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

Stagecraft Digest, Issue #708

 1. Re: funky new theaters, traveler lines
    by "Matthew Breton" <theatricalmatt [at] hotmail.com>
 2. Re: circuit breaker
    by "Bill Conner" <bill-conner [at] att.net>
 3. Re: circuit breaker (and pilot lights for dressing rooms}
    by "Bill Conner" <bill-conner [at] att.net>
 4. Re: Wireless tablet lighting control
    by Stephen Litterst <slitterst [at] ithaca.edu>
 5. Wireless tablet lighting control
    by <productionmanager [at] minnesotaballet.org>
 6. Re: funky new theaters, traveler lines
    by Jim Hyslop <theatre [at] dreampossible.ca>
 7. Re: Designers and consultants - A RANT!
    by <kzinkl [at] sbcglobal.net>
 8. Re: Trap system design
    by Heather Hillhouse-Deans <hjh2 [at] Lehigh.EDU>
 9. Re: Multi cables and lift lines
    by Paul Marsland <paulbmarsland [at] yahoo.com>
10. Re: Designers and consultants - A RANT!
    by "Peter Scheu" <peter [at] scheuconsulting.com>
11. How to drop a drop box
    by Paul Marsland <paulbmarsland [at] yahoo.com>
12. Twisting Traveler Lines
    by "Peter Scheu" <peter [at] scheuconsulting.com>
13. Re: circuit breaker (and pilot lights for dressing rooms}
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
14. Re: Diversitronics SCM-64Q DMX Strobe Cannon
    by "Dirk Van Pernis" <DVanpernis [at] olneytheatre.org>
15. Re: Designers and consultants - A RANT!
    by "Bill Nelson" <billn [at] peak.org>
16. Re: circuit breaker (and pilot lights for dressing rooms}
    by "Bill Nelson" <billn [at] peak.org>
17. Quirky theaters
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
18. Re: Diversitronics SCM-64Q DMX Strobe Cannon
    by "Bill Nelson" <billn [at] peak.org>
19. Re: Traveler track floor pulley
    by "Michael Powers" <mptecdir [at] gmail.com>
20. Lift accident - Salt Lake City Tribune
    by "Bill Conner" <bill-conner [at] att.net>
21. Re: NEC
    by "Keith Fleschner" <keithfleschner [at] msn.com>
22. Re: Designers and consultants - A RANT!
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
23. Re: Wireless tablet lighting control
    by Greg Persinger <greg [at] vividillumination.com>
24. Re: Lift accident - Salt Lake City Tribune
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
25. Re: Lift accident - Salt Lake City Tribune
    by Mark O'Brien <marko [at] email.arizona.edu>
26. Hello!
    by Greg Persinger <greg [at] vividillumination.com>
27. Jands Vista Demo in Nashville
    by Greg Persinger <greg [at] vividillumination.com>
28. Re: Bijou was Designers and consultants - A RANT!
    by <kzinkl [at] sbcglobal.net>
29. Re: circuit breaker
    by FrankWood95 [at] aol.com
30. Re: Hello!
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
31. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
32. Re: Designers and consultants - A RANT!
    by "Peter Scheu" <peter [at] scheuconsulting.com>
33. Re: circuit breaker
    by FrankWood95 [at] aol.com
34. Re: Trap system design
    by David Kissel <KisselDa [at] BrooklynCenter.com>
35. Re: Diversitronics SCM-64Q DMX Strobe Cannon
    by "Dirk Van Pernis" <DVanpernis [at] olneytheatre.org>
36. Re: circuit breaker (and pilot lights for dressing rooms}
    by FrankWood95 [at] aol.com
37. help - snow, exits and safety
    by "David R. Krajec" <drkrajec [at] stritch.edu>
38. Re: Express (Was: Designers and consultants - A RANT!)
    by "Daniel O'Donnell" <dan [at] mystykworks.com>
39. Re: Express (Was: Designers and consultants - A RANT!)
    by Dan Mills <dmills [at] spamblock.demon.co.uk>
40. Re: Designers and consultants - A RANT!
    by "richard j. archer" <rja10 [at] cornell.edu>
41. Re: Express (Was: Designers and consultants - A RANT!)
    by "Steven Haworth" <sjh [at] idm.com>
42. Re: Designers and consultants - A RANT!
    by "Peter Scheu" <peter [at] scheuconsulting.com>
43. Re: Hello!
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
44. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
45. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
46. Re: Express (Was: Designers and consultants - A RANT!)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
47. Re: Hello!
    by Dave Marks <dave.marks [at] insightbb.com>
48. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
49. Re: Express (Was: Designers and consultants - A RANT!)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
50. Re: Express (Was: Designers and consultants - A RANT!)
    by "Daniel O'Donnell" <dan [at] mystykworks.com>
51. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
52. You know you've been working too hard when...
    by MissWisc [at] aol.com
53. Re: Express (Was: Designers and consultants - A RANT!)
    by "Laura McMeley" <LMcMeley [at] msn.com>
54. Re: Trap system design
    by Dale Farmer <dale [at] cybercom.net>
55. Re: Express (Was: Designers and consultants - A RANT!)
    by Dale Farmer <dale [at] cybercom.net>
56. Re: Express (Was: Designers and consultants - A RANT!)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
57. Re: Lift accident - Salt Lake City Tribune.... Very Short Rant
    by "Idaho Scenic" <idahoscenic [at] earthlink.net>
58. Video projectors - lots of questions.
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
59. Re: Bijou
    by "Bill Nelson" <billn [at] peak.org>
60. Re: Express (Was: Designers and consultants - A RANT!)
    by "Bill Nelson" <billn [at] peak.org>
61. Re: Express (Was: Designers and consultants - A RANT!)
    by "Bill Nelson" <billn [at] peak.org>
62. Re: Express (Was: Designers and consultants - A RANT!)
    by "Bill Nelson" <billn [at] peak.org>
63. Re: [SPAM?]  Re: Express (Was: Designers and consultants - A RANT!)
    by "Bill Nelson" <billn [at] peak.org>

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

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

Message-ID: <BAY112-F34A3BBE4CED6E002B3FF6DAF60 [at] phx.gbl>
In-Reply-To: <list-27985668 [at] prxy.net>
From: "Matthew Breton" <theatricalmatt [at] hotmail.com>
Subject: Re: funky new theaters, traveler lines
Date: Mon, 27 Feb 2006 07:38:41 -0500

> > P.S. I do like our theater, but it is quirky.
>
>Doesn't that statement apply to almost all theatres?

Doesn't that statement apply to all theater people?  :)


Matthew Breton
Technical Director
Cambridge Family YMCA Theater

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


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

Message-ID: <029a01c63b9e$927328d0$6501a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: circuit breaker
Date: Mon, 27 Feb 2006 07:06:06 -0600

Frank asked:  "Do you accept retrospective legislation?"

Generally no and not through the building code or electric code but there 
are fire codes, such as the Life Safety Code, where there have been 
occasions that a change has required an owner to retrofit and existing 
building.  Two examples come to mind.  Back in 1960's I think the Life 
Safety Code required all existing stages to be sprinklered, even if that 
hadn't been required when constructed.  In the 1980's, the Life Safety Code 
required retrofitting of handrails in aisle stairs regardless other work 
being performed or contrary requirements when the facility was constructed. 
Quite recently, as a result of the Station fire in Rhode Island, the Life 
Safety Code (and many jurisdictions independently) was modified to require 
retrofitting of sprinklers in nightclubs and bars and the like - though 
existing above 100 occupants and new above 50.  After the MGM hotel fire in 
Vegas the city required retrofitting of all hotels with sprinklers.

But these instances are not common, are generally separate and less 
stringent for new, and often carry a phase in period - like you have to have 
a plan within a year and complete the work in 5 or 7 years.

Bill C. 


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

Message-ID: <02a401c63ba1$9f80ce30$6501a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: circuit breaker (and pilot lights for dressing rooms}
Date: Mon, 27 Feb 2006 07:27:57 -0600

Bruce posted:  " Pilot lights????  My gas stove has a pilot light, but I 
don't think that's what you're talking about."

What I meant is exactly what Merriam Webster on line has a preferred 
definition:

"Function: noun
1 : an indicator light showing where a switch or circuit breaker is located 
or whether a motor is in operation or power is on -- called also pilot lamp
2 : a small permanent flame used to ignite gas at a burner"

This would be an interesting one to see how many new theatres comply - along 
with the guards on mirror lighting.  Most of the time when I bring this 
requirement up to an electrical engineer they think I'm from some other 
planet.

Bill C.


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

Date: Mon, 27 Feb 2006 09:00:42 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Wireless tablet lighting control
In-reply-to: <list-27985204 [at] prxy.net>
Message-id: <4403060A.40301 [at] ithaca.edu>
References: <list-27985204 [at] prxy.net>

Steve Bailey wrote:
> ---------------------------------------------------
> 
> I believe that the ETC Emphasis and Obsession II systems support Virtual FacePanel software from ETC, which could be used on a tablet.  I'm certain Strand has something similar as well.

Strand has the xConnect dongle, which allows a Windows or MAC machine 
with WiFi to connect to a Strand 300/500 series console with WiFi software.

I've got it.  Works pretty well on a laptop, I haven't tried it on a 
tablet, though.

Steve L.

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

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

Message-ID: <000f01c63ba7$7de0a790$0600a8c0 [at] lpt>
From: <productionmanager [at] minnesotaballet.org>
References: <list-28002964 [at] prxy.net>
Subject: Wireless tablet lighting control
Date: Mon, 27 Feb 2006 08:08:04 -0600
Organization: Minnesota Ballet

Bill,

I've got a tablet PC and love the thing. I've been looking for the same 
thing for 2 years now. I have not found a system to make my tablet act as an 
RFU with my light board. However, I did find that Figment software with 
Sidewinder  - Bluetooth seems like a cool toy. With the Palm OS emulator 
installed on my PC it will run. Figment programs cues, and well as controls 
movers

I haven't bought it yet, but can't wait to try it out.
I'm interested in this topic as well, so keep my in the loop when you find a 
solution.

Kenneth Pogin
Production Manager
Minnesota Ballet 



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

Message-ID: <440314BF.9000002 [at] dreampossible.ca>
Date: Mon, 27 Feb 2006 10:03:27 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: funky new theaters, traveler lines
References: <list-28005330 [at] prxy.net>
In-Reply-To: <list-28005330 [at] prxy.net>

Matthew Breton wrote:
>> > P.S. I do like our theater, but it is quirky.
>>
>> Doesn't that statement apply to almost all theatres?
> 
> 
> Doesn't that statement apply to all theater people?  :)

Teeheehee... HEY!!

<vbg>

-- 
Jim Hyslop


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

Message-ID: <20060227150559.31732.qmail [at] web81812.mail.mud.yahoo.com>
Date: Mon, 27 Feb 2006 07:05:59 -0800 (PST)
From: <kzinkl [at] sbcglobal.net>
Subject: Re: Designers and consultants - A RANT!
In-Reply-To: <list-27998939 [at] prxy.net>

I work at a high school with a Bijou and myself and
the students can't stand the board.  When I walked in
to this job about 4 or 5 months ago I saw the board
and said I have never seen or heard of one of these
before but I know Strand and ETC boards so it
shouldn't be hard to learn.  I was sooooo wrong.  In
my first month I have several students offer to
"accidentally" spill soda on the board.  I was tempted
to let them but I did the right thing and said no.  As
for the control freak my did not work when I plugged
it in the other day so we could demo a Mac 250 Entour.
 To my knowledge this is the first time in 4.5 years
that the control freak needed to be used.  I was able
to borrow the CF from the other school and it worked
fine.  However the board does not like to play with
the CF attached.  I have had all of the LEDs turn on
and stay on for no apparent reason.  This problem does
not affect the operation of the board you just can't
tell what subs are empty or used so it really is just
an annoying problem that you have to reboot to fix. 
The other thing it has done with the CF attached is
the board stopped sending a video signal.  Again I
have to reboot to fix the problem and if this happens
during a show you would have no clue what cue you are
in.  Over all this board is a POS and so are my analog
controls also from EDI but the dimmers are rock solid.
 The filter hadn't been cleaned for 4 years and
everything worked fine and the inside of the rack was
still very clean.  This rack runs for 8-16 hours M-F
all school year as it controls the house lights and
classes happen all day in the auditorium.  

With the addition of these new problems I might be
getting the district to buy a new light board next
year and if I get one they will also get the other
school that has a Bijou a new board that way when the
new high school opens all 4 will have the same board. 
An ETC 48/96.  

Ken Zinkl
Auditorium Manager
Fort Zumwalt South High School

--- Bill Nelson <billn [at] peak.org> wrote:

> Yes, it is EDI. It does a fairly basic programmable
> board, a 24/48 with
> two DMX universes sells for about $2500 or so.
> Because it is so easy to
> learn all the boards features, it is good for
> schools where students may
> not get a lot of hands on programming experience.
> But to handle wiggle
> lights, it is best to purchase a Control Freak
> accessory module, which
> makes the task much easier.
> 
> Bill
> 
> 

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

Message-ID: <44031A74.3090306 [at] lehigh.edu>
Date: Mon, 27 Feb 2006 10:27:48 -0500
From: Heather Hillhouse-Deans <hjh2 [at] Lehigh.EDU>
Subject: Re: Trap system design

What I need in a trap design is flexibility.  I'm planning a rebuild of 
my traps this summer, and I am planning a two step system both similar 
and different to what was here when I started.  The original layout was 
a bolted I-Beam structure (which was fine) in a grid-shape (not so fine) 
across  the 8' x 16' opening.  Unfortunately, the beam at center was 
also the support for the the beams at the sides, which meant that every 
time we wanted to open a space on the center line, we had to pull the 
entire thing.   What I want is a support structure underneath that is 
easily removable and either very accurate or easy to level, and panels 
on top that are easy to pull and are easily matched to custom built 
pieces, which in my shop probably means wood unless I have lots of extra 
time.   If the support structure is right, the panels on top don't have 
to be as huge or hard to deal with.  Does anyone have a layout like 
this? Any suggestions?
Thanks-
Heather Hillhouse-Deans
Technical Director
Lehigh University/Zoellner Arts Center

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

Message-ID: <20060227155750.31213.qmail [at] web52203.mail.yahoo.com>
Date: Mon, 27 Feb 2006 07:57:50 -0800 (PST)
From: Paul Marsland <paulbmarsland [at] yahoo.com>
Subject: RE: Multi cables and lift lines
In-Reply-To: <list-27939435 [at] prxy.net>


If you can live with the block being attached to the
floor, but just need the curtain to fly, you can run
the handline from the live end of the track, down to
the floor pulley, up to another block on the grid,
then back down to the live end of the track.

Ta da!  Traveller that flies with floor block attached
and no twisted ropes.

Paul

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


> 
> 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
> 


__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
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------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Designers and consultants - A RANT!
Date: Mon, 27 Feb 2006 11:09:25 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAXzqb3D7OHEa+poewx73zbAEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-28010101 [at] prxy.net>

I've been following this thread with some interest. The ETC vs. Strand =
board
preference is obviously a personal thing, but I am a little "off-put" =
that
this thread began under the subject " Designers and consultants - A =
RANT!".

Hey. Sometimes it just ain't our fault. A perfect (if somewhat long and
convoluted example)...

For a recent large HS project is Upstate NY, we sat with the Architect =
and
queried what type of lighting systems the school district already had in
other venues. Everything was ETC (and as it turned out, ETC was =
preferred by
the District's Technology Manager, who oversees all theatre lighting =
systems
for the District).

So we designed the lighting system around ETC. The documents were sent =
to
the NY State Education Department for review (as they must by law, as =
this
was a publicly funded project).

The SED returned the documents to the Architect with changes to the spec
that opened it up to other manufacturers, by merely changing the =
"intent"
statement to read "Provide a fully functional stage dimming system". =
Period.
Other manufacturers that met their "intent" were acceptable. As the =
changes
were made by the State, we couldn't change them once they were made. =
That
would be breaking the law. STRIKE ONE!

When the project went to bid, the Construction Manager lumped the =
Division
11 stage lighting equipment spec into the Electrical Contractor's work =
(over
our objections), taking the work away from "qualified" stage lighting
contractors who would understand the "real" intent and bid the right =
gear.
STRIKE TWO!!

The Electrical Contractor bid the project, then offered unrequested =
"Value
Engineering" which would supply EDI equipment. STRIKE THREE!!!.=20

Luckily, the Architect contacted us at that point and we objected =
strongly
to EDI. The Architect and the school district backed us up and deemed =
EDI
unacceptable. (OK, take STRIKE THREE away - bad call - the count is now =
1
ball and 2 strikes).

So the Electrical contractor comes back with Strand equipment - which =
met
the "intent" of the specifications (not our intent, the "watered down"
intent of the State Education Department, which we don't control). We =
had to
accept the Strand equipment, because, Strand and ETC were "equal" in the =
eye
of the State and the Architect, if not the District. And we're in the =
employ
of the Architect, not the Owner.

Now don't get me wrong, as far as lighting systems go, we generally =
prefer
ETC, but Strand is good gear, too, and getting better, so it was =
impossible
to object to Strand.

At a coordination meeting, the school district's Technology Manger =
throws a
fit! Why Strand and not ETC like he wanted? Now he can't swap boards if =
one
goes down! We explain that we feel his pain but it's out of our hands. =
Talk
to the State Education Department, the Construction Manger and the
Architect. They won't budge, because ETC is more expensive, and the EC =
is
pissed he had to change suppliers once already, and the Strand system =
meets
the "intent" anyway. STRIKE THREE - you're out!

So before you go blaming "Designers and Consultants", get the "rest of =
the
story" (thanks to Paul Harvey)

OK, done with MY Designers and Consultants RANT!  <VBG>

Peter Scheu

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


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

Message-ID: <20060227161327.28020.qmail [at] web52207.mail.yahoo.com>
Date: Mon, 27 Feb 2006 08:13:27 -0800 (PST)
From: Paul Marsland <paulbmarsland [at] yahoo.com>
Subject: How to drop a drop box
In-Reply-To: <list-27967754 [at] prxy.net>

If I had a dollar (or pound, Frank) for every cable
bundle I've tied to a pipe that included multi AND DMX
(and sometimes com or mic or speakon or scroller or
coax or even ethernet cables in some cases), I'd be
reading this list from my laptop on a secluded
Carribian island.

The secret really does seem to be the right use of the
right cable and terminators.

> From: Jim Hyslop <theatre [at] dreampossible.ca>
> Organization: Dreampossible Inc.
> Subject: Re: How to drop a drop box.
> 
> Bill Nelson wrote:
> > For info, archives & UNSUBSCRIBE, see
> <http://stagecraft.theprices.net/>
> >
> ---------------------------------------------------
> > 
> > 
> >>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?
> > 
> > 
> > As far away as possible. In practice, this usually
> means running power on
> > one side of the batten pipe and the data cables on
> the other.
> 
> Oh, so we're talking inches, not feet or yards
> (although more would be
> better, obviously ;-) Good to know, thanks.
> 


__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
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------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: Twisting Traveler Lines
Date: Mon, 27 Feb 2006 11:17:10 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAexVKAao39Uu5QGRBLvMiCwEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-28011246 [at] prxy.net>

Thanks to all who replied with suggestions.

I did like some of them, and may consider a couple on our next job,
depending on if the user goes for the idea.

One thing we like to do is keep the floor clear of pulleys when the pipe
flies, and avoid a situation where an "uniformed" user tries to fly the =
set
with the floor block still attached to the floor. It does happen quite
regularly in venues like High Schools that don't have a dedicated tech =
staff
and "guests" start pulling the lines. EEEK!

Thanks again!

Peter Scheu

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


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

Date: Mon, 27 Feb 2006 11:42:24 -0500
Subject: Re: circuit breaker (and pilot lights for dressing rooms}
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C0289620.DEFB%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-28006184 [at] prxy.net>

>1 : an indicator light showing where a switch or circuit breaker is located
> or whether a motor is in operation or power is on -- called also pilot lamp
> 
> This would be an interesting one to see how many new theatres comply - along
> with the guards on mirror lighting.  Most of the time when I bring this
> requirement up to an electrical engineer they think I'm from some other
> planet.

    I have to admit, it's a new one to me. I assume then that you are
talking about the kind of switch that I have in my bathroom at home - the
switch lights up like a night light. Are you saying that they are required
in dressing rooms? 

    If so, why? The DR lights are on before any artist arrives, and we know
where the switch is - right inside the door where logic says it should be.
No one would be in there in the dark unless there were a power failure, then
the switch wouldn't light up anyway, and besides it wouldn't do any good if
the power was out. ;-)

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House




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

Subject: RE: Diversitronics SCM-64Q DMX Strobe Cannon
Date: Mon, 27 Feb 2006 11:49:36 -0500
Message-ID: <071168C3EF37C34580207EB53478A0F7229CFE [at] stage.OTC.local>
From: "Dirk Van Pernis" <DVanpernis [at] olneytheatre.org>

They are excellent units for their price point.  Owning both strobe
cannons and Dataflashes, the dataflashes are roughly a third brighter
but usually double the price of the strobe cannons.  I would advise that
you terminate your DMX and make sure you have an optical isolator
between your strobes and your console.  I learned both those lessons the
hard way.  You also need an empty par64 body for the cannon to live in.

Hope this helps,

Dirk Van Pernis
Master Electrician
Olney Theatre Center for the Arts
2001 Olney-Sandy Spring Road
Olney, MD 20832
=20

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill
Nelson
Sent: Monday, February 27, 2006 2:32 AM
To: Stagecraft
Subject: Diversitronics SCM-64Q DMX Strobe Cannon

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

For a play that is taking stage in a couple of weeks, we need to
simulate an intense lightning flash. One option I am exploring is the
Diversitronics SCM-64Q DMX Strobe Cannon. Has anyone had experience with
this device?

Bill



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

Message-ID: <1610.208.51.52.104.1141059187.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28010101 [at] prxy.net>
References: <list-27998939 [at] prxy.net> <list-28010101 [at] prxy.net>
Date: Mon, 27 Feb 2006 08:53:07 -0800 (PST)
Subject: Re: Designers and consultants - A RANT!
From: "Bill Nelson" <billn [at] peak.org>

> I work at a high school with a Bijou and myself and
> the students can't stand the board.  When I walked in
> to this job about 4 or 5 months ago I saw the board
> and said I have never seen or heard of one of these
> before but I know Strand and ETC boards so it
> shouldn't be hard to learn.  I was sooooo wrong.  In
> my first month I have several students offer to
> "accidentally" spill soda on the board.  I was tempted
> to let them but I did the right thing and said no.  As
> for the control freak my did not work when I plugged
> it in the other day so we could demo a Mac 250 Entour.
>  To my knowledge this is the first time in 4.5 years
> that the control freak needed to be used.  I was able
> to borrow the CF from the other school and it worked
> fine.  However the board does not like to play with
> the CF attached.

Hm. I have not had any problems with the two boards I use at two different
community theatres - nor have I heard of any problem with the three boards
at the local university.

It sounds like you have a combination of problems. Your CF is bad, as the
one you borrowed worked fine. Does the Bijou have the latest software
installed? If you lose video - you may have an intermittant video board.

What is hard to learn about using them? They are really basic boards.

Bill




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

Message-ID: <1663.208.51.52.104.1141060433.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28012203 [at] prxy.net>
References: <list-28006184 [at] prxy.net> <list-28012203 [at] prxy.net>
Date: Mon, 27 Feb 2006 09:13:53 -0800 (PST)
Subject: Re: circuit breaker (and pilot lights for dressing rooms}
From: "Bill Nelson" <billn [at] peak.org>

>     If so, why? The DR lights are on before any artist arrives, and we
> know
> where the switch is - right inside the door where logic says it should be.
> No one would be in there in the dark unless there were a power failure,
> then
> the switch wouldn't light up anyway, and besides it wouldn't do any good
> if the power was out. ;-)

They would seem to be of limited use to me as well. But our theatre has
emergency power for some lights, so the DR lights COULD be installed on
that system.

Bill


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

Date: Mon, 27 Feb 2006 12:14:47 -0500
Subject: Quirky theaters
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <C0289DB7.1ED4%jdougher [at] middlebury.edu>


I wrote:
> P.S. I do like our theater, but it is quirky.

To which Jim Hyslop replied:

>Doesn't that statement apply to almost all theatres?

It doesn't, because:
a) I'm confident there are a lot of quirky theaters I don't like; and
ii) Some theaters are quirkier than others.  The folks who did ours were
shooting for some kind of record.

And speaking of quirky theaters reminds me of a question for those on the
list who might occasionally wear a consultant's or installer's hat:

Having recently returned from a theater with 42" railings (with expanded
metal grating below) at the catwalk and loading rail positions, similar to
what was just mentioned by someone else a couple of days ago, what is the
logic or reasoning behind this setup?  Surely not safety, when the result is
electricians hanging over the railing to reach the lights, and riggers
loading everything from the floor and hauling loaded pipes out to put the
weights on.  Why not save a bunch of money and leave out the loading rail
entirely?  

At least in our theaters, electricians and riggers without fall arrest can
lean out under the railings too far and fall to the floor as God intended.
:)  Note the smiley, please note the smiley.

-  Jim Dougherty
ATD, Middlebury College Theatre Department


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

Message-ID: <1668.208.51.52.104.1141060752.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28012358 [at] prxy.net>
References: <list-28012358 [at] prxy.net>
Date: Mon, 27 Feb 2006 09:19:12 -0800 (PST)
Subject: Re: Diversitronics SCM-64Q DMX Strobe Cannon
From: "Bill Nelson" <billn [at] peak.org>

Hi, Dirk.

Thanks for the reply.

> They are excellent units for their price point.  Owning both strobe
> cannons and Dataflashes, the dataflashes are roughly a third brighter
> but usually double the price of the strobe cannons.  I would advise that
> you terminate your DMX and make sure you have an optical isolator
> between your strobes and your console.  I learned both those lessons the
> hard way.  You also need an empty par64 body for the cannon to live in.

Why the need for the opto-isolator? Do the cannons occasionally fail and
put high voltage on the DMX line?

I always terminate my DMX lines, although I have never had a problem when
experimenting with the system without the terminators installed.

The PAR body is no problem - the theatre has several that need repair.

Bill


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

Message-ID: <58f67b0f0602270924p78719c46qa919fcc729ce687f [at] mail.gmail.com>
Date: Mon, 27 Feb 2006 11:24:41 -0600
From: "Michael Powers" <mptecdir [at] gmail.com>
Subject: Re: Traveler track floor pulley

 "Bill Nelson" <billn [at] peak.org> writes:

>> .....Have you tried using a Detachable Floor Block Kit?  It's a
steel plate you
>> rout flush with,........................

>............ Except the plate had holes for stage screws ...... No routing
>needed for a plate - just two holes drilled in the deck for the screw
>plugs.

The method I mentioned, seperating the live end sheaves, was
specifficly for a curtain that had to fly in and out several times in
a tightly qued show, i.e. no time to attach or detach anything to the
floor. On one cue in particular, the hand line operator told me that
the last 3or 4 feet of the curtain travel was always done by just
holding on to the handline as the curtain started to fly.  I thought
about the hard tail down and nixed that for safety concerns.  An
entire hard set piece coming in, people are more cautious about
staying out of the way, soft goods not so much. Granted, a 10 pount
sandbag hitting you at 100 fpm will not be comfortable, but much less
likely to do serious damage than the end of a board or pipe.

Michael

Michael Powers
Director of Operations
Central Lighting & Equipment
1720 Fuller Rd. Suite 150
West Des Moines Iowa 50265
515-277-4190   877-977-4190
Fax  515-277-2295
515-557-0178  cell
michael [at] clelights.com

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

Message-ID: <006601c63bc3$40afc380$6103010a [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Lift accident - Salt Lake City Tribune
Date: Mon, 27 Feb 2006 11:28:40 -0600

Courtesy of Larry Graham of Cape Dixon Associates

This from the Salt Lake City Tribune:

Article Last Updated: 02/23/2006 11:48 PM MST

Despite injury, 'Aida' musical at Hale Theatre will go on

Hale Center: A technician is recovering after an accident with equipment
during an 'Aida' staging

By Ellen Fagg
The Salt Lake Tribune

WEST VALLEY CITY - Cast and crew at Hale Center Theatre met with a grief
counselor Wednesday evening before resuming the run of the musical "Aida,"
cut short after a Tuesday-night accident sent a stagehand to University
Hospital.

   Shortly after 8:30 p.m. Tuesday, long-time HCT technician Will Phillips,
32, was trapped in the theater's hydraulic system below the stage, and
received injuries to his jaw and ear, according to theater executive
producer Mark Dietlein. Phillips received emergency treatment from a
registered nurse who was part of the company, before paramedics arrived, and
was transferred by helicopter to the hospital.

   The accident occurred as a large rope was being delivered to the stage to
ensnare the lead character, Aida, an Ethiopian princess. "There's a center
column that delivers this particular set piece he was placing along with
other technicians," Dietlein said on Wednesday afternoon. "He attempted to
make some type of adjustment and got caught."

   Aida director Andrew Barrus called an intermission after the accident,
which occurred during the show's ninth number, "Dance of the Robe," and then
announced the performance would be cut short.

   At first, it was reported that Phillips' ear was ripped from his head and
his jaw was broken. But on Wednesday afternoon, theater officials released a
condition update from Phillips' wife stating the technician's injuries were
"entirely cosmetic," requiring stitches and jaw realignment, rather than
serious surgery. Through theater and university officials, Phillips' family
declined to speak to The Salt Lake Tribune.

   Serious accidents are unusual in local theaters, which generally produce
less technical shows than those mounted as part of HCT's arena-style
staging.

   "Minor injuries are fairly common," said Terry Tischmak, president of
Local 99, the Utah and Southern Idaho chapter of the International Alliance
of Theatrical Stage Employees, which represents some 210 members, as well as
125 short-term contract workers. "Usually it's smashed toes and fingers,
that kind of thing. There's a saying, 'backstage is the place where
high-tech and low life collide,' but things tend to be very rehearsed
backstage. It seems chaotic, but it's not."

   At Hale Center Theatre on Wednesday, officials announced they would alter
the show slightly for the rest of the run, and noted the company's
previously spotless safety record over an estimated 3,000 performances since
moving into the $8 million West Valley City facility in 1998. Audience
members who attended the Tuesday performance are invited to call the Hale
Centre Theatre box office at 801-984-9000 to receive tickets to another
performance. Aida will play at 7:30 p.m. nightly through April 15 (except
Sunday) at the theater, 3333 S. Decker Lake Drive, West Valley City.




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

Message-ID: <BAY107-F150333730B38B74036B957D0F60 [at] phx.gbl>
From: "Keith Fleschner" <keithfleschner [at] msn.com>
Subject: RE: NEC
Date: Mon, 27 Feb 2006 09:35:35 -0800

<html><div style='background-color:'><P><BR><BR></P>
<DIV>
<DIV class=RTE>Hi</DIV>
<DIV class=RTE>I've been busy and just scanning the list my apologies if this duplicates others info. My day job is with a electrical contractor. </DIV>
<DIV class=RTE>&nbsp;</DIV>
<DIV class=RTE>The NEC is updated on a three year cycle the current code is 2005.</DIV>
<DIV class=RTE>&nbsp;</DIV>
<DIV class=RTE>Oregon uses the 2005 Code.</DIV>
<DIV class=RTE>&nbsp;</DIV>
<DIV class=RTE>The code is not generally retroactive projects are inspected depending on what code was in-force when the permit was issued.</DIV>
<DIV class=RTE>&nbsp;</DIV>
<DIV class=RTE>In general the code is closing loopholes so you can design to the current code and be OK.</DIV>
<DIV class=RTE>&nbsp;</DIV>
<DIV class=RTE>Keith</DIV></DIV></div></html>


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

Date: Mon, 27 Feb 2006 12:55:25 -0500
Subject: Re: Designers and consultants - A RANT!
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C028A73C.DF0B%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-28011528 [at] prxy.net>


 Peter Scheu wrote:
> I've been following this thread with some interest. The ETC vs. Strand board
> preference is obviously a personal thing, but I am a little "off-put" that
> this thread began under the subject " Designers and consultants - A RANT!".
> 
    When I first hijacked this thread (OK, I added "A Rant" to the subject)
the board choice was a minor complaint amongst many others (Catwalks that
don't allow instruments or arbours to be reached, Skylights over the stage &
house, and more.) When I did mention the board it was that it was too much
board for this given situation. Somehow it morphed into a  "Battle of the
boards".

> Hey. Sometimes it just ain't our fault. A perfect (if somewhat long and
> convoluted example)...
> 
    Based on your anecdote, perhaps the consultant isn't the appropriate
target, but when you end up with an unusably poor design, who do you blame?
SOMEONE screwed up, and the consultant seems the logical (if inappropriate)
target.  

> So we designed the lighting system around ETC. The documents were sent to
> the NY State Education Department for review (as they must by law, as this
> was a publicly funded project).
> 
> The SED returned the documents to the Architect with changes to the spec
> that opened it up to other manufacturers, by merely changing the "intent"
> statement to read "Provide a fully functional stage dimming system".

    Out of curiosity, when you submitted the proposal to the SED, did it
specify WHY it was designed around ETC? Was there a proactive argument or
explanation given, that ETC was needed for compatibility with existing
district facilities? Might doing so have prevented them from changing that
part of the specs?

    This is certainly not intended to criticise or place blame or anything,
but looking at it objectively, might this prevent similar situations in the
future?
> 
> So before you go blaming "Designers and Consultants", get the "rest of the
> story" (thanks to Paul Harvey)
> 
    Thanks for the insight into your world. In short, it appears that the
system stinks. I don't envy you your job!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Date: Mon, 27 Feb 2006 11:56:09 -0600
Subject: Re: Wireless tablet lighting control
From: Greg Persinger <greg [at] vividillumination.com>
Message-ID: <C0289959.8153%greg [at] vividillumination.com>
In-Reply-To: <list-27979294 [at] prxy.net>

Bill,

You might want to look at the Jands Vista.

Tuesday February 28 they are supposed to release the PC based version of the
console. 

What may make this console attractive to your client is that the Vista uses
a pen and tablet type interface on their large consoles and suggest a Wacom
tablet with their PC version of the console. A tablet PC would already have
the pen and tablet type interface built in.

They also have a nice control surface that could be hooked to the tablet PC
via USB for additional control.

DMX output is enabled via a dongle and DMX interface in your case would be
via DMX over Ethernet with a DMX output node on the other end of your
wireless Ethernet network.

Others are using the Vista in a theatrical capacity and I understand it has
both good conventional and moving light support.

I have an in depth demo on the console tomorrow so I will know more when I
get finished.

Greg Persinger
Vivid Illumination


 


on 2/26/06 9:55 AM, Bill Conner at bill-conner [at] att.net wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I have a client who would like to be able to operate lighting from a
> wireless tablet.  I was think of looking at a tablet pc and ET's Horizon
> software as one option.  Anyone have another?  This has to be fairly
> complete control including writing a show - maybe even with automated
> lights - not just remote focus and running cues.
> 
> Thanks.
> 
> Bill C. 
> 
> 



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

Date: Mon, 27 Feb 2006 13:09:43 -0500
Subject: Re: Lift accident - Salt Lake City Tribune
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C028AA97.DF15%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-28013273 [at] prxy.net>

> There's a saying, 'backstage is the place where
> high-tech and low life collide,

    I hadn't heard that one before! This from an IATSE spokesman?

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

In-Reply-To: <list-28014033 [at] prxy.net>
References: <list-28014033 [at] prxy.net>
Message-Id: <0D404A94-FA2C-4E16-B9E6-A5A810AB893D [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Lift accident - Salt Lake City Tribune
Date: Mon, 27 Feb 2006 11:21:17 -0700

As I recall this is from a bumper sticker from a scenery company in  
San Antonio, TX. (Set the Scene, perhaps?)

"Welcome Backstage, Where high tech, and low life collide..."

On Feb 27, 2006, at 11:09 AM, Bruce Purdy wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
>> There's a saying, 'backstage is the place where
>> high-tech and low life collide,
>
>     I hadn't heard that one before! This from an IATSE spokesman?
>
> Bruce
> -- 
> Bruce Purdy
> Technical Director
> Smith Opera House
>
>


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

Date: Mon, 27 Feb 2006 12:25:13 -0600
Subject: Hello!
From: Greg Persinger <greg [at] vividillumination.com>
Message-ID: <C028A029.815D%greg [at] vividillumination.com>

Greetings all!

After leaving the Stagecraft board about a year ago (I was out traveling for
several months and new I would have limited access to email) I have finally
suffered enough withdrawal symptoms to get me to come back.

Well actually I did something stupid and got my primary email address locked
out of the list server for receiving messages and never remembered to send
an email to Noah to see if he could fix it. DOH!

I have been lurking for the last several days to get the feel for the board
again and I am glad to see it is still a good place for the exchange of
information and ideas.

For those that are wondering what I do in the business I mainly design
lighting for churches and schools. I used to tour but now with a 2 and 4
year old I try hard to stay at home.

Thanks for sharing your insight.

Sincerely,

Greg Persinger
Vivid Illumination
Nashville, TN



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

Date: Mon, 27 Feb 2006 12:25:49 -0600
Subject: Jands Vista Demo in Nashville
From: Greg Persinger <greg [at] vividillumination.com>
Message-ID: <C028A04D.8160%greg [at] vividillumination.com>

I don=B9t know if anyone on the list is within driving distance of Nashville
or interested but AC Lighting will be doing a Jands Vista console demo in
Nashville, TN tomorrow, Febuary 28th from 9:00AM to 4:00 PM at Bradfield
Stage Lighting.

The public is invited to attend and demos will be every hour on the hour
with the last demo at 3:00PM.

Also being shown will be the Chroma Q Colorblock and Colorweb.

Directions are on Bradfield=B9s web site or you are welcome to email me if yo=
u
need more information.

Greg Persinger
Greg [at] vividillumination.com




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

Message-ID: <20060227183147.10507.qmail [at] web81803.mail.mud.yahoo.com>
Date: Mon, 27 Feb 2006 10:31:47 -0800 (PST)
From: <kzinkl [at] sbcglobal.net>
Subject: Re: Bijou was Designers and consultants - A RANT!
In-Reply-To: <list-28012444 [at] prxy.net>

Basic yes, easy no.  It might be easy to use if you
are not technical minded and have no thoughts of how
you think it should work but we could say that for all
boards. 

Thing I don't like and that make it hard for me to use
are:  No dimmer key.  If you are hunting for a dimmer
number to fix a mis patch you have to go and look for
it on the electric, also no dimmer check.  The "check"
key brings up ch 1 and with next and last you can
through a ch check.  Next and last should be by the
numeric key pad not half way on the other side of the
board.  Record should also be closer to the numeric
key pad.  Having a cue auto follow should be easier. 
With the control freak I should be able to record the
movers in to a cue, not like a macro to the cue to put
the movers in a new position.  When I am done setting
a position and I go back to stage view the movers
should stay put not drop all values back to zero. 
Only having 100 positions and that it I change a color
that should not be a position, a position sounds more
like a focus point that I should be able to record in
to a cue.  Actions should be able to handle more than
20 positions.  Faders should default to fade time not
manual operation.  I shouldn't have to select to turn
on fader handles for the channels, they should be on
all the time, I need ch 3 right now that guy is
talking in the dark!  The fades should be smooth, In a
5 count fade the house lights should not fade a
little, stop, fade a little, stop, etc (think walking
down a set of stairs that is the best way to explain
what the "linear curve" looks like).  If the disk
isn't formatted correctly tell me!  I recently lost
everything because the disk wasn't formatted on the
board's disk drive but if you recorded the show it
looked and sounded good.  The file type should be able
to be seen by a PC.  I had to download the offline
editor just to see that a file was on the disk, I
didn't want to open the file just see it on the disk. 
My computer thinks a disk from the Bijou needs to be
formatted.  

I have spoken with my local supplier and he has said
that his customers that have a Bijou either love it or
(like me) hate it and would rather see it used as boat
anchor.  Would love to see a Strand 300 in my space
but until I stop hearing about the main memory chip
failing I won't touch one and a 500 series is overkill
for my little space and too expensive for our budget
so an ETC 48/96 is what I hope to get.  

Ken Zinkl
Auditorium Manager 
Fort Zumwalt South High School

--- Bill Nelson <billn [at] peak.org> wrote:

> Hm. I have not had any problems with the two boards
> I use at two different
> community theatres - nor have I heard of any problem
> with the three boards
> at the local university.
> 
> It sounds like you have a combination of problems.
> Your CF is bad, as the
> one you borrowed worked fine. Does the Bijou have
> the latest software
> installed? If you lose video - you may have an
> intermittant video board.
> 
> What is hard to learn about using them? They are
> really basic boards.
> 
> Bill
> 
> 
> 
> 

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

From: FrankWood95 [at] aol.com
Message-ID: <da.36e956b2.3134a25c [at] aol.com>
Date: Mon, 27 Feb 2006 13:43:40 EST
Subject: Re: circuit breaker

In a message dated 27/02/06 00:33:42 GMT Standard Time, 
jdurand [at] interstellar.com writes:

> Problem:  The connector is exposed metal and ALSO would have to be  
>  grounded.

True. It is in fact grounded, internally, but to the technical ground, rather 
than the safety ground. BBC practice was to keep them separate, as far as 
possible. The safety earth came from the mains distribution cabinet in the area. 
The technical earth came as directly from the earth plate as possible. When 
doing a sound installation, it was normal not to connect the incoming technical 
earth until the last minute, and to rig a buzzer and battery from the tech 
earth distribution to the safety earth. If it went off, you stopped to find the 
fault. This was usually a chafed outer in a cable duct, bringing a cable screen 
into contact with the trunking, and so with the building metalwork.

Precautions were extreme at the old Alexandra Palace studios. In the sound 
control rooms, all the underfloor ducts were lined with copper sheet, bonded to 
earth. Reasonable, since there was a high-power 45MHz transmitter in the 
building, with the aerial mast on the roof of one of the towers. It also contained 
the strangest site office I have ever had, a room 15' square, and 30' high!


Frank Wood

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

Date: Mon, 27 Feb 2006 13:52:18 -0500
Subject: Re: Hello!
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C028B492.B8B9%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-28014381 [at] prxy.net>


Welcome home!

On 2/27/06 1:25 PM, "Greg Persinger" <greg [at] vividillumination.com> wrote:

> 
> Greg Persinger
> Vivid Illumination
> Nashville, TN
> 
> 
> 

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



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

From: FrankWood95 [at] aol.com
Message-ID: <2e8.22237bc.3134a3ff [at] aol.com>
Date: Mon, 27 Feb 2006 13:50:39 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 27/02/06 01:14:20 GMT Standard Time, 
bpurdy [at] rochester.rr.com writes:

>     In fact you do indeed see everything listed by channel. My problem is
>  that there are times I'd rather see it by dimmer. "Which channel was it 
that
>  controls that special?

I confess to being baffled by the distinction you draw between 'channel' and 
'dimmer'. In a permanent installation, the two are the same thing, unless a 
soft patch has been invoked. If I bring up fader 7, I expect the lantern 
connected to dimmer 7 to get brighter.


Frank Wood

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Designers and consultants - A RANT!
Date: Mon, 27 Feb 2006 14:03:46 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAUi123ByvWU2z99uGZB19BgEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-28013686 [at] prxy.net>

Bruce Purdy wrote:

>Out of curiosity, when you submitted the proposal to the SED,=20
>did it specify WHY it was designed around ETC? Was there=20
>a proactive argument or explanation given, that ETC was
>needed for compatibility with existing district facilities? Might=20
>doing so have prevented them from changing that part of the specs?

Ah, but it did! Our "intent" statement in the general conditions stated =
that
"interchangeability and compatibility" with existing systems within and
between district venues was a requirement. Guess the SED didn't think =
this
was important when they changed our scope statement.=20

By the time we knew what they had done, the die was cast and it was too =
late
to attempt to appeal to the State for a revision. The other SNAFU here =
was
that the Architectural firm was bought out by another, larger,
"international" firm just as this process was unfolding. The new Project
Architect didn't even know he had had a theatre consultant on the job =
until
I called for a status report.

...window on my world...

But you know, the job turned out OK. Very nice as a matter of fact, and =
the
Owner was satisfied with their new Strand system and their 300 Series
console. Now they look at it as an opportunity to train students on both
brands of boards before they head off to college theatre. A blessing in
disguise, I suppose...

Peter Scheu

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


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

From: FrankWood95 [at] aol.com
Message-ID: <219.130ecde1.3134a762 [at] aol.com>
Date: Mon, 27 Feb 2006 14:05:06 EST
Subject: Re: circuit breaker

In a message dated 27/02/06 03:07:07 GMT Standard Time, dale [at] cybercom.net 
writes:

> > There's one more: sustained overload. This is the one that sets things on 
>  > fire. While hard to do with a table lamp, although possible, it's quite 
> easy for 
>  > it to happed in electronic equipment and in hair dryers. Even in a table 
> lamp, 
>  > the combination of a live-to-case fault and an imperfect grounding 
> connection 
>  > to the case can manage it. Too much current for the cable: not enough to 
> trip 
>  > the breaker quickly.
>  > 
>     Then it is no longer a 60 watt table lamp.  But current US gear has 
>  fat enough cables in it to withstand the heating of a sustained 
>  overload.  They are, in fact, matched to the trip characteristics of 
>  typical breakers.
 
So, how thick is the cable to this 60W table lamp? With me, it's about 3/16" 
x 1/8" flat twin. This is because there is a 3A fuse in the connector.

It's not the ring I am advocating, although I think it sensible, it's the 
local fusing to suit the appliance. There is an extra level of protection.


Frank Wood

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

Message-ID: <F6275691D8BF4749B5B17ABA059AC48ABA5564 [at] APOLLO>
From: David Kissel <KisselDa [at] BrooklynCenter.com>
Subject: RE: Trap system design
Date: Mon, 27 Feb 2006 11:53:45 -0500

Heather,
Can you have support columns in the trap room? The last time I did a design for traps, I made the tops all 4' x 4' with recessed "D" rings under a top cover of masonite for easy removal. The support stringers were solid along the 8' axis and were every 4' with removable stringers along the 16' length. If you can have columns in the trap room, this could be broken up even more. 
Does this approach work for you?
Dave Kissel

-----Original Message-----
From: Heather Hillhouse-Deans [mailto:hjh2 [at] Lehigh.EDU] 
Sent: Monday, February 27, 2006 10:28 AM
To: Stagecraft
Subject: Re: Trap system design

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

What I need in a trap design is flexibility.  I'm planning a rebuild of 
my traps this summer, and I am planning a two step system both similar 
and different to what was here when I started.  The original layout was 
a bolted I-Beam structure (which was fine) in a grid-shape (not so fine) 
across  the 8' x 16' opening.  Unfortunately, the beam at center was 
also the support for the the beams at the sides, which meant that every 
time we wanted to open a space on the center line, we had to pull the 
entire thing.   What I want is a support structure underneath that is 
easily removable and either very accurate or easy to level, and panels 
on top that are easy to pull and are easily matched to custom built 
pieces, which in my shop probably means wood unless I have lots of extra 
time.   If the support structure is right, the panels on top don't have 
to be as huge or hard to deal with.  Does anyone have a layout like 
this? Any suggestions?
Thanks-
Heather Hillhouse-Deans
Technical Director
Lehigh University/Zoellner Arts Center

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

Subject: RE: Diversitronics SCM-64Q DMX Strobe Cannon
Date: Mon, 27 Feb 2006 14:21:16 -0500
Message-ID: <071168C3EF37C34580207EB53478A0F7229D46 [at] stage.OTC.local>
From: "Dirk Van Pernis" <DVanpernis [at] olneytheatre.org>

 Why the need for the opto-isolator? Do the cannons occasionally fail
and put high voltage on the DMX line?
->DMX Strobes in general seem to have a higher propensity to dump line
voltage onto data lines than most other DMX devices.  If you open one up
there are quite a few wires in close proximity.  It becomes something to
keep in mind down the road as the strobes age.  With the exception of
the Express most consoles have built in optical isolators.

->I just have bad luck with I don't terminate my equipment.  Whether
it's power supplies, strobes, whatever.  No term =3D no function.

->Franken-pars are my favorite.

Dirk Van Pernis - OTC ME
=20

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

From: FrankWood95 [at] aol.com
Message-ID: <260.7949101.3134ab6f [at] aol.com>
Date: Mon, 27 Feb 2006 14:22:23 EST
Subject: Re: circuit breaker (and pilot lights for dressing rooms}

In a message dated 27/02/06 17:08:16 GMT Standard Time, 
bpurdy [at] rochester.rr.com writes:

> >1 : an indicator light showing where a switch or circuit breaker is located
>  > or whether a motor is in operation or power is on -- called also pilot 
> lamp
>  > 
>  > This would be an interesting one to see how many new theatres comply - 
> along
>  > with the guards on mirror lighting.  Most of the time when I bring this
>  > requirement up to an electrical engineer they think I'm from some other
>  > planet.
>  
>      I have to admit, it's a new one to me. I assume then that you are
>  talking about the kind of switch that I have in my bathroom at home - the
>  switch lights up like a night light. Are you saying that they are required
>  in dressing rooms? 
>  
>      If so, why? The DR lights are on before any artist arrives, and we know
>  where the switch is - right inside the door where logic says it should be.
>  No one would be in there in the dark unless there were a power failure, 
then
>  the switch wouldn't light up anyway, and besides it wouldn't do any good if
>  the power was out. ;-)

 These are usually fitted OUTSIDE the doors, so that the guy doing the final 
check can see whether the lights are on without having to chase up the keys.

Frank Wood

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

From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: help - snow, exits and safety
Date: Mon, 27 Feb 2006 13:24:13 -0600
Message-ID: <FFEKLPMABANLAIDPOAKBEENDDCAA.drkrajec [at] stritch.edu>
In-Reply-To: <FFEKLPMABANLAIDPOAKBOEMODCAA.drkrajec [at] stritch.edu>

Sorry for the double post.  E-mail server problems!

David K.



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

In-Reply-To: <list-28014864 [at] prxy.net>
References: <list-28014864 [at] prxy.net>
Message-Id: <962402F8-487E-4242-8359-68A63D91AA26 [at] mystykworks.com>
From: "Daniel O'Donnell" <dan [at] mystykworks.com>
Subject: Re: Express (Was: Designers and consultants - A RANT!)
Date: Mon, 27 Feb 2006 14:24:59 -0500

Of course there's a soft patch involved.  It makes running a show  
possible when there are too many other variables.  It groups like  
ideas together.  I don't want my areas 1-9 to be on handles  
1,5,14,17,22,23,24...  I want them in 1-9.

On Feb 27, 2006, at 1:50 PM, FrankWood95 [at] aol.com wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
> In a message dated 27/02/06 01:14:20 GMT Standard Time,
> bpurdy [at] rochester.rr.com writes:
>
>>     In fact you do indeed see everything listed by channel. My  
>> problem is
>>  that there are times I'd rather see it by dimmer. "Which channel  
>> was it
> that
>>  controls that special?
>
> I confess to being baffled by the distinction you draw between  
> 'channel' and
> 'dimmer'. In a permanent installation, the two are the same thing,  
> unless a
> soft patch has been invoked. If I bring up fader 7, I expect the  
> lantern
> connected to dimmer 7 to get brighter.
>
>
> Frank Wood

---
Daniel R. O'Donnell
dan [at] mystyk.com
http://www.mystyk.com



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

In-Reply-To: <list-28014864 [at] prxy.net>
References: <list-28014864 [at] prxy.net>
Message-Id: <7C8321D2-81D0-46BF-9685-3EC24BCDA0A4 [at] spamblock.demon.co.uk>
From: Dan Mills <dmills [at] spamblock.demon.co.uk>
Subject: Re: Express (Was: Designers and consultants - A RANT!)
Date: Mon, 27 Feb 2006 19:35:22 +0000


On 27 Feb 2006, at 18:50, FrankWood95 [at] aol.com wrote:

> I confess to being baffled by the distinction you draw between  
> 'channel' and
> 'dimmer'. In a permanent installation, the two are the same thing,  
> unless a
> soft patch has been invoked. If I bring up fader 7, I expect the  
> lantern
> connected to dimmer 7 to get brighter.

Fine if you are on a hardpatch, but what happens when you have 300+  
dimmers hardwired to sockets all over the place and have a show turn  
up with a show disk with their 150 odd cues across 70 channels in it  
based on their standard channel assignments.

Now you NEED that softpatch and you need to be able to quickly  
manipulate it.

Not all of us work in your world Frank, for some venues softpatch is  
NOT optional.

Regards, Dan.

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

Message-Id: <p05210603c02905e51619 [at] [132.236.252.58]>
In-Reply-To: <list-28015093 [at] prxy.net>
References: <list-28015093 [at] prxy.net>
Date: Mon, 27 Feb 2006 14:45:54 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: Designers and consultants - A RANT!

When we were planning our current building (1981-84) we were fairly 
insistent with Cornell that the theatre consultant work for us (the 
client) and not the architect.  Cornell was paying all the bills 
anyway.  A mutually satisfactory agreement was reached and most 
everything worked out fairly well until another set of pencil pushers 
were hired to re- "value engineer" the space after it exceeded bid 
projections---but that's a whole different rant.

Dick A
TD, Cornell U

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

Subject: RE: Express (Was: Designers and consultants - A RANT!)
Date: Mon, 27 Feb 2006 13:52:28 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B60E4 [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

>> I confess to being baffled by the distinction you draw between
'channel' and
>> 'dimmer'. In a permanent installation, the two are the same thing,
unless a
>> soft patch has been invoked. If I bring up fader 7, I expect the =20
>> lantern connected to dimmer 7 to get brighter.


Huh?  Everything in your facility is a 1-to-1 patch?  Seems like a pain
to program or operate.

I like to control how my board is laid out, and change it according to
each show's needs and design.  I want front light on channels 1-10,
backlight on 11-20, side on 21-30, etc.  Cyc lights using 3 dimmers per
color get assigned to just one channel, to make things simpler.

And, I don't want to care how the fixtures are cabled.  For example, if
I run short of front-of-house dimmers, sometimes front light fixtures
are powered from over-stage dimmers.  And so on...

So, there's lots of reasons to softpatch.  For me, once you get above 20
channels or so, it's critical to group the channels w/some type of logic
or it gets to difficult (for me, anyway) to manage.


- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Designers and consultants - A RANT!
Date: Mon, 27 Feb 2006 15:13:14 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAQjpqedgrd0OojVhTLPQ+0gEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-28016291 [at] prxy.net>

>When we were planning our current building (1981-84) we were fairly 
>insistent with Cornell that the theatre consultant work for us (the 
>client) and not the architect.  Cornell was paying all the bills 
>anyway. 

That's the arrangement I prefer, too. And I definitely find I have more
"clout" when I'm closer to the entity who signs the checks and REALLY
understands the voodoo that I do. 

Peter Scheu

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


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

Date: Mon, 27 Feb 2006 15:28:57 -0500
Subject: Re: Hello!
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C028CB39.DF2B%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-28014381 [at] prxy.net>

> After leaving the Stagecraft board about a year ago (I was out traveling for
> several months and new I would have limited access to email) I have finally
> suffered enough withdrawal symptoms to get me to come back.

    Welcome home to the list, Greg!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

From: FrankWood95 [at] aol.com
Message-ID: <273.676eb23.3134bb57 [at] aol.com>
Date: Mon, 27 Feb 2006 15:30:15 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 27/02/06 19:26:06 GMT Standard Time, dan [at] mystykworks.com 
writes:

> Of course there's a soft patch involved.  It makes running a show  
>  possible when there are too many other variables.  It groups like  
>  ideas together.  I don't want my areas 1-9 to be on handles  
>  1,5,14,17,22,23,24...  I want them in 1-9.

Forgive me. Faders on the board control dimmers, which control the lanterns. 
These are fed from whatever dimmer they can be attached to with reasonable 
convenience. So you set up a look for area 1, and record it as a submaster. The 
same for all the rest. 

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <23e.7a81830.3134bd00 [at] aol.com>
Date: Mon, 27 Feb 2006 15:37:20 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 27/02/06 19:36:13 GMT Standard Time, 
dmills [at] spamblock.demon.co.uk writes:

> Now you NEED that softpatch and you need to be able to quickly  
>  manipulate it.

This sounds crazy. Lunatic, even.

Frank Wood

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

Date: Mon, 27 Feb 2006 15:37:59 -0500
Subject: Re: Express (Was: Designers and consultants - A RANT!)
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C028CD57.DF2C%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-28014864 [at] prxy.net>

> I confess to being baffled by the distinction you draw between 'channel' and
> 'dimmer'. In a permanent installation, the two are the same thing, unless a
> soft patch has been invoked.

Bingo! You answered your own question, Frank. Things are rarely (In my
experience) patched 1:1. The soft patch is exactly what we are talking
about.
 
Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House


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

Message-ID: <440363F2.7050603 [at] insightbb.com>
Date: Mon, 27 Feb 2006 14:41:22 -0600
From: Dave Marks <dave.marks [at] insightbb.com>
Subject: Re: Hello!
References: <list-28017261 [at] prxy.net>
In-Reply-To: <list-28017261 [at] prxy.net>

Doc, good to hear from you!

Dave Marks


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

From: FrankWood95 [at] aol.com
Message-ID: <275.676bee5.3134bfcf [at] aol.com>
Date: Mon, 27 Feb 2006 15:49:19 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 27/02/06 19:53:05 GMT Standard Time, sjh [at] idm.com writes:

> Huh?  Everything in your facility is a 1-to-1 patch?  Seems like a pain
>  to program or operate.

Well yes, when I'm LD, it is.

I learned the business when that was the way it was, without the option.. I 
can tell it other things, but have never found a need to do so. I am used to 
the faders which cover an area being all over the place. I create paperwork to 
tell me what is doing what job.


Frank Wood

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

Date: Mon, 27 Feb 2006 16:18:01 -0500
Subject: Re: Express (Was: Designers and consultants - A RANT!)
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C028D6B9.DF33%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-28017754 [at] prxy.net>

> I learned the business when that was the way it was, without the option.. I
> can tell it other things, but have never found a need to do so. I am used to
> the faders which cover an area being all over the place. I create paperwork to
> tell me what is doing what job.

    I too - as did many on this list - started when there was no such thing
as channels. Yes, we had patch board to assign circuits to dimmers, but
"Soft patch" didn't exist. That was many years ago, and in the mean time,
most of us didn't stop learning as the technology changed.

    Having "faders which cover an area being all over the place" seems
mighty sloppy to me. My board normally has all the "White" (R33) tops
grouped together, the red tops grouped together, and the blue tops grouped
together. They are on separate faders by area, but I don't have to consult
paperwork to know where the  various red area lights are - they are all
together.

    Yes, as you mentioned, I too create "Looks" using submasters, but that's
not a substitute for a logical soft patch system. Try it - you'll learn to
love it.

    No day is wasted if you learn something new!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

In-Reply-To: <list-28017311 [at] prxy.net>
References: <list-28017311 [at] prxy.net>
Message-Id: <948785ED-B1EB-429C-9E3C-418C27FEF1E3 [at] mystykworks.com>
From: "Daniel O'Donnell" <dan [at] mystykworks.com>
Subject: Re: Express (Was: Designers and consultants - A RANT!)
Date: Mon, 27 Feb 2006 16:32:30 -0500

Ummm, Frank, you're just doing the softpatch at a different point in  
the process.  As most of us work on computer boards and use subs  
rarely for shows, mainly for one-offs and such, the channel number  
needs to be right, not the submaster number.

For example, as I do mainly opera the conductor special is on a sub,  
because there are times they need the light on while other stuff is  
going on, and during a rehearsal or show you DON'T let the conductor  
light go out.  Or houselights or worklights will be on a sub, or a  
rehearsal cue.  For the show, it's all written cues.

On Feb 27, 2006, at 3:30 PM, FrankWood95 [at] aol.com wrote:

>
>>  ideas together.  I don't want my areas 1-9 to be on handles
>>  1,5,14,17,22,23,24...  I want them in 1-9.
>
> Forgive me. Faders on the board control dimmers, which control the  
> lanterns.
> These are fed from whatever dimmer they can be attached to with  
> reasonable
> convenience. So you set up a look for area 1, and record it as a  
> submaster. The
> same for all the rest.
>
> Frank Wood

---
Daniel R. O'Donnell
dan [at] mystyk.com
http://www.mystyk.com



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

From: FrankWood95 [at] aol.com
Message-ID: <1aa.476f3817.3134eb32 [at] aol.com>
Date: Mon, 27 Feb 2006 18:54:26 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 27/02/06 21:18:43 GMT Standard Time, 
bpurdy [at] rochester.rr.com writes:

>     Having "faders which cover an area being all over the place" seems
>  mighty sloppy to me. My board normally has all the "White" (R33) tops
>  grouped together, the red tops grouped together, and the blue tops grouped
>  together. They are on separate faders by area, but I don't have to consult
>  paperwork to know where the  various red area lights are - they are all
>  together.

Heaven save us! This goes back to resistance boards, such as the Strand 
'Sunset' range. Here, the faders bore labels such as 'No. 1 bar blues', 'No 2 bar 
Amber', and so on, all grouped together physically. I have used such boards, 
but the labels bore no relation to the lanterns they controlled.

The control related to a wholly different design philosophy. Your post leads 
me to believe that this has passed you by. The concept of 'red tops'  is 
foreign to me, at least for lighting plays. For rock concerts, I can see some 
validity.

There seems to be a strong division on the list, at least among LDs. I light 
straight plays, as a rule, and my job is to help the designer to create real 
places for the actors to work in. 

THose of you who specialise in modern musicals and concerts will have 
different views.I accept that: all I ask is that you accept mine.

Frank Wood

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

From: MissWisc [at] aol.com
Message-ID: <215.13b73d50.3134ec2b [at] aol.com>
Date: Mon, 27 Feb 2006 18:58:35 EST
Subject: You know you've been working too hard when...

Reading the latest issue of Unkle Bills' occasional (and always valuable)  
newsletter NETHeads. He includes an excellent article about hand safety which  
includes the caveat:

" * Keep your finger off the trigger when carrying a  portable power saw. Do 
not support, encourage or participate in races while  using such tools. "

And my tired brain pictures a group of motorcycles on  a wooden racetrack 
with circular saw blades instead of tires - wondering why  someone would want to 
race on such a thing.

:) Time to get some  sleep.

Kristi
 

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

Message-ID: <BAY113-DAV36BE93198EDE8709FC31ADFF70 [at] phx.gbl>
From: "Laura McMeley" <LMcMeley [at] msn.com>
Subject: RE: Express (Was: Designers and consultants - A RANT!)
Date: Mon, 27 Feb 2006 19:27:58 -0600
Message-ID: <001201c63c06$36a410b0$6600a8c0 [at] tdolighting01>
In-Reply-To: <list-28022675 [at] prxy.net>

I have noticed that most of the designers I have worked with from Frank's
side of the pond, do not use the soft patch much. Usually, when I get the
plot from one of them, it will not contain channel assignments and I have to
assign them myself. I have not noticed that this means they have any more
difficulty designing than designers from the US. They just use a different
method of remembering the numbers. It all depends on how you were trained.

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

> 
> THose of you who specialise in modern musicals and concerts will have
> different views.I accept that: all I ask is that you accept mine.
> 
> Frank Wood

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

Message-ID: <4403AE58.5020406 [at] cybercom.net>
Date: Mon, 27 Feb 2006 20:58:48 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: Trap system design
References: <list-28010641 [at] prxy.net>
In-Reply-To: <list-28010641 [at] prxy.net>

Heather Hillhouse-Deans wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> What I need in a trap design is flexibility.  I'm planning a rebuild of 
> my traps this summer, and I am planning a two step system both similar 
> and different to what was here when I started.  The original layout was 
> a bolted I-Beam structure (which was fine) in a grid-shape (not so fine) 
> across  the 8' x 16' opening.  Unfortunately, the beam at center was 
> also the support for the the beams at the sides, which meant that every 
> time we wanted to open a space on the center line, we had to pull the 
> entire thing.   What I want is a support structure underneath that is 
> easily removable and either very accurate or easy to level, and panels 
> on top that are easy to pull and are easily matched to custom built 
> pieces, which in my shop probably means wood unless I have lots of extra 
> time.   If the support structure is right, the panels on top don't have 
> to be as huge or hard to deal with.  Does anyone have a layout like 
> this? Any suggestions?
> Thanks-
> Heather Hillhouse-Deans
> Technical Director
> Lehigh University/Zoellner Arts Center
> 
> 
> 

    I just had an AHA! moment.  All a trap cover is, is a platform
that is sitting in a frame.   While this is rather obvious, one could 
size your trap openings to be exactly the same as your portable 
platforms.  Say 4x4 foot stress skin modules.   So you have the 
interchangeability to put in odd sized ones just by making one up for 
the show, and then add it to your platform stock.
     Tell me the pitfalls I don't see to this approach please.

	--Dale

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

Message-ID: <4403B939.6060903 [at] cybercom.net>
Date: Mon, 27 Feb 2006 21:45:13 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: Express (Was: Designers and consultants - A RANT!)
References: <list-28022675 [at] prxy.net>
In-Reply-To: <list-28022675 [at] prxy.net>

FrankWood95 [at] aol.com wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 27/02/06 21:18:43 GMT Standard Time, 
> bpurdy [at] rochester.rr.com writes:
> 
>>     Having "faders which cover an area being all over the place" seems
>>  mighty sloppy to me. My board normally has all the "White" (R33) tops
>>  grouped together, the red tops grouped together, and the blue tops grouped
>>  together. They are on separate faders by area, but I don't have to consult
>>  paperwork to know where the  various red area lights are - they are all
>>  together.
> 
> Heaven save us! This goes back to resistance boards, such as the Strand 
> 'Sunset' range. Here, the faders bore labels such as 'No. 1 bar blues', 'No 2 bar 
> Amber', and so on, all grouped together physically. I have used such boards, 
> but the labels bore no relation to the lanterns they controlled.
> 
> The control related to a wholly different design philosophy. Your post leads 
> me to believe that this has passed you by. The concept of 'red tops'  is 
> foreign to me, at least for lighting plays. For rock concerts, I can see some 
> validity.
> 
> There seems to be a strong division on the list, at least among LDs. I light 
> straight plays, as a rule, and my job is to help the designer to create real 
> places for the actors to work in. 
> 
> THose of you who specialise in modern musicals and concerts will have 
> different views.I accept that: all I ask is that you accept mine.
> 
> Frank Wood
> 
> 
> 
     Except that you don't accept that Frank.  Whenever someone mentions
doing something differently from your way, you toss in your kvetching
about how that is bad engineering or nonsensical.   Things are done
differently all over the place.  Get over it.

     As for your confusion about channels, I'll make an attempt at
spalinen it to you.

   In the beginning, dimmers had handles attached to them, and you had a
bunch of husky guys pushing and pulling them around whenever the lights
had to be changed.   Each handle controlled one dimmer, and there were
some handles that were mechanically linked to others to allow groups to
be controlled.
    Then some clever person invented the electronic dimmer, which was
controlled by a pilot voltage sent to it from a control panel.  You
still had one knob for each dimmer, but you could build a second,
duplicate set of knobs, and by controlling the pilot voltage fed to
those control banks, you could preset a scene on the A bank, and then
fade out the B bank and fade in the A bank.  Et Viola!  The two scene
preset control board.  You still had one knob controlling one dimmer, it
was just replicated.  Still with me?
    Then some clever person thought, Hey, I could use a computer to 
remember all those settings for me, and it wouldn't make mistakes 
because it was hung over or something.  Thus the modern computerized 
lighting board came about.   It doesn't have to have a physical knob for 
all those pilot voltages, they just get generated by the electronics.
   This brought about a new way of thinking about lighting control.  No 
longer did fader number one control the pilot voltage on channel number 
one which controlled dimmer number one. Now the fader on the control 
board could change all sorts of things, depending on what the computer 
running things was programmed to do.  Also the control channel could be 
setup to control more than one dimmer, and it didn't have to control the 
dimmer that happened to have the same number.   This is an important 
concept Frank, remember it.
   About the same time someone decided that since we had computerized 
boards controlling the lights, we didn't have to send pilot voltages to 
the dimmers, we could just send a data stream containing numbers that 
represented the pilot voltage for each channel.  This led to a number of 
  competing standards, most of which have died out, leaving DMX the 
survivor of the evolution of lighting control protocols.  So now there 
is another level of abstraction between the dimmer and the knob 
twiddler.  Follow me Frank?
    So we have today a board that has a bunch of knobs on it.  Those 
knobs have numbers that only matter to the computer inside the board. 
Those knobs are called faders.   Inside the computer there are these 
electronic figments called channels.  Each of these channels might be 
controlled by a fader knob, or might be controlled by a setting recalled 
from memory, or even controlled by an external device, such as a MIDI 
saxophone, sending signals to the lighting board.
    The board, using the programming it has, figures out the channel 
setting based on it's inputs, and then sends that channel setting out 
via the DMX or other control protocol.  That channel setting may be sent 
to several DMX channels, which is confusing since these channels are two 
different things sometimes.
    Then we have the dimmers.  They have a control module that receives 
the data stream from the light board, DMX or whatever, and based on that 
data stream, and what addresses it has been told to pay attention too, 
it generates that pilot voltage which it then sends to a dimmer, which 
uses it to control the amount of current flowing down the wire to the 
lighting instrument or whatever.
	I won't confuse you with circuit numbers that don't match the dimmer 
numbers, that may be too advanced.

   --Dale

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

Date: Mon, 27 Feb 2006 22:02:15 -0500
Subject: Re: Express (Was: Designers and consultants - A RANT!)
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C0292767.DF3E%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-28022675 [at] prxy.net>

> Heaven save us! This goes back to resistance boards, such as the Strand
> 'Sunset' range. Here, the faders bore labels such as 'No. 1 bar blues', 'No 2
> bar 
> Amber', and so on, all grouped together physically. I have used such boards,
> but the labels bore no relation to the lanterns they controlled.
> 
    The advantage is that you can arrange them in whatever order works best
for your particular needs. The way I set them up wouldn't necessarily be the
best for someone else. In fact, my "House plot" isn't even the way I set
them up for every show - it's just the most practical and user friendly for
a lot of one-off shows that I have to run on the fly.  The beauty of a soft
patch is that you can re-configure the board for your needs.

> The control related to a wholly different design philosophy. Your post leads
> me to believe that this has passed you by. The concept of 'red tops'  is
> foreign to me, at least for lighting plays. For rock concerts, I can see some
> validity.
> 
    I believe that that's all you do - light plays. In my situation, every
day brings something different. One day it might be a dance recital, a
Symphony orchestra the next, followed by a children's theatre play in the
morning and a classical solo piano concert that evening. We also have
musicals, straight plays, rock concerts and graduations. My house plot is
one that gives me flexibility that - with minor modifications - allows me to
handle most of them. Occasionally there is a complete re-hang, but with a
staff of "Me", I try to avoid doing that more than I need to.
 
> THose of you who specialise in modern musicals and concerts will have
> different views.I accept that: all I ask is that you accept mine.
> 
    I do. I said having no rime or reason to the way faders are arranged
seems sloppy to me. If it really works for you I can accept that.

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Message-ID: <012101c63c24$8601ec40$6401a8c0 [at] amd2200>
From: "Idaho Scenic" <idahoscenic [at] earthlink.net>
Subject: Re: Lift accident - Salt Lake City Tribune.... Very Short Rant
Date: Mon, 27 Feb 2006 22:04:58 -0700

That saying just rubs me the wrong (Insert very rude expletive here)
way!

and I will stop there.


It was a quote from
>>Terry Tischmak, president of
>>Local 99, the Utah and Southern Idaho chapter of the International
Alliance
>>of Theatrical Stage Employees

>
> > There's a saying, 'backstage is the place where
> > high-tech and low life collide,
>
>     I hadn't heard that one before! This from an IATSE spokesman?

>

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

Date: Tue, 28 Feb 2006 02:19:19 -0500
Subject: Video projectors - lots of questions.
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <C02963A7.DF4E%bpurdy [at] rochester.rr.com>

    I have been given the task of researching what it would cost to get a
video projector for our Theatre. My boss wants the information so that he
can look into funding possibilities, and wants a ballpark of what he should
be looking for.

    Our screen is about 40' wide by 30' tall. If I ran it from the front of
the balcony, as I have done with rented equipment a time or two, the throw
is about 100' - but I'd rather run it from the projection booth, which would
give me a 150' throw.

    I know some of you are a lot more knowledgeable about the subject than I
(And that's an understatement), so I'm seeking any advice you could give me.

    So far I've been looking at
http://www.projectorcentral.com/
and am overwhelmed at the variety of choices. I'm guessing that I want about
- or at least - 10,000 lumens. I think I recall hearing on this list that
DLP is better than LCD, so those are the criteria I'm focusing on.

    Within that range, I see several listing at $125,000 to $170,000 (Ouch)
but also a Barco SLM R12 (11,500 lumens) for only $70,000! That's quite a
difference. Any experience with or opinions about Barco? Are they to video
what Baranghers supposedly is to audio?

    Some of the ones I've investigated, like the Panasonic pt-D9610u don't
even show up on projectorcentral, and the Panasonic site doesn't talk about
price. 

    I do know that the lens for any projector is additional, but it's hard
to find prices for them. Some, like the Panasonic, also apparently need
special input cards depending on the type of signal source.

    By the way, the idea is to be able to show DVDs for film festivals and
such, and computer inputs like Powerpoint for conferences. Is there a
practical way to get the signal from a laptop on the stage up to the
projection booth? (Presenters often want to run their own Powerpoints.)

    Any helpful advice would be most appreciated!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House



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

Message-ID: <1091.208.51.52.87.1141111308.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28014523 [at] prxy.net>
References: <list-28012444 [at] prxy.net> <list-28014523 [at] prxy.net>
Date: Mon, 27 Feb 2006 23:21:48 -0800 (PST)
Subject: Re: Bijou
From: "Bill Nelson" <billn [at] peak.org>

> Thing I don't like and that make it hard for me to use
> are:  No dimmer key.  If you are hunting for a dimmer
> number to fix a mis patch you have to go and look for
> it on the electric, also no dimmer check.  The "check"
> key brings up ch 1 and with next and last you can
> through a ch check.

I don't understand about the "dimmer key". I have a schematic
of the circuits on the electrics, so if there is a mispatch, it
is easy to find.

In the houses where I work, everything is patched dimmer per circuit.
So to check dimmers, I just use a macro to change the active patch page
to 1:1. If I want to check a particular dimmer/circuit, I just do a
check on that circuit. No need to step through them unless I want to do
so.

> Next and last should be by the
> numeric key pad not half way on the other side of the
> board.  Record should also be closer to the numeric
> key pad.  Having a cue auto follow should be easier.

Positioning of keys is a matter of individual preference. I find
having the record key in the top left position of the actions pad
easy to find in the dark. That pad is right next to the key pad.
Yes, autofollows take a couple of steps - go to the cue preview
screen, tab down to the cue, press the f(x) key to get the type of
cue, press enter.

>Faders should default to fade time not
> manual operation.  I shouldn't have to select to turn
> on fader handles for the channels, they should be on
> all the time, I need ch 3 right now that guy is
> talking in the dark!

Yes, it would be nice to be able to configure the board to
select timed/manual fades as the default. I also agree that
the fader handles should be active when the board initializes.
I automatically press the F1 key as soon as the board is active.

>  The fades should be smooth, In a
> 5 count fade the house lights should not fade a
> little, stop, fade a little, stop, etc (think walking
> down a set of stairs that is the best way to explain
> what the "linear curve" looks like).

Hm. I haven't noticed that problem, on any of my lights - with one
exception. If there is a very small intensity change being made with
a very long programmed fade time, then no change occurs until the fade time
ends - then the change occurs all at once. I have never seen that
happen with less than a five minute fade.

You missed one of my biggest gripes. It is not possible to use the
channel faders to grab a level and drag it down. It is necessary to
either use a multiple step process involving the encoder wheel or to
type the channel and level numbers. Both methods are slow.

Bill


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

Message-ID: <1177.208.51.52.87.1141114430.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28017311 [at] prxy.net>
References: <list-28017311 [at] prxy.net>
Date: Tue, 28 Feb 2006 00:13:50 -0800 (PST)
Subject: Re: Express (Was: Designers and consultants - A RANT!)
From: "Bill Nelson" <billn [at] peak.org>

> Forgive me. Faders on the board control dimmers, which control the
> lanterns.
> These are fed from whatever dimmer they can be attached to with reasonable
> convenience. So you set up a look for area 1, and record it as a
> submaster. The same for all the rest.

I want those "dimmers" in a logical arrangement, so I can set up various
starting looks quickly. In reality, the faders control channels - the
board does the conversion to the dimmers that are controlled by that
channel.

For example, at one theatre were I work, there are usually 6 main lighting
areas.

I want my warm fronts in channels 1-6, cool fronts in 7-12, warm tops in
13-18, cool tops in 19-24, etc for sides, cyc and specials. I don't want
to have to hunt through 96 channels to find where the cool top for area 5
is located - I know it is 23 - because I soft patched the board to put it
there.

Bill




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

Message-ID: <1181.208.51.52.87.1141115118.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28017754 [at] prxy.net>
References: <list-28017754 [at] prxy.net>
Date: Tue, 28 Feb 2006 00:25:18 -0800 (PST)
Subject: Re: Express (Was: Designers and consultants - A RANT!)
From: "Bill Nelson" <billn [at] peak.org>

> I learned the business when that was the way it was, without the option..
> I can tell it other things, but have never found a need to do so. I am used
> to the faders which cover an area being all over the place. I create
> paperwork to tell me what is doing what job.

Well, just because you insist on following the "that is the way I learned
it, and I ain't gonna change" rule doesn't mean that others are willing to
unnecessarily waste their time in the same manner.

It might be OK if you have been working in the same house for
eleventy-seven years and don't even have to look at the board to use it,
but most of us don't  have that luxury.

The first significant attempt at logically grouping instruments was
through the use of an electical patch panel - where the circuits could be
cross-patched to different dimmers. The computer soft patch made this
physical  patch changing unnecessary - even undesireable.

In my opinion, only a fool makes their work harder for themselves than
necessary.

Bill


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

Message-ID: <1194.208.51.52.87.1141115865.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28022675 [at] prxy.net>
References: <list-28022675 [at] prxy.net>
Date: Tue, 28 Feb 2006 00:37:45 -0800 (PST)
Subject: Re: Express (Was: Designers and consultants - A RANT!)
From: "Bill Nelson" <billn [at] peak.org>

> Heaven save us! This goes back to resistance boards, such as the Strand
> 'Sunset' range. Here, the faders bore labels such as 'No. 1 bar blues',
> 'No 2 bar Amber', and so on, all grouped together physically. I have used
> such boards, but the labels bore no relation to the lanterns they
> controlled.

Your rant about colors is a red herring, and has nothing to do with the
ease of finding the slider that controls a particular instrument.

I know my warmer tops (however I decide to gel them) are in 13-18. If I
want to change my USR intensity, I know that the slider is 16. I don't
have to think - "Let's see - is that 43? Maybe 49?, Or is it 88?".

There are no labels on the sliders. Each person programming the board can
assign dimmers to channels in any manner they wish. Most boards even have
a default 1:1, so dimmer 1 is on channel 1, dimmer 2 on channel 2 etc. The
only time I use that is when I am determining which instruments are on
which dimmer in a new house. After that, I soft patch those dimmers to
locate them where I want them on the board.

Bill


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

Message-ID: <1199.208.51.52.87.1141116314.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28025241 [at] prxy.net>
References: <list-28022675 [at] prxy.net> <list-28025241 [at] prxy.net>
Date: Tue, 28 Feb 2006 00:45:14 -0800 (PST)
Subject: Re: [SPAM?]  Re: Express (Was: Designers and consultants - A RANT!)
From: "Bill Nelson" <billn [at] peak.org>

> I have noticed that most of the designers I have worked with from Frank's
> side of the pond, do not use the soft patch much. Usually, when I get the
> plot from one of them, it will not contain channel assignments and I have
> to
> assign them myself. I have not noticed that this means they have any more
> difficulty designing than designers from the US. They just use a different
> method of remembering the numbers. It all depends on how you were trained.

I suspect it has a bit to do with whether the person is going to be doing
the work hands on - or just call settings to a board operator. If the
latter, then a 1:1 patch might be desired, as the designer is probably
working from dimmer assignments - and expects certain instruments to be
circuited to certain dimmers.

Even there, a soft patch would help. It gives more freedom in circuiting
instruments. If the circuiting is incorrect, a quick change made in the
soft patch will get it into what the designer expects.

Bill




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

End of Stagecraft Digest #708
*****************************