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Subject: Stagecraft Digest #1108
Date: Thu, 25 Jan 2007 13:49:18 -0800
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #1108

 1. Re: Fids for ribbon spikes
    by "Rob Riddle" <stagecraft [at] stageshirt.com>
 2. Re: electricity to revolving stage
    by Tony Kambic <tony [at] focusnote.com>
 3. Re: electricity to revolving stage
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
 4. Re: Cage Match?
    by rwhitco [at] comcast.net (Randy Whitcomb)
 5. Re: [user_group] electricity to revolving stage
    by "Jim, RC4 Wireless" <stagecraft [at] theatrewireless.com>
 6. Re: [user_group] Re: Accommodating out-of-spec DMX receiver devices
    by "Jim, RC4 Wireless" <stagecraft [at] theatrewireless.com>
 7. Re: digi. projector
    by Tony Tambasco <tambascot [at] yahoo.com>
 8. Re: [user_group] Re: Accommodating out-of-spec DMX receiver devices
    by "Jim, RC4 Wireless" <stagecraft [at] theatrewireless.com>
 9. Re: And yet another introduction from a bumbling college student
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
10. Re: electricity to revolving stage
    by "Steven Santos" <steven [at] simplycircus.com>
11. Re: I know it's a little early, but...
    by "Tom Hackman" <hackman [at] DavisAndElkins.edu>
12. Re: electricity to revolving stage
    by "Tony Deeming" <deeming.tony [at] btinternet.com>
13. Re: electricity to revolving stage
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
14. Re: What To Do With Leftover Bungee Cord
    by "Delbert Hall" <delbert.hall [at] gmail.com>
15. Projectors
    by Anna <ani_td [at] yahoo.com>
16. New Member
    by David Joseph Gabel <gabeld2 [at] mail.montclair.edu>
17. Re: electricity to revolving stage
    by "Steven Santos" <steven [at] simplycircus.com>
18. Re: Projectors
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
19. Re: Projectors
    by "Jon Lagerquist" <jon [at] lagerquist.com>
20. Stage Directions Magazine
    by "Terry Lowe" <tlowe [at] plsn.com>
21. Stage Directions
    by "Terry Lowe" <tlowe [at] plsn.com>
22. Re: Projectors
    by "Ken Romaine" <ken.stagecraft [at] gmail.com>
23. Re: electricity to revolving stage
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
24. Re: Projectors
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
25. Re: electricity to revolving stage
    by "Jon Lagerquist" <jon [at] lagerquist.com>
26. Re: Projectors
    by Ford Sellers <fhs4 [at] cornell.edu>
27. Re: Projectors
    by Ford Sellers <fhs4 [at] cornell.edu>
28. Spike tape
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
29. Summer Stock
    by Stephen Rees <stephen.rees [at] fredonia.edu>
30. Re: electricity to revolving stage
    by "Joe Golden" <joe [at] stage-tech.com>
31. Re: Projectors
    by "deziner [at] theatreinthepark.com" <deziner [at] theatreinthepark.com>
32. Re: electricity to revolving stage
    by "James Wright" <XJ2Wright [at] mbbc.edu>
33. Re: Gripples
    by <frank.wood95 [at] ntlworld.com>
34. Re: Dallas area lighting shops
    by "Laura McMeley" <lmcmeley [at] gmail.com>
35. Re: Wireless speakers
    by <frank.wood95 [at] ntlworld.com>
36. Re: Wireless speakers
    by <frank.wood95 [at] ntlworld.com>
37. Re: electricity to revolving stage
    by Clive Mitchell <bigclive1 [at] ntlworld.com>
38. Movies & PA
    by "Ed Hills" <ed [at] designersfortheatre.com>
39. Re: Accommodating out-of-spec DMX receiver devices
    by <frank.wood95 [at] ntlworld.com>
40. Re: Accommodating out-of-spec DMX receiver devices
    by <frank.wood95 [at] ntlworld.com>
41. Re: Accommodating out-of-spec DMX receiver devices
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
42. Portable Stages and Building Code
    by CB <psyd [at] cox.net>
43. Re: Cage Match?
    by <frank.wood95 [at] ntlworld.com>
44. Re: Cage Match?
    by <frank.wood95 [at] ntlworld.com>
45. Recording Headet calls from Clear Com
    by CB <psyd [at] cox.net>
46. Re: Portable Stages and Building Code
    by CB <psyd [at] cox.net>
47. HI!!
    by "Mouse Johnston" <shackledmouse [at] gmail.com>
48. Re: electricity to revolving stage
    by "Mouse Johnston" <shackledmouse [at] gmail.com>
49. master script
    by CB <psyd [at] cox.net>
50. Re: electricity to revolving stage
    by <frank.wood95 [at] ntlworld.com>
51. Re: HI!!
    by Stephen Rees <stephen.rees [at] fredonia.edu>
52. Re: Wireless speakers
    by CB <psyd [at] cox.net>
53. Re: Gripples
    by "Warren Stiles" <warren.stiles [at] gmail.com>
54. Re: Gripples
    by KEITH ARSENAULT <iaeg [at] aol.com>
55. Re: Wireless speakers
    by Stephen Rees <stephen.rees [at] fredonia.edu>
56. Re: Wireless speakers
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
57. Re: Gripples
    by "Joe Golden" <joe [at] stage-tech.com>
58. Re: Gripples
    by "Warren Stiles" <warren.stiles [at] gmail.com>
59. Re: electricity to revolving stage
    by Michael de Almeida <humhead [at] comcast.net>
60. Re: electricity to revolving stage
    by "Kurt Cypher" <kurt.stagecraftlist [at] gmail.com>
61. Re: Projectors
    by Steve Shelley <mrtemplate [at] earthlink.net>
62. Re: Accommodating out-of-spec DMX receiver devices
    by Jerry Durand <jdurand [at] interstellar.com>
63. Re: electricity to revolving stage
    by Jerry Durand <jdurand [at] interstellar.com>
64. Re: Cage Match?
    by Rigger <rigger [at] tds.net>
65. 
    by Dana Elizabeth Hornecker <horneckerd1 [at] mail.montclair.edu>
66. Re: Spike tape
    by Rigger <rigger [at] tds.net>
67. Re: HI!!
    by Rigger <rigger [at] tds.net>

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

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

Message-ID: <018a01c74071$f1cdb1a0$6701a8c0 [at] amd2200>
From: "Rob Riddle" <stagecraft [at] stageshirt.com>
References: <list-41595984 [at] prxy.net> <list-41619227 [at] prxy.net>
Subject: Re: Fids for ribbon spikes
Date: Thu, 25 Jan 2007 06:14:11 -0500


----- Original Message ----- 
From: "Jon Ares" <jonares [at] hevanet.com>
> > 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
>
"a large rug-hook tool, with a large cushy handle"
I used  those daily on my 2005 Tour.  Fishing  96 bungee loops through
96 grommet holes to tension 3 video screens upstage.
I pulled the little flippy thing off before I used them at all.
Worked like a charm
Rob't



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

Date: Thu, 25 Jan 2007 06:17:47 -0500
From: Tony Kambic <tony [at] focusnote.com>
Subject: RE: electricity to revolving stage
In-reply-to: <list-41620522 [at] prxy.net>
Message-id: <000001c74072$716607f0$648ac744 [at] tony>

Greetings all!

I've had this appear to me before in a few shows. Our solution was to flip
the wheel...Place the castors on the floor and have them point up, placing
the platforms & set on top, allowing it to spin and have an un-obstructed
path underneath for data and power cables.

The set also spun three times, so we left extra cable in the center of the
wheel, and 'pre-spun' the cable in the opposite direction so that they
un-twisted as the set turned.

Just make sure you have a hand set the cables every night so they don't
twist out of action.

Or you could go wireless...

HTH,

Tony M Kambic
Lead Electronics Technician - City Theatrical
Freelance lighting technician, NY, NY

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Judy
> Sent: Thursday, January 25, 2007 1:27 AM
> To: Stagecraft
> Subject: electricity to revolving stage
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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



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

In-Reply-To: <list-41622446 [at] prxy.net>
References: <list-41620522 [at] prxy.net> <list-41622446 [at] prxy.net>
Message-Id: <D18BB5EF-EF8E-4357-922A-A843A8F3E21B [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: electricity to revolving stage
Date: Thu, 25 Jan 2007 06:28:04 -0500


On 25 Jan 2007, at 02:49, Bill Nelson wrote:

>> 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.
>
> 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 the three sets are the same size (120 degrees each) then each set  
can have it's own Soca or Power/DMX pair at the base of the SR wall.  
Then you can alternate two different umbilicals (Or have three  
umbilicals ) behind the turntable. Lights out, Unplug one, and turn.  
This way you can have more time to make the new connection for next  
scene during this scene. Lights are ready to come up even before the  
turn if you wish, but must go out before it turns again.

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

From: rwhitco [at] comcast.net (Randy Whitcomb)
Subject: Re: Cage Match?
Date: Thu, 25 Jan 2007 13:06:17 +0000
Message-Id: <012520071306.2588.45B8AB49000C57C700000A1C2213528573010C9B0708999D [at] comcast.net>


 -------------- Original message ----------------------
From: megironda [at] att.net (Gerry G.)

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

I dunno 'bout that.  I've had more "conversations " than I care to count over fishing line.  
Repeat after me: " 50 lb. test is not the same as a 50 lb. WLL!"


Randy Whitcomb
Columbia, Md.

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

From: "Jim, RC4 Wireless" <stagecraft [at] theatrewireless.com>
References: <list-41620522 [at] prxy.net>
Subject: RE: [user_group] electricity to revolving stage
Date: Thu, 25 Jan 2007 08:49:09 -0500
Message-ID: <017201c74087$971cacf0$6700a8c0 [at] p3m866>
In-reply-to: <list-41620522 [at] prxy.net>

Judy,

How 'bout battery power without radio dimmers?  You'll still need to flip
switches to turn things on and off, and you'll need to charge the batteries
every night.

A large marine battery with an ac inverter would let you use familiar 120VAC
lamps and wiring.  Or you could build each practical with 12V lamps and
batteries.  This makes each piece much more portable.

Contact me off list if you'd like more info about batteries, lamps, etc.
It's all the same stuff we discuss/recommend all the time, without the radio
dimmers in the middle.

Also -- just in case you have a small budget -- check out our new RC4Magic,
which is much less expensive than previous radio control systems and would
probably do the job for you.

Jim
RC4


> 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,


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

From: "Jim, RC4 Wireless" <stagecraft [at] theatrewireless.com>
References: <list-41611726 [at] prxy.net> <list-41616291 [at] prxy.net>
Subject: RE: [user_group] Re: Accommodating out-of-spec DMX receiver devices
Date: Thu, 25 Jan 2007 08:57:35 -0500
Message-ID: <017301c74088$c4a50ef0$6700a8c0 [at] p3m866>
In-reply-to: <list-41616291 [at] prxy.net>

> 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.

And this is exactly why I asked the original question.  We want our
customers to face as few problems as possible, with the largest possible
pool of compatible equipment.

Thanks for your suggestions.

Jim
RC4


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

Date: Thu, 25 Jan 2007 06:00:34 -0800 (PST)
From: Tony Tambasco <tambascot [at] yahoo.com>
Subject: Re: digi. projector
Message-ID: <74419.75245.qm [at] web50704.mail.yahoo.com>

>As a confirmed OpenOffice.org user, I'd suggest you 
>save the file with a Powerpoint PPT extension instead

>of as an OpenOffice ODP file. Then it will run on
>Powerpoint as a native file. You can even then "lock"
>the file by changing the extension from PPT to PPS,
just
>like Powerpoint. OR, save it in BOTH formats and give
>the projectionist a fighting chance at running it.
For
>better or worse, the world runs on MS Office. I'm an
>Open Source fan myself (no MS Office on MY laptop!),
but
>the middle of a presentation probably isn't the time
to
>push that particular fight.

I concur. OO.org handles MS Office files remarkably
well, and the nice thing about all that bloat in the
MS Office file formats is that it does wonders for
keeping a file together. I made the mistake of trying
to save a paper with graphics, charts, etc as an rtf
once. Big mistake.

>I wouldn't expect someone to download and install
Open
>Office just for my presentation (it's a 90 meg
>download), although I might hand them a CD or flash 
>drive with the installation package already on it!
;-)

90 MB can be large for a place that doesn't have
broadband (or is within receiving distance of open
wifi), but as you say it fits onto a flash drive (or
even an old school burned CD) pretty easily.

>But I wouldn't insist, 'cause I wouldn't let someone
>else load a "foreign" program onto MY computer, and
my
>guess is the operator won't risk it!

Too right.  The more I'm thinking about this backup
scenario, and the more my OCD is kicking in, the more
it's making sense to me to roll a custom knoppix cd
with OO.org and basic utils, but no frill to get in
the way, and a single link on the desktop to the
presentation. Nothing ever has to touch the hard drive
of the presenter machine (except for a few swap
files).

If my adventures in computer science have taught me
anything it's that 1) you can never have too many
backups, and 2) you should always keep your options as
open as possible. 



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


 
____________________________________________________________________________________
Any questions? Get answers on any topic at www.Answers.yahoo.com.  Try it now.

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

From: "Jim, RC4 Wireless" <stagecraft [at] theatrewireless.com>
References: <list-41611726 [at] prxy.net> <list-41616291 [at] prxy.net> <list-41618833 [at] prxy.net>
Subject: RE: [user_group] Re: Accommodating out-of-spec DMX receiver devices
Date: Thu, 25 Jan 2007 09:02:34 -0500
Message-ID: <017401c74089$76b50320$6700a8c0 [at] p3m866>
In-reply-to: <list-41618833 [at] prxy.net>

> 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?

Agreed!

I think this is where a high quality dmx data tester is a wise investment.
If many customers have them, manufacturers will be more hesitant to break
the rules, running the risk of ad-hock non-compliance reports ending up in
places like this list. :)

Jim
RC4


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

Message-ID: <45B8BD36.2020808 [at] gmail.com>
Date: Thu, 25 Jan 2007 09:22:46 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: And yet another introduction from a bumbling college student
References: <list-41615286 [at] prxy.net> <list-41618563 [at] prxy.net> <list-41626839 [at] prxy.net>
In-Reply-To: <list-41626839 [at] prxy.net>

Kevin Lee Allen wrote:

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

I haven't found the number of summer stock companies to have an effect 
on my students' ability to find summer work.

That said, other options have been theme parks, scenic studios and the 
more advanced design students occasionally got summer work with 
consulting and design firms in NYC.

Steve L.

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

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

From: "Steven Santos" <steven [at] simplycircus.com>
Subject: RE: electricity to revolving stage
Date: Thu, 25 Jan 2007 09:33:53 -0500
Message-ID: <FDEPKKINFFFAJOOJMIKBEEAIFAAA.steven [at] simplycircus.com>
In-Reply-To: <list-41620522 [at] prxy.net>

My first question is how many rotations will this make in a night?

If the number is low, its fairly easy, just give yourself enough length for
the rotations.

If the number is high, think about wiring in paralel and using 2 backstage
plugs.

On your turn table you have 6 ports, all wired in paralell to each other.
Back stage you have 2 plugs for those ports, and you have hands plug and
unplug as it turns, making sure you always have at least one plugged in.
Thats the general concept.

Exactly how you would impliment this would depend on the specifics of what
you were doing and what equipment you were using.

----------------------------------------------------------------------
Steven Santos
Director, Simply Circus, Inc.
Email: Steven [at] SimplyCircus.com
 Mail: PO BOX 620753
       Newton, MA 02462
Phone: 781-799-4938
 eFax: 309-214-0899
  Web: www.SimplyCircus.com

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Judy
> Sent: Thursday, January 25, 2007 1:27 AM
> To: Stagecraft
> Subject: electricity to revolving stage
>
>
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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: <002801c7408e$c1f4fb60$3f1910ac [at] Hackman1>
From: "Tom Hackman" <hackman [at] DavisAndElkins.edu>
References: <list-41627036 [at] prxy.net>
Subject: Re:I know it's a little early, but...
Date: Thu, 25 Jan 2007 09:40:28 -0500

Paul and Steve,  and anybody else for that matter,
I will be at SETC from Wednesday night 'til Sunday morning. I would love to 
hoist a few with anybody from the list (gets me away from my students for a 
bit). Let's set something up. I don't think that we have done this at SETC 
since Randy Foster set something up a few years back.

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

> From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
>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.
>
> ****************************** 


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

From: "Tony Deeming" <deeming.tony [at] btinternet.com>
Subject: RE: electricity to revolving stage
Date: Thu, 25 Jan 2007 14:40:14 -0000
Message-ID: <ODEMKLAMIBKNHPJLNKDPMEBLFFAA.deeming.tony [at] btinternet.com>
In-reply-to: <list-41633907 [at] prxy.net>

Pardon my saying so, but doesn't this method form the basis of an installed
widow-maker.....
ie the capability of having 2 or more PLUGS in parallel means that any plugs
that aren't connected to the supply sockets will have the mains volts
present on the pins....

Or have I read you wrong?

TD
>
> If the number is high, think about wiring in parallel and using 2
backstage
> plugs.
>
> On your turn table you have 6 ports, all wired in paralell to each other.
> Back stage you have 2 plugs for those ports, and you have hands plug and
> unplug as it turns, making sure you always have at least one plugged in.
> Thats the general concept.
>
> Exactly how you would impliment this would depend on the specifics of what
> you were doing and what equipment you were using.
>
> ----------------------------------------------------------------------
> Steven Santos
> Director, Simply Circus, Inc.
> Email: Steven [at] SimplyCircus.com
>  Mail: PO BOX 620753
>        Newton, MA 02462
> Phone: 781-799-4938
>  eFax: 309-214-0899
>   Web: www.SimplyCircus.com
>
> > -----Original Message-----
> > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Judy
> > Sent: Thursday, January 25, 2007 1:27 AM
> > To: Stagecraft
> > Subject: electricity to revolving stage
> >
> >
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >
> > 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
> >
> >
>
>



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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 25 Jan 2007 15:17:37 GMT
Subject: Re: electricity to revolving stage
Message-Id: <20070125.071746.18186.1145428 [at] webmail36.lax.untd.com>

First, put the casters on the deck with the wheels facing up. Then, =

feed the power and control cables loosely through the center pivot =

pipe of the revolve. Since the revolve never has to turn more than =

120 degrees left or right of its original position, nothing ever =

needs to be repatched, as finely stranded cables are flexible enough =

to function without entering a failure mode during the run of a show.
/s/ Richard
_________________________________
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: <b7318c480701250722t1e75bdc9s338352ddeed232af [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 10:22:13 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Cc: dupreet [at] northstate.net
Subject: Re: What To Do With Leftover Bungee Cord
In-Reply-To: <list-41600924 [at] prxy.net>
References: <list-41586817 [at] prxy.net> <list-41600924 [at] prxy.net>

Actually, this is the basic idea of how a person is "shot" from a
cannon - a common circus rigging effect.

-Delbert

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

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

Date: Thu, 25 Jan 2007 07:24:33 -0800 (PST)
From: Anna <ani_td [at] yahoo.com>
Subject: Projectors
Message-ID: <643016.9886.qm [at] web37213.mail.mud.yahoo.com>

To go back to the LCD projector thread, does anyone have an elegant low-tec=
h solution for dowsing/baffling a projector (5000 lumens in my case) since =
it does not project a true black?  It is hung in the house, so whatever the=
 baffle is, it does not allow for easy access to operate.  Thank you!=0A =
=0AAnna Labykina=0ATechnical Director=0AThe Boston Conservatory=0A617.912.9=
129 office=0A617.388.5656 mobile=0A=0A=0A =0A______________________________=
______________________________________________________=0ANever miss an emai=
l again!=0AYahoo! Toolbar alerts you the instant new Mail arrives.=0Ahttp:/=
/tools.search.yahoo.com/toolbar/features/mail/

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

From: David Joseph Gabel <gabeld2 [at] mail.montclair.edu>
Message-ID: <135eb52135c62e.135c62e135eb52 [at] montclair.edu>
Date: Thu, 25 Jan 2007 10:30:30 -0500
Subject: New Member

Hi, I'm Dave and I'm a BFA Production Design major at Montclair State University. I want to concentrate on sound design and engineering. Thank you.
--Dave


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

From: "Steven Santos" <steven [at] simplycircus.com>
Subject: RE: electricity to revolving stage
Date: Thu, 25 Jan 2007 10:32:58 -0500
Message-ID: <FDEPKKINFFFAJOOJMIKBEEALFAAA.steven [at] simplycircus.com>
In-Reply-To: <list-41634086 [at] prxy.net>

> Pardon my saying so, but doesn't this method form the basis of an
> installed widow-maker.....

> ie the capability of having 2 or more PLUGS in parallel means
> that any plugs that aren't connected to the supply sockets will
> have the mains volts present on the pins....
>
> Or have I read you wrong?

My fault for the misunderstanding, I tried to write it quickly, which is
often a mistake.


.                       Main power (say a dedicated 125v/15a breaker)
.                           |
.                          box
.                         /   \
.                     cable1  cable2

Simple enough.

On the turn table you have 6 plugs that lead to your on-table electrical
distribution:


.                       p1    P2
.                         \  /
.                     p6 - ed - p3
.                         /  \
.                       p5    p4

As the table turns, you swap plugs in turn, allowing continuous power to the
platform at 125v/15a.  Your on-platform distribution would then feed power
to whatever it is that you need to feed power to.

This is a very simple setup.  You can obviously get more complex with such a
thing, doing the same with low-voltage stuff, or using any number of high
voltage circits, allowing all of your control packs and what not to be off
stage.

Oh, and if what you are thinking is that you should use the standard 3-prong
plugs, thats not what I mean at all.  There are pleanty of UL listed
connectors capable of doing thins sort of thing that don't leave uncovered
pins - thats just common sense.


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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 25 Jan 2007 15:35:29 GMT
Subject: Re: Projectors
Message-Id: <20070125.073627.18186.1145570 [at] webmail36.lax.untd.com>

Mount a CD drive with plumbers tape, making sure the drawer opens in =

front of the lens, get a power supply plus a switch, and you're done.
/s/ Richard
_____________________
To go back to the LCD projector thread, does anyone have an elegant =

low-tech solution for dowsing/baffling a projector (5000 lumens in my =

case) since it does not project a true black?  It is hung in the =

house, so whatever the baffle is, it does not allow for easy access =

to operate.  Thank you!
 =

Anna Labykina
Technical Director
The Boston Conservatory
617.912.9129 office
617.388.5656 mobile


 =

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


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

From: "Jon Lagerquist" <jon [at] lagerquist.com>
Date: Thu, 25 Jan 2007 08:14:08 -0800
Subject: Re: Projectors
Reply-to: jon [at] lagerquist.com
Message-ID: <45B866D0.2295.7DDAE61 [at] jon.lagerquist.com>
In-reply-to: <list-41635460 [at] prxy.net>
References: <list-41635460 [at] prxy.net>

Engineering Solutions make a couple of dowesrs that are reasonably 
priced with varying control options.

http://www.response-box.com/flapper.shtml

And I believe that City Theatrical not has one.


> low-tech solution for dowsing/baffling a projecto


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


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

Subject: Stage Directions Magazine
Date: Thu, 25 Jan 2007 08:17:38 -0800
Message-ID: <793BE9C001D3D545A5CEE4B50BE02FBB99DBE5 [at] webserver1.timelesspub.local>
From: "Terry Lowe" <tlowe [at] plsn.com>

Hello list members,

Just a note to remind you if you have not signed up for a free
subscription to Stage Directions magazine if you want to receive the
March issue please try and sign up in the next few days. We will be
updating the subscription list next week and those that have signed up
by Tuesday will get the March issue. www.stage-directions.com/subscribe=20

Thanks

Terry Lowe, Publisher
Projection, Lights & Staging News www.plsn.com
FRONT of HOUSE www.fohonline.com
Stage Directions www.stage-directions.com
Event Production Directory www.epdweb.com
Executive Director, Parnelli Awards www.parnelliawards.com
PLSN & FOH Bookshelf www.plsnbookshelf.com
Ph. 702-932-5585  Cell 818-384-8456
FAX 702-932-5584  tlowe [at] plsn.com=20
=20
Informing Creative Minds...


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

Subject: Stage Directions
Date: Thu, 25 Jan 2007 08:19:32 -0800
Message-ID: <793BE9C001D3D545A5CEE4B50BE02FBB99DBE6 [at] webserver1.timelesspub.local>
From: "Terry Lowe" <tlowe [at] plsn.com>

Hello list members,

Just a note to remind you if you have not signed up for a free
subscription to Stage Directions magazine if you want to receive the
March issue please try and sign up in the next few days. We will be
updating the subscription list next week and those that have signed up
by Tuesday will get the March issue. www.stage-directions.com/subscribe=20

Thanks

Terry Lowe, Publisher
Projection, Lights & Staging News www.plsn.com
FRONT of HOUSE www.fohonline.com
Stage Directions www.stage-directions.com
Event Production Directory www.epdweb.com
Executive Director, Parnelli Awards www.parnelliawards.com
PLSN & FOH Bookshelf www.plsnbookshelf.com
Ph. 702-932-5585  Cell 818-384-8456
FAX 702-932-5584  tlowe [at] plsn.com=20
=20
Informing Creative Minds...

		=09

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

Message-ID: <ce2084ad0701250819p2e64c3aay2929a3b58051e71d [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 11:19:07 -0500
From: "Ken Romaine" <ken.stagecraft [at] gmail.com>
Subject: Re: Projectors
In-Reply-To: <list-41635460 [at] prxy.net>
References: <list-41635460 [at] prxy.net>

Anna:

City Theatrical makes something that might help:
http://www.citytheatrical.com/la-dmxIris.htm#projector
or
http://tinyurl.com/28q363

This might even be in someone's rental stock up your way.

Hope this enlightens.
-- 
Ken Romaine
Business Development Manager
Barco Media & Entertainment
The opinions expressed here are mine - all mine - no matter how
much I want to impose them on the rest of the world.

On 1/25/07, Anna <ani_td [at] yahoo.com> wrote:
>
> To go back to the LCD projector thread, does anyone have an elegant low-tech solution for dowsing/baffling a projector (5000 lumens in my case) since it does not project a true black?  It is hung in the house, so whatever the baffle is, it does not allow for easy access to operate.  Thank you!
>
> Anna Labykina
> Technical Director
> The Boston Conservatory
> 617.912.9129 office
> 617.388.5656 mobile

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

Message-ID: <45B8D8F4.8070400 [at] gmail.com>
Date: Thu, 25 Jan 2007 11:21:08 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: electricity to revolving stage
References: <list-41635747 [at] prxy.net>
In-Reply-To: <list-41635747 [at] prxy.net>

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

> My fault for the misunderstanding, I tried to write it quickly, which is
> often a mistake.
> 
> 
> .                       Main power (say a dedicated 125v/15a breaker)
> .                           |
> .                          box
> .                         /   \
> .                     cable1  cable2
> 
> Simple enough.
> 
> On the turn table you have 6 plugs that lead to your on-table electrical
> distribution:
> 
> 
> .                       p1    P2
> .                         \  /
> .                     p6 - ed - p3
> .                         /  \
> .                       p5    p4
> 
> As the table turns, you swap plugs in turn, allowing continuous power to the
> platform at 125v/15a.  Your on-platform distribution would then feed power
> to whatever it is that you need to feed power to.

> Oh, and if what you are thinking is that you should use the standard 3-prong
> plugs, thats not what I mean at all.  There are pleanty of UL listed
> connectors capable of doing thins sort of thing that don't leave uncovered
> pins - thats just common sense.

Even so, when you are plugged into P1, aren't P2-P6 also energized? 
Even with covered pins this doesn't seem wise to me. What happens if the 
deck electricians misscommunicate and Cable1 and Cable2 are plugged 
simultaneously?

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

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

Message-ID: <45B8DA46.3070503 [at] gmail.com>
Date: Thu, 25 Jan 2007 11:26:46 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: Projectors
References: <list-41635460 [at] prxy.net>
In-Reply-To: <list-41635460 [at] prxy.net>

Anna wrote:
> ---------------------------------------------------
> 
> To go back to the LCD projector thread, does anyone have an elegant
> low-tech solution for dowsing/baffling a projector (5000 lumens in my
> case) since it does not project a true black?  It is hung in the
> house, so whatever the baffle is, it does not allow for easy access
> to operate.  Thank you!

The lowest-tech way I've done this is to cut a square dowser out of 
scrap luan to just larger than your lens.  Cut tracks just larger than 
the width of your luan in two scrap pieces of 5/4 (or whatever you have 
laying about.)  Put the luan in the tracks, slap some more scrap wood on 
the top and bottom and paint it all black.  Attach the whole 
thing-a-ma-bob to a C-clamp or side arm and hang in front of your 
projector.  Now run tie-line from your makeshift dowser back to your 
operator.  Pull on the tie-line and the dowser is open.  Give the 
tie-line some slack and the dowser slides closed.  You may have to add 
some washers to the dowser if you have a long operating line.  Also, 
some (flameproofed) duve or velour on the dowser may help control bounce 
from the projector.

I did this for a two-projector setup at IC a few years back.  The 
longest part of the project was running the tie-line to the operator.

Hope this helps.

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

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

From: "Jon Lagerquist" <jon [at] lagerquist.com>
Date: Thu, 25 Jan 2007 08:29:35 -0800
Subject: Re: electricity to revolving stage
Reply-to: jon [at] lagerquist.com
Message-ID: <45B86A6F.18898.7EB8CCB [at] jon.lagerquist.com>
In-reply-to: <list-41628619 [at] prxy.net>
References: <list-41620522 [at] prxy.net>, <list-41622446 [at] prxy.net>, <list-41628619 [at] prxy.net>

A collector ring, also know as a commutator ring, at the center pivot 
will do this. It has been may years since I bought mine from 
Industrial Electric Reels but they so I am sure the price has gone 
up.

But for ease and low cost the wraps at the center is the way to do 
this. Good wire and very careful attention to the number of turns are 
critical to this approach. Do full scale tests early so you can see 
how your cable will behave.

The challenge of getting wire to the center for either a ring or a 
cable wrap (and for both I suggest an access trap) can be dealt with 
by laying a castor deck. This can be two layers or a single layer 
with runs routed in. I find a two layer installation is easier to get 
the wiring into. This can also smooth out a floor. While running 
wheels up is nice there are may times when it is not practical. 

Obviously the more circuits you need the more challenging this is in 
all cases. So determining what can double or triple between scenes 
with the aid of A/B/C boxes is very important. I suggest setting thes 
up so you can have everything on, so the lights dim to half and you 
see them rotate off and the new set rotates in with fixtures glowing.

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


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

Message-Id: <6.2.5.6.2.20070125112653.033d9208 [at] cornell.edu>
Date: Thu, 25 Jan 2007 11:34:02 -0500
From: Ford Sellers <fhs4 [at] cornell.edu>
Subject: Re: Projectors
In-Reply-To: <list-41635460 [at] prxy.net>
References: <list-41635460 [at] prxy.net>

We use the motors from CD drives (Ya know, like on the old computers, 
sitting in the back of someone's office, just waiting to be junked) 
mounted to a board just offset from eachother so that in the "open 
position" the drawers are about 3" apart.  We wire them up to a 
switch that will give forward and reverse polarity  (so that we can 
open and close them), then cut pieces of black poster-board in a 
zigzag shape so that as the carriages open (ie the doors move toward 
each other) the fingers of poster-board gradually and evenly douse 
the image.  The offset should be as small as you can make it to help 
eliminate any light leak.  Although it looks kinda Clampett like in 
it's design, it works quite well.

  At 10:24 AM 1/25/2007, you wrote:
>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>To go back to the LCD projector thread, does anyone have an elegant 
>low-tech solution for dowsing/baffling a projector (5000 lumens in 
>my case) since it does not project a true black?  It is hung in the 
>house, so whatever the baffle is, it does not allow for easy access 
>to operate.  Thank you! Anna Labykina Technical Director The Boston 
>Conservatory 617.912.9129 office 617.388.5656 mobile 
>____________________________________________________________________________________ 
>Never miss an email again! Yahoo! Toolbar alerts you the instant new 
>Mail arrives. http://tools.search.yahoo.com/toolbar/features/mail/

************************
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: <6.2.5.6.2.20070125113713.03131d28 [at] cornell.edu>
Date: Thu, 25 Jan 2007 11:42:28 -0500
From: Ford Sellers <fhs4 [at] cornell.edu>
Subject: Re: Projectors
In-Reply-To: <list-41637417 [at] prxy.net>
References: <list-41635460 [at] prxy.net>
 <list-41637417 [at] prxy.net>

The issue with using one CD drive, or piece of luan (as Steve and 
Richard suggest) is that you tend to get a wipe, instead of a 
dissolve.  The more acute the angles on your "douser leaves" the more 
of a dissolve you'll get instead of a wipe.  You can try it with 
paper first (using your hands as the "motor") to get the angles right.

Hope that helps.
-Ford

At 11:26 AM 1/25/2007, Steve L' wrote:

>The lowest-tech way I've done this is to cut a square dowser out of 
>scrap luan to just larger than your lens.  Cut tracks just larger 
>than the width of your luan in two scrap pieces of 5/4 (or whatever 
>you have laying about.)  Put the luan in the tracks, slap some more 
>scrap wood on the top and bottom and paint it all black.  Attach the 
>whole thing-a-ma-bob to a C-clamp or side arm and hang in front of 
>your projector.  Now run tie-line from your makeshift dowser back to 
>your operator.  Pull on the tie-line and the dowser is open.  Give 
>the tie-line some slack and the dowser slides closed.  You may have 
>to add some washers to the dowser if you have a long operating 
>line.  Also, some (flameproofed) duve or velour on the dowser may 
>help control bounce from the projector.
>-----------------------------------------------------------------------------------------------------------------------------------------------

Richard Said:
>Mount a CD drive with plumbers tape, making sure the drawer opens in
>front of the lens, get a power supply plus a switch, and you're done.
>/s/ Richard

************************
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 


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

Date: Thu, 25 Jan 2007 11:53:08 -0500
Subject: Spike tape
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <C1DE4AA4.3F9D%jdougher [at] middlebury.edu>

Stephen Litterst asked:

What can you do with a tape
spike that you can't with a ribbon.

How about:

Label linesets on the rail.
Hang a cue sheet up on the wall.
Color code everything.
Play quoits with the rolls on belaying pins.

It's not so good at tying back long hair.

Our runs are short, so tape spikes haven't presented the problems others
have experienced.

- Jim Dougherty
ATD, Middlebury College Theatre Dept.




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

Date: Thu, 25 Jan 2007 12:22:33 -0500
Subject: Summer Stock
From: Stephen Rees <stephen.rees [at] fredonia.edu>
Message-ID: <C1DE5189.661B%stephen.rees [at] fredonia.edu>
In-Reply-To: <list-41633541 [at] prxy.net>

I agree with Steve.  The ambitious ones find very good work even thought
they might have to go a bit farther afield. Ours also are finding work in
S/S opera which seems to be seeing a bit of an increase.

Steve Rees


On 1/25/07 9:22 AM, "Stephen Litterst" <litterst.stagecraft [at] gmail.com>
wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Kevin Lee Allen wrote:
> 
>> ---------------------------------------------------
>> 
>> 
>> Given the decreasing number of summer stock companies, what do people
>> do to learn/hone their crafts?
>> 
>> Theme Parks?
> 
> I haven't found the number of summer stock companies to have an effect
> on my students' ability to find summer work.
> 
> That said, other options have been theme parks, scenic studios and the
> more advanced design students occasionally got summer work with
> consulting and design firms in NYC.
> 
> Steve L.


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

Reply-To: <joe [at] stage-tech.com>
From: "Joe Golden" <joe [at] stage-tech.com>
Subject: RE: electricity to revolving stage
Date: Thu, 25 Jan 2007 09:42:13 -0800
Organization: Stage-Tech
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAA4gtvBsmO0kiz3NcuAYKU/cKAAAAQAAAA2vmBgjdWZEmPqDmARbdqgAEAAAAA [at] stage-tech.com>
In-Reply-To: <list-41628334 [at] prxy.net>

Our rental turntable has the wheels this way, and as long as you pay
attention to how many revolutions it works great.


Joe Golden

Subject: Re: electricity to revolving stage

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

Greetings all!

I've had this appear to me before in a few shows. Our solution was to flip
the wheel...Place the castors on the floor and have them point up, placing
the platforms & set on top, allowing it to spin and have an un-obstructed
path underneath for data and power cables.

The set also spun three times, so we left extra cable in the center of the
wheel, and 'pre-spun' the cable in the opposite direction so that they
un-twisted as the set turned.

Just make sure you have a hand set the cables every night so they don't
twist out of action.

Or you could go wireless...

HTH,

Tony M Kambic
Lead Electronics Technician - City Theatrical Freelance lighting technician,
NY, NY

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Judy
> Sent: Thursday, January 25, 2007 1:27 AM
> To: Stagecraft
> Subject: electricity to revolving stage
> 
> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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





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

Date: Thu, 25 Jan 2007 12:45:10 -0500
Subject: Re: Projectors
From: "deziner [at] theatreinthepark.com" <deziner [at] theatreinthepark.com>
Message-ID: <C1DE56D6.115DF%deziner [at] theatreinthepark.com>
In-Reply-To: <list-41637142 [at] prxy.net>

For Bill Gates maybe.  Man, that's expensive.
I'd stick to some of the ideas that have been
presented.  Actually, I'm doing a show with
video projection at the beginning and end.
I'll make my own.  Thanks for the ideas.

Steve

> From: "Ken Romaine" <ken.stagecraft [at] gmail.com>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Thu, 25 Jan 2007 11:19:07 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Projectors
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Anna:
> 
> City Theatrical makes something that might help:
> http://www.citytheatrical.com/la-dmxIris.htm#projector
> or
> http://tinyurl.com/28q363
> 
> This might even be in someone's rental stock up your way.
> 
> Hope this enlightens.
> -- 
> Ken Romaine
> Business Development Manager
> Barco Media & Entertainment
> The opinions expressed here are mine - all mine - no matter how
> much I want to impose them on the rest of the world.
> 
> On 1/25/07, Anna <ani_td [at] yahoo.com> wrote:
>> 
>> To go back to the LCD projector thread, does anyone have an elegant low-tech
>> solution for dowsing/baffling a projector (5000 lumens in my case) since it
>> does not project a true black?  It is hung in the house, so whatever the
>> baffle is, it does not allow for easy access to operate.  Thank you!
>> 
>> Anna Labykina
>> Technical Director
>> The Boston Conservatory
>> 617.912.9129 office
>> 617.388.5656 mobile


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

Subject: Re: electricity to revolving stage
Date: Thu, 25 Jan 2007 12:04:59 -0600
Message-ID: <7DB3B6F15390D24D84E8194E70E20001063F2703 [at] exch.mbbc.edu>
From: "James Wright" <XJ2Wright [at] mbbc.edu>

We just did this for a production of Christmas Carol. We attached the
casters to the floor sticking up so the deck could rotate on that. Then,
we ran a cord up through the center. We also placed a little grease on
the center pivot so the cable would easily slide around it. We were able
to get 4-5 complete rotations with out any stress on the cable. I am
sure we could push it further but we decided not to. With this you can
pre set the table back 4 - 5 rotations before the show, and that will
give you 8 - 10 full forward rotations without any problems. If you need
more then than you can run the table in reverse for the second act. For
us if went off with out a hitch.=20

James Wright
Stage Crew Student Director
Maranatha Baptist Bible College
Xj2wright [at] mbbc.edu
815-543-7853

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

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Gripples
Date: Thu, 25 Jan 2007 18:17:33 +0000
Message-Id: <20070125181733.MSXY29112.aamtaout04-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: "Tom Heemskerk" <tom_heemskerk [at] hotmail.com>
> Date: 2007/01/25 Thu AM 12:30:06 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Gripples
> 
> 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. 

There were strong opinions that, since they rely on the tension in the wire for their grip, they were unsuitable in a theatrical environment. 
 

Frank Wood

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Message-ID: <a1e0aa370701251023g15124240yc6ba28c6f4f9b789 [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 12:23:15 -0600
From: "Laura McMeley" <lmcmeley [at] gmail.com>
Subject: Re: Dallas area lighting shops
In-Reply-To: <list-41610590 [at] prxy.net>
References: <list-41610590 [at] prxy.net>

I work regularly with Dallas Stage Lighting. They are good as long as
you need only conventional lighting. They have no movers. Contact is
Jim at 214-428-1818.

Christie Lights has a Dallas office. The rental rep they have me
working with is out of Canada though. I think because he works with a
lot of opera companies and understands our specific needs. Equipment
is generally in good shape. We use them when we need something DSL
doesn't carry. They will often ship things in without charging us a
shipping fee. Local # is 214-637-3535.

When we have needed movers we usually go with Gemini. Their stuff has
been good so far. They are a more concert oriented company. My contact
is Rich 214-341-4822.

Don't know much about Alford Media. I think of them as more of a sound
company, but I could be wrong.

If you use any of these, tell them I sent you. And give me a shout off
list if you want any more info about the Dallas area.


On 1/24/07, Joe Saint <joe [at] imcdlighting.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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
>
>
>
>


-- 
Laura McMeley
Resident Lighting Coordinator
The Dallas Opera
972-333-5016
LMcMeley [at] gmail.com

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

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Wireless speakers
Date: Thu, 25 Jan 2007 18:26:32 +0000
Message-Id: <20070125182636.GPVL26699.aamtaout03-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: Chip Wood <chip.a.wood [at] gmail.com>
> Date: 2007/01/25 Thu AM 12:30:46 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Wireless speakers
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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.

It depends on the detail design of the house. Few builders take the trouble to run long cables from the bell switch to a power supply and a bell or chime. Wireless doorbells are a great invention, although knowing when to change the batteries is a bit of a lottery. You sometimes have to listen hard for the postman hammering on the door.
 

Frank Wood

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From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Wireless speakers
Date: Thu, 25 Jan 2007 18:26:54 +0000
Message-Id: <20070125182654.GQAF26699.aamtaout03-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: Chip Wood <chip.a.wood [at] gmail.com>
> Date: 2007/01/25 Thu AM 12:30:46 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Wireless speakers
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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.

It depends on the detail design of the house. Few builders take the trouble to run long cables from the bell switch to a power supply and a bell or chime. Wireless doorbells are a great invention, although knowing when to change the batteries is a bit of a lottery. You sometimes have to listen hard for the postman hammering on the door.
 

Frank Wood

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

Message-ID: <AYXZ6$GKgPuFFwvM [at] ntlworld.com>
Date: Thu, 25 Jan 2007 18:33:46 +0000
From: Clive Mitchell <bigclive1 [at] ntlworld.com>
Subject: Re: electricity to revolving stage
References: <list-41620522 [at] prxy.net>
In-Reply-To: <list-41620522 [at] prxy.net>

In message <list-41620522 [at] prxy.net>, Judy <kupfer [at] post.tau.ac.il> writes
>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?

Is there any chance the feed cables can be dropped from above or fed 
from below in an exact central position?  (Hollow hub).  That way the 
cables would be subjected to mild twisting during the rotations that 
could be unplugged and untwisted before each show.

Slip rings are too expensive/messy for anything but a permanent 
attraction or ride.  They are also prone to having large areas of live 
metal exposed, so are not suited to tampering by theatre technicians. 
Data through slip rings is always a laugh.

I get this strange image of a stage rumbling around with showers of 
sparks coming from under it and all the lights on each set dipping and 
flickering. :)
-- 
Clive Mitchell
http://www.bigclive.com

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

Date: Thu, 25 Jan 2007 13:43:18 -0500
From: "Ed Hills" <ed [at] designersfortheatre.com>
Subject: Movies & PA
In-reply-to: <list-41632876 [at] prxy.net>
Reply-to: <ed [at] designersfortheatre.com>
Message-id: <007001c740b0$aee3b990$ed01a8c0 [at] prescott>
References: <list-41611726 [at] prxy.net> <list-41616291 [at] prxy.net>
 <list-41618833 [at] prxy.net> <list-41632876 [at] prxy.net>

Hello All-

So I need to share my PA with a movie sound system.

I think I'll be doing this on the line side of things.

The question is..

Should I use some kind of arrangement of double pole switches or make a
small xlr patch bay.

 

Ed Hills

Center Theatre

Dover Foxcroft, ME


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

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Accommodating out-of-spec DMX receiver devices
Date: Thu, 25 Jan 2007 18:46:39 +0000
Message-Id: <20070125184639.ULZJ17393.aamtaout02-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: Mitch Hefter <stagecraft03 [at] DesignRelief.com>
> Date: 2007/01/25 Thu AM 03:17:10 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Accommodating out-of-spec DMX receiver devices
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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.

Call me a grumpy old sod if you will: I probably am. But the DMX specification is written down on several pieces of paper, including allowable tolerances. If some outfit is selling gear as DMX-compatible, and it fails to meet the specifation, this rings warning bells. What is the rest of the design like?


Frank Wood

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From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Accommodating out-of-spec DMX receiver devices
Date: Thu, 25 Jan 2007 18:46:47 +0000
Message-Id: <20070125184647.NGZB29112.aamtaout04-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: Mitch Hefter <stagecraft03 [at] DesignRelief.com>
> Date: 2007/01/25 Thu AM 03:17:10 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Accommodating out-of-spec DMX receiver devices
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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.

Call me a grumpy old sod if you will: I probably am. But the DMX specification is written down on several pieces of paper, including allowable tolerances. If some outfit is selling gear as DMX-compatible, and it fails to meet the specifation, this rings warning bells. What is the rest of the design like?


Frank Wood

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

Date: Thu, 25 Jan 2007 10:51:47 -0800 (PST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Accommodating out-of-spec DMX receiver devices
In-Reply-To: <list-41642173 [at] prxy.net>
Message-ID: <Pine.LNX.4.64.0701251051120.3434 [at] valour.domainvanhorn.com>
References: <list-41642173 [at] prxy.net>

On Thu, 25 Jan 2007, frank.wood95 [at] ntlworld.com wrote:

> Call me a grumpy old sod if you will: I probably am. But the DMX specification 
> is written down on several pieces of paper, including allowable tolerances. If 
> some outfit is selling gear as DMX-compatible, and it fails to meet the 
> specifation, this rings warning bells. What is the rest of the design like?

I absolutely agree!!!  This never happens with MIDI equipment...  ;-)

C

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

Message-Id: <3.0.6.32.20070125113509.00c8f5b0 [at] pop.west.cox.net>
Date: Thu, 25 Jan 2007 11:35:09
From: CB <psyd [at] cox.net>
Subject: Portable Stages and Building Code

>I hope that like so much electronic, this stuff turns the corner and starts 
>getting lighter and smaller.  That would be a better solution.

Just pointing out that there are a lot of architechtural and consultory
folk that look at this kind of thinking as 'problem solving'. (Not
necessarily saying that you do, Bill, this just brought it up...)  Our
electrical sub for the television studio suggested that we could cut down
on the amount of power that we needed and the the amount of HVAC because
very shortly LED's and flouros were going to replace the incandescents that
we were presently using.  This was early nineties?  Some of the instruments
purchased for the new stduio are still in use, and as of yet, there are not
flouros other than works, and no LED's other than the 'on air' indicators
on the cameras...
OTOH, we still had to use a chain motor to get the console to the mix
position at Dead Bob's.
				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

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

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Cage Match?
Date: Thu, 25 Jan 2007 19:02:24 +0000
Message-Id: <20070125190224.NOQS29112.aamtaout04-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: megironda [at] att.net (Gerry G.)
> Date: 2007/01/25 Thu AM 06:07:55 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> CC: Andy [at] DucksEchoSound.com (Andy Leviss)
> Subject: Re: Cage Match?
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Let's be honest, EVERYBODY thinks they can mix, most people don't pretend they can rig....
> Gerry G.

Everybody probably can, to their own satisfaction. But that is not what they are there for.They are there to mix for the audience's satisfaction, and maybe the director's. That is a lot less easy. It requires a sophisticated judgment, and a lot of experience.


Frank Wood

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

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Cage Match?
Date: Thu, 25 Jan 2007 19:02:34 +0000
Message-Id: <20070125190234.UUEZ17393.aamtaout02-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: megironda [at] att.net (Gerry G.)
> Date: 2007/01/25 Thu AM 06:07:55 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> CC: Andy [at] DucksEchoSound.com (Andy Leviss)
> Subject: Re: Cage Match?
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Let's be honest, EVERYBODY thinks they can mix, most people don't pretend they can rig....
> Gerry G.

Everybody probably can, to their own satisfaction. But that is not what they are there for.They are there to mix for the audience's satisfaction, and maybe the director's. That is a lot less easy. It requires a sophisticated judgment, and a lot of experience.


Frank Wood

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

Message-Id: <3.0.6.32.20070125114402.00c8f5b0 [at] pop.west.cox.net>
Date: Thu, 25 Jan 2007 11:44:02
From: CB <psyd [at] cox.net>
Subject: Recording Headet calls from Clear Com

>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.  

'Seasy.  Take the output of the 'com and use one of the Rat Shack
Transformers (XLRF - 1/4" TS) and plug that into a line in of your console.
 I used to do that to get com to me, and use a pre-send to take the TB mic
to the Program Input of the Main Station to get an additional 'beltpack and
headset' ina  small college proscinium theatre that shall remain nameless.
Once you've plugged into the trxfmr, you've removed any actual connection
to the 'com channel, and thus removed the DC power 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

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

Message-Id: <3.0.6.32.20070125114712.00c8f5b0 [at] pop.west.cox.net>
Date: Thu, 25 Jan 2007 11:47:12
From: CB <psyd [at] cox.net>
Subject: RE: Portable Stages and Building Code

>You're a sound guy.  What do you care HOW your boxes get out there?

I push boxes, I carp, , I'll load trucks, I'll even rig, given enough
proper supervision.  I do it all. It's goin' to the gym at scale, brotha!
OTOH, see my previous post about the double switchback into the building
and the chainmoter to get the console to the mix position.

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

Message-ID: <479f37ff0701251117x62552ee2ua8ad76060ad0f79f [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 13:17:40 -0600
From: "Mouse Johnston" <shackledmouse [at] gmail.com>
Subject: HI!!

My name is Mouse, and I've worked with Paul going on three years now
as one of his work study girls. Even so, this is the first chance I've
been able to take his class, so here I am....

HI!!!!!

Don't really know what else to say, but I'll be dropping in
periodically, so I guess I'll see ya around!

~Mouse

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

Message-ID: <479f37ff0701251119x3bd8dc12lc6ec3da3079b737 [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 13:19:50 -0600
From: "Mouse Johnston" <shackledmouse [at] gmail.com>
Subject: Re: electricity to revolving stage
In-Reply-To: <list-41620522 [at] prxy.net>
References: <list-41620522 [at] prxy.net>

Could you possibly gaff tape the cords under the platform itself, so
that the wires don't get caught up under the wheels? The cable would
of course have to be long enough to allow for the movement, but maybe
if its coiled offstage and kept an eye on by stage hands....that might
work.

~Mouse

On 1/25/07, Judy <kupfer [at] post.tau.ac.il> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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: <3.0.6.32.20070125115642.00c8f5b0 [at] pop.west.cox.net>
Date: Thu, 25 Jan 2007 11:56:42
From: CB <psyd [at] cox.net>
Subject: master script
Cc: b_ricie [at] yahoo.com

>Does anyone
>have a clever way of creating a master script with one
>language sorta super imposed near the other? 

PPT has a function that has script notes along with the slides.  If you had
two computers running simultaneously (and you should) with one running
theslide show and the back-up running in master mode, you coule follow
along in the notes section and cliskc accordingly onteh slide show computer.

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

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: electricity to revolving stage
Date: Thu, 25 Jan 2007 19:23:00 +0000
Message-Id: <20070125192300.VEYG17393.aamtaout02-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: Judy <kupfer [at] post.tau.ac.il>
> Date: 2007/01/25 Thu AM 06:26:42 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: electricity to revolving stage
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 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?

My first reaction is to shoot the director and designer. Also the SM, for letting a problem like this get through the production conference. However, this is not really practical.

Some system of slip rings under the revolve might be possible. Plumbers' copper pipe and paddles dropping from the revolve might work, and not be too costly. Another possibility is to have enough slack in the cables to handle the twists, but this involves having the crew wind it all the way back every night.It might be possible to rig a laptop on the revolve to carry out the control functions, with a wireless network interface to it. Just three ideas off the top of my head.

At the post-mortem, you should be vociferous in your criticism of the management structure which put you in this position.


Frank Wood

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

Date: Thu, 25 Jan 2007 14:24:21 -0500
Subject: Re: HI!!
From: Stephen Rees <stephen.rees [at] fredonia.edu>
Message-ID: <C1DE6E15.663A%stephen.rees [at] fredonia.edu>
In-Reply-To: <list-41643218 [at] prxy.net>

Shackledmouse.  Hmmmm. Another Rigger, perhaps. :)  But then she would be
moused shackle, I suppose.
Welcome to the madness.
Steve Rees


On 1/25/07 2:17 PM, "Mouse Johnston" <shackledmouse [at] gmail.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> My name is Mouse, and I've worked with Paul going on three years now
> as one of his work study girls. Even so, this is the first chance I've
> been able to take his class, so here I am....
> 
> HI!!!!!
> 
> Don't really know what else to say, but I'll be dropping in
> periodically, so I guess I'll see ya around!
> 
> ~Mouse


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

Message-Id: <3.0.6.32.20070125120007.00c8f5b0 [at] pop.west.cox.net>
Date: Thu, 25 Jan 2007 12:00:07
From: CB <psyd [at] cox.net>
Subject: Re: Wireless speakers

>But a normal modern electric 
>door bell "bell" is rarely placed near the door

I'm thinking back to the last four or five residences tht I lived in with
doorbells, and they all did have them near the door.  And in the late
forties, most of them were some mechanical device, so having them near the
dooe was far too expediant to try to change things.  Where are you that the
doorbell is remoted from the door by a large margin.  Are you living in a
house too big to hear the bell from the lounge?
				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: <4590d63e0701251126h511ea066k1f6d9fc5cbfcc0c9 [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 13:26:03 -0600
From: "Warren Stiles" <warren.stiles [at] gmail.com>
Subject: Re: Gripples
In-Reply-To: <list-41641068 [at] prxy.net>
References: <list-41641068 [at] prxy.net>

There is a product similar in function that I've heard called a
glider, a rite-lock or an adjustable pick-point. I believe it has a
WLL of 250lbs. A cable threads through a barrel with a cast loop on
one end, and is locked in place. Has anyone used these before? Was the
experience positive or negative?

Thanks.

-- 
G. Warren Stiles
Production Manager
Orange Lemon Egg Canary

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

In-Reply-To: <list-41643540 [at] prxy.net>
References: <list-41641068 [at] prxy.net> <list-41643540 [at] prxy.net>
Message-Id: <9598CCA5-2C29-4C29-BDB7-8D90E793F1F5 [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Gripples
Date: Thu, 25 Jan 2007 14:29:49 -0500

often used by circus performers , , to adjust the length of guy lines  
from venue to venue, , , they tend to have real long cables so that  
they are set for working in arenas and the like but often are in  
smaller spaces / tents etc and need to shorten up the cable  
drastically before going into a come along / fence puller , , which  
is what they commonly use for tightening guy lines....


On Jan 25, 2007, at 2:26 PM, Warren Stiles wrote:

There is a product similar in function that I've heard called a
glider, a rite-lock or an adjustable pick-point. I believe it has a
WLL of 250lbs. A cable threads through a barrel with a cast loop on
one end, and is locked in place. Has anyone used these before? Was the
experience positive or negative?

Thanks.

-- 
G. Warren Stiles
Production Manager
Orange Lemon Egg Canary




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

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




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

Date: Thu, 25 Jan 2007 14:45:22 -0500
Subject: Re: Wireless speakers
From: Stephen Rees <stephen.rees [at] fredonia.edu>
Message-ID: <C1DE7302.6642%stephen.rees [at] fredonia.edu>
In-Reply-To: <list-41643498 [at] prxy.net>

Chris,
Here is an example. Although our Queen Anne Vic is only moderately large at
2300 sq ft.,  the bells are found in the kitchen on the first floor and
directly above there on the second floor.  The bells serve both the front
and rear doors (by different tones). The original owners had a housekeeper
who spent much of her time in the rear of the house in the kitchen and
laundry area. There are French doors between the front foyer and the living
space that stay closed most of the time so a bell right at the door probably
would not be heard if there was much ambient noise in the house.

Steve Rees
SUNY-Fredonia


On 1/25/07 12:00 PM, "CB" <psyd [at] cox.net> wrote:

 Where are you that the
> doorbell is remoted from the door by a large margin.  Are you living in a
> house too big to hear the bell from the lounge?
> Chris "Chris" Babbie
> Location Sound
> MON AZ


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

Message-ID: <45B908F0.1020606 [at] gmail.com>
Date: Thu, 25 Jan 2007 14:45:52 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: Wireless speakers
References: <list-41643498 [at] prxy.net>
In-Reply-To: <list-41643498 [at] prxy.net>

CB wrote:

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

> 
> I'm thinking back to the last four or five residences tht I lived in with
> doorbells, and they all did have them near the door.  And in the late
> forties, most of them were some mechanical device, so having them near the
> dooe was far too expediant to try to change things.  Where are you that the
> doorbell is remoted from the door by a large margin.  Are you living in a
> house too big to hear the bell from the lounge?

My house (circa 1964) has the doorbell xformer in the basement and the 
chime mechanism in the kitchen.  To get any further from the front door, 
the chime would have to be in the back yard.

Steve L.

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

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

Reply-To: <joe [at] stage-tech.com>
From: "Joe Golden" <joe [at] stage-tech.com>
Subject: RE: Gripples
Date: Thu, 25 Jan 2007 11:55:41 -0800
Organization: Stage-Tech
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAA4gtvBsmO0kiz3NcuAYKU/cKAAAAQAAAAeA+BX/1FIk6A7QQZbHztAwEAAAAA [at] stage-tech.com>
In-Reply-To: <list-41643540 [at] prxy.net>

Do you mean these...
http://www.versales.com/ns/specialty/verlock/verlock.html 


Joe Golden

-----Original Message-----

There is a product similar in function that I've heard called a glider, a
rite-lock or an adjustable pick-point. I believe it has a WLL of 250lbs. A
cable threads through a barrel with a cast loop on one end, and is locked in
place. Has anyone used these before? Was the experience positive or
negative?

Thanks.

--
G. Warren Stiles
Production Manager
Orange Lemon Egg Canary



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

Message-ID: <4590d63e0701251226m1b39935dya3136b0bbc221614 [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 14:26:26 -0600
From: "Warren Stiles" <warren.stiles [at] gmail.com>
Cc: joe [at] stage-tech.com
Subject: Re: Gripples
In-Reply-To: <list-41644564 [at] prxy.net>
References: <list-41643540 [at] prxy.net> <list-41644564 [at] prxy.net>

Indeed. Those, or these...
http://peaktrading.com/subcategories/default.aspx?subcategoryId=903

On 1/25/07, Joe Golden <joe [at] stage-tech.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Do you mean these...
> http://www.versales.com/ns/specialty/verlock/verlock.html
>
>
> Joe Golden
>
> --
> G. Warren Stiles
> Production Manager
> Orange Lemon Egg Canary

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

In-Reply-To: <list-41643420 [at] prxy.net>
References: <list-41643420 [at] prxy.net>
Message-Id: <027460BC-E398-45D9-9B4D-8654D3EF207F [at] comcast.net>
From: Michael de Almeida <humhead [at] comcast.net>
Subject: Re: electricity to revolving stage
Date: Thu, 25 Jan 2007 15:29:02 -0500


> From: Judy <kupfer [at] post.tau.ac.il>
> Date: 2007/01/25 Thu AM 06:26:42 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: electricity to revolving stage
>
> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
> 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?


Hello,

	Frank's idea of a slip ring would work.  I've used them before with  
varying results.  Because scraping plates of electricity can cause  
some arcing, this presents Radio Frequency Interference.  This may  
affect some equipment or make noise in the sound system.  This will  
also wear down the metal rather quickly.  You can buy pre-made slip  
rings, but I think they are expensive.  If you are going to make the  
slip ring, I would try and sway the designer into having the  
electricity out when the stage is rotating.  I believe the commercial  
slip rings use carbon brushes.  Kind of like the ones in A/C motors.   
This cuts down on noise and wear.  That may be an idea if you can  
find some motor brushes and make rings coated with copper.

	The other way I've tried is with a radio control from a RC car.  You  
can make a relay with a servo and a switch, just can't control  
level.  If you could hook the servo up to a home dimmer, that may  
work.  You'd need a battery with an inverter, though.  For 12v  
lights, I think you can even use a motor speed control, I haven't  
tried it yet, but it should work in theory.

	Just a few ideas.  Good luck with it.


Mike de Almeida
ATD/ME/MA				Phone: (860) 560-0771 	
Theaterworks, Hartford	e-mail: humhead [at] comcast.net





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

Message-ID: <fcb018350701251232x5201172ao846f1a25dfbb84f [at] mail.gmail.com>
Date: Thu, 25 Jan 2007 15:32:17 -0500
From: "Kurt Cypher" <kurt.stagecraftlist [at] gmail.com>
Subject: Re: electricity to revolving stage
In-Reply-To: <list-41643420 [at] prxy.net>
References: <list-41643420 [at] prxy.net>

On 1/25/07, frank.wood95 [at] ntlworld.com <frank.wood95 [at] ntlworld.com> wrote:
>
> My first reaction is to shoot the director and designer. Also the SM, for letting a problem like this get through the production conference. However, this is not really practical.
>

Or legal, in most jurisdictions.

Kurt

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

Date: Thu, 25 Jan 2007 15:40:08 -0500
Subject: Re: Projectors
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1DE7FD8.B897%mrtemplate [at] earthlink.net>
In-Reply-To: <list-41637651 [at] prxy.net>

Hello ford;

Any way to send me a pix or get it uploaded somewheres? Very interesting.
But as I read this, I presume that there is only one dousing speed, right?

Another way that I've seen an inexpensive douser in the past is with a color
scroller. As I recall the seam between clear acetate and complete opaque was
on a diagonal cut, like the ubiquitous "split color" used in ERS units with
a gobo to project an image with two colors. The speed of the douse was
controlled through a submaster. But I cannot recall the visual end result,
if the diagonal helped, hindered the fade, or if a straight vertical cut
might have succeeded just as well.

Fwiw.

Hth,

shelley


On 1/25/07 11:34 AM, "Ford Sellers" <fhs4 [at] cornell.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> We use the motors from CD drives (Ya know, like on the old computers,
> sitting in the back of someone's office, just waiting to be junked)
> mounted to a board just offset from eachother so that in the "open
> position" the drawers are about 3" apart.  We wire them up to a
> switch that will give forward and reverse polarity  (so that we can
> open and close them), then cut pieces of black poster-board in a
> zigzag shape so that as the carriages open (ie the doors move toward
> each other) the fingers of poster-board gradually and evenly douse
> the image.  The offset should be as small as you can make it to help
> eliminate any light leak.  Although it looks kinda Clampett like in
> it's design, it works quite well.
> 
>   At 10:24 AM 1/25/2007, you wrote:
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>> 
>> To go back to the LCD projector thread, does anyone have an elegant
>> low-tech solution for dowsing/baffling a projector (5000 lumens in
>> my case) since it does not project a true black?  It is hung in the
>> house, so whatever the baffle is, it does not allow for easy access
>> to operate.  Thank you! Anna Labykina Technical Director The Boston
>> Conservatory 617.912.9129 office 617.388.5656 mobile
>> _____________________________________________________________________________
>> _______ 
>> Never miss an email again! Yahoo! Toolbar alerts you the instant new
>> Mail arrives. http://tools.search.yahoo.com/toolbar/features/mail/
> 
> ************************
> 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
> 

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



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

Date: Thu, 25 Jan 2007 12:42:50 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Accommodating out-of-spec DMX receiver devices
In-reply-to: <list-41642162 [at] prxy.net>
Message-id: <7.0.1.0.0.20070125124113.02016480 [at] interstellar.com>
References: <list-41642162 [at] prxy.net>

At 10:46 AM 1/25/2007, frank.wood95 [at] ntlworld.com wrote:
>If some outfit is selling gear as DMX-compatible, and it fails to 
>meet the specifation, this rings warning bells. What is the rest of 
>the design like?

Low cost.  It's what people buy when they don't have a lot of 
money.  We have a lot of customers using very low cost dimmers and 
other "DJ" equipment.  We make sure they understand the limitations, 
for many projects low cost is "good enough".


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


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

Date: Thu, 25 Jan 2007 12:48:16 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: electricity to revolving stage
In-reply-to: <list-41643420 [at] prxy.net>
Message-id: <7.0.1.0.0.20070125124553.0201a088 [at] interstellar.com>
References: <list-41643420 [at] prxy.net>

At 11:23 AM 1/25/2007, frank.wood95 [at] ntlworld.com wrote:
>It might be possible to rig a laptop on the revolve to carry out the 
>control functions, with a wireless network interface to it.

Actually, a laptop with a WiFi card running VNC solves a lot of 
remote problems.  I've even debugged hardware in my office using VNC 
on my laptop while sitting in my living room (hey, if I have to work 
late, might as well put my feet up and have a beer).


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


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

Message-Id: <p06230901c1decf9b76e3 [at] [192.168.0.2]>
In-Reply-To: <list-41616054 [at] prxy.net>
References: <list-41616054 [at] prxy.net>
Date: Thu, 25 Jan 2007 16:20:59 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: Cage Match?

At 10:07 PM -0500 1/24/07, Andy Leviss wrote:

>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...


Couldn't you put us in a Halo game instead?

-- 
Dave Vick
rigger [at] tds.net

   "No comment" is a comment.

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

From: Dana Elizabeth Hornecker <horneckerd1 [at] mail.montclair.edu>
Message-ID: <13f37a613f8a5a.13f8a5a13f37a6 [at] montclair.edu>
Date: Thu, 25 Jan 2007 16:38:28 -0500

Hi my name is Dana, I'm a costume design major at Montclair state university.  I am taking drafting this semester and I look forward to communicating with you all.



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

Message-Id: <p06230902c1ded174e5e5 [at] [192.168.0.2]>
In-Reply-To: <list-41638324 [at] prxy.net>
References: <list-41638324 [at] prxy.net>
Date: Thu, 25 Jan 2007 16:39:30 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: Spike tape

At 11:53 AM -0500 1/25/07, Jim Dougherty wrote:

>Our runs are short, so tape spikes haven't presented the problems others
>have experienced.


When I was touring, it seemed I heard that rationale a lot from every 
house I went into that used tape. When I trimmed out the show, we'd 
invariably find at least one old trim mark that someone missed on the 
last load-out (or the one before that, or the one before that, &c.), 
gooping up the line. After the eleventeenth time, I made Job #1 on my 
load-in for all of the flymen who would run the rail during 
performance to pull every pipe I was using from all the way in to all 
the way out, searching for the last tape mark that "wasn't there" and 
yanking it.

I've lost count of how many flymen in N. America and Korea I turned 
on to the Joy of Ribbon over the years, but I gladly shouldered the 
job as a personal crusade. There's *nothing* worse than having a drop 
stopped halfway-in when the lights come up because the local flyman 
stopped on an old trim mark, except maybe having to explain why it 
happened to my Company Manager.

Leave the colored tape for the sound guys to plaster their cables 
with; they get a little puffy when you push a markingspike thru the 
mic line to label it with ribbon, I dunno why.

-- 
Dave Vick
rigger [at] tds.net

  "Please Sir", said Alice to the Mad Hatter in a quiet voice,
  "I should like to purchase a handgun while it is still legal."

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

Message-Id: <p06230903c1ded458932b [at] [192.168.0.2]>
In-Reply-To: <list-41643218 [at] prxy.net>
References: <list-41643218 [at] prxy.net>
Date: Thu, 25 Jan 2007 16:41:23 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: HI!!

At 1:17 PM -0600 1/25/07, Mouse Johnston wrote:

>My name is Mouse, and I've worked with Paul going on three years now
>as one of his work study girls. Even so, this is the first chance I've
>been able to take his class, so here I am....


Paul has spoken of you in the past. Welcome to the zoo.

-- 
Dave Vick
rigger [at] tds.net

  Since 1983, more than 30 people have been killed in Post Offices.
   Ya wanna know why? Because the price of postage keeps changing.

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