Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 21978804; Sat, 23 Apr 2005 03:02:06 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #372 Date: Sat, 23 Apr 2005 03:01:44 -0700 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=-5.6 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 #372 1. Re: Theatre Renovation by Delbert Hall 2. Re: House of Blue Leaves Pope's Speech...ANybody, anybody? by Steve Larson 3. Re: Theatre Renovation by Steve Larson 4. Re: House of Blue Leaves Pope's Speech...ANybody, anybody? by IAEG [at] aol.com 5. Re: Sharing a fire clean-up story by "Bill Conner" 6. backstage lighting cables by stage craft 7. Re: Christmas lights by "Karl G. Ruling" 8. Access (was: Re: OT - Toll free numbers) by "Bryan H. Ackler" 9. Re: Christmas lights by "jsmith at theatrewireless.com" 10. Re: backstage lighting cables by "Scheu Consulting Services" 11. Re: backstage lighting cables by "Randy B." 12. Re: backstage lighting cables by "Daniel Daugherty" 13. Re: Theatre Renovation by "Merel Ray-Pfeifer" 14. Re: backstage lighting cables by "Curt Mortimore" 15. Re: Sharing a fire clean-up story by Mike Brubaker 16. Re: Theatre Renovation by Bruce Purdy 17. Money for tools by Dave Reynolds 18. Re: Sharing a fire clean-up story by "Scheu Consulting Services" 19. Re: Sharing a fire clean-up story by Dale Farmer 20. by mptecdir [at] aol.com 21. Re: Funniest performance you have seen at the theatre by mptecdir [at] aol.com 22. a useful DRO for power tools by "jsmith at theatrewireless.com" 23. Re: your mail by Charlie Richmond 24. Re: OT: small engine repair/troubleshooting by FrankWood95 [at] aol.com 25. Re: OT: small engine repair/troubleshooting by FrankWood95 [at] aol.com 26. Re: OT: small engine repair/troubleshooting by Charlie Richmond 27. Re: Sharing a fire clean-up story by FrankWood95 [at] aol.com 28. Re: Theatre Renovation by Bob Frame 29. Re: backstage lighting cables by FrankWood95 [at] aol.com 30. Re: OT - Toll free numbers by CB 31. Re: OT - Toll free numbers by CB 32. Re: Color blind operators by CB 33. Re: backstage lighting cables by "Tom Heemskerk" 34. Re: Noise in the theatre by CB 35. Re: Color blind operators by CB 36. Re: OT - Toll free numbers by CB 37. Re: backstage lighting cables by Gregg Carville 38. Re: backstage lighting cables by stage craft 39. Re: backstage lighting cables by Wood Chip-P26398 40. Re: Color blind operators by FrankWood95 [at] aol.com 41. Re: House of Blue Leaves Pope's Speech...ANybody, anybody? by Paul Puppo 42. Re: House of Blue Leaves Pope's Speech...ANybody, anybody? by Steve Larson 43. Re: OT: small engine repair/troubleshooting by Jim Bates 44. Re: House of Blue Leaves Pope's Speech...ANybody, anybody? by Chris Wych 45. Re: backstage lighting cables by Bruce Purdy *** 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: Date: Fri, 22 Apr 2005 06:38:44 -0400 From: Delbert Hall Reply-To: Delbert Hall Cc: peter [at] scheuconsulting.com Subject: Re: Theatre Renovation In-Reply-To: References: > I remember someone once saying something to the effect that "free advice = is > worth everything you pay for it" - must have been a college administrator= . A similar quote from Albert Einstein is, "Sometimes one pays the most for things one gets for nothing." -Delbert --=20 Delbert Hall Phone: 423-772-4255 ------------------------------ Date: Fri, 22 Apr 2005 08:51:49 -0400 Subject: Re: House of Blue Leaves Pope's Speech...ANybody, anybody? From: Steve Larson Message-ID: In-Reply-To: I found the LP. Which speech is it? Yankee Stadium. I don't have the script anymore. Steve > From: Martha Kight > Reply-To: "Stagecraft" > Date: Wed, 20 Apr 2005 21:30:03 -0700 > To: "Stagecraft" > Subject: House of Blue Leaves Pope's Speech...ANybody, anybody? > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> From a friend who's directing House of Blue Leaves: > >> Help! > Will you consult your cyber friends on a theatre problem I'm having? In > House of Blue Leaves, the speech that pope paul xi gave in yankee stadium > in 1965 is played live on stage. I can't find this recorded speech > anywhere. What have other people who've produced this show done? >> Help! I open on Friday! > > Thanks to any and all... you can post off list or on - > Martha Kight > Synergy Stage > Sacramento, CA > *** > Que serat, Seurat! > > > > ------------------------------ Date: Fri, 22 Apr 2005 08:56:02 -0400 Subject: Re: Theatre Renovation From: Steve Larson Message-ID: In-Reply-To: You can also ask the architects why they want to delete the "best" seats in the house. Steve > From: Stuart Wheaton > Reply-To: "Stagecraft" > Date: Thu, 21 Apr 2005 23:59:30 -0400 > To: "Stagecraft" > Subject: Re: Theatre Renovation > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Bob Frame wrote: > >> >> 1- currently my seating floor plan has two aisles so there are >> three seating sections, L & R that are about 6 seats wide, center >> section about 12 seats wide. The Architects want to change the >> floor plan to three aisles: a center and 2 outside so now there >> are two seating areas. I plan to argue the "psychological division >> of the audience" and "w/o a center section the actors/speaker must >> divide focus left and right". The architects claim that the new >> seating configuration will "provide more advantageous viewing >> positions, especially for the disabled". > > > How about the arguement that 3 or more seats per row x > number of rows x ticket price per event x ticketed events = > serious money lost in the renovated theatre. > > Unless they come up with a life safety reason, they are just > changing for the sake of change. > > If you need to add ADA seats, try to put in a level section > of removeable seats somewhere near where the perfect tech > table would be... > > Stuart > > > Stuart > > > ------------------------------ From: IAEG [at] aol.com Message-ID: <1fd.146a23.2f9a4f9e [at] aol.com> Date: Fri, 22 Apr 2005 09:01:18 EDT Subject: Re: House of Blue Leaves Pope's Speech...ANybody, anybody? In a message dated 4/22/05 8:54:48 AM, tiptd [at] theatreinthepark.com writes: << I found the LP. Which speech is it? Yankee Stadium. I don't have the script anymore. Steve >> today ( day day day ) I am the luckiest Pope ( pope , pope, pope ) on the face of the earth ( earth, earth earth ) sorry, ,, i was over come, , , keith ------------------------------ Message-ID: <006201c5473f$412ee030$6b01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Sharing a fire clean-up story Date: Fri, 22 Apr 2005 08:28:59 -0500 Responding to Frank's : "Annually! It is usually a requirement of the theatre license in the UK that the fire curtain is lowered during every performance, in the presence of the audience." NFPA 101 - 2003 The Life Safety Code states "(G) Curtain Position. All proscenium curtains shall be in the closed position, except during performances, rehearsals, or similar activities." though it is often not followed or enforced. Like the British practice, it does exercise the system on a regular basis and assure that the fall line is not obstructed at the moment and in addition acts as a barrier or guard at the front of the stage. More detailed tests and inspections - presumably by a "certified fire safety curtain inspector" :!> - are another subject for debate. If you want high reliability I suspect something closer to once a month is needed in this country (might be a user conducted "test" as opposed to outside agency - which is maybe needed once a year....) You can all comment on this when the second draft of E1.22 is out for public comment. Watch the ESTA website for this. The issue of "what's it suppose to do" is always a good discussion. Buy more time is as good as any but is that necessary in fully sprinklered buildings (which few outside of North America are)? I didn't realize the proscenium wall was only 1/2 hour in UK. Makes sense. Here it's 2 hours but fire safety curtain is 20 minutes (was only 5 minutes until mid 1980's). Makes little sense that a wall has to be 2 hr and opening of unlimited size is only 20 minutes. Less sense that in a fully sprinklered building the exits access corridors - which can be adjacent to the stage - do not have to be separated by fire resistive construction from the stage - at all. Not unusual for audience way out to do an end run around the rated wall. All goes back to theatre design in late 1800's and early 1900's where the stage and audience were each separate buildings with a big hole between. Hardly like the modern performing arts center or school where both are surrounded with support spaces and other spaces. Enough. Bill Conner ASTC ------------------------------ Message-ID: <20050422133456.74187.qmail [at] web61307.mail.yahoo.com> Date: Fri, 22 Apr 2005 06:34:56 -0700 (PDT) From: stage craft Subject: backstage lighting cables Hi all- This morning I got an email from our campus fire marshall regarding his pre-event walk-through of our space. There was only one thing related to the stage: 3. Power cords for stage lighting and backstage lighting may not be taped to the floor. Cable protector ramps may be used. The cables in question are run to our ground row cyc lights across the wing leading to the US crossover. In my years of theatre I've never had this problem arise from a fire marshall inspection. My question is this: does anyone have code citations (NEC, Fire, etc.) that substantiate this request or specifically allow it for temporary installs?? The shows are mounted for about a week at a time (including tech)... Thanks in advance. -alex- Alex M. Postpischil, Technical Director Department of Theatre Arts University of Mississippi University, MS 38677 662.915.6993 662.915.5968 - fax __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ From: "Karl G. Ruling" Date: Fri, 22 Apr 2005 09:42:40 -0400 Subject: Re: Christmas lights Reply-to: kruling [at] esta.org Message-ID: <4268C710.15547.2B8079 [at] localhost> In-reply-to: > Most Christmas lights are a long string of low-voltage lamps or leds. > To run them on lower voltages, cut the strings into shorter lengths. > > To ensure you use the correct number of lamps, first plug in the light > string normally. Carefully cut through the insulation of the wires > going to a single lamp and measure the voltage there. This is your > target voltage per lamp -- probably somewhere in the 2 to 4 volt > range. You don't have to cut insulation and do any measuring. The sum of the voltage drops across all the lamps will be equal to the line voltage. So, divide the line voltage by the number of lamps in the series string to find the voltage drop across each lamp. That is, if you have 30 lamps in a series string designed for 120 volts, the voltage drop across each one will be 4 volts. Cutting the insulation and measuring the drop is a little risky. If you do this on the lamp that is at the end of the string connected to the line (not to the neutral), the voltage between the points you are trying to measure and ground will be the line voltage, and the notion of "it's safe because it's low-voltage" will be untrue. Doing a little math is safer and less work. ------------------------------ Message-ID: <4269005E.4000508 [at] ix.netcom.com> Date: Fri, 22 Apr 2005 06:47:10 -0700 From: "Bryan H. Ackler" Organization: Va. Tech - Vassar - USITT - NTHP Subject: Access (was: Re: OT - Toll free numbers) References: In-Reply-To: From: "ladesigners [at] juno.com" Date: Fri, 22 Apr 2005 04:11:20 GMT Subject: Re: OT - Toll free numbers Message-Id: <20050421.211138.29075.451182 [at] webmail03.lax.untd.com> As a 50ish 'suit', I also have enjoyed virtually unlimited access to all the Studios. I may be jaded, but Studios are just factories, IMHO. /s/ Richard I've also been able to walk into and around two movie studios (Paramount and Sony) without anyone asking why I was there. I did have a valid reason to be at each, but the guards wouldn't have known that. Guess I must look trustworthy? Jerry Durand ======================================= Ah, the bad side of perimeter security. Actually, the major reason is that the studios "used to be" family and only the cousin that misbehaved required attention. In this day and age, had it explained to me that nobody wanted to be the person that thru out the Studio CEO's visiting relatives..... same idea. And since nobody issues "executive director" passes......... :-) As long as you behaved, where aware of what was going on around you (e.g. out of camera shot), didn't butt in the Craft Services line, and were the "fly on the wall" they left you alone. TBS used to have (1980's) VIP Tours, but you could only get one if you had a referral from an active "on lot" production or production company. Bryan H. Ackler Portland, Oregon ------------------------------ Reply-To: From: "jsmith at theatrewireless.com" Cc: kruling [at] esta.org Subject: RE: Christmas lights Date: Fri, 22 Apr 2005 10:08:12 -0400 Organization: Home of the RC4 Wireless Dimmer System In-Reply-To: Message-Id: <20050422140815.RDSB27737.tomts40-srv.bellnexxia.net [at] p3m866> I agree 100% with Karl. But I have seen some light strings where all the lights were not in a single series section -- there were segments of lights. There are often extra conductors that carry ac through to an outlet at the end of the string.. Everything is twisted together and difficult to follow or even unravel. Measuring the voltage at one lamp is the most direct method to bypass various unknowns in the design of the string being disassembled. Once you know how many lamps you need in one loop, you can start cutting out sections with little regard for the rest of the spaghetti. Karl's warning about line voltage relative to earth is absolutely true and should be heeded if going with the voltage measurement method. Jim www.theatrewireless.com > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Karl G. Ruling > Sent: April 22, 2005 9:43 AM > To: Stagecraft > Subject: Re: Christmas lights > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > Most Christmas lights are a long string of low-voltage > lamps or leds. > > To run them on lower voltages, cut the strings into shorter > lengths. > > > > To ensure you use the correct number of lamps, first plug > in the light > > string normally. Carefully cut through the insulation of the wires > > going to a single lamp and measure the voltage there. This is your > > target voltage per lamp -- probably somewhere in the 2 to 4 volt > > range. > > You don't have to cut insulation and do any measuring. The > sum of the voltage drops across all the lamps will be equal > to the line voltage. > So, divide the line voltage by the number of lamps in the > series string to find the voltage drop across each lamp. That > is, if you have 30 lamps in a series string designed for 120 > volts, the voltage drop across each one will be 4 volts. > > Cutting the insulation and measuring the drop is a little > risky. If you do this on the lamp that is at the end of the > string connected to the line (not to the neutral), the > voltage between the points you are trying to measure and > ground will be the line voltage, and the notion of "it's safe > because it's low-voltage" will be untrue. Doing a little math > is safer and less work. > > > ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: RE: backstage lighting cables Date: Fri, 22 Apr 2005 10:08:44 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: <000201c54744$cb702600$c9fea8c0 [at] ROXY> In-reply-to: Alex M. Postpischil wrote: >This morning I got an email from our campus fire >marshall regarding his pre-event walk-through of our >space. There was only one thing related to the stage: >3. Power cords for stage lighting and backstage >lighting may not be taped to the floor. Cable >protector ramps may be used. >My question is this: does anyone have code citations >(NEC, Fire, etc.) that substantiate this request or=20 >specifically allow it for temporary installs??=20 Moot point. The local AHJ (your fire marshall) is God. They have the = power to overrule any code. Like the song in "Damn Yankees"... Whatever Lola Wants.... You'd be better off taking him out to lunch, buying him a beer and = making nice-nice rather than being confrontational and throwing model codes in = his face. It will only piss him off. Then he'll break out his library of = local and national codes and point out where your space doesn't rate and shut = you down. Not the kind of relationship to have with someone with that much power. Talk WITH him, not AT him. Ask him to explain his concerns (over that = beer). Then explain to him how it's very expensive to go out any buy or rent = ramps. Offer other alternatives. But DON'T tell him he's "wrong" or that HE = needs to justify his request. That's just asking for more trouble. Anyone have any alternatives to taping for Alex? Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ Message-ID: <005101c54748$54936390$b4504898 [at] GLOBAL.SCJ.LOC> From: "Randy B." Cc: peter [at] scheuconsulting.com References: Subject: Re: backstage lighting cables Date: Fri, 22 Apr 2005 09:34:02 -0500 I have made cable ramps out of Plywood, and 1x2 or 2x4 depending how thick the cables are. Pretty quick and simple. ----- Original Message ----- From: "Scheu Consulting Services" To: "Stagecraft" Sent: Friday, April 22, 2005 9:08 AM Subject: Re: backstage lighting cables > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Alex M. Postpischil wrote: > > >This morning I got an email from our campus fire > >marshall regarding his pre-event walk-through of our > >space. There was only one thing related to the stage: > >3. Power cords for stage lighting and backstage > >lighting may not be taped to the floor. Cable > >protector ramps may be used. > > > > >My question is this: does anyone have code citations > >(NEC, Fire, etc.) that substantiate this request or > >specifically allow it for temporary installs?? > > Moot point. The local AHJ (your fire marshall) is God. They have the power > to overrule any code. Like the song in "Damn Yankees"... Whatever Lola > Wants.... > > You'd be better off taking him out to lunch, buying him a beer and making > nice-nice rather than being confrontational and throwing model codes in his > face. It will only piss him off. Then he'll break out his library of local > and national codes and point out where your space doesn't rate and shut you > down. Not the kind of relationship to have with someone with that much > power. > > Talk WITH him, not AT him. Ask him to explain his concerns (over that beer). > Then explain to him how it's very expensive to go out any buy or rent ramps. > Offer other alternatives. But DON'T tell him he's "wrong" or that HE needs > to justify his request. That's just asking for more trouble. > > Anyone have any alternatives to taping for Alex? > > Peter Scheu > > Scheu Consulting Services, Inc. > www.scheuconsulting.com > Tel: 315.422.9984 > fax: 413.513.4966 > > ------------------------------ Message-id: Date: Fri, 22 Apr 2005 10:39:18 -0400 Subject: Re: backstage lighting cables From: "Daniel Daugherty" References: In-Reply-To: > >Alex M. Postpischil wrote: > >>This morning I got an email from our campus fire >>marshall regarding his pre-event walk-through of our >>space. There was only one thing related to the stage: >>3. Power cords for stage lighting and backstage >>lighting may not be taped to the floor. Cable >>protector ramps may be used. > > > >>My question is this: does anyone have code citations >>(NEC, Fire, etc.) that substantiate this request or >>specifically allow it for temporary installs?? > My suggestion is to find a way to work with the fire marshall and see if you two can find a compromise. Explain the expense of commercial ramps and find out what his specific reason for them might be. This is usually best done over a meal and a couple of beers. Having gone through something similar a couple of years ago I found out that our fire marshall had a problem with the exit paths specifically and not the general idea of taping cable down. The solution was some really bright blaze orange carpet, that we had in stock, on a homemade ramp. Anyplace that an exit path is needed we now use these. It kept our cost down and satisfied the fire marshall. Remember the fire marshall can be your friend or your worst nightmare. If you are to confrontational they can find a code violation and shut you down. Just a suggestion. Dan Daugherty Technical Director School of Performing Arts University of Maine Orono, ME 04469 207-581-1767 daniel_daugherty [at] umit.maine.edu ------------------------------ Message-Id: Date: Fri, 22 Apr 2005 09:40:40 -0500 From: "Merel Ray-Pfeifer" Subject: Re: Theatre Renovation Whatever you do, take the attitude that it's YOUR building, not the architect, who works for YOU. Stick to your guns to get what you know is right. You have to work there, after all the others have moved on, you get to live with the compromises. I'm certain that the architects on our project hopes to never have to sit at another meeting where I'm present, I made life somewhat miserable for them as I insisted on things being done the way I knew it needed to be. Steve Bailey Brooklyn College AMEN to that. Do not let them sick you with the "we can retrofit it at a later date" that date will come when pigs fly. Get it in writting and never sign off on anything you cant live with. Once it is gone it is GONE and you will never get what you really needed/wanted. Merel Ray-Pfeifer Production Manager Dept. of Theatre & Dance Millikin Univ. Decatur, IL 62522 217-424-3708 ------------------------------ Subject: RE: backstage lighting cables Date: Fri, 22 Apr 2005 09:50:00 -0500 Message-ID: From: "Curt Mortimore" Cc: peter [at] scheuconsulting.com I have to agree wholeheartedly with Peter. >Talk WITH him, not AT him. > >Anyone have any alternatives to taping for Alex? We all have some idea of how expensive and a pain cable ramps can be, but in my experience, if the cable ABSOLUTELY has to be on the floor across the path they are the best solution. If commercial ramps are cost prohibitive it should be fairly easy to construct your own custom versions. And now for more questions; Are there any codes concerning cable ramp construction?=20 What does your AHJ have to say about what you can or cannot use?=20 Can carpet be used as an acceptable "Cable ramp"? Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 ------------------------------ Message-Id: <6.2.0.14.0.20050422095124.01d7ee68 [at] mail.insightbb.com> Date: Fri, 22 Apr 2005 09:58:46 -0500 From: Mike Brubaker Subject: Re: Sharing a fire clean-up story In-Reply-To: References: I doubt that it is only a 1/2 hour rated wall. Frank is likely looking at the full proscenium wall assembly, including the fire curtain, which is the weakest element in the system. The two hour rating on a proscenium wall, as explained by a codes official who really should know, is not established with the goal of maintaining separation between the stage and the audience for a two-hour time period. The folks who write and edit these codes can see the obvious as well as the rest of us--why put a two-hour wall with, as Bill says, a hole of unlimited size that only has to stay covered for 20 minutes? The goal of the code is that the two hour wall will remain standing and structurally sound--holding up the building--for two hours, giving the fire fighters time and safety to bring the fire under control. Mike At 08:28 AM 4/22/2005, Bill Conner wrote: >fully sprinklered buildings (which few outside of North America are)? I >didn't realize the proscenium wall was only 1/2 hour in UK. Makes sense. >Here it's 2 hours but fire safety curtain is 20 minutes (was only 5 >minutes until mid 1980's). Makes little sense that a wall has to be 2 hr >and opening of unlimited size is only 20 minutes. Less sense that in a >fully sprinklered building ------------------------------ Date: Fri, 22 Apr 2005 11:02:48 -0400 Subject: Re: Theatre Renovation From: Bruce Purdy Message-ID: In-Reply-To: Centre Isle???? What are they thinking???? As for dividing the space to make for a smaller - more intimate auditorium, we have actually started to do that for some concerts and shows that expect small audiences. It keeps them concentrated in the front of the orchestra rather than having 150 people scattered around the 1400 seats. I do like the end result, but I don't much care for the look of the convention curtain (Pipe & drape) running across the middle of this beautiful house, and down the isles from the back. Butt ugly! (not to mention the PIA setting it all up and tearing it down afterwards!) So what type of divider are they talking about - accordion doors? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Fri, 22 Apr 2005 10:13:48 -0500 From: Dave Reynolds Cc: reynolds [at] macalester.edu Subject: Money for tools Message-ID: <2147483647.1114164828 [at] [141.140.13.64]> Hi folks, I have a $100 certificate to Home Depot to spend (on hand tools). I have a long list of tools I want to buy. My questions are these-- Are the hand tools at Home Depot ok to use for a guy who builds sets part-time? Second, what tool manufacturer(s) should I avoid? Any suggestions would be greatly appreciated. Dave Reynolds SONBURST Productions/Homeward Bound Theatre Company A man finds joy in giving an apt reply - and how good is a timely word! --Proverbs 15:23, New International Version A man finds joy in giving an apt reply - and how good is a timely word! --Proverbs 15:23, New International Version Dave Reynolds Media Services Macalester College 1600 Grand Ave. St. Paul, MN 55105 voice: (651) 696-6378 fax: (651) 696-6304 reynolds [at] macalester.edu DV Cassie with lots of fonts and effects, KRON and Final Cut Pro. ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: RE: Sharing a fire clean-up story Date: Fri, 22 Apr 2005 11:20:02 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: <000901c5474e$c1f7a260$c9fea8c0 [at] ROXY> In-reply-to: Mike Brubaker wrote: >The goal >of the code is that the two hour wall will remain standing and >structurally >sound--holding up the building--for two hours, giving the fire >fighters >time and safety to bring the fire under control. Never really thought of it that way, Mike, but that's a good perspective. Most of the time, the proscenium wall is integral to the basic structure of the building. It holds up the grid, the roof, galleries, etc. Protecting that structure with a 2 hour rated wall or by fireproofing the steel inside makes real sense. I always was in Bill's camp wondering why a 5,000 sq ft wall with an 800 sq ft "hole" in it had to have a 2 hour rating. Your explanation makes sense. I'm ashamed I didn't think of that before. Thanks for another perspective. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ Message-ID: <42692C69.9B81A41F [at] cybercom.net> Date: Fri, 22 Apr 2005 12:55:05 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Sharing a fire clean-up story References: Scheu Consulting Services wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Mike Brubaker wrote: > > >The goal > >of the code is that the two hour wall will remain standing and > >structurally > >sound--holding up the building--for two hours, giving the fire > >fighters > >time and safety to bring the fire under control. > > Never really thought of it that way, Mike, but that's a good perspective. > Most of the time, the proscenium wall is integral to the basic structure of > the building. It holds up the grid, the roof, galleries, etc. Protecting > that structure with a 2 hour rated wall or by fireproofing the steel inside > makes real sense. > > I always was in Bill's camp wondering why a 5,000 sq ft wall with an 800 sq > ft "hole" in it had to have a 2 hour rating. Your explanation makes sense. > I'm ashamed I didn't think of that before. Thanks for another perspective. It's also some standardization. The usual fire wall in US construction is a two hour wall. The theory is that any expectable fire can be extinguished in two hours by the local fire department, or would burn out from lack of fuel. So even if the fire department doesn't respond for some reason, the building doesn't burn to the ground entirely. Unusual hazards, such as chemical plants, airplane hangers full of fueled aircraft, and so on, would have correspondingly more stringent fire protection features. --Dale ------------------------------ Date: Fri, 22 Apr 2005 13:06:15 -0400 From: mptecdir [at] aol.com Message-Id: <8C71574BA22EB24-EB0-121C0 [at] mblk-r17.sysops.aol.com> Subject: I've actually posted this a few years ago, so if you've already read this, ignore it. The Play was "Dark Of The Moon," the year was 1968. For those of you who don't know, "Dark of the Moon" is about a witch boy who wants to be made human so he can woo a human girl. The technology of the time for sound was reel to reel tape, leader tape for cueing and huge ear-muff headphones for monitoring. The young person assigned to run sound for the show was a very intelligent person but severely lacking in technical dexterity and comprehension. The normal method of cueing sound FX then was to insert leader tape between cues and the operator would align the splice to the post or other mark on the deck and then hit the "go" button on the stage manager's cue. For reasons still unexplained, the crew person chosen for running the show could not comprehend this technique. The sound designer (a title not known at that time) showing great patience, finally solved the problem by recording the cue number and name just before each cue. The operator would then switch from house speakers to monitor after each cue. Then she would listen to the tape as it said "cue XYZ dog barks" and hit stop. Then she would hit "play" on the SM's cue. The sound designer had a natural voice in the basso profundo range. Making the cue tape for the operator he whispered the cues. As most of you have already guessed, one night, the operator forgot to switch to monitor before previewing the next cue. And she waited until the cue moment to check the tape position. What the audience (and cast/crew) heard at the magic moment was, in an incredible bass voice, "sound cue 7, THUUUNNNNDEEER!!!" Lights flashed, thunder followed and actors reacted, (mostly stifling laughs) and the audience exploded. For what it's worth, that sound operator has moved on to Lawrence Livermore Labs and has designed programs that control satellites and stuff far beyond my comprehension. She was smart, she was cute, but theatre was NOT her bag. Michael Michael Powers, Technical Director U Mass Amherst, Dept of Theatre 112 Fine Arts Center West 151 Presidents Drive Ofc 2 Amherst, MA 01003-9331 Phone: 413-545-6821 Fax: 413-577-0025 http://www.umass.edu/theater/ mfpowers [at] theater.umass.edu mptecdir [at] aol.com ------------------------------ Date: Fri, 22 Apr 2005 13:08:43 -0400 From: mptecdir [at] aol.com Message-Id: <8C71575124B7A0E-EB0-12225 [at] mblk-r17.sysops.aol.com> Cc: MPTecDir [at] aol.com Subject: Re: Funniest performance you have seen at the theatre I've actually posted this a few years ago, so if you've already read this, ignore it. The Play was "Dark Of The Moon," the year was 1968. For those of you who don't know, "Dark of the Moon" is about a witch boy who wants to be made human so he can woo a human girl. The technology of the time for sound was reel to reel tape, leader tape for cueing and huge ear-muff headphones for monitoring. The young person assigned to run sound for the show was a very intelligent person but severely lacking in technical dexterity and comprehension. The normal method of cueing sound FX then was to insert leader tape between cues and the operator would align the splice to the post or other mark on the deck and then hit the "go" button on the stage manager's cue. For reasons still unexplained, the crew person chosen for running the show could not comprehend this technique. The sound designer (a title not known at that time) showing great patience, finally solved the problem by recording the cue number and name just before each cue. The operator would then switch from house speakers to monitor after each cue. Then she would listen to the tape as it said "cue XYZ dog barks" and hit stop. Then she would hit "play" on the SM's cue. The sound designer had a natural voice in the basso profundo range. Making the cue tape for the operator he whispered the cues. As most of you have already guessed, one night, the operator forgot to switch to monitor before previewing the next cue. And she waited until the cue moment to check the tape position. What the audience (and cast/crew) heard at the magic moment was, in an incredible bass voice, "sound cue 7, THUUUNNNNDEEER!!!" Lights flashed, thunder followed and actors reacted, (mostly stifling laughs) and the audience exploded. For what it's worth, that sound operator has moved on to Lawrence Livermore Labs and has designed programs that control satellites and stuff far beyond my comprehension. She was smart, she was cute, but theatre was NOT her bag. Michael Michael Powers, Technical Director U Mass Amherst, Dept of Theatre 112 Fine Arts Center West 151 Presidents Drive Ofc 2 Amherst, MA 01003-9331 Phone: 413-545-6821 Fax: 413-577-0025 http://www.umass.edu/theater/ mfpowers [at] theater.umass.edu mptecdir [at] aol.com ------------------------------ Reply-To: From: "jsmith at theatrewireless.com" Subject: a useful DRO for power tools Date: Fri, 22 Apr 2005 13:18:14 -0400 Organization: Home of the RC4 Wireless Dimmer System Message-Id: <20050422171818.STML27737.tomts40-srv.bellnexxia.net [at] p3m866> For those of you using table saws and other power tools for set building, etc... A tool manufacturer has hired me to develop a DRO (digital readout) for use with power tools - adaptable to table saws, routers and drill presses (for depth measurement), picture framing equipment, etc. Many of you guys use this kind of stuff all the time. Do any of you use DROs now? If so, what features are "must have" and which ones are useless? The product we are currently defining includes the following: - fractional inch display with 1/64" resolution - decimal inch display with 0.001" resolution - millimeter display with 0.01mm resolution - can be zeroed at any point and counts positive or negative from that point - 3 user presettable positions and prompt arrows on the LCD to help you get back to any spot quickly and easily - a second user scale that can be zeroed at any point and is displayed simultaneously with the master scale The user scale makes it easy to measure distance from any point to any other point by moving the zero reference around. Meanwhile, the reference scale is not disturbed so you can always get back to "absolute zero". You could even use it to make your tool fence into a sort of giant caliper. Should we add "nudge" buttons to move the master scale up and down, or is a simple zeroing button good enough? Your suggestions are greatly appreciated. Please contribute to developing a device that might actually be useful to people! Jim Smith www.jamesdavidsmith.com www.theatrewireless.com ------------------------------ Date: Fri, 22 Apr 2005 18:21:17 +0100 (BST) From: Charlie Richmond Subject: Re: your mail In-Reply-To: Message-ID: References: On Fri, 22 Apr 2005 mptecdir [at] aol.com wrote: > For what it's worth, that sound operator has moved on to Lawrence Livermore > Labs and has designed programs that control satellites and stuff far beyond > my comprehension. She was smart, she was cute, but theatre was NOT her bag. This is quite typical. People who work extremely well independently and at their own pace, behind the scenes, are often not the best live real-time operators (or musicians, performers, etc.) and vice-versa. I know this from personal experience ;-) Charlie ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <65.43de34e7.2f9a8fa7 [at] aol.com> Date: Fri, 22 Apr 2005 13:34:31 EDT Subject: Re: OT: small engine repair/troubleshooting In a message dated 22/04/05 04:46:04 GMT Daylight Time, sdwheaton [at] fuse.net writes: > As usual, Frank is talking from just inside the seat of his > pants. > > AFAIK Briggs makes no engines that have an interference > possibility between valves and pistons, in fact almost all > Briggs engines are Valve in block types where the valves are > beside the cylinder. This also means there are no pushrods > or rockers to adjust, the tappet rides directly against the > end of the valve stem. > > On a Briggs engine the only way to move the camshaft would > be to open the engine case completely, since the camshaft is > not exposed. > > Replace the air filter, replace the spark plug, change the > oil, drain the old gas, flush the carb with carburettor > cleaner to remove the varnish left by last year's gasoline, > refill with fresh, new $2.50 a gallon gas, and let it roar! Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12d.5b0befb7.2f9a92d5 [at] aol.com> Date: Fri, 22 Apr 2005 13:48:05 EDT Subject: Re: OT: small engine repair/troubleshooting In a message dated 22/04/05 04:46:04 GMT Daylight Time, sdwheaton [at] fuse.net writes: > As usual, Frank is talking from just inside the seat of his > pants. > > AFAIK Briggs makes no engines that have an interference > possibility between valves and pistons, in fact almost all > Briggs engines are Valve in block types where the valves are > beside the cylinder. Quite possible: I don't know the engines. This also means there are no pushrods > or rockers to adjust, the tappet rides directly against the > end of the valve stem. I haven't had dealings with a side-valve engine in many years. Even they need a 2:1 reduction drive from the crankshaft, though. I still believe that the original post implied, not that the engine wouldn't start, but that it wouldn't turn over at all. This implies that something is physically stopping rotation. If I'm wrong, then the rest of your advice is good, apart from checking out the ignition system, and cleaning the contact breaker being omitted Sorry about the spurious post. I dropped my cigar! Frank Wood ------------------------------ Date: Fri, 22 Apr 2005 18:54:40 +0100 (BST) From: Charlie Richmond Subject: Re: OT: small engine repair/troubleshooting In-Reply-To: Message-ID: References: On Fri, 22 Apr 2005 FrankWood95 [at] aol.com wrote: > original post implied, not that the engine wouldn't start, but that it wouldn't > turn over at all. This implies that something is physically stopping This is a trans-Atlantic dialogue problem. The phrases "won't turn over" is an American colloquialism that really means generically that "it won't start" -- but is not used universally. The original post was definitely missing adequate detail to provide accurate assistance.... Charlie ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <67.4370ab86.2f9a95c6 [at] aol.com> Date: Fri, 22 Apr 2005 14:00:38 EDT Subject: Re: Sharing a fire clean-up story In a message dated 22/04/05 14:29:53 GMT Daylight Time, bill-conner [at] att.net writes: > Less sense that in a fully sprinklered building the > exits access corridors - which can be adjacent to the stage - do not have to > > be separated by fire resistive construction from the stage - at all. Not > unusual for audience way out to do an end run around the rated wall. There are, in the UK's larger theatres, separate exit stairs. These are at least a 13" brick wall away from the stage, and lead straight to the street, via wide doors with panic bolts. They are lit off the emergency system, which at Covent Garden not too many years ago, used to be gas! It still is in the Wigmore Hall, one of London's smaller concert halls. Frank Wood ------------------------------ Message-ID: <2FDDC3C2F5B5F4499C096779EF5493B99C358D [at] EXCHANGE_NT.cayuga-cc.edu> From: Bob Frame Subject: Re: Theatre Renovation Date: Fri, 22 Apr 2005 14:10:15 -0400 Ah, time in the prop room at Syr. Opera...... Part of the need for the new seating is that the existing floor plan is too tight and needs to be opened up- I wanted to go from existing 550 to about 450; Architects are (with 3 aisles) going to 318. And the existing seats were made for 1950's butts- butts are much wider now! So while the architects and I agree seats need to be changed- the idea of a center aisle just seems to be anathema to the social atmosphere that we are trying to provide in a theatre. Yes Boyd- my space is tiny compared to what you're used to (part of my argument against the curtain) and someone else paying for it, BUT I still have to make it work once the architects are gone and there is no provision made to reach the track when the curtain hangs up. Also storing it when all decide (in my opinion)that the it's ugly and doesn't satisfy it's intended use. I'm also looking at the Money being "wasted" (curtain, track, cove molding built up to hide it along the walls and through the center of the house) that could be better spent in other places (TD Jacuzzi maybe?) But that is why I'm appealing to the list for a "we have a mid-house curtain divider and it does/doesn't work" Steve- I plan on being a PITA In fact I was invited to the first "brainstorming" mtg with the architect, college Prez and the NASA folks. I listened and responded. Architects made a four page proposal-I wrote a 6 page rebuttal (didn't scream and yell, just facts of how ideas might not work) Prez told me how the architect's plan was a "groundwork" for them to get $$ nothing was in stone- to which I replied if it's in "published, submitted plan it might as well be in stone" I have not been involved with NASA/Architect/Prez meetings (at least 2) since then. I did have a good meeting with the architects (once they were hired for more than "preliminary" work) But I'm at such a disadvantage not knowing what other promises were made that all I can be is reactive to decisions that have already been made. I need to be able to cite (or not) this idea has been tried in other spaces and does/doesn't work Thanks for the replies so far- keep 'em coming! Bob ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Fri, 22 Apr 2005 14:10:26 EDT Subject: Re: backstage lighting cables In a message dated 22/04/05 15:09:34 GMT Daylight Time, peter [at] scheuconsulting.com writes: > Anyone have any alternatives to taping for Alex? Other than doing an installation whee it is not needed, no. This is best, but even so, some cables will need to run on the floor, particularly sound ones. I just wish that those who install them would remove the tape, and the sticky residues, before putting them back in the store! Frank Wood ------------------------------ Message-Id: <3.0.6.32.20050422111409.00aed170 [at] pop.west.cox.net> Date: Fri, 22 Apr 2005 11:14:09 From: CB Subject: Re: OT - Toll free numbers > I found it amusing that with long hair and civilian cloths I was >able to walk anywhere I wanted to without question. I even walked out to >the flight line. Shoot, Jerry, on the flight line with long-hair and civvies, everyone just thought you were a spook! You do, of course, know what a no-lone-zone on a flight line looks like? >I've also been able to walk into and around two movie studios (Paramount >and Sony) without anyone asking why I was there. I did have a valid reason >to be at each, but the guards wouldn't have known that. Guess I must look >trustworthy? I've noticed over the years, that the 'I'm *supposed* to be here' look is the best credentials you can get. It's almost as good as the 'I didn't see anything' sideways glance (tm). 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: <3.0.6.32.20050422112020.00aed170 [at] pop.west.cox.net> Date: Fri, 22 Apr 2005 11:20:20 From: CB Subject: Re: OT - Toll free numbers >At least they are relevant to the nominal topic of the list, even if much >disagreed with. And, if I have given one reader a new idea, which works for them, >I'm happy. THERE! SEE!?! You've just gone and done it again. Absolutely inaccurate information that does no one any good at all, posing as positive input. Lay out a coupla bars, Frank, polular opinion is gonna bury you with this one... 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: <3.0.6.32.20050422113524.00aed170 [at] pop.west.cox.net> Date: Fri, 22 Apr 2005 11:35:24 From: CB Subject: Re: Color blind operators >>Three LED's instead >> of one doesn't sound like much, but here's an example of 19 of 20 paying to >> make for 1 of 20. >It's little or no trouble to have indicators physically separete, to make the >gear operable by those with colour vision problems. It might improve the >general ergonomics. OK, Frank, tally me the cost of adding two LED's (one of them blue) to 400,000 pieces. Then lend me the moey to do it. Sounds simple enough, yeah, as long as it ain't your pocket. Its a bitch when its your gear, and you're trying to justify the loan required to manufacture it, or trying to get someone to box-house the gear for you and you're discussing how the profits will be split. Remember the savings that airline realized from removing a single olive from every salad. >True. But, within reason, one ought to do what one can for the disabled. I think that that is what I said. I was asking for reason to be included in the equation, and then you went and posted that you needn't reason, it doesn't sound so bad. That was a pretty unreasonable statement to make, Frank, and just the thing I was speaking of. Sure, it sounds reasonable, until its YOUR pocketbook. You needn't reply to this portion, unless, of course, that that check is already in the mail. Money where youre mouth is and all that. >We decided to use this windfall to improve facilities for >the disabled, and installed a deaf-aid system, and a lift to the foyer. we dropped off on >the lift. It serves the lower foyer, the bar and the disabled toilet, and the >main foyer. If we had installed another floor's worth, it would have served >the control room, as well. Lighting and sound operations are jobs that those >with mobility problems can handle. It would have allowed them to be actively >involved in our work. >It's better now. Before, you had to find four strong men to carry a >wheelchair up two flights of stairs. Now, imagine if one person insisted that the modifications be done, and four strong guys wan't going to do it. Imagine that the local authority decided that yes, you aren't grandfathered in, and the lift had to go in, and it was going to cost you $60,000, and you didn't have it? And you couldn't borrow it? And you'd have to shut your doors if you couldn't make it happen? Imagine you live in Austin, TX, and that you have the first dinner and a movie in one place, as you can order food and beer!) to be brought to your table as you sit in the movie house and watch a movie, and this happens to you, and the livlihood that you are just barely eking out on this project looks as if its going to go away. Now imagine that a generous patron who loves the place DOEN'T step in and foot the bill. One woman in a wheelchair that can't accept that because she is handicapped that somethings will be more uncomfortable for her than it will for some folk that aren't ina wheelchair, and who is so selfish that if she can't have it her way, she'd rather see it gone. This, Frank, is a lack of reason. And it just goes on in Phoenix. This is what I want to see go away. I don't want to find a way to make it easier for the colorblind guy to tie my tails in at the expense of every other person on the crew. I want someone that can tell the difference to tie my tails in. 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: <62290.66.183.177.34.1114195375.squirrel [at] 66.183.177.34> In-Reply-To: References: Date: Fri, 22 Apr 2005 11:42:55 -0700 (PDT) Subject: Re: backstage lighting cables From: "Tom Heemskerk" > 3. Power cords for stage lighting and backstage > lighting may not be taped to the floor. Cable > protector ramps may be used. > > The cables in question are run to our ground row cyc > lights across the wing leading to the US crossover. In > my years of theatre I've never had this problem arise > from a fire marshall inspection. > > My question is this: does anyone have code citations > (NEC, Fire, etc.) that substantiate this request or > specifically allow it for temporary installs?? The > shows are mounted for about a week at a time > (including tech)... Thanks in advance. > I'm cuious - did your fire marshal say why tape wasn't okay? If the concern is an semi-permanent tripping hazard in a dark space on the way to an exit, it's a good point.... and if the concern is electrical safety (e.g. free air/ambient temperature vs ampacity of conductors) it's a good point, too... okay, maybe not really, but it's the fire marshal. So, why not just get some Yellowjackets, and your fire marshal issue will be over.... and I'll bet you will like using them better than pulling up week-old, non-reusable tape from the same location show after show after show! Cheers th ------------------------------ Message-Id: <3.0.6.32.20050422114211.00aed170 [at] pop.west.cox.net> Date: Fri, 22 Apr 2005 11:42:11 From: CB Subject: RE: Noise in the theatre > >Posting this from FOH mix at the Dodge. OOOOOhhhh... I'm sorry... I mean, that's interesting... If you make it over to the Orpheum, tell Andrea and Joel and Karen I said 'Hey'. Better yet, go to Seamus' after the show and have a pint with 'em, they're prolly there! 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: <3.0.6.32.20050422123458.00aed170 [at] pop.west.cox.net> Date: Fri, 22 Apr 2005 12:34:58 From: CB Subject: RE: Color blind operators >When 10% (not 1 in 20) have a problem and usually a simple "Oh ya, I probably shouldn't use Red and Green LEDs but Red and Blue" will fix it, why not. Most designers today give NO thought to color vision, when an alternate solution is often easy or cheaper or better. How would the 90% suffer? Price blue LED's. Somewhere in the vicinity of $.50 more than another color. I'm not (didn't I go through this?) advocating that we don't try to make it as easy as possible for those with handicaps, I just said that the handicap is the responsibility of the handicapped, and they should take the first steps. 'They should not expect the world to be carpeted when it would be easier to put on slippers' is how I put it. Again, if I'm making 400,00 units and I can get LED's for $.05 a piece, and a tri-color for $.08, the tricolor saves me $28,000. Minimum. I've worked in PM&R, and I've had my own crosses to bear, and it seems to me we admire most those handicapped individuals that overcome all odds and ski again, or climb mountains blind, play the piano or whatnot. The problem that I have is the expecation of entitlement (Not just with some handicapped individuals, either) that the world owes tham this because they have a physical shortcoming. "Handicapped", "Physically Challenged", "Differently Abled", whatever you want to call it, means exactly what it says. There are some things that are going to be a bit more difficult because you are a bit differnt in some way, and some things that are going to be downright impossible. There are going to be some things that are possible, but at extreme expense, and neither I nor any other 'able' person should be expected to suffer to make it happen for you. I'll hold a door. I'll be the first to volunteer to carry a wheelchair up stairs. I will do whatever I can to make life easier for those less fortunate. I won't start giving up what I am able to do to make those less fortunate look or feel less challenged, however, as it benefits neither of us. I'd like multiple LED's to. I just like the opportunities it provides. I could buy the console that has an individual ten LED ladder for each channel, but I can't afford it. Why should someone provide the LED ladder for the colorblind, and not provode me one cause I'm cashtight? 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: <3.0.6.32.20050422125114.00aed170 [at] pop.west.cox.net> Date: Fri, 22 Apr 2005 12:51:14 From: CB Subject: Re: OT - Toll free numbers >I may be jaded, but Studios are just factories, IMHO. DING! Give that man a cigar. We took the Universal Studios tour when the show was in LA, and all the theatre folk I was with loved it (Hi Thad!) and it was like touring the shop for me for the most part. 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: <2c0e15160504221305113124e0 [at] mail.gmail.com> Date: Fri, 22 Apr 2005 16:05:16 -0400 From: Gregg Carville Reply-To: Gregg Carville Subject: Re: backstage lighting cables In-Reply-To: References: FWIW - We run the cables under the deck in order to avoid crossover issues. I'm not sure if that is an option at your theater. The other option is to go up. I have made cable bridges with two booms and a cross piece - 8' off the ground. or two picks from the grid. It all depends on where your circuits are. Long term - move the circuits to the other side of the crossover? Floor or wall pocket? As everyone said - work with the Fire Marshall. We had a huge issue over the booth - he saw lots of cables all over the place - turned out it was all sound stuff that he thought was 120. Once we clarified - and neatened everything up - he was happy. -Gregg ------------------------------ Message-ID: <20050422211125.82549.qmail [at] web61301.mail.yahoo.com> Date: Fri, 22 Apr 2005 14:11:25 -0700 (PDT) From: stage craft Subject: Re: backstage lighting cables In-Reply-To: 6667 --- Tom Heemskerk wrote: > > 3. Power cords for stage lighting and backstage > > lighting may not be taped to the floor. Cable > > protector ramps may be used. > I'm curious - did your fire marshal say why tape > wasn't okay? Well, no...and if I had ever met the guy I'd schmooze him as Peter suggests...but the guy comes through when I'm not around and then sends an email to various folks on campus and I'm not one of those folks. I sometimes get a copy forwarded to me from our department secretary. While I'd hate to have the show closed, maybe thats what it takes to get the administration to realize that our space isn't suitable for our purposes... It's a converted chapel with NO fire detection or suppression system, NO deluge or fire curtain, very little fly space, no floor pockets (for lighting or sound), etc. Along the "when pigs fly" vein from the theatre renovation" thread, we were supposed to get a new theatre building 2-5 years ago... Not sure it really matters since we (the LD or electricians or I) haven't changed the cabling and the FM hasn't closed us down and we strike tomorrow. I thought about the cable bridge above and that would be a good solution. The LD has been here for decades (I've only been here a year), so I'm not sure if this has been addressed before. As for the adult beverage, I just found out today that the city here is wet, but the county and campus are dry. This comes from the lead story in the campus newspaper about a frat getting a ticket for possession of wine or beer over 21 years old. The paper didn't explain why that was illegal, so I had to ask the students... So, buying him a beer may not be the best solution! You'd think that the FM would actually want to meet the person that's in charge of building everything on stage, but I guess not... As for knowing codes, I was really hoping to use it as reference rather than weaponry... There's no place to run cable below deck (it's masonite on SDB, on top of wood (pine?) on sleepers on concrete. The top two layers were added to make the stage softer on our dancers' feet. Come to think of it, I never saw this note on any of our previous shows where cable ran across the floor (at least 3 shows this year, but one of those the cables weren't actually taped down)... -alex- Alex M. Postpischil, Technical Director Department of Theatre Arts University of Mississippi University, MS 38677 662.915.6993 662.915.5968 - fax __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <014D202957F6D8118924000F20D7342B059A2C52 [at] az33exm01.corp.mot.com> From: Wood Chip-P26398 Subject: RE: backstage lighting cables Date: Fri, 22 Apr 2005 14:16:00 -0700 If the floor is sprung on sleepers, why not snake your cables between them? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of stage craft There's no place to run cable below deck (it's masonite on SDB, on top of wood (pine?) on sleepers on concrete. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1f7.8614540.2f9ae796 [at] aol.com> Date: Fri, 22 Apr 2005 19:49:42 EDT Subject: Re: Color blind operators In a message dated 22/04/05 19:36:58 GMT Daylight Time, psyd [at] cox.net writes: > OK, Frank, tally me the cost of adding two LED's (one of them blue) to > 400,000 pieces. Then lend me the moey to do it. Sounds simple enough, > yeah, as long as it ain't your pocket. Its a bitch when its your gear, and > you're trying to justify the loan required to manufacture it, or trying to > get someone to box-house the gear for you and you're discussing how the > profits will be split. Remember the savings that airline realized from > removing a single olive from every salad. I freely confess that I have no experience of manufacture on this scale, nor of the bean counters who run it. If it were to have been designed in from the start maybe 50 cents. But that's pure guesswork. To do it as a modification is patently more expensive. > Sure, it sounds reasonable, > until its YOUR pocketbook. We all of us have disabled pressure groups on our backs. Our last rebuild provided wheelchair accss to the SM desk, and three of our four rehearsal rooms allow it. We also have four decitated spaces in the auditorium, and special chairs to evacuate the disabled when the lift is out. > >It's better now. Before, you had to find four strong men to carry a > >wheelchair up two flights of stairs. > > Now, imagine if one person insisted that the modifications be done, and > four strong guys wan't going to do it. Imagine that the local authority > decided that yes, you aren't grandfathered in, and the lift had to go in, > and it was going to cost you $60,000, and you didn't have it? And you > couldn't borrow it? And you'd have to shut your doors if you couldn't make > it happen? Imagine you live in Austin, TX, and that you have the first > dinner and a movie in one place, as you can order food and beer!) to be > brought to your table as you sit in the movie house and watch a movie, and > this happens to you, and the livlihood that you are just barely eking out > on this project looks as if its going to go away. Now imagine that a > generous patron who loves the place DOEN'T step in and foot the bill. > One woman in a wheelchair that can't accept that because she is handicapped > that somethings will be more uncomfortable for her than it will for some > folk that aren't ina wheelchair, and who is so selfish that if she can't > have it her way, she'd rather see it gone. This, Frank, is a lack of > reason. And it just goes on in Phoenix. I've never met such an attitude of mind. I don't want to. There is a phrase which is enshrined in a lot of UK regulations. 'Reasonable provision'. For example, a wheelchair user would need a minder to get into my house. This could be done. The next step, to achieve normal social intercourse, involves fourteen steps of stairs, since our sitting room is on the first floor. Short of a stair lift, it's not on. Sure, we could all sit in my study, whre I am writing this. I count six seats, and cou;d find more. 'Reasonable' is the key. > This is what I want to see go away. I don't want to find a way to make it > easier for the colorblind guy to tie my tails in at the expense of every > other person on the crew. I want someone that can tell the difference to > tie my tails in. And, therefore, you want to supply the differences. I don't know your US codes. That is why our earth wires are striped. A live-neutral cross is usually a minor problem. Crossing anything with a ground is. Until they were changed, recently, this is why I always thought that the UK wiring codes were superior. Live was red; neutral was black; earth was, and is, green and yellow stripes. The three phase colours were red, yellow and blue, again with a black neutral. Now, they are grey, brown, and black for the three phases, and blue for the neutral. I see a lot of big bangs coming up! Frank Wood ------------------------------ Message-ID: <3998154b05042217332b5a6b9e [at] mail.gmail.com> Date: Fri, 22 Apr 2005 17:33:59 -0700 From: Paul Puppo Reply-To: Paul Puppo Subject: Re: House of Blue Leaves Pope's Speech...ANybody, anybody? In-Reply-To: References: No, that one was from "The Pride of the Vatican"... Paul Puppo ILLUMINERING http://www.Nifty-Gadgets.com On 4/22/05, IAEG [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- >=20 > In a message dated 4/22/05 8:54:48 AM, tiptd [at] theatreinthepark.com writes: >=20 > << I found the LP. Which speech is it? Yankee Stadium. > I don't have the script anymore. >=20 > Steve >> >=20 > today ( day day day ) >=20 > I am the luckiest Pope ( pope , pope, pope ) >=20 > on the face of the earth ( earth, earth earth ) >=20 > sorry, ,, i was over come, , , >=20 > keith >=20 > ------------------------------ Date: Fri, 22 Apr 2005 21:46:25 -0400 Subject: Re: House of Blue Leaves Pope's Speech...ANybody, anybody? From: Steve Larson Message-ID: In-Reply-To: The LP is titled "An Historic Occasion, Pope Paul Vi visits New York City, October 4, 1965. The speeches are #1 from da Vinci airport, Rome #2 Kennedy Airport, NY, #3 St. Patrick's Cathedral, #4 United Nations Address..highlights, #5 A Gift of Roses-the Pope speaks to children, #6 Address to UN staff workers, # 7 The Mass for Peace Yankee Stadium, #8 Kennedy Airport, farewell to the New World. So which one does the script describe? Does anyone still need it or want it? Steve ------------------------------ Date: Fri, 22 Apr 2005 22:02:13 -0400 From: Jim Bates Subject: Re: OT: small engine repair/troubleshooting In-reply-to: Message-id: <4269ACA5.6060800 [at] bigplanet.com> References: Stuart Wheaton wrote: >FrankWood95 [at] aol.com wrote: > > > >>> At risk of being obvious. >>> >>> Try taking off the cover to the blade drive, or to the timing drive. This >>> should allow access to one end or other of the crank shaft. Apply a suitable >>> wrench and try to move it that way. If still no dice, and the drive mechanisms are >>> OK, try this with the camshaft. If that moves even slightly, my guess would >>> be that you have a bent valve, which is blocking the piston movement. I had >>> this with a Honda scooter, years ago. >>> >>> This means taking off the cylinder head, and putting it back. I shouldn't >>> advise that without the full manual, since you would have to re-set the valve >>> timing. At this point, you need an expert. >>> >>> Frank Wood >>> >> >> > >As usual, Frank is talking from just inside the seat of his >pants. > >AFAIK Briggs makes no engines that have an interference >possibility between valves and pistons, in fact almost all >Briggs engines are Valve in block types where the valves are >beside the cylinder. This also means there are no pushrods >or rockers to adjust, the tappet rides directly against the >end of the valve stem. > >On a Briggs engine the only way to move the camshaft would >be to open the engine case completely, since the camshaft is >not exposed. > >Replace the air filter, replace the spark plug, change the >oil, drain the old gas, flush the carb with carburettor >cleaner to remove the varnish left by last year's gasoline, >refill with fresh, new $2.50 a gallon gas, and let it roar! > >If it was running last year and not stored underwater or >otherwise abused, the odds are high it can be made to run >easily this year. Bad gas is almost 90% of the trouble with >mowers in the spring time. > > >------------------------------ > If you need more help, check in with the guys at the small engine forum at www.perr.com . These guys can talk you through almost any problem. When you post your question, be sure to include the engine model & serial #'s found on the side of the shroud. Good luck! Jim Bates Lead entertainment tech Bally's Atlantic City ------------------------------ Message-ID: <20050423043600.5229.qmail [at] web40722.mail.yahoo.com> Date: Fri, 22 Apr 2005 21:36:00 -0700 (PDT) From: Chris Wych Subject: Re: House of Blue Leaves Pope's Speech...ANybody, anybody? In-Reply-To: 6667 I would love the one from the scrip, which ever it is. I dont have a script but my school is doing and would be interested in hearing it and comparing it. Chris Wych --- Steve Larson wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > The LP is titled "An Historic Occasion, Pope Paul Vi > visits New York City, October 4, 1965. > > The speeches are #1 from da Vinci airport, Rome > #2 Kennedy Airport, NY, #3 St. Patrick's Cathedral, > #4 United Nations Address..highlights, #5 A Gift of > Roses-the Pope speaks to children, #6 Address to UN > staff workers, # 7 The Mass for Peace Yankee > Stadium, > #8 Kennedy Airport, farewell to the New World. > > So which one does the script describe? > > Does anyone still need it or want it? > > Steve > > > IL State U. Theatre Design Student a_small_idiot [at] yahoo.com ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ http://www.theatretechie.com ~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~ __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Sat, 23 Apr 2005 00:53:09 -0400 Subject: Re: backstage lighting cables From: Bruce Purdy Message-ID: In-Reply-To: > Come to think of > it, I never saw this note on any of our previous shows > where cable ran across the floor (at least 3 shows > this year, but one of those the cables weren't > actually taped down)... I don't know how it is in other places, but in our city the annual inspections are done by one of the volunteer firemen, and it's a different guy each year. Whoever it turns out to be, turns his report in to the fire chief, and it is he that sends me his "official" report. They rotate the responsibility of the physical inspection around, and every one seems to notice something different, and miss things the last guy saw. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ End of Stagecraft Digest #372 *****************************