Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net X-ListServer: CommuniGate Pro LIST 4.1.8 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #55 Date: Tue, 29 Jun 2004 03:01:00 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #55 1. Curious Production Notes by "Stephen E. Rees" 2. Re: Curious Production Notes by "Stephen E. Rees" 3. Re: Curious Production Notes by "Michael Banvard" 4. Re: Cell phone jammer by "Scott C. Parker" 5. Designer anniversaries is back by "RICHARD FINKELSTEIN" 6. Re: Cell phone jammer by 7. Re: Portable Staging/Load bearing welds by usctd [at] columbia.sc 8. ETC S4 vs. Altman Shakespeare vs. Strand SL by Shawn Palmer 9. fly system rigging companies... by "CATHERINE BRUMM" 10. Re: ETC S4 vs. Altman Shakespeare vs. Strand SL by "Paul Schreiner" 11. Re: Production Triangle (Good, Fast, Cheap) by CB 12. Re: ETC S4 vs. Altman Shakespeare vs. Strand SL by Shawn Palmer 13. Re: ETC S4 vs. Altman Shakespeare vs. Strand SL by Shawn Palmer 14. Re: Production Triangle by CB 15. Re: ETC S4 vs. Altman Shakespeare vs. Strand SL by "Joe Golden" 16. Re: ETC S4 vs. Altman Shakespeare vs. Strand SL by "Paul Schreiner" 17. Re: Cell phone jammer by Wood Chip-P26398 18. Selecon 5.5-13 Was: RE: ETC S4 vs. Altman Shakespeare vs. Strand SL by "John Vink" 19. Re: ETC S4 vs. Altman Shakespeare vs. Strand SL by Steve Bailey 20. Re: Production Triangle (Good, Fast, Cheap) by "Michael Finney" 21. Re: portable staging by Michael Powers 22. Wireless wigborne mic suggestions by "Jon Ares" 23. Re: Wireless wigborne mic suggestions by "Andy Leviss" 24. Re: Wireless wigborne mic suggestions by "Mike Rock" *** 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: <40E01D81.6050801 [at] fredonia.edu> Date: Mon, 28 Jun 2004 09:30:41 -0400 From: "Stephen E. Rees" Subject: Curious Production Notes Hi All, Came across an interesting note in the rehearsal notes for Sour Angelika yesterday and thought I'd share. I'm certain the ASM had no notion that there is humor to be found in something as mundane as a rehearsal report. Am curious to learn how old one has to be to be a Virgin. ;) PRODUCTION: 1) [snipped] 2) Is it possible to find another super Virgin? (the one we currently have is very young and is not taller than her “son”, she also does not look old enough to be the Virgin) Regards, Steve Rees, TD SUNY-Fredonia ------------------------------ Message-ID: <40E01EEF.20708 [at] fredonia.edu> Date: Mon, 28 Jun 2004 09:36:47 -0400 From: "Stephen E. Rees" Subject: Re: Curious Production Notes References: OPPS! That should be SUOR ANGELICA. I hope she's not too sour at all. SER Stephen E. Rees wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi All, > Came across an interesting note in the rehearsal notes for Sour Angelika > yesterday and thought I'd share. I'm certain the ASM had no notion > that there is humor to be found in something as mundane as a rehearsal > report. Am curious to learn how old one has to be to be a Virgin. ;) > > > PRODUCTION: > 1) [snipped] > 2) Is it possible to find another super Virgin? (the one we currently > have is very young and is not taller than her “son”, she also does not > look old enough to be the Virgin) > > Regards, > Steve Rees, TD > SUNY-Fredonia ------------------------------ From: "Michael Banvard" Subject: Re: Curious Production Notes Date: Mon, 28 Jun 2004 08:43:06 -0500 Organization: Sapsis Rigging Midwest Message-ID: <002801c45d15$dade88d0$6801a8c0 [at] Gelert> In-Reply-To: Isn't there the concept of regaining one's virginity when it has been a very long time since one has engaged in carnal acts? All they need to do is ask more pointed questions of the people who audition. Virgins in theatre? Theatre's a dirty business, and there is nothing immaculate about it. - Michael Banvard. ------------------------------ Message-Id: <6.1.1.1.2.20040628094409.02be0ec0 [at] mail.hstech.org> Date: Mon, 28 Jun 2004 09:46:20 -0400 From: "Scott C. Parker" Subject: Re: Cell phone jammer In-Reply-To: References: So this could be fun. On another page, they have cell phone detectors. What if we could get the detector to triangulate the location of a ringing cell phone and hook it up to an AutoPilot and a moving light.... > Scott C. Parker Production Designer/Technical Director High School Tech Production Web Site hstech~AT~hstech.org High Schoolers: come visit the HS Tech Web Site... http://www.hstech.org Our Mission: To assist High School Technical Theater students in their desire to learn about, create, and execute theatrical productions. ------------------------------ From: "RICHARD FINKELSTEIN" Subject: Designer anniversaries is back Date: Mon, 28 Jun 2004 10:01:00 -0400 Message-ID: It's been a while since I've done this, but for those who you who like to celebrate the lives of great theatre design and tech artists, and support orgs here are some of the anniversaries to celebrate in July. In July you can also celebrate the 111th anniversary of the founding of IATSE. You can get all the particulars at hrttp://www.artslynx.org/theatre/thechron.htm but the extrapolated designer list is below. Finally I found a way to keep the webpage up-to-date. In the past the updates took too much time, a problem when I was doing design work in the field, but now I got rid of the crappy software and have been slowly migrating the info to a database which spits out the new pages with only about 10 minutes of work each month. Here's the list. Enjoy! Richard Finkelstein (let me know if you spot mistakes or terrible omissions) ----- In July, you can celebrate the . . . 55th Anniversary of the birth of designer, Zack Brown 67th Anniversary of the birth of designer, David Jenkins 88th Anniversary of the birth of designer, Ben Edwards 80th Anniversary of the birth of designer, Ralph Koltai 60th Anniversary of the birth of designer, Santo Loquasto 83rd Anniversary of the birth of designer, Robert O'Hearn 79th Anniversary of the birth of designer, William Pitkin 84th Anniversary of the birth of designer, Rouben Ter-Artunian 67th Anniversary of the birth of designer, James Tilton 431st Anniversary of the birth of designer, Inigo Jones 71st Anniversary of the passing of designer, Joseph Urban 5th Anniversary of the death of costume designer, Patricia Zipprodt 117th Anniversary of the birth of painter and designer, Marc Chagall 26th Anniversary of the death of British designer, Oliver Messel 51st Anniversary of the death of Actress,Lighting Designer, Maude Adams who among other things developed the lighting bridge and the 1000 watt lamp.....when not being "Peter Pan" 70th Anniversary of the birth of designer, Leo B. Meyer 148th Anniversary of the birth of pioneer electronics, Nikola Tesla 76th Anniversary of the birth of lighting designer, Imero Fiorentino 20th Anniversary of the death of director,designer, Charles Friedman 56th Anniversary of the birth of lighting designer, Ian Calderon 52nd Anniversary of the birth of lighting designer, Andrew Bridge 92nd Anniversary of the birth of designer, Harry Horner 98th Anniversary of the birth of designer, Paul Morrison 153rd Anniversary of the death of Louis-Jacques Mandé Daguerre, not just a photographer but a stage painter as well. Bet you didn't know that! 240th Anniversary of the birth of Paris Opera scenery designer, Louis-Pierre Baltard 94th anniversary of the birth of designer, Harry Horner 146th anniversary of the birth of German painter and set/costume designer, Lovis Corinth 79th anniversary of the death of German painter and set/costume designer, Lovis Corinth ------------------------------ From: Subject: Re: Cell phone jammer Date: Mon, 28 Jun 2004 11:43:05 -0400 Message-Id: <20040628154305.AOT16889.de-fe01.dejazzd.com [at] de-fe01> >illegal in the USA. $11,000 fine for owing one, but last I >hear the FCC has never cited anyone (they said they've >received zero complaints). IF you could get one here without detection and IF you could install it without detection and IF you could keep it secret you might be able to get away with "You just can't seem to get good cell phone reception in this facility" Oh this also supposes that no cell phone providers are doing any signal testing in the area. Greg Bierly Hempfield HS ------------------------------ Message-ID: <2896.129.252.241.105.1088440867.squirrel [at] webmail.columbia.sc> In-Reply-To: References: Date: Mon, 28 Jun 2004 12:41:07 -0400 (EDT) Subject: Re: Portable Staging/Load bearing welds From: usctd [at] columbia.sc Mr Powers wrote: "2. Make sure no weld is load bearing in any direction. " How is this possible in a decking application? Curious. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy ------------------------------ Message-ID: <40E04F17.8030408 [at] northnet.net> Date: Mon, 28 Jun 2004 12:02:15 -0500 From: Shawn Palmer Subject: ETC S4 vs. Altman Shakespeare vs. Strand SL References: In-Reply-To: I need to replace the fixtures (aging Altman 1K zooms) on my FOH catwalk. I can read datasheets, but I am looking for someone who has seen the 10 degree ETC Source 4 next to the 10 degree Altman Shakespeare and the 10 degree Strand SL. Real world data and observation is worth more to me than a piece of paper, particularly since each manufacturer's data is slanted towards their product. Being in central Wisconsin setting up a demo is not likely. I have exactly one vendor who MIGHT do that, and they are on the pricey side- so I typically avoid them. Anyone? Shawn Palmer Pickard Civic Auditorium Neenah, WI USA ------------------------------ Message-Id: Date: Mon, 28 Jun 2004 13:28:36 -0400 From: "CATHERINE BRUMM" Subject: fly system rigging companies... I am looking for any companies in the NC/SC area that have the abiliites to repair and inspect manual fly systems. I currently work with Peter Clark Inc. (formerly CRS Technologies). The county school system I work for wants me to be able to get more then one bid for future repaors/inspections and I have exhausted all my resources and can not find another company in close proximaty that does this sort of work so I come and ask the wisdom of the list. Please feel free to reply off list. Catherine K. Brumm, General Manager Minnie Evans Arts Center Wilmington, NC P910-)790-2360 x821 F)910-790-2356 cbrumm [at] nhcs.k12.nc.us www.geocities.com/nhcscbrumm/index.html ------------------------------ Message-Id: <200406281728.i5SHSBaU026827 [at] webmail.longwood.edu> From: "Paul Schreiner" Subject: Re: ETC S4 vs. Altman Shakespeare vs. Strand SL Date: Mon, 28 Jun 2004 13:28:11 -0400 In-Reply-To: > I need to replace the fixtures (aging Altman 1K zooms) on my > FOH catwalk. > > I can read datasheets, but I am looking for someone who has > seen the 10 degree ETC Source 4 next to the 10 degree Altman > Shakespeare and the 10 degree Strand SL. One question...why are you pondering replacing 1K zooms with fixed-degree instruments? Having put that into your head, I'd seriously suggest checking out the Selecon 5.5-13 degree zooms. Yeah, they're a little pricier, but if I had my druthers (and a budget to match) I'd spec Selecons for practically any new install. Nothing against S4s, but unless there's been some redesigning that I'm not aware of you can't beat the Selecon feature list...especially the automatic main power disconnect when you remove the lamp base (you can actually relamp the instrument safely without unplugging it...though I wouldn't recommend it, it is a nice fail-safe to have!) and the smoothness with which it's all put together. Here's a link to this particular model: http://www.seleconlight.com/english/products/pacific/vnz.htm Or, if you have wrapping problems: http://tinyurl.com/3fjqo ------------------------------ Message-Id: <3.0.6.32.20040628100443.01829b28 [at] pop.west.cox.net> Date: Mon, 28 Jun 2004 10:04:43 From: CB Subject: Re: Production Triangle (Good, Fast, Cheap) >I have always thought of this as an "A + B = C" formula. If you know >any two of the variables, then the third one is predetermined. OK, OK. This is the second time folks have made vague references to trigonometry in regards to this particular little 'theorem'. Clients are not aware of any of the laws of physics, nor do they follow no mathematical or logical formulae. Delbert, give me a real life example of the above formula. I've never seen it, but I'm always willing to accept that there are things that I can learn! 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... ------------------------------ Message-ID: <40E0574D.5000009 [at] northnet.net> Date: Mon, 28 Jun 2004 12:37:18 -0500 From: Shawn Palmer Subject: Re: ETC S4 vs. Altman Shakespeare vs. Strand SL References: In-Reply-To: >>I need to replace the fixtures (aging Altman 1K zooms) on my >>FOH catwalk. >> >>I can read datasheets, but I am looking for someone who has >>seen the 10 degree ETC Source 4 next to the 10 degree Altman >>Shakespeare and the 10 degree Strand SL. > > > One question...why are you pondering replacing 1K zooms with fixed-degree > instruments? Two reasons: one, the current fixtures are so lousy that some zoom, some don't. That feature hasn't been used much. Second, cost. That is also the reason I didn't include the Selecon on my list. But I will open my mind and check them out. Thanks! Shawn ------------------------------ Message-ID: <40E057D7.5090805 [at] northnet.net> Date: Mon, 28 Jun 2004 12:39:35 -0500 From: Shawn Palmer Subject: Re: ETC S4 vs. Altman Shakespeare vs. Strand SL References: In-Reply-To: > Having put that into your head, I'd seriously suggest checking out the > Selecon 5.5-13 degree zooms. Yeah, they're a little pricier, but if I had > my druthers (and a budget to match) I'd spec Selecons for practically any > new install. Nothing against S4s, but unless there's been some redesigning > that I'm not aware of you can't beat the Selecon feature list...especially > the automatic main power disconnect when you remove the lamp base (you can > actually relamp the instrument safely without unplugging it...though I > wouldn't recommend it, it is a nice fail-safe to have!) and the smoothness > with which it's all put together. > > Here's a link to this particular model: > http://www.seleconlight.com/english/products/pacific/vnz.htm > > Or, if you have wrapping problems: > http://tinyurl.com/3fjqo Who can give me a ballpark figure for this Selecon fixture? Shawn ------------------------------ Message-Id: <3.0.6.32.20040628101329.01829b28 [at] pop.west.cox.net> Date: Mon, 28 Jun 2004 10:13:29 From: CB Subject: Re: Production Triangle >I think Chris suckered y'all in. I'll bet his satirical tongue was firmly >in his ironic cheek. > >"Good, fast, cheap?" You want cheap? Pick me! Good instincts, Loren, but unfortunately, not correct this time. Giving your client director, mom, whatever) more choices means that he'll pick both of them. Every time. And piss and moan when he can't have them. Charlie was right. The client wants all three, and wants them all in quantity. Look, all I'm saying is that if this becomes a common saying amongst clients, I'll begin to have a dificult time. I presently present the Production Triangle to the client, explain the relationship as a trigonometric ratio, and ask him which part of the triangle is his priority. Watching and listening gives me so many clues as to where his loyalties and loves are that I know what his later decisions are before I ask him. Now, the response "No, the saying is 'pick two'" is not going to be remarkably helpful. Do me a favor, and do yourself a favor, offer the guy one. Explain that really good sound people (carps, squints, whatever) can sometimes make two happen, but anyone promising all three is selling snake oil, and you'll impress the hell out of him when he gets two. If you work it right, YOU get to pick the second leg! 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... ------------------------------ Subject: Re: ETC S4 vs. Altman Shakespeare vs. Strand SL Date: Mon, 28 Jun 2004 10:46:27 -0700 Message-ID: From: "Joe Golden" 23-50 deg zooms are about $500US. It is cool that you can lamp them either 575w or 1000w. Plus they make a 90 deg. HTH Joe >=20 > Who can give me a ballpark figure for this Selecon fixture? >=20 > Shawn >=20 >=20 ------------------------------ Message-Id: <200406281756.i5SHuF6t027354 [at] webmail.longwood.edu> From: "Paul Schreiner" Subject: Re: ETC S4 vs. Altman Shakespeare vs. Strand SL Date: Mon, 28 Jun 2004 13:56:15 -0400 In-Reply-To: > 23-50 deg zooms are about $500US. It is cool that you can > lamp them either 575w or 1000w. Plus they make a 90 deg. I know the price was set to go up a bit recently, but I just bought a number of 23-50s for about $425 a pop. Which works out to about $465 when you include connector, clamp, and safety cable... ------------------------------ Message-ID: <6728517EECE7D511981B00D0B78290310C8C306E [at] az33exm27.corp.mot.com> From: Wood Chip-P26398 Subject: Re: Cell phone jammer Date: Mon, 28 Jun 2004 13:07:12 -0700 Still like the idea of shielding your facility as a Faraday cage (no illegal jammer), then installing a switchable repeater for good reception during non-show times. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of gbierly [at] dejazzd.com >illegal in the USA. $11,000 fine for owing one, but last I >hear the >FCC has never cited anyone (they said they've >received zero >complaints). IF you could get one here without detection and IF you could install it without detection and IF you could keep it secret you might be able to get away with "You just can't seem to get good cell phone reception in this facility" Oh this also supposes that no cell phone providers are doing any signal testing in the area. ------------------------------ From: "John Vink" Subject: Selecon 5.5-13 Was: RE: ETC S4 vs. Altman Shakespeare vs. Strand SL Date: Mon, 28 Jun 2004 14:31:37 -0600 Message-ID: <001f01c45d4e$e9818bb0$6501a8c0 [at] canadiansales> In-Reply-To: In Canada the suggested price for the Selecon Pacific 5.5-13 degree zoom is $1200 CDN, which works out to about $890 USD. The various lamp modules (and lens tubes) are interchangeable. You can get it with a 575W/750W , 1000W, or with a hot-restrike MSR Lamp (requires ballast). The MSR Unit is, of course, more expensive. The 1000W Tungsten Halogen lamp is the most popular lamp for this fixture. John Vink Johnson Systems Inc. > > > Having put that into your head, I'd seriously > suggest checking out the > > Selecon 5.5-13 degree zooms. Yeah, they're a little > pricier, but if I had > > my druthers (and a budget to match) I'd spec > Selecons for practically any > > new install. Nothing against S4s, but unless > there's been some redesigning > > that I'm not aware of you can't beat the Selecon > feature list...especially > > the automatic main power disconnect when you remove > the lamp base (you can > > actually relamp the instrument safely without > unplugging it...though I > > wouldn't recommend it, it is a nice fail-safe to > have!) and the smoothness > > with which it's all put together. > > > > Here's a link to this particular model: > > http://www.seleconlight.com/english/products/pacific/vnz.htm > > > > Or, if you have wrapping problems: > > http://tinyurl.com/3fjqo > > Who can give me a ballpark figure for this Selecon fixture? > > Shawn > > ------------------------------ Date: Mon, 28 Jun 2004 17:48:43 -0400 From: Steve Bailey Subject: Re: ETC S4 vs. Altman Shakespeare vs. Strand SL Message-id: <004601c45d59$aee2fb00$6401a8c0 [at] computer> References: ----- Original Message ----- From: "Shawn Palmer" > I need to replace the fixtures (aging Altman 1K zooms) on my FOH catwalk. > > I can read datasheets, but I am looking for someone who has seen the 10 > degree ETC Source 4 next to the 10 degree Altman Shakespeare and the 10 > degree Strand SL. Can't say as to the 10 deg.'s, but I use Shake 15/35 zooms and Shake 30 and 40 fixed (68 total Shake fixtures) in the rental hall, with S4's and Junior Zooms (84 total fixtures) in the Theater Dept. space. Some lessons learned. - ETC quality control is far superior to Altman. As example, the Altmans use a good bit of screw-is-tapped-into-the-body type assembly and I've found the threading gets stripped, requiring retapping and new screw sizes, that throws off the maintenance crew when doing repairs. ETC thends to use nut/bolt combo's (lens tube assemblies) that have fewer long term issues. - The Shake zoom has a 3rd lenses buried deep inside the gate, that requires disassembly of the entire front end to access for cleaning. The ETC zooms aren't much better from what I observed, with no access hatch to the lenses tube as the Shake provides for. - Shake shutters are a snap to replace as they have a notch on the shutter blade that allows easy removal. The fixture tends to run cool though and I find this a nice but unnecessary feature as I've replaced few shutters. - The lamp cap screw tends to get loose all it's own on the Shakes and I frequently find the electricians grabbing the handle on the cap to focus (a natural way to focus) with the result that the FLK's blow from shock. I do not have this issue with S4's, whose HPL lamps are MUCH more resistant to shock (in my experience) and whose lamp cap stays tight. - Surprisingly, I've had to replace a few glass reflectors on the Shake zooms, due to overheating ? (can't say). Not yet an issue with either the standard or junior S4's. I first had find out if I had a "new" Shake, or an "old" Shake as the design had changed. I ended up with new rear housings (which fortunately mated to the older front end) . - The Shake is longer then a basic S4 (check spec's on the 10 deg's). Not an issue for my fixed lenses Shake units, as they are side ladders only, but given the opportunity to replace/supplement my Shake Zooms in my very space limited coves, I opted for basic S4's. MUCH smaller (20 vs. 30 inches long), thus 8 units fit in a cove where I now use 7 Shake Zooms. - After 5 years of using the Shake Zooms and recently spending time with the S4 25/50 zoom, I was of the opinion that the ETC has better ergonomics. As example, the lenses tube on the Shake has NO scale of any kind. I made up a paper scale that I taped on to the fixture (15-20-25-30-35), finding that it's easier to have the elec's prep the fixture with a degree setting - which is often correct, rather then make it up and adjusting for each unit. As example, It's useful to focus the first fixture in a wash, then discovering that 20 degrees is too narrow and have all the elec's re-set to 25. Having a scale is essential to save time, something that I complained top Altman about 15 years ago with the 4.5" zoom but which they never seem to feel is needed on any of their zooms. Bottom line is that I've purchased the last of my Altman units, save Par Cans. Steve Bailey Brooklyn College ------------------------------ Subject: Re: Production Triangle (Good, Fast, Cheap) Date: Mon, 28 Jun 2004 15:48:39 -0700 Message-ID: From: "Michael Finney" Well, I like the *concept* of CB's idea of asking the client to pick just one leg of the triangle...at least as a means of "taking their temperature". Unfortunately (as I just proved to myself in a meeting with a new client), the trick is going to be getting the little devils to actually *do* that. This client is a pretty typical example - when discussing how to structure the project development, I went ahead and asked them (couched in slightly different terms) which leg of the production triangle was most important to them. The response was "it has to be absolutely cutting edge - as long as the cost doesn't exceed $XXX(about $1.98)". The natural reaction seems to be for the client to give their most important item along with a qualifier. I think CB's idea still works as a concept, as long as you can get them to respond to the "so your most important criteria is going to be (insert one of three items here), right?" In my part of the world, we use the "quality, budget, schedule" definition. I used to work with a great Project Manager who kept 3 juggling balls on his desk labeled "quality", "budget", and "schedule". In case of conflicts, he'd pick them up and start to juggle. He was a great PM, but a thoroughly average juggler, so at least one of the balls got dropped pretty quickly. At least some of our project teams got the metaphor.... (he's also the one who swore that the people booking our tours (he and I toured together a fair bit) were using a map and a bunch of darts to schedule the tour....'cause we never saw any other rational for NY-Seattle-Houston-Detroit-San Francisco-Montreal.....) Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com =20 http://www.thinkwelldesign.com =20 ------------------------------ Date: Mon, 28 Jun 2004 19:32:47 -0400 From: Michael Powers Subject: Re: portable staging Cc: mfpowers [at] theater.umass.edu (Michael Powers) Message-id: <1088465567.40e0aa9f76039 [at] mail-www3.oit.umass.edu> Boy, I don't know what happened with that last post. Here's what it should have said. "neesa" writes: > ........ in need of portable staging. Everything > I've seen commercially seems abominably heavy. ...... > anything that two people could move ......... > aluminum tubing for the frames, but I'm not sure about > decking material. Neesa, First, a majority of the commercial units are designed and constructed for a different set of circumstances and uses than yours. Most of them are designed to be bullet proof, span 8' gaps between supports and carry the massive live loads that a concert can impose on them. They're designed so a group of stage hands can set up an 80'x100' deck in about 4 hours from the truck. The lids can be handled by two people, but not small people and they're still heavy for the big people. I know how heavy they can be, that's why I moved from the lifting crew to the forklift crew the last few years. I can still lift one end of those decks but not as easy or as fast (and I don't want to!) as the young guys who all seem twice my size now. Could have something to do with measurements. My measurements are the same as theirs, just my waist is now the size of their chests and vice versa. Is your shop set up to weld aluminum? Do you want to build units your self or purchase? Are the performance venues indoors or out? How much height do you need? I am going to guess that your needs are for a much smaller footprint and the loads you are going to impose will be far less than the usual concert set-up. It kind of sounds to me that a good unit for you would be an aluminum frame triscuit. The triscuit or Texas triscuit (the steel frame, non stress skin version) are built in 4'x4' modules and because of the internal framing, can use 5/8" or 1/2" ply for the upper skin, depending on the loads you intend to impose, (I would recommend 5/8" myself). That makes for a relatively light unit that packs tight. That doesn't address the leg issue though, and that has too many variables and solutions to really address in a short post. If you decide to weld them up yourself out of aluminum and your or your crew are not skilled and practiced at ALUMINUM welding, either 1. hire a skilled welder. 2. Make sure no weld is load bearing in any direction. 3. re consider. Some commercial companies have other options available and companies like Secoa, Clancy, Wegner et. al. have decking that is designed more for the type of thing you are looking for. Contact the companies directly and give them the information about what you really need, i.e., target weight of the heaviest unit (usually the deck); the loads you expect, Riverdance or a small group of actors walking around and some scenery; set up parameters such as indoors or out, level ground or parking lots or rolling green hills; overall size of the stage area plus wing space you want and also what you need, not necessarily the same; Time frame you desire for setup and strike; packing space required; and, oh yes .... budget. With that info they should be able to tell you if they have anything that might or might not work for you. If you purchase (or even if you build) there will be some compromises between weight/strength/cost/ and other factors. I know this is a bit vague, but I hope it helps. If you decide to build them yourself, feel free to contact me direct for what help I can offer. Michael Michael Powers, Technical Director UMass Theatre Department 112 FAC West 151 Presidents Drive, Ofc.2 Amherst, Ma. 01003-9331 413-545-6821 voice 413-577-0025 fax mfpowers [at] theater.umass.edu ------------------------------ Message-ID: <001a01c45d91$f810d3f0$0201a8c0 [at] BRUTUS> From: "Jon Ares" References: Subject: Wireless wigborne mic suggestions Date: Mon, 28 Jun 2004 21:31:37 -0700 Greetings all... I know this comes up from time to time, but it's always nice to get the 'fresh' opinions... what do some of you suggest when it comes to owning wireless mics - receivers, beltpacks, and mic heads? Criteria: Good, fast, che... oh wait, that's a different thread. Looking for truly 'ballpark' figures to offer at a meeting tomorrow night that's about fundraising for sound/lighting technology in my school's new PAC. Looking for expandability, or rather not obsoleting itself in 1 year, plus suggestions of what to look for when it comes to choosing heads, considering additional mics would need to be rented. (Even with the best of intentions, these ladies will not be able to raise the funds for a dozen or two wireless mics, I'm sure.) Just got back from designing a show at a PAC in the Mississippi Delta, and one of the weakest links of the musical were the mics - unfortunately they were the A-T or Telex type of clip-on lavs.... designed for a guy at a lectern, not for a singing voice. Ugh. Friends don't let friends use mics like that for musical theatre. So any suggestions of models, or even more broadly, brands to use (or to stay away from).....? How much should one spend on these puppies? -- Jon Ares www.hevanet.com/acreative ------------------------------ From: "Andy Leviss" Subject: Re: Wireless wigborne mic suggestions Date: Tue, 29 Jun 2004 01:45:16 -0400 Organization: Duck's Echo Sound Message-ID: <001201c45d9c$421e2650$2802a8c0 [at] AndyLeviss> In-Reply-To: I can't really offer price info, since I'm usually in an end-user position, and not a purchaser. I can offer some advice on brands, however. Transmitter: Stick with Sennheiser. Shure's have a few features that I like and wish Sennheiser had, but Sennheisers are built like tanks, the Shures aren't designed as well from a physical standpoint. The new Evolution 2 ones look great, I've toured with the 5012 tiny transmitters, which are wonderful, but likely well out of your price range (they list well over $3k, IIRC); not to mention that, while the 5012's size is a plus, it's tradeoff lack of battery strength indicator on the receiver is a big bummer. Elements: Sizewise, Countryman offer a great balance of tiny (especially the B6) vs. sound; it's a tradeoff, as expected, but they still sound pretty good. That said, I cannot recommend strongly that you deal with the slightly larger size and go for the Sennheiser MKE-2 or DPA 406x lines. Yeah, they're slightly bigger (particularly the new MKE-2 Platinum, although I haven't heard how they sound), but again, it's a matter of build quality. I know I'm not the only engineer who's had to deal with leads in the connector of Countrymans being stripped back so far that, once they're slightly broken in (ie, the strain relief softens a bit) they start to short out, causing nasty popping sounds. This is bad enough when it happens with such frequency (I was touring a package of 22 active B6s plus about a half dozen spares from December through May, and we sent at least 3-5 out every couple of weeks for repair), but when you add that Countryman refused to acknowlege that it was a design flaw/QC issue and thus covered under warranty and instead charged for each repair, often ignored the shipping address we sent them and sent it to previous tour stops (even after we sent them an itinerary with a note to please double check shipping address against it), promised to ship an item one day and didn't ship it until 3+ days later, and when I complained about the warranty/non-warranty and QC issues promised to have the head engineer call me back and then never returned my messages, and you can understand why it'll be a cold day in Hell with Satan giving out free snow cones before I recommend or spec a Countryman product again. The strain relief on the other two brands seems much stronger to me, and I've never heard of any shorting problems with them, whereas the Countryman issues are commonplace from talking to other engineers. I know list price on the B6 is $430 or so, being that it's the tiniest "high end-iest" of the lavs, I'd expect that to be a decent ballpark max, maybe figure $300-400 for a decent lav. Again, if anybody has any more hands on dealer or purchaser experience, take their word over mine on price, I can really only speak to how the stuff holds up in the field (or doesn't). Best, Andy Leviss Looking for another tour, or local work in NJ/NY area! --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.703 / Virus Database: 459 - Release Date: 6/10/2004 ------------------------------ Message-ID: <001501c45da3$99927060$176e1745 [at] Spankythelovemachine> From: "Mike Rock" References: Subject: Re: Wireless wigborne mic suggestions Date: Tue, 29 Jun 2004 01:37:48 -0500 Our school has ten shure LXs and I like them. Granted they are not new but they do what they need to. They have not failed yet and the leds are a big plus because from acrossed the booth you can see if the reciver is getting signal. ------------------------------ End of Stagecraft Digest #55 ****************************