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

Stagecraft Digest, Issue #675

 1. Re: Job titles
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 2. Stage Manager Interviews
    by "Mike Burnett" <mburnett [at] huntington.edu>
 3. Need lighting rental shop in the DC area.
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 4. Re: Need lighting rental shop in the DC area.
    by "Dirk Van Pernis" <DVanpernis [at] olneytheatre.org>
 5. Speaking of Resumes
    by "Dan Culhane" <d.culhane [at] secoa.com>
 6. Re: Need lighting rental shop in the DC area.
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
 7. Re: Need lighting rental shop in the DC area.
    by Stephen Litterst <slitterst [at] ithaca.edu>
 8. Re: tech riders / Cam Type Connectors
    by Mitch Hefter <stagecraft02 [at] DesignRelief.com>
 9. Re: Job titles
    by dave.marks [at] insightbb.com
10. TD position avaible
    by Todd Proffitt <Todd.Proffitt [at] fredonia.edu>
11. Re: Need lighting rental shop in the DC area.
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
12. ETA Connectors-help
    by Jonathan Wills <jbwills [at] gmail.com>
13. Resume
    by b Ricie <b_ricie [at] yahoo.com>
14. Re: Resume
    by "Davis, Thomas J" <TJDavis [at] westshore.edu>
15. Re: Resume
    by Jerry Durand <jdurand [at] interstellar.com>
16. Re: Need lighting rental shop in the DC area.
    by SS <cueonego [at] gmail.com>
17. Re: Need lighting rental shop in the DC area.
    by Stephen Litterst <slitterst [at] ithaca.edu>
18. ETC Par
    by <productionmanager [at] minnesotaballet.org>
19. Re: Need lighting rental shop in the DC area.
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
20. Re: Stage Manager Interviews
    by gregg hillmar <gregg [at] hillmardesign.com>
21. Re: side lighting
    by <nimmck [at] charter.net>
22. Re: Job titles
    by David Carrico <daveffreep [at] gmail.com>
23. looking for XLR4 in San Jose, CA
    by Jared Fortney <jared.fortney [at] gmail.com>
24. Re: looking for XLR4 in San Jose, CA
    by Jerry Durand <jdurand [at] interstellar.com>
25. Re: Resume
    by MissWisc [at] aol.com
26. Re: side lighting
    by seanrmc [at] earthlink.net
27. Re: ETA Connectors-help
    by FrankWood95 [at] aol.com
28. Re: side lighting
    by Stephen Litterst <slitterst [at] ithaca.edu>
29. OT-ish: Las Vegas Backstage Tours
    by James Feinberg <feinberg [at] sandiego.edu>
30. Pre Wired Candleabra Light Strings
    by "Mike Wade" <mike [at] focusnote.com>
31. Re: Pre Wired Candleabra Light Strings
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
32. 20DVL moving lifts
    by David Kissel <KisselDa [at] BrooklynCenter.com>
33. Re: 20DVL moving lifts
    by "Matthew Breton" <theatricalmatt [at] hotmail.com>
34. Re: 20DVL moving lifts
    by Bill Sapsis <bill [at] sapsis-rigging.com>
35. Re: Pre Wired Candleabra Light Strings
    by Stephen Litterst <slitterst [at] ithaca.edu>
36. Re: 20DVL moving lifts
    by David Kissel <KisselDa [at] BrooklynCenter.com>
37. Re: 20DVL moving lifts
    by Dale Farmer <dale [at] cybercom.net>
38. Re: 20DVL moving lifts
    by "Jon Lagerquist" <jon [at] lagerquist.com>
39. Re: Tech Riders [CamLok Gender]
    by CB <psyd [at] cox.net>
40. Re: Need lighting rental shop in the DC area.
    by Jason Cowperthwaite <jasonclights [at] gmail.com>
41. Re: 20DVL moving lifts
    by "Peter Scheu" <peter [at] scheuconsulting.com>
42. Re: tech riders
    by CB <psyd [at] cox.net>
43. Re: Job titles
    by CB <psyd [at] cox.net>
44. Re: ETC Par
    by seanrmc [at] earthlink.net
45. Mic stand recommendations...
    by "Steve Jones" <steve.jones [at] glasgowplazatheatre.org>
46. Re: 20DVL moving lifts
    by FrankWood95 [at] aol.com
47. Re: 20DVL moving lifts
    by FrankWood95 [at] aol.com
48. Re: Taildowns
    by "Henry R. Grillo" <hrgrillo [at] bellsouth.net>
49. Re: 20DVL moving lifts
    by <kzinkl [at] sbcglobal.net>
50. Re: side lighting
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
51. Re: Looking for solutions to use show control to run sound cues off an Obsession
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
52. Re: side lighting
    by "Laura McMeley" <LMcMeley [at] msn.com>
53. Re: side lighting
    by Dale Farmer <dale [at] cybercom.net>
54. Re: Mic stand recommendations...
    by "Matthew Breton" <theatricalmatt [at] hotmail.com>
55. Re: Looking for solutions to use show control to run sound cues off an Obsession
    by Stephen Litterst <slitterst [at] ithaca.edu>
56. Re: side lighting
    by Stephen Litterst <slitterst [at] ithaca.edu>
57. Re: Looking for solutions to use show control to run sound cues off an Obsession
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
58. Re: Need lighting rental shop in the DC area.
    by Kevin Lowry <kjlowry [at] gmail.com>
59. Re: Mic stand recommendations...
    by Greg Bierly <gbierly [at] dejazzd.com>
60. Re: Tech Riders [CamLok Gender]
    by StevevETTrn [at] aol.com
61. Expanded metal flooring
    by Heather Jean Hillhouse-Deans <hjh2 [at] Lehigh.EDU>
62. Re: Expanded metal flooring
    by "Jeremiah Minh Greenblatt" <roadhat [at] earthlink.net>
63. Re: Expanded metal flooring
    by "Jeremiah Minh Greenblatt" <roadhat [at] earthlink.net>
64. Re: Expanded metal flooring
    by "Chris Kennedy" <dckennedy [at] ucsd.edu>
65. Re: side lighting
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
66. Re: side lighting
    by Greg Bierly <gbierly [at] dejazzd.com>
67. Re: side lighting
    by "Bill Nelson" <billn [at] peak.org>
68. Re: side lighting
    by "Bill Nelson" <billn [at] peak.org>
69. Re: Tail Downs
    by seanrmc [at] earthlink.net
70. Re: side lighting
    by seanrmc [at] earthlink.net
71. Re: tech riders
    by Mick Alderson <alderson [at] uwosh.edu>
72. Re: side lighting
    by seanrmc [at] earthlink.net
73. Re: tech riders
    by "Bill Nelson" <billn [at] peak.org>
74. Re: tech riders
    by "Bill Nelson" <billn [at] peak.org>
75. Re: 1000kw par vs 575 ETC par
    by "Bill Nelson" <billn [at] peak.org>

*** 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.

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Job titles
Date: Tue, 31 Jan 2006 07:44:59 -0500
Message-ID: <003c01c62664$25cb3fa0$6501a8c0 [at] Dell>
In-Reply-To: <list-27157626 [at] prxy.net>

=20
> But the one I love even more is.... "Bob says ..........  and he runs=20
> the sound ( lights ) at Church."

...Or, "We already have a lighting designer.  He's a cameraman at =
Channel __
(fill in channel # of local TV station)".


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

Subject: Stage Manager Interviews
Date: Tue, 31 Jan 2006 08:00:05 -0500
Message-ID: <C7F9B0933E08584B8E8C98EA819DDDAC0638BEFD [at] joshua.huntington.edu>
From: "Mike Burnett" <mburnett [at] huntington.edu>

This semester I am teaching Stage Management, and one of the assignments
is for each student to interview a professional stage manager (equity or
non-equity).  Basically, each student will have (ideally) 2 or 3 stage
managers that they would have a short email conversation with about
their duties, the business, how they got into the profession,  etc...
It shouldn't take too much time on the SMs part.

Anyone interested?  The project is to be completed by April 6, so you
can see there are a few months to complete.

What I'd like to do is compile a list of interested SMs (please respond
to me off-list) which I will distribute to the students.  They will then
select who they want to interview.  Your names will not be circulated to
anyone not in this class.

Thanks,
MB

________________________________________________________________________
_
Mike Burnett, M.F.A.
Assistant Professor of Theatre
Chair, Department of Theatre
=20
Huntington University
Impact your World...for Christ...in Scholarship...through Service
=20
260-359-4279 office
260-359-4249 fax
=20
mburnett [at] huntington.edu
www.huntington.edu/theatre
=20
=20
Let us not become weary in doing good, for at the proper time we will
reap a harvest if we do not give up. =20
Therefore, as we have opportunity, let us do good to all people,
especially to those who belong to the family of believers  =20
Galatians 6:9-10=20
=20
"There are more things in heaven and earth, Horatio, than are dreamt of
in your philosophy."
--Hamlet (I, v, 166-167)
=20

________________________________________________________________________
_
=20



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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: Need lighting rental shop in the DC area.
Date: Tue, 31 Jan 2006 09:01:02 -0500
Message-ID: <004601c6266e$c5a0ddf0$6501a8c0 [at] Dell>
In-Reply-To: <list-27158012 [at] prxy.net>


The subject pretty much says it all.  I need a source in or near =
DC/Nawthuhn
Vuhginia to rent cable/fixtures, etc.

Any recommendations?


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

Subject: RE: Need lighting rental shop in the DC area.
Date: Tue, 31 Jan 2006 09:21:15 -0500
Message-ID: <071168C3EF37C34580207EB53478A0F71BEC34 [at] stage.OTC.local>
From: "Dirk Van Pernis" <DVanpernis [at] olneytheatre.org>
Cc: stagecraft [at] jeffsalzberg.com

Off the top of my head.

BSL Productions (formerly Baltimore Stage Lighting)
866.242.6625
BSLProductions.com

Atmosphere Inc.
301.585.2100
Atmospherelighting.com


Dirk Van Pernis - OTC ME
=20

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey
E. Salzberg
Sent: Tuesday, January 31, 2006 9:01 AM
To: Stagecraft
Subject: Need lighting rental shop in the DC area.

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


The subject pretty much says it all.  I need a source in or near
DC/Nawthuhn Vuhginia to rent cable/fixtures, etc.

Any recommendations?


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

From: "Dan Culhane" <d.culhane [at] secoa.com>
Cc: salukitd [at] gmail.com
Subject: Speaking of Resumes
Date: Tue, 31 Jan 2006 08:39:43 -0600
Organization: SECOA, Inc.
Message-ID: <002201c62674$3006ed60$b60101c0 [at] SECOA81>

 
Patrick,
 
I know that you have heard this from your association with USITT.  Please
call Mark Shanda and talk to him about your tenure process.  Mark is in
charge of the tenured TD mentoring project with the Technical Production
Commission.  He will help you to get the information that you need put into
a format that your tenure review committee will be pleased with.  
 
Mark is now the Department Chair at Ohio State University.
 
Mark Shanda
Office: 614-292-0878
shanda.1 [at] osu.edu

Dan Culhane
d.culhane [at] secoa.com 
 

SECOA, Inc.
The Stage Equipment Company
8650 109th Avenue North
Champlin, MN 55316
Phone: 763-506-8800
Fax: 763-506-8844
www.secoa.com

 
 
>Date: Mon, 30 Jan 2006 18:22:52 -0600
>From: Patrick Immel <salukitd [at] gmail.com>
>Subject: Speaking of Resumes
> 
>Hello All,
> 
>Moe's resume question got me to thinking.  I will be going up for my 3
>year tenure review next year and need to include my curriculum vitae.=20
>I have a vitae right now but I am wondering what format has been
>successful (tenure or otherwise) for others.  I am asking, if anyone
>would be willing to share their vitaes with me?
> 
>Thanks in advance!
>Pat
 
 
------------------------------



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

Message-ID: <43DF7998.908 [at] fredonia.edu>
Date: Tue, 31 Jan 2006 09:52:08 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: Need lighting rental shop in the DC area.
References: <list-27172789 [at] prxy.net>

Jeff,
May I suggest:

Fisher Theatrical, Hanover, MD  800. 599.2180
Sam Fisher and Kevin Linzey are on this list.

R&R Lighting, Silver Spring, MD  301.589-4997
Five minutes up Georgia Ave from center of the District.  Very nice folks.

Barbizon is in Alexandria, VA

Regards,
Steve Rees, TD
SUNY-Fredonia


Jeffrey E. Salzberg wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> The subject pretty much says it all.  I need a source in or near DC/Nawthuhn
> Vuhginia to rent cable/fixtures, etc.
> 
> Any recommendations?



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

Date: Tue, 31 Jan 2006 10:22:16 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Need lighting rental shop in the DC area.
In-reply-to: <list-27173690 [at] prxy.net>
Message-id: <43DF80A8.3050200 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-27172789 [at] prxy.net> <list-27173690 [at] prxy.net>

Stephen E. Rees wrote:
> ---------------------------------------------------
> 
> Jeff,
> May I suggest:

> Barbizon is in Alexandria, VA

Unless something's changed, Barbizon isn't a rental shop.

But Barbizon Capital has a first rate staff if you're going to buy 
anything.

Steve L.

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

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

Message-Id: <6.1.0.6.2.20060131091100.031fd498 [at] mail.DesignRelief.com>
Date: Tue, 31 Jan 2006 09:24:53 -0600
From: Mitch Hefter <stagecraft02 [at] DesignRelief.com>
Subject: Re: tech riders / Cam Type Connectors
In-Reply-To: <list-27169512 [at] prxy.net>
References: <list-27169512 [at] prxy.net>

Stephen Litterst wrote:

><SNIP>  "Standards" mean different things to different people, unless
>written into a governing document such as the NEC.  And I don't
>believe that the NEC mentions reversing G&N, but I'm sure that Mitch
>or Eddie will be along shortly to clarify.  :)

The NEC does not specify this.  See Article 520, Part IV.  In particular, 
see section 520.53(K) - Single-Pole Separable Connectors, and 520.53(P), 
which states:

         Qualified Personnel. The routing of portable supply conductors,
         the making and breaking of supply connectors and other supply
         connections, and the energization and de-energization of supply
         services shall be performed by qualified personnel, and portable
         switchboards shall be so marked, indicating this requirement in
         a permanent and conspicuous manner.

         Exception:  A portable switchboard shall be permitted to be
         connected to a permanently installed supply receptacle by other
         than qualified personnel, provided that the supply receptacle is
         protected for its rated ampacity by an overcurrent device of not
         greater than 150 amperes, and where the receptacle,
         interconnection, and switchboard further
         (a) Employ listed multipole connectors suitable for the purpose for
         every supply interconnection, and
         (b) Prevent access to all supply connections by the general
         public, and
         (c) Employ listed extra-hard usage multiconductor cords or cables
         with an ampacity suitable for the type of load and not less than the
         ampere rating of the connectors.

Several years ago, the Electrical Power Working Group of ESTA's Technical 
Standards Program investigated the issue of sexing of the Grounding and 
Neutral connectors, and determined there was no overly dominant method and 
that a reasonable consensus would be difficult to reach.  There have been 
no proposals for changes on the NEC on this subject.

We just finished our first round of meetings on proposed changes to the 
2005 NEC for 2008.  You will be able to comment on our panel actions on 
these proposals this summer.  Next chance to propose new changes will not 
be until 2008.

Regards,

. . .
------------------------------------------------------------------
Mitch Hefter   Member NEC Panel 15

Office:  Entertainment Technology / a Genlyte Company
     mhefter  [at]  genlyte.com   +1-214/ 647-7880 x 7967
http://www.etdimming.com  ::  http://www.vari-lite.com



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

From: dave.marks [at] insightbb.com
Subject: Re: Job titles
Date: Tue, 31 Jan 2006 15:36:12 +0000
Message-Id: <013120061536.26255.43DF83EC000C39DC0000668F21979133639C059D0E03D20A900E0B [at] insightbb.com>

> But the one I love even more is.... "Bob says ..........  and he runs 
> the sound ( lights ) at Church."  For the life of me I cannot figure out 
> how some one who runs a 3 mic system once a week at church is an expert 
> but I sure see enough of them.  

I feel your pain but....
Take my church for example, also my employer:
We seat 1800, with plans in the works to open our balcony which will
add another 1500 seats.
Currently an Allen & Heath ML 5000, we use all 56 channels, we're installing a 
Yamaha MC7 in a few weeks with a new Meyers system.  We have something like 32 
channels of available wireless, full rock/pop band with some serious players,
we had 10,000 people attend our Christmas production.
Our audio system is almost entirely run by volunteers.
Our volunteer lighting guy is pretty good too.  Not by church standards,
but by real world standards.  I know we're an exception, I've spent lots of 
time with the aforementioned "Bob" trying to help him grasp the basics.

Dave Marks, Media director
Northwoods Community Church
Peoria, IL

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

In-Reply-To: <list-26310527 [at] prxy.net>
References: <list-26310527 [at] prxy.net>
Message-Id: <C8FB4270-A7C1-4CED-9671-0BD545189A87 [at] fredonia.edu>
From: Todd Proffitt <Todd.Proffitt [at] fredonia.edu>
Subject: TD position avaible
Date: Tue, 31 Jan 2006 10:45:32 -0500

I still need more applicantes for the TD position for the summer  
season at Chautauqua. Below is the ad for the position.  I will  
accept email submissions to ctc.production [at] yahoo.com .  Fell free to  
email me with questions.  The job became available when our TD of two  
years was promoted to the position of production manager.  The salary  
is $6500.


The Chautauqua Theater Company invites applicants for its 2006 summer  
season. The Technical Director is responsible for crew supervision/ 
scheduling and tracking department budget.  Contracts run 13 weeks  
starting early June. Housing provided. CTC is the resident theater of  
the Chautauqua Institution, 90 miles south of Buffalo, NY. For more  
information visit http://theater.ciweb.org. Apply Early. Screening  
process starts early. Send resume, cover letter and names and  
addresses for three references to: CHAUTAUQUA THEATRE COMPANY,  
Managing Director, P.O. Box 1098, Chautauqua, NY 14722.


Todd Proffitt
Managing Director
Chautauqua Theatre Company
ctc.production [at] yahoo.com

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

Message-ID: <43DF8A37.3060604 [at] fredonia.edu>
Date: Tue, 31 Jan 2006 11:03:03 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: Need lighting rental shop in the DC area.
References: <list-27172789 [at] prxy.net> <list-27173690 [at] prxy.net> <list-27174424 [at] prxy.net>

Thanks Steve.  I was thinking of expendables and such.
Steve

Stephen Litterst wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Stephen E. Rees wrote:
> 
>> ---------------------------------------------------
>>
>> Jeff,
>> May I suggest:
> 
> 
>> Barbizon is in Alexandria, VA
> 
> 
> Unless something's changed, Barbizon isn't a rental shop.
> 
> But Barbizon Capital has a first rate staff if you're going to buy 
> anything.
> 
> Steve L.
> 



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

Message-ID: <a34e6f5a0601310802r26ce333died276974dbb7882e [at] mail.gmail.com>
Date: Tue, 31 Jan 2006 11:02:26 -0500
From: Jonathan Wills <jbwills [at] gmail.com>
Subject: ETA Connectors-help

Hello all,

I have a customer who recently purchased some ETA dimmers and board
from eBay. He is trying to install them and is turnign to me to help
him out. I can not find a source for the 6 pin connector that the
packs need. Anyone have a source for these or know of an alternative
besides rewireing all of the connectors to something newer.

It is a 6pin din connector with screw threads on the sides.

Thanks in advance,

Jonathan Wills
Wills Lighting & Stage
www.WillsLighting.com
Toll Free: 866-909-4557
Local: 423-559-0606
Fax: 423-559-0071

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

Message-ID: <20060131161130.74184.qmail [at] web50612.mail.yahoo.com>
Date: Tue, 31 Jan 2006 08:11:30 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Resume
In-Reply-To: <list-27169512 [at] prxy.net>

Moe,
I would think the simple addition of the word formally
is all you need. "The University of Cumberlands,
formally Cumberland College."

>>We changed our name from Cumberland College to the
University of the 
Cumberlands...OK...<<




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 

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

Subject: RE: Resume
Date: Tue, 31 Jan 2006 11:21:30 -0500
Message-ID: <3CF87682970858499CA56707FB1F092BD600B3 [at] wscc-s-003000.westshore.edu>
From: "Davis, Thomas J" <TJDavis [at] westshore.edu>

Might one suggest, instead, the use of the word "formerly?"

TD

I would think the simple addition of the word formally
is all you need. "The University of Cumberlands,
formally Cumberland College."

>>We changed our name from Cumberland College to the
University of the=20
Cumberlands...OK...<<





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

In-Reply-To: <list-27175692 [at] prxy.net>
References: <list-27175692 [at] prxy.net>
Message-Id: <FBD64480-7E11-4838-915F-CBBA638154A7 [at] interstellar.com>
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Resume
Date: Tue, 31 Jan 2006 08:25:43 -0800


On Jan 31, 2006, at 8:21 AM, Davis, Thomas J wrote:

> Might one suggest, instead, the use of the word "formerly?"

The skul might have required formal dress.  :)



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

Message-ID: <8231e7ea0601310827q183f6ca2td419927a175c924f [at] mail.gmail.com>
Date: Tue, 31 Jan 2006 11:27:46 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: Need lighting rental shop in the DC area.
In-Reply-To: <list-27175231 [at] prxy.net>
References: <list-27172789 [at] prxy.net> <list-27173690 [at] prxy.net>
	 <list-27174424 [at] prxy.net> <list-27175231 [at] prxy.net>

>>>>>But Barbizon Capital has a first rate staff if you're going to
buy anything.
Steve L.<<<<<

>>>>Thanks Steve.  I was thinking of expendables and such.
Steve<<<<<


Wait..what? Now I'm just confused :)

Could try EventEQ, or Kinetic Artistry. Not gonna lie, personally
never used either company. But they're there, could be worth a shot!!


-SS
TTS-EKU

"Oh, and next Friday... is Hawaiian shirt day... so, you know, if you
want to you can go ahead and wear a Hawaiian shirt and jeans. "
 --Bill Lumbergh

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

Date: Tue, 31 Jan 2006 11:34:14 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Need lighting rental shop in the DC area.
In-reply-to: <list-27175843 [at] prxy.net>
Message-id: <43DF9186.7050008 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-27172789 [at] prxy.net> <list-27173690 [at] prxy.net>
 <list-27174424 [at] prxy.net> <list-27175231 [at] prxy.net> <list-27175843 [at] prxy.net>

SS wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
>>>>>>But Barbizon Capital has a first rate staff if you're going to
> 
> buy anything.
> Steve L.<<<<<
> 
>>>>>Thanks Steve.  I was thinking of expendables and such.
> 
> Steve<<<<<
> 
> 
> Wait..what? Now I'm just confused :)
> 
> Could try EventEQ, or Kinetic Artistry. Not gonna lie, personally
> never used either company. But they're there, could be worth a shot!!


It's been a few years, but Kinetic Artistry wasn't the best when I was 
in the area.  They might have changed, but I've dealt with Atmosphere 
and BSL more recently and was quite happy.

Steve L.


-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

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

Message-ID: <000701c62684$68edeec0$0600a8c0 [at] lpt>
From: <productionmanager [at] minnesotaballet.org>
Subject: ETC Par
Date: Tue, 31 Jan 2006 10:32:08 -0600
Organization: Minnesota Ballet

With the question of ETC par vs.. a conventional Par 64 just asked this week 
I thought it funny last night when I worked the Nickelback concert. They had 
gone all ETC with VNS lens. I never got to talk to the light crew, but I 
could tell that the smaller size of the ETC was a big reason for them. They 
fit inside the truss completely, and allowed for smaller trussing. They also 
blended into the truss better for a cleaner look. All you saw was all the 
movers hanging down.

Ken Pogin
PSM / TM
MN Ballet 



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

Message-ID: <43DF9B85.20806 [at] fredonia.edu>
Date: Tue, 31 Jan 2006 12:16:53 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Re: Need lighting rental shop in the DC area.
References: <list-27172789 [at] prxy.net> <list-27173690 [at] prxy.net>	 <list-27174424 [at] prxy.net> <list-27175231 [at] prxy.net> <list-27175843 [at] prxy.net>

I actually have used Kinetic.  They are also good.  Do very good repair 
work as well.  (301) 270-6666.  R&R and Kinetic are near one another but 
Kinetic is in Tokoma Park.  Don't know of EventEQ.
Steve R

SS wrote:

> 
> Wait..what? Now I'm just confused :)
> 
> Could try EventEQ, or Kinetic Artistry. Not gonna lie, personally
> never used either company. But they're there, could be worth a shot!!


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

In-Reply-To: <list-27171581 [at] prxy.net>
References: <list-27171581 [at] prxy.net>
Message-Id: <CB65C913-E186-4699-A4E7-493E1A91ED4D [at] hillmardesign.com>
From: gregg hillmar <gregg [at] hillmardesign.com>
Subject: Re: Stage Manager Interviews
Date: Tue, 31 Jan 2006 12:27:19 -0500

Actually I taught SM this past fall, and did the exact same project.  
I used SM's that I had worked with, but feel free to share the list  
once compiled...
g.
_____________________
gregg hillmar
scenic & lighting design
portfolio & life as we know it:
http://www.hillmardesign.com

"Work like you don't need the money. Love like you've never been  
hurt. Dance like no one's watching."
Satchel Paige

On Jan 31, 2006, at 8:00 AM, Mike Burnett wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
> This semester I am teaching Stage Management, and one of the  
> assignments
> is for each student to interview a professional stage manager  
> (equity or
> non-equity).  Basically, each student will have (ideally) 2 or 3 stage
> managers that they would have a short email conversation with about
> their duties, the business, how they got into the profession,  etc...
> It shouldn't take too much time on the SMs part.
>
> Anyone interested?  The project is to be completed by April 6, so you
> can see there are a few months to complete.
>
> What I'd like to do is compile a list of interested SMs (please  
> respond
> to me off-list) which I will distribute to the students.  They will  
> then
> select who they want to interview.  Your names will not be  
> circulated to
> anyone not in this class.
>
> Thanks,
> MB
>
> ______________________________________________________________________ 
> __
> _
> Mike Burnett, M.F.A.
> Assistant Professor of Theatre
> Chair, Department of Theatre
>
> Huntington University
> Impact your World...for Christ...in Scholarship...through Service
>
> 260-359-4279 office
> 260-359-4249 fax
>
> mburnett [at] huntington.edu
> www.huntington.edu/theatre
>
>
> Let us not become weary in doing good, for at the proper time we will
> reap a harvest if we do not give up.
> Therefore, as we have opportunity, let us do good to all people,
> especially to those who belong to the family of believers
> Galatians 6:9-10
>
> "There are more things in heaven and earth, Horatio, than are  
> dreamt of
> in your philosophy."
> --Hamlet (I, v, 166-167)
>
>
> ______________________________________________________________________ 
> __
> _
>
>


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

Message-ID: <2363923.1138730998334.JavaMail.root [at] fepweb09>
Date: Tue, 31 Jan 2006 10:09:58 -0800
From: <nimmck [at] charter.net>
Subject: Re: side lighting
Cc: FrankWood95 [at] aol.com

I also find that hanging instruments with their intended clamps in a horizontal position (i.e. on smaller pieces of pipe) allows for much more ease.  It's a bit difficult to support a sidearmed instrument and tighten the clamp while balanced on top of a ladder.  It's even worse to try to attach an instrument directly to the boom.  With short stubs of pipe, at least the instrument can be hung in the regular fashion.  Of course, one must spend more time positioning the stubs--but that's a small price to pay for me.

Chris Nimm


---- FrankWood95 [at] aol.com wrote: 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 29/01/06 23:34:09 GMT Standard Time, 
> deeming.tony [at] btinternet.com writes:
> 
> > If your biggest problem is removing/replacing hook clamps then you've got an
> >  easy ride, I reckon!
> >  Just done that very thing with 4 sets of four multi-pars as side lights for
> >  our panto.
> 
> Actually,the big problem is in finding all the hook clamps, bolts, and wing 
> nuts after someone else's sloppy get-out. Also, many of our lanterns are old 
> enough to have an imperial thread in the yoke. M8 and 5/16 Whit are too close 
> for comfort, and there is always the possibility that some clown has mixed them, 
> which is just about possible. This needs two spanners (wrenches) and a lot of 
> effort to unscramble, usually when you are short of time.
> 
> 
> Frank Wood

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

Message-ID: <1964cf3b0601311011n4bb94134l785d204ad6936baf [at] mail.gmail.com>
Date: Tue, 31 Jan 2006 13:11:07 -0500
From: David Carrico <daveffreep [at] gmail.com>
Subject: Re: Job titles
In-Reply-To: <list-27130683 [at] prxy.net>
References: <list-27069473 [at] prxy.net> <list-27130683 [at] prxy.net>

The only offense in this is to demean a great band that no longer
plays because the bass player assaulted a postman....


>
> Oh yeah and an SM friend of mine who is married to an actor always takes
> offense when I refer to him as a Meat Puppet.
>
>
>
> --


--
Dave Carrico
New York Metropolitan Area

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

Message-ID: <45c56d340601311035h7da750e1q1df437822d29695 [at] mail.gmail.com>
Date: Tue, 31 Jan 2006 10:35:29 -0800
From: Jared Fortney <jared.fortney [at] gmail.com>
Subject: looking for XLR4 in San Jose, CA

Anyone know where I could pick up an XLR 4 female cable mount off the
shelf in the San Jose/ Santa Clara, CA area?  I'd prefer not to have
it shipped, but if I have to, any West Coast vendors I should call?=20
Thanks.

-Jared Fortney

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

Message-Id: <7.0.0.16.0.20060131104411.01f19990 [at] interstellar.com>
Date: Tue, 31 Jan 2006 10:45:32 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: looking for XLR4 in San Jose, CA
In-Reply-To: <list-27179875 [at] prxy.net>
References: <list-27179875 [at] prxy.net>

At 10:35 AM 1/31/2006, you wrote:
>Anyone know where I could pick up an XLR 4 female cable mount off the
>shelf in the San Jose/ Santa Clara, CA area?  I'd prefer not to have
>it shipped, but if I have to, any West Coast vendors I should call?
>Thanks.

We don't have any 4-pin ones.  If you have to order, www.mouser.com 
has them.  The Neutrik ones are on page 860 of the catalog (you can 
view the catalog on-line).



-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886



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

From: MissWisc [at] aol.com
Message-ID: <25b.60a949c.31110c1b [at] aol.com>
Date: Tue, 31 Jan 2006 13:53:15 EST
Subject: Re: Resume

Or the other way around in his case...
"Graduate of Cumberland College,  now known as University of the Cumberlands"
 
My Alma Mater had another college merge with it... so diplomas read "Downer  
College for Women, Lawrence University"
 
Kristi


<<    _b_ricie [at] yahoo.com_ (mailto:b_ricie [at] yahoo.com)  writes:
Moe,
I would  think the simple addition of the word formally is all you need. "The 
University  of Cumberlands, formally Cumberland College."

>>We changed our name  from Cumberland College to the University of the 
Cumberlands.   >>
 

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

Message-ID: <12249378.1138734085176.JavaMail.root [at] elwamui-rubis.atl.sa.earthlink.net>
Date: Tue, 31 Jan 2006 14:01:25 -0500 (GMT-05:00)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Subject: Re: side lighting

Chris....

Now, though they are not the best-designed piece of hardware, using sidearms is easier.  Get rid of the rivet/bolt on the open end of the sidearm pipe.  Then you hang the sidearm (if it's a heavy unit or you're double-hanging the arm use one of the City Theatrical Safer Sidearm Jr.'s) and slide the unit (with Tee attached) onto the sidearm.

All of our sidearms have had the rivets removed, or they were shop made.  IMHO the "safety" they add is more than outweighed by the hazzards they create for the electrician trying to hang 25+ lbs of gear at the ends of their reach.  The units are safetied to the boom/taildown (and usually to another unit's safety, etc).  

BTW, I think it was Steve who uses chain on taildows for the safeties.  I'd never thought of that--we've used the aircraft cable pipe safety as the attachment for the unit safety.  I love the chain idea.

We built some ladders out of box steel.  They hang from a bracket on the batten.  The bracket is two U-bolts attached to a horizontal piece of box steel, with eye-bolts on the US and DS ends.  Aircraft cable or chain is used to connect the ladder to the bracket, and thus set trim.  They work great for us, but they do swing a bit if the pipe has to move during a performance.

--Sean

Sean R. McCarthy
seanrmc [at] earthlink.net


-----Original Message-----
>From: nimmck [at] charter.net
>I also find that hanging instruments with their intended clamps in a horizontal position (i.e. on smaller pieces of pipe) allows for much more ease.  It's a bit difficult to support a sidearmed instrument and tighten the clamp while balanced on top of a ladder.  It's even worse to try to attach an instrument directly to the boom.  With short stubs of pipe, at least the instrument can be hung in the regular fashion. 

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

From: FrankWood95 [at] aol.com
Message-ID: <6b.548516f4.31111199 [at] aol.com>
Date: Tue, 31 Jan 2006 14:16:41 EST
Subject: Re: ETA Connectors-help

In a message dated 31/01/06 16:03:18 GMT Standard Time, jbwills [at] gmail.com 
writes:

> I have a customer who recently purchased some ETA dimmers and board
>  from eBay. He is trying to install them and is turnign to me to help
>  him out. I can not find a source for the 6 pin connector that the
>  packs need. Anyone have a source for these or know of an alternative
>  besides rewireing all of the connectors to something newer.
>  
>  It is a 6pin din connector with screw threads on the sides.

This is a pretty standard connector in the audio world, or was. There are 
three different locking systems that I can remember; screw, bayonet ring, and 
sprung catch. Provided that you don't need the security of the lock, they will 
all intermate, as will the non-locking variety.


Frank Wood

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

Date: Tue, 31 Jan 2006 14:33:43 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: side lighting
In-reply-to: <list-27178676 [at] prxy.net>
Message-id: <43DFBB97.30601 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-27178676 [at] prxy.net>

nimmck [at] charter.net wrote:
> ---------------------------------------------------
> 
> I also find that hanging instruments with their intended clamps in a horizontal position (i.e. on smaller pieces of pipe) allows for much more ease.  It's a bit difficult to support a sidearmed instrument and tighten the clamp while balanced on top of a ladder.  It's even worse to try to attach an instrument directly to the boom.  With short stubs of pipe, at least the instrument can be hung in the regular fashion.  Of course, one must spend more time positioning the stubs--but that's a small price to pay for me.

As Sean said, hang the sidearm first and then slide the light onto it. 
    Not only is it safer, it's a far more accurate practice.  We hang 
all our sidearms first, making sure they are spaced correctly.  Then 
the lights slid into place.  This also allows us to have people 
dropping power to each sidearm as the lights are being hung, rather 
than having to wait until every light is in place to be able to 
circuit them.

And as this all started as a taildown discussion, we attach the 
sidearms while the pipe is at floor level and get circuits run, so we 
have only to hang the lights on the sidearms, safety and plug them in 
once the taildown has flown out.

Steve L.
-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

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

Date: Tue, 31 Jan 2006 11:42:25 -0800
Subject: OT-ish: Las Vegas Backstage Tours
From: James Feinberg <feinberg [at] sandiego.edu>
Message-Id: <B44995BD-9291-11DA-BFDA-00039367B7D4 [at] sandiego.edu>

Dear Kind Las Vegas Listers:

I'll be in Las Vegas next weekend, and I've been looking into backstage 
tours.  Has anyone taken the Jubilee tour, to know how interesting it 
will be for someone who does this for a living?  Does anyone besides 
Jubilee offer such a tour to the general public (or to the list 
community)?

Thanks,

--James Feinberg
University of San Diego


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

Reply-To: <mike [at] focusnote.com>
From: "Mike Wade" <mike [at] focusnote.com>
Cc: mike [at] focusnote.com
Subject: Pre Wired Candleabra Light Strings
Date: Tue, 31 Jan 2006 15:14:38 -0500
Message-ID: <003b01c626a2$f8959d70$d47cfea9 [at] Mike>
In-Reply-To: <list-27057884 [at] prxy.net>

Hello list.  I am finding myself in a situation that I come up against
regularly:  I need cost effective, prewired candelabra base light strings.

It will cost me to much to have my shop make the strings (a la McMaster
parts), the belt light (from Action Lighting) is a little to clunky for what
I want.

I have seen the product I am looking for before... Little black plastic
sockets mounted to 14ga (maybe 16ga) wire.  I know that particular brand
offered different spacing and multiple circuits with a  shared neutral.

Has anyone seen something like this on the market?

Thanks for the help-

Mike Wade




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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Cc: mike [at] focusnote.com
Subject: RE: Pre Wired Candleabra Light Strings
Date: Tue, 31 Jan 2006 15:17:35 -0500
Message-ID: <000201c626a3$60294540$6501a8c0 [at] Dell>
In-Reply-To: <list-27182999 [at] prxy.net>

If you have a Christmas store near you, try them.

> I have seen the product I am looking for before... Little 
> black plastic sockets mounted to 14ga (maybe 16ga) wire.  I 
> know that particular brand offered different spacing and 
> multiple circuits with a  shared neutral.


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

Message-ID: <F6275691D8BF4749B5B17ABA059AC48ABA5540 [at] APOLLO>
From: David Kissel <KisselDa [at] BrooklynCenter.com>
Subject: 20DVL moving lifts
Date: Tue, 31 Jan 2006 15:25:06 -0500

Does anyone on this list use a self driven lift, on their stage floor?  

The reason for this question, is that we are in the process of getting a new stage floor (after 50 years) and the architect,
is telling us that the lift is too heavy, and we should not be using it.  We would like to show him that this lift is common in its use.

Thank you

Dave Kissel

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

Message-ID: <BAY112-F34B44C4DB8407E3281C7D3DA080 [at] phx.gbl>
In-Reply-To: <list-27183163 [at] prxy.net>
From: "Matthew Breton" <theatricalmatt [at] hotmail.com>
Subject: RE: 20DVL moving lifts
Date: Tue, 31 Jan 2006 15:28:33 -0500

I've driven a JBL scissor lift across many convention room floors, but not 
theater.  It all depends on how the deck has been constructed, but (for 
fairly obvious reasons) they're much heavier than your regular ol' tower 
lift.  Since they're also compact, that means a lot of weight in a fairly 
small footprint, which might be why the architect or his PE is saying the 
floor can't take the weight.

Ask him for his own explanation why, and -- since you mentioned renovating 
-- ask what changes would have to be made to continue using the lift.  But 
if he's got solid footing, I'd listen to him.


Matthew Breton
Technical Director
Cambridge Family YMCA Theater
(617) 447-5261 (cell)
www.cambymca.org





>From: David Kissel <KisselDa [at] BrooklynCenter.com>
>Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
>To: "Stagecraft" <stagecraft [at] theatrical.net>
>Subject: 20DVL moving lifts
>Date: Tue, 31 Jan 2006 15:25:06 -0500
>
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Does anyone on this list use a self driven lift, on their stage floor?
>
>The reason for this question, is that we are in the process of getting a 
>new stage floor (after 50 years) and the architect,
>is telling us that the lift is too heavy, and we should not be using it.  
>We would like to show him that this lift is common in its use.
>
>Thank you
>
>Dave Kissel

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/


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

Date: Tue, 31 Jan 2006 15:28:40 -0500
Subject: Re: 20DVL moving lifts
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C00532A8.8418%bill [at] sapsis-rigging.com>
In-Reply-To: <list-27183163 [at] prxy.net>

Dave.  I don't have a lift.  I don't play one on TV.  I don't have a
theatre, either.  But I do know that many existing stages are not strong
enough for the current crop of sdl's.  That being said, if you are getting a
new stage then I would think you should make sure that the architect designs
a stage that WILL hold an sdl.  I mean, why not?  Why is the lift too heavy.
Did he design a floor that won't hold it or is there a substructure problem?

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 1/31/06 3:25 PM, "David Kissel" <KisselDa [at] BrooklynCenter.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Does anyone on this list use a self driven lift, on their stage floor?
> 
> The reason for this question, is that we are in the process of getting a new
> stage floor (after 50 years) and the architect,
> is telling us that the lift is too heavy, and we should not be using it.  We
> would like to show him that this lift is common in its use.
> 
> Thank you
> 
> Dave Kissel



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

Date: Tue, 31 Jan 2006 15:30:03 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Pre Wired Candleabra Light Strings
In-reply-to: <list-27182999 [at] prxy.net>
Message-id: <43DFC8CB.8090400 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-27182999 [at] prxy.net>

Mike Wade wrote:
> ---------------------------------------------------
> I have seen the product I am looking for before... Little black plastic
> sockets mounted to 14ga (maybe 16ga) wire.  I know that particular brand
> offered different spacing and multiple circuits with a  shared neutral.
> 
> Has anyone seen something like this on the market?

Heck, my dad just threw out all our strings of candelabra based 
Christmas lights.

This looks like what you want, but it's only available in 1000' spools
http://www.aachristmas.com/vpasp/shopdisplayproducts.asp?id=235

Root around on the site, it looks like they have some other, similar 
products.

Steve L.
-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

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

Message-ID: <F6275691D8BF4749B5B17ABA059AC48ABA5541 [at] APOLLO>
From: David Kissel <KisselDa [at] BrooklynCenter.com>
Subject: RE: 20DVL moving lifts
Date: Tue, 31 Jan 2006 15:44:52 -0500

Thank you Folks,
Basically, the plans were drawn 5 years ago, before we started using this lift, and he doesn't want to change them. We are trying to get ammunition together, to show that we are not out of our minds in using the lift, and a modern stage floor should support this unit. (This is a JLG self propelled 20' working height unit - the advantage - no outriggers in the design - thus saving a fair amount of labor on every electrics call)
Dave


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

Message-ID: <43DFD408.8030901 [at] cybercom.net>
Date: Tue, 31 Jan 2006 16:18:00 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: 20DVL moving lifts
References: <list-27183602 [at] prxy.net>
In-Reply-To: <list-27183602 [at] prxy.net>

David Kissel wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Thank you Folks,
> Basically, the plans were drawn 5 years ago, before we started using this lift, and he doesn't want to change them. We are trying to get ammunition together, to show that we are not out of our minds in using the lift, and a modern stage floor should support this unit. (This is a JLG self propelled 20' working height unit - the advantage - no outriggers in the design - thus saving a fair amount of labor on every electrics call)
> Dave
   For a professional stage house being built today, it absolutley 
should have the weight capability of holding this lift.  What happens 
when a touring show comes in with a scenery wagon that weighs half a ton 
or more?    Sounds like the architect isn't keeping up with current 
standards.  How many other theaters has the architect done?  Have you 
gone and interviewed the TDs working on those stages?  o and recheck the 
overhead weight capacities as well, They probably forgot to allow for 
the weight of scenery and so on that are going to be flown in a 
theatrical space.

   All that being said, going back and redesigning the stage floor, and 
the supporting structures holding it up, is going to cost someone money. 
  The architect will call it a change order and try to bill it back to 
you.  What do your original specifications call for?
What did your theater consultant recommend?


   --Dale

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

From: "Jon Lagerquist" <jon [at] lagerquist.com>
Date: Tue, 31 Jan 2006 13:37:52 -0800
Subject: Re: 20DVL moving lifts
Reply-to: jon [at] lagerquist.com
Message-ID: <43DF6830.20689.B4AD20C [at] localhost>
In-reply-to: <list-27183602 [at] prxy.net>

While not excessive by any means it might not be what the floor or 
sub structure is designed for.

A few quick numbers comparing that lift and a common small scissor 
lift that I would consider a normal heavy load. 

20DVL - 2032 pounds	- 185.4 #/sqft over the entire footprint - 127#/sq in per 2"x2" wheel print
MX19 - 3100 pounds - 236 #/sqft over the entire footprint - 193.75#/sq in per 2"x2" wheel print

For what it is worth.

Jon
Jon Lagerquist
Technical Director  [at]  South Coast Repertory
Costa Mesa, CA


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

Message-Id: <3.0.6.32.20060131143630.00d0c420 [at] pop.west.cox.net>
Date: Tue, 31 Jan 2006 14:36:30
From: CB <psyd [at] cox.net>
Subject: RE: Tech Riders [CamLok Gender]

>The intent is to slow down people who are working in the dark,
>colorblind, uneducated or distracted from crossing a hot leg with ground
>or neutral.
>Driving people crazy by forcing them to carry the right sets of Cam
>tees, turnarounds, etc. is an unintended side benefit.

And, of course, now ground and hot (or neutral and hot) can now be
connected together in the dark by the uneducated, colorblind, distracted
electrician!
				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: <3eb8da960601311344y5c7de72ey8243c1bbd9194aaf [at] mail.gmail.com>
Date: Tue, 31 Jan 2006 16:44:54 -0500
From: Jason Cowperthwaite <jasonclights [at] gmail.com>
Subject: Re: Need lighting rental shop in the DC area.
In-Reply-To: <list-27177113 [at] prxy.net>
References: <list-27172789 [at] prxy.net> <list-27173690 [at] prxy.net>
	 <list-27174424 [at] prxy.net> <list-27175231 [at] prxy.net>
	 <list-27175843 [at] prxy.net> <list-27177113 [at] prxy.net>

If the original request is still about rentals, I can say that Kinetic
would not be your best bet.  They keep an extremly small stock, and
sub rent the rest from BSL and Atmosphere.  I would go direct to the
sources... BSL and Atmo have always come through for me rather well.=20
I have found that BSL has better prices and is more willing to work
out a deal.  Especially for longer term rentals.


Hope this helps,

On 1/31/06, Stephen E. Rees <Rees [at] fredonia.edu> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I actually have used Kinetic.  They are also good.  Do very good repair
> work as well.  (301) 270-6666.  R&R and Kinetic are near one another but
> Kinetic is in Tokoma Park.  Don't know of EventEQ.
> Steve R
>
> SS wrote:
>
> >
> > Wait..what? Now I'm just confused :)
> >
> > Could try EventEQ, or Kinetic Artistry. Not gonna lie, personally
> > never used either company. But they're there, could be worth a shot!!
>
>

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Cc: jon [at] lagerquist.com
Subject: RE: 20DVL moving lifts
Date: Tue, 31 Jan 2006 16:49:12 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAdDd4NoyEj0244ShzVQYfeAEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-27184746 [at] prxy.net>

Jon Lagerquist wrote:

>A few quick numbers comparing that lift and a common small scissor
>lift that I would consider a normal heavy load.=20
>
>20DVL - 2032 pounds	- 185.4 #/sqft over the entire=20
>footprint - 127#/sq in per 2"x2" wheel print
>MX19 - 3100 pounds - 236 #/sqft over the entire footprint -
>193.75#/sq in per 2"x2" wheel print
>
>For what it is worth.

It's worth plenty! I know the old BOCA code called for 150 lb/sq ft =
design
load for stage floors (typical for most high schools), though I have =
seen
some floors in big Performing Arts Centers designed to as high as 250 =
lb/sq
ft. It would help the cause to know to what design load the original =
floor
was constructed, and how it was constructed.

The point loads that any type of lift imposes is significant. The =
original
poster may have some difficulty in getting the architect to change the =
floor
construction just to accommodate a lift, especially if they are "only"
designing to the minimum required by code.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966


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

Message-Id: <3.0.6.32.20060131145438.00d0c420 [at] pop.west.cox.net>
Date: Tue, 31 Jan 2006 14:54:38
From: CB <psyd [at] cox.net>
Subject: Re: tech riders

>But it seems to be a US custom that ground and neutral are 
>interchangeable, when it makes a sort of sense

The last time you made this staetement on the list, we corrected you.  A
lot.  It isn't so.  We call them ground and neutral because they are
different.  The uy that wires your house here might be nearing retirement
and a bit confused about this 'new-fangled ground thang' but he would be
committing an error if he treated them as interchangeable.
				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: <3.0.6.32.20060131145926.00d0c420 [at] pop.west.cox.net>
Date: Tue, 31 Jan 2006 14:59:26
From: CB <psyd [at] cox.net>
Subject: Re: Job titles

>For the life of me I cannot figure out 
>how some one who runs a 3 mic system once a week at church is an expert 
>but I sure see enough of them

Go to the center center of any deck during the load-in and swing a dead
cat.  You will hit more than a dozen 'experts' in sound.  Everyone on the
deck has two jobs, whatever is on their contract and 'sound assistant'.
All day long I get advice as to how the mix sounds, from every corner of
the room.  The basis of their expertise is that they wired their very
complicated home theatre system all by themselves (with 7.1 suround, even)
or that their car can produce more bass than a 747 at throttle-up.  Welcome
to my world, my brother!
				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: <29207473.1138737028750.JavaMail.root [at] elwamui-rubis.atl.sa.earthlink.net>
Date: Tue, 31 Jan 2006 14:50:28 -0500 (GMT-05:00)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Subject: Re: ETC Par

Doing occasional work loading in/out concerts I don't think I've seen ANY Par-64's used on any of the bigger tours.  McCartney, Elton John, U2, Fleetwood Mac, Prince, etc.....  

--Sean

Sean R. McCarthy
seanrmc [at] earthlink.net

-----Original Message-----
>From: productionmanager [at] minnesotaballet.org
>With the question of ETC par vs.. a conventional Par 64 just asked this week 
>I thought it funny last night when I worked the Nickelback concert. They had 
>gone all ETC with VNS lens.
>
>Ken Pogin


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

From: "Steve Jones" <steve.jones [at] glasgowplazatheatre.org>
Subject: Mic stand recommendations...
Date: Tue, 31 Jan 2006 16:57:50 -0600
Organization: Plaza Theatre
Message-ID: <auto-000027187704 [at] prxy.net>

Anyone want to make a recommendation for mic stands and a vendor?  Looking
for mainly boom stands.

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: FrankWood95 [at] aol.com
Message-ID: <2ca.2be34e1.31114baa [at] aol.com>
Date: Tue, 31 Jan 2006 18:24:26 EST
Subject: Re: 20DVL moving lifts

In a message dated 31/01/06 20:21:34 GMT Standard Time, 
KisselDa [at] BrooklynCenter.com writes:

> The reason for this question, is that we are in the process of getting a 
new 
> stage floor (after 50 years) and the architect,
>  is telling us that the lift is too heavy, and we should not be using it.  
We 
> would like to show him that this lift is common in its use.

Do you mean that you are replacing just the floor planking, or the whole 
structure? In either case, ask the architect to justify his opinion. He may be 
right, given the changes in standards over the past 50 years.

If the whole structure is to be replaced, there is an easy answer: tell him 
to design a structure to do the job. This will cost more, and you will need to 
read his technical brief carefully, in conjunction with the data for the lift 
in terms of floor loading. Should the brief say that such a lift is to be 
used, it's his problem.

Otherwise, you are into an area of opinions. Modern wooden structures are not 
immortal, and standards change. Your AHJ should have an opinion, which will 
count for a lot. If not, you are into structural engineering consultants, who 
don't come cheap, and possibly law suits.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <266.4f31fcd.31114e3c [at] aol.com>
Date: Tue, 31 Jan 2006 18:35:24 EST
Subject: Re: 20DVL moving lifts

In a message dated 31/01/06 20:41:40 GMT Standard Time, 
KisselDa [at] BrooklynCenter.com writes:

> Basically, the plans were drawn 5 years ago, before we started using this 
> lift, and he doesn't want to change them. We are trying to get ammunition 
> together, to show that we are not out of our minds in using the lift, and a 
> modern stage floor should support this unit.

Yes, probably. But 50 years old isn't modern.

I see why you like this lift, and so should I. But, when you bought it, did 
you check the floor loading?


Frank Wood

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

From: "Henry R. Grillo" <hrgrillo [at] bellsouth.net>
Subject: RE: Taildowns
Date: Tue, 31 Jan 2006 18:43:24 -0500
Message-ID: <000301c626c0$20497860$6401a8c0 [at] Home1>
In-Reply-To: <list-27169512 [at] prxy.net>

I assigned a lightplot project to my drafting class today.  They are to
update a Jules Fisher plot from the original production of Pippin.  In
light of recent discussions regarding the meaning of "tail down," it
was interesting to note that the plot specifies a pipe, the 9A, that
tails down from the 9 pipe.  The section shows the 9A hanging about 10 feet 
directly below the 9th electric.

The plot is from 1972.

Henry R. Grillo
Director of Technical Training
School of Design & Production
North Carolina School of the Arts



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

Message-ID: <20060201001036.56393.qmail [at] web81812.mail.mud.yahoo.com>
Date: Tue, 31 Jan 2006 16:10:36 -0800 (PST)
From: <kzinkl [at] sbcglobal.net>
Subject: Re: 20DVL moving lifts
In-Reply-To: <list-27183163 [at] prxy.net>

I regulary use a 20' sissor lift on my stage.  However
that said the floor had to replaced last summer after
only 4 years of use.  (A story of two floors starts
now.)  The school district that I work for built 2
almost identical auditoriums about 5 years ago.  Each
one had a different contractor for the structure but
the same architect.  Both spaces were designed with
hand cranks for the electrics but steel was not
designed/placed where it needed to be.  The solution
was nice big sissor lift.  I can only assume that the
floors were designed or redesigned to handle the
weight because the stage at the other school is doing
fine with the lift on it.  My floor ended up "warping"
under the weight of the lift.  My floor was a concret
slab with 2x4 placed 12" on center and 2 layers of
plywood on top of that.  Problem was that the sheets
were only 1/2" stacked one on top of the other, no
overlaping.  Now the floor is 2x4 6" on center with
3/4" bottom layer and a 1/4" top layer overlaping the
sheets below.  So far so good as long as I stay on the
new floor.  Yeah they only replaced what was warped
and high traffic lift areas.  Oh well that's the joy
of starting a new job after the problem is "fixed".

--- David Kissel <KisselDa [at] BrooklynCenter.com> wrote:

> For info, archives & UNSUBSCRIBE, see
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Does anyone on this list use a self driven lift, on
> their stage floor?  
> 
> The reason for this question, is that we are in the
> process of getting a new stage floor (after 50
> years) and the architect,
> is telling us that the lift is too heavy, and we
> should not be using it.  We would like to show him
> that this lift is common in its use.
> 
> Thank you
> 
> Dave Kissel
> 


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

Date: Tue, 31 Jan 2006 19:33:54 -0500
Subject: Re: side lighting
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C0056C21.D2BD%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-27072275 [at] prxy.net>

    I was gone all weekend, and upon returning home Monday evening I found
245 Stagecraft posts, (not to mention my other lists) waiting for me! I'm
finally catching up, but cursing myself for this list addiction!

    The "Side lighting" / "Taildowns" thread has been interesting.
   
Steve L. said: 
> You can certainly hang the fixture directly on the pipe, but that
> makes focus more difficult.
>Purchasing or making a healthy stock of sidearms makes it much easier.

    I can certainly understand the advantage to using side-arms, but I have
a concern. We don't often use booms, but when we do - with all the
instruments clamped directly to the boom and pointed on to the stage - The
added weight makes the booms off balanced and they want to tip over onto the
stage. To compensate for this, we attach stage weights on top of the 50#
base on the off-stage side.

    Doesn't using side-arms move the centre of gravity even farther off? How
do you deal with the off-balance problem?

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Date: Wed, 1 Feb 2006 00:57:48 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Looking for solutions to use show control to run sound cues off
 an Obsession
In-Reply-To: <list-27145181 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0602010056040.22549 [at] viscount.richmondsounddesign.com>
References: <list-27122540 [at] prxy.net> <list-27145181 [at] prxy.net>

On Mon, 30 Jan 2006, Stephen Litterst wrote:

> Get to know ETC's Obsession service guys (gender inclusive "guys").  I tried 
> to use the Obsession's MSC features to trigger some sound cues last semester 
> and couldn't get any of our sound programs to recognize the "go."

You could have programmed the hot keys in ABEdit to recognize the MSC Lighting 
GO messages to make your AudioBox follow the lighting console.

Charlie

| Charlie Richmond - Richmond Sound Design - Skype: charlierichmond |
| http://www.RichmondSoundDesign.com "Performance for the Long Run" |
| AudioBox List:     http://www.RichmondSoundDesign.com/ablist.html |

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

Message-ID: <BAY113-DAV93B18123BEED38C0880E0DF0B0 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: RE: side lighting
Date: Tue, 31 Jan 2006 19:12:24 -0600
Message-ID: <000901c626cc$8fae5a70$6600a8c0 [at] tdolighting01>
In-Reply-To: <list-27191225 [at] prxy.net>

The guys at the music hall here use a flange and sleeve on the bottom of our
tall booms which can then be lagged into the stage floor. Then drop a line
from the grid and attach to a loop on top of the boom for added safety.
There is still some tendency to lean, but it won't go over. If the boom is
especially heavily loaded, they have added a come-along to the rope overhead
to provide extra tension.


Laura
972-333-5016

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bruce
> Purdy
> Sent: Tuesday, January 31, 2006 6:34 PM
> To: Stagecraft
> Subject: Re: side lighting
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>     I was gone all weekend, and upon returning home Monday evening I found
> 245 Stagecraft posts, (not to mention my other lists) waiting for me! I'm
> finally catching up, but cursing myself for this list addiction!
> 
>     The "Side lighting" / "Taildowns" thread has been interesting.
> 
> Steve L. said:
> > You can certainly hang the fixture directly on the pipe, but that
> > makes focus more difficult.
> >Purchasing or making a healthy stock of sidearms makes it much easier.
> 
>     I can certainly understand the advantage to using side-arms, but I
> have
> a concern. We don't often use booms, but when we do - with all the
> instruments clamped directly to the boom and pointed on to the stage - The
> added weight makes the booms off balanced and they want to tip over onto
> the
> stage. To compensate for this, we attach stage weights on top of the 50#
> base on the off-stage side.
> 
>     Doesn't using side-arms move the centre of gravity even farther off?
> How
> do you deal with the off-balance problem?
> 
> Bruce
> --
> Bruce Purdy
> Technical Director
> Smith Opera House
> 


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

Message-ID: <43E00D14.1030208 [at] cybercom.net>
Date: Tue, 31 Jan 2006 20:21:24 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: side lighting
References: <list-27191225 [at] prxy.net>
In-Reply-To: <list-27191225 [at] prxy.net>

Bruce Purdy wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>     I was gone all weekend, and upon returning home Monday evening I found
> 245 Stagecraft posts, (not to mention my other lists) waiting for me! I'm
> finally catching up, but cursing myself for this list addiction!
> 
>     The "Side lighting" / "Taildowns" thread has been interesting.
>    
> Steve L. said: 
>> You can certainly hang the fixture directly on the pipe, but that
>> makes focus more difficult.
>> Purchasing or making a healthy stock of sidearms makes it much easier.
> 
>     I can certainly understand the advantage to using side-arms, but I have
> a concern. We don't often use booms, but when we do - with all the
> instruments clamped directly to the boom and pointed on to the stage - The
> added weight makes the booms off balanced and they want to tip over onto the
> stage. To compensate for this, we attach stage weights on top of the 50#
> base on the off-stage side.
> 
>     Doesn't using side-arms move the centre of gravity even farther off? How
> do you deal with the off-balance problem?
> 
> Bruce

   Adding an angle brace up near the top of the vertical pipe
that runs up to the horizontal pipe has been my solution for
heavily twisting pipes.  If I'm only hanging a couple, it's
not really an issue.

   --Dale


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

Message-ID: <BAY112-F162DC38EE118599041FE15DA0B0 [at] phx.gbl>
In-Reply-To: <list-27187706 [at] prxy.net>
From: "Matthew Breton" <theatricalmatt [at] hotmail.com>
Subject: RE: Mic stand recommendations...
Date: Tue, 31 Jan 2006 20:47:31 -0500

>Anyone want to make a recommendation for mic stands and a vendor?  Looking
>for mainly boom stands.

I consider mic stands to be part of the set dressing -- a chrome stand might 
look great for a rock and roll show, but be awful for a corporate 
presentation, where you want something classier.

Oddly, while I used to see a lot of advertising for decorated truss, I can't 
recall seeing as much for custom-color mic stands.

Back to the question at hand, I kinda like Atlas for durability and Onstage 
for affordability.  Both have a good selection of models to choose from, and 
are pretty readily available nationwide.


Matthew Breton
Technical Director
Cambridge Family YMCA Theater
(617) 447-5261 (cell)
www.cambymca.org

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/


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

Date: Tue, 31 Jan 2006 21:01:20 -0500 (EST)
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Looking for solutions to use show control to run sound cues
 off an Obsession
In-reply-to: <list-27191449 [at] prxy.net>
Message-id: <3146.172.164.90.208.1138759280.squirrel [at] 172.164.90.208>
References: <list-27122540 [at] prxy.net> <list-27145181 [at] prxy.net>
 <list-27191449 [at] prxy.net>

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> On Mon, 30 Jan 2006, Stephen Litterst wrote:
>
>> Get to know ETC's Obsession service guys (gender inclusive "guys").  I
>> tried
>> to use the Obsession's MSC features to trigger some sound cues last
>> semester
>> and couldn't get any of our sound programs to recognize the "go."
>
> You could have programmed the hot keys in ABEdit to recognize the MSC
> Lighting
> GO messages to make your AudioBox follow the lighting console.

Sadly, I'm not the AudioBox expert I'd like to be.  The person setting up
the show control system said that ABedit wasn't recognizing anything about
the MSC Go coming from the Obsession.  I believe that the AudioBox
considered it gibberish.  I haven't had the opportunity (or the need) to
follow up on it, as there have been a ton of more serious issues with my
Obsession II that have needed my attention.

Steve L


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

Date: Tue, 31 Jan 2006 21:08:57 -0500 (EST)
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: side lighting
In-reply-to: <list-27191914 [at] prxy.net>
Message-id: <3191.172.164.90.208.1138759737.squirrel [at] 172.164.90.208>
References: <list-27191225 [at] prxy.net> <list-27191914 [at] prxy.net>


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

>>     Doesn't using side-arms move the centre of gravity even farther off?
>> How
>> do you deal with the off-balance problem?
>>
>> Bruce

We correct for this two ways:

1.) Booms over head high are supported to the grid.  The grid pick takes
the weight of the boom and the lights, and the boom base keeps the whole
system in place.

1a.)  I've found that if you can hang on a sidearm to the side of the
boom, you can get the weight of the unit much closer to the pipe than if
you were hanging directly off the yoke.

2.) We use short side arms and keep the fixtures as close to the booms as
possible. When the design allows it, the units are hung on each side of
the pipe to keep the boom as balanced as possible.

Steve L.


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

Date: Wed, 1 Feb 2006 02:33:53 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Cc: bartoo [at] hfi.com (Tim 'HFI' Bartoo)
Subject: Re: Looking for solutions to use show control to run sound cues off
 an Obsession
In-Reply-To: <list-27193117 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0602010227330.22549 [at] viscount.richmondsounddesign.com>
References: <list-27122540 [at] prxy.net> <list-27145181 [at] prxy.net> <list-27191449 [at] prxy.net>
 <list-27193117 [at] prxy.net>

On Tue, 31 Jan 2006, Stephen Litterst wrote:

> Sadly, I'm not the AudioBox expert I'd like to be.  The person setting up
> the show control system said that ABedit wasn't recognizing anything about
> the MSC Go coming from the Obsession.

Two separate issues:

1.  ABEdit has the ability to recognize virtually any MIDI message and translate 
it to a hotkey command.  This means you can program over 100 messages to make 
specific cues go, on a very general level.  That person can read the ABEdit 
manual to find out how to do that or look at the online help file in the 
program.

> I believe that the AudioBox considered it gibberish.  I haven't had the

The AB itself did not consider it total gibberish but it did see it as a MSC 
'Lighting' message instead of a MSC 'Sound' messsage which is just enough to 
make it a miss rather than a hit.  If the Obsession made it easier to program 
MSC messages that get sent out, then all would be much easier... ;-)

> opportunity (or the need) to follow up on it, as there have been a ton of more 
> serious issues with my Obsession II that have needed my attention.

Hmmm...  well, hopefully all will be resolved soon!!!

Charlie

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

Message-ID: <5a73bd8d0601311846o67c6742ax3e2780755afcfca1 [at] mail.gmail.com>
Date: Tue, 31 Jan 2006 20:46:28 -0600
From: Kevin Lowry <kjlowry [at] gmail.com>
Subject: Re: Need lighting rental shop in the DC area.
In-Reply-To: <list-27185221 [at] prxy.net>
References: <list-27172789 [at] prxy.net> <list-27173690 [at] prxy.net>
	 <list-27174424 [at] prxy.net> <list-27175231 [at] prxy.net>
	 <list-27175843 [at] prxy.net> <list-27177113 [at] prxy.net>
	 <list-27185221 [at] prxy.net>

Parlites (Tammy-Lynne)  is the leader in the DC Area, However R+R
Lighting (Mike R.)  is a great company as well, If those two dont work
you can always try theatre service and supply

Kevin

On 1/31/06, Jason Cowperthwaite <jasonclights [at] gmail.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> If the original request is still about rentals, I can say that Kinetic
> would not be your best bet.  They keep an extremly small stock, and
> sub rent the rest from BSL and Atmosphere.  I would go direct to the
> sources... BSL and Atmo have always come through for me rather well.
> I have found that BSL has better prices and is more willing to work
> out a deal.  Especially for longer term rentals.
>
>
> Hope this helps,
>
> On 1/31/06, Stephen E. Rees <Rees [at] fredonia.edu> wrote:
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/=
>
> > ---------------------------------------------------
> >
> > I actually have used Kinetic.  They are also good.  Do very good repair
> > work as well.  (301) 270-6666.  R&R and Kinetic are near one another bu=
t
> > Kinetic is in Tokoma Park.  Don't know of EventEQ.
> > Steve R
> >
> > SS wrote:
> >
> > >
> > > Wait..what? Now I'm just confused :)
> > >
> > > Could try EventEQ, or Kinetic Artistry. Not gonna lie, personally
> > > never used either company. But they're there, could be worth a shot!!
> >
> >
>

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

In-Reply-To: <list-27187706 [at] prxy.net>
References: <list-27187706 [at] prxy.net>
Message-Id: <CEF698A9-B563-4244-94BA-88D7E0111AD8 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Mic stand recommendations...
Date: Tue, 31 Jan 2006 22:35:20 -0500

> Anyone want to make a recommendation for mic stands and a vendor?   
> Looking
> for mainly boom stands.

I like the new Ultimate Thunder and Lightning stands.  Sturdy but  
fold up compact and are relatively economical.  I wish they would  
sell just the base and I would covert all of my bases over.  Sadly  
Ultimate got back to me that they wouldn't sell just the tripod legs.

Greg Bierly
Technical Director
Hempfield HS


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

From: StevevETTrn [at] aol.com
Message-ID: <2cb.2c2ef99.31118aed [at] aol.com>
Date: Tue, 31 Jan 2006 22:54:21 EST
Subject: Re: Tech Riders [CamLok Gender]

>The intent is to slow down people who are  working in the dark,
>colorblind, uneducated or distracted from crossing a  hot leg with ground
>or neutral.

Yet, this admirable goal can  easily be defeated.  A number of years ago, 
when I first began
to work  with my present, really big, employer, it was made perfectly clear 
to me by ALL  that 
electrical tie-ins were NOT within my job (IA Union) description and  had to 
be completed by 
the "real" electricians (other union).  Since  this is a really big company, 
I did not give it a 
second thought other than  to confirm that the correct colors of Cam's were 
attached to my  
dimmers.  Unfortunately, the real electricians who made the tie-in at  some 
remote panel 
managed to reverse the neutral and one of the hot legs on  the lugs.  The 
dimmer smoked.  
Every since, I personally verify  their work.

Speaking of NEC,  the story goes that during discussions  over requiring a 
Posi-lok style of 
cam connections, one engineer  (non-theatrical) listened to all the arguments 
and then noted 
that even with  the "foolproof" connection system, there was no way to ensure 
that someone  
would not defeat it by simply making up jumpers that lived in the Posi-loc  
and went to bare ends.

Could be why some are so interested in seeing a  certification for 
entertainment electricians.

Steve Vanciel
Orlando,  FL  


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

Message-ID: <7080664.1138766266963.JavaMail.hjh2 [at] lehigh.edu>
Date: Tue, 31 Jan 2006 22:57:46 -0500 (EST)
From: Heather Jean Hillhouse-Deans <hjh2 [at] Lehigh.EDU>
Subject: Expanded metal flooring

Hi All- I am in the middle of a build that has sections of expanded 
metal intersperced with traditional plywood and 2x4 platforms. I've 
installed one panel, and am suddenly very concerned. The expanded 
metal...well.... is expanding. The floor is VERY springy. I don't think 
it is unsafe, but it defianetly isn't behaving as desired.  What 
weight/size expanded metal would you use as flooring? The sections are 
sort of pie wedge shapes, with (currently) unsupported spans up to 
around 5'x3'.  Other than adding additional supports, any suggestions? 
Would expanded metal "stretch" more in one direction than the other?  
Any thoughts would be most appreciated!
Thanks-
Heather Hillhouse-Deans
Zoellner Arts Center/Lehigh University

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

From: "Jeremiah Minh Greenblatt" <roadhat [at] earthlink.net>
Subject: RE: Expanded metal flooring
Date: Tue, 31 Jan 2006 23:14:05 -0500
Message-ID: <000c01c626e5$f4450c90$0300a8c0 [at] Roadbox>
In-Reply-To: <list-27195318 [at] prxy.net>

Heather,

What Strand Width/Strand Thickness are you working with? I don't have a =
spec
sheet handy but it is difficult to estimate safe working spans without
knowing the gauge. Also, how is the metal attached to the wooden frame =
(i.e.
is all the flex occurring in the field or is the mess bending up at the
edges?)? Might it be possible to double up the sheets to increase the
strength without significantly changing the look?

- J.Minh





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

From: "Jeremiah Minh Greenblatt" <roadhat [at] earthlink.net>
Subject: RE: Expanded metal flooring
Date: Tue, 31 Jan 2006 23:17:53 -0500
Message-ID: <000d01c626e6$7be77de0$0300a8c0 [at] Roadbox>
In-Reply-To: <list-27195590 [at] prxy.net>

"mess" should read "mesh" in my previous post. Sorry.

- J.Minh







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

Message-Id: <200602010446.k114kg5E063072 [at] smtp.ucsd.edu>
From: "Chris Kennedy" <dckennedy [at] ucsd.edu>
Subject: RE: Expanded metal flooring
Date: Tue, 31 Jan 2006 20:48:37 -0800
In-Reply-To: <list-27195318 [at] prxy.net>

Heather,
While it may be too late for this production, whenever this comes up in a
design I defer to #9 x 3/4" flattened expanded steel.  For a 4' wide
platform I keep framing (usually 1x2x16g) perpendicular to the "grain" of
the diamond no more than 1'6" apart.  This is about as springy as people can
deal with.  For odd shaped sections (like pie wedges) I try to keep the area
of an unsupported section relatively equal to the aforementioned.  I don't
know of any ways to quantitatively engineer the sheets in this way but if
anyone does please do share.  And yes, weld each individual diamond to your
frame otherwise you'll be doing it in the space to get rid of the snare
effect.  

Chris Kennedy
Technical Director
La Jolla Playhouse


----Hi All- I am in the middle of a build that has sections of expanded 
metal intersperced with traditional plywood and 2x4 platforms. I've 
installed one panel, and am suddenly very concerned. The expanded 
metal...well.... is expanding. The floor is VERY springy. I don't think 
it is unsafe, but it defianetly isn't behaving as desired.  What 
weight/size expanded metal would you use as flooring? The sections are 
sort of pie wedge shapes, with (currently) unsupported spans up to 
around 5'x3'.  Other than adding additional supports, any suggestions? 
Would expanded metal "stretch" more in one direction than the other?  
Any thoughts would be most appreciated!
Thanks-
Heather Hillhouse-Deans
Zoellner Arts Center/Lehigh University


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

Date: Wed, 01 Feb 2006 00:28:42 -0500
Subject: Re: side lighting
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C005B13A.D2E7%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-27193285 [at] prxy.net>

> We correct for this two ways:
> 
> 1.) Booms over head high are supported to the grid.  The grid pick takes
> the weight of the boom and the lights, and the boom base keeps the whole
> system in place.
> 
    Interesting. How do you do it? AC cable? Rope & "Rabbit ears"?
and how do you attach to the boom? Is it as simple as tying to a pipe clamp?
On the rare occasion that we use booms, we rent them in, and they are simply
12' of pipe and a 50# base, so welding on an attachment point is not an
option. 

> 1a.)  I've found that if you can hang on a sidearm to the side of the
> boom, you can get the weight of the unit much closer to the pipe than if
> you were hanging directly off the yoke.
> 
> 2.) We use short side arms and keep the fixtures as close to the booms as
> possible. When the design allows it, the units are hung on each side of
> the pipe to keep the boom as balanced as possible.
> 
    I had thought of mounting on alternating sides rather than on the
"front", but as it is they already take up a lot of valuable real estate in
the wings. I hate the thought of making those things *wider* !

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House




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

In-Reply-To: <list-27197192 [at] prxy.net>
References: <list-27197192 [at] prxy.net>
Message-Id: <D8A940B2-E064-4352-A24E-28C462EFCD3C [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: side lighting
Date: Wed, 1 Feb 2006 00:37:37 -0500

> so welding on an attachment point is not an
> option.

Someone sells a ready-made unit.  think threaded coupler with a  
upside down U-bolt welded to the top.  Thread onto the top of the  
rented pipe then tie rope to the "u-bolt"  I have seen a home-made  
version with a threaded cap with a hole drilled in the end with a  
forged eye attached.

Greg Bierly
Technical Director
Hempfield HS


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

Message-ID: <1144.208.51.52.75.1138772531.squirrel [at] webmail.peak.org>
In-Reply-To: <list-27197454 [at] prxy.net>
References: <list-27197192 [at] prxy.net> <list-27197454 [at] prxy.net>
Date: Tue, 31 Jan 2006 21:42:11 -0800 (PST)
Subject: Re: side lighting
From: "Bill Nelson" <billn [at] peak.org>

> Someone sells a ready-made unit.  think threaded coupler with a
> upside down U-bolt welded to the top.  Thread onto the top of the
> rented pipe then tie rope to the "u-bolt"  I have seen a home-made
> version with a threaded cap with a hole drilled in the end with a
> forged eye attached.

I have used a pipe cap with a hole drilled in the center for an eye bolt.

Bill


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

Message-ID: <1161.208.51.52.75.1138773551.squirrel [at] webmail.peak.org>
In-Reply-To: <list-27191225 [at] prxy.net>
References: <list-27072275 [at] prxy.net> <list-27191225 [at] prxy.net>
Date: Tue, 31 Jan 2006 21:59:11 -0800 (PST)
Subject: Re: side lighting
From: "Bill Nelson" <billn [at] peak.org>

> I can certainly understand the advantage to using side-arms, but I have
> a concern. We don't often use booms, but when we do - with all the
> instruments clamped directly to the boom and pointed on to the stage - The
> added weight makes the booms off balanced and they want to tip over onto
> the stage. To compensate for this, we attach stage weights on top of the
> 50# base on the off-stage side.

I have never had to mount just one instrument at a given height on a side
boom - I always use paired instruments. I mount one on each side - so the
load balance stays pretty much over the center of the base. I also add
sandbags to the bases to make them more stable.

If there is any instability - then a safety wire from the top to a pick
point on the grid eliminates any risk of them tipping over if bumped hard.

It is not fun getting to the grid - I have to climb up on the roof and go
in through a smoke vent. Maybe, one of these days, I will put permanent
pick points up there.

Bill


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

Message-ID: <27683190.1138773852099.JavaMail.root [at] elwamui-rubis.atl.sa.earthlink.net>
Date: Wed, 1 Feb 2006 01:04:12 -0500 (EST)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Subject: Re: Tail Downs

Jason (and Steve) and anyone else that's interested....

I can email a .pdf of the ladders we use if you'd like, but the drawings do NOT include the pipe attachment.  We do NOT use cast clamps to hang these ladders.  We've built brackets (explained in another email on this thread) that are U-bolted to the batten.  Then we either drop chain or aircraft cable from the bracket to the top of the ladder.  Rated eye-bolts used on the ladders and on the brackets.

Advantages:

Whole position can be hung and circuited on the ground, and if we've done the math well we can load the arbor accordingly.

Ladder can be hung whatever distance from the batten is needed, with little addition of weight--don't have to use a long stick of sch. 40.

Redundant support--there are two cables/chains, two U-bolts (on the same bracket).  Failure of one piece of hardware will not result in the rig falling to the ground.

Disadvantages:

They sway if they're hit by (insert annoyance here).

Currently we through-bolt the yokes to the ladder.  Hard to juggle nut, bolt, washer and fixture in the air.  Planning (when time allows) to weld on T-nuts.

Can't change spacing.  Can't fit a 2kw Fresnel and be able to focus it well.  Our ladders were built with S4 Lekos and Pars in mind.

Let me know if anyone would like more information about what we're using.

--Sean

Sean R. McCarthy
seanrmc [at] earthlink.net



-----Original Message-----
>From: Jason Cowperthwaite <jasonclights [at] gmail.com>
>
>Instead of flying ladders w/ chain motors, why dont you just build
>them out of 1" box steel and add a lighting C-clamp so they can just
>hang on the end of your batten.  Seen this done very effectively out
>at the Shakespeare Theatre in DC... Sean McCarthy is the ME, and is on
>this list...maybe he could expand on these a little more?
>
>Jason Cowperthwaite

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

Message-ID: <15900608.1138774164270.JavaMail.root [at] elwamui-rubis.atl.sa.earthlink.net>
Date: Wed, 1 Feb 2006 01:09:24 -0500 (EST)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Subject: Re: side lighting

Boom Tie Off from City Theatrical   http://www.citytheatrical.com/

--Sean

Sean R. McCarthy
seanrmc [at] earthlink.net

-----Original Message-----
>From: Greg Bierly <gbierly [at] dejazzd.com>
>
>Someone sells a ready-made unit.  think threaded coupler with a  
>upside down U-bolt welded to the top. 

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

Message-ID: <43E0518A.90207 [at] uwosh.edu>
Date: Wed, 01 Feb 2006 00:13:30 -0600
From: Mick Alderson <alderson [at] uwosh.edu>
Subject: Re: tech riders

June Abernathy (and others) wrote:

> The rational, as I understand it, is to prevent
> careless and/or colorblind folks from accidentally
> plugging a hot line into a ground or nuetral, or vice
> versa.

As a (slightly) color blind electrician, I'm starting to feel a little 
sensitive! :-) I would point out that in dim light, EVERYONE is 
color-blind. And we do often work in the dark, after all. When I'm the 
House Electrician, I'll hook up whatever system you are carrying, 
reversed Neutral-and-Ground or not. But I always meter to make sure I 
get what I expect! The the Road Electricain usually checks again. 
Redundancy is GOOD!

Then Frank wrote wrote:

> You and all of us. But it seems to be a US custom that ground and  
> neutral are
> interchangeable, when it makes a sort of sense. We, in the UK, apply
> different and, I think, higher standards. Wth us, a ground-neutral  
> cross is a wiring
> fault, to be eliminated.

Frank (and I've told you this before, personally), the neutral and 
ground are no more _legally_ interchangeable in the US than they are in 
the UK. Physics doesn't recognize national boundaries, and our approach 
isn't THAT much different than yours. We have a different voltage, and 
make earth/ground in different places, but the biggest differences, I 
believe, are in terminology rather than practice.

-- 
Mick Alderson

TD, Fredric March Theatre
University of Wis. Oshkosh

and Member, IATSE Local 470

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

Message-ID: <7346336.1138774593377.JavaMail.root [at] elwamui-rubis.atl.sa.earthlink.net>
Date: Wed, 1 Feb 2006 01:16:33 -0500 (EST)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Subject: Re: side lighting

We don't have a true gridiron (only I-beams overhead).  So, we have to tie off to beams or battens that have been gridded and their arbors chained off to the rail.  Rope tied to pipe below a c-clamp or cheesborough, or better using a Boom Tie Off.

If you're really tring to have the line take tension, use aircraft cable and a turnbuckle, or a block-and-fall.  How many lights are you hanging on a 12' boom?  We'll often, scenery allowing, just bridge from boom to boom to create basically a goal-post structure on each side of the stage.  If you can triangulate the supports, esp to a wall, then you can flange the booms instead of using bases.  Makes for much easier traffic backstage......less tripping over boom bases and weights, etc.

Make sense?

--Sean

Sean R. McCarthy
seanrmc [at] earthlink.net



-----Original Message-----
>From: Bruce Purdy <bpurdy [at] rochester.rr.com>
>> 1.) Booms over head high are supported to the grid.  The grid pick takes
>> the weight of the boom and the lights, and the boom base keeps the whole
>> system in place.
>> 
>    Interesting. How do you do it? AC cable? Rope & "Rabbit ears"?
>and how do you attach to the boom? Is it as simple as tying to a pipe clamp?
>On the rare occasion that we use booms, we rent them in, and they are simply
>12' of pipe and a 50# base, so welding on an attachment point is not an
>option. 


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

Message-ID: <1260.208.51.52.75.1138777225.squirrel [at] webmail.peak.org>
In-Reply-To: <list-27155956 [at] prxy.net>
References: <list-27155956 [at] prxy.net>
Date: Tue, 31 Jan 2006 23:00:25 -0800 (PST)
Subject: Re: tech riders
From: "Bill Nelson" <billn [at] peak.org>


> You and all of us. But it seems to be a US custom that ground and neutral
> are interchangeable, when it makes a sort of sense. We, in the UK, apply
> different and, I think, higher standards. Wth us, a ground-neutral cross
> is a wiring fault, to be eliminated.

I don't know where you got that silly idea.

In the US, it is prohibited to cross ground and neutral conductors.
Further, except at the main distribution panel, the neutral is treated the
same way as any hot conductor.

On the other hand, there are many tools and appliances that have only two
conductors - hot and neutral.

Bill


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

Message-ID: <1270.208.51.52.75.1138777899.squirrel [at] webmail.peak.org>
In-Reply-To: <list-27153977 [at] prxy.net>
References: <list-27153977 [at] prxy.net>
Date: Tue, 31 Jan 2006 23:11:39 -0800 (PST)
Subject: Re: tech riders
From: "Bill Nelson" <billn [at] peak.org>

> The rational, as I understand it, is to prevent
> careless and/or colorblind folks from accidentally
> plugging a hot line into a ground or nuetral, or vice
> versa.

Maybe a color blind person should find a different occupation?

There is little that can be done to protect equipment from a careless or
tired
person - except check their work before the feeds are powered up.

I have seen many stage plugs and adapter cables wired incorrectly. I have
made  testers to check for these faults - essentially the same thing as
the neon testers that you plug into a wall outlet to check the wiring
there.

Bill



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

Message-ID: <1281.208.51.52.75.1138778550.squirrel [at] webmail.peak.org>
In-Reply-To: <list-27147968 [at] prxy.net>
References: <list-27073014 [at] prxy.net> <list-27147968 [at] prxy.net>
Date: Tue, 31 Jan 2006 23:22:30 -0800 (PST)
Subject: Re: 1000kw par vs 575 ETC par
From: "Bill Nelson" <billn [at] peak.org>

> Unlike some of the others on this list I have not done a side by side
> comparison, but I don't remember the S4 par having as much punch
> (intensity
> through dark color) as I wanted. On the upside, you can dimmer double
> them, but in an R&R setup I'm guessing that feature is less important.

If you want more intensity - use the 750 watt version.

Bill


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

End of Stagecraft Digest #675
*****************************