Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 24857645; Wed, 28 Sep 2005 03:01:27 -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 #533 Date: Wed, 28 Sep 2005 03:00:25 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-5.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=unavailable version=3.0.4 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #533 1. Re: loosey-goosey DC motor by "Jim at TheatreWireless.com" 2. Re: Top Ten Stagecraft Books by "Paul Schreiner" 3. Re: Top Ten Stagecraft Books by "C. Andrew Dunning" 4. Node Update by "Jay S. Rozema" 5. Re: Top Ten Stagecraft Books by "Davis, Thomas J" 6. Re: loosey-goosey DC motor by Loren Schreiber 7. Re: Top Ten Stagecraft Books by "Jeffrey E. Salzberg" 8. Re: Wireless Designer station for ETC by Andrew Vance 9. Re: Top Ten Stagecraft Books by "Maurice Moe Conn" 10. Re: Selecon 90, anyone? by John Vink 11. Fresnel Shoot-out results by "Riter, Andrew (Head Ltg)" 12. Re: loosey-goosey DC motor by "Curtis L. Mortimore" 13. Audrey II - Left in the lurch by "Storms, Randy" 14. Re: loosey-goosey DC motor by "Jim at TheatreWireless.com" 15. Re: top 10 stagecraft books by Marty_Petlock [at] sarasotagov.com 16. Re: 10 pin Jones Connector by Marty_Petlock [at] sarasotagov.com 17. Re: 10 pin Jones Connector by "Jeffrey E. Salzberg" 18. Re: 10 pin Jones and Edkotrons by LITETROL [at] aol.com 19. Welding onstage, thanks and followup by "Curtis L. Mortimore" 20. Re: Audrey II - Left in the lurch by "Frank E. Merrill" 21. Top Ten Stagecraft Books by "Stephen E. Rees" 22. Re: Welding onstage, thanks and followup by Greg Bierly 23. Job Posting:Sales Position by "Kacey Fisher" 24. Re: Top Ten Stagecraft Books by MissWisc [at] aol.com 25. Re: Top Ten Stagecraft Books by Delbert Hall 26. Re: Wireless Designer station for ETC by "Steve B." 27. Re: Wireless Designer station for ETC by Andrew Vance 28. Re: Wireless Designer station for ETC by "Steve B." 29. Re: 10 pin Jones Connector by "ladesigners [at] juno.com" 30. Re: Between the gel sheets by seanrmc [at] earthlink.net 31. Re: 10 pin Jones Connector now Edkotron by "Ken" 32. Re: Wireless Designer station for ETC by Stephen Litterst 33. Re: Between the gel sheets by "Daniel O'Donnell" 34. Re: Wireless Designer station for ETC by "Steve B." 35. Re: Wireless Designer station for ETC by "Steve B." 36. Re: Wireless Designer station for ETC by Stephen Litterst 37. Re: Audrey II - Left in the lurch by "Jon Ares" 38. Sweeney Todd chair somewhere near NYC by Scott Parker 39. Re: Wireless Designer station for ETC by Andrew Vance 40. Re: Top Ten Stagecraft Books by "ladesigners [at] juno.com" 41. Re: loosey-goosey DC motor by "Fred Schoening" 42. Re: Between the gel sheets by seanrmc [at] earthlink.net 43. Re: Between the gel sheets by "Laura McMeley" *** 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. ---------------------------------------------------------------------- From: "Jim at TheatreWireless.com" Subject: RE: loosey-goosey DC motor Date: Tue, 27 Sep 2005 08:56:04 -0400 In-Reply-To: Message-Id: <20050927125610.NEXL2981.tomts43-srv.bellnexxia.net [at] p3m866> When free-wheeling, the motor is acting as a generator. When you put a large electrical load on that generator, it behaves just like putting a mechanical load on the motor shaft -- it slows it down. If it's a fairly low horsepower DC motor, short the motor wires together to stop. For larger motors, use a high-wattage low value resistor. Make sure the switch you use is rated for high current, particularly if you are shorting without a resistor. The closer you are to the motor, the more effective this will be, because the wire leading to the motor acts as a resistor and reduces the braking effect. The downside of this solution is it is most effective when the motor is moving, and least effective when it is fully stopped. So it may still drift slowly downward when fully stopped. Give this a try first, then move on to mechanical solutions if necessary. Jim *** WARNING -- THE VOLTAGE AND CURRENT BEING PRODUCED BY THE MOTOR WHEN FREEWHEELING IS COMPARABLE TO THE POWER YOU USE TO DRIVE IT AS A MOTOR. TAKE APPROPRIATE SAFETY PRECAUTIONS WITH ALL WIRING, CONNECTIONS, SWITCHES, HANDLING, ETC. *** > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Fred Schoening > Sent: September 27, 2005 12:35 AM > To: Stagecraft > Subject: loosey-goosey DC motor > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Howdy, folks! > > Does anybody know of a good device or trick to add a little > friction to a permanent-magnet DC motor? I've got a roll-drop > that wants to drift in more when it's completely unfurled. I > can't switch to a higher-ratio gearbox because, naturally, > they want it to go out as fast as possible. > Last time this happened I was able to use a go-kart brake > with much success (ran aircraft cable down to a lever where > the operator was) but that makes more noise than I want this > time around. > It's a NEMA, uh, 56 C-face motor (brain fried right now,) if > that makes any difference. Electric brakes that I've seen in > McMaster-Carr and the like are full-on or -off and make a > really loud "CLACK!" noise when they engage/disengage. I just > need a little more resistance, is all. > > Thanks, > Fred > > "Big Fred" Schoening > Technical Director > Dallas Theater Center > Dallas, Texas, USA > > "...a root word of technology, techne, originally meant > 'art.' The ancient Greeks never separated art from > manufacture in their minds, and so never developed separate > words for them." > > - Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance > > > > ------------------------------ Subject: RE: Top Ten Stagecraft Books Date: Tue, 27 Sep 2005 09:04:25 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C987 [at] exchange.rmwc.edu> From: "Paul Schreiner" > What are your nominees for the ten most important books on=20 > Stagecraft, broadly defined, that you would want to have as=20 > essential resources in your library? How 'bout "Technical Design Solutions for Theatre", Vols 1 & 2? ------------------------------ Reply-To: From: "C. Andrew Dunning" Subject: RE: Top Ten Stagecraft Books Date: Tue, 27 Sep 2005 08:15:53 -0500 Organization: Landru Design In-Reply-To: Message-ID: >What are your nominees for the ten most important books on >Stagecraft, broadly defined, that you would want to have as >essential resources in your library? Already mentioned, but one that stays accessible on my shelf: The Backstage Handbook (w. my scribbles in the margins). Not mentioned: Stage Lighting, by Richard Pilbrow. A great intro to the "whys" of what I do - things I regularly teach clients and apply to my own work. C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com ------------------------------ Message-Id: Date: Tue, 27 Sep 2005 09:16:22 -0400 From: "Jay S. Rozema" Subject: Node Update Just wanted to share that the software on my backstage node has been upgraded, along with the consoles and computer. The trouble I had with Vincent was when I asked Matt (Service Rep) if he was working there or not he answered yes to both. He wasn't working, then he was... Anyway, they did tend to my problems and all is fine. I just wish that who ever answered the phone the other day (I don't remember who it was) knew what was going on with Matt's position. If there is a field service person on staff, they should at least have a voice mailbox. Even that would have helped. Thanks for all the help and suggestions you gave, -- Jay S. Rozema Lighting and Sound Designer Miami University 513.529.7333 www.users.muohio.edu/rozemaj "There is no normal life that is free of pain. It's the very wrestling with our problems that can be the impetus for our growth." - Mr. Rogers ------------------------------ Subject: RE: Top Ten Stagecraft Books Date: Tue, 27 Sep 2005 10:20:48 -0400 Message-ID: <3CF87682970858499CA56707FB1F092B0A925A [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" Maybe I missed it, but has anyone so far mentioned Jean Rosenthal's "Magic of Light"? (From which, many years ago, a certain teenager learned the difference between "lighting a show" and "designing lighting for a show.") And I haven't seen Burris-Meyer and Cole's "Scenery for the Theatre," either. I'll second Pillbrow, who has been mentioned. Other personal favorites include Appia's "Music and the Art of the Theatre" (you have to be old to have that on your shelf, I don't think it's been available since the 70s, but hopefully I'm wrong about that), Howard Bay's "Stage Design", and Lynn Pecktal on Scene Painting and Costume (any of several books). And let's not forget Robert Edmond Jones "Dramatic Imagination." That's the off the top of my head list of must reads or must haves- in addition to a couple generations of Gillette's, Parker with Smith and/or Wolff and/or Block, and the Backstage Handbook- which seems to be the book most likely to disappear from my office. By now, I think I'm past 10. I'd be tempted to add Shakespeare's complete works. OK, maybe a stretch as a stagecraft book, but if you are in this profession, and only had 10 books, wouldn't that be one of them? Tom Davis -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jonathan S. Deull Sent: Monday, September 26, 2005 11:25 PM To: Stagecraft Subject: Top Ten Stagecraft Books For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Since we like top ten lists... What are your nominees for the ten most important books on Stagecraft, broadly defined, that you would want to have as essential resources in your library? Jonathan S. Deull jdeull [at] clarktransfer.com ------------------------------ Message-Id: <6.1.1.1.2.20050927072152.02e76c18 [at] mail.sdsu.edu> Date: Tue, 27 Sep 2005 07:31:43 -0700 From: Loren Schreiber Subject: Re: Re: loosey-goosey DC motor In-Reply-To: References: I think I would try a mechanical counterbalance, rather than an electrical solution for this one. Try making the roll-drop mechanism wind up a cord that, when the drop reaches playing position, just begins to lift a small weight off the floor. In other word, the cord winds on as the drop winds off. Applying a continuous voltage to the motor as a means of holding position will likely reduce the life of the motor, unless it is a servo motor/system designed for that purpose. It sounds like you might be using a Dayton motor, or something similar, which really needs to turn while voltage is applied, in order to keep the fan blowing cooling air over the frame. Professor Loren Schreiber, Technical Director School of Theatre, Television and Film, San Diego State University http://www-rohan.sdsu.edu/faculty/schreibr/index.html Long Reach Long Riders announce dates for the 2006 Charlty Ride. Check out www.sapsis-rigging.com/LRLR.html for more information. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Top Ten Stagecraft Books Date: Tue, 27 Sep 2005 10:32:15 -0400 Message-ID: <002201c5c370$44d74800$6701a8c0 [at] Dell> In-Reply-To: > I'd be tempted to add Shakespeare's complete works. OK, > maybe a stretch as a stagecraft book, but if you are in this > profession, and only had 10 books, wouldn't that be one of them? As well as William Goldman's "The Season". ------------------------------ In-Reply-To: References: Message-Id: <9C11582B-3422-4D1D-AAB4-9E9D2513C194 [at] gmail.com> From: Andrew Vance Subject: Re: Wireless Designer station for ETC Date: Tue, 27 Sep 2005 09:36:02 -0500 On 26 Sep, 2005, at 08:31, Patrick Immel wrote: > Is there a product that would allow me (wirelessly would be best) to > use my laptop to monitor and perhaps edit light cues from a remote > location. I would still be in the theatre, just not right next to the > board. We have a ETC Expression 2X. Along similar lines, I've been wondering for awhile whether the following will work. I've got an Expression 3x and an ETCNet2 node. My building is wired with enough network ports to suit me, but we sometimes perform in other venues that have none and/or no RFU points. So during tech for these shows, I'm either running back to the booth to watch/change levels or running huge amounts of DMX and RFU or cat 5 from the booth to the tech table. My question is, can I make the ETCNet network wireless by attaching the board to a wireless router/access point and my node to another access point? Seems to me it would work, but there's something inside me that tells me it won't. Thoughts? -- Sincerely, Andrew Vance atvanceld [at] gmail.com ------------------------------ Message-ID: In-Reply-To: From: "Maurice Moe Conn" Subject: Re: Top Ten Stagecraft Books Date: Tue, 27 Sep 2005 15:04:43 +0000 Speaking of The Backstage Handbook...just noticed mine grew feet, today...Grrrrr!!! Moe Long Reach Long Riders announce dates for the 2006 Charlty Ride. Check out www.sapsis-rigging.com/LRLR.html for more information. >From: "Davis, Thomas J" >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: Top Ten Stagecraft Books >Date: Tue, 27 Sep 2005 10:20:48 -0400 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Maybe I missed it, but has anyone so far mentioned Jean Rosenthal's >"Magic of Light"? (From which, many years ago, a certain teenager >learned the difference between "lighting a show" and "designing lighting >for a show.") And I haven't seen Burris-Meyer and Cole's "Scenery for >the Theatre," either. I'll second Pillbrow, who has been mentioned. >Other personal favorites include Appia's "Music and the Art of the >Theatre" (you have to be old to have that on your shelf, I don't think >it's been available since the 70s, but hopefully I'm wrong about that), >Howard Bay's "Stage Design", and Lynn Pecktal on Scene Painting and >Costume (any of several books). And let's not forget Robert Edmond >Jones "Dramatic Imagination." > >That's the off the top of my head list of must reads or must haves- in >addition to a couple generations of Gillette's, Parker with Smith and/or >Wolff and/or Block, and the Backstage Handbook- which seems to be the >book most likely to disappear from my office. By now, I think I'm past >10. > >I'd be tempted to add Shakespeare's complete works. OK, maybe a stretch >as a stagecraft book, but if you are in this profession, and only had 10 >books, wouldn't that be one of them? > >Tom Davis > >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of >Jonathan S. Deull >Sent: Monday, September 26, 2005 11:25 PM >To: Stagecraft >Subject: Top Ten Stagecraft Books > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Since we like top ten lists... > >What are your nominees for the ten most important books on Stagecraft, >broadly defined, that you would want to have as essential resources in >your >library? > >Jonathan S. Deull >jdeull [at] clarktransfer.com > > ------------------------------ Message-ID: Date: Tue, 27 Sep 2005 09:04:44 -0600 From: John Vink Reply-To: John Vink Cc: paulschreiner42 [at] gmail.com (Paul Schreiner) Subject: Re: Selecon 90, anyone? In-Reply-To: References: > > Okay, so I've rambled on at length here and there about how much I > love Selecons in my (all-too-) limited experience with them. > > That being said, I've never had the opportunity to play with one of > the 90-deg ellipsoidals. So, for any of you who may have had that > opportunity, here's our situation... > > I thought maybe trying a 90-degree unit would work better at that > distance, since it's designed more for a super-short throw distance. > > If I want to shine a 9'x9' square on the back of a cyc with a Selecon > 90, will the edges be flared or straight? > Paul, I have just tried this in our showroom. At 12' throw, with the 90 degree units, there is a slight bow on the cuts. They bow in to about 1" at the center from the corners. It is just barely noticeable that there are curves. I also tried the 45-75 degree zoom barrel with the same results. If the squares could be smaller the 45-75 barrel could produce good straight squares. I hope this helps. John ------------------------------ Message-ID: <297C9E3B63B2D3119C8100508B5ED28F160201DB [at] exchange2.ubc.ca> From: "Riter, Andrew (Head Ltg)" Subject: Fresnel Shoot-out results Date: Tue, 27 Sep 2005 09:15:04 -0700 Hi everyone I asked a while ago about fresnels and which ones were to be recommended, and which ones not. I then did a shoot-out of 7 fresnels (and a ParNel). The short version of the results: I liked the Selecon 7" 1000w unit the most. Very close to output of the 2kw 8" Strand and Colourtran units. They are definitely superior to the 6" Strand and Colourtran units, and the 6" Selecon as well. Considering the 6" Selecon and 7" selecon are identical except for the lense, the difference is really amazing. Of the Strand, Colourtran, and Selecon 2 kw units, the Selecon had the worst field (uneven, splotchy). The Colourtran had the smallest field. The Strand and Colourtran are fairly identical beyond that. Of the 6"units, the Colourtran was brighter than the Strand, and better than the Selecon 6". The colourtran also has a good beefy gel clip. Strand has none. The Selecon has a metal tab that flexes over 1 corner of the gel. Not as good as the Colourtran. And what is with the barn doors not being 8-way for the Selecon? I'm not commenting on the ParNel. It was very un-impressive. If anyone wants the full write up, let me know and I'll send it off list. Andrew M. Riter Head Lighting Technician Chan Centre for the Performing Arts University of British Columbia 6265 Crescent Road Vancouver, BC V6T 1Z1 604-822-2372 604-822-1606 fax chanlights [at] exchange.ubc.ca ------------------------------ Date: Tue, 27 Sep 2005 11:31:51 -0500 Subject: Re: loosey-goosey DC motor From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Fred, I may suggest a mechanical solution rather than an electrical one. I have successfully used a "band brake" around drums made out of nylon webbing. This apparatus can range from a nicely engineered strap sewn onto eye bolts for adjustability or as crude as a ratchet strap slung around the drum and whatever stationary thing happens to be close. Probably a better idea: Listen to Loren. Another idea: Extend the shaft of your drum on one end or the other so that your existing go-cart brake can be housed in a "quiet box", wrapped with a packing blanket or some other ingenious sound absorption solution. Idea last for today: Obtain a super long piece of bungie cord and attach one end to the drum and the other to something stationary. The idea being that the drum takes up the bungie cord to provide the appropriate amount of tension to counteract the undesirable rotation. Hope that helps, Your mileage will definitely vary. -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 ------------------------------ Subject: Audrey II - Left in the lurch Date: Tue, 27 Sep 2005 09:43:41 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C04C [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Hey all - =20 Back in June I arranged, via e-mail (no phone # on the www site), to = rent a set of Audrey II puppets for a show scheduled to open next March. = We made the agreement, and then I waited for contract documents to = arrive. When they did not show up in a timely manner I contacted the = shop again, and again, and again; each time asking for a status update = and their phone number(these e-mails were ignored). =20 Finally last week I sent a message saying if I didn't receive a response = soon I would be looking for another plant - they replied and said, "yes, = that would be best, as we apparently double-booked ours." So - just a heads up to anyone planning a production of Little Shop of = Horrors: if you decide to rent from Otherhand Productions of Portland, = OR; have a backup plan in place. As for me, if anyone knows of a nice = rental puppet in my area... Cheers, -- r. Randy Storms, TD Bellingham High School Theatre Bellingham, WA rstorms [at] bham.wednet.edu ------------------------------ From: "Jim at TheatreWireless.com" Subject: RE: loosey-goosey DC motor Date: Tue, 27 Sep 2005 12:53:03 -0400 In-Reply-To: Message-Id: <20050927165310.OAOV21026.tomts16-srv.bellnexxia.net [at] p3m866> > Another idea: Extend the shaft of your drum on one end or the > other so that your existing go-cart brake can be housed in a > "quiet box", wrapped with a packing blanket or some other > ingenious sound absorption solution. Beware of the brake overheating if it's wrapped in an insulator or sealed in an air tight enclosure. If it is a power-to-release type (which I would recommend) you might be ok if the time it is powered on for is short and infrequent. I have successfully reduced the audible click of electric brakes by ramping the drive voltage up and down, rather than simply switching them. If it's a 120VAC brake, you could do this with a conventional dimmer. Give it a ramp of, say, 1/4 second from zero to full and vice-versa. You'll still get a click, but it will be much quieter. Jim ------------------------------ Subject: Re: top 10 stagecraft books Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Tue, 27 Sep 2005 13:04:46 -0400 Jonathan S. Deull wrote: Since we like top ten lists... What are your nominees for the ten most important books on Stagecraft, broadly defined, that you would want to have as essential resources in your library? These are on my shelf: Richard Pilbrow's 'STAGE LIGHTING' is a favorite. Jay Glerum's ' STAGE RIGGING' are two I would add to titles others have sent. and if, as I do, you work at a booking house add 'THEATRE WORDS' and 'NEW THEATRE WORDS' I also recommend 'OLD MR. BOSTON'S DELUXE BARTENDER'S GUIDE'. Cheers, Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ------------------------------ Subject: Re: 10 pin Jones Connector Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Tue, 27 Sep 2005 13:09:30 -0400 Richard wrote: From: "ladesigners [at] juno.com" Date: Mon, 26 Sep 2005 13:54:15 GMT Subject: Re: 10-pin Jones connector Message-Id: <20050926.065448.997.585005 [at] webmail18.lax.untd.com> Century Edkotron 6-packs also used 10 pin Cinch-Jones connectors IIRC. /s/ Richard _________________________ Century Edkotrons!?!? wow Richard you must be almost as ancient as I am. The last ones I saw were being used as gluing weights in a college scene shop. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: 10 pin Jones Connector Date: Tue, 27 Sep 2005 13:19:20 -0400 Message-ID: <004101c5c387$9c34e280$6701a8c0 [at] Dell> In-Reply-To: > Century Edkotrons!?!? wow Richard you must be almost as > ancient as I am. The last ones I saw were being used as > gluing weights in a college scene shop. Are KAA fuses still available? (Not that they were that easy to find even back then....) ------------------------------ From: LITETROL [at] aol.com Message-ID: <195.4858b2d8.306adab5 [at] aol.com> Date: Tue, 27 Sep 2005 13:26:13 EDT Subject: Re: 10 pin Jones and Edkotrons In a message dated 9/27/2005 1:21:27 PM Eastern Standard Time, stagecraft [at] jeffsalzberg.com writes: Are KAA fuses still available? (Not that they were that easy to find even back then....) Yep! and they are still more expensive than the SCR's they were there to protect! s. steve [at] litetrol.com Lite-Trol Service Co., Inc. 485 West John Street Hicksville NY 11801 800 548 3876 516 681 7288 fax ------------------------------ Date: Tue, 27 Sep 2005 12:29:59 -0500 Subject: Welding onstage, thanks and followup From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Thanks to all for the wonderful input! Here is what we have come up with. We have the very best and the bargin basement employed on this one. We are using a Martin, Atomic 3000 DMX strobe controlled with an ETC emphasis system and a $19.95 Wal-mart fog machine. The performer is on an elevated catwalk with the strobe mounted underneath facing straight up. The performer kneels with his back to the audience (welding helmet on) and his prop electrode holder and "welds" directly on top of the strobe. While he is welding he is poking the remote button on the fog machine which is just off-stage,(because the controller cord is only about three feet long) the fog then filters out through the scenery and is quite effective. We are still tweaking the strobe to get a more convincing light but it looks really good. We have abandoned the falling sparks and are quite comfortable with our effect without them. Again thank you all for the input! -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 ------------------------------ Date: Tue, 27 Sep 2005 13:28:26 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1679604956.20050927132826 [at] tcon.net> Subject: Re: Audrey II - Left in the lurch In-Reply-To: References: Howdy ! Tuesday, September 27, 2005, Randy Storms wrote: > if anyone knows of a nice rental puppet in my area... With modern communications and freight technology, "area" is a relative term. Nevertheless, I can highly recommend Jim Stock The Hastey Pudding Puppet Company 508 Perry Street Vincennes, Indiana 47591 812: 886 4692 I just called a few moments ago and encountered their voicemail system, which is populated by some of their little rubber people and is well worth the small cost of the call just so you can enjoy the message! Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com Running THE BAT! Natural e-mail system v.3.60 mailto:Lamplighter [at] tcon.net ------------------------------ Message-ID: <433991B3.5060606 [at] fredonia.edu> Date: Tue, 27 Sep 2005 14:38:43 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Top Ten Stagecraft Books References: I nominate (in no specific order) Drafting for the Theatre, Dorn/Shanda The Pocket Ref, Glover Scenery For The Theatre, Burris-Meyer/Cole Magic of Light, Rosenthal Stage Lighting, Pilbrow Lighting Design Handbook, Watson Lighting the Stage; Art and Practice, Bellman Scene Design and Stage Lighting, Parker/Smith Stage Fright, Rossel Structural Design for the Stage, Holden/Sammler Entertainment Rigging, Donovan Designing and Painting for the Theatre, Pecktal AND: The Sapsis Rigging Catalog (CD) The J.R. Clancy Catalog (CD) The Rose Brand Catalog The Grainger Catalog Steve Rees, TD SUNY-Fredonia ------------------------------ In-Reply-To: References: Message-Id: <1381886e467f46f4cef2da952aae4268 [at] dejazzd.com> From: Greg Bierly Subject: Re: Welding onstage, thanks and followup Date: Tue, 27 Sep 2005 14:30:09 -0400 > While he is welding he is poking the remote button on the > fog machine which is just off-stage I LOVE IT! I love creative solutions to complex problems. Congrats and hope it works out smoothly for you. Only hazard I see is the actor finding the remote button with the welding shade on. ;-) (note the winking emoticon) Greg Bierly Technical Director Hempfield HS ------------------------------ From: "Kacey Fisher" Subject: Job Posting:Sales Position Date: Tue, 27 Sep 2005 15:00:04 -0400 Message-ID: Fisher Theatrical, a full service sales, production, rentals, and installation company is seeking a full-time inside sales person for its = new location in Hanover, MD. Duties include: Handling and taking sales orders, shipping and = receiving, inventory maintenance, some traveling for trade shows, marketing, and = some outside sales. Salary based on experience. Includes health benefits. Candidates should send a resume, including references to: 7476 New Ridge Road Suite C Hanover, MD 21076 Fax: 410-487-0090 Email: Jobs [at] FisherTheatrical.com Fisher Theatrical is an Equal Employment Opportunity Employer Sincerely, Kacey Fisher=A0=20 President, Fisher Theatrical 410-487-0100 410-487-0090-Fax www.FisherTheatrical.com ------------------------------ From: MissWisc [at] aol.com Message-ID: <1e0.45227809.306b1a05 [at] aol.com> Date: Tue, 27 Sep 2005 17:56:21 EDT Subject: Re: Top Ten Stagecraft Books (Dr. Doom) Randy Davidson has a self-published booklet on liability that I personally think EVERY stage person should have. He's also about to release one aimed at HS theatre policy makers and users about safety in school performance venues. Unkle Bill used to have a .pdf on rigging basics that was great - not certain if it's still part of his web site, but it's excellent. Backstage Handbook. Glerum's "Stage Rigging". Monona Rossl's "Stage Fright" Shakespeare (because it's good literature/well known through the theatre world, because the lack of stage directions give a great basis for real imagination, because the stories are timeless enough to be able to be set in any time period/culture AND it's public domain!) And it's not a book, but Tara Maginnis's _http://www.costumes.org_ (http://www.costumes.org) is an amazing web site for wardrobe, makeup, jewelry, props and the like. HTH Kristi ------------------------------ Message-ID: Date: Tue, 27 Sep 2005 18:18:28 -0400 From: Delbert Hall Reply-To: Delbert Hall Subject: Re: Top Ten Stagecraft Books In-Reply-To: References: Don't forget the McMaster-Carr catalog. -Delbert -- Delbert L. Hall ZFX -Technical Coordinator for Classic Productions Phone: 714-585-7070 ------------------------------ Date: Tue, 27 Sep 2005 18:30:41 -0400 From: "Steve B." Subject: Re: Wireless Designer station for ETC Message-id: <004e01c5c3b3$17d478d0$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: "Andrew Vance" > > Along similar lines, I've been wondering for awhile whether the following > will work. I've got an Expression 3x and an ETCNet2 node. My building > is wired with enough network ports to suit me, but we sometimes perform > in other venues that have none and/or no RFU points. So during tech for > these shows, I'm either running back to the booth to watch/change levels > or running huge amounts of DMX and RFU or cat 5 from the booth to the > tech table. I'm guessing that: 1) The Expression is not networked to the Net2 note (if it's a Net2 node) via a Cat5 cable. Instead, the console would be outputting DMX directly into the DMX ports on a local node, which converts it to EDMX in Net2 format, which then gets distributed as a Net2 network on a Cat5 distro system. 2) Or more likely, the console does connect to a Net2 node via Cat5 connection, the Net2 node being configured to run in Net1 format (they can do that - note that Express/ion consoles only talk Net1), which would allow RFU on the Net1 connection to various points. I'm also guessing that somewhere, the Net1 signal gets broken down to component segments - DMX 1-4, RFU, Video for local usage, wherever you drop a Net1 RVI (has to be a Net1 RVI though - see below). >My question is, can I make the ETCNet network wireless by attaching the >board to a wireless router/access point and my node to another access >point? Seems to me it would work, but there's something inside me that >tells me it won't. Thoughts? Assuming the goal is wireless remote RFU and video ?. Probably thru a Net1 RVI ? or maybe a Net2 node in Net1 format?. This was a subject on the Light Network a while back, if memory serves, as to how to have the console recognize a Net1 RVI thru a WiFi connection. My recollection is that it can't be done, as the console needs to recognize the RVI via a console boot process on a floppy, with the RVI hard wire connected for the console to see and find the RVI dedicated IP address. The router doesn't allow this process to proceed. Not certain though, what happens when you use a Net2 node in Net1 format on a Cat5 access point. I know you can get breakdown of DMX, but output only. Not sure of RFU and video though. Don't think so. The Net2 node is NOT accessible (when running in Net1) from Net2 Configuration Editor, which is the only way to re-define what the node DMX ports do, thus they default to output from the console. Best do a LN search to be sure. Or call ETC to be certain. Steve Bailey Brooklyn College ------------------------------ In-Reply-To: References:

Message-Id: From: Andrew Vance Subject: Re: Wireless Designer station for ETC Date: Tue, 27 Sep 2005 18:22:21 -0500 I wrote: >> Along similar lines, I've been wondering for awhile whether the >> following will work. I've got an Expression 3x and an ETCNet2 >> node. My building is wired with enough network ports to suit me, >> but we sometimes perform in other venues that have none and/or no >> RFU points. So during tech for these shows, I'm either running >> back to the booth to watch/change levels or running huge amounts >> of DMX and RFU or cat 5 from the booth to the tech table. I probably should have been more clear now that I look over what I wrote. I've got a Net2 Video node; no DMX on board. In my theatre, we've got dedicated ETC Net ports in the booth, at the tech table, and backstage where we can plug in it via a cat-5 cable. Since we've only got an Expression [no Emphasis yet], everything operates in Net1 mode with no problems. About two or three times a year, we take some of the dance pieces out to various theatres and high schools town and in western Iowa. Since we're taking established shows, there's not all that much to tech, but we still have to adapt cues and whatnot based on inventories, times, and the pieces we end up doing. Plus, it really helps to have lighting control on the deck during load-in. The last two of these venues, there hasn't been RFU [or DMX, but that's another discussion] backstage or anywhere but the back of the board. So, I've been having to run DMX from the booth [or cat-5 in one case] to somewhere in the house [or backstage] during load-in and tech for the board. Ideally, I'd like to be able to plug a wireless device into the back of the board, have another one plugged into my Net2 Video node in the house or backstage and be able to see video and use the RFU. Like I originally said, its probably not possible. But not to start an ETC/Strand war [I'm an ETC fan anyway], I've seen how theoretically easy it is to make Strand's networking wireless with off the shelf gear and I was hoping it'd be almost as easy with my ETC system. Its also not a pressing issue with me. I've got six months before I have a shows at one of those venues. Maybe I'll just have my assistant make me a 200'-0" piece of cat-5; should cover most venues we go to. Steve B. wrote: > I'm guessing that: > > 1) The Expression is not networked to the Net2 note (if it's a Net2 > node) via a Cat5 cable. Instead, the console would be outputting > DMX directly into the DMX ports on a local node, which converts it > to EDMX in Net2 format, which then gets distributed as a Net2 > network on a Cat5 distro system. The node never runs in Net2, only Net1. And what I have really isn't a network since its mainly just the Expression; no server, no other devices. There's just multiple places to plug my node in when I want it. > 2) Or more likely, the console does connect to a Net2 node via Cat5 > connection, the Net2 node being configured to run in Net1 format > (they can do that - note that Express/ion consoles only talk Net1), > which would allow RFU on the Net1 connection to various points. > I'm also guessing that somewhere, the Net1 signal gets broken down > to component segments - DMX 1-4, RFU, Video for local usage, > wherever you drop a Net1 RVI (has to be a Net1 RVI though - see > below). That is my system. I'm not the world's expert on Net2 dynamics because I almost never use it, so I don't know how its get broken down. [Though it sounds like you do.] > Assuming the goal is wireless remote RFU and video ?. Probably > thru a Net1 RVI ? or maybe a Net2 node in Net1 format?. This was a > subject on the Light Network a while back, if memory serves, as to > how to have the console recognize a Net1 RVI thru a WiFi > connection. My recollection is that it can't be done, as the > console needs to recognize the RVI via a console boot process on a > floppy, with the RVI hard wire connected for the console to see and > find the RVI dedicated IP address. The router doesn't allow this > process to proceed. The goal is to have wireless video at least; RFU would be nice. Through a Net2 node running in Net1 format. All the ETC RVIs I've used in the past did have to fire up before the board, and I had to load console specific software onto it when I was taking it back and forth between an Obsession and an Express. I thought the part of the point of Net2 was so that one box can exist with multiple consoles. For example, I can take my Net2 Video Node from my theatre [where it runs with an Expression 3 in Net1 mode] and take it over to the road house four blocks away [with an Obsession 2 running a Net2 system] and be able to plug it in to get video/RFU to the tech table. I will check out Light Network and see what it says about it. > Not certain though, what happens when you use a Net2 node in Net1 > format on a Cat5 access point. I know you can get breakdown of > DMX, but output only. Not sure of RFU and video though. Don't think > so. The Net2 node is NOT accessible (when running in Net1) from > Net2 Configuration Editor, which is the only way to re-define what > the node DMX ports do, thus they default to output from the console. I know when I plug my video node into the system, I get video and RFU at all three locations [booth, tech table, backstage]. From my understanding, you need to be running in Net2 mode for any of the DMX to work, so that isn't a concern of mine yet. Ditto with the Config Editor, since I'm not running in Net2. > Best do a LN search to be sure. Or call ETC to be certain. Well, that would be the easy way, wouldn't it? -- Sincerely, Andrew Vance atvanceld [at] gmail.com ------------------------------ Date: Tue, 27 Sep 2005 19:52:04 -0400 From: "Steve B." Subject: Re: Wireless Designer station for ETC Message-id: <001901c5c3be$7676d8f0$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: "Andrew Vance" > Like I originally said, its probably not possible. But not to start an > ETC/Strand war [I'm an ETC fan anyway], I've seen how theoretically easy > it is to make Strand's networking wireless with off the shelf gear and I > was hoping it'd be almost as easy with my ETC system. Its also not a > pressing issue with me. I've got six months before I have a shows at one > of those venues. Maybe I'll just have my assistant make me a 200'-0" > piece of cat-5; should cover most venues we go to. Not to start a war either, but in defence of ETC, the Express/ion console series is easily 12-15 years old ?. It's my understanding that the console hardware (mostly processing speed issues) does not allow the software upgrades needed to make them Net2 compatable, outside of an Emphasis system. Pity. Strand stuff (300 and 500 series) is generally newer and was designed to be more readily upgradable at a time theatrical networking was getting going. Right place at the right time for Strand, in tems of timing. Maybe good planning as well. Steve B. ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 28 Sep 2005 00:35:09 GMT Subject: Re: 10 pin Jones Connector Message-Id: <20050927.173658.22913.613906 [at] webmail16.lax.untd.com> In their time, the products that Ed Kook put his name on [EDKOtrons, leKOs], while president of Century, were improvements over what was available. It is NOT true that "Those who remember the 60s weren't there". Nobody wanted to see saltwater dimmers again, but did not really appreciate the heat or imprecision of Piano Boards. Tharon Musser validated and speeded up an inevitable change, and Stephen Skirpan helped to bring the price down by competing with the Kleigl and Century in the school (ie: low priced) market with his 'Scrimmer'. Back then, I got the best pricing and service from Joe Privateer at his LA-based SCR Digitrol. Nowadays, Joe Tawill, as president of GAM appears to provide the best service of any LA-based manufacturer - far better than he was allowed to provide as president of Colortran. /s/ Richard Century Edkotrons!?!? wow Richard you must be almost as ancient as I am. Marty Petlock ------------------------------ Message-ID: <26728388.1127868604389.JavaMail.root [at] elwamui-little.atl.sa.earthlink.net> Date: Tue, 27 Sep 2005 20:50:04 -0400 (GMT-04:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Between the gel sheets Steve... I know this doesn't really answer your question, but let me offer an alternate solution. We have a shelving unit about 6' tall and about 24-30" wide. Shelves every 3.5"-4". I'm guessing, as I'm at home. Anyway, instead of using the shelves for flat storage, we roll the gel, label the backing paper, and store it in rows on the shelves. Each shelf is a _10 range (R00-R10, R61-R70, L201-L209, etc). We've found it means much LESS material handling, as you don't have to move anything to get to the sheet you want. Also, it's easy to see if you have any left or not. We also keep a running inventory of sheet stock so we know what's on the shelf. If we cut a sheet, it all gets cut once the show opens. We save cuts and full sheets, but not partial sheets--makes the inventory much easier to deal with. Hope that helps someone.... --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: "Steve B." Sent: Sep 26, 2005 3:39 PM To: Stagecraft Subject: Between the gel sheets For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Subtitled: "Desparate Electricians" Some wisdom/advice needed from the groups I'm splitting up a gel room, re-locating to a room closer to the stage, new cutting board, filing cabinets for cut pieces, etc.. I have an existing sheet storage cabinet, 10 drawer unit, 24"x30", so I'm not going the route of the cardboard Rosco storage units (nor the very nice, but very expensive Lee and Apollo units).. My assistant recommended that rather then using sheets of masonite between the different sheets in a drawer, that we use Styrofoam - 1/4" thick, as it makes it easier (lighter) to move a group of sheets on top layers. So the question is, where's/who's a good source for sheets of 1/4" ridgid foam sheets ?. Thanks on advance. Steve Bailey Brooklyn College ------------------------------ From: "Ken" Subject: RE: 10 pin Jones Connector now Edkotron Date: Tue, 27 Sep 2005 20:04:54 -0500 In-Reply-To: Message-ID: I remember in 66 how happy I was to see the Edkotron - it beat the heck out of lugging around 300 lbs 6 Pack luxtrol boards out on one night rentals. As I recall we rented those for $75 and that included pick up and delivery in bosses station wagon. Ken Holyoak -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of ladesigners [at] juno.com Sent: Tuesday, September 27, 2005 7:35 PM To: Stagecraft Subject: Re: 10 pin Jones Connector For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In their time, the products that Ed Kook put his name on [EDKOtrons, leKOs], while president of Century, were improvements over what was available. It is NOT true that "Those who remember the 60s weren't there". Nobody wanted to see saltwater dimmers again, but did not really appreciate the heat or imprecision of Piano Boards. Tharon Musser validated and speeded up an inevitable change, and Stephen Skirpan helped to bring the price down by competing with the Kleigl and Century in the school (ie: low priced) market with his 'Scrimmer'. Back then, I got the best pricing and service from Joe Privateer at his LA-based SCR Digitrol. Nowadays, Joe Tawill, as president of GAM appears to provide the best service of any LA-based manufacturer - far better than he was allowed to provide as president of Colortran. /s/ Richard Century Edkotrons!?!? wow Richard you must be almost as ancient as I am. Marty Petlock ------------------------------ Date: Tue, 27 Sep 2005 21:18:42 -0400 From: Stephen Litterst Subject: Re: Wireless Designer station for ETC In-reply-to: Message-id: <4339EF72.2010608 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Steve B. wrote: > --------------------------------------------------- > Not to start a war either, but in defence of ETC, the Express/ion > console series is easily 12-15 years old ?. It's my understanding that > the console hardware (mostly processing speed issues) does not allow the > software upgrades needed to make them Net2 compatable, outside of an > Emphasis system. Pity. Well, the Expression I is about 15 years old but only bears a physical resemblance to the later iterations of the console. The Express line, while it uses the same software is younger than the Strand 500 series as far as the hardware design. I should take the time to look up dates, but I remember programming on a Strand 420 (released at the same time as the 500s) when the Express was released. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ In-Reply-To: References: Message-Id: From: "Daniel O'Donnell" Subject: Re: Between the gel sheets Date: Tue, 27 Sep 2005 21:25:01 -0400 On Sep 27, 2005, at 8:50 PM, seanrmc [at] earthlink.net wrote: > > Anyway, instead of using the shelves for flat storage, we roll the > gel, label the backing paper, and store it in rows on the shelves. > Each shelf is a _10 range (R00-R10, R61-R70, L201-L209, etc). > We've found it means much LESS material handling, as you don't have > to move anything to get to the sheet you want. Also, it's easy to > see if you have any left or not. We also keep a running inventory > of sheet stock so we know what's on the A suggestion. If instead of sorting by the first numbers you sort it by the last number (01,11,21... in one group) it'll be easier to find things. As it'll be... "The green one in the 8's" it does work nicely. --- Daniel R. O'Donnell dan [at] mystyk.com http://www.mystyk.com ------------------------------ Date: Tue, 27 Sep 2005 21:36:47 -0400 From: "Steve B." Subject: Re: Wireless Designer station for ETC Message-id: <005c01c5c3cd$1754c2b0$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: "Stephen Litterst" >> Not to start a war either, but in defence of ETC, the Express/ion console >> series is easily 12-15 years old ?. It's my understanding that the >> console hardware (mostly processing speed issues) does not allow the >> software upgrades needed to make them Net2 compatable, outside of an >> Emphasis system. Pity. > > Well, the Expression I is about 15 years old but only bears a physical > resemblance to the later iterations of the console. The Express line, > while it uses the same software is younger than the Strand 500 series as > far as the hardware design. I should take the time to look up dates, but > I remember programming on a Strand 420 (released at the same time as the > 500s) when the Express was released. > > > Steve Litterst > > > -- > Stephen C. Litterst > Technical Supervisor > Ithaca College > Dept. of Theatre Arts > 607/274-3947 > slitterst [at] ithaca.edu > ------------------------------ Date: Tue, 27 Sep 2005 21:47:01 -0400 From: "Steve B." Subject: Re: Wireless Designer station for ETC Message-id: <006001c5c3ce$856f2460$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: "Stephen Litterst" > Well, the Expression I is about 15 years old but only bears a physical > resemblance to the later iterations of the console. The Express line, > while it uses the same software is younger than the Strand 500 series as > far as the hardware design. I should take the time to look up dates, but > I remember programming on a Strand 420 (released at the same time as the > 500s) when the Express was released. Yeah, your time frame seems about right. I have 2 Express 250's whose serial numbers date them to '97. I think they were released about 2 years prior. The Expression/Insight II's I think came out about the same time, then were followed by Expression/Insight III's. The Express software does derive from original Expression but all were/are Net1. Net2 didn't come out till 2003 ?, or so. I do remember asking during end user training why no Net2 for Express/ion and was essentially told "lack of processing speed". I said "pity" in my post as it seemingly creates a big network design headache not being to able to have the console directly talk to the Net2 system. OTOH, it probably sells more Emphasis systems as part of the original spec., and as after comission add-on as well. SB ------------------------------ Date: Tue, 27 Sep 2005 22:07:15 -0400 From: Stephen Litterst Subject: Re: Wireless Designer station for ETC In-reply-to: Message-id: <4339FAD3.4080400 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Steve B. wrote: > --------------------------------------------------- > I do remember asking during end user training why no Net2 for > Express/ion and was essentially told "lack of processing speed". I said > "pity" in my post as it seemingly creates a big network design headache > not being to able to have the console directly talk to the Net2 system. > OTOH, it probably sells more Emphasis systems as part of the original > spec., and as after comission add-on as well. It's been too long since I was up-to-speed on the ETC hardware, but I know that the Strand consoles run off a Pentium at minimum (our 300 is Pentium based, the 500s I think are a slightly beefier Pentium), but I think the only ETC console to operate on an x86 architecture is the Obsession II, and that may only be a 486. This is just a shot in the dark, as I'm a lighting programmer, not a computer programmer, but it seems the consoles with the most flexible networking (Strand 300/500, Obsession II, Emphasis) have a networking OS (DOS, Win) running underneath the GUI. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <000901c5c3d2$540aa760$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Audrey II - Left in the lurch Date: Tue, 27 Sep 2005 19:14:16 -0700 > So - just a heads up to anyone planning a production of Little Shop of > Horrors: if you decide to rent from Otherhand Productions of Portland, OR; > have a backup plan in place. As for me, if anyone knows of a nice rental > puppet in my area... Randy - Check out Capital Playhouse in Olympia - closer to you than Portland, even. I don't have their phone number handy, but their website is capitalplayhouse.com . They do rent out their Audreys. - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <90d9c99805092719322a314498 [at] mail.gmail.com> Date: Tue, 27 Sep 2005 22:32:35 -0400 From: Scott Parker Reply-To: Scott Parker Subject: Sweeney Todd chair somewhere near NYC Greetings All, I may have a need for a Sweeney Todd chair here in Brooklyn. Does anyone within a day's drive have one to lend/rent? Thanks, Scott -- Take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ In-Reply-To: References:

Message-Id: <2BDA72DF-B250-4489-BE99-9A0F7A7DF26F [at] gmail.com> From: Andrew Vance Subject: Re: Wireless Designer station for ETC Date: Tue, 27 Sep 2005 21:50:44 -0500 Stephen Litterst wrote: > Well, the Expression I is about 15 years old but only bears a > physical resemblance to the later iterations of the console. The > Express line, while it uses the same software is younger than the > Strand 500 series as far as the hardware design. I should take the > time to look up dates, but I remember programming on a Strand 420 > (released at the same time as the 500s) when the Express was released. > I think the Expression 2 came out about 10 years ago. I say this because a local university built their new performing arts center ten years ago, and based on the money I know they threw at the project I can't imagine they would have bought anything but the shiniest new board at the time [they have a pink and white Expression 2]. Don't know about Strand's release schedule. I went from an ancient Light Palette, to a LP90, and skipped 7 years to a 520 In a different e-mail, Stephen Litterst wrote: > It's been too long since I was up-to-speed on the ETC hardware, but I know that the Strand consoles run off a Pentium at minimum (our 300 is Pentium based, the 500s I think are a slightly beefier Pentium), > but I think the only ETC console to operate on an x86 architecture is the Obsession II, and that may only be a 486. I don't know what's in the current Obsessions. I'm pretty sure the originals were 486s. I'd hope the Obs 2s are pentiums by now, if they weren't to start with. Steve Bailey wrote: > Not to start a war either, but in defence of ETC, the Express/ion console series is easily 12-15 years old ?. It's my understanding that the console hardware (mostly processing speed issues) does not allow > the software upgrades needed to make them Net2 compatable, outside of an Emphasis system. Pity. > I do remember asking during end user training why no Net2 for Express/ion and was essentially told "lack of processing speed". I said "pity" in my post as it seemingly creates a big network design headache > not being to able to have the console directly talk to the Net2 system. OTOH, it probably sells more Emphasis systems as part of the original spec., and as after comission add-on as well. It is a pity that Emphasis is the only way to upgrade the systems. They're nice little boards, and they do a great deal for me. I'd like to upgrade to Emphasis, but there really aren't that many benefits that I can see outside of Net2 for the cost of the upgrade. > Strand stuff (300 and 500 series) is generally newer and was designed to be more readily upgradable at a time theatrical networking was getting going. Right place at the right time for Strand, in tems of > timing. Maybe good planning as well. I do think Strand got it right on this account. I was at a product demo a month or so ago, and talked with the Strand folks about ShowNet and all its fun accessories. I think the smartest thing they did was use regular TCP/IP as their networking language, and then put that support in all of their boards. End users can then use off the shelf routers, switches, and hubs [wireless or wired] to create their network backbone. Definitely good planning. Now, what do I have to do for the ETC gods to atone for my blasphemy? -- Sincerely, Andrew Vance atvanceld [at] gmail.com ------------------------------ From: "ladesigners [at] juno.com" Date: Wed, 28 Sep 2005 04:26:14 GMT Subject: Re: Top Ten Stagecraft Books Message-Id: <20050927.212707.9684.615157 [at] webmail25.lax.untd.com> Since I have literally thousands of books in the theatre section of my personal research library, I must plead for forgiveness in my inability to limit my nominations to only ten, so I listed the top 30. After 'thefts' by colleagues and other losses, these books remain: The Business of Theatrical Design -Moody Lighting the Stage Art and Practice -Bellman [Ed. 1,2] Theatrical Design and Production -Gillette Stage Scenery -Gillette Theatrical Set Design: The Basic Techniques -Welker Scene Design and Stage Lighting -Parker & Smith [Ed. 2,3,4] Twentieth Century Decoration -Fuerst & Hume [2 vols.] Scenic Art for the Theatre -Crabtree & Beudert Scenery for the Theatre -Burris-Meyer & Cole Stage Rigging Handbook -Glerum Backstage Handbook -Carter Technical Design Solutions for Theatre -Sammler & Harvey Costume Design -Pecktal Costume Technicians Handbook -Ingham & Covey Costuming the Amateur Show -Saunders History of Costume -Payne Stage Makeup -Corson In Search of Light -Svoboda The Scenography of Josef Svoboda -Burian Stagecraft and Scene Design -Philippi The Magic of Light -Rosenthal & Wertenbaker Stage Lighting - Pilbrow Designing for the Theatre -Mielziner Mielziner Master of Modern Stage Design -Henderson Soundscape of Modernity -Thompson Sound Design in the Theatre -Bracewell Structural Design for the Stage -Holden & Sammler Principles of Theatre Art -Albright, Halstead, & Mitchell Design Graphics -Martin Architectual Graphic Standards -Ramsey & Sleeper __________________________________________ What are your nominees for the ten most important books on Stagecraft, broadly defined, that you would want to have as essential resources in your library? Jonathan S. Deull ------------------------------ From: "Fred Schoening" Subject: RE: loosey-goosey DC motor Date: Tue, 27 Sep 2005 23:59:37 -0500 Message-ID: <000e01c5c3e9$701e08e0$1f8afea9 [at] PRODIGALBRAIN> In-Reply-To: Hey, Gang! Forgot to mention that the drop will be in for all but the last scene. It's true, I could give is a bit of juice in the up direction to keep it stationary, but I'm afraid that doing so for long periods of time will cook the motor and/or controller. We also want to store it unfurled between shows, so really the drop will only be rolled up for about 30 minutes of every day. So, to be more specific, I think what I need in this situation is a mechanical solution - unless a bunch of you tell me that it's ok to stall the motor for long periods of time, which I don't think is going to happen. ; ) What do y'all think about installing an electric brake and adjusting the springs so that it just adds a bit of friction to the system? Like a clutch that's constantly being ridden? We're just using standard Grainger (a US industrial supplier, for our friends across the pond) controllers and motors. Haven't been able to afford the nicer stuff yet. Thanks for the input thus far! Fred ------------------------------------ Original message: Give it a small taste of 60 Hz AC from a filament (or similar) transformer.. Say 6 volts or so will usually hold a small motor pretty well. Too much voltage and you tend to degauss the field magnets - that's a Bad Thing (tm) Carla ------------------------------ Message-ID: <7880176.1127884390515.JavaMail.root [at] elwamui-little.atl.sa.earthlink.net> Date: Wed, 28 Sep 2005 01:13:10 -0400 (EDT) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Between the gel sheets Dan... An interesting suggestion. I could see that being appropriate for sending someone with little understanding to get gel (to make it more likely that they'll bring back the right stuff). It wouldn't be appropriate for us. Not only is the base skill level good enough, but we prep color from just a list (10 6.25" cuts R01, 72 6.25" cuts R132, etc) so there isn't a "pigment" reference to begin with. Also, it IS helpful that similar colors are together. If the LD on the third day of tech is considering changing the backlight system to "something else....maybe bluer," then a glance gives you an idea of what you can suggest (even if the paper inventory isn't up-to-date). --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: Daniel O'Donnell A suggestion. If instead of sorting by the first numbers you sort it by the last number (01,11,21... in one group) it'll be easier to find things. As it'll be... "The green one in the 8's" it does work nicely. ------------------------------ Message-ID: From: "Laura McMeley" Cc: seanrmc [at] earthlink.net Subject: RE: Between the gel sheets Date: Wed, 28 Sep 2005 00:23:06 -0500 In-Reply-To: This assumes of course that your not using Lee filters, for which the colors have no association to the numbering scheme. Laura McMeley > Sean wrote >"Also, it IS helpful that similar colors are together. If the LD on the > third day of tech is considering changing the backlight system to > "something else....maybe bluer," then a glance gives you an idea of what > you can suggest (even if the paper inventory isn't up-to-date)." > > --Sean ------------------------------ End of Stagecraft Digest #533 *****************************