Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 30109748; Wed, 10 May 2006 20:29:48 -0700 X-Spam-Status: No, score=-2.9 required=5.0 tests=ADVANCE_FEE_1,ADVANCE_FEE_2, AWL,BAYES_00,NO_RECEIVED,NO_RELAYS autolearn=no version=3.1.1 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.1.1 (2006-03-10) on localhost X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #803 Date: Wed, 10 May 2006 20:28:09 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-TFF-CGPSA-Version: 1.4 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #803 1. Re: "...a man's job" by "Julie Fox" 2. Re: "...a man's job" by "Bill Nelson" 3. Re: "...a man's job" by "Jeffrey E. Salzberg" 4. Re: Help filtering noise from elevator SCR's by "Alf Sauve" 5. Re: Broadway on High School by "Brian Munroe" 6. Re: Broadway on High School by "Jeffrey E. Salzberg" 7. Re: designs on recent works by Greg Williams 8. Re: [SPAM?] Help filtering noise from elevator SCR's by "Bill Nelson" 9. Re: Broadway on High School...High School on Broadway? by "Bill Nelson" 10. Re: .....a mans job by Norman Lazarus 11. Re: VW 3d rendering experts (gave up on Sketchup) by "C. Dopher" 12. Re: designs on recent works by "Bill Nelson" 13. Re: Broadway on High School by "Steve Jones" 14. Carpenter Position at UNC Greensboro by Christopher Haas CEHAAS 15. Re: Broadway on High School...High School on Broadway? by "Scott Parker" 16. Re: Broadway on High School by John McKernon 17. Re: Broadway on High School...High School on Broadway? by "Jim at TheatreWireless.com" 18. Re: Broadway on High School by Kate Daly 19. Hammers was :Re: "...a man's job" by Tom Grabowski 20. Re: Broadway on High School by Bruce Purdy 21. Re: Broadway on High School...High School on Broadway? by "Bill Nelson" 22. Re: Broadway on High School by "Kurt Cypher" 23. Re: "...a man's job" by "Paul Guncheon" 24. Re: Free audio cue player offer by "Paul Guncheon" 25. Re: designs on recent works by Bruce Purdy 26. Re: Broadway on High School by "Scott Parker" 27. Re: Broadway on High School by "Steve Jones" 28. Re: Broadway on High School by "Jeffrey E. Salzberg" 29. Re: Broadway on High School by iaeg [at] aol.com 30. Re: Broadway on High School...High School on Broadway? by Howard Ires 31. flameproof black fiberboard by Ron Cargile 32. Re: Broadway on High School by "Scott Parker" 33. Re: "...a man's job" by FrankWood95 [at] aol.com 34. Quick change by "Idaho Scenic & Rigging" 35. Re: Broadway on High School by FrankWood95 [at] aol.com 36. Re: [SPAM?] Help filtering noise from elevator SCR's by FrankWood95 [at] aol.com 37. Re: Broadway on High School by Kate Daly 38. Re: .....a mans job by FrankWood95 [at] aol.com 39. Good wishes by FrankWood95 [at] aol.com 40. Re: Quick change by SS 41. Re: Broadway on High School by "richard j. archer" 42. Re: flameproof black fiberboard by "Bill Nelson" 43. Re: Broadway on High School by June Abernathy 44. Sentencing in Station Fire by Theatre Safety Programs 45. Re: [SPAM?] Help filtering noise from elevator SCR's by Clive Mitchell 46. Re: Help filtering noise from elevator SCR's by Clive Mitchell 47. Re: flameproof black fiberboard by Jerry Durand 48. Re: flameproof black fiberboard by Jerry Durand 49. Re: Broadway on High School by FrankWood95 [at] aol.com 50. Re: Broadway on High School by FrankWood95 [at] aol.com 51. Re: [SPAM?] Help filtering noise from elevator SCR's by Matthew Varas 52. Re: [SPAM?] Help filtering noise from elevator SCR's by "RD" 53. Re: [SPAM?] Help filtering noise from elevator SCR's by "Bill Nelson" 54. Re: [SPAM?] Help filtering noise from elevator SCR's by Jerry Durand 55. Re: [SPAM?] Help filtering noise from elevator SCR's by Matthew Varas 56. Re: [SPAM?] Help filtering noise from elevator SCR's by Jerry Durand 57. Re: [SPAM?] Help filtering noise from elevator SCR's by Matthew Varas 58. Re: [SPAM?] Help filtering noise from elevator SCR's by Jerry Durand 59. Re: [SPAM?] Help filtering noise from elevator SCR's by "Occy" 60. Re: "...a man's job" by CB 61. T-shirt hell.... by CB 62. International Frank Day by CB 63. Sound advice? by CB 64. Re: "...a man's job" by CB 65. Re: Sound advice? by CB 66. Re: "...a man's job" by CB 67. Re: "...a man's job" by CB *** 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. ---------------------------------------------------------------------- From: "Julie Fox" Subject: RE: "...a man's job" Date: Wed, 10 May 2006 11:14:35 +0100 Message-ID: <007b01c6741a$8b299e10$0400a8c0 [at] Pegasus650> In-Reply-To: You surprise me Clive, admittedly I work in theatrical environments and have done so for over 20yrs, and I'm not a gay man, but I haven't come across that sort of discrimination for a long, long time. Where abouts are you based? Jools -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Clive Mitchell Sent: 09 May 2006 23:59 To: Stagecraft Subject: Re: "...a man's job" For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In message , CB writes >Having toured in theatre, I have met many men that are technically >adept (far more than I am) and also gay. I'm not entirely coninced >that the number of gay men in technical jobs in theatre is entirely >co-incidental. Many gay men in technical jobs still have to hide their sexuality these days, even in a theatre environment. In an industrial environment it's still absolutely taboo to be known to be gay. I'm gay. I work for a living and always have since I left school at the age of 16 and served my apprenticeship as an industrial electrician. I've never attempted to play on my gender to get any form of special treatment. Equality for us isn't even remotely near what women have. I suppose I should consider myself lucky that my sexuality isn't considered a criminal offence any more like it was when I was young. -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: <3889.64.28.61.31.1147259259.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 10 May 2006 04:07:39 -0700 (PDT) Subject: Re: "...a man's job" From: "Bill Nelson" >> Sex, sometimes even the vague hope of it, sells products. Until humans >> quit placing primary emphasis on looks, rather than ability, I suspect >> this will continue. > > Well, one way to look at this is that for advertising, the important > ability is to be able to look sexy. For stagecraft (and, indeed, most > occupations) looks are not important. The question is, can we as a > society learn to place emphasis on looks only when it's relevant? I guess, if the usefulness/utility/necessity of the product is questionable, then you need to rely on sex (or other distraction) to sell it. Bill ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: "...a man's job" Date: Wed, 10 May 2006 07:16:56 -0400 Message-ID: <017001c67423$40232400$6601a8c0 [at] Dell> In-Reply-To: > I guess, if the usefulness/utility/necessity of the product > is questionable, then you need to rely on sex (or other > distraction) to sell it. ...Which explains much about the current state of Broadway. ------------------------------ Message-ID: <04b301c67428$40dbac50$6501a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: Help filtering noise from elevator SCR's Date: Wed, 10 May 2006 07:52:30 -0400 The idea that your facility is one big radiator for the elevator controls, brings up a thought. Does the problem exist with battery powered equipment? (e.g., things not directly connected to the power source.) IOW, in addition to coming in through the power lines does it in fact "radiate". Which leads to, does this elevator comply with FCC rules on such radiation? Part 95? Or is it 68? This could be an avenue to get the elevator people involved. Does it interfere with the telephone system in house as well? If so, does it carry back to the LEC central office? This could be another source of support for fixing the elevator instead of bandaging everything else. Alf ------------------------------ Message-ID: Date: Wed, 10 May 2006 08:00:51 -0400 From: "Brian Munroe" Subject: Re: Broadway on High School In-Reply-To: References: On 5/9/06, Kate Daly wrote: > This is the kicker (from the NY Times article): "When advertisements for > the show went out, someone at Samuel French, the company in charge of > licensing the scripts, heard about the performance and quickly faxed over= a > letter threatening stern penalties if the school went ahead with the > performance." What about this from the times article: "The school drama teacher, Anthony Cerrini, 24, had decided on "Chicago." He found some dialogue on the Internet, transcribed some of it from the 2002 movie starring Catherine Zeta-Jones and Renee Zellweger, and wrote some of it himself. " I thought that Kander and Ebb wrote Chicago, not Kander, Ebb and Cerrini. I am suprised that the Drama teacher didn't get a real script, or at least pick up the screenplay of the movie one of the many "vendors" in New York City that sell screenplays on the streets. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Broadway on High School Date: Wed, 10 May 2006 08:05:34 -0400 Message-ID: <017501c6742a$0b2af190$6601a8c0 [at] Dell> In-Reply-To: > I thought that Kander and Ebb wrote Chicago, not Kander, Ebb > and Cerrini. Kander wrote the music. Ebb wrote the lyrics. The book was by Ebb and Bob Fosse. ------------------------------ In-Reply-To: References: Message-Id: <10548A07-3D9B-4A85-80B4-A9A617F033E2 [at] appstate.edu> From: Greg Williams Subject: Re: designs on recent works Date: Wed, 10 May 2006 08:29:48 -0400 On Apr 29, 2006, at 10:53 AM, Bill Nelson wrote: >> the mix? Am I within my rights to ask for a portion of every >> recording >> sold? Keep in mind that I am hired by the guy who is hired to provide >> services and gear, and I only provide the mixes. It isn't like >> I'm going >> to go try to find cash retro-actively, but I may use if as a lever >> for >> insisting that they orchestrate these recordings instead of having >> me make >> them up at doors. > > You are hired to provide the mixes - including the recording mix - > assuming it is in your contract. I'm looking forward to having Richard chime in on this one. If I understand Chris correctly, he's looking for leverage for _future_ contracts, where he can strike an item or add an addendum, initial it, and start a discussion which will lead to a more productive, less stressful day. > It should be as simple as just providing what comes out of the main > speakers. Not much to orchestrate there. > > Bill Maybe on a perfect planet, but not on ours. What the "live" mix is (hopefully) doing is supplying the frequencies that we can't hear as well at "x" distance without amplification, all mixed together in a pleasing and musical manner. In some cases, f'r instance, this may mean rolling off the low-mid frequencies on several channels because there's just so much of that 200-400 hz information already barreling off the stage without help from the main amplifiers and speakers. If you didn't make those type of subtle adjustments, your live mix might be muddy and not articulated. If you put on the headphones and listen to that signal from the console "AFL", however, it might sound "soul- less" and "thin". If you're taking a post-fader feed from the console and mixing for the recording on the fly, you have to balance the needs of the patrons in the room versus the needs of the recording. This very thing just happened to me at a festival I work, where I might have 8 acoustic guitarists on stage doing a workshop, which requires some creative eq'ing, but at the same time I'm sending a fiber-optic feed to the recording truck, which is recording every stage, and at any time that mix is liable to be tapped into by XM radio for broadcast. The best way to record "what's coming out of the speakers" would be a matched pair of flat-response microphones, placed in the best spot in the room to avoid standing waves while gathering all the musical information, feeding directly into a recording device. This would take prep time and another pair of ears or two. The best answer might be a splitter snake, where each microphone not only feeds the FOH console, but also the recording console, which is hopefully in another room with its own set of engineers and monitoring devices, and each channel is being recorded separately for later mixdown. This would also require prep time and other participants, and would force the person who wants the recording to actually think about the gear and the process and the "what-if's". If I were a betting man, I'd bet that this 2nd solution is the one Chris is angling for. Am I right, Chris? -=Greg Williams=- Production Manager Valborg Theatre, Appalachian State University www.LRLR.org - 2006 ride dates July 9-18 - c'mon and join us! ------------------------------ Message-ID: <4168.64.28.61.31.1147265222.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 10 May 2006 05:47:02 -0700 (PDT) Subject: Re: [SPAM?] Help filtering noise from elevator SCR's From: "Bill Nelson" > Lengthy explanation complete, we're on the hunt for something that can > filter out this noise in our power. I'm assuming that we can tackle this > in somewhat the same manner as noise from a lighting system since > they're both SCR based. One person has recommended TOPAZ line > conditioners by MGE. I'm not sure exactly which product would be the > correct one, There are two that look like they might be correct. I assume the problem is recent and not always there. My feeling is that you are approaching the solution in the wrong way. It is the elevator that is causing the problem. Contact the elevator manufacturer and demand that fix it. There is no way that the SCRs should be causing that kind of noise on the mains. If such interference were normal, then all the theatres with SCR dimmer packs would not be able to use audio equipment without interference. Even a small dimmer setup will draw more power than an elevator. Bill ------------------------------ Message-ID: <4195.64.28.61.31.1147266739.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 10 May 2006 06:12:19 -0700 (PDT) Subject: Re: Broadway on High School...High School on Broadway? From: "Bill Nelson" > Forgetting that I've always been taught that competition is a good thing > and that this sounds like "Restraint of trade", I can't believe that a $7 > High School production would actually be seriously considered as > competition > for a "Up to $200" Broadway show! Would anyone actually decide NOT to see > the Broadway production because there was a High School doing the show? > I hate "One size fits all" rules that just don't make sense! It isn't restraint of free trade. The agency owns the copyright (or is the licensed agent for the copyright owner(s)). It is up to them whether they allow anyone else to make use of their property and any rules for doing so. "Serious competition" also has nothing to do with it. If there is the chance that even ONE person would go to that performance instead of the licensed show, then it is hurting the licensed performance. You will also find that there is often a time based requirement. So, in a given area, a license may not be granted until several months after the last production at the previous area venue. Bill ------------------------------ Message-ID: <20060510132331.87448.qmail [at] web51705.mail.yahoo.com> Date: Wed, 10 May 2006 06:23:31 -0700 (PDT) From: Norman Lazarus Subject: Re: .....a mans job In-Reply-To: From: FrankWood95 [at] aol.com Message-ID: <367.36db900.3190d22d [at] aol.com> Date: Mon, 8 May 2006 12:56:13 EDT Subject: Re: "...a man's job" In a message dated 08/05/06 00:02:02 GMT Daylight Time, stagecraft [at] jeffsalzberg.com writes: > > By the stereotypes, that suggests Jewish. > > But it is a matter of fact that my 16 > > great-great-grandparents were all > > English. > ...And Jews can't be English? > You know perfectly well what I meant. In the UK, they tend to live in >areas within easy walking distance of a synagogue, for religious >reasons, and seldom marry outside their own faith. This was even more >true in the eighteenth and nineteenth centuries. >Frank Wood No Frank I don’t know what you mean about Jews. In England, like in many other countries there are SOME Jews who “tend to live in areas within easy walking distance of a synagogue, for religious reasons, and seldom marry outside their own faith.” That does not cover the majority of Jews who live in England or any other country; it only applies to a percentage of Jews who are either conservative or orthodox. Most Jews assimilate into the countries they live. Since we are no longer legally required to wear special clothing or Stars of David by the countries we live in that identifies us as Jews. People do not know who is Jewish. “This was even more true in the eighteenth and nineteenth centuries.” As far as this statement, Jews often did this because they were required to live in the same community because of legal and social laws left them with no other option. Its unfortunate that certain prejudiced people think you look Jewish, I spent ten years living in the bible belt and was often told that I did not look Jewish. Normally I ignore your posts when give your personal opinion as opposed to professional advice. As a Jew I would strongly urge that you make sure that your future posts are directly related to technical theater. Whatever opinions you have about women and Jews are misinformed. Norman Lazarus __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ In-Reply-To: References: Message-Id: Cc: Herrick [at] HGLightingDesign.com From: "C. Dopher" Subject: Re: VW 3d rendering experts (gave up on Sketchup) Date: Wed, 10 May 2006 09:27:09 -0400 On May 10, 2006, at 6:00 AM, Stagecraft wrote: > Subject: VW 3d rendering experts (gave up on Sketchup) > From: Herrick Goldman > Message-ID: > > Hey folks, > > So I went with the Vectorworks solution. I've got an associate who is > drafting her/his/its butt off and has some questions about how to > do things > more efficiently. > > Specifically 3d rendering with light and texture in Renderworks/ > spotlight > > And yes we know about the gig at the Apple store and we're both > busy that > day..can you webcast it?. > > If any of you happen to think you can help and wouldn't mind > answering some > questions for half an hour, let me know. Herrick, you can give me a call if you like (email me at crisdopher [at] mac.com for the phone number). As for the presentation, Herrick's makes the second request I've had for videotaping it. Does anybody in the NYC area own a video camera they'd be willing to bring June 14th and run for 90 minutes or so of the presentation? THEN we can figure out how to post quicktimes on the web. Cris Dopher ------------------------------ Message-ID: <4241.64.28.61.31.1147268416.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 10 May 2006 06:40:16 -0700 (PDT) Subject: Re: designs on recent works From: "Bill Nelson" >>> the mix? Am I within my rights to ask for a portion of every recording >>> sold? Keep in mind that I am hired by the guy who is hired to provide >>> services and gear, and I only provide the mixes. It isn't like >>> I'm going >>> to go try to find cash retro-actively, but I may use if as a lever for >>> insisting that they orchestrate these recordings instead of having >>> me make them up at doors. >> >> You are hired to provide the mixes - including the recording mix - >> assuming it is in your contract. > > I'm looking forward to having Richard chime in on this one. If I > understand Chris correctly, he's looking for leverage for _future_ > contracts, where he can strike an item or add an addendum, initial > it, and start a discussion which will lead to a more productive, less > stressful day. I believe Chris was asking whether he had the right to ask for a percentage of the recording sales. The most probably answer here is no. It would take a lawyer with entertainment contract knowledge to answer for certain - and that person would need to see the particular contract, and possibly Chris's contract with his employer. As I stated, that depends on the contracts under which he is working. They may be ambiguous about whether he is to provide a recording mix when requested. By the same token, he might be able to refuse to provide recording feeds, or only provide them if certain conditions are met. Of course, that could mean not being asked back to do future mixes. The place to handle this might be Chris's employer. The contract with the entertainers could provide a clause stating that a specified additional payment would be made to the sound mixer for any provided recording feed. It could also require that the mix be orchestrated - rather than having to be created on the spot. Bill ------------------------------ Message-Id: <200605101343.k4ADhVIh024596 [at] ns-omrbm3.netsolmail.com> From: "Steve Jones" Subject: RE: Broadway on High School Date: Wed, 10 May 2006 08:43:15 -0500 Organization: Plaza Theatre In-Reply-To: Well, I just gotta say that I think this is WRONG! Maybe I'm saying that because I'm trying to get a local community theatre group reactivated that has been inactive for almost 20 years because they did not have a venue. Now that our theatre is open, they have a place. But because we seat 1,000+, this small group with hardly any startup money is being asked to pony up almost $600 in royalties to play MOON OVER BUFFALO for three shows. It didn't matter that we explained that the city population is less than 14,000 (and hardly a fifth of the city would attend such an event), and that we expected to sell, at the most, 300 seats per performance. We still have to pay the bill as if we were filling a 1K seat house. I don't have a problem with Sam French setting the fees they want. That's their option and it's our option to not do works in their catalogue. But we weren't going to lie about house size and start off on a shaky relationship with out first licensing agency on our first show out. But then to see that a high school that has flagrantly violated the licensing rights and been duly warned - not only not obtaining the rights but also writing their own version of the script - get a thumbs up to do a show is beyond frustrating! And they've done this for 27 years??? I hate to be mean, but I hope another school that applied for those rights nearby and were denied brings legal action against the school, Sam French, et al and gets that production stopped. It is not right or fair for those who follow the rules. End of rant. Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 834-8147 http://www.glasgowplazatheatre.org 1964 - The Tribute Friday, May 12, 2006, 7:00 PM ------------------------------ In-Reply-To: Subject: Carpenter Position at UNC Greensboro Message-ID: From: Christopher Haas CEHAAS Date: Wed, 10 May 2006 10:08:11 -0400 Good Morning All, We are advertising a 9 month, full time shop carpenter position with the Dept of Theatre here at ole' UNCG. This just got approved kind of late, so we are behind in listing and searching for the job. The job will entail working in the scene shop under the supervision of the Shop Supervisor and the TD. It will include working with and supervising undergrad and graduate assistants and practicum students. Obviously the ideal candidate will have stage construction experience and we really want/hope for someone with significant welding experience (all my strong welders have just graduated!!!!). I believe the salary range is in the high teens to low twenties, which will be paid over twelve months. It includes benefits (state retirement, state health plan, vision, dental options, etc) which will also cover 12 months. We are hoping for a mid August start date, but can be flexible based off of summer jobs. Here is official ad text with the contact info for UNCG's HR office. The Department of Theatre at The University of North Carolina at Greensboro seeks a stage carpenter. This is a full time 9-month position with benefits. The ideal candidate must have experience in the areas of woodworking, stagecraft, metalworking, and theatrical rigging. Having a working knowledge of pneumatic systems, plastics, and CAD would be advantageous. The candidate must have the ability to work independently as well as in a team environment comprised of graduate and undergraduate students, staff and faculty. The applicant should be a motivated individual with the ability to produce quality work under tight deadlines. Interested applicants should submit a UNCG application ref job #14022 by May 31, 2006 to UNC Greensboro, Human Resources Services, PO Box 26170, Greensboro, NC 27402-6170. Telephone (336) 334-5009. Fax (336) 334-5585. Web: http//www.uncg.edu/hrs/jvl.htm. Location: 1100 West Market Street. AA/EOE/W/M/V/D Feel free to contact me by phone or email if anyone has any questions about this. thanks Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Message-ID: <90d9c9980605100715w530417c4v55f8c55e04faa0f4 [at] mail.gmail.com> Date: Wed, 10 May 2006 10:15:04 -0400 From: "Scott Parker" Subject: Re: Broadway on High School...High School on Broadway? In-Reply-To: References: I find that more high school students and their families go to Broadway shows that the kids are in then not. Therefore, allowing schools to put on performances turns out to be great advertising and audience building. So many of the kids that I've worked with end up going to see "how they did it." Either before, or after the school's show. Before I get slammed here, all the shows I've been involved with have been fully paid for via licensing and script rentals. This is big bucks. $1,500 to $3,500, depending on the show, for a 5 show run. For the owners to make this money via B'way ticket sales.... That's a lot of tickets. Yes, the school should have applied for the rights. However, so many times local schools are denied the rights because of a chance the show might be produced. This is short sighted compared to the advertising/audience building opportunities that exist. BTW, we did Sweeney Todd in Brooklyn just as it was opening on Broadway. Lot's of people were surprised that we got the rights. Never mind that the B'way version was totally changed and ours was to the original. A large number of our kids went to see the B'way version. Same thing happened several years ago with the Fantastiks. We bought the rights and ended up buying the entire house worth of tickets to the show. The best of both worlds for the producers. The person who says that seeing the $7-$12 HS production will suffice is simply not going to go pay $100 to see it on B'way. The parents who would be willing to pay the $100, will take their kids who were in the HS show. Sorry for the rant. Scott On 5/10/06, Bill Nelson wrote: > "Serious competition" also has nothing to do with it. If there is the > chance that even ONE person would go to that performance instead of the > licensed show, then it is hurting the licensed performance. > > Bill > > -- Thanks and take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Date: Wed, 10 May 2006 10:18:09 -0400 Subject: Re: Broadway on High School From: John McKernon Message-ID: In-Reply-To: > I am suprised that the Drama teacher didn't get a real script, or at > least pick up the screenplay of the movie one of the many "vendors" in > New York City that sell screenplays on the streets. I'm curious where he got the score - I can see him cobbling together a script, but somebody has to know what notes to play on the piano, and if they have a band, then where did the orchestrations come from? - John ------------------------------ From: "Jim at TheatreWireless.com" Subject: RE: Broadway on High School...High School on Broadway? Date: Wed, 10 May 2006 10:22:52 -0400 Message-ID: <006e01c6743d$39600920$7f9bfea9 [at] p3m866> In-Reply-To: > > Forgetting that I've always been taught that competition is a good > > thing and that this sounds like "Restraint of trade", I > can't believe > > that a $7 High School production would actually be seriously > > considered as competition for a "Up to $200" Broadway show! FAIR competition? They have every right to author and produce their own ORIGINAL show. When I was in high school (early 80s), we did exactly that -- one student was an outstanding writer and lyricist, and I wrote the music. A cast was selected by audition, and many contributed to changes and edits as we produced the show over a 2 month period. In the end, we filled the school auditorium for 4 consecutive nights. The drama teacher helped with organization, kept us focussed, and ocassionally made a suggestion. She didn't write a word of it (though she did have to ask us to self-censor a little bit). We didn't have to copy Cats (hah!) to fill the room. We learned FAR more about what makes a show happen. I'm not saying it was a good show (though it certainly wasn't horrible). That extracurricular experience might have been the most educational thing I did in high school. Jim www.theatrewireless.com ------------------------------ Message-Id: <6.1.2.0.2.20060510102805.03c4b708 [at] mail.comcast.net> Date: Wed, 10 May 2006 10:30:22 -0400 From: Kate Daly Subject: Re: Broadway on High School In-Reply-To: References: At 10:18 AM 5/10/2006, you wrote: >I'm curious where he got the score - I can see him cobbling together a >script, but somebody has to know what notes to play on the piano, and if >they have a band, then where did the orchestrations come from? He could have illegally photocopied the perusal score. I don't know if the perusal score has the full orchestration or just the piano reduction, but my guess is that's where he could have scored a score. ------------------------------ From: Tom Grabowski Subject: Hammers was :Re: "...a man's job" Date: Wed, 10 May 2006 09:58:21 -0500 In-Reply-To: Message-ID: <20060510095821153.00000001124 [at] TGRABOWSKI> ------------------------------ When using a hammer I have to keep repeating to myself " the metal nails" -- = Tom Grabowski University of Texas-Pan American Designer Communication Department Tomgrab [at] UTPA.edu Edinburg, Texas 78541 956/381-3588 FAX 956/318-2187 > = > From: "Don Taco" > Subject: Re: "...a man's job" > Date: Tue, 9 May 2006 21:49:41 -0700 > = > >> > >> It requires a surprising amount of skill. You almost have = > to learn to = > >> throw the head at the target, controlling it with the haft. > > > > The head? You're supposed to hit it with the *head*? > > > = > He means the 'head' of the hammer, Jeff. (That's the = > metal part that isn't the handle.) Could explain the migraines. > = > ------------------------------ Date: Wed, 10 May 2006 10:58:29 -0400 Subject: Re: Broadway on High School From: Bruce Purdy Message-ID: In-Reply-To: > But because we seat 1,000+, this small group with hardly any startup money > is being asked to pony up almost $600 in royalties to play MOON OVER BUFFALO > for three shows. It didn't matter that we explained that the city > population is less than 14,000 (and hardly a fifth of the city would attend > such an event), and that we expected to sell, at the most, 300 seats per > performance. We still have to pay the bill as if we were filling a 1K seat > house. Steve, Our place has 1,400 seats, but if we close the balcony it is considered a 900 seat house. My understanding is that this has been discussed with the licensing people, and that they agreed to it. You might want to look into that. For some "Small audience" events we create a smaller more intimate space by putting up convention drapes across the middle of the house. I have no idea whether the licensing folks would recognise that as a "Smaller venue" (We haven't done that for plays or musicals), but if you make it impossible to see the stage from the back half of the auditorium - maybe??? At least stipulating in the contract that the balcony be closed might help you. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <4712.64.28.61.31.1147273478.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 10 May 2006 08:04:38 -0700 (PDT) Subject: Re: Broadway on High School...High School on Broadway? From: "Bill Nelson" > The person who says that seeing the $7-$12 HS production will suffice > is simply not going to go pay $100 to see it on B'way. The parents who > would be willing to pay the $100, will take their kids who were in the > HS show. Oh, I agree. Unfortunately, the copyright holders do not. We once lost the rights to do a show because a professional theatre over 90 miles away decided to stage the production. Fortunately, it occured before we started rehearsals. Amateur rights are "at the bottom of the totem pole". They can be withdrawn any time up to opening - and possibly even during the run of the show. I have not reviewed a recent contract - so cannot say for sure. Bill ------------------------------ Message-ID: Date: Wed, 10 May 2006 11:10:31 -0400 From: "Kurt Cypher" Subject: Re: Broadway on High School In-Reply-To: References: On 5/10/06, Steve Jones wrote: > But because we seat 1,000+, this small group with hardly any startup mone= y > is being asked to pony up almost $600 in royalties to play MOON OVER BUFF= ALO > for three shows. It didn't matter that we explained that the city > population is less than 14,000 (and hardly a fifth of the city would atte= nd > such an event), and that we expected to sell, at the most, 300 seats per > performance. We still have to pay the bill as if we were filling a 1K se= at > house. > My information may be a little dated (it's been a few years since I was on the Board of Directors for one of the local community theaters), but my understanding is that some (if not all) of the companies that hold rights to shows are willing to give a refund of some of the royalties you paid if you contact them after the show closes and let them know that your audiences were significantly less than capacity. I was at a talk once, given by a representative from MTI who explicitly said that they do this, and I imagine at least some of the other companies do this sort of thing as well. As always, your results may vary, but it certainly doesn't hurt to contact the rights-holders and ask. Worst-case, they say no. Best case, they send you a check. Kurt ------------------------------ Message-ID: <07d201c67444$07681e60$0202a8c0 [at] HUNKACRAP> From: "Paul Guncheon" References: Subject: Re: "...a man's job" Date: Wed, 10 May 2006 05:11:34 -1000 << >I never read any actual nor intended violence into Allison's statement. >ISTM the phrase "kick your ass," when used competitively like this, has >come to mean "excel far beyond you can even dream possible." Kinda sucks when your statement is mis-interpreted and re-acted to before anyone asks you exactly what you meant to try and convey and then goes off and considers you a less evolved person for typing it in public, don't it. >> A good argument for "say what you mean". How often do phrases like "Know what I mean?" or "Know what I'm sayin'?" occur in your conversations? "Kick your ass" may have come to mean "competitiveness" but it always means "to perform violence on your very body". I think it was at best a poor choice of words to use in a discussion about harrassment. Oh, erm... uh... Happy Birthday Frank. Mine is next Wednesday, the 17th. Gives you all time to shop. 55... but they're metric years. Laters, Paul "I don't think that leprechaun is telling the truth," Tom implied. ------------------------------ Message-ID: <07dc01c67444$84adab10$0202a8c0 [at] HUNKACRAP> From: "Paul Guncheon" References: Subject: Re: Free audio cue player offer Date: Wed, 10 May 2006 05:15:04 -1000 I would like to check out your software as well. Remember, it's the 17th. Write it down... or get the tattoo. Laters, Paul "I think someone electrified the corridor," Tom said haltingly ------------------------------ Date: Wed, 10 May 2006 11:17:27 -0400 Subject: Re: designs on recent works From: Bruce Purdy Message-ID: In-Reply-To: > I believe Chris was asking whether he had the right to ask for a > percentage of the recording sales. The most probably answer here is no. Since others are speculating as to what Chris was asking and what he meant by it - I'll do the same. I don't know how serious he was about either getting royalties or refusing to provide the mix, but I read it as a commentary on the complex nature of Intellectual Property. As regards previous threads, you generally can't video tape a show, since doing so involves getting permission (and likely paying for it) from the writer, composer, choreographer, set designer, lighting designer, makeup people and god knows who else in addition to, of course, the actors themselves. It seems that anyone who makes any contribution to the production owns a piece of it. Following this logic, it makes sense that the guy mixing the sound has a lot to do with what a show (Concert, play or musical) sounds like. Therefore he should need to give (or sell) the right to the fruits of his artistry on a recording. This also ties into the chronic complaint in the sound industry (Reflected frequently on the Theatre Sound list) that Sound designers are not respected in the same way that lighting, scenic and other designers are. He's hired to mix the concert so he has no control over it's use in a recording? That could be equated to a lighting or scenic designer being hired to make a show look good - so he has no stake over any video recording made. It's a complex and murky topic, and that's what I got out of the original post. Of course I could be wrong - only Chris can clarify. :-) Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <90d9c9980605100824m6a7ec362qe62f124b76382c03 [at] mail.gmail.com> Date: Wed, 10 May 2006 11:24:27 -0400 From: "Scott Parker" Subject: Re: Broadway on High School In-Reply-To: References: I worked on a show called "Goodnight Grandpa" with Milton Berle in a house that had around 1500 seats. They literally roped off a thousand and one seats to bring the contract down to the 499 rates. Scott On 5/10/06, Kurt Cypher wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On 5/10/06, Steve Jones wrote: > > But because we seat 1,000+, this small group with hardly any startup mo= ney > > is being asked to pony up almost $600 in royalties to play MOON OVER BU= FFALO > > f -- Thanks and take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Message-Id: <200605101529.k4AFTJUM027557 [at] ns-omrbm6.netsolmail.com> From: "Steve Jones" Subject: RE: Broadway on High School Date: Wed, 10 May 2006 10:28:39 -0500 Organization: Plaza Theatre In-Reply-To: But what happens when you report a 499 seat house for one show and then a 1500 seat house for another? I would think Sam French and others might be curious as to why the house capacity fluctuates wildly. Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 834-8147 http://www.glasgowplazatheatre.org 1964 - The Tribute Friday, May 12, 2006, 7:00 PM -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Scott Parker Sent: Wednesday, May 10, 2006 10:24 AM To: Stagecraft Subject: Re: Broadway on High School For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I worked on a show called "Goodnight Grandpa" with Milton Berle in a house that had around 1500 seats. They literally roped off a thousand and one seats to bring the contract down to the 499 rates. Scott On 5/10/06, Kurt Cypher wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > On 5/10/06, Steve Jones wrote: > > But because we seat 1,000+, this small group with hardly any startup > > money is being asked to pony up almost $600 in royalties to play > > MOON OVER BUFFALO f -- Thanks and take care, Scott Scott C. Parker Professor/Technical Director Dept. of Performing Arts Dyson College of Arts and Sciences [at] Pace University Office/shipping: 41 Park Row, 1205F Mailing: 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 914-989-8425 ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Broadway on High School Date: Wed, 10 May 2006 11:35:30 -0400 Message-ID: <01a901c67447$5ecf6cf0$6601a8c0 [at] Dell> In-Reply-To: > But what happens when you report a 499 seat house for one > show and then a 1500 seat house for another? I think that when reporting the 499-seat house, you'd have to be very specific about what you're doing, and why. ------------------------------ Date: Wed, 10 May 2006 11:42:02 -0400 From: iaeg [at] aol.com Message-Id: <8C8425F6A9C138C-F34-486D [at] FWM-M09.sysops.aol.com> In-Reply-To: Subject: Re: Broadway on High School Cc: stagecraft [at] jeffsalzberg.com I know of a instance where a semi pro company got specific permission when negotiating for CABARET to count only the orchestra seating and not the balcony. ( 600 orch , 400 balcony ) They screwed up doubly a they had a couple of really good nights during the run and sold some seats in the balcony b they added "Maybe This Time" and "The Money Song" from the movie (this was before this was a legit option with the newer revised versions of CABARET ) they got "caught" on both, and it cost them..... very best, Keith Arsenault International Arts & Entertainment Group -----Original Message----- From: Jeffrey E. Salzberg To: Stagecraft Sent: Wed, 10 May 2006 11:35:30 -0400 Subject: Re: Broadway on High School For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > But what happens when you report a 499 seat house for one > show and then a 1500 seat house for another? I think that when reporting the 499-seat house, you'd have to be very specific about what you're doing, and why. ------------------------------ Message-ID: <44620F04.9050504 [at] hillinteractive.net> Date: Wed, 10 May 2006 12:04:20 -0400 From: Howard Ires Subject: Re: Broadway on High School...High School on Broadway? References: In-Reply-To: Carrie DePetris wrote: > Anyway, I'm happy the current Producers of Chicago decided to let the > kids perform the show once, given it was likely not their fault at all > that the school didn't attempt to acquire rights. > > Does anyone have thoughts on this? I'm a shade less than flabbergasted > that the school hasn't had rights to the shows they put on for the past > twenty-seven years. TWENTY-SEVEN! Somebody at Samuel French is going to > be doing some exciting(?) research tomorrow... I went to Canarsie HS in Brooklyn in the 70's. Kids would head for Broadway with tape recorders & notebooks when we wanted to do a version of a currently running musical. At least we had enough sense to change the name of the shows (that we knew we were stealing). "West Side Story" became "Street", "Grease" became "Slick". We were only doing them for one weekend - 4 performances, by the time anybody might have found out what we had done it was over, and nobody wanted to sue the NYC Board of Ed. I guess. anyway, I got a chuckle out of this story, and the producers got some good free press out it. --------------H ------------------------------ Message-Id: <6.2.3.4.2.20060510095736.01d91470 [at] pop.uci.edu> Date: Wed, 10 May 2006 09:58:10 -0700 From: Ron Cargile Subject: flameproof black fiberboard Hi All, I'm having some trouble finding a supplier of the same, flameproof black fiberboard that is used for safety frames. Not the frames, the stuff they are made from. Any ideas? Thanks! ....Ron ------------------------------ Message-ID: <90d9c9980605101023kae25b77h4fa00c72b4007d9b [at] mail.gmail.com> Date: Wed, 10 May 2006 13:23:02 -0400 From: "Scott Parker" Subject: Re: Broadway on High School In-Reply-To: References: They knew about the other seats. The contract limited the number of butts in the seats to 499. This included comps. On 5/10/06, Steve Jones wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > But what happens when you report a 499 seat house for one show and then a > 1500 seat house for another? I would think Sam French and others might b= e > curious as to why the house capacity fluctuates wildly. > > Steve > > > ************************************* > Steve Jones, Director > Plaza Theatre > 115 E. Main Street > Glasgow, KY 42141 > Voice: (270) 361-2101 > Fax: (270) 834-8147 > http://www.glasgowplazatheatre.org > > > 1964 - The Tribute > Friday, May 12, 2006, 7:00 PM > > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Scott > Parker > Sent: Wednesday, May 10, 2006 10:24 AM > To: Stagecraft > Subject: Re: Broadway on High School > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I worked on a show called "Goodnight Grandpa" with Milton Berle in a hous= e > that had around 1500 seats. They literally roped off a thousand and one > seats to bring the contract down to the 499 rates. > Scott > > On 5/10/06, Kurt Cypher wrote: > > For info, archives & UNSUBSCRIBE, see > > > > --------------------------------------------------- > > > > On 5/10/06, Steve Jones wrote: > > > But because we seat 1,000+, this small group with hardly any startup > > > money is being asked to pony up almost $600 in royalties to play > > > MOON OVER BUFFALO f > -- > Thanks and take care, Scott > > Scott C. Parker > Professor/Technical Director > Dept. of Performing Arts > Dyson College of Arts and Sciences [at] Pace University > Office/shipping: 41 Park Row, 1205F > Mailing: 1 Pace Plaza > New York, NY 10038 > 212-346-1423 Fax: 914-989-8425 > > > > -- Thanks and take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <422.9106b9.31937c01 [at] aol.com> Date: Wed, 10 May 2006 13:25:21 EDT Subject: Re: "...a man's job" In a message dated 10/05/06 00:09:13 GMT Daylight Time, bigclive1 [at] ntlworld.com writes: > The most significant skill is keeping your fingers from under the > hammer. This is especially important when you spend time wraggling > conduits and boxes into concrete walls with a mash hammer and "scutch". > This task involves using explosive force that has no mercy for misplaced > fingers. Been there: done that. Actually, the hardest thing is when you're trying to start fine pins into hardwood. Eveb a small, light hammer makes a nasty bruise. Frank Wood ------------------------------ Message-ID: <000c01c67457$a235f620$6401a8c0 [at] amd2200> From: "Idaho Scenic & Rigging" Subject: Quick change Date: Wed, 10 May 2006 11:31:55 -0600 It might have been here before but I had to share it. From this weeks Steve Bass' Tips and Tweaks PC World Newsletter "Dig This: Take a minute and watch David and Dania's quick change act; calling it impressive doesn't do it justice. The best one is the "Good Morning America" video, the one on the bottom shelf, outjogged to the right. Drag and drop the video onto the TV to view it. [Thanks to Chuck H.] Here's the link so you'll know what I'm talking about: http://www.costumechange.com/#video " Firefox popups will need to be allowed Rob't ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <21a.be69465.31938465 [at] aol.com> Date: Wed, 10 May 2006 14:01:09 EDT Subject: Re: Broadway on High School In a message dated 10/05/06 13:01:23 GMT Daylight Time, bpmunroe [at] gmail.com writes: > What about this from the times article: "The school drama teacher, > Anthony Cerrini, 24, had decided on "Chicago." He found some dialogue > on the Internet, transcribed some of it from the 2002 movie starring > Catherine Zeta-Jones and Renee Zellweger, and wrote some of it > himself. " > > I thought that Kander and Ebb wrote Chicago, not Kander, Ebb and Cerrini. This sort of thing can get you into a lot of bother. Don't ever try it with Brecht. We did "The Caucasian Chalk Circle" many years ago, with our own music. We were not allowed to record the songs. even for distribution to the cast. G&S used to be even worse, before the copyright expired. When D'Oyley Carte licensed a production, you got a set of production notes, which had to be followed to the letter. They sometimes sent inspectors to check. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <2e0.7528c87.319387e3 [at] aol.com> Date: Wed, 10 May 2006 14:16:03 EDT Subject: Re: [SPAM?] Help filtering noise from elevator SCR's In a message dated 10/05/06 13:47:40 GMT Daylight Time, billn [at] peak.org writes: > My feeling is that you are approaching the solution in the wrong way. It > is the elevator that is causing the problem. Contact the elevator > manufacturer and demand that fix it. There is no way that the SCRs should > be causing that kind of noise on the mains. It can happen. For most of my time there, Ealing Studios ran their lighting on 110V DC, made by two mighty diesel generators. 6,000A worth. We once considered putting in a rectifier set, and sent an engineering team to a big welding plant. What this did to the mains supply was horrible, and we decided against it. > > If such interference were normal, then all the theatres with SCR dimmer > packs would not be able to use audio equipment without interference. Even > a small dimmer setup will draw more power than an elevator. Well designed equipment presents few problems. Even older SCR packs have 'clean-up' chokes fitted, and designing audio gear to reject interference is not too hard. I have had up to six microphone head amplifiers of my design sitting up among the stage lights with no problems. Frank Wood ------------------------------ Message-Id: <6.1.2.0.2.20060510140753.02b79cd0 [at] mail.comcast.net> Date: Wed, 10 May 2006 14:17:56 -0400 From: Kate Daly Subject: Re: Broadway on High School In-Reply-To: References: At 02:01 PM 5/10/2006, FrankWood95 [at] aol.com wrote: > > I thought that Kander and Ebb wrote Chicago, not Kander, Ebb and Cerrini. > >This sort of thing can get you into a lot of bother. Amen to that. My community theater group tried to produce "Twelve Angry Jurors" several years ago, with a script patchworked together from the play, the film, and the director's imagination. He had whole chunks of the script(s) tangled together, so no one character was as written either for the play or the film. Someone who had a beef with the theater chose his moment carefully and blew the whistle on us during tech week. Not surprisingly, when the publishers saw the script we were working from they had a cow. They allowed us to go ahead with the show but only as originally written for the stage. I have to hand it to the actors, though -- we delayed the opening by one week in order to re-stage the show, and the cast pulled it off. People had to swap monologs, whole sections of dialog were moved around, it was a nightmare, but they did it in six days and the show was pretty good. Kate ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <21e.bfa2f0a.31938c0c [at] aol.com> Date: Wed, 10 May 2006 14:33:48 EDT Subject: Re: .....a mans job In a message dated 10/05/06 14:24:11 GMT Daylight Time,=20 normanlazarus [at] yahoo.com writes: > No Frank I don=E2=80=99t know what you mean about Jews. In > England, like in many other countries there are SOME > Jews who =E2=80=9Ctend to live in areas within easy walking > distance of a synagogue, for religious reasons, and > seldom marry outside their own faith.=E2=80=9D=20 > That does not cover the majority of Jews who live in > England or any other country; it only applies to a > percentage of Jews who are either conservative or > orthodox. This is true, I think. But what percentage? The Hassidim, certainly: the=20 Orthodox, probably. Those who attend a reform synagogue are less strict. Most Jews assimilate into the countries they > live. Since we are no longer legally required to wear > special clothing or Stars of David by the countries we > live in that identifies us as Jews. People do not know > who is Jewish. About this, I am less sure. There are many names that flag a Jewish origin,=20 at least, from the aristocratic Rothschilds downwards. How long ago, whether= =20 they are orthodox or reform, is of no relvance to me, save as a genealogist,= and=20 probably not even then. If I have dealings with an orthordox Jew, I shall=20 avoid the Sabbath, out of courtesy. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <44e.5111b.31938e15 [at] aol.com> Date: Wed, 10 May 2006 14:42:29 EDT Subject: Good wishes I thank all of you who have wished me well on my birthday. There are too many of you for me to send individual messages. Frank Wood ------------------------------ Message-ID: <8231e7ea0605101150q455fd9adxa5c13d66cb62ca3f [at] mail.gmail.com> Date: Wed, 10 May 2006 14:50:15 -0400 From: SS Subject: Re: Quick change In-Reply-To: References: > "Dig This: Take a minute and watch David and Dania's quick change > act; calling it impressive doesn't do it justice. > The best one is the "Good Morning America" video, the one on the > bottom shelf, outjogged to the right. Drag and drop the video onto > the TV to view it. [Thanks to Chuck H.] Here's the link so you'll > know what I'm talking about: > http://www.costumechange.com/#video " > Rob't Quite impressive to say the least. Kind of OT but... along the same lines of "magic", if you are in need of a laugh,=20 check out this clip of "Daniel Chesterfield"---the "not so talented David Copperfield imposter". The sheer stupidity of this clip made it worth it for me. http://tinyurl.com/os2w4 -- SS TTS-EKU "Diplomacy is the art of saying "good doggie" until you find a suitable roc= k. " ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 10 May 2006 13:48:28 -0500 From: "richard j. archer" Subject: Re: Broadway on High School > > >Well, I just gotta say that I think this is WRONG! > > >But because we seat 1,000+, this small group with hardly any startup money >is being asked to pony up almost $600 in royalties to play MOON OVER BUFFALO >for three shows. .... We still have to pay the bill as if we were >filling a 1K seat >house. > > >Steve Jones, Director I've worked in regional theatres that had additional seats they did not sell just to stay under the equity minimum (for A, B, C house size etc) I'm sure they didn't pay rights by the seat count. Dick A TD, Cornell U ------------------------------ Message-ID: <4897.64.28.51.29.1147289406.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 10 May 2006 12:30:06 -0700 (PDT) Subject: Re: flameproof black fiberboard From: "Bill Nelson" > I'm having some trouble finding a supplier of the same, flameproof > black fiberboard that is used for safety frames. > Not the frames, the stuff they are made from. First, it is not cardboard - it is fiberboard. The usual retardants are various phosphates or polyphosphates. Try a Google search on "flameproof fiberboard", that might produce useful results. Bill ------------------------------ Message-ID: <20060510202051.77069.qmail [at] web35309.mail.mud.yahoo.com> Date: Wed, 10 May 2006 13:20:51 -0700 (PDT) From: June Abernathy Subject: Re: Broadway on High School >Does anyone have thoughts on this? I'm a shade less >than flabbergasted that the school hasn't had rights >to the shows they put on for the past >twenty-seven years. TWENTY-SEVEN! Somebody at Samuel >French is going to be doing some exciting(?) research >tomorrow... >-- >Carrie I'm kind of surprised that the news stories (and apparently the school and the kids) are focused on the idea that they aren't allowed to perform the show because they are within the 75 mile radius. Bottom line, they got the "cease and desist" order because they had not gotten the rights to the show. They had not even applied for the license. As it turns out, even if they had, they would have been denied, because they are within 75 miles of the Broadway show. But they would have found that out BEFORE months of rehearsals, set and costume building, etc. But the actual problem was that they were intending to perform the show without first securing the rights. It is kind of amazing that a school that close to NYC has gotten away with doing so for so long. But the lesson is that you have to license the show, not that it sucks to be that close to Broadway. I wonder where they got their show materials? Just xeroxed the hell out of library and perusal copies? Do they request perusal material of a show from Sam French every year but never request a licensing agreement? If so, somebody at Sam French is an idiot. Astounding that no one has dropped a dime on them before. June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-Id: <7.0.1.0.2.20060510140456.022dc7a0 [at] earthlink.net> Date: Wed, 10 May 2006 14:08:14 -0700 From: Theatre Safety Programs Subject: Sentencing in Station Fire 15 years -- 11 suspended for the tour manager who shot the pyro plus probation at the end http://www.projo.com/extra/2003/stationfire/content/projo-20060510-bsentencing.2a62de07.html that's the link to the story in the Providence Journal Jerry Gorrell ------------------------------ Message-ID: <14CI8GJBblYEFwfs [at] ntlworld.com> Date: Wed, 10 May 2006 22:10:25 +0100 From: Clive Mitchell Subject: Re: [SPAM?] Help filtering noise from elevator SCR's References: In-Reply-To: In message , Bill Nelson writes >My feeling is that you are approaching the solution in the wrong way. >It is the elevator that is causing the problem. Contact the elevator >manufacturer and demand that fix it. There is no way that the SCRs >should be causing that kind of noise on the mains. It depends on the age of the controller and if it's a thyristor bank then it's probably quite old since modern elevators use IGBT drives. Back in the early days of variable speed drives (and the elevator industry has always been at the cutting edge) it was fairly common to put in drives without suppression because it hadn't reared it's ugly head at that point. Same thing happened with the early use of SCR drives on rides, partly because the big chokes were heavy and expensive. The resultant noise used to cause DVDT problems making triac lighting circuit latch on. Is the elevator fed directly from the mains incoming distribution point? Be careful if you try using a series choke arrangement or transformer with the elevator. It could cause drive failure. Also be aware of quite extreme safety regulations surrounding elevators for obvious reasons. Even opening a panel while apparently de-energised is risky. There are often external lighting feeds that remain live. -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: Date: Wed, 10 May 2006 22:02:35 +0100 From: Clive Mitchell Subject: Re: Help filtering noise from elevator SCR's References: In-Reply-To: In message , Mt. Angel Performing Arts Center writes >If the building owner will actually pay to mitigate the problem in your >equipment, it might be cheaper for him to filter the source rather than >all the myriad receivers. That was going through my mind, but an elevator sized choke would be a bit of a monster. -- Clive Mitchell http://www.bigclive.com ------------------------------ Date: Wed, 10 May 2006 14:36:09 -0700 From: Jerry Durand Subject: Re: flameproof black fiberboard In-reply-to: Message-id: <7.0.1.0.0.20060510143302.01f64d68 [at] interstellar.com> References: At 12:30 PM 5/10/2006, you wrote: >Try a Google search on "flameproof fiberboard", that might produce useful >results. For various projects (not necessarily this one), look up FR4 (UL rated for fire) (G10 in not UL rated for fire) and "Fish Paper". For intricate shapes in FR4/G10, I've had PC board fabrication houses make a "zero layer" board on their CNC machines, typical accuracy is +/- 0.005". -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com 219 Oak Wood Way, Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Date: Wed, 10 May 2006 15:01:09 -0700 From: Jerry Durand Subject: Re: flameproof black fiberboard Message-id: <7.0.1.0.0.20060510145517.01f84318 [at] interstellar.com> Message-id: <7.0.1.0.0.20060510143302.01f64d68 [at] interstellar.com> I should update that there are high-temp versions of FR4 now available to meet the lead-free processing temperatures. See things like FR406 and IS410 at http://www.isola-group.com/en/index.shtml good at over 300 degrees F. -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com 219 Oak Wood Way, Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <266.a1f5e8a.3193c693 [at] aol.com> Date: Wed, 10 May 2006 18:43:31 EDT Subject: Re: Broadway on High School In a message dated 10/05/06 19:19:51 GMT Daylight Time, kdaly973 [at] comcast.net writes: > I have to hand it to the actors, though -- we delayed the opening by one > week in order to re-stage the show, and the cast pulled it off. People had > to swap monologs, whole sections of dialog were moved around, it was a > nightmare, but they did it in six days and the show was pretty good. You can do this sort of thing, in an emergency, and with a good cast. I remember a production of "All's Well that Ends Well" many years ago. In one scene, two characters have a Shakespearian slanging match. I was one of them. Imagine what I felt when I heard my opponent dlivering my lines! Fortunately, I learn my lines by ear, and most other peoples', too. We just traded lines until the end of the scene. I make no claim to be a good actor, just to have a good memory. I also remember another incident from this show. The messenger brings on a message for the King. One night, he forgot it, and just handed an imaginary scroll over. The King solemnely unrolled it, and read it out. Then, with equal solmnity, he rolled it up again, and handed it back to the messenger. There was a real trouper! In more ways than one. When we did the Emlyn Williams play "Someone Waiting", he had to shoot himself at the end. After five successive misfires, we were all getting worried. Thankfully, the sixth round went off. Had it not done, Iam sure that he would have improvised something plausible. George Debus, I honour you. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <25c.b2ef20f.3193ca0d [at] aol.com> Date: Wed, 10 May 2006 18:58:21 EDT Subject: Re: Broadway on High School In a message dated 10/05/06 21:21:35 GMT Daylight Time, jea00321 [at] yahoo.com writes: > But the actual problem was that they were intending to > perform the show without first securing the rights. It > is kind of amazing that a school that close to NYC has > gotten away with doing so for so long. But the lesson > is that you have to license the show, not that it > sucks to be that close to Broadway. Too right. By doing a show without securing the rights, you are depriving the playwright of his legitimate income. Playwrights don't live on thin air; they hope that their work will secure them some sort of income. If you think their work good enough to stage, you need to pay them for it. > > I wonder where they got their show materials? Just > xeroxed the hell out of library and perusal copies? Do > they request perusal material of a show from Sam > French every year but never request a licensing > agreement? If so, somebody at Sam French is an idiot. > Astounding that no one has dropped a dime on them > before. A dime?! I should have thought that a double eagle would have been more appropriate. Frank Wood ------------------------------ Message-ID: <20060510230427.83755.qmail [at] web38413.mail.mud.yahoo.com> Date: Wed, 10 May 2006 16:04:27 -0700 (PDT) From: Matthew Varas Subject: Re: [SPAM?] Help filtering noise from elevator SCR's In-Reply-To: > It depends on the age of the controller and if it's > a thyristor bank > then it's probably quite old since modern elevators > use IGBT drives. > Back in the early days of variable speed drives (and > the elevator > industry has always been at the cutting edge) it was > fairly common to > put in drives without suppression because it hadn't > reared it's ugly > head at that point. Same thing happened with the > early use of SCR > drives on rides, partly because the big chokes were > heavy and expensive. > The resultant noise used to cause DVDT problems > making triac lighting > circuit latch on. > > Is the elevator fed directly from the mains incoming > distribution point? > > Be careful if you try using a series choke > arrangement or transformer > with the elevator. It could cause drive failure. > Also be aware of > quite extreme safety regulations surrounding > elevators for obvious > reasons. Even opening a panel while apparently > de-energised is risky. > There are often external lighting feeds that remain > live. > > -- > Clive Mitchell > http://www.bigclive.com > I'm not overly sure on the setup of the elevators, I leave that stuff up to the elevator company. So I can't really answer to much about them. I talked to my building manager again earlier today, and he'll be talking to the elevator company to see what pricing would be to get a large choke of sorts installed for each of the two elevators. Like I said before, most likely scenerio is that we end up with five smaller filters up here in our space. (one for each of the four speakers, and one for the console/drive rack in the booth) Does anyone have any experience with MGE (Topaz) power conditioners or ETA Systems power conditioners? Both companies make units that would appear to address our needs, just trying to do my homework at this point. Thank you for all your input, Matthew Varas http://www.illusiontheater.org __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Reply-To: From: "RD" Subject: RE: [SPAM?] Help filtering noise from elevator SCR's Date: Wed, 10 May 2006 17:31:17 -0600 Message-ID: <014501c67489$ddb9f110$c083c447 [at] doom1> In-Reply-To: A joyous and fulfilling natal remembrance Day to you Frank. Thank the good Lord Almighty that you are around and still doing great, for our benefit. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Wednesday, May 10, 2006 12:16 PM To: Stagecraft Subject: Re: [SPAM?] Help filtering noise from elevator SCR's For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 10/05/06 13:47:40 GMT Daylight Time, billn [at] peak.org writes: > My feeling is that you are approaching the solution in the wrong way. It > is the elevator that is causing the problem. Contact the elevator > manufacturer and demand that fix it. There is no way that the SCRs should > be causing that kind of noise on the mains. It can happen. For most of my time there, Ealing Studios ran their lighting on 110V DC, made by two mighty diesel generators. 6,000A worth. We once considered putting in a rectifier set, and sent an engineering team to a big welding plant. What this did to the mains supply was horrible, and we decided against it. > > If such interference were normal, then all the theatres with SCR dimmer > packs would not be able to use audio equipment without interference. Even > a small dimmer setup will draw more power than an elevator. Well designed equipment presents few problems. Even older SCR packs have 'clean-up' chokes fitted, and designing audio gear to reject interference is not too hard. I have had up to six microphone head amplifiers of my design sitting up among the stage lights with no problems. Frank Wood ------------------------------ Message-ID: <2092.64.28.51.29.1147303937.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 10 May 2006 16:32:17 -0700 (PDT) Subject: Re: [SPAM?] Help filtering noise from elevator SCR's From: "Bill Nelson" > I talked to my building manager again earlier today, > and he'll be talking to the elevator company to see > what pricing would be to get a large choke of sorts > installed for each of the two elevators. The question that has not been answered is: Was your equipment working until just recently? If so, then it is probably a fault in the elevator electrics. > Does anyone have any experience with MGE (Topaz) power > conditioners or ETA Systems power conditioners? Anything that would convert the AC power to DC, then convert it back to AC should take care of anything on the power lines - assuming the inverter is properly isolated for noise. At the electronics company where I used to work, we had multiple UPS units, but not a single power conditioner. Some "power conditioners" only suppress voltage spikes. Bill ------------------------------ Date: Wed, 10 May 2006 16:42:52 -0700 From: Jerry Durand Subject: Re: [SPAM?] Help filtering noise from elevator SCR's In-reply-to: Message-id: <7.0.1.0.0.20060510163718.01f3fbf8 [at] interstellar.com> References: At 04:32 PM 5/10/2006, you wrote: >Anything that would convert the AC power to DC, then convert it back to AC >should take care of anything on the power lines - assuming the inverter is >properly isolated for noise. At the electronics company where I used to >work, we had multiple UPS units, but not a single power conditioner. Don't forget ground noise. With that much noise on the AC signals, you'll have noisy grounds. Especially near anything with noise suppression capacitors between line and ground (pretty much any 3-wire electronic gear), these capacitors shunt the noise to ground. >Some "power conditioners" only suppress voltage spikes. Some adjust for low/high line voltage. TrippLite has always made some good ones with heavy inductor filtering. So, just like a dimmer, look inside for the big ferrite torrid (choke). Even better, you can use an isolation transformer. These have an input winding, a copper shield, and an output winding. The output voltage will be the same as the input voltage, but only the ground is physically connected from input to output. The transformer is designed to not pass high frequencies very well and very close to zero of the "common mode" noise (referenced to ground). -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com 219 Oak Wood Way, Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Message-ID: <20060510235028.91471.qmail [at] web38409.mail.mud.yahoo.com> Date: Wed, 10 May 2006 16:50:28 -0700 (PDT) From: Matthew Varas Subject: Re: [SPAM?] Help filtering noise from elevator SCR's In-Reply-To: > The question that has not been answered is: Was your > equipment working > until just recently? If so, then it is probably a > fault in the elevator > electrics. Sorry for forgetting to address this. The problem has existed as long as anyone can remember. I came to this theatre in November, and was able to start tackling the sound system around Feb. Got it traced to the elevators in the middle of last month. (Things moved so slow because we're also running our season right now, so there's limited time for maintnence at the moment). Up until then they'd just dealt with it. > Anything that would convert the AC power to DC, then > convert it back to AC > should take care of anything on the power lines - > assuming the inverter is > properly isolated for noise. At the electronics > company where I used to > work, we had multiple UPS units, but not a single > power conditioner. > > Some "power conditioners" only suppress voltage > spikes. > > Bill http://www.mgeups.com/products/pdt120/powerc/tpz100/t100.htm after some time on the phone with MGE, this is the unit that they said should work. It's a conditioner and isolation transformer, and (according to the tech I talked to) designed to tackle the kind of transients that we're fighting. http://www.etasys.com/Main/Products/PowerConditioning.asp ETA said something quite similar about their units. I'm just trying to make sure that they'll actually address the issues that we're fighting before we make the investment.(although we'll probably buy one and try it out to make sure it fixes the problem) Matthew Varas http://www.illusiontheater.org __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Wed, 10 May 2006 16:56:23 -0700 From: Jerry Durand Subject: Re: [SPAM?] Help filtering noise from elevator SCR's In-reply-to: Message-id: <7.0.1.0.0.20060510165533.01f60a50 [at] interstellar.com> References: At 04:50 PM 5/10/2006, you wrote: >http://www.mgeups.com/products/pdt120/powerc/tpz100/t100.htm > >after some time on the phone with MGE, this is the >unit that they said should work. It's a conditioner >and isolation transformer, and (according to the tech >I talked to) designed to tackle the kind of transients >that we're fighting. > >http://www.etasys.com/Main/Products/PowerConditioning.asp >ETA said something quite similar about their units. > >I'm just trying to make sure that they'll actually >address the issues that we're fighting before we make >the investment.(although we'll probably buy one and >try it out to make sure it fixes the problem) They both look like they'll do the trick (remember the ground noise problem, NO ground loops). Will they loan you one or give you a 30-day money back trial? -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com 219 Oak Wood Way, Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Message-ID: <20060511000012.33374.qmail [at] web38415.mail.mud.yahoo.com> Date: Wed, 10 May 2006 17:00:12 -0700 (PDT) From: Matthew Varas Subject: Re: [SPAM?] Help filtering noise from elevator SCR's In-Reply-To: > Don't forget ground noise. With that much noise on > the AC signals, > you'll have noisy grounds. Especially near anything > with noise > suppression capacitors between line and ground > (pretty much any > 3-wire electronic gear), these capacitors shunt the > noise to ground. Oddly enough the grounds are in much better shape than they should be. I wasn't here the whole time with the electrician that the building manager brought in with the o-scope, but I was told that the grounds were fairly clean. I can't really be more specific about that part because I wasn't here while they were looking at that. Assuming that we do manage to filter out the hot and neutral lines, any sugestions on how to address the remaining ground noise? (besides lifting it) Matthew Varas http://www.illusiontheater.org __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Wed, 10 May 2006 17:11:24 -0700 From: Jerry Durand Subject: Re: [SPAM?] Help filtering noise from elevator SCR's In-reply-to: Message-id: <7.0.1.0.0.20060510170541.01f57a80 [at] interstellar.com> References: At 05:00 PM 5/10/2006, you wrote: >Assuming that we do manage to filter out the hot and >neutral lines, any sugestions on how to address the >remaining ground noise? (besides lifting it) Common point ground. While being legal (code), pick ONE place as your ground. Use this to supply the grounds to ALL the audio equipment. When setting up a room full of sensitive test equipment next to a room full of automated spot welders, I specified that all the outlets have their grounds daisy-chained with the heaviest possible wire. Only one end of this wire goes back to the sub-panel ground. The sub-panel was powered off a large isolation transformer. Worked like a champ, we went from 3V ground noise to pretty much none. A big item to remember, electronics is all relative. I don't care if the ground is at 5V above earth, as long as ALL the grounds are the same. -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com 219 Oak Wood Way, Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Message-ID: From: "Occy" References: Subject: Re: [SPAM?] Help filtering noise from elevator SCR's Date: Wed, 10 May 2006 17:43:03 -0700 Matt, it is a major grounding problem! Not knowing the incoming mains, its grounding problem. ----- Original Message ----- From: "Matthew Varas" > Oddly enough the grounds are in much better shape than > they should be. I wasn't here the whole time with the > electrician that the building manager brought in with > the o-scope, but I was told that the grounds were > fairly clean. > > I can't really be more specific about that part > because I wasn't here while they were looking at that. > > > Assuming that we do manage to filter out the hot and > neutral lines, any sugestions on how to address the > remaining ground noise? (besides lifting it) > > Matthew Varas > http://www.illusiontheater.org ------------------------------ Message-Id: <3.0.6.32.20060510193226.00d3a480 [at] pop.west.cox.net> Date: Wed, 10 May 2006 19:32:26 From: CB Subject: Re: "...a man's job" > Last weekend I had the "Pleasure" ???? of working a Rap show (Yes CB - I *know* non trained people shouldn't be >allowed on the stage, I *Agree* with you and we didn't "Allow" them to.) I'm looking at my '2 Live Crew' signed glossy, and remembering just that very thing. I had to try to make it to the stage (now, remember, I'm the sound guy for this gig, and its my house) to change out a wireless, and security was about to tell me I couln't go on stage. All the while local, erm... uhh... 'talent' was clambering, no, being tossed on stage to remove as much clothing as they thought they could get away with. One young girls was wearing only panties, and one of the rappers was holding one end ten feet away from her while she was still in them. Well, somewhat. I gotta say, if you need to teach someone about the evils of the objectification of women, women who get objectified for money (or less) are the place to start. Oh, and on a rap show, all bets are off. If no one gets shot at, its a success. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060510195057.00d3a480 [at] pop.west.cox.net> Date: Wed, 10 May 2006 19:50:57 From: CB Subject: T-shirt hell.... >I love t-shirt hell. I've had several outrageous >shirts though the years The road elec and one of the dancers on the last show I toured had a baby shower. Uhm, they were married, and *then* expecting, as opposed to the way it usualy happens on the road, but that's another story. Anyhoo, I got 'em the perfect T for the baby of a stagehand: "Daddy drinks because I cry!" Hey, are you the Mike Sorensen that worked for Ballet Arts and is going to San Diego with me? Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060510195823.00d3a480 [at] pop.west.cox.net> Date: Wed, 10 May 2006 19:58:23 From: CB Subject: International Frank Day At 11:36 AM 5/9/2006, Frank wrote: >Today is my 67th birthday. HBD Frank. The good scotch I suppose? ; > C Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060510200547.00d3a480 [at] pop.west.cox.net> Date: Wed, 10 May 2006 20:05:47 From: CB Subject: Sound advice? >When the touring company is at a school with inductive loop >technology for the hearing impaired RF static overcomes the system and >we >cannot use our sound system. This is (I know, I know..) a very vague association with bad sound occuring with inductive loops. What channel does the static sound come in on? Is it the mic channel? Or the CD player? Or does the sound happen when no channels are up. What happens when the mains are pulled? Does the sound go away? What you have doen is the equivalent of telling your doctor that every time you are near train tracks you feel wierd. While it may be true, it isn't enough to do any kind of diagnostics with. I'd suggest tat a real sound engineer accompany you on the next show that will have an inductive loop (BTW, have you tried disco'ing the loop while the static is an issue? Does the static go away?) and have him ask and answer all these questions at once. This could be a long, drawn out process if its done on the list. Longer than chess by dog-sled... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060510201713.00d3a480 [at] pop.west.cox.net> Date: Wed, 10 May 2006 20:17:13 From: CB Subject: Re: "...a man's job" >Ummm... 'a pair' of whats? Huevos. Attachments. 'Nads. Testicles. For some reason having others think that I don't have any would be wierd. Probably something Freudian about that, but I'm not sure ezzackly what to do with that. Oh, Frank, I'm not sure of the timing (I get the digest and it's sometimes a coupla days stale by the time I read it) you share a b'day with Siggy Freud? Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060510201955.00d3a480 [at] pop.west.cox.net> Date: Wed, 10 May 2006 20:19:55 From: CB Subject: Re: Sound advice? >I'm sure one of the folks on that list will have a good idea of how to fix >your problem. ...ahem... and jsut what is wrong with the sound engineers on this forum? OK, wait, forget I asked... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060510202620.00d3a480 [at] pop.west.cox.net> Date: Wed, 10 May 2006 20:26:20 From: CB Subject: Re: "...a man's job" >It requires a surprising amount of skill. Ehm , what does, Frank? Admitting that you don't know how to use a hammer, or meeting men that admit that they don't know how to use a hammer? That was the subject that we were discussing, you know. Regardless of whether you do or not, most folk won't admit that they don't know how, and most of them don't know that they don't know how. My mom will hold the hammer choked up to just under teh head, and the head will travle three or four inchis in a straight - up/straight - down path. Sh will not, however, admit that she down't know how to use a hammer. I do know how to use a hammer. You set it gently down next to the delicate electronic kit that is giving you fits and wait patiently 'til its time to replace said kit. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060510203100.00d3a480 [at] pop.west.cox.net> Date: Wed, 10 May 2006 20:31:00 From: CB Subject: Re: "...a man's job" >In an industrial environment it's >still absolutely taboo to be known to be gay. Well, Mick was straight, but he was a transvestite carpenter, and a drag queen on his days off. Problem was that he'd show up for industrials (I know, you meant something else, but it sparked me) with make-up on. I gotta say, there were many an odd look, and whispered conversations, but each and every one of the stagehands I ever got to see him work with got over it in no time, and would go out and have a beer with him after work. If its as bad as you say where you are, you can always find work in the US, and, at least in theatre, its no where near as bad as what you describe. In fact, if you're male and straight, they'll start rumours that you're gay. You're obviously still sleeping with that actress as a beard anyways.... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ End of Stagecraft Digest #803 *****************************