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Subject: Stagecraft Digest #1133
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #1133

 1. Test
    by Philip Johnson <Philip.Johnson [at] tamucc.edu>
 2. 360Q lamp type
    by Bill Potter <bpotter [at] sps.edu>
 3. Definition of Scenic Design
    by "Jared Clarkin" <ClarkinJ [at] newschool.edu>
 4. Re: 360Q lamp type
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
 5. Re: 360Q lamp type
    by Steve Bailey <Bailey [at] BrooklynCenter.com>
 6. Re: 360Q lamp type
    by Steve Bailey <Bailey [at] BrooklynCenter.com>
 7. Re: 360Q lamp type
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
 8. Re: Definition of Scenic Design
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 9. Re: 360Q lamp type
    by "David B. Nelson" <d.b.nelson [at] comcast.net>
10. Re: Definition of Scenic Design
    by Davy Davis <wdavis [at] du.edu>
11. Intercom Needs
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
12. Re: Definition of Scenic Design
    by Curtis Phillips <cphillip [at] d.umn.edu>
13. Re: Definition of Scenic Design
    by Stephen Rees <stephen.rees [at] fredonia.edu>
14. Re: Intercom Needs
    by "Haagen Trey P Civ USAFA/CWTMC" <Trey.Haagen [at] usafa.af.mil>
15. Re: 360Q lamp type
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
16. Re: 360Q lamp type
    by Stephen Litterst <litterst.stagecraft [at] gmail.com>
17. Re: Intercom Needs
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
18. Re: Intercom Needs
    by "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
19. Re: Definition of Scenic Design
    by "Occy" <OneOccy [at] hotmail.com>
20. Re: Intercom Needs
    by Rigger <rigger [at] tds.net>
21. 360Q reflectors
    by "Bill Nelson" <billn [at] peak.org>
22. Artificial Snow
    by "Rachael Hunter" <rhunter [at] vastage.com>
23. Re: Definition of Scenic Design
    by "Delbert Hall" <delbert.hall [at] gmail.com>
24. Re: Artificial Snow
    by KEITH ARSENAULT <iaeg [at] aol.com>
25. Re: Intercom Needs
    by "Jason Salvatori" <theatretd [at] gmail.com>
26. Re: Artificial Snow
    by Stephen Rees <stephen.rees [at] fredonia.edu>
27. Re: 360Q lamp type
    by Mike Voytko <mv35 [at] nyu.edu>
28. Re: 360Q reflectors
    by "David B. Nelson" <d.b.nelson [at] comcast.net>
29. Re: G-mail issues
    by "Le Hook" <lhook [at] asf.net>
30. Re: Automated Alarms
    by "Bill Conner" <bill-conner [at] att.net>
31. Re: Definition of Scenic Design
    by Kevin Lee Allen <klad [at] klad.com>
32. Re: Definition of Scenic Design
    by <frank.wood95 [at] ntlworld.com>
33. Stop that light! No, fade it up somewhere else!
    by Steve Shelley <mrtemplate [at] earthlink.net>
34. Re: Intercom Needs
    by <frank.wood95 [at] ntlworld.com>
35. Re: Stop that light! No, fade it up somewhere else!
    by Stephen Rees <stephen.rees [at] fredonia.edu>
36. Re: G-mail issues
    by gregg hillmar <gregg [at] hillmardesign.com>
37. Re: Stop that light! No, fade it up somewhere else!
    by "Paul Schreiner" <paulschreiner42 [at] gmail.com>
38. Re: G-mail issues
    by "Paul Schreiner" <paulschreiner42 [at] gmail.com>
39. Re: G-mail issues
    by Myself <artguy66 [at] gmail.com>
40. Re: Stop that light! No, fade it up somewhere else!
    by "Bill Nelson" <billn [at] peak.org>

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

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

Date: Thu, 08 Feb 2007 09:40:23 -0600
Subject: Test
From: Philip Johnson <Philip.Johnson [at] tamucc.edu>
Message-ID: <C1F0A087.560A%Philip.Johnson [at] tamucc.edu>

Pardon the test



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

Date: Thu, 08 Feb 2007 11:26:36 -0500
Subject: 360Q lamp type
From: Bill Potter <bpotter [at] sps.edu>
Message-ID: <C1F0B96C.2AEA%bpotter [at] sps.edu>

Howdy gang,

I've got a question regarding lamp type for my Altman 360Qs. I have a
collection of lamps for these units including EHD, EHG and FLK. I understand
the difference in wattages, but the EHD/G and FLK lamps have quite the
difference in the shape of the filaments.

Now for the actual question, any particular reason to use one type over the
other?

TIA,

Bill Potter
St. Paul's School
Concord NH 



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

Message-Id: <s5cb0bf2.051 [at] IGATE.NEWSCHOOL.EDU>
Date: Thu, 08 Feb 2007 11:39:22 -0500
From: "Jared Clarkin" <ClarkinJ [at] newschool.edu>
Subject: Definition of Scenic Design

A question for the list:

A friend of mine is working on a project and needs a general definition
of Scenic Design.  Anyone out there wish to share their favorite
definition.

Thanks,


Jared

Jared Clarkin
Production Manager
The New School for Drama
212-229-5859 Ext. 2627
clarkinj [at] newschool.edu

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

Message-ID: <45CB5313.60601 [at] gmail.com>
Date: Thu, 08 Feb 2007 11:42:59 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: 360Q lamp type
References: <list-42205883 [at] prxy.net>
In-Reply-To: <list-42205883 [at] prxy.net>

Bill Potter wrote:
> ---------------------------------------------------
> 
> Howdy gang,
> 
> I've got a question regarding lamp type for my Altman 360Qs. I have a
> collection of lamps for these units including EHD, EHG and FLK. I understand
> the difference in wattages, but the EHD/G and FLK lamps have quite the
> difference in the shape of the filaments.

Bill, the FLK filaments are more efficient, giving you more lumens per 
watt than the EHD and EHG lamps. Newer 360Qs (within the past 10 yrs?) 
have the Altman Super Reflector which was redesigned to better harness 
the output of the FLK filament.

In a properly bench focused unit I have been able to equal the output of 
  a Source4.

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

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

Message-ID: <15134DE1EA20CF4BA1F473FADAC653AC50958D [at] cassini.BrooklynCollege.local>
From: Steve Bailey <Bailey [at] BrooklynCenter.com>
Subject: RE: 360Q lamp type
Date: Thu, 8 Feb 2007 11:43:07 -0500 



-----Original Message-----
From: Bill Potter [mailto:bpotter [at] sps.edu] 

>I've got a question regarding lamp type for my Altman 360Qs. I have a
collection of lamps for these units including EHD, EHG and FLK. I understand
the difference in wattages, but the EHD/G and FLK lamps have quite the
difference in the shape of the filaments.

>Now for the actual question, any particular reason to use one type over the
other?



Bill,

EHD is a 500 watt lamp, EHG is a 750 watt lamp, while FLK is a 1000 watt
lamp.  The fixture is only rated up to 750 watts, use of the FLK does much
damage to sockets and reflectors.

Steve Bailey
Brooklyn College

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

Message-ID: <15134DE1EA20CF4BA1F473FADAC653AC50958E [at] cassini.BrooklynCollege.local>
From: Steve Bailey <Bailey [at] BrooklynCenter.com>
Subject: RE: 360Q lamp type
Date: Thu, 8 Feb 2007 11:45:16 -0500 



-----Original Message-----
From: Steve Bailey [mailto:Bailey [at] BrooklynCenter.com] 
Sent: Thursday, February 08, 2007 11:43 AM
To: Stagecraft
Subject: Re: 360Q lamp type


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



-----Original Message-----
From: Bill Potter [mailto:bpotter [at] sps.edu] 

>I've got a question regarding lamp type for my Altman 360Qs. I have a
collection of lamps for these units including EHD, EHG and FLK. I understand
the difference in wattages, but the EHD/G and FLK lamps have quite the
difference in the shape of the filaments.

>Now for the actual question, any particular reason to use one type over 
>the
other?


Bill,

EHD is a 500 watt lamp, EHG is a 750 watt lamp, while FLK is a 1000 watt
lamp.  The fixture is only rated up to 750 watts, use of the FLK does much
damage to sockets and reflectors.

Steve Bailey
Brooklyn College


Oh Boy.  I need another coffee.  Steve L. has it correct, the FLK is 575
watts and is prefered over the others.  I was reading FEL for some reason.
Apologies

SB

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

Message-ID: <45CB53EC.10508 [at] gmail.com>
Date: Thu, 08 Feb 2007 11:46:36 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: 360Q lamp type
References: <list-42206521 [at] prxy.net>
In-Reply-To: <list-42206521 [at] prxy.net>

Steve Bailey wrote:
> ---------------------------------------------------
> 
> EHD is a 500 watt lamp, EHG is a 750 watt lamp, while FLK is a 1000 watt
> lamp.  The fixture is only rated up to 750 watts, use of the FLK does much
> damage to sockets and reflectors.

Steve,

I think you're thinking of the FEL.  The FLK is a 575 watt lamp, also 
known as the HX-600.

Steve L.

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

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Definition of Scenic Design
Date: Thu, 8 Feb 2007 11:50:21 -0500
Message-ID: <001201c74ba1$38e6b4d0$6701a8c0 [at] Dell>
In-Reply-To: <list-42206366 [at] prxy.net>

> A friend of mine is working on a project and needs a general 
> definition of Scenic Design.  Anyone out there wish to share 
> their favorite definition.

"The art of making the lighting designer's job as difficult as possible."


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

From: "David B. Nelson" <d.b.nelson [at] comcast.net>
References: <list-42205883 [at] prxy.net> <list-42206485 [at] prxy.net>
Subject: RE: 360Q lamp type
Date: Thu, 8 Feb 2007 11:52:57 -0500
Message-ID: <007b01c74ba1$95cd5c30$6401a8c0 [at] NEWTON603>
In-Reply-To: <list-42206485 [at] prxy.net>

> Newer 360Qs (within the past 10 yrs?) have the Altman Super 
> Reflector which was redesigned to better harness the output 
> of the FLK filament.

Actually, Altman recommends the GLA/GLC for use with the super reflector.
The GLA/GLC is a 115 volt, 575 watt lamp with a filament structure similar
to the HPL series used in the Source4.  The FLK has a coiled-coil filament
similar to the EGH, et. al.

Regards,

Dave Nelson

Technical Director
Adams Memorial Opera House
Derry, NH, USA




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

Date: Thu, 08 Feb 2007 09:55:03 -0700
From: Davy Davis <wdavis [at] du.edu>
Subject: Re: Definition of Scenic Design
In-reply-to: <list-42206366 [at] prxy.net>
Message-id: <45CB55E7.6000202 [at] du.edu>
References: <list-42206366 [at] prxy.net>

Creating the space for the action.
Creating the world of the drama.

William Temple (Davy) Davis; Chair
Department of Theatre
University of Denver
wdavis [at] du.edu
303-871-3164

Jared Clarkin wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> A question for the list:
> 
> A friend of mine is working on a project and needs a general definition
> of Scenic Design.  Anyone out there wish to share their favorite
> definition.
> 
> Thanks,
> 
> 
> Jared
> 
> Jared Clarkin
> Production Manager
> The New School for Drama
> 212-229-5859 Ext. 2627
> clarkinj [at] newschool.edu
> 
> 


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

Message-ID: <45CB5678.9060601 [at] gmail.com>
Date: Thu, 08 Feb 2007 11:57:28 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Intercom Needs

A question for those of you in road houses (and other venues where the 
facility does not produce its own work.)

What is the house intercom package like? How many stations/beltpacks? 
Wired or wireless?

Thanks,

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


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

In-Reply-To: <list-42206960 [at] prxy.net>
References: <list-42206366 [at] prxy.net> <list-42206960 [at] prxy.net>
Message-Id: <3AD49697-C6EA-4554-A046-1F7301EEBA66 [at] d.umn.edu>
Cc: cphillip [at] d.umn.edu (Curtis Phillips)
From: Curtis Phillips <cphillip [at] d.umn.edu>
Subject: Re: Definition of Scenic Design
Date: Thu, 8 Feb 2007 10:55:45 -0600

Creating a place/space in which an actor can play


On Feb 8, 2007, at 10:55 AM, Davy Davis wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Creating the space for the action.
> Creating the world of the drama.
>
> William Temple (Davy) Davis; Chair
> Department of Theatre
> University of Denver
> wdavis [at] du.edu
> 303-871-3164
>
> Jared Clarkin wrote:
>> For info, archives & UNSUBSCRIBE, see <http:// 
>> stagecraft.theprices.net/>
>> ---------------------------------------------------
>> A question for the list:
>> A friend of mine is working on a project and needs a general  
>> definition
>> of Scenic Design.  Anyone out there wish to share their favorite
>> definition.
>> Thanks,
>> Jared
>> Jared Clarkin
>> Production Manager
>> The New School for Drama
>> 212-229-5859 Ext. 2627
>> clarkinj [at] newschool.edu


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

Date: Thu, 08 Feb 2007 12:06:02 -0500
Subject: Re: Definition of Scenic Design
From: Stephen Rees <stephen.rees [at] fredonia.edu>
Message-ID: <C1F0C2AA.6F3F%stephen.rees [at] fredonia.edu>
In-Reply-To: <list-42206366 [at] prxy.net>

The creation or alteration of a performance space to create an appropriate
environment for the performance (or similar activity)
Steve Rees


On 2/8/07 11:39 AM, "Jared Clarkin" <ClarkinJ [at] newschool.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> A question for the list:
> 
> A friend of mine is working on a project and needs a general definition
> of Scenic Design.  Anyone out there wish to share their favorite
> definition.
> 
> Thanks,
> 
> 
> Jared
> 
> Jared Clarkin
> Production Manager
> The New School for Drama
> 212-229-5859 Ext. 2627
> clarkinj [at] newschool.edu


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

Subject: RE: Intercom Needs
Date: Thu, 8 Feb 2007 10:08:53 -0700
Message-ID: <67CADCB91D266042A8DAB3B981DCFD14038A2384 [at] AFAMAIL2.USAFA.afspc.ds.af.mil>
References: <list-42207048 [at] prxy.net>
From: "Haagen Trey P Civ USAFA/CWTMC" <Trey.Haagen [at] usafa.af.mil>

Steve;  We have both wired and wireless.  Hard wired stations numerous =
places and it is never enough.  spots (4);  =
projection/light/audio/computer booth (5);  SL/SR/UCS (3)  Rail/loading =
rail (2)  Hardwired -14    Wireless - 4 (usually limited to staff and =
stage managers.  At any given time one quarter of the belt packs or =
headsets are out of commission.  Have a cabinet with extras.

Trey H=E4agen
Arnold Hall Theatre
V:  (719) 333-2721
F:  (719) 333-2099
-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen =
Litterst
Sent: Thursday, February 08, 2007 09:57
To: Stagecraft
Subject: Intercom Needs

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

A question for those of you in road houses (and other venues where the=20
facility does not produce its own work.)

What is the house intercom package like? How many stations/beltpacks?=20
Wired or wireless?

Thanks,

Steve L.
--=20
Stephen Litterst			Technical Operations Supervisor
litterst [at] udel.edu			Center for the Arts
302/831-0601				University of Delaware


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

In-Reply-To: <list-42206485 [at] prxy.net>
References: <list-42205883 [at] prxy.net> <list-42206485 [at] prxy.net>
Message-Id: <1D3D92B7-36BE-4494-AEDF-E35BAFC7D33B [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: 360Q lamp type
Date: Thu, 8 Feb 2007 12:09:29 -0500


On 8 Feb 2007, at 11:42, Stephen Litterst wrote:

> Bill, the FLK filaments are more efficient, giving you more lumens  
> per watt than the EHD and EHG lamps. Newer 360Qs (within the past  
> 10 yrs?) have the Altman Super Reflector which was redesigned to  
> better harness the output of the FLK filament.
>
> In a properly bench focused unit I have been able to equal the  
> output of  a Source4.

	Thanks Bill for bringing up this topic, and Steve for your answers.  
Perhaps you can help me as well. In my 360Qs I currently use the EHG  
lamps. I don't know the age of the instruments, but they most likely  
pre-date the reflector change. I know that retro-fit reflectors are  
available, but without going that route can I still use FLK lamps  
with the older style reflectors? If so, would you expect it to make  
an improvement?

	My inventory also includes 1000 watt FELs that I use in my Colortran  
units (When I first came to this job they were in the 360Qs as well,  
which could explain so many warped shutter blades!), a couple of HPLs  
for our one and only S4, and a HPR. I have no idea what the HPR is  
intended for.

	Any idea what the HPR is for? Also can either the HPR or the HPL be  
used in the 360Qs?

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-ID: <45CB5C9A.3000203 [at] gmail.com>
Date: Thu, 08 Feb 2007 12:23:38 -0500
From: Stephen Litterst <litterst.stagecraft [at] gmail.com>
Organization: University of Delaware
Subject: Re: 360Q lamp type
References: <list-42205883 [at] prxy.net> <list-42206485 [at] prxy.net> <list-42207597 [at] prxy.net>
In-Reply-To: <list-42207597 [at] prxy.net>

Bruce Purdy wrote:
> ---------------------------------------------------

>     Thanks Bill for bringing up this topic, and Steve for your answers.  
> Perhaps you can help me as well. In my 360Qs I currently use the EHG  
> lamps. I don't know the age of the instruments, but they most likely  
> pre-date the reflector change. I know that retro-fit reflectors are  
> available, but without going that route can I still use FLK lamps  with 
> the older style reflectors? If so, would you expect it to make  an 
> improvement?

Yes, you will still see improvement by changing to the FLK lamps.  As 
has also been pointed out, the updated reflector is designed for the 
GLA/GLC series of lamps. I would advocate changing your stock over to 
that series.


>     Any idea what the HPR is for? Also can either the HPR or the HPL be  
> used in the 360Qs?

The HPL can only be used in a Source 4, because of the integral heat sink.

The HPR is a fascinating lamp.  In essence it is an FLK with a reflector 
mounted at the base of the filament to capture those lumens normally 
lost by the shadow of the base.  I had one on my desk at IC for years, 
but never took the opportunity to test it out.  I didn't want to get it 
mixed into the production lights, and couldn't spare a fixture for long 
enough to set up a reliable test.

Steve L.

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

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

In-Reply-To: <list-42207048 [at] prxy.net>
References: <list-42207048 [at] prxy.net>
Message-Id: <8047DA95-E9F9-4E41-A9D6-56A39000E772 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Intercom Needs
Date: Thu, 8 Feb 2007 12:29:27 -0500


On 8 Feb 2007, at 11:57, Stephen Litterst wrote:

> A question for those of you in road houses (and other venues where  
> the facility does not produce its own work.)
>
> What is the house intercom package like? How many stations/ 
> beltpacks? Wired or wireless?

	Our system is entirely hard wired. I have two jacks next to each of  
the two follow spot positions, One SR, one at the sound / light area  
at the centre of the house (I daisy chain those if sound needs to be  
on line) and two DSL. One of those DSL is used with a semi-permanent  
mike cable to the centre of the ropes. The power supply is a home  
made item built out of an old Heathkit power supply. It works fine  
for talking, but does not allow the call lights to work.

	My latest  "Wish list" that I just turned in to the board, includes  
a wireless power supply and two wireless headsets for use by the SM  
and fly op so they can stop tripping actoids with their cables!  
(Three would be better, but I have to start somewhere!)

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




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

Message-Id: <s5cb1805.008 [at] gwia.harford.edu>
Date: Thu, 08 Feb 2007 12:30:49 -0500
From: "Jeffrey Kanyuck" <JKanyuck [at] Harford.edu>
Subject: Re: Intercom Needs

>>> litterst.stagecraft [at] gmail.com 2/8/2007 11:57 AM >>>
For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
---------------------------------------------------

A question for those of you in road houses (and other venues where the

facility does not produce its own work.)

What is the house intercom package like? How many stations/beltpacks? 
Wired or wireless?

Thanks,

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


I find it depends entirely on the house.
Some places are wired extremely well. Other places you have to daisy
chain multiple comm units together. Others you have to use wireless or
rent a package to do what you need and run all the cable for your comm
unit depending on your needs for the show.


Jeff Kanyuck
Technical Director
Cultural Events & Performing Arts
Harford Community College
401 Thomas Run Road
Bel Air, MD 21015
410-836-4369 Office
410-836-4251 Fax
jkanyuck [at] harford.edu


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

Message-ID: <BAY110-DAV16264457BCE4E1DA73BA47BD9D0 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
Cc: stagecraft [at] jeffsalzberg.com
References: <list-42206813 [at] prxy.net>
Subject: Re: Definition of Scenic Design
Date: Thu, 8 Feb 2007 11:08:13 -0800

That's a keeper!


----- Original Message ----- 
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>

> ---------------------------------------------------
> 
> > A friend of mine is working on a project and needs a general 
> > definition of Scenic Design.  Anyone out there wish to share 
> > their favorite definition.
> 
> "The art of making the lighting designer's job as difficult as possible."
> 
> 

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

Message-Id: <p06240804c1f12465eab4 [at] [192.168.0.2]>
In-Reply-To: <list-42207048 [at] prxy.net>
References: <list-42207048 [at] prxy.net>
Date: Thu, 8 Feb 2007 14:12:46 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: Intercom Needs

At 11:57 AM -0500 2/8/07, Stephen Litterst wrote:

>  What is the house intercom package like? How many stations/beltpacks?
>  Wired or wireless?


The roadhouse I used to work at at MSU had ClearComm 4-channel base 
station in the SM console DSR in the Great Hall. There were jack 
panels in the SR wing and a dry line run to the SL wing for the rail, 
also two dry lines run to the spot booth. There were also jack panels 
in each box boom and each of the two house lighting catwalks, a 
station in the FOH light booth and back-fed up the PA snake to the 
FOH sound desk.

The smaller stage had a 2-channel Clearcomm base in the SM's console 
DSL, a jack in the SL wall, a jack in the SR wall by the rail, a jack 
in each of two FOH vomitoria (thrust stage, vom at each extreme 
downstage corner), jack panels in the back-center of the house where 
we put the sound desk, in each of two spot booths, the catwalk-level 
light booth, the old and useless catwalk-level sound booth, and 
another recording booth up in the clouds.

Each system also had a station in the stage managers' office, for 
eavesdropping purposes, no doubt...

The two stages shared about two dozen wired headset/beltpacks. We 
also had a wireless transceiver and four wireless beltpacks that 
could be moved from stage to stage and piggy-backed into the 
hardwired system for deck rovers and suchlike.

HTH, HAND, &c.

-- 
Dave Vick
rigger [at] tds.net

  Those who dance are considered insane
    by those who can't hear the music.

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

Message-ID: <2106.205.215.253.8.1170963668.squirrel [at] webmail.peak.org>
In-Reply-To: <list-42206618 [at] prxy.net>
References: <list-42206618 [at] prxy.net>
Date: Thu, 8 Feb 2007 11:41:08 -0800 (PST)
Subject: 360Q reflectors
From: "Bill Nelson" <billn [at] peak.org>

Is there an easy way to tell the difference between the superreflector and the old
style reflector?

Bill


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

Subject: Artificial Snow
Date: Thu, 8 Feb 2007 15:17:55 -0500
Message-ID: <B284116C563F014BA1F6DE1BEDBDB68814CF8D [at] vscsvr.VirginiaStageCompany.local>
In-Reply-To: <list-42156357 [at] prxy.net>
From: "Rachael Hunter" <rhunter [at] vastage.com>


 Hi! New to the forum but have been finding your input helpful and =
entertaining. I have an upcoming show in need of three full stage snow =
cradles. I am wondering just how much artificial snow is necessary for a =
30' snow cradle producing "heavy" snow. I have noticed that snow can be =
bought in 30 lb. increments but I don't know how far that goes.=20

~Rachael Hunter
Assistant Technical Director=20
Virginia Stage Company



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

Message-ID: <b7318c480702081217k67893894k297032e80136a0ef [at] mail.gmail.com>
Date: Thu, 8 Feb 2007 15:17:47 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: Definition of Scenic Design
In-Reply-To: <list-42212164 [at] prxy.net>
References: <list-42206813 [at] prxy.net> <list-42212164 [at] prxy.net>

An environment for the action of a play, musical, or opera.

-Delbert

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

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

In-Reply-To: <list-42214413 [at] prxy.net>
References: <list-42214413 [at] prxy.net>
Message-Id: <8663043B-E168-4425-8136-B368FF0936EB [at] aol.com>
From: KEITH ARSENAULT <iaeg [at] aol.com>
Subject: Re: Artificial Snow
Date: Thu, 8 Feb 2007 15:31:13 -0500

wow, , a snow thread and it's not about NUTCRACKER...!

Rachel, ,  all depends on how many shows you are doing as well and  
how you are going to recyle ( or not recycle ) your snow, and how  
long do you need it to snow on stage ?

30 lb's of snow can be different depending on what sort of snow you  
are getting, , , the poly vinyl ? cut paper confetti ?

but as you say 30 lbs, , I will assume that's the poly as that's the  
size box I get it in ( direct from Consolidated Display / Oswego, IL )

three 30' snow cradles /  bags can be filled pretty well with 60 lb's  
total I would say, , ,

depending though
    a   how long you need it to snow
    b   how many performances
    c, ,    and if you are going to sift and re use snow, ,

don't know how long your run is, how long you need it to snow in each  
show, , but if it's running for two weeks, , you might want to start  
with at least four boxes, , and be ready to order more perhaps  
depending on the other circumstances cited above,. ,


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 8, 2007, at 3:17 PM, Rachael Hunter wrote:

  Hi! New to the forum but have been finding your input helpful and  
entertaining. I have an upcoming show in need of three full stage  
snow cradles. I am wondering just how much artificial snow is  
necessary for a 30' snow cradle producing "heavy" snow. I have  
noticed that snow can be bought in 30 lb. increments but I don't know  
how far that goes.

~Rachael Hunter
Assistant Technical Director
Virginia Stage Company


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

Message-ID: <1caebf780702081255o3223db79re89e48f8468ca5cf [at] mail.gmail.com>
Date: Thu, 8 Feb 2007 15:55:56 -0500
From: "Jason Salvatori" <theatretd [at] gmail.com>
Subject: Re: Intercom Needs
In-Reply-To: <list-42212504 [at] prxy.net>
References: <list-42207048 [at] prxy.net> <list-42212504 [at] prxy.net>

We are a smaller house  (381 seats).  We have a 2 channel system, and
each plate has a 3-pin with a physical switch (A/B) AND a 6-pin for 2
channel packs.
There are plates: DL, DR, UL, UR, each theatre entrance (4), orch pit,
rehearsal tech position, 3 in the booth, 3 in the catwalks above the
stage, 2 in the FOH catwalks, tech office, 2 spot positions.  We also
have squawk boxes with channel switches: 3 in the booth, 1 FOH
managers position, 1 GM office.  Single channel squawk boxes (fixed on
A) in every dressing room and 2 in the green room.

With all of this I love all of our positions.  The one thing I hate is
the dressing room boxes.  They have now been disabled... Every time we
get a kids show in, you end up with kids playing with them.  I don't
really need to hear "Alex!  I'm in my dressing room!  Can you hear me
in your dressing room?!" screamed in my ear in the middle of a show.

The only other complaint is that we only have 6 com beltpacks... but
we're looking to add to this soon.  We don't have any wireless, and I
don't really want any.  We are almost exclusively used by community
groups and school children, who I have trouble getting to used wired
comms appropriately.  Last thing I need is an ASM decide that it's OK
to go use the bathroom in the middle of a show, cuz they're still on
com if we need them.

Jason Salvatori
Technical Director
Vaughan City Playhouse

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

Date: Thu, 08 Feb 2007 15:57:24 -0500
Subject: Re: Artificial Snow
From: Stephen Rees <stephen.rees [at] fredonia.edu>
Message-ID: <C1F0F8E4.6F66%stephen.rees [at] fredonia.edu>
In-Reply-To: <list-42215098 [at] prxy.net>




On 2/8/07 3:31 PM, "KEITH ARSENAULT" <iaeg [at] aol.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> wow, , a snow thread and it's not about NUTCRACKER...!
> 
> Rachel, ,  all depends on how many shows you are doing as well and
> how you are going to recyle ( or not recycle ) your snow, and how
> long do you need it to snow on stage ?
> 
> 30 lb's of snow can be different depending on what sort of snow you
> are getting, , , the poly vinyl ? cut paper confetti ?
> 
> but as you say 30 lbs, , I will assume that's the poly as that's the
> size box I get it in ( direct from Consolidated Display / Oswego, IL )
> 
> three 30' snow cradles /  bags can be filled pretty well with 60 lb's
> total I would say, , ,
> 
> depending though
>     a   how long you need it to snow
>     b   how many performances
>     c, ,    and if you are going to sift and re use snow, ,
> 
> don't know how long your run is, how long you need it to snow in each
> show, , but if it's running for two weeks, , you might want to start
> with at least four boxes, , and be ready to order more perhaps
> depending on the other circumstances cited above,. ,
> 
> 
> 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 8, 2007, at 3:17 PM, Rachael Hunter wrote:
> 
>   Hi! New to the forum but have been finding your input helpful and
> entertaining. I have an upcoming show in need of three full stage
> snow cradles. I am wondering just how much artificial snow is
> necessary for a 30' snow cradle producing "heavy" snow. I have
> noticed that snow can be bought in 30 lb. increments but I don't know
> how far that goes.
> 
> ~Rachael Hunter
> Assistant Technical Director
> Virginia Stage Company


Keith posed all the right questions to get closer to an estimate.  For our
Christmas Carol  that ran 10 performances and 5 tech rehearsals with a
single bag and light to moderate coverage, we used up a 30 gallon plastic
garbage can plus a half box of additional snow - about 45 lbs.  We got our
snow from Consolidated Display and we do not recycle it.  It is swept and
trashed after each performance.  (nothing like a bobby pin or other junk
falling during the snow gag )  I'd suggest at least 3 or 4 as well. YMMV.

Steve Rees, TD
SUNY-Fredonia


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

In-Reply-To: <list-42207597 [at] prxy.net>
References: <list-42205883 [at] prxy.net> <list-42206485 [at] prxy.net> <list-42207597 [at] prxy.net>
Message-Id: <396ea4ce28eeb1df002ca8244e93a443 [at] nyu.edu>
From: Mike Voytko <mv35 [at] nyu.edu>
Subject: Re: 360Q lamp type
Date: Thu, 8 Feb 2007 16:00:00 -0500


On Feb 8, 2007, at 12:09 PM, Bruce Purdy wrote:

> 	Any idea what the HPR is for?

The HPR is a 115 volt, 575 watt lamp, suitable for use in a 360Q. Lamp 
life is 300 hours--if your lamp budgets are tight enough that you need 
a long-life version, try the GLA.

Like Steve L. I received an HPR sample from Osram a few years ago and 
we tested it against our stock EHG, plus an FLK, GLA and GLC in our 
(AFAIK) "old reflector" 360Qs. The HPR appeared substantially brighter 
and cooler--more like a Source Four--than the EHG, and slightly 
brighter than the other 575w lamps. Since then the HPR has been our 
lamp of choice, and I've been converting from EHG to HPR as budgets, 
and mfr. supplies, permit...Bulbtronics has had them on back order 
since fall '06.

HTH,

--
Mike Voytko
Lighting & Sound Supervisor
TSOA Theatrical Production
New York University
<mike.voytko [at] nyu.edu>


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

From: "David B. Nelson" <d.b.nelson [at] comcast.net>
References: <list-42206618 [at] prxy.net> <list-42213327 [at] prxy.net>
Subject: RE: 360Q reflectors
Date: Thu, 8 Feb 2007 16:00:55 -0500
Message-ID: <000c01c74bc4$3a334420$6401a8c0 [at] NEWTON603>
In-Reply-To: <list-42213327 [at] prxy.net>

> Is there an easy way to tell the difference between the 
> super reflector and the old style reflector?

The smaller part, which attaches to the "front" half of the instrument, is
shaped differently, and the larger part has slightly smaller "specular
elements" (flats).  Seeing the two, side by side, the difference is obvious
enough, but it's hard to describe in an email.

Regards,

Dave Nelson

Technical Director
Adams memorial Opera House
Derry, NH, USA



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

Subject: RE: G-mail issues
Date: Thu, 8 Feb 2007 15:56:10 -0600
Message-ID: <FCDC6303D60F3B459314989E5D373182299C2E [at] mi-x.asf.private>
From: "Le Hook" <lhook [at] asf.net>


I know Paul Schreiner was referring to G-mail in this comment:

 "I think it's just a question of attitude and complacency...like any
other tool, when the operator knows the parameters and pays attention it
does wonders.  If you get sloppy, the results show."

But it does warrant wider consideration.  Just look at many of the
scenic designs
submitted on Vector Works.  Yes, it is a wonderful tool, that is very
easy to learn,
but it is also very easy to get very sloppy with the program.  And the
results show!!!
=20

Le Hook, Technical Director
Alabama Shakespeare Festival


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

Message-ID: <14b201c74bce$3e9707e0$6a01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: Automated Alarms
Date: Thu, 8 Feb 2007 16:12:37 -0600

Posted in response to my post: "Whilst I agree with your points, I have to 
say to dismiss the problem with "You shouldn't allow it" is both simplistic 
and naive."

Call the fire marshal and explain that many regulations and good planning 
require crowd management and that if no one can be found to be trained and 
serve as the crowd manager - paid or volunteer - the facility should not be 
occupied. I will not suggest half measures that result in people being at 
unreasonable risk which, I believe to be the case. Since I moved, spoke for, 
and voted for the requirements in the Life Safety Code which mandate this, 
please don't expect me to do otherwise.

Somebody will become concerned when the facility is closed and eventually a 
person or group of people will be found. It may require some support from 
the local press, some help - training perhaps - from the fire marshal, and 
even some coercion on the part of the local governmental bodies. Heaven 
forbid should the school district have to come up with a modest salary for a 
part time manager to serve the community - which paid for the school an pays 
their salaries through taxes.

You need people with names to assign the responsibility to. There are, 
regrettably, times when the show should not go on.

Bill Conner ASTC, ETCP CR-T


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

Date: Thu, 08 Feb 2007 18:27:32 -0500
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: Definition of Scenic Design
In-reply-to: <list-42206366 [at] prxy.net>
Message-id: <AA37E558-7EDE-4953-A52F-8DB828FB8ED4 [at] klad.com>
References: <list-42206366 [at] prxy.net>

A Stage Designer is, in a very real sense, a jack-of-all-trades. He  
can make blueprints and murals and patterns and light-plots. He can  
design fireplaces and bodices and bridges and wigs. He understands  
architecture, but is not an architect: can paint a portrait, but is  
not a painter: creates costumes, but is not a courturier. Although he  
is able to call upon any or all of these varied gifts at will, he is  
not concerned with any one of them to the exclusion of the others,  
nor is he interested in any one of them for its own sake. These  
talents are only the tools of his trade. His real calling is  
something quite different. He is an artist of occasions.

from The Dramatic Imagination by Robert Edmund Jones


On Feb 8, 2007, at 11:39 AM, Jared Clarkin wrote:

> A friend of mine is working on a project and needs a general  
> definition
> of Scenic Design.  Anyone out there wish to share their favorite
> definition.



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



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

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Definition of Scenic Design
Date: Fri, 9 Feb 2007 0:12:28 +0000
Message-Id: <20070209001228.TRBL219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: "Delbert Hall" <delbert.hall [at] gmail.com>
> Date: 2007/02/08 Thu PM 08:17:47 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Definition of Scenic Design
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> An environment for the action of a play, musical, or opera.

With due consideration to the needs of the lighting department, to realise the design.


Frank Wood

-----------------------------------------
Email sent from www.virginmedia.com/email
Virus-checked using McAfee(R) Software and scanned for spam


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

Date: Thu, 08 Feb 2007 19:17:02 -0500
Subject: Stop that light! No, fade it up somewhere else!
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1F127AE.C450%mrtemplate [at] earthlink.net>
In-Reply-To: <list-42135355 [at] prxy.net>

Who needs dimmers? Heck, who needs a source?

I was able to follow this article til about 1/2 way through, and then got
left at the station.

http://www.nytimes.com/2007/02/08/science/08quantum.html

Though I didn't understand a good chunk of it, I think we all need a
bose-einstein cloud lighting console. If not to merely amaze our friends,
we'll certainly confuse ourselves....

Shelley

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



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

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Intercom Needs
Date: Fri, 9 Feb 2007 0:18:32 +0000
Message-Id: <20070209001832.WNA17393.aamtaout02-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: "Jason Salvatori" <theatretd [at] gmail.com>
> Date: 2007/02/08 Thu PM 08:55:56 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Intercom Needs
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> the dressing room boxes.  They have now been disabled...

There is a way to handle this. E-mail me privately, and I will either post or tell you the circuitry.


Frank Wood

-----------------------------------------
Email sent from www.virginmedia.com/email
Virus-checked using McAfee(R) Software and scanned for spam


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

Date: Thu, 08 Feb 2007 19:21:02 -0500
Subject: Re: Stop that light! No, fade it up somewhere else!
From: Stephen Rees <stephen.rees [at] fredonia.edu>
Message-ID: <C1F1289E.6F7E%stephen.rees [at] fredonia.edu>
In-Reply-To: <list-42222647 [at] prxy.net>

I was impressed when I thought we could move the light from Buffalo to
Syracuse but when it was revealed the distance was only 2/10 millimeter I
was less so. ;)  Given the weather here in Upstate NY of late, the warmth of
a Bose Einstein cloud might be desirable.

Steve Rees



On 2/8/07 7:17 PM, "Steve Shelley" <mrtemplate [at] earthlink.net> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Who needs dimmers? Heck, who needs a source?
> 
> I was able to follow this article til about 1/2 way through, and then got
> left at the station.
> 
> http://www.nytimes.com/2007/02/08/science/08quantum.html
> 
> Though I didn't understand a good chunk of it, I think we all need a
> bose-einstein cloud lighting console. If not to merely amaze our friends,
> we'll certainly confuse ourselves....
> 
> Shelley


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

In-Reply-To: <list-42218174 [at] prxy.net>
References: <list-42218174 [at] prxy.net>
Message-Id: <4A601FD3-867F-4657-9B39-0B68B42AF76D [at] hillmardesign.com>
From: gregg hillmar <gregg [at] hillmardesign.com>
Subject: Re: G-mail issues
Date: Thu, 8 Feb 2007 19:21:29 -0500

OK so this just rubs me the wrong way...

"Just look at many of the scenic designs submitted on Vector Works.   
Yes, it is a wonderful tool, that is very easy to learn, but it is  
also very easy to get very sloppy with the program."

As a designer who takes pride in my work done through Vectorworks, it  
is just as easy to be sloppy with pencil and vellum (ask about a  
production of GYPSY I had to light last year working with a scenic  
designer who drafts by hand...) as with AutoCAD as with VW.

I KNOW that this is part of your point- that the TOOL does not excuse  
sloppy work, but your choice of example infringes on those of us who  
use VW to great effect.

g.
_____________________
gregg hillmar
scenic & lighting design
portfolio & life as we know it:
http://www.hillmardesign.com

"Work like you don't need the money.  Love like you've never been  
hurt. Dance like no one's watching."
                     Satchel Paige


On Feb 8, 2007, at 4:56 PM, Le Hook wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
>
> I know Paul Schreiner was referring to G-mail in this comment:
>
>  "I think it's just a question of attitude and complacency...like any
> other tool, when the operator knows the parameters and pays  
> attention it
> does wonders.  If you get sloppy, the results show."
>
> But it does warrant wider consideration.  Just look at many of the
> scenic designs
> submitted on Vector Works.  Yes, it is a wonderful tool, that is very
> easy to learn,
> but it is also very easy to get very sloppy with the program.  And the
> results show!!!
>
>
> Le Hook, Technical Director
> Alabama Shakespeare Festival
>


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

Message-ID: <f23a0f840702081806p7dbe30e5t2d8b32b8db40d818 [at] mail.gmail.com>
Date: Thu, 8 Feb 2007 21:06:23 -0500
From: "Paul Schreiner" <paulschreiner42 [at] gmail.com>
Subject: Re: Stop that light! No, fade it up somewhere else!
In-Reply-To: <list-42222765 [at] prxy.net>
References: <list-42222647 [at] prxy.net> <list-42222765 [at] prxy.net>

> Given the weather here in Upstate NY of late, the warmth of
> a Bose Einstein cloud might be desirable.

"Colder than a witch's Bose-Einstein condensate in a brass bra on the
shady side of the iceberg..."

Nah, doesn't have quite the same panache.

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

Message-ID: <f23a0f840702081816wb0d0597s8c878b2d38f6b620 [at] mail.gmail.com>
Date: Thu, 8 Feb 2007 21:16:25 -0500
From: "Paul Schreiner" <paulschreiner42 [at] gmail.com>
Subject: Re: G-mail issues
In-Reply-To: <list-42222781 [at] prxy.net>
References: <list-42218174 [at] prxy.net> <list-42222781 [at] prxy.net>

> As a designer who takes pride in my work done through Vectorworks, it
> is just as easy to be sloppy with pencil and vellum (ask about a
> production of GYPSY I had to light last year working with a scenic
> designer who drafts by hand...) as with AutoCAD as with VW.
>
> I KNOW that this is part of your point- that the TOOL does not excuse
> sloppy work, but your choice of example infringes on those of us who
> use VW to great effect.

Present company notwithstanding, I think that there's something in the
post you're referring to, Gregg, that does strike a bit true.

Tools like VW and gmail allow one to do an awful lot of things.  Way
back when, it'd take an awful long time to do them, and the effort
involved wasn't worth doing it half-assed.  Anyone who hand drafted
anything did so with (apologies to Mr. Hirsig) a certain respect for
Quality.  And it showed.

Now, I can whip up working drawings (proverbial bar-napkin sketches)
with more definition and precision than I could with actual hand
drafting years ago.  And, in situations where bar-napkins are fine for
the communication of the work, those are great.  But at the same time
there's been a diminution of the available time allotted for projects,
so that it's far too attractive an option to get away as much as
possible with bar-napkin VW drawings.

I don't say this out of pride or anything but a sense of profound loss
of opportunity, but the last time I put together a complete set of
working drawings for any show--drawings worth binding--was back in
college.  A lot of us just don't have the time any more to devote to
it.

And while VW is a great tool, and while one can draft accurately and
much more quickly using that (or any other CAD tool worth its salt),
it still takes time to make the transition from a "drawing" to a
"drafting".  And that's not time that a lot of us have.

Unfortunately, the poster you replied to seems to have had far too
many VW "drawings" passed along to him recently...

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

Message-ID: <7b8450b90702081820g1d17953u8aedd91fde126bfc [at] mail.gmail.com>
Date: Thu, 8 Feb 2007 18:20:55 -0800
From: Myself <artguy66 [at] gmail.com>
Subject: Re: G-mail issues
In-Reply-To: <list-42218174 [at] prxy.net>
References: <list-42218174 [at] prxy.net>

On 2/8/07, Le Hook <lhook [at] asf.net> wrote:\

> But it does warrant wider consideration.  Just look at many of the
> scenic designs
> submitted on Vector Works.  Yes, it is a wonderful tool, that is very
> easy to learn,
> but it is also very easy to get very sloppy with the program.  And the
> results show!!!
>
>
> Le Hook, Technical Director
> Alabama Shakespeare Festival

I agree with how some folks get sloppy with Vectorworks. It often
looks great on paper or on the screen, but when i try to manipulate
the drawings into cad/cam files I find many issues.  The number one
problem is having lines or shapes not quite joined. (it either is, or
it is not) The other issue is multiple lines or shapes parked on top
of each other. Amazing how you can see how someone drew something.
Sometimes it just ain't pretty.

Mark-O

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Message-ID: <1221.205.215.253.41.1171013246.squirrel [at] webmail.peak.org>
In-Reply-To: <list-42222647 [at] prxy.net>
References: <list-42135355 [at] prxy.net> <list-42222647 [at] prxy.net>
Date: Fri, 9 Feb 2007 01:27:26 -0800 (PST)
Subject: Re: Stop that light! No, fade it up somewhere else!
From: "Bill Nelson" <billn [at] peak.org>

> Though I didn't understand a good chunk of it, I think we all need a
> bose-einstein cloud lighting console. If not to merely amaze our friends,
> we'll certainly confuse ourselves....

It's not going to save any energy, despite what the article stated. Not unless they
find a way to produce a metallic superconductor cloud at near room temperature.

Also, they just stored a single pulse in that BE cloud. It is unknown whether the
cloud could store a complex waveform or a string of pulses. There is also the
question of signal degradation over time.

Bill


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