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

Stagecraft Digest, Issue #703

 1. Re: Multi cables and lift lines
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 2. Re: How to drop a drop box.
    by Jim Hyslop <theatre [at] dreampossible.ca>
 3. Re: Multi cables and lift lines
    by "Peter Scheu" <peter [at] scheuconsulting.com>
 4. Re: Conversion of gym to theatre space
    by "Peter Scheu" <peter [at] scheuconsulting.com>
 5. Re: conversion of gym to theatre space
    by "Bill Conner" <bill-conner [at] att.net>
 6. Twisting Handlines
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
 7. Re: Multi cables and lift lines
    by Stephen Litterst <slitterst [at] ithaca.edu>
 8. Hale Center Theatre Accident
    by Richard Bakos <Rick [at] StudioOneSB.com>
 9. Re: Was Conversion--Acoustic separation
    by seanrmc [at] earthlink.net
10. Re: Tech riders for touring groups
    by "Kacy Woody" <kacywoody [at] gmail.com>
11. Re: Multi cables and lift lines
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
12. Re: plotter/printer
    by "Mike Katz" <narishkup [at] gmail.com>
13. Major Corporation (brand name) update
    by Nancy Moeur <nmoeur [at] mailbox.syr.edu>
14. Re: plotter/printer
    by Phil Johnson <Phil.Johnson [at] mail.tamucc.edu>
15. Re: Tech riders for touring groups
    by Dale Farmer <dale [at] cybercom.net>
16. Re: plotter/printer
    by Davy Davis <wdavis [at] du.edu>
17. Re: Tech riders for small touring groups
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
18. Twisting Handlines
    by "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
19. help - snow, exits and safety
    by "David R. Krajec" <drkrajec [at] stritch.edu>
20. Re: plotter/printer
    by "G. D. George" <ggeorge [at] capital.edu>
21. Re: Tech riders for touring groups
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
22. Re: help - snow, exits and safety
    by "G. D. George" <ggeorge [at] capital.edu>
23. Re: help - snow, exits and safety
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
24. Re: Major Corporation (brand name) update
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
25. Re: Tech riders for touring groups
    by Steve Larson <tiptd [at] theatreinthepark.com>
26. Re: help - snow, exits and safety
    by "Peter Scheu" <peter [at] scheuconsulting.com>
27. Re: help - snow, exits and safety
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
28. Re: help - snow, exits and safety
    by "Peter Scheu" <peter [at] scheuconsulting.com>
29. Re: Intelligent Raceways (was Re: Distributed dimming ....)
    by Noemi Ybarra <noemi [at] jonesphillips.com>
30. Re: Intelligent Raceways (was Re: Distributed dimming ....)
    by Phil Johnson <Phil.Johnson [at] mail.tamucc.edu>
31. Re: help - snow, exits and safety
    by Steve Larson <tiptd [at] theatreinthepark.com>
32. Slightly OT & Warning - a "safety" rant
    by "Peter Scheu" <peter [at] scheuconsulting.com>
33. mis-tint paint  (was free paint source)
    by "kosteral [at] juno.com" <kosteral [at] juno.com>
34. Re: trapeze actress
    by "Laura McMeley" <LMcMeley [at] msn.com>
35. Re: Urgent help needed
    by CB <psyd [at] cox.net>
36. Re: Intelligent Raceways (was Re: Distributed dimming ....)
    by "Simon Shuker" <simon [at] ef-ae.com>
37. Designers and consultants (was: Intelligent Raceways (was Re: Distributed dimmin
    by "Jon Ares" <jonares [at] hevanet.com>
38. Re: Designers and consultants 
    by "Peter Scheu" <peter [at] scheuconsulting.com>
39. Re: Designers and consultants 
    by "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
40. Re: circuit breaker
    by FrankWood95 [at] aol.com
41. Re: Multi cables and lift lines
    by FrankWood95 [at] aol.com
42. Re: circuit breaker
    by Jerry Durand <jdurand [at] interstellar.com>
43. Re: Designers and consultants
    by "Peter Scheu" <peter [at] scheuconsulting.com>
44. Re: Intelligent Raceways (was Re: Distributed dimming ....)
    by FrankWood95 [at] aol.com
45. Re: circuit breaker
    by "Don Taco" <taco [at] peak.org>
46. Re: Designers and consultants (was: Intelligent Raceways (was Re: Distributed di
    by Greg Bierly <gbierly [at] dejazzd.com>
47. Re: Slightly OT & Warning - a "safety" rant
    by "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
48. Re: Slightly OT & Warning - a "safety" rant
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
49. MSDS Binders
    by Matt Farrow <matthewdfarrow [at] gmail.com>
50. Variable speed mirrorball motor
    by Stuart Baulch <stuart [at] thedevilyouknow.ca>
51. Re: Variable speed mirrorball motor
    by "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
52. Re: plotter/printer
    by Tom Grabowski <tomgrab [at] utpa.edu>
53. Re: Mackie sound boards (was: Tech riders for small touring groups)
    by Jim Hyslop <theatre [at] dreampossible.ca>
54. Re: help - snow, exits and safety
    by Jim Hyslop <theatre [at] dreampossible.ca>
55. Re: Mackie sound boards (was: Tech riders for small touring groups)
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
56. Re: Keystone correction for Image Pro slide
    by "Laura McMeley" <LMcMeley [at] msn.com>
57. Re: Designers and consultants 
    by FrankWood95 [at] aol.com
58. Re: trapeze actress
    by "Laura McMeley" <LMcMeley [at] msn.com>
59. Re: circuit breaker
    by FrankWood95 [at] aol.com
60. Re: circuit breaker
    by FrankWood95 [at] aol.com
61. Re: Slightly OT & Warning - a "safety" rant
    by "Josh Ratty" <josh.ratty [at] verizon.net>
62. Re: Designers and consultants
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
63. Re: Mackie sound boards
    by Dale Farmer <dale [at] cybercom.net>
64. Re: Designers and consultants - A RANT!
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
65. Re: Mackie sound boards
    by "Clare Adams" <cadams [at] csf.edu>
66. Re: Mackie sound boards
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
67. Re: MSDS Binders
    by Dale Farmer <dale [at] cybercom.net>
68. Re: Designers and consultants 
    by "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
69. Re: Mackie sound boards
    by "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
70. Re: Designers and consultants 
    by "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>

*** 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: Multi cables and lift lines
Date: Fri, 24 Feb 2006 07:24:48 -0500
Message-ID: <000101c6393d$4dcee1f0$6501a8c0 [at] Dell>
In-Reply-To: <list-27916849 [at] prxy.net>


> You can also rig tackle that will lift the loop out of the 
> way - which can be operated from the deck.

...Or a re-e-e-eally long bungee cord.


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

Message-ID: <43FEFD6C.9090709 [at] dreampossible.ca>
Date: Fri, 24 Feb 2006 07:34:52 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: How to drop a drop box.
References: <list-27876909 [at] prxy.net> <list-27893013 [at] prxy.net> <list-27917463 [at] prxy.net>
In-Reply-To: <list-27917463 [at] prxy.net>

Bill Nelson wrote:
> I dislike running DMX parallel to power wiring, especially over long runs
> and even more so for dimmer circuits that tend to have a lot of harmonics.
> On occasion, the induced magnetic fields cause problems - and it is not
> always predictable.

If you had to run them parallel, what's the minimum distance you'd put
between the DMX and the power lines? Or does that depend on the number
of lines, load, etc?

-- 
Jim Hyslop


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Multi cables and lift lines
Date: Fri, 24 Feb 2006 07:40:25 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAoIgoWIHZrU6HdsFGzLa5KAEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-27916849 [at] prxy.net>

Bill Nelson wrote:

>There is another option, if you have enough room to extend the=20
>battens into the wings far enough to be outside the sight=20
>lines. If that is the case, you can drop your electrical=20
>cables to the end of the batten - making them long enough that=20
>the batten can be lowered to the deck. When you fly them out=20
>to trim height, the loop does not matter, as it will be out of=20
>sight in the wings.=20

This is a good option, but remember to allow the SO cable to "hang out" =
(if
you're using new cable) a few days to get the twist out from sitting so =
long
on the reel. Otherwise it'll twist like a handline at the end of a =
traveler
track and can interfere with the set operation.

BTW - and changing topics - does anyone have a "foolproof" method of
preventing the twist in traveler track handlines? And I'm not talking =
about
securing the floorblock to the deck or using a demountable floor plate =
as
90% of these things have to fly. I've tried sand bags, but they just =
spin
with the rope.

Thanks.

Peter Scheu

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




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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Conversion of gym to theatre space
Date: Fri, 24 Feb 2006 07:56:11 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAA2BdLnfmUG0uqV4K/IhKL2wEAAAAA [at] scheuconsulting.com>
In-Reply-To: <list-27913143 [at] prxy.net>

Curtis L. Mortimore wrote:

>Some sort of sound resistant separation between 
>spaces to facilitate concurrent activities.

"Acoustic separation"... Ahh the joys...  The only real way to achieve this
is to essentially build separate buildings with isolation joints between
them. A very expensive way to build, but really necessary for any "serious"
theatre project. Doors, windows, HVAC, drain lines, just about everything
needs to be addressed. That's why most big theatre design projects are
second only to hospitals in their complexity.

Gee... $200 per sq ft is looking like a bargain...

Peter Scheu

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


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

Message-ID: <06cf01c63945$bbb7f640$6501a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re:  conversion of gym to theatre space
Date: Fri, 24 Feb 2006 07:25:08 -0600

Robert Napoli posted:  "To make a long story short I found out yesterday 
that by March 1st I am to present a "ball park figure" for conversion of a 
basket ball court on campus into a theatre space. It would include a 200 or 
so seat black box, a 75 seat acting studio, shops, box office etc. Does 
anyone have a magic rule of thumb out there like $100 per square foot? Has 
anyone done something similar?"

The short answer is if you want a quality space it is probably in the $250 
per sq foot range - at least $150 and could be $350 or more.  Could you do 
something for $100?  Yes - but to me quiet performance rooms, floors that 
work for tech and are kind to performers, overhead support like catwalks, 
grids, and hang points, and reasonably robust performance systems (lighting, 
sound, rigging, seating, maybe traps, lifts, etc.) - are all hallmarks of a 
quality space and I doubt that much of an old gym is easily adaptable to all 
of that without significant modifications.  Inevitably, by the time the work 
is planned, you'll be reusing and supplementing the structure and shell and 
replacing most of the m.e.p. systems.  Unless it is all on one level with 
grade now, costs of elevators and ramps for accessibility, in space if not 
just equipment, will be high.  And if you don't ask for enough now, the 
shortages will be made up from cutting the performance systems.

You could suggest they hire a theatre consultant, someone who does full time 
what you are being asked to do once and for the first time apparently, to 
help come up with the answer you need.

Bill



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

Message-ID: <43FF0D97.4080007 [at] fredonia.edu>
Date: Fri, 24 Feb 2006 08:43:51 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To:  Rees [at] fredonia.edu
Subject: Twisting Handlines
References: <list-27922185 [at] prxy.net>

Peter,
I wonder if a low-stretch kernmantle construction (parallel core, 
braided sheath) polyester might serve to prevent or at least reduce the 
twist.  Have not tried this as I've always been able to tie down the 
lower sheave to the deck either for the whole run of a show or clip it 
temporarily to a deck ring if it has to fly during the performance.
Surely 3-strand twisted of any fiber should be avoided.

Steve Rees
SUNY-Fredonia

Peter Scheu wrote:

> BTW - and changing topics - does anyone have a "foolproof" method of
> preventing the twist in traveler track handlines? And I'm not talking about
> securing the floorblock to the deck or using a demountable floor plate as
> 90% of these things have to fly. I've tried sand bags, but they just spin
> with the rope.
> 
> Thanks.
> 
> Peter Scheu
> 
> Scheu Consulting Services, Inc.
> www.scheuconsulting.com
> Tel: 315.422.9984
> fax: 413.513.4966
> 
> 



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

Date: Fri, 24 Feb 2006 08:44:45 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Multi cables and lift lines
In-reply-to: <list-27906896 [at] prxy.net>
Message-id: <43FF0DCD.2020603 [at] ithaca.edu>
References: <list-27906896 [at] prxy.net>

Bill Sapsis wrote:
> ---------------------------------------------------

> Not sure how much to charge for this one....

> Join the Long Reach Long Riders on their 3rd annual cross country charity
> motorcycle ride.   <www.LRLR.org>

My view is that the appropriate response to good list advice is a 
donation to the Long Reach Long Riders.

Steve L.
-- 
Stephen Litterst
Technical Supervisor
Ithaca College, Theatre Arts
607.274.3947
slitterst [at] ithaca.edu

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

Message-ID: <43FF0E42.2040803 [at] StudioOneSB.com>
Date: Fri, 24 Feb 2006 08:46:42 -0500
From: Richard Bakos <Rick [at] StudioOneSB.com>
Organization: Studio One Inc.
Subject: Hale Center Theatre Accident

This item popped up on my Google News Alert from KLS  tv in Utah.  
Anyone got any additional information?

OSHA Investigating Hale Center Theatre Accident
The state Occupational Safety and Health Administration has launched an 
investigation into Tuesday night's serious injury accident at Hale 
Center Theatre.
February 23rd, 2006  [at]  2:47pm

Carole Mikita Reporting

The state Occupational Safety and Health Administration has launched an 
investigation into Tuesday night's serious injury accident at Hale 
Center Theatre. Although state inspectors are not finished with the 
investigation, theatre managers could face a citation.

If cited, Hale Centre Theatre will probably face a fine up to $5,000, 
and perhaps a requirement for specific training of its technical employees.

The first problem, an administrator told us today, is that no one at the 
theatre called OSHA about the accident. Every employer in Utah must 
contact the agency within eight hours of a serious injury accident. The 
second problem, they cleaned up the accident scene.

Larry Patrick, Utah Labor Commission, OSHA: "Utah law requires that when 
an accident occurs, they're supposed to maintain the scene. That's 
difficult in a production operation like this, so they've altered the 
scene. So, it's difficult for us to go in and look at something that's 
already been altered."

OSHA inspectors have not yet interviewed Will Phillips, who was 
undergoing surgery yesterday for crushing injuries to his chest and 
stomach. He also suffered face, ear and jaw injuries during the 
theatre's production of "Aida". He was beneath the stage helping to 
operate an elevator-like apparatus when he got stuck.

Hale Centre Theatre managers say will comply with whatever they need to.

These stage lifts are not inspected at any theatre in our state by any 
state agencies.

KSL spoke with Shelley Phillips, Will Phillip's wife this afternoon. She 
says he is on his way home from the hospital and doing very well, 
sitting up, eating and talking. It's good news for him, his family and 
friends at the theatre.

-- 

Richard Bakos

President 

Studio One Inc.

25833 State Road 2

South Bend, In 46619-4736

VOICE 574-232-9084

FAX   574-232-2220

Rick [at] StudioOneSB.com <mailto:Rick [at] StudioOneSB.com>

www.StudioOnesb.com

 


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

Message-ID: <23587879.1140790280144.JavaMail.root [at] elwamui-mouette.atl.sa.earthlink.net>
Date: Fri, 24 Feb 2006 09:11:20 -0500 (EST)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Cc: peter [at] scheuconsulting.com
Subject: Re: Was Conversion--Acoustic separation

Peter (and all)...

We're doing just that--in a major way right now.  We're building a new 800 seat theatre whose "theatre box" (house & stagehouse/flytower) floats inside the rest of the building.  The whole structure is supported within the larger surrounding building by large neoprene pads.  For a bit more information, and renderings, see:

http://tinyurl.com/z3zn2

--Sean






-----Original Message-----
>From: Peter Scheu <peter [at] scheuconsulting.com>
>
>
>"Acoustic separation"... Ahh the joys...  The only real way to achieve this
>is to essentially build separate buildings with isolation joints between
>them. A very expensive way to build, but really necessary for any "serious"
>theatre project. Doors, windows, HVAC, drain lines, just about everything
>needs to be addressed. That's why most big theatre design projects are
>second only to hospitals in their complexity.


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

Message-ID: <7acca8910602240614j266c407fs1794c99db3d80d7e [at] mail.gmail.com>
Date: Fri, 24 Feb 2006 09:14:19 -0500
From: "Kacy Woody" <kacywoody [at] gmail.com>
Subject: Re: Tech riders for touring groups

Ah, but here's an interesting situation...

Let's say that you are the venue that is presenting one of these
lovely touring productions.  You have checked the rider and amended
with what you are able to provide. (tech, hospitality, what have
you...)  Everyone has signed off on all of the compromise positions-
even the Road Manager and the TD driving the truck.

Day of show arrives and you think that it's going to be the usual "Do
you have xyz?" "No, remember, we're doing abc instead." (I realize
those of you who tour sometimes have difficulty remembering which time
zone you're in, much less which venues are using which details, so I'm
always polite and diplomatic about it.)

Anyway- I'm wondering what other people do about those rare acts that
come in and insist that we find everything that we cut from the
initial rider on the day of the show. (and also insist on being snotty
about it.)  Patience and diplomacy can only take you so far when you
have a Presenter telling you to remind the talent that they signed off
on all of the changes and a Road Manager who's throwing a diva fit
because we gave him a substitute whatever it was.

I've been wondering if there's something that someone else has found
that works in this kind of situation. I try the Patience & Diplomacy
route and if that doesn't work I just suck it up & count the hours
until the door closes at the end of the gig.  Like I said, it's a rare
act that comes in and behaves badly.  Most everyone we get just needs
the reminder of the substitutions and we all go about our day and
everyone's happy.

Thanks for the rant space.
Kacy

--
Kacy Woody
TD, High Point Theatre
High Point, NC


<snip>
From: June Abernathy <jea00321 [at] yahoo.com>

On the other tangent of this thread, there is a middle
ground between doing everything requested in the rider
and not booking the group. If something seems
excessive or impossible, or even just annoying and
difficult, you can call the group in question and ask
how vital the item is and if there is any wiggle room
available. Sometimes that will solve the problem. And
if not, at least you know where you stand.

And advice for you, Michael, putting together a new
rider - make sure there is contact information for
whoever you want the venues to call with questions
easily available to them.

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

Subject: RE: Multi cables and lift lines
Date: Fri, 24 Feb 2006 09:21:20 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B6C [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> I'm getting too old for quickies......

I always was of the opinion that the occasional quickie kept one young.
<g>

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

Message-ID: <7cd95e180602240621w389368bfv8e032af4bc8d7584 [at] mail.gmail.com>
Date: Fri, 24 Feb 2006 09:21:46 -0500
From: "Mike Katz" <narishkup [at] gmail.com>
Subject: Re: plotter/printer
In-Reply-To: <list-27905426 [at] prxy.net>
References: <list-27868789 [at] prxy.net> <list-27905426 [at] prxy.net>

We have an hp 455ca 36 inch plotter. It is 7 years old but just keeps
going. We us VW on macs. HP does not have osx driver for it but we
have downloaded and use gimp print which is a free printer driver that
supports many many printers. It works better than the HP drivers ever
did. I highly recommend it.
Mike

On 2/23/06, Phil Johnson <Phil.Johnson [at] mail.tamucc.edu> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> What types of printers are you folks using to print large plots and
> drafting output from your cad  programs.
>
> I am using vectorworks on a mac and we are thinking about Wysiwyg next
> year and will be using a pc for that.  The art folks have a   24 inch
> wide printer but they have archival inks and use it for digital prints.
>    Any suggestions for a printer or plotter for at least 24 wide if not
> 36?
>
> Thanks
>
>
> Network would be nice and I need to be able to secure it if possible.
> Philip Johnson
> Designer/Technical Director
> Texas A & M -Corpus Christi
>
>


--
Mike Katz
Technical Director
MIT Theater Arts
617.253.0824

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

Date: Fri, 24 Feb 2006 09:27:16 -0500
From: Nancy Moeur <nmoeur [at] mailbox.syr.edu>
Subject: Major Corporation (brand name) update
Message-ID: <44001BC8 [at] OrangeMail>

Many thanks to everyone who contributed thoughts about the age of my plugging 
strips--especially to Frank Merrill, who did some sleuthing in his old 
correspondence files!  I think we've determined that the strips were probably 
installed in the mid-1960's, as we've finally learned that the theatre was 
built in '65-66, and there a) isn't any evidence of a renovation after that 
point until 1991, and b) the plugging strips are full of asbestos-insulated 
wires, putting them (as Frank pointed out) before 1973-ish.

It's funny how there's no institutional memory of these things, even though it 
wasn't that long ago....


Changing topics drastically, Bruce Purdy wondered why paint stores don't tint 
all their off-tints black and then sell them--having worked in a 
hardware/paint store for a while, I have 2 thoughts:

1--all but the "deepest" tint bases have too much white (titanium dioxide) in 
them to ever be tinted black.  If you mixed that much pigment into them, you'd 
dilute the binders too much.

2--maybe it was just our small town, but no one except for theatre people buy 
black paint!  We did stock some factory-made black (we never tinted to black), 
and we sold about 3 cans a year.

best,

-nancy

___________
Nancy Moeur
AME, Syracuse Stage & SU Drama
nmoeur [at] syr.edu


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

In-Reply-To: <list-27910713 [at] prxy.net>
References: <list-27910713 [at] prxy.net>
Message-Id: <6e60d2c9f8477d1c23c83462d94459e5 [at] mail.tamucc.edu>
From: Phil Johnson <Phil.Johnson [at] mail.tamucc.edu>
Subject: Re: plotter/printer
Date: Fri, 24 Feb 2006 08:44:11 -0600

Thanks for the info on the plotters.  If I put them on the network it 
would be for me to print from multiple locations and not the students.  
Our university has a pay as you print server on all the lab machines 
and they load their id up with credit to print.   If they wanted to 
print on the plotter they would have to go through me.




Philip Johnson
Designer/Technical Director
Texas A & M -Corpus Christi


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

Message-ID: <43FF220E.8060307 [at] cybercom.net>
Date: Fri, 24 Feb 2006 10:11:10 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: Tech riders for touring groups
References: <list-27924139 [at] prxy.net>
In-Reply-To: <list-27924139 [at] prxy.net>

Kacy Woody wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Ah, but here's an interesting situation...
> 
> Let's say that you are the venue that is presenting one of these
> lovely touring productions.  You have checked the rider and amended
> with what you are able to provide. (tech, hospitality, what have
> you...)  Everyone has signed off on all of the compromise positions-
> even the Road Manager and the TD driving the truck.
> 
> Day of show arrives and you think that it's going to be the usual "Do
> you have xyz?" "No, remember, we're doing abc instead." (I realize
> those of you who tour sometimes have difficulty remembering which time
> zone you're in, much less which venues are using which details, so I'm
> always polite and diplomatic about it.)
> 
> Anyway- I'm wondering what other people do about those rare acts that
> come in and insist that we find everything that we cut from the
> initial rider on the day of the show. (and also insist on being snotty
> about it.)  Patience and diplomacy can only take you so far when you
> have a Presenter telling you to remind the talent that they signed off
> on all of the changes and a Road Manager who's throwing a diva fit
> because we gave him a substitute whatever it was.
> 
> I've been wondering if there's something that someone else has found
> that works in this kind of situation. I try the Patience & Diplomacy
> route and if that doesn't work I just suck it up & count the hours
> until the door closes at the end of the gig.  Like I said, it's a rare
> act that comes in and behaves badly.  Most everyone we get just needs
> the reminder of the substitutions and we all go about our day and
> everyone's happy.
> 
> Thanks for the rant space.
> Kacy
    There used to be this thing used in business called a memorandum.
You wrote one to document a conversation one had.  You made one copy for 
yourself, and sent a copy to the other party(ies) in the conversation, 
as a reminder for their records.   So, when you have a phone call with
someone about this sort of change, sit down immediately and write a 
quick email to them telling them what you just discussed, and what they 
agreed too and did not agree too in rider modifications.
    Written memos mailed to the other party of phone conversations that 
were not disputed have stood up in court as valid contract 
modifications, especially when such modifications are usual in that sort 
of contract.

	--Dale

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

Date: Fri, 24 Feb 2006 08:11:56 -0700
From: Davy Davis <wdavis [at] du.edu>
Subject: Re: plotter/printer
In-reply-to: <list-27905718 [at] prxy.net>
Message-id: <43FF223C.6050603 [at] du.edu>
Organization: DU Theatre
References: <list-27905718 [at] prxy.net>

We use the Desgnjet 430.  36" roll feed.  Black and White only but can 
be retrofitted for color

-- 
William Temple (Davy) Davis; Chair
Department of Theatre
University of Denver
wdavis [at] du.edu
303-871-3164


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

Subject: RE: Tech riders for small touring groups
Date: Fri, 24 Feb 2006 10:29:22 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B6D [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Why would you have a PSM running the light board?
> Obviously, you are in a non-union situation, to have
> such a job split be even possible, but it still seems
> odd. If you can't afford a PSM, a light board op, and
> a sound board op, why not have a PSM who stage
> manages, and a technician who runs the lights and
> sound. Too many cues for that?

There's a fairly well-known (infamous?) touring children's theatre
company based in Philadelphia that sets things up this way, with a "PSM"
who plays the dual roles of tour manager and LX op, and a "TD" who runs
sound and is the co-driver for the 14' Ryder they rent(ed) with a series
of one-week contracts in order to avoid having to hire people with CDLs
for their two-month tours.

Of course, this is also the company I once worked for that scheduled an
1100-mile drive to commence at noon-thirty in NW Mississippi and finish
up in Jacksonville FL with only one completely empty travel day in
between...and carried only Mackie sound boards. *shudder*

> Sometimes that will solve the problem. And if not,=20
> at least you know where you stand.

It's also important to remember that most often the people on the other
end are people just like those of us on the list (even if they haven't
seen the light and subscribed)...generally accommodating, friendly, and
just wanting to get the job done (and done well) so they can take as
little time as possible between curtain-down and down-time (and/or
downing frosty adult beverages).

As long as there's a dialogue begun, and the critical parties are
involved from the start, it's rather easy to find that middle ground.

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

Message-ID: <002001c63957$b1ad4b20$6401a8c0 [at] amd2200>
From: "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
Cc: peter [at] scheuconsulting.com
References: <list-27922185 [at] prxy.net>
Subject: Twisting Handlines
Date: Fri, 24 Feb 2006 08:33:41 -0700

>BTW - and changing topics - does anyone have a "foolproof" method of
>preventing the twist in traveler track handlines? And I'm not talking
about
>securing the floorblock to the deck or using a demountable floor plate
as
>90% of these things have to fly. I've tried sand bags, but they just
spin
>with the rope.


Peter:  in a short answer : No

During installation, like the SO you mentioned, if there are twists not
taken out they will be part of the system. built in twists!

Different ropes act differently , parallel core should come inherently
with no twists., until you run it over a sheave.


Robert Riddle
Will Disagree for the Sake of Discussion
Will Discuss for the Sake of Learning








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

From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: help - snow, exits and safety
Date: Fri, 24 Feb 2006 09:35:16 -0600
Message-ID: <FFEKLPMABANLAIDPOAKBKELJDCAA.drkrajec [at] stritch.edu>
In-Reply-To: <list-27920006 [at] prxy.net>

I would like to plumb the depth of the knowledge and experience of the list
to help me solve a problem.

Our theatre lobby doors lead directly outside.  The roof over the lobby is
pitched away from the building.  Here in Milwaukee, we are known to get some
snow fall.  This past week, we got about a foot of snow and then went into
deep freeze.  Now that normal temperatures are returning (just around
freezing) a problem rears its ugly head.  The snow is sliding off the roof.
There is nothing to prevent the snow from sliding off and dropping to the
ground below.  This includes the areas directly in front of the lobby doors.
A hazard?  You bet.  Apparently, snow clips were taken out of the budget
when the building was being built 9 years ago.  So, to avoid a potential
accident, our maintenance department has placed yellow warning tape X'ed
over the doors and has placed baracades about 10 feet outside the exit doors
to prevent anyone trying to use the doors.  Normally, when there is no
audience in the theatre, this would be no problem.  However, we open a show
on Friday and they are telling me that it is OK for the baracades to be in
place while an audience is in the theatre.  They even said that the fire
department said that it was OK.  My reaction was, "DOH!"

Am I wrong in assuming that if those baracades were left in place that they
would present an imminent hazard to the audience as they exit the theatre?
The head of maintenance said that they could just walk around the baracades.

OK, at this point, you are either laughing or crying (or both).  But if the
head of maintenance is saying that the AHJ has given his approval, what can
I do?

Any advice is both desired and appreciated.

David Krajec
Cardinal Stritch University



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

From: "G. D. George" <ggeorge [at] capital.edu>
Subject: RE: plotter/printer
Date: Fri, 24 Feb 2006 10:37:12 -0500
In-reply-to: <list-27925299 [at] prxy.net>
Message-ID: <MALFRONT9Ee4zadTMVw00000663 [at] malfront.capital.edu>

We have the Designjet 450 with the color kit.  Conversion was a snap.  I'd
like to add more memory to it as it doesn't seem to like large format color
collages very much.

G. D. George
Assistant Professor and Technical Director
Capital University Theatre
Department of Communications
1 College and Main
Columbus, OH 43209

(614) 236-6498
ggeorge [at] capital.edu	

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Davy Davis
Sent: Friday, February 24, 2006 10:12 AM
To: Stagecraft
Subject: Re: plotter/printer

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

We use the Desgnjet 430.  36" roll feed.  Black and White only but can 
be retrofitted for color

-- 
William Temple (Davy) Davis; Chair
Department of Theatre
University of Denver
wdavis [at] du.edu
303-871-3164





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

Subject: RE: Tech riders for touring groups
Date: Fri, 24 Feb 2006 10:40:16 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B6E [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Anyway- I'm wondering what other people do about those rare=20
> acts that come in and insist that we find everything that we=20
> cut from the initial rider on the day of the show. (and also=20
> insist on being snotty about it.)  Patience and diplomacy can=20
> only take you so far when you have a Presenter telling you to=20
> remind the talent that they signed off on all of the changes=20
> and a Road Manager who's throwing a diva fit because we gave=20
> him a substitute whatever it was.

Well, FWIW, once upon a time I *was* the road manager throwing the diva
fit.  But calling it such, in this particular instance, would have been
an insult to divas everywhere. <g>

Part of the problem in that case, which may be applicable here, is that
the only communication regarding needs was between the presenter and the
booking agency...NOT the company directly, and definitely not with me.
And when one arrives at a venue with only five hours to curtain to find
only a 16-year-old with no keys whose only job is to show us where to
go, the booth is locked, and no lighting work has been done...well, you
can understand the frustration (especially when there had been a fairly
detailed rider supposedly sent out in the first place through said
booking agency).

Sometimes you gotta let the RM vent a little, then just calmly ask,
"Okay, what can we do to make this work?"  That usually will cue them to
put the ol' thinking cap on, they fall back into their element, and by
the time the curtain does come down they're ready to apologize and buy
*you* the beer.

And if they don't...well, the only recourse that comes to mind offhand
is to write a letter to the Home Office explaining what happened and
tell them "Thanks, but no thanks on a next time."

And keep in mind that the RM is probably tired, grumpy, had a bad night
and a long travel day, and wants nothing more than to get the tour done
with so s/he can sleep in his/her own bed for a change.

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

From: "G. D. George" <ggeorge [at] capital.edu>
Subject: RE: help - snow, exits and safety
Date: Fri, 24 Feb 2006 10:43:07 -0500
In-reply-to: <list-27925759 [at] prxy.net>
Message-ID: <MALFRONTR7j1HaKtKuf00000665 [at] malfront.capital.edu>

The relationship with facilities people is one that I try really hard to
keep cordial.  With that understanding, you might explain the problem,
although it sounds like you already have, and ask them to shovel the roof.
If that doesn't work, CYA and talk to the AHJ yourself (if you're
"allowed".) If that won't work, get it in writing from the maintenance
people that this is an acceptable procedure at your school and that they
accept the responsibility, yatta yatta yatta.

Jerry


G. D. George
Assistant Professor and Technical Director
Capital University Theatre
Department of Communications
1 College and Main
Columbus, OH 43209

(614) 236-6498
ggeorge [at] capital.edu	


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of David R.
Krajec
Sent: Friday, February 24, 2006 10:35 AM
To: Stagecraft
Subject: help - snow, exits and safety

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

I would like to plumb the depth of the knowledge and experience of the list
to help me solve a problem.

Our theatre lobby doors lead directly outside.  The roof over the lobby is
pitched away from the building.  Here in Milwaukee, we are known to get some
snow fall.  This past week, we got about a foot of snow and then went into
deep freeze.  Now that normal temperatures are returning (just around
freezing) a problem rears its ugly head.  The snow is sliding off the roof.
There is nothing to prevent the snow from sliding off and dropping to the
ground below.  This includes the areas directly in front of the lobby doors.
A hazard?  You bet.  Apparently, snow clips were taken out of the budget
when the building was being built 9 years ago.  So, to avoid a potential
accident, our maintenance department has placed yellow warning tape X'ed
over the doors and has placed baracades about 10 feet outside the exit doors
to prevent anyone trying to use the doors.  Normally, when there is no
audience in the theatre, this would be no problem.  However, we open a show
on Friday and they are telling me that it is OK for the baracades to be in
place while an audience is in the theatre.  They even said that the fire
department said that it was OK.  My reaction was, "DOH!"

Am I wrong in assuming that if those baracades were left in place that they
would present an imminent hazard to the audience as they exit the theatre?
The head of maintenance said that they could just walk around the baracades.

OK, at this point, you are either laughing or crying (or both).  But if the
head of maintenance is saying that the AHJ has given his approval, what can
I do?

Any advice is both desired and appreciated.

David Krajec
Cardinal Stritch University





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

Subject: RE: help - snow, exits and safety
Date: Fri, 24 Feb 2006 10:45:03 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B6F [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> OK, at this point, you are either laughing or crying (or=20
> both).  But if the head of maintenance is saying that the AHJ=20
> has given his approval, what can I do?

Ask for that in writing.  Keep copies of your correspondence as well,
explaining your concerns.

Is there anywhere in or remotely close to the required path of travel
that would take audience members completely outside the fall zone?  If
so, rope off a path and keep it clear.  If not, a temporary "tunnel"
might be the answer, if you've got the time...or, insist that the head
of maintenance get someone up on the roof to start pushing the ice off
ahead of time.

CYA, and HTH.

(Snow?  In Milwaukee?  Unheard of! <g>)

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

Date: Fri, 24 Feb 2006 10:46:16 -0500
Subject: Re: Major Corporation (brand name) update
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C0249478.DDAF%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-27924458 [at] prxy.net>

Nancy Moeur  wrote:
> Changing topics drastically, Bruce Purdy wondered why paint stores don't tint
> all their off-tints black and then sell them--having worked in a
> hardware/paint store for a while, I have 2 thoughts:

    Thanks, Nancy, for your insight. Both reasons make a lot of sense, and I
learned something new. That's what makes this list so valuable, and why I
waste so much time reading it!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Date: Fri, 24 Feb 2006 10:51:02 -0500
Subject: Re: Tech riders for touring groups
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <C0249596.A354%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-27924139 [at] prxy.net>

If you're snotty, you don't get it.  If you ask
nicely, I'll bend over backwards to help you.

I agree that most acts are nice.

That's my 2 cents.

Steve

> From: "Kacy Woody" <kacywoody [at] gmail.com>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Fri, 24 Feb 2006 09:14:19 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Tech riders for touring groups
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Ah, but here's an interesting situation...
> 
> Let's say that you are the venue that is presenting one of these
> lovely touring productions.  You have checked the rider and amended
> with what you are able to provide. (tech, hospitality, what have
> you...)  Everyone has signed off on all of the compromise positions-
> even the Road Manager and the TD driving the truck.
> 
> Day of show arrives and you think that it's going to be the usual "Do
> you have xyz?" "No, remember, we're doing abc instead." (I realize
> those of you who tour sometimes have difficulty remembering which time
> zone you're in, much less which venues are using which details, so I'm
> always polite and diplomatic about it.)
> 
> Anyway- I'm wondering what other people do about those rare acts that
> come in and insist that we find everything that we cut from the
> initial rider on the day of the show. (and also insist on being snotty
> about it.)  Patience and diplomacy can only take you so far when you
> have a Presenter telling you to remind the talent that they signed off
> on all of the changes and a Road Manager who's throwing a diva fit
> because we gave him a substitute whatever it was.
> 
> I've been wondering if there's something that someone else has found
> that works in this kind of situation. I try the Patience & Diplomacy
> route and if that doesn't work I just suck it up & count the hours
> until the door closes at the end of the gig.  Like I said, it's a rare
> act that comes in and behaves badly.  Most everyone we get just needs
> the reminder of the substitutions and we all go about our day and
> everyone's happy.
> 
> Thanks for the rant space.
> Kacy
> 
> --
> Kacy Woody
> TD, High Point Theatre
> High Point, NC


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: help - snow, exits and safety
Date: Fri, 24 Feb 2006 10:51:53 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAz4aAArQkPkWQvHu3ECAq9QEAAAAA [at] scheuconsulting.com>
In-Reply-To: <list-27925759 [at] prxy.net>

David R. Krajec wrote:

>But if the head of maintenance is saying that the AHJ=20
>has given his approval, what can I do?

First of all, I'd politely ask to see a copy of the AJH's written =
approval.
It don't mean squat if it ain't in writing.

Then, short of immediately tendering your resignation, document your
concerns in writing and hand deliver same to your superior, with a =
(again
polite) verbal explanation of your concerns.

If all the others above and outside say it's OK, it seems the only thing =
you
can do is cover your own a**.

Sigh...

Peter Scheu

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


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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Fri, 24 Feb 2006 15:50:20 GMT
Subject: Re: help - snow, exits and safety
Message-Id: <20060224.075059.24078.114041 [at] webmail34.lax.untd.com>

How about using some waterproof crepe paper in front of the doors that w=
ill easily break if someone needs to exit in case of an emergency? Just =
attach the ends with masking tape to the 3' single-pole supports normall=
y used to to hold up 'velvet' ropes in a lobby.
/s/ Richard
________________________-
Am I wrong in assuming that if those baracades were left in place that t=
hey would present an imminent hazard to the audience as they exit the th=
eatre?
The head of maintenance said that they could just walk around the baraca=
des.

OK, at this point, you are either laughing or crying (or both).  But if =
the head of maintenance is saying that the AHJ has given his approval, w=
hat can I do?

Any advice is both desired and appreciated.

David Krajec
Cardinal Stritch University


 


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: help - snow, exits and safety
Date: Fri, 24 Feb 2006 11:01:17 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAuiJLh7aJAEaSmCMxSNoY2QEAAAAA [at] scheuconsulting.com>
In-Reply-To: <list-27925982 [at] prxy.net>

Paul Schreiner wrote:

>If so, rope off a path and keep it clear.  If not,=20
>a temporary "tunnel" might be the answer, if you've got the=20
>time...

As much as I, too, would want to do something directly proactive to =
mitigate
the situation, by doing so alone, you would be assuming liability. If =
you
can't get the others who are supposed to be in charge of this stuff to
properly respond to your concerns, you're stuck in CY(own)A-ville.

Peter Scheu

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


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

Message-ID: <43FF329C.7F37C24E [at] jonesphillips.com>
Date: Fri, 24 Feb 2006 11:21:48 -0500
From: Noemi Ybarra <noemi [at] jonesphillips.com>
Subject: Re: Intelligent Raceways (was Re: Distributed dimming ....)
References: <list-26088922 [at] prxy.net>

"Jeffrey E. Salzberg" wrote:

> > I can't tell you how many red flags go up when I walk into a
> > coordination meeting with the other contractors and the first
> > thing I hear is "I ain't never built a Theater before."
>
> Actually, my favorite is architects' saying, "I know what I'm doing; I've
> built hundreds of theatres," when it turns out that they never go back to
> see what's worked and what hasn't -- they've built hundred of *bad*
> theatres.

Oh man, ain't THAT the truth!!!

Noemi

--
Jones & Phillips Associates, Inc.
http://www.jonesphillips.com
301 North 5th Street
Lafayette, Indiana 47901
765-423-1123 (Voice)
765-742-4013 (Fax)



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

In-Reply-To: <list-27926848 [at] prxy.net>
References: <list-26088922 [at] prxy.net> <list-27926848 [at] prxy.net>
Message-Id: <0663e90e0176874ba83a39c57f7ce82e [at] mail.tamucc.edu>
From: Phil Johnson <Phil.Johnson [at] mail.tamucc.edu>
Subject: Re: Intelligent Raceways (was Re: Distributed dimming ....)
Date: Fri, 24 Feb 2006 10:32:46 -0600

Isn't it a shame that you can be with your administration and they 
select the architect who builds pretty and what you need is functional? 
  Raise your hand if you have the former and not the latter.  Would that 
we could compile a list of who NOT to have design our theatres.


My other favorite is  " We can build this for x dollars and keep it on 
budget"  and  We can cut that ( fly space, lighting position, backstage 
space, etc,....)  no one will ever miss it

don't get started..


Philip Johnson
Designer/Technical Director
Texas A & M -Corpus Christi


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

Date: Fri, 24 Feb 2006 11:35:36 -0500
Subject: Re: help - snow, exits and safety
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <C024A008.A35E%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-27926165 [at] prxy.net>

You might add some photos to your own documentation.
Shoot from different angles/view points that illustrate
the dangers of the situation.

Steve

> From: "Peter Scheu" <peter [at] scheuconsulting.com>
> Organization: Scheu Consulting Services, Inc.
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Fri, 24 Feb 2006 10:51:53 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: help - snow, exits and safety
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> David R. Krajec wrote:
> 
>> But if the head of maintenance is saying that the AHJ
>> has given his approval, what can I do?
> 
> First of all, I'd politely ask to see a copy of the AJH's written approval.
> It don't mean squat if it ain't in writing.
> 
> Then, short of immediately tendering your resignation, document your
> concerns in writing and hand deliver same to your superior, with a (again
> polite) verbal explanation of your concerns.
> 
> If all the others above and outside say it's OK, it seems the only thing you
> can do is cover your own a**.
> 
> Sigh...
> 
> Peter Scheu
> 
> Scheu Consulting Services, Inc.
> www.scheuconsulting.com
> Tel: 315.422.9984
> fax: 413.513.4966
> 


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Cc: peter [at] scheuconsulting.com
Subject: Slightly OT & Warning - a "safety" rant
Date: Fri, 24 Feb 2006 11:41:57 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAuaLTr3xhrE6LtbF9QAgJ6gEAAAAA [at] scheuconsulting.com>
In-Reply-To: <list-27926365 [at] prxy.net>

Thinking back on my last post regarding David K's dangerous snow =
situation
reminded me of something...

The other night, while watching PBS, there was a lead-in sponsorship =
"ad" by
a national insurance company (I think it was Nationwide).=20

The ad was a low shot of a banana peel laying on a sidewalk. A pair of =
feet
come walking up from the background, stop by the peel, and then the =
person
places an orange cone next to the peel, and walks off. The voice over
reminds us of how wonderful this company is that they're looking out for =
us.

Excuse me... PICK UP THE PEEL AND THROW IT AWAY!!!

So the message is to David (an all of us) it's OK to see to the injured
after an accident (most states have Good Samaritan laws), but if you =
tried
to fix the potential hazard on your own, you might pay dearly if someone
gets hurt anyway.

Good Lewis Black material.

Sorry. Go back to what you were doing... I'm done.

Peter Scheu

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


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

From: "kosteral [at] juno.com" <kosteral [at] juno.com>
Date: Fri, 24 Feb 2006 16:50:43 GMT
Subject: mis-tint paint  (was free paint source)
Message-Id: <20060224.085118.23743.348222 [at] webmail38.nyc.untd.com>



>Can this paint be re-tinted to black? This would make it more valuable
>to me, but if it can, why wouldn't the paint store do so - and sell it =
as
>such?


It's not that easy.  There are several different tint bases: Light (or P=
astel), Medium, Deep, Red, Yellow.  The Light (or Pastel) tint base for =
the lightest colors on the paint chips contains gobs of titanium dioxide=
 (a white pigment that helps the paint cover in 1-2 coats); these bases =
won't go much past the pastel or light colors no matter how much coloran=
t you add.  The Medium tint base has a lesser amount of titanium dioxide=
, and is used for the middle-range colors on your paint chips.  The Deep=
 tint base contains little if any titanium dioxide and is used to make t=
he darkest colors.  Certain bright/deep reds and yellows require so much=
 pigment that it is necessary to use a special tint base that already co=
ntains a bunch of colorant (I don't know if the colorant already in the =
base is the same as what gets added at the store).  =


Most stores that donate or sell cheap their mis-tint paints do so on a "=
no further tinting" policy.  They are losing money on the deal, so shoul=
dn't be expected to provide additional colorants or pay employees to spe=
nd time trying to further tint the paint (it is unlikely the paint could=
 ever become exactly the shade you want).  Speaking from experience (I u=
sed to work in a hardware store), mixing paint can be very time consumin=
g, second only to dealing with customers' plumbing questions.

The vast majority of mis-tint paint available for free or cheap at hardw=
are stores tends to be colors mixed in Light/Pastel tint base.  If you'v=
e ever dumped together partial cans of house paints and noticed that the=
 "baby poop brown" or "institutional green" has a chalky look, it is bec=
ause of all the titanium dioxide in the tint bases. =


Many house paint brands have a handful of standard paint colors such as =
black that come prepackaged (tinted at the factory).  If your local stor=
e isn't already carrying a flat or satin black (depending on your prefer=
ence), you can ask them if they would consider stocking it.

And don't forget your local paint contractors--they usually have heaps o=
f partial gallons left over from jobs.  They might be willing to sell yo=
u junk mixes for cheap.  (I had one who loved theatre/art, and would try=
 to honor color requests!)

For junk basepaint it is best if you try to stick to mixing only flats a=
nd satins together, or only semi-gloss and gloss together as sometimes t=
he flatter finishes don't want to mix so well with the shinier finishes.=
  (YMMV.)  Generally it is OK to mix interior paint with exterior paint,=
 as long as the exterior paint does not have a "minty" smell (some sort =
of anti-mildew/fungicide agent used by contractors in damp parts of the =
country like Seattle); the "minty" agent will, for some reason, make the=
 mix curdle; it will still sort-of work for basepainting, but it'll act =
a bit weird when you brush or roller it on.

To quote Uncle Bill, "zat help?"

Allison Koster
LD/ATD =

Carleton College
Northfield, MN


________________________________________________________________________=

Try Juno Platinum for Free! Then, only $9.95/month!
Unlimited Internet Access with 1GB of Email Storage.
Visit http://www.juno.com/value to sign up today!



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

Message-ID: <BAY113-DAV86D6BC271E8F9F1F1303FDFF30 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: RE: trapeze actress
Date: Fri, 24 Feb 2006 11:16:39 -0600
Message-ID: <00ca01c63966$13216180$6600a8c0 [at] tdolighting01>
In-reply-to: <list-27543959 [at] prxy.net>

You can see the trapeze artist from Cav/Pag here
http://www.geocities.com/lmcmeley/DSC_0102.JPG
Design by Wolfgang Goebbel

Laura McMeley
Resident Lighting Coordinator
The Dallas Opera


> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
> FrankWood95 [at] aol.com
> Sent: Sunday, February 12, 2006 12:36 PM
> To: Stagecraft
> Subject: Re: trapeze actress
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 12/02/06 05:58:36 GMT Standard Time, LMcMeley [at] msn.com
> writes:
> 
> > Funny enough, the Cav/Pag I just mentioned was lit by Wolfgang Goebbel.
> >  I can send a pic if you can wait until after Friday.
> 
> I'll be interested to see it. I should think his general style would be
> good
> for this, which I assume was in Pag. Let us know where to find it.
> 
> Frank Wood

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

Message-Id: <3.0.6.32.20060224103828.00d253c8 [at] pop.west.cox.net>
Date: Fri, 24 Feb 2006 10:38:28
From: CB <psyd [at] cox.net>
Subject: Re:Urgent help needed

>Henh, small world.

OOPS!  Apologies, all.  Of course, this was meant to be off list..


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

From: "Simon Shuker" <simon [at] ef-ae.com>
Subject: RE: Intelligent Raceways (was Re: Distributed dimming ....)
Date: Fri, 24 Feb 2006 21:59:31 +0400
In-Reply-To: <list-27927009 [at] prxy.net>
Message-Id: <20060224175943.3D8A957A7 [at] mail05.powweb.com>

My favourite comes from a designer deciding to put the control room window
overlooking the lobby rather than the auditorium so people working there
could see people coming and going 





My other favorite is  " We can build this for x dollars and keep it on
budget"  and  We can cut that ( fly space, lighting position, backstage
space, etc,....)  no one will ever miss it

don't get started..


Philip Johnson
Designer/Technical Director
Texas A & M -Corpus Christi




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

Message-ID: <001901c6396d$571091c0$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-27928914 [at] prxy.net>
Subject: Designers and consultants (was: Intelligent Raceways (was Re: Distributed dimming ....))
Date: Fri, 24 Feb 2006 10:08:39 -0800

> My favourite comes from a designer deciding to put the control room window
> overlooking the lobby rather than the auditorium so people working there
> could see people coming and going


I'm too weary on the subject to go into the details, but in our (currently 
under construction) mainstage, the upper wall acoustical panels and overhead 
clouds were painted semi-gloss putty beige.  We screamed bloody hell (and I 
cited all sorts of research and "state of the industry" stuff about color 
choices, acoustic response, psychosomatic response, etc), but those of us 
with a lifetime in this industry were all slapped around, and told that we 
didn't know what we were talking about, and blah blah blah (and the 'expert' 
that told them to paint it beige went to Tisch, and designed all over the 
globe, yadda yadda)...  then last week I saw that they finished painting the 
lower walls: LIGHTER beige.  The auditorium is butt ugly - like a gigantic 
classroom.

The rest of the facility is in outstanding condition, from a tech point of 
view - it's just too damn bad that its appearance is so bad.  Pics of 
construction can be seen at www.wlhstheatre.org .

       - Jon Ares
www.hevanet.com/acreative 


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Designers and consultants 
Date: Fri, 24 Feb 2006 13:16:21 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAnu+HkByfvE+zIeslJv3o/gEAAAAA [at] scheuconsulting.com>
In-Reply-To: <list-27929107 [at] prxy.net>

Nice pics. 

Oooo... I especially like the center egress at the rear seating. Who needs
those good seats anyway?  ;-)

Peter Scheu

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


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

Message-ID: <003301c63970$66e26030$6401a8c0 [at] amd2200>
From: "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
Cc: peter [at] scheuconsulting.com
References: <list-27929272 [at] prxy.net>
Subject: Re: Designers and consultants 
Date: Fri, 24 Feb 2006 11:30:34 -0700

peter,
Those would have been the obstructed seats for the first show that
doesn't use the control booth for their consoles.

... and yes... nice pics.


> Nice pics.
> Oooo... I especially like the center egress at the rear seating. Who
needs
> those good seats anyway?  ;-)
>
> Peter Scheu
>
> Scheu Consulting Services, Inc.
> www.scheuconsulting.com
> Tel: 315.422.9984
> fax: 413.513.4966
>


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

From: FrankWood95 [at] aol.com
Message-ID: <263.6529906.3130ab10 [at] aol.com>
Date: Fri, 24 Feb 2006 13:31:44 EST
Subject: Re: circuit breaker

In a message dated 24/02/06 08:08:51 GMT Standard Time, billn [at] peak.org writes:

> We would not think of having 30A general outlet circuits at 230/240 volts.
>  Such circuits are usually limited to 20A at 120V. Lighting circuits are
>  usually 15A at 120V.

You didn't read me correctly. The ring cable is fed from both ends via a 30A 
breaker, yes. Each appliance plug has an internal cartridge fuse of suitable 
rating. 3A for lamps, 7A for most kitchen machinery, 13A for heaters. This 
protects both the appliance and its cable. My first floor ring has eight outlets 
in the kitchen, plus the dishwasher and waste disposal, and four in the sitting 
room. Of course, with modern equipment this is insufficient, so the TV stack 
and sound stacks both run off fourways. These are all fused at 13A. The cooker 
has its own 40A feed.

If I read you right, each and every outlet wires straight back to its own 
breaker at the distribution board. For the same installation, you would have 14 
20A three-core cables, or the eqiivalent, and 14 breakers. I have two 30A 
cables, and one breaker. Which is the more economical installation?


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <148.55d95223.3130ac64 [at] aol.com>
Date: Fri, 24 Feb 2006 13:37:24 EST
Subject: Re: Multi cables and lift lines

In a message dated 24/02/06 12:41:13 GMT Standard Time, 
peter [at] scheuconsulting.com writes:

> BTW - and changing topics - does anyone have a "foolproof" method of
>  preventing the twist in traveler track handlines? And I'm not talking about
>  securing the floorblock to the deck or using a demountable floor plate as
>  90% of these things have to fly. I've tried sand bags, but they just spin
>  with the rope.

Brail one of them off to a suitable point. A small traveller block on a line 
will serve. The load is small.


Frank Wood

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

Message-Id: <7.0.1.0.0.20060224103352.01f3c2a8 [at] interstellar.com>
Date: Fri, 24 Feb 2006 10:39:14 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: circuit breaker
In-Reply-To: <list-27929559 [at] prxy.net>
References: <list-27929559 [at] prxy.net>

At 10:31 AM 2/24/2006, you wrote:
>If I read you right, each and every outlet wires straight back to its own
>breaker at the distribution board. For the same installation, you 
>would have 14
>20A three-core cables, or the eqiivalent, and 14 breakers. I have two 30A
>cables, and one breaker. Which is the more economical installation?

There is a formula for how many outlets can be on one breaker, it 
depends on where they are and other factors.  The assumption is that 
not all are used at the same time (much the same as your arrangement 
assumes there isn't a cooker plugged into every outlet in the 
loop).  Outlets for large appliances are supposed to be single outlet 
per breaker connections.

This leads to an interesting problem, the main breaker here (mains 
feed) is calculated from a formula of all the breakers in the 
box.  Modern large houses around here have so many breakers they now 
need 400A main breakers.  Not that they ever use that much power, but 
they have so many individual circuits that they COULD use it.  We 
originally had 100A breakers here but went to 200A during a remodel 
(it turned out that the power company did part of the upgrade for 
free on the assumption we'd be using more power).



-- 
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



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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Cc: idahoscenic [at] cableone.net
Subject: RE: Designers and consultants
Date: Fri, 24 Feb 2006 13:54:23 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAfDbDNv29tUG99jsE4+3SVAEAAAAA [at] scheuconsulting.com>
In-Reply-To: <list-27929529 [at] prxy.net>

>peter,
>Those would have been the obstructed seats for the first show
>that doesn't use the control booth for their consoles.

OK, just so long as there is a "good" reason... <VBG>

Expecting a lot of big road shows, Jon?

Peter Scheu

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


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

From: FrankWood95 [at] aol.com
Message-ID: <234.779596b.3130b114 [at] aol.com>
Date: Fri, 24 Feb 2006 13:57:24 EST
Subject: Re: Intelligent Raceways (was Re: Distributed dimming ....)

In a message dated 24/02/06 16:33:57 GMT Standard Time, 
Phil.Johnson [at] mail.tamucc.edu writes:

> Isn't it a shame that you can be with your administration and they 
>  select the architect who builds pretty and what you need is functional? 
>    Raise your hand if you have the former and not the latter.  Would that 
>  we could compile a list of who NOT to have design our theatres.

 Really, they are two different trades. Architects concentrate on the 
aesthetic aspects, and theatre designers on the practical ones. The problem is who 
reconciles them. 


Frank Wood

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

Message-ID: <055001c63977$9e359140$e28aaa43 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-27929559 [at] prxy.net>
Subject: Re: circuit breaker
Date: Fri, 24 Feb 2006 11:22:01 -0800

>
> If I read you right, each and every outlet wires straight back to its own
> breaker at the distribution board. For the same installation, you would 
> have 14
> 20A three-core cables, or the eqiivalent, and 14 breakers. I have two 30A
> cables, and one breaker. Which is the more economical installation?
>
>
> Frank Wood


  This is a good example of the logical fallacy called the 'straw man' 
argument.  You are comparing your installation to a fictional non-existent 
installation that has no true relationship to 'how things are done.' 


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

In-Reply-To: <list-27929107 [at] prxy.net>
References: <list-27928914 [at] prxy.net> <list-27929107 [at] prxy.net>
Message-Id: <3183BE76-FD5D-4E4E-8922-F73A80A2D778 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Designers and consultants (was: Intelligent Raceways (was Re: Distributed dimming ....))
Date: Fri, 24 Feb 2006 14:12:05 -0500

> The rest of the facility is in outstanding condition, from a tech  
> point of view - it's just too damn bad that its appearance is so  
> bad.  Pics of construction can be seen at www.wlhstheatre.org .

Very nice pics.  Keep us posted.  Are the seats in yet?  The color in  
those, the main curtain and floor treatment will tone down the beige  
as long as they are not beige.  Is that pig "storage" along the wall  
of the loading rail?  That is kinda cool.  I would love to see more  
pics of that.  I want to know more.  It could be a PIA or could be  
nice.  Let us know.  Thanks for sharing. 
  

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

From: "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
Cc: peter [at] scheuconsulting.com
Subject: RE: Slightly OT & Warning - a "safety" rant
Date: Fri, 24 Feb 2006 14:19:49 -0500
Message-ID: <000901c63977$47f9c300$6500a8c0 [at] p3m866>
In-Reply-To: <list-27927208 [at] prxy.net>

> Excuse me... PICK UP THE PEEL AND THROW IT AWAY!!!

I saw that same ad on PBS a couple of nights ago.  My reaction was about the
same at first -- it really pissed me off.  But it's definitely a joke,
right?  They can't possibly think this analogy is a GOOD one, right?  Or am
I missing something?

Jim



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

Subject: RE: Slightly OT & Warning - a "safety" rant
Date: Fri, 24 Feb 2006 14:27:27 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B71 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> > Excuse me... PICK UP THE PEEL AND THROW IT AWAY!!!
>=20
> I saw that same ad on PBS a couple of nights ago.  My=20
> reaction was about the same at first -- it really pissed me=20
> off.  But it's definitely a joke, right?  They can't possibly=20
> think this analogy is a GOOD one, right?  Or am I missing something?

Hey, whether or not it's a good idea, it's good advertising.  Face
it...the number one (okay, number two, after actual purchase) aim of
these commercials is to get the audience talking about the product or
the commercial itself.

By virtue of just the traffic on here, which included a stab at the name
of the company responsible (name remembrance, another advertising goal),
I'd say that's been achieved.

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

Message-Id: <05DA7DD9-EF3B-42CA-9F6E-18F782136DE0 [at] gmail.com>
From: Matt Farrow <matthewdfarrow [at] gmail.com>
Subject: MSDS Binders
Date: Fri, 24 Feb 2006 14:36:08 -0500

Hello list,  this is my first post here but I'll admit I've been lurking
for a little while.  And following on the apparent tradition - the
next round's on me!

My question is this: how do you all format your MSDS binders?

Our campus safety inspector is coming around in the next week
to inspect each department's binder and in preparation I've
pulled ours out and blown the dust off.  Our current binder was
put  together by one of the people who runs our switchboard
the last time an inspection was done which was before I got
here.  As I look through it, the entries are logged
alphabetically, but some of the product ID's are a little vague
i.e. Cleaner.  And looking for a specific product can be tricky
if the entry is filed alphabetically and you aren't sure of the
manufacturer.

I'm wondering if I should keep the giant, alphabatized
three-ring binder or maybe go to a system that is broken down
by area i.e. Paint, Adhesives, etc.  One of my google searches
came up with one company who's MSDS is all done through
Filemaker though who has that kind of time?

What are your thoughts?  Thanks in advance!

Matt Farrow
Technical Director
Walnut Hill School
508.652.7820

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

Date: Fri, 24 Feb 2006 14:55:37 -0500
Subject: Variable speed mirrorball motor
From: Stuart Baulch <stuart [at] thedevilyouknow.ca>
Message-Id: <1140810951.2429F91F [at] di12.dngr.org>

Does anyone have a source for a variable speed mirrorball motor in the 
Toronto area for the next 3-4 weeks?

If anyone has a lead, please email me directly.

Thanks,
         Stuart B
         Stuart [at] TheDevilYouKnow.ca

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

Message-Id: <s3ff1f26.094 [at] gwia.harford.edu>
Date: Fri, 24 Feb 2006 14:58:38 -0500
From: "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
Subject: Re: Variable speed mirrorball motor

Look for party rental supply places.. It'll cost you more than it
should.. but, it's a start since I"m not familiar with the area.


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

From: Tom Grabowski <tomgrab [at] utpa.edu>
Cc: Phil.Johnson [at] mail.tamucc.edu
Subject: RE: plotter/printer
Date: Fri, 24 Feb 2006 14:13:57 -0600
In-Reply-To: <list-27908472 [at] prxy.net>
Message-ID: <20060224141358073.00000003068 [at] TGRABOWSKI>

> From: Phil Johnson <Phil.Johnson [at] mail.tamucc.edu>
> Subject: plotter/printer
> Date: Thu, 23 Feb 2006 17:09:33 -0600
> =

> What types of printers are you folks using to print large =

> plots and drafting output from your cad  programs.
> =


	I have an HP Designjet 1050C for up to 36" networked to another office =

An HP Designjet 10PS for up to 13"x19" on my desk.

-- =

Tom Grabowski			University of Texas-Pan American
Designer				Communication Department
Tomgrab [at] UTPA.edu			Edinburg, Texas 78541
956/381-3588			FAX 956/318-2187


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

Message-ID: <43FF735A.6030500 [at] dreampossible.ca>
Date: Fri, 24 Feb 2006 15:58:02 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Mackie sound boards (was: Tech riders for small touring groups)
References: <list-27925645 [at] prxy.net>
In-Reply-To: <list-27925645 [at] prxy.net>

Paul Schreiner wrote:
> between...and carried only Mackie sound boards. *shudder*

Care to fill in this non-skweek on why Mackie boards are bad? Our
theatre has one, and we're having problems with it, so your post got me
to thinking maybe it's the brand.

-- 
Jim Hyslop


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

Message-ID: <43FF7430.2070305 [at] dreampossible.ca>
Date: Fri, 24 Feb 2006 16:01:36 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: help - snow, exits and safety
References: <list-27925982 [at] prxy.net>
In-Reply-To: <list-27925982 [at] prxy.net>

Paul Schreiner wrote:

> Ask for that in writing.  Keep copies of your correspondence as well,

Keep the copies off-site, of course - don't want them to burn down with
the theatre :-)

-- 
Jim Hyslop


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

Date: Fri, 24 Feb 2006 21:07:18 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Mackie sound boards (was: Tech riders for small touring groups)
In-Reply-To: <list-27932353 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0602242103090.8713 [at] viscount.richmondsounddesign.com>
References: <list-27925645 [at] prxy.net> <list-27932353 [at] prxy.net>

On Fri, 24 Feb 2006, Jim Hyslop wrote:

> Care to fill in this non-skweek on why Mackie boards are bad? Our
> theatre has one, and we're having problems with it, so your post got me
> to thinking maybe it's the brand.

They are amazing value for money, providing an incredible array of capabilities 
at a very competitive price.  This results in the same thing when any device 
exhibits these characteristics:  it is cheaply made, using low quality parts and 
will not last very long.  Also, some corners have been cut even in the 
performance sense in order to meet the low initial price requirement.

In short, they are considered to be somewhat short-lived if not expendible.

Charlie

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

Message-ID: <BAY113-DAV2DBAAC1B57D2DCE4315A7DFF30 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: RE: Keystone correction for Image Pro slide
Date: Fri, 24 Feb 2006 16:48:18 -0600
Message-ID: <00e601c63994$687726a0$6600a8c0 [at] tdolighting01>
In-reply-to: <list-27456041 [at] prxy.net>

We ended up going with a digital projector rather than the Image Pro and I
was able to project the image in photoshop. Use edit>transform>distort and
just keep tweaking until the world looked round. This worked really well
with a very significant projection angle in two directions (projector below
and far to the right of the projection surface). After I got the correction
right I saved the file and put it into a Powerpoint presentation for final
presentation. Not exactly what the initial question was but might help
somebody anyway.)

Laura McMeley
Resident Lighting Coordinator
The Dallas Opera
972-333-5016



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

From: FrankWood95 [at] aol.com
Message-ID: <1a1.45f7c541.3130ed78 [at] aol.com>
Date: Fri, 24 Feb 2006 18:15:04 EST
Subject: Re: Designers and consultants 

In a message dated 24/02/06 18:31:02 GMT Standard Time, 
idahoscenic [at] cableone.net writes:

> Those would have been the obstructed seats for the first show that
>  doesn't use the control booth for their consoles.
>  
>  ... and yes... nice pics.
>  
>  
>  > Nice pics.
>  > Oooo... I especially like the center egress at the rear seating. Who
>  needs
>  > those good seats anyway? 

But, you may not obstruct a fire exit. And why do you want the consoles in 
the house? Sound, yes, for a live mix, but lighting, why?

Taking either out of the control room involves an awful lot of ad hoc wiring, 
the working lights are badly positioned, the communications are not there, 
and are fully audible any way. When you get a cue wrong, and you will, all the 
comments are also audible.

I agree that live sound mixes need to be done from in the house, but the guy 
doing it has no need of the SM calling cues. Both cans and open speakers are 
impracticable. Such a job needs both ears free, and few distractions.



Frank Wood

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

Message-ID: <BAY113-DAV27C0827487A48478837FBDFF30 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: Re: trapeze actress
Date: Fri, 24 Feb 2006 17:22:25 -0600
Message-ID: <013d01c63999$2c453370$6600a8c0 [at] tdolighting01>

Sorry about that. All the traffic shut down my geocities free site.
I=92ve moved the picture to a yahoo photo album.
 http://tinyurl.com/k5qcy
Please let me know if this link has any problems.

Laura McMeley
Resident Lighting Coordinator
The Dallas Opera
972-333-5016
http://www.geocities.com/lmcmeley/

>You can see the trapeze artist from Cav/Pag =85
>Design by Wolfgang Goebbel

>Laura McMeley
>Resident Lighting Coordinator
>The Dallas Opera


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

From: FrankWood95 [at] aol.com
Message-ID: <1e2.4dada535.3130f465 [at] aol.com>
Date: Fri, 24 Feb 2006 18:44:37 EST
Subject: Re: circuit breaker

In a message dated 24/02/06 18:39:57 GMT Standard Time, 
jdurand [at] interstellar.com writes:

> There is a formula for how many outlets can be on one breaker, it 
>  depends on where they are and other factors.  The assumption is that 
>  not all are used at the same time (much the same as your arrangement 
>  assumes there isn't a cooker plugged into every outlet in the 
>  loop).  Outlets for large appliances are supposed to be single outlet 
>  per breaker connections.

And they are with us. My cooker has its own private 40A breaker, and the 
water heater a 30A one. Both with cables to match.
>  
>  This leads to an interesting problem, the main breaker here (mains 
>  feed) is calculated from a formula of all the breakers in the 
>  box.  Modern large houses around here have so many breakers they now 
>  need 400A main breakers.  Not that they ever use that much power, but 
>  they have so many individual circuits that they COULD use it.  We 
>  originally had 100A breakers here but went to 200A during a remodel 
>  (it turned out that the power company did part of the upgrade for 
>  free on the assumption we'd be using more power).

This may be a problem, for the companies and users akike. Lights apart, I 
have perhaps 20 loads connected at any one time. Perhaps four use significant 
power, mostly in the kitchen, where the kettle, toaster, dishwasher and waste 
disposal may each draw up to 2.8KW. All the rest use maybe 200W each. Computers, 
HI-FI, TV, and so on.

I have eight breakers: one at 40A, for the cooker, three at 30A, one at 15A 
(and I don't know what that one is for), and three at 10A for lighting 
circuits, permanently installed. This is a total potential load of 175A. The 
installation has a 100A company fuse. Double the numbers for the US. But each appliance 
has a local fuse in the plugtop, rated to protect th appliance and its wiring.
,

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <24e.6fc0c18.3130f66d [at] aol.com>
Date: Fri, 24 Feb 2006 18:53:17 EST
Subject: Re: circuit breaker

In a message dated 24/02/06 19:00:23 GMT Standard Time, taco [at] peak.org writes:

>   This is a good example of the logical fallacy called the 'straw man' 
>  argument.  You are comparing your installation to a fictional non-existent 
>  installation that has no true relationship to 'how things are done.' 

 So, improve my information. All I know about US installations I have 
gathered from this list. To that. I apply my engineering knowledge and experience.

Make this 'fictional' man into fact. 

Frank Wood

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

Date: Fri, 24 Feb 2006 19:27:02 -0500
From: "Josh Ratty" <josh.ratty [at] verizon.net>
Subject: RE: Slightly OT & Warning - a "safety" rant
In-reply-to: <list-27927208 [at] prxy.net>
Cc: peter [at] scheuconsulting.com
Reply-to: <josh.ratty [at] verizon.net>
Message-id: <013801c639a2$3420ae40$0201000a [at] Rattys>

Ok so one slow summer day outside the theatre we actually did this.
Banana peel was already there, put up an orange cone and a caution sign
and watched pedestrian reaction. Quite entertaining. It should be said
that we were there the whole time and never left the peel unattended and
picked it up when the fun was done.

Josh Ratty




-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Peter
Scheu
Sent: Friday, February 24, 2006 11:42 AM
To: Stagecraft
Cc: peter [at] scheuconsulting.com
Subject: Slightly OT & Warning - a "safety" rant


The ad was a low shot of a banana peel laying on a sidewalk. A pair of
feet
come walking up from the background, stop by the peel, and then the
person
places an orange cone next to the peel, and walks off. The voice over
reminds us of how wonderful this company is that they're looking out for
us.




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

Date: Fri, 24 Feb 2006 19:45:10 -0500
Subject: Re: Designers and consultants
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C02512C6.DDE8%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-27934884 [at] prxy.net>

Frank wrote: 
>And why do you want the consoles in
> the house? Sound, yes, for a live mix, but lighting, why?
> 
    My situation may be unusual (As is yours), but here's why I have my
lighting console in the house. Many (Most?) events we host are simple, and I
run both the sound and lighting myself. As you said, sound should be run
from the house so you can hear what the audience hears. I simply put the
lighting console right next to it so I can reach them both at the same time.

    In most cases this involves one or two mikes and / or possibly Music
playback, and lighting is either extremely simple cues, or simply pressing
the "Go" button if it's complex at all.

    When I have a second operator, we sit side by side.

    I did install wiring so that either or both can be run from either the
projection booth or the SL wing, but the centre of the house is the "Normal"
operating position.

> Taking either out of the control room involves an awful lot of ad hoc wiring,
> the working lights are badly positioned, the communications are not there,
> and are fully audible any way. When you get a cue wrong, and you will, all the
> comments are also audible.
> 
    Little lights live on both consoles wherever they happen to be.
Clearcom, like the rest of the wiring is installed at all three positions. I
admit that my side of any clearcom conversation might be heard, which I
hate, but there are two solutions. (Assuming I'm not running the entire show
myself and the show is big enough to have someone to communicate with.)
First, you learn to speak quietly - not as I do on stage ;-)  More
importantly, I try not to speak at all! If there is a stage manager calling
cues, I click my "Talk" button to acknowledge. One of my pet peeves is
excessive chatter on com. My mind is on the show, and I don't want to be
involved with - or listen to - unrelated conversations during the
performance.  

Make sense?

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Message-ID: <43FFADD4.9090001 [at] cybercom.net>
Date: Fri, 24 Feb 2006 20:07:32 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: Mackie sound boards
References: <list-27925645 [at] prxy.net> <list-27932353 [at] prxy.net>
In-Reply-To: <list-27932353 [at] prxy.net>

Jim Hyslop wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Paul Schreiner wrote:
>> between...and carried only Mackie sound boards. *shudder*
> 
> Care to fill in this non-skweek on why Mackie boards are bad? Our
> theatre has one, and we're having problems with it, so your post got me
> to thinking maybe it's the brand.
> 
   They are a good value for their price, but they are a long way
from the top of the line.  Some recording artists have
exclusionary clauses in their riders, because they don't like
the way they sound.  Their other problem is that they are made
as basiaclly a couple of big boards internally, connected by
ribbon connectors.  The ribbon connectors are a common failure
point, and once they get broken beyond the point that reseating
the ribbon connectors doesn't fix it, it will be more cost
effective to toss it and buy a new one.
    Behringer has been known to rip off mackie designs for their
own products, one case was so blatant, that they didn't even
remove the mackie part number.  Behringer, of course, uses
even lower quality parts than Mackie.  Mackie and Behringer
don't talk about it, because a gag order was part of the
settlement.


   --Dale


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

Date: Fri, 24 Feb 2006 20:14:52 -0500
Subject: Re: Designers and consultants - A RANT!
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C02519BC.DDE9%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-27929107 [at] prxy.net>

Jon Ares  wrote:
> The rest of the facility is in outstanding condition, from a tech point of
> view - it's just too damn bad that its appearance is so bad.

    You're lucky in that regard!

    I was just asked to design lighting and some special effects in our
local High School's brand new (OK - a year old) Theatre. I won't tell you
what I'd like to do to the %#$* that designed this place!

    First off, he installed skylights over the house and stage! That's
right, sunlight comes pouring in during matinees! Fortunately, someone has
already gone up and slapped some black paint over the glass.

    Both the catwalk over the house, and the loading bridge have railings at
chest height on both sides, completely covered with a heavy steel mesh. Good
and safe - no student will fall off - until they have to climb over it in
order to actually reach any lighting instrument to try and focus it. (Let
alone change a gell.) The arbors at their highest position come to the floor
of the loading bridge, so again, you can't reach them to add or remove
weight.

    Plug strips with 30 circuits on each of the three electrics  would be
good if the electrics weren't completely full of striplights!

    They spared no expense in terms of equipment. There is a 400 amp company
disconect with built in Camloc connectors and a safety interlock on the
door. It's beautiful! There is also 134 dimmers, not counting the
houselights. Most of the ERS units are zooms (Although you can't reach them
to change settings.) EVERY instrument, dimmer and control board is Strand.

    Of course I've never handled a Strand board, and had to learn it.
Unfortunately, there is no manual to be found, and not a single person in
the school system has the foggiest idea how to use it. They have one pre-set
and just turn it on and off!

    The board  (Series 300 - master and 5 panels) is so totally different
from any I've ever worked on that I was unable to figure it out on my own. I
finally pulled out their old Colortran board from a dusty closet (I knew
they must have it there somewhere) and now I at least have some control!

    All I can figure is that whoever designed this monstrosity must have
been a Strand dealer, and selling that product was his only talent!

    Thanks for letting me blow off steam.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Subject: RE: Mackie sound boards
Date: Fri, 24 Feb 2006 18:24:27 -0700
Message-ID: <469E256D47873149A321069F4F29CBA80221EE57 [at] csf-beta.csf.localnet>
From: "Clare Adams" <cadams [at] csf.edu>

>=20
> Care to fill in this non-skweek on why Mackie boards are bad? Our
> theatre has one, and we're having problems with it, so your post got
me
> to thinking maybe it's the brand.

We too seem to be losing our Mackie...(an SR 32-4)

What are people using these days?  I'm thinking I'm about to have to
start looking around..

Thanks,

Clare Adams
Lighting Designer/Technical Director
College of Santa Fe

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

Date: Sat, 25 Feb 2006 01:30:41 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Mackie sound boards
In-Reply-To: <list-27937106 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0602250129440.8713 [at] viscount.richmondsounddesign.com>
References: <list-27937106 [at] prxy.net>

On Fri, 24 Feb 2006, Clare Adams wrote:

> We too seem to be losing our Mackie...(an SR 32-4)
>
> What are people using these days?  I'm thinking I'm about to have to
> start looking around..

Anything more expensive for the same functionality.  Or another Mackie if you 
haven't got that budget.... and then recycle...

Charlie

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

Message-ID: <43FFB443.7060906 [at] cybercom.net>
Date: Fri, 24 Feb 2006 20:34:59 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: MSDS Binders
References: <list-27930986 [at] prxy.net>
In-Reply-To: <list-27930986 [at] prxy.net>

Matt Farrow wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hello list,  this is my first post here but I'll admit I've been lurking
> for a little while.  And following on the apparent tradition - the
> next round's on me!
> 
> My question is this: how do you all format your MSDS binders?
> 
> Our campus safety inspector is coming around in the next week
> to inspect each department's binder and in preparation I've
> pulled ours out and blown the dust off.  Our current binder was
> put  together by one of the people who runs our switchboard
> the last time an inspection was done which was before I got
> here.  As I look through it, the entries are logged
> alphabetically, but some of the product ID's are a little vague
> i.e. Cleaner.  And looking for a specific product can be tricky
> if the entry is filed alphabetically and you aren't sure of the
> manufacturer.
> 
> I'm wondering if I should keep the giant, alphabatized
> three-ring binder or maybe go to a system that is broken down
> by area i.e. Paint, Adhesives, etc.  One of my google searches
> came up with one company who's MSDS is all done through
> Filemaker though who has that kind of time?
> 
> What are your thoughts?  Thanks in advance!
> 
> Matt Farrow
> Technical Director
> Walnut Hill School
> 508.652.7820
> 
> 
> 

     Table of contents at the beginning.  Remember that when
you **REALLY** need that MSDS, you need it **NOW**.  Go over
the book twice a year.   You are required to train employees
on how to use an MSDS also.  Teaching your students how to
use an MSDS is a good life skill.  Come up with a bunch of
accident scenarios.  Hand the first student the MSDS book,
and tell him that his best buddy just injected paint into
his finger when trying to unclog the spray gun.  What are
the first aid instructions?  (Yes, I have seen this
accident happen. )

   --Dale

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

Message-ID: <006901c639ad$d9afa450$6401a8c0 [at] amd2200>
From: "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
References: <list-27934884 [at] prxy.net>
Subject: Re: Designers and consultants 
Date: Fri, 24 Feb 2006 18:50:26 -0700

Frank,

I,   and I'm sure a few other list members,  frequently live in
different worlds than a standard theatre setting.
I have hundreds of times  unloaded a one to four truck tour at  what is
sometimes considered a loading dock into the only little old theatre in
town and, except for a 200amp and a 400amp service and their deck,  to
put on a little Country (or R&R or Folk...)  show.  Oh, we might have
used their spotlights.   Sound and lights were usually, if there was the
space, one hundred feet from the principle's mic, deadcenter.  Ok
sometimes the lighting was HL 20 or so rows up in the extra handicap
seating.

We were self contained.

Robert Riddle
Will Disagree for the Sake of Discussion
Will Discuss for the Sake of Learning



----- Original Message ----- 
From: <FrankWood95 [at] aol.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Friday, February 24, 2006 4:15 PM
Subject: Re: Designers and consultants


> For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> In a message dated 24/02/06 18:31:02 GMT Standard Time,
> idahoscenic [at] cableone.net writes:
>
> > Those would have been the obstructed seats for the first show that
> >  doesn't use the control booth for their consoles.
> >
> >  ... and yes... nice pics.
> >
> >
> >  > Nice pics.
> >  > Oooo... I especially like the center egress at the rear seating.
Who
> >  needs
> >  > those good seats anyway?
>
> But, you may not obstruct a fire exit. And why do you want the
consoles in
> the house? Sound, yes, for a live mix, but lighting, why?
>
> Taking either out of the control room involves an awful lot of ad hoc
wiring,
> the working lights are badly positioned, the communications are not
there,
> and are fully audible any way. When you get a cue wrong, and you will,
all the
> comments are also audible.
>
> I agree that live sound mixes need to be done from in the house, but
the guy
> doing it has no need of the SM calling cues. Both cans and open
speakers are
> impracticable. Such a job needs both ears free, and few distractions.
>
>
>
> Frank Wood


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

Message-ID: <009201c639af$5d6a1090$6401a8c0 [at] amd2200>
From: "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
References: <list-27937106 [at] prxy.net> <list-27937576 [at] prxy.net>
Subject: Re: Mackie sound boards
Date: Fri, 24 Feb 2006 19:01:17 -0700

And there might be a sound guy on list that might help you with
"exclusionary" specifications if it has to go to bid.
(all you sound guys,... you're welcome)

----- Original Message ----- 
From: "Charlie Richmond" <charlier [at] RichmondSoundDesign.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Friday, February 24, 2006 6:30 PM
Subject: Re: Mackie sound boards


> For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> On Fri, 24 Feb 2006, Clare Adams wrote:
>
> > We too seem to be losing our Mackie...(an SR 32-4)
> >
> > What are people using these days?  I'm thinking I'm about to have to
> > start looking around..
>
> Anything more expensive for the same functionality.  Or another Mackie
if you
> haven't got that budget.... and then recycle...
>
> Charlie


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

Message-ID: <009901c639b0$50c01230$6401a8c0 [at] amd2200>
From: "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
References: <list-27934884 [at] prxy.net> <list-27937956 [at] prxy.net>
Subject: Re: Designers and consultants 
Date: Fri, 24 Feb 2006 19:08:04 -0700

an addendum/ correction to the below post:   "the sound and light
CONSOLES were one hundred feet from the principle's mic..."

----- Original Message ----- 
From: "Idaho Scenic and Rigging" <idahoscenic [at] cableone.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Friday, February 24, 2006 6:50 PM
Subject: Re: Designers and consultants


> For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Frank,
>
> I,   and I'm sure a few other list members,  frequently live in
> different worlds than a standard theatre setting.
> I have hundreds of times  unloaded a one to four truck tour at  what
is
> sometimes considered a loading dock into the only little old theatre
in
> town and, except for a 200amp and a 400amp service and their deck,  to
> put on a little Country (or R&R or Folk...)  show.  Oh, we might have
> used their spotlights.   Sound and lights were usually, if there was
the
> space, one hundred feet from the principle's mic, deadcenter.  Ok
> sometimes the lighting was HL 20 or so rows up in the extra handicap
> seating.
>
> We were self contained.
>
> Robert Riddle
> Will Disagree for the Sake of Discussion
> Will Discuss for the Sake of Learning
>
>
>


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

End of Stagecraft Digest #703
*****************************