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 13418993; Tue, 11 Jan 2005 03:01:18 -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 #256 Date: Tue, 11 Jan 2005 03:01:00 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 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 #256 1. Re: Silica by "Stephen E. Rees" 2. Re: 'Wicked' trap malfunction... by Theatre Safety Programs 3. Re: Theatre renovation/equipment by "Bill Conner" 4. Re: Sound Board Maintenance by Dorian Kelly 5. Strand 300 help - no longer required. by "Tony" 6. bussing bus bars by "Karl G. Ruling" 7. Re: Silica by "Zirngibl, Ryan John" 8. Re: Silica by "Josh Ratty" 9. Major in Theatre by Christopher Haas CEHAAS 10. Re: Major in Theatre by "Paul Schreiner" 11. Re: Major in Theatre by "Jeffrey E. Salzberg" 12. Re: Impressionable Young Minds by Bruce Purdy 13. Re: Silica by "Dr. Randall W.A. Davidson" 14. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 15. Re: Sound Board Maintenance by FrankWood95 [at] aol.com 16. Re: Silica by "Stephen E. Rees" 17. Re: Silica by "Matthew Breton" 18. ETC Sensor phase output distribution information ( long?) by "David Fox" 19. Re: Major in Theatre by "Jack Morones" 20. Re: "delicacy"??? of Socapex by William McLachlan 21. Re: Major in Theatre/whos still there by "Haagen Trey P Civ 34 TRW/SDAT" 22. Re: Mimes by "John Hauer" 23. Re: Major in Theatre by MissWisc [at] aol.com 24. Re: Silica by Stuart Wheaton 25. Re: "delicacy"??? of Socapex by FrankWood95 [at] aol.com 26. Re: "delicacy"??? of Socapex by Mark O'Brien 27. Re: Major in Theatre by "RODOK!!!" 28. Kliegl Lekos by "Brian D Shipinski" 29. Scrim scallops by "Kevin A. Patrick" 30. Re: Scrim scallops by Bill Sapsis 31. Re: Scrim scallops by Dale Farmer 32. Re: bussing bus bars by Greg Persinger 33. materials othe than plexiglass by "Robert Barnwell" 34. Re: materials othe than plexiglass by "ladesigners [at] juno.com" 35. Re: materials othe than plexiglass by "Michael J. Banvard" 36. Re: materials othe than plexiglass by "Joe Meils" 37. Re: materials othe than plexiglass by Dorian Kelly *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <41E28F2C.80507 [at] fredonia.edu> Date: Mon, 10 Jan 2005 09:20:28 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Silica References: Ryan, If the bag says anything about "fumed silica" it is, as Josh suggests, used as a thickening agent for polyester resin. The product I've had in the past was called Cab-O-Sil. This had the consistency of talc and was very floaty. HTH. Regards, Steve Rees, TD SUNY-Fredonia Zirngibl, Ryan John wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I found a nearly full large bag of flakey looking silica. > This captivated me because the only time I've seen or heard of silica > [snipped] ------------------------------ Message-Id: <6.2.0.14.2.20050110072138.01fd85c0 [at] mail.earthlink.net> Date: Mon, 10 Jan 2005 07:23:45 -0700 From: Theatre Safety Programs Subject: re: 'Wicked' trap malfunction... here is the link to the ny times article, it is a long article from monday's times Ding Dong, a Witch Is Hurt, but She Takes Her Final Bow By JESSE McKINLEY After breaking a rib onstage on Saturday, Idina Menzel, departing star of "Wicked," returned to a standing ovation at the Gershwin Theater. http://www.nytimes.com/2005/01/10/theater/10wicked.html?th jerry gorrell ------------------------------ Message-ID: <007e01c4f722$fa98c080$4b01010a [at] schulershook.net> Reply-To: "Bill Conner" From: "Bill Conner" Subject: RE: Theatre renovation/equipment Date: Mon, 10 Jan 2005 08:45:07 -0600 Following up on Terry Fitch's comments on 6" versus 8", while at a previous employer the office standard was 7" usually with 5" weights (but I've been known to use 6" to solve a travel/capacity problem). It was a nice compromise between density and things going bump in the dark. While a manufacture might grumble some, it never seemed to add significant cost. We did enough so manufacturers were use to it. Lately I've been attracted to 8" centers and providing good provisions, access, gallery, rail, wood pins, and gear, for rope and sandbag (probably as a result of working on a project where an annual wing and border production is part of the program - 60 to 70 pieces plus electrics, shell, leg and borders, etc.) That way you can slip a batten in between two sets, like the old Broadway standard of 4" centers. Of course I'd rather have a system to each side with arbors on 8" centers and battens on 4" centers but not many budgets afford that and it does require staff. Good and useful discussion. Rags opens a whole range of issues: legs on tracks, travelers for mid stage legs (I hate the look but concede the practicality), cotton vs. synthetic, legs downstage of borders (continental style), plastic vs. leno vs. muslin sky drops, chain versus pipe, lined vs. unlined, fullness, flat, and on it goes. I generally follow what Tom Skelton taught which was 5 pair legs at a 6'-7'-8'-9' spacing and borders with only 1, 3, and 5 but then he relied on a 3 electric approach for touring ballet. And I automatically reject the planning for the last 2 seats in the first row and last seat in second row - usually too much compromise for six seats - and with a cord and battery clamp I can pull that leg around a little if I have to. Also reassuring to see that if I follow the same principles and goals on every project. I'll only please about half the folks. Bill ------------------------------ Message-Id: In-Reply-To: Date: Mon, 10 Jan 2005 14:47:11 +0000 From: Dorian Kelly Subject: Re: Sound Board Maintenance Frank Woof (sic) writes >Principally, because it's what I can buy readily. And, provided that the >joint is properly made, wetting both components, I find it hard to beliebe >that a >3% change in the composition will have any effect. 60/40 is pretty near the >eutectic. for a discussion on the Eutectic see http://www.ul.ie/~walshem/fyp/Eutectic%20alloys.htm Dorian ------------------------------ Message-ID: <004e01c4f72c$c16240c0$0800000a [at] Tony> From: "Tony" References: Subject: Strand 300 help - no longer required. Date: Mon, 10 Jan 2005 15:55:03 -0000 Panic over.... The problem was (surprise, surprise) user error - mine!!! It's been a long week, and I was trying to set the Goldie's to run on channel 251 on a desk that (you guessed it!) only has 250 channels!!! Thanks to those who e-mailed me with suggestions! Regards Tony ------------------------------ From: "Karl G. Ruling" Date: Mon, 10 Jan 2005 11:03:36 -0500 Subject: bussing bus bars Reply-to: kruling [at] esta.org Message-ID: <41E26108.7574.55618B [at] localhost> In-reply-to: > One easy way to tell is to pull the modules, WITH POWER > DISCONNECTED, and look at the buss bars. A "buss" is a kiss. A "bus" is "a conductor or assembly of conductors." (Webster's 9th New Collegiate dictionary) Don't buss the bus bars. ------------------------------ Subject: RE: Silica Date: Mon, 10 Jan 2005 10:44:41 -0600 Message-ID: <5CF1C3D95785A143A3E33ACFD864609B0383455E [at] PEPSI.uwec.edu> From: "Zirngibl, Ryan John" Thanks every one for your help it was in fact Cab-O-Sil, I'll have to play around and see what I can do with it now (I love learning new ways of doing things and how to use new mediums) Ryan -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E. Rees Sent: Monday, January 10, 2005 8:20 AM To: Stagecraft Subject: Re: Silica For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Ryan, If the bag says anything about "fumed silica" it is, as Josh suggests, used as a thickening agent for polyester resin. The product I've had in the past was called Cab-O-Sil. This had the consistency of talc and was very floaty. HTH. Regards, Steve Rees, TD SUNY-Fredonia Zirngibl, Ryan John wrote: > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 > I found a nearly full large bag of flakey looking silica. > This captivated me because the only time I've seen or heard of silica=20 > [snipped] ------------------------------ Message-ID: <003001c4f736$422b11b0$7b00470a [at] Rattys> From: "Josh Ratty" References: Subject: Re: Silica Date: Mon, 10 Jan 2005 12:03:06 -0500 Do check any MSDS you may be able to dig up for it. While i don't believe it is the harmful form of silica it is at the very least uncomfortable to breathe in so i'd recomend at least a dust mask. Used it for a few years building boats, it is great for thickening polyester or epoxy resins, and i'm sure you can find a number of other uses for it in the theatre. Have fun and be safe. Josh ----- Original Message ----- From: "Zirngibl, Ryan John" To: "Stagecraft" Sent: Monday, January 10, 2005 11:44 AM Subject: Re: Silica For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Thanks every one for your help it was in fact Cab-O-Sil, I'll have to play around and see what I can do with it now (I love learning new ways of doing things and how to use new mediums) Ryan -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E. Rees Sent: Monday, January 10, 2005 8:20 AM To: Stagecraft Subject: Re: Silica For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Ryan, If the bag says anything about "fumed silica" it is, as Josh suggests, used as a thickening agent for polyester resin. The product I've had in the past was called Cab-O-Sil. This had the consistency of talc and was very floaty. HTH. Regards, Steve Rees, TD SUNY-Fredonia Zirngibl, Ryan John wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I found a nearly full large bag of flakey looking silica. > This captivated me because the only time I've seen or heard of silica > [snipped] ------------------------------ In-Reply-To: Subject: Major in Theatre Message-ID: From: Christopher Haas CEHAAS Date: Mon, 10 Jan 2005 12:22:06 -0500 Greg Bierly wrote (snipped) "I know my parents would never have supported me going to school for theatre" I've always counted myself lucky that my parents never once questioned my theatre major and always fully supported me in that endeavor. I had friends when I was in college who had to pay their own way since they were "majoring in a worthless area". I've also encountered that as a professor, both when recruiting students and when I mention what area I teach in. Maybe it's just me, but I really hate that the first comment people make when they find out I teach theatre is always "How fun" or "How nice". I guess maybe it's not just the comment, but the preschool teacher tone that it always has. sorry, I'll stop the rant now. Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Subject: RE: Major in Theatre Date: Mon, 10 Jan 2005 12:30:27 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C688 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Maybe it's just me, but I really hate that the=20 > first comment=20 > people make when they find out I teach theatre is always =20 > "How fun" or=20 > "How nice". I guess maybe it's not just the comment, but the=20 > preschool=20 > teacher tone that it always has.=20 I get that fairly often too...until I continue the conversation and explain just what I do and what kinda tools I get to play with, when it turns into "How cool!" ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Major in Theatre Date: Mon, 10 Jan 2005 12:35:24 -0500 Message-ID: <003501c4f73a$c7971e30$6401a8c0 [at] Dell> In-Reply-To: > I get that fairly often too...until I continue the > conversation and explain just what I do and what kinda tools > I get to play with, when it turns into "How cool!" When I tell people I'm a lighting designer, I usually get, "Cool!", which I interpret as meaning, "I have no idea what to say about that." ------------------------------ Date: Mon, 10 Jan 2005 12:38:55 -0500 Subject: Re: Impressionable Young Minds From: Bruce Purdy Message-ID: In-Reply-To: Al Fitch wrote: > I thought that there was something wrong with the way I have been doing theatre for years (always doing something different not sticking to one > thing, a generalist). I find myself in a position that is not challenging enough for me and am looking for a change. If you aren't happy as a generalist, what area interests you the most? What can you do to pursue that speciality? Rule #1: "Know thyself"! I am by nature a generalist - you may not be. >That prompted me to rejoin the list to get ideas, spark my interest etc. > Good move! This is a source of endless inspiration (and entertainment). > When i work with students who have an interest in what they are doing it is exciting and engaging for me. > However, I don't encourage them to pursue theatre because of the doubt I am having at this time. > It's about *their* aspirations. Doubts about your own path relative to who you are must not cloud your judgement. Unbelievable as it may seem to some of us at times, most people don't dream of a life in theatre. They would be as happy in this field as I would as a banker or insurance salesman! Some of us are born for this. Even within this wide field, some are born to be riggers, some squeeks, some lighting or scenic designers, and some generalists. The key again is: "Know thyself", then follow your star. All that is needed is guidance along the way. This applies to all your students, and to yourself as well! > After reading Bruce's post, I will be more likely to talk with those interested students about working in theatre. Glad I could help. Tell them to keep their options open, but at the same time don't close options off for them by discouraging them from their dreams. If you aren't happy with your Theatre career, point interested students to others that are. Point them to this list, where they'll read all about the good the bad and the ugly sides of this field. Good luck to them, and good luck to you! Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Silica Date: Mon, 10 Jan 2005 09:53:27 -0800 Message-ID: <006301c4f73d$4abe2ea0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Absolutely true. I agree as do the authorities on this, that use of a good solid face mask is a must. Dr. Doom -- 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 Josh Ratty Sent: Monday, January 10, 2005 9:03 AM To: Stagecraft Subject: Re: Silica For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Do check any MSDS you may be able to dig up for it. While i don't believe it is the harmful form of silica it is at the very least uncomfortable to breathe in so i'd recomend at least a dust mask. Used it for a few years building boats, it is great for thickening polyester or epoxy resins, and i'm sure you can find a number of other uses for it in the theatre. Have fun and be safe. Josh ----- Original Message ----- From: "Zirngibl, Ryan John" To: "Stagecraft" Sent: Monday, January 10, 2005 11:44 AM Subject: Re: Silica For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Thanks every one for your help it was in fact Cab-O-Sil, I'll have to play around and see what I can do with it now (I love learning new ways of doing things and how to use new mediums) Ryan -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E. Rees Sent: Monday, January 10, 2005 8:20 AM To: Stagecraft Subject: Re: Silica For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Ryan, If the bag says anything about "fumed silica" it is, as Josh suggests, used as a thickening agent for polyester resin. The product I've had in the past was called Cab-O-Sil. This had the consistency of talc and was very floaty. HTH. Regards, Steve Rees, TD SUNY-Fredonia Zirngibl, Ryan John wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I found a nearly full large bag of flakey looking silica. > This captivated me because the only time I've seen or heard of silica > [snipped] ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <144.3cd96e29.2f142094 [at] aol.com> Date: Mon, 10 Jan 2005 13:16:52 EST Subject: Re: Theatre renovation/equipment In a message dated 09/01/05 23:52:54 GMT Standard Time, jdurand [at] interstellar.com writes: > >I think that :( is most appropriate. This sounds to me like an ignorant > >client, and these are the most trouble of all! > > He's a musician, so wants really good gear. I much prefer the spec up > front like this as opposed to another client I had. The other client > ordered a small pile custom DSP-based audio devices and specified > "telephone quality audio". On delivery, they refused to pay the balance > due because there was a -72dB whine from the power supply. I modified all > the power supplies and got rid of it, but never did get paid. Even worse. I have met people with "golden ears" before. Some of them don't believe in measurements. I particurlarly remember one film dubbing mixer, who was a severe PITA. This was in the days of analogue equipment, which was aligned by an engineer every morning, to conform to laid-down standards. Frequency response +/- 0.5 dB from 50Hz to 10KHz, + 0.5dB and -1dB from 30Hz to 15KHz. Distortion better than 0.02%, and signal-to-noise better than 50dB (remember we're talking about analogue magnetic recording through the whole replay-mixer-record chain, here, and vinyl discs for the effects). This guy clamed to be able to detect a loss of 0.5dB at 12.5KHz, with his ears! It led to a major row between his managers and the Engineering manager. The coming of digital audio has saved us from this sort of thing. Yes, you could tweak the system to be flat at 12.5KHz, but this usually led to a hump at 17 or 18KHz. I know which I prefer, especially when I know what is going to happen to the end-product as it goes on air. Telecine machine, studio mixer, VT recorder, VT replay, continuity mixer, and then the lines to the transmitters. All conscientiously aligned, and all contributing subtle losses. On a bad day, I reckon you can be 5dB down at 12.5KHz before it hits the transmitter. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Mon, 10 Jan 2005 13:29:50 EST Subject: Re: Sound Board Maintenance In a message dated 10/01/05 02:08:22 GMT Standard Time, dale [at] cybercom.net writes: > Virtually all the normal electronic solders I see on the store shelves > are the > 63/47 variety. The 60/40 ones are usually kinda dusty, or marked down. I'm > also seeing silver and lead-free solders more and more often. > But I doubt this will sway your opinion, you are remarkably resistant to > any > sort of change that reality presents to you. Well, I have been using 60/40 solder, apart from stated special purposes, since 1965. If I told any of my former colleagues what you have just told me, they would laugh their socks off. None of the gear I have built or serviced, has failed with a solder problem. And none of them has come down with lead poisoning. Frank Wood ------------------------------ Message-ID: <41E2CE03.2060405 [at] fredonia.edu> Date: Mon, 10 Jan 2005 13:48:35 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Silica References: PPDs and the like are wanted as you "play" with this stuff. You don't want to inhale the stuff! SER Zirngibl, Ryan John wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Thanks every one for your help it was in fact Cab-O-Sil, I'll have to > play around and see what I can do with it now (I love learning new ways > of doing things and how to use new mediums) > > Ryan ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Silica Date: Mon, 10 Jan 2005 13:52:19 -0500 >(I love learning new ways of doing things and how to use new mediums) The English major I once was cries out that you mean "new media." Men's mediums are on the third floor. The other mediums are in the basement, holding a seance convention. Just a quick nitpick :) -- Matt ======= _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfeeŽ Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ------------------------------ Subject: ETC Sensor phase output distribution information ( long?) Date: Mon, 10 Jan 2005 13:31:44 -0600 Message-ID: <34CB2A959285064382C1BBFCC7141E406070D9 [at] MIDL-MAILV.etcconnect.com> From: "David Fox" [Uncloaking] I'm looking for info on the phase distribution to the outputs of all the ETC Portable Sensor racks, starting with the 6 pack. I was going to respond privately, but thought others might like this information as well. I have been off list for about 14 months (new baby can do that to ya), and missed reading it. It is good to be back. SP6 (In Three Phase mode) Phase A Dimmers 1-4 Phase B Dimmers 5-8 Phase c Dimmers 9-12 SP6 (In Single Phase Mode) Phase A Dimmers 1-6 Phase B Dimmers 7-12 SP12 (In Three Phase Mode) Phase A Dimmers 1-8 Phase B Dimmers 9-16 Phase C Dimmers 16-24 SP 12 (In Single Phase Mode) Phase A Dimmers 1-16 Phase C Dimmers 17-24 Touring racks alternate phases every 8 dimmers. You can see a color coded diagram in the patch bay but here it is for reference: SP 24 Touring Rack Phase A Dimmers: 1-8,25-32 Phase B Dimmers: 19-16,33-40 Phase C Dimmers: 17-24,41-48 SP 36 Touring Rack Phase A Dimmers: 1-8,25-32,49-56 Phase B Dimmers: 9-16,33-40,57-64 Phase C Dimmers: 17-24,41-48,65-72 SP 48 Touring Rack Phase A Dimmers: 1-8,25-32,49-56,73-80 Phase B Dimmers: 9-16,33-40,57-64,81-88 Phase C Dimmers: 17-24,41-48,65-72,89-96 I hope this helps! David Fox ETC Technical Support Supervisor Direct 608-824-5056 Toll Free Direct 888-908-2193 [Cloaking] ------------------------------ From: "Jack Morones" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: Major in Theatre Date: Mon, 10 Jan 2005 11:58:31 -0800 Organization: Saddleback College Message-ID: <000a01c4f74e$c2a79990$6500a8c0 [at] SCJACKLT> In-Reply-To: I run into this when I recruit for Saddleback College. As part of our recruiting materials, my LD and I came up with 4 pages of career options available to those trained in Theatre, both inside and outside the industry. This usually impresses the High School counselors (either that or it's the free lunch). Jack R. Morones Production Manager McKinney Theatre -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey E. Salzberg Sent: Monday, January 10, 2005 9:35 AM To: Stagecraft Subject: Re: Major in Theatre For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > I get that fairly often too...until I continue the > conversation and explain just what I do and what kinda tools > I get to play with, when it turns into "How cool!" When I tell people I'm a lighting designer, I usually get, "Cool!", which I interpret as meaning, "I have no idea what to say about that." ------------------------------ In-Reply-To: References: Message-Id: <49A9DD26-634F-11D9-892F-000393B61EC2 [at] wmld.com> From: William McLachlan Subject: Re: "delicacy"??? of Socapex Date: Mon, 10 Jan 2005 13:33:37 -0800 On Jan 6, 2005, at 6:56 AM, Jonathan S. Deull wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > >> Huh??? Socapex delicate? > > Ok, delicate is the wrong word and I am properly rebuked. Just to > clarify > -- I definitely understand the value and utility of Socapex. The > advice I > was getting was that in our fixed high school installation, where our > crews > are students, a complex connector such as a Socapex is another point of > potential failure and misuse that will eventually require maintenance > and > replacement. The solution to a "complex connector" is training. Make the users SMARTER, don't make the installation dumb. Pros nationwide went thru a fiasco that very well exemplified the "make people smarter, not equipment stupider" idea with mains connectors many years ago which I can elaborate on in a different post. However my suggestion to you is since you're an EDUCATIONAL facility, wire your facility in a way that exposes your students to the kinds of work techniques they'll be using if they decide to (heaven help them if they do...) pursue a career in production. just my 3 cents... Oh, and another thing. Any connector system will require maintenance and replacement eventually. Stage Pin connectors have their breakages, burnups, and general deterioration just as much as Socapex connectors do. From the production world I can say though that medium to high amperage multicable connectors (I hate it when people call them by the name of ONE of the manufacturers of this type of connector...after all, if Hubbell made them first, would we call them "Hubbell cables"?) connectors that are well chosen, properly installed, and handled by people that know to line up the guide notch, not cross-thread, ensure a snug connection, and not drop them indiscriminately will last for a VERY long time. and there's 3 more cents. :) WM -- William McLachlan willy [at] wmld.com, http://www.wmld.com "a) faster b) cheaper c) better. Choose any two." -- ------------------------------ Subject: RE: Major in Theatre/whos still there Date: Mon, 10 Jan 2005 14:52:57 -0700 Message-ID: <67CADCB91D266042A8DAB3B981DCFD14041312 [at] AFAMAIL2.USAFA.afspc.ds.af.mil> From: "Haagen Trey P Civ 34 TRW/SDAT" There are a few of us who did not have parental distain for our chosen major. I was lucky in that both of my parents were in the business. My paternal grandfather even dabbles in drag for Friar Roast-like=20 Entertainments during the turn of the century Chicago. My parents never encouraged or discouraged me from=20 picking Theatre as a major. I can honestly say that I do not recall ever making a conscience decision to go=20 into the theatre. It was something that I just always did. It may have lightened the blow when I came=20 back from the Army (as an Entertainment Specialist ) and I decided to go into Theatre Education for my=20 undergrad degree. =20 Back in the oldyn days, right after the recession of the seas, the old American Theatre Association had a conference in Minneapolis. At the keynote address, the speaker dropped some statistics that went something like: "Of all the Theatre degrees that are conferred, by all the colleges and universities in this country, less than 10% of the graduates are making a living in the field in five years. Below 3% after 10 years" I understood "Making=20 a living" as primary income. Now, I have no idea what the same stats would be for most majors. But I seem to know=20 lots of history, poli sci and other arts majors that are not working in their graduated field. Has anybody heard of any updated figures or have any thoughts on what it might be today? Trey Haagen -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jack Morones Sent: Monday, January 10, 2005 12:59 To: Stagecraft Cc: stagecraft [at] jeffsalzberg.com Subject: Re: Major in Theatre For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I run into this when I recruit for Saddleback College. As part of our recruiting materials, my LD and I came up with 4 pages of career options available to those trained in Theatre, both inside and outside the industry. This usually impresses the High School counselors (either that or it's the free lunch). Jack R. Morones Production Manager McKinney Theatre -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey E. Salzberg Sent: Monday, January 10, 2005 9:35 AM To: Stagecraft Subject: Re: Major in Theatre For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > I get that fairly often too...until I continue the conversation and=20 > explain just what I do and what kinda tools I get to play with, when=20 > it turns into "How cool!" When I tell people I'm a lighting designer, I usually get, "Cool!", which I interpret as meaning, "I have no idea what to say about that." ------------------------------ Message-id: Date: Mon, 10 Jan 2005 13:59:26 -0800 Subject: Re: Mimes From: "John Hauer" References: In-Reply-To: We recently had a lecture presentation by a guy billed as " the inspirational mime." Yes, a lecture from a mime. When he got here, there was a bit of a chip on his shoulder when he proclaimed, " I hate being called a 'mime.' I am a 'pantomime!'" Hugh? He was a great self promoter. He claimed great successes in his field. His sound check was more involved than what is done for most of the musicians who perform. Hugh? (again.) But.... when he pretended to have a tug of war fight with himself, we figured maybe we were the ones stuck in the box. I have to say that I was entertained by this oddity of a show. It broke up a rather mundane week. So, whereas it isn't every gig that inspires great art, sometimes it is good to have a simple chuckle. {Even if that chuckle is at the expense of a mime or two.} John "Stagecraft" writes: >Message-ID: <000d01c4f678$a9e608f0$0202a8c0 [at] MyLastPC> >From: "Paul Guncheon" ><Oh, there is. Badly lit mimes!>> >STOP IT... STOP IT!!! >Mimes killed and ate my father. >No wait... it might have been clowns. >Sorry, >Paul ------------------------------ Date: Mon, 10 Jan 2005 17:38:24 -0500 From: MissWisc [at] aol.com Subject: Re: Major in Theatre Message-ID: <00AFA49E.4C1E7530.007B9F2A [at] aol.com> What about those of us who DIDN'T major in theatre but find ourselves making the majority of our income from it or related things? My hubby was a music education major, I studied opera performance. Thank GOD I didn't pursue that! :) From my graduating class, I'd estimate that about 20% are still in music full-time... most as teachers at the HS level, as few as composers/arrangers. The rest?? Elementary classroom teacher, re-location specialist for the navy, business banker, investment banker, para-legal, business equipment sales, and a bunch of stay-at-home moms. This is just off the top of my head. The point of college isn't to prepare you for a specific job, it's to prepare you for LIFE. If you want "training" go to a tech school, it's cheaper, doesn't take as long, and the jobs often pay better. And regardless of which path or major you choose, know that you will need to upgrade things every 5-10 years or so. Kristi ------------------------------ Message-ID: <41E30633.10804 [at] fuse.net> Date: Mon, 10 Jan 2005 17:48:19 -0500 From: Stuart Wheaton Subject: Re: Silica References: In-Reply-To: Matthew Breton wrote: > The other mediums are in the basement, > holding a seance convention. Edgar Cayce was not a Medium...He was an extra large! ;-) Stu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <96.1e5c54c0.2f1465cc [at] aol.com> Date: Mon, 10 Jan 2005 18:12:12 EST Subject: Re: "delicacy"??? of Socapex In a message dated 10/01/05 21:34:47 GMT Standard Time, willy [at] wmld.com writes: > > -- I definitely understand the value and utility of Socapex. The > > advice I > > was getting was that in our fixed high school installation, where our > > crews > > are students, a complex connector such as a Socapex is another point of > > potential failure and misuse that will eventually require maintenance > > and > > replacement. > > The solution to a "complex connector" is training. Make the users > SMARTER, don't make the installation dumb. It is a difficult design decision. Connectors have a degree of unreliability built-in. Soldered joints, or crimped ones, make service engineers go bald before their time. A case in point. The last in-house design of a sound desk by the BBC used many modular amplifier boards. All were fitted with solder joints, for greater reliability. If you wanted to change a module, there were at least nine solder joints involved. This is not what you need when you are trying to mend one, against time. One of the designers was a friend of mine, and I remember arguing this point with him. He was a better and more experienced enginer than I, and I lost. All the same, I stayed with connectors in my designs, and am aware of no reliability problems. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: <5E8E1DFA-6361-11D9-B1D9-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: "delicacy"??? of Socapex Date: Mon, 10 Jan 2005 16:43:03 -0700 On Jan 10, 2005, at 4:12 PM, FrankWood95 [at] aol.com wrote: > It is a difficult design decision. Connectors have a degree of > unreliability > built-in. Soldered joints, or crimped ones, make service engineers go > bald > before their time. > > A case in point. The last in-house design of a sound desk by the BBC > used > many modular amplifier boards. All were fitted with solder joints, for > greater > reliability. If you wanted to change a module, there were at least > nine solder > joints involved. This is not what you need when you are trying to mend > one, > against time. > Now Frank, Design decision? You have lost me here. What is it about a Socapex connecter that really has ANYTHING to do with soldering, other than the initial fabrication? I am certain that if Willie had to solder & de-solder the multi-pin connecter every-time he changed it, his opinion of them would not be the same. Of course at a reasonable hourly wage.... Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-ID: <41E32AAD.1060107 [at] telus.net> Date: Mon, 10 Jan 2005 18:23:57 -0700 From: "RODOK!!!" Subject: Re: Major in Theatre References: In-Reply-To: Jack Morones wrote: > <>For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I run into this when I recruit for Saddleback College. As part of our > recruiting materials, my LD and I came up with 4 pages of career options > available to those trained in Theatre, both inside and outside the > industry. This usually impresses the High School counselors (either > that or it's the free lunch). > > Jack R. Morones > Production Manager > McKinney Theatre > \ I wonder if I could get copies of any recruiting materials from folks out there. I teach in a H.S. in Canada and I could use any materials from acting and tech theatre programs for my students to check out. thanks Rod Osiowy Mount Baker "Wild" Theatre 1410 Baker St. Cranbrook, BC V1C 1B2 ------------------------------ Message-ID: <004001c4f791$4eb5c370$67e2490c [at] briansbyukf8iv> From: "Brian D Shipinski" References: Subject: Kliegl Lekos Date: Mon, 10 Jan 2005 21:54:52 -0600 While beside the forum's usual curious posts, this is one of problem solving that I think I have found but would also be open to other solutions for. Much less just the acquiring of the equipment need. Looking for three - at best in beam spread on a 20" mirror ball but with a small Leko fixture, at about 10 - 15', three #1343 Kliegl 3.1/2 Leko fixtures for a special 200w Leko mirror ball project inspite of their lack of efficiency but to the best of my knowledge the only thing at that wattage still dimmable. that you can get lamps for in that wattage. Even I'm not asking too much about the design concept. While these fixtures are far too light for boat anchors, they very much are I would agree in having also used them in the past. Still I think I need some in being the only solution. Anyone willing to trade some refurbished and optimized Altman 360Q fixtures of any beam spread except 4.1/2x6.1/2 which I'm out of and a new lamp of your choice for the fixture including the HPR in each for them please contact me off line about a trade. I'll even throw in some company swag. Thanks, Brian Shipinski Upstaging, Inc. bshipinski [at] upstaging.com bshipinski [at] att.net ------------------------------ From: "Kevin A. Patrick" Subject: Scrim scallops Date: Mon, 10 Jan 2005 23:00:28 -0500 Organization: Columbus State University In-reply-to: Message-ID: A fellow designer will be using strips of scrim for an upcoming show. They are 60-72" wide, and about 20' tall. He would rather not frame them, but doesn't know how much they will scallop on the sides if only supported from top and bottom. I figure there must be ten people out there that have faced this situation in the last five years. Does anyone know what this will look like, or have a formula for determining the scallop? (BTW, isn't scallop the right word? When the scrim, or any other fabric, bows towards the middle of a drop on the sides. Scallops are normally on the top, but is that the right word for the sides also?) Thanks, Kevin Patrick Theatre.colstate.edu -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.6.9 - Release Date: 1/6/2005 ------------------------------ Date: Mon, 10 Jan 2005 23:16:11 -0500 Subject: Re: Scrim scallops From: Bill Sapsis Message-ID: In-Reply-To: on 1/10/05 11:00 PM, Kevin A. Patrick at patrick_kevin [at] colstate.edu wrote: > (BTW, isn't scallop the right word? When the scrim, or any other fabric, > bows towards the middle of a drop on the sides. Scallops are normally on > the top, but is that the right word for the sides also?) I've always heard it called "hourglassing" And I have no idea how to avoid it without framing. 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: <41E352AD.35B6FC29 [at] cybercom.net> Date: Mon, 10 Jan 2005 23:14:37 -0500 From: Dale Farmer Subject: Re: Scrim scallops References: "Kevin A. Patrick" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > A fellow designer will be using strips of scrim for an upcoming show. They > are 60-72" wide, and about 20' tall. He would rather not frame them, but > doesn't know how much they will scallop on the sides if only supported from > top and bottom. I figure there must be ten people out there that have faced > this situation in the last five years. Does anyone know what this will look > like, or have a formula for determining the scallop? > > (BTW, isn't scallop the right word? When the scrim, or any other fabric, > bows towards the middle of a drop on the sides. Scallops are normally on > the top, but is that the right word for the sides also?) > > Thanks, > > Kevin Patrick > Theatre.colstate.edu Depends on the amount of weight you have down at the bottom. If you have nothing but a hem, they hardly scallop at all, but they blow and billow with every breeze and eddy of air. It's a tradeoff. --Dale ------------------------------ Date: Mon, 10 Jan 2005 22:20:51 -0600 Subject: Re: bussing bus bars From: Greg Persinger Message-ID: In-Reply-To: Karl Ruling Wrote: > A "buss" is a kiss. A "bus" is "a conductor or assembly of > conductors." (Webster's 9th New Collegiate dictionary) > > Don't buss the bus bars. Karl I just figure if you buss the bus bars you will remember how they are arranged better. From the looks of David Fox's post I need to go do some bus bussing of my own. Thanks for straightening it out David. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: "Robert Barnwell" Subject: materials othe than plexiglass Date: Mon, 10 Jan 2005 23:58:26 -0500 Message-ID: Hello Everyone- I am a student at North Carolina School of the Arts and am currently working as TD on a show and have a question. I am looking for options of materials to use other than plexiglass, but that will give me basically the same look. My designer wants flats covered with plexiglass, for a lighting effect. So if you have any material suggestions, websites, etc, I would appreciate it. Thank you ------------------------------ From: "ladesigners [at] juno.com" Date: Tue, 11 Jan 2005 05:15:31 GMT Subject: Re: materials othe than plexiglass Message-Id: <20050110.211539.29675.87632 [at] webmail02.lax.untd.com> LEXAN. /s/ Richard Hello Everyone- I am looking for options of materials to use other than plexiglass, but that will give me basically the same look. ------------------------------ From: "Michael J. Banvard" Subject: RE: materials othe than plexiglass Date: Tue, 11 Jan 2005 00:32:57 -0600 In-Reply-To: Message-Id: > I am looking for > options of materials > to use other than plexiglass, but that will give me basically > the same look. > My designer wants flats covered with plexiglass, for a > lighting effect. Be very careful about thickness and support. If you go to thin, with whichever option you chose (Lexan being a fine suggestion), damage will inevitably occur. Encourage the designer to add framing above and beyond standard wood construction methods. - Michael ------------------------------ Message-ID: <000601c4f7ae$d8d319a0$10ecbed0 [at] hppav> From: "Joe Meils" References: Subject: Re: materials othe than plexiglass Date: Tue, 11 Jan 2005 01:26:19 -0600 Well, depending on what kind of stress is being placed on these flats, you could use some clear styrene or other plastic. I once had to build a set of "suspended animation chambers" for a science fiction play we were doing, and the designer wanted something similar to the old "This Island Earth" glass pipe, or the "Lost in Space" cylinder. We had a nothing budget,and was a bit stymied, until I made a call to Plasticrafts in Denver. They sold me a set of clear plastic sheets 4'X8', that I could simply roll by hand.I see no reason why this same stuff couldn't be used to cover your flats. It's clear, it's relatively cheap, and ridgid enough to look like glass. You'll probably want to use something about half the thickness of a credit card, say, .020? Joe Conway, AR ----- Original Message ----- From: "Robert Barnwell" To: "Stagecraft" Sent: Monday, January 10, 2005 10:58 PM Subject: materials othe than plexiglass > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello Everyone- > > I am a student at North Carolina School of the Arts and am currently working > as TD on a show and have a question. I am looking for options of materials > to use other than plexiglass, but that will give me basically the same look. > My designer wants flats covered with plexiglass, for a lighting effect. > > So if you have any material suggestions, websites, etc, I would appreciate > it. > Thank you > > ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 11 Jan 2005 08:57:27 +0000 From: Dorian Kelly Subject: Re: materials othe than plexiglass >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Well, depending on what kind of stress is being placed on these flats, you >could use some clear styrene or other plastic. Ahhhh! Fireproofing! In extremis there is always clear Rosco or Lee, Gam etc.... DK ------------------------------ End of Stagecraft Digest #256 *****************************