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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 26961326; Tue, 24 Jan 2006 03:03:56 -0800 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 #665 Date: Tue, 24 Jan 2006 03:01:19 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.1 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, INITIAL_INVEST autolearn=unavailable version=3.0.4 X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #665 1. Re: Question for NYC lighting designers by Herrick Goldman 2. Re: Props help..."rescue mode" by Steve Larson 3. Re: Props help..."rescue mode" by Steve Larson 4. Re: Casters by "Stephen E. Rees" 5. Re: Casters by "Bill Conner" 6. Re: It's happened again.... by Stephen Litterst 7. Re: Glassbreakers by "Frank E. Merrill" 8. Re: Glassbreakers by doran [at] bard.edu 9. Re: It's happened again.... by Jim Hyslop 10. Re: Glassbreakers by Jim Hyslop 11. Re: It's happened again.... by Stephen Litterst 12. Re: Props help..."rescue mode" by Tom Grabowski 13. Platforms by "G. D. George" 14. Insulation and adhesives by b Ricie 15. Re: Why we go Nut-Crackers by Noemi Ybarra 16. Re: Why we go Nut-Crackers by Stephen Litterst 17. Painting the floor... by "Steve Jones" 18. Re: Painting the floor... by Kevin Lee Allen 19. Re: Painting the floor... by "Jon Ares" 20. Re: Platforms (longish) by "Stephen E. Rees" 21. AHJ and Fire by "David R. Krajec" 22. Re: Painting the floor... by "Stephen E. Rees" 23. Re: Painting the floor... by Kevin Lee Allen 24. Re: Painting the floor... by Mark O'Brien 25. Re: Painting the floor... by "Storms, Randy" 26. Re: It's happened again.... by "G. D. George" 27. Re: Stencil Material by Noemi Ybarra 28. pneumatically operated casters by "David R. Krajec" 29. Re: Glassbreakers by "Curtis L. Mortimore" 30. Re: Painting the floor... by Kevin Lowry 31. Looking for Lasers? by Greg Bierly 32. Re: Looking for Lasers? by Ford Sellers 33. Re: Casters by Greg Bierly 34. Re: Looking for Lasers? by "Frank E. Merrill" 35. Re: Automated Chain Motors by "Eric Huss" 36. Re: Casters by "G. D. George" 37. Re: It's happened again.... by "RD" 38. Re: It's happened again.... by "Fred Schoening, Jr." 39. Re: Painting the floor... by "Victor W. Smith" 40. Re: Stencil Material by "Victor W. Smith" 41. Re: Glassbreakers by J Burch 42. Re: Looking for Lasers? by Bruce Purdy 43. Re: Painting the floor... by Bruce Purdy 44. Re: Painting the floor... by FrankWood95 [at] aol.com 45. Re: Painting the floor... by Bill Sapsis 46. Re: Painting the floor... by "Jeffrey E. Salzberg" 47. Re: Painting the floor... by Bruce Purdy 48. Continuing: Lightweight headsets by "Stuart Baulch" 49. Re: Continuing: Lightweight headsets by "Jeffrey E. Salzberg" 50. Re: Painting the floor... by Stephen Litterst 51. Re: Casters by Paul Guncheon 52. Pyro License by Paul Guncheon 53. Re: Pyro License by shifting [at] shifting.ca (Benjamin Eastep) *** 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. ---------------------------------------------------------------------- Date: Mon, 23 Jan 2006 07:25:29 -0500 Subject: Re: Question for NYC lighting designers From: Herrick Goldman Message-ID: In-Reply-To: Nope sorry. On 1/21/06 1:09 PM, "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Anyone have drawings for Altered Stages/29th Street Rep? > > ...And no, Chris, I won't pay your travel and per diem for you to come > measure and draw it. > > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Date: Mon, 23 Jan 2006 08:13:29 -0500 Subject: Re: Props help..."rescue mode" From: Steve Larson Message-ID: In-Reply-To: I have three tommy-guns that I ordered from Soft-Air. They are authenticly sized guns that shoot the plastic pellet. The orange thingy in the end comes out easily. They were $114 each. I'm using two of them till the 28th of Jan. They have the circular magazines and are known as the "1928 Chicago typewriter". Contact me off-list. Found them by googling. Steve > From: Paul Schreiner > Reply-To: "Stagecraft" > Date: Sun, 22 Jan 2006 15:10:42 -0500 > To: "Stagecraft" > Subject: Props help..."rescue mode" > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Anyone in/near Virginia have in your props stock a pair of > not-necessarily-realistic-looking "machine" guns for renting/borrowing > until the end of the month? Original concept had something like a > tommy gun called for, but we're not picky... ------------------------------ Date: Mon, 23 Jan 2006 08:16:39 -0500 Subject: Re: Props help..."rescue mode" From: Steve Larson Message-ID: In-Reply-To: I'm in Raleigh. Steve > From: Steve Larson > Reply-To: "Stagecraft" > Date: Mon, 23 Jan 2006 08:13:29 -0500 > To: "Stagecraft" > Subject: Re: Props help..."rescue mode" > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I have three tommy-guns that I ordered from Soft-Air. > They are authenticly sized guns that shoot the plastic > pellet. The orange thingy in the end comes out easily. > They were $114 each. I'm using two of them till the > 28th of Jan. They have the circular magazines and are > known as the "1928 Chicago typewriter". Contact me > off-list. Found them by googling. ------------------------------ Message-ID: <43D4DF7A.4010801 [at] fredonia.edu> Date: Mon, 23 Jan 2006 08:51:54 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Casters References: The truth is, IT DEPENDS. We keep a pretty large supply of straight and swivel casters in a couple of different diameters. Depends on the application. In the past, we have bought in quantity those that were needed to do a specific job but then added a couple or three to come up with a minimum of 2 dozen (or so) of a type. They will be between 3" and 6" but most have either rubber or urethane wheels and capacities in the 200-500# range. I've been getting casters from Revvo as they have a stocking warehouse in Buffalo and will also build to order if necessary. Steve Rees, TD SUNY-Fredonia BKHAIN [at] aol.com wrote: > What are people using for regular old platform casters? [snip] ------------------------------ Message-ID: <005a01c62028$31ce4460$6501a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Casters Date: Mon, 23 Jan 2006 08:20:42 -0600 I first heard the term zero-throw from a thesis or paper at Yale. I'd guess it is in a Tech Brief but don't know. It was applied to the three offset swivels casters mounted to a plate which pivots. I have always thought that triple swivels were another name for the same thing. I thought it came from Wenger while Jim Jenne was working there but not sure. One unfortunate incident muddied this for me. I designed an orchestra shell and specified zero throw casters. What showed up was a single swivel caster that was not offset, the axel was directly below the pivot and the fork was straight, not swept back. I recall these seem to be used upright on things like platforms that cargo boxes are pushed along on. Frankly, they seemed useless to me but I'm sure there was an application. Since then, I simply describe the arrangement rather than label it. ------------------------------ Date: Mon, 23 Jan 2006 09:24:12 -0500 From: Stephen Litterst Subject: Re: It's happened again.... In-reply-to: Message-id: <43D4E70C.8040300 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Scott Parker wrote: > --------------------------------------------------- > The main point of my 3 hours with my SM class was about one very > special word: >--NO--<. "No" can be so much stronger then yes for > one's reputation. When I get a student, or an employee for that > matter, who can give me a well thought out NO, I'm much more inclined > to accept the yes with confidence that the job will get done. My college mentor spent three years teaching me when and how to say "No." Best lesson I ever learned. > Another major problem that, I believe, many of us are faced with: > getting the show up even though some have not completed what they > needed to do. How many academic productions have been "saved" by the > reserve team? A person just doesn't come through, but we fix it anyway > and the show doesn't actually end up suffering. We don't postpone the > opening, we don't cut the parts... We work like mad to fix the > problems. Doesn't this give the entire group a false sense of > security? It all depends on how the bailout is done. Done properly, the bailee does not get a false sense of security and is debriefed to find out exactly where the problem arose and how to avoid that in the future. We discuss this long and hard every year, to come up with a consistent strategy that will allow students to fail at a task (if necessary) without penalizing the people on the production who are fulfilling all their duties and responsibilities. It's a different threshold for every production position. A designer can either fail by not turning in draftings and paperwork, which affects everyone downstream or they fail by having a poorly conceived concept and making the show look bad, which may not affect the technicians, but certainly impacts the design staff. The former situation is an easy bail-out, where the latter is nigh impossible by the time the issue is recognized. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Mon, 23 Jan 2006 09:46:30 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <197531760.20060123094630 [at] tcon.net> Subject: Re: Glassbreakers In-Reply-To: References: Howdy ! Sunday, January 22, 2006, J Burch wrote: > I am looking at ways to break a pane of tempered glass. One of the easiest I've seen is to use a the solenoid assembly that would have chimed a doorbell (had the bells not been removed) and the solenoid plunger was sharpened a bit to focus the strike in a smaller area to shatter the glass. Was small, easily painted black for concealment, and worked every time with the push of a button on the control desk. 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: <1138028760.43d4f0d8107df [at] webmail.bard.edu> Date: Mon, 23 Jan 2006 10:06:00 -0500 From: doran [at] bard.edu Subject: Re: Glassbreakers References: In-Reply-To: Jean, For an even lower tech approach, you might try a rat trap with a nail or sharpened bolt welded to the killing bar. Set the trap, pull the string, and see what happens. Good Luck, Andy Champ-Doran Bard college Departments of Dance and Theater Quoting J Burch : > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Greetings > I am looking at ways to break a pane of tempered > glass. One of my options is a squip operated device > that used s nail to break the pane. > > http://www.sweeney-special- effects.com/Glass_Breakers_Cable_Cutters/glass_breakers_cable_cutters. html > > I have a couple of questions about this item. First > has anyone had any experience with it? It looks to me > like it would mount perpendicular to the pane, and I > am concerned about concealing the device. Would it be > able to function if it was hidden around the perimeter > of the window. Specifically, would the glasspane > break if this device was located diretly behind a > framing member of the window? > > Do you have other options on how to break tempered > glass? I know that there are other glass options, but > for multiple reasons, I need to use the tempered. > > Thanks in advance for your help! > Jean Burch > UMKC TD Canidate > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ------------------------------ Message-ID: <43D4F132.5040209 [at] dreampossible.ca> Date: Mon, 23 Jan 2006 10:07:30 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: It's happened again.... References: In-Reply-To: G. D. George wrote: > In academia, at least part of the problem is that you can't easily assess > the value of an intangible like loyalty. It's hard to hang a number on or > rate. Likewise ethical behavior in an environment where concepts of > what-is-ethical differ radically within a program, let alone a college or > university. Well, I think Professional Engineering societies (such as the PEO - Professional Engineers of Ontario) do test for ethics. I've never taken the test to become a Professional Engineer, but my understanding is that the bulk of the test deals with ethics, not with domain knowledge (one of the prerequisites for taking the test is that you have B.Eng., so that covers the domain knowledge). Maybe this is something the ESTA should look at? (Just kidding. I think.) -- Jim Hyslop ------------------------------ Message-ID: <43D4F1C0.3010509 [at] dreampossible.ca> Date: Mon, 23 Jan 2006 10:09:52 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Glassbreakers References: In-Reply-To: J Burch wrote: > Do you have other options on how to break tempered > glass? I know that there are other glass options, but > for multiple reasons, I need to use the tempered. On a tangent - would you mind sharing how you determined tempered glass was your best option? -- Jim Hyslop ------------------------------ Date: Mon, 23 Jan 2006 10:10:15 -0500 From: Stephen Litterst Subject: Re: It's happened again.... In-reply-to: Message-id: <43D4F1D7.8020502 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Jim Hyslop wrote: > --------------------------------------------------- > Well, I think Professional Engineering societies (such as the PEO - > Professional Engineers of Ontario) do test for ethics. > > Maybe this is something the ESTA should look at? (Just kidding. I think.) But where would we find enough Subject Matter Experts? :-D Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: Tom Grabowski Cc: paulschreiner42 [at] gmail.com Subject: RE: Props help..."rescue mode" Date: Mon, 23 Jan 2006 09:38:21 -0600 In-Reply-To: Message-ID: <20060123093822156.00000002604 [at] TGRABOWSKI> We were able to borrow a rubber M-16 from the campus ROTC staff last time = we needed a machine gun for a play. = -- = Tom Grabowski University of Texas-Pan American Designer Communication Department Tomgrab [at] UTPA.edu Edinburg, Texas 78541 956/381-3588 FAX 956/318-2187 > Date: Sun, 22 Jan 2006 15:10:42 -0500 > From: Paul Schreiner > Subject: Props help..."rescue mode" > = > Anyone in/near Virginia have in your props stock a pair of = > not-necessarily-realistic-looking "machine" guns for = > renting/borrowing until the end of the month? Original = > concept had something like a tommy gun called for, but we're = > not picky... > = > ------------------------------ From: "G. D. George" Subject: Platforms Date: Mon, 23 Jan 2006 10:59:09 -0500 In-Reply-To: Message-ID: Hi Gang, What are you feelings on platform construction? I'm going to request money to rebuild our stock of (3/4" ply of varying grades on 2x4 frames) standard platforms as they are starting to look a lot like swiss cheese. I'm also tired of the clump-clump from these. I remember discussion of stressed skin platforms several years ago and that they were quieter. Any thoughts? Thanks, Jerry G. D. George Assistant Professor and Technical Director Capital University Theatre Department of Communications 1 College and Main Columbus, OH 43209 (614) 236-6498 ggeorge [at] capital.edu ------------------------------ Message-ID: <20060123161638.94173.qmail [at] web50608.mail.yahoo.com> Date: Mon, 23 Jan 2006 08:16:38 -0800 (PST) From: b Ricie Subject: Insulation and adhesives In-Reply-To: Check with your local upholstery shop. Years ago I work for an upholstery shop and the spray we used was wonderful, I just wish I could remember what it was. It was not super 77 or anything you could get off the shelf, we always had to order it. The Spray was orange in color so you could see where ya put it, came out in a spider webby sorta spray. We used it to attach batting to batting, batting to foam, foam to foam, and my fingers to anything they would touch. Very strong stuff, easy to work with, and only had to be applied once. HTH... Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <43D50170.3076F9D0 [at] jonesphillips.com> Date: Mon, 23 Jan 2006 11:16:48 -0500 From: Noemi Ybarra Subject: Re: Why we go Nut-Crackers References: The techs on the yearly production of Nutcracker I'm involved in have a tradition of singing along, roughly and raucously, to parts of the music. When I hear that music elsewhere, I always laugh at that memory. Noemi CB wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >This is music of such 22-carat quality as to have remained > >untarnished not only by endless repetitions but also by the mucky > >thumbprints of the advertising industry. > > Yeah, right. While I was doing 'em, and still to this day, the humming of > most anything from this ballet can get you the, "I'm loading the firearms, > run" look. If the look doesn't stop, I have been known to start talking > about which would be more fun, claims of show-tune induced insanity as a > plea or self-defense. > Untarnished by endless repetition my eye. > Chris "Chris" Babbie ------------------------------ Date: Mon, 23 Jan 2006 11:27:27 -0500 From: Stephen Litterst Subject: Re: Why we go Nut-Crackers In-reply-to: Message-id: <43D503EF.6060603 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Noemi Ybarra wrote: > --------------------------------------------------- > The techs on the yearly production of Nutcracker I'm involved in have a > tradition of singing along, roughly and raucously, to parts of the music. > When I hear that music elsewhere, I always laugh at that memory. Our wardrobe mistress began the tradition of clucking along to the score. We had to stop after the dancers couldn't stop giggling at the sight of us all clucking in the wings. We had a bit of a chicken obsession in that company. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: "Steve Jones" Subject: Painting the floor... Date: Mon, 23 Jan 2006 10:37:00 -0600 Organization: Plaza Theatre Message-ID: Well, I am finally getting a chance to paint the stage deck and was looking for any insight. Our deck is tempered Masonite over the original wood floor. It has not been treated or painted since we opened last April. We are probably going to paint it flat black. Any thoughts on type of paint? Rosco Floor Paint vs local paint or other? Techniques to ensure good adhesion? Etc. Thanks! Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 834-8147 http://www.glasgowplazatheatre.org The Spencers-Theatre of Illusion Sunday, February 12, 2006, 2:00 PM An Evening With Groucho Saturday, April 22, 2006, 7:00 PM ------------------------------ Date: Mon, 23 Jan 2006 11:46:03 -0500 From: Kevin Lee Allen Subject: Re: Painting the floor... In-reply-to: Message-id: <472D598B-D0BD-4169-88FF-73B0DD0D1D00 [at] klad.com> References: I always suggest gloss or semi-gloss black rather than flat. Flat =20 black gets dusty, shows footprints and is soon a dull grey. Gloss or =20 Semi-gloss finishes wear in a bit and stay perceptibly black. A good (Benjamin Moore as opposed to Home Depot) brand of real floor/=20 deck paint and Microspersion is a great product http://www.rosebrand.com/A_Com/showdetl.cfm?=20 &DID=3D6&Product_ID=3D2187&CATID=3D7&ObjectGroup_ID=3D53 On Jan 23, 2006, at 11:37 AM, Steve Jones wrote: > We are probably going to paint it flat black. ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Message-ID: <002f01c6203d$5e768f80$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Painting the floor... Date: Mon, 23 Jan 2006 08:52:17 -0800 > http://www.rosebrand.com/A_Com/showdetl.cfm? > &DID=6&Product_ID=2187&CATID=7&ObjectGroup_ID=53 > Tinyurl.com is your friend - besides, the link doesn't work anyway. I do agree about the semi-gloss or gloss - it does make the floor more perceptively 'black.' Plus, if you're like us, and the floor gets swept/mopped before every performance, it's SO much easier to sweep/mop if there's some gloss to it. If it's matte black, sweeping and mopping is just an excercise in spreading the dirt out evenly, and enhancing the dull grey. - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <43D50AAE.4020506 [at] fredonia.edu> Date: Mon, 23 Jan 2006 11:56:14 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Platforms (longish) References: Well,, I'm a big proponent of stress skin decks set on top of knee walls, trestles or stacked blue foam pylons. (C to C spacing varies with load and production needs) Our system has been around about 8 or 9 years now and pieces are just now starting to need replacing. We originally built 40 - 4 x 8 foot units with 1/2 AC skins on 5/4 x 4 ribs run lengthwise with a member at each end. All perimeter ribs were set in about 1.75" so that a 5/4 spline could be inserted to join two adjacent units together. #8 x 1.25 square drive screws hold the splines in position upon installation. It is important to be sure that all surfaces that get glued are fully coated with the glue. No squiggly lines of glue allowed. We used yellow PVA (Carpenters) glue applied with a short nap roller for this purpose and it has held up well. The skins were pneumatically stapled to the ribs with wide crown 1.5" staples (Senco). Were I to do this again, I would probably make 4' x 4' units just for the portability and flexibility of configuring the smaller sized pieces. It would require more splining however. I also would probably contrive a means to allow the skins to be offset in from side to side and end to end in such a way that the units would just lap onto one another and not require splines at all. The support structures would remain the same as used now. These have never been tested to destruction but we have set a unit up on concrete blocks to get the maximum lengthwise span possible. When loaded with over 800 pounds at the middle, the unit deflected about 3/16" - 1/4". We never broke the test piece because folks got tired of stacking pigs on it and we figured that we would never present such a loading condition anyway. We will typically support the units on 24" - 32" centers depending on expected loading. Understand that the supports mechanism is a totally separate issue from the decking in this instance. Raked stages, finished height, and speed of installation all figure into the method of support I select. HTH. Steve Rees, TD SUNY- Fredonia G. D. George wrote: > Hi Gang, > > What are you feelings on platform construction? [snipped] ------------------------------ From: "David R. Krajec" Subject: AHJ and Fire Date: Mon, 23 Jan 2006 11:04:23 -0600 Message-ID: In-Reply-To: In response to Jim's request, the fires preceded the discussion. Apparently, it wasn't on the fire marhsall's radar until there was a fire. Also, just to clarify: In no way did I mean to imply that the fire marshall was acting inappropriately. His actions pertaining to the law as the fire marshall are not in question. It is his method of communicating. It probably is akin to a director coming in on final dress and demanding that the entire set be moved 1" to the right. Not a perfect analogy but it's close. I want to work with my fire marshall and the comments made concerning that working relationship are right on. However, it is a two way street. Thanks everyone for your input. David K. ------------------------------ Message-ID: <43D50D49.1030809 [at] fredonia.edu> Date: Mon, 23 Jan 2006 12:07:21 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Painting the floor... References: Steve, Use a really good primer first. We have good luck with a product called "Grabber" made now by a company called Insul-X that bought out Bruning and Kyanize paint companies. The company is somewhere on Long Island, NY. Did you prime the back (underside) of the Maso before laying it? That may affect the reaction of the Maso to the paint. The flat black paint we use is from Ben Moore but we had good luck with Glidden's Black Secret, Behr's Beluga and Disney's Mouse Ears, all available from the Home Despot. Steve Rees, TD SUNY - Fredonia Steve Jones wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Well, I am finally getting a chance to paint the stage deck and was looking > for any insight. > > Our deck is tempered Masonite over the original wood floor. It has not been > treated or painted since we opened last April. > > We are probably going to paint it flat black. > > Any thoughts on type of paint? Rosco Floor Paint vs local paint or other? > Techniques to ensure good adhesion? Etc. > > Thanks! > > Steve > > ************************************* > Steve Jones, Director > Plaza Theatre > 115 E. Main Street > Glasgow, KY 42141 > Voice: (270) 361-2101 > Fax: (270) 834-8147 > http://www.glasgowplazatheatre.org > > > The Spencers-Theatre of Illusion > Sunday, February 12, 2006, 2:00 PM > > An Evening With Groucho > Saturday, April 22, 2006, 7:00 PM > > ------------------------------ Date: Mon, 23 Jan 2006 12:10:19 -0500 From: Kevin Lee Allen Subject: Re: Painting the floor... In-reply-to: Message-id: References:

good point, but also, tint the primer so it isn't white. On Jan 23, 2006, at 12:07 PM, Stephen E. Rees wrote: > Use a really good primer first. ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ In-Reply-To: References:

Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Painting the floor... Date: Mon, 23 Jan 2006 10:14:59 -0700 On Jan 23, 2006, at 10:07 AM, Stephen E. Rees wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > Steve, > Use a really good primer first. We have good luck with a product > called "Grabber" made now by a company called Insul-X that bought > out Bruning and Kyanize paint companies. The company is somewhere > on Long Island, NY. Did you prime the back (underside) of the Maso > before laying it? That may affect the reaction of the Maso to the > paint. > > The flat black paint we use is from Ben Moore but we had good luck > with Glidden's Black Secret, Behr's Beluga and Disney's Mouse Ears, > all available from the Home Despot. > Steve Rees, TD > SUNY - Fredonia As for the primer, do not do what they did to our floor. Light grey primer.... We begged, pleaded with the powers that be to either not prime, or to find a black primer. Every time we scratch the floor, you can see it from the back of the house. Well, we also lost on having them force the contractor to make the floor flat. (no, not flat black.. FLAT as in no hills, no mounds) The paint (which we like) is Dunn Edwards Permashell Q15-68X/Black Just a little shine. HTH Mark-O ------------------------------ Subject: RE: Painting the floor... Date: Mon, 23 Jan 2006 09:22:20 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B70538C125 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I have had excellent luck with Muralo Qwik-tread floor paint. The only = downside is that it's a special order so I buy 20 gallons at a time... Randy Storms rstorms [at] bha,.wednet.edu ------------------------------ From: "G. D. George" Subject: RE: It's happened again.... Date: Mon, 23 Jan 2006 12:27:25 -0500 In-Reply-To: Message-ID: Re: wonder how some of the 'greats' in theatrical history would have rated in a 'qunatitatively based credentialing system'. Probably the same way many academics I know have reacted: "You want what?" And "just when am I supposed to do that?" G. D. George Assistant Professor and Technical Director Capital University Theatre Department of Communications 1 College and Main Columbus, OH 43209 (614) 236-6498 ggeorge [at] capital.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of CB Sent: Sunday, January 22, 2006 11:31 PM To: Stagecraft Subject: Re: It's happened again.... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >Credentials, on the other hand, are easily assessed by administrators and >accrediting bodies that want everything to be quantitatively based, have >little or no concept of theatre or theatrical practices, and really don't >care about commitments to theatre or to one's art in general. ...a philosophy that I eschew, and have successfully avoided for most of my adult life. My credentials are my work, my dedication, my love of art, and my loyalty. Those that I've worked for know this and tell others. I continue to work. I wonder how some of the 'greats' in theatrical history would have rated in a 'qunatitatively based credentialing system'. Academia (for the most part) has become part of the problem, instead of part of the solution. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <43D512A4.98E91B18 [at] jonesphillips.com> Date: Mon, 23 Jan 2006 12:30:12 -0500 From: Noemi Ybarra Subject: Re: Stencil Material References: I would pick up some plastic sheets at a fabric store. They're used for quilt patterns, but work quite nicely for stencils as well. I think they'd usually have 24" wide sheets. Noemi Ybarra -- Jones & Phillips Associates, Inc. http://www.jonesphillips.com 301 North 5th Street Lafayette, Indiana 47901 765-423-1123 (Voice) 765-742-4013 (Fax) Patrick Immel wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > Hello All, > > I am looking to create a couple of largish stencil patterns (18-24" > sq.). I have bought commercial, premade patterns that are cut from a > thin plastic material. Where would I find something like this? I'd > like to find something that will cut easy with a mat knife (the > pattern is fairly detailed) but beefy enough to stand up to many > multiples of applications! ------------------------------ From: "David R. Krajec" Subject: pneumatically operated casters Date: Mon, 23 Jan 2006 11:34:36 -0600 Message-ID: In-Reply-To: Concerning the thread on pneumatically operated casters - What is your favorite manufacturer? I can't seem to find anything on-line. Thanks! David K. ------------------------------ Date: Mon, 23 Jan 2006 12:35:09 -0500 Subject: Re: Glassbreakers From: "Curtis L. Mortimore" Message-ID: In-Reply-To: > For an even lower tech approach, you might try a rat trap My super low tech thought was one of those emergency window hammer/seatbelt cutter/whistle tools for your car. Rig it so when released, gravity would swing it right through the window. -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 ------------------------------ Message-ID: <5a73bd8d0601230946x58a3d1fare069df67e604e1e4 [at] mail.gmail.com> Date: Mon, 23 Jan 2006 12:46:33 -0500 From: Kevin Lowry Subject: Re: Painting the floor... In-Reply-To: References: Rosco Tough Prime (Black) is all you need. It is a tough primer that will adhear to almost anything. It comes in a satin finish. you can get it through anyone who sells rosco products. http://rosco.com/us/scenic/tough_prime.asp Kevin Lowry ------------------------------ Message-Id: <320F886A-7455-4ACC-B192-3DACE26AED3D [at] dejazzd.com> From: Greg Bierly Subject: Looking for Lasers? Date: Mon, 23 Jan 2006 12:51:47 -0500 Our Dance Theatre director wants lasers for our May show. I think she just wants some beam patterns across the stage nothing really hi- power or with intensive programming. I am located in south central PA and am looking for a rental house/supplier that can help me. Anyone with experience with this type laser I would love to hear success or horror stories? I really don't want to mess with water cooling and certification, etc. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: <6.2.1.2.2.20060123125843.03268c58 [at] postoffice8.mail.cornell.edu> Date: Mon, 23 Jan 2006 12:59:13 -0500 From: Ford Sellers Subject: Re: Looking for Lasers? In-Reply-To: References: You might think about Highend "Emulators" At 12:51 PM 1/23/2006, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Our Dance Theatre director wants lasers for our May show. I think >she just wants some beam patterns across the stage nothing really hi- >power or with intensive programming. I am located in south central >PA and am looking for a rental house/supplier that can help me. >Anyone with experience with this type laser I would love to hear >success or horror stories? I really don't want to mess with water >cooling and certification, etc. > >Greg Bierly >Technical Director >Hempfield HS > ************************ Ford H Sellers Master Electrician Cornell University Schwartz Center for the Performing Arts 430 College Avenue Ithaca NY, 14850 (607) 254-2736 office (607) 254-2733 fax ------------------------------ In-Reply-To: References: Message-Id: <28EDD43D-C06E-47BE-83CA-9DB3B43CC28D [at] dejazzd.com> From: Greg Bierly Subject: Re: Casters Date: Mon, 23 Jan 2006 13:05:48 -0500 > But since we're on the subject is there a difference between 'zero > throw' and 'triple swivel'? Many people use them interchangeably in theater but by definition a zero throw was already described that the caster is centered directly below it's swivel as opposed to to offset as most swivel casters are made. As to purchasing casters I really like TCH casters for the price. I get them for $9 from proexp.com Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Mon, 23 Jan 2006 13:07:44 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <269796512.20060123130744 [at] tcon.net> Subject: Re: Looking for Lasers? In-Reply-To: References: Howdy ! Monday, January 23, 2006, Greg Bierly wrote: > Our Dance Theatre director wants lasers for our May show. I think > she just wants some beam patterns across the stage nothing really hi- > power or with intensive programming. Be still, my heart.... Because of an over enthusiastic employee some years ago, I have a 4.9mW red laser and programmer by Summastar in rental stock. The programmer has ukubillion patterns (well, maybe a hunnerd patterns) inside it's silicon brain and it is shippable by UPS to boot! $125 a week plus shipping both ways. What a deal! Contact me offlist if you'd like to reserve it. 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 ------------------------------ Subject: RE: Automated Chain Motors Date: Mon, 23 Jan 2006 13:30:57 -0500 Message-ID: <8D0F4F12534EC940AF0C5732BF5BDC061AEDC0 [at] smsserver.SMSStudio.local> From: "Eric Huss" Brian, This may be too little too late, but check out Motion Labs. www.motionlabs.com They do all kinds of show control with chain motors. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Brian Munroe Sent: Saturday, January 21, 2006 9:15 PM To: Stagecraft Subject: Automated Chain Motors For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Looking for information on automated/computerized chain motors. Here is the situation - I am in tech in Las Vegas. We have a center speaker cluster hung in front of the show portal . The cluster is currently hung with 2 1/2 ton motors that are attached via bridles to the roof trusses iver the seating. The producers have decided that they would like to fly the center cluster out for the final scene of the show, because the show portal is all LED's and the speakers block part of the portal. We have cast on stage starting on Monday, so we do not have a lot of time to install steel, sheeves and dead-haul winches, etc. We are looking into replacing the current chain motors with motors that have encoders and computer control. Does anyone have any experience doing this? I am looking at the chainmaster motors for a start. Thanks for your help, Brian Munroe bpmunroe [at] gmail.com ------------------------------ From: "G. D. George" Subject: RE: Casters Date: Mon, 23 Jan 2006 13:22:17 -0500 In-Reply-To: Message-ID: The zero throw article is in Yale Tech Briefs (Technical Design Solutions for Theatre) volume 1, page 193. Jerry G. D. George Assistant Professor and Technical Director Capital University Theatre Department of Communications 1 College and Main Columbus, OH 43209 (614) 236-6498 ggeorge [at] capital.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg Bierly Sent: Monday, January 23, 2006 1:06 PM To: Stagecraft Subject: Re: Casters For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > But since we're on the subject is there a difference between 'zero > throw' and 'triple swivel'? Many people use them interchangeably in theater but by definition a zero throw was already described that the caster is centered directly below it's swivel as opposed to to offset as most swivel casters are made. As to purchasing casters I really like TCH casters for the price. I get them for $9 from proexp.com Greg Bierly Technical Director Hempfield HS ------------------------------ Reply-To: From: "RD" Subject: RE: It's happened again.... Date: Mon, 23 Jan 2006 12:20:04 -0700 Message-ID: <013e01c62052$042812a0$a43fbe43 [at] doom1> In-Reply-To: I think you should not kid, and I think you idea is terrific. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jim Hyslop Sent: Monday, January 23, 2006 8:07 AM To: Stagecraft Subject: Re: It's happened again.... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- G. D. George wrote: > In academia, at least part of the problem is that you can't easily assess > the value of an intangible like loyalty. It's hard to hang a number on or > rate. Likewise ethical behavior in an environment where concepts of > what-is-ethical differ radically within a program, let alone a college or > university. Well, I think Professional Engineering societies (such as the PEO - Professional Engineers of Ontario) do test for ethics. I've never taken the test to become a Professional Engineer, but my understanding is that the bulk of the test deals with ethics, not with domain knowledge (one of the prerequisites for taking the test is that you have B.Eng., so that covers the domain knowledge). Maybe this is something the ESTA should look at? (Just kidding. I think.) -- Jim Hyslop ------------------------------ Message-ID: <7991776.1138044979969.JavaMail.root [at] mswamui-backed.atl.sa.earthlink.net> Date: Mon, 23 Jan 2006 13:36:19 -0600 (GMT-06:00) From: "Fred Schoening, Jr." Reply-To: "Fred Schoening, Jr." Subject: Re: It's happened again.... May I just say that I'd like to be the first kid on my block to be "ethically certified"? That would be cool...! Seriously, though, I remember that a large part of my undergraduate engineering courses (while I was still an engineering student) had to do with ethics. There's a whole lot riding on whether you choose to do things the right way or cut corners. Kinda like what we do in theatre! Fred "Big Fred" Schoening Technical Director, Dallas Theater Center Dallas, Texas, USA -----Original Message----- >Well, I think Professional Engineering societies (such as the PEO - >Professional Engineers of Ontario) do test for ethics. I've never taken >the test to become a Professional Engineer, but my understanding is that >the bulk of the test deals with ethics, not with domain knowledge (one >of the prerequisites for taking the test is that you have B.Eng., so >that covers the domain knowledge). > >Maybe this is something the ESTA should look at? (Just kidding. I think.) > >Jim Hyslop ------------------------------ From: "Victor W. Smith" Subject: RE: Painting the floor... Date: Mon, 23 Jan 2006 16:05:15 -0500 In-Reply-To: Message-ID: Steve, We've used California Paints Allflor. Though it doesn't mix well with other paints/colors, I like the semi gloss black and its toughness. Victor -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steve Jones Sent: Monday, January 23, 2006 11:37 AM To: Stagecraft Subject: Painting the floor... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Well, I am finally getting a chance to paint the stage deck and was looking for any insight. Our deck is tempered Masonite over the original wood floor. It has not been treated or painted since we opened last April. We are probably going to paint it flat black. Any thoughts on type of paint? Rosco Floor Paint vs local paint or other? Techniques to ensure good adhesion? Etc. Thanks! Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 834-8147 http://www.glasgowplazatheatre.org The Spencers-Theatre of Illusion Sunday, February 12, 2006, 2:00 PM An Evening With Groucho Saturday, April 22, 2006, 7:00 PM ------------------------------ From: "Victor W. Smith" Subject: RE: Stencil Material Date: Mon, 23 Jan 2006 16:20:56 -0500 In-Reply-To: Message-ID: Patrick Immel wrote: > I am looking to create a couple of largish stencil patterns (18-24" > sq.). SNIP I know this is late, but I missed the original message. I like PETG - 1/16" thick. We get ours at G.E. Commercial Plastics. Also from McMaster-Carr. When we are making multiple stencils, we stack the sheets (up to 4'x8'), print a full size version, attach the pattern with spray adhesive and cut with a Cutawl. http://facweb.furman.edu/~rbryson/dramadept/CutAwl/ A really cool little machine that a lot of people have never seen or used. Victor ------------------------------ Message-ID: <20060123223316.8552.qmail [at] web33314.mail.mud.yahoo.com> Date: Mon, 23 Jan 2006 14:33:16 -0800 (PST) From: J Burch Subject: Re: Glassbreakers In-Reply-To: Hello Other than it being a direct request, tempered glass breaks into smaller pieces (dicing) and the edges are not as sharp, therefore being slightly safer. It also, from my research, apeared to have a louder sound - the one we associate with the sound of breaking glass. While we can compensate for the sound, timing would be critical, and possibly not realistic. I would have prefered to try Smash glass, from Smooth on, but do not have the availability to mold it, have concerns about the sound, and believe that the end fragments would be sharper. The biggest issue seems to be that tempered glass is significantly harder to break- for instance the breaking stress of annealed glass is 6,000 psi, and tempered glass is 24,000 psi both for a "large, light 60 sec. load". That clear anything up? Thanks for the responses! Jean Burch UMKC TD Canidate --- Jim Hyslop wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > J Burch wrote: > > Do you have other options on how to break tempered > > glass? I know that there are other glass options, > but > > for multiple reasons, I need to use the tempered. > > On a tangent - would you mind sharing how you > determined tempered glass > was your best option? > > -- > Jim Hyslop > > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Mon, 23 Jan 2006 18:07:46 -0500 Subject: Re: Looking for Lasers? From: Bruce Purdy Message-ID: In-Reply-To: > Our Dance Theatre director wants lasers for our May show. I think > she just wants some beam patterns across the stage nothing really hi- > power or with intensive programming. Perhaps it's not a problem, but I can't help but wonder - is this safe for the dancers? Laser levels and Laser pointers all say not to shine them into anyone's eyes or to look into them. If they are shining onto the stage - and presumably the dancers - aren't they risking eye damage? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Mon, 23 Jan 2006 18:17:21 -0500 Subject: Re: Painting the floor... From: Bruce Purdy Message-ID: In-Reply-To: > Rosco Tough Prime (Black) is all you need. It is a tough primer that > will adhear to almost anything. It comes in a satin finish. Kevin beat me to this, but I will echo his endorsement of Tough Prime! Honestly, I often buy the cheapest latex black paint when it goes on sale at the local hardware store, figuring I'll have to re-paint it again anyway before too long. When I have the budget though, I find Tough Prime to be the best stuff I've tried. It's also what we primed the Plyron deck when we first installed it. > Techniques to ensure good adhesion? Etc. Give it a good even light sanding before painting it the first time. Masonite / Plyron needs a little "Tooth" added. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <232.5a79938.3106c655 [at] aol.com> Date: Mon, 23 Jan 2006 18:52:53 EST Subject: Re: Painting the floor... In a message dated 23/01/06 21:06:54 GMT Standard Time, victor [at] vwsmith.com writes: > We've used California Paints Allflor. Though it doesn't mix well with other > paints/colors, I like the semi gloss black and its toughness. Once again, transatlantic differences. Over here, it is normal to lay Masonite, which I think is what you call our hardboard, with the rough side uppermost. Being automatically matt, and absorbent, it takes emulsion paint (which I think you call latex) well, the paint bonding well with the fibres. Butt joints are covered in strips of torn, not cut, newsprint. This is laid with emulsion glaze, which is your latex with the pigment left out. The paper blends in well, and the torn edges ensure that there are no hard lines.After that, it is painted, again with ordinary paint, in whatever way the designer wants. It is hard-wearing, and resistant to castors, furniture, and most other things. As you will know, it is dimensionally sensitive to humidity. It's big advantage to me, as an LD, is that it never provides specular reflections, which the shiny side will do. It also doesn't scratch without a lot of effort. We've done it that way for the forty years I have been around, with no problems. I don't know where we learnt this way of doing it. It looks strange, on the surface of it, but it seems to work. Frank Wood ------------------------------ Date: Mon, 23 Jan 2006 19:10:05 -0500 Subject: Re: Painting the floor... From: Bill Sapsis Message-ID: In-Reply-To: Newsprint??? Daily Mail? Daily Star? Maybe the Financial Times? OK. All kidding aside, I bet the newsprint works really well. (I can't believe I'm saying this). It'll probably expand and contract when the masonite expands and contracts thereby keeping the crack between the sheets to a minimum. Now, let's see. Which paper should I use? NYTimes? The Post? The Onion? So many choices, so little reasoning. I wonder if the Funnies pages will work better than the Classifieds? 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. On 1/23/06 6:52 PM, "FrankWood95 [at] aol.com" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 23/01/06 21:06:54 GMT Standard Time, victor [at] vwsmith.com > writes: > >> We've used California Paints Allflor. Though it doesn't mix well with other >> paints/colors, I like the semi gloss black and its toughness. > > Once again, transatlantic differences. > > Over here, it is normal to lay Masonite, which I think is what you call our > hardboard, with the rough side uppermost. Being automatically matt, and > absorbent, it takes emulsion paint (which I think you call latex) well, the > paint > bonding well with the fibres. Butt joints are covered in strips of torn, not > cut, > newsprint. This is laid with emulsion glaze, which is your latex with the > pigment left out. The paper blends in well, and the torn edges ensure that > there > are no hard lines.After that, it is painted, again with ordinary paint, in > whatever way the designer wants. > > It is hard-wearing, and resistant to castors, furniture, and most other > things. As you will know, it is dimensionally sensitive to humidity. It's big > advantage to me, as an LD, is that it never provides specular reflections, > which > the shiny side will do. It also doesn't scratch without a lot of effort. > > We've done it that way for the forty years I have been around, with no > problems. I don't know where we learnt this way of doing it. It looks strange, > on > the surface of it, but it seems to work. > > > Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Painting the floor... Date: Mon, 23 Jan 2006 19:14:23 -0500 Message-ID: <004001c6207b$21528440$6501a8c0 [at] Dell> In-reply-to: > Now, let's see. Which paper should I use? NYTimes? The > Post? The Village Voice is free. ------------------------------ Date: Mon, 23 Jan 2006 19:53:24 -0500 Subject: Re: Painting the floor... From: Bruce Purdy Message-ID: In-Reply-To: > Over here, it is normal to lay Masonite, which I think is what you call our > hardboard, with the rough side uppermost. Being automatically matt, and > absorbent, it takes emulsion paint (which I think you call latex) well, the > paint > bonding well with the fibres. Butt joints are covered in strips of torn, not > cut, newsprint. Very interesting - I've never heard of doing things that way. Laying the hardboard rough side up seems counter - intuitive, but I can see your reasoning. The newsprint bit is brilliant. Thanks for this cross - cultural lesson! Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Reply-To: From: "Stuart Baulch" Subject: Continuing: Lightweight headsets Date: Mon, 23 Jan 2006 20:58:02 -0500 Message-ID: In-Reply-To: I'm now looking at two specific models and possibly a third. The two main candidates are the Clear-com CC26 and the Telex PH88. They seem very similar and are in the same ballpark price wise. The third one that caught my eye is the Telex PH-150, which is an ear-clip with boom style? This would just be for personal, booth use - any recommendations or warnings from the collected wisdom? Thanks, Stuart B ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Continuing: Lightweight headsets Date: Mon, 23 Jan 2006 20:58:31 -0500 Message-ID: <000c01c62089$ad725f00$6501a8c0 [at] Dell> In-Reply-To: > The two main candidates are the Clear-com CC26 and the Telex > PH88. I have a PH88 that I like a lot. Generally, I find that I prefer Telex headsets. ------------------------------ Date: Mon, 23 Jan 2006 21:07:34 -0500 (EST) From: Stephen Litterst Subject: Re: Painting the floor... In-reply-to: Message-id: <1996.172.168.235.66.1138068454.squirrel [at] 172.168.235.66> References:

> --------------------------------------------------- > Now, let's see. Which paper should I use? NYTimes? The Post? The Onion? > So many choices, so little reasoning. I wonder if the Funnies pages will > work better than the Classifieds? No, you have to keep using the funnies to wrap outgoing parcels. It's a nice break to get a Sapsis package and then get fun rigging toys and the Sunday comics. Steve l. ------------------------------ Date: Mon, 23 Jan 2006 05:43:11 -0900 From: Paul Guncheon Subject: Re: Casters In-reply-to: Message-id: References: On Jan 23, 2006, at 2:01 AM, Stagecraft wrote: > > The big problem is the initial investment - something like $1500- > $1800. As I remember, pneumatic systems I have built cost way less than this. How many units are you talking about? I used low profile "pancake" cylinders from McMaster-Carr (around $50 each) and shop built ABS tanks or paintball cylinders. Laters, Paul "That Oriental girl is really attractive" said Tom hotly. ------------------------------ Date: Mon, 23 Jan 2006 05:49:44 -0900 From: Paul Guncheon Subject: Pyro License In-reply-to: Message-id: <529E23E9-51E8-4234-9D8B-933C731676DA [at] verizon.net> References: This may seem silly but... A few years ago I tried to find out how to acquire a pyro license for stage. I couldn't find the correct local government agency and they were not much help in steering me. I finally got an application form some such but one of its first requirements for a license was at least 2 years in blasting. I'm looking for the license for indoor pyro, open flame, etc. What agency have list members who have said licenses gotten them from? Thanks, Paul "You're the one who drained the battery" Tom charged. ------------------------------ Date: Mon, 23 Jan 2006 23:33:57 -0700 Subject: Re: Pyro License Message-ID: <20060124063357.GA19087 [at] shifting.ca> References:

In-Reply-To: From: shifting [at] shifting.ca (Benjamin Eastep) On Mon, Jan 23, 2006 at 05:49:44AM -0900, Paul Guncheon wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This may seem silly but... > > A few years ago I tried to find out how to acquire a pyro license for > stage. I couldn't find the correct local government agency and they > were not much help in steering me. I finally got an application form > some such but one of its first requirements for a license was at > least 2 years in blasting. I'm looking for the license for indoor > pyro, open flame, etc. > > What agency have list members who have said licenses gotten them from? In Canada, pyro licences are handled by Natural Resources Canada. What part of the world are you in? :) Ben Eastep ------------------------------ End of Stagecraft Digest #665 *****************************