention Center Theatre ( bad mistake ) and that there was an audience who would sustain it, , then they advertised that they were SOLD OUT thinking they could generate interest that way, , when in fact they were playing to almost empty houses ( according to my sources ) very best, Keith Arsenault ------------------------------ Subject: RE: Ideal Shop Space Date: Mon, 6 Dec 2004 18:22:12 -0600 Message-ID: From: "Curt Mortimore" Chris, My latest discovery is the pallet jack. I can use any pallet I can get my hands on to stack platforms, equipment, rehearsal cubes/furniture, step units, practically anything I have on. I have built specialized pallets out of old platforms to store flats, odd shaped platforms, scrap wood and sheet goods. These are items I only need occasionally so they can be neatly parked in the corner or out of the way but when I do need them it only takes one person a few minutes to move practically everything in the shop and I don't have expensive casters on things I rarely move. Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 (641) 784-5265 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Nimm, Christopher Kehoe Sent: Monday, December 06, 2004 3:02 PM To: Stagecraft Subject: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- This subject may have been discussed before, but I'm going to bring it up again anyway. A fellow student and I have been given an assignment of designing a scenic shop for a community theatre. The room that's designated for the purpose is approximately 55'x33', and has seven 8'x8' room off to the sides. So far we've decided that we'd need a lumber rack (board and sheet storage), a flat storage rack, a platform storage area, and then also decided that it would be cool to construct the work tables out of the stock 4'x8' platforms on sawhorses so that they'd be easily removable. The smaller rooms could be used for tool storage, props, paint, and lighting equipment. The space would also need some revamping of the lighting system; it's too dark in there. So, are there any tips, ideas or things to watch out for that any of y'all can think of? We'd really be interested in the collective knowledge on this subject. Thanks, Chris Nimm UW - Eau Claire Theatre Department ------------------------------ From: IAEG [at] aol.com Message-ID: <1ee.30623f4c.2ee65273 [at] aol.com> Date: Mon, 6 Dec 2004 19:25:23 EST Subject: the ethos of sound ( and light ? ) long post In a message dated 12/6/04 6:44:11 PM, jdeull [at] clarktransfer.com writes: >"I am that old that all of the productions I directed, I never allowed >a >microphone for any performer. The very old school called projection of >the voice, and it always, and I mean always worked. Doomster" > > >That would be really nice, and I find myself frequently annoyed by the >overuse of amplification in legit theatre today. But I find living by >rules >to be limiting, and prefer to try to figure out what works best under the >given set of circumstances. Our production of The Who's TOMMY would have >been "challenging" without mics, in any space and under any conditions. > >Jonathan Deull >Edmund Burke School I think that it is safe to say, , at some point in time about 30 years ago we switched our efforts from working to make recordings sound as good as a live performance to working to make live performances sound as good as a recording. with the advent of multi track / synced recording, the ability to have the timbre of certain things that we associate with LOUDNESS , , the sharp crack of a snare drum, , the distortion of a lead guitar, , to be mixed UNDER acoustic timbre's such as string sections, or vocal techniques that pre cluded "projection" The ability to create a mix that would be impossible to duplicate in an "acoustic" environment is what we are talking about. that changed everything I remember reading an article in either Musical America or Opera News (help me out Boyd) about 10 years ago, , comparing pop / rock singers with their microphone technique to bell canto singers of previous centuries. The point being that the large opera houses, large pit orchestras and the advent of the full voice high C in tenor particularly made historically accurate, but "small" voices impossible in today's opera houses. The full voice high C's that we think of in Pavarotti's early career, , in Donezetti and other composers of that period, , would have been un heard of, , and considered un musical and vulgar. The article went on to compare the "intimacy" that a pop singer can have with his audience due to the microphone to that that a singer of this period would have had, that nuance, subtlety and yes musicality are far often more evident in those circumstances than in the full, , overly large voices needed to fill venues such as the MET as compared to the relatively smaller and acoustically more "supportive" venues that these works were originally written for. it's a change that's happened in lighting as well,, but not as obvious perhaps, , I remember hearing that the lumen reading on stage for the final curtain (probably the brightest moment of most shows ?) of a 50's Broadway show, , let's say WEST SIDE STORY would not be considered a suitable lumen level in a contemporary Broadway musical for a dark night time scene today. Any of you who have seen the actual light plots for Broadway of that period (MAGIC OF LIGHT) can figure in your head what those shows must have looked like "full up" , most HS productions today probably have more "lumens" at their disposal! Why? Television, , close ups, , , , etc, , , plus the brighter the base light is on stage, , the BRIGHTER the key light has got to be to even be noticed, , not to mention the switch from DC to AC in the Broadway houses, , and the advent of the SCR dimmer and computer memory. Imagine what a Broadway house would have been like with say 800 1 k instruments, , and GIANT DC Piano boards to run it all ! Yikes ! the operators ( 10 or 12 ? ? ) would glow in the dark, , , it wouldn't have been practical, , in those cramped quarters ? ? ? yikes, , , so these are my ramblings on the subject , , take them for what they are worth, I could be completely wrong, , , very best, Keith Arsenault ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: the ethos of sound ( and light ? ) long post Date: Mon, 6 Dec 2004 16:33:42 -0800 Message-ID: <001201c4dbf4$67e328a0$726dfea9 [at] DrDoomsComputer> In-Reply-To: Challenging, but not impossible. Lots of work with performers today to make them project, even in the greatest of acoustical facilities. doom ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. April 4, 5, 6, 2005 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of IAEG [at] aol.com Sent: Monday, December 06, 2004 4:25 PM To: Stagecraft Subject: the ethos of sound ( and light ? ) long post For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 12/6/04 6:44:11 PM, jdeull [at] clarktransfer.com writes: >"I am that old that all of the productions I directed, I never allowed >a >microphone for any performer. The very old school called projection of >the voice, and it always, and I mean always worked. Doomster" > > >That would be really nice, and I find myself frequently annoyed by the >overuse of amplification in legit theatre today. But I find living by >rules >to be limiting, and prefer to try to figure out what works best under the >given set of circumstances. Our production of The Who's TOMMY would have >been "challenging" without mics, in any space and under any conditions. > >Jonathan Deull >Edmund Burke School I think that it is safe to say, , at some point in time about 30 years ago we switched our efforts from working to make recordings sound as good as a live performance to working to make live performances sound as good as a recording. with the advent of multi track / synced recording, the ability to have the timbre of certain things that we associate with LOUDNESS , , the sharp crack of a snare drum, , the distortion of a lead guitar, , to be mixed UNDER acoustic timbre's such as string sections, or vocal techniques that pre cluded "projection" The ability to create a mix that would be impossible to duplicate in an "acoustic" environment is what we are talking about. that changed everything I remember reading an article in either Musical America or Opera News (help me out Boyd) about 10 years ago, , comparing pop / rock singers with their microphone technique to bell canto singers of previous centuries. The point being that the large opera houses, large pit orchestras and the advent of the full voice high C in tenor particularly made historically accurate, but "small" voices impossible in today's opera houses. The full voice high C's that we think of in Pavarotti's early career, , in Donezetti and other composers of that period, , would have been un heard of, , and considered un musical and vulgar. The article went on to compare the "intimacy" that a pop singer can have with his audience due to the microphone to that that a singer of this period would have had, that nuance, subtlety and yes musicality are far often more evident in those circumstances than in the full, , overly large voices needed to fill venues such as the MET as compared to the relatively smaller and acoustically more "supportive" venues that these works were originally written for. it's a change that's happened in lighting as well,, but not as obvious perhaps, , I remember hearing that the lumen reading on stage for the final curtain (probably the brightest moment of most shows ?) of a 50's Broadway show, , let's say WEST SIDE STORY would not be considered a suitable lumen level in a contemporary Broadway musical for a dark night time scene today. Any of you who have seen the actual light plots for Broadway of that period (MAGIC OF LIGHT) can figure in your head what those shows must have looked like "full up" , most HS productions today probably have more "lumens" at their disposal! Why? Television, , close ups, , , , etc, , , plus the brighter the base light is on stage, , the BRIGHTER the key light has got to be to even be noticed, , not to mention the switch from DC to AC in the Broadway houses, , and the advent of the SCR dimmer and computer memory. Imagine what a Broadway house would have been like with say 800 1 k instruments, , and GIANT DC Piano boards to run it all ! Yikes ! the operators ( 10 or 12 ? ? ) would glow in the dark, , , it wouldn't have been practical, , in those cramped quarters ? ? ? yikes, , , so these are my ramblings on the subject , , take them for what they are worth, I could be completely wrong, , , very best, Keith Arsenault ------------------------------ Message-ID: <001101c4dbf4$644eb740$afecbed0 [at] hppav> From: "Joe Meils" References: Subject: Re: Ideal Shop Space Date: Mon, 6 Dec 2004 18:33:36 -0600 I tend to agree with Trey's suggestions. The only things I would add is to keep your table saw central to the shop, and aligned so that you have plenty of room to rip. I think your idea of using 4x8 plats as work tables is a good one, but the 4' width is a bit of a pain. better to have two 2' wide plats butted against each other, so they can be arranged as giant sawhorses, or as separate benches. (28" to 30" high optimum) I think, if I had to add one thing to my current set up, I'd get the dust suppression system. I spend far too much of my work week vacuuming as it is. Joe Meils UCA Theatre Conway, AR ----- Original Message ----- From: "Haagen Trey P Civ 34 TRW/SDAT" To: "Stagecraft" Sent: Monday, December 06, 2004 4:15 PM Subject: Re: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Chris: I just went through this process. Here are a few thoughts: The 8 x 8 rooms. It would be nice if they all had 4' wide doors. I love mine. And maybe a door between two rooms. One with a big window for an office or shop foreman The main loading dock should have a minimum of 10' w x 10' tall overhead, insulated door, as well as a 4'wide door. Windows are nice. AC everywhere. 24" as well as 52" of the floor. Three times as many as the architect or twice what the consultant thinks you need. Don't forget the higher voltage machines. Put 'em on every wall. If you do not think you will ever need them... You will. Recess all boxes into the block or concrete. And a few from the ceiling will prove nice to have. Dust collection system outside. Connections recessed into the block. Pneumatic connections at that 52" level. Again, recess into block. More than you think you will need. ( And outside ) Unistrut built into the block at 8', 10', and 12' off the floor. Lots and lots of light and not controlled by just one or two switches. If the shop is connected to the stage, a dedicated circuit just for blue running lights. Fire stand pipe and fire extinguisher boxes built into the block. Well marked and preferably with dedicated red lights or illuminated signage above. Ask for a variance and get these boxes above 52" so things don't block them. 'Ya need at least two deep sinks in the paint area but don't forget another sink for coffee and an eye wash station. I build everything on wheels. Lumber racks with 1200# casters. Three men and a pachyderm to move them, but I can when I need to. 14' chop saw table that can wheeled on stage, and on and on. Cleaning is much easier and when I need space, I shove it outside. (I wish I had put drain outlets in the floor ) This can go on and on depending on what the theatre does, BUT, do not forget that when positions change, people have their own preferences. Don't make any one space too specialized. And for goodness sake, do not make them nice. It could end up a "found" office space in the future. Trey Haagen Arnold Hall Theatre USAF Academy -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Nimm, Christopher Kehoe Sent: Monday, December 06, 2004 14:02 To: Stagecraft Subject: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- So, are there any tips, ideas or things to watch out for that any of y'all can think of? We'd really be interested in the collective knowledge on this subject. T ------------------------------ Message-Id: <5.2.0.9.0.20041206205538.00b40230 [at] pop.lightlink.com> Date: Mon, 06 Dec 2004 21:10:20 -0500 From: John Bracewell Subject: Re: the ethos of sound ( and light ? ) long post In-Reply-To: No, Keith, I don't think you're rambling. I have to say that I find thinking of current pop singers as enjoying "intimacy" with their audiences a difficult concept, but that may be just that I'm not part of that generation. Of course, hearing rock singers over the noise of their audiences would be all but impossible without the mic. (Well, maybe the audiences might be quieter if there were no mics?) But maybe that's intimacy to the current generation. Your comment that we've stopped trying to make recordings sound like reality and are not trying to make reality sound like recordings is right on. Frankly, one stumbling block that's come my way several times over the past few years has been trying to get a "natural" sound from singers in a musical production. That doesn't mean that I'm trying to make it sound as if no amplification is in use, just that I wanted to reproduce a timbre that would be characteristic of the performer's voice given the visual distance. It took me several tries to learn that, over a heavy pit band, that doesn't work. You need more low mid-range than would be natural at a visual distance of thirty to forty or fifty feet--something more characteristic of a studio sound, otherwise the words get lost. I think we have to frankly admit that today's musical is simply a loud show! Pit bands are scored to be heavy and thick and play right in the same range as the vocal performer. That wasn't characteristic of early musicals and not (with exceptions) of opera. Yes, opera can have some real orchestral outbursts, but those usually alternate with the singer. E.g., the end of the fourth act of Boheme. Some of today's musicals have the modern equivalent of a patter song set to full brass and percussion accompaniment playing fortissimo! Not gonna happen without the capsule close to the mouth and the stick full up on the console! -- JLB ------------------------------ From: "Jonathan S. Deull" Subject: RE: the ethos of sound ( and light ? ) long post Date: Mon, 6 Dec 2004 21:32:44 -0500 In-Reply-To: Message-ID: I recently saw the Broadway production of Wonderful Town (yes, with Brooke Shields). Sound design by Lew Mead. It was a real pleasure to listen to, and was one of the few musicals I've seen in a long time to work at a "natural" sound, with performers who were indeed projecting. Of course it was in a small house (the Hirschfeld, former Martin Beck), with the band behind the performers on stage, with the Bernstein score and music direction by Rob Fisher that reached for another era. Still, it was a refreshing break, and I didn't leave the theatre exhausted by aural bombardment. Only slightly off-topic: I just finished a dance show with a young lighting designer who was so enamoured of his moving lights that he seemed to think they were the show. Out comes the fog machine. This is becoming an all-too-familiar experience. Although it was very pretty, I actually wanted the audience to see the dancers. A strange notion, I know. Jonathan Deull ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: computer tech support - was: Do I really need a hoisting license? Date: Mon, 06 Dec 2004 21:38:53 -0500 I just ordered a Belkin Pre-N wireless router and network adapters cards. I looked at Netgear, but they got extremely bad reviews, especially about their tech support. I currently own four Dell computers and my last two office computers at the university have been Dells. Personally, I have been VERY satitified with their computers and their tech support. My only major dealling with their tech support was about four years ago when a moden died. I had no problem dealing with the tech support person and they sent someone to replace it (at no charge) within two days of me calling them about the problem. Of course, this my have been pre-outsourcing. I will probably order another Dell the next time I need a computer. Delbert L. Hall 423-773-HALL (4255) >From: "Nicholas Kuhl" >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: computer tech support - was: Do I really need a hoisting >license? >Date: Mon, 06 Dec 2004 14:38:04 -0500 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > >>I must say that I've heard several horror stories from friends regarding >>Dell tech support, the last few years. Of course you only hear about the >>failures, never the success stories, but there still seems to be an awful >>lot of them . . . > >Dell support used to be really good until they started outsourcing it, and >then it went down the hole and is still digging. I seem to remember that >they're moving away from the outsourcing though, hopefully they will >return to their former status of best tech support in the business. >Continuing OT, Netgear has possibly the worst tech support I've ever dealt >with, aside from also having crap for products. Another product of >outsourcing it seems. > >Nick Kuhl ------------------------------ From: IAEG [at] aol.com Message-ID: <1f7.30bfcee.2ee672f0 [at] aol.com> Date: Mon, 6 Dec 2004 21:44:00 EST Subject: Re: the ethos of sound ( and light ? ) long post In a message dated 12/6/04 9:33:38 PM, jdeull [at] clarktransfer.com writes: >Only slightly off-topic: I just finished a dance show with a young lighting >designer who was so enamoured of his moving lights that he seemed to think >they were the show. Out comes the fog machine. This is becoming an >all-too-familiar experience. Although it was very pretty, I actually wanted >the audience to see the dancers. A strange notion, I know. > >Jonathan Deull one of those guys who sits at the console and says, , "ooooooh, , all these neat buttons ! I better push them ! " ugh, gimme a break, , personally, , I try for as few ques as I think are sufficient, , but there are some ( including a few Tony Winners, , ) who seem to think that if there isn't a major shift in lighting every 8 counts of music "we" ( the audience ) will get bored, , I find that insulting, but then, , they make a lot more than me, , , so what can I say ? very best, Keith Arsenault ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: computer tech support - was: Do I really need a hoisting license? Date: Mon, 6 Dec 2004 21:46:47 -0500 Message-ID: <000001c4dc07$00251ad0$6501a8c0 [at] Dell> In-Reply-To: > At the risk of being off-stagecraft-topic I would like to > give a big kudos > to Linksys technical support. Absolutely. I've dealt with them several times and they have never been anything other than knowledgeable, helpful, and courteous. ------------------------------ Subject: Re: computer tech support - was: Do I really need a hoisting license? References: Message-ID: Date: Mon, 06 Dec 2004 21:55:51 -0500 From: "Nicholas Kuhl" In-Reply-To: > I currently own four Dell computers and my last two office computers at > the university have been Dells. Personally, I have been VERY satitified > with their computers and their tech support. My only major dealling > with their tech support was about four years ago when a moden died. I > had no problem dealing with the tech support person and they sent > someone to replace it (at no charge) within two days of me calling them > about the problem. Of course, this my have been pre-outsourcing. I > will probably order another Dell the next time I need a computer. > My own experiences agree with you regarding their tech support, but I also dealt with them around 4 years ago. More recent reviews of their tech support in the last 1-2 years showed the drop in satisfaction. Their build quality is still among the best though, short of shelling out for a falcon northwest or voodoo. It took about 8 years for my family's first Dell to die, and all the computers we buy are still Dells. Nick Kuhl ------------------------------ In-Reply-To: References: Message-Id: <67ED40DE-4800-11D9-AC82-000A95D99210 [at] hillmardesign.com> From: gregg hillmar Subject: Re: computer tech support - was: Do I really need a hoisting license? Date: Mon, 6 Dec 2004 22:30:56 -0500 On Dec 6, 2004, at 2:11 PM, Nathan Kahn/Look Solutions wrote: snip > At the risk of being off-stagecraft-topic I would like to give a big > kudos to Linksys technical support. I own many Linksys products and > have called tech support several times, sometimes it's not even the > Linksys product that's at fault but the settings on the PC or DSL > modem that's connected to it. They always get me back up and running > for free, and without much time on hold. It's reached the point where > I will only buy Linksys brand router/wireless products simply because > the tech support is so good. I can't think if only they really talked to Macintoshes, I'd agree wholeheartedly! Linksys does well, and gives good support. They just don't speak Macintosh... g. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige ------------------------------ From: "holyoak1" Subject: Trio 600 Date: Mon, 6 Dec 2004 22:21:38 -0500 In-Reply-To: Message-ID: I have been using the 600 since Sprint first introduced it a months ago. I have had some software issues (mostly related to Sprints Tech Support having no idea how the phone actually worked.) I have also had issues with a slow touch screen response time and had several replacements. All that being said I love it and plant to continue using - They just agreed to send me a 650 which just came out and has the 600 bugs all worked out. That's the cost of being the early adaptor on the cutting edge. At times it's the bleeding edge. 650 adds Bluetooth and a user changeable battery. The joy of not carrying both a phone and PDA is wonderful. Kenneth H. Holyoak Information+Insight=Profit HIG, LLC Mail POB 68633 Indianapolis IN 46268-0633 UPS 1508 E 86th Street Suite 177 Indianapolis IN 46240 ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Waxler, Steve (waxlers) Sent: Monday, December 06, 2004 4:47 PM To: Stagecraft Subject: Re: Question about plugs and connectors For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have been looking at the TREO 600. It is a little bigger than the phone I carry but it does include the pda. Is anybody using the TREO? Steve Waxler Technical Director College Conservatory of Music University of Cincinnati Let me know how you like the Zire. I have one on my Christmas list. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF069E0CD7 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Ideal Shop Space Date: Mon, 6 Dec 2004 22:50:10 -0500 Ah, wait until you discover the fork lift! Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 -----Original Message----- From: Curt Mortimore [mailto:cmortimo [at] graceland.edu] Sent: Monday, December 06, 2004 7:22 PM To: Stagecraft Subject: Re: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Chris, My latest discovery is the pallet jack. I can use any pallet I can get my hands on to stack platforms, equipment, rehearsal cubes/furniture, step units, practically anything I have on. I have built specialized pallets out of old platforms to store flats, odd shaped platforms, scrap wood and sheet goods. These are items I only need occasionally so they can be neatly parked in the corner or out of the way but when I do need them it only takes one person a few minutes to move practically everything in the shop and I don't have expensive casters on things I rarely move. Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 (641) 784-5265 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Nimm, Christopher Kehoe Sent: Monday, December 06, 2004 3:02 PM To: Stagecraft Subject: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- This subject may have been discussed before, but I'm going to bring it up again anyway. A fellow student and I have been given an assignment of designing a scenic shop for a community theatre. The room that's designated for the purpose is approximately 55'x33', and has seven 8'x8' room off to the sides. So far we've decided that we'd need a lumber rack (board and sheet storage), a flat storage rack, a platform storage area, and then also decided that it would be cool to construct the work tables out of the stock 4'x8' platforms on sawhorses so that they'd be easily removable. The smaller rooms could be used for tool storage, props, paint, and lighting equipment. The space would also need some revamping of the lighting system; it's too dark in there. So, are there any tips, ideas or things to watch out for that any of y'all can think of? We'd really be interested in the collective knowledge on this subject. Thanks, Chris Nimm UW - Eau Claire Theatre Department ------------------------------ In-Reply-To: References: Message-Id: <80308F80-4802-11D9-AC82-000A95D99210 [at] hillmardesign.com> From: gregg hillmar Subject: Re: Vectorworks problem du jour Date: Mon, 6 Dec 2004 22:45:56 -0500 On Dec 4, 2004, at 9:56 PM, Paul Schreiner wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Using Spotlight 9.5.1...After doing a series of "subtract solids" > operations that worked fine, I then had a group of trimmed 3D objects > all selected. Switched them without issue to another group, then when > I > tried to change one of the attributes (pen color, FWIW) of the selected > items, I got a Runtime error that shut me down. > > Tried it again, same result. > > I'll try the ol' reboot-and-do-it-again thang, but I'm wondering if > anyone else has had this sort of thing happen in the past... Paul, I never saw anybody answer this, but I also don't know anybody still using Spotlight 9.5.1. I have not used it in years so I can't even begin to help, tho I didi not see any problem when I tried this with Vectorworks/Spotlight 11. You might think about upgrading... Hope you figured it out. g. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige ------------------------------ Subject: RE: Ideal Shop Space Date: Mon, 6 Dec 2004 22:02:52 -0600 Message-ID: From: "Curt Mortimore" Steve, How right you are!! If you remember I worked at Cincinnati Playhouse in the Park so I am quite familiar with how incredibly wonderful a real forklift is. My present situation doesn't afford me that luxury but I have found the pallet jack to be terribly useful. Plus, I thought maybe might be a bit more realistic for a community theatre. Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 (641) 784-5265 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Waxler, Steve (waxlers) Sent: Monday, December 06, 2004 9:50 PM To: Stagecraft Subject: Re: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Ah, wait until you discover the fork lift! Steve Waxler =20 Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 -----Original Message----- From: Curt Mortimore [mailto:cmortimo [at] graceland.edu]=20 Sent: Monday, December 06, 2004 7:22 PM To: Stagecraft Subject: Re: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Chris, My latest discovery is the pallet jack. I can use any pallet I can get my hands on to stack platforms, equipment, rehearsal cubes/furniture, step units, practically anything I have on. I have built specialized pallets out of old platforms to store flats, odd shaped platforms, scrap wood and sheet goods. These are items I only need occasionally so they can be neatly parked in the corner or out of the way but when I do need them it only takes one person a few minutes to move practically everything in the shop and I don't have expensive casters on things I rarely move. Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 (641) 784-5265 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Nimm, Christopher Kehoe Sent: Monday, December 06, 2004 3:02 PM To: Stagecraft Subject: Ideal Shop Space For info, archives & UNSUBSCRIBE, see --------------------------------------------------- This subject may have been discussed before, but I'm going to bring it up again anyway. A fellow student and I have been given an assignment of designing a scenic shop for a community theatre. The room that's designated for the purpose is approximately 55'x33', and has seven 8'x8' room off to the sides. So far we've decided that we'd need a lumber rack (board and sheet storage), a flat storage rack, a platform storage area, and then also decided that it would be cool to construct the work tables out of the stock 4'x8' platforms on sawhorses so that they'd be easily removable. The smaller rooms could be used for tool storage, props, paint, and lighting equipment. The space would also need some revamping of the lighting system; it's too dark in there. So, are there any tips, ideas or things to watch out for that any of y'all can think of? We'd really be interested in the collective knowledge on this subject. Thanks, Chris Nimm UW - Eau Claire Theatre Department ------------------------------ Date: Mon, 06 Dec 2004 23:06:04 -0500 Subject: Re: Vectorworks problem du jour From: Herrick Goldman Message-ID: In-Reply-To: Hey Paul, I'm still using VW 9.5.1 on my mac. I just refuse to pay that much money to upgrade when what I have still works fine. Of course I had working light plot software with Minicad 7. (hi Sam) Send me your file, hopefully before the bug, and give me a detailed description of what you were doing. I'll see if it crashes my g4 running OSX Panther. -H On 12/6/04 22:45, "gregg hillmar" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > Paul, I never saw anybody answer this, but I also don't know anybody > still using Spotlight 9.5.1. -- 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 ------------------------------ In-Reply-To: References: Message-Id: <50F53865-4807-11D9-AC82-000A95D99210 [at] hillmardesign.com> From: gregg hillmar Subject: Re: Vectorworks problem du jour Date: Mon, 6 Dec 2004 23:20:24 -0500 On Dec 6, 2004, at 11:06 PM, Herrick Goldman wrote: > Hey Paul, > > I'm still using VW 9.5.1 on my mac. I just refuse to pay that much > money to > upgrade when what I have still works fine. Of course I had working > light > plot software with Minicad 7. (hi Sam) Yeah, I use AutoPlot too, but as I also design scenery, I've found the improvements in VW10, 10.5, 11 (Viewports!!!) and 11.5 (shortly, one can hope) to be worth the upgrade. Still, if it works, why upgrade? Unless it works better, which for me it does... I do hope Paul fixes his issue... best g. _____________________ gregg hillmar scenic & lighting design portfolio & life as we know it: http://www.hillmardesign.com "Work like you don't need the money. Love like you've never been hurt. Dance like no one's watching." Satchel Paige ------------------------------ End of Stagecraft Digest #218 *****************************