Return-Path: <stagecraft-report [at] theatrical.net>
X-Real-To: stagecraftlist [at] theatrical.net
Received: by prxy.net (CommuniGate Pro PIPE 4.2.10)
  with PIPE id 41352839; Wed, 17 Jan 2007 10:37:01 -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 41352833;
	Wed, 17 Jan 2007 10:36:51 -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=unavailable version=3.1.7
X-Spam-Level:
X-ListServer: CommuniGate Pro LIST 4.2.10
List-Unsubscribe: <mailto:stagecraft-off [at] theatrical.net>
List-ID: <stagecraft.theatrical.net>
List-Archive: <http://theatrical.net:8100/Lists/stagecraft/List.html>
Message-ID: <list-41352370 [at] prxy.net>
From: "Stagecraft" <stagecraft [at] theatrical.net>
Sender: "Stagecraft" <stagecraft [at] theatrical.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Precedence: list
Subject: Stagecraft Digest #1094
Date: Wed, 17 Jan 2007 10:35:40 -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 <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #1094

 1. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Jon Ares" <jonares [at] hevanet.com>
 2. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Bill Nelson" <billn [at] peak.org>
 3. Re: Stagecraft Drinks night NYC
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 4. Re: Stagecraft Drinks night NYC
    by KEITH ARSENAULT <iaeg [at] aol.com>
 5. Re: Stagecraft Drinks night NYC
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 6. Re: Rosculux R119
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
 7. Re: LCD Projector Question
    by Ian Schmidt <ischmidt [at] gmu.edu>
 8. Re: LCD Projector Question
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
 9. Re: Stagecraft Drinks night NYC
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
10. Re: Mud Wresting
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
11. Re: Stagecraft Drinks night NYC
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
12. Re: Turnbuckles have their uses.
    by "Peter Scheu" <peter [at] scheuconsulting.com>
13. Re: Stagecraft Drinks night NYC
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
14. Re: large hot-wire cutting apparatus?
    by "Mike Katz" <narishkup [at] gmail.com>
15. Re: Mud Wresting
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
16. Re: Mud Wresting
    by KEITH ARSENAULT <iaeg [at] aol.com>
17. Re: Sound Board Repair NYC
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
18. Re: Sussing Sound Buzz when lighting might be the culprit?
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
19. Gobo Instrument Needed
    by "Audio Visual" <audiovisual [at] tremontsuitehotels.com>
20. Cell Phone Karma and cell phone cameras
    by b Ricie <b_ricie [at] yahoo.com>
21. Re: Stagecraft Drinks night NYC
    by "Joe Saint" <joe [at] imcdlighting.com>
22. Re: Cutting Foam
    by "paul.guncheon [at] hawaiiantel.net" <paul.guncheon [at] hawaiiantel.net>
23. Re: A Bit off Topic
    by Greg Williams <gwilliams [at] appstate.edu>
24. Re: Gobo Instrument Needed
    by Steve Shelley <mrtemplate [at] earthlink.net>
25. Re: Stagecraft Drinks night NYC
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
26. More Info Gobo Instrument Needed
    by "Audio Visual" <audiovisual [at] tremontsuitehotels.com>
27. Re: Mud Wresting
    by Andy Champ-Doran <doran [at] bard.edu>
28. Re: Cutting Foam
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
29. Re: A Bit off Topic
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
30. Re: Stagecraft Drinks night NYC
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
31. digi. projector
    by b Ricie <b_ricie [at] yahoo.com>
32. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Jon Ares" <jonares [at] hevanet.com>
33. VW furniture symbols?
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
34. Re: More Info Gobo Instrument Needed
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
35. Re: [BULK]  digi. projector
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
36. Re: digi. projector
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
37. Re: digi. projector
    by "John Penisten" <john.penisten [at] gmail.com>
38. Re: digi. projector
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
39. Re: A Bit off Topic
    by Greg Williams <gwilliams [at] appstate.edu>
40. Theatre and PAC architects
    by "Bill Conner" <bill-conner [at] att.net>
41. Re: More Info Gobo Instrument Needed
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
42. Re: digi. projector
    by Steve Shelley <mrtemplate [at] earthlink.net>
43. Re: Theatre and PAC architects
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
44. Was hand injury, now blade speed
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
45. Re: digi. projector
    by "Jon Lagerquist" <jon [at] lagerquist.com>
46. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Brian Munroe" <bpmunroe [at] gmail.com>
47. Re: digi. projector
    by "Brian Munroe" <bpmunroe [at] gmail.com>
48. Re: large hot-wire cutting apparatus?
    by "Rob Riddle" <stagecraft [at] stageshirt.com>
49. Re: Sussing Sound Buzz when lighting might be the culprit?
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
50. Re: Sussing Sound Buzz when lighting might be the culprit?
    by Al Fitch <fitchal [at] yahoo.com>
51. OT: CafePress.com
    by Michael Heinicke <mheinicke [at] sbcglobal.net>
52. Re: More Info Gobo Instrument Needed
    by Samuel Jones <sjones [at] ucla.edu>
53. A Bit off Topic
    by CB <psyd [at] cox.net>
54. Re: A Bit off Topic
    by CB <psyd [at] cox.net>
55. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Jon Ares" <jonares [at] hevanet.com>
56. Re: Theatre and PAC architects
    by "Peter Scheu" <peter [at] scheuconsulting.com>
57. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
58. Professional Stage Manager Contact List
    by Mark Harvey <mharvey [at] d.umn.edu>
59. Re[2]: A Bit off Topic
    by "Frank E. Merrill" <Lamplighter [at] tcon.net>
60. Re: Theatre and PAC architects
    by "Haagen Trey P Civ USAFA/CWTMC" <Trey.Haagen [at] usafa.af.mil>
61. Sound Board Repair NYC
    by CB <psyd [at] cox.net>
62. Re: More Info Gobo Instrument Needed
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
63. Re: Gobo Instrument Needed
    by "Alf Sauve" <alf.sauve [at] mindspring.com>
64. Re: More Info Gobo Instrument Needed
    by Steve Shelley <mrtemplate [at] earthlink.net>
65. Re: A Bit off Topic
    by Simon <simon [at] ef-ae.com>
66. LCD Projector Question
    by CB <psyd [at] cox.net>
67. Re: Theatre and PAC architects
    by "Peter Scheu" <peter [at] scheuconsulting.com>
68. Re: Sussing Sound Buzz when lighting might be the culprit?
    by CB <psyd [at] cox.net>
69. Re: Sussing Sound Buzz when lighting might be the culprit?
    by CB <psyd [at] cox.net>
70. Re: Sussing Sound Buzz when lighting might be the culprit?
    by "Don Taco" <taco [at] peak.org>
71. Re: Sussing Sound Buzz when lighting might be the culprit?  Update and Thanks
    by CB <psyd [at] cox.net>

*** 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: <001901c739f2$64d41d00$0400000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-41314160 [at] prxy.net> <list-41325532 [at] prxy.net>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Tue, 16 Jan 2007 20:46:03 -0800

>>> 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.


True that.  I was just flipping through channels, and caught a few minutes 
of "America's Most Painful Groin Hits" (aka "America's Funniest Home 
Videos") and they're running an 'episode' of performing arts gaffes.  I just 
saw countless shots of 'homemade' flying rigs for various high school and 
grade school shows....  Kids (and adults) being lifted around the waist by a 
leather belt, etc....  ("Peter Pan," "Superman")

Mere mortals might find it funny, but I practically broke out in a sweat, 
seeing such horrendously dangerous personnel rigging practices.  These 
people should have been arrested.

     - Jon Ares
www.hevanet.com/acreative 


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

Message-ID: <2507.205.215.253.92.1169034194.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41326722 [at] prxy.net>
References: <list-41314160 [at] prxy.net> <list-41325532 [at] prxy.net>
    <list-41326722 [at] prxy.net>
Date: Wed, 17 Jan 2007 03:43:14 -0800 (PST)
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
From: "Bill Nelson" <billn [at] peak.org>

> of "America's Most Painful Groin Hits" (aka "America's Funniest Home
> Videos") and they're running an 'episode' of performing arts gaffes. I just
> saw countless shots of 'homemade' flying rigs for various high school and
> grade school shows.... Kids (and adults) being lifted around the waist by a
> leather belt, etc.... ("Peter Pan," "Superman")
>
> Mere mortals might find it funny, but I practically broke out in a sweat,
> seeing such horrendously dangerous personnel rigging practices.  These
> people should have been arrested.

Keep in mind that a large share of those videos are staged, just for
showing on AFHV. It does not make them any less dangerous.

Bill


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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Stagecraft Drinks night NYC
Date: Wed, 17 Jan 2007 07:34:00 -0500
Message-ID: <000d01c73a33$c3c996a0$6501a8c0 [at] Dell>
In-Reply-To: <list-41323587 [at] prxy.net>

> One week from tonight. 1/22 at DBA 41 first Ave NYC

The east side?

...but...but....my passport's expired....I haven't had my shots....


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

In-Reply-To: <list-41339463 [at] prxy.net>
References: <list-41339463 [at] prxy.net>
Message-Id: <362D89A3-FA2F-499D-9FC9-BF6B85169A3B [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Stagecraft Drinks night NYC
Date: Wed, 17 Jan 2007 07:39:16 -0500

i heard recently that life was actually discovered east of 6th Ave....


On Jan 17, 2007, at 7:34 AM, Jeffrey E. Salzberg wrote:

> One week from tonight. 1/22 at DBA 41 first Ave NYC

The east side?

...but...but....my passport's expired....I haven't had my shots....

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: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Stagecraft Drinks night NYC
Date: Wed, 17 Jan 2007 07:48:57 -0500
Message-ID: <001001c73a35$dae35e00$6501a8c0 [at] Dell>
In-Reply-To: <list-41339589 [at] prxy.net>

> i heard recently that life was actually discovered east of 6th Ave....

Not *civilized* life.


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

Date: Wed, 17 Jan 2007 08:20:29 -0500
Subject: Re: Rosculux R119
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D38CCD.15C0F%Herrick [at] HGLightingDesign.com>
In-Reply-To: <31481586.1168972364264.JavaMail.root [at] m41>

On 1/16/07 1:22 PM, "MartySrq [at] aol.com" <MartySrq [at] aol.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> So Herrick,
>  
> What do you think about the R119 question? Have you experienced a  change?
>  

I have absolutely experienced the change and it was almost back in college
for me. In college I ONLY used R119 when I needed diffusion. Later
(early/mid 90's) when I was teaching and had a mix of older gear (360q's and
others) and we'd rent a few S4's I would try R119. I distinctly remember
thinking that it wasn't what I remembered. SO I doubled it. I basically
blamed it on an imprecise memory and the newer technology blending with the
older. 

After That I went into TV which is it's own world of diffusion with each
light having it's own set and then you have Opals and tough spun. When I
came out I knew more about diffusion so It really didn't matter. Also TV and
Corporate taught me to cover my butt in a general way. On critical shows I
order L201,202,203,, CTOs, and R119, R114, R321 so I have exactly what I
need.

What do I think about the question? It's a fair question but I'm not at all
upset at the manufacturer. Stuff happens. I'm sure at the time they somehow
told someone about it. However its GEL it's not like if Thomas or Tomcat
suddenly changed the ratings on their truss and didn't mention it.  No one
is gonna die because your gel is a bit less diffuse than it was. Presumably
you have a recent swatch book and can look at what R119 is.

Now I'm not saying I look at the swatch book all day but on big shows I
still lay out samples of swatches on white paper and look at the palette I'm
using. If Rosco decided to make R83 Fuschia this month, I might only notice
when it arrived and been very very confused. However a call to 800-roscousa
would probably solve something that drastic pretty quickly.


HTH. 

-Herrick

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



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

Date: Wed, 17 Jan 2007 08:24:34 -0500
From: Ian Schmidt <ischmidt [at] gmu.edu>
Subject: Re: LCD Projector Question
In-reply-to: <list-41314425 [at] prxy.net>
Message-id: <45AE2392.70900 [at] gmu.edu>
Organization: George Mason University
References: <list-41313665 [at] prxy.net> <list-41313848 [at] prxy.net>
 <list-41314425 [at] prxy.net>

Jason Salvatori wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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.
We here at George Mason just purchased a 6k lumen projector or so and we 
throw from 60' or so it seems to be of the right magnitude for cutting 
through the stage lighting.  I've also used a comparable model to what 
we are using now at a shorter throw distance, about 30', with a much 
brighter stage and the image has been very well seen as well.

Ian

-- 
Ian Schmidt
Master Electrician
Center for the Arts
George Mason University
office 703-993-8895
fax 703-993-4092


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

Date: Wed, 17 Jan 2007 08:29:58 -0500
Subject: Re: LCD Projector Question
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D38F06.15C15%Herrick [at] HGLightingDesign.com>
In-Reply-To: <18769748.1168978861430.JavaMail.root [at] m41>

The biggest/brightest you can afford! And since it's over the house the
quietest. Try to keep your cyc as dark as possible. God luck. :)

On 1/16/07 3:18 PM, "Robert Graham" <photonguide [at] gmail.com> wrote:

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

-- 
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: Wed, 17 Jan 2007 08:41:09 -0500
Subject: Re: Stagecraft Drinks night NYC
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D391A5.15C1E%Herrick [at] HGLightingDesign.com>
In-Reply-To: <27473621.1168991384512.JavaMail.root [at] m41>

No that's "Beer Pressure" and have you met Ken Romaine? I got nuthin on him.


On 1/16/07 6:39 PM, "Andy Leviss" <Andy [at] DucksEchoSound.com> wrote:

>, Herrick's
> middle name is "Peer Pressure"! ;-)
> 
> --Andy
> http://OneFromTheRoad.com
> Tools, Toys, and Tales for Stagehands
> 
> 

-- 
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: Wed, 17 Jan 2007 08:55:54 -0500
Subject: Re: Mud Wresting
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D3951A.15C23%Herrick [at] HGLightingDesign.com>
In-Reply-To: <31249565.1168998066257.JavaMail.root [at] m41>

I knew I hung out with Keith for a reason!

On 1/16/07 8:38 PM, "KEITH ARSENAULT" <iaeg [at] aol.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> instant chocolate pudding is often used.....
> 
> 

-- 
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: Wed, 17 Jan 2007 09:01:07 -0500
Subject: Re: Stagecraft Drinks night NYC
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D39653.15C26%Herrick [at] HGLightingDesign.com>
In-Reply-To: <21926392.1169001696719.JavaMail.root [at] m41>

No worries, 

There will be more. We could get someone to hold your glass if you wish.

On 1/16/07 9:39 PM, "Occy" <OneOccy [at] hotmail.com> wrote:

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

-- 
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



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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Turnbuckles have their uses.
Date: Wed, 17 Jan 2007 09:01:25 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAeI+1JFVBV02BaF3waF/1MQEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-41322462 [at] prxy.net>

Bruce Munroe wrote:

>I am not aware of another piece of hardware that can take the place of
>a turnbuckle.  Is there something I am missing?

No, Bruce, not really. For it's intended use. The problem some people =
have
with turnbuckles in the load path of a dynamic stage rigging system is =
that
they may be subjected to shock loads. Turnbuckles are primarily intended =
to
be used in static load applications.

There is a legitimate difference of opinion regarding the use of =
turnbuckles
on stage rigging lift lines. I have had PE's experienced in stage =
rigging
systems approve the use of turnbuckles in lieu of trim chains, and =
others
who have not. Both camps have provided calculations that support their
conclusions.

Personally, I have never seen a turnbuckle fail when sized, used, and
installed correctly in lieu of a trim chain in a manual counterweight
rigging system. But that's just me. I'm certain others may have, and I =
have
no quibble with them if their experiences make them uncomfortable.

There is another type of lift line termination/trimming system that =
provides
more fine adjustment that trim chains call a "sliding batten trimmer". =
For
those not familiar with them, the lift line comes down and is turned 90
degrees at the pipe by a small pulley sandwiched between two half of a
batten clamp. The line then terminates at another batten clamp a few =
feet
down the pipe. Trim adjustment is made by sliding the end clamp along =
the
batten. I know both JRC and SECOA sell rated versions of this system. =
But
they are significantly more expensive than trim chains and turnbuckles.

As to terminating scenery hanging cables with turnbuckles, I used to do =
this
all the time with soft covered flats (with a turnbuckle at the bottom =
hanger
iron) with Crosby 3/8" x 6" J&J forged turnbuckles. But each line would
usually see less than 200 lb, well within the WLL of 1,200 lb, so we =
were
comfortable. On heavier, hard scenic pieces, we always just used chain.

Peter Scheu

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


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

Date: Wed, 17 Jan 2007 09:03:14 -0500
Subject: Re: Stagecraft Drinks night NYC
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D396D2.15C27%Herrick [at] HGLightingDesign.com>
In-Reply-To: <5212885.1169002624236.JavaMail.root [at] m41>

I wasn't going to One-up Occy but I had Heart surgery yesterday and I'll be
there! Wimps all of ya.

Seriously...it was non-invasive (mostly) outpatient surgery, I'm home and
healthy. NYU Hospital is great BTW.

_H

On 1/16/07 9:54 PM, "Joe Saint" <joe [at] imcdlighting.com> wrote:

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

-- 
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: <7cd95e180701170621g7b18de4bgdcde0e43d6020877 [at] mail.gmail.com>
Date: Wed, 17 Jan 2007 09:21:12 -0500
From: "Mike Katz" <narishkup [at] gmail.com>
Subject: Re: large hot-wire cutting apparatus?
In-Reply-To: <list-41313076 [at] prxy.net>
References: <list-41313076 [at] prxy.net>

And for a completely different approach,  for that size block why not
either a band saw, if you have a big one, or a hand saw, or most
likely build a big Bow saw,  Cut a properly sized C shape out of ply
or build it out of pine. Take a band saw blade and snap it or grind it
to create a long length of  blade stock. Screw or clamp the blade to
the C frame and you will have a hand powered big Mama hack saw that
will cut the straight sides with no fumes and very little dust. It
works best with 2 people cutting and wooden guides to saw against.

Mike

On 1/16/07, Alan Bryson <alan.bryson [at] furman.edu> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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. . .)
>
-- 
Mike Katz
Technical Director
MIT Theater Arts
617.253.0824

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

Subject: RE: Mud Wresting
Date: Wed, 17 Jan 2007 09:27:00 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A07286EBA [at] exchange.rmwc.edu>
In-Reply-To: <list-41322340 [at] prxy.net>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> instant chocolate pudding is often used.....

It certainly could make cleanup a lot more fun...

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

In-Reply-To: <list-41342119 [at] prxy.net>
References: <list-41342119 [at] prxy.net>
Message-Id: <13148FA4-C0DA-4FFE-B468-C4159AA2D8DE [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Mud Wresting
Date: Wed, 17 Jan 2007 09:33:04 -0500

actually my response wasn't a joke, , ,   chocolate pudding is  
usually the substance of choice for "mud wrestling"


On Jan 17, 2007, at 8:55 AM, Herrick Goldman wrote:


I knew I hung out with Keith for a reason!

On 1/16/07 8:38 PM, "KEITH ARSENAULT" <iaeg [at] aol.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
> instant chocolate pudding is often used.....
>
>

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: Wed, 17 Jan 2007 09:48:43 -0500
Subject: Re: Sound Board Repair NYC
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D3A17B.15C3B%Herrick [at] HGLightingDesign.com>
In-Reply-To: <33421878.1168964386480.JavaMail.root [at] m41>

My sources say:

Depends on the model. It may be cheaper to buy a new one. Nevertheless, PRG
Audio -- 914 668 8886 is an option for repair.

On 1/16/07 11:07 AM, "Jared Clarkin" <ClarkinJ [at] newschool.edu> wrote:

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

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



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

In-Reply-To: <list-41314160 [at] prxy.net>
References: <list-41314160 [at] prxy.net>
Message-Id: <4AA8D509-BA12-4037-87A6-4E78B282B830 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Wed, 17 Jan 2007 09:57:54 -0500


On 16 Jan 2007, at 08:05, CB wrote:

>> 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?

	Actually Chris, I do regard rigging in the same manner. Let me  
clarify what that manner is though:

	What exactly is rigging, and what is not? I believe that there are  
different levels. I operate a counterweight fly system, moving  
scenery over the stage during shows. I attach set pieces to battens  
using wire rope, and occasionally have been known to dead hang a  
special on a spot line from the grid using a pair of Rabbit Ears that  
I built. I believe that  comes under the heading of "Rigging". I do  
not however, consider myself a "Rigger"! (I'll leave that to Bill and  
folks like him!)

	 I would never try to install a fly system, or hire myself out to  
inspect rigging systems. I don't drop chain hoists to fly trusses for  
concerts here - I bring in union riggers from Syracuse or Rochester  
on the rare occasion that I need to have this done. I also refuse to  
fly people without bringing in a professional. I do try and learn as  
much as I can to do what I do in a safe manner, by occasionally  
attending a seminar or by reading this list religiously.

	In short, I know my limitations, but within those limitations I try  
to do it right.

	In the same way, I am not a sound guy. For many routine events here,  
as well as for routine day-to-day maintenance it doesn't make sense  
to bring in a sound engineer. For example, a travelling children's  
Theatre company might come in with six wireless mikes that they tie  
into my house system. Their SM runs the board, and I am the one that  
sets it up and interfaces their system with mine. If a hum or buzz  
appears I need to get rid of it. I can't hire a sound engineer to  
come in and do this. In the same way, a community Theatre group runs  
10 wireless. They own their own low end wireless rigs, and find a  
volunteer to mix it. I set it up for them, and diagnose / cure any  
problems.

	Dance schools come in for recitals or Ballets, and music playback is  
needed. I used to play their Cassette or CD, but these days I prefer  
to upload the music to my personal iMac and use that for playback. In  
none of these cases do I have the budget to bring in a sound  
engineer. On the other hand, for most concerts, I hire a sound  
company to set up their own equipment and run the sound. I talk to  
these people and learn a bit more every time. I haunt the Theatre  
sound Email list and - although a lot is way over my head -  I learn  
a lot about sound which kelps me to do a better job at what I do.

	Again, I know my limitations, but within those limitations I try to  
do it right. So in that regard, I do look at rigging and sound the  
same way. Also carpentry, Electrical work and lighting design. I am a  
generalist. A Jack of all trades and master of none. There is no  
budget in a venue like mine to keep fully qualified riggers, licensed  
electricians, or sound engineers on staff. I am a one man "Technical  
services department". When I need a specialist, and the budget allows  
for it, I bring one in.

> 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.

	I don't own a nice home stereo - I'd never be home to enjoy it  
anyway - and the old radio that came in my car doesn't work that  
well. ;-) Community Theatre groups generally depend on volunteers  
from the community and has a "Band together and do the best we can  
with what we've got" mindset. Frankly I applaud this philosophy. Sure  
the sound would be better with a real sound engineer, but a real  
director, set and lighting designers, not to mention actors that  
actually know how to act, but then it wouldn't be *Community*  
Theatre. My job (Although I'm not a sound guy) is to interface with  
them and help them to do it better.

	There are many levels of sound, just as there are with rigging.  
There are some things that anyone can do, There are things that only  
a sound engineer or a certified rigger should do, and a wide range in  
between. Often my job is to bridge the gap.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Subject: Gobo Instrument Needed
Date: Wed, 17 Jan 2007 10:03:39 -0500
Message-ID: <FAB32202DBB4914BA1E086FA67926F9FC7C640 [at] spicey.TREMONT.COM>
From: "Audio Visual" <audiovisual [at] tremontsuitehotels.com>

Listians,
I'm a long time subscriber / former theatrical now in hotel work.

I have a need for a smaller, lighter instrument to project patterns than
I currently have (S4 5 degree).  Does anyone have such a beast, which
would take a standard pattern and throw it say 30 or 40 feet?

Please and thank you,=20
John

John Steele
Visual Aids Electronics
Tremont Hotel Grand Conference Center
Baltimore MD

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

Date: Wed, 17 Jan 2007 07:19:26 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Cell Phone Karma and cell phone cameras
Message-ID: <916667.9801.qm [at] web50603.mail.yahoo.com>

>>Has anyone heard of a SCRIPT license holder actually
taking legal 
action
over still photos?   =20

Alf<<

Alf-
I have never heard of such a thing. I also think they
would be shooting themselves in the foot if they were
to pursue such. If I cannot promote my show, then I
won't have an audience. No audience = no money for me.
No money for me = no money for them.



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


 
____________________________________________________________________________________
Get your own web address.  
Have a HUGE year through Yahoo! Small Business.
http://smallbusiness.yahoo.com/domains/?p=BESTDEAL

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

From: "Joe Saint" <joe [at] imcdlighting.com>
References: <5212885.1169002624236.JavaMail.root [at] m41> <list-41342423 [at] prxy.net>
Subject: RE: Stagecraft Drinks night NYC
Date: Wed, 17 Jan 2007 10:23:31 -0500
Message-ID: <00e201c73a4b$72354380$640fa8c0 [at] D3G47461>
In-Reply-To: <list-41342423 [at] prxy.net>

Herrick wrote:
---------------------------------------------------

I wasn't going to One-up Occy but I had Heart surgery yesterday and I'll be
there! Wimps all of ya.

Seriously...it was non-invasive (mostly) outpatient surgery, I'm home and
healthy. NYU Hospital is great BTW.
---------------------------------------------------

"And the Herrick's heart grew three sizes that day . . ."



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

Message-ID: <10745891.1169047619870.JavaMail.? [at] fh126.dia.he.tucows.com>
Date: Wed, 17 Jan 2007 15:26:59 +0000 (UTC)
From: "paul.guncheon [at] hawaiiantel.net" <paul.guncheon [at] hawaiiantel.net>
Reply-To: "paul.guncheon [at] hawaiiantel.net" <paul.guncheon [at] hawaiiantel.net>
Subject: Re: Cutting Foam

<<as i head to experiment (with much
ventilation and respirator. . .)>>

Can somebody explain exactly what is emitted and in what concentration 
when styrofoam is cut with a hot wire? I have heard descriptions from 
"you'll dead befroe before you hit the ground" to "mostly water vapor".

Paul

"99 is almost 100," said Tom roughly.

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

Date: Wed, 17 Jan 2007 10:24:07 -0500
From: Greg Williams <gwilliams [at] appstate.edu>
Subject: Re: A Bit off Topic
In-reply-to: <list-41295567 [at] prxy.net>
Message-id: <ACB9015D-DA02-47AA-9228-86037B5C3C9D [at] appstate.edu>
References: <list-41295567 [at] prxy.net>

Dana,
   You ARE the man! Thanks once again. Now we just have to figure out  
how to get you and your students to drive to Vermont for a luncheon...

-=Greg=-
On Jan 16, 2007, at 7:18 AM, Dana Taylor wrote:

>
> 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: Wed, 17 Jan 2007 10:38:46 -0500
Subject: Re: Gobo Instrument Needed
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1D3AD36.B255%mrtemplate [at] earthlink.net>
In-Reply-To: <list-41344420 [at] prxy.net>

Hello john;

How big does the image need to be?

How much money do you have to spend?

How fast do you need it up and working?

How long does it have to last?

Inquiring minds....


On 1/17/07 10:03 AM, "Audio Visual" <audiovisual [at] tremontsuitehotels.com>
wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Listians,
> I'm a long time subscriber / former theatrical now in hotel work.
> 
> I have a need for a smaller, lighter instrument to project patterns than
> I currently have (S4 5 degree).  Does anyone have such a beast, which
> would take a standard pattern and throw it say 30 or 40 feet?
> 
> Please and thank you,
> John
> 
> John Steele
> Visual Aids Electronics
> Tremont Hotel Grand Conference Center
> Baltimore MD

-- 
Steve Shelley
SoftSymbols Designer
MrTemplate [at] Earthlink.net
www.fieldtemplate.com



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

Date: Wed, 17 Jan 2007 10:45:27 -0500
Subject: Re: Stagecraft Drinks night NYC
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1D3AEC7.15C4A%Herrick [at] HGLightingDesign.com>
In-Reply-To: <25825384.1169047641232.JavaMail.root [at] m41>

You're not the first one to come up with that variant. :)

On 1/17/07 10:23 AM, "Joe Saint" <joe [at] imcdlighting.com> wrote:


> 
> "And the Herrick's heart grew three sizes that day . . ."
> 
> 
> 

-- 
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



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

Subject: More Info Gobo Instrument Needed
Date: Wed, 17 Jan 2007 10:50:30 -0500
Message-ID: <FAB32202DBB4914BA1E086FA67926F9FC7C642 [at] spicey.TREMONT.COM>
From: "Audio Visual" <audiovisual [at] tremontsuitehotels.com>

Listians,

AS was pointed out, I neglected to talk about final image size in my
previous post.

I am currently using the S4 5 degree instrumentation to throw a moderate
sized image a very long way (about 75 feet).

I have an opportunity to use a track lighting strip as source for a
pattern instrument.  It currently houses 10 1K Par 64 lamp track
lighting fixtures.  I'd like to take a good pattern projecting small
leko and fit it to one of the track fixtures yokes.

My projection distance would then be 15-30 feet.

Hopefully this helps describe the scheme and the photometrics involved.

Thanks,

John

John Steele
Visual Aids Electronics
Baltimore, MD

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

Message-ID: <20070117104837.u6vomagiqsookgg4 [at] webmail.bard.edu>
Date: Wed, 17 Jan 2007 10:48:37 -0500
From: Andy Champ-Doran <doran [at] bard.edu>
Subject: Re: Mud Wresting
References: <list-41321330 [at] prxy.net>
In-Reply-To: <list-41321330 [at] prxy.net>

Will,

You could try a ceramics supply wholesaler/store and get some clay =20
slip, which is basically liquid clay.  Much cheaper than the =20
"theraputic" spa mud we looked at. They sell it in cubic boxes, and if =20
I recall correctly, they are about 1 cubic foot each, which makes for =20
easy measuring of what you need.  We once filled a couple of onstage =20
mud baths this way to about 3' deep X  4' X 5'.  One caution, though.  =20
This stuff will get to whatever room temp is, and that will be cold to =20
the people in it.  If you try to heat it, you'll have to circulate the =20
slip, as it is an excellent insulator and will only heat right near =20
the element if left stagnant.

Andy Champ-Doran
Technical Director
Bard College Departments of Dance and Theater
Annandale-on-Hudson, NY 12504
(845) 758-7962


Quoting Will Hill <willhill [at] globalnet.co.uk>:

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



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

Subject: RE: Cutting Foam
Date: Wed, 17 Jan 2007 10:51:29 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A07286F40 [at] exchange.rmwc.edu>
In-Reply-To: <list-41345518 [at] prxy.net>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
Cc: paul.guncheon [at] hawaiiantel.net

> Can somebody explain exactly what is emitted and in what=20
> concentration when styrofoam is cut with a hot wire? I have=20
> heard descriptions from "you'll dead befroe before you hit=20
> the ground" to "mostly water vapor".

Assuming for a moment that by "styrofoam" you mean "expanded
polystyrene", here's a link to an MSDS for grade 40...

http://www.huntsman.com/polymers/Media/EPS_40__MSDS_2005.pdf

Or, http://tinyurl.com/2kel6h

From the document:

Products Evolved When Subjected to Heat or Combustion:
Toxic levels of carbon monoxide, carbon dioxide, irritating aldehydes
and ketones.

Unusual or Explosive Hazards:
Danger! Extremely flammable materials may release vapors that travel
long distances, ignite, and
explode in a fire. Do not expose to heat, sparks, flame, static, or
other sources of ignition. When
tool, ground and bond all containers.
Explosive air-vapor mixtures may form. Fire gives off dense black smoke
and acid gasses. Electrostatic
source of ignition due to accumulated pentane vapors exceeding the
L.E.L. (lower explosive
Pentane vapors may be emitted from newly opened containers or when the
product is heated. If
high rate of flame propagation.
"NO SMOKING - NO MATCHES - NO LIGHTERS - NO WELDING" rules should be
enforced.

HTH.

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

In-Reply-To: <list-41345856 [at] prxy.net>
References: <list-41295567 [at] prxy.net> <list-41345856 [at] prxy.net>
Message-Id: <79CAAF8F-16AC-498E-8FA5-87A0961C7247 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: A Bit off Topic
Date: Wed, 17 Jan 2007 10:52:37 -0500


On 17 Jan 2007, at 10:24, Greg Williams wrote:

> Dana,
>   You ARE the man! Thanks once again. Now we just have to figure  
> out how to get you and your students to drive to Vermont for a  
> luncheon...

	On tricycles ?

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <45AE474C.9020504 [at] gmail.com>
Date: Wed, 17 Jan 2007 10:57:00 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: Stagecraft Drinks night NYC
References: <list-41342326 [at] prxy.net>
In-Reply-To: <list-41342326 [at] prxy.net>

Herrick Goldman wrote:

> ---------------------------------------------------
> 
> No worries, 
> 
> There will be more. We could get someone to hold your glass if you wish.

Don't do it!  Hand Herrick a glass containing alcohol and you'll never 
see it again! :)

Steve L.

-- 
Stephen Litterst			Technical Operations Supervisor
litterst [at] udel.edu			Center for the Arts
302/831-0601				University of Delaware

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

Date: Wed, 17 Jan 2007 08:12:32 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: digi. projector
In-Reply-To: <list-41336002 [at] prxy.net>
Message-ID: <68858.61059.qm [at] web50612.mail.yahoo.com>

I have been asked to investigate PowerPoint
supertitles via digital projector. We will be
projecting the titles to both left and right proc.
walls and the throw is going to be 40 to 60 feet. I
have done this with a single projector before, but
never to two projectors from a single computer. My
question. What will I need for the signal to get to
both projectors from the single source?
TIA.


On another note...if supertitles are above and
subtitles are below, what do ya call it when they are
at the side? Just titles? If it ain't super or sub is
it just normal?


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


 
____________________________________________________________________________________
Finding fabulous fares is fun.  
Let Yahoo! FareChase search your favorite travel sites to find flight and hotel bargains.
http://farechase.yahoo.com/promo-generic-14795097

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

Message-ID: <000901c73a52$e25ccb90$0400000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-41314160 [at] prxy.net> <list-41325532 [at] prxy.net>    <list-41326722 [at] prxy.net> <list-41338030 [at] prxy.net>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Wed, 17 Jan 2007 08:16:45 -0800

> Keep in mind that a large share of those videos are staged, just for
> showing on AFHV. It does not make them any less dangerous.
>


The clips I was referring to were actual stage productions.  In the 
audi-cafe-gymna-torium, with hundreds of grandparents and siblings in the 
audience.

     - Jon Ares
www.hevanet.com/acreative 


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

Subject: VW furniture symbols?
Date: Wed, 17 Jan 2007 11:18:09 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A07286F8E [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

Anyone know where to find (preferably free) 2D/3D symbols for different
pieces of furniture for VW11?  The standard package stuff isn't complete
enough for my needs and googling is giving me a headache from spinning
my wheels...TIA

(BTW, by way of some sort of return, http://www.objectsonline.com/ has a
metric buttload of free textures available...but sadly not what I'm
looking for in furniture.)

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

Message-ID: <45AE4CBF.1050607 [at] gmail.com>
Date: Wed, 17 Jan 2007 11:20:15 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: More Info Gobo Instrument Needed
References: <list-41346338 [at] prxy.net>
In-Reply-To: <list-41346338 [at] prxy.net>

Audio Visual wrote:

> ---------------------------------------------------

> AS was pointed out, I neglected to talk about final image size in my
> previous post.
> 
> I am currently using the S4 5 degree instrumentation to throw a moderate
> sized image a very long way (about 75 feet).
> 
> I have an opportunity to use a track lighting strip as source for a
> pattern instrument.  It currently houses 10 1K Par 64 lamp track
> lighting fixtures.  I'd like to take a good pattern projecting small
> leko and fit it to one of the track fixtures yokes.
> 
> My projection distance would then be 15-30 feet.

I would suggest either the Source4 Jr. zoom or the Strand SL Zoom.  A 
zoom fixture will give you the ability to adjust the beam angle when 
your throw distance changes from 15 to 30 feet.

The Source4 Jr has the advantage of being slightly smaller, but it takes 
a unique gobo size, requiring you to buy all new patterns.

The Strand SL has a body size comparable to your S4, but a significantly 
smaller lens tube.  It will be able to use the same size patterns you 
currently use.

Or you can go significantly smaller with Altmans Micro Ellipse series, 
which are designed specifically for track lighting.

Hope this helps and gives you a starting point.

Steve L.
-- 
Stephen Litterst			Technical Operations Supervisor
litterst [at] udel.edu			Center for the Arts
302/831-0601				University of Delaware

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

Subject: RE: [BULK]  digi. projector
Date: Wed, 17 Jan 2007 11:21:14 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A07286F97 [at] exchange.rmwc.edu>
In-Reply-To: <list-41347204 [at] prxy.net>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> I have been asked to investigate PowerPoint supertitles via=20
> digital projector. We will be projecting the titles to both=20
> left and right proc.
> walls and the throw is going to be 40 to 60 feet. I have done=20
> this with a single projector before, but never to two=20
> projectors from a single computer. My question. What will I=20
> need for the signal to get to both projectors from the single source?

There do exist Y-adapters to run a pair of monitors off of one computer,
both showing the same image...I'd think that'd be your simplest bet.
Something like this, perhaps?

http://tinyurl.com/23lxvn

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

In-Reply-To: <list-41347204 [at] prxy.net>
References: <list-41347204 [at] prxy.net>
Message-Id: <49C3CD7A-599F-4465-A8DD-07907E9DFB3E [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: digi. projector
Date: Wed, 17 Jan 2007 11:21:12 -0500


On 17 Jan 2007, at 11:12, b Ricie wrote:

> On another note...if supertitles are above and
> subtitles are below, what do ya call it when they are
> at the side? Just titles? If it ain't super or sub is
> it just normal?

	IMHO I would call them harder to follow!

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <87e6786e0701170826j3defe787jb7b6be2a8a4ebf0f [at] mail.gmail.com>
Date: Wed, 17 Jan 2007 10:26:55 -0600
From: "John Penisten" <john.penisten [at] gmail.com>
Subject: Re: digi. projector
In-Reply-To: <list-41347204 [at] prxy.net>
References: <list-41336002 [at] prxy.net> <list-41347204 [at] prxy.net>

I would use a distribution amplifier like the the Kramer VP200:
http://www.kramerelectronics.com/indexes/item.asp?desc=204

Best,
John

On 1/17/07, b Ricie <b_ricie [at] yahoo.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I have been asked to investigate PowerPoint
> supertitles via digital projector. We will be
> projecting the titles to both left and right proc.

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

Message-ID: <45AE4E5A.3080104 [at] gmail.com>
Date: Wed, 17 Jan 2007 11:27:06 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: digi. projector
References: <list-41347204 [at] prxy.net>
In-Reply-To: <list-41347204 [at] prxy.net>

b Ricie wrote:
> ---------------------------------------------------
> 
> I have been asked to investigate PowerPoint
> supertitles via digital projector. We will be
> projecting the titles to both left and right proc.
> walls and the throw is going to be 40 to 60 feet. I
> have done this with a single projector before, but
> never to two projectors from a single computer. My
> question. What will I need for the signal to get to
> both projectors from the single source?

Some projectors have a VGA pass through.  If that's not on your 
projector, a simple VGA splitter/amplifier will do the trick.

Easily available from CDW.com or your favorite computer supply website.

Steve L.


-- 
Stephen Litterst			Technical Operations Supervisor
litterst [at] udel.edu			Center for the Arts
302/831-0601				University of Delaware

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

Date: Wed, 17 Jan 2007 11:27:55 -0500
From: Greg Williams <gwilliams [at] appstate.edu>
Subject: Re: A Bit off Topic
In-reply-to: <list-41346486 [at] prxy.net>
Message-id: <274BE2DE-463D-455D-8771-EADC8BDC2CAB [at] appstate.edu>
References: <list-41295567 [at] prxy.net> <list-41345856 [at] prxy.net>
 <list-41346486 [at] prxy.net>


On Jan 17, 2007, at 10:52 AM, Bruce Purdy wrote:
>> Dana,
>>   You ARE the man! Thanks once again. Now we just have to figure  
>> out how to get you and your students to drive to Vermont for a  
>> luncheon...
>
> 	On tricycles ?


LOL. Absolutely! And if they make it that far carrying lunch, they  
might as well ride the rest of New England with us. Heck, they can  
lead the way at that point!

-=Greg=-
www.LRLR.org


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

Message-ID: <011b01c73a55$bb811aa0$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: Wed, 17 Jan 2007 10:37:08 -0600

Paul's comments are very close but there is a difference between what an 
Owner "wants" and what they "need".   Assisting the Owner in determining 
their needs is the first step in full service theatre consulting.  Secondly 
is determining which needs they can afford to satisfy.  (What kind of 
rigging or whose lighting console is MUCH further down the journey.)

As far as documenting dreams,  you can usually realize more savings and make 
better decisions to meet the Owner's needs in the Program phase and 
Conceptual Design phases.  The potential for savings decreases dramatically 
at each succeeding phase: Schematic Design, Design Development, Construction 
Documents, Bidding/Negotiation, and Construction.  I believe (and practice) 
that one of the most important functions of a theatre consultant is the 
experience with costs of performing arts buildings.  All too often the cost 
of building "dreams" is several times the budget.

While dollar per sq ft is not a good measure, you can be sure that if you 
look at a dozen completed projects ranging from $250-1000 per sq ft, and 
your looking at a list of spaces with size and budget which allows $200 per 
sq ft a building to be built in the future, now is the time to find more 
money or reduce the project.  This is usually complicated by unrealistic 
assumptions of unassigned space such as circulation and mechanical and 
interstitial spaces, all of which are high proportions of performing arts 
buildings compared to other building types.

Inevitably, these are the $10m projects with $1m worth of stage equipment 
that bid at $12m and the architect and contractor think they can make up the 
difference by cutting the stage equipment.  That's obviously because it's 
very hard to reduce the structural framing cost or building exterior shell 
cost at this point.  Someone will propose cheaper HVAC systems which will 
inevitably result in noisy performing spaces which I find to be the worst 
compromise.  I could go on, but the results are often similar and simply 
finding more money is the rarity.

The lesson is: good planning before the first line is drawn and matching the 
vision of your dreams with a passion for finding money.

And I'm willing to wager that most of the projects this list would rate high 
all had good theatre consultants who were invaluable in convincing the 
powers that be that the preliminary building budget be increased by a factor 
of 2 or 3 or more - or the theatre consultant was instrumental in setting 
the original budget.

These are the concerns of a full service theatre consultant, a different 
entity than a theatre equipment consultant, and a distinction that not 
everyone immediately understands.

Bill Conner ASTC, ETCP CR-T 


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

In-Reply-To: <list-41347471 [at] prxy.net>
References: <list-41346338 [at] prxy.net> <list-41347471 [at] prxy.net>
Message-Id: <5BC483C1-9536-43BB-B910-6341A7CE0D86 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: More Info Gobo Instrument Needed
Date: Wed, 17 Jan 2007 11:41:28 -0500


On 17 Jan 2007, at 11:20, Stephen Litterst wrote:

>> I am currently using the S4 5 degree instrumentation to throw a  
>> moderate
>> sized image a very long way (about 75 feet).

> I would suggest either the Source4 Jr. zoom or the Strand SL Zoom.   
> A zoom fixture will give you the ability to adjust the beam angle  
> when your throw distance changes from 15 to 30 feet.

	A zoom makes sense, but using a 5 degree at 75 feet and moving it  
that much closer? Can you get a wider instrument (Or zoom setting)  
than 5 degrees?

	There was still no mention of image size (Other than "Moderate  
sized"). Are you looking to maintain the same image size? I've never  
seen a 1 or 2 degree instrument.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Date: Wed, 17 Jan 2007 11:42:36 -0500
Subject: Re: digi. projector
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1D3BC2C.B272%mrtemplate [at] earthlink.net>
In-Reply-To: <list-41347505 [at] prxy.net>

Hello brian;

We have been super, sub, and side titling our operas at spoleto usa for some
time now. I have forwarded your initial inquiry to our supertitle expert,
mr. bruno ingram. Though he's a psm, I also refer to him as supertitle
expert because he has directed the care and feeding of supertitles at the
festival for some years now.

We only did the side titling once. As noted, they are much harder to follow.
Side-to-side for the eye is much more exhausting than up and down.

For that reason, if side titling is the only option, I would recommend that
the title screens be located close to the stage, and not too high (relative
to the action on the stage). We initially had our titles high (like close to
proscenium height) and the diagonal eye movement from stage to title drove
just about everyone on the show nutty.

We also discovered that having the screens close to the stage meant that any
spill light (or bounce light) from "opposite" side of stage washed out the
title that much faster, so we had to angle the title away from the source of
the scattered light.

I have been told that we should swap our programs and instead of powerpoint
use keynote (mac based only to my knowledge) instead. Apparently the
cross-fade choices and subtlely of keynote makes it a better choice for
titles. Due to the fact that the laptops we use at the festival for this
(along with the supertitle folks) are windows-based, this is not a choice at
this time.

Hth,

shelley


On 1/17/07 11:21 AM, "Bruce Purdy" <bpurdy [at] rochester.rr.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> On 17 Jan 2007, at 11:12, b Ricie wrote:
> 
>> On another note...if supertitles are above and
>> subtitles are below, what do ya call it when they are
>> at the side? Just titles? If it ain't super or sub is
>> it just normal?
> 
> IMHO I would call them harder to follow!
> 
> Bruce
> ____________________
> Bruce Purdy
> Technical Director
> Smith Opera House
> 
> 
> 

-- 
Steve Shelley
SoftSymbols Designer
MrTemplate [at] Earthlink.net
www.fieldtemplate.com



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

In-Reply-To: <list-41348060 [at] prxy.net>
References: <list-41348060 [at] prxy.net>
Message-Id: <D0CA0173-67E5-4823-B73E-C64B1AA1A946 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Theatre and PAC architects
Date: Wed, 17 Jan 2007 12:00:19 -0500

	Curiosity has got the best of me.

	There has been much discussion on choosing an architect or choosing  
the right Theatre consultant. Do the consultants on the list put much  
thought into choosing the right client? For example, when the "powers  
that be" interview you, do you ask whether they welcome input from  
the actual Theatre users - those that actually know what they need?  
Are  you willing to pass on projects that cut the users out of the  
loop? Or is "a job's a job" and you can't afford to pick and choose?

	We all agree that finding a consultant, architects, and others that  
work together as a team bears much in choosing who to work with, but  
I wonder about the flip side of that record.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Date: Wed, 17 Jan 2007 11:59:38 -0500
Subject: Was hand injury, now blade speed
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <C1D3C02A.3EA4%jdougher [at] middlebury.edu>

If I understood the description of the offending tool, it was a chopsaw,
a.k.a. miter saw, which has a universal motor that gets up to speed very
quickly.  Higher end routers, with the same sort of motor, have a feature to
actually slow the startup of the motor so that the torque doesn't jerk the
tool in the operator's hands.

 The induction motors on bigger tools (like table saws and band saws) get up
to speed more slowly (closer to a second), with the tradeoff that they are
more powerful when they're there.

I believe both are fast enough to catch anyone - you might be lucky enough
to escape with minor injuries due to quick reflexes, but if you're
inattentive you're going to get something for your trouble.

An experiment for Mythbusters, with their ballistic gelatin limbs and
sponsored experiment time, would be to clothe such a limb and see what it
would take to get it caught in a saw, and to see if it was possible to pull
it away from an inadvertently contacted blade.  I'm betting on the saw.

-  Jim Dougherty
ATD, Middlebury College


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

From: "Jon Lagerquist" <jon [at] lagerquist.com>
Date: Wed, 17 Jan 2007 09:04:15 -0800
Subject: Re: digi. projector
Reply-to: jon [at] lagerquist.com
Message-ID: <45ADE68F.25366.F45DE45 [at] jon.lagerquist.com>
In-reply-to: <list-41348266 [at] prxy.net>
References: <list-41347505 [at] prxy.net>, <list-41348266 [at] prxy.net>

I have heard good things about Keynote but not used it. But there are 
options in the windows world. OpenOffice.org has Impress which looks 
like a close replacement for power point and is free. Photodex makes 
a couple of options (proshow and presenter) that I have used and 
like. Presenter and I think the latest proshow added the "wait for a 
go" that made them very workable. And you can do fades for as long as 
you would like.

> I have been told that we should swap our programs and instead of
> powerpoint use keynote (mac based only to my knowledge) instead.
> Apparently the cross-fade choices and subtlely of keynote makes it a
> better choice for titles. Due to the fact that the laptops we use at the
> festival for this (along with the supertitle folks) are windows-based,
> this is not a choice at this time.


Jon Lagerquist
Technical Director  [at]  South Coast Repertory
Costa Mesa, CA


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

Message-ID: <b7aa28010701170904j2e26465cnde4e243aea18be5e [at] mail.gmail.com>
Date: Wed, 17 Jan 2007 12:04:33 -0500
From: "Brian Munroe" <bpmunroe [at] gmail.com>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
In-Reply-To: <list-41347345 [at] prxy.net>
References: <list-41314160 [at] prxy.net> <list-41325532 [at] prxy.net>
	 <list-41326722 [at] prxy.net> <list-41338030 [at] prxy.net>
	 <list-41347345 [at] prxy.net>

On 1/17/07, Jon Ares <jonares [at] hevanet.com> wrote:

> The clips I was referring to were actual stage productions.  In the
> audi-cafe-gymna-torium, with hundreds of grandparents and siblings in the
> audience.

A new school just opened in my city, and they are actually calling in
the cafetorium.

Brian Munroe
bpmunroe [at] gmail.com

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

Message-ID: <b7aa28010701170908w7425ebe4p1d56e4b58ebd1617 [at] mail.gmail.com>
Date: Wed, 17 Jan 2007 12:08:54 -0500
From: "Brian Munroe" <bpmunroe [at] gmail.com>
Subject: Re: digi. projector
In-Reply-To: <list-41348266 [at] prxy.net>
References: <list-41347505 [at] prxy.net> <list-41348266 [at] prxy.net>

On 1/17/07, Steve Shelley <mrtemplate [at] earthlink.net> wrote:

> We have been super, sub, and side titling our operas at spoleto usa for some
> time now. I

Where do you the subtitles appear?

Brian Munroe
bpmunroe [at] gmail.com

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

Message-ID: <01f901c73a5c$2f10a250$6401a8c0 [at] amd2200>
From: "Rob Riddle" <stagecraft [at] stageshirt.com>
References: <list-41313076 [at] prxy.net> <list-41343020 [at] prxy.net>
Subject: Re: large hot-wire cutting apparatus?
Date: Wed, 17 Jan 2007 12:23:19 -0500

I love this list.

----- Original Message ----- 
From: "Mike Katz" <narishkup [at] gmail.com>
> And for a completely different approach,  for that size block why
not
> either a band saw, if you have a big one, or a hand saw, or most
> likely build a big Bow saw,  Cut a properly sized C shape out of ply
> or build it out of pine. Take a band saw blade and snap it or grind
it
> to create a long length of  blade stock. Screw or clamp the blade to
> the C frame and you will have a hand powered big Mama hack saw that
> will cut the straight sides with no fumes and very little dust. It
> works best with 2 people cutting and wooden guides to saw against.
>
> Mike

> > 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. . .)
> >



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

In-Reply-To: <list-41349141 [at] prxy.net>
References: <list-41314160 [at] prxy.net> <list-41325532 [at] prxy.net> <list-41326722 [at] prxy.net> <list-41338030 [at] prxy.net> <list-41347345 [at] prxy.net> <list-41349141 [at] prxy.net>
Message-Id: <A2CE4685-40A9-4615-8150-5EA909B53B2D [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Wed, 17 Jan 2007 12:24:04 -0500


On 17 Jan 2007, at 12:04, Brian Munroe wrote:

> A new school just opened in my city, and they are actually calling in
> the cafetorium.

	As far back as late 60's I heard schools use that term. A small  
stage in the cafeteria was referred to as a "Cafetorium" and likewise  
a small stage in a gymnasium was a "Gynatorium". Most commonly seen  
in elementary or middle schools, they (and the terms) have been  
around for a long time.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Date: Wed, 17 Jan 2007 09:26:22 -0800 (PST)
From: Al Fitch <fitchal [at] yahoo.com>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
In-Reply-To: <list-41347345 [at] prxy.net>
Message-ID: <305578.83136.qm [at] web84013.mail.mud.yahoo.com>


> > Keep in mind that a large share of those videos
> are staged, just for
> > showing on AFHV. It does not make them any less
> dangerous.
> >
> 
> 
> The clips I was referring to were actual stage
> productions.  In the 
> audi-cafe-gymna-torium, with hundreds of
> grandparents and siblings in the 
> audience.
>

In other words, lots of witnesses who would be scarred
for life and not even know why.

I saw that show also.  Think of the money they saved
by doing it themselves. (watch out for the puddle of
sarcasm)

Al Fitch

Be Kind, Smile and Have Fun.

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

Date: Wed, 17 Jan 2007 09:26:26 -0800 (PST)
From: Michael Heinicke <mheinicke [at] sbcglobal.net>
Subject: OT: CafePress.com
Message-ID: <239287.13258.qm [at] web82203.mail.mud.yahoo.com>

I have seen several mentions of CafePress.com on the
list over the past year or two. Can someone comment on
the quality of their products? A similar company that
I have heard of is SpreadShirt.com. Is anyone familiar
with them and their quality?
If anyone has opinions that they would like to share
about these companies or any similar ones, I would
like to hear them. Contact me offlist so we don't
waste too much time.

Thanks,
Mike Heinicke

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

Date: Wed, 17 Jan 2007 09:29:45 -0800
Subject: Re: More Info Gobo Instrument Needed
From: Samuel Jones <sjones [at] ucla.edu>
Message-ID: <C1D39D09.D3F0%sjones [at] ucla.edu>
In-Reply-To: <list-41346338 [at] prxy.net>


> From: Audio Visual <audiovisual [at] tremontsuitehotels.com>
> Subject: More Info Gobo Instrument Needed
> 
> I am currently using the S4 5 degree instrumentation to throw a moderate
> sized image a very long way (about 75 feet).

A little VectorWorks drawing yielded the following:

1. A 5 deg. fixture throwing a beam 75 feet results in an image 6'-6 1/2"
tall.

2. A fixture placed 15' away would need to have a field angle of 24.61 deg.
to create the same size image.

3. A fixture placed 30' away would need to have a field angle of 12.45 deg.
to create the same size image.

HTH
Sam

Samuel L. Jones
Dance Program, Theater Production Supervisor
Dept. of World Arts and Cultures, UCLA
AutoPlotVW, AutoPlot Tools for SpotLight, and Chain Hoist Tool Developer
sjones [at] arts.ucla.edu
==========================================================



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

Message-Id: <3.0.6.32.20070117100837.00c83670 [at] pop.west.cox.net>
Date: Wed, 17 Jan 2007 10:08:37
From: CB <psyd [at] cox.net>
Subject: A Bit off Topic

>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 compariso

Ehm, build 'em.  Find a bicycle recycle joint (there has to be one in your
area, doesn't there?) or a used bike/bike repair place to donate used parts
(and get the trikes afterwards?) and have the students build and race.
you'll have teams instead of just jockeys.
				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: <3.0.6.32.20070117101422.00c83670 [at] pop.west.cox.net>
Date: Wed, 17 Jan 2007 10:14:22
From: CB <psyd [at] cox.net>
Subject: Re: A Bit off Topic

>Man oh man do I have a story to tell concerning your stage
>curtains.... 

Uhm-kay, so, you thought that you could post this and not post the story?
Or is this sort of cruelty just another symptom in the syndrome, Frank?
				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: <000901c73a5e$ee44eda0$0400000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-41314160 [at] prxy.net> <list-41325532 [at] prxy.net> <list-41326722 [at] prxy.net> <list-41338030 [at] prxy.net> <list-41347345 [at] prxy.net> <list-41349141 [at] prxy.net>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Wed, 17 Jan 2007 09:42:59 -0800


> A new school just opened in my city, and they are actually calling in
> the cafetorium.
>


There's a high school down the valley from me that has a (not too old) wing 
of the school with their theatre called the "Lectorium."  Probably because 
they never would have gotten approval for it from the PTBs if they could not 
make it clear that it's an instructional space.  (Because, of course, Drama 
is not "instructional.")  Just a guess.

It's actually a comfy 250-300 seat space (from the audience's POV), but the 
stage is silly.... dead hung battens on trim chain, no wings, etc.

One more anecdote: in my school, during construction a few years ago that 
required the library to vacate, they temporarily relocated to a space dubbed 
the "Librateria."  (Library + cafeteria.)

     - Jon Ares
www.hevanet.com/acreative 


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Theatre and PAC architects
Date: Wed, 17 Jan 2007 12:48:39 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAA00oRlkvCZUGpAmMa0HuiTAEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-41348958 [at] prxy.net>

Bruce Purdy wrote:

>Do the consultants on the list put much =20
>thought into choosing the right client? For example, when the "powers =20
>that be" interview you, do you ask whether they welcome input from =20
>the actual Theatre users - those that actually know what they need? =20
>Are  you willing to pass on projects that cut the users out of the =20
>loop? Or is "a job's a job" and you can't afford to pick and choose?

Most of my work comes via referrals from others, so "picking and =
choosing"
isn't the issue. They chose us, not vice versa. If after an initial
conversation with them I don't get a "warm 'n fuzzy" feeling about user
input, either my rates go way up, or I may decline. For example, if the =
PTB
at a College refused to let me talk to the TD or PM staff, I doubt I'd
continue perusing the project. But I haven't run across that yet.

All my proposals to clients (whether an Owner or Architect) always =
include a
"programming" phase that specifically solicits input from the end users
(among others). This helps to set the overall scope, systems =
requirements,
and budgets of the project. After that phase is completed, we then =
provide a
proposal to design and manage the scope and systems everyone agreed to.

While I have done some projects without end user input, that's only =
because
I was brought in too late (i.e the Architect was already in the
Design/Development phase), but I still try to get at least one =
conversation
with someone at the "user" level to verify what they expect (if =
anything).
Sometimes it's not much of a conversation because the school only has a
"music teacher". No drama director or technical person per se. They may =
not
know what they want, or need. This happens a lot at the high school =
level
where there may not be a strong PA program. So we have to rely on what =
has
worked before in similar spaces.

So it does vary by project. But in general, I won't turn down a job JUST
because there's no end user input, but only if that's because there's no
user to provide the input. But if there is, and the Architect "refuses" =
to
let me talk with them, then I have a problem. But that's very, very rare =
in
my experience. In most cases, Architects will let you talk with their
clients, provided everything is documented and the decisions made won't =
cost
the project money that's not budgeted.

Peter Scheu

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


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

Subject: RE: Sussing Sound Buzz when lighting might be the culprit?
Date: Wed, 17 Jan 2007 12:53:10 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0728707C [at] exchange.rmwc.edu>
In-Reply-To: <list-41349786 [at] prxy.net>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> > A new school just opened in my city, and they are actually=20
> calling in=20
> > the cafetorium.
>=20
> 	As far back as late 60's I heard schools use that term.=20
> A small stage in the cafeteria was referred to as a=20
> "Cafetorium" and likewise a small stage in a gymnasium was a=20
> "Gynatorium". Most commonly seen in elementary or middle=20
> schools, they (and the terms) have been around for a long time.

Longer ago than I care to remember, I attended a small Catholic
elementary school with one of those all-purpose spaces.  In the course
of a year or so, it was used as a church, cafeteria, gym, skating rink,
and general auditorium.  We dubbed it the "churcafegymrinktorium".

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

Date: Wed, 17 Jan 2007 11:55:11 -0600
From: Mark Harvey <mharvey [at] d.umn.edu>
Subject: Professional Stage Manager Contact List
Message-ID: <06AC343C3F433039F09855C2 [at] mharvey.d.umn.edu>
In-Reply-To: <list-41336002 [at] prxy.net>
References:  <list-41336002 [at] prxy.net>

I teach a stage management class and include a project that requires 
students to contact professional stage managers and interview them via 
email on specific topics of the student's choosing.  I have a current 
list of about 25 professional stage managers who have agreed to be 
interviewed.

If there are any professional stage managers on this list who would 
like to be included, please contact me at <mharvey [at] d.umn.edu>

The current list can be viewed online at 
<http://www.d.umn.edu/~mharvey/prosmcontactlist.html>

Syllabus for the course can be seen at 
<http://www.d.umn.edu/~mharvey/th1601index.html>

Thank you.

____________________________________
Mark Harvey, Associate Professor, Lighting & Sound Design
Department of Theatre
University of Minnesota Duluth
www.d.umn.edu/~mharvey

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

Date: Wed, 17 Jan 2007 12:57:31 -0500
From: "Frank E. Merrill" <Lamplighter [at] tcon.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] tcon.net>
Message-ID: <178513397.20070117125731 [at] tcon.net>
Subject: Re[2]: A Bit off Topic
In-Reply-To: <list-41350246 [at] prxy.net>
References: <list-41350246 [at] prxy.net>

Howdy !

Wednesday, January 17, 2007, Chris Babbie wrote:

>>Man oh man do I have a story to tell concerning your stage
>>curtains.... 

> Uhm-kay, so, you thought that you could post this and not post the story?

Gather around, children, and Grandpa Frank will tell you another
story....

Mount Vernon High School, in mount Vernon, Indiana, is about as far
away from Indianapolis as one can get and still be in Indiana.  If you
look at a map, it is in the "toe" of the state in the far southwest
corner.

We had an order from the General Contractor to provide curtains and
tracks for the stage, and received a proposed installation schedule
from the GC shortly after we received the P.O. and planned
accordingly.  When we got close to the installation date many months
later, I called the GC to verify the installation schedule and was
assured that everything would be ready as planned.  I got some calls
from a very agitated jobsite foreman about ten days before the
scheduled installation date, wanting to make sure that we'd be there
on time and I did my best to assure him that we would.

So my crew headed out of town with a truckload of curtains and
installation stuff, expecting to check into a hotel in Mt. Vernon and
hit the jobsite early the next morning.

I got a call from my lead guy at 8:00 the next morning, asking me to
verify where the curtains were to go.  He had the drawings, and had
the foreman standing next to him during the call, but there was no
stage!  Turned out the GC figured that I could install tracks and
curtains while they were still pouring concrete and laying CMU, and
expected me to protect the curtains by putting plastic sheeting over
them!

Needless to say, I pulled my guys off the job and asked the foreman to
let me know after the stage floor is laid and finished.  We finally
did the install about five months later.

Okay kids, back to work!

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

   


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

Subject: RE: Theatre and PAC architects
Date: Wed, 17 Jan 2007 11:00:25 -0700
Message-ID: <67CADCB91D266042A8DAB3B981DCFD14038A236E [at] AFAMAIL2.USAFA.afspc.ds.af.mil>
In-Reply-To: <list-41350544 [at] prxy.net>
From: "Haagen Trey P Civ USAFA/CWTMC" <Trey.Haagen [at] usafa.af.mil>
Cc: peter [at] scheuconsulting.com

It would seem to me that an acceptable situation would be to hire the =
consultant as a contractor, much as you would the architect.  Both would =
work for and be paid directly by the user.  The consultant would not =
work for the architect.  The consultant's job would be somewhat more =
difficult as he really would be middleman.   I would think that this =
would be valuable in situations where the college or state specifies the =
architectural firm but the TC would work directly for the user. =20

Or, am I really off base here?

Trey H=E4agen
Arnold Hall Theatre
V:  (719) 333-2721
F:  (719) 333-2099
-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Peter =
Scheu
Sent: Wednesday, January 17, 2007 10:49
To: Stagecraft
Subject: Re: Theatre and PAC architects

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

Bruce Purdy wrote:

>Do the consultants on the list put much =20
>thought into choosing the right client? For example, when the "powers =20
>that be" interview you, do you ask whether they welcome input from =20
>the actual Theatre users - those that actually know what they need? =20
>Are  you willing to pass on projects that cut the users out of the =20
>loop? Or is "a job's a job" and you can't afford to pick and choose?

Most of my work comes via referrals from others, so "picking and =
choosing"
isn't the issue. They chose us, not vice versa. If after an initial
conversation with them I don't get a "warm 'n fuzzy" feeling about user
input, either my rates go way up, or I may decline. For example, if the =
PTB
at a College refused to let me talk to the TD or PM staff, I doubt I'd
continue perusing the project. But I haven't run across that yet.

All my proposals to clients (whether an Owner or Architect) always =
include a
"programming" phase that specifically solicits input from the end users
(among others). This helps to set the overall scope, systems =
requirements,
and budgets of the project. After that phase is completed, we then =
provide a
proposal to design and manage the scope and systems everyone agreed to.

While I have done some projects without end user input, that's only =
because
I was brought in too late (i.e the Architect was already in the
Design/Development phase), but I still try to get at least one =
conversation
with someone at the "user" level to verify what they expect (if =
anything).
Sometimes it's not much of a conversation because the school only has a
"music teacher". No drama director or technical person per se. They may =
not
know what they want, or need. This happens a lot at the high school =
level
where there may not be a strong PA program. So we have to rely on what =
has
worked before in similar spaces.

So it does vary by project. But in general, I won't turn down a job JUST
because there's no end user input, but only if that's because there's no
user to provide the input. But if there is, and the Architect "refuses" =
to
let me talk with them, then I have a problem. But that's very, very rare =
in
my experience. In most cases, Architects will let you talk with their
clients, provided everything is documented and the decisions made won't =
cost
the project money that's not budgeted.

Peter Scheu

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


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

Message-Id: <3.0.6.32.20070117103659.00c83670 [at] pop.west.cox.net>
Date: Wed, 17 Jan 2007 10:36:59
From: CB <psyd [at] cox.net>
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?

Well, Greg moved most of his facilities (manufacturing, primarily) to
China, because Behringer was under-cutting his business so bad, so look at
your Behringer purchase all y'all, while I tell this story.
There may still be some repair facilities in the PNW, so call Mackie and
see if they'll repair it.  Shipping it back to Mackie will get you the best
service, if they'll still do it, because they'll go over the whole thing
while it's there, and make some upgrades that have come up since your
machine has been released.  Add to that that most of the components are SMT
and repairs to most of the multi-layer PCB's are difficult, (and designe to
be replaced in most cases, and not repaired) and it'll depend on what kind
of kit you have, and what is wrong with it before we can make a really good
recommentdation as to what to do with it.
Whatcha got?  Whatzit doin'?
				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

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

In-Reply-To: <list-41348213 [at] prxy.net>
References: <list-41346338 [at] prxy.net> <list-41347471 [at] prxy.net> <list-41348213 [at] prxy.net>
Message-Id: <85E6CA96-6AE8-426C-977D-C05E41B675AB [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: More Info Gobo Instrument Needed
Date: Wed, 17 Jan 2007 13:02:37 -0500


On 17 Jan 2007, at 11:41, I wrote:

> 	A zoom makes sense, but using a 5 degree at 75 feet and moving it  
> that much closer? Can you get a wider instrument (Or zoom setting)  
> than 5 degrees?
>
> 	There was still no mention of image size (Other than "Moderate  
> sized"). Are you looking to maintain the same image size? I've  
> never seen a 1 or 2 degree instrument.

	Boy do I feel stoopid! I was going 180 degrees in the wrong  
direction. As Emily Litella used to say, "Never mind!"

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <04d601c73a61$68c38030$0300a8c0 [at] ALFOFFICE>
Reply-To: "Alf Sauve" <alf.sauve [at] mindspring.com>
From: "Alf Sauve" <alf.sauve [at] mindspring.com>
References: <list-41345981 [at] prxy.net>
Subject: Re: Gobo Instrument Needed
Date: Wed, 17 Jan 2007 12:58:10 -0500

And how many hours/day is it lit?

If you're talking more than a couple of hours at a time, then you need to 
look at long-life options like HID.

WAR STORY:  Architect at my current venue spec'd S4Jrs to illuminate the 
stain glass windows.  They burn 12hrs/day.  They just weren't made to burn 
575W lamps for that long a period of time and the bases burn up over time. 
I've relamped them with 375W 120v.  Not near as bright but at least I'm not 
changing bulbs and replacing bases every week.    I'm trying to scrape money 
to replace them with HID fixtures.

Alf

----- Original Message ----- 
From: "Steve Shelley" <mrtemplate [at] earthlink.net>
>
> How big does the image need to be?
>
> How much money do you have to spend?
>
> How fast do you need it up and working?
>
> How long does it have to last?
>
> Inquiring minds....
>
>



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

Date: Wed, 17 Jan 2007 13:04:41 -0500
Subject: Re: More Info Gobo Instrument Needed
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1D3CF69.B289%mrtemplate [at] earthlink.net>
In-Reply-To: <list-41349914 [at] prxy.net>

Hey sam;

Are your measurements overall beam pool width? If so then the image will be
smaller, yes?

YSF,

shelley


On 1/17/07 12:29 PM, "Samuel Jones" <sjones [at] ucla.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
>> From: Audio Visual <audiovisual [at] tremontsuitehotels.com>
>> Subject: More Info Gobo Instrument Needed
>> 
>> I am currently using the S4 5 degree instrumentation to throw a moderate
>> sized image a very long way (about 75 feet).
> 
> A little VectorWorks drawing yielded the following:
> 
> 1. A 5 deg. fixture throwing a beam 75 feet results in an image 6'-6 1/2"
> tall.
> 
> 2. A fixture placed 15' away would need to have a field angle of 24.61 deg.
> to create the same size image.
> 
> 3. A fixture placed 30' away would need to have a field angle of 12.45 deg.
> to create the same size image.
> 
> HTH
> Sam
> 
> Samuel L. Jones
> Dance Program, Theater Production Supervisor
> Dept. of World Arts and Cultures, UCLA
> AutoPlotVW, AutoPlot Tools for SpotLight, and Chain Hoist Tool Developer
> sjones [at] arts.ucla.edu
> ==========================================================
> 
> 

-- 
Steve Shelley
SoftSymbols Designer
MrTemplate [at] Earthlink.net
www.fieldtemplate.com



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

Message-ID: <45AE6533.5000601 [at] ef-ae.com>
Date: Wed, 17 Jan 2007 22:04:35 +0400
From: Simon <simon [at] ef-ae.com>
Subject: Re: A Bit off Topic
References: <list-41350246 [at] prxy.net> <list-41350822 [at] prxy.net>
In-Reply-To: <list-41350822 [at] prxy.net>

And I thought that only happened in Dubai. Many years ago I installed 
curtain track in a hotel that had not had the window frames put in, the 
bathrooms were plumbed and tiled but no windows - very strange.

Frank E. Merrill wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Howdy !
>
> Wednesday, January 17, 2007, Chris Babbie wrote:
>
>   
>>> Man oh man do I have a story to tell concerning your stage
>>> curtains.... 
>>>       
>
>   
>> Uhm-kay, so, you thought that you could post this and not post the story?
>>     
>
> Gather around, children, and Grandpa Frank will tell you another
> story....
>
> Mount Vernon High School, in mount Vernon, Indiana, is about as far
> away from Indianapolis as one can get and still be in Indiana.  If you
> look at a map, it is in the "toe" of the state in the far southwest
> corner.
>
> We had an order from the General Contractor to provide curtains and
> tracks for the stage, and received a proposed installation schedule
> from the GC shortly after we received the P.O. and planned
> accordingly.  When we got close to the installation date many months
> later, I called the GC to verify the installation schedule and was
> assured that everything would be ready as planned.  I got some calls
> from a very agitated jobsite foreman about ten days before the
> scheduled installation date, wanting to make sure that we'd be there
> on time and I did my best to assure him that we would.
>
> So my crew headed out of town with a truckload of curtains and
> installation stuff, expecting to check into a hotel in Mt. Vernon and
> hit the jobsite early the next morning.
>
> I got a call from my lead guy at 8:00 the next morning, asking me to
> verify where the curtains were to go.  He had the drawings, and had
> the foreman standing next to him during the call, but there was no
> stage!  Turned out the GC figured that I could install tracks and
> curtains while they were still pouring concrete and laying CMU, and
> expected me to protect the curtains by putting plastic sheeting over
> them!
>
> Needless to say, I pulled my guys off the job and asked the foreman to
> let me know after the stage floor is laid and finished.  We finally
> did the install about five months later.
>
> Okay kids, back to work!
>
> 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
>
>    
>
>
>
>   


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

Message-Id: <3.0.6.32.20070117105017.00c83670 [at] pop.west.cox.net>
Date: Wed, 17 Jan 2007 10:50:17
From: CB <psyd [at] cox.net>
Subject: LCD Projector Question

>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'll be front projecting from a distance of 40' or so 

The size of the room; the angle of view; the amount, color, and direction
of the rest of the lights on stage; (and this one is key) the reflectivity
of the material on which you will project onto, not to mention the content
of the images being projected, and the distance that will be projected, and
the size, will all play a part in your choice of projector.  In the end,
it'll come down to budget anyways.  If this is something that you think you
may do again, buy a used projector instead of renting.  There are a handful
of used giant projectors (reduction in lbs/lumen is the most recent advance
in projection) that are almost invincible.  Make sure that you get at least
one extra lamp with it.  Lamps are expensive, budget for them.
2K to 2.5K is probably going to be adequate, if measured in accurate ANSI
lumens (there are those out there that are purported to be 5K Lumens that
are pocket sized for two grand, and I think that those are a bit
over-rated)  for your purposes, and 3K is probably better.  If you're near
Tucson, I have a 2100 Lumen projector that I can let you test with.
				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

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Theatre and PAC architects
Date: Wed, 17 Jan 2007 13:17:20 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAA4RrqQx2ae0qzqamn9t7fsAEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-41350947 [at] prxy.net>

Trey H=E4agen wrote:

>Both would work for and be paid directly by the=20
>user.  The consultant would not work for the architect.=20

This is a double-edged sword. You would have the power of the purse =
behind
you if you get into battles with others, for sure. But the Architect may
keep you out of the loop when it comes to dealing with important =
minutia,
like HVAC or plumbing routing, and that can be REAL bad. Sometimes an
Architect won't give your word as much weight because they're not the =
ones
paying you. And an Architect (if they like you) will use you on their =
next
job. The Owner doesn't have a "next job". Self-preservation, I guess...

It really does depend on the chemistry of the team. I hate to make that
sound so inane, but it's a real factor. I've worked directly for Owners =
that
did nothing but head butt everyone and the job was very difficult. And =
I've
worked with Architects that were as excited as anyone about doing the =
job
right - for the Owner - that turned out great. Based on my experience so
far, I can only say this with confidence - every job is different.

Peter Scheu

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


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

Message-Id: <3.0.6.32.20070117105232.00c83670 [at] pop.west.cox.net>
Date: Wed, 17 Jan 2007 10:52:32
From: CB <psyd [at] cox.net>
Subject: RE: Sussing Sound Buzz when lighting might be the culprit?

>> 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? :)

Nope, just happy by-products!  
				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: <3.0.6.32.20070117105932.00c83670 [at] pop.west.cox.net>
Date: Wed, 17 Jan 2007 10:59:32
From: CB <psyd [at] cox.net>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?

>Obviously you haven't met my wife's Aunt and Uncle!

I don't quite know why it's obvious, nor do I quite get why it's topical.
Is this National Non-sequiter Day, or have I missed an important part of
the conversation?  Sometimes I have a bit of trouble keeping up...
				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: <023601c73a64$e3c445a0$e28aaa43 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-41351815 [at] prxy.net>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
Date: Wed, 17 Jan 2007 10:25:38 -0800

>>Are the thermo- and fluid dynamics for the espresso and beer? :)
>
> Nope, just happy by-products!
> Chris "Chris" Babbie

   Honestly.  We are not interested in discussing the by-products of your 
espresso and beer, no matter how cheerful their disposition. 


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

Message-Id: <3.0.6.32.20070117110304.00c83670 [at] pop.west.cox.net>
Date: Wed, 17 Jan 2007 11:03:04
From: CB <psyd [at] cox.net>
Subject: Re: Sussing Sound Buzz when lighting might be the culprit?
  Update and Thanks

>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.

Ehm, AT 803 series?  Either that or Rat Shack specials...
				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

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

End of Stagecraft Digest #1094
******************************