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 12619725; Thu, 06 Jan 2005 03:01:13 -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 #250 Date: Thu, 06 Jan 2005 03:00:46 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-5.2 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, US_DOLLARS_3 autolearn=ham version=3.0.2 X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #250 1. Re: Turntables by Bill Sapsis 2. Re: Turntables by "Waxler, Steve (waxlers)" 3. Re: Theatre Rentals? by Greg Bierly 4. Re: Theatre Rentals? by Greg Bierly 5. Re: Theatre Rentals? by Greg Bierly 6. Re: Theatre Rentals? by "Storms, Randy" 7. Stage Management Web Site by Mark Harvey 8. Theatre renovation/equipment by Steve Larson 9. Re: turntable encoders/ soft wheels by "Jon Lagerquist" 10. Re: Theatre renovation/equipment by "Frank E. Merrill" 11. Re: Theatre renovation/equipment by "Storms, Randy" 12. Re: Theatre renovation/equipment by Bill Sapsis 13. Re: Theatre renovation/equipment by Steve Larson 14. Re: Theatre renovation/equipment by IAEG [at] aol.com 15. Re: Theatre Rentals? by "Paul Schreiner" 16. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 17. Re: Theatre renovation/equipment by Steve Larson 18. Re: Theatre renovation/equipment by JDruc3737 [at] aol.com 19. Re: More intel. prop. stuff by CB 20. Re: Theatre renovation/equipment by Stephen Litterst 21. Re: Theatre renovation/equipment by "Andrew Vance" 22. Re: Theatre renovation/equipment by roguerpj [at] mn.rr.com 23. Re: Theatre renovation/equipment by "Paul Schreiner" 24. Theatre Rentals? by CB 25. Re: Theatre renovation/equipment by "Paul Schreiner" 26. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 27. Lion King National Tour by "holyoak1" 28. Re: Lion King National Tour by "holyoak1" 29. Double Messages by "holyoak1" 30. Re: Theatre Rentals? by "Storms, Randy" 31. Re: Theatre renovation/equipment by Bill Sapsis 32. Re: Theatre Rentals? by Dale Farmer 33. 12' dia platform by Greg Bierly 34. Re: Theatre Rentals? by "Paul Schreiner" 35. Re: Theatre renovation/equipment by roguerpj [at] mn.rr.com 36. Re: Theatre renovation/equipment by "Waxler, Steve (waxlers)" 37. Design Contract Info by roguerpj [at] mn.rr.com 38. Re: Theatre renovation/equipment by Steve Larson 39. Re: Theatre renovation/equipment by "Paul Schreiner" 40. Re: Theatre renovation/equipment by "Waxler, Steve (waxlers)" 41. Re: Theatre renovation/equipment by "Storms, Randy" 42. Re: Theatre renovation/equipment by IAEG [at] aol.com 43. Re: Theatre renovation/equipment by Stephen Litterst 44. Re: Theatre renovation/equipment by "Storms, Randy" 45. Re: Theatre renovation/equipment by "Dr. Randall W.A. Davidson" 46. Re: Theatre renovation/equipment by "Jonathan S. Deull" 47. Re: Theatre renovation/equipment by Steve Larson 48. Re: Theatre renovation/equipment by Steve Larson 49. Sound Board Maintenance by "Storms, Randy" 50. Re: Sound Board Maintenance by "Paul Schreiner" 51. Re: Sound Board Maintenance by "Storms, Randy" 52. "delicacy"??? of Socapex by Greg Persinger 53. Re: Theatre renovation/equipment by "Waxler, Steve (waxlers)" 54. Re: Theatre renovation/equipment by "Waxler, Steve (waxlers)" 55. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 56. Re: Theatre renovation/equipment by "Waxler, Steve (waxlers)" 57. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 58. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 59. Re: Theatre Rentals? by "Mike Rock" 60. Re: Sound Board Maintenance by FrankWood95 [at] aol.com 61. Re: 12' dia platform by "Jon Lagerquist" 62. encoders and PLC's by Chuck Mitchell 63. Hard Times For Local Ballet Company by "Steven J. Backus" 64. Re: Theatre renovation/equipment by John McKernon 65. Re: Theatre renovation/equipment by Kyle Dugger 66. Re: 12' dia platform by Michael Feinberg 67. Re: 12' dia platform by Greg Bierly 68. Re: Theatre renovation/equipment by "Jon Ares" 69. Re: Design Contract Info by "Matthew Breton" 70. Re: Sound Board Maintenance by Todd Lipcon 71. Re: Theatre renovation/equipment by "Jason" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Wed, 05 Jan 2005 07:31:53 -0500 Subject: Re: Turntables From: Bill Sapsis Message-ID: In-Reply-To: on 1/4/05 4:35 PM, David Marks at davidmarks [at] att.net wrote: > Are you digging in from the Hershey Theater or all the way from Lansdowne? > That's some chocolate craving if you're digging from the office! I'll do just about anything for chocolate. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B4088A8 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Turntables Date: Wed, 5 Jan 2005 09:51:35 -0500 That was the rumor, but I didn't believe it! Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Bill Sapsis [mailto:bill [at] sapsis-rigging.com] Sent: Wednesday, January 05, 2005 7:32 AM To: Stagecraft Subject: Re: Turntables For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 1/4/05 4:35 PM, David Marks at davidmarks [at] att.net wrote: > Are you digging in from the Hershey Theater or all the way from Lansdowne? > That's some chocolate craving if you're digging from the office! I'll do just about anything for chocolate. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ In-Reply-To: References: Message-Id: <5D0CE2C8-5F2D-11D9-A8FE-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Theatre Rentals? Date: Wed, 5 Jan 2005 10:20:42 -0500 > Of course our own needs come first but there are down times that we > are not using the theater. One of the things I forgot to mention in my previous post was scheduling can be difficult. Our district only sets the next academic calendar in July thus allowing us to pencil outside groups in but not giving final approval to outside groups until the schedule is set. Also our graduation date is not set until the end of March after most possible snow days are out of the way. This causes difficulty for groups trying to rent near the end of the school year. We have groups that want to rent the facility two years ahead of time but we can't lock them in till July. Make sure you keep some control over the schedule. You will have a better idea if a lecture can take place in front of the main while a musical is set on stage as opposed to trying to bring in a outside symphony during tech week of a play you built a raked deck for. Any "Building Usage" request that takes place in the theatre spaces must be initialed (approved) by me (TD) and the Head Custodian before it is sent to the school board for approval. Outside rentals can be a headache but as you stated can be a wonderful opportunity for your students and also keep your job fresh and interesting so you are not working with the same people all the time. Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: <4E5D9975-5F2F-11D9-A8FE-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Theatre Rentals? Date: Wed, 5 Jan 2005 10:34:36 -0500 Sorry for the confusion somehow the original post got resent to the list as opposed to my below reply. (I copied the below text from the "Sent" mailbox so I don't have any idea what hiccuped). > Of course our own needs come first but there are down times that we > are not using the theater. One of the things I forgot to mention in my previous post was scheduling can be difficult. Our district only sets the next academic calendar in July thus allowing us to pencil outside groups in but not giving final approval to outside groups until the schedule is set. Also our graduation date is not set until the end of March after most possible snow days are out of the way. This causes difficulty for groups trying to rent near the end of the school year. We have groups that want to rent the facility two years ahead of time but we can't lock them in till July. Make sure you keep some control over the schedule. You will have a better idea if a lecture can take place in front of the main while a musical is set on stage as opposed to trying to bring in a outside symphony during tech week of a play you built a raked deck for. Any "Building Usage" request that takes place in the theatre spaces must be initialed (approved) by me (TD) and the Head Custodian before it is sent to the school board for approval. Outside rentals can be a headache but as you stated can be a wonderful opportunity for your students and also keep your job fresh and interesting so you are not working with the same people all the time. ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Theatre Rentals? Date: Wed, 5 Jan 2005 10:38:13 -0500 OSX mail is messin with my head! (ain't too tough to do these days) AAARGGH. Sorry for the bandwidth. Greg Bierly Technical Director Hempfield HS ------------------------------ Subject: RE: Theatre Rentals? Date: Wed, 5 Jan 2005 09:08:06 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239CB [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" First, congratulations, Stephen, on your new space. (and I thought = *our* space was well equipped - Sheesh! what, no Vari*Lites?) You've = received some good advice so far, now I'll throw in my $.02. >One of the things I forgot to mention in my previous post was=20 >scheduling can be difficult. =20 Amen, Brother. =20 >Our district only sets the next academic calendar in July thus >allowing us to pencil outside groups in but not giving final approval >to outside groups until the schedule is set. We have a similar system - Like it or not, sports have a major impact = on scheduling in a high school. For instance, it would be foolish to = schedule a concert on the same night as a basketball game. (parking, = noise, etc.) Also, it divides your audience and creates conflicts for = students. God help you if the football team makes the state playoffs = (which somehow always seem to coincide with dress rehearsals for the = Fall play) After years of shooting ourselves in the foot by scheduling early, we = finally adopted the practice of waiting until the athletic league = schedules are published (for us, sometime in May) before scheduling = anything else for the coming year. We hold a big meeting and lay down = our internal dates, after which the renters that have been circling like = vultures are allowed to fight over whatever's left. For the last two = years, *every*=20 weekend date for the entire school year was reserved before July. =20 >Any "Building Usage" request that takes place in the theatre spaces = must be=20 >initialed (approved) by me (TD) and the Head Custodian before it is=20 >sent to the school board for approval. It took me eight years to convince TPTB that we needed to operate this = way. The *old* system was, a renter would approach the school district = business office, they would sign a contract, and a few days or weeks = later I would receive notification that the event was taking place... Now I am the first stop for all renters. I insist on a walk-through = with the renter to discuss the details of the event before approving = their date and sending them on to the bean counters. >Outside rentals can be a headache but as you stated can be a wonderful=20 >opportunity for your students and also keep your job fresh and=20 >interesting so you are not working with the same people all the time. My students earn good money for rentals, and I usually have no problem = filling those calls. The trouble occurs when the calendar becomes = oversaturated, such as with fifteen separate=20 events occurring over fifteen days - that happened last month for me. = Many of those were "volunteer" school events such as the winter band = and choir concerts, and it's for these non-paid shows for which = recruits become scarce. =20 Also, Since as TD I need to be present for pretty much every show, it = means that I work my regular 8 hour workday, plus another 4-8 hours = every evening, and 8-10 hours a day on both Saturday and Sunday, for = two weeks. Gets old. We are considering putting caps on facility usage - no more than two = outside events/week; and no more than five consecutive events without a = dark day... but I'm not holding my=20 breath. I produced a pretty elaborate rental "packet" for my theatre a couple = years ago, which=20 covers a whole lot of stuff like this. If anyone would like to take a = look please=20 e-mail me privately and I would be happy to forward it. =09 Cheers, -- r. Randy Storms, TD Bellingham HS Theatre Bellingham, WA rstormsa [at] bham.wednet.edu =09 PS to Stephen - think twice about allowing renters to use your wireless = lavs; if yours are anything like mine they are expensive and fragile, = and most renters won't have the resources to replace even one... ------------------------------ Date: Wed, 05 Jan 2005 11:47:36 -0600 From: Mark Harvey Subject: Stage Management Web Site Message-ID: <2147483647.1104925656 [at] umd52-36.d.umn.edu> In-Reply-To: References: I maintain a web site listing contact information for professional stage managers Every two years I update the list when I teach a course in stage management. I have limited experience as a stage manager and want to do all I can to provide the undergraduates who take the course the opportunity to contact professional stage managers concerning specific issues facing the profession. If any professional stage manager, not already listed, would like to be included please contact me off list. Thank you. ____________________________________ Mark Harvey Associate Professor, Theatrical Lighting and Sound Design University of Minnesota Duluth http://www.d.umn.edu/~mharvey ------------------------------ Date: Wed, 05 Jan 2005 12:52:54 -0500 Subject: Theatre renovation/equipment From: Steve Larson Message-ID: I just met with a local town which owns an auditorium that seats 465. They are renovating the whole facility and adding onto the building. The proscenium opening is 12 x 44 and the stage 35' deep and 60' wide with an additional area that is about 15' deep at the back of the stage, but not full width. Fly height about 30-32'. One FOH pipe with a boom on each side. Their questions to me which I will field to all you for your input based upon your diversified experience and expertise: How many fly sets? Counterweight or motor-driven? Rigging companies? How many instruments in the house stock? What brand? Source 4 or Shakespeare? Fresnel or Parnel? How many circuits? How many receptacles per circuit? How many dimmers? what brand? Computer light board - what brand? How many sets of legs and teasers? Mid-stage traveler? Up-stage traveler? Drapery suppliers that you have found reliable? One company has given them lots of ideas that they are having trouble digesting. They have been approaching local designers and TDs asking for help. These are city officials and parks and rec people. I will pass along your opinions to them. Steve ------------------------------ From: "Jon Lagerquist" Date: Wed, 05 Jan 2005 10:05:56 -0800 Subject: Re: turntable encoders/ soft wheels Reply-to: jon [at] lagerquist.com Message-ID: <41DBBC04.27214.37B3A9A [at] localhost> In-reply-to: References: 1 and a half to two inches. All you really need is enough to cover the chain. > How much overhang do you allow in the decking on the edge > of the turntable? Jon Lagerquist ------------------------------ Date: Wed, 5 Jan 2005 13:07:41 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <74256500.20050105130741 [at] TCON.net> Subject: Re: Theatre renovation/equipment In-Reply-To: References: Howdy! Wednesday, January 05, 2005, Steve Larson wrote concerning opinions regarding a municipal auditorium: I'll re-arrange Steve's questions into two groups so that my two questions-disguised-as-answers will apply to the appropriate group. SL> How many fly sets? SL> Counterweight or motor-driven? SL> How many instruments in the house stock? SL> What brand? SL> Source 4 or Shakespeare? SL> Fresnel or Parnel? SL> How many circuits? SL> How many receptacles per circuit? SL> How many dimmers? what brand? SL> Computer light board - what brand? SL> How many sets of legs and teasers? SL> Mid-stage traveler? SL> Up-stage traveler? What's their budget? $20,000? $200,000? $2,000,000? $20,000,000? How do they expect to use the space? SL> Rigging companies? SL> Drapery suppliers that you have found reliable? Where is the facility? Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Eastablished 1946 Indianapolis 317: 255 4666 Running The Bat! Natural e-mail system v3.0 mailto:Lamplighter [at] TCON.net ------------------------------ Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 10:11:22 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239CD [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Steve - You've shotgunned a whole bunch of questions, which sort of = precludes any detailed answers. Here however, are my first reaction, = top-of-my-head answers: How many fly sets? I've seen linesets as closely spaced as 6" on center, mine are more = like 10" Counterweight or motor-driven? Say it with me.... counterweight, counterweight, counterweight! Rigging companies? Well, there's always Uncle Bill... What brand? Source 4 or Shakespeare? Source 4 - no question. Fresnel or Parnel? Fresnels - no question How many circuits? How many receptacles per circuit? Ask for 300. Pray for 200. Don't accept less than 100. How many dimmers? what brand? " How many instruments in the house stock? " Computer light board - what brand? ETC How many sets of legs and teasers? Four+ Mid-stage traveler? *YES* Up-stage traveler? Yes ------------------------------ Date: Wed, 05 Jan 2005 13:18:34 -0500 Subject: Re: Theatre renovation/equipment From: Bill Sapsis Message-ID: In-Reply-To: on 1/5/05 12:52 PM, Steve Larson at tiptd [at] theatreinthepark.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I just met with a local town which owns an auditorium > that seats 465. They are renovating the whole facility > and adding onto the building. The proscenium opening > is 12 x 44 and the stage 35' deep and 60' wide with > an additional area that is about 15' deep at the > back of the stage, but not full width. Fly height > about 30-32'. One FOH pipe with a boom on each side. > > Their questions to me which I will field to all you > for your input based upon your diversified experience > and expertise: > > How many fly sets? As many as possible. You will always want 5 more than you have. Figure 8" c/c on the pipes as anything closer will create headaches. > Counterweight or motor-driven? Depends. How much money do they have? who will be responsilbe for running the space? What kind of shows do they think they want to do? Too many issues to be able to answer this one acccurately. > Rigging companies? Me!!!! Pick Me!!!!! > How many instruments in the house stock? Sorry. I'm not a lighting company. I have my opinions but no one listens to me. > What brand? > Source 4 or Shakespeare? > Fresnel or Parnel? > How many circuits? How many receptacles per circuit? > How many dimmers? what brand? > Computer light board - what brand? > How many sets of legs and teasers? at least 3 > Mid-stage traveler? you betcha > Up-stage traveler? Yup! > Drapery suppliers that you have found reliable? You've heard this one before. Me!!! Pick Me!!!! > > One company has given them lots of ideas that they > are having trouble digesting. They have been approaching > local designers and TDs asking for help. These are > city officials and parks and rec people. Wasn't me. (At least I don't think it was. I was out of chocolate one day and can't be responsible for my actions that day) > > I will pass along your opinions to them. > > Steve > Zat help? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Date: Wed, 05 Jan 2005 13:23:58 -0500 Subject: Re: Theatre renovation/equipment From: Steve Larson Message-ID: In-Reply-To: on 1/5/05 1:07 PM, Frank E. Merrill at Lamplighter [at] TCON.net wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > What's their budget? $20,000? $200,000? $2,000,000? $20,000,000? > Don't know. Met also with someone from the architectural firm. They are trying to find out what they need and then pass the renovation plans and specs to the town fathers. > How do they expect to use the space? Community theatre group is the main group in the space currently. With a better facility they will attract other groups. There are 65 groups in the Raleigh area with only 4 or 5 actually having their own space. > > SL> Rigging companies? > SL> Drapery suppliers that you have found reliable? > > Where is the facility? Garner, NC, suburb of Raleigh. Architectural firm is: Ross/Deckard Architects, PA P.O. Box 98044 Raleigh, NC 27624-8044 contact: Desaliza V. Cabatuando email: D.Cabatuando [at] RossDeckardArchitects.com Contact for the Town of Garner: Cheryl Gay P.O. Box 446 Garner, NC 27529 email: cgay [at] ci.garner.nc.us I have no financial interest in this project. I just have friends who work in the space and I'd like for them to get a great space, properly equipped. The rest is up to anyone else who wants step forward. Steve ------------------------------ From: IAEG [at] aol.com Message-ID: <198.359d3d31.2f0d8c67 [at] aol.com> Date: Wed, 5 Jan 2005 13:31:03 EST Subject: Re: Theatre renovation/equipment In a message dated 1/5/05 1:17:17 PM, bill [at] sapsis-rigging.com writes: > >> Rigging companies? > >Me!!!! Pick Me!!!!! I have this image of Uncle Bill, jumping up and down, , waving his hands in the air like a 6th grader. Have you no dignity! : - ) very best, Keith IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Subject: RE: Theatre Rentals? Date: Wed, 5 Jan 2005 13:31:08 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C677 [at] exchange.rmwc.edu> From: "Paul Schreiner" > >Any "Building Usage" request that takes place in the theatre spaces=20 > >must be > >initialed (approved) by me (TD) and the Head Custodian before it is=20 > >sent to the school board for approval. >=20 > Now I am the first stop for all renters. I insist on a=20 > walk-through with the renter to discuss the details of=20 > the event before approving their date and sending them on to=20 > the bean counters. >=20 > We are considering putting caps on facility usage - no=20 > more than two outside events/week; and no more than five=20 > consecutive events without a dark day... but I'm not holding my=20 > breath. But if you're the go-to guy on all of these, where your approval is needed before anyone else even hears of a proposed event, why is this so difficult? When I was doing more of a facility TD thing than I am now, I coulda answered that question had it been posed to me....I know that (especially in an academic setting) it's tough to tell other internal groups "no" merely because of multiple bookings in the same week when (a) available dates are so scarce and (b) many of those events involve little in the way of support other than the TD's time. It took me nearly three years to train the scheduling staff to talk to me first...and another year for me to start developing the gumption to gently refuse when too many people wanted too many events. But it's well worth it, especially if you want a life outside! :) ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1ea.3367f5cd.2f0d8cc0 [at] aol.com> Date: Wed, 5 Jan 2005 13:32:32 EST Subject: Re: Theatre renovation/equipment In a message dated 05/01/05 17:55:39 GMT Standard Time, tiptd [at] theatreinthepark.com writes: > I just met with a local town which owns an auditorium > that seats 465. They are renovating the whole facility > and adding onto the building. The proscenium opening > is 12 x 44 and the stage 35' deep and 60' wide with > an additional area that is about 15' deep at the > back of the stage, but not full width. Fly height > about 30-32'. One FOH pipe with a boom on each side. > > Their questions to me which I will field to all you > for your input based upon your diversified experience > and expertise: > > How many fly sets? > Counterweight or motor-driven? > Rigging companies? > How many instruments in the house stock? > What brand? > Source 4 or Shakespeare? > Fresnel or Parnel? > How many circuits? How many receptacles per circuit? > How many dimmers? what brand? > Computer light board - what brand? > How many sets of legs and teasers? > Mid-stage traveler? > Up-stage traveler? > Drapery suppliers that you have found reliable? Frank Wood ------------------------------ Date: Wed, 05 Jan 2005 13:35:07 -0500 Subject: Re: Theatre renovation/equipment From: Steve Larson Message-ID: In-Reply-To: on 1/5/05 1:18 PM, Bill Sapsis at bill [at] sapsis-rigging.com wrote: >> Counterweight or motor-driven? > > Depends. How much money do they have? One local supplier put the idea of motor-driven in their head. I personally don't think it's a great idea in that space. who will be responsilbe for running > the space? That is something that they are becoming aware of. A city maintenance man or custodian just won't cut it as a baby-sitter. What kind of shows do they think they want to do? community theatre, dance, recitals, the usual. > Thank for your input Steve ------------------------------ From: JDruc3737 [at] aol.com Message-ID: <8b.1e096cbf.2f0d8de3 [at] aol.com> Date: Wed, 5 Jan 2005 13:37:23 EST Subject: Re: Theatre renovation/equipment In a message dated 1/5/2005 1:31:54 PM Eastern Standard Time, IAEG [at] aol.com writes: > >> Rigging companies? > >Me!!!! Pick Me!!!!! I have this image of Uncle Bill, jumping up and down, , waving his hands in the air like a 6th grader. Don't forget the chocolate smeared all over his face. ------------------------------ Message-Id: <3.0.6.32.20050105113943.00e22760 [at] pop.west.cox.net> Date: Wed, 05 Jan 2005 11:39:43 From: CB Subject: Re: More intel. prop. stuff > In this world, it's not only a question of whether someone has >intellectual property you might be violating, but whether you can afford to >fight the big boys should they decide to pick a fight - even though you may >be in the right! 'Location Sound' predates 'Location Sound, Inc.' by a coupla years, and you can look it up in their old invoices. I've invoices from PSC (their previous name, or was it ASC? they've been both, I forget what order) to me as 'Location Sound', and I was a bit miffed when they sent me their new catalog. Turns out that the "Inc." is the key part. ------------------------------ Date: Wed, 05 Jan 2005 13:41:07 -0500 From: Stephen Litterst Subject: Re: Theatre renovation/equipment Message-id: <41DC34C3.D56E37AB [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: IAEG [at] aol.com wrote: > --------------------------------------------------- > > In a message dated 1/5/05 1:17:17 PM, bill [at] sapsis-rigging.com writes: > >Me!!!! Pick Me!!!!! > > I have this image of Uncle Bill, jumping up and down, , waving his hands in > the air like a 6th grader. > > Have you no dignity! C'mon Keith. You've met Bill, do you really need to ask that question? Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <046b01c4f357$ee44ff20$0500000a [at] anneb> From: "Andrew Vance" References: Subject: Re: Theatre renovation/equipment Date: Wed, 5 Jan 2005 12:54:04 -0600 > How many fly sets? As many as they can afford and will fit into the space. We've got a = 30'-0" deep stage with 25 linesets which works well most of the time. = There are times, however, we it'd be nice to have another one or five. > Counterweight or motor-driven? I'm a big fan of counterweight. > What brand? > Source 4 or Shakespeare? ETC Source-4. I only work with Shakespeares once or twice a year, but = they're always cumbersome, larger than S4s, and don't seem to put out as = good of light as the S4s. =20 > Fresnel or Parnel? Fresnels and PAR cans. I know many people on the list swear by Parnels, = and I've actually got two dozen, but I don't like them as well as my = fresnels. Kind of goes from a blob with a bright-ish center to a blob = with a less bright-ish center. > How many circuits? How many receptacles per circuit? > How many dimmers? what brand? As many as you can afford, and only one receptacle per circuit if = possible. Dimmer per circuit really is the way to go Like Randy said, = ask for 3 racks but don't take less than one rack; with what you've = indicated it'll be used for I wouldn't settle for less than 2 racks. I = like ETC Sensors myself. Make sure you get enough dimmer modules to = fill all the slots. > Computer light board - what brand? I like ETC. [Can you tell I grew up 60 miles from Middleton?] The = Express or Expression line would probably work very well for them; = Obsession if they plan on doing much more. I've recently messed around = with some Strand boards and they're much nicer than I remember from my = college days. Of course, if everything else is ETC, shouldn't the board = be as well? -- Sincerely, Andrew Vance Lighting Designer/Supervisor Omaha Theatre Company/Omaha Theatre Ballet ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Theatre renovation/equipment Date: Wed, 05 Jan 2005 12:59:58 -0600 Message-ID: References: In-Reply-To: Steve, We all could give you a opinion on what to tell the city officials. And what you would get is a lot more opinions that they would have problems digesting.=20 It sounds to me like the best advice they can get is to put together a clear plan of what they want to do with the space and how to run it. If that is clear they will be better able to look at divergent opinions and proposals and decide which one is best for their proposes. I think to often well intentioned people start a project like this and don't start with a good plan. So they go to "experts" and get more confused.=20 If they have one potential tenet they should be asking that organization some questions. Among those should be if the group would still rent the space and if so what would they like to have in the space compared to what is there already. Then the city should look at other potential tenets and find out what would bring them in as users and work out what renovations would be best to bring these people in. If the city is still unsure how to go about it the best thing they could do is hire a Theatre consultant. It would put the design of the space in the hands of someone who was on the side of the city not on the side of the architect.=20 rob johnson On Wed, 05 Jan 2005 12:52:54 -0500, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I just met with a local town which owns an auditorium >that seats 465. They are renovating the whole facility >and adding onto the building. The proscenium opening >is 12 x 44 and the stage 35' deep and 60' wide with >an additional area that is about 15' deep at the >back of the stage, but not full width. Fly height >about 30-32'. One FOH pipe with a boom on each side. > >Their questions to me which I will field to all you >for your input based upon your diversified experience >and expertise: > >How many fly sets? >Counterweight or motor-driven? >Rigging companies? >How many instruments in the house stock? >What brand? >Source 4 or Shakespeare? >Fresnel or Parnel? >How many circuits? How many receptacles per circuit? >How many dimmers? what brand? >Computer light board - what brand? >How many sets of legs and teasers? >Mid-stage traveler? >Up-stage traveler? >Drapery suppliers that you have found reliable? > >One company has given them lots of ideas that they >are having trouble digesting. They have been approaching >local designers and TDs asking for help. These are >city officials and parks and rec people. > >I will pass along your opinions to them. > >Steve ------------------------------ Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 14:09:08 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C679 [at] exchange.rmwc.edu> From: "Paul Schreiner" All IMHO, of course... > How many fly sets? I'd figure it this way...at 35' deep, you're probably talking 5 electrics (maybe 6), and a set of legs/borders for each. That's 15-18 right there. Midstage and rear travelers, cyc, two scrims, projection screen...that's another 6. Then double it, or thereabouts. IOW, a minimum of 40, depending on how many dedicated electrics they actually want. > Counterweight or motor-driven? Depends on staffing and their experience...and available funds. But I'd lean towards manual counterweight... > Rigging companies? Need you ask? (HEY, UNCLE BILL...) > How many instruments in the house stock? This is all relative to their budget and programming and staffing, really. If they can swing a bunch of scrollers, that cuts down tremendously on the number of instruments needed for a standard house plot. Without looking at anyone else's recommendations, my first instinct would be to guesstimate the following as a good starting point: 60 wash-type instruments (PARNels or fresnels...or even regular S4PARs) 90 ellipsoidals of various beams (less if you can go with a substantial zoom inventory) 30 additional PARs (if they buy fresnels and/or PARNels) or fresnels (if they buy PARs) 60 scrollers (which if they were to do this--and utilize them intelligently--could theoretically cut the above list by about a third) 8 sets of 3-4 bay cyc lights 4 followspots 8 scoops (work lights, anyone?) Also, I'd strongly recommend about a half-dozen automated fixtures (say, MAC500s? Fan noise makes me take the Cyberlight out of consideration...though I love them otherwise.) merely because they make life so much easier when it comes time for the inevitable lectures/assemblies with random placement of lecterns and speakers... > What brand? > Source 4 or Shakespeare? Selecon. Go Selecon. Source 4 would be my second choice. The features and improvements Selecon offer are a quantum leap above the S4 on par (ha!) with the type of revolution ETC made when the S4 was first introduced... I have a personal distaste for Shakespeares that goes waaaaay back. I'd rather light with 6x12s. > Fresnel or Parnel? Selecon makes true fresnels which, IIRC, take the same lamps as their ellipsoidals. I'd go with these first, just cuz the light output of a PARNel is significantly less than what you'd expect from the lamps involved. But if they go with S4s, I'd stick with the PARNel rather than mix inventory... > How many circuits? How many receptacles per circuit? They could go with two receptacles per circuit, at least on the overhead positions, provided they were mapped out intelligently. As for number of circuits...see below. > How many dimmers? what brand? For a house of that size, I don't think it would be excessive to throw a dimmer-per-circuit system with 192 dimmers in there. I know when I was going through the preliminary stages of a renovation at my last place of employment, my wish list ate up that many without any effort whatsoever--and because I had two FOH pipes, I was actually cutting the wish list to get to a nice number like that. I don't have enough experience with different brands to recommend one over another, though I've generally had good performance from both Strand's CD80s and ETC Sensor. > Computer light board - what brand? Can't go wrong with ETC here, IMO. The only quibble with, say, an Express 72/144 that I've had in the past six years has to be the fact that they aren't really meant for automated instruments. OTOH, going with a board that can function as an old-fashioned two-scene preset has many, many advantages beyond the tiny learning curve...for example, it was very simple to have instruments on the A faders with the corresponding scrollers below them on the B fader set... > How many sets of legs and teasers? See above. > Mid-stage traveler? > Up-stage traveler? Abso-friggin-lutely. In duplicate. > Drapery suppliers that you have found reliable? Don't have any personal experience dealing with any directly... > I will pass along your opinions to them. What about sound?????? ------------------------------ Message-Id: <3.0.6.32.20050105121026.00e22760 [at] pop.west.cox.net> Date: Wed, 05 Jan 2005 12:10:26 From: CB Subject: Theatre Rentals? >The question that was asked of me was do we rent to outside communities? I'm thinking that you shouldn't. Especially if the school's theatre were built with tax money. Save it for the students and those events (school related) that need a theatre space. I'd suppose that the primary purpose of the theatre was to educate the kids, not to make money. If it WAS built with financial profit in mind, I'd suggest that it compete with the other local entertainment providers on an even playing field, at least. I'm probably not the only one that has seen public spaces overriden by private requests, merely because they bring cash to the table, and less cash than they'd have to supply to someone NOT on the public teat. 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... ------------------------------ Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 14:14:45 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C67A [at] exchange.rmwc.edu> From: "Paul Schreiner" > I think to often well intentioned people start a project like=20 > this and don't start with a good plan. So they go to=20 > "experts" and get more confused.=20 >=20 > If they have one potential tenet they should be asking that=20 > organization some questions.=20 Aye, but herein lies the rub. If your primary tenant is a community theatre group, how many community theatre groups in this country do you know of who don't live a clue-free existence when it comes to questions such as these? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <87.1e5dde89.2f0d9715 [at] aol.com> Date: Wed, 5 Jan 2005 14:16:37 EST Subject: Re: Theatre renovation/equipment In a message dated 05/01/05 17:55:39 GMT Standard Time, tiptd [at] theatreinthepark.com writes: > I just met with a local town which owns an auditorium > that seats 465. They are renovating the whole facility > and adding onto the building. The proscenium opening > is 12 x 44 and the stage 35' deep and 60' wide with > an additional area that is about 15' deep at the > back of the stage, but not full width. Fly height > about 30-32'. One FOH pipe with a boom on each side. > How many instruments in the house stock? Well, as many as you can fund, and store. It depends on your power supply, really. There's no point in having more luminaires than you have power for, although a surplus in all categories allows for diversity. > What brand? Most major brands are OK. Personally, I should go for ETC or Selecon, but it's always a question of price. You do not have to use the same brand for all of them. > Source 4 or Shakespeare? At your choice. The more important question is fixed angle or varifocal (zoom if you prefer). With easy access, varifocal are to be preferred, as being more versatile, at the cost of slightly lower light output. Without this, fixed angles make the design easier to spesify and to focus. > Fresnel or Parnel? Fresnel, without a doubt. Their wide variability of beam angle makes them far more useful. > How many circuits? How many receptacles per circuit? I think 150 circuits should do. One receptacle, if you have a patch system. No more than two without, apart from the Cyc illumination. This needs at least twelve, and maybe more, depending on the luminaires you choose. > How many dimmers? what brand? > Computer light board - what brand? I should get these in as a package. Having said 150 circuits, 150 dimmers, according to my way of working. Each luminaire should have its individual control. Personally, I prefer one fader per luminaire, which allows a more accurate balance with ease. Playing with a keypad and wheel is a more time-consuming alternative. Whatever, make sure that the control can handle many groups, with the levels incorporated. > How many sets of legs and teasers? With your limited pros height, I sholdn't worry too much about teasers. For legs, at least three each side, and perhaps four. > Mid-stage traveler? > Up-stage traveler? Both of these, and a cyclorama drop as well. Your recess in what should be the cyclorama allows projected scenery to be done more easily. Just a few disconnected thoughts, and my apologies for the double post. Frank Wood ------------------------------ From: "holyoak1" Subject: Lion King National Tour Date: Wed, 5 Jan 2005 14:25:43 -0500 In-Reply-To: Message-ID: Does anyone on list have a contact with the Lion King Company that will be in Indianapolis Jan 11 - 22? Please eMail me off list. Kenneth H. Holyoak ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Wednesday, January 05, 2005 2:17 PM To: Stagecraft Subject: Re: Theatre renovation/equipment For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 05/01/05 17:55:39 GMT Standard Time, tiptd [at] theatreinthepark.com writes: > I just met with a local town which owns an auditorium > that seats 465. They are renovating the whole facility > and adding onto the building. The proscenium opening > is 12 x 44 and the stage 35' deep and 60' wide with > an additional area that is about 15' deep at the > back of the stage, but not full width. Fly height > about 30-32'. One FOH pipe with a boom on each side. > How many instruments in the house stock? Well, as many as you can fund, and store. It depends on your power supply, really. There's no point in having more luminaires than you have power for, although a surplus in all categories allows for diversity. > What brand? Most major brands are OK. Personally, I should go for ETC or Selecon, but it's always a question of price. You do not have to use the same brand for all of them. > Source 4 or Shakespeare? At your choice. The more important question is fixed angle or varifocal (zoom if you prefer). With easy access, varifocal are to be preferred, as being more versatile, at the cost of slightly lower light output. Without this, fixed angles make the design easier to spesify and to focus. > Fresnel or Parnel? Fresnel, without a doubt. Their wide variability of beam angle makes them far more useful. > How many circuits? How many receptacles per circuit? I think 150 circuits should do. One receptacle, if you have a patch system. No more than two without, apart from the Cyc illumination. This needs at least twelve, and maybe more, depending on the luminaires you choose. > How many dimmers? what brand? > Computer light board - what brand? I should get these in as a package. Having said 150 circuits, 150 dimmers, according to my way of working. Each luminaire should have its individual control. Personally, I prefer one fader per luminaire, which allows a more accurate balance with ease. Playing with a keypad and wheel is a more time-consuming alternative. Whatever, make sure that the control can handle many groups, with the levels incorporated. > How many sets of legs and teasers? With your limited pros height, I sholdn't worry too much about teasers. For legs, at least three each side, and perhaps four. > Mid-stage traveler? > Up-stage traveler? Both of these, and a cyclorama drop as well. Your recess in what should be the cyclorama allows projected scenery to be done more easily. Just a few disconnected thoughts, and my apologies for the double post. Frank Wood ------------------------------ From: "holyoak1" Subject: RE: Lion King National Tour Date: Wed, 5 Jan 2005 14:28:37 -0500 Message-ID: In-Reply-To: From: holyoak1 [mailto:holyoak1 [at] comcast.net] Sent: Wednesday, January 05, 2005 2:26 PM To: 'Stagecraft' Subject: Lion King National Tour Does anyone on list have a contact with the Lion King Company that will be in Indianapolis Jan 11 - 22? Please eMail me off list. Kenneth H. Holyoak ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 ------------------------------ From: "holyoak1" Subject: Double Messages Date: Wed, 5 Jan 2005 14:30:45 -0500 In-Reply-To: Message-ID: I have suddenly started receiving double copies of each message. While it not as bad as my BMW list that sends me four. I wonder if anyone else has experienced this problem. Kenneth H. Holyoak ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 ------------------------------ Subject: RE: Theatre Rentals? Date: Wed, 5 Jan 2005 11:32:42 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239CF [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" It's difficult because "I'm exhausted and my wife will divorce me" are = so far not accepted reasons to turn down a booking. Basically, if the = requested date doesn't directly conflict with another event, I have = little recourse but to grit my teeth and say OK. Really the biggest = advantages to being the front line of defense are that we avoid double = bookings, which used to be a regular occurrence; and also I can get a = head start on filling tech requirements. -- r. _________________________________________ >But if you're the go-to guy on all of these, where your approval is >needed before anyone else even hears of a proposed event, why is this = so >difficult? ------------------------------ Date: Wed, 05 Jan 2005 14:43:23 -0500 Subject: Re: Theatre renovation/equipment From: Bill Sapsis Message-ID: In-Reply-To: on 1/5/05 1:31 PM, IAEG [at] aol.com at IAEG [at] aol.com wrote: > I have this image of Uncle Bill, jumping up and down, , waving his hands in > the air like a 6th grader. > > Have you no dignity! 5th grader, if you don't mind! Dignity, in many situations, is severely overrated. <> Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <41DC42D4.2CA7EDCB [at] cybercom.net> Date: Wed, 05 Jan 2005 14:41:08 -0500 From: Dale Farmer Subject: Re: Theatre Rentals? References: "Storms, Randy" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > It's difficult because "I'm exhausted and my wife will divorce me" are so far not accepted reasons to turn down a booking. Basically, if the requested date doesn't directly conflict with another event, I have little recourse but to grit my teeth and say OK. Really the biggest advantages to being the front line of defense are that we avoid double bookings, which used to be a regular occurrence; and also I can get a head start on filling tech requirements. IF you want to get nasty about it, then you may qualify for overtime pay, even though you are on salary. Check with your state's labor laws. --Dale ------------------------------ Message-Id: <5EF82F34-5F53-11D9-A8FE-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: 12' dia platform Date: Wed, 5 Jan 2005 14:52:46 -0500 Not to reinvent the "wheel" but what have you found out to be the most efficient method to lay out 4x8 sheet good to make a 12' diameter circle (platform)? I have inherited 4x8 and 4x4, two by four framed 3/4" ply platforms. Have you found it easier to start from scratch? Any thoughts or suggestions would be appreciated. (I have 6 to build.) Thanks Greg Bierly Technical Director Hempfield HS ------------------------------ Subject: RE: Theatre Rentals? Date: Wed, 5 Jan 2005 14:57:32 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C67B [at] exchange.rmwc.edu> From: "Paul Schreiner" > It's difficult because "I'm exhausted and my wife will=20 > divorce me" are so far not accepted reasons to turn down a=20 > booking. Basically, if the requested date doesn't directly=20 > conflict with another event, I have little recourse but to=20 > grit my teeth and say OK. =20 So schedule yourself a copious quantity of "maintenance time"...that's what saved my bacon in the end...and nobody threw any hissy fits about it. ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Theatre renovation/equipment Date: Wed, 05 Jan 2005 14:00:38 -0600 Message-ID: <7ghot0hpv30dahdmm12jljn78m01hgh7a2 [at] 4ax.com> References: In-Reply-To: Yes it is a issue; however, my point is still sound. If the city, and how many cities would think about doing this if then didn't have a thought to who might rent the space, don't talk with the renter then they could lose a possible built in income. I maybe didn't make it clear. I didn't mean to imply that the community theatre's thoughts should be taken as the experts. I was trying to say that the city should consider that if some thing don't change or rent go up they may lose the one renter they have.=20 On Wed, 05 Jan 2005 14:14:45 -0500, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >> I think to often well intentioned people start a project like=20 >> this and don't start with a good plan. So they go to=20 >> "experts" and get more confused.=20 >>=20 >> If they have one potential tenet they should be asking that=20 >> organization some questions.=20 > >Aye, but herein lies the rub. If your primary tenant is a community >theatre group, how many community theatre groups in this country do you >know of who don't live a clue-free existence when it comes to questions >such as these? ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52CFBF [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 15:05:28 -0500 My inclination is to go with NO designated electrics. Or just the #1. That way any thing can be an electric and anything can be for whatever else you want. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Paul Schreiner [mailto:pschreiner [at] rmwc.edu] Sent: Wednesday, January 05, 2005 2:09 PM To: Stagecraft Subject: Re: Theatre renovation/equipment For info, archives & UNSUBSCRIBE, see --------------------------------------------------- All IMHO, of course... > How many fly sets? I'd figure it this way...at 35' deep, you're probably talking 5 electrics (maybe 6), and a set of legs/borders for each. That's 15-18 right there. Midstage and rear travelers, cyc, two scrims, projection screen...that's another 6. Then double it, or thereabouts. IOW, a minimum of 40, depending on how many dedicated electrics they actually want. ------------------------------ From: roguerpj [at] mn.rr.com Subject: Design Contract Info Date: Wed, 05 Jan 2005 14:08:15 -0600 Message-ID: References: In-Reply-To: Last month the company I worked for laid me off. I now find myself unemployed and trying to get work.=20 Things are not all bad as the same company has asked me to design some shows for them. And I can get some part time gigs running show for renters of the theatre. While I have done some freelance design work in the past this is the first time I have had to really look at a contract. I find myself wondering what kind of thing I should be looking for in the contract.=20 If anyone has some good starting points I should look for or better yet a reference I could look up that would be great. TIA rob johnson ------------------------------ Date: Wed, 05 Jan 2005 15:09:58 -0500 Subject: Re: Theatre renovation/equipment From: Steve Larson Message-ID: In-Reply-To: My intention is to get input on what you folks are buying, selling, installing, and using. What you like and what you don't. You as "professionals" will give me your opinions. I have not purchased much equipment in the last four years and am not up on any new lines or developments. I will digest your input and make my recommendation to them. Since the renovation is quite extensive, they obviously know that they will be spending some money. I doubt seriously that the theatre equipment is a very large percentage of the whole anticipated budget. But when some supplier told them to go with 9 line sets and planted the seed about motor driven sets, I saw the need to ask for additional input. I've worked on several major renovations of facilities, but always as an employee connected with the facility. Thanks all and keep it coming. Steve on 1/5/05 1:59 PM, roguerpj [at] mn.rr.com at roguerpj [at] mn.rr.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Steve, > > We all could give you a opinion on what to tell the city officials. > And what you would get is a lot more opinions that they would have > problems digesting. > ------------------------------ Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 15:14:51 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C67D [at] exchange.rmwc.edu> From: "Paul Schreiner" > My inclination is to go with NO designated electrics. Or just=20 > the #1. That way any thing can be an electric and anything=20 > can be for whatever else you want. =20 That was definitely something I pondered, but it also opens up other cans o' worms and stuff. Besides, it always seemed to me that even if you had complete flexibility, after a few permutations you'd end up finding places where things nearly always got hung. If they were to lean more towards a predominantly drop-box approach, then I'd also increase the number of linesets to 52. The cyc lights could be hung off a dedicated electric. Also, I neglected to account for groundrow lighting on the cyc...so you can add a few more instruments to my list! :) ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D03D [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 15:37:29 -0500 Actually, after being s TD for all these years I think that 10 line set with 9 of them being dedicated electrics would be the best approach. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Paul Schreiner [mailto:pschreiner [at] rmwc.edu] Sent: Wednesday, January 05, 2005 3:15 PM To: Stagecraft Subject: Re: Theatre renovation/equipment For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > My inclination is to go with NO designated electrics. Or just > the #1. That way any thing can be an electric and anything > can be for whatever else you want. That was definitely something I pondered, but it also opens up other cans o' worms and stuff. Besides, it always seemed to me that even if you had complete flexibility, after a few permutations you'd end up finding places where things nearly always got hung. If they were to lean more towards a predominantly drop-box approach, then I'd also increase the number of linesets to 52. The cyc lights could be hung off a dedicated electric. Also, I neglected to account for groundrow lighting on the cyc...so you can add a few more instruments to my list! :) ------------------------------ Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 12:46:28 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239D0 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" If it's intended to be a roadhouse, this might be something to consider. = I've worked in several "soft" houses and they are very, very flexible. -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- >My inclination is to go with NO designated electrics. Or just the #1. = That >way any thing can be an electric and anything can be for whatever else = you >want. =20 ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Wed, 5 Jan 2005 15:50:17 EST Subject: Re: Theatre renovation/equipment In a message dated 1/5/05 3:47:08 PM, rstorms [at] bham.wednet.edu writes: >>My inclination is to go with NO designated electrics. Or just the #1. > That > >>way any thing can be an electric and anything can be for whatever else >you > >>want. Of course, don't do this (which I too recommend) without putting in the appropriate electrical cable drop boxes to easily create electrics as needed. very best, Keith Arsenault 813 831 3465 Mr. Arsenault's Office 813 205 0893 Mr. Arsenault's Cellular www.iaeginc.com ------------------------------ Date: Wed, 05 Jan 2005 15:56:20 -0500 From: Stephen Litterst Subject: Re: Theatre renovation/equipment Message-id: <41DC5474.495B363B [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Paul Schreiner wrote: > --------------------------------------------------- > That was definitely something I pondered, but it also opens up other > cans o' worms and stuff. Besides, it always seemed to me that even if > you had complete flexibility, after a few permutations you'd end up > finding places where things nearly always got hung. Yes and no. I've been at Ithaca 4.5 years and while the electrics end up in the same area consistently, they'll shift 1-3 linesets depending on the specific needs of the show. When I was at the U of R (is Rich still on the list?) with the Ballet our rep plot usually didn't end up on the same pipes, again depending on the needs of the show. (U of R was a multi-drop house, no raceways. I loved it!) > If they were to lean more towards a predominantly drop-box approach, > then I'd also increase the number of linesets to 52. The cyc lights > could be hung off a dedicated electric. One of the ideas we've been toying with during those slow moments of tech is putting socapex connectors on our raceways, so they can be dedicated when appropriate or become multi-drops as needed. > Also, I neglected to account for groundrow lighting on the cyc...so you > can add a few more instruments to my list! :) Make sure to have enough power on the floor for groundrow lighting and/or booms. Or make sure your drop-boxes can reach the floor. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 13:00:00 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239D2 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" That's an interesting idea for a new installation, but hard to implement = as a retrofit, I think. -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- >One of the ideas we've been toying with during those slow moments of >tech is putting socapex connectors on our raceways, so they can be >dedicated when appropriate or become multi-drops as needed. ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 13:02:53 -0800 Message-ID: <00ca01c4f369$ed872830$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Why? -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of IAEG [at] aol.com Sent: Wednesday, January 05, 2005 10:31 AM To: Stagecraft Subject: Re: Theatre renovation/equipment For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 1/5/05 1:17:17 PM, bill [at] sapsis-rigging.com writes: > >> Rigging companies? > >Me!!!! Pick Me!!!!! I have this image of Uncle Bill, jumping up and down, , waving his hands in the air like a 6th grader. Have you no dignity! : - ) very best, Keith IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: "Jonathan S. Deull" Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 16:05:58 -0500 In-Reply-To: Message-ID: ...One of the ideas we've been toying with during those slow moments of tech is putting socapex connectors on our raceways, so they can be dedicated when appropriate or become multi-drops as needed.... Without firsthand experience, I have heard from a number of people that the added expense and "delicacy" of the Socapex -- particularly if a lot of people are handling them, frequently outweigh the virtues. We're going with drop boxes in our new facility. Jonathan Deull Edmund Burke School ------------------------------ Date: Wed, 05 Jan 2005 16:10:59 -0500 Subject: Re: Theatre renovation/equipment From: Steve Larson Message-ID: In-Reply-To: In my space, which is basicly a 60 x 90 black box, I put in three electrics and eight drop boxes each capable of rotating 22' from the termination point. I wish I would have put in only drop boxes. They are so flexible in a black box space. Steve on 1/5/05 3:50 PM, IAEG [at] aol.com at IAEG [at] aol.com wrote: > Of course, don't do this (which I too recommend) without putting in the > appropriate electrical cable drop boxes to easily create electrics as needed. > > very best, > > Keith Arsenault > > 813 831 3465 Mr. Arsenault's Office > 813 205 0893 Mr. Arsenault's Cellular > > www.iaeginc.com > > ------------------------------ Date: Wed, 05 Jan 2005 16:12:52 -0500 Subject: Re: Theatre renovation/equipment From: Steve Larson Message-ID: In-Reply-To: 12 x 44 proscenium. It will be mostly local groups of which there are a boatload. Steve on 1/5/05 3:46 PM, Storms, Randy at rstorms [at] bham.wednet.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > If it's intended to be a roadhouse, this might be something to consider. I've > worked in several "soft" houses and they are very, very flexible. > -- r. > > Randy Storms > rstorms [at] bham.wednet.edu > > -----Original Message----- > >> My inclination is to go with NO designated electrics. Or just the #1. That >> way any thing can be an electric and anything can be for whatever else you >> want. > > > > > ------------------------------ Subject: Sound Board Maintenance Date: Wed, 5 Jan 2005 13:29:12 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239D4 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I'm sending my mixer in for service tomorrow in order to address some = small issues (a couple of bad channels, intermittent meter ghosting, = etc.) What else should I ask the shop to do as long as they have my = chassis open? It's a Mackie SR40.8, about five years old. -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Subject: RE: Sound Board Maintenance Date: Wed, 5 Jan 2005 16:48:38 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C681 [at] exchange.rmwc.edu> From: "Paul Schreiner" > I'm sending my mixer in for service tomorrow in order to=20 > address some small issues (a couple of bad channels,=20 > intermittent meter ghosting, etc.) What else should I ask the=20 > shop to do as long as they have my chassis open? It's a=20 > Mackie SR40.8, about five years old. Replace all the guts with Soundcraft parts? ------------------------------ Subject: RE: Sound Board Maintenance Date: Wed, 5 Jan 2005 13:49:45 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239D5 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Very helpful. Thanks loads. -- r. :> -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Paul Schreiner Sent: Wednesday, January 05, 2005 1:49 PM To: Stagecraft Subject: Re: Sound Board Maintenance For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > I'm sending my mixer in for service tomorrow in order to=20 > address some small issues (a couple of bad channels,=20 > intermittent meter ghosting, etc.) What else should I ask the=20 > shop to do as long as they have my chassis open? It's a=20 > Mackie SR40.8, about five years old. Replace all the guts with Soundcraft parts? ------------------------------ Date: Wed, 05 Jan 2005 16:24:50 -0600 Subject: "delicacy"??? of Socapex From: Greg Persinger Message-ID: In-Reply-To: Jonathan Deull wrote: >Without firsthand experience, I have heard from a number of people that the >added expense and "delicacy" of the Socapex -- particularly if a lot of >people are handling them, frequently outweigh the virtues. Huh??? Socapex delicate? Jonathan this connector is the mainstay of the rock and roll touring industry. They are only delicate if you buy the cheap knockoffs of the real thing. In my 12 years of experience I have found the original Socapex brand with the solder connections to be the best. I came to this conclusion after watching all sorts of connectors get bashed about doing arena tours. Tell your friends and maybe they will have better luck. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D168 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 17:25:50 -0500 If you have raceways, that is a wonderful idea. But if you do not presently have raceways I would go with all drops. Socapex with breakouts and/or boxes works very well. In an up coming show we have a chandelier that needs to fly out right under the electrics. Since there is no raceway we can actually either split the pipe (oh for the days of hemp systems) or drop the pipes completely and put in shorter sections on each side. This would not be possible with raceways and dedicated electrics. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati One of the ideas we've been toying with during those slow moments of tech is putting socapex connectors on our raceways, so they can be dedicated when appropriate or become multi-drops as needed. > -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D16C [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 17:27:02 -0500 Just for the record, we like our socapex. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Jonathan S. Deull [mailto:jdeull [at] clarktransfer.com] Sent: Wednesday, January 05, 2005 4:06 PM To: Stagecraft Subject: Re: Theatre renovation/equipment For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Without firsthand experience, I have heard from a number of people that the added expense and "delicacy" of the Socapex -- particularly if a lot of people are handling them, frequently outweigh the virtues. We're going with drop boxes in our new facility. Jonathan Deull Edmund Burke School ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <13f.a190095.2f0dc800 [at] aol.com> Date: Wed, 5 Jan 2005 17:45:20 EST Subject: Re: Theatre renovation/equipment In a message dated 05/01/05 20:05:59 GMT Standard Time, WAXLERS [at] UCMAIL.UC.EDU writes: > > My inclination is to go with NO designated electrics. Or just the #1. That > way any thing can be an electric and anything can be for whatever else you > want. Maximum flexibility, fine. But, how to supply your general purpose pipes with power is a problem, if you want them for lighting. Not imposible, but more difficult than having designated electrics. Longer rigging times, and a more complex installation, since every pipe has to have a capacity to be an electrics pipe. Frank Wood ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D18A [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Theatre renovation/equipment Date: Wed, 5 Jan 2005 17:51:31 -0500 You are absolutely correct (now that is a first for me) but I would opt for the flexibility. Some may choose otherwise. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: FrankWood95 [at] aol.com [mailto:FrankWood95 [at] aol.com] Sent: Wednesday, January 05, 2005 5:45 PM To: Stagecraft Subject: Re: Theatre renovation/equipment For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 05/01/05 20:05:59 GMT Standard Time, WAXLERS [at] UCMAIL.UC.EDU writes: > > My inclination is to go with NO designated electrics. Or just the #1. That > way any thing can be an electric and anything can be for whatever else you > want. Maximum flexibility, fine. But, how to supply your general purpose pipes with power is a problem, if you want them for lighting. Not imposible, but more difficult than having designated electrics. Longer rigging times, and a more complex installation, since every pipe has to have a capacity to be an electrics pipe. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8a.1d99e79e.2f0dca6d [at] aol.com> Date: Wed, 5 Jan 2005 17:55:41 EST Subject: Re: Theatre renovation/equipment In a message dated 05/01/05 20:37:53 GMT Standard Time, WAXLERS [at] UCMAIL.UC.EDU writes: > Actually, after being s TD for all these years I think that 10 line set with > 9 of them being dedicated electrics would be the best approach. It all depends on the shows you are going to be asked to stage. Straight plays impose one set of requirements; musicals another. Add in rock concerts, and you have a big can of worms. I agree with you in that every bar should be capable of being an electrics bar, but this implies either huge redundancy, or a patching system. Both imply a high degree of expertise about the system. Have you the trained staff capable of handling this? Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <19a.2d72454e.2f0dcc45 [at] aol.com> Date: Wed, 5 Jan 2005 18:03:33 EST Subject: Re: Theatre renovation/equipment In a message dated 05/01/05 21:03:48 GMT Standard Time, doomster [at] worldnet.att.net writes: > Why? Why what? Like me, you come at posting with a desire to save bandwidth. This is less important, these days. I have largely cured myself of the habit: I recommend it to you. Incorporting in a response sufficient of the original post to provide some clue as to the topic is helpful. Frank Wood ------------------------------ Message-ID: <000d01c4f37b$3a6d8700$80fea8c0 [at] Fred> From: "Mike Rock" References: Subject: Re: Theatre Rentals? Date: Wed, 5 Jan 2005 17:06:45 -0600 My students earn good money for rentals, and I usually have no problem filling those calls. The trouble occurs when the calendar becomes oversaturated, such as with fifteen separate events occurring over fifteen days - that happened last month for me. Many of those were "volunteer" school events such as the winter band and choir concerts, and it's for these non-paid shows for which recruits become scarce. We get calls for paid shows based on what we do for free. The TD understands that we work and asking us the day before a concert if we can help out is not always possible but if were not showing up for that stuff someone else will and they might get the paid calls. Mike ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <199.35dc8729.2f0dcd21 [at] aol.com> Date: Wed, 5 Jan 2005 18:07:13 EST Subject: Re: Sound Board Maintenance In a message dated 05/01/05 21:29:49 GMT Standard Time, rstorms [at] bham.wednet.edu writes: > I'm sending my mixer in for service tomorrow in order to address some small > issues (a couple of bad channels, intermittent meter ghosting, etc.) What > else should I ask the shop to do as long as they have my chassis open? It's > a Mackie SR40.8, about five years old. To bring it back to the manufacturer's original specification. No more, and no less. Frank Wood ------------------------------ From: "Jon Lagerquist" Date: Wed, 05 Jan 2005 15:08:05 -0800 Subject: Re: 12' dia platform Reply-to: jon [at] lagerquist.com Message-ID: <41DC02D5.19246.48FDB50 [at] localhost> In-reply-to: Depending on various stuff I make use of three basic layout ideas for circle shaped things. In no particular order: Quarters of the piece. Four pieces that are the same and all meet at the center point. A square with pieces that has trimmed quarters around it. For a 12' diameter I would use a 4x4 and then place the 8' edge of the side piece along the 4x4, so the 4' edge is 2' past center. This idea works nice for turntables as the center piece with it's pivot and stuff can be hooked up while the other parts are put in place. We tend to do this the most. As big a square as stock stuff will build with filler. For a 12' diameter this would be a 8x8. The trick is that the edge defined by the side of that 8x8 is longer than 8'. You can also end up with a lid piece that has a rather acute angle on the end which is a framing issue sometimes. Jon Lagerquist Technical Director [at] South Coast Repertory Costa Mesa, CA ------------------------------ Date: Wed, 05 Jan 2005 17:25:48 -0600 From: Chuck Mitchell Subject: encoders and PLC's Message-id: <001501c4f37d$e38a4dd0$0ce25c90 [at] Chuck> Since the subject of encoders has come up lately with respect to turntables, I would like to ask any who have used encoders with plc's to contact me privately regarding the wiring connections to the PLC and the ladder logic used. Even if you use a different type of PLC than I do, I would like to see what you've done. Thanks! Chuck Chuck Mitchell Scene Studio Supervisor University Theatre-University of Wisconsin Madison 608-263-3330 FAX 608-265-4075 ------------------------------ Date: Wed, 5 Jan 2005 17:09:32 -0700 (MST) From: "Steven J. Backus" Subject: Hard Times For Local Ballet Company Message-ID: Thought you might find this interesting: http://www.sltrib.com/search/ci_2509506 I especially liked the last bit: Carter said the new cuts need to be in place for at least 24 months to stabilize Ballet West's budget. Other programming options are being explored in the meantime, she said, and the company hopes to resume its full schedule as soon as possible. Reminded me of that time I was laid off and told "we'll re-hire you when things pick up." Soon afterwards the company closed that location. Steve ------------------------------ Date: Wed, 05 Jan 2005 20:17:44 -0500 Subject: Re: Theatre renovation/equipment From: John McKernon Message-ID: In-Reply-To: > I agree with you in that every bar should be capable of being an electrics > bar, but this implies either huge redundancy, or a patching system. Both imply > a > high degree of expertise about the system. Have you the trained staff capable > of handling this? Assuming you have plenty of circuits, few things are simpler than hanging a multicable drop box on a pipe, thereby turning it into an electric. If the crew can't manage that, perhaps they should look into working as bag boys at the local grocery store... The flexibility you get with drop boxes is worth its weight in gold, IMHO. - John McKernon ------------------------------ Message-ID: <16825219.1104974433348.JavaMail.root [at] misspiggy.psp.pas.earthlink.net> Date: Wed, 5 Jan 2005 19:20:32 -0600 (GMT-06:00) From: Kyle Dugger Reply-To: Kyle Dugger Subject: Re: Theatre renovation/equipment I toured a house near where I live and they have no dedicated electrics. All of their line sets are double hung pipe, for the extra strength. On a galley oppsite the fly-system is several boxes with socpex connectors. They can take a cable from any box to any batton an instantly turn it into an electric. It seemed to be a very flexable and easy to use system. There were also a set of headblocks on the same side of the cables that were used to trim the cable as it came off the end of the pipe. They just move the ropes around depending on where the cable was to be hung. kyle dugger ...One of the ideas we've been toying with during those slow moments of tech is putting socapex connectors on our raceways, so they can be dedicated when appropriate or become multi-drops as needed.... ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 5 Jan 2005 20:27:31 -0500 From: Michael Feinberg Subject: Re: 12' dia platform >As big a square as stock stuff will build with filler. For a 12' >diameter this would be a 8x8. The trick is that the edge defined by >the side of that 8x8 is longer than 8'. You can also end up with a >lid piece that has a rather acute angle on the end which is a framing >issue sometimes. Which begs the question - do the circles actually _need_ to be 12' diameter? Making them 11'3" diameter (the diameter of a circle circumscribed about an 8' x 8' square) is far more efficient in terms of stock platforms and use of 4'x8' sheet goods and is only a small decrease in size (6" shorter diameter, 11% less total area.) A 12' circle needs 2 4'x8' rectangles and 2 2'x8'11-1/3" hemispheres plus 2 2'x8' flatted hemispheres while a 11'3" circle needs the same 2 4'x8' rectangles but now all four hemispheres are 1'7-7/8"x8" and you can get two of them from a single piece of plywood. Sometimes there's a good reason for something to be exactly 12' and you use the extra lumber and make it work and sometimes 12' is an arbitrary number that can be changed to 11'3". Unless you put one on top of the other or got out a tape measure, I think they'd be rather hard to tell apart. Just make sure you check with the designer before changing things.... -- -Michael Feinberg, CTS ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: 12' dia platform Date: Wed, 5 Jan 2005 23:52:43 -0500 > Making them 11'3" diameter (the diameter of a circle circumscribed > about an 8' x 8' square) is far more efficient in terms of stock > platforms and use of 4'x8' sheet goods and is only a small decrease in > size (6" shorter diameter, 11% less total area.) > , I think they'd be rather hard to tell apart. Just make sure you > check with the designer before changing things.... This is what I was looking for. I'm meeting with the directors, designer, and choreographer in the morning and this will help. Thanks Any other suggestions are still welcome. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <000d01c4f3b3$fe00b010$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Theatre renovation/equipment Date: Wed, 5 Jan 2005 21:53:05 -0800 > My inclination is to go with NO designated electrics. Or just the #1. > That > way any thing can be an electric and anything can be for whatever else you > want. I think that's a terrific idea, myself. When I was perusing the bid for the equipment in my new spaces, I freaked when I thought the large mainstage was going to be woefully under-electriced, particularly for the size. I contacted the consultants ASAP (Landry & Bogan - an excellent outfit) and they explained to me the new 'state of the art' is to aim for 1 or 0 fixed electrics (raceways) onstage, and to give a large compliment of distros, fanouts, drop boxes, or whatever you want to call them. I noticed we had that, and I realized all was going to be well again. (And MUCH more flexible!) Yes, I suspect that most of the time, the circuits will probably be resting in nearly the same position for several shows/events at a time, but it's nice to have the option to move the juice to where I NEED it, rather than the other way around. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: RE: Design Contract Info Date: Thu, 06 Jan 2005 01:28:41 -0500 >While I have done some freelance design work in the past this is the >first time I have had to really look at a contract. I find myself >wondering what kind of thing I should be looking for in the contract. The United Scenic Artists website (usa829.org) includes copies of their Broadway and off-Broadway contracts for scenic, lighting, and costume designers. They include some language specific to the union (pension funds and such), but offer a fairly standard means of protecting intellectual property and clarifying job responsibilities. Whether you choose to modify their contract or use your own, you should still go over it with a lawyer, preferably one versed in entertainment and the arts. -- Matt _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ Date: Thu, 6 Jan 2005 03:13:10 -0500 (EST) From: Todd Lipcon Subject: Re: Sound Board Maintenance In-Reply-To: Message-ID: <20050106031051.U89615 [at] mercea.mercea.net> References: On Wed, 5 Jan 2005, Storms, Randy wrote: > I'm sending my mixer in for service tomorrow in order to address some > small issues (a couple of bad channels, intermittent meter ghosting, > etc.) What else should I ask the shop to do as long as they have my > chassis open? It's a Mackie SR40.8, about five years old. Ask them to check all ribbon cables inside to make sure they're in good shape. I know the smaller Mackie boards often have problems with these cables after about 5-6 years, so if the 40.8 also uses them, it may have the same problem. Also just ask them to give the whole thing a good dusting with canned air. I've had a Mackie board with several dead/distorted channels get revived by simply opening it up, blowing it out, reseating all internal cabling, and closing it back up. Amazing what a little dust does to a preamp circuit. -Todd ------------------------------ Message-ID: From: "Jason" References: Subject: Re: Theatre renovation/equipment Date: Thu, 6 Jan 2005 00:16:15 -0800 Best Idea you ever had. ----- Original Message ----- From: "Stephen Litterst" One of the ideas we've been toying with during those slow moments of > tech is putting socapex connectors on our raceways, so they can be > dedicated when appropriate or become multi-drops as needed. > ------------------------------ End of Stagecraft Digest #250 *****************************