Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 17322433; Thu, 03 Feb 2005 19:44:45 -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 #282 Date: Thu, 03 Feb 2005 19:44:23 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #282 1. Re: piano tuning by "Alf Sauve" 2. Re: We Ride (hopefully) by Greg Williams 3. Re: DMX512-A by Jerry Durand 4. Re: piano tuning by "James Smith, www.theatrewireless.com" 5. Re: We Ride (hopefully) by mconn [at] cumberlandcollege.edu 6. Re: Piano tuner by "Karl G. Ruling" 7. Re: We Ride!! by Loren Schreiber 8. Re: Archives Problem and Tool Question by "Waxler, Steve (waxlers)" 9. Re: piano tuning by FrankWood95 [at] aol.com 10. Re: piano tuning by FrankWood95 [at] aol.com 11. Re: piano tuning by IAEG [at] aol.com 12. Re: forklifting piano by CB 13. Re: Piano tuner by FrankWood95 [at] aol.com 14. Periaktoi by Arthur Williams 15. Re: forklifting piano by Bill Sapsis 16. Re: piano tuning by FrankWood95 [at] aol.com 17. Re: Periaktoi by IAEG [at] aol.com 18. Re: piano tuning by IAEG [at] aol.com 19. Re: We Ride!! by "John Vink" 20. Re: Periaktoi by Bill Sapsis 21. KC by "Cyr, Dale" 22. Re: Automated fixture comparison by Mark Harvey 23. Re: Slightly OT: Insurance and the freelancer by CB 24. Re: piano tuning by CB 25. Re: Periaktoi by Mark O'Brien 26. Freelance Status by roguerpj [at] mn.rr.com 27. Re: piano tuning by "Paul Schreiner" 28. Re: Freelance Status by "Waxler, Steve (waxlers)" 29. Re: Freelance Status by "ladesigners [at] juno.com" 30. Re: Freelance Status by Boyd Ostroff 31. Re: Freelance Status by roguerpj [at] mn.rr.com 32. Re: Freelance Status by "Dr. Randall W.A. Davidson" 33. Re: Freelance Status by "Dr. Randall W.A. Davidson" 34. Re: Freelance Status by "Joshua Webb" 35. Re: Freelance Status by "Dr. Randall W.A. Davidson" 36. listening assistance systems by "Jack Morones" 37. Re: Archives Problem and Tool Question by "Dr. Randall W.A. Davidson" 38. Re: listening assistance systems by "Dr. Randall W.A. Davidson" 39. Re: KC by Bill Sapsis 40. Re: Freelance Status by "ladesigners [at] juno.com" 41. Re: Freelance Status by "Dr. Randall W.A. Davidson" 42. Re: Periaktoi by "Stephen E. Rees" 43. Re: Freelance Status by "Scott C. Parker" 44. Re: listening assistance systems by "Michael S. Eddy" 45. Re: listening assistance systems by "Rob Carovillano" 46. Re: listening assistance systems by "Dr. Randall W.A. Davidson" 47. Re: listening assistance systems by "David A. McNell" 48. Re: KC by "Cyr, Dale" 49. Re: Freelance Status by roguerpj [at] mn.rr.com 50. Palm Trees by roguerpj [at] mn.rr.com 51. Re: We Ride!! Gas Mileage by Greg Williams 52. Re: KC by "Immel,Patrick" 53. Re: Automated fixture comparison by SB 54. Re: KC by "Cyr, Dale" 55. Re: listening assistance systems by Michael Feinberg 56. Re: piano tuning by "James Smith, www.theatrewireless.com" 57. Re: KC by "Immel,Patrick" 58. Re: Freelance Status by "ladesigners [at] juno.com" 59. Re: Freelance Status by Bill Sapsis 60. Re: Ronnie Reagan (was Rough Cut Lumber) by mo 61. Re: listening assistance systems by "Rob Carovillano" 62. Re: We Ride!! Gas Mileage by "John Vink" 63. Re: Freelance Status by "ladesigners [at] juno.com" 64. Re: listening assistance systems by "ladesigners [at] juno.com" 65. Re: Palm Trees by Maciej Ostaszewski 66. Print Numbering by Greg Persinger 67. Re: Periaktoi by "Ronnie Thevenot" 68. Re: listening assistance systems by "Jack Morones" 69. Re: We Ride!! Gas Mileage by Bill Sapsis 70. Re: piano tuning by FrankWood95 [at] aol.com 71. Re: piano tuning by FrankWood95 [at] aol.com 72. Re: Periaktoi by FrankWood95 [at] aol.com 73. Re: piano tuning by FrankWood95 [at] aol.com 74. Re: piano tuning by IAEG [at] aol.com 75. silk by rodok [at] telus.net 76. Re: silk by IAEG [at] aol.com 77. Re: piano tuning by "Alf Sauve" 78. Re: piano tuning by IAEG [at] aol.com *** 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: <028301c509a3$0ef0aba0$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: piano tuning Date: Wed, 2 Feb 2005 22:47:13 -0500 Some churches (small churches) tune their piano a half step low to make singing easier. Works okay until you bring in other instruments. Big name performers have preferences for the temperament of pianos. Big name tuners have these programmed in special electronic tuners. Saw one locally in Atlanta with over 100 different tempers for different musicians, e.g. Harry Conick, Ray Charles, etc. Has anybody seen the rider for a big name piano player? Does it spell out the temper? Or does it specify an "approved" tuner? Alf ------------------------------ Date: Wed, 2 Feb 2005 22:15:56 -0500 Subject: Re: We Ride (hopefully) From: Greg Williams In-Reply-To: <1107397589.42018bd574f98 [at] mail.cumberlandcollege.edu> Message-Id: On Wednesday, February 2, 2005, at 09:26 PM, mconn [at] cumberlandcollege.edu wrote: > Oh ya the Hopefully part is just for me as I have rotater cuff surgery > on > Thursday Feb. 3. 2-6 month recovery... If nuttin else I will drive > the chase > Van! But plan on riding outta DC with Long Reach Long Riders! > > Thanks Ya'll > > Moe > Hey Moe! Good luck with the shoulder tomorrow, and we're counting on you to ride, ya know. At the very least, we now have your _much_ better half with us, and if you're really nice, and your shoulder isn't healed, maybe Christine will let you ride behind her! -=Greg Williams=- Production Manager Valborg Theatre Appalachian State University ------We're at it again!!!------ Check out the Long Reach Long Riders cross country fund raiser for BC/EFA at http://sapsis-rigging.com/LRLR.html ------------------------------ Message-Id: <6.2.0.14.0.20050203061312.043a25c0 [at] localhost> Date: Thu, 03 Feb 2005 06:13:42 -0800 From: Jerry Durand Subject: Re: DMX512-A In-Reply-To: References: At 07:20 PM 2/2/2005, you wrote: BTW, there is now a DMX512 FAQ on the USITT Web Site: >http://www.usitt.org/standards/DMX512_FAQ.html Thanks, I added that link to our support page. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ From: "James Smith, www.theatrewireless.com" Subject: RE: piano tuning Date: Wed, 2 Feb 2005 22:19:27 -0500 In-Reply-To: Message-Id: <20050203031929.FHHL1694.tomts36-srv.bellnexxia.net [at] p3m866> Yes, Frank. I've done a lot of piano tuning. Your reference to all the intervals being slightly out of tune is, of course, a reference to the equal-tempered scale; a very successful compromise and a challenge to the human ear when it comes to tuning. If you can't play something in all twelve keys, you really can't test the equal tempered tuning of a piano. Piano tune does vary a great deal with environmental changes, despite the harp being a cast-iron construction. And I agree that a careful move can have less of an impact on tuning than a change of season. One of the most common causes of pianos going out of tune is failure of the tuner to "bang in" the new string positions. Repeated strikes of the key ensures that the string slides over the bridge and settles at it's final equalibrium point, unlikely to settle (much) further later. A fast tune fails to meet this objective, you simply can't tune a piano well and do it quickly. A tune that requires a great deal of adjustment is also problematic; a memory effect in the string will always take time to settle out, and large changes in tune, i.e. position on the bridge, can take days or even weeks to relax and find it's equilibrium point. New strings are predictably unweildy. A piano that hasn't been banged in properly, and is then moved, will certainly be out of tune at the end of the move. Loose tuning pins are another story, and another common problem. A piano that is tuned before every performance, whether it needs it or not, and probably too quickly, will soon have loose pins. Oversize pins can be installed. Then, after another few cycles of the same treatment, the instrument is ruined. Jim > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of FrankWood95 [at] aol.com > Sent: February 2, 2005 6:48 PM > To: Stagecraft > Subject: Re: piano tuning > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > In a message dated 02/02/05 16:07:06 GMT Standard Time, > ladesigners [at] juno.com > writes: > > > OK, but will 'Concert A' be set at 440hz, as it is in the > US, or 442hz? > > /s/ Richard > > > > Fortunately, most concert grands are kept in pretty good > tune, so a > > truly accurate pitch is easy to get. > > 440Hz is the international standard, but in the earlier years > of the last century, it could be a lot higher, some times. > Brass bands were often a whole semitone sharp, and the > instruments were made to sound at that pitch. As you will > imagine, this caused problems when they had to combine with > more conventionally tuned instruments. It still causes > problems for people trying to buy instruments on the cheap. > Often, these were built for the higher pitch, and you have to > stretch your clarinet a bit at the joints, and then lip the > notes into tune. OK if you're a good player and have a good ear. > > Back to pianos. It has always been a slight mystery to me why > moving a piano disturbs the tuning, as the myth has it. The > tuning is determined almost entirely by the string tensions. > Since the strings are attached at either end to a heavy, > rigid, cast iron frame, the tensions are unlikely to change > much. True, the strings bear down on the bridge, which is > attached to the soundboard, but this in turn is attached to > the iron frame, as it has to be to take the downloads of the strings. > > With a wooden framed piano or harpsichord, it's another > question. These don't have the same rigidity. Indeed, you > will often see a continuo harpsichordist fiddling with the > tuning in the interval of an opera. > > Myself, I think it is due to environment changes. Cast iron > and high-tensile steel have slightly different coefficients > of expansion: the wood of a soundboard is sensitive to > changes in humidity, as may be the felts on the hammers. > All these may conspire to upset the tuning, especially as all > the intervals apart from the octave are very slightly out of tune. > > Is there a piano tuner in the house? > > > Frank Wood > > ------------------------------ Message-ID: <1107397589.42018bd574f98 [at] mail.cumberlandcollege.edu> Date: Wed, 2 Feb 2005 21:26:29 -0500 From: mconn [at] cumberlandcollege.edu Cc: gwilliams [at] appstate.edu Subject: RE: We Ride (hopefully) AH Yes! Believe it or not those of us that did this last year did in fact discuss USITT in Toronto followed by Brrrrr! and Mmmmm What about a summer ride. And so Act I scene 2 is in the prep stages. For those that want to do something really cool, and help make a difference come join us. It was one heck of a good time. It is some of the most fun you can have without "gittin neked". If ya don't have a Bike... go buy one even if it IS a honda, *coff* Sorry had to get that bad taste outta my mouth. Kidding ya'll jokes babe jokes! We invite any and all to join us or you can just throw money our way. It is all for BC/EFA and a tax write off (Bonus)! Oh ya the Hopefully part is just for me as I have rotater cuff surgery on Thursday Feb. 3. 2-6 month recovery... If nuttin else I will drive the chase Van! But plan on riding outta DC with Long Reach Long Riders! Thanks Ya'll Moe Maurice "Moe" Conn Designer/Technical Director Kohn Theatre Cumberland College 606-539-4520 mconn [at] cumberlandcollege.edu Thank You Everyone for Supporting the Long Beach Long Riders efforts to raise money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long Reach Long Riders set off on there second aventure. Check Out: www.sapsis-rigging.com/LRLR.html ------------------------------ From: "Karl G. Ruling" Date: Thu, 03 Feb 2005 12:03:12 -0500 Subject: Re: Piano tuner Reply-to: kruling [at] esta.org Message-ID: <42021300.20833.A6866E [at] localhost> In-reply-to: Frank Wood quipped: > Is there a piano tuner in the house? The "Piano Technicians Guild" website Boyd Ostroff cited (http://www.ptg.org/index.html) is pretty interesting. You can learn to be a piano tuner yourself. Skills required include "Normal hearing, patience, average finger dexterity, and a willingness to learn...." BTW, one of the best stagehand/carpenters in Southern Connecticut used to supplement her income with piano tuning. It paid well and had irregular hours that she could fit in around her stage work. She's now a full-time TD, so no more piano tuning. She has enough to do now. ------------------------------ Message-Id: <6.1.1.1.2.20050203062855.02c7f3c0 [at] mail.sdsu.edu> Date: Thu, 03 Feb 2005 06:40:37 -0800 From: Loren Schreiber Subject: Re: We Ride!! In-Reply-To: References: >We pay our own way, by the way. The money raised goes to Broadway Cares >/ Equity Fights Aids. > >We need riders, contributors, a chase vehicle and drivers (coming from >the west at this point). Yeah, I'm one of the riders coming from the west. I'd hate to make the ride alone--but I will if I have to. Surely there are a few wild and wooly techs on the west coast who know how to ride (and not just trailer their bikes to Stugis). Plus, our contingent gets to go through Las Vegas and Zion National Park. And it's all for a good cause. So wipe the dust off that Harley that sits in the shop most of the time, wash the real road grime off your metric bikes and join the cause. Loren Schreiber, Technical Director and Long Reach Long Rider School of Theatre, Television and Film San Diego State University http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: Archives Problem and Tool Question Date: Wed, 2 Feb 2005 22:58:35 -0500 That is what happens when you try to answer an email when you are half way out the door. Flocks works, though! Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 -----Original Message----- From: Stuart Wheaton [mailto:sdwheaton [at] fuse.net] Sent: Wednesday, February 02, 2005 6:30 PM To: Stagecraft Subject: Re: Archives Problem and Tool Question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Waxler, Steve (waxlers) wrote: how many floks you have working > in the shop at the same time. Floks? When I was there it was one sheep at a time! Baa! Baa! ;-) Stu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 3 Feb 2005 12:49:21 EST Subject: Re: piano tuning In a message dated 03/02/05 16:26:26 GMT Standard Time, alf [at] sauve.org writes: > Big name performers have preferences for the temperament of pianos. Big > name tuners have these programmed in special electronic tuners. Saw one > locally in Atlanta with over 100 different tempers for different musicians, > e.g. Harry Conick, Ray Charles, etc. Temperament is certainly tricky, which is why piano tuners are expensive to hire. But, at the same time, there is a standard, and has been since J.S.Bach. The only interval that is perfect is the octave. All the others are slightly sharp or flat. The theory is that each semitone has a frequency ratio with its neighbours of the twelfth root of 2. Other methods have been used, but work less well in really remote keys. Try looking up "Comma of Pythagoras" or "Wolftone" on Google. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1b8.c0f5edd.2f33c077 [at] aol.com> Date: Thu, 3 Feb 2005 12:59:19 EST Subject: Re: piano tuning In a message dated 03/02/05 16:40:47 GMT Standard Time, jsmith [at] theatrewireless.com writes: > Loose tuning pins are another story, and another common problem. A piano > that is tuned before every performance, whether it needs it or not, and > probably too quickly, will soon have loose pins. Oversize pins can be > installed. Then, after another few cycles of the same treatment, the > instrument is ruined. This all sounds like good advice. I know about loose pins. I once had a piano with a built-in harmonium. The harmonium bit was pretty stable, but there was no way my tuner could pull the piano up to match, given that it had a wooden frame. We settled for a third flat. This made the transpositions relatively easy, although D to F sharp is a pig, as is A to C sharp. Then I inherited a big upright Steinway. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 3 Feb 2005 13:01:43 EST Subject: Re: piano tuning In a message dated 2/3/05 1:00:17 PM, FrankWood95 [at] aol.com writes: >This all sounds like good advice. I know about loose pins. I once had a >piano >with a built-in harmonium. The harmonium bit was pretty stable, but there >was >no way my tuner could pull the piano up to match, given that it had a wooden > >frame Frank, , , how old was this ? harmonium and piano together , , two manuals ? and no metal frame? early 1800' s? best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-Id: <3.0.6.32.20050203015958.00bccfb8 [at] pop.west.cox.net> Date: Thu, 03 Feb 2005 01:59:58 From: CB Subject: Re: forklifting piano >Think that was sorta what I wuz sayin', wunnit? I think so, yeah. I was re-iterating my question in more detail, and adding the reason that I was asking for the information so that tehre wouldn't be a flurry of vague replies that restated the original vague replies. I figured that the first time I hadn't been specific enough in my request for additional information, and was hoping to have no more less than specific information. That clear things up any? OK, ok, so I'm really bored on the present gig, as I have one mic pass and spend most of my time getting into trouble and helping out props. Or smoking, or hatching practical jokes. Anyone that knows Karen at the Orpheum in Phoenix will understand. BTW, I hope to have a picture of me in the rhinestone tiara (soon to be permanently affixed to my headset) she has bestowed upon me. I have met a few of the list members (and a coupla ex-members) on this leg, and look forward to seeing a few more, though Fred will attest to the fact that the only way to make this happen is to work the show or accept my offer of comps if I can get them. I get a coupla months off after this weekend, but I'll be in Toledo, KC, and Greensboro NC in April. Lemme know where the beer is, and maybe we can get one together! Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 3 Feb 2005 13:07:59 EST Subject: Re: Piano tuner In a message dated 03/02/05 17:03:38 GMT Standard Time, kruling [at] esta.org writes: > The "Piano Technicians Guild" website Boyd Ostroff cited > (http://www.ptg.org/index.html) is pretty interesting. You can learn > to be a piano tuner yourself. Skills required include "Normal > hearing, patience, average finger dexterity, and a willingness to > learn...." But not quickly. In an emergency, I can take a piano from 'honky-tonk' to sounding more like a piano. But there's no way I can do a proper job. This involves knowing which intervals should be sharp or flat, and by how much. Counting beats is the classic method. You also need the tools to silence strings. Frank Wood ------------------------------ Message-Id: From: Arthur Williams Subject: Periaktoi Date: Thu, 3 Feb 2005 13:12:49 -0500 We are using a series of three periaktoi for our upcoming production of _the Importance of Being Earnest_. However, we are running into a bit of a quandary regarding the actual turntable mechanism. I'd like to use a lazy susan swivel, but finding anything over 17 inches has been a daunting task. We have two units using 4'x10' panels and one using 5'x10' panels, so I'm concerned about their stability. I would appreciate hearing from anyone who has experience with these 3-sided beasties. What sort of units did you end up using for the actual turntables? How large were they? Most importantly, where did you find them? Arthur E. Williams, Ph. D. Director of Theatre 136 Upton Conservatory Olivet College Olivet, MI 49076 269 749-7246 ------------------------------ Date: Thu, 03 Feb 2005 13:17:18 -0500 Subject: Re: forklifting piano From: Bill Sapsis Message-ID: In-Reply-To: on 2/3/05 1:59 AM, CB at psyd [at] cox.net wrote: > Anyone that knows Karen at the Orpheum in > Phoenix will understand. Tell her I said hi and look forward to a couple of games of pool next week in KC Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <194.37be7e44.2f33c41c [at] aol.com> Date: Thu, 3 Feb 2005 13:14:52 EST Subject: Re: piano tuning In a message dated 03/02/05 18:02:27 GMT Standard Time, IAEG [at] aol.com writes: > Frank, , , how old was this ? harmonium and piano together , , two manuals > ? and no metal frame? > > early 1800' s? Late 1900's, at a guess from the style. It was an upright, and only one keyboard. Just several stop keys. I'm sorry to have to say that it failed to leave my flat, other than in pieces. Two old guys brought it in, up two flights of ill-arranged stairs. A heavy gang of experienced and strong stagecrew couldn't get it down them, so I reluctantly dismembered it. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <1c8.23404aa3.2f33c443 [at] aol.com> Date: Thu, 3 Feb 2005 13:15:31 EST Subject: Re: Periaktoi In a message dated 2/3/05 1:13:56 PM, awilliams [at] olivetcollege.edu writes: >I would appreciate hearing from anyone who has experience with these >3-sided beasties. What sort of units did you end up using for the >actual turntables? How large were they? Most importantly, where did you > >find them? I have always castered them, , and created a center rotational point, , speed rail fitting lagged into the stage and pipe, that sort of thing best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ From: IAEG [at] aol.com Message-ID: <7d.623b6bfa.2f33c4a0 [at] aol.com> Date: Thu, 3 Feb 2005 13:17:04 EST Subject: Re: piano tuning In a message dated 2/3/05 1:16:05 PM, FrankWood95 [at] aol.com writes: >Late 1900's, at a guess from the style. It was an upright, and only one > >keyboard. Just several stop keys. late 1900's ? you mean like 1980 - 2000? or did you mean to say Late 19th Century ? keith ------------------------------ From: "John Vink" Subject: RE: We Ride!! Date: Thu, 3 Feb 2005 11:30:33 -0700 Message-ID: <002101c50a1e$7238aa20$6801a8c0 [at] canadiansales> In-Reply-To: Any chance you guys might relax the gas mileage restriction as my VMAX only goes 100 miles between gas stops? John > > Yeah, I'm one of the riders coming from the west. I'd > hate to make the ride > alone--but I will if I have to. Surely there are a few > wild and wooly techs > on the west coast who know how to ride > > > Loren Schreiber, Technical Director and Long Reach Long Rider > School of Theatre, Television and Film > San Diego State University > http://sapsis-rigging.com/LRLR.html > > > ------------------------------ Date: Thu, 03 Feb 2005 13:32:47 -0500 Subject: Re: Periaktoi From: Bill Sapsis Message-ID: In-Reply-To: on 2/3/05 1:15 PM, IAEG [at] aol.com at IAEG [at] aol.com wrote: >> I would appreciate hearing from anyone who has experience with these >> 3-sided beasties. What sort of units did you end up using for the >> actual turntables? How large were they? Most importantly, where did you >> >> find them? I'm showing my age here, but I worked on the orignal Chrous Line ones and several productions since then. Stability will be an issue if you don't secure the top. we found that a metal frame incorporating flange bearings top and bottom worked best. The units had a central shaft and, in the lower budget versions, were driven by a bicycle chain that was hand cranked. The key was that the drive mechanism was at the top. 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. ------------------------------ Subject: KC Date: Thu, 3 Feb 2005 10:30:18 -0800 Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF0316E2E9 [at] excuswa100.americas.unity> From: "Cyr, Dale" KC? anything interesting goin' on there next week? (I havent been following the list very closely lately, been outta town.) I'm gonna be there myself next week. dale cyr Training Supervisor IATSE Local 93 Tell her I said hi and look forward to a couple of games of pool next week in KC 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: Thu, 03 Feb 2005 10:22:02 -0600 From: Mark Harvey Subject: RE: Automated fixture comparison Message-ID: <2147483647.1107426122 [at] umd52-36.d.umn.edu> In-Reply-To: References: I've appreciated the comments that have been made concerning comparisons between the VL 1000 and the ETC Revolution. I wasn't all that interested in automated lighting until the tungsten versions started coming out. I am dismayed, however, at their overall size and weight. Does anyone know of any other tungsten options that come in a smaller and/or lighter package? Quiet operation is still a critical issue, but I'm not really looking forward to lugging 70 lb. fixtures around (again). Thanks for the input. ____________________________________ Mark Harvey Associate Professor, Theatrical Lighting and Sound Design University of Minnesota Duluth http://www.d.umn.edu/~mharvey ------------------------------ Message-Id: <3.0.6.32.20050203113223.00bccfb8 [at] pop.west.cox.net> Date: Thu, 03 Feb 2005 11:32:23 From: CB Subject: Re: Slightly OT: Insurance and the freelancer >You surprise me that in such a litigious society it is not common practice >to carry at the very least Public Liability Insurance. I have just become very adept at hiding and disguising assets, and plausible deniability is my watchword. The semi-adult version of Bart Simpson's "I did'n do it man!", if you will. As someone mentioned, fault (at least here) is decided by the deepest pockets, and even if they DID think I was responsible for ten mil worth of liability, they all know that they're not getting it from me, and tend to look elsewhere. Couple that with the thin ice of being very concerned wheb I do anything on the deck, and its livable, even if its not comfortable. And yes, your 1099 independent contractor status (that they try to wedge entertainment folk into all the time) may be your best defense. I take the money, the 1099 at the end of the year, and pay the taxes, but if it ever came down to it the fact of the matter is that we almost never really are contractors in the sense that it was intended. Easily disproving our independent contractor status allows the lawyers to transfer the responsibility up the chain of command to deeper wells. YMM definately V. Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050203113728.00bccfb8 [at] pop.west.cox.net> Date: Thu, 03 Feb 2005 11:37:28 From: CB Subject: Re: piano tuning >OK, but will 'Concert A' be set at 440hz, as it is in the US, or 442hz? Don't poke that bear. There are as many standard tunings as there are ways in which to describe 'bluish-green' to a blind person. Or speaker connection standards. Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ In-Reply-To: References: Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Periaktoi Date: Thu, 3 Feb 2005 11:40:34 -0700 I just did 2 Periaktoi for a production this fall, and here is how it worked.. Built the flats. Some had doors, but I built them with a bottom strut, to be cut out later. Put a triple swivel caster unit in each corner. Had a center pivot, connected to one of the flats. These were 8' on each side, 18' tall, with a doorway in 2 sides. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Feb 3, 2005, at 11:12 AM, Arthur Williams wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > We are using a series of three periaktoi for our upcoming production > of _the Importance of Being Earnest_. However, we are running into a > bit of a quandary regarding the actual turntable mechanism. I'd like > to use a lazy susan swivel, but finding anything over 17 inches has > been a daunting task. We have two units using 4'x10' panels and one > using 5'x10' panels, so I'm concerned about their stability. > > I would appreciate hearing from anyone who has experience with these > 3-sided beasties. What sort of units did you end up using for the > actual turntables? How large were they? Most importantly, where did > you find them? > > Arthur E. Williams, Ph. D. > Director of Theatre > 136 Upton Conservatory > Olivet College > Olivet, MI 49076 > > 269 749-7246 > ------------------------------ From: roguerpj [at] mn.rr.com Subject: Freelance Status Date: Thu, 03 Feb 2005 12:46:55 -0600 Message-ID: <03s401pnendsejrsctjn4ohm2ra5fh8cti [at] 4ax.com> References: In-Reply-To: On Thu, 03 Feb 2005 11:32:23 +0000, Chris wrote: >snip > >And yes, your 1099 independent contractor status (that they try to wedge >entertainment folk into all the time) may be your best defense. I take = the >money, the 1099 at the end of the year, and pay the taxes, but if it = ever >came down to it the fact of the matter is that we almost never really = are >contractors in the sense that it was intended. =20 This peeked my interest. If we are not a independent contractors then what are we? I ask not to argue the point but to gain some incite. I had assumed that the 1099 status was indeed correct but then that assumption was based on the fact that this is always what I had seen. I ask because I am now trying to set up design work and looking to find information on how best to do this. Do I incorporate as a small business...etc... I am just looking for places to start researching the subject. rob johnson =46reelance Designer ------------------------------ Subject: RE: piano tuning Date: Thu, 3 Feb 2005 13:50:02 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C6EE [at] exchange.rmwc.edu> From: "Paul Schreiner" > The only interval that is perfect is the octave. All the=20 > others are slightly=20 > sharp or flat. The theory is that each semitone has a=20 > frequency ratio with its=20 > neighbours of the twelfth root of 2. >=20 > Other methods have been used, but work less well in really=20 > remote keys. Try=20 > looking up "Comma of Pythagoras" or "Wolftone" on Google. Many years ago, I did an undergrad honors thesis on musical scales. I was working on it from a very mathematical perspective (since that was one of my majors), doing whole buttloads of analysis on the differences between various historical scales (Pythagorean through meantone and up to the modern equal temperament) and then mathematically working out a reasonable compromise between meantone and equal that would alleviate some of the problems ET has with major thirds (specifically, the difference between the equal temperament third and the Pythagorean ideal third). Unfortunately, I've never found a piece of freeware that would allow me to plug frequencies (to the hundredths) in and get sound out so I could hear my newly-created scale...so I have no practical idea what it sounds like! ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: Freelance Status Date: Thu, 3 Feb 2005 14:01:20 -0500 I repeat a suggestion made earlier. Take a look at James L. Moody's book The Business of Theatrical Design. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: roguerpj [at] mn.rr.com [mailto:roguerpj [at] mn.rr.com] Sent: Thursday, February 03, 2005 1:47 PM To: Stagecraft Subject: Freelance Status For info, archives & UNSUBSCRIBE, see --------------------------------------------------- On Thu, 03 Feb 2005 11:32:23 +0000, Chris wrote: >snip > >And yes, your 1099 independent contractor status (that they try to wedge >entertainment folk into all the time) may be your best defense. I take the >money, the 1099 at the end of the year, and pay the taxes, but if it ever >came down to it the fact of the matter is that we almost never really are >contractors in the sense that it was intended. This peeked my interest. If we are not a independent contractors then what are we? I ask not to argue the point but to gain some incite. I had assumed that the 1099 status was indeed correct but then that assumption was based on the fact that this is always what I had seen. I ask because I am now trying to set up design work and looking to find information on how best to do this. Do I incorporate as a small business...etc... I am just looking for places to start researching the subject. rob johnson Freelance Designer ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 3 Feb 2005 19:04:27 GMT Subject: Re: Freelance Status Message-Id: <20050203.110501.23070.10259 [at] webmail04.lax.untd.com> Dear Rob, You can ask me all the questions that your wish, on- or off-list. These issues are the fodder of that portion of my day spent as a lawyer, between designing theatres and figuring out to pay for a show. /s/ Richard If we are not a independent contractors then what are we? I ask not to argue the point but to gain some incite. I had assumed that the 1099 status was indeed correct but then that assumption was based on the fact that this is always what I had seen. I ask because I am now trying to set up design work and looking to find information on how best to do this. Do I incorporate as a small business...etc... I am just looking for places to start researching the subject. rob johnson Freelance Designer ------------------------------ Date: Thu, 3 Feb 2005 14:08:21 -0500 (EST) From: Boyd Ostroff Subject: Re: Freelance Status In-Reply-To: Message-ID: References: On Thu, 3 Feb 2005 roguerpj [at] mn.rr.com wrote: > I ask because I am now trying to set up design work and looking to > find information on how best to do this. In that case you would be very foolish to base any decision on what "some guy on the internet" tells you. Find a local accountant and pay them a few bucks to do your taxes. I learned this at an early age and it has served me extremely well. Don't take advice from strangers when it comes to taxes, get a pro on your team who is willing to stand behind his decisions. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Freelance Status Date: Thu, 03 Feb 2005 13:10:19 -0600 Message-ID: References: In-Reply-To: I ordered it yesterday Rob Johnson On Thu, 03 Feb 2005 14:01:20 -0500, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I repeat a suggestion made earlier. Take a look at James L. Moody's = book >The Business of Theatrical Design. > >Steve Waxler >Technical Director >College Conservatory of Music >University of Cincinnati > ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Freelance Status Date: Thu, 3 Feb 2005 11:13:19 -0800 Message-ID: <003a01c50a24$6c6e8550$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Absolutely true. A good tax person, not necessarily a CPA is worth their weight in fine metals. Always, try several or have a good reference. I use, for a long, long time, a retired IRS Agent, and there are those I different cities and they know the codes, believe me. Very helpful. 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 Boyd Ostroff Sent: Thursday, February 03, 2005 11:08 AM To: Stagecraft Subject: Re: Freelance Status For info, archives & UNSUBSCRIBE, see --------------------------------------------------- On Thu, 3 Feb 2005 roguerpj [at] mn.rr.com wrote: > I ask because I am now trying to set up design work and looking to > find information on how best to do this. In that case you would be very foolish to base any decision on what "some guy on the internet" tells you. Find a local accountant and pay them a few bucks to do your taxes. I learned this at an early age and it has served me extremely well. Don't take advice from strangers when it comes to taxes, get a pro on your team who is willing to stand behind his decisions. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Freelance Status Date: Thu, 3 Feb 2005 11:13:55 -0800 Message-ID: <003b01c50a24$81fdee10$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Excellent book by Jim. I have had copy he gave me a year ago and find it excellent. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of roguerpj [at] mn.rr.com Sent: Thursday, February 03, 2005 11:10 AM To: Stagecraft Subject: Re: Freelance Status For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I ordered it yesterday Rob Johnson On Thu, 03 Feb 2005 14:01:20 -0500, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I repeat a suggestion made earlier. Take a look at James L. Moody's book >The Business of Theatrical Design. > >Steve Waxler >Technical Director >College Conservatory of Music >University of Cincinnati > ------------------------------ Message-id: Date: Thu, 03 Feb 2005 14:19:12 -0500 Subject: Re: Freelance Status From: "Joshua Webb" References: In-Reply-To: I used to use a retired IRS agent, but I found she was a bit too conservative for my taste and let the government keep too much of my money. I've since given up freelancing and can do them myself. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Freelance Status Date: Thu, 3 Feb 2005 11:23:37 -0800 Message-ID: <004d01c50a25$dd00c4d0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Must not be like my retired agent. He demands that I get every penny, for ten years now, and if there are any back taxes he fights for me to get them negotiated down, and has done that over the years with great aplomb. 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 Joshua Webb Sent: Thursday, February 03, 2005 11:19 AM To: Stagecraft Subject: Re: Freelance Status For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I used to use a retired IRS agent, but I found she was a bit too conservative for my taste and let the government keep too much of my money. I've since given up freelancing and can do them myself. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ From: "Jack Morones" Subject: listening assistance systems Date: Thu, 3 Feb 2005 11:24:49 -0800 Organization: Saddleback College Message-ID: <000901c50a26$071aa970$6500a8c0 [at] SCJACKLT> I received a message from another list regarding listening assistance systems. Does anyone know if there have been any recent governmental regulations requiring these systems? I don't believe there are, but now I am curious... Thanks. -Jack Jack R. Morones Production Manager McKinney Theatre ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Archives Problem and Tool Question Date: Thu, 3 Feb 2005 11:26:13 -0800 Message-ID: <005801c50a26$39cf2940$8d90fea9 [at] DrDoomsComputer> In-Reply-To: And I thought flocking was just for Christmas trees. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Waxler, Steve (waxlers) Sent: Wednesday, February 02, 2005 7:59 PM To: Stagecraft Subject: Re: Archives Problem and Tool Question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- That is what happens when you try to answer an email when you are half way out the door. Flocks works, though! Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 -----Original Message----- From: Stuart Wheaton [mailto:sdwheaton [at] fuse.net] Sent: Wednesday, February 02, 2005 6:30 PM To: Stagecraft Subject: Re: Archives Problem and Tool Question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Waxler, Steve (waxlers) wrote: how many floks you have working > in the shop at the same time. Floks? When I was there it was one sheep at a time! Baa! Baa! ;-) Stu ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: listening assistance systems Date: Thu, 3 Feb 2005 11:29:19 -0800 Message-ID: <005c01c50a26$a97be030$8d90fea9 [at] DrDoomsComputer> In-Reply-To: I have not seen any in my usual weekly government reports. Doom I shall keep an eye out and review them again. 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 Jack Morones Sent: Thursday, February 03, 2005 11:25 AM To: Stagecraft Subject: listening assistance systems For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I received a message from another list regarding listening assistance systems. Does anyone know if there have been any recent governmental regulations requiring these systems? I don't believe there are, but now I am curious... Thanks. -Jack Jack R. Morones Production Manager McKinney Theatre ------------------------------ Date: Thu, 03 Feb 2005 14:33:21 -0500 Subject: Re: KC From: Bill Sapsis Message-ID: In-Reply-To: on 2/3/05 1:30 PM, Cyr, Dale at Dale.Cyr [at] getronics.com wrote: > anything interesting goin' on there next week? > (I havent been following the list very closely lately, > been outta town.) > > I'm gonna be there myself next week. I have the next round of Certification meetings with the psychomatricians and the Subject Matter Experts. (That's where Karen comes in.) Not something that's open to the public, nor will there really be time for partying, except maybe Tuesday night. I'll try to stay in touch, but it's Market Week in NYC and I'm in fashion show hell. Later Bill www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 3 Feb 2005 19:33:02 GMT Subject: Re: Freelance Status Message-Id: <20050203.113352.23070.10543 [at] webmail04.lax.untd.com> I agree. I received one of the first autographed copies. He was a good business example for us going way back to his Sundance Lighting years. /s/ Richard Excellent book by Jim. I have had copy he gave me a year ago and find it excellent. Doom > I repeat a suggestion made earlier. Take a look at James L. Moody's > book The Business of Theatrical Design. >Steve Waxler ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Freelance Status Date: Thu, 3 Feb 2005 11:36:55 -0800 Message-ID: <005d01c50a27$b8b8faa0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Glad that we all agree on the excellence of this person, and also your expertise Richard. 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 ladesigners [at] juno.com Sent: Thursday, February 03, 2005 11:33 AM To: Stagecraft Subject: Re: Freelance Status For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I agree. I received one of the first autographed copies. He was a good business example for us going way back to his Sundance Lighting years. /s/ Richard Excellent book by Jim. I have had copy he gave me a year ago and find it excellent. Doom > I repeat a suggestion made earlier. Take a look at James L. Moody's > book The Business of Theatrical Design. >Steve Waxler ------------------------------ Message-ID: <42027E93.8040903 [at] fredonia.edu> Date: Thu, 03 Feb 2005 14:42:11 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Periaktoi References: Arthur, We are doing exactly the same thing on a smaller scale for a black box production. We are building 2 sets of three that are 3'x8'. I had some lazy susans but the ball bearings were far too loud. Instead, we are using three wheels down, 3" rigid casters set as close to the points so as to describe a circle as they rotate. We created a center pivot using a 1/2" pipe flange with 6" nipple affixed to the CP of the round base plate and a 3/4" floor flange mounted to the center of the underside of the periaktoi caster plate with a hole bored in the center to accommodate the nipple. Odd sizing, but all was pulled from stock. The whole mess is assembled and then slid under an overhanging balcony and the round base plate is screwed to the deck after being aligned properly. HTH, Steve Rees, TD SUNY-Fredonia Arthur Williams wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We are using a series of three periaktoi ------------------------------ Message-Id: <6.1.2.0.2.20050203143803.032b3ec0 [at] mail.hstech.org> Date: Thu, 03 Feb 2005 14:48:40 -0500 From: "Scott C. Parker" Subject: Re: Freelance Status In-Reply-To: References: Rob, speaking as a layperson, unqualified to comment, not a lawyer nor a tax expert, former full-time freelancer, insert your own disclaimer here:... From my understanding, and this is very simplistic, it basically boils down to who sets the schedule. For example, let's say you call me and asked me to build you a set. If I rent the shop, I set the hours of operation, and I dictate my availability: then I'm an independent contractor contracted to supply you with the set. On the other hand, if the set is built in your theater during your hours of operation on the days that you dictate: then I'm your employee. Your mileage may vary. Scott At 01:46 PM 2/3/2005, you wrote: >This peeked my interest. If we are not a independent contractors then >what are we? I ask not to argue the point but to gain some incite. I >had assumed that the 1099 status was indeed correct but then that >assumption was based on the fact that this is always what I had seen. Scott C. Parker Production Designer/Technical Director High School Tech Production Web Site hstech~AT~hstech.org High Schoolers: come visit the HS Tech Web Site... http://www.hstech.org Our Mission: To assist High School Technical Theater students in their desire to learn about, create, and execute theatrical productions. ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Subject: RE: listening assistance systems Date: Thu, 3 Feb 2005 14:52:25 -0500 In-Reply-To: Not what Jack is looking for, but it recalled an article that I read in this week's Newsweek. Here is the link online to the article. Very cool use of technology to solve a problem. http://www.msnbc.msn.com/id/6884737/site/newsweek/ From the article: Feb. 7 issue - For people who have hearing disabilities, live theater is often a frustrating experience. As jokes fly by and lyrics are sung, viewers are forced to ignore what they've missed or pester companions for a play-by-play. But last week, "Wicked" audiences at Broadway's Gershwin Theater became among the first in the nation to have access to a handheld device that provides captions as the show progresses. The I-Caption, a five-ounce Dell Axim Pocket PC, is about the size of a pack of cigarettes. It claims: I-Caption, which cost "Wicked" about $10,000, knows which dialogue to show by picking up wireless prompts from the light board. I'm sure they mean sound console or a transmitter from the audio department. I doubt ETC is getting into the hearing impaired market. Maybe this is a new Obsession feature?!? What are the group's thoughts on this new technology for the theatre? It cost Wicked $10,000. How does this cost compare to existing infrared systems? Michael Eddy ------------------------------ Message-ID: <001301c50a29$fc1468a0$a8a44481 [at] rcarovil> From: "Rob Carovillano" References: Subject: Re: listening assistance systems Date: Thu, 3 Feb 2005 14:53:08 -0500 I believe that with any new system installation it is required in order to be in compliance with ADA regulations. Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ----- Original Message ----- From: Dr. Randall W.A. Davidson To: Stagecraft Sent: Thursday, February 03, 2005 2:29 PM Subject: Re: listening assistance systems For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have not seen any in my usual weekly government reports. Doom I shall keep an eye out and review them again. 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 Jack Morones Sent: Thursday, February 03, 2005 11:25 AM To: Stagecraft Subject: listening assistance systems For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I received a message from another list regarding listening assistance systems. Does anyone know if there have been any recent governmental regulations requiring these systems? I don't believe there are, but now I am curious... Thanks. -Jack Jack R. Morones Production Manager McKinney Theatre ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: listening assistance systems Date: Thu, 3 Feb 2005 11:56:51 -0800 Message-ID: <006801c50a2a$824fa8d0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Yes, those are the Regulations for Compliance. 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 Rob Carovillano Sent: Thursday, February 03, 2005 11:53 AM To: Stagecraft Subject: Re: listening assistance systems For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I believe that with any new system installation it is required in order to be in compliance with ADA regulations. Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ----- Original Message ----- From: Dr. Randall W.A. Davidson To: Stagecraft Sent: Thursday, February 03, 2005 2:29 PM Subject: Re: listening assistance systems For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I have not seen any in my usual weekly government reports. Doom I shall keep an eye out and review them again. 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 Jack Morones Sent: Thursday, February 03, 2005 11:25 AM To: Stagecraft Subject: listening assistance systems For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I received a message from another list regarding listening assistance systems. Does anyone know if there have been any recent governmental regulations requiring these systems? I don't believe there are, but now I am curious... Thanks. -Jack Jack R. Morones Production Manager McKinney Theatre ------------------------------ Subject: RE: listening assistance systems Date: Thu, 3 Feb 2005 14:58:13 -0500 Message-ID: <28077FD270CFAD4E85701B91A78D7D95496E2B [at] nbexchsrv01.newcomb-boyd.com> From: "David A. McNell" Not exactly recent... but from the ADA Accessibility Guidelines for Buildings and Facilities (ADAAG) : "(b) This paragraph applies to assembly areas where audible communications are integral to the use of the space (e.g., concert and lecture halls, playhouses and movie theaters, meeting rooms, etc.). Such assembly areas, if (1) they accommodate at least 50 persons, or if they have audio-amplification systems, and (2) they have fixed seating, shall have a permanently installed assistive listening system complying with 4.33. For other assembly areas, a permanently installed assistive listening system, or an adequate number of electrical outlets or other supplementary wiring necessary to support a portable assistive listening system shall be provided. The minimum number of receivers to be provided shall be equal to 4 percent of the total number of seats, but in no case less than two. Signage complying with applicable provisions of 4.30 shall be installed to notify patrons of the availability of a listening system." David A. McNell Special Technologies Group=20 Newcomb & Boyd www.newcomb-boyd.com -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jack Morones Does anyone know if there have been any recent governmental regulations requiring these systems? ------------------------------ Subject: RE: KC Date: Thu, 3 Feb 2005 11:59:53 -0800 Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF0316E2EC [at] excuswa100.americas.unity> From: "Cyr, Dale" Tuesday works great, if it works for you. if not: no harm, no foul; play on :) cell: 509 993 5940 dale cyr something that's open to the public, nor will there really be time for partying, except maybe Tuesday night. I'll try to stay in touch, but it's Market Week in NYC and I'm in fashion show hell. Later Bill www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: roguerpj [at] mn.rr.com Subject: Re: Freelance Status Date: Thu, 03 Feb 2005 14:08:19 -0600 Message-ID: References: In-Reply-To: Oh, Please! =46or the record I have been talking with a CPA who is a good friend of mine. She was always coming at it form the angle that I was an independent contractor. Chris' statement made me wonder if there were alternatives. If this list is not a place for each of us to share our experiences that what is it for? I realize I am just a name and that no one here can know if I am a novice or a seasoned pro. But to just be flip and assume that the person asking is going to just do what is said here is short sighted. If I have taken your post wrong then I apologize up front and will buy you your drink of choice if we cross paths. I honestly was just having a discussion. Rob Johnson On Thu, 03 Feb 2005 14:08:21 -0500 (EST), you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >On Thu, 3 Feb 2005 roguerpj [at] mn.rr.com wrote: > >> I ask because I am now trying to set up design work and looking to >> find information on how best to do this. > >In that case you would be very foolish to base any decision on what = "some=20 >guy on the internet" tells you. Find a local accountant and pay them a = few=20 >bucks to do your taxes. I learned this at an early age and it has served= =20 >me extremely well. Don't take advice from strangers when it comes to=20 >taxes, get a pro on your team who is willing to stand behind his=20 >decisions. > >| Boyd Ostroff >| Director of Design and Technology >| Opera Company of Philadelphia >| http://tech.operaphilly.com >| ostroff [at] operaphilly.com ------------------------------ From: roguerpj [at] mn.rr.com Subject: Palm Trees Date: Thu, 03 Feb 2005 14:13:13 -0600 Message-ID: I am designing a show that will require realistic palm trees that vary in height from 10 to 18 feet. Anyone done this kind of thing before? My first thought is bent sq tube w/ chicken wire attached and then wrap with burlap. Add felt leaves and poof a palm tree. Any thoughts? rob johnson ------------------------------ Date: Thu, 03 Feb 2005 15:12:51 -0500 From: Greg Williams Subject: Re: We Ride!! Gas Mileage In-reply-to: Message-id: On Thursday, February 3, 2005, at 01:30 PM, John Vink wrote: > Any chance you guys might relax the gas mileage restriction > as my VMAX only goes 100 miles between gas stops? Hi John, I thought about taking this one "off-list", but since it's _almost_ related to Stagecraft, in that we're the ones doing this, I'll just field it here. Probably some of the other LRLR'ers will want to chime in as well. We put the gas mileage restrictions in there for a couple of reasons. #1, if we say 150, and someone who only gets 125 signs up, it's not a big deal. #2 If you're coming from the West, it will matter a great deal how much mileage you get. Coming from the East, we're driving through "commerce alley" and gas stops will not be as critical. Coming from the West, each day's mileage is further, making fewer stops advantageous. Plus, we can attest from last year's return trip that there are occasionally at _least_ 110 miles between stops. And we have a nice picture of a desert picnic when one of us (coughMOEcough) ran out of gas to prove it! If I understand correctly, the V Max has a 4 gallon tank. Does it really only get 25 mpg? Feel free to ping me off-list for more details, or Bill, Loren, Moe, Wayne, etc. C'mon and join us. You'll love it. -=Greg Williams=- Production Manager Valborg Theatre Appalachian State University ------We're at it again!!!------ Check out the Long Reach Long Riders cross country fund raiser for BC/EFA at http://sapsis-rigging.com/LRLR.html ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39024FA0781 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: KC Date: Thu, 3 Feb 2005 14:45:09 -0600 > -----Original Message----- > From: Cyr, Dale [mailto:Dale.Cyr [at] getronics.com] > Sent: Thursday, February 03, 2005 12:30 PM > To: Stagecraft > Subject: KC > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > KC? > > anything interesting goin' on there next week? > (I havent been following the list very closely lately, been > outta town.) > > I'm gonna be there myself next week. > > dale cyr > Training Supervisor > IATSE Local 93 Yup! Lots of great BBQ!! And it's probably the best in the world! There, I said it! Buwahhahahahahaha! Pat Immel Northwest Missouri State University ------------------------------ Date: Thu, 03 Feb 2005 15:48:02 -0500 From: SB Subject: Re: Automated fixture comparison Message-id: <007901c50a31$a780d280$6701a8c0 [at] lighting> References: ----- Original Message ----- From: "Mark Harvey" > I am dismayed, however, at their overall size and weight. Does anyone > know of any other tungsten options that come in a smaller and/or lighter > package? No, actually I can't and I'm not doing any research as to what all is out there as I've grown accustomed to having to deal with 65lbs ML's. I'm also of the opinon that in the case of the Revolution, the large'ish head size works in it's favor as it's easy to get at things to fix them. >Quiet operation is still a critical issue, but I'm not really looking >forward to lugging 70 lb. fixtures around (again). Hmmm... I see from your sig that your at a college. Perhaps have the students do the lifting ?, it's "good" for them, it's part of the learning experience, etc... (grin). Seriously though, build or buy road cases and/or rolling carts for storage and movement. Steve Bailey Brooklyn College ------------------------------ Subject: RE: KC Date: Thu, 3 Feb 2005 12:53:09 -0800 Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF0316E2EE [at] excuswa100.americas.unity> From: "Cyr, Dale" that's quite a claim... anyplace in particular you'd care to name to 'step up to the plate' and back up your claim? dale cyr Training Supervisor IATSE Local 93 Yup! Lots of great BBQ!! And it's probably the best in the world! There, I said it! Buwahhahahahahaha! Pat Immel Northwest Missouri State University ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 3 Feb 2005 15:58:53 -0500 From: Michael Feinberg Subject: Re: listening assistance systems >It claims: > >I-Caption, which cost "Wicked" about $10,000, knows which dialogue to show >by picking up wireless prompts from the light board. > > >I'm sure they mean sound console or a transmitter from the audio department. >I doubt ETC is getting into the hearing impaired market. Maybe this is a new >Obsession feature?!? Actually, I think they were right. My understanding of I-Caption is that its server monitors the current light cue and text is advanced based to a preprogrammed point corresponding with that cue. I don't know if it's through DMX, MIDI, ethernet, or something else that it gets the cue information, but what to do with that would have to be programmed into the I-Caption by someone familiar with the show and should be console independent. Having it based on an audio feed would be _incredibly_ more complex and involve speech->text conversion, which is buggy in the controlled environment of careful speech into a boom mic by a single user that the computer has been taught to understand, I can't imagine how bad it would be on sung material from multiple performers picked up by a reinforcement system. >The I-Caption, a five-ounce Dell Axim Pocket PC, is about the size >of a pack of cigarettes. > The article is wrong in this however, as the Axim isn't really what the I-Caption is, but really just a user terminal for the system, and could be replaced with TVs, video projectors, individual LCD screens, or pretty much anything else capable of displaying data. Take a look at: http://www.soundassociates.com/IR%20Product%20Pages/Captioner%20CS01.htm -- -Michael Feinberg, CTS ------------------------------ From: "James Smith, www.theatrewireless.com" Subject: RE: piano tuning Date: Thu, 3 Feb 2005 15:59:46 -0500 In-Reply-To: Message-Id: <20050203205950.CKNA2034.tomts20-srv.bellnexxia.net [at] p3m866> > Unfortunately, I've never found a piece of freeware that > would allow me to plug frequencies (to the hundredths) in and > get sound out so I could hear my newly-created scale...so I > have no practical idea what it sounds like! All kinds of electronic keyboard instruments have offered microtuning and custom scale building. Almost 20 years ago, when I was a repair person for a major musical instrument retailer, this was of huge interest to our academic customers. Back then, there were few high-end instruments that didn't offer this functionality, and even a few of the lower-end keyboards had this stuff buried deep in their operating systems. If you're really interested in experimenting with alternative scales at low cost, I'm sure you can find a used instrument; you can go back pretty far and still get what you want. The biggest difference between old and new is notes of polyphony. You might only get 8, or 16 notes on older gear; newer stuff is much more polyphonic, and capable of a greater number of different timbres simultaneously. Jim ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39024FA078E [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: KC Date: Thu, 3 Feb 2005 15:00:40 -0600 Dale, Try this link: http://www.experiencekc.com/barbeque.html I have personally tried KC Masterpiece, Gates and Arthur Bryant's. All very good. I am not from KC, but there are probably another 50-60 smaller, mom pop bbq's that are probably just as outstanding. A plate of ribs and a beer at any one of these places will make you happy! If I wasn't busy I'd come down and have some with you! Have fun!! Pat > -----Original Message----- > From: Cyr, Dale [mailto:Dale.Cyr [at] getronics.com] > Sent: Thursday, February 03, 2005 2:53 PM > To: Stagecraft > Subject: Re: KC > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > that's quite a claim... > > anyplace in particular you'd care to name to 'step up to the > plate' and back up your claim? > > dale cyr > Training Supervisor > IATSE Local 93 > > > > Yup! Lots of great BBQ!! And it's probably the best in the world! > > There, I said it! > > Buwahhahahahahaha! > > > Pat Immel > Northwest Missouri State University > ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 3 Feb 2005 21:04:35 GMT Subject: Re: Freelance Status Message-Id: <20050203.130454.12571.11194 [at] webmail05.lax.untd.com> The key is the 'HOW" of performing the task more than the 'WHEN'. If they tell you HOW to build that flat or costume, or HOW to rig that drape or sound board, you are probably an employee. /s/ Richard Rob, From my understanding, and this is very simplistic, it basically boils down to who sets the schedule. Scott ------------------------------ Date: Thu, 03 Feb 2005 16:16:17 -0500 Subject: Re: Freelance Status From: Bill Sapsis Message-ID: In-Reply-To: on 2/3/05 4:04 PM, ladesigners [at] juno.com at ladesigners [at] juno.com wrote: > The key is the 'HOW" of performing the task more than the 'WHEN'. If they tell > you HOW to build that flat or costume, or HOW to rig that drape or sound > board, you are probably an employee. The concept that is used is the one of Control. Does the employer tell the individual what to do and when and how. Is the employer in control of the individual's actions. If yes, then it's an employer/employee relationship. If no, then it might be an client/independent contractor relationship. Our industry is certainly not the only industry that abuses the IC relationship, but this industry is very good at it. 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: <420296B5.1010701 [at] ix.netcom.com> Date: Thu, 03 Feb 2005 13:25:09 -0800 From: mo Subject: Re: Ronnie Reagan (was Rough Cut Lumber) Aaah, yes. Thank you. The Pasty Fart, er, um Tasty Tart.......??? Was a great show. We had some terrific actors on this one. Tom McGowan, Daniel von Bargen. Of course Tom kept breaking the beds jumping up ad down on them and we were never told until they were all broken, as stage management just kept switching beds. Had a retired RAF gentleman comment how much the set looked like the real thing. michael ------------------------------ Message-ID: <000d01c50a37$448b0e10$a8a44481 [at] rcarovil> From: "Rob Carovillano" References: Subject: Re: listening assistance systems Date: Thu, 3 Feb 2005 16:28:13 -0500 Most of Walt Disney World's shows that run off SMTPE have reflective captioning which conists of a LED panel at the rear of the theatre and a small piece of reflective glass that goes in front of the audience member. The live shows there have sign language interpretation upon request (though I think it is only available certain days of the week). Some of the newer attractions actually have wireless devices which the user can wear around their neck which provide captioning, it sounds similiar to what Wicked recieved but is based on location cues rather than from a lighting console. Worth the money if you ask me. Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ----- Original Message ----- From: Michael Feinberg To: Stagecraft Sent: Thursday, February 03, 2005 3:58 PM Subject: Re: listening assistance systems For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >It claims: > >I-Caption, which cost "Wicked" about $10,000, knows which dialogue to show >by picking up wireless prompts from the light board. > > >I'm sure they mean sound console or a transmitter from the audio >department. >I doubt ETC is getting into the hearing impaired market. Maybe this is a >new >Obsession feature?!? Actually, I think they were right. My understanding of I-Caption is that its server monitors the current light cue and text is advanced based to a preprogrammed point corresponding with that cue. I don't know if it's through DMX, MIDI, ethernet, or something else that it gets the cue information, but what to do with that would have to be programmed into the I-Caption by someone familiar with the show and should be console independent. Having it based on an audio feed would be _incredibly_ more complex and involve speech->text conversion, which is buggy in the controlled environment of careful speech into a boom mic by a single user that the computer has been taught to understand, I can't imagine how bad it would be on sung material from multiple performers picked up by a reinforcement system. >The I-Caption, a five-ounce Dell Axim Pocket PC, is about the size of a >pack of cigarettes. > The article is wrong in this however, as the Axim isn't really what the I-Caption is, but really just a user terminal for the system, and could be replaced with TVs, video projectors, individual LCD screens, or pretty much anything else capable of displaying data. Take a look at: http://www.soundassociates.com/IR%20Product%20Pages/Captioner%20CS01.htm -- -Michael Feinberg, CTS ------------------------------ From: "John Vink" Subject: RE: We Ride!! Gas Mileage Date: Thu, 3 Feb 2005 14:41:59 -0700 Message-ID: <002a01c50a39$30e2f100$6801a8c0 [at] canadiansales> In-Reply-To: I am in Calgary, Alberta, Canada, so I would be coming from the west. I am considering the ride. Your numbers are almost correct. The most I have ever been able to cram into my gas tank is 12 liters (3.17 Gal) and my reserve light comes on a maximum of 170 kilometers (105 Miles) cruising at 70-85 MPH. Works out to about 33 MPG, which seems typical for this bike. I have never ran it right dry, so I don't know what the exact limit is. I could carry a small Gerry can. I am also considering buying an aftermarket larger gas tank. John > > We put the gas mileage restrictions in there for a > couple of reasons. > #1, if we say 150, and someone who only gets 125 signs > up, it's not a > big deal. #2 If you're coming from the West, it will > matter a great > deal how much mileage you get. > > Coming from the East, we're driving through > "commerce alley" and gas > stops will not be as critical. Coming from the West, > each day's mileage > is further, making fewer stops advantageous. Plus, we > can attest from > last year's return trip that there are occasionally at > _least_ 110 > miles between stops. And we have a nice picture of a > desert picnic when > one of us (coughMOEcough) ran out of gas to prove it! > > If I understand correctly, the V Max has a 4 gallon > tank. Does it > really only get 25 mpg? > > > > -=Greg Williams=- > Production Manager > Valborg Theatre > Appalachian State University > ------We're at it again!!!------ > Check out the Long Reach Long Riders cross country > fund raiser for > BC/EFA at http://sapsis-rigging.com/LRLR.html > > ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 3 Feb 2005 21:51:53 GMT Subject: Re: Freelance Status Message-Id: <20050203.135213.12571.11613 [at] webmail05.lax.untd.com> And that is why Real Estate Salespersons in California can ONLY be Employees of a Licensed Broker, and NEVER be Independent Contractors. Courts can ignore the intent and written agreement of all the parties to a contract, if necessary, to preserve the claims of third persons, including government agencies, or to prevent fraud or evasion of law. It is also 'against public policy' (ie: illegal) to waive FUTURE negligence claims by contract, if anyone is prejudiced thereby. /s/ Richard Our industry is certainly not the only industry that abuses the IC relationship, but this industry is very good at it. Bill S. ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 3 Feb 2005 22:14:04 GMT Subject: Re: listening assistance systems Message-Id: <20050203.141500.12571.11839 [at] webmail05.lax.untd.com> The Getty Center has just announced that it now has 'walk around' devices appear similar to Palm Pilots on necklaces, that provide extensive audio, text, pictures and diagrams no matter where you go in the multi story, multi-museum 17 acre complex on 300 acres of Brentwood, CA. (not too far from the former OJ Simpson estate) With over Five Billion (yes, with a 'B') dollars in the Sarah C. Getty Trust, saving money was not their main objective, apparently. There is no rental charge for the devices nor admission charge to the museums. /s/ Richard Some of the newer attractions actually have wireless devices which the user can wear around their neck which provide captioning. Worth the money if you ask me. Rob Carovillano ------------------------------ Date: Thu, 3 Feb 2005 23:38:10 +0100 (CET) From: Maciej Ostaszewski Reply-To: macieko [at] tmxnet.pl Subject: Re: Palm Trees In-Reply-To: Message-ID: References: Organization: Fixed Gear Brothers On Thu, 3 Feb 2005 roguerpj [at] mn.rr.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am designing a show that will require realistic palm trees that vary > in height from 10 to 18 feet. > > Anyone done this kind of thing before? > > My first thought is bent sq tube w/ chicken wire attached and then > wrap with burlap. Add felt leaves and poof a palm tree. > > Any thoughts? I don't know if it helps: http://www.palma.art.pl/start_en.html As far as I know leaves (or fronds??) was made by USA-based company. I just found it was made by: Ron Pecoff from Pecoff Nursery Brothers and Jessica Woodrow from Soul-utions.Com regards, maciek ostaszewski -- Szybki jak [Romet] Wicher ------------------------------ Date: Thu, 03 Feb 2005 17:11:12 -0600 Subject: Print Numbering From: Greg Persinger Message-ID: In-Reply-To: OK I know someone posted their standards for print numbering for Audio, Video, and Lighting installs. My company is currently in the process of standardizing our print numbering and I would like to see the list again and compare notes. Does anyone have this or have their own list that they would be willing to share? I can not search the archives. Feel free to hit me on or off list. Thanks. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: "Ronnie Thevenot" Subject: RE: Periaktoi Date: Thu, 3 Feb 2005 16:35:30 -0700 Message-ID: <000401c50a49$0ffa27f0$6401a8c0 [at] ronnie> In-Reply-To: Arthur, I recently designed and constructed a set that used 6 - 3'x10' = equilateral periaktoids. We framed them out of 3/4 in. steel covered the top and = bottom with 3/4" ply and faced them with 1/8" luan. To rotate them we attached = 3 8" castors to the bottom of each, they were not stationary since they show = did travel, however they were quite stable. I would suggest using castors = and a pivot point, and possibly some weight in the bottom to prevent in from becoming top heavy.=20 The peraktoids and still in one piece after being moved four times in = two different trucks, except for the luan coming off of the screws but that = is to be expected with 1/8". This worked well and was relatively simple (as is required when working = with fellow high school students).=20 Ronnie Thevenot rkt [at] ronniethevenot.com =20 ------------------------------ From: "Jack Morones" Subject: RE: listening assistance systems Date: Thu, 3 Feb 2005 15:43:04 -0800 Organization: Saddleback College Message-ID: <001501c50a4a$1ade4880$6500a8c0 [at] SCJACKLT> In-Reply-To: Thanks for the info folks. I will pass this along to my other board. ----- Jack R. Morones Production Manager McKinney Theatre ------------------------------ Date: Thu, 03 Feb 2005 18:52:50 -0500 Subject: Re: We Ride!! Gas Mileage From: Bill Sapsis Message-ID: In-Reply-To: on 2/3/05 4:41 PM, John Vink at jvink [at] johnsonsystems.com wrote: > I am in Calgary, Alberta, Canada, so I would be coming from the > west. > > I am considering the ride. > > Your numbers are almost correct. The most I have ever been > able to cram into my gas tank is 12 liters (3.17 Gal) and my > reserve light comes on a maximum of 170 kilometers (105 Miles) > cruising at 70-85 MPH. Works out to about 33 MPG, which seems > typical for this bike. I have never ran it right dry, so I don't > know what the exact limit is. > > I could carry a small Gerry can. I am also considering buying an > aftermarket larger gas tank. Hi John. we'd love to have you join our merry group. There is a pretty good possibility that we will have a chase car, at least for the western group. They have some long desert stretches to run through. Pretty, but dangerous if you get stranded. Please feel free to contact anyone of us if you have any other questions. That goes for anyone else who's thinking they might want to join. Give a shout. We'll bend your ear for as long as you can stand it. Thanks Be well Bill www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <13c.c33a8a2.2f34175c [at] aol.com> Date: Thu, 3 Feb 2005 19:10:04 EST Subject: Re: piano tuning In a message dated 03/02/05 18:16:05 GMT Standard Time, FrankWood95 [at] aol.com writes: > > Frank, , , how old was this ? harmonium and piano together , , two > manuals > > ? and no metal frame? > > > > early 1800' s? > > Late 1900's, at a guess from the style. It was an upright, and only one > keyboard. Just several stop keys. Error. Read late 1800's or early 1900's, at choice. Very "gothic" letters on the stop keys, so let's say 1880 or so. The period when Victorian taste had started to decline. My grandfather, who was a cutler in Sheffield, spent his spare time in taking a penny, solemnly cutting out all the background on one side with a jeweller's fretsaw. The would then take it down to his works, and have it run through the silver-plating bath. I still have one or two specimens. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1dc.35e1f92d.2f3417be [at] aol.com> Date: Thu, 3 Feb 2005 19:11:42 EST Subject: Re: piano tuning In a message dated 03/02/05 18:17:53 GMT Standard Time, IAEG [at] aol.com writes: > late 1900's ? you mean like 1980 - 2000? or did you mean to say Late 19th > Century ? Yes, I did. See another post of mine, created five minutes ago. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a9.30cfa132.2f341907 [at] aol.com> Date: Thu, 3 Feb 2005 19:17:11 EST Subject: Re: Periaktoi In a message dated 03/02/05 18:31:20 GMT Standard Time, bill [at] sapsis-rigging.com writes: > Stability will be an issue if you don't secure the top. we found that a > metal frame incorporating flange bearings top and bottom worked best. The > units had a central shaft and, in the lower budget versions, were driven by > a bicycle chain that was hand cranked. The key was that the drive mechanism > was at the top. > > Zat help? It's a good way to do it. Except that I have always thought that they should be fully mobile, in location as well as in rotation. This usually involves having a crew member embedded inside, with very precise instructions. After all, the Greek prefix "peri" means all-round. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <30.6b6a6c1c.2f341d1c [at] aol.com> Date: Thu, 3 Feb 2005 19:34:36 EST Subject: Re: piano tuning In a message dated 03/02/05 18:37:26 GMT Standard Time, psyd [at] cox.net writes: > >OK, but will 'Concert A' be set at 440hz, as it is in the US, or 442hz? > > Don't poke that bear. There are as many standard tunings as there are ways > in which to describe 'bluish-green' to a blind person. Or speaker > connection standards. Sorry, Chris. but that isn't true. The A above middle C is 440Hz, period, and worldwide. There have been times when this wasn't so. In the early years of the 20th century, it sometimes varied wildly. Brass bands, which include clarinets and saxophones are particurlarly guilty. But, for orchestral players, 440Hz is standard. OK, the strings are flexible, and a clarinet or sax can probably pull the notes into tune, if they're good. But you can't do that with an oboe, or a flute, or a cor anglais. It makes a lot more work for the instrumentalists, and they may not like it. Hitting the right note, according to the fingering, and then having to pull it to agree with your neighbours is bad news. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 3 Feb 2005 20:07:44 EST Subject: Re: piano tuning In a message dated 2/3/05 7:35:56 PM, FrankWood95 [at] aol.com writes: >Sorry, Chris. but that isn't true. The A above middle C is 440Hz, period, >and >worldwide. Sorry Frank, , it's not, , , 440 hz is the "default" "concert pitch" but by choice and practice it varies greatly amongst the great orchestras of the world, , some European orchestras tune as high as 444 I have heard of one ( not in Europe, and not in my memory at the moment ) that tunes as low as 439 the differences are not noticable to the "average ear" but obviously the music directors of these orchestras feel that there is a difference, It's thought that the A above high C in late classical , early romantic time might was significantly lower and that over time relative pitch has risen. ------------------------------ Message-ID: <1107480969.4202d18913c3f [at] webmail.telus.net> Date: Thu, 3 Feb 2005 17:36:09 -0800 From: rodok [at] telus.net Subject: silk References: In-Reply-To: I'm looking for a source for large sheets of silk, 30 or 40 feet square. Light weight or medium wt. Any ideas? Rod Osiowy Wild Theatre Cranbrook, BC 250-426-5241 ------------------------------ From: IAEG [at] aol.com Message-ID: <1d6.35c25712.2f342d02 [at] aol.com> Date: Thu, 3 Feb 2005 20:42:26 EST Subject: Re: silk In a message dated 2/3/05 8:36:56 PM, rodok [at] telus.net writes: >I'm looking for a source for large sheets of silk, 30 or 40 feet square. >Light > >weight or medium wt. > >Any ideas? > >Rod Osiowy > >Wild Theatre > >Cranbrook, BC > >250-426-5241 real silk? hey Vancouver is a great import town,, I'd go down and rummage around Chinatown fabric shops, then I'd call Rosebrand, Dazian or Gerriets but not certain that they would have REAL silk , , which by the way likes to go 'POOF' when exposed to a flame, , , you don't say the dimensions, , just the square footage, , doubt you will find fabric off the shelve wider than 72 ", , unless from a real specialty place, , good luck best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-ID: <059501c50a5a$ec3c33f0$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: piano tuning Date: Thu, 3 Feb 2005 20:33:22 -0500 Question still stands. Who has first hand knowledge of the rider for some of the bigger names? In regards to piano tuning? Interested to see how they spec it out. Alf ------------------------------ From: IAEG [at] aol.com Message-ID: Date: Thu, 3 Feb 2005 20:47:18 EST Subject: Re: piano tuning In a message dated 2/3/05 8:43:43 PM, alf [at] sauve.org writes: >Question still stands. Who has first hand knowledge of the rider for some > > >of the bigger names? In regards to piano tuning? i would say in terms of pop stars,, I would doubt that any of them ask for anything other than A440, , Classical artists, , soloists in recital might ask for a special tuning other than 440, , but only bigger names would actually get what they asked for,, smaller names would probably get laughed at by presenters. Classical artists doing concerti with a symphony MIGHT get a special tuning, , but they would have to be huge stars to get a pitch other than the one that the orchestra traditionally used, , it would come down to "clout" keith ------------------------------ End of Stagecraft Digest #282 *****************************