Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 30251009; Mon, 15 May 2006 03:03:07 -0700 X-Spam-Level: X-Spam-Status: No, score=-3.5 required=5.0 tests=ADVANCE_FEE_1,AWL,BAYES_00, NO_RECEIVED,NO_RELAYS,SARE_MILLIONSOF autolearn=no version=3.1.1 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 #808 Date: Mon, 15 May 2006 03:01:32 -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 #808 1. Re: Hammers by Clive Mitchell 2. Re: USITT Photo Album now online by Clive Mitchell 3. Re: Hammers by "Jeffrey E. Salzberg" 4. Re: USITT Photo Album now online by John McKernon 5. Re: Online ticket sales by "Carleton Underwood" 6. Re: Online ticket sales by Steve Larson 7. Marquee lightboard by BKHAIN [at] aol.com 8. Weird SWAG request by Herrick Goldman 9. Re: Marquee lightboard by Michael de Almeida 10. Re: Marquee lightboard by "Laura McMeley" 11. Re: Marquee lightboard by SS 12. Re: Hammers by "Paul Guncheon" 13. Mother's Day. by "Josh Ratty" 14. Re: Hammers by Charlie Richmond 15. Re: Hammers by "chip.a.wood" 16. Re: Hammers by Charlie Richmond 17. Re: Hammers by "ladesigners [at] juno.com" 18. Re: Hammers by Charlie Richmond 19. Re: Hammers by Jerry Durand 20. Re: USITT Photo Album now online by Clive Mitchell 21. Re: Hammers by "ladesigners [at] juno.com" 22. Re: oldest tree by "Bill Nelson" 23. Re: Hammers by Steve Larson 24. Re: Hammers by Jerry Durand 25. Re: Hammers by FrankWood95 [at] aol.com 26. Re: Cats Moon Design by CB 27. Re: USITT Photo Album now online by John McKernon 28. Re: Attending a rock concert by CB 29. Re: Attending a rock concert by CB 30. Re: Hammers by CB 31. Online ticket sales by CB 32. Re: Hammers by CB 33. Re: Weird SWAG request by Greg Williams 34. Re: Hammers by "Idaho Scenic & Rigging" 35. Reaching deep for Behind The Scenes by "C. Dopher" 36. Vector Works Function by Brian James 37. Curved Ramp by Shell Dalzell 38. Re: Hammers by "Bill Nelson" 39. Re: Vector Works Function by Samuel Jones *** 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: Date: Sun, 14 May 2006 11:19:32 +0100 From: Clive Mitchell Subject: Re: Hammers References:

In-Reply-To: In message , Bill Nelson writes >It is primarily how a "fairy ring" gets larger. I'm going to suppress my urge to reply to that line with a smutty joke. :) -- Clive Mitchell http://www.bigclive.com ------------------------------ Message-ID: Date: Sun, 14 May 2006 11:22:32 +0100 From: Clive Mitchell Subject: Re: USITT Photo Album now online References: In-Reply-To: In message , RICHARD FINKELSTEIN writes >Greetings All. As a little gift to my online friends I have placed 33 >fun photos from the spring USITT shindig in Louisville online for your >enjoyment. THESE WILL ONLY BE ACCESSIBLE FOR ABOUT A WEEK. I do hope >that you enjoy the collection. Anyone notable from the list present in the pic's? It's always good to put faces to names. -- Clive Mitchell http://www.bigclive.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Hammers Date: Sun, 14 May 2006 06:36:15 -0400 Message-ID: <000601c67742$3a358250$6501a8c0 [at] Dell> In-Reply-To: > I'm going to suppress my urge to reply to that line with a > smutty joke. Well, I suppose there's a first time for everything.... ------------------------------ Date: Sun, 14 May 2006 10:20:21 -0400 Subject: Re: USITT Photo Album now online From: John McKernon Message-ID: In-Reply-To: > Anyone notable from the list present in the pic's? It's always good to > put faces to names. I'm in the moire-ing shirt in the center of usitt06P-548.jpg, and I'm talking to Michael Lincoln. Whether either of us is "notable", I'm not so sure...;) - John ------------------------------ Message-ID: <002c01c67761$e8bb9b60$687ba8c0 [at] carl> Reply-To: "Carleton Underwood" From: "Carleton Underwood" References: Subject: Re: Online ticket sales Date: Sun, 14 May 2006 10:23:01 -0400 We do about 5-7 shows a year - and use www.tix.com as our on-line and off-line ticketing solution - our rep's name is Silvia Mahoney and her e-mail is silvia.mahoney [at] tix.com We're a small community theatre in Zanesville Ohio and we are able to offer on-line sales, + credit card sales at the door and on-line and as treasurer of the group, doing end-of-show reporting is MUCH easier! The credit card sales means we don't have to have our own merchant account. The cost is 25-cents per seat. Our patrons (those purchasing a subscription) don't have to pay the 25-cent seat fee. It handles comps well (no seat fee). The credit card charges and service fees can be borne by the customer, venue or split between the customer and venue however you see fit. Oh yes, it's all web based which makes it really great. No software to purchase. Does require broadband connection for the venue. It will do e-tickets (customer prints a tix at home and brings it into the venue) as well as bar coded tickets - features we don't use yet. I'm not getting a cut from these guys, just a very satidfied customer. HTH, Carl Underwood Zanesville Community Theatre www.zct.org ----- Original Message ----- From: "Jon Ares" To: "Stagecraft" Sent: Saturday, May 13, 2006 8:57 PM Subject: Online ticket sales > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I know this has been brought up before in not-too-distant past, but several > people had opinions or thoughts, but as for actual experience with online > ticket sales services, not many had much to share. > > So... being deliberately narrow here, does anyone have experience with a > high school theatre program using online services? We're talking a somewhat > low ticket volume (5-7 shows a year) - certainly not a stadium, and > certainly not a road house/production company. What is the per-ticket cost > some people are seeing? I'm particularly interested in any school's > experience with one of the companies that allows on-site sales (tix at the > door) as well as online sales, and how that is working. > > - Jon Ares > www.hevanet.com/acreative > ------------------------------ Date: Sun, 14 May 2006 10:35:31 -0400 Subject: Re: Online ticket sales From: Steve Larson Message-ID: In-Reply-To: We just started using eTix, a company based in Raleigh and have fine support and help from them. We get all the advantages that you mentioned, though I don't know the cost. I know that it is considerably less than Ticketmaster. They also are loaning us a scanner for the barcodes in exchange for an ad in our program. We have a seven show season including our Christmas cash-cow. Ticketmaster is allowing us to sell and print all the tickets for our season members and donors who are able to purchase before the general public. On October 22, we turn all ticket sales over to the auditorium and Ticketmaster. We get the tickets in the patrons' hands and charge for changes, just like the auditorium. eTix also provides extremely good audit reports. eTix is found internationally and they buddied up to us and another not-for-profit locally really nicely. Steve > From: "Carleton Underwood" > Reply-To: "Stagecraft" > Date: Sun, 14 May 2006 10:23:01 -0400 > To: "Stagecraft" > Subject: Re: Online ticket sales > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We do about 5-7 shows a year - and use www.tix.com as our on-line and > off-line ticketing > solution - our rep's name is Silvia Mahoney and her e-mail is > silvia.mahoney [at] tix.com > > We're a small community theatre in Zanesville Ohio and we are able to offer > on-line sales, + credit card sales at the door and on-line and as treasurer > of the group, doing end-of-show reporting is MUCH easier! > > The credit card sales means we don't have to have our own merchant account. > The cost is 25-cents per seat. Our patrons (those purchasing a subscription) > don't have to pay the 25-cent seat fee. It handles comps well (no seat fee). > > The credit card charges and service fees can be borne by the customer, venue > or split between the customer and venue however you see fit. > > Oh yes, it's all web based which makes it really great. No software to > purchase. Does require broadband connection for the venue. > > It will do e-tickets (customer prints a tix at home and brings it into the > venue) as well as bar coded tickets - features we don't use yet. > > I'm not getting a cut from these guys, just a very satidfied customer. > > HTH, > > Carl Underwood > Zanesville Community Theatre > www.zct.org > > > ----- Original Message ----- > From: "Jon Ares" > To: "Stagecraft" > Sent: Saturday, May 13, 2006 8:57 PM > Subject: Online ticket sales > > >> For info, archives & UNSUBSCRIBE, see >> --------------------------------------------------- >> >> I know this has been brought up before in not-too-distant past, but > several >> people had opinions or thoughts, but as for actual experience with online >> ticket sales services, not many had much to share. >> >> So... being deliberately narrow here, does anyone have experience with a >> high school theatre program using online services? We're talking a > somewhat >> low ticket volume (5-7 shows a year) - certainly not a stadium, and >> certainly not a road house/production company. What is the per-ticket > cost >> some people are seeing? I'm particularly interested in any school's >> experience with one of the companies that allows on-site sales (tix at the >> door) as well as online sales, and how that is working. >> >> - Jon Ares >> www.hevanet.com/acreative >> > > ------------------------------ From: BKHAIN [at] aol.com Message-ID: <2e7.6c2f50c.3198a13c [at] aol.com> Date: Sun, 14 May 2006 11:05:32 EDT Subject: Marquee lightboard Hi everyone, I posted here a few months ago regarding the troubles I was having with an older Teatronics board running TMUX protocol. Thanks to those of you on here that offered suggestions and advice. I'm pleased to say money has been approved to purchase a DMX to analog convertor AND a new lightboard. (Major lighting overhaul a few years down the road yet...) One of the boards we're looking at is the Marquee from ET. Anyone used it and what do you think of it? I have a demo of the board coming up next week and I've downloaded the OLE and played with that. Also found a few people using the board on 'The LightNework' but I'm simply covering all the bases and asking here as well. It's for a small community college theater; no movers -- yet. And only 36 dimmers at this point...but again, I'd like to be able to select a board now so that when the renovation happens I can keep this board. (If possible...I'm aware that may change, however keeping the board was a selling point to the college money people.) Have about $6000 to spend on a board. Also looking at ETC Express and Colortran; both of which I'm fairly familiar with. So, comments on the Marquee? Benjamin Hain Temporary TD Rochester Community and Technical College Rochester, MN ------------------------------ Date: Sun, 14 May 2006 11:12:13 -0400 Subject: Weird SWAG request From: Herrick Goldman Message-ID: Does anyone on the list have any swag from the recent Broadway production of 42nd St? I ran into a lovely tourist last night who hails from Tuscaloosa and she has a friend there whose favorite show ever is 42nd st. They saw it on Broadway and she wanted to get her friend a gift but can't find shirts or hats even on EBAY. Normally I'm never this kind to strangers (much to Blanche's disappointment) but this woman and her friend come to NYC for 10 days every year and they see eleven shows in 10 days every single year. I figure it's worth it to our industry to help her out. So even if you have a slightly used shirt hiding in a closet, drop me a line. She says she's happy to pay for it. _herrick -- 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 ------------------------------ In-Reply-To: References: Message-Id: <5398A7C8-6F6C-4FED-9EA8-DC00EC0302A6 [at] comcast.net> From: Michael de Almeida Subject: Re: Marquee lightboard Date: Sun, 14 May 2006 11:31:47 -0400 Hello, Just a suggestion. Teaching in High Schools and Colleges, I've found that it's best and easier to teach on an ETC board. A lot of the places that the students will run into after college has ETC. If not, the same basic principal is there in most other lighting consoles. The programming is really straight forward, so it's easier to teach the basics. And it seems the students get a better understanding of it quicker. Even if they've never touched a board in they're lives. So, in your case, I would suggest the Express. But, If you think that you are going to be getting movers in the future, I would try and push the Expression. It has encoder wheels for gels, gobos, etc. You can also plug a keyboard and trackball into it for labeling and X/Y positioning. This makes it worlds easier for moving then the track pad on the Express and gives you easy access to the other features of the instrument. It also has access to more dimmers and channels then the Express, which you will run out of really quickly with movers. It's a hard sell because of the cost difference, but it gives you a higher step to start from for later expandability. Just something to think about. Good luck. - Mike de Almeida ATD/ME/MA Theaterworks, Hartford ------------------------------ Message-ID: From: "Laura McMeley" Subject: RE: Marquee lightboard Date: Sun, 14 May 2006 11:14:41 -0500 Message-ID: <001401c67771$907f4ef0$6600a8c0 [at] tdolighting01> In-Reply-To: Just curious, what is 'The LightNework'? Laura > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of > BKHAIN [at] aol.com > Sent: Sunday, May 14, 2006 10:06 AM > To: Stagecraft > Subject: Marquee lightboard > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi everyone, > > I posted here a few months ago regarding the troubles I was having with an > older Teatronics board running TMUX protocol. > > Thanks to those of you on here that offered suggestions and advice. I'm > pleased to say money has been approved to purchase a DMX to analog > convertor AND a > new lightboard. (Major lighting overhaul a few years down the road yet...) > > One of the boards we're looking at is the Marquee from ET. Anyone used it > and > what do you think of it? I have a demo of the board coming up next week > and > I've downloaded the OLE and played with that. Also found a few people > using > the board on 'The LightNework' but I'm simply covering all the bases and > asking > here as well. > > It's for a small community college theater; no movers -- yet. And only 36 > dimmers at this point...but again, I'd like to be able to select a board > now so > that when the renovation happens I can keep this board. (If possible...I'm > aware that may change, however keeping the board was a selling point to > the > college money people.) > > Have about $6000 to spend on a board. > > Also looking at ETC Express and Colortran; both of which I'm fairly > familiar > with. > > So, comments on the Marquee? > > > Benjamin Hain > Temporary TD > Rochester Community and Technical College > Rochester, MN ------------------------------ Message-ID: <8231e7ea0605140945q57c3513bue9f469d1f91e69c [at] mail.gmail.com> Date: Sun, 14 May 2006 12:45:11 -0400 From: SS Subject: Re: Marquee lightboard In-Reply-To: References:

> Just curious, what is 'The LightNework'? Assuming Ben is talking about what I think he is... The LightNetwork is on online forum (similar to this very list, but again, a forum-based chat exchange, as opposed to email) for lighting. Why not check it out if you have some free time? The link: http://www.lightnetwork.com/ HTH -SS TTS-EKU "Diplomacy is the art of saying "good doggie" until you find a suitable roc= k. " ------------------------------ Message-ID: <001301c67776$db3863f0$0202a8c0 [at] HUNKACRAP> From: "Paul Guncheon" References: Subject: Re: Hammers Date: Sun, 14 May 2006 06:52:57 -1000 <> I have. I've both broken one of the two parts of the claw as well as chipping the head so bad that the hammer was useless. Laters, Paul "Many thanks, Monsieur," Tom said mercifully. ------------------------------ Date: Sun, 14 May 2006 13:11:13 -0400 From: "Josh Ratty" Subject: Mother's Day. Reply-to: Message-id: <002101c67779$683e9d80$6402a8c0 [at] Rattys> To all the moms on the list, Happy Mother's Day. To everyone else, stop reading your email and go call your mom! Josh Ratty ------------------------------ Date: Sun, 14 May 2006 18:32:46 +0100 (BST) From: Charlie Richmond Subject: Re: Hammers In-Reply-To: Message-ID: References:

On Sat, 13 May 2006, Delbert Hall wrote: > A bristlecone pine. Specifically one in the Wheeler Mountain Wilderness area near Baker, Nevada (where a cousin of mine was a forest ranger for many years and we actually were personally shown this oldest living thing, which I believe he was the one who identified it positively... most humbling it was...) Charlie ------------------------------ Reply-To: From: "chip.a.wood" Subject: RE: Hammers Date: Sun, 14 May 2006 12:41:26 -0700 Message-ID: In-Reply-To: So now that it is narrowed down to a bristlecone pine, we have it in AZ, CA, or NEV. Is this like the oldest community theatre in America? Everybody has one in their town. Chip > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Charlie > Richmond > > A bristlecone pine. > > Specifically one in the Wheeler Mountain Wilderness area near > Baker, Nevada ------------------------------ Date: Sun, 14 May 2006 20:48:14 +0100 (BST) From: Charlie Richmond Cc: chip.wood [at] ieee.org Subject: Re: Hammers In-Reply-To: Message-ID: References: On Sun, 14 May 2006, chip.a.wood wrote: > So now that it is narrowed down to a bristlecone pine, we have it in AZ, CA, > or NEV. Is this like the oldest community theatre in America? Everybody > has one in their town. Every one except the original, produced over 4000 years ago is licensed by Samuel French. Charlie ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 14 May 2006 20:01:17 GMT Subject: Re: Hammers Message-Id: <20060514.130124.12721.318043 [at] webmail37.lax.untd.com> I've heard that the oldest Bristlecone pines are at the Point Lobos Stat= e Reserve adjacent to the grove of 4,000+ year old Monterey Cypress Tree= s on the cliffs above Monterey Bay, north of Big Sur, CA. Jerry, could y= ou please verify? Los Gatos is closer than Los Angeles to that portion o= f the VERY scenic HWY 1 that I enjoy traveling upon. /s/ Richard _________________________ --So now that it is narrowed down to a bristlecone pine, we have it in A= Z, CA, or NEV. Is this like the oldest community theatre in America? E= verybody has one in their town. Chip ------------------------------ Date: Sun, 14 May 2006 21:07:42 +0100 (BST) From: Charlie Richmond Subject: Re: Hammers In-Reply-To: Message-ID: References: On Sun, 14 May 2006, ladesigners [at] juno.com wrote: > I've heard that the oldest Bristlecone pines are at the Point Lobos State > Reserve adjacent to the grove of 4,000+ year old Monterey Cypress Trees on the > cliffs above Monterey Bay, north of Big Sur, CA. Jerry, could you please > verify? Los Gatos is closer than Los Angeles to that portion of the VERY > scenic HWY 1 that I enjoy traveling upon. I grew up right next to Point Lobos and can absolutely confirm that is not the case. I don't even think Bristlecone Pines live there or are anywhere near that low an altitude. The Bristlecone Pine specifically grows so slowly because of the extremely harsh climate and short growing season at very high altitudes and rocky environments above 10,000 feet. At least that's what my cousin told me and he was an 'expert' ;-) Charlie ------------------------------ Date: Sun, 14 May 2006 13:10:45 -0700 From: Jerry Durand Subject: Re: Hammers In-reply-to: Message-id: <7.0.1.0.0.20060514130701.01ef4b48 [at] interstellar.com> References: At 01:01 PM 5/14/2006, ladesigners [at] juno.com wrote >I've heard that the oldest Bristlecone pines are at the Point Lobos >State Reserve adjacent to the grove of 4,000+ year old Monterey >Cypress Trees on the cliffs above Monterey Bay, north of Big Sur, >CA. Jerry, could you please verify? Los Gatos is closer than Los >Angeles to that portion of the VERY scenic HWY 1 that I enjoy traveling upon. I haven't been out to Point Lobos for some time, but did finally make the Redwood Drive last fall on the way back from B.C. There's a picture of "The Old Veteran Cypress" here: http://www.outbackphoto.com/nature/2000/2000919_PointLobos.html -- 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: Date: Sun, 14 May 2006 21:38:30 +0100 From: Clive Mitchell Subject: Re: USITT Photo Album now online References:

In-Reply-To: In message , John McKernon writes >I'm in the moire-ing shirt in the center of usitt06P-548.jpg, and I'm >talking to Michael Lincoln. Whether either of us is "notable", I'm not >so sure...;) That's a great shirt. Does it do that all the time or only when there's a resolution conflict with a digital camera? :) -- Clive Mitchell http://www.bigclive.com ------------------------------ From: "ladesigners [at] juno.com" Date: Sun, 14 May 2006 20:43:58 GMT Subject: Re: Hammers Message-Id: <20060514.134438.10965.319416 [at] webmail36.lax.untd.com> Thank You for the 'heads up'. /s/ Richard ____________________________ The Bristlecone Pine specifically grows so slowly because of = the extremely harsh climate and short growing season at very high altitu= des and rocky environments above 10,000 feet. = Charlie ------------------------------ Message-ID: <2863.64.28.54.85.1147641222.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Sun, 14 May 2006 14:13:42 -0700 (PDT) Subject: Re: oldest tree From: "Bill Nelson" >> I've heard that the oldest Bristlecone pines are at the Point Lobos >> State Reserve adjacent to the grove of 4,000+ year old Monterey Cypress >> Trees Nope. The oldest living is in Eastern California. The oldest known tree was cut down, with the permission of the US Forest Service, in 1964 by a doctoral candidate. It was roughly 150 years older than the current record holder. But some good came of that - it caused enough outrage that a concerted effort was made by the US government to protect other ancient trees. To put the age in an easier to understand context - those two trees were saplings when the pyramids were first being constructed in Egypt. Bill ------------------------------ Date: Sun, 14 May 2006 17:16:53 -0400 Subject: Re: Hammers From: Steve Larson Message-ID: In-Reply-To: If you google the "old living thing in the world", you'll will get a ton of claims to sift through. steve > From: "ladesigners [at] juno.com" > Reply-To: "Stagecraft" > Date: Sun, 14 May 2006 20:01:17 GMT > To: "Stagecraft" > Subject: Re: Hammers > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I've heard that the oldest Bristlecone pines are at the Point Lobos State > Reserve adjacent to the grove of 4,000+ year old Monterey Cypress Trees on the > cliffs above Monterey Bay, north of Big Sur, CA. Jerry, could you please > verify? Los Gatos is closer than Los Angeles to that portion of the VERY > scenic HWY 1 that I enjoy traveling upon. > /s/ Richard > _________________________ > --So now that it is narrowed down to a bristlecone pine, we have it in AZ, CA, > or NEV. Is this like the oldest community theatre in America? Everybody has > one in their town. > > Chip > > ------------------------------ Date: Sun, 14 May 2006 14:24:07 -0700 From: Jerry Durand Subject: Re: Hammers In-reply-to: Message-id: <7.0.1.0.0.20060514141935.01ef8418 [at] interstellar.com> References:

At 02:16 PM 5/14/2006, Steve Larson wrote: >If you google the "old living thing in the world", >you'll will get a ton of claims to sift through. You also have to start defining "living". A virus isn't alive in normal terms, but can reproduce with a host. Functional viruses can be found inside insects embedded in amber. If you call the virus alive, then it's millions of years old. There was an instrument that was in a moon lander that was later recovered by one of the manned landings. Upon checking it out on Earth, it had a smear of still viable influenza virus on a part (someone sneezed on it before it was launched). This had survived years of vacuum, radiation, heat, and cold. -- 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: <44f.73721d.3198fea6 [at] aol.com> Date: Sun, 14 May 2006 17:44:06 EDT Subject: Re: Hammers In a message dated 14/05/06 22:25:00 GMT Daylight Time, jdurand [at] interstellar.com writes: > You also have to start defining "living". A virus isn't alive in > normal terms, but can reproduce with a host. Functional viruses can > be found inside insects embedded in amber. If you call the virus > alive, then it's millions of years old. Yet another deviation. If it ingests nutrients, and reproduces itself, it's alive by me. But I'm no sort of a biologist at all, and whether one particular virus cell has survived that long, I don't know. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20060514151021.00d3f118 [at] pop.west.cox.net> Date: Sun, 14 May 2006 15:10:21 From: CB Subject: Re: Cats Moon Design >Midnight >Not a sound from the pavement >Has the moon lost her memory? What'rya, new? NO SHOW TUNES! No, go to the green room and dance for the actors! Oh, and Bill, go see the show. Best three-and-a-half hour nap I ever got in a theatre! 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... ------------------------------ Date: Sun, 14 May 2006 18:03:42 -0400 Subject: Re: USITT Photo Album now online From: John McKernon Message-ID: In-Reply-To: > That's a great shirt. Does it do that all the time or only when there's > a resolution conflict with a digital camera? Maybe in the 60's and 70's I might wear a shirt that does it all the time, but not now. It's just an ordinary blue-white-yellow pinstripe shirt. Who would've expected such pyrotechnics? - John ------------------------------ Message-Id: <3.0.6.32.20060514152231.00d3f118 [at] pop.west.cox.net> Date: Sun, 14 May 2006 15:22:31 From: CB Subject: Re: Attending a rock concert >Terminological confusion strikes again. To me, a concert is what goes on in a >concert hall. The RPO in the Festival Hall doing a programme of Mozart, >Haydn, and Beethoven, for instance. Any other sort of 'concert' needs qualification. I'd suggest that if you plan to live and interact with other people, you keepo your own personal definitions to yourself. English barely works as it is, and it relies heavily on all of the participants agreeing on what the words mean for it to work. Concert is any group of musicians playing together with teh music as the raison d'etre. In fornt of a ballet, or a musical, or some other such reason would not qualify. Speaking of qualifications, 'classical' or 'rock', or some other qualification is necessary only if you wish to describe what kind of concert it is. Just because it is ytour favorite doesn't give it any special rights to the word 'concert', no matter how much you might think it does. Oh, and loud isn't necessarily tied to the type of music any more than, say, hair length is. Come to a Rock show that I'm mixing and you'll be surprised at ow acceptable the SPL is. 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: <3.0.6.32.20060514153539.00d3f118 [at] pop.west.cox.net> Date: Sun, 14 May 2006 15:35:39 From: CB Subject: Re: Attending a rock concert >I could, I suppose, do lights or sound on any of them, If I had to. In the same way that I could do brain surgery. I understand the process of reducing a subdeural hemotoma, and spoke to my father about it when he had his done. Heck, I even have the tools and the skills required! With a self-admitted lack of high-end hearing (I think you said you'd be surprised to discover anything above 12K), I donw' think that you have the tools required to mix sound on anything with a better response than a telephone. Knowledge you may posess, though I'm fairly certain that there are way to many new pieces of kit out there for you to be able to get familiar with them in time to mix any gig requireing any re-inforcement, but that ain't gonna get it done. The very first time someone requests a DI that'll accept a speaker level input and you tell them that the thing just doesn't exist, its off to the dole queue with you. 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: <3.0.6.32.20060514153817.00d3f118 [at] pop.west.cox.net> Date: Sun, 14 May 2006 15:38:17 From: CB Subject: RE: Hammers >No Fair! My tree guess signed a DNR! You know as well as I do that those things aren't worth the paper they're written on. The only thing that'll do the trick is the tattoo that says, "DNR! (I'll sue if I survive)". 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: <3.0.6.32.20060514154413.00d3f118 [at] pop.west.cox.net> Date: Sun, 14 May 2006 15:44:13 From: CB Subject: Online ticket sales >So... being deliberately narrow here, does anyone have experience with a >high school theatre program using online services? Put 'em on E-bay, with the closing date being the day of the show. Make sure you have a 'buy it now' option. Put the number of tickets for each performance as another auction. Have the tickets at 'will call', or leave a phone number for 'winners' to request their seat locations. Different auctions for balcony, orch, etc, if necessary. 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: <3.0.6.32.20060514155235.00d3f118 [at] pop.west.cox.net> Date: Sun, 14 May 2006 15:52:35 From: CB Subject: Re: Hammers >Not quite. There is nothing of the original hammer remaining. *sigh* OK, Bill. close your eyes, and take a deep breath... let it out... jsut start to relax all the extremeties... sag down in your chair till nothing is holding you up but gravity pushing you against the chair. Wait for it... see the shapes? Eyes are still closed? See 'em now? Well, do they exist or not? Once you get comfortable with that answer, you will understand that the important part of the original hammer still exists in teh seventh generation handle and second generation head. 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... ------------------------------ In-Reply-To: References: Message-Id: <862361CD-4894-4B7A-9F0F-47C43E9B7FF5 [at] appstate.edu> From: Greg Williams Subject: Re: Weird SWAG request Date: Sun, 14 May 2006 19:25:51 -0400 On May 14, 2006, at 11:12 AM, Herrick Goldman wrote: > Does anyone on the list have any swag from the recent Broadway > production of > 42nd St? Herrick, You might want to contact Joe Norton at Broadway Cares. He's our contact for the LRLR ride, and he always has the signed posters and other stuff from the shows. If she's willing to pay, it would help her and a good cause at the same time. -=Greg=- -=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: <003a01c677b4$e0d34a80$6401a8c0 [at] amd2200> From: "Idaho Scenic & Rigging" References: Subject: Re: Hammers Date: Sun, 14 May 2006 18:16:56 -0600 Amen. Rob't ----- Original Message ----- From: "CB" Once you get comfortable with that answer, you will > understand that the important part of the original hammer still exists in > teh seventh generation handle and second generation head. ------------------------------ Message-Id: <7B88CD8B-B498-4605-BFC0-6CFEE23976F1 [at] dopher.com> From: "C. Dopher" Subject: Reaching deep for Behind The Scenes Date: Mon, 15 May 2006 00:07:14 -0400 Well, I've been silent about the Long Reach Long Riders 'til now. I rode with this fine group of folks two years ago, on our first trip. We did a lot of good back then for a cause embraced by - indeed begun by - actors, without whom few of us would have jobs. These days, we have a new foundation to give our charity to, a cause which hits near and dear, that of a safety net for entertainment technicians. I don't know about you, but my work would be awfully difficult to get done without the electricians and carpenters. When these people get injured and can't work, even temporarily, is their future assured, or at least their rent? What of illness? Is their future assured? Not all of them are IATSE members, you know. That's just one reason to give to Behind The Scenes. Why do I choose a small social-services foundation over the big hitters that, say, sponsor research into life-saving medicine? Because the money isn't going to go to waste. Have you ever looked up what the CEO of a supposedly not-for-profit the size of, say, the Leukemia & Lymphoma Society makes? ($360K) I don't see why my fund- raising efforts should help some executive buy his yacht! I want my funds to go toward the programs I'm raising the funds for. The American Cancer Society, for example, puts less than 70% of its $886 million in revenue towards the programs it's set up to operate. American Diabetic Association? Less than half the money raised goes towards its sponsored programs. NAACP: Only 51% goes toward actually advancing colored people ... except for its president, who makes a quarter mil per year. Boy Scouts of America's CEO pulls in $486 grand; American Cancer Society's CEO make just shy of $500,000 a year. The Cystic Fibrosis Foundation's CEO? OVER $500,000! Are THEIR futures assured? You bet! How much money does Bill Sapsis or Greg Williams make to stump for Behind The Scenes? 0. And Lori Rubenstein, full-time program administrator, isn't making much more than peanuts and warm smiles. That's a second reason to give to Behind The Scenes: the money goes where it's supposed to. But enough of the fiscal bullshit and bleeding heart liberal namby- pamby chatter. Here's reason #3 why I want every one of YOU to open up your checkbooks and send a check to Bill Sapsis: because if I can make that choice - and I shouldn't! - so can you. I SHOULDN'T BE HERE, and I shouldn't be WRITING THIS EMAIL. I should be raising money for Susan G Komen Foundation instead, because three of my family have been hit with breast cancer, one died of it, one is still undergoing chemo. I SHOULD be raising money for the American Heart Association, because another family member has heart disease. I SHOULD be stumping for American Lung Association, because my grandfather died of lung cancer. To be very clear: I SHOULD be raising funds for the Cystic Fibrosis Foundation, because I HAVE cystic fibrosis. My future is assured; I will die from it. I should be working my ass off to raise money for CFF, BUT I'M NOT. I'm working instead to help a foundation that really needs its own industry's support! If I can work for something like Behind The Scenes, I believe everybody on this list could pitch in a little, too. We'd love to have you along on the ride (we raise funds along the way, too)...but if you can't do that, and if your foreseeable future IS secure, then how 'bout picking up a pen and sending Bill a check? Cris Dopher PS Or if you must be computer literate, you can go to http:// lrlr.org/donate.html and click on the appropriate link. PPS And yes, we're going to ask next year, and the year after that, and the year after that... because technicians never stop getting hurt or sick. There's no cure for bad luck. But THIS year, Altman is matching donations, up to $125,000, so your bucks have real impact this year! ------------------------------ Message-ID: <4468009B.9090708 [at] gmail.com> Date: Mon, 15 May 2006 00:16:27 -0400 From: Brian James Reply-To: brianedwardjames [at] gmail.com Subject: Vector Works Function I recently purchased Vectorworks and have found my way around for the most part, however there is one thing I can nit find a way to change. One of the tool choices is to gang or "two-fer" instruments on the plot. Does any one know of a way to change this to a "three-fer" ore "more-fer" functionality, or is it just a paper work thing........ I appreciate your help ahead of time! ------------------------------ In-Reply-To: References: Message-Id: <44FB6A6B-5BAA-48DD-A2A1-69EDC2748FFF [at] hawaii.rr.com> From: Shell Dalzell Subject: Curved Ramp Date: Sun, 14 May 2006 19:50:02 -1000 Hi Guys, For my next production I am going to build a curved ramp. It will be 36" wide and describe an 8' diameter semicircle. it will start at about 18" and descent to about 12". l am not worried about building it (probably pie shaped pieces of 3/4" ply skinned with one or more sheets of 1/4" luan or maso. What I need help on is modeling it in VW 12. Neither Tapered Extrude nor Extrude Along Path work. Any other ideas? Aloha, Shell ------------------------------ Message-ID: <3869.64.28.54.85.1147672431.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Sun, 14 May 2006 22:53:51 -0700 (PDT) Subject: Re: Hammers From: "Bill Nelson" >>Not quite. There is nothing of the original hammer remaining. > > *sigh* OK, Bill. close your eyes, and take a deep breath... let it out... > jsut start to relax all the extremeties... sag down in your chair till > nothing is holding you up but gravity pushing you against the chair. Wait > for it... see the shapes? Eyes are still closed? See 'em now? Well, do > they exist or not? Once you get comfortable with that answer, you will > understand that the important part of the original hammer still exists in > teh seventh generation handle and second generation head. Heh, heh. I am relaxed. I just woke up after I fell asleep in front of my computer. Hard to be more relaxed than that. Sorry, I still don't see the shape of that hammer. Yes, the memories still exist. I stated that in my first response on the thread. And sometimes memories are all that we have. Bill ------------------------------ In-Reply-To: References: Message-Id: <1e77d0e4afcde4e95d4e777ab757b40f [at] ucla.edu> From: Samuel Jones Subject: Re: Vector Works Function Date: Sun, 14 May 2006 23:01:21 -0700 Go to the 3rd light and twofer it to the second light. You can daisy chain twofers to make threefers and fourfers. Sam Samuel L. Jones Technical Director, Dance Program, Dept. of World Arts and Cultures, UCLA. sjones [at] arts.ucla.edu On May 14, 2006, at 9:16 PM, Brian James wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I recently purchased Vectorworks and have found my way around for the > most part, however there is one thing I can nit find a way to change. > > One of the tool choices is to gang or "two-fer" instruments on the > plot. Does any one know of a way to change this to a "three-fer" ore > "more-fer" functionality, or is it just a paper work thing........ > > > I appreciate your help ahead of time! > > ------------------------------ End of Stagecraft Digest #808 *****************************