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Subject: Stagecraft Digest #579
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #579

 1. Re: Automated Madness
    by "Adam Zeek" <dmx0512 [at] hotmail.com>
 2. Re: Depth and height issues
    by "RD" <doomster [at] worldnet.att.net>
 3. Re: Automated Madness
    by Mark O'Brien <marko [at] email.arizona.edu>
 4. Re: What do they call this on the fly rail?
    by "Peter Scheu" <peter [at] scheuconsulting.com>
 5. Re: Automated Madness
    by Mitch Hefter <stagecraft02 [at] DesignRelief.com>
 6. Re: Depth and Height issues
    by June Abernathy <jea00321 [at] yahoo.com>
 7. Re: Downlight wash fixtures  (was Preventing color burn out)
    by "Jon Ares" <jonares [at] hevanet.com>
 8. Re: What do they call this on the fly rail?
    by "Occy" <OneOccy [at] hotmail.com>
 9. Re: What do they call this on the fly rail?
    by "Jon Ares" <jonares [at] hevanet.com>
10. Re: Downlight wash fixtures  (was Preventing color burn out)
    by Brian Aldous <brian [at] tany.com>
11. Re: Keeping mics on sweaty actors
    by Mat Goebel <mgoebel [at] gmail.com>
12. Re: Automated Madness
    by "Tony Deeming" <deeming.tony [at] btinternet.com>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

----------------------------------------------------------------------

Message-ID: <BAY106-F223CB63954D90A34C0FFCDB8660 [at] phx.gbl>
In-Reply-To: <list-25440953 [at] prxy.net>
From: "Adam Zeek" <dmx0512 [at] hotmail.com>
Subject: Re: Automated Madness
Date: Wed, 09 Nov 2005 21:00:13 -0500

Also, I've done some pretty intense shows using mic cable with more than 20 
fixtures. Believe me, I've put them through their paces. And the my clients 
do seem to enjoy the price difference in high priced dmx cable to regular 
mic cable which produce the same results. Again, just my experience.


>From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
>Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
>To: "Stagecraft" <stagecraft [at] theatrical.net>
>Subject: Re: Automated Madness
>Date: Thu, 10 Nov 2005 00:06:36 +0000 (GMT)
>
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>On Wed, 9 Nov 2005, Paul Schreiner wrote:
>
>>(with a large dance show, for example, running fast cues in the
>>hundreds) in a facility that is more conducive to passing stray
>>interference.
>
>With respect, the speed with which cues are run has nothing to do with the 
>DMX data rate, which remains steady...
>
>Charlie

_________________________________________________________________
Don’t just search. Find. Check out the new MSN Search! 
http://search.msn.click-url.com/go/onm00200636ave/direct/01/


------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
Subject: RE: Depth and height issues
Date: Wed, 9 Nov 2005 19:32:20 -0700
In-Reply-To: <list-25439875 [at] prxy.net>
Message-ID: <auto-000025442754 [at] prxy.net>


Should I put in my one cent comment? Of all the productions I was privileged
to direct, since 1943, I have never used a mike for any performer from the
stage. Projection, articulation, enunciation, et al, are the hall marks of a
good performer. Jerry Blunt of L.A. city college, taught this for the fifty
years he worked with some of top people in our industry. Worked for him. 
Doom
-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Nelson
Sent: Wednesday, November 09, 2005 3:57 PM
To: Stagecraft
Subject: Re: Depth and height issues

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

> Your actors SHOULD be using a "louder than normal voice".   Ask if the
> choral/voice teacher in the bulding can work with the kids on correct
> vocal
> projection if you're not knowledgeable. They also must use excellent
> diction so the
> audience can clearly understand them. Don't be afraid to spend a  couple
> of
> the first few rehearsals as reading ones where you focus on diction  and
> projection. Put them along the front edge of the stage as you sit in the
> last row of
> the house and give feedback over a god mic. It's easier for kids to  learn
> it
> that way than to have to try to correct it after they have the words
> learned.

God mike? If you expect the students to be able to project to the back of
the house, shouldn't you be able to project as far as the stage?

Bill


------------------------------

In-Reply-To: <list-25442376 [at] prxy.net>
References: <list-25442376 [at] prxy.net>
Message-Id: <ae739c7444cc914da90c6f4d0f671e91 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Automated Madness
Date: Wed, 9 Nov 2005 20:11:18 -0700


On Nov 9, 2005, at 7:00 PM, Adam Zeek wrote:

> Also, I've done some pretty intense shows using mic cable with more 
> than 20 fixtures. Believe me, I've put them through their paces. And 
> the my clients do seem to enjoy the price difference in high priced 
> dmx cable to regular mic cable which produce the same results. Again, 
> just my experience.



Pardon me because I am just an automation person

But for want of saving a couple of bucks...

I am under the deck, in a suit, at 5:40 AM,  with just 20 minutes until 
walk in trying to bug out a cable that does not work

I am explaining to the client that the product reveal that he just 
spent 20,000.00 USD did not work like it did in rehearsal, because I 
saved 46.50 USD by using a cheaper cable.

He is trying to explain to HIS client, the CEO of a major 
pharmaceutical company,  why one side of the stage was piss yellow, and 
the other side puke green. When they really wanted Pfizer  blue

I am in the theatre at 11:30 at night trying to track down a DMX 
problem, when I could be at home sleeping, or better.

I think you get the picture.  Doing stuff almost right will ALWAYS bite 
you in the butt sooner or later.  Why would so many of us with no 
vested interest in you spending the extra money "recommend" that you do 
so.   We do it because we are mean.


Fooling them again....    Priceless


Mark-O



Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile

Santos / McGarry in 2006



------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Cc: Rees [at] fredonia.edu
Subject: RE: What do they call this on the fly rail?
Date: Wed, 9 Nov 2005 21:51:08 -0600
Organization: Scheu Consulting Services, Inc
Message-ID: <000001c5e5a9$fe6df560$d7c111ac [at] TOSHIBA>
In-Reply-To: <list-25440318 [at] prxy.net>

What Bill is talking about is typically a 3x3x1/4" tube - a reaction bar =
to
be used with a mobile capstan winch, which typically sits only 1" off =
the
floor . What Steve is talking about is a piece of 3 " flat stock,  which =
is
just part of the overall locking rail frame.

What the original poster was talking about as neither of these, but a =
custom
fabrication assumed to be used as tie off location for spot lines and/or
snub line and/or block and falls.

Confusing, ain't it?

Peter Scheu
Scheu Consulting Services, Inc.
www.scheuconsulting.com=20



> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf
> Of Stephen E. Rees
> Sent: Wednesday, November 09, 2005 5:22 PM
> To: Stagecraft
> Subject: Re: What do they call this on the fly rail?
>=20
>=20
> For info, archives & UNSUBSCRIBE, see
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> The piece of flat bar on my lock rail is decidedly not a
> reaction bar.=20
> It would not resist any vertical forces.  On the other hand, it does=20
> keep soccer balls from getting stuck between the take-up=20
> blocks though.  :) Steve
>=20
> Bill Sapsis wrote:
> > For info, archives & UNSUBSCRIBE, see
> > <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >=20
> >=20
> >=20
> > The reaction bar, sometimes called a toe bar, for a
> capstan's winch is
> > normally located only an inch or so above the floor.  6" above the
> > floor may allow too much play for the winch and result in the winch=20
> > slipping out. That would be bad.
> >=20
> > Bill S.
> > www.sapsis-rigging.com
> > 800.727.7471
> > 800.292.3851  fax
> > 267.278.4561 mobile
> >=20
> > Join the Long Reach Long Riders on their 3rd annual cross
> country charity
> > motorcycle ride.   <www.LRLR.org>
> >=20
> >=20
> >=20
> >=20
> > On 11/9/05 4:07 PM, "richard j. archer" <rja10 [at] cornell.edu> wrote:
> >=20
> >=20
> >>For info, archives & UNSUBSCRIBE, see
> >><http://stagecraft.theprices.net/>
> >>---------------------------------------------------
> >>
> >>I have also seen the bar Steve Rees mentioned earlier--the
> one 6" off
> >>the floor. This one could be a reaction bar for a capstan
> winch.  Tie
> >>a big rope to the arbor, run the pipe in and attached scenery.  Run
> >>rope around winch, pull arbor down and load it from the=20
> floor so you
> >>don't need anyone up on the loading bridge.  They had one at one
> >>theatre I worked at in Cleveland.  I don't remember it ever=20
> being used
> >>by the stagehands in the six seasons I worked there.
> >>
> >>Dick A
> >>TD, Cornell U
> >>
> >>
> >=20
> >=20
>=20
>=20


------------------------------

Message-Id: <6.1.0.6.2.20051109213943.01e49228 [at] mail.designrelief.com>
Date: Wed, 09 Nov 2005 22:06:09 -0600
From: Mitch Hefter <stagecraft02 [at] DesignRelief.com>
Subject: Re: Automated Madness
In-Reply-To: <list-25442757 [at] prxy.net>
References: <list-25442757 [at] prxy.net>

Many listers have written about DMX512.

Please note the following -
 From the beginning, DMX512 specified the 5-Pin XLR - Only.  It was 
emphasized in the ANSI version published a year ago.  The whole idea of the 
standard is interoperability.  If you are not using 5-pin XLR, you are 
defeating the purpose of the standard.  From the original and 1990 versions:
"Where connectors are used, the data link shall utilize 5-pin "XLR" 
style  . . ."
 From the 2004 ANSI version:  "Equipment in this category shall use 5-pin 
XLR connectors . . ." and ". . .  use the 5-pin XLR connector, but shall 
not use any other XLR connector."

I'm not sure how much clearer this can be stated.

Yes, many products do not use pins 4 & 5.  That doesn't excuse the use on 
non-5-pin XLR connectors.  Are all pins in 9-pin D connectors used?  Do you 
see 7-pin D or 3-Pin D connectors out there?

DMX512 is based on the EIA-485 standard for electrical characteristics, 
which includes a 120 ohm impedance specification.  Use of microphone cable 
is obviously not compliant with this, and results are unpredictable.  For 
those have you that have gotten away with it, you have simply been 
lucky.  I wouldn't recommend staking your reputation on that 
practice.  Also, any manufacturer worth their salt will not support any 
such installation.  As a manufacturer, virtually all DMX512 problems we see 
are cable or cable termination problems.

And someone misstated the pin-out.  The correct pinout is:
1       Data Link Common
2       Data1-
3       Data1+
4       Data2-
5       Data2+
Note - the 2004 ANSI version does make allowances for use of non-XLR 
connectors in very specific instances, but an adapter to XLR5 is 
required.  If you can fit an XLR connector, then it must be an XLR5.

Cabling is now broken out into a separate standard, which is going through 
the ANSI consensus development process, which anyone can participate in.  A 
draft standard for portable DMX512 cables is in public review right now.

See http://www.esta.org/tsp/documents/public_review_docs.php and download 
the documents for BSR E1.27-1.  Take the opportunity to review and comment 
on other draft standards as well.

Lots of good information is available in the Recommended Practice for 
DMX512 available from USITT 
(http://www.usitt.org/bookstore/go.php?to=ItemList&search=Titles&for=dmx512). 
The RP comes with the 1990 version.

A FAQ that discusses these issues can be found at:
http://www.usitt.org/standards/DMX512_FAQ.html





------------------------------

Message-ID: <20051110044023.48259.qmail [at] web33101.mail.mud.yahoo.com>
Date: Wed, 9 Nov 2005 20:40:23 -0800 (PST)
From: June Abernathy <jea00321 [at] yahoo.com>
Subject: Re: Depth and Height issues


June Abernathy wrote:
> 
> So you are directing AND designing what the set will
> look like? Unusual.

Bruce replied:
>June, in your world of IATSE shows and national
>tours, it certainly would be unusual, but in school
>and community theatre it is not unusual at all. 

>There is rarely a "Master carpenter" either - The
>director takes a bunch of actors and other volunteers
>with little carpentry experience, and tells
>them what his "Artistic vision" is and expects them
>to build it. As the facility's TD, it falls on me to
>try and keep things as safe as I can.

>Just a glimpse into the "Other side" of Theatre.

>Bruce

Thanks for the look at the "Other side" Bruce. But, I
didn't actually START my career doing national tours.
I did my time in HS, Community, and Small professional
theaters before getting to where I could make a living
at it. And although my HS teacher generally "designed"
the set, we usually had a couple of Dads and some
handy students who not only did the majority of
building, but offered input on how to work around
various technical problems.

In most of my community theater experience, someone
other than the director was in charge of figuring out
the set, or at least working with the director to come
up with a plan. Sometimes this is a TD or Carpenter
who regularly works with the company, and sometimes
this is a friend of the director or someone on the
board, who has some skill in this area, brought in for
the one show. Some community theaters do maintain a
TD, and some do actually hire in designers. I've lit a
couple of shows for such companies.

It seemed to me that the original poster could use a
collaborator, since figuring out the possibilities for
scenic elements seemed a little more out of his area
of expertise than the directing did. 

But, I do concede that it's been a while since I did
that kind of thing, and if "first time directing" also
includes "first time scene/light/costume design" as
part of the package, then my hat is off to those who
do it.



June Abernathy
IATSE #321 (Tampa, FL)
FOH Electrician
The Lion King National Tour (Gazelle)


	
		
__________________________________ 
Yahoo! Mail - PC Magazine Editors' Choice 2005 
http://mail.yahoo.com

------------------------------

Message-ID: <001501c5e5b5$af111220$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-25435903 [at] prxy.net>
Subject: Re: Downlight wash fixtures  (was Preventing color burn out)
Date: Wed, 9 Nov 2005 21:14:53 -0800

> But apart from Frank's style, isn't a 2k fresnel overkill for a downlight 
> wash?  Maybe useful from a really high trim, but it seems like an unusual 
> choice to me (but then again I don't know the specifics of the design or 
> the venue).

Well, operas often go with big, brash, overkill lighting, sort of like the 
sets and costumes.  Don't get me wrong - I love opera, and doing the big, 
brash, overkill design.  I've used 2Ks for downs in some opera, as well as a 
show (6 Characters...) that we placed on a 1920's sound stage - wanted the 
brash downlight for some key moments.   For that same show, I also used a 5K 
on a rolling stand (but adaptered to 20A) to use for 'effect.'  Nice big 
beefy prop!  (Even though it was the wrong era, but that's ok - who saw the 
show that knew the difference??)

     - Jon Ares
www.hevanet.com/acreative 


------------------------------

Message-ID: <BAY106-DAV10B7DD980ADDB7B6DECFA6BD660 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
Cc: peter [at] scheuconsulting.com
Cc: Rees [at] fredonia.edu
References: <list-25443964 [at] prxy.net>
Subject: Re: What do they call this on the fly rail?
Date: Wed, 9 Nov 2005 21:39:46 -0800

The counter weight systems was build in 1985 either by Hoffend or Hoffman 
the company that paints all parts steel/items that light blue. The bar/rail 
is 1/2 way between the lock rail and the kick rail so too high to be a 
reaction bar on both the fly gallery and the stage lock rail. The 
mule/capstan is in the arbor well on a track, there are 3 full length pin 
rail on this 90+ arbors this system, on the onstage side of the fly gallery 
plus a full length pin rail on the stage left side at fly gallery level, the 
arbors are on stage right as well as the purchase lines. The bar/rail seems 
to be 1.5 inch pipe as scaffolding clamps attach nicely to it, and this 
bar/rail is totally attached the to counter weight frame network welded to 
it below the lock rail and this was original install in 1985, so there must 
be a name for it. I am tending to lean towards Delbert's idea as snub rail.



----- Original Message ----- 
From: "Peter Scheu" <peter [at] scheuconsulting.com>
---------------------------------------------------

What Bill is talking about is typically a 3x3x1/4" tube - a reaction bar to
be used with a mobile capstan winch, which typically sits only 1" off the
floor . What Steve is talking about is a piece of 3 " flat stock,  which is
just part of the overall locking rail frame.

What the original poster was talking about as neither of these, but a custom
fabrication assumed to be used as tie off location for spot lines and/or
snub line and/or block and falls.

Confusing, ain't it?

Peter Scheu
Scheu Consulting Services, Inc.
www.scheuconsulting.com



> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf
> Of Stephen E. Rees
> Sent: Wednesday, November 09, 2005 5:22 PM
> To: Stagecraft
> Subject: Re: What do they call this on the fly rail?
>
>
> For info, archives & UNSUBSCRIBE, see
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> The piece of flat bar on my lock rail is decidedly not a
> reaction bar.
> It would not resist any vertical forces.  On the other hand, it does
> keep soccer balls from getting stuck between the take-up
> blocks though.  :) Steve
>
> Bill Sapsis wrote:
> > For info, archives & UNSUBSCRIBE, see
> > <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >
> >
> >
> > The reaction bar, sometimes called a toe bar, for a
> capstan's winch is
> > normally located only an inch or so above the floor.  6" above the
> > floor may allow too much play for the winch and result in the winch
> > slipping out. That would be bad.
> >
> > Bill S.
> > www.sapsis-rigging.com
> > 800.727.7471
> > 800.292.3851  fax
> > 267.278.4561 mobile
> >
> > Join the Long Reach Long Riders on their 3rd annual cross
> country charity
> > motorcycle ride.   <www.LRLR.org>
> >
> >
> >
> >
> > On 11/9/05 4:07 PM, "richard j. archer" <rja10 [at] cornell.edu> wrote:
> >
> >
> >>For info, archives & UNSUBSCRIBE, see
> >><http://stagecraft.theprices.net/>
> >>---------------------------------------------------
> >>
> >>I have also seen the bar Steve Rees mentioned earlier--the
> one 6" off
> >>the floor. This one could be a reaction bar for a capstan
> winch.  Tie
> >>a big rope to the arbor, run the pipe in and attached scenery.  Run
> >>rope around winch, pull arbor down and load it from the
> floor so you
> >>don't need anyone up on the loading bridge.  They had one at one
> >>theatre I worked at in Cleveland.  I don't remember it ever
> being used
> >>by the stagehands in the six seasons I worked there.
> >>
> >>Dick A
> >>TD, Cornell U
> >>
> >>
> >
> >
>
> 

------------------------------

Message-ID: <007d01c5e5b9$e611bdc0$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-25443964 [at] prxy.net> <list-25445661 [at] prxy.net>
Subject: Re: What do they call this on the fly rail?
Date: Wed, 9 Nov 2005 21:45:04 -0800

>  The bar/rail
> is 1/2 way between the lock rail and the kick rail so too high to be a
> reaction bar on both the fly gallery and the stage lock rail. The
> mule/capstan is in the arbor well on a track, there are 3 full length pin
> rail on this 90+ arbors this system, on the onstage side of the fly 
> gallery
> plus a full length pin rail on the stage left side at fly gallery level, 
> the
> arbors are on stage right as well as the purchase lines. The bar/rail 
> seems
> to be 1.5 inch pipe as scaffolding clamps attach nicely to it, and this
> bar/rail is totally attached the to counter weight frame network welded to
> it below the lock rail and this was original install in 1985, so there 
> must
> be a name for it.

Pictures are rumored to be worth 1000 words....  at least perhaps 758 more 
than the words I excerpted above.  Can you post a picture?  I doubt if I 
know the name, but I'd be very interested in seeing this arrangement....

       - Jon Ares
www.hevanet.com/acreative 


------------------------------

In-Reply-To: <list-25442757 [at] prxy.net>
References: <list-25442757 [at] prxy.net>
Message-Id: <FCF754D8-51B0-11DA-88F6-000A9592AE20 [at] tany.com>
From: Brian Aldous <brian [at] tany.com>
Subject: Re: Downlight wash fixtures  (was Preventing color burn out)
Date: Thu, 10 Nov 2005 01:12:36 -0500

2 kW Fresnels are a very useful tool for concentrated color washes.  I 
have used them frequently & very happily.  When using highly saturated 
colors in a 2 kW, I put heat shield in  the color slot of the unit, and 
the color in the slot in the barn door.   There are plenty of units of 
lower wattage which crisp the color even faster than a 2kW. (An 
over-tuned 4.5x6.5 Altman 360Q holds the record in my book - I saw one 
burn a line down the color as the electrician slid the frame into the 
unit at focus.)

I find that I am willing to consider anything that spits light out one 
end & not the other - the punchier the better, of course; what I 
actually use depends on local inventory and throw distance.   I like 
the Sc4 down system at DTW, and the ParNels are OK.  I've used PAR 56 
strips (at the Joyce) and PAR64 strips (anyone else remember those?) - 
strips make for a fast focus on a dance plot.  For the low ceiling at 
Symphony Space, we used "shortie" PAR 64 with VWFL lamps, which worked 
well - they really ate color, but most shows there are one offs.  
Unfortunately the very wide lamps are no longer made & we are looking 
to move on.  Sc4 "Par" wides are too narrow & hard to blend so we'll 
likely be going (can you smell my reluctance?) to ParNels.  I suppose I 
like good quality old-style fresnels best, then PAR 64's.
And if budget were no option, how about VL500's?  No more worrying 
about burning color...

meanwhile, back at the original post topic...

If the designer specs a particular color, he should get it.  That is 
what we do.  The LD who specced the L119 is highly regarded in this 
profession and deservedly so.  Yes, R74 is similar, and were I asked by 
an ME if it was OK to sub it, I personally would say yes... as long as 
it was done from the start, not after cues had been written.  Whether a 
designer should ask for the heat shield or leave it up to the ME to 
remember depends on the personalities & venue, I suppose.  As a 
designer, I put it as a suggestion & leave it up to the electrician to 
decide.  When I was an PE, I just used it and swallowed the cost, 
figuring that heat shield was cheaper than a 4 hr min. trip back up the 
ladder with fresh color.

On the pounce wheel... I was ME for a long run once upon a time, and 
had to change out the color monthly - and the deep blue downlight (R79) 
every other week.  I got bored, & tested by pouncing the color for 1/2 
the stage and not the other 1/2.  Next month I swapped halves.  
Conclusion:  Pouncing has no useful effect on fading of R79 or L135 
(the other dnlite color) whatsoever.  Maybe it helped with the old 
thick plastics (Roscolene, Cinemoid) but it is a waste of time on 
modern mylar & polymers.  So give that pounce wheel back to the costume 
shop you lifted it from.

BA

Brian Aldous
Lighting Design

brian [at] tany.com
On Nov 9, 2005, at 9:32 PM, Stagecraft wrote:

> Downlight wash fixtures  (was Preventing color burn out)


------------------------------

Message-ID: <d983c4a0511100047s3c529d6dh6287040d54be997d [at] mail.gmail.com>
Date: Thu, 10 Nov 2005 00:47:00 -0800
From: Mat Goebel <mgoebel [at] gmail.com>
Subject: Re: Keeping mics on sweaty actors
In-Reply-To: <list-25440248 [at] prxy.net>
References: <list-25432565 [at] prxy.net> <list-25440016 [at] prxy.net>
	 <list-25440248 [at] prxy.net>

Yes. Specifically, be sure to spray across, not in to the element.

On 11/9/05, Bill Nelson <billn [at] peak.org> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Be very cautious about blowing out mike elements, especially with
> compressed gases of any sort. The diaphrams are not designed for such
> punishment and it will void any warranty if you damage them.


--
Mat Goebel
www.matgoebel.com
Mobile: 510.693.1448

------------------------------

From: "Tony Deeming" <deeming.tony [at] btinternet.com>
Subject: RE: Automated Madness
Date: Thu, 10 Nov 2005 10:31:22 -0000
Message-ID: <ODEMKLAMIBKNHPJLNKDPGENGDEAA.deeming.tony [at] btinternet.com>
In-Reply-To: <list-25444136 [at] prxy.net>



> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Mitch
> Hefter

>
> Many listers have written about DMX512.
>
> Please note the following -
>  From the beginning, DMX512 specified the 5-Pin XLR - Only.  It was
> emphasized in the ANSI version published a year ago.  The whole
> idea of the
> standard is interoperability.  If you are not using 5-pin XLR, you are
> defeating the purpose of the standard.


<snipped lots of good and valid info>

Mitch, with the greatest possible respect, it is not the users that are
guilty of the bastardisation of the DMX protocol, but the manufacturers -
some of whom are MAJOR suppliers to the entertainments industry.

Whether we, as users of the kit, believe that a 5-pin connector is the right
way to interface between cable and fixture is, quite frankly, irrelevant.
Our customers may specify certain intelligents, or designers themselves more
often use their favourite equipment based on prior experience. If we all
stopped to say "Oh, does it have a 5 or 3 pin DMX input", then I suspect
that a lot of shows would be affected financially as well as artistically.
The fact of the matter is that regardless of opinions, what the industry
does (be it full-blown pro LD's or smaller am-drams) is get the kit they
require, and have a stock of 5-3 and 3-5 pin adapters. In fact, much of the
hire kit I've seen always comes with a pair of adaptor leads per fixture
just to accommodate the differences.

I'd say that there's very little chance of the situation improving in the
short term, as companies like Martin are highly unlikely to change their
'standard' interface from 3-pin any time soon. IMHO, the real argument that
can and should be made is the one that's already being beaten to death
here - the fact that the BEST way to avoid potential problems is to use the
right spec of CABLE! Yes, mic cable can and does (in some circumstances) do
the job - I've done so in the past myself when pushed. But I'm sure that if
I used it for every instance of DMX need I ever have in the future then w
WILL experience problems before too long.

My 10c

TD



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End of Stagecraft Digest #579
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