Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 41958972; Fri, 02 Feb 2007 03:07:16 -0800 X-List-Processed: mail.prxy.net X-ListMember: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 41958002; Fri, 02 Feb 2007 03:03:01 -0800 X-Spam-Checker-Version: SpamAssassin 3.1.7 (2006-10-05) on localhost X-Spam-Status: No, score=2.4 required=5.0 tests=ADVANCE_FEE_1,AWL,BIZ_TLD, NO_RECEIVED,NO_RELAYS,PRXY_USER_BODY_AMBIEN,PRXY_USER_BODY_CIALIS, PRXY_USER_BODY_VALIUM,SARE_LWSHORTT,SUBJ_HAS_UNIQ_ID autolearn=no version=3.1.7 X-Spam-Level: ** X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: List-Archive: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #1125 Date: Fri, 02 Feb 2007 03:01:51 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-TFF-CGPSA-Version: 1.4 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #1125 1. Re: cello platform by Dorian Kelly 2. Dash pot by "Delbert Hall" 3. Re: Outdoor Lighting Fixture Suggestion by "Delbert Hall" 4. Re: Fire Doors... by Bruce Purdy 5. Re: Fire Doors... by "David B. Nelson" 6. Re: Dash pot by "Michael Brubaker" 7. Re: USITT List Get Together? by Stephen Litterst 8. Job Posting Asia Society by Stan Pressner 9. Re: Thank you by "ladesigners [at] juno.com" 10. Re: Fire Doors by "Bill Conner" 11. Re: Mike Brubakers pix of Indy by Philip Johnson 12. AARP by "Bill Conner" 13. Operating line size by "Bill Conner" 14. Re: Laser Saw Blade Device by SS 15. looking for a muslin drop by "neesa" 16. bad puns (was Re: Non-Manila Counterweight Operatng line) by "Michael Powers" 17. VectorWorks Spotlight Training Workbook by "Kevin Linzey" 18. Re: Thank you by Ford Sellers 19. Re: Brecht's Poem "The Lighting" by MartySrq [at] aol.com 20. Re: Outdoor Lighting Fixtures by Steve Shelley 21. Re: Brecht's Poem "The Lighting" by Steve Shelley 22. Re: Outdoor Lighting Fixtures by KEITH ARSENAULT 23. Re: Outdoor Lighting Fixture Suggestion by 24. Re: Movies & PA by 25. Re: how old by 26. Re: how old?? by 27. L Hand/R Hand by Stephen Rees 28. Re: L Hand/R Hand by "Paul Schreiner" 29. Re: L Hand/R Hand by Bruce Purdy 30. Re: Outdoor Lighting Fixture Suggestion by Stephen Litterst 31. Hello Group, USITT assistance by "Stirling Shelton" 32. Re: Mike Brubakers pix of Indy by Mick Alderson 33. Re: Outdoor Lighting Fixtures by "DON EARL" 34. Re: Today's coolest new thing by "Paul Marsland" 35. Re: Hello Group, USITT assistance by "Adriane Bennett" 36. Re: Outdoor Lighting Fixtures by "Jeffrey E. Salzberg" 37. Re: Outdoor Lighting Fixtures by "Jeffrey E. Salzberg" 38. Re: Cello Platform by CB 39. Re: USITT Reception in Phoenix by CB 40. Re: Powered Speakers by CB 41. Re: Outdoor Lighting Fixtures by Steve Shelley 42. Re: Cello Platform by "Michael Brubaker" 43. Re: Cello Platform by "Jeffrey E. Salzberg" 44. Re: Patchbays (was Re: Movies & PA) by 45. Re: Cello Platform by "Paul Schreiner" 46. Re: USITT Reception in Phoenix by "Delbert Hall" 47. Re: USITT List Get Together? by Chip Wood 48. Re: Cello Platform by "Paul Schreiner" 49. Re: Which came first / how old / could be oldest tool bought new and still by 50. Re: L Hand/R Hand by Jim Hyslop 51. Re: L Hand/R Hand by Stephen Rees 52. Re: Laser Saw Blade Device by Kyler Glaze 53. Re: Laser Saw Blade Device by Josh Ratty 54. Re: Fire Doors... by "RD" 55. Re: cello platform by Stephen Rees 56. Re: how old?? by Jerry Durand 57. Re: Mike Brubakers pix of Indy by Rigger 58. Re: AARP by Rigger 59. Re: Operating line size by Rigger 60. Re: L Hand/R Hand by Rigger 61. Re: L Hand/R Hand by "Paul Schreiner" 62. Re: Cello Platform by "Kent Laue" 63. free stuff by b Ricie 64. Re: Mike Brubakers pix of Indy by Philip Johnson 65. Re: Mike Brubakers pix of Indy by "Rob Riddle" 66. Re: Movies & PA by "Andy Leviss" 67. Re: Outdoor Lighting Fixtures by "Bill Nelson" 68. Re: Powered Speakers by "Bill Nelson" 69. Re: Fire Doors... by "Bill Nelson" *** 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: In-Reply-To: References:

Date: Thu, 1 Feb 2007 11:07:12 +0000 From: Dorian Kelly Subject: Re: cello platform >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >At 11:06 PM -0500 1/31/07, Paul Schreiner wrote: > >>> Did you hear about the musician who put a prophylactic on his instrument >>> when rehearsing? He wanted to practice safe sax. > The idea of a prophylactic on a foot spike got me thinking ( in a purely ignorant and speculative way, so forgive me if I get this utterly wrong) about the design and nature of stringed instruments. Theoretically a cello is completely self contained, its box being a tuned resonant cavity, and in a good instrument, the timber chosen and finished to have the correct stiffness to allow the best possible sound to emerge from the S-holes. Modern instruments use carbon fibre, with the foot length and material chosen and tuned to minimise acoustic energy loss from the instrument. It seems apparent that we need to get as much as possible directly from the instrument, and as little as possible from the floor. The foot obviously has a function in supporting the instrument, but is it more of a liability than an asset? The energy in this spike is concentrated into a pretty well a point source of about a quarter of an inch in diameter, having resonated in a rod a foot or so long. Perhaps this should be damped rather than encouraged? My friend who is a jazz cellist has tried bugging the spike with a pickup to see what happens and finds it produces a comparatively horrible sound, which being jazz, she uses for effect. I imagine that an acoustic platform has some ability to encourage those lovely sexy notes that a cello does so well, but in that case should we not thinks about designing platforms - if they are insisted on - on loudspeaker design principles, open baffle constant directivity, folded horn etc` and properly tuned? Or is it not better to add electronically such ambiphonics as are necessary? BTW My cellist friend uses a rubber quoit ring attached to her ankle with a piece of string to stop the cello physically slipping away from her during her wilder bowing moments, but has tried using a piece of heavy solid tyre rubber with a locating hole and finds that this damping effect makes a good difference to the sound. Dorian Kelly http://www.theatrearts.biz -- Illuminati Creative Technology 3 Gladstone Road Colchester Essex UK +44 1206 798076 07770 950964 mailto:Info [at] theatrearts.biz ------------------------------ Message-ID: Date: Thu, 1 Feb 2007 06:15:42 -0500 From: "Delbert Hall" Subject: Dash pot Anybody know how the "dash pot" got it's name? -Delbert -- Delbert L. Hall ETCP Certified Rigger - Theatre 423-773-4255 ------------------------------ Message-ID: Date: Thu, 1 Feb 2007 07:17:59 -0500 From: "Delbert Hall" Subject: Re: Outdoor Lighting Fixture Suggestion In-Reply-To: References:

> Is there a weatherized version? I have an outdoor application in mind, but > the instrument would be aimed upwards all the time and fully exposed to > the weather. I am concerned about a couple of possible problems - all the > water that would fall into the instrument and the risk of a hot lens > shattering during a sudden rain shower. > > Bill There is not an weatherized verzion that I know of. I had one PAR that was aimed straight up lighting a tree (to make it look as if it was on fire). It ran all summer (and we had lots of rain) with no problems. Now, I will admit it was only "on" about one minute per night. All the instruments in this theatre (all S4s) are exposed to the elements all summer and I have been amazed at how well they have held up over the past 10 years. Each spring when I hang them, I spray the C-clamps with LPS3 to keep them from rusting. > > > > -- Delbert L. Hall ETCP Certified Rigger - Theatre 423-773-4255 ------------------------------ In-Reply-To: References:

Message-Id: <79EDD74F-F140-4F4D-85E3-BFA27E37B52C [at] rochester.rr.com> From: Bruce Purdy Subject: Re: Fire Doors... Date: Thu, 1 Feb 2007 07:29:51 -0500 On 1 Feb 2007, at 01:09, Catherine Brumm wrote: > Also the upstage doors I was referencing are not true fire doors > and do not > have crash bars just handle type knobs on both sides. I have noticed in this thread, that the terms "Fire door" and "Emergency exit door" seem to have been used interchangeably. In my understanding, they are two different animals, although one door may - or may not- serve both functions. An emergency exit is used for, well, exiting the facility in the event of an emergency. (Fire or other.) A "Fire door" on the other hand, is there to keep a fire contained, and fills openings in a fire wall. Why is this difference important to this discussion? Well, because it is fire doors that must be able to latch (Can't be dogged). If an emergency exit door is not a fire door, then dogging it should be perfectly legal. The main audience entrance doors might or might not be fire doors, but are emergency exit doors. Those upstage doors with knobs instead of panic bars are NOT emergency exit doors - but they MIGHT be fire doors. Terminology is important. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ From: "David B. Nelson" References:

Subject: RE: Fire Doors... Date: Thu, 1 Feb 2007 08:35:27 -0500 Message-ID: <02a201c74605$d662f9e0$6401a8c0 [at] NEWTON603> In-Reply-To: Bruce Purdy writes... > I have noticed in this thread, that the terms "Fire door" and > "Emergency exit door" seem to have been used interchangeably. > In my understanding, they are two different animals, although one > door may - or may not- serve both functions. That's correct. Our facility has a third category, which the fire inspector calls a "smoke containment door". The emergency exit doors and smoke containment doors have crash bars that can be dogged and are constructed of solid wood (ours is an historic facility). The fire doors have crash bars that cannot be dogged and are constructed of gypsum with a veneer of wood. Both the smoke containment and fire doors are equipped with magnetic hold-opens connected to the fire alarm system. Regards, Dave Nelson Technical Director Adams Memorial Opera House Derry, NH, USA ------------------------------ From: "Michael Brubaker" Subject: RE: Dash pot Date: Thu, 1 Feb 2007 08:47:31 -0500 Message-ID: In-Reply-To: >Delbert Hall wrote: >Anybody know how the "dash pot" got it's name? I don't; but I do know that there was one in my 1977 Datsun B210--it governed how quickly the engine "revved down" for the lack of a better description and was actually a part of the vacuum system. Mike Brubaker ------------------------------ Message-ID: <45C1F59C.8010102 [at] gmail.com> Date: Thu, 01 Feb 2007 09:13:48 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: USITT List Get Together? References: In-Reply-To: CB wrote: > --------------------------------------------------- > > >>Hey Chip. I'm not gonna pay $2900 a night to stay in downtown, but I'd pay >>$75 to stay on the freeway somewhere. > > > For those of you that are freaking, it doesn' cost quite that much to stay > in downtown PHX, that was another in a long list of typos. I meant $200. > And, I meant that to go off-list... Apologies all around. I don't know, I wouldn't want to spend $2900 a night. I understood where you were coming from. :) Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ Message-Id: From: Stan Pressner Subject: Job Posting Asia Society Date: Thu, 1 Feb 2007 09:34:36 -0500 Folks, This is for The Asia Society in NYC, if interested, email Rachel =20 Cooper at RACHELC [at] AsiaSoc.org New York - Audio-Visual Systems Coordinator (Grade 6) =96 Code AV Posted 1/26/07 Purpose: 1) Technical Coordination for events and other program/building =20 requirements 2) Audio-visual systems equipment purchasing and maintenance and =20 purchasing of stock items 3) Training, scheduling and supervision of on-call AV staff 4) Assist Director of Events and Events Coordinator with event =20 related (non-AV) duties. Responsibilities: Work closely with program staff and Director of Events to assess =20 needs, make recommendations and coordinate audio-visual services for =20 events both in the building and on occasion, at other venues. =20 Coordinate audio-visual services of outside vendors, i.e. =20 simultaneous interpretation, special equipment etc., in cooperation =20 with staff and rental of clients. Review bid of contractors when =20 appropriate. Coordinate audio-visual services for outside clients =20 renting the facilities liaise with their audio-visual staff. =20 Knowledge about performing arts including basic lighting design, =20 sound reinforcement, music, and film projection. Purchasing: Responsible for assessing AV needs in cooperation with =20 program staff, technical support staff and Director of Events, =20 researching supplies, recommending equipment upgrades and purchases =20 and purchasing stock supplies and maintaining inventory =20 log of equipment and stock items. Maintenance: Responsible for coordinating maintenance and repair of =20 AV equipment. Assess maintenance needs and coordinate maintenance =20 calls for lighting, rigging, audio, and projection systems. Research =20 vendors for outside maintenance of equipment and coordinate outside =20= equipment maintenance with Director of Events. Maintain equipment =20 maintenance log with vendor names, fees, and other quotes. Responsible for training, scheduling and supervising on-call AV =20 staff. Coordinates the staffing needs for programs in cooperation =20 with the Director of Events. Processing time sheets and paycheck =20 distribution for on-call AV staff. AV orientation for program staff on a regular basis. Other AV duties as assigned. Assist Director of Events and Events Coordinator in general event =20 related (non-AV) duties as requested and as time permits including =20 setup, internal invoicing, database management and scheduling. =20 General knowledge of entire event overview in order to expedite needs =20= in absence of Director of Events and Events Coordinator. Requirements: College degree and 4-5 years of technical background and operation of =20= audio, video, computer and slide projection systems preferred. Working knowledge of theatrical lighting and staging used in =20 performing arts (dance, music and theater). Computer literacy, Microsoft Word for Windows applications. Prior work experience in a customer service oriented capacity, =20 working in a support services environment. Excellent interpersonal skills enabling he/she to build relationships =20= towards a team environment with experience managing staff, working =20 under pressure and meeting deadlines. Best, Stan Pressner ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 1 Feb 2007 15:20:00 GMT Subject: Re: Thank you Message-Id: <20070201.072052.15672.1117710 [at] webmail31.lax.untd.com> Dear Lauren, I consider that to be a favorable result, not just for the safety of = the actors involved with the show, but also for you, as you can = observe close up how the pros do it and presumably make inquiries if = some element does not comport with your understanding of rigging. /s/ Richard = _________________________________ Thank you very much for all your advice on flying people. I found out = today that our Director isn't making us do it anymore. I managed to = convince her by reminding her that with a stage crew of 3, maybe 4, = we'll hardly have enough people to do the scene changes, much less = the flying. That made her change her mind, and she ended up hiring = FOY (where the money is coming from I don't know, but its not my = problem). So that is a big relief. Thank you all. Lauren ------------------------------ Message-ID: <001b01c74617$a8f88580$6a01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Fire Doors Date: Thu, 1 Feb 2007 09:43:03 -0600 Someone posted: "Also the upstage doors I was referencing are not true fire doors and do not have crash bars just handle type knobs on both sides." Just to be clear, not all "fire doors" have panic bars. That is a function of number of occupants served. A door from a stage to a corridor may have a regular knob (or lever today for ADA) and latch and still be a fire door. If in doubt, there should be a label on the butt edge of the door (which codes require not be painted - but that probably is not enforced religiously) and which states the rating, either or both a letter code (A or B or C) or in time (20 min, 30 min, 1 hr, and so on). In a modern building, somewhere between the stage and the dressing rooms among other spaces there is probably a one hour or two hour fire barrier and any doors in that barrier should be rated. Bill Conner ASTC, ETCP CR-T ------------------------------ Date: Thu, 01 Feb 2007 09:45:25 -0600 Subject: Re: Mike Brubakers pix of Indy From: Philip Johnson Message-ID: In-Reply-To: Hey Dave Do you still show people where you live by pointing to the middle of your right hand? I remember we used to then spit in our hand and say by the lake. Phil Johnson Do you still show people where you live by pointing to your On 1/31/07 5:19 PM, "Rigger" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 1:54 PM -0500 1/30/07, Michael Brubaker wrote: > >> Frank, allow me to dream that Indiana isn't as flat as it is. I spent 18 >> years in hillier (is that a word?) terrain before moving here. > > > But Mike; Indiana really *isn't* as flat as it is... > > It's flatter. ------------------------------ Message-ID: <002701c74618$ae329b20$6a01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: AARP Date: Thu, 1 Feb 2007 09:50:21 -0600 Sorry if I missed earlier posts on this but I'm a member, it doesn't cost much, toss all their insurance offers, and enjoy a 10% discount on almost every hotel stay. Savings on one stay pays for membership. I haven't got time for politics. Bill Conner ASTC, ETCP CR-T ------------------------------ Message-ID: <003201c7461a$60f79200$6a01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Operating line size Date: Thu, 1 Feb 2007 10:02:30 -0600 I may have missed this discussion previously but I was curious on opinions as to handline diameter. I'm a big fan of something larger than the "standard" 3/4" of whatever material. I recall that when the Lyric Opera in Chicago was renovated, the consultant had several different handlines installed before they closed for the work and the preference was for 1 1/8" manila. I usually specify 7/8" Multiline II. (With major manufacturers all having new rope lock designs that accommodate 1", I will change to 1", but for a while only one or two manufacturers had locks that would accommodate larger than 7/8".) Yes, it costs more, the rope as well as the custom grooved head and welsh blocks, but based on feedback from users, it's appreciated. I appreciate your comments in advance. Bill Conner ASTC, ETCP CR-T ------------------------------ Message-ID: <8231e7ea0702010813l1b2083ebv24b79d5f11ca3137 [at] mail.gmail.com> Date: Thu, 1 Feb 2007 11:13:06 -0500 From: SS Subject: Re: Laser Saw Blade Device We've contemplated picking one up to try out around here. But never went beyond "talk". So, since the subject came up..... would anyone like to make a suggestion on a manufacturer/brand you recommend? I know you can pick one up at Northern Tool. Laserkerf makes one, Dewalt, Irwin, etc. Thoughts from the gallery? TIA. -SS TTS-EKU ------------------------------ From: "neesa" References: Subject: looking for a muslin drop Date: Thu, 1 Feb 2007 11:15:47 -0500 Message-ID: <001001c7461c$42037560$6d01a8c0 [at] qosmio> In-Reply-To: We are getting ready to paint our drop for our summer touring project. I am looking for a decent quality muslin drop approximately 20' x 50' -- size can vary some in that range. Last year, we were able to buy a closeout drape from Rosebrand for about $500, and in previous years, we've purchased a used drop and painted over it. Does anyone have a source for this? Thanks Neesa Hart www.frickanfrackmusic.com ------------------------------ Message-ID: <58f67b0f0702010819m625014bftb997d89d2a9c680a [at] mail.gmail.com> Date: Thu, 1 Feb 2007 10:19:39 -0600 From: "Michael Powers" Subject: bad puns (was Re: Non-Manila Counterweight Operatng line) "Bill Nelson" writes: << ........ He wanted to practice safe sax. >> Do you know why the network censor wouldn't let Issac Stern ane Kenny G play a duet on television? He thought there was already too much sax and violins on TV! (insert rim shot here!!) -- Michael Michael Powers Director of Operations Central Lighting & Equipment 1720 Fuller Rd. Suite 150 West Des Moines Iowa 50265 515-277-4190 877-977-4190 Fax 515-277-2295 515-557-0178 cell michael [at] clelights.com ------------------------------ Subject: VectorWorks Spotlight Training Workbook Date: Thu, 1 Feb 2007 11:24:23 -0500 Message-ID: <61B06A6EE345E04DA38AF5ED90B71E44E243 [at] EXCHANGE.nemetschek.net> In-Reply-To: References:

From: "Kevin Linzey" =20 There have been a few inquiries on list and off list about a training and instructional material for Spotlight. The official press release went out today, so I figured I'd post the short version to the list. http://www.nemetschek.net/news/pressreleases/2007/020107.php ...... The VectorWorks Spotlight Training Workbook provides an introduction to VectorWorks Spotlight for users in theatrical lighting, scenic design, and event production.=20 Created for new users of VectorWorks Spotlight, this 260+ page training workbook covers basic 2D drawing and editing, as well as lighting positions, light instruments and accessories, scenic elements, paperwork, and instrument keys. The accompanying CD for both Macintosh and Windows contains more than 40 illustrated exercise files, together with in-depth tutorial projects that will help new users learn how to do lighting and scenic design in both 2D and 3D. To download the table of contents and a sample chapter of the VectorWorks Spotlight Training Workbook, visit the VectorWorks Training "Books & Tutorials" web page at www.nemetschek.net/training/guides.php ...... I will have a copy in the booth at SETC and USITT in March, so feel free to stop by and take a look at it. Also, two Spotlight PLS Training sessions have been scheduled. Feb 26-28 in Las Vegas, NV and April 2-4 in New York. https://secure.nemetschek.net/store/pls/show_cities.php Kevin ------------------------------ Message-Id: <6.2.5.6.2.20070201124051.03310b88 [at] cornell.edu> Date: Thu, 01 Feb 2007 12:42:12 -0500 From: Ford Sellers Subject: Re: Thank you In-Reply-To: References: Lauren, You really sound like you have your head screwed on straight. Where are you planning on going to College? Are you planning on studying Tech Theatre or Design? At 01:33 AM 2/1/2007, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > >Thank you very much for all your advice on flying people. I found out today >that our Director isn't making us do it anymore. I managed to convince her >by reminding her that with a stage crew of 3, maybe 4, we'll hardly have >enough people to do the scene changes, much less the flying. That made her >change her mind, and she ended up hiring FOY (where the money is coming from >I don't know, but its not my problem). So that is a big relief. > >Thank you all. > >Lauren ************************ 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 ------------------------------ From: MartySrq [at] aol.com Message-ID: Date: Thu, 1 Feb 2007 12:52:38 EST Subject: Re: Brecht's Poem "The Lighting" I always heard that story about the Berliner Ensemble and Brecht's white lighting. I've also heard from people who saw performances that color was used, though sparingly. Do we actually know for sure that Brecht would not allow color or is this a topic for Mythbusters? Marty ------------------------------ Date: Thu, 01 Feb 2007 12:59:27 -0500 Subject: Re: Outdoor Lighting Fixtures From: Steve Shelley Message-ID: In-Reply-To: Greetings; For short term outdoor situations, I've found that S4 pars are usually ok, but I too worry about the bulb + rain issue. If given the option, I will usually use a PAR 64 can with a sealed-beam PAR bulb (and then worry only about the internal wiring + rain). In 2001 i installed long term lighting (long term for me, 10 weeks) on the ocean using altman's outdoor quartz pars. I had no issues with the weatherizing, though changing a burnout took some amount of time. I had a CXI on the nose and the manufacturing design of the units (at that time) did not take "nose weight" into much consideration. (we added bailing wire between CXI and hanging pipe to reduce the weight stress on the color frame holders). The altman unit provided superior punch compared to the equivalent PAR 64 and survived the ocean winds without incident. Hth, shelley On 2/1/07 7:17 AM, "Delbert Hall" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> Is there a weatherized version? I have an outdoor application in mind, but >> the instrument would be aimed upwards all the time and fully exposed to >> the weather. I am concerned about a couple of possible problems - all the >> water that would fall into the instrument and the risk of a hot lens >> shattering during a sudden rain shower. >> >> Bill > > There is not an weatherized verzion that I know of. I had one PAR > that was aimed straight up lighting a tree (to make it look as if it > was on fire). It ran all summer (and we had lots of rain) with no > problems. Now, I will admit it was only "on" about one minute per > night. All the instruments in this theatre (all S4s) are exposed to > the elements all summer and I have been amazed at how well they have > held up over the past 10 years. Each spring when I hang them, I spray > the C-clamps with LPS3 to keep them from rusting. > > >> >> >> >> > -- Steve Shelley SoftSymbols Designer MrTemplate [at] Earthlink.net www.fieldtemplate.com ------------------------------ Date: Thu, 01 Feb 2007 13:03:38 -0500 Subject: Re: Brecht's Poem "The Lighting" From: Steve Shelley Message-ID: In-Reply-To: I saw the Berliner Ensemble in east berlin in '88. All white light. **maybe** a little blue backlight but as I write this I don't think so. I can say there was also very little masking and in the fourth row we saw a **lot** of the clear broad "backlight". Brecht was not there. shelley On 2/1/07 12:52 PM, "MartySrq [at] aol.com" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I always heard that story about the Berliner Ensemble and Brecht's white > lighting. I've also heard from people who saw performances that color was > used, > though sparingly. Do we actually know for sure that Brecht would not allow > color or is this a topic for Mythbusters? > > Marty -- Steve Shelley SoftSymbols Designer MrTemplate [at] Earthlink.net www.fieldtemplate.com ------------------------------ In-Reply-To: References: Message-Id: <0CDF126C-4781-4EB7-A661-35D7623EC1CF [at] aol.com> From: KEITH ARSENAULT Subject: Re: Outdoor Lighting Fixtures Date: Thu, 1 Feb 2007 13:11:27 -0500 there at one time WAS a weatherized PAR 64, , if it is available now I do not know, but years ago, , one was spec'd and built with WALT DISNEY WORLD specifically in mind, I believe that old time USITT officer Herb Schmoll , , then of DESIGN LINE ( now defunct ) was involved in the design and COLORTRAN was the manufacturer. I was on / off the staff of Design Line during those years, , and have some memory of it. but I don't know if that instrument is still in the catalog... I don't think the issue is the lamp, , as much as it is that damnable ceramic connector, , Keith L Arsenault International Arts & Entertainment Group Tampa, Florida www.iaeginc.com 813 831 3465 office 813 205 0893 cellular iaeg [at] aol.com On Feb 1, 2007, at 12:59 PM, Steve Shelley wrote: For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Greetings; For short term outdoor situations, I've found that S4 pars are usually ok, but I too worry about the bulb + rain issue. If given the option, I will usually use a PAR 64 can with a sealed-beam PAR bulb (and then worry only about the internal wiring + rain). In 2001 i installed long term lighting (long term for me, 10 weeks) on the ocean using altman's outdoor quartz pars. I had no issues with the weatherizing, though changing a burnout took some amount of time. I had a CXI on the nose and the manufacturing design of the units (at that time) did not take "nose weight" into much consideration. (we added bailing wire between CXI and hanging pipe to reduce the weight stress on the color frame holders). The altman unit provided superior punch compared to the equivalent PAR 64 and survived the ocean winds without incident. Hth, shelley On 2/1/07 7:17 AM, "Delbert Hall" wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > >> Is there a weatherized version? I have an outdoor application in >> mind, but >> the instrument would be aimed upwards all the time and fully >> exposed to >> the weather. I am concerned about a couple of possible problems - >> all the >> water that would fall into the instrument and the risk of a hot lens >> shattering during a sudden rain shower. >> >> Bill > > There is not an weatherized verzion that I know of. I had one PAR > that was aimed straight up lighting a tree (to make it look as if it > was on fire). It ran all summer (and we had lots of rain) with no > problems. Now, I will admit it was only "on" about one minute per > night. All the instruments in this theatre (all S4s) are exposed to > the elements all summer and I have been amazed at how well they have > held up over the past 10 years. Each spring when I hang them, I spray > the C-clamps with LPS3 to keep them from rusting. > > >> >> >> >> > -- Steve Shelley SoftSymbols Designer MrTemplate [at] Earthlink.net www.fieldtemplate.com ------------------------------ Date: Thu, 1 Feb 2007 11:06:45 -0800 (PST) From: Subject: Re: Outdoor Lighting Fixture Suggestion In-Reply-To: Message-ID: <865159.13026.qm [at] web82809.mail.mud.yahoo.com> I think you can get a weather proof or resistant housing for these. I want to say the company that makes these is Tempest. I am not sure about that. I know Grand Stage in Chicago was demoing them a few months before I moved and that was almost 4 years ago. Ken Z --- Bill Nelson wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > They are not the cheapest PARs, but I have been > usring S4 PARSs in an > > outdoor theatre for 10 years. They all still work > fine. > > Is there a weatherized version? I have an outdoor > application in mind, but > the instrument would be aimed upwards all the time > and fully exposed to > the weather. I am concerned about a couple of > possible problems - all the > water that would fall into the instrument and the > risk of a hot lens > shattering during a sudden rain shower. > > Bill ------------------------------ From: Subject: Re: Re: Movies & PA Date: Thu, 1 Feb 2007 19:12:36 +0000 Message-Id: <20070201191236.XOQO29112.aamtaout04-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: CB > Date: 2007/01/30 Tue AM 11:31:14 GMT > To: "Stagecraft" > Subject: Re: Movies & PA > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > I think we may be coming to a difference in terminology, here. The term > 'pathchbay' is being used for both the panel on the upstage wall of the pro > where mics and amps get plugged; as well the input/output - > normaled/half-normaled, etc. routing patchfield in the booth. XLR for the > former, without question or argument, but definitely 1/4" for the latter > (routing) *because* of the ability to normal-through (pull all the patch > cables and the sytem defaults to 'normal'), half-normal, etc. > I can get to five theatres, six television stations and three upscale > recording studios studios in under a half-hour that all use the 1/4" patch > cables for routing. I don't know of any that use an XLR bay in that > configuration. All of the above mentioned venues *do* use XLR to patch > inputs and outputs in their studios or proscenium spaces. For once in a while, I agree with Chris. XLR for microphone cables, apart from the few manufacturers who use DIN connectors, and 1/4" jacks for routing patchbays. These are compact and reliable, provided that you use the proper connectors and 'tinsel' cable. These have the most effective cable clamp I have met; a 1/4" screw thread into which the proper cable just screws, with the screen pigtail. Beware of the smaller 3/16" variety. One or two manufacturers of sound desks used these on their 'insert' jackfields, as being more compact. They had a terrible reputation for unreliability. I should be interested to know what, if any, is the standard for speaker connectors, carrying high currents. The XLR-3 will handle up to 15A, and the AXR range up to 25A. The latter never took off, and most people went for the Neutrik connectors. These seem to be a norm in the UK. > 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 > Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ From: Subject: Re: Re: how old Date: Thu, 1 Feb 2007 19:18:34 +0000 Message-Id: <20070201191834.XNBS26699.aamtaout03-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: "Paul Schreiner" > Date: 2007/01/30 Tue PM 07:08:24 GMT > To: "Stagecraft" > Subject: Re: how old > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > A twerp. > > > > If and when you have something useful and relevant to post, I > > shall be glad to hear from you. > > Wow. Somebody found something stinky in his oatmeal this morning... > > Y'know, Frank, there's a whole lotta people on this list who are wishing > you'd take your own advice in that last sentence. Lighten up. > My apologies. I must have been in a bad mood when I posted. Not that I think it unjustified, but it could have been more tactfully said. Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ From: Subject: Re: Re: how old?? Date: Thu, 1 Feb 2007 19:31:23 +0000 Message-Id: <20070201193123.XUGW26699.aamtaout03-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Jerry Durand > Date: 2007/01/30 Tue PM 07:28:06 GMT > To: "Stagecraft" > Subject: Re: how old?? > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > Frank, I know this is a bit modern for you, but in the world of 32 > and 64 bit busses, there's additional problems (I have the headache > remedy bill to prove it). What I ran into is how do you handle > endien (bit, byte, and word) when interfacing two different busses > (in my case, Intel PCI-32 to Power PC-64). There are so many ways > things can be reversed it could almost drive me sane! > > Simple Binary? Phbbbt! Simple binary! Whether expressed in hex notation or whatever, and you need to know a certain amount of decimal arithmetic for this, this will always work. Write it down, apply the appropriate place values, and add it up. Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Date: Thu, 01 Feb 2007 14:52:35 -0500 Subject: L Hand/R Hand From: Stephen Rees Message-ID: In-Reply-To: On 1/31/07 10:33 PM, "Paul Schreiner" wrote: > > A right-handed tape (theoretically) should have the clip on the > side...well, set a tape on the stage floor, with the business end > downstage. The belt clip should be stage right, and the numbers > should be aligned so that they are readable from stage right as well. > I'm sure that it would be a fluke that manufacturers would design much of anything that naturally worked well for those left-handers like me who are in the minority (in the world, not necessarily this business). So Paul, now I'm confused. I'm left handed. I stand here with a tape measure in my right hand, pull the hook out with my left and measure from left to right and mark with pencil in my left hand. The numerals are right side up and readable. The belt hook goes on my right hip with the tape hook pointing forward. Is this a left or right handed tape? If this is right handed tape, then the nomenclature seems reversed. Steve R. ------------------------------ Subject: RE: L Hand/R Hand Date: Thu, 1 Feb 2007 15:03:51 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A074F9912 [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" > I'm left handed. I stand here with a tape measure in my right=20 > hand, pull the hook out with my left and measure from left to=20 > right and mark with pencil in my left hand. The numerals are=20 > right side up and readable. > The belt hook goes on my right hip with the tape hook=20 > pointing forward. Is this a left or right handed tape? If=20 > this is right handed tape, then the nomenclature seems reversed. Every single tape measure I've ever seen (except the one I'm bemoaning) is exactly as you describe. When I searched for "right-handed tape measures" yesterday, all the pics are of this sort of arrangment. Apparently, it's the hand you'd use it in that is referenced in "right-vs.-left" for tapes, but that makes 99.9% of the tapes out there right-handed...and awkward to use by right-handed people for actual marking of anything. Yeah, I know. Makes no sense. But that's the way it is. Apparently not enough people thought it through or something. But I've got a tape sitting on my desk right now that was part of one of those bargain 4-packs or whatever, and it's designed to do precisely what your does. ------------------------------ In-Reply-To: References: Message-Id: From: Bruce Purdy Subject: Re: L Hand/R Hand Date: Thu, 1 Feb 2007 15:09:22 -0500 On 1 Feb 2007, at 14:52, Stephen Rees wrote: > I'm left handed. I stand here with a tape measure in my right > hand, pull the hook out with my left and measure from left to right > and mark > with pencil in my left hand. The numerals are right side up and > readable. > The belt hook goes on my right hip with the tape hook pointing > forward. Is > this a left or right handed tape? If this is right handed tape, > then the > nomenclature seems reversed. I'm right handed, and that's how I do it as well. Bruce ____________________ Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <45C24D00.4000304 [at] gmail.com> Date: Thu, 01 Feb 2007 15:26:40 -0500 From: Stephen Litterst Organization: University of Delaware Subject: Re: Outdoor Lighting Fixture Suggestion References: In-Reply-To: kzinkl [at] sbcglobal.net wrote: > --------------------------------------------------- > > I think you can get a weather proof or resistant > housing for these. I want to say the company that > makes these is Tempest. I am not sure about that. I > know Grand Stage in Chicago was demoing them a few > months before I moved and that was almost 4 years ago. Tempest Lighting (www.tempestlighting.com) makes enclosures for most variety of Moving Light, video projectors and ellipsoidals. They don't show anything on their website for PARs. Steve L. -- Stephen Litterst Technical Operations Supervisor litterst [at] udel.edu Center for the Arts 302/831-0601 University of Delaware ------------------------------ From: "Stirling Shelton" Subject: Hello Group, USITT assistance Date: Thu, 1 Feb 2007 15:41:30 -0500 Message-ID: <026f01c74641$5cf09e00$caae2ac0 [at] playhouse.local> Posting for Adriane Bennett.=A0 (She is chair of a session at USITT this = year and is looking for some assistance) (please email her if you would like to sit on the panel)=20 Hello All, I am soliciting help for joining a panel for this year's USITT = Conference in Phoenix.=A0 The session is a two-parter, the first section being a = theatrical "Mythbusters".=A0 I'm doing some research on some myths we run into = primarily in the scene shop and presenting the information.=A0 A light-hearted, = but scientific look as some common "myths".=A0=A0=A0 The second part of the = session is the time-honored "Stump the TD" panel.=A0 I'm hoping to have 3-4 = panelist you feel up to the challenge of fielding questions from our audience.=A0 = Think you've got what it takes to face your colleagues with your back pocket = of possibilities?=A0 Got any good myths you've already de-bunked or proven? =A0 I invite you to email me soon=A0so we can get your info into the = conference people. =A0 Thank you, =A0 Adriane Bennett =A0 =A0 Adriane Bennett Technical Director Auburn University Theatre Department 334-844-6620 344-844-4939 (fax) aab0002 [at] auburn.edu ------------------------------ Date: Thu, 01 Feb 2007 14:43:08 -0600 From: Mick Alderson Subject: Re: Mike Brubakers pix of Indy Message-id: <45273D6C-DFF2-40CD-BB1C-560536187DCC [at] uwosh.edu> > Subject: Re: Mike Brubakers pix of Indy > Date: Thu, 1 Feb 2007 01:21:30 -0500 > > I just moved to Indianapolis from Idaho, born and raised in Denver. > > This place is flat. Not Bonneville Salt Flats flat, but flat. > > Rob't Hey Robert: Take a drive south. As soon as you reach Martinsville, you're past the glacial outwash, and the scenery gets much more interesting! Mick Alderson IU "Hoosier" Alum TD, Fredric March Theatre University of Wisconsin Oshkosh alderson [at] uwosh.edu ------------------------------ Message-ID: <1619380299-1170363595-cardhu_blackberry.rim.net-2454- [at] engine11-cell01> Reply-To: DONEARL01 [at] aol.com References:

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The gang on DRS love this stuff. It really does simplify the install and strike by distributing power and control in one package. Their two main comments were a) that it was the most expensive way to deal with distributing power and control, and b) that the FOH control switching system was flakey and they don't use it. As for the cable -- I wouldn't run over a sound or automation cable with a fork; I'd likely give this cable the same treatment, though it certainly feels more substantial than either of the other two. Paul On 1/30/07, Ken Romaine wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This is their Series 400(TM) power & data distribution system. > > Before VLPS was purchased by PRG in 2004, the VLPS R&D folk were > working on this. PRG continued the project, and they introduced it > around 6-12 months ago. See here: > http://www.prg.com/products/s400 .... > -- > 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 1/30/07, Paul Marsland wrote: > > > > Coolest thing I've seen in a while, courtesy of the Dirty Rotten > > Scoundrels tour (and supplied by PRG); > > > > cables the size and look of a standard 6-circuit multi, that include > > two universes of DMX and ethernet. ------------------------------ Message-Id: <45C20819.1E41.009F.0 [at] auburn.edu> Date: Thu, 01 Feb 2007 15:32:42 -0600 From: "Adriane Bennett" Subject: Re: Hello Group, USITT assistance References: In-Reply-To: Sorry for the multiple posts everyone. We're covered, but look forward to anyone going to USITT to join us. Thanks, Adriane Adriane Bennett Technical Director Auburn University Theatre Department 334-844-6620 344-844-4939 (fax) >>> "Stirling Shelton" 2/1/2007 2:41 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Posting for Adriane Bennett. (She is chair of a session at USITT this year and is looking for some assistance) (please email her if you would like to sit on the panel) ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: DONEARL01 [at] aol.com Subject: RE: Outdoor Lighting Fixtures Date: Thu, 1 Feb 2007 16:39:38 -0500 Message-ID: <000601c74649$795810c0$6501a8c0 [at] Dell> In-Reply-To: > Altman has a weatherproof par64 ...And a weatherproof ellipsoidal. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Outdoor Lighting Fixtures Date: Thu, 1 Feb 2007 17:14:57 -0500 Message-ID: <000d01c7464e$68601830$6501a8c0 [at] Dell> In-Reply-To: > In 2001 i installed long term lighting (long term for me, 10 > weeks) on the ocean using altman's outdoor quartz pars. I had > no issues with the weatherizing, though changing a burnout > took some amount of time. I had a CXI on the nose I'd worry more about the effect of rain and salt air on the CXI mechanism than about rain on the PAR. ------------------------------ Message-Id: <3.0.6.32.20070201150901.00c9b810 [at] pop.west.cox.net> Date: Thu, 01 Feb 2007 15:09:01 From: CB Subject: Re: Cello Platform >> > A bad platform can make a good cello sound like carps working. >> Though I'd rather hear carps working than a bad cello any day of the >week. D'ya even know the difference between a cllo and a viola? 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: <3.0.6.32.20070201151102.00c9b810 [at] pop.west.cox.net> Date: Thu, 01 Feb 2007 15:11:02 From: CB Subject: Re: USITT Reception in Phoenix >Seamus McCaffrey's Irish Pub & Restaurant Er, that's "Seamus McCaffrey's Pub with an Irish Name". It's not really an Irish Pub, but it'll do. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Message-Id: <3.0.6.32.20070201151317.00c9b810 [at] pop.west.cox.net> Date: Thu, 01 Feb 2007 15:13:17 From: CB Subject: Re: Powered Speakers >You are assuming that most people are rational, thinking beings in a >emergency situation. No, I'm assuming most sound guys are rational, thinking beings in an emergency situation. We work with musicians, its' where we live... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... Nehemiah Scudder for President in 2012 ------------------------------ Date: Thu, 01 Feb 2007 17:42:35 -0500 Subject: Re: Outdoor Lighting Fixtures From: Steve Shelley Message-ID: In-Reply-To: Sorry. Mariner. On 2/1/07 5:14 PM, "Jeffrey E. Salzberg" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> In 2001 i installed long term lighting (long term for me, 10 >> weeks) on the ocean using altman's outdoor quartz pars. I had >> no issues with the weatherizing, though changing a burnout >> took some amount of time. I had a CXI on the nose > > I'd worry more about the effect of rain and salt air on the CXI mechanism > than about rain on the PAR. > -- Steve Shelley SoftSymbols Designer MrTemplate [at] Earthlink.net www.fieldtemplate.com ------------------------------ From: "Michael Brubaker" Subject: RE: Cello Platform Date: Thu, 1 Feb 2007 17:44:42 -0500 Message-ID: In-Reply-To: Chris Babbie wrote: >>> > A bad platform can make a good cello sound like carps working. >>> Though I'd rather hear carps working than a bad cello any day of the >>>week. >D'ya even know the difference between a cllo and a viola? I DO I DO! A cello burns longer. A viola flies farther when thrown. Mike Brubaker ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Cello Platform Date: Thu, 1 Feb 2007 17:50:36 -0500 Message-ID: <000a01c74653$635986f0$6501a8c0 [at] Dell> In-Reply-To: > A cello burns longer. ...And holds more beer. ------------------------------ From: Subject: Re: Patchbays (was Re: Movies & PA) Date: Thu, 1 Feb 2007 23:20:27 +0000 Message-Id: <20070201232027.JJAP17393.aamtaout02-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: "Andy Leviss" > Date: 2007/01/31 Wed AM 05:39:53 GMT > To: "Stagecraft" > Subject: Patchbays (was Re: Movies & PA) > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > --Andy, who really does mean that he does not like 1/4 or Bantam or > whatever other than XLR bays in a theatre, anywhere I have read your post, including the links. On Bantam jacks, I go with you. I don't know why, but their designers got it wrong. On proper 1/4" jacks,I do not. There is no better connector for this purpose. Period. Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Subject: RE: Cello Platform Date: Thu, 1 Feb 2007 18:43:36 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A074F9A1A [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" > D'ya even know the difference between a cllo and a viola? Of course. A cello burns longer. ------------------------------ Message-ID: Date: Thu, 1 Feb 2007 18:45:30 -0500 From: "Delbert Hall" Subject: Re: USITT Reception in Phoenix In-Reply-To: References: It is final, the Stagecraft List Reception is scheduled from 9:15-10:35 on Friday nightin Hyatt 312, which is close to the pool. We can stay longer than 10:35 if we wish. See you there. -Delbert -- Delbert L. Hall ETCP Certified Rigger - Theatre 423-773-4255 ------------------------------ Message-ID: <45C27D89.4020300 [at] gmail.com> Date: Thu, 01 Feb 2007 16:53:45 -0700 From: Chip Wood Subject: Re: USITT List Get Together? References: In-Reply-To: CB wrote: >> Hey Chip. I'm not gonna pay $2900 a night to stay in downtown, but I'd pay >> $75 to stay on the freeway somewhere. > > For those of you that are freaking, it doesn' cost quite that much to stay > in downtown PHX, that was another in a long list of typos. I meant $200. > And, I meant that to go off-list... Apologies all around. > I'll keep it on-list as somebody else might make use of this info for USIIT lodging. Coming up I-10 from Tucson, beginning at Chandler Blvd. and ending somewhere near the airport, there are about 30-40 Motels right off the exits. Approx 2 per interchange. Baseline has about 4-5 itself, including a high class stripper joint next door. I drive by, but haven't been in. All look to be modern, clean, and probably much more reasonable than downtown. It will take 10-15 min of freeway to get downtown, but double that for rush hour. Looks like nobody wants to take me up on my house offer, so I will be there Fri night in the empty meeting room. I have a few suggestions as to where to go later, but that is not my territory. Several sports bars including Dan Marjele's. The Sun's have a home game on Fri 16th, so probably quite crowded. Chip ------------------------------ Subject: RE: Cello Platform Date: Thu, 1 Feb 2007 18:54:55 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A074F9A1C [at] exchange.rmwc.edu> In-Reply-To: From: "Paul Schreiner" > > D'ya even know the difference between a cllo and a viola? >=20 > Of course. A cello burns longer. Whoops, got beaten to the punch. That'll learn me not to read all the way through my inbox before replying... ------------------------------ From: Subject: Re: Re: Which came first / how old / could be oldest tool bought new and still own Date: Thu, 1 Feb 2007 23:57:59 +0000 Message-Id: <20070201235759.SGCL219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com> > > From: Rigger > Date: 2007/01/31 Wed PM 11:01:00 GMT > To: "Stagecraft" > Subject: Re: Which came first / how old / could be oldest tool bought > new and still own > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 9:04 PM -0800 1/29/07, Bill Nelson wrote: > > >All my adjustable crescent wrenches are ambidexterous. > > > Actually, no; they're not. OK, ambiceheiral. > > --Robert Heinlein > Frank Wood ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information ------------------------------ Message-ID: <45C27E8D.5000607 [at] dreampossible.ca> Date: Thu, 01 Feb 2007 18:58:05 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: L Hand/R Hand References:

In-Reply-To: Bruce Purdy wrote: > On 1 Feb 2007, at 14:52, Stephen Rees wrote: > >> I'm left handed. I stand here with a tape measure in my right >> hand, pull the hook out with my left and measure from left to right >> and mark >> with pencil in my left hand. The numerals are right side up and >> readable. [...] > I'm right handed, and that's how I do it as well. I hold the tape measure in whichever hand is convenient, considering the orientation of the object I'm trying to measure (for example, if I'm measuring from the edge of a wall, I can't really turn the object upside down :-) I can read numbers, and interpolate correctly, quite easily upside down. -- Jim Hyslop ------------------------------ Date: Thu, 01 Feb 2007 19:53:57 -0500 Subject: Re: L Hand/R Hand From: Stephen Rees Message-ID: In-Reply-To: On 2/1/07 6:58 PM, "Jim Hyslop" wrote: I can read numbers, and interpolate correctly, quite easily > upside down. As can most of us, I would hope. Steve Rees ------------------------------ Message-ID: <45C29473.7060605 [at] kylerglaze.com> Date: Thu, 01 Feb 2007 19:31:31 -0600 From: Kyler Glaze Subject: Re: Laser Saw Blade Device References: In-Reply-To: SS wrote: > So, since the subject came up..... would anyone like to make a > suggestion on a manufacturer/brand you recommend? I know you can pick > one up at Northern Tool. Laserkerf makes one, Dewalt, Irwin, etc. Well, it seems no one agreed with my post on this subject, so I'd like to know what saws you guys have had luck with. I've used a 10" DeWalt compound miter saw with an after-market laser that had to be readjusted after every cut, and a small (maybe 8") Delta compound miter saw with one that had a misshapen beam and would only hold its position for 10 or 15 cuts. I've also used a drill press with a laser that was quite accurate as long as you kept the same bit and thickness of wood. I don't remember the manufacturer, but it was a cheap little bench top model from Lowes. This was around 5 or 6 years ago; I haven't used any laser equipped power tools since. -- Kyler Glaze kyler [at] kylerglaze.com Treasurer/Webmaster USITT [at] UTA http://www.usittuta.org/ Webmaster UTA Dept. of Theatre Arts http://www.uta.edu/theatre/ ------------------------------ Date: Thu, 01 Feb 2007 20:42:56 -0500 From: Josh Ratty Subject: RE: Laser Saw Blade Device In-reply-to: Reply-to: josh.ratty [at] verizon.net Message-id: <00ac01c7466b$766bf4e0$6401a8c0 [at] Rattys> SS wrote: > So, since the subject came up..... would anyone like to make a > suggestion on a manufacturer/brand you recommend? I know you can pick > one up at Northern Tool. Laserkerf makes one, Dewalt, Irwin, etc. I work in shipyard and we have two Hitachi (14" maybe) chop saws with lasers. They aren't the arbor type but are mounted on the saw just behind the blade. We slam through miles of aluminum on them and they hold up pretty well. The laser hasn't need adjustment to my knowledge in the few months I've seen them around and I would estimate they are accurate to at least 1/16". My one minor complaint would be that because of the location of the laser, it disappears as the blade is pulled down through the cut. This is the first and only saw I've used with a laser of any type and I would probably consider buying one if I had my own shop. We even had one get knocked over while mounted to its bench and land on the concrete floor. Aside from a broken adjustment knob on the back everything seemed fine, including the laser. These things take a beating in our shop with mostly aluminum but also wood, pvc pipe, and even copper. Josh Ratty ------------------------------ Reply-To: From: "RD" References: Subject: RE: Fire Doors... Date: Thu, 1 Feb 2007 18:50:26 -0700 Message-ID: <002601c7466c$8d6b72f0$6501a8c0 [at] doom1> In-Reply-To: The rule of thumb and legality that I always use: there must be complete accessibility to the fire extinguishers. Absolutely nothing in the way, at all. Nothing. Nothing. In fact, I ask that there be a painted or marked section that leads to the extinguishers and nothing is to be placed in that area. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Catherine Brumm Sent: Wednesday, January 31, 2007 11:13 PM To: Stagecraft Subject: Re: Fire Doors... For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > Date: Tue, 30 Jan 2007 21:01:01 -0800 (PST) > Subject: Re: Fire Doors .... > From: "Bill Nelson" > > > What really irks me are the people, usually renters of the space from > > the > > community, who think they are above the rules and they tie the main > > doors > > open to the hooks for the fire extinguishers mounted inside the > > vestibules > > and leave the fire extinguishers sitting in the corner. > > That is the first time I have heard about fire extinguishers in a > vestibule. > > Would it be possible to move the hooks, or change the height, so they > don't work as convenient anchor points? > > Bill That is where the school system made me put them something about accessibility because the outer doors (lobby side) of the vestibules do not lock and the inner doors (theater side) do. The height can not be changed because of acoustical tiles around the vestibule to help create the "sound lock", I am guessing I didn't design it I work here. I wanted to install them on either side of the house where there is a space between the retractable acoustical curtains but was told no. Even though there are fire extinguishers mounted in cases in the walls on either side of the lobby. Catherine Brumm ------------------------------ Date: Thu, 01 Feb 2007 21:07:46 -0500 Subject: Re: cello platform From: Stephen Rees Message-ID: In-Reply-To: Thanks to all for your thoughts on building this platform. Especial thanks to Chris Babbie for pointing to the patented device. Quick and dirty will do I'm told so 5/4 frame with a ply lid will get it done. Thanks Steve R. ------------------------------ Date: Thu, 01 Feb 2007 18:12:37 -0800 From: Jerry Durand Subject: Re: how old?? In-reply-to: Message-id: <20070202021236.F3084186D46 [at] smtp.interstellar.com> References: At 11:31 AM 2/1/2007, frank.wood95 [at] ntlworld.com wrote: >Simple binary! Whether expressed in hex notation or whatever, and >you need to know a certain amount of decimal arithmetic for this, >this will always work. Write it down, apply the appropriate place >values, and add it up. It's no longer that simple. Hardware bus connection chips (such as the Tundra one) do some internal endian translations. BUT... programs may be trying to access chars, ints (of various sizes), longs, floats, etc. across this interface. What is being accessed and what endian mode the requesting software expects is unknown to the buss connection chip, so...the programmer often has to translate things. Example bit order for a MIPS on Power PC bus to PCI translation I did: 24-25-26-27-28-29-30-31-16-17-18-19-20-21-22-23-8-9-10-11-12-13-14-15-0-1-2-3-4-5-6-7 Only the PPC bus was 64 bits and the PCI bus was 32, so this got even worse. -- Jerry Durand, Durand Interstellar, Inc. www.interstellar.com tel: +1 408 356-3886, USA toll free: 1 866 356-3886 Skype: jerrydurand ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 1 Feb 2007 21:16:18 -0500 From: Rigger Subject: Re: Mike Brubakers pix of Indy At 9:45 AM -0600 2/1/07, Philip Johnson wrote: >Hey Dave > >Do you still show people where you live by pointing to the middle of your >right hand? Yep... And sometimes I add my left hand for the U.P., too. -- Dave Vick rigger [at] tds.net Discipline is never an end in itself, only a means to an end. -- Robert Fripp ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 1 Feb 2007 21:17:46 -0500 From: Rigger Subject: Re: AARP At 9:50 AM -0600 2/1/07, Bill Conner wrote: >Sorry if I missed earlier posts on this but I'm a member, it doesn't >cost much, toss all their insurance offers, and enjoy a 10% discount >on almost every hotel stay. Savings on one stay pays for membership. >I haven't got time for politics. I make time for the politics of organizations that want my money, and AARP won't get a dime from me. -- Dave Vick rigger [at] tds.net Anytime you hear businessmen debating "which policy is better for America", don't bend over. ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 1 Feb 2007 21:20:18 -0500 From: Rigger Subject: Re: Operating line size At 10:02 AM -0600 2/1/07, Bill Conner wrote: >I may have missed this discussion previously but I was curious on >opinions as to handline diameter. I'm a big fan of something larger >than the "standard" 3/4" of whatever material. I recall that when >the Lyric Opera in Chicago was renovated, the consultant had several >different handlines installed before they closed for the work and >the preference was for 1 1/8" manila. I usually specify 7/8" >Multiline II. (With major manufacturers all having new rope lock >designs that accommodate 1", I will change to 1", but for a while >only one or two manufacturers had locks that would accommodate >larger than 7/8".) Yes, it costs more, the rope as well as the >custom grooved head and welsh blocks, but based on feedback from >users, it's appreciated. > >I appreciate your comments in advance. Not for me, thanks. I have stubby fingers, I've been told. Anything bigger'n 3/4" is too big for me to get much purchase on. (and yes, Stuart; with hands like mine one has very weirdly shaped pistol grips) -- Dave Vick rigger [at] tds.net "No one gets to Heaven 'til they've lived a while in Hell" --Dio, "Magica" ------------------------------ Message-Id: In-Reply-To: References:

Date: Thu, 1 Feb 2007 21:25:18 -0500 From: Rigger Subject: Re: L Hand/R Hand At 6:58 PM -0500 2/1/07, Jim Hyslop wrote: >I hold the tape measure in whichever hand is convenient, considering the >orientation of the object I'm trying to measure (for example, if I'm >measuring from the edge of a wall, I can't really turn the object upside >down :- Me too, except I've turned objects upside-down quite a lot, over the years. >I can read numbers, and interpolate correctly, quite easily >upside down. I love my LeverLock for a number of reasons, not least of which is it has the numbers printed on it facing both directions. Doesn't matter which way you orient it, you can read it easy-peasy. -- Dave Vick rigger [at] tds.net The reason they call it "The American Dream" is because you have to be asleep to believe in it. ------------------------------ Message-ID: Date: Thu, 1 Feb 2007 21:42:32 -0500 From: "Paul Schreiner" Subject: Re: L Hand/R Hand In-Reply-To: References:

> >I hold the tape measure in whichever hand is convenient, considering the > >orientation of the object I'm trying to measure (for example, if I'm > >measuring from the edge of a wall, I can't really turn the object upside > >down :- > > Me too, except I've turned objects upside-down quite a lot, over the years. My mentor used to tease me about building flats (specifically door or window flats, with the opening off-center) upside down. Of course, that was shortly after I started teasing him about the results of his dimensioning when he tried drafting after a few frosty adult beverages and other things at 3 in the morning. ------------------------------ Message-ID: <9e6bc3f30702011853h242242bft8c03a54619bb5c82 [at] mail.gmail.com> Date: Thu, 1 Feb 2007 20:53:55 -0600 From: "Kent Laue" Reply-To: klaue2 [at] gmail.com Subject: Re: Cello Platform In-Reply-To: References:

A CLLO (first google result) is the USAF Central Labor Law Office. A Cello on the other hand is a doorstop. A Viola is what children use to gain revenge on their parents. On 2/1/07, Paul Schreiner wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > > D'ya even know the difference between a cllo and a viola? > > > > Of course. A cello burns longer. > > Whoops, got beaten to the punch. That'll learn me not to read all the > way through my inbox before replying... > ------------------------------ Date: Thu, 1 Feb 2007 20:27:47 -0800 (PST) From: b Ricie Subject: free stuff In-Reply-To: Message-ID: <896630.42883.qm [at] web50601.mail.yahoo.com> Howdy all. So I am doing a lil gig here in Alaska and taking the show to the Smithsonian Museum of the American Indian in DC. The Show will strike on the 18ish of March and the theatre in Alaska does not want to keep the set. We are going to get a dumpster, or give it all away. The set is a simple "U" shape of platforms on parallel truss, with some more elements. Two half columns about 11' tall, some 2 step escape stairs, and a bunch of 1x framed hard covered flats. I would love to give it all to a local school, non profit, community theatre, or anyone, rather than put in a dumpster. If anyone out there wants, or know someone who might want the stuff, please let me know. The stuff is gonna be in DC around Feb 22nd ish so ya can come shop. take it all or parts but let's try to make Al Gore proud and recycle a bit. It is prolly best to email me direct as I am not sure when I am going to have time to catch up on the list. Thanks. Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." ____________________________________________________________________________________ TV dinner still cooling? Check out "Tonight's Picks" on Yahoo! TV. http://tv.yahoo.com/ ------------------------------ Date: Thu, 01 Feb 2007 23:02:13 -0600 Subject: Re: Mike Brubakers pix of Indy From: Philip Johnson Message-ID: In-Reply-To: I was wondering about that. Phil Johnson On 2/1/07 8:16 PM, "Rigger" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 9:45 AM -0600 2/1/07, Philip Johnson wrote: > >> Hey Dave >> >> Do you still show people where you live by pointing to the middle of your >> right hand? > > > Yep... And sometimes I add my left hand for the U.P., too. ------------------------------ Message-ID: <021501c74689$806deca0$6701a8c0 [at] amd2200> From: "Rob Riddle" References: Subject: Re: Mike Brubakers pix of Indy Date: Fri, 2 Feb 2007 00:17:57 -0500 Gullies and Hills and heights, Oh my! The preceding announcement based on observations from Google Maps > Hey Robert: > Take a drive south. As soon as you reach Martinsville, you're past > the glacial outwash, and the scenery gets much more interesting! > Mick Alderson > IU "Hoosier" Alum Thanks, looks like Nashville, Indiana may be a day trip with the Canon Rob't ------------------------------ Message-ID: <1325.69.203.216.247.1170395291.squirrel [at] webmail.ducksechosound.com> Date: Fri, 2 Feb 2007 00:48:11 -0500 (EST) Subject: Re: Movies & PA From: "Andy Leviss" When I said I couldn't recall the last time I'd seen a 1/4" patchbay in a theatre, Dave Vick called me on it, saying: > Andy's just blowing smoke; he's been in my theatre in East Lansing, which in fact has a 1/4" patch bay. You weren't paying attention that day, were you, Andy? LOL, when did I ever get to the booth on that tour stop? I was pit rat/RF tech, I pretty much lived backstage at the WOPR rack or running full tilt to the pit to put out some fire or another! Besides, anytime I wasn't dealing with RF or pit stuff, I was busy pondering the WWFWD? product line with you! --A http://OneFromTheRoad.com ------------------------------ Message-ID: <1250.205.215.253.37.1170407473.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Fri, 2 Feb 2007 01:11:13 -0800 (PST) Subject: Re: Outdoor Lighting Fixtures From: "Bill Nelson" > I don't think the issue is the lamp, , as much as it is that damnable > ceramic connector, , Yep. It would be very likely to corrode quickly when the connector is wet. In the application I am contemplating, the lights would be on only at nighttime, and maybe then, even only for a few hours in the evening. There are PAR64 lamps with screw connectors, and there are high temperature sealants that could be used to weatherize the connections. But I would prefer something smaller than PAR64 instruments. This is to light a marque of only around 100 square feet. Bill ------------------------------ Message-ID: <1285.205.215.253.37.1170409846.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Fri, 2 Feb 2007 01:50:46 -0800 (PST) Subject: Re: Powered Speakers From: "Bill Nelson" >>You are assuming that most people are rational, thinking beings in a >>emergency situation. > > No, I'm assuming most sound guys are rational, thinking beings in an > emergency situation. We work with musicians, its' where we live... Not a safe assumption to make, even if sound guys are more rational and level headed than most other people. For example - police officers are trained to remain calm and rational in emergency situations yet, when confronted with an actual emergency, often act as irrationally as anyone else might in that situation. This is even true for officers that have handled previous emergencies without any problem. Bill ------------------------------ Message-ID: <1368.205.215.253.37.1170412162.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Fri, 2 Feb 2007 02:29:22 -0800 (PST) Subject: Re: Fire Doors... From: "Bill Nelson" > That is where the school system made me put them something about > accessibility because the outer doors (lobby side) of the vestibules do not > lock and the inner doors (theater side) do. The height can not be changed > because of acoustical tiles around the vestibule to help create the "sound > lock", I am guessing I didn't design it I work here. I wanted to install > them on either side of the house where there is a space between the > retractable acoustical curtains but was told no. Even though there are fire > extinguishers mounted in cases in the walls on either side of the lobby. Hm. This might be a time where you would want the local fire marshall to get involved during your next inspection. I wonder if you explained what was happening and suggested that there must be a better place - if you could get the FM to write it up as a violation? That would get the school's attention and they would insist that you move the extinguishers to be in compliance. Bill ------------------------------ You are subscribed as stagecraftlist [at] theatrical.net End of Stagecraft Digest #1125 ******************************