Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 41612261; Wed, 24 Jan 2007 16:46:11 -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 41611753; Wed, 24 Jan 2007 16:45:42 -0800 X-Spam-Status: No, score=-1.2 required=5.0 tests=ADVANCE_FEE_1,AWL, FB_DOLLAR_ASS2,NO_RECEIVED,NO_RELAYS,SUBJ_HAS_UNIQ_ID autolearn=no version=3.1.7 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.1.7 (2006-10-05) on localhost X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: List-Archive: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #1106 Date: Wed, 24 Jan 2007 16:45:03 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-TFF-CGPSA-Version: 1.4 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #1106 1. Re: Today's completely OT PSA by Bill Sapsis 2. Re: Counterweight Operatng line ribbon installer by "Jon Ares" 3. Structural Design [at] USITT by "Fritz Schwentker" 4. Portable Stages and Building Code by "Bill Conner" 5. Re: Non-Manila Counterweight Operatng line by Stephen Litterst 6. Re: Counterweight Operatng line ribbon installer by Stephen Litterst 7. Forty-Second Street Shadow Waltz by "Eccleston, Mark" 8. Re: Forty-Second Street Shadow Waltz by Stephen Rees 9. Re: Full Monty Sign by Stephen Litterst 10. Re: Full Monty Sign by "Jeffrey E. Salzberg" 11. Re: Forty-Second Street Shadow Waltz by John McKernon 12. Re: And yet another introduction from a bumbling college student by SS 13. Re: Today's completely OT PSA by SS 14. Fids for ribbon spikes by "Dougherty, Jim" 15. Recording Headet calls from Clear Com by Ian Schmidt 16. Re: Non-Manila Counterweight Operatng line by Michael Heinicke 17. Re: Fids for ribbon spikes by "Tom Heemskerk" 18. Fake cigars by "David Fox" 19. Re: Non-Manila Counterweight Operatng line by "Michael Brubaker" 20. PSA (was Today's completely OT PSA) by "Michael Brubaker" 21. Re: Portable Stages and Building Code by "Michael Brubaker" 22. Re: Portable Stages and Building Code by "Michael Brubaker" 23. Re: What To Do With Leftover Bungee Cord by "Todd Dupree" 24. Re: wanted: fake cigars that look real by 25. Batwing Doors by "Storms, Randy" 26. ribbon vs. tape spikes by Bruce Purdy 27. Re: ribbon vs. tape spikes by "Michael Brubaker" 28. Accommodating out-of-spec DMX receiver devices by "Jim, RC4 Wireless" 29. Re: Batwing Doors by Philip Johnson 30. Re: Accommodating out-of-spec DMX receiver devices by Bruce Purdy 31. Re: ribbon vs. tape spikes by Stephen Litterst 32. Re: ribbon vs. tape spikes by "richard j. archer" 33. Re: ribbon vs. tape spikes by Stephen Rees 34. Re: Batwing Doors by "Frank E. Merrill" 35. Re: ribbon vs. tape spikes by Stephen Litterst 36. Re: Hi, my name is Abby! by CB 37. Intellectual Property by "Jeffrey E. Salzberg" 38. Typoes are my jurisdiction... by CB 39. Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) by CB 40. Re: Hi, my name is Abby! by CB 41. Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) by "Jeffrey E. Salzberg" 42. And yet another introduction from a bumbling college student by CB 43. Re: Intellectual Property by Bill Sapsis 44. Re: And yet another introduction from a bumbling college student by CB 45. Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) by Stephen Litterst 46. Re: Traveling to URTA by CB 47. Full Monty Sign by CB 48. Re: Intellectual Property by "Jeffrey E. Salzberg" 49. Re: Signs of the impending apocolypse in my yard by Myself 50. Re: Counterweight Operatng line ribbon installer by Stuart Wheaton 51. Re: Counterweight Operatng line ribbon installer by KEITH ARSENAULT 52. Re: Counterweight Operatng line ribbon installer by "Michael Brubaker" 53. Re: Intros? by Jerry Durand 54. Re: Intros? by "Jeffrey E. Salzberg" 55. Re: Intros? by Jerry Durand 56. Re: Palm Treo and Bluetooth by Jerry Durand 57. Re: And yet another introduction from a bumbling college student by 58. Re: Accommodating out-of-spec DMX receiver devices by 59. Re: And yet another introduction from a bumbling college student by Bill Sapsis 60. Re: Counterweight Operatng line ribbon installer by Bill Sapsis 61. Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) by Bill Sapsis 62. Re: PSA (was Today's completely OT PSA) by 63. Gripples by Brian James 64. master script by b Ricie 65. Dallas area lighting shops by "Joe Saint" 66. Re: Hi, my name is Abby! by Rigger 67. Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) by "Joe Golden" 68. Re: Dallas area lighting shops by "Jeffrey E. Salzberg" 69. Re: And yet another introduction from a bumbling college student by Rigger 70. Re: Non-Manila Counterweight Operatng line by Rigger 71. Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) by "ladesigners [at] juno.com" 72. Re: Counterweight Operatng line ribbon installer by Rigger 73. Re: Gripples by "Tom Heemskerk" 74. Re: Wireless speakers by Chip Wood *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Wed, 24 Jan 2007 07:28:17 -0500 Subject: Re: Today's completely OT PSA From: Bill Sapsis Message-ID: In-Reply-To: Paul. No pardons required. I'm very sorry for your loss. Please know you are in my thoughts and prayers. Bill S. On 1/23/07 11:04 PM, "Paul Schreiner" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Forgive the OT-ness of the post, but I'm gonna be on a personal > crusade for a while. > > A thousand pardons asked if I'm intruding on LRLR territory here, but... > > Yesterday morning an 10:34, my wife and I lost our best friend to > inflammatory breast cancer. She was diagnosed a grand total of six > months ago. Mammograms don't find it, and it strikes teens as well as > adults (of both genders, mind you). > > I'm not gonna go into a big spiel. I'm just gonna put this out there, > in the hopes a different mother of three catches it in time to do > something about it that actually works. > > http://www.ibcresearch.org/ > > Rest in peace, Heather. ------------------------------ Message-ID: <001501c73fbd$6b494040$0400000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Counterweight Operatng line ribbon installer Date: Wed, 24 Jan 2007 05:41:58 -0800 > Uncle Bill taught how to release tension using the "Pedal" on the > lower block. I've found that on MOST of my linesets I can create > enough slack to insert the ribbon without any tools. I can't reach my 'pedal.' They're a floor below my lock rail. ;) - Jon Ares www.hevanet.com/acreative ------------------------------ Reply-To: From: "Fritz Schwentker" Subject: Structural Design [at] USITT Date: Wed, 24 Jan 2007 08:12:08 -0600 Message-ID: <004101c73fc1$a3c6eef0$4601a8c0 [at] Rayford> In-Reply-To: Folks: I have been a bit lax about posting to the list for a while, but am stepping out to remind all of the following-- --There are still spaces available to participate in the "Structural Design for the Stage" workshop being led by Ben Sammler of the Yale School of Drama at the upcoming USITT Conference in Phoenix. The Workshop is being held over three days prior to the main conference: Sunday, March 11, 1:30 - 9 pm; Monday & Tuesday March 12 & 13, 9:30 am - 6:30 pm. Cost is $400 for members. More information is available at: http://usitt.org/CaSE/PDWs.html#struct This is an extremely worthwhile opportunity and I urge those of you who have not yet had the opportunity to study the topic to try this! I am happy to field questions, so be in touch. best to all, Fritz ===================================== Fritz Schwentker Co-commissioner USITT Technical Production Commission Senior Theatre Systems Designer ETCP CR-AT WJHW, Inc 12500 Network Blvd, Suite 402 San Antonio, TX 78249 210.561.9800 fschwentker [at] wjhw.com =========================== ------------------------------ Message-ID: <0cfd01c73fc1$bdf7a530$6a01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Portable Stages and Building Code Date: Wed, 24 Jan 2007 08:12:54 -0600 Chris posted: Speaking of architects vs consultants vs users, How do you all propose to get the FOH gear *to* FOH? I always suggest a level path under the theatre with a lift to the in house sound mix area (which I include in every project) but it usually gets cut for budget. Maybe if I started with the moving sidewalk so you didn't have to push even............. I hope that like so much electronic, this stuff turns the corner and starts getting lighter and smaller. That would be a better solution. Bill Conner ASTC, ETCP CR-T ------------------------------ Message-ID: <45B76980.7090806 [at] gmail.com> Date: Wed, 24 Jan 2007 09:13:20 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Non-Manila Counterweight Operatng line References: In-Reply-To: Michael Heinicke wrote: > --------------------------------------------------- > > I had a feeling when I wrote about spike tape that I > was putting up a nice big target for Dave to aim at. > It's nice to be right about something occasionally... > Dave, at first reading your method sounds like it > would take 3 or 4 hands. Since I am sure you can do it > with no hands, do you have any suggestions to make it > easier for us mere mortals to set a ribbon spike with > only two hands? :) My first thought is to place the > bottom clamp so that it braces against the handle of > the rope lock. Since there are two clamps, I would > assume that you have to move the rope slightly to be > able to spike to the top of the rope lock. Am I > missing something else here? Mike, I'm not sure why Dave needs special tools to untwist the rope. Maybe he's getting old. :D When I put in a ribbon spike, I kick the floating block up to give myself slack in the line. I twist the rope opposite to its lay to open a slot to pass the ribbon through. I pass the ribbon through, allow the rope to relax and let the floating block return to its normal position. Two hands. With practice I could probably do it one-handed. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: <45B76AE4.60601 [at] gmail.com> Date: Wed, 24 Jan 2007 09:19:16 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Counterweight Operatng line ribbon installer References:

In-Reply-To: Bruce Purdy wrote: > --------------------------------------------------- > Uncle Bill taught how to release tension using the "Pedal" on the > lower block. I've found that on MOST of my linesets I can create enough > slack to insert the ribbon without any tools. Release tension, push the > rope down against the lock and twist, then I can actually stick a > finger through the rope. Then let the block drop and tension is > restored. Does this mean that it's not well maintained or that I'm > doing something wrong? It seems to work well for me. While I'm not Uncle Bill or Uncle Dave, I think you're doing it right, Bruce. I have been using the same technique since I first learned how to spike a line *mumblemumble* years ago. I've never had a spike shift on me. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-ID: From: "Eccleston, Mark" Subject: Forty-Second Street Shadow Waltz Date: Wed, 24 Jan 2007 08:19:39 -0600 We are getting ready to put on a production of Forty Second Street and I need some help with suggestion for how to do the "Shadow Waltz" scene. The director has suggested using a white scrim, but I'm not sure that this is the right material for the job. My understanding is that the dance scene is first front lit with the actress's shadow being thrown onto the backing via low shin-buster front lighting. Then later in the number she moves behind the backing and is lit from behind so that her shadow and those of others is seen on the backing. Is a white scrim the right material to use for this bit? Any other suggested fabrics or ideas? Thanks! Mark S. Eccleston Technical Director Huntsville Community Chorus Huntsville, Alabama 256-694-8575 ------------------------------ Date: Wed, 24 Jan 2007 09:28:41 -0500 Subject: Re: Forty-Second Street Shadow Waltz From: Stephen Rees Message-ID: In-Reply-To: Possibly using a FILLED LENO scrim rather than ordinary sharkstooth would be preferable. Don't know if you own this or not. Rose Brand (or your usual supplier) can fix you up. Although we have never built a full-stage piece of goods with it, for set pieces up to about 10'-0" wide by however tall, Rose Brands Poly Cyc has been invaluable fro these kinds of effects. We have used it for either front or rear projection as well as for casting silhouettes. Good Luck. www.rosebrand.com Steve Rees SUNY-Fredonia On 1/24/07 9:19 AM, "Eccleston, Mark" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We are getting ready to put on a production of Forty Second Street and I > need some help with suggestion for how to do the "Shadow Waltz" scene. > >[snipped] ------------------------------ Message-ID: <45B77053.70104 [at] gmail.com> Date: Wed, 24 Jan 2007 09:42:27 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Full Monty Sign References: In-Reply-To: Brad Pattison wrote: > --------------------------------------------------- > > Can someone please help me? The community theater at which I work is > doing a production of "Full Monty" and I need some input regarding > the sign. The Production Mgr./ Set Designer/Director and the Props > guy decided to build it out of luan and framed with 1X but no glue!! > Then light it with 5w x-mas lamps. So they drilled like 2,300 holes > roughly 270/letter (twice the amount that they determined would be > good enough). I (just for kicks) decided to show them, on one letter, > how wonderful it would be. What a surprise, it sucked! Then we tried > using higher output lamps, say 25w or 40w, to outline the letters. > Well that sucked too! I said regardless of whether the sign is bright > or just kind of bright the effect would need to be supplimented with > outside sources, like par cans or scoops or blinders of some nature. > That is great but if the sign isn't at least almost as bright as the > sign they will lose the sign in the other lights. Am I correct? Any > suggestions on how I can save them from themselves and salvage what > has already been done? Maybe cover every other candelabra base with a > sticker and use 60w lamps? Significantly more dimmers but that > should have been expected. You need a lamp that directs the light towards the audience. Do you have time to rewire/refit the sign for MR-16s? Even a low-wattage, low-voltage household MR-16 should be pretty effective at silhouetting the performers and partially blinding the audience. Steve l. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Full Monty Sign Date: Wed, 24 Jan 2007 09:46:05 -0500 Message-ID: <002601c73fc6$60917b50$6501a8c0 [at] Dell> In-Reply-To: > You need a lamp that directs the light towards the audience. Do you > have time to rewire/refit the sign for MR-16s? Even a low-wattage, > low-voltage household MR-16 should be pretty effective at > silhouetting > the performers and partially blinding the audience. If that's not possible, given constraints of time and budget, try covering the sign with mylar, to reflct more light. ...Or...tell the people who decided that they didn't need to consult the LD in the design that it's *their* problem. ------------------------------ Date: Wed, 24 Jan 2007 09:49:33 -0500 Subject: Re: Forty-Second Street Shadow Waltz From: John McKernon Message-ID: In-Reply-To: > The director has suggested using a white scrim That would work fine if you want to see *through* the scrim, but in this case you want to project shadows on the back of it. A scrim would let you see the light source (and the dancers) upstage. Ideally, a white plastic cyc would be best, but also probably way out of your budget range. Check out what the various fabric suppliers (such as Rose Brand) have, and hold a light behind the sample before making your choice - you don't want to be able to see the light source through the fabric, only the light coming from the source and the resulting shadows. Good luck! - John ------------------------------ Message-ID: <8231e7ea0701240653ya885ae4gb9bf2cfe6cb2d934 [at] mail.gmail.com> Date: Wed, 24 Jan 2007 09:53:25 -0500 From: SS Subject: Re: And yet another introduction from a bumbling college student In-Reply-To: References:

>>>>*gives up* (sorry if this somehow gets doubled as well...)<<<< >>>> Gmail auto formats in HTML. There is a little link at the end of the formatting bar that will change your message to plain-text. I don't know if that setting stays that way or if you have to toggle it for each message you send.<<<< Gmail will show your message twice, even if you sent it once. The way they lump "conversations" will cause it to show the "sent" message, as well as the "inbox" message (the one that goes to the list). Thus is life, don't sweat it. Also, once you change the setting from "Rich" to "Plain" it will stay until you manually change it back. HTH. -SS TTS-EKU "I once prayed to god for a bike, but quickly found out he didn't work that way...so I stole a bike and prayed for his forgiveness" ------------------------------ Message-ID: <8231e7ea0701240657u7e0d75d2nd32a2ec55641639 [at] mail.gmail.com> Date: Wed, 24 Jan 2007 09:57:30 -0500 From: SS Subject: Re: Today's completely OT PSA In-Reply-To: References: > Forgive the OT-ness of the post, but I'm gonna be on a personal > crusade for a while. > Yesterday morning an 10:34, my wife and I lost our best friend to > inflammatory breast cancer. She was diagnosed a grand total of six > months ago. Mammograms don't find it, and it strikes teens as well as > adults (of both genders, mind you). > I'm not gonna go into a big spiel. I'm just gonna put this out there, > in the hopes a different mother of three catches it in time to do > something about it that actually works. Sorry for your lose. I wish you all the best. -SS TTS-EKU "I once prayed to god for a bike, but quickly found out he didn't work that way...so I stole a bike and prayed for his forgiveness" ------------------------------ Date: Wed, 24 Jan 2007 10:44:23 -0500 Subject: Fids for ribbon spikes From: "Dougherty, Jim" Message-ID: I've got a tool that was designed for re-lacing baseball mitts that works pretty well for the ribbons, although we still use tape spikes. As for commercial fids, I like a plastic one from West Marine called a Fid-O (by McGrew splicing tools). It has a wide spot you can push with your palm then remove, leaving basically a pipe through the lay of the rope. We made ratlines for a show a number of years ago, and had to do a lot of splicing. I ended up making a bunch of fids using copper pipe and aluminum tube, with wooden handles shaped to fit but still removable to leave the passage. They work when the line's under tension, too. The pipe is shaped similarly to a large, very very dull hypodermic needle. For me they work much better than the solid-style fids the salty tars used to use. BTW, you can't slide a ribbon spike if the operating lines are made of braided lines such as the much maligned EZ Trim. Jim Dougherty ATD Middlebury College Theatre Dept. ------------------------------ Date: Wed, 24 Jan 2007 11:05:15 -0500 From: Ian Schmidt Subject: Recording Headet calls from Clear Com In-reply-to: Message-id: <45B783BB.8090901 [at] gmu.edu> Organization: George Mason University References:

Alright who knows of the easiest quickest solution we'll be getting the audio from a Clear Com MS400A Main station. Or at a belt pack if that's easier. Thanks folks. Ian -- Ian Schmidt Master Electrician Center for the Arts George Mason University office 703-993-8895 fax 703-993-4092 ------------------------------ Date: Wed, 24 Jan 2007 08:12:47 -0800 (PST) From: Michael Heinicke Subject: Re: Non-Manila Counterweight Operatng line In-Reply-To: Message-ID: <660635.92059.qm [at] web82201.mail.mud.yahoo.com> --- Stephen Litterst wrote: > When I put in a ribbon spike, I kick the floating > block up to give > myself slack in the line. I twist the rope opposite > to its lay to open > a slot to pass the ribbon through. I pass the > ribbon through, allow the > rope to relax and let the floating block return to > its normal position. Unfortunately, as someone else mentioned, I can't reach the floating blocks from the lock rail. We have a counterweight pit that puts the floating blocks about 10' below the level of the rope locks. There is some slack in our lines, but it took two of us to unlay the rope enough to insert the ribbon spikes that we do use. Mike Heinicke ------------------------------ Message-ID: In-Reply-To: From: "Tom Heemskerk" Subject: RE: Fids for ribbon spikes Date: Wed, 24 Jan 2007 08:19:14 -0800 Another tool having the same purpose is a Swedish fid (fjid?) which is a hollow cone sliced off at an angle. th > As for >commercial fids, I like a plastic one from West Marine called a Fid-O (by >McGrew splicing tools). It has a wide spot you can push with your palm >then >remove, leaving basically a pipe through the lay of the rope. > _________________________________________________________________ Your Space. Your Friends. Your Stories. Share your world with Windows Live Spaces. http://discoverspaces.live.com/?loc=en-CA ------------------------------ Subject: Fake cigars Date: Wed, 24 Jan 2007 10:41:37 -0600 Message-ID: In-Reply-To: References: From: "David Fox" When I did Blade to the heat at the Taper years ago, there was an actor that had a cigar through the whole show. It looked like a very real half smoked cigar. After seeing this thing for half of Tech I asked him what it was. They were using a piece of licorice root. Brown on the outside and black on the ends naturally and can be cut to size so you can determine how far "smoked". Looked real but was durable and he could keep it in his mouth and still talk.=20 Might be a good option if you don't need to see smoke. _________________________________ =20 It is important to note that the opinions of the individual and those of their employer are not always aligned.=20 What you have read should be construed as my opinion and not the opinion of my employer. If you don't like or agree with my thoughts and musings; I am the one you should take to task and not the nice people who pay me. =20 Be Seeing You David Fox _________________________________ ------------------------------ From: "Michael Brubaker" Subject: RE: Non-Manila Counterweight Operatng line Date: Wed, 24 Jan 2007 12:36:54 -0500 Message-ID: In-Reply-To: How about a 12' long aluminum pole? Push down on the kick tab (doesn't really take a lot of effort). Think of, say, a painter's extension pole. You probably have one laying around you could try. I've seen it work in similar situations. Mike Brubaker -----Original Message----- Michael Heinicke wrote: reach the floating blocks from the lock rail. We have a counterweight pit that puts the floating blocks about 10' below the level of the rope locks. There is ------------------------------ From: "Michael Brubaker" Subject: PSA (was Today's completely OT PSA) Date: Wed, 24 Jan 2007 12:38:47 -0500 Message-ID: In-Reply-To: Very sorry to hear about your loss. Mike Brubaker -----Original Message----- Paul Schreiner wrote: Yesterday morning an 10:34, my wife and I lost our best friend to inflammatory breast cancer. She was diagnosed a grand total of six http://www.ibcresearch.org/ ------------------------------ From: "Michael Brubaker" Subject: RE: Portable Stages and Building Code Date: Wed, 24 Jan 2007 12:42:25 -0500 Message-ID: In-Reply-To: Mike, I believe that most architects base their contract on how long they think it will take to do the work, then check it against what they believe the job will cost. Typically, architect's fees come in around 6% +/-. But the contract is signed prior to the design process; I don't think that the architects receives a financial windfall from overdesigning the building. Mike Brubaker -----Original Message----- Mike Katz wrote: I agree that reputable consultants do not get a percentage of costs contracts, But is it not also true that most architectural contracts are for a percentage of total costs? That is where over specing a ------------------------------ From: "Michael Brubaker" Subject: RE: Portable Stages and Building Code Date: Wed, 24 Jan 2007 12:46:24 -0500 Message-ID: In-Reply-To: I have and do. I agree with Bill C. A level path for as much of the distance as possible is great. NOW: : You're a sound guy. What do you care HOW your boxes get out there? It's just them grunts that are moving them, anyway. You don't actually move your OWN gear, do you? Mike Brubaker -----Original Message----- CB wrote: Speaking of through the house, how many of you, that fall in the first two titles on tonight's card, have ever tried to roll anything with wheels up a side aisle (supposing that yer not a complete idiot and have put nothing but stairs betwixt the stage and the FOH position). Not that you've even thought of having the sound guy out in the house where he can actually *hear* the show, but I digress... ------------------------------ Message-ID: <58970.216.237.226.1.1169665506.squirrel [at] webmail.northstate.net> In-Reply-To: References: Date: Wed, 24 Jan 2007 14:05:06 -0500 (EST) Subject: Re: What To Do With Leftover Bungee Cord From: "Todd Dupree" Reply-To: dupreet [at] northstate.net Hi All, A friend sent me this link to a video clip - funny I don't seem to see any of our ESTA certified riggers around this project? :) http://www.metacafe.com/w/386181/ Sincerely, I can't believe someone would think this up, and then actually do it! Later, Todd Dupree High Point Theatre High Point, NC ------------------------------ From: Subject: Re: wanted: fake cigars that look real Date: Wed, 24 Jan 2007 19:16:51 +0000 Message-Id: <20070124191653.ZBZC17393.aamtaout02-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: tech1 > Date: 2007/01/24 Wed AM 01:37:07 GMT > To: "Stagecraft" > Subject: wanted: fake cigars that look real > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I am looking for a fake cigar. All the "puff puff cigars" look fake > and the puff can not really be seen from any distance. > > We have an actor who does not smoke and others that can not handle > the smoke. Use a real one. Any actor who is worth his salt can simulate smoking. The rest are faking a problem, no doubt to be thought PC. > > Any suggestions welcomed! > > T. Wilkens > Gustavus Adolphus College > St. Peter, MN 56082 > Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Subject: Batwing Doors Date: Wed, 24 Jan 2007 11:43:00 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B70B49AF5E [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Does anyone have a source for "batwing" saloon door plans (or prefab = units)? We need some for the Scapino! cafe. They need to wide enough = for an actor to pilot a bicycle through them. All suggestions appreciated, Randy Storms rstorms [at] bham.wednet.edu ------------------------------ References: <3D8F61A0-C494-4A61-ADA7-896AFE59FE24 [at] rochester.rr.com> Message-Id: <73C2C92B-16DD-41AE-A244-C3CC7AD983F3 [at] rochester.rr.com> From: Bruce Purdy Subject: ribbon vs. tape spikes Date: Wed, 24 Jan 2007 15:03:35 -0500 I received an off-line query from a list member, asking my WHY ribbon spikes are preferable to Tape. I know that I took the lessons learned from this list to heart some time back, but I'm not sure that I'm the best person to answer this question. Here's what I wrote: > Others such as Rigger and Uncle Bill could likely answer better > than I, and with more authority. I believe that the biggest reason > is that the adhesive residue left behind from the tape can- along > with actually leaving the rope sticky - chemically degrade and > weaken the rope over time. > > Personally, I've also seen many venues where old tape splices > never seem to get removed after a show. Some may get removed, but > others are missed. Over time there becomes quite a collection of > old tape spikes adorning the ropes. Ribbon spikes are easier to > notice, and more likely to be seen and removed when no longer needed. > > As has been noted, Ribbons are also easier to move a couple of > inches up or down than tape spikes are. Overall though, I think > it's the adhesive chemically reacting with the rope that is the > biggest reason. I'd welcome feedback from those with more authority on the subject. Am I off the mark? Did I miss anything? Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ From: "Michael Brubaker" Subject: RE: ribbon vs. tape spikes Date: Wed, 24 Jan 2007 15:09:13 -0500 Message-ID: In-Reply-To: Simpler than chemistry: Old adhesive attracts dirt. Dirt is very bad for lines of any kind. It becomes an abrasive between the fibers, grinding through them as the rope flexes. Mike Brubaker -----Original Message----- Bruce Purdy wrote: > inches up or down than tape spikes are. Overall though, I think > it's the adhesive chemically reacting with the rope that is the > biggest reason. ------------------------------ From: "Jim, RC4 Wireless" References: <3D8F61A0-C494-4A61-ADA7-896AFE59FE24 [at] rochester.rr.com> Subject: Accommodating out-of-spec DMX receiver devices Date: Wed, 24 Jan 2007 15:17:59 -0500 Message-ID: <014c01c73ff4$bdf30920$6700a8c0 [at] p3m866> In-reply-to: A quick question for those of you who have to interconnect various brands (i.e. "flavors") of DMX: What DMX output options are useful to ensure compatibility with slightly out-of-spec DMX receivers? For example, we are currently sending tight, on-spec DMX packets providing the full 44 frames per second with 512 channels. Would it be advisable to allow the user to select slower frame rates as well? If so (and this is a real bits 'n bytes kinda question), can we simply insert more time between each packet, or should we insert a small delay between every byte in the packet? What about break time, and other timings used to index the packet start? Is it adviseable to provide user selectable options for this and/or other DMX specifications? Any advice in this area is much appreciated! Jim RC4 Wireless ------------------------------ Date: Wed, 24 Jan 2007 14:18:27 -0600 Subject: Re: Batwing Doors From: Philip Johnson Message-ID: In-Reply-To: You can pick them up or order them at Home Depot or Lowe's or your store of choice Go to the millworks dept if you need to special order them -- Philip Johnson Professor of Theatre Texas A&M University-Corpus Christi On 1/24/07 1:43 PM, "Storms, Randy" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Does anyone have a source for "batwing" saloon door plans (or prefab units)? > We need some for the Scapino! cafe. They need to wide enough for an actor to > pilot a bicycle through them. > > All suggestions appreciated, > > Randy Storms > rstorms [at] bham.wednet.edu ------------------------------ In-Reply-To: References: <3D8F61A0-C494-4A61-ADA7-896AFE59FE24 [at] rochester.rr.com>

Message-Id: <86DFB4C8-BADF-4CD8-932B-15615CFF5CBD [at] rochester.rr.com> From: Bruce Purdy Subject: Re: Accommodating out-of-spec DMX receiver devices Date: Wed, 24 Jan 2007 15:34:26 -0500 On 24 Jan 2007, at 15:17, Jim, RC4 Wireless wrote: > For example, we are currently sending tight, on-spec DMX packets > providing > the full 44 frames per second with 512 channels. Would it be > advisable to > allow the user to select slower frame rates as well? The specifics of your question are way over my head I'm afraid, but I would certainly say that a slower frame rate option would be advisable. I find that I have problems between my Express board and my Colortran ENR rack unless I set the Express to "Medium" speed. At full speed, the various instruments tend to flicker randomly. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <45B7C32A.9000102 [at] gmail.com> Date: Wed, 24 Jan 2007 15:35:54 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: ribbon vs. tape spikes References: <3D8F61A0-C494-4A61-ADA7-896AFE59FE24 [at] rochester.rr.com> In-Reply-To: Bruce Purdy wrote: > --------------------------------------------------- > > I received an off-line query from a list member, asking my WHY > ribbon spikes are preferable to Tape. I know that I took the lessons > learned from this list to heart some time back, but I'm not sure that > I'm the best person to answer this question. Here's what I wrote: > > I'd welcome feedback from those with more authority on the subject. > Am I off the mark? Did I miss anything? I have seen cheap tape slide up and down on the rope, shifting the location of the spike. But mostly it's about the adhesive on the tape causing dirt to stick to the rope and then work its way into the core as the rope moves. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-Id: In-Reply-To: References: <3D8F61A0-C494-4A61-ADA7-896AFE59FE24 [at] rochester.rr.com> Date: Wed, 24 Jan 2007 16:34:16 -0400 From: "richard j. archer" Subject: Re: ribbon vs. tape spikes I read all the messages this am from rigger and others. I'll just say that I started in rotating rep. You can't do 6 shows in rep (for two or three months) with tape spikes. Just Think about it for the borders, and electrics. Opera was only four shows in rep but most of those had three acts of scenery. Here at Cornell we use spike tape for two week runs plus techs, on our Stage Set X (polyester tape wrapped,parallel polyester core, with polyester jacket. You can't put cloth ribbons through that stuff. spike tape isn't gummy on the polyester if you get it off within a reasonable time--leave a little tab on the tape spike please. Do what works best for the situation. Dick A TD, Cornell ------------------------------ Date: Wed, 24 Jan 2007 15:39:01 -0500 Subject: Re: ribbon vs. tape spikes From: Stephen Rees Message-ID: In-Reply-To: In addition to which it never really cures and remains sticky to the touch almost indefinitely. Will almost invariably end up on your hands. Gaaack! Steve R On 1/24/07 3:09 PM, "Michael Brubaker" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Simpler than chemistry: Old adhesive attracts dirt. Dirt is very bad for > lines of any kind. It becomes an abrasive between the fibers, grinding > through them as the rope flexes. > > Mike Brubaker > ------------------------------ Date: Wed, 24 Jan 2007 15:43:09 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <714530954.20070124154309 [at] tcon.net> Subject: Re: Batwing Doors In-Reply-To: References: Howdy ! Wednesday, January 24, 2007, Randy Storms wrote about Saloon doors: > They need to wide enough for an actor to pilot a bicycle through > them...All suggestions appreciated Shucks...get the bicyclist to go fast enough and ANY size will work! Well, Randy said *ALL* suggestions.... 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: <45B7C5D5.3020006 [at] gmail.com> Date: Wed, 24 Jan 2007 15:47:17 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: ribbon vs. tape spikes References: <3D8F61A0-C494-4A61-ADA7-896AFE59FE24 [at] rochester.rr.com>

In-Reply-To: richard j. archer wrote: > --------------------------------------------------- > > I read all the messages this am from rigger and others. I'll just say > that I started in rotating rep. You can't do 6 shows in rep (for two or > three months) with tape spikes. Just Think about it for the borders, > and electrics. Opera was only four shows in rep but most of those had > three acts of scenery. Here at Cornell we use spike tape for two week > runs plus techs, on our Stage Set X (polyester tape wrapped,parallel > polyester core, with polyester jacket. You can't put cloth ribbons > through that stuff. spike tape isn't gummy on the polyester if you get > it off within a reasonable time--leave a little tab on the tape spike > please. Do what works best for the situation. I'm not sure I follow your logic, Dick. What can you do with a tape spike that you can't with a ribbon. (Ok, ok, spiking kernmantle rope aside.) Ribbon comes in just as many colors as tape. The only challenge I run into is putting on a warning spike for fast moves, but that's just a matter of getting the operators used to seeing the ribbon and letting go of their desire to have 3' of the rope spiraled with spike tape. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-Id: <3.0.6.32.20070124134348.00c90160 [at] pop.west.cox.net> Date: Wed, 24 Jan 2007 13:43:48 From: CB Subject: Re: Hi, my name is Abby! >But rigging's easy! it must be, if riggers can do it. Just ask >Chris; we're mentally deficient, remember? It's not as easy as sound is, but all it is is tying stuff up wityh junk to get it to go up in the air! It's the 'safely' and the '*stay* up in the air', part that's hard. 'S'all easy, it's doing it correctly that makes it all math-ey and junk. 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: From: "Jeffrey E. Salzberg" Subject: Intellectual Property Date: Wed, 24 Jan 2007 16:14:03 -0500 Message-ID: <000001c73ffc$932b1090$6501a8c0 [at] Dell> In-Reply-To: Several times over the years, we've discussed intellectual property = rights. These discussions have usually centered on a designer's right (or lack = of same) to his/her designs. Here's an interesting twist that just = happened to me: I recently submitted a resume in response to an ad; it was accompanied = by a version of my standard cover letter. Yesterday, I got a response by = email, acknowledging my submission and telling me that they'd be deciding soon. The writer then added this: "FYI- the (your) following paragraph was sent to me in another = submission for designer, word for word...." ...And then she quoted a fairly long passage from my letter. There's no = way someone else could have replicated this by accident; it's too long, and = it's definitely in my style. It would be a coincidence just short of monkeys/typewriters/Shakespeare. So I don't know whether to be angry, flattered, amused, or some = combination of the three. On the one hand, I have no idea how many other people have received the = same text from both of us, and I suppose some of them might think that I was = the one who copied the other writer. On the other hand, it's definitely = written in my style, and I'm betting that it's very different from the style of = the remainder of the plagiarist's letter, so it's probably fairly obvious = who copied from whom. I'm also wondering how the plagiarist came by my cover letter in the = first place, although I suppose it's possible that s/he works at a company = with whom I've previously corresponded. My guess is that my final reaction will largely be based on whether or = not I get the gig. ------------------------------ Message-Id: <3.0.6.32.20070124135211.00c90160 [at] pop.west.cox.net> Date: Wed, 24 Jan 2007 13:52:11 From: CB Subject: Typoes are my jurisdiction... >[*snicker*] >Obviously. Occasionally, I'll mispel something for the effect that it has. The smarter amongst us tend to think that it was an honest error, and it's the slower ones that tend to get that I misspelled it on porpoise. Catching the error and not getting the joke is actually an indication of a sharper mind. I'm not sure what any of it means. Frank, on the other hand, tends to see the errors (even when it's painfuilly obvious to all others concerned) and never gets it. He is the datum that screws up the theorums every time, though... 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: <3.0.6.32.20070124140316.00c90160 [at] pop.west.cox.net> Date: Wed, 24 Jan 2007 14:03:16 From: CB Subject: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) >I'd rather have a daughter in a whorehouse than a son in sound reinforcement. Nope, I'm jsut gonna let it go. It'd be funny, but cruel. And I've already claimed to be nicer than Dave. >(btw, Chris, you might have forgotten that I can mix, probably a damn >sight better than you can rig. How's it feel to be dumber than a >rigger?) It's something that I'm used to... I have *not* forgotten that you can mix, but the technical ability and the artistic ability are two seperate skillsets. Having the technical ability is just like being able to make a shackle or properly choke a chord on truss with a spanset, and knowing which chord to choke. It makes me handy and useful if there is a plan in place, but doesn't make me really usefull if someone has to make it up after it hits the deck. If you're standing next to me telling me what goes where, I can accomplish quite a few of the tasks that a rigger does (meaning, I know how to hold my mouth right when tightening a shackle and such). If that makes me an accomplished rigger, then welcome to the ranks of the skweeks, brother! And, not having to design anything when I rig, and having a rigger check all my work before anything flies pretty much (depending on the plaintiff's attorney) supplies me with plausible deniability. 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: <3.0.6.32.20070124140501.00c90160 [at] pop.west.cox.net> Date: Wed, 24 Jan 2007 14:05:01 From: CB Subject: RE: Hi, my name is Abby! >Certainly *looks* simple enough... That wasn't me! I wasn't even there, and I have witnesses! 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: From: "Jeffrey E. Salzberg" Subject: RE: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) Date: Wed, 24 Jan 2007 16:34:42 -0500 Message-ID: <000a01c73fff$76061930$6501a8c0 [at] Dell> In-Reply-To: > >I'd rather have a daughter in a whorehouse than a son in sound > >reinforcement. > > Nope, I'm jsut gonna let it go. It'd be funny, but cruel. > And I've already claimed to be nicer than Dave. I've been trying to figure out why they're mutually exclusive. ------------------------------ Message-Id: <3.0.6.32.20070124141144.00c90160 [at] pop.west.cox.net> Date: Wed, 24 Jan 2007 14:11:44 From: CB Subject: And yet another introduction from a bumbling college student >Well, I hope I have been somewhat amusing with a smattering of actual >information about myself thrown in. I apologise in advance for any >violations of netiquette, etc., as well as any lapses into British >spellings. OK, Paul, this one is a keeper. First foray into posting and she's already funny! The lapses into British English (or as I refer to it, 'proper English) spellings tend to be my weakness as well! 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 ------------------------------ Date: Wed, 24 Jan 2007 16:42:11 -0500 Subject: Re: Intellectual Property From: Bill Sapsis Message-ID: In-Reply-To: On 1/24/07 4:14 PM, "Jeffrey E. Salzberg" wrote: > My guess is that my final reaction will largely be based on whether or not I > get the gig. Amen. I'd take the high road if I were you. Be flattered and don't worry about it. I've had entire sections of my website copied by others. I only make a stink about it when they take photos and claim them as their own. Good luck with the gig. Bill S. ETCP Certified Rigger - Theatre ETCP Council Member www.sapsis-rigging.com 800.727.7471 267.278.4561 mobile ------------------------------ Message-Id: <3.0.6.32.20070124141707.00c90160 [at] pop.west.cox.net> Date: Wed, 24 Jan 2007 14:17:07 From: CB Subject: Re: And yet another introduction from a bumbling college student >Oh, uh...Where da libary at, A$$hole. >>"Not ending a sentence with a preposition is a bit of arrant pedantry >>up with which I will not put."~ Winston Churchill This is the second of two quotes attributed to WC on the subject of ending a sentence with a preposition. The first was remarkably similar to the 'liberry' quote, although WC was reputed to have been speaking to a woman and asking the location of something, and ended the second attempt by referring to her as a common name for a female contestant at Madison Square Garden's Westminter competition. 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: <45B7D335.8010707 [at] gmail.com> Date: Wed, 24 Jan 2007 16:44:21 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) References: In-Reply-To: CB wrote: > --------------------------------------------------- It makes me handy > and useful if there is a plan in place, but doesn't make me really usefull > if someone has to make it up after it hits the deck. Hopefully it won't be hitting the deck. Although, that's often the result when someone has been rigging without a plan in place. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-Id: <3.0.6.32.20070124142329.00c90160 [at] pop.west.cox.net> Date: Wed, 24 Jan 2007 14:23:29 From: CB Subject: RE: Traveling to URTA >Can you imagine the reaction to that dagger >today???!!!!??? I used to carry fruit with me on longer flights. Apples, oranges, bananas whatever. Mostly because the snack sucked and were never enough. Once, I had a mango. I asked the flight attendant for a napkin, and promptly drew out the mango and my leatherman tool. Back when there was only one kind of leatherman tool. The flight attendant saw me carving a mango, and dashed off for a stack of napkins, which she knowingly placed on my tray. I carved up the mango, ans split the results betwixt myself and my squint buddy, and carefully placed the napkin I had used and the skins and pit on top ot the stack of napkins the flight attendant had brout me. The only thing that she was upset at then was that I might make a mess with the mango. Today, I'd end up in a Federal holding cell for the same act. 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: <3.0.6.32.20070124142546.00c90160 [at] pop.west.cox.net> Date: Wed, 24 Jan 2007 14:25:46 From: CB Subject: Full Monty Sign >The Lighting Designer had no input into th= >is design, he just gets to come in and find out how good it is! Lessee... you have a problem that involves light, and the expert on light in your collaborative artform project isn't consulted? I think I may have found the problem... 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: From: "Jeffrey E. Salzberg" Subject: RE: Intellectual Property Date: Wed, 24 Jan 2007 16:55:00 -0500 Message-ID: <001801c74002$4bc67cc0$6501a8c0 [at] Dell> In-Reply-To: > I'd take the high road if I were you. Be flattered and don't=20 > worry about it. My only serious concern is that I don't know how widespread this is and = that producers who get both letters might just go Shakespearean and say, "a plague on both your houses," in which case it will cost me money and whoooeiiie, don'tcha just love long sentences? ------------------------------ Message-ID: <7b8450b90701241413m31d3711j6a6392d9596d5a27 [at] mail.gmail.com> Date: Wed, 24 Jan 2007 14:13:48 -0800 From: Myself Subject: Re: Signs of the impending apocolypse in my yard In-Reply-To: References: You should post the mailbox picture for all to see... On Tue, 23 Jan 2007 15:05:57, CB wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > So, we were officially the worst weather in the nation on Sunday. Pass it on > > > > > > Of course we ate lunch al fresco today at the in for "Alter Boyz'. > 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: <45B7DDD8.4070201 [at] fuse.net> Date: Wed, 24 Jan 2007 17:29:44 -0500 From: Stuart Wheaton Reply-To: sdwheaton [at] fuse.net Subject: Re: Counterweight Operatng line ribbon installer References:

In-Reply-To: Bruce Purdy wrote: > Release tension, push the > rope down against the lock and twist, then I can actually stick a finger > through the rope. I do not believe this is an approved spiking technique. If the finger stays hooked to the rigger, the rigger will be damaged as they pass the lighting strips above the rail. If you just use fingers for spikes, they tend to get gooey over time, and can lump through the head block in an awkward way. I'm kind of surprised that Uncle Bill teaches this... Stuart ------------------------------ In-Reply-To: References:

Message-Id: <0B98034A-249F-4A17-BCA6-D5A757019853 [at] aol.com> From: KEITH ARSENAULT Subject: Re: Counterweight Operatng line ribbon installer Date: Wed, 24 Jan 2007 17:18:54 -0500 where do you get fingers for this practice ? Taco Bell ? On Jan 24, 2007, at 5:29 PM, Stuart Wheaton wrote: Bruce Purdy wrote: > Release tension, push the rope down against the lock and twist, > then I can actually stick a finger through the rope. I do not believe this is an approved spiking technique. If the finger stays hooked to the rigger, the rigger will be damaged as they pass the lighting strips above the rail. If you just use fingers for spikes, they tend to get gooey over time, and can lump through the head block in an awkward way. I'm kind of surprised that Uncle Bill teaches this... Stuart Keith L Arsenault International Arts & Entertainment Group Tampa, Florida www.iaeginc.com 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com ------------------------------ From: "Michael Brubaker" Subject: RE: Counterweight Operatng line ribbon installer Date: Wed, 24 Jan 2007 17:23:07 -0500 Message-ID: In-Reply-To: Wendy's. Mike Brubaker -----Original Message----- KEITH ARSENAULT wrote: where do you get fingers for this practice ? Taco Bell ? ------------------------------ Date: Wed, 24 Jan 2007 14:23:29 -0800 From: Jerry Durand Subject: Re: Intros? In-reply-to: Message-id: <7.0.1.0.0.20070124142303.01fa08f8 [at] interstellar.com> References:

At 01:38 AM 1/24/2007, William McLachlan wrote: >So, like, what's with all the intros? Are we all introducing >ourselves again? :) I'm here, I grump, I "blow stuff up real good". :) -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Intros? Date: Wed, 24 Jan 2007 17:29:38 -0500 Message-ID: <002b01c74007$228ea170$6501a8c0 [at] Dell> In-Reply-To: > I "blow stuff up real good". :) ...Not *exactly* what we like to hear from the person who designs our electronics.... ------------------------------ Date: Wed, 24 Jan 2007 14:45:59 -0800 From: Jerry Durand Subject: Re: Intros? In-reply-to: Message-id: <7.0.1.0.0.20070124144410.01f62c88 [at] interstellar.com> References:

At 02:29 PM 1/24/2007, Jeffrey E. Salzberg wrote: > > I "blow stuff up real good". :) > >...Not *exactly* what we like to hear from the person who designs our >electronics.... I just dropped off a prototype laser controller to one customer, seems they have a trade show tomorrow and this is part of their announcement. Hope nothing blows up besides what's in front of the laser. :) Using my Stagecraft skills, most of the inside is empty, but the display on the front looks like it's working away. :) -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Date: Wed, 24 Jan 2007 14:00:45 -0800 From: Jerry Durand Subject: Re: Palm Treo and Bluetooth In-reply-to: Message-id: <7.0.1.0.0.20070124135922.01f813f0 [at] interstellar.com> References:

At 07:11 PM 1/23/2007, Andy Leviss wrote: >There's also a much wider selection of third-party programs for >Palm OS, anything from checkbook registers to rigging calculators to mp3 >players to stamp collection databases to... (many of these do exist for >Win Mob, but there tends to be much more variety for Palm). And for data collection, see www.datastick.com :) Note: I designed all their stuff, didn't program any of it and don't get royalties. -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ From: Subject: Re: Re: And yet another introduction from a bumbling college student Date: Wed, 24 Jan 2007 23:13:27 +0000 Message-Id: <20070124231327.COJV219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Ford Sellers > Date: 2007/01/24 Wed AM 05:35:59 GMT > To: "Stagecraft" > Subject: Re: And yet another introduction from a bumbling college > student > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Where da libary at? > > "Sir, it's not proper English to end a sentence in a preposition" > > Oh, uh...Where da libary at, A$$hole. > > At 11:50 PM 1/23/2007, you wrote: > >-- > >"Not ending a sentence with a preposition is a bit of arrant pedantry > >up with which I will not put."~ Winston Churchill There are two varieties of the English language. One is formal, and the other colloquial. I normally use the formal variety, because that is what I was taught. Hasty posts may wind up with colloquial, or even worse, Mid-Atlantic. This is a horrible amalgam of English and US usage. I do it because I know that the standards of literacy are lower, West of the pond, and so that my posts may be more readily comprehensible. Also, because US idiom is often more vivid than plain English. Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ From: Subject: Re: Accommodating out-of-spec DMX receiver devices Date: Wed, 24 Jan 2007 23:22:31 +0000 Message-Id: <20070124232231.XBCQ29112.aamtaout04-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: "Jim, RC4 Wireless" > Date: 2007/01/24 Wed PM 08:17:59 GMT > To: "Stagecraft" > Subject: Accommodating out-of-spec DMX receiver devices > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > A quick question for those of you who have to interconnect various brands > (i.e. "flavors") of DMX: > > What DMX output options are useful to ensure compatibility with slightly > out-of-spec DMX receivers? DMX is quite precisely specified, and has been for many years.There is some leeway in the specification to acommodate slow devices. But if you are trying to use receivers which are outside the specification, the only advice I can offer is to junk them. Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Date: Wed, 24 Jan 2007 18:28:14 -0500 Subject: Re: And yet another introduction from a bumbling college student From: Bill Sapsis Message-ID: In-Reply-To: Yo!. Wasamatta you? You got a problem with the Mid-Atlantic? I ain't got no problem with the Mid-Atlantic, so how come you does? And who is you calling horrible? Since when am I horrible? Are you sure comprehensible is the word you want to be using in this context? I'm just saying..... Bill S. ETCP Certified Rigger - Theatre ETCP Council Member www.sapsis-rigging.com 800.727.7471 267.278.4561 mobile On 1/24/07 6:13 PM, "frank.wood95 [at] ntlworld.com" wrote: > There are two varieties of the English language. One is formal, and the other > colloquial. I normally use the formal variety, because that is what I was > taught. Hasty posts may wind up with colloquial, or even worse, Mid-Atlantic. > This is a horrible amalgam of English and US usage. I do it because I know > that the standards of literacy are lower, West of the pond, and so that my > posts may be more readily comprehensible. Also, because US idiom is often more > vivid than plain English. ------------------------------ Date: Wed, 24 Jan 2007 18:30:30 -0500 Subject: Re: Counterweight Operatng line ribbon installer From: Bill Sapsis Message-ID: In-Reply-To: On 1/24/07 5:29 PM, "Stuart Wheaton" wrote: > I do not believe this is an approved spiking technique. If the finger > stays hooked to the rigger, the rigger will be damaged as they pass the > lighting strips above the rail. If you just use fingers for spikes, > they tend to get gooey over time, and can lump through the head block in > an awkward way. > > I'm kind of surprised that Uncle Bill teaches this... There was a time when I would teach by example.....but I ran out of fingers. It didn't take long for the audience to know what was coming when I called for volunteers. ------------------------------ Date: Wed, 24 Jan 2007 18:33:54 -0500 Subject: Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) From: Bill Sapsis Message-ID: In-Reply-To: On 1/24/07 4:44 PM, "Stephen Litterst" wrote: > Hopefully it won't be hitting the deck. Although, that's often the > result when someone has been rigging without a plan in place. Rocky Paulson is fond of saying......"What do you never want to hear a rigger say?" Answer..."What's next?" He's right, of course, a rigger should always have a plan the runs all the way through the production. But stuff happens. You may not always know what's going to be coming at you, but you should always have a plan for when you find out. Bill S. ETCP Certified Rigger - Theatre ETCP Council Member www.sapsis-rigging.com 800.727.7471 267.278.4561 mobile ------------------------------ From: Subject: Re: PSA (was Today's completely OT PSA) Date: Wed, 24 Jan 2007 23:50:41 +0000 Message-Id: <20070124235041.QEIA26699.aamtaout03-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: "Michael Brubaker" > Date: 2007/01/24 Wed PM 05:38:47 GMT > To: "Stagecraft" > Subject: PSA (was Today's completely OT PSA) > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Very sorry to hear about your loss. > > Mike Brubaker > > -----Original Message----- > Paul Schreiner wrote: > > Yesterday morning an 10:34, my wife and I lost our best friend to > inflammatory breast cancer. She was diagnosed a grand total of six My sympathy to you, and to all the other listers who have posted losses. But, it happens. Over the last few years, I have lost many good friends. In my late sixties, that is not surprising. I lament the deaths, and carry on with my life. I just hope that I am not the next to go. Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Message-ID: <45B7F358.7050402 [at] gmail.com> Date: Wed, 24 Jan 2007 19:01:28 -0500 From: Brian James Reply-To: brianedwardjames [at] gmail.com Subject: Gripples Sorry to bring back this topic (I think I read it here). I did try to search the archives before posting this message, but they appear broke. So any way.................. If I remember right, there was a conversation about Gripples and their appropriateness for over head rigging applications. These items are weight rated, the manufacturer specifies a safe working load and the "normal" safety data seems to be in line. I can not shake the feeling that there was a concern raised about them.Any one remember what it was, or am I making up conversations in my head (again)? Any input, thought or observations would be very appreciated. Thanks! ------------------------------ Date: Wed, 24 Jan 2007 16:01:52 -0800 (PST) From: b Ricie Subject: master script In-Reply-To: Message-ID: <346161.67656.qm [at] web50610.mail.yahoo.com> Ok, this is a spin off of the digi projector question. I have, now, a better idea of what they want to do, which of course has caused more questions to surface. The show is spoken in Tlingit(pronounced klinket) and the titles are translation to Shakespearean English. I am fairly certain we are not going to find an operator fluent in Tlingit and have asked if a master script exists, which does not. MY QUESTION is; Does anyone have a clever way of creating a master script with one language sorta super imposed near the other? I am a digester, and yahoo seems to be keeping the list for a few days before I get them, so any reply off list would be most appreciated. TIA, Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." ____________________________________________________________________________________ Don't get soaked. Take a quick peak at the forecast with the Yahoo! Search weather shortcut. http://tools.search.yahoo.com/shortcuts/#loc_weather ------------------------------ From: "Joe Saint" Subject: Dallas area lighting shops Date: Wed, 24 Jan 2007 19:02:26 -0500 Message-ID: <005901c74014$190fd4e0$640fa8c0 [at] D3G47461> Does anyone have experience with lighting rental shops in the Dallas area? I am sending a sizable show there in March. The two names that have been suggested by the producer are Gemini and Afford Media. I have heard of neither. Can anyone speak to either of these? TIA Joe Saint President IMCD Lighting 646-415-7588 www.imcdlighting.com ------------------------------ Message-Id: In-Reply-To: References:

Date: Wed, 24 Jan 2007 19:01:10 -0500 From: Rigger Subject: Re: Hi, my name is Abby! At 10:15 PM -0500 1/23/07, Paul Schreiner wrote: >> What are you, Paul, another hum-head? > >Nah...well, not exclusively, anyway. >Think I'll let my students handle this one. >Ooooh...I smell a homework assignment! [*wiping hands*] My work here is finished. -- Dave Vick rigger [at] tds.net The reason they call it "The American Dream" is because you have to be asleep to believe in it. ------------------------------ Reply-To: From: "Joe Golden" Subject: RE: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) Date: Wed, 24 Jan 2007 16:04:26 -0800 Organization: Stage-Tech Message-ID: In-Reply-To: Rocky once told me "We stand behind our work, not under it" But I think you don't want to hear a rigger say "HEADS!" -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis Sent: Wednesday, January 24, 2007 3:34 PM To: Stagecraft Subject: Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- On 1/24/07 4:44 PM, "Stephen Litterst" wrote: > Hopefully it won't be hitting the deck. Although, that's often the > result when someone has been rigging without a plan in place. Rocky Paulson is fond of saying......"What do you never want to hear a rigger say?" Answer..."What's next?" He's right, of course, a rigger should always have a plan the runs all the way through the production. But stuff happens. You may not always know what's going to be coming at you, but you should always have a plan for when you find out. Bill S. ETCP Certified Rigger - Theatre ETCP Council Member www.sapsis-rigging.com 800.727.7471 267.278.4561 mobile ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Dallas area lighting shops Date: Wed, 24 Jan 2007 19:06:32 -0500 Message-ID: <004401c74014$abfe6cd0$6501a8c0 [at] Dell> In-Reply-To: I believe that Houston-based Stagelight has rentals in their Dallas office: 2639 Electronic Lane - Suite 101 Dallas, TX 75220 (214) 446-1700 They're very service-oriented. ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 24 Jan 2007 19:04:50 -0500 From: Rigger Subject: Re: And yet another introduction from a bumbling college student At 11:50 PM -0500 1/23/07, Katrina Wiechmann wrote: >I am Katrina Wiechmann and am a sophomore at Randolph-Macon Woman's >College: that lovely institution at which Paul spends so much time, >supposedly TDing, but half the time we aren't really sure what he's >doing. ;) I am one of his elusive stagecraft students, and am writing >an introduction to get out of any greater torture which he may decide >to foist on us. I have also work-studied for him for 1.5 years, so I >feel comfortable saying he can be a hum- sometimes=8Alike when he >IMs me at 11pm and tells me I have a homework assignment to do, but >makes me try to figure out what it is on my own. > >I am a physics major with minors in math and classical studies. >Theatre-wise I have done mostly work on set construction and a (very) >little bit of work with lights, sound, rigging (through Sapsis Rigging >this past summer=8AHi, Chris *wave*) Okay, *this* one's a keeper, Paul. -- Dave Vick rigger [at] tds.net Not only do I not know what's going on; I wouldn't know what to do about it if I did. ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 24 Jan 2007 19:21:05 -0500 From: Rigger Subject: Re: Non-Manila Counterweight Operatng line At 9:16 PM -0800 1/23/07, Michael Heinicke wrote: >I had a feeling when I wrote about spike tape that I >was putting up a nice big target for Dave to aim at. >It's nice to be right about something occasionally... >Dave, at first reading your method sounds like it >would take 3 or 4 hands. Since I am sure you can do it >with no hands, do you have any suggestions to make it >easier for us mere mortals to set a ribbon spike with >only two hands? :) My first thought is to place the >bottom clamp so that it braces against the handle of >the rope lock. Since there are two clamps, I would >assume that you have to move the rope slightly to be >able to spike to the top of the rope lock. Am I >missing something else here? I think perhaps you are. Let me paint a picture for you: When I'm spiking the front line, I only use one clamp, set about a foot or so above the lock, and twist anti-clockwise (if you're looking from above) to unlay the rope; usually takes about 3 full turns, maybe 3-1/2... Then, holding the clamp with my left hand, I insert the spike thru the rope above the lock's ring with my right hand, feed the tail of the ribbon through the hole in the spike with my right hand, and pull the spike out with my right hand until the spike is just clear of the rope on my right side. I then release the clamp and the spinning of the rope re-laying itself pulls the ribbon clear of the spike. When I'm putting in back-line trims, I obviously need two clamps. I set the lower one with the handle sticking out to my left and the upper one to my right. Then I brace the lower clamp with my left elbow/forearm and unlay the rope by twisting the upper clamp anti-clockwise against my left arm. For what it's worth, I prefer to set my front-line trims at the top of the lock (as opposed to the top of the handle) and my back-line trims at eye-level on the T-track. Others' mileage may vary, professional driver on a closed course, do not take internally, do not taunt Happy Fun Ball, void where prohibited, taxes are the responsibility of the winner, don't try this at home, etc... I do have a photo or several that I staged today at work, showing the single-clamp method with the spike inserted in a front-line situation. Soon as I can figure out how to get 'em up online (my Smugmug uploader doesn't like working with Intel-powered Macs), I'll post a photo-tutorial. Comments that may have been uttered in the instance of spiking a trim on a rail that isn't even done being built yet are an exercise for Paul's students. As Bill would say here: 'Zat help? -- Dave Vick rigger [at] tds.net I don't really think we gave barbarism a fair try. ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 25 Jan 2007 00:25:13 GMT Subject: Re: Skweeks vs Rope 'Ranglers (was: Re: Hi, my name is Abby!) Message-Id: <20070124.162606.8266.1143779 [at] webmail37.lax.untd.com> I don't care who yells 'HEADS!' as long as someone does, promptly. /s/ Richard _____________________________ But I think you don't want to hear a rigger say "HEADS!" ------------------------------ Message-Id: In-Reply-To: References:

Date: Wed, 24 Jan 2007 19:27:20 -0500 From: Rigger Subject: Re: Counterweight Operatng line ribbon installer At 1:24 AM -0500 1/24/07, Bruce Purdy wrote: > Uncle Bill taught how to release tension using the "Pedal" on the > lower block. I've found that on MOST of my linesets I can create > enough slack to insert the ribbon without any tools. That's as it should be, provided you can reach your floor blocks. What if you're on a rail with the floor blocks down in a pit? Or on an elevated flyfloor? Note also that kicking your floor block can sometimes cause the piece you're trying to spike a trim on to drift, as the operating line (which, as we all know, controls the movement of the lineset) is free to move when tension is released. As long as you're aware of it, no problem. Nothing wrong with doing it that way; that's kinda why floor blocks have the pedal thingy anyway. -- Dave Vick rigger [at] tds.net If Helen Keller had psychic ability, would you say that she had a "fourth sense"? ------------------------------ Message-ID: In-Reply-To: From: "Tom Heemskerk" Subject: RE: Gripples Date: Wed, 24 Jan 2007 16:30:06 -0800 There's a line in the manufacturer's guidelines that says: "Do not use for lifting." Could that be it? > >I can not shake the feeling that there was a concern raised about them.Any >one remember what it was, or am I making up conversations in my head >(again)? > _________________________________________________________________ Buy what you want when you want it on Sympatico / MSN Shopping http://shopping.sympatico.msn.ca/content/shp/?ctId=2,ptnrid=176,ptnrdata=081805 ------------------------------ Message-ID: <45B7FA36.1090807 [at] gmail.com> Date: Wed, 24 Jan 2007 17:30:46 -0700 From: Chip Wood Subject: Re: Wireless speakers References: In-Reply-To: CB wrote: >> I applaud your trying to have the effects come from where they are > supposed to do. > the doorbell was, of course, by the entrance to the > theatre, where entrances were made. > The "stage" front door location for the door bell is certainly correct to draw attention to the door and to draw the action of the on-stage performer to look and/or go that way. It also foreshadows the audience to look for somebody to enter therein. But a normal modern electric door bell "bell" is rarely placed near the door, but rather near the middle of the house. The old mechanical twist bells, of course, were mounted directly on the door. Just another way that "stage" sounds are different than "real" sounds. Chip ------------------------------ You are subscribed as stagecraftlist [at] theatrical.net End of Stagecraft Digest #1106 ******************************