Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 41336045; Wed, 17 Jan 2007 03:01:40 -0800 X-List-Processed: mail.prxy.net X-ListMember: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 41336044; Wed, 17 Jan 2007 03:01:40 -0800 X-Spam-Checker-Version: SpamAssassin 3.1.7 (2006-10-05) on localhost X-Spam-Status: No, score=-1.4 required=5.0 tests=ADVANCE_FEE_1,AWL, NO_RECEIVED,NO_RELAYS,SUBJ_HAS_UNIQ_ID autolearn=ham version=3.1.7 X-Spam-Level: X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: List-Archive: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #1093 Date: Wed, 17 Jan 2007 03:00:46 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-TFF-CGPSA-Version: 1.4 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #1093 1. Re: Osram EHG lamps vs. Altman 360Q sockets by Scott Peterson 2. A Bit off Topic by "Dana Taylor" 3. Re: A Bit off Topic by Bill Sapsis 4. Re: Independent Lights in the ETC Express Board by Stephen Litterst 5. Re: Independent Lights in the ETC Express Board by Stephen Litterst 6. Re: Inflated stadium roof deflates by Stephen Litterst 7. Re: Inflated stadium roof deflates by KEITH ARSENAULT 8. Re: Motivating students to use power tools by Stephen Litterst 9. Re: Independent Lights in the ETC Express Board by Stephen Litterst 10. Re: Independent Lights in the ETC Express Board by Stephen Litterst 11. Re: Independent Lights in the ETC Express Board by Stephen Litterst 12. Re: A Bit off Topic by "Frank E. Merrill" 13. Re: Carvewright by "deziner [at] theatreinthepark.com" 14. Theatre and PAC architects by Paul Marsland 15. Safety Training Videos by Thomas Grabowski 16. Re: Theatre and PAC architects by "RD" 17. Re: Cell Phone Karma and cell phone cameras by "Alf Sauve" 18. Re: Theatre and PAC architects by "Michael Brubaker" 19. Re: Turnbuckles have their uses. by "Michael Powers" 20. Re: Stephens by "Production Manager" 21. Re: Osram EHG lamps vs. Altman 360Q socket by 22. Sound Board Repair NYC by "Jared Clarkin" 23. Re[2]: Turnbuckles have their uses. by "Frank E. Merrill" 24. Re: Stagecraft Drinks night NYC by KEITH ARSENAULT 25. Re: Independent Lights in the ETC Express Board by "Bill Nelson" 26. Re: A Bit off Topic by Stephen Litterst 27. Re: Independent Lights in the ETC Express Board by Stephen Litterst 28. Re: What specials do you give concert pianos? by Stephen Litterst 29. Re: Rosculux R119 by MartySrq [at] aol.com 30. Re: lighting board specs by Stephen Litterst 31. OT from RE: Sales/Install Question by CB 32. Chop saw reflexes by CB 33. large hot-wire cutting apparatus? by "Alan Bryson" 34. Re: Sussing Sound Buzz when lighting might be the culprit? by CB 35. LCD Projector Question by Robert Graham 36. Re: LCD Projector Question by "Paul Schreiner" 37. Re: LCD Projector Question by Stephen Litterst 38. Re: Sussing Sound Buzz when lighting might be the culprit? by CB 39. Re: LCD Projector Question by "Jason Salvatori" 40. Re: large hot-wire cutting apparatus? by Michael Heinicke 41. Re: Sussing Sound Buzz when lighting might be the culprit? by CB 42. Re: Sussing Sound Buzz when lighting might be the culprit? by CB 43. Re: Sussing Sound Buzz when lighting might be the culprit? by "Paul Schreiner" 44. Adrienne Theatre by "Susan Nicholson" 45. Hey by "Jared M. Forsythe" 46. Re: Sussing Sound Buzz when lighting might be the culprit? by Jerry Durand 47. Re: Adrienne Theatre by "Daniel Kelly" 48. Re: Sussing Sound Buzz when lighting might be the culprit? by frankwood95 [at] aol.com 49. Re: Independent Lights in the ETC Express Board by John McKernon 50. Re: large hot-wire cutting apparatus? by Stuart Wheaton 51. Quick Change 3-D Ground Cloth by Davy Davis 52. Re: Stagecraft Drinks night NYC by "Andy Leviss" 53. Re: Quick Change 3-D Ground Cloth by Stuart Wheaton 54. Re: Independent Lights in the ETC Express Board by "Bill Nelson" 55. Re: Sussing Sound Buzz when lighting might be the culprit? by Al Fitch 56. Re: Sussing Sound Buzz when lighting might be the culprit? by Al Fitch 57. Re: Quick Change 3-D Ground Cloth by John McKernon 58. Re: Sussing Sound Buzz when lighting might be the culprit? Update and Thanks by Al Fitch 59. Mud Wresting by "Will Hill" 60. Re: Hey by "RD" 61. Re: Hey by "Scott Parker" 62. Re: Mud Wresting by KEITH ARSENAULT 63. Re: Turnbuckles have their uses. by "Brian Munroe" 64. Re: Hey by "Jared M. Forsythe" 65. Re: Hey by "Jared M. Forsythe" 66. Re: Stagecraft Drinks night NYC by "Occy" 67. Re: Mud Wresting by "Brooke Carlson" 68. Re: Hey by Brian James 69. Re: Stagecraft Drinks night NYC by "Joe Saint" 70. Re: large hot-wire cutting apparatus? by "Bill Nelson" 71. Re: Sussing Sound Buzz when lighting might be the culprit? by "Bill Nelson" 72. Re: large hot-wire cutting apparatus? by Stuart Wheaton *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <45ACC01F.4030201 [at] earthlink.net> Date: Tue, 16 Jan 2007 04:07:59 -0800 From: Scott Peterson Subject: RE: Osram EHG lamps vs. Altman 360Q sockets References: In-Reply-To: Thanks to Jeffrey Salzberg and Roy Harline. We are actually using this experience to replace part of our inventory. We've persuaded the school district maintenance dept to cough up half the funds. They say they can write it off as "energy efficancy" or something like that... So 40 new Source 4 jr. fixtures should be arriving next month. I think the new lamps will fit the newer 360Q fixtures (all-black), I have only tried one so far. Our lamp vendor said this is the way the lamp is made now. No other information was provided. I'll go back to them with the note about Osram Quality Control... Thanks, -Scott Scott Peterson Technical Director Highlander Auditorium - Upland, CA scott [at] highlanderauditorium.com >> Any suggestions that don't include >> removing the sheet metal that covers the top of the socket? > > "Boss, our old, obsolete fixtures won't accept the lamps we can get nowadays, We need to totally replace our inventory with Source 4s." ------------------------------ Message-Id: <45AC6E1F020000AE000047BC [at] gw1.msdmv.k12.in.us> Date: Tue, 16 Jan 2007 06:18:07 -0600 From: "Dana Taylor" Subject: A Bit off Topic Hello: My student chapter of USITT is planning a tricycle race for the benefit of "Behind the Scenes" and has been initially dubbed, "The Short Reach Short Riders" (thanks Bill). What we are seeking is a place to rent the "trikes". I have found one source in Atlanta but am seeking others for a cost comparison. Thanks for any help that you might lend. Dana Taylor Dana W. Taylor Mt. Vernon Sr. High School 812.833-5932 ------------------------------ Date: Tue, 16 Jan 2007 08:07:12 -0500 Subject: Re: A Bit off Topic From: Bill Sapsis Message-ID: In-Reply-To: Gotta love it. What a great idea. Folks....these are the same kids that drove a couple of hours one day last summer to meet us on our ride and make lunch for us. Great bunch of kids. Thanks Dana. Bill S. ETCP Certified Rigger - Theatre ETCP Council Member www.sapsis-rigging.com 800.727.7471 267.278.4561 mobile The Long Reach Long Riders are in New England July 29 - Aug 6. C'mon and ride with us. On 1/16/07 7:18 AM, "Dana Taylor" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello: > > My student chapter of USITT is planning a tricycle race for the benefit > of "Behind the Scenes" and has been initially dubbed, "The Short Reach > Short Riders" (thanks Bill). > > What we are seeking is a place to rent the "trikes". I have found one > source in Atlanta but am seeking others for a cost comparison. > > Thanks for any help that you might lend. > > Dana Taylor > > Dana W. Taylor > Mt. Vernon Sr. High School > 812.833-5932 ------------------------------ Message-ID: <45ACD63A.6000906 [at] gmail.com> Date: Tue, 16 Jan 2007 08:42:18 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Independent Lights in the ETC Express Board References: In-Reply-To: Al Fitch wrote: > --------------------------------------------------- > I don't understand Independent and how it is useful or > if that has anything to do with the lights behavior > but I suspect it has everything to with it. > > Can anyone give me the digest version of why this is? Independent channels don't respond to the grandmaster or the blackout button. This is for moving lights and scrollers so that you can kill the intensity channels (non-independent) without changing the position, colour or focus of the fixture (all independent channels). The tricky thing is remembering to reset those channels when you're no longer using them for moving lights. This is what caught you unawares. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <45ACD679.50303 [at] gmail.com> Date: Tue, 16 Jan 2007 08:43:21 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Independent Lights in the ETC Express Board References: In-Reply-To: John McKernon wrote: > --------------------------------------------------- > > >>I don't understand Independent and how it is useful or >>if that has anything to do with the lights behavior >>but I suspect it has everything to with it. > > > Independent is great for situations where you have a light that needs to > stay up (such as a channel that someone is trying to fix or focus) no matter > what the cues are doing. Another case where it's useful is if your house > lights are on the board and you want to put them at a glow during tech > rehearsals but you don't want them recorded into cues that way. John, I'd think "Park" would be an easier solution for those situations than going into patch and toggling each channel as an independent. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <45ACD707.3080908 [at] gmail.com> Date: Tue, 16 Jan 2007 08:45:43 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Inflated stadium roof deflates References: In-Reply-To: Susan Nicholson wrote: > --------------------------------------------------- > > I have watched a lot of football this season (my roommate bought the > season pass on direct tv). There were times that the long shadows on > the field created a problem for us in TV land to see. Miss a couple of > key plays and touchdown throws because of this. They didn't have the > lights on because it was late afternoon during these games and were not > needed as long as you were in the stadium. Baseball solves this problem by having the lights on all game if it's being televised in the mid to late afternoon. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ In-Reply-To: References:

Message-Id: <4BF2D108-8DED-4ED1-8A10-9A8D442A9F99 [at] aol.com> From: KEITH ARSENAULT Subject: Re: Inflated stadium roof deflates Date: Tue, 16 Jan 2007 08:51:35 -0500 actually, , , i am fairly confident that NFL Stadiums have a lights on policy for all games regardless of the time of day , , as all games are televised. I have driven by Raymond James Stadium here in Tampa during a day time Bucs game and seen the full compliment of lights on, , on a really really sunny day, , it helps ( a little ) to cut down on the high contrast, , On Jan 16, 2007, at 8:45 AM, Stephen Litterst wrote: Susan Nicholson wrote: > --------------------------------------------------- > I have watched a lot of football this season (my roommate bought > the season pass on direct tv). There were times that the long > shadows on the field created a problem for us in TV land to see. > Miss a couple of key plays and touchdown throws because of this. > They didn't have the lights on because it was late afternoon during > these games and were not needed as long as you were in the stadium. Baseball solves this problem by having the lights on all game if it's being televised in the mid to late afternoon. Steve L. Keith L Arsenault International Arts & Entertainment Group Tampa, Florida www.iaeginc.com 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ Message-ID: <45ACDD02.3060100 [at] gmail.com> Date: Tue, 16 Jan 2007 09:11:14 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Motivating students to use power tools References: In-Reply-To: Mick Alderson wrote: > --------------------------------------------------- > > That's been my experience, too, although my Stagecraft "power tool" > project is to make a little board 2 3/4" x 14" with a 45 degree angle on > one end, a notch in the side, and a hole bored in the center. It usually > involves using a tape measure, a table saw, a miter saw, a band saw, and > a drill press, i.e. all the major stationary tools in the shop. I tell > the students they can use the hand tools if they really don't want to > use the power tools. I've had ONE student in ten years who did it that way. My college TD required us to demonstrate proficiency on hand tools before we were allowed to step up to their powered brethren. After having to rip and crosscut 5/4, there were very few of us who did not want to learn the table saw and radial arm. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <45ACDF48.7090501 [at] gmail.com> Date: Tue, 16 Jan 2007 09:20:56 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Independent Lights in the ETC Express Board References:

In-Reply-To: Bruce Purdy wrote: > --------------------------------------------------- > On my Express 48/96, I put the channels used for houselights to > "Independent", then (Since they are on higher channels with no slider) > I assign them to a pair of submasters. This does prevent them from > being affected by the GM or BO button, but they still get written into > cues. Is this because of the use of the submasters? Most likely. Doesn't the Express have a "Rec -Sub" function? (it might be a softkey?) Try using that to exclude subs from recording into cues. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <45ACE222.1050203 [at] gmail.com> Date: Tue, 16 Jan 2007 09:33:06 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Independent Lights in the ETC Express Board References:

In-Reply-To: Eddie Kramer wrote: > --------------------------------------------------- > > On 1/14/07 John McKernon sent: > >>If you press [Go To Cue] [0] [Enter], all channels except independent channels are set to zero." > > > If you press [Go To Cue] [out] [Enter], all channels including independent channels are set to zero." > > Note; in both cases, parked dimmers and channels remain unchanged. Has anyone found a way to do this on a Strand console? I got used to using [Go To Cue] {out} on the Obsession at the end of a rehearsal but can't replicate it in the Strand Pallette series. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <45ACE289.5010506 [at] gmail.com> Date: Tue, 16 Jan 2007 09:34:49 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Independent Lights in the ETC Express Board References:

In-Reply-To: Bill Nelson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >>"An independent channel is not affected by the Grandmaster, [Blackout], >>[Rem >>Dim], [Flash], Channel Check, or solo bumpmaster bump buttons. If you >>press >>[Go To Cue] [0] [Enter], all channels except independent channels are set >>to zero." >> >>This means that Independent channels are affected by cues, unlike Parked >>channels and dimmers. > > > Did you mean to write "unaffected"? > > Also, are parked channels/dimmers really affected by cues? I thought the > reason for parking them was to avoid that. No, what he said is correct. Independent channels go up and down as recorded in the cue, but parked channels and dimmers stay at their parked level until unparked. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Date: Tue, 16 Jan 2007 09:39:53 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <59595511.20070116093953 [at] tcon.net> Subject: Re: A Bit off Topic In-Reply-To: References: Howdy Dana! I'm guessing you're at the Mount Vernon High School in Mount Vernon, Indiana. Man oh man do I have a story to tell concerning your stage curtains.... Tuesday, January 16, 2007, you wrote: > My student chapter of USITT is planning a tricycle race...seeking is > a place to rent the "trikes" Could your solution be as simple as having the contestants bring their own tricycles? Divide contestants into classes determined by wheel diameter, and award prizes for decorations. Ahhh, the ideas flow like water.... Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com This email is a natural hand made product. The slight variations in spelling and grammar enhance its individual character and beauty, and in no way are to be considered flaws or defects. Running THE BAT! Natural e-mail system v.3.85.03 mailto:Lamplighter [at] tcon.net ------------------------------ Date: Tue, 16 Jan 2007 09:39:14 -0500 Subject: Re: Carvewright From: "deziner [at] theatreinthepark.com" Message-ID: In-Reply-To: Did you watch the video on the website. You can watch it work. Steve > From: "paul.guncheon [at] hawaiiantel.net" > > It looks like a great prop making device, but without actually seeing > and playing with one... > > Anybody? > > Laters, > > Paul ------------------------------ Message-ID: <20070116145647.37101.qmail [at] web52215.mail.yahoo.com> Date: Tue, 16 Jan 2007 06:56:47 -0800 (PST) From: Paul Marsland Subject: Theatre and PAC architects In-Reply-To: Bill Connor and many others have made many good points about the process of creating a new or renovated stage or PAC. The finest point, I believe, was that the team is more important than the architect (and by the way, the owner is a vital part of the team!) Having been a part of a number of new projects (in the various postitions of owner rep, supplier, contractor and consultant), I would point out two very important things; 1) a familiar theme, but be very specific about what you want FROM THE OUTSET. Or at least be very specific about what you don't want. At the start of all projects is THE DREAM; be vocal about you needs and desires, and be certain that the architect / consultant are listening (which they should). There are many check points in the design process at which to discuss, cajole, add and eliminate. All that you dream and communicate (hopefully) goes into the specifications and the drawings (known as the "CONSTRUCTION DOCUMENTS"). Once the "DOCUMENTS" become public and are bid upon, they become the governing factor in EVERY discussion. I cannot stress this point enough; the "DOCUMENTS" become the governing factor in EVERY discussion. Should you want something changed after the "DOCUMENTS" are in place, from moving an outlet to changing the type of seat in the audience to moving the lighting poles in the parking lot, there is likely a large, or incredibly large, pile of documentation that has to occur on your part and the part of the architect / consultant / contractor / vendor / plus the heiarchy of people above you on the owner side. Imagine a Cc list as long as your arm, or making copies in umpti-leben-plicate. Every change from the "DOCUMENTS" you ask for becomes a process, and carries a dollar sign. Try to discern which things are worth the trouble to fight for (in energy and dollars). 2) after bids are awarded and contractors are in place, EVERYTHING is negotiable. Realise that every negotiation takes time and carries a price. Realise that EVERY person involved in the design and construction of your new facility wants to do just three things; fulfill the "DOCUMENTS", give the owner what they want, and make enough money to stay in business. If you work hard on part 1 above, this step works itself out. If you don't get part 1 right, it leads to a really lousy experience for most of the poeple involved and potentially a really lousy facility. My three-year-old son is the owner; he wants pasta and sauce. Our baby-sitter, as the architect, wants to give him what he wants, but doesn't know if he means penne, bowties, or bugs; let alone alfredo, marinara or pesto. The nanny, as the consultant, knows that children typically don't like spicey, and that interesting shapes usually go over better. Our pantry, as the supplier, only has macaroni, spaghetti and risoto, but can get anything from the grocery store with enough notice. My wife, as the owners rep, will get the tortilini out of the freezer, make it with butter and parmesian, and we'll have another perfect dinner. Paul ____________________________________________________________________________________ Never miss an email again! Yahoo! Toolbar alerts you the instant new Mail arrives. http://tools.search.yahoo.com/toolbar/features/mail/ ------------------------------ Date: Tue, 16 Jan 2007 09:12:41 -0600 From: Thomas Grabowski Subject: Safety Training Videos Message-id: As an offshoot from the lawsuit thread, does anyone have any recommendations and/or sources for the safety training videos for standard woodworking shop tools? Google got me way too much information. Those of you that use them, whose do you like? --=20 Tom Grabowski University of Texas-Pan American Designer Communication Department Tomgrab [at] UTPA.edu Edinburg, Texas 78541 956/381-3588 FAX 956/318-2187 ------------------------------ Reply-To: From: "RD" References:

Subject: RE: Theatre and PAC architects Date: Tue, 16 Jan 2007 08:20:31 -0700 Message-ID: <020301c73981$dcd290a0$6501a8c0 [at] doom1> In-Reply-To: Excellent. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Paul Marsland Sent: Tuesday, January 16, 2007 7:57 AM To: Stagecraft Subject: Theatre and PAC architects For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Bill Connor and many others have made many good points about the process of creating a new or renovated stage or PAC. The finest point, I believe, was that the team is more important than the architect (and by the way, the owner is a vital part of the team!) Having been a part of a number of new projects (in the various postitions of owner rep, supplier, contractor and consultant), I would point out two very important things; 1) a familiar theme, but be very specific about what you want FROM THE OUTSET. Or at least be very specific about what you don't want. At the start of all projects is THE DREAM; be vocal about you needs and desires, and be certain that the architect / consultant are listening (which they should). There are many check points in the design process at which to discuss, cajole, add and eliminate. All that you dream and communicate (hopefully) goes into the specifications and the drawings (known as the "CONSTRUCTION DOCUMENTS"). Once the "DOCUMENTS" become public and are bid upon, they become the governing factor in EVERY discussion. I cannot stress this point enough; the "DOCUMENTS" become the governing factor in EVERY discussion. Should you want something changed after the "DOCUMENTS" are in place, from moving an outlet to changing the type of seat in the audience to moving the lighting poles in the parking lot, there is likely a large, or incredibly large, pile of documentation that has to occur on your part and the part of the architect / consultant / contractor / vendor / plus the heiarchy of people above you on the owner side. Imagine a Cc list as long as your arm, or making copies in umpti-leben-plicate. Every change from the "DOCUMENTS" you ask for becomes a process, and carries a dollar sign. Try to discern which things are worth the trouble to fight for (in energy and dollars). 2) after bids are awarded and contractors are in place, EVERYTHING is negotiable. Realise that every negotiation takes time and carries a price. Realise that EVERY person involved in the design and construction of your new facility wants to do just three things; fulfill the "DOCUMENTS", give the owner what they want, and make enough money to stay in business. If you work hard on part 1 above, this step works itself out. If you don't get part 1 right, it leads to a really lousy experience for most of the poeple involved and potentially a really lousy facility. My three-year-old son is the owner; he wants pasta and sauce. Our baby-sitter, as the architect, wants to give him what he wants, but doesn't know if he means penne, bowties, or bugs; let alone alfredo, marinara or pesto. The nanny, as the consultant, knows that children typically don't like spicey, and that interesting shapes usually go over better. Our pantry, as the supplier, only has macaroni, spaghetti and risoto, but can get anything from the grocery store with enough notice. My wife, as the owners rep, will get the tortilini out of the freezer, make it with butter and parmesian, and we'll have another perfect dinner. Paul ____________________________________________________________________________ ________ Never miss an email again! Yahoo! Toolbar alerts you the instant new Mail arrives. http://tools.search.yahoo.com/toolbar/features/mail/ ------------------------------ Subject: RE: Cell Phone Karma and cell phone cameras Date: Tue, 16 Jan 2007 10:22:42 -0500 Message-ID: In-Reply-To: From: "Alf Sauve" It's not really off topic since we have discussed the issue before. Along the line of cell phone camera's:=20 I pulled four license agreements this weekend and none of them expressly prohibit still photography (moving pictures, sound, etc. but not still). Which to me is reasonable since still photos don't constitute a copy of the script. Of course, one would still need permission from other parties involved. I also noted none of the license agreements expressly permitted still photography for PR/advertising purposes. Has anyone heard of a SCRIPT license holder actually taking legal action over still photos? =20 Alf ------------------------------ From: "Michael Brubaker" Subject: RE: Theatre and PAC architects Date: Tue, 16 Jan 2007 10:27:05 -0500 Message-ID: In-Reply-To: There are also contractors that bid what was specified (what's in the DOCUMENTS, to reference another post) with reasonable markup. They bid exactly what was specified. And, when it turns out that what was specified is not right or won't work, this is when change orders start to appear. Again, with reasonable markup. Anyone that works for free will not stay in business. Mike Brubaker Occy wrote: What are you talking about, thats how contractor makes his money.... bid stupidly low make all the profit off the change orders. Been there done that. ------------------------------ Message-ID: <58f67b0f0701160754s45cdfdf7v61abbcdd48c1210d [at] mail.gmail.com> Date: Tue, 16 Jan 2007 09:54:34 -0600 From: "Michael Powers" Subject: Re:Turnbuckles have their uses. Clive Mitchell writes: << Hey, turnbuckles are getting a bad press here. They may not have been suited to the application mentioned, but they do have their place.........>> Under the "Not Suited" applications, the one that always gets me is turnbuckles installed at the top of counterweight arbors...... even though there is a trim chain on the other end of the lift line. I have seen this in more theatres than I can count over the last 40 years. This includes installations of all the big name manufacturers, though most of them were probably subbed out for the actual install. Someone please correct me if I'm wrong, but if you need a batten trimmed more precisely than a trim chain will accomplish, you're into some sort of specialized rigging, like flying or automation, etc. If you're doing that, the final trim should be accomplished within the special rigging unit -- Michael Michael Powers Director of Operations Central Lighting & Equipment 1720 Fuller Rd. Suite 150 West Des Moines Iowa 50265 515-277-4190 877-977-4190 Fax 515-277-2295 515-557-0178 cell michael [at] clelights.com ------------------------------ Message-ID: <000a01c73986$e6fdc4a0$6801a8c0 [at] monorail> From: "Production Manager" References: Subject: Re: Stephens Date: Tue, 16 Jan 2007 09:56:30 -0600 >> 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... It had. I did not go in the new one my last trip there. I saw that they added a second story with an outdoor patio on top. I too took trips over to see shows at Stephens while I was a Mizzou student (93'- 97) Kenneth Pogin Production / Tour Manager Minnesota Ballet ------------------------------ Subject: Re: Osram EHG lamps vs. Altman 360Q socket Date: Tue, 16 Jan 2007 10:59:58 -0500 Message-ID: <32A39D1520CCF04194CB231862590B08CEA327 [at] ocdata1.OCFL.NET> In-Reply-To: From: Osram appears to be aware of at least some problems with socket fit on some of their lamps. I had a problem with some FELs not fitting our older Colortrans. My distributor stated that the Osram rep told him (I know, 3rd or 4th party information doesn't always wash...) date codes 648 through 698 had problems with the base dimensions due to a subcontractor foul-up. I have returned mine to the vendor and they are getting replacements. If the next batch doesn't fit, it's Philips here I come, metal base or not. Dave Dickinson T.D., Linda W. Chapin Theater Orange County Convention Center In-Reply-To: References: Message-Id: <78387CC8-02EA-40D5-B6C7-C53BB552109D [at] tany.com> From: Brian Aldous Subject: Re: Osram EHG lamps vs. Altman 360Q socket Date: Sat, 13 Jan 2007 21:47:35 -0500 you are correct. Maybe someone needs to complain to Osram? BA Brian Aldous Lighting Design brian [at] tany.com ------------------------------ Message-Id: Date: Tue, 16 Jan 2007 11:07:28 -0500 From: "Jared Clarkin" Subject: Sound Board Repair NYC I have a Mackie console that is in need of repair. Does anyone have recommendations for a repair shop to take it to in the NYC area? Any help is appreciated. Many Thanks, Jared Jared Clarkin Production Manager The New School for Drama 212-229-5859 Ext. 2627 clarkinj [at] newschool.edu ------------------------------ Date: Tue, 16 Jan 2007 11:37:13 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <615131634.20070116113713 [at] tcon.net> Subject: Re[2]: Turnbuckles have their uses. In-Reply-To: References: Howdy ! Tuesday, January 16, 2007, Michael Powers wrote: > Under the "Not Suited" applications, the one that always gets me is > turnbuckles installed at the top of counterweight arbors Hoo Boy! I sure agree with that! We did an install at a public high school some years ago, from a specification written by a large rigging contractor (who shall remain nameless) that specified a 1/2" x 12" J&E Turnbuckle at the top of each arbor. I fought that design flaw with hammer and tong with the architect, structural engineer and even the knothead that wrote the specification, but to no avail. Those huge turnbuckles were about 28" long when opened to the approximate middle of their adjustment travel, and the ultimate user was disappointed that their sets didn't have as much travel as they had hoped they would... I TOLD 'EM SO BUT THEY REFUSED TO LISTEN! Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com This email is a natural hand made product. The slight variations in spelling and grammar enhance its individual character and beauty, and in no way are to be considered flaws or defects. Running THE BAT! Natural e-mail system v.3.85.03 mailto:Lamplighter [at] tcon.net ------------------------------ In-Reply-To: References: Message-Id: From: KEITH ARSENAULT Subject: Re: Stagecraft Drinks night NYC Date: Tue, 16 Jan 2007 12:07:54 -0500 will try to be there, , , I will be in the city the evenings of 1 /20 - 1/22 On Jan 15, 2007, at 10:01 PM, Herrick Goldman wrote: One week from tonight. 1/22 at DBA 41 first Ave NYC Keith L Arsenault International Arts & Entertainment Group Tampa, Florida www.iaeginc.com 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ Message-ID: <1241.205.215.253.92.1168967987.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Tue, 16 Jan 2007 09:19:47 -0800 (PST) Subject: Re: Independent Lights in the ETC Express Board From: "Bill Nelson" >>>"An independent channel is not affected by the Grandmaster, [Blackout], >>>[Rem >>>Dim], [Flash], Channel Check, or solo bumpmaster bump buttons. If you >>>press >>>[Go To Cue] [0] [Enter], all channels except independent channels are set >>>to zero." >>> >>>This means that Independent channels are affected by cues, unlike Parked >>channels and dimmers. > > >> Did you mean to write "unaffected"? > >> Also, are parked channels/dimmers really affected by cues? I thought the >> reason for parking them was to avoid that. > No, what he said is correct. Independent channels go up and down as > recorded in the cue, but parked channels and dimmers stay at their > parked level until unparked. But what was written is inconsistant. First, there is the statement that " If you press Go To Cue .... , the independent channels are not affected by the cue. (After all, Cue 0 is a cue). Then the next statement says they are. That is why I asked. I can not understand the apparent discrepency between the two statements. Maybe I just need to get more sleep. Bill ------------------------------ Message-ID: <45AD1475.6030008 [at] gmail.com> Date: Tue, 16 Jan 2007 13:07:49 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: A Bit off Topic References: In-Reply-To: Dana Taylor wrote: > --------------------------------------------------- > My student chapter of USITT is planning a tricycle race for the benefit > of "Behind the Scenes" and has been initially dubbed, "The Short Reach > Short Riders" (thanks Bill). > > What we are seeking is a place to rent the "trikes". I have found one > source in Atlanta but am seeking others for a cost comparison. Ithaca College bought a bunch for their production of Seussical a few years back. Try giving their theatre dept a call. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <45AD1616.1000102 [at] gmail.com> Date: Tue, 16 Jan 2007 13:14:46 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Independent Lights in the ETC Express Board References:

In-Reply-To: Bill Nelson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >>>>"An independent channel is not affected by the Grandmaster, [Blackout], >>>>[Rem >>>>Dim], [Flash], Channel Check, or solo bumpmaster bump buttons. If you >>>>press >>>>[Go To Cue] [0] [Enter], all channels except independent channels are set >>>>to zero." >>>> >>>>This means that Independent channels are affected by cues, unlike Parked >>> >>>channels and dimmers. >> >> >>>Did you mean to write "unaffected"? >> >>>Also, are parked channels/dimmers really affected by cues? I thought the >>>reason for parking them was to avoid that. > > >>No, what he said is correct. Independent channels go up and down as >>recorded in the cue, but parked channels and dimmers stay at their >>parked level until unparked. > > > But what was written is inconsistant. First, there is the statement that " > If you press Go To Cue .... , the independent channels are not affected by > the cue. (After all, Cue 0 is a cue). Then the next statement says they > are. > > That is why I asked. I can not understand the apparent discrepency between > the two statements. Maybe I just need to get more sleep. Ah, Now I understand the confusion. On the Obsession and Pallette consoles, Go To Cue 0 isn't really a cue commmand, it's essentially another way of achieving "Rem Dim." Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <45AD176B.4030409 [at] gmail.com> Date: Tue, 16 Jan 2007 13:20:27 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: What specials do you give concert pianos? References: In-Reply-To: Riter, Andrew (Head Ltg) wrote: > --------------------------------------------------- > For Solo piano concerts, or piano and orchestra concerts, what lights > do you focus on the piano? Or, what is the purpose of those lights? Tons of toplight (S4 PARs) High sidelight Front fills. The only complaints I've heard is that the high sidelight is too low and shines in their eyes. Unfortunately, it's as high as I can put the equipment at the moment. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ From: MartySrq [at] aol.com Message-ID: Date: Tue, 16 Jan 2007 13:22:47 EST Subject: Re: Rosculux R119 So Herrick, What do you think about the R119 question? Have you experienced a change? Marty ------------------------------ Message-ID: <45AD1CB2.9050507 [at] gmail.com> Date: Tue, 16 Jan 2007 13:42:58 -0500 From: Stephen Litterst Organization: University of Delaware Cc: chanlights [at] exchange.ubc.ca Subject: Re: lighting board specs References: In-Reply-To: Riter, Andrew (Head Ltg) wrote: > --------------------------------------------------- > I'm looking at the ETC Insight 3 (with or without Emphasis), the > Strand 300, Stand Sub Palette (although it's very VERY new, and I'm > afraid buggy early releases). I've also read the specs on the > Marquee and Marquee ILC, although I think I would require those two > boards melded to suit my needs. > I'm a big cheerleader for Strand, but I would steer you away from the 300 since they've discontinued it. Sure, you can find dealers who still have them in stock, but parts will be rare. And I agree with you on being afraid of the early releases of the new Pallette line. > Anyway, what other boards should I look at? Would going to USITT in > Phoenix be a good idea? I would encourage you to go to Phoenix. Make sure to make it clear that this is a 2 year process involving two performance spaces. Ideally you'll want consoles that can replace (or supplement) each other when needed. Use the list to make appointments with vendors rather than just walking up to the booth. That way you can be guaranteed that they'll have time set aside for you. Enjoy, I love the process of shopping for a new console. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-Id: <3.0.6.32.20070116115142.00c89558 [at] pop.west.cox.net> Date: Tue, 16 Jan 2007 11:51:42 From: CB Subject: OT from RE: Sales/Install Question >So you are "Master" Babbie? > >I thought you were older than that! ;-) Finally catching up again, but yeah, 'Master' in some cirlecles, and even 'Lord' inothers! I prefer Chris, plain and simple, though. 'Baby' is one that I can get along with, though, depending on the source... ; > Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Message-Id: <3.0.6.32.20070116121504.00c89558 [at] pop.west.cox.net> Date: Tue, 16 Jan 2007 12:15:04 From: CB Subject: Chop saw reflexes >Here, I have to disagree a bit - the saws get up to full speed in tiny >fractions of a second, faster than the tenth of a second or more it >would take someone who's expecting to be in that particular race. Maybe I've been around slow saws, but most of 'em take the better part of a second to get up to 'full'. Less than half-a-second to get to 'dangerous', yeah, but I envision a saw at standstill with my arm near the blade coming to life with all that noise that accompanies it, and *any* movement on my sleeve would initiate a 'knee-jerk' reaction (actually, an 'elbow-jerk'?) in far less time than it would take to get parts ripped off my hand. Anyhoo, this is all speculation and conjecture based on the fact that the lawyers aren't willing to part with any useful information. Maybe I'm just basing this on my reflexes, which have tested as 'better than normal' in a driving simulator. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Message-id: Date: Tue, 16 Jan 2007 15:01:44 -0500 Subject: large hot-wire cutting apparatus? From: "Alan Bryson" wow. i have inherited two huge (not really: 1'6"x2'6"x6') foam blocks that are somewhat-laminated pink foam constructs. we begun the build for this show (opens feb. 7) last week under the word that these units would be built (student designer. . .) . . .these units need to have straight sides, and they don't. think a step-pyramid needs to be smooth. . . so--i consult you as i do other research. . .i have built small hot wire cutters for foam before, but have never cut this type before and am wary of such, anyway, as it has a direct warning: "This product will combust if exposed to fire of sufficient heat. . it's the owens-corning foamular-150. . .the sides need not be smooth--in fact, we'll coat them with jaxsan. . .any thoughts? much appreciation, as i head to experiment (with much ventilation and respirator. . .) alan bryson Technical Director Furman University Theatre Arts Department ------------------------------ Message-Id: <3.0.6.32.20070116124139.00c89558 [at] pop.west.cox.net> Date: Tue, 16 Jan 2007 12:41:39 From: CB Subject: Re: Sussing Sound Buzz when lighting might be the culprit? >My dilemma is that three weeks ago we did a musical >and rented 9-10 wireless. >There was no hum or buzz in the system. The rental company sent along a sound engineer to hook things up. It's fairly clear that you aren't a sound engineer, and as often as we tend to get poked fun at, this is why we do what we do. You sound (no pun intended) as if you have more than one problem, and grounding is one of them. Balanced/unbalanced may be another one, and you may even have issues with lamps actually making acoustic noise (as opposed to lamps making electrical noise that is amplified by the sound system). We could sit here and diagnose your sound issues til the bovines return tot he domecile, but unless we get all the info right,and get all the problems solved either simulteneously or serially, you will still have issues. Call the rental company and see who set the sytem up when it worked. See if that cat'll do it again for a coupla bucks and a sixer of really good beer. If that fails, write him a real check. Sound is like rigging. It really is a specialty, and it really is important. It *can* be done by any old person with a coupla tools and having seen it done a half-a-dozen times, but the results are going to be less than stellar. Some folks'll tell you that the only difference is that no one dies if the sound is done poorly, but I beg to differ. If you run sound poorly in a program or a venue long enough, it'll die. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Message-Id: <519BD614-C739-4E06-BBDE-E3FACF288663 [at] gmail.com> From: Robert Graham Subject: LCD Projector Question Date: Tue, 16 Jan 2007 14:18:39 -0600 I'm designing a dance show, and the choreographer/director would like to use projected imagery via an LCD projector. I'm curious to know what the group consensus seems to be regarding the minimum intensity to project onto a darkened cyclorama against stage lighting? I know I can get my hands on a 1600 Lumen model very easily, but it's probably too dim. Having not done this in a while, I'm curious what the 'mainstream thoughts' are these days. Oh, and I'll be front projecting from a distance of 40' or so (NOT MY CHOICE!) Thanks in advance. -Robert ------------------------------ Subject: RE: LCD Projector Question Date: Tue, 16 Jan 2007 15:23:54 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A07286D18 [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" > I know I can get my hands=20 > on a 1600 Lumen model very easily, but it's probably too dim. >=20 > Having not done this in a while, I'm curious what the=20 > 'mainstream thoughts' are these days. >=20 > Oh, and I'll be front projecting from a distance of 40' or so (NOT MY > CHOICE!) I've done projections onto a black scrim with (carefully-focused) stage lighting from a distance of 70' with a 3K lumen projector before, with good results (I can email pics if you want to see). For dance, though, unless the lighting is gonna be somewhat isolated in those numbers utilizing the projector, I'd think 1600 would be a little wimpy. YMMV ------------------------------ Message-ID: <45AD34BC.4000301 [at] gmail.com> Date: Tue, 16 Jan 2007 15:25:32 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: LCD Projector Question References: In-Reply-To: Robert Graham wrote: > --------------------------------------------------- > > I'm designing a dance show, and the choreographer/director would like > to use projected imagery via an LCD projector. > > I'm curious to know what the group consensus seems to be regarding the > minimum intensity to project onto a darkened cyclorama against stage > lighting? I know I can get my hands on a 1600 Lumen model very easily, > but it's probably too dim. > > Having not done this in a while, I'm curious what the 'mainstream > thoughts' are these days. > > Oh, and I'll be front projecting from a distance of 40' or so (NOT MY > CHOICE!) I've done this distance with 4000 lumens with Very Very dim stage lighting. I have done it at half the distance using two 4000 lumen projectors. The hidden question is the size and imagery you will be projection. 1600 lumens spread out over a 20 x 60 cyc isn't very bright. Concentrated on a 10 x 10 image on the cyc will be much more visible. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-Id: <3.0.6.32.20070116130526.00c89558 [at] pop.west.cox.net> Date: Tue, 16 Jan 2007 13:05:26 From: CB Subject: Re: Sussing Sound Buzz when lighting might be the culprit? > 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. I wonder what would happen if rigging were regarded in this manner? Or if your anesthetist told you that? I've discovered that ninety percent of the problems in theatrical (and quite a bit of other venues') sound issues start at someone that doesn't know sound, or someone that doesn't know theatre. Or a combination of the two. Sound really is an esoteric science *and* art. While I do commend your efforts at taking care of the sound, I lament that it is still considered a job that anyone who owns a nice home stereo, or a good car stereo, is qualified to do. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Message-ID: <1caebf780701161238ib30f6d1x9598cb7bdad43b16 [at] mail.gmail.com> Date: Tue, 16 Jan 2007 15:38:44 -0500 From: "Jason Salvatori" Subject: Re: LCD Projector Question In-Reply-To: References:

Our 80' throw with 4000 Lumens to make a 22'x18' image is just barely acceptable. Bright images look good, but anything with a lot of dark areas or dark tones gets lost (blue on black is pretty indistinguishable) Jason Salvatori Technical Director Vaughan City Playhouse > > I know I can get my hands > > on a 1600 Lumen model very easily, but it's probably too dim. ------------------------------ Message-ID: <20070116204458.60441.qmail [at] web82211.mail.mud.yahoo.com> Date: Tue, 16 Jan 2007 12:44:58 -0800 (PST) From: Michael Heinicke Subject: Re: large hot-wire cutting apparatus? In-Reply-To: I don't know about the construction of a large enough hot wire cutter, but I have cut this product before with a hot wire cutter and didn't have any problems with it catching fire. We did have some problems with brown scorch marks if the wire sat in one place for too long, but I never saw any flames. FWIW, Mike Heinicke --- Alan Bryson wrote: > wow. i have inherited two huge (not really: > 1'6"x2'6"x6') > foam blocks that are somewhat-laminated pink foam > constructs. > we begun the build for this show (opens feb. 7) last > week under > the word that these units would be built (student > designer. . .) > > . . .these units need to have straight sides, and > they don't. think > a step-pyramid needs to be smooth. . . > > so--i consult you as i do other research. . .i have > built small hot > wire cutters for foam before, but have never cut > this type before > and am wary of such, anyway, as it has a direct > warning: > "This product will combust if exposed to fire of > sufficient heat. . > > it's the owens-corning foamular-150. . .the sides > need not be > smooth--in fact, we'll coat them with jaxsan. . .any > thoughts? > > much appreciation, as i head to experiment (with > much > ventilation and respirator. . .) > > alan bryson > Technical Director > Furman University Theatre Arts Department > > > ------------------------------ Message-Id: <3.0.6.32.20070116132039.00c89558 [at] pop.west.cox.net> Date: Tue, 16 Jan 2007 13:20:39 From: CB Subject: Re: Sussing Sound Buzz when lighting might be the culprit? >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. Nope, you're straight. Steady as she goes... >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. Ehm, you've left the track a bit here. Hums and buzzes with the lighting package as the culprit do not depend on a faulty ground scheme in the sound dept. Sure, a good ground scheme will make a sound system immune to *some* of the issues that are created by the squints, but not all. Quite often I'll insure that I've got my package all sussed out and discover that the quint has decided that he doesn't need to run his own AC for the lighting desk and monitors and his reading light, because I've already put in a hose. And I get all kinds of evil looks when I unplug a console, too! Dimmers come in various colors and qualities. Some of them spew RF & IF and dump all kinds of junk into the AC, on both the ground *and* line! The end of the story is that hums and buzzes have an almost endless supply of sources, and the quints will only be the source about ninety-eight point three times out of a hundred, and it will only be on purpose about half of that. ; > A working knowledge of electrical systems and sound kit *on a component level* is required to make sure that the sound is good and there are no hums and or buzzes. Add math, physics, and acoustics with a touch of fluid dynamics and thermodynamics, and you could be a sound engineer! Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Message-Id: <3.0.6.32.20070116133250.00c89558 [at] pop.west.cox.net> Date: Tue, 16 Jan 2007 13:32:50 From: CB Subject: Re: Sussing Sound Buzz when lighting might be the culprit? >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. Two solutions: Ground the tailpiece (whcih is what we finally did) and noise gate the input (which is what we did till we could open up the axe and 'fix' it). Guitars are fairly simple toys, electronically. If it buzzes while open (not touching the strings), it's the tailpiece ground every time. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Subject: RE: Sussing Sound Buzz when lighting might be the culprit? Date: Tue, 16 Jan 2007 16:06:59 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A07286DA1 [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" > Add math, physics, and=20 > acoustics with a touch of fluid dynamics and thermodynamics,=20 > and you could be a sound engineer! Are the thermo- and fluid dynamics for the espresso and beer? :) ------------------------------ Message-ID: In-Reply-To: From: "Susan Nicholson" Subject: Adrienne Theatre Date: Tue, 16 Jan 2007 16:24:32 -0500 Does anyone know anything lighting wise about the black box space in the Adrienne Theatre in Philly?? I have a theatre company going in there next month and was wondering if they had a board, dimmers, a website, etc. Thanks for any help!! Susan Susan Nicholson Lighting Designer 917-621-6298 "We are the Music Makers and we are the Dreamers of the Dream"-Willy Wonka _________________________________________________________________ The MSN Entertainment Guide to Golden Globes is here. Get all the scoop. http://tv.msn.com/tv/globes2007/?icid=nctagline2 ------------------------------ From: "Jared M. Forsythe" Message-ID: Date: Tue, 16 Jan 2007 16:28:56 -0500 Subject: Hey Hi Everyone, My name is Jared Forsythe. I am a freshmen BFA Production/Design in Theater Major at Montclair State University. I am pursuing a career in Stage Management. So any tips or advice to help me reach my goal is more than welcome. sincerely, Jared Forsythe ------------------------------ Date: Tue, 16 Jan 2007 13:10:32 -0800 From: Jerry Durand Subject: Re: Sussing Sound Buzz when lighting might be the culprit? In-reply-to: Message-id: <7.0.1.0.0.20070116131005.01f16850 [at] interstellar.com> References:

At 01:06 PM 1/16/2007, Paul Schreiner wrote: >Are the thermo- and fluid dynamics for the espresso and beer? :) It's for the pleasant sounds sloshing in and out of your ears. -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Message-ID: Date: Tue, 16 Jan 2007 16:47:46 -0500 From: "Daniel Kelly" Subject: Re: Adrienne Theatre In-Reply-To: References:

Last I was in there, it was 16 dimmers controlled by a 16 channel NSI board. Instrument inventory as I recall were Altman 360Q's and 65Q's. They might have had source 4's, but I'm not sure. That was the downstairs space. I was never in the other spaces. This is as much info as I could find: http://www.interacttheatre.org/aboutinteract/venue.html On 1/16/07, Susan Nicholson wrote: > Does anyone know anything lighting wise about the black box space in the > Adrienne Theatre in Philly?? I have a theatre company going in there next > month and was wondering if they had a board, dimmers, a website, etc. > Thanks for any help!! > Susan ------------------------------ References: Subject: Re: Sussing Sound Buzz when lighting might be the culprit? Date: Tue, 16 Jan 2007 16:47:47 -0500 In-Reply-To: From: frankwood95 [at] aol.com Message-Id: <8C907CF18D2653C-B84-C3A5 [at] FWM-D10.sysops.aol.com> Frank Wood -----Original Message----- From: psyd [at] cox.net To: stagecraft [at] theatrical.net Sent: Tue, 16 Jan 2007 1.05PM Subject: Re: Sussing Sound Buzz when lighting might be the culprit? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Sound really is an esoteric science *and* art. While I do commend your efforts at taking care of the sound, I lament that it is still considered a job that anyone who owns a nice home stereo, or a good car stereo, is qualified to do. While I don't presume to comment on the artistic aspects, given our different views on the purpose of sound, you are right on the ball, here. I have spent 28 years using, aligning, repairing, testing, designing and installing professional sound gear for the BBC. I know all too well the problems that bad engineering, of any of these, can get you into. Hi-Fi at home is different. Now that the DIN standards for interconnection have largely gone away, most gear interconnects smoothly, and with no problems. The theatre is very different. The environment is basically unfriendly, with all the switching dimmers on heavy loads around; not all the electrical installations are very sanitary as regards earthing. This is before you start having to deal with incoming gear, with missing earths, improper wiring, and all the other problems that gear which has been on the road can suffer from. And time pressures. A 'quick fix' is seldom a permanent solution. I used to try to do things in a way that made them as bulletproof as I knew how. Most of the time I succeeded. Not all of it, though. ------------------------------ Date: Tue, 16 Jan 2007 17:11:56 -0500 Subject: Re: Independent Lights in the ETC Express Board From: John McKernon Message-ID: In-Reply-To: > But what was written is inconsistant. First, there is the statement that " > If you press Go To Cue .... , the independent channels are not affected by > the cue. (After all, Cue 0 is a cue). Then the next statement says they > are. > > That is why I asked. I can not understand the apparent discrepency between > the two statements. Maybe I just need to get more sleep. No, you just need to learn how an Obsession and similar consoles think...;) Cue 0 isn't like normal cues, you can't record anything in it - it's the cue you go to when you want a blackout. Except for independents and parked channels... You can't record cue zero, it's just the "nothing" cue that is at the beginning of the cue sheet, before cue 1 (or .1 or whatever). All the other cues you write can have anything in them you want. On the Obsession, cues only store commands for specific channels that you decide to include in that cue. Normally, that means channels that you want to move up or down in that cue. These consoles don't store the state of every channel in every cue. They're like cues written by hand on manual boards: "In Cue 1, channels 1-3 go to 50, and channel 12 goes to full". So think of Cue 0 as being a cue that has commands for every channel to go to zero, except for those on either Independent or Parked. Cue Out is another "special" cue that you can't see or modify. It includes commands for every channel to go to zero, including independent channels. And of course, Parked channels stay at whatever level they're parked at, irrespective of what cue you go to. Hope this helps! - John ------------------------------ Message-ID: <45AD554A.8060805 [at] fuse.net> Date: Tue, 16 Jan 2007 17:44:26 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: large hot-wire cutting apparatus? References: In-Reply-To: Alan Bryson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > wow. i have inherited two huge (not really: 1'6"x2'6"x6') > foam blocks that are somewhat-laminated pink foam constructs. > we begun the build for this show (opens feb. 7) last week under > the word that these units would be built (student designer. . .) > > . . .these units need to have straight sides, and they don't. think > a step-pyramid needs to be smooth. . . > > so--i consult you as i do other research. . .i have built small hot > wire cutters for foam before, but have never cut this type before > and am wary of such, anyway, as it has a direct warning: > "This product will combust if exposed to fire of sufficient heat. . > > it's the owens-corning foamular-150. . .the sides need not be > smooth--in fact, we'll coat them with jaxsan. . .any thoughts? > > much appreciation, as i head to experiment (with much > ventilation and respirator. . .) > > alan bryson > Technical Director > Furman University Theatre Arts Department Make a set of guides out of plywood or 1x lumber to provide the contour you want. secure a piece of 3/16" pencil rod long enough to bridge the two guides. Get out a good quality arc welder. Hook one end of your rod into the electrode holder, and put the ground clamp on the other. Slowly and carefully creep up the amperage until the wire becomes warm, then slowly cut down through the block. Hold the wire with welding gloves or with vise-grips and welding gloves. The biggest trick is getting a good enough welder, something like the old Lincoln tombstone, will do quite well. The next biggest trick is finding the right heat setting. I've also used this method for carving out cauldrons and such, by bending the profile into a wire and then spinning the rough block into the wire. Stuart ------------------------------ Date: Tue, 16 Jan 2007 15:33:09 -0700 From: Davy Davis Subject: Quick Change 3-D Ground Cloth Cc: wdavis [at] du.edu Message-id: <45AD52A5.6020409 [at] du.edu> We are looking for ideas both of attachment methods and materials for a 3-D ground cloth. Ideally the texture would be stone or brick. The ground cloth and other set pieces needs to be struck during a fifteen minute intermission, with time left over to set up a very, very simple set for the second half. The cloth will be about 24' wide and 12' deep (actually half of an octagon. Ideas or suggestions welcome. Davy -- William Temple (Davy) Davis; Chair Department of Theatre University of Denver wdavis [at] du.edu 303-871-3164 ------------------------------ Message-ID: <1144.69.203.216.247.1168990754.squirrel [at] webmail.ducksechosound.com> In-Reply-To: References: Date: Tue, 16 Jan 2007 18:39:14 -0500 (EST) Subject: Re: Stagecraft Drinks night NYC From: "Andy Leviss" I'll be there, sometime between 7 and 8...but it's a work night, so nowhere near as much sake for me as at LDI! I think the room's still spinning. Be forewarned, those who've never had the experience, Herrick's middle name is "Peer Pressure"! ;-) --Andy http://OneFromTheRoad.com Tools, Toys, and Tales for Stagehands ------------------------------ Message-ID: <45AD699E.6060609 [at] fuse.net> Date: Tue, 16 Jan 2007 19:11:10 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: Quick Change 3-D Ground Cloth References: In-Reply-To: Davy Davis wrote: > We are looking for ideas both of attachment methods and materials for a > 3-D ground cloth. > Ideally the texture would be stone or brick. The ground cloth and other > set pieces needs to be struck during a fifteen minute intermission, with > time left over to set up a very, very simple set for the second half. > The cloth will be about 24' wide and 12' deep (actually half of an octagon. > Ideas or suggestions welcome. > Davy If it really needs to be a cloth, you can buy very good 1" wide velcro, and sew it around the edges, then glue or staple the other part around the floor perimeter. Since the ground cloth gets set with lots of time, you can get it pulled taut. You could grommet the edges of the ground cloth on 6" centers or so, and lace it to a taut cable around the perimeter (think flour sack or cat food bag) pull out the tight cable, and poof, it is free. Otherwise, you could make up a hard floor, laminating 1/8" lauan doorskin into very large sheets of 1/4" plywood. you could do it as a single sheet, several sub sections, or dutchman a hinge of fabric between a few smaller (8x12 or 6x12) sheets and make the individual parts easier to move around. Flip it up and store it against a wall, or slide it upstage off the second act stage. The big sheets will stay put pretty well, or you can pop a screw into a few corners for security. Stuart ------------------------------ Message-ID: <1353.205.215.253.92.1168992962.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Tue, 16 Jan 2007 16:16:02 -0800 (PST) Subject: Re: Independent Lights in the ETC Express Board From: "Bill Nelson" Yes, I was aware that Cue 0 was a unchangeable blackout. When I am building and recording cue, I leave the board in Cue 0. What I didn't know was that Cue 0 was treated differently than other cues, as far at the independents are concerned. 'Tis all clear, now. Bill ------------------------------ Message-ID: <20070117002724.69548.qmail [at] web84002.mail.mud.yahoo.com> Date: Tue, 16 Jan 2007 16:27:24 -0800 (PST) From: Al Fitch Subject: Re: Sussing Sound Buzz when lighting might be the culprit? In-Reply-To: "Add math, physics, and acoustics with a touch of fluid dynamics and thermodynamics, and you could be a sound engineer!" I don't think I have enough time left on the planet for all that but I can give it a go. Al Fitch Be Kind, Smile and Have Fun. ------------------------------ Date: Tue, 16 Jan 2007 16:30:19 -0800 (PST) From: Al Fitch Subject: Re: Sussing Sound Buzz when lighting might be the culprit? In-Reply-To: Message-ID: <703656.93993.qm [at] web84014.mail.mud.yahoo.com> > Sound really is an esoteric science *and* art. > While I do commend your efforts at taking care of > the sound, I lament that > it is still considered a job that anyone who owns a > nice home stereo, or a > good car stereo, is qualified to do. > Chris "Chris" Babbie > Location Sound > MON AZ > > Obviously you haven't met my wife's Aunt and Uncle! Be Kind, Smile and Have Fun. ------------------------------ Date: Tue, 16 Jan 2007 19:47:14 -0500 Subject: Re: Quick Change 3-D Ground Cloth From: John McKernon Message-ID: In-Reply-To: > We are looking for ideas both of attachment methods and materials for a > 3-D ground cloth. > Ideally the texture would be stone or brick. Foam rubber, styrofoam (or similar) glued to the canvas. If need be, paint the foam rubber & styrofoam with a rubberized coating so that they take paint better. We did this many years ago for simulated beach sand and hillocks, and it worked like a charm - the whole thing could just roll up and be carried off. If you need smaller sections, make breaks in inconspicuous places and velcro them together. - John ------------------------------ Message-ID: <20070117004738.5043.qmail [at] web84014.mail.mud.yahoo.com> Date: Tue, 16 Jan 2007 16:47:38 -0800 (PST) From: Al Fitch Subject: Re: Sussing Sound Buzz when lighting might be the culprit? Update and Thanks In-Reply-To: Thanks to everyone who contributed to my question answers that gave me some insight in to a few things. The show went off but was less the good sound-wise. I do have Balance/Unbalance problems but reading the Yamaha Sound Book is helping with that. I did hook a few things up in a way that made it impossible to get great sound out of the wireless. Some things I did not have much control over: The condition of the wireless provided by the school. They were rack mounted but were missing power supplies and clips (no big deal) the headset mics were crap. About half did not work, fell apart and otherwise performed poorly. Lack of a good amount of time to set up and calibrate the sound. While I'm the TD at the space, the company renting had a week this year to load-in/tech compared to two weeks last year. I can already see this part being quoted. I know, I know make it happen. Anyone that knows me knows that I take all the blame and then some for anything that goes wrong when appropriate. Fortunately I have management behind me. We are moving forward quickly to solve the Buzz then equipment shortages. I need a bigger board and more inputs on stage to eliminate the need for a sub-mixer for 99% of the shows we do. For bigger high profile shows hiring a sound company is in the budget and I've learned to actually use that option. As I was striking sound last night I did it slowly and methodically to see if I could find the problem. By the time I got to the booth and removed the submixer most of the buzz was gone. With just one board and some wireless directly connected the amount of hum and buzz was minimal. It was a huge learning experience. I'll be listening for awhile now. I'm questioned out! Al Fitch Be Kind, Smile and Have Fun. ------------------------------ From: "Will Hill" Subject: Mud Wresting Date: Wed, 17 Jan 2007 00:50:59 -0000 Message-ID: In-Reply-To: That got your attention!. Studio Theatre Shakespeare production that wants to do mud wrestling in a 2m x 1m x 0.3m deep pit. It is the mud I am after. Anyone know of a safe and economical way to do it? Therapeutic mud as supplied to spas is where I am now and that is proving expensive. Any thoughts? Will Hill, Technical Manager, Theatre Royal Norwich, w.hill [at] theatreroyalnorwich.co.uk ------------------------------ Reply-To: From: "RD" References: Subject: RE: Hey Date: Tue, 16 Jan 2007 17:56:09 -0700 Message-ID: <003d01c739d2$4deb9a70$6501a8c0 [at] doom1> In-Reply-To: The leading Stage manager for years and years on Broadway, NYC is Laura Koch. Tell her doom sent you. Dr. doom She is extraordinary. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jared M. Forsythe Sent: Tuesday, January 16, 2007 2:29 PM To: Stagecraft Subject: Hey For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi Everyone, My name is Jared Forsythe. I am a freshmen BFA Production/Design in Theater Major at Montclair State University. I am pursuing a career in Stage Management. So any tips or advice to help me reach my goal is more than welcome. sincerely, Jared Forsythe ------------------------------ Message-ID: <90d9c9980701161709u787caf65s72cc632c7930b454 [at] mail.gmail.com> Date: Tue, 16 Jan 2007 20:09:21 -0500 From: "Scott Parker" Subject: Re: Hey In-Reply-To: References: hi Jared, The list could go on and on. Here's my $0.02. 1. Don't be lazy. (not that you are, I have no idea:-)) 2. Know a bit about everything. You never know what you'll find yourself having to do for a show that you are in charge of. From running the lights to having to go on stage. I know I have much more, but it's bedtime for the child... Scott On 1/16/07, Jared M. Forsythe wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi Everyone, > > My name is Jared Forsythe. I am a freshmen BFA Production/Design in Theater Major at Montclair State University. I am pursuing a career in Stage Management. So any tips or advice to help me reach my goal is more than welcome. > > sincerely, > Jared Forsythe > > -- Thanks and take care, Scott Scott C. Parker Professor/Technical Director Dept. of Performing Arts Dyson College of Arts and Sciences [at] Pace University Office/shipping: 41 Park Row, 1205F Mailing: 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 914-989-8425 ------------------------------ In-Reply-To: References: Message-Id: <37DD1A57-490B-4F8E-ABBE-8DC5BFD2E82D [at] aol.com> From: KEITH ARSENAULT Subject: Re: Mud Wresting Date: Tue, 16 Jan 2007 20:38:55 -0500 instant chocolate pudding is often used..... On Jan 16, 2007, at 7:50 PM, Will Hill wrote: That got your attention!. Studio Theatre Shakespeare production that wants to do mud wrestling in a 2m x 1m x 0.3m deep pit. It is the mud I am after. Anyone know of a safe and economical way to do it? Therapeutic mud as supplied to spas is where I am now and that is proving expensive. Keith L Arsenault International Arts & Entertainment Group Tampa, Florida www.iaeginc.com 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ Message-ID: Date: Tue, 16 Jan 2007 20:44:16 -0500 From: "Brian Munroe" Subject: Re: Turnbuckles have their uses. In-Reply-To: References: On 1/16/07, Michael Powers wrote: > Someone please correct me if I'm wrong, but if you need a batten > trimmed more precisely than a trim chain will accomplish, you're into > some sort of specialized rigging, like flying or automation, etc. If > you're doing that, the final trim should be accomplished within the > special rigging unit I use turnbuckles a lot on hangers and trusses that are cabled directly to the arbor (i.e. no batten) and occasional on battens when they is a point load that requires more precise trimming than a link of chain. For instance, Drops that have stretcher frames on the sides. The weight of the stretcher frames on the ends of the pipes will make the pipe frown. A trim chain might not be precise enough, and you can not adjust a trim chain while it is under load. A turnbuckle you can. A turnbuckle is also handy when you can not adjust final trim (level) until the piece is totally hung, due to the change in cable sage between the short and long lines. Usually The turnbuckles will be attached to the piece, opposite the arbor, in line with the cables. Occasionally on the top of the arbor and occasionally they will be mounted horizontally on the top of the piece, with a wheel turning the cable from horizontal to vertical. For 1/4" cable, I prefer 1/2"x9" Jaw-Jaw turnbuckles, and of course they have to be safetied/moussed. Or is it moused? Prevented from spinning, not given stiff hair. I am not aware of another piece of hardware that can take the place of a turnbuckle. Is there something I am missing? Brian Munroe bpmunroe [at] gmail.com ------------------------------ From: "Jared M. Forsythe" Cc: doomster [at] worldnet.att.net Message-ID: Date: Tue, 16 Jan 2007 21:23:57 -0500 Subject: Re: Hey Dr. doom, thank you jared ----- Original Message ----- From: RD Date: Tuesday, January 16, 2007 7:56 pm Subject: Re: Hey > For info, archives & UNSUBSCRIBE, see > --------------------------------- > ------------------ > > The leading Stage manager for years and years on Broadway, NYC is > LauraKoch. Tell her doom sent you. Dr. doom > She is extraordinary. > > -----Original Message----- > From: Stagecraft [stagecraft [at] theatrical.net] On Behalf Of Jared M. > Forsythe > Sent: Tuesday, January 16, 2007 2:29 PM > To: Stagecraft > Subject: Hey > > For info, archives & UNSUBSCRIBE, see > --------------------------------- > ------------------ > > Hi Everyone, > > My name is Jared Forsythe. I am a freshmen BFA Production/Design > in Theater > Major at Montclair State University. I am pursuing a career in Stage > Management. So any tips or advice to help me reach my goal is more > thanwelcome. > > sincerely, > Jared Forsythe > > ------------------------------ From: "Jared M. Forsythe" Message-ID: Date: Tue, 16 Jan 2007 21:24:51 -0500 Subject: Re: Hey Scott, thank you very much for your $0.02. they are greatley appreciated. Jared ----- Original Message ----- From: Scott Parker Date: Tuesday, January 16, 2007 8:09 pm Subject: Re: Hey > For info, archives & UNSUBSCRIBE, see > --------------------------------- > ------------------ > > hi Jared, > The list could go on and on. Here's my $0.02. > 1. Don't be lazy. (not that you are, I have no idea:-)) > 2. Know a bit about everything. You never know what you'll find > yourself having to do for a show that you are in charge of. From > running the lights to having to go on stage. > > I know I have much more, but it's bedtime for the child... > Scott > > On 1/16/07, Jared M. Forsythe wrote: > > For info, archives & UNSUBSCRIBE, see > > ------------------------------- > -------------------- > > > > Hi Everyone, > > > > My name is Jared Forsythe. I am a freshmen BFA Production/Design > in Theater Major at Montclair State University. I am pursuing a > career in Stage Management. So any tips or advice to help me reach > my goal is more than welcome. > > > > sincerely, > > Jared Forsythe > > > > > > > -- > Thanks and take care, Scott > > Scott C. Parker > Professor/Technical Director > Dept. of Performing Arts > Dyson College of Arts and Sciences [at] Pace University > Office/shipping: 41 Park Row, 1205F > Mailing: 1 Pace Plaza > New York, NY 10038 > 212-346-1423 Fax: 914-989-8425 > ------------------------------ Message-ID: From: "Occy" References:

Subject: Re: Stagecraft Drinks night NYC Date: Tue, 16 Jan 2007 18:39:59 -0800 Sorry Guys, things changed my surgery just got moved to 1.22. Not going to make this one. Nice thing, I am hoping that will be the last surgery on my hand after 5 of them! Next time Herrick. ----- Original Message ----- From: "KEITH ARSENAULT" > --------------------------------------------------- > > will try to be there, , , > > I will be in the city the evenings of 1 /20 - 1/22 > > > On Jan 15, 2007, at 10:01 PM, Herrick Goldman wrote: > > > One week from tonight. 1/22 at DBA 41 first Ave NYC ------------------------------ Message-ID: <1449f50a0701161843y473a5c67ie4a2f788a1c207d3 [at] mail.gmail.com> Date: Tue, 16 Jan 2007 18:43:06 -0800 From: "Brooke Carlson" Subject: Re: Mud Wresting In-Reply-To: References:

> > instant chocolate pudding is often used..... > yeah, but it takes forever to empty out all those little bitty puddin' cups... Brooke -- Brooke Carlson Automation Carpenter Lion King - Cheetah Tour ------------------------------ Message-ID: <45AD8F93.1030901 [at] gmail.com> Date: Tue, 16 Jan 2007 21:53:07 -0500 From: Brian James Reply-To: brianedwardjames [at] gmail.com Subject: Re: Hey References: In-Reply-To: If Stage Management is your real interest (tough gig), constantly work on your people skills. The good stage managers are excellent people persons! The bad ones get a bit too caught up in being "the boss" and forgetting a lot of the job is to be a listener and people centered. Jared M. Forsythe wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi Everyone, > > My name is Jared Forsythe. I am a freshmen BFA Production/Design in Theater Major at Montclair State University. I am pursuing a career in Stage Management. So any tips or advice to help me reach my goal is more than welcome. > > sincerely, > Jared Forsythe > > > ------------------------------ From: "Joe Saint" References:

Subject: RE: Stagecraft Drinks night NYC Date: Tue, 16 Jan 2007 21:54:14 -0500 Message-ID: <00d401c739e2$c5de70b0$640fa8c0 [at] D3G47461> In-Reply-To: Occy wrote: --------------------------------------------------- Sorry Guys, things changed my surgery just got moved to 1.22. Not going to make this one. Nice thing, I am hoping that will be the last surgery on my hand after 5 of them! Next time Herrick. Now I was trying to come up with a way out of having drinks with Herrick. Surgery never occurred to me, but it makes perfect sense. ------------------------------ Message-ID: <1545.205.215.253.92.1169005542.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Tue, 16 Jan 2007 19:45:42 -0800 (PST) Subject: Re: large hot-wire cutting apparatus? From: "Bill Nelson" I once built an expedient foam cutter using a fused variac and a length of piano wire. Not really a recommended method - a low voltage supply would be safer, most arc welders can supply plenty of current. Our current foam cutter has a nichrome wire, with a heavy weight at the bottom end to keep it straight. It took a bit to get the temperature right, but it works like a charm. Bill ------------------------------ Message-ID: <1566.205.215.253.92.1169006385.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Tue, 16 Jan 2007 19:59:45 -0800 (PST) Subject: Re: Sussing Sound Buzz when lighting might be the culprit? From: "Bill Nelson" >> 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. > > I wonder what would happen if rigging were regarded in this manner? It is, in some spaces. And it IS scary. Bill ------------------------------ Message-ID: <45ADA471.7000904 [at] fuse.net> Date: Tue, 16 Jan 2007 23:22:09 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: large hot-wire cutting apparatus? References:

In-Reply-To: Bill Nelson wrote: > I once built an expedient foam cutter using a fused variac and a length of > piano wire. Not really a recommended method - a low voltage supply would > be safer, most arc welders can supply plenty of current. Yep, most welders only produce 18-24 volts depending on the settings. If you have one of the old tombstone types, there's even a setting marked on them (I think around 75 amps) meant for continuous duty for thawing pipes by clamping hot and ground on opposite sides of the ice blockage. Stuart ------------------------------ End of Stagecraft Digest #1093 ******************************