Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 30464482; Mon, 22 May 2006 12:06:07 -0700 X-Spam-Level: X-Spam-Status: No, score=0.1 required=5.0 tests=ADVANCE_FEE_1,AWL, BANG_EXERCISE,BAYES_00,NO_RECEIVED,NO_RELAYS,SARE_FRAUD_10,SARE_FRAUD_3, SARE_FRAUD_9,SARE_FRAUD_X3,SARE_PRODUCT 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 #817 Date: Mon, 22 May 2006 12:04:01 -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 #817 1. Re: Taiko Drums by "Brian Munroe" 2. Re: Altman Lens identification by "Paul Schreiner" 3. Re: Altman Lens identification by "Jeffrey E. Salzberg" 4. Re: Fire Curtain Rules & Exceptions by "Bill Conner" 5. Re: Taiko Drums by Greg Williams 6. Re: Help: Fire Curtain Rules & Exceptions by "Bill Conner" 7. Re: Altman Lens identification by Steve Larson 8. Re: Help: Fire Curtain Rules & Exceptions by "Peter Scheu" 9. Re: elephants by iaeg [at] aol.com 10. [Show-Control] George Kindler Passed Away (fwd) by Charlie Richmond 11. Re: Fire Curtain Rules & Exceptions by 12. Re: Projection screen woes by "Jon Lagerquist" 13. Loud Shows/Headset Isolation (Was:Re: Taiko Drums) by "Storms, Randy" 14. lions tigers and elephants by b Ricie 15. 18 Hurt in Minn. Roller Coaster Accident by Theatre Safety Programs 16. Re: Vectorworks Rigging Symbols by "C. Andrew Dunning" 17. Re: Projection screen woes by 18. Stand-alone Lights by Jo Vandver 19. Re: Stand-alone Lights by Stephen Litterst 20. Re: [Show-Control] George Kindler Passed Away by Steve Shelley 21. Re: Stand-alone Lights by "Jeffrey E. Salzberg" 22. Re: Stand-alone Lights by "Steve Jones" 23. Re: Stand-alone Lights by "Storms, Randy" 24. Re: Altman Lens identification by "Jason Cowperthwaite" 25. Re: Stand-alone Lights by "Paul Schreiner" 26. Re: Metamorphoses Pool by "Storms, Randy" 27. Re: Stand-alone Lights by "Frank E. Merrill" 28. Re: Stand-alone Lights by Bruce Purdy 29. Re: Stand-alone Lights by Jo Vandver 30. Re: Altman Lens identification by "Frank E. Merrill" 31. Re: Stand-alone Lights by "Jon Ares" 32. Re: Altman Lens identification by Stephen Litterst 33. Re[2]: Altman Lens identification by "Frank E. Merrill" 34. Re: Stand-alone Lights by "Jeffrey E. Salzberg" 35. Simple set shows (was RE: Stand-alone Lights) by "Paul Schreiner" 36. Re: Stand-alone Lights by "Jason Cowperthwaite" 37. Re: Help: Fire Curtain Rules & Exceptions by Mick Alderson 38. REHEARSAL DOORS by PatrickMcCreary 39. Re: Sound Levels by Jason Romney 40. LEAD TIME by PatrickMcCreary 41. Re: Sound Levels by "Paul Schreiner" 42. Re: Sound Levels by Bruce Purdy 43. Re: Taiko Drums by "Bill Nelson" 44. Re: Metamorphoses Pool by "Benjamin G. Stickels" 45. Re: Altman Lens identification by "Idaho Scenic & Rigging" 46. Re: Taiko Drums by FrankWood95 [at] aol.com 47. Re: Altman Lens identification by Steve Larson 48. Re: Altman Lens identification by Steve Larson 49. More uses for LEDs by Jerry Durand 50. Re: Altman Lens identification by "Jason Cowperthwaite" 51. Re: Sound Levels by Jason Romney 52. au revoir by Kate Daly 53. Re: Help: Fire Curtain Rules & Exceptions by FrankWood95 [at] aol.com 54. Re: Stand-alone Lights by "Idaho Scenic & Rigging" 55. Re: Stand-alone Lights by "Bill Nelson" 56. Elevator Doors by "Storms, Randy" 57. Re: Fire Curtain Rules & Exceptions by FrankWood95 [at] aol.com 58. Re: Fire Curtain Rules & Exceptions by "Jeffrey E. Salzberg" 59. Re: More uses for LEDs by "Jason Cowperthwaite" 60. Re: Help: Fire Curtain Rules & Exceptions by "Bill Nelson" 61. Re: More uses for LEDs by Michael Heinicke 62. Re: More uses for LEDs by Jerry Durand 63. Re: Stand-alone Lights by Greg Persinger 64. Re: More uses for LEDs by "Steve Jones" 65. Re: Elevator Doors by "Patrick Immel" 66. Re: Fire Curtain Rules & Exceptions by "Nigel Worsley" *** 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: Mon, 22 May 2006 06:53:24 -0400 From: "Brian Munroe" Subject: Re: Taiko Drums In-Reply-To: References:

On 5/22/06, Bill Nelson wrote: > Hm. It has been a while since I have done SPL calculations, but I seem to > recall that the level increases by 3 dB when you halve the distance. > > If that is the case, the 100 dB at 100 feet would be 103 dB at 35 feet, > 106 dB at 17.5 feet and 109 dB at about 8 feet. Is this the new math they keep talking about? Half of 100 is now 35? Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: Date: Mon, 22 May 2006 07:49:04 -0400 From: "Paul Schreiner" Subject: Re: Altman Lens identification In-Reply-To: References:

> is there a weight difference? > couple oz. difference between? > thinking postal scale... > weight of a known one? The lenses for a 6x9 are thicker than the rest, so logically those would be the heaviest. In theory you should be able to do the postal scale thing... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Altman Lens identification Date: Mon, 22 May 2006 07:51:01 -0400 Message-ID: <00f401c67d95$ff98f050$6501a8c0 [at] Dell> In-Reply-To: Remember that he has not just the lenses, but the entire assemblies (if *I* am remembering correctly). Is the metal structure the same for all configurations? ------------------------------ Message-ID: <005001c67d96$7373e7a0$6501a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Fire Curtain Rules & Exceptions Date: Mon, 22 May 2006 06:54:15 -0500 Frank posted: "Not over here. Fire exits may never be used for storage, and must have emergency lightling systems." We have similar regulations and, in fact, I pushed a requirement into the Life Safety Code that the means of egress be checked and a written report made before each event. None-the-less, one finds many that are blocked or have things stored in them. Since I will be in London in June, and touring a number of places, I'll be interested to see that your regulations are always adhered to and that no one ever blocks the means of egress. Bill C. ASTC, ETCP CR-T ------------------------------ In-Reply-To: References:

Message-Id: <513581B1-4C8E-42B2-A903-4AD11DE4B722 [at] appstate.edu> From: Greg Williams Subject: Re: Taiko Drums Date: Mon, 22 May 2006 08:00:03 -0400 > On 5/22/06, Bill Nelson wrote: > >> Hm. It has been a while since I have done SPL calculations, but I >> seem to >> recall that the level increases by 3 dB when you halve the distance. >> >> If that is the case, the 100 dB at 100 feet would be 103 dB at 35 >> feet, >> 106 dB at 17.5 feet and 109 dB at about 8 feet. Actually, using the inverse square law will gain you _6_ db(SPL) each time you halve the distance... in a "free field". YMWV depending on the space, but 100 db(SPL) at 100' will be 106 [at] 50, 112 [at] 25, 118 [at] 12.5, 124 [at] 6.25, and 130 [at] +/- 3'. That's roughly "twice as loud" as the threshold of pain for most people. Ever notice how many symphony players wear hearing aids at relatively young ages? -=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: <005401c67d97$e5e2fd70$6501a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Help: Fire Curtain Rules & Exceptions Date: Mon, 22 May 2006 07:04:36 -0500 Mick A. posted: Isn't this a bit of overkill (so to speak)? I am all for sensible life safety regulations; they save lives. But IMHO this rule is an over-reaction to one incident, and responds to criminally stupid actions by one set of individuals at a single event by making criminals out of everybody! In the theatre we can probably follow this without much difficulty because we already have a staff in place which can accomodate the requirement with a little training. But a "trained crowd manager" in every assembly of 50? What does that mean? Most events DON'T have a built in staff whose sole purpose is to deal with the public. Our Theatre Department had a banquet a couple weeks ago, which probably had 70 people attending. Did we break the law? Suppose someone holds a wedding. Must they now hire a safety officer, or is the minister tagged? How about other church services? You can't just designate someone, after all. They have to be "trained". As to the lecture classs, well, I prefer lower teacher/student ratios myself, but I don't often have a choice. The problem with rules like this, IMHO, is that they cannot be effectively enforced and WILL be dismissed by most of the public as unreasonable. Worse, ALL life safety issues will be lumped together and similarly dismissed. And it's not like the Life Safety Code gets closely followed now! The result I fear will be MORE lost lives, not less. But you sure will be able to nail some poor schmuck even more firmly to the wall afterwards, 'cause they "didn't follow the Code". Look, there is no question that a trained crowd manager is always preferable to "automatic systems", but mandating that every group of 51 people include such a one is not realistic. I repeated it because it was so good and so thoughtful. Your points were debated at length in committee. I eventually supported it because it does not seem unreasonable for there to be someone one person responsible for the safety of a group this size. I'll reverse the question and ask if you think it's OK for a teacher to lecture to 50 students and no one present know have a clue of what the group should do in an emergency? In many instances, it shouldn't take much to train a leader in the room. There could be an information card that describes various features - means of egress for example - and what to do in an emergency - like close the door on eh way out. It need not be overly burdensome for smaller, simpler, assemblies. It does need to make a person responsible and make sure that person knows they are responsible. Lots of rules are not enforced - immigration for instance. So we just write more. Bill C. ASTC, ETCP CR-T ------------------------------ Date: Mon, 22 May 2006 08:29:07 -0400 Subject: Re: Altman Lens identification From: Steve Larson Message-ID: In-Reply-To: Just happen to be cleaning instruments: 6 x 9 lens - 1 pound 10.4 oz 6 x 12 lens - 1 pound 4.8 oz 6 x 16 lens - 1 pound .6 oz Dat help? Steve > From: "Jason Cowperthwaite" > Reply-To: "Stagecraft" > Date: Sun, 21 May 2006 19:01:02 -0400 > To: "Stagecraft" > Subject: Altman Lens identification > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey all, > > I have come across a rather large stack of Altman 360/360Q lens > Assemblies that are *not* marked in any way as to whether they are > x9's, x12's, x16's, etc.. is there a way to easily figure out what is > what? > > thanks, > > Jason Cowperthwaite ------------------------------ Reply-To: From: "Peter Scheu" Cc: bill [at] bcaworld.com ('Bill Conner') Subject: RE: Help: Fire Curtain Rules & Exceptions Date: Mon, 22 May 2006 08:44:38 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: In-reply-to: Bill Conner wrote: >I believe that a manual only emergency activation of the closing of a=20 >fire safety curtain, such as I am led to believe is the case in the UK >and elsewhere in the world, is superior planning for the reasons = stated. =20 >I know we disagree on this and that within some organizations in > >the United States I am in the minority.=20 In theory, I don't disagree with you. But the UK and the US have = different histories, and specifically the UK has required since... well, = forever... that the iron be lowered in full view of the audience immediately prior = to each performance, supposedly to insure it's operation. I also believe = the iron remains down when the theatre or stage is not in use. This = provision was added to US model codes only within the past 10-15 years (?), = compared to the UK's use of fire curtains since the late 1700's. But most US fire curtain systems were designed and installed before the "always closed" code provision went into effect, and they do not have = the means to be easily brought in and out on a daily, non-emergency basis. = To this day, FC system designers forget (or chose to ignore) this = requirement. So most FC's sit up in the air, semipermenantly, waiting to be deployed. Also, there will be many times that a user may forget to bring the = curtain end at the end of a performance or work/rehearsal call. That's why I am = very vocal (with your support) about having all Fire Curtains be motorized = for non-emergency use. And fire curtains are ubiquitous in the US and less so in the UK and elsewhere. Many US fire curtains (the majority?) are installed in high schools, middle schools, and elementary schools, where it has been my experience that few on the schools' staff are even aware the system = exists, let alone what it's for, how it works, and what they should be doing to maintain it. That's why I still think reliable, repeated (almost daily) operation AND automatic detection and deployment is necessary. We, as a culture, have = not been "trained" like the Brits have. Again, using sprinklers as an = example, do you think it reasonable that someone would have to remember to = manually arm or disarm a sprinkler system each day, or that it only operated when someone remembered to pull the fire alarm? Peter Scheu =20 Scheu Consulting Services, Inc. Syracuse, NY www.scheuconsulting.com ------------------------------ Date: Mon, 22 May 2006 09:05:42 -0400 Message-Id: <8C84BB790F28140-1490-128F [at] mblk-d12.sysops.aol.com> From: iaeg [at] aol.com References:

In-Reply-To: Subject: Re: elephants you are referring to the late Alan Campbell and the elephant Tyke. I had actually done a show with Alan and Tyke just three weeks before that terrible incident. Tyke and the other elephants in that show were owned by JOHN CUNEO, of THE HAWTHORNE CORPORATION, , John is the heir to a frozen food fortune and at one time was the largest owner of Elephants in the US after Ringling. John is also known for owning about 4 or 5 sets of performing white tigers. If you have ever been to a circus and there was a group of performing white tigers they were likely owned by HAWTHORNE. The HAWTHORNE elephants have all been retired or are under medical treatment as there was a break out of tuberculosis in the barn. Alan was a good trainer and elephant handler. Tyke was known as "troublesome". The economics of elephants are such that "troublesome" animals are often not sent back to the farm so to speak. It's a long discourse I could give you, , but since it has become impossible to import elephants the actual value of a performing elephant in the west has gone up drastically. Of course with more and more communities banning wild or exotic animal performances, , and there is legislation pending in CA that would ban even Zoo elephants this may change. Thirty years ago., . when the cost of replacing a "troublesome" animal was less,. they were more likely to be sent back to the farm and retired. Today that seldom happens. I have had personal contact with most of the elephant trainers that have been hurt or killed in the last 15 years. None of them were abusive what so ever, the most recent Pierre Spenele, who after loading his elephants into the trailer, had to go into the trailer to adjust a load bar, the load bar fell while he was adjusting it, hit him on the head, and he fell beneath the feet of one of the "bulls" ( as all elephants regardless of sex are referred to in the circus ) the animal had no idea what was there, got spooked, and kicked Pierre. Or at least that's what those close to the incident think happened, as Pierre was alone inside the trailer ( you can imagine there's not a lot of room there ) There are people who shouldn't have children, , , ( we all know some, , right ? ) and there are people that shouldn't own elephants (or other exotic animals for that matter) I have to say though, , the times I have been around a group of the same elephants for weeks at a time and been able to develop a raport with them, , and learn a few of the simple commands that they respond to were some of the most remarkable experiences of my life. very best, Keith Arsenault International Arts & Entertainment Group -----Original Message----- From: Paul Guncheon To: Stagecraft Sent: Sat, 20 May 2006 03:43:23 -1000 Subject: Re: elephants For info, archives & UNSUBSCRIBE, see --------------------------------------------------- <> In 1994 I and my family were chased by a rampaging elephant (who was later shot and killed by the police). We had run outside the arena where the circus was taking place after the elephant in question had crushed his trainer to death and started running towards our seats. the elephant slammed through the arena doors, through a turnstile, and came after us. We started running toward the parking lot, hoping to get some cars between us. The elephant came within 4 feet of us before turning and walking away. Simply the most terrifying time in my life, many of the resulting effects are with me to this day. I was unable to design for about a year and lost faith in my ability to make "right" decisions. Wild animals, even if trained, are still potentially dangerous. Elephants are real hard to stop too. Laters, Paul "I got here with five minutes to spare", said Tom bitterly. ------------------------------ Date: Mon, 22 May 2006 14:12:19 +0100 (BST) From: Charlie Richmond Subject: [Show-Control] George Kindler Passed Away (fwd) Message-ID: from John Huntington... ---------- Forwarded message ---------- Date: Sun, 21 May 2006 20:25:15 -0400 From: John Huntington Reply-To: Show-Control [at] yahoogroups.com To: Theatre Sound Mailing List , Show-Control Email Group Subject: [Show-Control] George Kindler Passed Away Sorry to be the bearer of terrible news, but George Kindler passed away a few hours ago. He had a heart aneurism a week or so ago, and survived that (which is unusual) and was in the rehab center. Unfortunately, he then had another heart attack, and went back to the hospital. Apparently then, his kidneys shut down, and other systems started failing, and he passed away this morning. He was 58. There will apparently be a wake in Las Vegas on Tuesday, and some sort of memorial service as well. There will be a funeral in New Hampshire sometime this weekend, and I'm going to try to attend that. Mike Cusick (SAVI), a very long-time and close friend of George's, will pass along details of the memorial services and the funeral. If you're interested in attending, please email me and I can pass that info onto you. George's wife's address is: Liz Kindler 100 Brazilnut Court Las Vegas, NV 89145 George was a great and very wise man, and was dedicated to pushing our industry forward his whole life. He will be missed. John ------------------------------ Message-ID: <20060522131946.24224.qmail [at] web81812.mail.mud.yahoo.com> Date: Mon, 22 May 2006 06:19:46 -0700 (PDT) From: Subject: Re: Fire Curtain Rules & Exceptions Cc: bill [at] bcaworld.com (Bill Conner) In-Reply-To: This reminds me of my days working at Home Depot. I was not at working when this happened but my fellow cashiers told me about this. One afternoon somebody set a fire in the mill-work section of our store and somehow nobody noticed it while it was small and could put it out with a fire ext. Once the fire grew and the alarm was sounding, and an emergency evacuation announcement was being made customers walked up the cashiers who were trying to exit the building and asked if they could quickly check them out. Talk about being calm. Nobody was hurt in this fire and the sprinklers kept the fire from spreading out of that aisle. Over a million dollars of product was lost due to fire, smoke, and water. But the store was cleaned up in less than 24 hours and reopened. However if you needed a stock door you had to visit a different store because it took almost a month to get mill-work restocked. Ken Zinkl --- Bill Conner wrote: > Perhaps being charged by 25 actors will hurt someone > but a fire on stage > will not be the cause. If you believe that people > behave in such an > anti-social fashion as is sometimes represented in > the movies, you are > miss-informed. Much post fire forensic study shows > that people do not > behave in the manner you suggest. I believe that > you will be hard pressed > to find an instance of a fire emergency where people > behave in the way you > suggest. In all of the code meetings and hearings > and conferences and > readings I've attended or read, I've yet to see one > example of the behavior > you suggest. That includes having been on stage > during a fire, where even > the actors and dancers behave in a very responsible > and controlled manner. > > Bill C. ASTC, ETCP CR-T > > > ------------------------------ From: "Jon Lagerquist" Cc: bthoron [at] theoldglobe.org (Ben Thoron) Date: Mon, 22 May 2006 06:50:08 -0700 Subject: Re: Projection screen woes Reply-to: jon [at] lagerquist.com Message-ID: <44715F20.9422.2B123E [at] localhost> In-reply-to: Ben, Have you tried any spot heating to see if that will release the piece? Does adding tension to the drop help? > I have a Gerriets Opera Procyc. We bought it new 2 years ago, after > the first show, we stored it in a hamper as suggested by the Gerriets > folks. We recently (7 days ago) pulled it out and hung it. It has > hardly relaxed its wrinkles, even after a week. The Gerriets folks > say that heat should make it better, lighting up the ground row etc. > Not so much so far. (admittedly the electrics department has been > reluctant to burn their deeply saturated blue gel to solve a scenic > department. On Monday we'll pull all the color and see what 8 hours > of heat can do. Any other thoughts? Jon Lagerquist Technical Director [at] South Coast Repertory Costa Mesa, CA ------------------------------ Subject: Loud Shows/Headset Isolation (Was:Re: Taiko Drums) Date: Mon, 22 May 2006 07:02:58 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C272 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" >I might theorise that it's because they have a good dynamic range, >whereas the rock concerts (& country concerts) are *always* loud. "A = wall of >sound".=20 _________________________ Speaking of sound levels, I worked spotlight for a "tribute" band = performing the works of a major artist Saturday night. (never mind = who, suffice to say the enormous pig blimp was a crowd pleaser...) Fun show, but loud. No dB meter handy, but during sound check it was = "cup-your-hands-and-yell-directly-into-a-coworker's-ear-and-still-not-be-= heard" loud. Later, of course, there was also the crowd noise. =20 It was so loud the venue required us to wear earplugs under our = double-muff Clearcoms. This helped, but I still had two problems: the = headset fit so poorly there was no isolation from the ambient room = noise, and the tour LD who was calling the show was naturally = front-of-house, so every time he'd open his mic to give a cue we'd get = blasted again. Then of course I would have to open *my* mic to say = "WHAAAAT?" and the problem would multiply. Anyway, the end result was that it was very difficult to hear cues. At = intermission I ended up lashing my headset tightly to my head with = tieline. This may have looked ridiculous (and left a mark) but made it = possible for me to catch a larger percentage of my cues in the second = set without asking for them to be repeated. This experience was frustrating enough that I'm considering buying a = personal headset - can anyone recommend a com that has muffs with good = room isolation and a mic with good noise cancellation? Short of wearing = a helmet ala a helicopter pilot, I'm not sure what else to do.=20 Randy Storms rstorms [at] bham.wednet.edu BTW - the earplugs worked. No ringing or other ill effects Sunday = morning. ------------------------------ Message-ID: <20060522141408.76091.qmail [at] web50613.mail.yahoo.com> Date: Mon, 22 May 2006 07:14:08 -0700 (PDT) From: b Ricie Subject: lions tigers and elephants In-Reply-To: A while back I was working Carmen. We has a horse for Eskimeno to ride to the bull fight on , and of course a rehearsal for eskimeno to get used to the horse. I used that time to be as distracting and loud as I could. There is also a gun shot in the Opera. I insisted that we shoot the gun while the Horse was in its staging area. I was trying to make the horse go nutty. In the end the horse was great(it was the most efficient rehearsal we has all week). With animals (and children) you never can know exactly what your gonna get, so do your best to find out before you have a house full of people. It is a lot easier to read a good review rather than how an audience was trampled. Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-Id: <7.0.1.0.2.20060522071447.022fadc8 [at] earthlink.net> Date: Mon, 22 May 2006 07:16:11 -0700 From: Theatre Safety Programs Subject: 18 Hurt in Minn. Roller Coaster Accident 18 Hurt in Minn. Roller Coaster Accident By EMMA CAREW (Associated Press Writer) From Associated Press May 22, 2006 12:12 AM EDT SHAKOPEE, Minn. - The rear car of an amusement park roller coaster separated from the others and tipped over Sunday, and officials said 18 people suffered minor injuries. The roller coaster at Valleyfair amusement park was close to pulling into the station when the rear car separated, tipped and came to rest on its side on a platform. Valleyfair spokesman Bill Von Bank said it was not immediately clear what caused the car to detach, but riders said it happened after the one in front of it experienced a problem. "It started jerking and moving around, like, not right," said Katelyn Churchich, 16, of Oakdale, who was in the second-to-last car. "We kind of heard scratching and we didn't know anything was wrong until we smelled metal grinding with each other, and then when we looked back, one of the cars was tilted on its side." Bailey Merchant, 12, of Shakopee, said she was in the rear car when the car in front started jerking and smoking. She said she fell out of her car when it tipped. "We were jerked and twisted and it started to hurt really badly," she said. Fourteen people were taken to St. Francis Regional Medical Center, where they were treated for mostly strains and sprains and released, hospital spokeswoman Lori Manke said. Four people refused medical attention, Von Bank said. The roller coaster, the Wild Thing, has six cars and was carrying 35 people at the time of the accident. It reaches speeds of up to 74 mph but was braking and going much slower as it approached the station, Von Bank said. Valleyfair, which is owned by Cedar Fair LP, of Sandusky, Ohio, said its maintenance officials were investigating and the ride was closed until further notice. The suburban Minneapolis park remained open. Von Bank said the Wild Thing had been in operation for 10 years without any similar problems. The park later said in a statement that two sensor faults caused the computerized safety system to shut down the ride twice Saturday. Both times, it said, maintenance staff found no problems and the ride was reopened. The ride was shut down for 10 minutes less than two hours before Sunday's accident for a routine inspection, but no problems were noted, the statement said. Found this today Jerry Gorrell ------------------------------ Reply-To: From: "C. Andrew Dunning" Cc: brianedwardjames [at] gmail.com Subject: RE: Vectorworks Rigging Symbols Date: Mon, 22 May 2006 09:17:13 -0500 Organization: Landru Design In-Reply-To: Message-ID: Brian - All created on my own. Keep you eyes open for a potential set of VW rigging tools from one of our list colleagues... Regards - C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com landrudesign [at] earthlink.net www.landrudesign.com >For those of you that use Vectorworks and indicate motors and >other hardware on the plot, have you found these resources in >the WV resource database, or created your own. > > >Are there down loadable symbol libraries with these symbols >already made. > >I recently purchased VW and I am finding the search methods I >use do not always get the expected results. > > >Any input and hep is as always, very appreciated. > ------------------------------ Subject: RE: Projection screen woes Date: Mon, 22 May 2006 10:19:48 -0400 Message-ID: From: Hi Ben, Are you using floor strips or can you arrange strips on a pipe near the material that you can raise and lower like a big heat gun up and down and up and down, etc. etc. You did not state whether the goods had been piped or not. That should help some. Steve Rees, TD SUNY-Fredonia -----Original Message----- Subject: Projection screen woes I have a Gerriets Opera Procyc. =20 ------------------------------ Message-ID: <20060522142904.11526.qmail [at] web37210.mail.mud.yahoo.com> Date: Mon, 22 May 2006 07:29:04 -0700 (PDT) From: Jo Vandver Subject: Stand-alone Lights In-Reply-To: Does anyone know of any websites or companies that have good quality theatrical lighting and sound equipment for reasonable pricing? Jo Vandver __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Mon, 22 May 2006 10:32:45 -0400 From: Stephen Litterst Subject: Re: Stand-alone Lights In-reply-to: Message-id: <4471CB8D.7090705 [at] ithaca.edu> References: Jo Vandver wrote: > --------------------------------------------------- > > Does anyone know of any websites or companies that > have good quality theatrical lighting and sound > equipment for reasonable pricing? www.productionadvantageonline.com 800/424-9991 In my six years at Ithaca, they've never failed to come in with the lowest price right out of the gate. And their service is friendly, knowledgeable and amazing. And no, I don't get a discount for every time I say that. Steve L. -- Stephen Litterst Technical Supervisor Ithaca College, Theatre Arts 607.274.3947 slitterst [at] ithaca.edu ------------------------------ Date: Mon, 22 May 2006 10:57:55 -0400 Subject: Re: [Show-Control] George Kindler Passed Away From: Steve Shelley Cc: tts [at] att.net (Rhys Williams) Cc: JHPaull [at] aol.com (John Paull) Message-ID: In-Reply-To: Thank you charlie and thanks john We are shocked and saddened at the spoleto festival to hear this news. George was the sound designer for the festival years ago. He was a good designer and a good man. He will be missed. Thanks again for the info. The festival will contact liz later today. Shelley On 5/22/06 9:12 AM, "Charlie Richmond" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > from John Huntington... > > ---------- Forwarded message ---------- > Date: Sun, 21 May 2006 20:25:15 -0400 > From: John Huntington > Reply-To: Show-Control [at] yahoogroups.com > To: Theatre Sound Mailing List , > Show-Control Email Group > Subject: [Show-Control] George Kindler Passed Away > > Sorry to be the bearer of terrible news, but George Kindler passed away > a few hours ago. He had a heart aneurism a week or so ago, and > survived that (which is unusual) and was in the rehab center. > Unfortunately, he then had another heart attack, and went back to the > hospital. Apparently then, his kidneys shut down, and other systems > started failing, and he passed away this morning. He was 58. > > There will apparently be a wake in Las Vegas on Tuesday, and some sort > of memorial service as well. There will be a funeral in New Hampshire > sometime this weekend, and I'm going to try to attend that. Mike Cusick > (SAVI), a very long-time and close friend of George's, will pass along > details of the memorial services and the funeral. If you're interested > in attending, please email me and I can pass that info onto you. > > George's wife's address is: > Liz Kindler > 100 Brazilnut Court > Las Vegas, NV 89145 > > George was a great and very wise man, and was dedicated to pushing our > industry forward his whole life. He will be missed. > > John -- Steve Shelley Ltg & Scenic Coordinator Spoleto Festival USA (843) 720-1140 prod office (843) 724-1195 fax MrTemplate [at] Earthlink.net www.spoletousa.org Www.fieldtemplate.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Stand-alone Lights Date: Mon, 22 May 2006 10:57:54 -0400 Message-ID: <000d01c67db0$1b1a6ab0$6501a8c0 [at] Dell> In-Reply-To: Low price shouldn't be the sole criterion. If you have a good = theatricalt supply house in your locale, go with them; after all, they'll be the = ones who are there for you when your green, left-handed widget fails at = 7:30PM on opening night. > Does anyone know of any websites or companies that > have good quality theatrical lighting and sound > equipment for reasonable pricing? ------------------------------ Message-Id: <200605221501.k4MF1BRQ015555 [at] ns-omrbm2.netsolmail.com> From: "Steve Jones" Subject: RE: Stand-alone Lights Date: Mon, 22 May 2006 10:00:16 -0500 Organization: Plaza Theatre In-Reply-To: I would second the Production Advantage. Nothing against any other vendors out there. I started using them over 15 years ago back when you called you got, I believe, a whopping staff of ONE on the line - John Camm. I used them at Rhodes College in Memphis, Middle Tennessee State University in Murfreesboro, and in my current position at the Plaza Theatre. They've kept me a loyal customer over the years. Great staff, great prices, great service. 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 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen Litterst Sent: Monday, May 22, 2006 9:33 AM To: Stagecraft Subject: Re: Stand-alone Lights For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Jo Vandver wrote: > --------------------------------------------------- > > Does anyone know of any websites or companies that have good quality > theatrical lighting and sound equipment for reasonable pricing? www.productionadvantageonline.com 800/424-9991 In my six years at Ithaca, they've never failed to come in with the lowest price right out of the gate. And their service is friendly, knowledgeable and amazing. And no, I don't get a discount for every time I say that. Steve L. -- Stephen Litterst Technical Supervisor Ithaca College, Theatre Arts 607.274.3947 slitterst [at] ithaca.edu ------------------------------ Subject: RE: Stand-alone Lights Date: Mon, 22 May 2006 08:00:52 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C273 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I have also had good luck with Production Advantage (although the www = address I have is different: www.proadv.com They are well positioned on price point - it is often cheaper for me to = buy consumables such lamps, gaff tape, Procells, etc. from Production = Advantage and have them shipped ~3000 miles than it would be for me to = buy them locally. PA is my go-to company for big-ticket lighting stuff, = too. (Full Compass gets my first call for sound gear. Markertek for = video).=20 I agree with Stephen regarding the quality staff. Randy Storms rstorms [at] bham.wednet.edu ___________________________________ www.productionadvantageonline.com 800/424-9991 In my six years at Ithaca, they've never failed to come in with the=20 lowest price right out of the gate. And their service is friendly,=20 knowledgeable and amazing. ------------------------------ Message-ID: <3eb8da960605220806k1aaa025au9491a9e586cd52d5 [at] mail.gmail.com> Date: Mon, 22 May 2006 11:06:58 -0400 From: "Jason Cowperthwaite" Subject: Re: Altman Lens identification In-Reply-To: References:

Wow! isnt that convenient. I assume that was lens only, not the entire assembly? Now if i remember my optics correct, when using the light source method, i should shine the light through the plano side... not the convex side? Hopefully i can find a postal scale somewhere in the theatre.. if not, looks like I will have to play burn-the-ant to figure these guys out. oh... and another thought... What would be the effect of putting the wrong lens assy. in the wrong body? would that provide a noticeable distortion of the light? I would guess that way I would be able to nail it by process of elimination? Thanks for your help folks! Jason On 5/22/06, Steve Larson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Just happen to be cleaning instruments: > > 6 x 9 lens - 1 pound 10.4 oz > 6 x 12 lens - 1 pound 4.8 oz > 6 x 16 lens - 1 pound .6 oz > > Dat help? > > Steve > > > From: "Jason Cowperthwaite" > > Reply-To: "Stagecraft" > > Date: Sun, 21 May 2006 19:01:02 -0400 > > To: "Stagecraft" > > Subject: Altman Lens identification > > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Hey all, > > > > I have come across a rather large stack of Altman 360/360Q lens > > Assemblies that are *not* marked in any way as to whether they are > > x9's, x12's, x16's, etc.. is there a way to easily figure out what is > > what? > > > > thanks, > > > > Jason Cowperthwaite > > ------------------------------ Subject: RE: Stand-alone Lights Date: Mon, 22 May 2006 11:09:16 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9C78 [at] exchange.rmwc.edu> From: "Paul Schreiner" > I have also had good luck with Production Advantage (although=20 > the www address I have is different: www.proadv.com PA is one of my faves...but a lot of time I end up going with BMI (http://www.bmisupply.com) merely cuz I'm one UPS Standard Ground Day away from their South Carolina office and don't have to pay extra shipping for rush jobs. And I second the Full Compass nod, though I haven't been in much of a position to buy anything substantial from them since I switched jobs. Chris Bengry is cool. ------------------------------ Subject: RE: Metamorphoses Pool Date: Mon, 22 May 2006 08:13:52 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C274 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Metamorphoses goes up here next week. Our pool is scaled down - only = 5'x12', and 4" of water with 2" of freeboard. It was designed this way = because originally it was supposed to move on air casters - it was later = decided the pool could be stationary. =20 It's a very short run, and the pool won't be filled until dress = rehearsals, so we'll be skimming rather than filtering the water. As = for heating, we plan to fire up a bank of 6-8 1K fresnels ~18" above the = water for an hour or so before curtain every night, just to take the = edge off. Good luck, Randy Storms rstorms [at] bham.wednet.edu > --------------------------------------------------- > > Question for those who have done Metamorphoses: How big and how deep = was > your pool? Any advice? (I've read the threads about filtering and > heating.) ------------------------------ Date: Mon, 22 May 2006 11:17:15 -0400 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <115788234.20060522111715 [at] tcon.net> Subject: Re: Stand-alone Lights In-Reply-To: References:

Howdy ! Monday, May 22, 2006, Jo Vandver wrote: > Does anyone know of any websites or companies that have good quality > theatrical lighting and sound equipment for reasonable pricing? Pardon me while I raise my hand to volunteer for that gig.... The above shameless plug aside, it is difficult to properly assess such a query and effectively respond because, probably out of my own ignorance, I don't know Jo Vandver and thereby don't know from what part of the world such query arises. Noting Jo's e-mail address, I googled "Liberty County Playhouse" and discovered one in Cleveland, Texas, although I don't know if that is the venue needing lighting and sound equipment. I would quite naturally be pleased to include mine in a proposal among others if the Liberty County Playhouse in Texas were to purchase equipment, but if equipment is being rented, regardless how favorable my rental rates would be, the additional cost of shipping from Indianapolis would disqualify my proposal from consideration. So I post this request, please: If you are asking our group for something where shipping costs are involved, please help us (well, help ME) by letting us know your location. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com Running THE BAT! Natural e-mail system v.3.65.03 mailto:Lamplighter [at] tcon.net ------------------------------ Date: Mon, 22 May 2006 11:26:32 -0400 Subject: Re: Stand-alone Lights From: Bruce Purdy Message-ID: In-Reply-To: Add my voice to the chorus of praise for Production Advantage. I try to deal with Syracuse Scenery since I like to support local business and they are (Relatively) local for me, and we have an open account. Prod. Adv. seems to require an annual sales volume that far exceeds what I have to spend in order to open an account - but they do take credit cards. Their product offerings, prices and service are all outstanding - and their website is well designed and easy to use. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <20060522152659.9311.qmail [at] web37201.mail.mud.yahoo.com> Date: Mon, 22 May 2006 08:26:59 -0700 (PDT) From: Jo Vandver Subject: Re: Stand-alone Lights Cc: Lamplighter [at] tcon.net (Frank E. Merrill) In-Reply-To: Well, my location IS in Cleveland Texas. That is about 50 miles North (1 hr) of Houston. (77327) We are a brand new theatre. I started in February of THIS year and the community is so hungry for this that it has just taken off like wild fire. I didn't expect to hold a production until the end of the year, but we just finished our first "variety fundraiser" this past weekend. So, we are working out of an existing movie house and will be playing Matinee performances until we are able to raise capital. We will be doing shows with little to no royalties and a portable set or NO set. (any suggestions are helpful). Then we will either build (my husband builds homes) or purchase an existing building OR...... our town is building a City Convention Center that will be ready next spring that I am going to propose to City Council that we become the Resident Theatre to! So, right now, all I really need is portable, stand alone lighting and portable, PA systems as well. So, we can be our own "traveling show". We have sponsors that I can take a budget to, but I just need to find out what we need, who to get it from and how much it costs. Lol. Im not asking for too much am I? Lol. Jo Vandver Liberty County Playhouse --- "Frank E. Merrill" wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Howdy ! > > Monday, May 22, 2006, Jo Vandver wrote: > > > Does anyone know of any websites or companies that > have good quality > > theatrical lighting and sound equipment for > reasonable pricing? > > Pardon me while I raise my hand to volunteer for > that gig.... > > The above shameless plug aside, it is difficult to > properly assess > such a query and effectively respond because, > probably out of my own > ignorance, I don't know Jo Vandver and thereby don't > know from what > part of the world such query arises. Noting Jo's > e-mail address, I > googled "Liberty County Playhouse" and discovered > one in Cleveland, > Texas, although I don't know if that is the venue > needing lighting and > sound equipment. I would quite naturally be pleased > to include mine > in a proposal among others if the Liberty County > Playhouse in Texas > were to purchase equipment, but if equipment is > being rented, > regardless how favorable my rental rates would be, > the additional cost > of shipping from Indianapolis would disqualify my > proposal from > consideration. > > So I post this request, please: If you are asking > our group for > something where shipping costs are involved, please > help us (well, > help ME) by letting us know your location. > > Best regards, > Frank E. Merrill > MERRILL STAGE EQUIPMENT > Indianapolis > Established 1946 > www.merrillstage.com > > Running THE BAT! Natural e-mail system v.3.65.03 > mailto:Lamplighter [at] tcon.net > > > > > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Mon, 22 May 2006 11:27:29 -0400 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <165531974.20060522112729 [at] tcon.net> Subject: Re: Altman Lens identification In-Reply-To: References: Howdy ! Sunday, May 21, 2006, Jason Cowperthwaite wrote: > I have come across a rather large stack of Altman 360/360Q lens > Assemblies that are *not* marked Find a convenient wall in a convenient room where there is a window opposite the aforesaid wall. Put the end of a yardstick against the wall and slide the lens back and forth along the yardstick until the image of the window behind you is focussed on the wall in front of you. The focal length (or a reasonable approximation thereof) can be read on the yardstick at the edge of the lens. Considerable debate may ensue over measuring at the rim, the middle of the convex curve, or at the thickest point of the lens, but if you remember that there are at least three inches tolerance in the standard lens focal lengths, you'll come close enough. After you do a few, you'll be able to gauge them by sight. Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com Running THE BAT! Natural e-mail system v.3.65.03 mailto:Lamplighter [at] tcon.net ------------------------------ Message-ID: <003301c67db4$b5b5be90$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Stand-alone Lights Date: Mon, 22 May 2006 08:30:52 -0700 > > Low price shouldn't be the sole criterion. If you have a good theatricalt > supply house in your locale, go with them; after all, they'll be the ones > who are there for you when your green, left-handed widget fails at 7:30PM > on > opening night. Depends on where you are.... Portland, OR USA's 'full service' supply house has lower customer approval ratings than George Bush right now. The stories I could tell... but that would be mean. - Jon Ares www.hevanet.com/acreative ------------------------------ Date: Mon, 22 May 2006 11:30:28 -0400 From: Stephen Litterst Subject: Re: Altman Lens identification In-reply-to: Message-id: <4471D914.3080306 [at] ithaca.edu> References:

Jason Cowperthwaite wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Wow! isnt that convenient. I assume that was lens only, not the > entire assembly? > > Now if i remember my optics correct, when using the light source > method, i should shine the light through the plano side... not the > convex side? Hopefully i can find a postal scale somewhere in the > theatre.. if not, looks like I will have to play burn-the-ant to > figure these guys out. If you have the complete assembly, there is only the plano side. The convex sides are within the assembly. The focal lengths are for the entire assembly, not individual lenses. I don't know how testing them one lens at a time will affect the focal length. If you have a working 6 x 9, by all means set it up as a test unit and swap in lens tubes to see which will match the beam angle and sharpness of your test unit. Steve L. -- Stephen Litterst Technical Supervisor Ithaca College, Theatre Arts 607.274.3947 slitterst [at] ithaca.edu ------------------------------ Date: Mon, 22 May 2006 11:32:41 -0400 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1958773884.20060522113241 [at] tcon.net> Subject: Re[2]: Altman Lens identification In-Reply-To: References:

Howdy ! Monday, May 22, 2006, Jason Cowperthwaite wrote: > What would be the effect of putting the wrong lens assy. in the > wrong body? The lens tubes are sized for specific focal lengths. If you put a mismatched lens or lens pair in a lens tube, you won't be able to get a sharp-edged beam. It is sort of like being an Olde Pharte like me and not having arms long enough to read the little numbers on my crossword puzzle. Why Yes. As a matter of fact I DID learn that the hard way.... Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com Running THE BAT! Natural e-mail system v.3.65.03 mailto:Lamplighter [at] tcon.net ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: Lamplighter [at] tcon.net ('Frank E. Merrill') Subject: RE: Stand-alone Lights Date: Mon, 22 May 2006 11:33:18 -0400 Message-ID: <001601c67db5$0d5a92b0$6501a8c0 [at] Dell> In-Reply-To: Keeping in line with my belief in supporting local vendors -- and with = all due respect to Frank Merrill (and the other fine vendors and their = customers on this list), if I were in Cleveland, TX, I would certainly buy (as I = did for many years) from Stagelight in Houston. Excellent service. I had = an entire dimming system (not provided by them) fry at 3PM one day. They brought out a temporary system, helped install it, and that night's = preview went up only 30 minutes late. ------------------------------ Subject: Simple set shows (was RE: Stand-alone Lights) Date: Mon, 22 May 2006 11:44:40 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9C79 [at] exchange.rmwc.edu> From: "Paul Schreiner" Ahh, to have the opportunity and the funding to be able to start with a Clean Slate...*sigh* > So, we are working out of an existing movie house and > will be playing Matinee performances until we are able > to raise capital. We will be doing shows with little > to no royalties and a portable set or NO set. (any > suggestions are helpful). Just a few quick ones that I've done off the top of my head... Two Rooms by Lee Blessing The Dining Room by A. R. Gurney (can be done very convincingly with nothing but the floor to define the room, and the table & sideboard) Laughing Wild by Christopher Durang (haven't actually done this, but I'm pushing for it some day) Waiting For Godot by Samuel Beckett (A country road. A tree. Evening.) On The Verge by Eric Overmeyer Much of the Shakespeare comedic canon can be done very simplistically. Truth be told, in a lot of ways you're only limited by the designers' imaginations... ------------------------------ Message-ID: <3eb8da960605220858r76d056f7n57bdd2a55298be00 [at] mail.gmail.com> Date: Mon, 22 May 2006 11:58:34 -0400 From: "Jason Cowperthwaite" Subject: Re: Stand-alone Lights In-Reply-To: References:

So since budget is of concern to you, may I suggest looking at www.usedlighting.com? I was able to score used source 4's for about $150 lower than the cheepest i could find for new, and the most maintenance they needed was a good cleaning and replacing one t-knob. Not too shabby. They sell off Phase 4's rental stock (IIRC), and also consign items for other groups. My one experience w/ them was good, but since it was only time I used them, I would hope other people would be able to chime in on their opinions of the place... good or bad. Hope this helps, Jason Cowperthwaite On 5/22/06, Jo Vandver wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Well, my location IS in Cleveland Texas. That is > about 50 miles North (1 hr) of Houston. (77327) > > We are a brand new theatre. I started in February of > THIS year and the community is so hungry for this that > it has just taken off like wild fire. I didn't expect > to hold a production until the end of the year, but we > just finished our first "variety fundraiser" this past > weekend. > > So, we are working out of an existing movie house and > will be playing Matinee performances until we are able > to raise capital. We will be doing shows with little > to no royalties and a portable set or NO set. (any > suggestions are helpful). > > Then we will either build (my husband builds homes) or > purchase an existing building OR...... our town is > building a City Convention Center that will be ready > next spring that I am going to propose to City Council > that we become the Resident Theatre to! > > So, right now, all I really need is portable, stand > alone lighting and portable, PA systems as well. So, > we can be our own "traveling show". > > We have sponsors that I can take a budget to, but I > just need to find out what we need, who to get it from > and how much it costs. Lol. > > Im not asking for too much am I? Lol. > > Jo Vandver > Liberty County Playhouse > > > --- "Frank E. Merrill" wrote: > > > For info, archives & UNSUBSCRIBE, see > > > > --------------------------------------------------- > > > > Howdy ! > > > > Monday, May 22, 2006, Jo Vandver wrote: > > > > > Does anyone know of any websites or companies that > > have good quality > > > theatrical lighting and sound equipment for > > reasonable pricing? > > > > Pardon me while I raise my hand to volunteer for > > that gig.... > > > > The above shameless plug aside, it is difficult to > > properly assess > > such a query and effectively respond because, > > probably out of my own > > ignorance, I don't know Jo Vandver and thereby don't > > know from what > > part of the world such query arises. Noting Jo's > > e-mail address, I > > googled "Liberty County Playhouse" and discovered > > one in Cleveland, > > Texas, although I don't know if that is the venue > > needing lighting and > > sound equipment. I would quite naturally be pleased > > to include mine > > in a proposal among others if the Liberty County > > Playhouse in Texas > > were to purchase equipment, but if equipment is > > being rented, > > regardless how favorable my rental rates would be, > > the additional cost > > of shipping from Indianapolis would disqualify my > > proposal from > > consideration. > > > > So I post this request, please: If you are asking > > our group for > > something where shipping costs are involved, please > > help us (well, > > help ME) by letting us know your location. > > > > Best regards, > > Frank E. Merrill > > MERRILL STAGE EQUIPMENT > > Indianapolis > > Established 1946 > > www.merrillstage.com > > > > Running THE BAT! Natural e-mail system v.3.65.03 > > mailto:Lamplighter [at] tcon.net > > > > > > > > > > > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ------------------------------ Message-ID: <4471E50C.1020307 [at] uwosh.edu> Date: Mon, 22 May 2006 11:21:32 -0500 From: Mick Alderson Subject: RE: Help: Fire Curtain Rules & Exceptions Doom responded to me: > That may be fine for you until one incident and court ....believe me, he > said after 368 law suits I have been involved in. The Code is specific and > not for those who pick and choose. Doom And Steve Vanciel wrote: > There is no problem now convincing the leadership that we do need > a safety plan and training for specific, designated, persons every time > the doors are open. Before this incident, the new requirements were > just viewed as another nuisance to put up with. > We also now have an experienced core of congregants who will be > more likely to heed the alarm the next time it is set off. > I can relate a similar incident myself. One January afternoon during the intermission of a matinee the fire alarms went off. (It turned out to be a steam release in an adjancent classroom building.) As TD, I was in my office immediately backstage. I hurried on stage, but as I could find no flames or smoke, I did not direct the crew to drop the fire curtain. I figured it might panic the audience unnecessarily. Then I saw that half the audience was still sitting in their seats. They've been "trained" that most fire alarms are just exercises! So, with a fire alarm buzzing and flashing behind my head, I had to TELL them (in a calm voice) to leave, and directed them to the exits. They didn't want to go unless they HAD to because it was cold outside (Wisconsin in winter, after all). The Front of House staff? Well, the ushers were students who mainly hand out programs, and the faculty supervisor was up front was trying to find out what was going on so we'd know how to handle our patrons. So yes, having a live person to manage a crowd (to say "YES you DO have to leave!") is much preferable to NOT having one. No arguement! But I am ACTUALLY thinking about the pit classes at my Unversity. We have one such in the Theatre Department, "Drama Appreciation". It's a General Education course with 200 or so students that no one wants to teach it, so like a lot of such courses here, it is taught by ad hoc faculty. Megan is part-time and poorly paid, and just out of grad school herself. Now she is actually quite sensible (for an actor/director type ;-)), and would probably handle herself and her class quite well in an emergency, but trained in crowd control? Not! And way too many ad hocs don't even get a contract until a week before the semester begins. When are they supposed to be trained?! My building is closed this summer for asbestos abatement (mostly for insulation on plumbing joints, as it turns out). Facilities will fund big-ticket infrastrucure problems, but put money into personnel? Not hardly! That's a different budget line! Should it be like this? OF COURSE NOT! But I very much doubt our situation is unique or is likely to change soon. I expect we are depressingly typical, and that's where I'm coming from in this discussion. Rather than make Megan into a criminal for doing an impossible job with inadaquate support and compensation, I would MUCH rather the Codes concentrated on solutions involving infastructure (sprinklers and alarms and adaquate and ENFORCED exit rules). I just think these more likely to get done, and can be enforced through periodic inspection by the AHJ. Automatic systems are NOT as good as trained personel, but based on my limited experience and many past discussions on this List are more likely to be there when needed. Delegating responsiblity onto the poor person at point who has the LEAST say in what goes on, but now will have the MOST responsibility in court after a disaster, is NOT a good solution. It will certainly make winning in court AFTER the disaster much easier, but will it save lives? Besides, I'd prefer to meet with Doom socially rather than professionally! ;-) -- Mick Alderson TD, Fredric March Theatre University of Wis. Oshkosh ------------------------------ Date: Mon, 22 May 2006 12:32:05 -0400 From: PatrickMcCreary Subject: REHEARSAL DOORS In-reply-to: Message-id: <6.1.2.0.0.20060522122708.019907c0 [at] incoming.verizon.net> References: Hello, all. We have a new faculty member who has asked me to build him some rehearsal doors for his acting classes. From what he describes, he seems to want a jamb and a valve, that can be moved from place to place. What he describes is a (perhaps) 2 X 4 steel jamb, with foldable jacks, that has wheels on the side so it can be wheel-barrowed from room to room. I have never had anyone ask for such a thing before, and I want to give him what he wants, within reason - anyone seen one of these before? TIA Patrick ------------------------------ In-Reply-To: References: Message-Id: <85917B3A-B49C-44D5-8513-4DDFE36A2B78 [at] cd-romney.com> From: Jason Romney Subject: Re: Sound Levels Date: Mon, 22 May 2006 12:32:24 -0400 On May 20, 2006, at 5:06 PM, Salvatori, Jason wrote: > my Smaart rig is reading 106dB in the > centre of the house. Make sure Smaart is properly calibrated and is measuring at A- Weighting, Slow response. Underneath the dB value in the Smaart window you should see a line that says "SPL: Slow, A weight". If you're still measuring too loud, then you may want to speak with the management about a disclaimer in the lobby or something. _______________________________________________________ Jason Romney Sound Design Instructor - North Carolina School of the Arts Vice Commissioner for Computing Industry - USITT Sound Commission http://www.ncarts.edu/continuingeducation http://www.cd-romney.com ------------------------------ Date: Mon, 22 May 2006 12:36:26 -0400 From: PatrickMcCreary Subject: LEAD TIME In-reply-to: Message-id: <6.1.2.0.0.20060522123220.01b4d4f8 [at] incoming.verizon.net> References:

I'm in the process of prepping a class in production management, and am looking for some specific information. What is the typical lead time for design drawings - how long a period of time do professional houses require (or want) between when the TD gets the designer's drawings and the set goes into the shop? I know there is often a difference between what one wants and what one gets, but I'd like to know what it's supposed to be. Thanks Patrick ------------------------------ Subject: RE: Sound Levels Date: Mon, 22 May 2006 12:40:49 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9C7A [at] exchange.rmwc.edu> From: "Paul Schreiner" > Make sure Smaart is properly calibrated and is measuring at A-=20 > Weighting, Slow response. Underneath the dB value in the Smaart =20 > window you should see a line that says "SPL: Slow, A weight".=20 Actually, IIRC, "C" weighting is closer to human ear response than "A" weighting is... ------------------------------ Date: Mon, 22 May 2006 13:03:48 -0400 Subject: Re: Sound Levels From: Bruce Purdy Message-ID: In-Reply-To: > Actually, IIRC, "C" weighting is closer to human ear response than "A" > weighting is... True, but as it was explained to me, 'a' is less sensitive to the thumping low sounds (Drums, Bass etc.). A 100db 'c' limit would be completely unacceptable to rock bands, and especially Rap / Hip Hop. I'd just as soon not deal with those concerts anyway, but since it's part of the job...... That's why 'a' weighted appears to be the "Standard" even though - as you say - 'c' weighting is more like your actual hearing range. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <2516.205.215.253.226.1148317613.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Mon, 22 May 2006 10:06:53 -0700 (PDT) Subject: Re: Taiko Drums From: "Bill Nelson" >> Hm. It has been a while since I have done SPL calculations, but I seem >> to >> recall that the level increases by 3 dB when you halve the distance. >> >> If that is the case, the 100 dB at 100 feet would be 103 dB at 35 feet, >> 106 dB at 17.5 feet and 109 dB at about 8 feet. > > Is this the new math they keep talking about? Half of 100 is now 35? Oops, sorry. I had only 2 hours of sleep in the 24 hours prior to that posting. The center of house position to which I was referring was 70 feet distant. It should have read "100 dB at 70 feet". Bill ------------------------------ Date: Mon, 22 May 2006 13:07:31 -0400 Subject: Re: Metamorphoses Pool Message-ID: In-Reply-To: From: "Benjamin G. Stickels" Our pool was 14' by 24', held 2400 gallons, and went from a 8' section that was 4" deep that sloped down to a smaller section that was 18". We did our production in thrust, and were able to hide a 'warming booth' back stage. Basically a frame covered in black plastic with a heater ducted into it so the actors could warm up/dry off a little when they weren't needed on stage. If the audience is anywhere close (our first row was about 4' or so), towels for the first row patrons. -- Benjamin G. Stickels Digital Media Production Assistant Multi-Media Room Technician Western Michigan University Benjamin.Stickels [at] gmail.com >> >> Question for those who have done Metamorphoses: How big and how deep was >> your pool? Any advice? (I've read the threads about filtering and >> heating.) > ------------------------------ Message-ID: <008901c67dc3$7f4682e0$6401a8c0 [at] amd2200> From: "Idaho Scenic & Rigging" References: Subject: Re: Altman Lens identification Date: Mon, 22 May 2006 11:16:42 -0600 OK I'll give ya that you just happen to be cleaning the instruments. an admiral occupation... but do you just happen to have a postal scale sitting there? \g/ Rob't ----- Original Message ----- From: "Steve Larson" Subject: Re: Altman Lens identification > Just happen to be cleaning instruments: > > 6 x 9 lens - 1 pound 10.4 oz > 6 x 12 lens - 1 pound 4.8 oz > 6 x 16 lens - 1 pound .6 oz > > Dat help? > > Steve ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <471.10bd838.31a34d5d [at] aol.com> Date: Mon, 22 May 2006 13:22:37 EDT Subject: Re: Taiko Drums In a message dated 22/05/06 00:02:42 GMT Daylight Time, doomster [at] worldnet.att.net writes: > Because I "came out" late in life and as such didn't really experience > the club side of things I had hearing that extended up to the point that > I could hear the high pitched whistle of flyback transformers in video > monitors. All it took was a few trips to a loud gay club and I > instantly kissed goodbye to the upper end of my hearing spectrum. I > simply couldn't hear the video monitors whistle any more. When you are surrounded by them all day at work, your brain just tunes them out. It is a very narrow notch filter, because you can still hear one that has lost lock. Frank Wood ------------------------------ Date: Mon, 22 May 2006 13:24:45 -0400 Subject: Re: Altman Lens identification From: Steve Larson Message-ID: In-Reply-To: The tubes that the lens assy fits into measures as such: 6 x 9 - 5 1/2" 6 x 12 - 7 1/2" 6 x 16 - 10" You wouldn't like the result as mentioned by other posters. However, by removing the four screws you can put different tubes on the same body. If you have 6 x 9 and 4.5 x 6 lens assemblies you can switch those around. I occasionally will switch tubes and lens assemblies on some of my 6 x 12's to make 4.5 x 6's- depending on the need. Steve > From: "Jason Cowperthwaite" > Reply-To: "Stagecraft" > Date: Mon, 22 May 2006 11:06:58 -0400 > To: "Stagecraft" > Subject: Re: Altman Lens identification > oh... and another thought... What would be the effect of putting the > wrong lens assy. in the wrong body? > > Jason > ------------------------------ Date: Mon, 22 May 2006 13:25:45 -0400 Subject: Re: Altman Lens identification From: Steve Larson Message-ID: In-Reply-To: I do in the front office. That's how I know what they weigh. We use a postage machine up there. Steve > From: "Idaho Scenic & Rigging" > Reply-To: "Stagecraft" > Date: Mon, 22 May 2006 11:16:42 -0600 > To: "Stagecraft" > Subject: Re: Altman Lens identification > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > OK > > I'll give ya that you just happen to be cleaning the > instruments. > an admiral occupation... > but do you just happen to have a postal scale sitting there? > > \g/ > > Rob't > > > ----- Original Message ----- > From: "Steve Larson" > Subject: Re: Altman Lens identification > > > >> Just happen to be cleaning instruments: >> >> 6 x 9 lens - 1 pound 10.4 oz >> 6 x 12 lens - 1 pound 4.8 oz >> 6 x 16 lens - 1 pound .6 oz >> >> Dat help? >> >> Steve > ------------------------------ Date: Mon, 22 May 2006 10:28:20 -0700 From: Jerry Durand Subject: More uses for LEDs Message-id: <7.0.1.0.0.20060522102814.01ee8d40 [at] interstellar.com> Message-id: <7.0.1.0.0.20060522102435.01ee1560 [at] interstellar.com> Video wheels: http://customwheel.com/custom_wheels/pimpstar.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: <3eb8da960605221029o25ab8bbbv79cd7ffed00ae085 [at] mail.gmail.com> Date: Mon, 22 May 2006 13:29:43 -0400 From: "Jason Cowperthwaite" Subject: Re: Altman Lens identification In-Reply-To: References:

No clue... they do have a props storage ;) Just saying its worth a try.. you never know. On 5/22/06, Idaho Scenic & Rigging wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > OK > > I'll give ya that you just happen to be cleaning the > instruments. > an admiral occupation... > but do you just happen to have a postal scale sitting there? > > \g/ > > Rob't > > > ----- Original Message ----- > From: "Steve Larson" > Subject: Re: Altman Lens identification > > > > > Just happen to be cleaning instruments: > > > > 6 x 9 lens - 1 pound 10.4 oz > > 6 x 12 lens - 1 pound 4.8 oz > > 6 x 16 lens - 1 pound .6 oz > > > > Dat help? > > > > Steve > > ------------------------------ In-Reply-To: References: Message-Id: <3BD4E72D-9177-448C-B52C-EB1A0D056FE8 [at] cd-romney.com> From: Jason Romney Subject: Re: Sound Levels Date: Mon, 22 May 2006 13:13:07 -0400 On May 22, 2006, at 12:40 PM, Paul Schreiner wrote: > Actually, IIRC, "C" weighting is closer to human ear response than "A" > weighting is... Well, that depends on the SPL. At an average SPL less than 100 dB, A- weighting is more appropriate to human hearing. At an average SPL above 100 dB, B-weighting is more appropriate to human hearing. Since most cheaper SPL meters don't offer B-weighting, C ends up being closer at higher levels. None of this really matters in this situation, though, because the OSHA standard specifies "dB SPL A-weighting Slow response" for their requirements at all levels. If the OSHA requirement is the standard that the theatre is adhering to, then the measurements need to be taken at that setting. _______________________________________________________ Jason Romney Sound Design Instructor - North Carolina School of the Arts Vice Commissioner for Computing Industry - USITT Sound Commission http://www.ncarts.edu/continuingeducation http://www.cd-romney.com ------------------------------ Message-Id: <6.1.2.0.2.20060522133400.02c210d8 [at] mail.comcast.net> Date: Mon, 22 May 2006 13:34:57 -0400 From: Kate Daly Subject: au revoir In-Reply-To: References: Packing for vacation - see y'all when we return. -Kate ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <31d.4ce59fc.31a350c5 [at] aol.com> Date: Mon, 22 May 2006 13:37:09 EDT Subject: Re: Help: Fire Curtain Rules & Exceptions In a message dated 22/05/06 04:42:38 GMT Daylight Time, StevevETTrn [at] aol.com writes: > There is no problem now convincing the leadership that we do need > a safety plan and training for specific, designated, persons every time > the doors are open. Before this incident, the new requirements were > just viewed as another nuisance to put up with. > We also now have an experienced core of congregants who will be > more likely to heed the alarm the next time it is set off. If, of course, they can hear it over the choir. If the AHJ get to hea of this incident, they will probably b back insisting on louder alarms and enunciators. Crowd control after an evacuation is a problem, but one guy with a bull-horn is probably the best solution. Frank Wood ------------------------------ Message-ID: <009a01c67dc6$f11464c0$6401a8c0 [at] amd2200> From: "Idaho Scenic & Rigging" References:

Subject: Re: Stand-alone Lights Date: Mon, 22 May 2006 11:41:22 -0600 >----- Original Message ----- >From: "Jon Ares" > Depends on where you are.... Portland, OR USA's 'full service' supply house... I live in Idaho .not the largest theater market Not having dealt with PA or Merrill I can't comment. When I was doing installs on my own 10+ years ago I went with: Quality, price, availability, guarantee of on time. BMI out of New York, was almost always the consistent winner. including shipping, they beat the Northwest Suppliers hands down. I don't order near the equipment I did then, but BMI is still on the bid list and they sold me the non-rigging supplies for last years tour. And as the standard disclaimer goes: I don't get a kickback for the testimonial. Rob't ------------------------------ Message-ID: <2568.205.215.253.226.1148320003.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Mon, 22 May 2006 10:46:43 -0700 (PDT) Subject: Re: Stand-alone Lights From: "Bill Nelson" > Depends on where you are.... Portland, OR USA's 'full service' supply > house has lower customer approval ratings than George Bush right now. The > stories I could tell... but that would be mean. I agree with Jon. If you are in the PNW and need to purchase from Oregon or Washington - use PTNA. At least they return phone calls. Bill ------------------------------ Subject: Elevator Doors Date: Mon, 22 May 2006 10:53:12 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C278 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Hi all - I need to cobble together a rig to (manually) operate a set of = old-fashioned elevator doors for "Casey, Crime Photographer". Does = anyone have a nifty design for pulleys and lines to make the doors open = and close? Randy Storms rstorms [at] bham.wednet.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <402.2ede9c2.31a35696 [at] aol.com> Date: Mon, 22 May 2006 14:01:58 EDT Subject: Re: Fire Curtain Rules & Exceptions In a message dated 22/05/06 12:54:55 GMT Daylight Time, bill-conner [at] att.net writes: > We have similar regulations and, in fact, I pushed a requirement into the > Life Safety Code that the means of egress be checked and a written report > made before each event. None-the-less, one finds many that are blocked or > have things stored in them. Stage managers will do it, always. They just want things out of their way, so as to be able to run the show, and ignore the possible consequences. We are especially vulnerable, as we sometimes work in-the-round. The theatre was designed for this, and there are a couple of fire exit doors backstage, at either end of a long corridor running behind the cyclorama, which is a curved 13" brick wall. Trying to keep this reasonably clear is a bit like painting the Forth Bridge. It's quite wide, so the odd piano can be tolerated. Not, however, a dining table and six chairs! Since I will be in London in June, and touring > a number of places, I'll be interested to see that your regulations are > always adhered to and that no one ever blocks the means of egress. I shall be in France, which is a pity. I should have been happy to meet you, and to have shown you round. Perhaps some other time: let me know. In some London theatres, I often use the fire exit stairs, because they are usually a lot less crowded than the main stairs. I have never found an obstruction. This may be because they always some way from the backstage areas, as a rule. If I did, I should certainly seek out the House Manager. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Fire Curtain Rules & Exceptions Date: Mon, 22 May 2006 14:06:31 -0400 Message-ID: <005601c67dca$745dfbe0$6501a8c0 [at] Dell> In-Reply-To: > Stage managers will do it, always. They just want things out > of their way, so > as to be able to run the show, and ignore the possible > consequences. Not any professional stage manager I know. ------------------------------ Message-ID: <3eb8da960605221115w2dd95ac3q4763af99d1bdcc3 [at] mail.gmail.com> Date: Mon, 22 May 2006 14:15:59 -0400 From: "Jason Cowperthwaite" Subject: Re: More uses for LEDs In-Reply-To: References: Considering that neon running lights are illegal in many if not most jusridictions, I wonder how long its going to take for these to get outlawed? But you gotta admit... pretty sweet. Jason Cowperthwaite On 5/22/06, Jerry Durand wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Video wheels: http://customwheel.com/custom_wheels/pimpstar.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: <2631.205.215.253.226.1148321782.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Mon, 22 May 2006 11:16:22 -0700 (PDT) Subject: Re: Help: Fire Curtain Rules & Exceptions From: "Bill Nelson" > If, of course, they can hear it over the choir. If the AHJ get to hea of > this incident, they will probably b back insisting on louder alarms and > enunciators. One local venue has both the horns and flashing lights. The business where I worked for 24 years had the same. Bill ------------------------------ Message-ID: <20060522181920.95400.qmail [at] web82206.mail.mud.yahoo.com> Date: Mon, 22 May 2006 11:19:20 -0700 (PDT) From: Michael Heinicke Subject: Re: More uses for LEDs In-Reply-To: --- Jason Cowperthwaite wrote: > > But you gotta admit... pretty sweet. Pretty sweet until you see the price! Cheapest set costs more than my full size truck is worth. $12K for a set? Mike Heinicke ------------------------------ Date: Mon, 22 May 2006 11:24:23 -0700 From: Jerry Durand Subject: Re: More uses for LEDs In-reply-to: Message-id: <7.0.1.0.0.20060522112243.01f196b0 [at] interstellar.com> References:

At 11:15 AM 5/22/2006, Jason Cowperthwaite wrote: >Considering that neon running lights are illegal in many if not most >jusridictions, I wonder how long its going to take for these to get >outlawed? Depends on if the sheriff's kid has a set. :) >But you gotta admit... pretty sweet. Now, when do they add the live video feed? :) Play movies going down the street (first x-rated wheels in town). Or, better, show video from a camera on the other side of the car, like you were looking through the car. :) -- 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: Mon, 22 May 2006 13:40:14 -0500 Subject: Re: Stand-alone Lights From: Greg Persinger Message-ID: In-Reply-To: Jo, Contact they team at Stagelight in Houston. They are great people to deal with. Greg Persinger on 5/22/06 10:26 AM, Jo Vandver at libertycountyplayhouse [at] yahoo.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Well, my location IS in Cleveland Texas. That is > about 50 miles North (1 hr) of Houston. (77327) > > We are a brand new theatre. I started in February of > THIS year and the community is so hungry for this that > it has just taken off like wild fire. I didn't expect > to hold a production until the end of the year, but we > just finished our first "variety fundraiser" this past > weekend. > > So, we are working out of an existing movie house and > will be playing Matinee performances until we are able > to raise capital. We will be doing shows with little > to no royalties and a portable set or NO set. (any > suggestions are helpful). > > Then we will either build (my husband builds homes) or > purchase an existing building OR...... our town is > building a City Convention Center that will be ready > next spring that I am going to propose to City Council > that we become the Resident Theatre to! > > So, right now, all I really need is portable, stand > alone lighting and portable, PA systems as well. So, > we can be our own "traveling show". > > We have sponsors that I can take a budget to, but I > just need to find out what we need, who to get it from > and how much it costs. Lol. > > Im not asking for too much am I? Lol. > > Jo Vandver > Liberty County Playhouse > > > --- "Frank E. Merrill" wrote: > >> For info, archives & UNSUBSCRIBE, see >> >> --------------------------------------------------- >> >> Howdy ! >> >> Monday, May 22, 2006, Jo Vandver wrote: >> >>> Does anyone know of any websites or companies that >> have good quality >>> theatrical lighting and sound equipment for >> reasonable pricing? >> >> Pardon me while I raise my hand to volunteer for >> that gig.... >> >> The above shameless plug aside, it is difficult to >> properly assess >> such a query and effectively respond because, >> probably out of my own >> ignorance, I don't know Jo Vandver and thereby don't >> know from what >> part of the world such query arises. Noting Jo's >> e-mail address, I >> googled "Liberty County Playhouse" and discovered >> one in Cleveland, >> Texas, although I don't know if that is the venue >> needing lighting and >> sound equipment. I would quite naturally be pleased >> to include mine >> in a proposal among others if the Liberty County >> Playhouse in Texas >> were to purchase equipment, but if equipment is >> being rented, >> regardless how favorable my rental rates would be, >> the additional cost >> of shipping from Indianapolis would disqualify my >> proposal from >> consideration. >> >> So I post this request, please: If you are asking >> our group for >> something where shipping costs are involved, please >> help us (well, >> help ME) by letting us know your location. >> >> Best regards, >> Frank E. Merrill >> MERRILL STAGE EQUIPMENT >> Indianapolis >> Established 1946 >> www.merrillstage.com >> >> Running THE BAT! Natural e-mail system v.3.65.03 >> mailto:Lamplighter [at] tcon.net >> >> >> >> >> > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ------------------------------ Message-Id: <200605221844.k4MIi4ZW013523 [at] ns-omrbm6.netsolmail.com> From: "Steve Jones" Subject: RE: More uses for LEDs Date: Mon, 22 May 2006 13:42:30 -0500 Organization: Plaza Theatre In-Reply-To: Sweet until you see the price tag starts at $12,500.00 YIKES! Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 834-8147 http://www.glasgowplazatheatre.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jason Cowperthwaite Sent: Monday, May 22, 2006 1:16 PM To: Stagecraft Subject: Re: More uses for LEDs For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Considering that neon running lights are illegal in many if not most jusridictions, I wonder how long its going to take for these to get outlawed? But you gotta admit... pretty sweet. Jason Cowperthwaite On 5/22/06, Jerry Durand wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Video wheels: http://customwheel.com/custom_wheels/pimpstar.html > > > -- > Jerry Durand, Durand Interstellar, Inc. www.interstellar.com > 219 Oak Wood Way, Los Gatos, California 95032-2523 USA > tel: +1 408 356-3886, USA toll free: 1 866 356-3886 > Skype: jerrydurand > > ------------------------------ Message-ID: Date: Mon, 22 May 2006 13:50:21 -0500 From: "Patrick Immel" Subject: Re: Elevator Doors In-Reply-To: References: > Hi all - I need to cobble together a rig to (manually) operate a set of o= ld-fashioned elevator doors for "Casey, Crime Photographer". Does anyone = have a nifty design for pulleys and lines to make the doors open and close? > > Randy Storms Hey Randy, Unfortunately I don't have any pearls of wisdom, but if you do figure something out...please share! Best of luck, Pat --=20 Patrick Immel Lighting and Scenic Designer Northwest Missouri State University patrickimmel.com ------------------------------ Message-ID: <004701c67dd1$dd251670$0e00a8c0 [at] Nogle> From: "Nigel Worsley" References: Subject: Re: Fire Curtain Rules & Exceptions Date: Mon, 22 May 2006 19:57:55 +0100 "Bill Conner" wrote: > Since I will be in London in June, and touring > a number of places, I'll be interested to see that your regulations are > always adhered to and that no one ever blocks the means of egress. If you want to check up on us, you are welcome, but I can save you a trip: The two performance spaces are usually OK, but unfortunately the same can't be said about the rehearsal rooms. About 90% of the time, I am the person who locks up the site at the end of the evening. A lot of the time, the rehearsal rooms are let out to professional companies during the day, so the props and furniture have to be cleared from the middle of the room to make way for them. All too frequently that nice empty space in front of the fire door is chosen! Needless to say, I always move these obstructions so that the room is left in a safe condition for the following morning. When the fire alarm was installed at the end of 2004 it went off about 6 times in the first month. Two of these where real fires, where some idiot smoker ( which seems to be nearly all of them ) caused a smouldering bin fire by trying to hide the evidence of smoking where they had been told that it was no longer permitted. The rest where caused by the smoking itself, except for when the detector immediately above the bar's glass washing machine went off. This is right next to an external door which was open at the time, letting cold air in. The machine was opened at the end of the cycle, sending steam and warm air straight into the detector, which saw 'smoke' and a rapid rise in heat ( although not to a high temperature ) and decided that it was a fire. Dumb! I sometimes wonder if anybody else at the theatre really cares about safety. Nigel Worsley ------------------------------ End of Stagecraft Digest #817 *****************************