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Subject: Stagecraft Digest #1107
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #1107

 1. Re: master script
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
 2. Re: Non-Manila Counterweight Operatng line
    by Rigger <rigger [at] tds.net>
 3. Re: Skweeks vs Rope 'Ranglers (was:  Re: Hi, my name is Abby!)
    by Rigger <rigger [at] tds.net>
 4. Re: ribbon vs. tape spikes
    by Rigger <rigger [at] tds.net>
 5. Re: Gripples
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 6. Re: And yet another introduction from a bumbling college student
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 7. Re: Non-Manila Counterweight Operatng line
    by Rigger <rigger [at] tds.net>
 8. Re: Gripples
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
 9. Re: Gripples
    by Josh Ratty <josh.ratty [at] verizon.net>
10. Re: Non-Manila Counterweight Operatng line
    by Bill Sapsis <bill [at] sapsis-rigging.com>
11. Re: Non-Manila Counterweight Operatng line
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
12. Re: Gripples
    by "Robert Bruemmer" <rbruemme [at] plymouth.edu>
13. Re: Gripples
    by Seth Richardson <stagecraft [at] comcast.net>
14. Re: Non-Manila Counterweight Operatng line
    by Rigger <rigger [at] tds.net>
15. Re: And yet another introduction from a bumbling college student
    by Stuart Wheaton <sdwheaton [at] fuse.net>
16. Re: Gripples
    by Bill Sapsis <bill [at] sapsis-rigging.com>
17. Re: And yet another introduction from a bumbling college student
    by Bill Sapsis <bill [at] sapsis-rigging.com>
18. Re: Gripples
    by "Robert Bruemmer" <rbruemme [at] plymouth.edu>
19. Re: Non-Manila Counterweight Operatng line
    by Bill Sapsis <bill [at] sapsis-rigging.com>
20. Re: Gripples
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
21. Re: Gripples
    by Brian James <brianedwardjames [at] gmail.com>
22. I know it's a little early, but...
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
23. Re: Gripples
    by Brian James <brianedwardjames [at] gmail.com>
24. Re: Intellectual Property
    by "Michael Finney" <mfinney [at] thinkwelldesign.com>
25. Re: And yet another introduction from a bumbling college student
    by "Katrina Wiechmann" <kewiech [at] gmail.com>
26. Re: Intellectual Property
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
27. Re: I know it's a little early, but...
    by Steve Shelley <mrtemplate [at] earthlink.net>
28. Re: And yet another introduction from a bumbling college student
    by Bill Sapsis <bill [at] sapsis-rigging.com>
29. Re: Keystone formula
    by Stuart Wheaton <sdwheaton [at] fuse.net>
30. Re: Intellectual Property
    by Ford Sellers <fhs4 [at] cornell.edu>
31. Cage Match?
    by "Andy Leviss" <Andy [at] DucksEchoSound.com>
32. Re: Forty-Second Street Shadow Waltz
    by Tom Hackman <hackman [at] DavisAndElkins.edu>
33. Re: Accommodating out-of-spec DMX receiver devices
    by Mitch Hefter <stagecraft03 [at] DesignRelief.com>
34. Re: And yet another introduction from a bumbling college student
    by "Katrina Wiechmann" <kewiech [at] gmail.com>
35. Re: And yet another introduction from a bumbling college student
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
36. Re: Full Monty Sign
    by "John Gibilisco" <johngib [at] cox.net>
37. Re: Accommodating out-of-spec DMX receiver devices
    by "Occy" <OneOccy [at] hotmail.com>
38. Re: ETC Eos
    by "John Gibilisco" <johngib [at] cox.net>
39. Re: Full Monty Sign
    by "Occy" <OneOccy [at] hotmail.com>
40. Re: Fids for ribbon spikes
    by "Jon Ares" <jonares [at] hevanet.com>
41. Re: Cage Match?
    by megironda [at] att.net (Gerry G.)
42. Re: Cage Match?
    by Shawn Palmer <shawn.palmer [at] sbcglobal.net>
43. electricity to revolving stage
    by Judy <kupfer [at] post.tau.ac.il>
44. Re: electricity to revolving stage
    by "Bill Nelson" <billn [at] peak.org>
45. Re: electricity to revolving stage
    by "Occy" <OneOccy [at] hotmail.com>
46. Re: electricity to revolving stage
    by "Bill Nelson" <billn [at] peak.org>
47. Re: And yet another introduction from a bumbling college student
    by Kevin Lee Allen <klad [at] klad.com>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 25 Jan 2007 00:34:05 GMT
Subject: Re: master script
Message-Id: <20070124.163418.8266.1143824 [at] webmail37.lax.untd.com>

All you need is an interlinear translation with the two texts on =

alternating lines in different fonts. Vary the chromanance and =

luminance of the characters to make the script easier to follow.
/s/ Richard
____________________________

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 


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

Message-Id: <p06230906c1ddab2242a1 [at] [192.168.0.2]>
In-Reply-To: <list-41592533 [at] prxy.net>
References: <list-41579163 [at] prxy.net> <list-41592533 [at] prxy.net>
Date: Wed, 24 Jan 2007 19:34:40 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: Non-Manila Counterweight Operatng line

At 9:13 AM -0500 1/24/07, Stephen Litterst wrote:

>  I'm not sure why Dave needs special tools to untwist the rope.
>  Maybe he's getting old.  :D


Sonny, I was *born* old...

Seriously, I use the tools because it's faster, and it inflicts less 
wear and tear on my hands.

(and also-too because i'm a tool junkie)

-- 
Dave Vick
rigger [at] tds.net

  Singing is basically a pleasant, controlled form of screaming.

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

Message-Id: <p06230907c1ddacaa9e97 [at] [192.168.0.2]>
In-Reply-To: <list-41606045 [at] prxy.net>
References: <list-41606045 [at] prxy.net>
Date: Wed, 24 Jan 2007 19:39:31 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: Skweeks vs Rope 'Ranglers (was:  Re: Hi, my name is Abby!)

At 2:03 PM -0500 1/24/07, CB wrote:

>  And I've already claimed to be nicer than Dave.


No great challenge, that.

-- 
Dave Vick
rigger [at] tds.net

     Discipline is never an end in itself, only a means to an end.

                                -- Robert Fripp

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

Message-Id: <p06230908c1ddad2cbced [at] [192.168.0.2]>
In-Reply-To: <list-41602962 [at] prxy.net>
References: <3D8F61A0-C494-4A61-ADA7-896AFE59FE24 [at] rochester.rr.com>
 <list-41602962 [at] prxy.net>
Date: Wed, 24 Jan 2007 19:44:56 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: ribbon vs. tape spikes

At 3:03 PM -0500 1/24/07, 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:
>
>>  	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?


Gold stars for you so far, Bruce. It's also much easier to see a 
three-dimensional ribbon trim mark coming down at you from out of a 
dark stagehouse than it is to see a moving tape mark on a rope.

Me, I prefer to know where I have to stop pulling *before* I actually 
have to slam on the brakes. Bouncing hard legs off the deck because 
you blew your in-trim will cost you *serious* style points in my book.

-- 
Dave Vick
rigger [at] tds.net

  Never wrestle a pig.
  You both get dirty, and the pig likes it.

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

Date: Wed, 24 Jan 2007 19:52:54 -0500
Subject: Re: Gripples
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C1DD6996.18A20%bill [at] sapsis-rigging.com>
In-Reply-To: <list-41610555 [at] prxy.net>

Gripples require constant tension to work properly.  That cannot always be
guaranteed.  They were not designed for overhead lifting.  They were
designed to hold tension on a guy wire one a power pole until a permanent
line could be run in.  They slip on occasion.  Slipping is bad.

They do not have my recommendation.

Bill S.

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



On 1/24/07 7:01 PM, "Brian James" <brianedwardjames [at] gmail.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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 19:55:40 -0500
Subject: Re: And yet another introduction from a bumbling college student
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C1DD6A3C.18A22%bill [at] sapsis-rigging.com>
In-Reply-To: <list-41610812 [at] prxy.net>

> At 11:50 PM -0500 1/23/07, Katrina Wiechmann wrote:
>=20
>>=20
>> 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*)

Huh?  Wha?  Ah, er...um...OK.  I'm awake now.  Chris?  What have you not
been telling me about your jobs?

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







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

Message-Id: <p0623090dc1ddb0f9a107 [at] [192.168.0.2]>
In-Reply-To: <list-41611208 [at] prxy.net>
References: <list-41579163 [at] prxy.net> <list-41611208 [at] prxy.net>
Date: Wed, 24 Jan 2007 19:58:35 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: Non-Manila Counterweight Operatng line

At 7:21 PM -0500 1/24/07, Rigger wrote:

>  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..


Correction: Clockwise.

-- 
Dave Vick
rigger [at] tds.net

        Yeah, I'm stupid today. So what?

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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 25 Jan 2007 00:55:50 GMT
Subject: Re: Gripples
Message-Id: <20070124.165651.8266.1143939 [at] webmail37.lax.untd.com>

They have my CONDEMNATION. If you are Risk-Adverse, don't use them. =

/s/ Richard
_____________________________

Gripples require constant tension to work properly.  That cannot =

always be guaranteed.  They were not designed for overhead lifting.  =

They were designed to hold tension on a guy wire one a power pole =

until a permanent line could be run in.  They slip on occasion.  =

Slipping is bad.

They do not have my recommendation.

Bill S.



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

Date: Wed, 24 Jan 2007 20:02:13 -0500
From: Josh Ratty <josh.ratty [at] verizon.net>
Subject: RE: Gripples
In-reply-to: <list-41611349 [at] prxy.net>
Reply-to: josh.ratty [at] verizon.net
Message-id: <001b01c7401c$7395fd60$6401a8c0 [at] Rattys>

Now I may be confusing one piece of hardware with another but if I
recall correctly some folks were concerned with being able to see how
they worked inside and thus being able to do a visual inspection to make
sure all is well.

Josh Ratty


>
>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)?
>



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

Date: Wed, 24 Jan 2007 20:13:05 -0500
Subject: Re: Non-Manila Counterweight Operatng line
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C1DD6E51.18A2D%bill [at] sapsis-rigging.com>
In-Reply-To: <list-41612914 [at] prxy.net>

On 1/24/07 7:58 PM, "Rigger" <rigger [at] tds.net> wrote:

> Yeah, I'm stupid today. So what?

(Hmmmmm.  Large, fat, slow pitch softball floating over the plate, big as a
harvest moon.  Do I take a swing at it or not?  Nah.  Too easy)








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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 25 Jan 2007 01:32:31 GMT
Subject: Re: Non-Manila Counterweight Operatng line
Message-Id: <20070124.173324.8266.1144136 [at] webmail37.lax.untd.com>

Nah, too much class.
/s/ Richard
___________________________
On 1/24/07 7:58 PM, "Rigger" <rigger [at] tds.net> wrote:

> Yeah, I'm stupid today. So what?

(Hmmmmm.  Large, fat, slow pitch softball floating over the plate, =

big as a harvest moon.  Do I take a swing at it or not?  Nah.  Too =

easy)










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

From: "Robert Bruemmer" <rbruemme [at] plymouth.edu>
Cc: josh.ratty [at] verizon.net
References: <list-41611349 [at] prxy.net> <list-41613033 [at] prxy.net>
Subject: RE: Gripples
Date: Wed, 24 Jan 2007 20:42:40 -0500
Organization: Plymouth State University
Message-ID: <007c01c74022$19e9ffe0$3947889e [at] plymouth.edu>
In-Reply-To: <list-41613033 [at] prxy.net>

Ok oh wise list,

Here's how I found them useful... 
I've used gripples to trim a piece of scenery , I rig my chain and shackle
on the pipe run my cable down the flat to the hanger iron, thread the cable
through the gripple then swage around the thimble and back. I then use the
gripple to achieve level trim on said scenery, when I've got it level, I
press the sleeve and cut the tail leaving the gripple on the tension strand
only...

Your thoughts?
Please if this is a bad idea let me know



-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Josh Ratty
Sent: Wednesday, January 24, 2007 8:02 PM
To: Stagecraft
Subject: Re: Gripples

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

Now I may be confusing one piece of hardware with another but if I
recall correctly some folks were concerned with being able to see how
they worked inside and thus being able to do a visual inspection to make
sure all is well.

Josh Ratty


>
>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)?
>


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

In-Reply-To: <list-41610555 [at] prxy.net>
References: <list-41610555 [at] prxy.net>
Message-Id: <A011B21F-75FA-41FF-AA54-5E55BDC273F2 [at] comcast.net>
From: Seth Richardson <stagecraft [at] comcast.net>
Subject: Re: Gripples
Date: Wed, 24 Jan 2007 20:48:22 -0500

>
> 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.

<http://tinyurl.com/34aomh> Google the archive for gripples.  I find  
that archive searches at Stagecraft.theprices.net almost never works.

Seth Richardson

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

Message-Id: <p0623090ec1ddbc835571 [at] [192.168.0.2]>
In-Reply-To: <list-41613252 [at] prxy.net>
References: <list-41613252 [at] prxy.net>
Date: Wed, 24 Jan 2007 20:48:02 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: Non-Manila Counterweight Operatng line

At 8:13 PM -0500 1/24/07, Bill Sapsis wrote:

>>  Yeah, I'm stupid today. So what?
>
>  (Hmmmmm.  Large, fat, slow pitch softball floating over the plate, big as a
>  harvest moon.  Do I take a swing at it or not?  Nah.  Too easy)


Yeah, I've been meaning to ask you for some time now, Bill... When 
exactly was the last time you pulled a show on the flyrail?

IMWTK

-- 
Dave Vick
rigger [at] tds.net

      "Those who do not learn from Usenet will
        be doomed to reimplement it... Poorly."

               -- Timothy Larson, alt.games.marathon

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

Message-ID: <45B80FC2.5030700 [at] fuse.net>
Date: Wed, 24 Jan 2007 21:02:42 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Reply-To:  sdwheaton [at] fuse.net
Subject: Re: And yet another introduction from a bumbling college student
References: <list-41578657 [at] prxy.net> <list-41610812 [at] prxy.net>
In-Reply-To: <list-41610812 [at] prxy.net>

Rigger wrote:

>> 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 summerŠHi, Chris *wave*)
> 
> 
> Okay, *this* one's a keeper, Paul.
> 

Physics and Math...That's good.  I met my SO (PhD. Physics) while she 
was ASM on a show...   But she likes Chris???  Uncle Bill, please tell 
us you have multiple Chris', and she's not talking about that shaggy 
galoot I went to school with!  :-)



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

Date: Wed, 24 Jan 2007 20:58:28 -0500
Subject: Re: Gripples
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C1DD78F4.18A3A%bill [at] sapsis-rigging.com>
In-Reply-To: <list-41614023 [at] prxy.net>

You used it the way it was supposed to.  No worries.  The swage fitting is
holding it.  The gripple is there only because you can't take it off.

Did you use a left handed or a right handed swaging tool?


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



On 1/24/07 8:42 PM, "Robert Bruemmer" <rbruemme [at] plymouth.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Ok oh wise list,
> 
> Here's how I found them useful...
> I've used gripples to trim a piece of scenery , I rig my chain and shackle
> on the pipe run my cable down the flat to the hanger iron, thread the cable
> through the gripple then swage around the thimble and back. I then use the
> gripple to achieve level trim on said scenery, when I've got it level, I
> press the sleeve and cut the tail leaving the gripple on the tension strand
> only...
> 
> Your thoughts?
> Please if this is a bad idea let me know
> 
> 
> 
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Josh Ratty
> Sent: Wednesday, January 24, 2007 8:02 PM
> To: Stagecraft
> Subject: Re: Gripples
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Now I may be confusing one piece of hardware with another but if I
> recall correctly some folks were concerned with being able to see how
> they worked inside and thus being able to do a visual inspection to make
> sure all is well.
> 
> Josh Ratty
> 
> 
>> 
>> 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)?
>> 
> 



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

Date: Wed, 24 Jan 2007 21:02:18 -0500
Subject: Re: And yet another introduction from a bumbling college student
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C1DD79DA.18A3F%bill [at] sapsis-rigging.com>
In-Reply-To: <list-41614204 [at] prxy.net>

On 1/24/07 9:02 PM, "Stuart Wheaton" <sdwheaton [at] fuse.net> wrote:

> 
> Physics and Math...That's good.  I met my SO (PhD. Physics) while she
> was ASM on a show...   But she likes Chris???  Uncle Bill, please tell
> us you have multiple Chris', and she's not talking about that shaggy
> galoot I went to school with!  :-)
> 
> 

Same galoot.  Not so shaggy anymore.






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

From: "Robert Bruemmer" <rbruemme [at] plymouth.edu>
References: <list-41614023 [at] prxy.net> <list-41614410 [at] prxy.net>
Subject: RE: Gripples
Date: Wed, 24 Jan 2007 21:02:14 -0500
Organization: Plymouth State University
Message-ID: <007d01c74024$d541d450$3947889e [at] plymouth.edu>
In-Reply-To: <list-41614410 [at] prxy.net>

Hmmmm let's see, the other day I hit myself in the lip with the handle, so I
must be doing something right....

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis
Sent: Wednesday, January 24, 2007 8:58 PM
To: Stagecraft
Subject: Re: Gripples

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

You used it the way it was supposed to.  No worries.  The swage fitting is
holding it.  The gripple is there only because you can't take it off.

Did you use a left handed or a right handed swaging tool?


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



On 1/24/07 8:42 PM, "Robert Bruemmer" <rbruemme [at] plymouth.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Ok oh wise list,
> 
> Here's how I found them useful...
> I've used gripples to trim a piece of scenery , I rig my chain and shackle
> on the pipe run my cable down the flat to the hanger iron, thread the
cable
> through the gripple then swage around the thimble and back. I then use the
> gripple to achieve level trim on said scenery, when I've got it level, I
> press the sleeve and cut the tail leaving the gripple on the tension
strand
> only...
> 
> Your thoughts?
> Please if this is a bad idea let me know
> 
> 
> 
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Josh
Ratty
> Sent: Wednesday, January 24, 2007 8:02 PM
> To: Stagecraft
> Subject: Re: Gripples
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Now I may be confusing one piece of hardware with another but if I
> recall correctly some folks were concerned with being able to see how
> they worked inside and thus being able to do a visual inspection to make
> sure all is well.
> 
> Josh Ratty
> 
> 
>> 
>> 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)?
>> 
> 


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

Date: Wed, 24 Jan 2007 21:03:21 -0500
Subject: Re: Non-Manila Counterweight Operatng line
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C1DD7A19.18A40%bill [at] sapsis-rigging.com>
In-Reply-To: <list-41614186 [at] prxy.net>

On 1/24/07 8:48 PM, "Rigger" <rigger [at] tds.net> wrote:

> Yeah, I've been meaning to ask you for some time now, Bill... When
> exactly was the last time you pulled a show on the flyrail?

Been quite a while.  You sure you want to go down this road?








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

Subject: RE: Gripples
Date: Wed, 24 Jan 2007 21:03:44 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A073B79E5 [at] exchange.rmwc.edu>
In-Reply-To: <list-41614178 [at] prxy.net>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> <http://tinyurl.com/34aomh> Google the archive for gripples. =20
> I find that archive searches at Stagecraft.theprices.net=20
> almost never works.

*Pssst*...gmail.

Anyway, I've got the conversation on gripples from...well, just about
exactly a year ago.  If you want the whole shebang, drop me a line and
I'll forward it.

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

Message-ID: <45B810A3.8060107 [at] gmail.com>
Date: Wed, 24 Jan 2007 21:06:27 -0500
From: Brian James <brianedwardjames [at] gmail.com>
Reply-To:  brianedwardjames [at] gmail.com
Subject: Re: Gripples
References: <list-41611349 [at] prxy.net>
In-Reply-To: <list-41611349 [at] prxy.net>

Did not see that, the literature I have says
"DO NOT USE FOR HOISTING such as in a crane or pulley situation"
Tom Heemskerk wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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 
>
>
>


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

Subject: I know it's a little early, but...
Date: Wed, 24 Jan 2007 21:07:10 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A073B79E7 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

Looking up last year's gripple thread got me to thinking (cuz Delbert
made a few inquiries at the time about last year's conference)...anyone
have plans for SETC this spring?  I'm finally getting back there after
too many years away, and we'll have a few of our students in tow...it'd
be nice to toss back a few with listers.

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

Message-ID: <45B810DB.9070403 [at] gmail.com>
Date: Wed, 24 Jan 2007 21:07:23 -0500
From: Brian James <brianedwardjames [at] gmail.com>
Reply-To:  brianedwardjames [at] gmail.com
Subject: Re: Gripples
References: <list-41612742 [at] prxy.net>
In-Reply-To: <list-41612742 [at] prxy.net>

That makes sense.
Thank you!

Bill Sapsis wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Gripples require constant tension to work properly.  That cannot always be
> guaranteed.  They were not designed for overhead lifting.  They were
> designed to hold tension on a guy wire one a power pole until a permanent
> line could be run in.  They slip on occasion.  Slipping is bad.
>
> They do not have my recommendation.
>
> Bill S.
>
> ETCP Certified Rigger - Theatre
> ETCP Council Member
> www.sapsis-rigging.com
> 800.727.7471
> 267.278.4561 mobile
>
>
>
> On 1/24/07 7:01 PM, "Brian James" <brianedwardjames [at] gmail.com> wrote:
>
>   
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>> 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!
>>
>>
>>
>>
>>     
>
>
>
>   


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

Subject: Re: Intellectual Property
Date: Wed, 24 Jan 2007 18:23:57 -0800
Message-ID: <44FC1DD5E9E93D4F9D4C289DF28F7C3F34055C [at] thinkwellsbs.ThinkWell.corp>
From: "Michael Finney" <mfinney [at] thinkwelldesign.com>

Unca Bill Sapsis wrote:

<<I only make a stink about it when they take photos and claim them as
their own.>>

Amen back atcha - we just had to send a "cease and desist" to a
fabricator that is trying to go into the design business.  They had
posted a whole series of images of our projects on their site (low res
images that they'd captured from our site and cropped).  Their response
when initially confronted?  "well, those are images of the sorts of
designs we could do if given the opportunity...it's more a set of
aspirational images....".  Our lawyer enjoyed writing the
letter....although my suggestion for a salutation ("Dear Lying Sh*ts")
didn't make it into the final cut.  Lawyer's can be such buzz kills.
(Not Richard, of course!)

(best bit of the whole thing is how we found the theft...they'd included
us in a mass emailing touting their new capabilities...and had provided
a direct link to one of our own project photos on their web site.  Bonus
points for "stupid")

And a big public thank you to Unca Bill - some of my guys called him
last week with a really stupid request and he didn't even laugh at them
(much).  He's so nice.....

Michael Finney
Thinkwell Design & Production
mfinney [at] thinkwelldesign.com
www.thinkwelldesign.com=20

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

Message-ID: <68063acf0701241835s614f0421l546966c776816c34 [at] mail.gmail.com>
Date: Wed, 24 Jan 2007 21:35:26 -0500
From: "Katrina Wiechmann" <kewiech [at] gmail.com>
Subject: Re: And yet another introduction from a bumbling college student
In-Reply-To: <list-41614204 [at] prxy.net>
References: <list-41578657 [at] prxy.net> <list-41610812 [at] prxy.net>
	 <list-41614204 [at] prxy.net>

> > Okay, *this* one's a keeper, Paul.

Thank you to all for your encouragement, advice, etc.


 >>But she likes Chris???

 All ya'll (yes, I have been in the South too long...) misinterpreted
that.  Really what I'm trying to do is suck up enough that Chris might
give me a recommendation [letter] that I can take with me to SETC and
maybe pick up a job offer or two for this coming summer.

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

Subject: RE: Intellectual Property
Date: Wed, 24 Jan 2007 21:35:52 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A073B79F1 [at] exchange.rmwc.edu>
In-Reply-To: <list-41615053 [at] prxy.net>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> (best bit of the whole thing is how we found the=20
> theft...they'd included us in a mass emailing touting their=20
> new capabilities...and had provided a direct link to one of=20
> our own project photos on their web site.  Bonus points for "stupid")

Yup.  That warrants a "dumbass" tag.

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

Date: Wed, 24 Jan 2007 21:40:11 -0500
Subject: Re: I know it's a little early, but...
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1DD82BB.B7F0%mrtemplate [at] earthlink.net>
In-Reply-To: <list-41614670 [at] prxy.net>

Hello paul;

Field Template will be exhibiting at SETC for the third year running. We
look forward to exhibiting next to or across from Fisher Theatrical. We'll
be showing our complete line of Field Templates, Reference Manuals in
Plastic, as well as the latest in SoftSymbols. Fisher will be selling copies
of A Practical Guide to Stage Lighting.

If Kasey and Sam are up to their usual tricks, just listen for the ducks and
you'll find us. 

Speaking of which, if we can get our figurative ducks in a row, we may also
be showing a beta version of SoftPlot 9 from Stage Research. From what we
hear, SoftPlot 9 is a serious upgrade with a bucket of improvements and
updates, as well as a complete replacement of their symbol library with
SoftSymbols!

Just search for the squeeks; we'll see you there. And then, hoist away.

shelley


On 1/24/07 9:07 PM, "Paul Schreiner" <pschreiner [at] rmwc.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Looking up last year's gripple thread got me to thinking (cuz Delbert
> made a few inquiries at the time about last year's conference)...anyone
> have plans for SETC this spring?  I'm finally getting back there after
> too many years away, and we'll have a few of our students in tow...it'd
> be nice to toss back a few with listers.

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



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

Date: Wed, 24 Jan 2007 21:53:22 -0500
Subject: Re: And yet another introduction from a bumbling college student
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C1DD85D2.18A50%bill [at] sapsis-rigging.com>
In-Reply-To: <list-41615286 [at] prxy.net>

On 1/24/07 9:35 PM, "Katrina Wiechmann" <kewiech [at] gmail.com> wrote:

> All ya'll (yes, I have been in the South too long...) misinterpreted
> that.  Really what I'm trying to do is suck up enough that Chris might
> give me a recommendation [letter] that I can take with me to SETC and
> maybe pick up a job offer or two for this coming summer.


Why don't you just ask him for a job?

Bill (Chris' boss) S.
ETCP Certified Rigger - Theatre
ETCP Council Member
www.sapsis-rigging.com
800.727.7471
267.278.4561 mobile







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

Message-ID: <45B81E94.5080106 [at] fuse.net>
Date: Wed, 24 Jan 2007 22:05:56 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Reply-To:  sdwheaton [at] fuse.net
Subject: Re: Keystone formula
References: <list-41539700 [at] prxy.net>
In-Reply-To: <list-41539700 [at] prxy.net>

Laura McMeley wrote:

> Here's another question. I need to compute the amount of keystone
> correction needed to correct an image projected from a specific angle
> to the left of the screen. Does anybody know the formula for this
> calculation? I can't seem to find it anywhere.

Too bad that there isn't a Drafting class around here when you need 
one...  It seems like this is a complex but solvable "true View" problem.

Oh well.

Stuart

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

Message-Id: <6.2.5.6.2.20070124215752.032a0238 [at] cornell.edu>
Date: Wed, 24 Jan 2007 22:01:30 -0500
From: Ford Sellers <fhs4 [at] cornell.edu>
Subject: Re: Intellectual Property
In-Reply-To: <list-41606413 [at] prxy.net>
References: <list-41605571 [at] prxy.net>
 <list-41606413 [at] prxy.net>

My old boss, Carson Henry, was a victim of such a plot.  He found one 
of his designs from a trade show in the Awards section of a major 
design magazine.  The only problem...He didn't submit the design, and 
the winner was someone he had never heard of.  This was waaaay back 
in the days when 3-D spandex shapes were new, and lighting them up 
was a novel Idea. <BG>

At 04:42 PM 1/24/2007, you wrote:
>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

************************
Ford H Sellers
Master Electrician
Cornell University
Schwartz Center for the Performing Arts
430 College Avenue
Ithaca NY, 14850
(607) 254-2736  office
(607) 254-2733  fax 


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

Message-ID: <1660.69.203.216.247.1169694433.squirrel [at] webmail.ducksechosound.com>
Date: Wed, 24 Jan 2007 22:07:13 -0500 (EST)
Subject: Cage Match?
From: "Andy Leviss" <Andy [at] DucksEchoSound.com>

Dave Vick wrote:
>> (btw, Chris, you might have forgotten that I can mix,=20
>> probably a damn sight better than you can rig.  How's it feel=20 to be
dumber than a
>> rigger?)

LOL, having met Dave, and having seen video of Chris, a sick part of me
wants to find a neutral venue and build a hexagon...

--Andy
http://OneFromTheRoad.com




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

From: Tom Hackman <hackman [at] DavisAndElkins.edu>
Message-ID: <1236.72.47.75.39.1169694889.squirrel [at] 216.30.207.10>
In-Reply-To: <list-41611726 [at] prxy.net>
References:  <list-41611726 [at] prxy.net>
Date: Wed, 24 Jan 2007 22:14:49 -0500 (EST)
Subject: Re: Forty-Second Street Shadow Waltz

When we did it at the MUNY in '04, I believe, we simply used an unsized
piece of lightweight muslin stretched over a frame held by two costumed
stagehands.

> 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?

Tom Hackman
TD/Scene Designer
Davis & Elkins College
Elkins, WV

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

Message-Id: <6.1.0.6.2.20070124204325.01f8bbe8 [at] mail.DesignRelief.com>
Date: Wed, 24 Jan 2007 21:17:10 -0600
From: Mitch Hefter <stagecraft03 [at] DesignRelief.com>
Subject: Re: Accommodating out-of-spec DMX receiver devices
In-Reply-To: <list-41611726 [at] prxy.net>
References: <list-41611726 [at] prxy.net>

Jim, RC4 Wireless wrote:
><snip>
>
>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?
>
><snip>

We have found that not all receivers can do well with "full speed" 
DMX512.  Other problems is products that can't handle to full range of 
BREAK timings allowed.

One of the things we did with USITT DMX512-A is to adjust the transmit and 
receive BREAK to BREAK timings slightly (1204 microseconds - 1 second for 
transmit; 1196 microseconds to 1.25 seconds for receive).  This will work 
with compliant legacy devices, and may even support slightly non-compliant 
legacy equipment.

Adam Bennette's book "Recommended Practice for DMX512" available from the 
USITT on-line bookstore (http://tinyurl.com/348j77) discusses timings and 
packets, etc.  It is still applicable.

Frank Wood's statement: "But if you are trying to use receivers which are 
outside the specification, the only advice I can offer is to junk them." 
doesn't take into account that you don't always have a choice in the 
matter.  In fact, as a manufacturer, you may never know what's out 
there.  Offering the ability to dial back the speed and making sure that 
you are well within the transmitter timings.  This serves your customers 
better rather than giving them short shrift.

. . .
------------------------------------------------------------------
Mitch Hefter
ESTA / USITT DMX512 Revision (ANSI E1.11) Task Group Chair
USITT Engineering Vice-Commissioner, DMX512 Subcommittee Chair

Office:  Entertainment Technology, a Genlyte Company
     mhefter  [at]  genlytecontrols.com   +1-214/ 647-7880 x 7967
http://www.etdimming.com  ::  http://www.vari-lite.com



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

Message-ID: <68063acf0701242100m610c71e0qe087dffab9deeed [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 00:00:47 -0500
From: "Katrina Wiechmann" <kewiech [at] gmail.com>
Subject: Re: And yet another introduction from a bumbling college student
In-Reply-To: <list-41615697 [at] prxy.net>
References: <list-41615286 [at] prxy.net> <list-41615697 [at] prxy.net>

I hadn't actually thought of the direct approach.  Though, it still
requires (I would think) recommendations, and, specifically, whether
he thinks I'm worth enough to hire back.

On 1/24/07, Bill Sapsis <bill [at] sapsis-rigging.com> wrote:

>
> Why don't you just ask him for a job?


-- 
"Not ending a sentence with a preposition is a bit of arrant pedantry
up with which I will not put."~ Winston Churchill

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: And yet another introduction from a bumbling college student
Date: Thu, 25 Jan 2007 00:05:40 -0500
Message-ID: <001001c7403e$75bd9fe0$6501a8c0 [at] Dell>
In-Reply-To: <list-41615286 [at] prxy.net>

> what I'm trying to do is suck up 
> enough that Chris might give me a recommendation [letter] 
> that I can take with me to SETC

It's nice to see a young'un with the proper set of priorities.


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

Message-ID: <001901c7403e$f9180740$6500a8c0 [at] om.cox.net>
From: "John Gibilisco" <johngib [at] cox.net>
Cc: phildqrak [at] mindspring.com (Brad Pattison)
References: <list-41583435 [at] prxy.net>
Subject: Re: Full Monty Sign
Date: Wed, 24 Jan 2007 23:09:20 -0600


Brad,

Stephen has a good point with the MR 16s. I just wired a "HOT METAL" sign
for our community theater. We used 2 horizontal rows of 40 intermediate
screw base MR-16s.(80 lamps total) They were narrow floods at 150 watts/120
volts spaced 4" on centers. The letters were not lit but covered in red
glitter. Worked just fine blinding the audience on cue every night.

Salvaging the work that has allready been done seems like a waste of more
time. Besides breaking the stings into smaller pieces to handle 60 watts
bulbs will be just as much work as starting over. Ditch the light strings
and go to plan B or C.

John G
Omaha Playhouse



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

Message-ID: <BAY110-DAV125BE3336B049C3AC8CDABDA30 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
References: <list-41611726 [at] prxy.net> <list-41616291 [at] prxy.net>
Subject: Re: Accommodating out-of-spec DMX receiver devices
Date: Wed, 24 Jan 2007 21:17:04 -0800


Watching this thread in 2 places, I really wonder if the manufactures really 
even test the equipment they are selling to us. Or even know that their 
gizmo is out of, the USITT spec? I am certain that they aren't going to tell 
us that what they make is not within the USITT spec. Who's to know what is 
in spec and whats not?. Being one that has been in the field on too many 
occasions with a dead line and had not time to trouble shoot something nor 
really want too, would like to know like the rest of us.

----- Original Message ----- 
From: "Mitch Hefter" <stagecraft03 [at] DesignRelief.com>
> ---------------------------------------------------
>
> We have found that not all receivers can do well with "full speed"
> DMX512.  Other problems is products that can't handle to full range of
> BREAK timings allowed.
>
> One of the things we did with USITT DMX512-A is to adjust the transmit and
> receive BREAK to BREAK timings slightly (1204 microseconds - 1 second for
> transmit; 1196 microseconds to 1.25 seconds for receive).  This will work
> with compliant legacy devices, and may even support slightly non-compliant
> legacy equipment.
>
> Adam Bennette's book "Recommended Practice for DMX512" available from the
> USITT on-line bookstore (http://tinyurl.com/348j77) discusses timings and
> packets, etc.  It is still applicable.
>
> Frank Wood's statement: "But if you are trying to use receivers which are
> outside the specification, the only advice I can offer is to junk them."
> doesn't take into account that you don't always have a choice in the
> matter.  In fact, as a manufacturer, you may never know what's out
> there.  Offering the ability to dial back the speed and making sure that
> you are well within the transmitter timings.  This serves your customers
> better rather than giving them short shrift.
>
> . . .
> ------------------------------------------------------------------
> Mitch Hefter
> ESTA / USITT DMX512 Revision (ANSI E1.11) Task Group Chair
> USITT Engineering Vice-Commissioner, DMX512 Subcommittee Chair
>
> Office:  Entertainment Technology, a Genlyte Company
>      mhefter  [at]  genlytecontrols.com   +1-214/ 647-7880 x 7967
> http://www.etdimming.com  ::  http://www.vari-lite.com
>
>
> 

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

Message-ID: <003501c74040$511ba7c0$6500a8c0 [at] om.cox.net>
From: "John Gibilisco" <johngib [at] cox.net>
References: <list-41576562 [at] prxy.net>
Subject: Re: ETC Eos
Date: Wed, 24 Jan 2007 23:18:58 -0600

Is the EOS still beta?  There are several keys on the desk that are labeled
but don't do anything.

Like the UNDO key.

John G
Omaha Playhouse




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

Message-ID: <BAY110-DAV1021304F6483753550424ABDA30 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
References: <list-41583435 [at] prxy.net> <list-41593469 [at] prxy.net>
Subject: Re: Full Monty Sign
Date: Wed, 24 Jan 2007 21:32:39 -0800

Just don't make a KISS sign that takes 400 amps in 3 phase that was all in 
mr16 12v lamps. The 2nd time around the band had 2 signs, so I rented a 
generator for these shows. You have never seen a poor genny create so much 
smoke as when the board op flashed those signs.


----- Original Message ----- 
From: "Stephen Litterst" <litterst.stagecraft [at] gmail.com>
> ---------------------------------------------------
>
> 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
> 

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

Message-ID: <001a01c74042$69c90770$0400000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-41595984 [at] prxy.net>
Subject: Re: Fids for ribbon spikes
Date: Wed, 24 Jan 2007 21:33:58 -0800

> Another tool having the same purpose is a Swedish fid (fjid?) which is a 
> hollow cone sliced off at an angle.
>


I've got a couple of those myself... never could get them to work nearly as 
well as my current favorite (until I got pics of Rigger's toolz) - a large 
rug-hook tool, with a large cushy handle.  Still takes 2 extra hands to 
splay the rope, but it works ok.  (The little 'flippy' thing, for those that 
know what a rug hook tool is, always breaks off after the 2nd or 3rd spike, 
but the hook aspect still works....)

     - Jon Ares
www.hevanet.com/acreative 


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

From: megironda [at] att.net (Gerry G.)
Cc: Andy [at] DucksEchoSound.com (Andy Leviss)
Subject: Re: Cage Match?
Date: Thu, 25 Jan 2007 06:07:55 +0000
Message-Id: <012520070607.29880.45B8493B0006D05C000074B821603760210E0B02019D07090A03 [at] att.net>

Let's be honest, EVERYBODY thinks they can mix, most people don't pretend they can rig....
Gerry G.


 -------------- Original message ----------------------
From: "Andy Leviss" <Andy [at] DucksEchoSound.com>
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Dave Vick wrote:
> >> (btw, Chris, you might have forgotten that I can mix,=20
> >> probably a damn sight better than you can rig.  How's it feel=20 to be
> dumber than a
> >> rigger?)
> 
> LOL, having met Dave, and having seen video of Chris, a sick part of me
> wants to find a neutral venue and build a hexagon...
> 
> --Andy
> http://OneFromTheRoad.com
> 
> 
> 



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

Message-ID: <45B84C87.1080507 [at] sbcglobal.net>
Date: Thu, 25 Jan 2007 00:21:59 -0600
From: Shawn Palmer <shawn.palmer [at] sbcglobal.net>
Subject: Re: Cage Match?
References: <list-41620029 [at] prxy.net>
In-Reply-To: <list-41620029 [at] prxy.net>


> Let's be honest, EVERYBODY thinks they can mix, most people don't pretend they can rig....
> Gerry G.

Too true.  And those that don't think they can mix (not directed toward 
you, Dave) think I can control the HVAC from the FOH mix position. 
Their incredible lack of knowledge in the subject does not preclude them 
from dispensing advice, though, regarding both the temp and the sound :-)

Shawn Palmer
Appleton, Wisconsin
USA

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

Message-ID: <45B84DA2.7090707 [at] post.tau.ac.il>
Date: Thu, 25 Jan 2007 08:26:42 +0200
From: Judy <kupfer [at] post.tau.ac.il>
Subject: electricity to revolving stage

Hi all,

I'm doing a production of Pygmalion with a revolving stage. No motor, 
just a huge round thing on wheels with three different sets on it, which 
the stagehands will be pushing around. My problem: the sets are full of 
practicals (little standing lamps, street lights etc.) which will all 
need to be controlled by dimmers. (and no budget for radio control!)  
And the stage will be moving around clockwise the whole time, sometimes 
in view of the audience. How do I get cable to all those lamps while 
this platform keeps revolving all evening? There isn't time to plug and 
unplug things. I can't run cable under the platform or the wheels will 
get stuck on it. Any ideas or experience at this kind of thing?

thanks
Judy

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

Message-ID: <1092.205.215.253.77.1169711364.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41620522 [at] prxy.net>
References: <list-41620522 [at] prxy.net>
Date: Wed, 24 Jan 2007 23:49:24 -0800 (PST)
Subject: Re: electricity to revolving stage
From: "Bill Nelson" <billn [at] peak.org>

> I'm doing a production of Pygmalion with a revolving stage. No motor,
> just a huge round thing on wheels with three different sets on it, which
> the stagehands will be pushing around. My problem: the sets are full of
> practicals (little standing lamps, street lights etc.) which will all
> need to be controlled by dimmers. (and no budget for radio control!)
> And the stage will be moving around clockwise the whole time, sometimes
> in view of the audience. How do I get cable to all those lamps while
> this platform keeps revolving all evening? There isn't time to plug and
> unplug things. I can't run cable under the platform or the wheels will
> get stuck on it. Any ideas or experience at this kind of thing?

If the total wattage is not too high, then it can be done by replugging
one AC connector and one DMX control cable, each time the turntable is to
be rotated. You would have to hide a bunch of small portable dimmer packs
in each setting. It would require that the practicals would all go out
just before each rotation and come back on after the rotation completes.

If practicals must stay on until the next setting is in place, then the
power and dmx cables would have to come up through the center pivot - and
it would have to be a pipe of sufficient internal diameter to pass all the
necessary cables. It would also limit the number of rotations that were
possible without getting the cables overly twisted.

Another option would be using all battery powered practicals, where the
actors manipulated the switches as necessary. But there wouldn't be board 
dimmer control.

There are other possible solutions, but all that I can think of are rather
difficult to implement and prone to failure.

Bill


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

Message-ID: <BAY110-DAV175D30EF898CBCC604B919BDA30 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
References: <list-41620522 [at] prxy.net>
Subject: Re: electricity to revolving stage
Date: Wed, 24 Jan 2007 23:51:46 -0800

Judy, Quit now!

Or do what I used to do when being a deck hand: put every thing in 6 
circuits for Soca. Cut the rings off the boy Soca... You now have fast cable 
change overs...   Yes you need to read between the lines a 
lot....................

----- Original Message ----- 
From: "Judy" <kupfer [at] post.tau.ac.il>
> ---------------------------------------------------
>
> Hi all,
>
> I'm doing a production of Pygmalion with a revolving stage. No motor,
> just a huge round thing on wheels with three different sets on it, which
> the stagehands will be pushing around. My problem: the sets are full of
> practicals (little standing lamps, street lights etc.) which will all
> need to be controlled by dimmers. (and no budget for radio control!)
> And the stage will be moving around clockwise the whole time, sometimes
> in view of the audience. How do I get cable to all those lamps while
> this platform keeps revolving all evening? There isn't time to plug and
> unplug things. I can't run cable under the platform or the wheels will
> get stuck on it. Any ideas or experience at this kind of thing?
>
> thanks
> Judy
> 

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

Message-ID: <1105.205.215.253.77.1169712068.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41622511 [at] prxy.net>
References: <list-41620522 [at] prxy.net> <list-41622511 [at] prxy.net>
Date: Thu, 25 Jan 2007 00:01:08 -0800 (PST)
Subject: Re: electricity to revolving stage
From: "Bill Nelson" <billn [at] peak.org>

> Judy, Quit now!

Probably not an option. It won't be the last time that a director or set
designer has handed a lighting designer an impossible (for one reason or
another) task. On more than one occasion, I have told a director or set
designer - "It ain't gonna happen.", then explained why. Since I am
considered one of the local tech wizards, I have managed to get my way -
instead of being kicked off the staff.

> Or do what I used to do when being a deck hand: put every thing in 6
> circuits for Soca. Cut the rings off the boy Soca... You now have fast
> cable change overs...   Yes you need to read between the lines a
> lot....................

Combine that with my just posted suggestion of using portable dimmer packs
on the turntable and at least 24 practicals become possible. The
limitation of them being turned off before a move and turned back on at
the completion of a move still exists.

Bill


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

Date: Thu, 25 Jan 2007 05:55:13 -0500
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: And yet another introduction from a bumbling college student
In-reply-to: <list-41618563 [at] prxy.net>
Message-id: <36485C1A-C56F-41C1-9609-F1A83E6C585B [at] klad.com>
References: <list-41615286 [at] prxy.net> <list-41618563 [at] prxy.net>


Given the decreasing number of summer stock companies, what do people  
do to learn/hone their crafts?

Theme Parks?

On Jan 25, 2007, at 12:05 AM, Jeffrey E. Salzberg wrote:

> It's nice to see a young'un with the proper set of priorities.



-----
Kevin Lee Allen
Architect of Dreams
http://www.klad.com
973.744.6352.voice
201.280.3841.mobile
klad [at] klad.com



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