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Subject: Stagecraft Digest #1091
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #1091

 1. Re: Turnbuckles on chain hoist lines
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 2. Re: Turnbuckles on chain hoist lines
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 3. Theatre and PAC architects
    by "Bill Conner" <bill-conner [at] att.net>
 4. Re: Sussing Sound Buzz when lighting might be the culprit?
    by Al Fitch <fitchal [at] yahoo.com>
 5. Re: lighting board specs
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
 6. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Alf Sauve" <alf.sauve [at] mindspring.com>
 7. Re: Independent Lights in the ETC Express Board
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
 8. Re: Theatre and PAC architects
    by Stephen Rees <stephen.rees [at] fredonia.edu>
 9. Re: Theatre and PAC architects
    by KEITH ARSENAULT <iaeg [at] aol.com>
10. Re: Independent Lights in the ETC Express Board
    by "Steven Haworth" <sjh [at] idm.com>
11. Re: Chopsaw and safety
    by "Davis, Thomas J" <TJDavis [at] westshore.edu>
12. Re: Theatre and PAC architects
    by "Ed Hills" <ed [at] designersfortheatre.com>
13. Re: lighting board specs
    by "Steven Haworth" <sjh [at] idm.com>
14. Scrim Question
    by "Maurice Moe Conn" <t8rtekguy [at] hotmail.com>
15. Re: lighting board specs
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
16. Re: Sussing Sound Buzz when lighting might be the culprit?
    by Al Fitch <fitchal [at] yahoo.com>
17. Re: Osram EHG lamps vs. Altman 360Q sockets
    by Roy Harline <R.Harline [at] texasscenic.com>
18. Re: Sussing Sound Buzz when lighting might be the culprit?
    by Dorian Kelly <dorian [at] essex.ac.uk>
19. Re: Theatre and PAC architects
    by Philip Johnson <Philip.Johnson [at] tamucc.edu>
20. Stephens
    by b Ricie <b_ricie [at] yahoo.com>
21. Re: Sussing Sound Buzz when lighting might be the culprit?
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
22. Theatrical Catalog Sales Position
    by Tony Tambasco <tambascot [at] yahoo.com>
23. Re: Independent Lights in the ETC Express Board
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
24. Re: Independent Lights in the ETC Express Board
    by "John Penisten" <john.penisten [at] gmail.com>
25. Re: Stephens
    by "Michael Finney" <mfinney [at] thinkwelldesign.com>
26. Re: Chopsaw and safety
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
27. Re: Stephens
    by KEITH ARSENAULT <iaeg [at] aol.com>
28. Re: Turnbuckles on chain hoist lines
    by "RD" <doomster [at] worldnet.att.net>
29. Re: Turnbuckles on chain hoist lines
    by "RD" <doomster [at] worldnet.att.net>
30. Re: Independent Lights in the ETC Express Board
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
31. Re: Independent Lights in the ETC Express Board
    by "John Penisten" <john.penisten [at] gmail.com>
32. Roscolux 119
    by Paul Marsland <paulbmarsland [at] yahoo.com>
33. Re: Turnbuckles on chain hoist lines
    by Jerry Durand <jdurand [at] interstellar.com>
34. Re: Roscolux 119
    by "Kevin Lowry" <kjlowry [at] gmail.com>
35. Re: lighting board specs
    by Steve Bailey <Bailey [at] BrooklynCenter.com>
36. Re: lighting board specs
    by Steve Bailey <Bailey [at] BrooklynCenter.com>
37. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Mitch Hefter" <stagecraft03 [at] DesignRelief.com>
38. Re: Chopsaw and safety
    by "Davis, Thomas J" <TJDavis [at] westshore.edu>
39. Re: Does anyone know?
    by seanrmc [at] earthlink.net
40. Re: Chopsaw and safety
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
41. Re: Turnbuckles on chain hoist lines
    by "Bill Nelson" <billn [at] peak.org>
42. Re: Theatre and PAC architects
    by "Peter Scheu" <peter [at] scheuconsulting.com>
43. Re: Theatre and PAC architects
    by KEITH ARSENAULT <iaeg [at] aol.com>
44. Re: Theatre and PAC architects
    by Philip Johnson <Philip.Johnson [at] tamucc.edu>
45. Re: lighting board specs
    by "Jason Salvatori" <theatretd [at] gmail.com>
46. Re: Theatre and PAC architects
    by "Peter Scheu" <peter [at] scheuconsulting.com>
47. Re: Theatre and PAC architects
    by KEITH ARSENAULT <iaeg [at] aol.com>
48. Re: Theatre and PAC architects
    by "Peter Scheu" <peter [at] scheuconsulting.com>
49. Re: Turnbuckles on chain hoist lines
    by "Bill Nelson" <billn [at] peak.org>
50. Re: Chopsaw and safety
    by "Bill Nelson" <billn [at] peak.org>
51. Re: Turnbuckles on chain hoist lines
    by "Brian Munroe" <bpmunroe [at] gmail.com>
52. Re: Scrim Question
    by "Bill Nelson" <billn [at] peak.org>
53. Re: Turnbuckles on chain hoist lines
    by "Delbert Hall" <delbert.hall [at] gmail.com>
54. New tool
    by J Burch <jeanburch_td [at] yahoo.com>
55. Re: Theatre and PAC architects
    by "Delbert Hall" <delbert.hall [at] gmail.com>
56. Re: Independent Lights in the ETC Express Board
    by "Bill Nelson" <billn [at] peak.org>
57. Re: Theatre and PAC architects
    by "Sam Fisher" <Sam [at] FisherTheatrical.com>
58. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Occy" <OneOccy [at] hotmail.com>
59. Re: Turnbuckles on chain hoist lines
    by "RD" <doomster [at] worldnet.att.net>
60. Re: Theatre and PAC architects
    by Philip Johnson <Philip.Johnson [at] tamucc.edu>
61. Re: Roscolux 119
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>

*** 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.

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

Date: Mon, 15 Jan 2007 07:14:58 -0500
Subject: Re: Turnbuckles on chain hoist lines
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C1D0DA72.18183%bill [at] sapsis-rigging.com>
In-Reply-To: <list-41234713 [at] prxy.net>

The domestic turnbuckles are fine.  The imported ones that I sell are the
best that I can find but I still do not load rate them.  I only load rate
the domestic ones.

I have always disliked turnbuckles and no one ever has given me a reason to
change my mind.

Bill S.
ETCP Certified Rigger - Theatre
ETCP Council Member
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile



On 1/15/07 1:29 AM, "Jon Ares" <jonares [at] hevanet.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Unka Bill sez:
>>  Most turnbuckles are crap.
>> 
> 
> 
> Hopefully not the ones you sell...?  Cuz I own a bunch.....
> 
>      - Jon Ares
> www.hevanet.com/acreative 



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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Turnbuckles on chain hoist lines
Date: Mon, 15 Jan 2007 07:16:06 -0500
Message-ID: <000201c7389e$eeffd3c0$6501a8c0 [at] Dell>
In-Reply-To: <list-41244595 [at] prxy.net>

 
> I have always disliked turnbuckles and no one ever has given 
> me a reason to change my mind.

I like them because "turnbuckle" is such a cool Dickensian word.

Howzzat?


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

Message-ID: <00b001c738a6$9ce3cd50$6a01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Theatre and PAC architects
Date: Mon, 15 Jan 2007 07:11:04 -0600

I would be less concerned about just the architect's experience in arts and 
theatres but rather the whole team - architects, engineers, theatre 
consultant, and acoustic consultant.  Some of the best results of projects I 
have worked on included an architect that had little or no theatre 
experience.  They did bring good communication skills, a willingness to 
listen, being dedicated to serving the client, and good design.  At the end 
of the day, the owner group that will be working with the architect needs to 
be comfortable with them.  They should share a lot of box lunches and time 
together over the course of the project.  It should be a positive, 
memorable, experience for all involved.

Bill Conner ASTC 


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

Date: Mon, 15 Jan 2007 05:32:59 -0800 (PST)
From: Al Fitch <fitchal [at] yahoo.com>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
In-Reply-To: <list-41227883 [at] prxy.net>
Message-ID: <263805.78563.qm [at] web84015.mail.mud.yahoo.com>

My dilemma is that three weeks ago we did a musical
and rented 9-10 wireless.  The company I rented from
came in and used our cables to the speakers, added a
sub-mixer and a pair of FOH speakers on stands (I
recently bought the same pair from that company to
replace an old pair of JBL loudspeakers)

There was no hum or buzz in the system.

I did the current install myself.  I could be using a
wrong cable to hook  up the sub-mixer for the
orchestra.  Does Bal/UnBal TRS cable matter when
hooking up an instrument to a DI?

The Musical Dir has an 8 channel mixer that is
connected via an XLR cable to my last available input.
 His Keyboard is connected via a DI to another input.
Does Bal/UnBal TRS cable matter when hooking up an
instrument to a DI?

I know that it gets quieter (slightly) when his mixer
is off.  But the lights make up for it when I have a
bright cue on stage or a lot of FOH lights up in a
cue.

Because of the hum/buzz, I'm holding back on the
master levels on the main board which in turn limits
the output of the lead's wireless mic.  It has not
been a fun weekend.  One more show to go tonight and I
have to track down the overall cause before
March...and fix it.


--- Jerry Durand <jdurand [at] interstellar.com> wrote:

> For info, archives & UNSUBSCRIBE, see
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> On Jan 14, 2007, at 5:46 PM, Al Fitch wrote:
> 
> > What steps have you taken to kill the buzz?
> 
> 
> Start tracking from one end until you find it. 
> Unplug inputs to the  
> sound board, if things go quiet, you found it.  If
> not, unplug  
> outputs...
> 
> continue until you find it or realize that
> everything is turned off  
> and it's really the fire alarm PA system.
> 
> 


Be Kind, Smile and Have Fun.

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

Date: Mon, 15 Jan 2007 09:24:28 -0500
Subject: Re: lighting board specs
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Cc: chanlights [at] exchange.ubc.ca
Message-ID: <C1D0F8CC.15AF6%Herrick [at] HGLightingDesign.com>
In-Reply-To: <28007313.1168844837513.JavaMail.root [at] m41>

Andrew,

Yes you should go to USITT and put your hands on stuff.

However I think you should look at the ETC EOS. It does NOT have enough
handles, however it does have a ton of "direct selects" that can be your
handles and as you select them you just need to run their levels up. I
forget if this is a dial or a handle...

I understand the "crutch" of having tons of handles to run concerts live.
But these seem to be disappearing on many boards that do everything you
describe. Find your local ETC rep and get a demo. I'm sure they'd love to
have you come see it.

Also ask yourself or your students how many handles they really use for
these gigs. Sure you may have 110 lights and they may get set before the
concert, but I bet they also have time to record a few subs. So maybe during
a classical concert they are running the conductor, the keyboards, and a few
solo spots.  For a rock concert I'm sure you've got moving lights ,and
having individual handles would be harder anyway.

_herrick


On 1/14/07 8:56 PM, "Riter, Andrew (Head Ltg)" <chanlights [at] exchange.ubc.ca>
wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> and Question #2:
> 
> I get the buy a new lighting board this summer, and then another one for the
> other space in two years.  Currently we're running the Strand LBX and the
> Strand 430 in the concert hall and black box studio respectively.  We're
> replacing the concert hall board first.

-- 
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



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

Message-ID: <006f01c738b0$a1e7a1a0$0300a8c0 [at] ALFOFFICE>
Reply-To: "Alf Sauve" <alf.sauve [at] mindspring.com>
From: "Alf Sauve" <alf.sauve [at] mindspring.com>
References: <list-41247114 [at] prxy.net>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Mon, 15 Jan 2007 09:18:19 -0500

Al,

I wasn't clear from your first post, where the hum was emanating from, but 
from your last post, I take it the hum is definitely from the speakers, and 
not emanating from the PA/Fire system or a mechanical vibration of the 
building by the HVAC equipment. Of course, since you didn't have the hum 3 
weeks ago, then the first suspect is anything that was changed, moved or 
added.

One thing to consider is an open ground on one of the cables.  It may have 
been okay 3 weeks ago but got disturbed and broken in the reconfiguration.

Disconnecting one component at a time from the mixer back to the speakers, 
as others suggested, should isolate the offending cable.
(If that's the problem.)

Lighting might be the source of the hum, but I wouldn't call it the 
"culprit".

Alf


----- Original Message ----- 
From: "Al Fitch" <fitchal [at] yahoo.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, January 15, 2007 8:32 AM
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> My dilemma is that three weeks ago we did a musical
> and rented 9-10 wireless.  The company I rented from
> came in and used our cables to the speakers, added a
> sub-mixer and a pair of FOH speakers on stands (I
> recently bought the same pair from that company to
> replace an old pair of JBL loudspeakers)
>
> There was no hum or buzz in the system.
>
> I did the current install myself.  I could be using a
> wrong cable to hook  up the sub-mixer for the
> orchestra.  Does Bal/UnBal TRS cable matter when
> hooking up an instrument to a DI?
>
> The Musical Dir has an 8 channel mixer that is
> connected via an XLR cable to my last available input.
> His Keyboard is connected via a DI to another input.
> Does Bal/UnBal TRS cable matter when hooking up an
> instrument to a DI?
>
> I know that it gets quieter (slightly) when his mixer
> is off.  But the lights make up for it when I have a
> bright cue on stage or a lot of FOH lights up in a
> cue.
>
> Because of the hum/buzz, I'm holding back on the
> master levels on the main board which in turn limits
> the output of the lead's wireless mic.  It has not
> been a fun weekend.  One more show to go tonight and I
> have to track down the overall cause before
> March...and fix it.
>
>
> --- Jerry Durand <jdurand [at] interstellar.com> wrote:
>
>> For info, archives & UNSUBSCRIBE, see
>> <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>>
>> On Jan 14, 2007, at 5:46 PM, Al Fitch wrote:
>>
>> > What steps have you taken to kill the buzz?
>>
>>
>> Start tracking from one end until you find it.
>> Unplug inputs to the
>> sound board, if things go quiet, you found it.  If
>> not, unplug
>> outputs...
>>
>> continue until you find it or realize that
>> everything is turned off
>> and it's really the fire alarm PA system.
>>
>>
>
>
> Be Kind, Smile and Have Fun.
> 



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

Date: Mon, 15 Jan 2007 09:31:52 -0500
Subject: Re: Independent Lights in the ETC Express Board
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D0FA88.15AFB%Herrick [at] HGLightingDesign.com>
In-Reply-To: <14907335.1168848310836.JavaMail.root [at] m41>

Huh? Please elaborate your view on this? I think it's innaccurate but I want
to make sure I just didn't mis-read you.

On 1/15/07 2:38 AM, "Bill Nelson" <billn [at] peak.org> wrote:
> 
> On all the boards I have used, the A/B faders control the channel sliders.
> So if you want to be able to update cues on the fly, then the cues must be
> run on the C/D fader pair.
> 
> Bill
> 
> 

-- 
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



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

Date: Mon, 15 Jan 2007 09:34:25 -0500
Subject: Re: Theatre and PAC architects
From: Stephen Rees <stephen.rees [at] fredonia.edu>
Message-ID: <C1D0FB21.5ECC%stephen.rees [at] fredonia.edu>
In-Reply-To: <list-41218034 [at] prxy.net>

May I suggest that while the relationship you form with the architect has to
be a good match to get what you need, the complexity of designing all the
elements of even smaller venues in this day and age often exceed the
capability of a single person in the form of architect to assure that every
T is crossed and I dotted. There needs to be a "fit" between the client and
the architect. 
I'd suggest that while you are seeking the architect, you should also be
seeking a well informed Theatre Consultant as well.  They can be invaluable
and can save loads of time and money and are generally more current with
newer systems and gear, plus have a somewhat clearer crystal ball as to what
might be needed for future expansion 5 - 10 years out.
As competent as the architects have been on a couple of recent projects in
the area, the risks of several very costly mistakes were avoided by having
the TC involved.
There are several on this list and you can check out the American Society of
Theatre Consultants at:

www.theatreconsultants.org



HTH,
Steve Rees


On 1/14/07 3:10 PM, "Barney Simon" <barney [at] JosephCHansen.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In the NJ town where I live, there is a group working to build a PAC.
> They have asked me to look at the introductory proposals from about a
> dozen architects, so they can ask for interviews and another round of
> proposals....
> 
> Any clues what others have looked for?
> 
> On first perusal, I like the ones with mainly/only PAC/theatres (the
> ones that list 100 projects and only 10 are even Arts related I feel I
> want to discount).
> That eliminates about half of them.  Then these seem to fall into three
> catagories:  Local, Regional, Further.  For example, one of the groups
> lists 10-15 projects ALL in NJ or CT; One lists 10-15 projects, no two
> in the same state.  This division I find harder to justify.... Do I want
> a smaller local guy, or someone who has been run out of as many states
> as I have... I have a lot in common with both!
> 
> I plan to start calling theatres next week, but would like to have a
> better idea of what to ask and judge upon.  Any suggestions are most
> appreciated. [I figure it is wrong to choose based upon which one
> promises me the drapery contract]


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

In-Reply-To: <list-41249298 [at] prxy.net>
References: <list-41249298 [at] prxy.net>
Message-Id: <B7782133-18CF-4A28-B25F-1D27EFB9DC22 [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Theatre and PAC architects
Date: Mon, 15 Jan 2007 09:41:57 -0500

friends,

you have heard Delbert Hall , Tracy Nunally and myself comment at  
times on the terribly designed Hillborough Community College  
performing arts facility here in Tampa (this is the one some of the  
lift cables for the single purchase system running through the HVAC  
ductwork )

that building is currently under radical rebuilding ( for more than  
what I would consider "remodeling" or "renovation" )

I understand that there is a consultant involved, , but don't know  
who, , I would be interested in knowing if anyone on the list was  
involved in the re design of this horrific space. Most any change  
will be an improvement.

many thanks in advance,

Keith L Arsenault
International Arts & Entertainment Group
Tampa, Florida
www.iaeginc.com

813 831 3465  office
813 205 0893  cellular
iaeg [at] aol.com




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

Subject: RE: Independent Lights in the ETC Express Board
Date: Mon, 15 Jan 2007 09:04:43 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB0901AAAC71 [at] danube.river.idm.com>
In-Reply-To: <list-41227660 [at] prxy.net>
From: "Steven Haworth" <sjh [at] idm.com>

I like to write a macro or two to control certain groups of work or
house lights by parking them - fast to use, and doesn't mess w/my cues.
=20
>The only way that I know of to take something out of being=20
>written into a
>cue is by putting it in park.

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


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

Subject: RE: Chopsaw and safety
Date: Mon, 15 Jan 2007 10:11:30 -0500
Message-ID: <3CF87682970858499CA56707FB1F092B0347C656 [at] wscc-s-003000.westshore.edu>
In-Reply-To: <list-41190268 [at] prxy.net>
References: <list-41178234 [at] prxy.net> <list-41190268 [at] prxy.net>
From: "Davis, Thomas J" <TJDavis [at] westshore.edu>

Hello all:

I probably am the last person who should pontificate on this, but having
read through all the commentary on this for the last few days, here are
my thoughts, for what they are worth...

"Adequate supervision," it seems to me, means that by definition NO ONE
is operating power tools without safety glasses, without rolling up
their sleeves, without proper instruction.  Clearly, if obvious safety
hazards exist, more supervision is required- or maybe the supervisors
need more training, discipline or supervision themselves.  However,
"supervision" also means that the management, administration, or whoever
is willing to back up the supervisor on safety issues.  All too often in
theater, common sense safety takes a back seat to expedience.  This is
what leads to adjusting lights over the heads of rehearsing actors (and
more than once, someone crawling out on a catwalk with a wrench over the
heads of the audience), or cutting "just a couple pieces" on a saw
without going to the cabinet for safety glasses.  The problem here is
that often as not, there is a director (or someone else over the shop
foreperson's head- and I don't really mean to single out directors, but
you all know one who is like this) that is ordering that something be
done right this second.  Oh, and let me not forget the time I was
threatened with firing for suggesting that putting folding chairs in the
aisle was not really a good idea, even if the show was a sellout.

Students and volunteers are required to take and pass a safety quiz (no
one has ever had to take it more than once).  The quiz is simple, mostly
common sense stuff, but it does put everyone working in the shop or on
stage on record as knowing that they are required to use appropriate
safety equipment and know basic safety procedures.


My syllabus contains the clauses:

Safety Rule #1:
Some of the work done on stage and in the shop is inherently dangerous.
It is of the utmost importance that students are comfortable with the
tasks they are asked to perform. Students should not perform any
function in which they do not have confidence in their own skill, or in
the equipment. Students will not be penalized for fear of heights, saws,
etc.=20

"Dress Code:"
Students are advised to provide suitable clothing for shop and theater
work. This includes:
1.	Clothes that are "paintable" and reasonably close fitting (loose
clothing can become caught on equipment or scenery). Long pants are
preferable to skirts or shorts.  Operators of power tools are to wear
short sleeves or roll sleeves up.
2.	Do not wear loose fitting (ie: long necklace) or expensive
jewelry, remove jewelry when operating power tools.
3.	Shoes should have good traction- work or athletic shoes, and
protect the feet (do not wear sandals, high heels, etc.).
4.    Long hair should be "worn up, tied back or netted to avoid being
caught in moving parts or machines.

Now, before the semester starts in 3 days, I'd better get my butt into
the shop, count the safety glasses and ear plugs, and try organize Ralph
Cramden's closet, oops, sorry, I mean props storage....

Tom Davis


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

Date: Mon, 15 Jan 2007 10:11:25 -0500
From: "Ed Hills" <ed [at] designersfortheatre.com>
Subject: RE: Theatre and PAC architects
In-reply-to: <list-41249528 [at] prxy.net>
Reply-to: <ed [at] designersfortheatre.com>
Message-id: <004901c738b7$7035c090$ed01a8c0 [at] prescott>
References: <list-41249298 [at] prxy.net> <list-41249528 [at] prxy.net>

Hello All-

It's been a while...

"(this is the one some of the  
lift cables for the single purchase system running through the HVAC  
ductwork )"

This is my pet peeve... Build sets say one thing about HVAC, and then the
HVAC contractor comes in and does just about anything they want with
ductwork.  Including not putting a large enough, or high enough, return in
the balcony, boy that was hot.

Ed Hills
Lighting Designer




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

Subject: RE: lighting board specs
Date: Mon, 15 Jan 2007 09:24:51 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB0901AAAC73 [at] danube.river.idm.com>
In-Reply-To: <list-41248866 [at] prxy.net>
From: "Steven Haworth" <sjh [at] idm.com>

Would an Avolites PEARL be a good option here?  IIRC, those boards seem
better set for 'live' running of moving lights than others.  Never used
one, though, so I'm not an authority on 'em!


- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info=20


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

Message-ID: <BAY127-F7C1545C4A1A218BE315C7E0B50 [at] phx.gbl>
From: "Maurice Moe Conn" <t8rtekguy [at] hotmail.com>
Subject: Scrim Question
Date: Mon, 15 Jan 2007 15:28:23 +0000

Anyone know anything about this company and  this New Chameleon™  Theatrical 
Scrim for Set Design.

http://www.studio-productions-inc.com/set_home.html


A former student has asked me about it and I am coming to the best place I 
know for info.

TIA

Moe



Help support Long Reach Long Riders 2006 Charity Ride. For Donation and/or 
Rider information, Check out: www.lrlr.org

_________________________________________________________________
Find sales, coupons, and free shipping, all in one place!  MSN Shopping 
Sales & Deals 
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------------------------------

Date: Mon, 15 Jan 2007 10:31:06 -0500
Subject: Re: lighting board specs
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D1086A.15B0B%Herrick [at] HGLightingDesign.com>
In-Reply-To: <21163813.1168874866660.JavaMail.root [at] m41>

In my experience with the AVO consoles (admittedly with an operator who only
spoke Tagalog) they are hard to use if you want a "theatrical style" cue
stack. Yes they are very nice for live random access shows. Their UI and
visual feedback leave something to be desired.

On 1/15/07 10:24 AM, "Steven Haworth" <sjh [at] idm.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Would an Avolites PEARL be a good option here?  IIRC, those boards seem
> better set for 'live' running of moving lights than others.  Never used
> one, though, so I'm not an authority on 'em!
> 
> 
> - Steven      (sjh [at] idm.com)
> ---------------------------
> http://www.stagelights.info
> 
> 

-- 
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



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

Message-ID: <20070115154334.46265.qmail [at] web84007.mail.mud.yahoo.com>
Date: Mon, 15 Jan 2007 07:43:34 -0800 (PST)
From: Al Fitch <fitchal [at] yahoo.com>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Cc: alf.sauve [at] mindspring.com (Alf Sauve)
In-Reply-To: <list-41248884 [at] prxy.net>


--- Alf Sauve <alf.sauve [at] mindspring.com> wrote:
Lighting might be the source of the hum, but I
wouldn't call it the 
"culprit".

Alf

Dam!  I wanted to go skiing this weekend!  :)

Be Kind, Smile and Have Fun.

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

Subject: RE: Osram EHG lamps vs. Altman 360Q sockets
Date: Mon, 15 Jan 2007 10:03:26 -0600
Message-ID: <0B76B8BBFAC8BA41949EF1A06C24730C1D649A [at] TSSBSR2.ts.local>
In-Reply-To: <list-41163258 [at] prxy.net>
From: Roy Harline <R.Harline [at] texasscenic.com>

Scott Peterson asked about Osram EHG lamps.=20
I just checked my notes and found that in Late September a notice was
sent out by Osram that they have a back of lamps with the G9.5 base that
were manufactured out of spec.=20
You should contact the people that sold you the lamps.  They should have
received the same information we have, with the instructions on how to
replace those lamps.

Roy Harline
Sales and Design
Texas Scenic Company
210-684-0091 =20

>=20
> We have noticed with a recent batch of Osram EHG (750w) lamps=20
> that they don't fit into the bases of our old Altman 360Q=20
> fixtures. It seems like the lamp bases are now formed with=20
> sharper corners, as opposed to the rounded off corners they=20
> used to have.
>=20
> Anyone else notice this? Any suggestions that don't include=20
> removing the sheet metal that covers the top of the socket?=20
> Could I sand the corners down a smidge?
>=20
> Thanks,
> -Scott
>=20
> Scott Peterson
> Technical Director
> Highlander Auditorium - Upland, CA
> scott [at] highlanderauditorium.com

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

Message-Id: <a06230901c1d148d2e220 [at] [155.245.53.126]>
In-Reply-To: <list-41227703 [at] prxy.net>
References: <list-41227703 [at] prxy.net>
Date: Mon, 15 Jan 2007 15:45:41 +0000
From: Dorian Kelly <dorian [at] essex.ac.uk>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>More questions then answers for now...
>
>In our small 197 seat theatre there is a persistant
>hum, no buzz that is killing me.  It gets noticably
>louder when I run a light cue involving no specific
>lights.
>

If there is a low persistent filament sing which gets more noticeable 
during a lighting change, them the answer probably lies in the 
dimmers themselves.  Is the a noise coming from the dimmer rack 
itself? or from the luminaires? Or are the lights causing a hum in 
the sound system rather than the other way round?  It could be that 
some of the chokes or the smoothing are not up to spec. in some very 
cheap dimmers. You may need to specify new dimmers with a high rise 
time. Another possibility is that you are using cheap lamps with 
inadequate filament support, but if you have been having this problem 
for ten years it probably isnt that.

Dorian Kelly
-- 
Illuminati Creative Technology  3 Gladstone Road Colchester Essex UK
+44 1206 798076 07770 950964     mailto:Info [at] theatrearts.biz
http://www.theatrearts.biz

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

Date: Mon, 15 Jan 2007 10:40:13 -0600
Subject: Re: Theatre and PAC architects
From: Philip Johnson <Philip.Johnson [at] tamucc.edu>
Message-ID: <C1D10A8D.466A%Philip.Johnson [at] tamucc.edu>
In-Reply-To: <list-41246320 [at] prxy.net>




On 1/15/07 7:11 AM, "Bill Conner" <bill-conner [at] att.net> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I would be less concerned about just the architect's experience in arts and
> theatres but rather the whole team - architects, engineers, theatre
> consultant, and acoustic consultant.


Another thing you will want to check out is what types of equipment your
consultants typically spec.  Some consultants have specific equipment they
want to use and getting them to use the manufacturers you may already have
on site can be a battle.  If you want compatibility and the ability to
interchange between facilities then you need to work on this.  It is real
easy for a consultant and building committee to say there will be no sharing
between facilities to justify a choice they are making.  The practicality
and functionality after they leave is that if your sister facility has the
piece you need or vice versa you will swap.

Typical things I have to deal with are twist lok in my house and stage pin
in the pac. They have ET dimmers and I have ETC.  Luckily the sound
consultant was savvy and worked with us for the most part.

Too often the designers, builders, and administrators have an idea of what
they want the building to do then pass it off to us to do these things.
Rarely to they give us effective tools and make our lives easier.


-- 
Philip Johnson
Professor of Theatre
Texas A&M University-Corpus Christi




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

Date: Mon, 15 Jan 2007 09:13:12 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Stephens
In-Reply-To: <list-41241922 [at] prxy.net>
Message-ID: <333097.34469.qm [at] web50615.mail.yahoo.com>

>>>>Yes we were. course load, required shop hours,
weekend
work, homework and on top of it all part/full time
jobs (needed that money thing).

And don't forget getting teased by the Mizzou theater
students when 
hanging 
out at the Burg. <<

I did not want to pick on the poor Mizzou theatre
people. They were just jealous, wishing their program
was as good as Stephens.


Brian Rice 
508-685-0716
b_ricie [at] yahoo.com
"Blessed are the cracked: For it is they who let in the 
light."


 
____________________________________________________________________________________
Expecting? Get great news right away with email Auto-Check. 
Try the Yahoo! Mail Beta.
http://advision.webevents.yahoo.com/mailbeta/newmail_tools.html 

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

In-Reply-To: <list-41247114 [at] prxy.net>
References: <list-41247114 [at] prxy.net>
Message-Id: <089357B9-C78D-4F9F-A4B7-40F7DC2BABE1 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Mon, 15 Jan 2007 12:26:49 -0500


On 15 Jan 2007, at 08:32, Al Fitch wrote:
> I did the current install myself.  I could be using a
> wrong cable to hook  up the sub-mixer for the
> orchestra.  Does Bal/UnBal TRS cable matter when
> hooking up an instrument to a DI?

	I believe it could. Does your DI have a balanced TRS input? Mine  
don't, they have standard 1/4" Mono jacks, as do the outputs of most  
instruments. Putting a three conductor plug into a two conductor jack  
might work sometimes, but not always. I think it depends on the  
manufacturer / design of both the plug and jack - I wouldn't depend  
on "Might".  Instrument cables are two - conductor, unbalanced, and  
that's what you should use.

	Actually, the first thing I would do if I were you, is turn the  
system on and hear the hum, then unplug the keyboard from the DI and  
see if the hum goes away. Do *Not* just turn the keyboard off -  
*Unplug* the cable from the DI.

	If this does not cure the problem by itself, then unplug all the  
input cables from your mixer. Did the hum go away? If so, plug them  
back in again one at a time until the hum re-appears. Then you have a  
better idea of where the problem is coming from. If the hum does NOT  
go away, leave them unplugged and unplug the mixer from the amp rack.

	I would look first at that TRS cable in the DI box though. Turning  
off the power to the keyboard won't help if the problem is in the  
cables / connections.

	Note, I am not a sound guy - I'll leave that to CB - but I've had to  
learn to troubleshoot, maintain and operate the system because, well,  
there's no one else here to do it.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Date: Mon, 15 Jan 2007 09:39:00 -0800 (PST)
From: Tony Tambasco <tambascot [at] yahoo.com>
Subject: Theatrical Catalog Sales Position
Message-ID: <109445.89290.qm [at] web50711.mail.yahoo.com>

Greetings list, I've seen a spate of job posting on
the list lately, and thought that one more couldn't
hurt. Anyone living around, or interested in moving
to, the northern reaches of Vermont take heed:

THEATRICAL CATALOG SALES POSITION

Production Advantage, Inc., the fastest-growing
merchant of technical performing arts supplies, offers
a great job opportunity for the right person. This
technical theatre specialist will help our customers
get what they need, when they need it, at a reasonable
price. The successful candidate will have an extensive
background in technical theatre, a pleasant phone
manner, good typing skills and a passion for helping
make theatre happen. Basic computer literacy is also
required. Sales experience a plus. Relocation to
Vermont required. TD’s who are sick of being underpaid
and overworked, and would like to have evenings and
weekends off are encouraged to apply. Resumes with a
cover letter may be sent to: Production Advantage,
Inc., Human Resources, PO Box 1700, Williston, VT,
05495-1700. E-mailed responses to jobs [at] proadv.com OK.
NO PHONE CALLS, PLEASE. Production Advantage is an
EOE.



Tony Tambasco
email: tambascot [at] yahoo.com
cell: 716-450-8148


 
____________________________________________________________________________________
Have a burning question?  
Go to www.Answers.yahoo.com and get answers from real people who know.

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

In-Reply-To: <list-41227660 [at] prxy.net>
References: <list-41227660 [at] prxy.net>
Message-Id: <262F110E-3FF1-4AD7-8C64-CA9BBF15C184 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Independent Lights in the ETC Express Board
Date: Mon, 15 Jan 2007 12:45:46 -0500


On 14 Jan 2007, at 20:42, Jeff Mabray wrote:

> The only way that I know of to take something out of being written  
> into a
> cue is by putting it in park.

and Steven Haworth added:

> I like to write a macro or two to control certain groups of work or
> house lights by parking them - fast to use, and doesn't mess w/my  
> cues.

	Thanks for the suggestions. I'm still learning the Express board -  
years of simple two-scene boards before that. It's relative  
complexity and potential is awesome and daunting, so I find it best  
to learn one or two new things and work with them until I'm really  
comfortable before I move on to learn something more.

	"Park" and "Macros" will have to be the next two tools to learn  
about and add to my mental toolbox. I love this list!

	By the way, I've been bitten more than once myself by running on  C/ 
D but mistakenly hitting the A/B Go button for one cue. That cue  
stays up to haunt me for the rest of the show. Thanks to the list for  
the suggestion to use a bottle cap taped over the unwanted GO button.  
I Too can't really fathom how I would ever really use the second GO  
button - I guess that's for "Power users" who do much more elaborate  
shows than we do here. Like I said, Learn and master one tool at a  
time, and that one is way down the list. ;-)

Bruce
____________________
Bruce Purdy
bpurdy [at] rochester.rr.com




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

Message-ID: <87e6786e0701151002y6f3f4b24k74f9eac3b84978e9 [at] mail.gmail.com>
Date: Mon, 15 Jan 2007 12:02:00 -0600
From: "John Penisten" <john.penisten [at] gmail.com>
Subject: Re: Independent Lights in the ETC Express Board
In-Reply-To: <list-41257147 [at] prxy.net>
References: <list-41227660 [at] prxy.net> <list-41257147 [at] prxy.net>

Bruce,
C/D is great for that long running sunrise/sunset cue.  Have it go in
your alternate stack and just run in the background while you continue
using your primary stack for the rest of the show.

If I am not using C/D I usually pull the faders down.  I have found my
ops are less likely to accidentally go on that stack, and if they do
nothing is output to the stage anyway.  You can easily clear that cue
and re-load it into A/B and take it again.

Also; on an Express board you can put it into single scene mode which
turns A/B into a conventional crossfader pair (disabling Go, Hold,
Back, Clear) for the two scenes, and you can use C/D as your playback
control.

Hope this helps.

Best,
John


>         By the way, I've been bitten more than once myself by running on  C/
> D but mistakenly hitting the A/B Go button for one cue. That cue
> stays up to haunt me for the rest of the show. Thanks to the list for
> the suggestion to use a bottle cap taped over the unwanted GO button.
> I Too can't really fathom how I would ever really use the second GO
> button - I guess that's for "Power users" who do much more elaborate
> shows than we do here. Like I said, Learn and master one tool at a
> time, and that one is way down the list. ;-)

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

Subject: Re: Stephens
Date: Mon, 15 Jan 2007 10:11:04 -0800
Message-ID: <44FC1DD5E9E93D4F9D4C289DF28F7C3F2E0313 [at] thinkwellsbs.ThinkWell.corp>
From: "Michael Finney" <mfinney [at] thinkwelldesign.com>

<<And don't forget getting teased by the Mizzou theater students when
hanging out at the Burg.>>=20

OK, so now I'm having bad flashbacks to being a Mizzou (University of
Missouri - Columbia for you heathens) student from '76 to '79!  For the
uninitiated, the Burg (or "Berg") was The Old Heidelberg - the closest
bar to the theatre.  Something like 235 steps from the loading dock door
as I recall.  Vaguely.  I'd heard rumors that it had burned...

And I'll confess - I ventured over to Stephens a fair amount to do
shows...they were known to hire carpenters and painters when they got
slammed or when the set design kind of overwhelmed the current crop of
shop slaves.  And welders and riggers on a regular basis. Paid for a
fair number of evenings out that way...

Seriously - good school.  Their dance program has gotten a little beat
up over the years, and the seem to be experiencing a good bit of staff
turnover, but the core program seems to produce solid undergraduates.
Lots of production opportunities.=20

Missed all the nude Jell-O wrestling....my live-in dance girlfriend at
the time wouldn't believe that it was a condition of employment for me
to participate.....grumble, grumble, grumble...=20
=20
Michael Finney
Thinkwell Design & Production
mfinney [at] thinkwelldesign.com
www.thinkwelldesign.com=20

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

In-Reply-To: <list-41250618 [at] prxy.net>
References: <list-41178234 [at] prxy.net> <list-41190268 [at] prxy.net> <list-41250618 [at] prxy.net>
Message-Id: <8F67FBDB-F94D-44F7-AA19-423866159EA3 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Chopsaw and safety
Date: Mon, 15 Jan 2007 13:15:39 -0500

> "Adequate supervision," it seems to me, means that by definition NO  
> ONE
> is operating power tools without safety glasses, without rolling up
> their sleeves, without proper instruction.

	I read the various posts on tool safety , supervision etc. with a  
troubled mind. I am in a real-world situation that doesn't fit any of  
the moulds discussed so far. I am neither in an educational  
environment, nor in a commercial shop. In fact we have no shop at  
all. When a particular Community Theatre company is in my space, the  
director brings his personal chop saw and various actor / set  
construction folks bring various other power tools. A dozen or more  
untrained and unsupervised folks share and exchange tools. No safety  
goggles or hearing protection, let alone proper clothing, is ever  
used (Except by myself).

	As the facility's TD,  I feel responsible for safety, but have no  
authority to "require" anything - and the director doesn't appear to  
care himself. I try to watch for dangerous situations, but am  
constantly running around trying to stop parents from sticking duct  
tape in the Gold Leaf finished columns to hold up signs and notices,  
or from clearing off the coffee creamers etc from a table at the  
concession stand so they can take the table into the auditorium to  
set their laptop on to play video games.

	I am the only one present to protect the interests of the Theatre,  
and that's not likely to change. They are already upset at having to  
pay for my time in the first place. Before I came along, they were  
just given the keys to the building and allowed to do whatever they  
wanted.

	Bringing it back to tool safety, it's kind of frustrating to read  
this thread and knowing what I face. I'm not really looking for  
advice or solutions, just offering a window into an aspect of the  
"Real world" that might otherwise be overlooked.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

In-Reply-To: <list-41258228 [at] prxy.net>
References: <list-41258228 [at] prxy.net>
Message-Id: <D046DA89-345B-448A-A83A-CAABA12502F2 [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Stephens
Date: Mon, 15 Jan 2007 13:16:32 -0500

I ate at the THE OLD HEIDELBERG this past November while on tour with  
CIRCUS NEXUS and performing at JESSE AUDITORIUM, there at U OF MO

according to the press clippings I saw on the walls, , yes it had  
burned down a couple of years ago and the restaurant I ate in is the  
"new"  OLD HEIDELBERG,

great food, , I hear it has historically been the hang out for the  
famed U of MO school of journalism.



On Jan 15, 2007, at 1:11 PM, Michael Finney wrote:

OK, so now I'm having bad flashbacks to being a Mizzou (University of
Missouri - Columbia for you heathens) student from '76 to '79!  For the
uninitiated, the Burg (or "Berg") was The Old Heidelberg - the closest
bar to the theatre.  Something like 235 steps from the loading dock door
as I recall.  Vaguely.  I'd heard rumors that it had burned...

Keith L Arsenault
International Arts & Entertainment Group
Tampa, Florida
www.iaeginc.com

813 831 3465  office
813 205 0893  cellular
iaeg [at] aol.com




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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
References: <list-41222446 [at] prxy.net> <list-41227434 [at] prxy.net>
Subject: RE: Turnbuckles on chain hoist lines
Date: Mon, 15 Jan 2007 11:23:48 -0700
Message-ID: <000001c738d2$4e236aa0$6501a8c0 [at] doom1>
In-Reply-To: <list-41227434 [at] prxy.net>

Bill: do you hear me clapping? I reckon it is because you are in my =
daily
prayers, and I like that answer a lot. Doom=20

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill =
Sapsis
Sent: Sunday, January 14, 2007 6:34 PM
To: Stagecraft
Subject: Re: Turnbuckles on chain hoist lines

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

Long story short.  The turnbuckles in your system are completely
unnecessary.  And, depending on where the turnbuckles came from, they =
could
be dangerous.  Most turnbuckles are crap.

I have no idea why they put them in your system but you should remove =
them
at your earliest opportunity.

Bill S.
ETCP Certified Rigger - Theatre
ETCP Council Member
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile






On 1/14/07 5:15 PM, "Maia Robbins-Zust" <Maia.Robbins-Zust [at] williams.edu>
wrote:

> For info, archives & UNSUBSCRIBE, see =
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> Question for all the riggers on the list.
>=20
> Now that we=B9ve gone through the roundsling ratings (with a special
> thank-you to Uncle Bill for the link to the =8Clift-all=B9 site, that =
really
> helped clarify the color/ratings for me) I have a question about the =
use
> of turnbuckles on chain hoist lines.
>=20
> One of the venues that I work is a newly re-fitted =8Chemp=B9 house =
with its
> electric=B9s line-sets run on 1/2-ton and 1-ton chain hoists.  Each of
> these electric line-sets consists of a horizontal, steel, flat-truss
> picked at three points with chain hoists.  The hoists are attached to
> the top pipe (or stringer) of the truss, while the lights are hung =
from
> the bottom pipe (stringer) of the truss.  Now here=B9s the question:  =
The
> hoist chain is attached to the top pipe with a forged turnbuckle
> (properly moused off) =AD is this a good idea?  Or not?
>=20
> Every time we run these electrics in/out there is that bounce that
> happens when the motors start and/or stop.  This is even more =
pronounced
> when one =B3bumps=B2 the motors to adjust the electric to exactly the =
height
> that the designer wants.  It just seems to me that this repeated
> bouncing is putting some pretty heavy stresses on the threads of those
> turnbuckles.
>=20
> The rigging in this venue was done by a very reputable, midwestern
> rigging company, so I didn=B9t question the use of the turnbuckles in
> these lines.  But now, going on a year later, I=B9m starting to worry
> about them.  There doesn=B9t seem to be any need to have turnbuckles =
in
> the lines since we have individual control of each motor and can =
adjust
> the level of the electric trusses easily (in fact we have to do that
> about every 3rd or 4th time that the line-set is run because the =
motors
> all seem to travel at just a little bit different speeds.)
>=20
> We are about to have a two week down-time in this venue and it would =
be
> the perfect time to do the work of taking out these turnbuckles.  But =
--
> this is extra labor -- and I have to convince the management that =
it=B9s
> worth spending money on.  So, I=B9m looking to get some feed back and
> opinions.  Am I over-worrying?  Or are these turnbuckles a week (and
> dangerous) link in these lines?
>=20
> Thanks for all your help!
>=20
> Maia Robbins-Zust
> Technical Director
> ETCP certified rigger - theatre
>=20
>=20
>=20
>=20



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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
References: <list-41236099 [at] prxy.net>
Subject: RE: Turnbuckles on chain hoist lines
Date: Mon, 15 Jan 2007 11:23:48 -0700
Message-ID: <003d01c738d2$66152d60$6501a8c0 [at] doom1>
In-Reply-To: <list-41236099 [at] prxy.net>

And even larger if you look at the Izenous installation and design at the
Thomas Center in Akron. Doom My inspection there revealed a great deal. 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
ladesigners [at] juno.com
Sent: Monday, January 15, 2007 12:30 AM
To: Stagecraft
Subject: Re: Turnbuckles on chain hoist lines

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

Dear Bill,
Most turnbuckles that are used in the construction of suspension 
bridges appear to be pretty robust, and not resemble 'crap', to me. I 
don't think that you stock turnbuckles ~12' long that weigh ~1/2 ton. 
/s/ Richard
_____________________________
Unka Bill sez:
>  Most turnbuckles are crap.
> 


Hopefully not the ones you sell...?  Cuz I own a bunch.....

     - Jon Ares



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

In-Reply-To: <list-41257878 [at] prxy.net>
References: <list-41227660 [at] prxy.net> <list-41257147 [at] prxy.net> <list-41257878 [at] prxy.net>
Message-Id: <6B0E7D14-4D02-4CE0-956E-DE63574310BC [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Independent Lights in the ETC Express Board
Date: Mon, 15 Jan 2007 13:32:22 -0500


On 15 Jan 2007, at 13:02, John Penisten wrote:

> C/D is great for that long running sunrise/sunset cue.  Have it go in
> your alternate stack and just run in the background while you continue
> using your primary stack for the rest of the show.

	Ah, that does make sense. Thanks.
>
> If I am not using C/D I usually pull the faders down.  I have found my
> ops are less likely to accidentally go on that stack, and if they do
> nothing is output to the stage anyway.  You can easily clear that cue
> and re-load it into A/B and take it again.

	Assuming that you realise that it happened. First time it took a bit  
of figuring after the final curtain to realise WHY one special never  
went out - even during blackouts. The Op had pushed the wrong button  
end didn't even know he had done so. I find the bottle cap to be the  
best protection.
>
> Also; on an Express board you can put it into single scene mode which
> turns A/B into a conventional crossfader pair (disabling Go, Hold,
> Back, Clear) for the two scenes, and you can use C/D as your playback
> control.

	Don't you mean two scene mode? I hadn't thought of switching modes  
for playback when using a cue recorded show. Actually though that's  
why I prefer to use C/D for running cues, as I think of that as the  
"Cued show" pair as distinct from A/B which is the "Two scene  
crossfade" pair.
>
> Hope this helps.

	It does indeed. Thanks for the food for thought!

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <87e6786e0701151041l768971c8i8bb0b90453f80cc [at] mail.gmail.com>
Date: Mon, 15 Jan 2007 12:41:22 -0600
From: "John Penisten" <john.penisten [at] gmail.com>
Subject: Re: Independent Lights in the ETC Express Board
In-Reply-To: <list-41259193 [at] prxy.net>
References: <list-41227660 [at] prxy.net> <list-41257147 [at] prxy.net>
	 <list-41257878 [at] prxy.net> <list-41259193 [at] prxy.net>

That is, of course, what I meant.

Thank you,
John

> > Also; on an Express board you can put it into single scene mode which
> > turns A/B into a conventional crossfader pair (disabling Go, Hold,
> > Back, Clear) for the two scenes, and you can use C/D as your playback
> > control.
>
>         Don't you mean two scene mode?

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

Message-ID: <20070115190039.32482.qmail [at] web52212.mail.yahoo.com>
Date: Mon, 15 Jan 2007 11:00:39 -0800 (PST)
From: Paul Marsland <paulbmarsland [at] yahoo.com>
Subject: Roscolux 119
In-Reply-To: <list-41199520 [at] prxy.net>

I have long been un-enamored with Rosco for their
(apparent)lack of manufacturing control of their gel
products, and their (apparent) willingness to
re-engineer (cost-engineer?) products without much
concern to the end user (see the "tough prime"
discussion last month)

Paul

> 
> From: MartySrq [at] aol.com
> Message-ID: <cc7.82aef4c.32da9f66 [at] aol.com>
> Date: Sat, 13 Jan 2007 15:47:34 EST
> Subject: Re: Roscolux 119
> 
> Am I nuts or is the current R119 not the same as it
> used to be? Seems less  
> diffuse and closer to R132 than it was. I ended up
> doubling it up on a recent  
> production to fuzz out cut lines and managed to find
> old stock that appeared  
> different than the latest stuff shipped. Anyone else
> who used it recently 
> notice  this?
>  
> Marty
> 
> ------------------------------



 
____________________________________________________________________________________
Never miss an email again!
Yahoo! Toolbar alerts you the instant new Mail arrives.
http://tools.search.yahoo.com/toolbar/features/mail/

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

Date: Mon, 15 Jan 2007 11:06:56 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Turnbuckles on chain hoist lines
In-reply-to: <list-41236099 [at] prxy.net>
Message-id: <7.0.1.0.0.20070115110528.01fd62a8 [at] interstellar.com>
References: <list-41236099 [at] prxy.net>

At 11:29 PM 1/14/2007, ladesigners [at] juno.com wrote:
>Most turnbuckles that are used in the construction of suspension
>bridges appear to be pretty robust, and not resemble 'crap', to me. I
>don't think that you stock turnbuckles ~12' long that weigh ~1/2 ton.

We were in a local OSH hardware store and noticed some turnbuckles 
several feet long on the rack.  We asked the salesman who buys 
those.  He said no idea, they were there when he started working 
there as a kid, never sold one.  :)


-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand


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

Message-ID: <5a73bd8d0701151114j39fb4489yeb622142d54aa9fa [at] mail.gmail.com>
Date: Mon, 15 Jan 2007 14:14:31 -0500
From: "Kevin Lowry" <kjlowry [at] gmail.com>
Subject: Re: Roscolux 119
In-Reply-To: <list-41260250 [at] prxy.net>
References: <list-41199520 [at] prxy.net> <list-41260250 [at] prxy.net>

About 15 years ago Rosco 119 looked the same as today's 132 over time
there was a drift in the manufacturing to what it looks like today.
Many designers that we worked with like the progression of 119 so we
decided to introduce 132 to fill the void.
Rosco has checked our current stock and it matches the manufacturing
standards.  Rosco is committed to the quality of all of our products
and if you are unhappy with any product  please feel free contact your
dealer or any Rosco Representative and we will be able to discuss the
products and problems with you and help you find a solution.

Thank you,

Kevin Lowry
Rosco Laboratories
Product Quality and Development
800-767-2669 ext 230
klowry [at] rosco.com

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

Message-ID: <15134DE1EA20CF4BA1F473FADAC653AC509562 [at] cassini.BrooklynCollege.local>
From: Steve Bailey <Bailey [at] BrooklynCenter.com>
Subject: RE: lighting board specs
Date: Mon, 15 Jan 2007 14:27:38 -0500



-----Original Message-----
From: Riter, Andrew (Head Ltg) [mailto:chanlights [at] exchange.ubc.ca] 
The rough specs for it should include some combination of the following:

1 - 2 DMX universes;
more than 96 channel or sub handles; each with own bump/flash button; decent
effect package; moving light control (not a Hog, but for small rentals
coming in with 4 - 6 ML), Library of ML; 
dual screens; 
multiple sub pages;
ability to type in names of cues, subs, channels, dimmers, etc; ability to
track changes through cues; 
programmable softkeys/macros/LCD Keys; 
remote control (wired or wireless); 
printer capable; 
and ability to store shows on disk/USB/Hard drive.

You get the idea.  The big requirement is number of handles.  The LBX has 72
channel handles and 24 subs.  Neither are enough (and it maxes out at 125
channels total).  We run most of our shows live, without recording cues; so
instant access to that special or this wash is mandatory.


Andrew

I'm a long time Express 2 scene user who recently upgrade to Emphasis.  If I
had the money I *might* purchase an Insight II to replace the Express.  I
would not attempt to run ML's on the Insight without Emphasis and even w/
Emphasis there are admittedly trade-off's as to Emphasis's ability to
program quickly and control complex effects and playbacks as compared to a
newer and dedicated ML console.

I'm currently of the opinion that outside of an Avo Diamond 4, there
probably is no one perfect console for you (any my) needs - I.E. lot's of
handles that can be channels as well as playbacks in a console that speaks
ETC Expression (which an Avo won't due in any event) as well as has good ML
functionality.  

The Insight w/ Emphasis might be the trick, running roughly $18,000, of
which Emphasis basic 500 channel, 2d Emphasis is $5,000 or so.  It certainly
has the handles and w/ Emphasis has some great functionality for Subs to
become channels as well as Supermasters controlling other subs.  With
subroutines on subs you can (in theory) get multiple effect playbacks -
including ML's, though there are some limitations with this.  

I would certainly look into the new Strand stuff as they use a more advanced
format for ML's then the older ETC Express/ion OS.  

I looked at the Marquee and was somewhat turned off by the layout of the
fader wings and feel the same way about the Congo Jr.  Give both a look at
as well though as they are both getting generally positive comments.

Feel free to contact me off list if you have any add'l questions as my
Express/Emphasis experiences.

Steve Bailey
Brooklyn College
 

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

Message-ID: <15134DE1EA20CF4BA1F473FADAC653AC509563 [at] cassini.BrooklynCollege.local>
From: Steve Bailey <Bailey [at] BrooklynCenter.com>
Subject: RE: lighting board specs
Date: Mon, 15 Jan 2007 14:33:21 -0500



-----Original Message-----
From: Steve Bailey [mailto:Bailey [at] BrooklynCenter.com] 

If I had the money I *might* purchase an Insight II to replace the Express.


Correction:  Make that an Insight III

SB

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

Message-ID: <32233.12.156.239.114.1168890855.squirrel [at] webmail6.pair.com>
In-Reply-To: <list-41241922 [at] prxy.net>
References: <list-41241922 [at] prxy.net>
Date: Mon, 15 Jan 2007 19:54:15 -0000 (GMT)
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
From: "Mitch Hefter" <stagecraft03 [at] DesignRelief.com>
Reply-To: stagecraft03 [at] DesignRelief.com

James Feinberg wrote:
>
> At USITT in Phoenix, I picked up a very interesting tidbit at the Stump
> The Electricians session.  It's common, especially in older fixtures
> with old-style Union connectors, for the neutral and ground to short
> against each other.  It won't trip the breaker, and it won't impact
> lighting operations, but it will cause a nasty buzz in the sound
> system.
>
> <snip>

There was a Stump the Electricians session at USITT '06 in Louisville.  We
will be having another one in Phoenix this March.

The most common cause of hum/buzz I've encountered over the years has been
bad grounds or ground loop(s) in the sound system - the problem not being
due to the lighting system, just made evident by it.  And simply
"grounding everything" doesn't necessarily help if you've got a ground
loop - it could make it worse.  CB will set me straight here I'm sure.

Whenever I've been questioned about a sound system buzz that wasn't there
before the dimmer system, I've always asked them to verify the ground loop
situation.  If there isn't one, then we'll go onto the next step, such as
a bad ground, bad neutral, or ground/neutral issue as described above.  I
can't recall anyone calling back to say that they have no ground loop
issue but still have a buzz.  Of course, there may be a first time.


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

Subject: RE: Chopsaw and safety
Date: Mon, 15 Jan 2007 15:13:02 -0500
Message-ID: <3CF87682970858499CA56707FB1F092B03845562 [at] wscc-s-003000.westshore.edu>
In-Reply-To: <list-41258434 [at] prxy.net>
References: <list-41178234 [at] prxy.net> <list-41190268 [at] prxy.net> <list-41250618 [at] prxy.net> <list-41258434 [at] prxy.net>
From: "Davis, Thomas J" <TJDavis [at] westshore.edu>

Sorry Bruce,

I did not mean to show a lack of sympathy for your position. I spend too
much of my own time removing tape reside (thankfully no gold leaf here
to pull off) and rearranging the furniture not to know where you are
coming from. It sounds like you are indeed in a position where you are
not being backed up by the powers-that-be. Which is to say: safety
requirements ought to be spelled out in the contracts for use of the
space.  While I do have my share of problems with support here, the
administration DID back me up when I told the touring children's theater
that they could not install light trees in the aisles of the theater,
even if they did it "everywhere else they ever played." =20

Tom D

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bruce
Purdy
Sent: Monday, January 15, 2007 1:16 PM
To: Stagecraft
Subject: Re: Chopsaw and safety

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

> "Adequate supervision," it seems to me, means that by definition NO =20
> ONE
> is operating power tools without safety glasses, without rolling up
> their sleeves, without proper instruction.

	I read the various posts on tool safety , supervision etc. with
a =20
troubled mind. I am in a real-world situation that doesn't fit any of =20
the moulds discussed so far. I am neither in an educational =20
environment, nor in a commercial shop. In fact we have no shop at =20
all. When a particular Community Theatre company is in my space, the =20
director brings his personal chop saw and various actor / set =20
construction folks bring various other power tools. A dozen or more =20
untrained and unsupervised folks share and exchange tools. No safety =20
goggles or hearing protection, let alone proper clothing, is ever =20
used (Except by myself).

	As the facility's TD,  I feel responsible for safety, but have
no =20
authority to "require" anything - and the director doesn't appear to =20
care himself. I try to watch for dangerous situations, but am =20
constantly running around trying to stop parents from sticking duct =20
tape in the Gold Leaf finished columns to hold up signs and notices, =20
or from clearing off the coffee creamers etc from a table at the =20
concession stand so they can take the table into the auditorium to =20
set their laptop on to play video games.

	I am the only one present to protect the interests of the
Theatre, =20
and that's not likely to change. They are already upset at having to =20
pay for my time in the first place. Before I came along, they were =20
just given the keys to the building and allowed to do whatever they =20
wanted.

	Bringing it back to tool safety, it's kind of frustrating to
read =20
this thread and knowing what I face. I'm not really looking for =20
advice or solutions, just offering a window into an aspect of the =20
"Real world" that might otherwise be overlooked.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <28584715.1168893049693.JavaMail.root [at] elwamui-muscovy.atl.sa.earthlink.net>
Date: Mon, 15 Jan 2007 15:30:49 -0500 (GMT-05:00)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Subject: Re: Does anyone know?
Cc: jkanyuck [at] Harford.edu

Jeff,

You can get them from an ETC dealer.  They should cost you about $3 to $6 each.

My suggestion is Barbizon Capitol:  (703) 750-3900

Fisher Theatrical is now also an ETC dealer, I believe.  Don't have their number handy.

Production Advantage should also be able to get them for you.


--Sean
(in DC)

Sean R. McCarthy
seanrmc [at] earthlink.net


-----Original Message-----
>From: Jeffrey Kanyuck <jkanyuck [at] Harford.edu>
>
>If lens for the S4 PAR are sold seperately anywhere? I've only found
>them in catalogs as boxes of 4, with one of each kind inside (VNSP, NSP,
>MFL and WFL).
>Or is the box of 4 the only way they are sold?
>
>Jeff


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

In-Reply-To: <list-41262931 [at] prxy.net>
References: <list-41178234 [at] prxy.net> <list-41190268 [at] prxy.net> <list-41250618 [at] prxy.net> <list-41258434 [at] prxy.net> <list-41262931 [at] prxy.net>
Message-Id: <A6AFB159-792E-4493-A093-868D0252F297 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Chopsaw and safety
Date: Mon, 15 Jan 2007 15:38:49 -0500


On 15 Jan 2007, at 15:13, Davis, Thomas J wrote:

>  It sounds like you are indeed in a position where you are
> not being backed up by the powers-that-be. Which is to say: safety
> requirements ought to be spelled out in the contracts for use of the
> space.

	I get plenty of support where I make a stand, such as audience  
safety issues, and refusing to fly people without bring in a  
professional and such. It's when groups bring in their own power  
tools and such the issue becomes "They can do what they want with  
their own stuff, so long as third parties like the audience doesn't  
risk injury and the facility isn't damaged".

> I spend too
> much of my own time removing tape reside (thankfully no gold leaf here
> to pull off) and rearranging the furniture not to know where you are
> coming from.

	The board is especially concerned about the gold and silver leaf  
plaster that they spent so much money refinishing. They aren't  
theatre people, and see the place more as a museum - with no real  
understanding of what's actually involved in a working Theatre. A lot  
of that fancy plaster extends up alongside our rather deep apron,  
right next to where the speaker stacks and Geni lifts go for the  
lighting trusses. A stage full of heavy rolling road boxes and  
workers that don't share the board's appreciation for the fine gilt  
walls always spells trouble! Fortunately this type of large scale  
concerts usually only come here two or three times a year, but the  
board is constantly pointing out minor scuff marks and implying that  
I just don't care. Now they want me to build some kind of plywood  
walls or something to "Protect" the walls (Which I also would have to  
find some place to store).

	It's a darn good thing I love working here so much, but it does get  
frustrating at times. Sorry, I just needed to vent!

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <2529.205.215.253.92.1168893582.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41260498 [at] prxy.net>
References: <list-41236099 [at] prxy.net> <list-41260498 [at] prxy.net>
Date: Mon, 15 Jan 2007 12:39:42 -0800 (PST)
Subject: Re: Turnbuckles on chain hoist lines
From: "Bill Nelson" <billn [at] peak.org>

> We were in a local OSH hardware store and noticed some turnbuckles
> several feet long on the rack.  We asked the salesman who buys
> those.  He said no idea, they were there when he started working
> there as a kid, never sold one.  :)

If stainless steel or bronze, they may have been initially for sailboat
rigging. I have seen some pretty heavy duty turnbuckles on the boat on
which I used to teach sailing.

Bill


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Theatre and PAC architects
Date: Mon, 15 Jan 2007 15:56:57 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAnFk+cdTl9EW+7Nq3CnvIewEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-41254277 [at] prxy.net>

Phillip Johnson wrote:

>Some consultants have specific equipment they
>want to use and getting them to use the manufacturers=20
>you may already have on site can be a battle.=20

As has been mentioned before by me and others, you cannot always blame
consultants for this.

First of all, I agree with the thrust of part of your statement - that
consultants should not be biased one way or another towards any one
particular manufacturer. There are enough fine manufacturers out there =
to
satisfy quality and safety concerns (ETC, Strand, JRC, SECOA, H&H, ADC,
Wenger, StageRight, etc...). One does have to be wary of some with poor
track records, and try not be blinded by some other's dazzling =
marketing.
There can be some operational differences (i.e. how an ETC board =
operates
vs. a Strand board), and if that is your concern, it needs to be very =
clear
in the spec what you want- FUNCTIONALLY. But even that tactic can break
down...

BUT, unless the Owner/Architect/GC/CM is willing (and able by =
regulations
governing publicly financed projects) to wear "the black hat" and throw =
out
unwanted bids or gear, there is little a Theater Consultant can do other
than advise everyone to be watchful or to simply "throw da bums out".

I have a perfect example which happened to us a couple of years ago
(Caution: Long Story) - We wrote a spec for a local regional high =
school's
new lighting system. The Owner wanted ETC, because that's the gear they =
had
in their other schools and they wanted interchangeability. This was, in =
our
mind, not an unreasonable request. We wrote the spec around ETC gear, =
per
the Owner's request. When the documents when to the State Education
Department for review, the State said that by law (because of public
funding) the spec could not be limited to one manufacturer/contractor. =
But
we could stress the interchangeability requirement. So, the spec was
re-written to allow for Strand gear as a pre-approved equal, so long as =
it
could interface with existing systems in the other schools

Because in this project, the GC's didn't have to name their subs at time =
of
bid (not in our control), the electrical contractor carried (unbeknownst =
to
all) EDI equipment, value engineered the system without the Owner's
permission, and then tried to ram it down everyone's throat. That's =
where we
and the Owner got kinda hot and said this is "apples and oranges" folks. =
The
EC came back and pointed to a single line in the spec (that the State
mandated we add) that defined the scope of work as simply "provide a =
fully
functional performance stage lighting system" and that EDI system they
carried met the scope of work as defined by the State. Only when the =
Owner
threatened to hold up payments to the GC & CM did they back off, and =
they
provided a full Strand system, as provided for in the spec. Not the ETC
system originally envisioned, but ultimately acceptable to the Owner.
Although the local ETC rep was pretty pissed...

As an Owner, and the one who signs the checks, you have the ultimate =
power.
You shouldn't be afraid to use it when push comes to shove.

Just my .02, (and probably worth every penny).

Peter Scheu

Scheu Consulting Services, Inc.
Syracuse, NY=20
www.scheuconsulting.com


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

In-Reply-To: <list-41264821 [at] prxy.net>
References: <list-41264821 [at] prxy.net>
Message-Id: <AE64F5A7-E327-48E4-B4BE-EEEDD75D12E6 [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Theatre and PAC architects
Date: Mon, 15 Jan 2007 16:05:59 -0500

here in the state of Florida , ,

I have a serious suspicion that there are funds passing under the  
table,  , as way too often, in fact just about ALWAYS,  public  
schools and
other state run facilities are equipped with equipment made by "non  
standard"  theatrical suppliers, , and ETC,  Strand etc are seldom  
found, , rigging and stage layouts
are bizarre and nothing that any high school theatre teacher would  
want, , Principals dictate curtain color, which ends up meaning that  
you sometimes have full stage sets of legs and borders in bizarre  
"school color" combination..

I wince every-time i go into a public school theatre, , even the  
relatively nice one that we have here in Tampa for the Blake HS of  
the Performing Arts.

In almost every case, , the "bad" result that they end up with, with  
non standard layout, , non standard equipment suppliers  , cost the  
same as what would have been far more satisfactory result.

I truly  suspect that certain architects and contractors who  
specialize in HS's here in Florida are on the take and have for a  
number of years.....




On Jan 15, 2007, at 3:56 PM, Peter Scheu wrote:

Because in this project, the GC's didn't have to name their subs at  
time of
bid (not in our control), the electrical contractor carried  
(unbeknownst to
all) EDI equipment, value engineered the system without the Owner's
permission, and then tried to ram it down everyone's throat. That's  
where we
and the Owner got kinda hot and said this is "apples and oranges"  
folks. The
EC came back and pointed to a single line in the spec (that the State
mandated we add) that defined the scope of work as simply "provide a  
fully
functional performance stage lighting system" and that EDI system they
carried met the scope of work as defined by the State. Only when the  
Owner
threatened to hold up payments to the GC & CM did they back off, and  
they
provided a full Strand system, as provided for in the spec. Not the ETC
system originally envisioned, but ultimately acceptable to the Owner.
Although the local ETC rep was pretty pissed...

Keith L Arsenault
International Arts & Entertainment Group
Tampa, Florida
www.iaeginc.com

813 831 3465  office
813 205 0893  cellular
iaeg [at] aol.com




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

Date: Mon, 15 Jan 2007 15:13:46 -0600
Subject: Re: Theatre and PAC architects
From: Philip Johnson <Philip.Johnson [at] tamucc.edu>
Message-ID: <C1D14AAA.469D%Philip.Johnson [at] tamucc.edu>
In-Reply-To: <list-41264821 [at] prxy.net>




On 1/15/07 2:56 PM, "Peter Scheu" <peter [at] scheuconsulting.com> wrote:

> As has been mentioned before by me and others, you cannot always blame
> consultants for this.

Actually, I can blame the consultant for this as the firm he worked for  or
at least he had a bias against ETC.  ET was his choice.  We had problems
getting the system up. We had to go to another vendor to get a console
because ET couldn't deliver the console.  The vendor, manufacturer or
whomever was responsible didn't train the tech guy enough.
Should I go on... 

All I am saying is to take into account what types of equipment you may want
and talk to the consultants. See what they spec and speak up. The
unfortunate things which occur are when this ability is taken away from you.


-- 
Philip Johnson
Professor of Theatre
Texas A&M University-Corpus Christi



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

Message-ID: <1caebf780701151321x2bb469fcmf74a5bcaf1b06739 [at] mail.gmail.com>
Date: Mon, 15 Jan 2007 16:21:51 -0500
From: "Jason Salvatori" <theatretd [at] gmail.com>
Subject: Re: lighting board specs
In-Reply-To: <list-41261260 [at] prxy.net>
References: <list-41261260 [at] prxy.net>

Just my opinion, but I have found the Strand 300 series to have a
"cheap" feel to the faders and a "go" button that makes you have to
double check if you've hit it.  Last time I played with one was about
4 years ago, so maybe there have been improvements.  The same problems
don't exist with the 500's, but those don't meet your requirements for
tons of faders.

Jason Salvatori
Technical Director
Vaughan City Playhouse

> 1 - 2 DMX universes;
> more than 96 channel or sub handles; each with own bump/flash button; decent
> effect package; moving light control (not a Hog, but for small rentals
> coming in with 4 - 6 ML), Library of ML;
> dual screens;
> multiple sub pages;
> ability to type in names of cues, subs, channels, dimmers, etc; ability to
> track changes through cues;
> programmable softkeys/macros/LCD Keys;
> remote control (wired or wireless);
> printer capable;
> and ability to store shows on disk/USB/Hard drive.

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Theatre and PAC architects
Date: Mon, 15 Jan 2007 16:41:52 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAABeUQz4a9rEOLAkBQBUHJMQEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-41265144 [at] prxy.net>

KEITH ARSENAULT wrote:

>In almost every case, , the "bad" result that they end up with, with  
>non standard layout, , non standard equipment suppliers  , cost the  
>same as what would have been far more satisfactory result.

...or even may have cost more.

I would argue that in almost every case, a good Theater Consultant is a
bargain. A good consultant will make up their fee in preventing change
orders alone.

It's easy to bash consultants. I know, I've done my share. But even a
mediocre consultant should do at least one thing well - keep the value in
the project. Try to make sure the Owner is getting the most bang for their
buck. Like Keith, I've seen "bargain basement" systems provided for "top
shelf" prices, and no one seemed the wiser. And the spec'ing of
non-standard, custom, "hey, look how clever I am" equipment when readily
available, standard equipment will do the job for the same or less cost, is
simply a waste of the Owner's money, IMHO.

With typical HS lighting systems easily costing $150K and up, and rigging
systems the same, a little bit of money on the front end for a good
consultant is nothing compared to the double-digit, multi million $$$'s new
schools cost these days.

...and Bill Conner can attest to how cheap some of us work   ;-)

Peter Scheu

Scheu Consulting Services, Inc.
Syracuse, NY 
www.scheuconsulting.com


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

In-Reply-To: <list-41266545 [at] prxy.net>
References: <list-41266545 [at] prxy.net>
Message-Id: <BF461857-728D-4E7B-A88C-26DA518B2750 [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Theatre and PAC architects
Date: Mon, 15 Jan 2007 16:45:17 -0500

Unfortunately, , I have personally witnessed school boards and a  
community college who very specifically didn't want a consultant "in  
the way"  nor would they take input from staff or faculty, , who were  
told to "stay out of it, we know what is best"

all the more reason why I suspect "foul play"



On Jan 15, 2007, at 4:41 PM, Peter Scheu wrote:

I would argue that in almost every case, a good Theater Consultant is a
bargain. A good consultant will make up their fee in preventing change
orders alone.

Keith L Arsenault
International Arts & Entertainment Group
Tampa, Florida
www.iaeginc.com

813 831 3465  office
813 205 0893  cellular
iaeg [at] aol.com




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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Theatre and PAC architects
Date: Mon, 15 Jan 2007 16:46:09 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAARdGM1SspIEWwqaF/6ncgtwEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-41265390 [at] prxy.net>

Philip Johnson wrote:

>All I am saying is to take into account what types of=20
>equipment you may want
>and talk to the consultants. See what they spec and speak up. The
>unfortunate things which occur are when this ability is taken=20
>away from you.

Phillip, I couldn't agree with you more. If your consultant is not =
listening
to you, and is designing and spec'ing systems and equipment to meet =
someone
else's needs (especially their own!), it's time to get another =
consultant.

Peter Scheu

Scheu Consulting Services, Inc.
Syracuse, NY=20
www.scheuconsulting.com


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

Message-ID: <2784.205.215.253.92.1168898967.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41258769 [at] prxy.net>
References: <list-41222446 [at] prxy.net> <list-41227434 [at] prxy.net>
    <list-41258769 [at] prxy.net>
Date: Mon, 15 Jan 2007 14:09:27 -0800 (PST)
Subject: Re: Turnbuckles on chain hoist lines
From: "Bill Nelson" <billn [at] peak.org>

> about them.  There doesnıt seem to be any need to have turnbuckles in
> the lines since we have individual control of each motor and can adjust
> the level of the electric trusses easily (in fact we have to do that
> about every 3rd or 4th time that the line-set is run because the motors
> all seem to travel at just a little bit different speeds.)

I don't like individual motors on picks, for of that exact reason. Unless
there are only two picks, the truss is flexed more than necessary with the
variable distribution of tension in the chains.

I also do not like motors/systems that cannot be ramped up and down in speed.

> We are about to have a two week down-time in this venue and it would be
> the perfect time to do the work of taking out these turnbuckles.  But --
> this is extra labor -- and I have to convince the management that itıs
> worth spending money on.  So, Iım looking to get some feed back and
> opinions.  Am I over-worrying?  Or are these turnbuckles a week (and
> dangerous) link in these lines?

Without knowing the ratings of the turnbuckles, it would be impossible to
say. However, they certainly are unnecessary - thus adding additional
failure modes to the rigging.

Keep in mind that I am not a rigger, only a person who believes in KISS.

Bill



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

Message-ID: <2794.205.215.253.92.1168899709.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41258434 [at] prxy.net>
References: <list-41178234 [at] prxy.net> <list-41190268 [at] prxy.net>
    <list-41250618 [at] prxy.net> <list-41258434 [at] prxy.net>
Date: Mon, 15 Jan 2007 14:21:49 -0800 (PST)
Subject: Re: Chopsaw and safety
From: "Bill Nelson" <billn [at] peak.org>

> the moulds discussed so far. I am neither in an educational
> environment, nor in a commercial shop. In fact we have no shop at
> all. When a particular Community Theatre company is in my space, the
> director brings his personal chop saw and various actor / set
> construction folks bring various other power tools. A dozen or more
> untrained and unsupervised folks share and exchange tools. No safety
> goggles or hearing protection, let alone proper clothing, is ever
> used (Except by myself).

In my experience, this is more the normal situation than the exception. It
is unusual for a community theatre to have access to a real shop, so all
set construction is often done on stage.

And, given the usual shortage of volunteers, the cast and crew are often
drafted to help.

Bill


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

Message-ID: <b7aa28010701151504j26319878vd6616f9ffff6f833 [at] mail.gmail.com>
Date: Mon, 15 Jan 2007 18:04:12 -0500
From: "Brian Munroe" <bpmunroe [at] gmail.com>
Subject: Re: Turnbuckles on chain hoist lines
In-Reply-To: <list-41244595 [at] prxy.net>
References: <list-41234713 [at] prxy.net> <list-41244595 [at] prxy.net>

On 1/15/07, Bill Sapsis <bill [at] sapsis-rigging.com> wrote:

> I have always disliked turnbuckles and no one ever has given me a reason to
> change my mind.

What do you use instead when you need to adjust tension or trim a
line?  A link of chain is quite often too gross of an adjustment.

Brian Munroe
bpmunroe [at] gmail.com

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

Message-ID: <2965.205.215.253.92.1168902610.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41251380 [at] prxy.net>
References: <list-41251380 [at] prxy.net>
Date: Mon, 15 Jan 2007 15:10:10 -0800 (PST)
Subject: Re: Scrim Question
From: "Bill Nelson" <billn [at] peak.org>

> Anyone know anything about this company and  this New Chameleon™
> Theatrical Scrim for Set Design.

Our local community theatre purchased 3 panels of the Dark Gray, which was
closer to what I would call light gray.

They hang easily. We taped the panels together using medical adhesive
tape, because it is thin and almost transparent. The resulting seams were
just about invisible from a distance.

I do not like them - as I don't like the halo produced with any lighting
of an object behind the scrim. But that is what the director wanted for
the show where they were used.

If you want the classic "disappearing scrim" effect, forget it.

Bill


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

Message-ID: <b7318c480701151530g5c6fef49yc03b117e62f6b094 [at] mail.gmail.com>
Date: Mon, 15 Jan 2007 18:30:45 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: Turnbuckles on chain hoist lines
In-Reply-To: <list-41269495 [at] prxy.net>
References: <list-41234713 [at] prxy.net> <list-41244595 [at] prxy.net>
	 <list-41269495 [at] prxy.net>

Generally speaking, I am not a fan of turnbuckles, except in a few
rare occasions (and this ain't one of them).  I agree with the other
on the list who say to remove them.

-Delbert

-- 
Delbert L. Hall
ETCP Certified Rigger - Theatre
423-773-4255

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

Date: Mon, 15 Jan 2007 15:32:23 -0800 (PST)
From: J Burch <jeanburch_td [at] yahoo.com>
Subject: New tool
Message-ID: <731841.40824.qm [at] web33305.mail.mud.yahoo.com>

Greetings

I recently found out about a tool that someone on this
list may be interested in.  
http://www.carvewright.com/
is the link.  It looks about the size of a planer, but
essentially acts as c&c router controlling the x & y
axis of cut as well as depth.  It isn't marketed for
industrial use, but it looks potentially usable for
props.

Jean Burch


 
____________________________________________________________________________________
We won't tell. Get more on shows you hate to love 
(and love to hate): Yahoo! TV's Guilty Pleasures list.
http://tv.yahoo.com/collections/265 

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

Message-ID: <b7318c480701151540k7257a5d3x2a4fd0c46af3cb84 [at] mail.gmail.com>
Date: Mon, 15 Jan 2007 18:40:56 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Cc: peter [at] scheuconsulting.com
Subject: Re: Theatre and PAC architects
In-Reply-To: <list-41266545 [at] prxy.net>
References: <list-41265144 [at] prxy.net> <list-41266545 [at] prxy.net>

On 1/15/07, Peter Scheu <peter [at] scheuconsulting.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>
> I would argue that in almost every case, a good Theater Consultant is a
> bargain. A good consultant will make up their fee in preventing change
> orders alone.


Very true.  Change orders can be very expensive and the bigger the
project the more expensive they are.

-Delbert
-- 
Delbert L. Hall
ETCP Certified Rigger - Theatre
423-773-4255

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

Message-ID: <3010.205.215.253.92.1168905279.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41249173 [at] prxy.net>
References: <14907335.1168848310836.JavaMail.root [at] m41>
    <list-41249173 [at] prxy.net>
Date: Mon, 15 Jan 2007 15:54:39 -0800 (PST)
Subject: Re: Independent Lights in the ETC Express Board
From: "Bill Nelson" <billn [at] peak.org>

> Huh? Please elaborate your view on this? I think it's innaccurate but I
> want to make sure I just didn't mis-read you.
>
>>On all the boards I have used, the A/B faders control the channel sliders.
>>So if you want to be able to update cues on the fly, then the cues must be
>> run on the C/D fader pair.

Maybe my terminology is confusing.

All the boards I have worked with have the channel sliders on the left.
Then, from left to right, the A/B cluster, the C/D cluster and the
keypads. The submasters have been in various places, depending on the
board.

These have always been one/two scene boards and I have always run them in
one scene so that I have the maximum number of slider controlled channels
available.

I don't know if some boards allow attaching the C/D sliders to the channel
sliders, I have never tried to do so. The boards have always booted up
with them attached to the A/B sliders. I guess the A/B sliders could be
considered to be the channel masters.

So I set both A/B sliders to 100% and leave that cluster alone. All
intensities are set by use of the channel sliders, unless I have more
channels assigned than there are sliders - then I use the keypad. Once I
have the look I want, I record the cue.

Once all cues are set, the starting cue is loaded into the C/D stack
(which is closest to the keypad) and run the show from there. If I want to
update a cue on the fly, it is a simple matter to use the channel sliders
still attached to the A/B sliders to adjust the levels - then update the
cue.

I hope this clarifies what I was trying to say before.

Bill




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

From: "Sam Fisher" <Sam [at] FisherTheatrical.com>
References: <list-41265144 [at] prxy.net> <list-41266545 [at] prxy.net> <list-41270822 [at] prxy.net>
Subject: RE: Theatre and PAC architects
Date: Mon, 15 Jan 2007 21:01:32 -0500
Organization: Fisher Theatrical
Message-ID: <000401c73912$3ec682a0$0300a8c0 [at] ftoffice.local>
In-Reply-To: <list-41270822 [at] prxy.net>

Yes, but you have to keep in mind, no matter how good the theatre consultant
is (and please let us all know if you find a good one) the general
contractor and architect may very well not listen to them, and you will have
the change orders anyway.  What you need is good honest contractors that
will do their best to coordinate and prevent changes.

Sam Fisher

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert
Hall
Sent: Monday, January 15, 2007 6:41 PM
To: Stagecraft
Cc: peter [at] scheuconsulting.com
Subject: Re: Theatre and PAC architects

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

On 1/15/07, Peter Scheu <peter [at] scheuconsulting.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>
> I would argue that in almost every case, a good Theater Consultant is a
> bargain. A good consultant will make up their fee in preventing change
> orders alone.


Very true.  Change orders can be very expensive and the bigger the
project the more expensive they are.

-Delbert
-- 
Delbert L. Hall
ETCP Certified Rigger - Theatre
423-773-4255


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

Message-ID: <BAY110-DAV101724F2EF791393957052BDB40 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
Cc: stagecraft03 [at] DesignRelief.com
References: <list-41241922 [at] prxy.net> <list-41262212 [at] prxy.net>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Mon, 15 Jan 2007 18:24:41 -0800

Or the reverse wired pick up on a guitar for a very famous guitar player in 
an very famous band and it was his favorite guitar. But wanted to know if he 
didn't play the guitar the buzz would go away, we all nodded, then he said 
well it does the same thing at home, what should I expect he then said. The 
guitar player only used that guitar on one song because of the buzz it 
generated. This group toured with 78 guitars on that tour, I think they had 
plenty, that they could to choice from, but not sure.


----- Original Message ----- 
From: "Mitch Hefter" <stagecraft03 [at] DesignRelief.com>

> > <snip>
>
> There was a Stump the Electricians session at USITT '06 in Louisville.  We
> will be having another one in Phoenix this March.
>
> The most common cause of hum/buzz I've encountered over the years has been
> bad grounds or ground loop(s) in the sound system - the problem not being
> due to the lighting system, just made evident by it.  And simply
> "grounding everything" doesn't necessarily help if you've got a ground
> loop - it could make it worse.  CB will set me straight here I'm sure.
>
> Whenever I've been questioned about a sound system buzz that wasn't there
> before the dimmer system, I've always asked them to verify the ground loop
> situation.  If there isn't one, then we'll go onto the next step, such as
> a bad ground, bad neutral, or ground/neutral issue as described above.  I
> can't recall anyone calling back to say that they have no ground loop
> issue but still have a buzz.  Of course, there may be a first time.
>
> 

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

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
References: <list-41234713 [at] prxy.net> <list-41244595 [at] prxy.net> <list-41269495 [at] prxy.net> <list-41270428 [at] prxy.net>
Subject: RE: Turnbuckles on chain hoist lines
Date: Mon, 15 Jan 2007 19:25:12 -0700
Message-ID: <005701c73915$91936180$6501a8c0 [at] doom1>
In-Reply-To: <list-41270428 [at] prxy.net>

Hurrah! Good move. Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert
Hall
Sent: Monday, January 15, 2007 4:31 PM
To: Stagecraft
Subject: Re: Turnbuckles on chain hoist lines

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

Generally speaking, I am not a fan of turnbuckles, except in a few
rare occasions (and this ain't one of them).  I agree with the other
on the list who say to remove them.

-Delbert

-- 
Delbert L. Hall
ETCP Certified Rigger - Theatre
423-773-4255


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

Date: Mon, 15 Jan 2007 20:30:43 -0600
Subject: Re: Theatre and PAC architects
From: Philip Johnson <Philip.Johnson [at] tamucc.edu>
Message-ID: <C1D194F3.46B6%Philip.Johnson [at] tamucc.edu>
In-Reply-To: <list-41266693 [at] prxy.net>

Unfortunately, it was a package deal, when we build phase two we will be
more careful. 

Phil Johnson


On 1/15/07 3:46 PM, "Peter Scheu" <peter [at] scheuconsulting.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Philip Johnson wrote:
> 
>> All I am saying is to take into account what types of
>> equipment you may want
>> and talk to the consultants. See what they spec and speak up. The
>> unfortunate things which occur are when this ability is taken
>> away from you.
> 
> Phillip, I couldn't agree with you more. If your consultant is not listening
> to you, and is designing and spec'ing systems and equipment to meet someone
> else's needs (especially their own!), it's time to get another consultant.
> 
> Peter Scheu
> 
> Scheu Consulting Services, Inc.
> Syracuse, NY 
> www.scheuconsulting.com
> 


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

Date: Mon, 15 Jan 2007 21:37:24 -0500
Subject: Re: Roscolux 119
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D1A494.15B5B%Herrick [at] HGLightingDesign.com>
In-Reply-To: <22185277.1168887804192.JavaMail.root [at] m41>

Just as a counterpoint. I have had great success with Rosco. Either helping
to invent the right color, or come up with the best combination of glass
colorizers to use. They helped procure 8 50 gallon drums of fog fluid on a
short turn around and have worked with me on installations to help me get
the effect I need. I can't speak to the Paint (tough prime) department, but
Color and SFX has always been there for me and the projects I've worked on.

_Herrick

On 1/15/07 2:00 PM, "Paul Marsland" <paulbmarsland [at] yahoo.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I have long been un-enamored with Rosco for their
> (apparent)lack of manufacturing control of their gel
> products, and their (apparent) willingness to
> re-engineer (cost-engineer?) products without much
> concern to the end user (see the "tough prime"
> discussion last month)
> 
> Paul
> 
>> 

-- 
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



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

End of Stagecraft Digest #1091
******************************