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 #58 Date: Fri, 02 Jul 2004 03:00:10 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #58 1. Re: wireless mics by "LES LIND" 2. Re: 4th of July by Bsapsis [at] aol.com 3. Multi cable, surplus, NEW! by "Stirling Shelton" 4. Re: Vocal effects by John Bracewell 5. Re: wireless mics by Rigger 6. Re: wireless mics by Bsapsis [at] aol.com 7. Re: wireless mics by Rigger 8. Exhibiting art work... by "CATHERINE BRUMM" 9. Re: wireless mics by "Andy Leviss" 10. Re: Is it summer? by "Paul Guncheon" 11. Drive Wheels for a powered platform by "Jordan D. Woods-Wahl" 12. Re: Is it summer? by Fred Fisher 13. Re: Is it summer? by "Michael Eddy" 14. Re: Exhibiting art work... by Kate Daly 15. Re: Vocal effects by "Bradley McDevitt" 16. Re: Wireless mic suggestions by CB 17. Re: Exhibiting art work... by Richard Niederberg 18. Re: Vocal effects by Steve Larson 19. Re: Production Triangle (Good, Fast, Cheap) by CB 20. Re: Exhibiting art work... by "Delbert Hall" 21. Assistive listening devices by CB 22. Re: Production Triangle (Good, Fast, Cheap) by "Michael Eddy" 23. drive wheels for a motorized platform by Jordan Woods 24. Re: Assistive listening devices by Shawn Palmer 25. Re: Exhibiting art work... by "MARK OBRIEN" 26. Countryman mics (was RE: Wireless mic suggestions) by "Andy Leviss" 27. Estimating (was Production Triangle (Good, Fast, Cheap)) by "Michael Finney" 28. Re: Estimating (was Production Triangle (Good, Fast, Cheap)) by Boyd Ostroff 29. Re: Is it summer? by StevevETTrn [at] aol.com 30. Re: wireless mics by MissWisc [at] aol.com 31. Re: 4th of July by Herrick 32. Re: Is it summer? by Herrick *** 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: Date: Thu, 01 Jul 2004 06:27:39 -0400 From: "LES LIND" Subject: Re: wireless mics What are some of the best ways to secure B3 type mics to an actor. In the hair isn't as much a problem as attaching it over the ear and to the cheek? We've tried many different adhesives and tapes without much success. Anyone make an after market ear clip? I've asked this question last year, thought maybe something new has come around. Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> hoodnik77 [at] yahoo.com 7/1/04 1:59:54 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- First off, take everything CB said and highlight it... I, for my money, would add the Countryman E3 earset mic to the list. Sound pretty good for the voices I've heard on them... You may have access to better voices than I do, so YMMV ;) Cheers, Steven PS: I have to admit I haven't used a mic in a year and a half... I turn 2x4s and plywood into usable splinters most days... __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! http://promotions.yahoo.com/new_mail ------------------------------ From: Bsapsis [at] aol.com Message-ID: <67.2cea5442.2e154eca [at] aol.com> Date: Thu, 1 Jul 2004 07:26:02 EDT Subject: Re: 4th of July In a message dated 6/30/04 10:19:39 AM, b_ricie [at] yahoo.com writes: << So, if you are near Cape Cod, >> Damn. I'm at the wrong Cape. (Cape Town, South Africa) Sapsis Rigging, Inc. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: "Stirling Shelton" Subject: Multi cable, surplus, NEW! Date: Thu, 1 Jul 2004 08:38:52 -0400 Message-ID: Hello Eric. Great source for surplus, new and used items. Dayton Ohio www.MECI.com Mendelsons Liquidations I buy all my Multi cable from these guys. They carry Belden Infinity. Infinity Control Cable Product Type: 7442A Description: Multi-Conductor, 25 Conductors, 14 AWG, Stranded (41x30) BC - Bare Copper conductors, oil & abrasion resistant PVC - Polyvinyl Chloride insulation, unshielded, oil resistant PVC - Polyvinyl Chloride jacket. Applicable Specifications: UL AWM 2587, CSA AWM I A/B II A/B. Flame Resistance: UL VW-1, CSA FT 1. Flexible control cable. Belden's Infinity FCC cable. Industrial Automation & Process Control Cables. UL & CSA Rated. FCC Cables. Belden Infinity flexible control cable series gives users the option to match the applications with the performance level required. This series provides varying degrees of flex-life spanning 1 through 9 million cycles. Test methods and parameters are available upon request. The FCC series is a cost effective alternative for C-Track and moderate flexing applications rated up to 1 million flex cycles. BELDEN INFINITY is a Belden registered trademark. Stirling Shelton Technical Director Cincinnati Playhouse in the Park 2827 Gilbert AVE Cincinnati, OH 45206 513-345-2255 ext 302 ------------------------------ Message-Id: <5.2.0.9.0.20040701083506.05368008 [at] pop.lightlink.com> Date: Thu, 01 Jul 2004 08:47:32 -0400 From: John Bracewell Subject: Re: Vocal effects In-Reply-To: References:

> >A vocal training coach might even be able to help a non-actor sound more >like what is wanted ;-) A very good suggestion. Actor or non-actor, one problem with an artificial larynx or similar device is likely to be the volume of sound created and the matter of intelligibility. This may be one of those times when "theatrical reality" is the obvious choice. I'd suggest working with the actor, possibly through use of a specialist coach or someone who works in speech pathology, to train him to sound like someone using an artificial larynx. But that method entails some potential problems. To me, the problems here would be, first, teaching the actor to sound as if he is using the throat-vibrator device while simply using a faked prop. Second, but more important, working with the actor to ensure that no vocal damage occurs. Most people that I've heard who use a vibrator as a substitute for the larynx tend to run their words together so that understanding the words is difficult. The greatest problem here is that, at least for all users of the substitute sound source I've heard, is that there is no pitch modulation and no "breath lifts" that can help articulate syllables. Also, the stops--glottal, alveolar-lingual, etc., and the plosives don't come out very well. Those are the main reasons that intelligibility is difficult. My opinion is that, for the stage, your best option may be to teach the actor to speak in a monotone, maybe with a slightly "buzzy" quality if the actor can do it without hurting the vocal cords. -- JLB ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 1 Jul 2004 09:21:51 -0400 From: Rigger Subject: Re: wireless mics At 6:27 AM -0400 7/1/04, LES LIND wrote: > What are some of the best ways to secure B3 type mics > to an actor. Staple gun? Superglue? (Or better yet, hot glue?) > In the hair isn't as much a problem as attaching it over > the ear and to the cheek? We've tried many different > adhesives and tapes without much success. I've always had good results with Johnson & Johnson's first-aid tape. The translucent stuff with the pores in it for air circulation works quite finely. You do want to make sure you're taping to clean, dry flesh though; for some reason if you start out clean and dry the tape doesn't get sweated off, but if you start out with damp skin, the tape won't stick half as well. Save up your alcohol-wipe towelettes from the BBQ joint and use 'em to wipe down the skin you're taping to before you tape. -- Dave Vick, IATSE #274 Head Electrician, The Wharton Center for Performing Arts at Michigan State University Carpe Per Diem ------------------------------ From: Bsapsis [at] aol.com Message-ID: <15c.3842c008.2e156acc [at] aol.com> Date: Thu, 1 Jul 2004 09:25:32 EDT Subject: Re: wireless mics In a message dated 7/1/04 9:22:43 AM, rigger [at] tds.net writes: << Staple gun? Superglue? (Or better yet, hot glue?) >> welding Sapsis Rigging, Inc. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-Id: In-Reply-To: References: Date: Thu, 1 Jul 2004 09:31:48 -0400 From: Rigger Subject: Re: wireless mics At 9:25 AM -0400 7/1/04, Bsapsis [at] aol.com wrote: ><< Staple gun? Superglue? (Or better yet, hot glue?) >> > > welding Naah, skip that. You'd short out the mic cable. It might be easier to braze the copper, rather than welding it.... -DV ------------------------------ Message-Id: Date: Thu, 01 Jul 2004 09:59:37 -0400 From: "CATHERINE BRUMM" Subject: Exhibiting art work... One of the projects I am trying to get finished this year is installation of a system to hang art work from in the lobby of the facility I work in. I have asked for it out of capital outlay for three years now and have been turned down flat so I am now trying to get something done with the money the facility earned from rentals last year but if I do not get things in line quickly that money may get appropriated for other uses. I am trying to find a system of tracks and rods to make the space as versatile as possible. I was hoping some other members on the list might have gallery spaces in thier facilities that may incorporate such a system or even another type of system for that matter any suggestions will help. The main constraint is that the walls in the lobby are all brick so I am looking for something functional for the hanging of art work but that can be painted to almost camoflauge into the wall when not in use. Please any suggestions are greatly appreciated. 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 ------------------------------ From: "Andy Leviss" Subject: Re: wireless mics Date: Thu, 1 Jul 2004 10:22:29 -0400 Organization: Duck's Echo Sound Message-ID: <003101c45f76$d8338050$2802a8c0 [at] AndyLeviss> In-Reply-To: > What are some of the best ways to secure B3 type mics to an > actor. In the hair isn't as much a problem as attaching it > over the ear and to the cheek? We've tried many different > adhesives and tapes without much success. Anyone make an > after market ear clip? I've asked this question last year, > thought maybe something new has come around. Here are two posts I recently made to http://srforums.prosoundweb.com regarding the subject (the second one really needs a mono-spaced font for the ASCII to work): -------------------------- There are three brands of medical tape we use for mounting the mics, all from 3M. My usual tape of choice is Blenderm, a matte finish tape that needs to be cut (it can be torn via a dispenser). It sticks well, blends in fairly easily, and tends to wash off easily (my actors tend to occasionally end up with tape left behind on their neck or back due to how we have to tape their mics). Second choice is Transpore, which is textured with lots of large pores. These make it easy to tear by hand, which is a plus, but I also think it shows up more visibly from a stage than Blenderm does. A couple of my actors find that it sticks better, especially those with coarse facial hair even when "clean-shaven". Finally, for the hardcore sweaters, there's Tegaderm. This comes in small sheets, and you cut a strip out to fit your application. It sticks like crazy to most people, although it's slightly harder to remove (can be removed by hand without any need for cleaning products, however). The one downside is that it's shiny, so you'll want to carefully powder it down (avoiding getting powder in the mic capsule). For those who still can't get it to stick, try prepping the skin with a product from Smith & Nephew called Skin-Prep. This is a small wipe that looks like an alcohol prep pad, but it contains a polymer that forms a thin layer on the skin to both protect the skin and help the tape bond. It works great, but only use it when needed. Finally, one trick for people who tend to really sweat the tape off, which works well both with and without the Skin-Prep, is to do a base layer of Tegaderm directly on the skin. Then, tape the mic to that using Blenderm. Since the TD is directly on the skin without the mic lifting up an edge, it's much harder for sweat to cause the tape to come up. The TD acts as a barrier between the skin and the BD. -------------------------- When I do elastic rigging, what I do is take the elastic and tie it with a clove hitch about a finger width above the base of the mic capsule, about an inch and a half from the end of the elastic cord (typically, you'll want to use white elastic and color it with LetraSet Pantone markers to match your actors skin and/or hair as necessary). Then, bend a small U shape in the mic cable starting at the capsule base--roughly the size of the curve from the base of your fingernail on one side around to the other side ought to do the trick. Tie the end of the elastic around the other side of the U, such that when the elastic is stretched all the way, there is still a little bit of slack in the U. This won't be the best, but let me try to do an ASCII until I get the pictures up on my site (again, you'll want to look at this in a mono-space font like Courier New for it to look right): /-----\ / \ ___mic_cable____/========|=======elastic========> | O <-capsule This U loop will act as a strain relief, allowing the elastic to remain snug on the actor's head without pulling on the element or cable. Now, hold the cable in one hand and the elastic in the other, and place it on your actor's (or, if you need to, your own) head, with the element centered on the forehead, just below the hairline. Bring the elastic and cable together at the back of the head, towards the bottom of the hairline, so that there's a little bit of tension in the elastic. Pinch to mark where the cable and elastic meet at the center (make sure it's centered, the cable won't hide as well off-center), then take it off the head and tie the elastic around the cable with a final clove hitch. If you want, you can add a half hitch on top of that to make it extra secure, although I don't find it necessary. Trim any excess beyond the two end clove hitches, and you're done. Fit it to the actor's head, sliding the clove hitch at the back of the head along the cable if necessary to adjust tension (be careful that you didn't tie this one TOO tight, or you'll pull the jacket of the cable and risk damaging the shield inside). Use a comb/pick to pull the hair back up over the elastic, and all is good. For the finishing touches, get yourself a bit of first aid tape, as I discussed above. Have the actor tilt his head as far forward as he can, and apply a piece of tape to the cable at the base of his neck, just below the collar of the costume. This will allow enough slack for him to be able to turn his head, but keep the cable from pulling up and showing above the collar. If needed, you can use a piece of tape above the capsule's molded strain relief (don't cover the strain relief, it's amazing what will screw up the tone of a lav, B6s are especially sensitive to tape over the strain relief in my experience) to hold it pointing towards the actor's mouth. I've had a couple actors who were allergic to the adhesive in the tape, so what I'd do in those cases was take a piece of appropriately colored floral wire and, after a few tight wraps at the base of the strain relief, spiral it loosely around the cable for the length of the U tied in it. This will let you mold the cable and point it how you need without using tape. Hope this helps, Andy --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.712 / Virus Database: 468 - Release Date: 6/27/2004 ------------------------------ Message-ID: <003501c45f78$19902d90$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Is it summer? Date: Thu, 1 Jul 2004 04:31:28 -1000 I didn't want to fill up the list with vacuous pointless posts like this one. I have started working as the leadman (set dressing crew (swing gang) foreman) on the new NBC TV series "Hawaii". The pilot airs on Sept. 1. Besides, I've been watching the just released DVD of "Picture Bride", the finest independent film to come out of Hawaii and the last film of Toshiro Mifune. I was the production designer. I have front credit too. Ooh, ooh. Anybody on the list into retro-electronics? Nixies? Laters, Paul "I have no underwear," Tom said expansively. ------------------------------ Message-Id: Date: Thu, 01 Jul 2004 09:36:56 -0500 From: "Jordan D. Woods-Wahl" Subject: Drive Wheels for a powered platform We need some drive wheels for our motorized platform. What have others used for drive wheels with their automated platforms or similar applications? For reference the wheel must be 8" diameter, carry 1000lbs and be able to withstand 350 inch-lbs torque, and work in the 300 rpm range. The drive axle, 1.125", is off a gear reducer from an electric motor. Right now we have a poly tread on cast iron hub with a plain bore. The bore is an odd 1 3/16. Machining a keyway runs over $100 dollars per wheel. Keyless bushings that apply sufficient force on the inside of the hub and the shaft to withstand the torque do not match the bore size. Any assistance is greatly appreciated. Jordan Woods-Wahl Hamline University Theatre Saint Paul, MN jwahl01 [at] gw.hamline.edu p-218-349-9270 fax-651-523-3066 ------------------------------ Date: Thu, 01 Jul 2004 09:45:25 -0500 From: Fred Fisher Subject: Re: Is it summer? In-reply-to: Message-id: <5.2.1.1.2.20040701094426.00bae3e0 [at] wiscmail.wisc.edu> References: > >I have started working as the leadman (set dressing crew (swing gang) >foreman) on the new NBC TV series "Hawaii". The pilot airs on Sept. 1. > >Besides, I've been watching the just released DVD of "Picture Bride", the >finest independent film to come out of Hawaii and the last film of Toshiro >Mifune. > >I was the production designer. > >I have front credit too. > >Laters, > >Paul Thanks for the heads up. I for one like to see the work of people on the list. Fred Fisher ------------------------------ From: "Michael Eddy" Subject: Re: Is it summer? Date: Thu, 1 Jul 2004 10:54:01 -0400 In-Reply-To: Message-ID: Paul said: I have started working as the leadman (set dressing crew (swing gang) foreman) on the new NBC TV series "Hawaii". The pilot airs on Sept. 1. Besides, I've been watching the just released DVD of "Picture Bride", = the finest independent film to come out of Hawaii and the last film of = Toshiro Mifune. Paul, Congrats on the new job. I actually watched more than five minutes of TV last night and saw the preview for "Hawaii", it looks very cool. Is it a comedy, drama, or dramedy (hate the word, but it is an apt description.) = Could not tell from the ad, but I will check it out. I will look for the DVD of "Picture Bride". I missed it when it was = around=20 originally, and it looked good. Have a happy and safe Fourth all, Michael Michael S. Eddy Lighting&Sound America =A0 michael [at] plasa.org www.lightingandsoundamerica.com ------------------------------ Message-Id: <6.0.0.22.2.20040701105415.01d39528 [at] popd.ix.netcom.com> Date: Thu, 01 Jul 2004 11:00:11 -0400 From: Kate Daly Subject: Re: Exhibiting art work... In-Reply-To: References: Here's a 39-cent solution I've had good luck with. Put up molding where the wall meets the ceiling, put sturdy hooks at about 24 to 36 inch intervals along the molding, and hang lengths of decorator chain from the hooks (same stuff you'd use at home to hang potted plants off your porch ceiling, etc.) Use small S-hooks to attach the art to the chain at whatever height. This system is infinitely flexible, and when there's no exhibition the chains can be stored out of sight. -Kate At 09:59 AM 7/1/2004, CATHERINE BRUMM wrote: >a system to hang art work from in the lobby > >as versatile as possible. ------------------------------ Subject: Re: Vocal effects Date: Thu, 1 Jul 2004 10:49:29 -0700 Message-ID: From: "Bradley McDevitt" >> Yeah - teach them to act. Yeah, that was my reaction too. Being an actor as well I would personally enjoy the opportunity to sound like Wolfman Jack on stage w/o using the crutch of vocal effects. Ah well...time to call all those art supporting larynx doctors for a favor. As a first time post-er, thank you all for a supremely informative and damn distracting listserv.=20 Bradley Bradley McDevitt Assistant to the Production Manager INTIMAN Theater 206.269.1901 x.202 bradley [at] intiman.org ------------------------------ Message-Id: <3.0.6.32.20040701103609.00c9c1e8 [at] pop.west.cox.net> Date: Thu, 01 Jul 2004 10:36:09 From: CB Subject: Re: Wireless mic suggestions >A couple of shows have come through >with Countryman E-6 Ear piece microphones. The E-6 is (someone that knows someone at CM will correct me if get this wrong), essentially the B-6 on a pre-made ear boom. As far as I can tell, the B-6 (and so, the E-6) sounds pretty good. I still prefer the known quantity of the Mickey-Too, but the CM mics aren't bad. I dunno about the whole "Invisible from the First Row" thing, as I've seen them from row M. The B-6 looks great on paper, and anyone that has had some out working hard for any amount of time, I'd love to hear reports. Shoot, anyone who knows anyone, etc. 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... ------------------------------ Date: Thu, 1 Jul 2004 08:28:05 -0700 Subject: Re: Exhibiting art work... Message-ID: <20040701.110600.2760.14.ladesigners [at] juno.com> From: Richard Niederberg Dear Catherine, A product similar to Unistrut that is manufactured and sold with a Museum-Quality finish (perhaps a matte-finish 'brushed bronze') should be considered, along with the installation of matching track-lighting tracks so that the art can be elegantly and precisely lit, making a good 'system'. /s/ Richard > One of the projects I am trying to get finished this year is > installation of a system to hang art work from in the lobby of the > facility I work in. > I am trying to find a system of tracks and rods to make the space > as versatile as possible. > Catherine K. Brumm ________________________________________________________________ The best thing to hit the Internet in years - Juno SpeedBand! Surf the Web up to FIVE TIMES FASTER! Only $14.95/ month - visit www.juno.com to sign up today! ------------------------------ Date: Thu, 01 Jul 2004 14:11:16 -0400 Subject: Re: Vocal effects From: Steve Larson Message-ID: In-Reply-To: Just a thought- would it be possible to mic the actor and run the sound thru some type of synthesizer, or whatever. You sound guys might have an idea on this. Drop out part of the range? Steve on 7/1/04 1:49 PM, Bradley McDevitt at Bradley [at] intiman.org wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >>> Yeah - teach them to act. > > Yeah, that was my reaction too. Being an actor as well I would > personally enjoy the opportunity to sound like Wolfman Jack on stage w/o > using the crutch of vocal effects. Ah well...time to call all those art > supporting larynx doctors for a favor. > > As a first time post-er, thank you all for a supremely informative and > damn distracting listserv. > > Bradley > > Bradley McDevitt > Assistant to the Production Manager > INTIMAN Theater > 206.269.1901 x.202 > bradley [at] intiman.org > > > > > ------------------------------ Message-Id: <3.0.6.32.20040701104853.00c9c1e8 [at] pop.west.cox.net> Date: Thu, 01 Jul 2004 10:48:53 From: CB Subject: Re: Production Triangle (Good, Fast, Cheap) >Nicely said! Thank you! >The developer knows what it costs to build a >retail store or an office building, and can quote those "per square >foot" costs off the top of his head (so can I anymore...scary!). But >those costs really don't apply to what we're doing now You'd be amazed at how long it took me to convince the electrical contractor that yes, we did *need* that sixty ton of HVAC on the television studio; and no, replacing the 60KW of studio lights with flourescents wasn't an option, regardless of how many huge office buildings he had built. The HVAC guys, to thier credit, were happy to do whatever they were paid to do and left me to make my own decisions until I specced outside their budget. I could make any changes to their installation technique that I wanted until I wanted something expensive. Then I had to argue with the architect and his hired audio guy. It cost him more to fight it than to fix it, but we got it done. 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... ------------------------------ From: "Delbert Hall" Subject: Re: Exhibiting art work... Date: Thu, 1 Jul 2004 14:25:50 -0400 Organization: ETSU Message-ID: <000401c45f98$d68b7d30$6400a8c0 [at] delbert> In-Reply-To: You might also check with the display folks at large department stores. They may have some good suggestions. If there is an issue about mounting something permanent to the walls of the lobby, you might think about some telegraphing poles that could be easily set up, struck, and stored. I have seen these used in department stores to create supports for hanging suits, shelves to hold pants, and many other uses. -Delbert > One of the projects I am trying to get finished this year is > installation of a system to hang art work from in the lobby of the > facility I work in. > I am trying to find a system of tracks and rods to make the space > as versatile as possible. > Catherine K. Brumm ------------------------------ Message-Id: <3.0.6.32.20040701110257.00c9c1e8 [at] pop.west.cox.net> Date: Thu, 01 Jul 2004 11:02:57 From: CB Subject: Assistive listening devices >What are the pluses and >minuses for FM versus IR? IR has line of sight issues. Its harder to place the IR TX and hit all the seats than it is to set up an FM antenna. Fm might interfere with wireless mics and other nearby wireless information systems, or may be interfered with by those systems. >One thing that I don't like about what we >currently have (or at least the way we are using it) is the background >ambient room noise that is amplified in the system. I have a shotgun mic >in the auditorium ceiling that is pointed at the stage. It feeds into >the mixer in the sound booth Use the shotty to help, not as the only source. An omni mic hanging just in front of the pro, (or just in front of the cluster) may have better results. If you have a curved roof, the back lobe of the shotty might be acting like a huge parabolic mic. Remember, hypercardiods reject best from the sides, and less well from the rear. What are you mixing in the booth? Would a program feed from the FOH mixer into the ALD help? Grab a couple of things and set them up before the next rehearsal. maybe some mics on the deck, maybe a couple hanging over the stage, the house feed and whatever else you can think of and patch them into a mixer and put on a pair of the ALD headsets. See what contributes, and what adds noise. What adds intelligability and what adds confusion. If you like it, chances are the hearing impaired will like it as well. Remember that low end will make your mix muddy in the cheapo headsets, but the lows in the room will make it past the cheapos anyways, so you can roll those out. A bit of a peak in the EQ from 2.6 to 6K will help the hard of hearing, as those are (usually) the first to go. Lastly, if you know someone that has a hearing disability, ask their opinion of the mix. 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... ------------------------------ From: "Michael Eddy" Subject: Re: Production Triangle (Good, Fast, Cheap) Date: Thu, 1 Jul 2004 14:52:58 -0400 In-Reply-To: Message-ID: Chris said: You'd be amazed at how long it took me to convince the electrical contractor that yes, we did *need* that sixty ton of HVAC on the television studio; and no, replacing the 60KW of studio lights with flourescents wasn't an option, regardless of how many huge office buildings he had built. I had this fight over and over when working on TV studio projects. I loved the one where I came in after a manufacturer had given them all of the BTU calculations and they put the heavier cooling load in the dimmer room rather than into the studio! They had a meat locker for a dimmer room and a too hot studio. (Almost as good as a distributor that gives a power recommendation that is way too low for a studio.) It is too bad that you spend all the time educating an EC, to only have to start over at go with the next one. I tried to get a few to work on more system/ dimming projects after I had won them over to the dark side. Michael S. Eddy Lighting&Sound America michael [at] plasa.org www.lightingandsoundamerica.com ------------------------------ Message-ID: <20040701193913.33844.qmail [at] web54002.mail.yahoo.com> Date: Thu, 1 Jul 2004 12:39:13 -0700 (PDT) From: Jordan Woods Subject: drive wheels for a motorized platform We are in need of two drive wheels for our motorized platform. What have others used for drive wheels with their automated platforms or similar applications? Should be a simple solution really. A powered shaft attached to a wheel that turns with the shaft. For reference the wheel must be 8" diameter, carry 1000lbs and be able to withstand 400 inch-lbs torque. The drive axle, 1.125", is off a gear reducer from an electric motor. Right now we have a poly tread on cast iron hub with a plain bore. The bore is an odd 1 3/16. Machining a keyway runs over $100 dollars per wheel. Keyless bushings that apply sufficient force on the inside of the hub and the shaft to withstand the torque do not match the bore size. Other possible solutions include wheels with a machined keyway and go cart wheels with a hub that brings the shaft size down to 1". Wheels with a keyway are costly at $120 per unit. Go kart wheels do not have a high enough weight capacity. Any assistance is greatly appreciated. Jordan Woods-Wahl Hamline University Theatre Saint Paul, MN jwahl01 [at] gw.hamline.edu p-218-349-9270 fax-651-523-3066 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-ID: <40E46AB0.7020501 [at] northnet.net> Date: Thu, 01 Jul 2004 14:49:04 -0500 From: Shawn Palmer Subject: Re: Assistive listening devices References: In-Reply-To: > What are you mixing in the booth? Would a program feed from the FOH mixer > into the ALD help? Grab a couple of things and set them up before the next > rehearsal. maybe some mics on the deck, maybe a couple hanging over the > stage, the house feed and whatever else you can think of and patch them > into a mixer and put on a pair of the ALD headsets. See what contributes, > and what adds noise. What adds intelligability and what adds confusion. > Chris "Chris" Babbie > Location Sound > MON AZ To add to what CB said, a lot of times I seen (or heard) well-intentioned people add too much to the ALD feed. Usually the whole mix is not needed, or even wanted. Vocal reinforcement helps a lot. The suggestion (that I snipped-oops) to ask the advice of someone that is hearing impaired was a good one. I think maybe sometimes the (unintentionally ill-advised) desire is to make the headsets (or earbuds, whatever) sound like a walkman with a decent mix. I can also say that I like my Sennheiser IR system MUCH better than my Telex FM system. It is line of sight, of course, but is not prone to outside interference. We were careful placing the 'radiators' (transmitters) and ended up using four of them, for a 1609 seat house with a balcony. You should definately tailor an IR system to your house to get proper coverage. Strictly FWIW, Shawn Palmer Neenah, WI USA ------------------------------ From: "MARK OBRIEN" Subject: Re: Exhibiting art work... Date: Thu, 01 Jul 2004 12:51:50 -0700 Message-ID: At the cofee shop I go to, they have a ever changing selection of "art" that they hang using a small track mounted at ceiling height, and 1/16" aircraft cable that hangs down. They use some sort of a Gripple type device to hang the art, and the excess hangs neatly down below the picture, as if it were meant to. Mark O'Brien Tucson, AZ >You might also check with the display folks at large department stores. >They may have some good suggestions. If there is an issue about mounting >something permanent to the walls of the lobby, you might think about >some telegraphing poles that could be easily set up, struck, and stored. >I have seen these used in department stores to create supports for >hanging suits, shelves to hold pants, and many other uses. > > > One of the projects I am trying to get finished this year is > > installation of a system to hang art work from in the lobby of the > > facility I work in. > > I am trying to find a system of tracks and rods to make the space > > as versatile as possible. > > Catherine K. Brumm _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar � get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ------------------------------ From: "Andy Leviss" Subject: Countryman mics (was RE: Wireless mic suggestions) Date: Thu, 1 Jul 2004 15:55:24 -0400 Organization: Duck's Echo Sound Message-ID: <003b01c45fa5$599f4830$2802a8c0 [at] AndyLeviss> In-Reply-To: > The B-6 looks great on paper, and anyone > that has had some out working hard for any amount of time, > I'd love to hear reports. Shoot, anyone who knows anyone, etc. I posted more details in the "wigborne mic" thread last week, but the short version from five months as the A2 (basically the mic tech, for the non-squeaks on the list :o) on a national tour with a couple dozen B6s is they look great, sound okay, and are built like crap. The QC stinks, so from mic to mic you can't even count on getting a consistent gain out of them (makes swapping out during shows tons of fun, especially when one is a good 6+ dB hotter than the one that just broke!). The leads inside the connectors are stripped back too far, at least with the Lemos, so after a short time using them on a steady active show (doesn't even need to be a dance heavy show, I had them out on "The Full Monty") they start to short out, making nasty popping noises. This is a problem I've confirmed with a few other engineers who've used 'em, and if you have a connector that you can open up, it's easy to fix with a small piece of elec tape; alas, if you don't have a Lemo tool, you can't do that (not to mention that it voids the warranty). Then again, the warranty issue is semi-moot, since this obvious warranty issue is written off as non-warranty and billed for repair, despite the fact that it's quite clearly a manufacturing/QC flaw (I'm still waiting for the return call from their head engineer regarding this issue that I was promised a month and a half ago, BTW). Add in a rather inefficient customer service staff, where the rep we were dealing with threw out an itinerary clearly marked as, "Please keep for reference as to where to ship repaired mics to," and ended up sending a set of mics to a venue from two weeks prior, and then took 3 days or so to finally send a replacement set out overnight to us (to the point that we went through all our spares and were actually running the show short two elements), and that was only when my A1 demanded to be put in touch with a supervisor, who directly handled all our repairs from that point on. -Andy, who again says it'll be a cold day in hell with the big red guy giving out free sleigh rides before he willingly uses Countryman elements again withouth being assured that the shorting problem is fixed and there's better QC on the capsules --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.712 / Virus Database: 468 - Release Date: 6/27/2004 ------------------------------ Subject: Estimating (was Production Triangle (Good, Fast, Cheap)) Date: Thu, 1 Jul 2004 13:00:50 -0700 Message-ID: From: "Michael Finney" Michael Finney wrote: > --------------------------------------------------- ...and a good reason why everybody who wants to > work at the management level (and that includes TD's and designers) has > to learn budgeting and costs from industries besides theatre.....darn > it..... Stephen Litterst replied:=20 <> I think there are a number of options that help you get familiar with construction costs. =20 One of the easiest and most cost effective is to start taking a critical look at announced construction costs for projects in the news and "dissecting" them a bit. Honestly, that's one of the things I have to do on a regular basis just to get baseline estimating data. For instance, when Gameworks announced a couple of projects at the same time I was also looking at some LBE ("location based entertainment") projects I took their announced construction costs (and checked them across several sources) and compared them to the known size of the building. That gave me a rough cost per square foot for their development, which I was then able to compare against *my* project (which told me that they were spending about 15% more than my project, which seemed about right based on previous experience). It seems overly simple, but it gives you a beginning at getting familiar with what people are spending to build things...and it's fairly easy to do with nothing other than a computer, a decent internet connection, and a little time with our friend Google. (for instance, type in theatre+construction+cost and you'll come up with quite a few worthwhile hits for what people are spending to build theatres...and some of them link to "public record" documents showing actual bid responses...same thing with, say, "museum of tolerance"+cost...which is one I had to run for a museum estimate). For more detail in construction cost estimating, there are a number of guides available. These show actual costs for both purchase and installation of individual elements (for instance, you'll be happy to know that a 1000 gallon per minute sewage pumping station will require approximately $43,700 in material costs, $40,900 in labour, and $7,275 in equipment costs. When you add the recommended overhead and profit (also in the book) the total cost to the buyer would be $119,500). They also include "summary" per square foot costs for a variety of types of construction. All of these costs are developed by gathering information from a broad number of projects and then averaging them (which means their theatre construction costs can swing wildly from year to year). The guides include information for adjusting the costs based on specific locales, and sections explaining how to use the guide for estimating. They can take some time to learn, but they're vital resources for project estimating. Personally, I'm using the RS Means Building Construction Cost Data guides...but they ain't cheap. I think I spent about $500 for them this year, which is probably more than most people need to do to get an overview. The basic guide is about $110, with a variety of "specialty" guides available that I have to use (like "Heavy Construction", "Facility Manager's Costbook", "Public Works", etc.). There's another, simplified version called "Architects Contractors Engineers Guide to Construction Costs" that's readily available for $30 or so. I'm also a fan of J.M. Syken's book "Principles of Trade Estimating", which is around $60, and is probably the best introduction (although his costs may not be current). I've been buying my RS Means from Building News (www.bni-buildingnews.com), which is also a great source for a number of other construction and code related publications. Of course, the other option is a construction estimating course. It seems that most universities don't offer such things, but quite a few community colleges do. If you *really* want to get into it, then you might want to look at a construction project management or engineering project management course. There's a pretty good chance that these are going to go into a lot more detail than you'll need on a regular basis, but they can be very valuable. I took an engineering project management course a couple of years ago (1 semester, about 4 hours a week) that was a big help in improving my project scheduling skills. Probably overkill in most cases for theatre, but I can now schedule some pretty complicated projects without freaking out (much!). That help any? Or did I just run on at length again? (oh, wait....) Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com =20 http://www.thinkwelldesign.com =20 ------------------------------ Date: Thu, 1 Jul 2004 16:07:06 -0400 (EDT) From: Boyd Ostroff Subject: Re: Estimating (was Production Triangle (Good, Fast, Cheap)) In-Reply-To: Message-ID: On Thu, 1 Jul 2004, Michael Finney wrote: > That help any? Or did I just run on at length again? (oh, wait....) How much of your time went into writing that last post, and whose account is it getting charged to? ;-) Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ From: StevevETTrn [at] aol.com Message-ID: <1c5.1a975b3b.2e15e9d1 [at] aol.com> Date: Thu, 1 Jul 2004 18:27:29 EDT Subject: Re: Is it summer? >Is the list so short lately because: 5) All of the above? SteveV Orl, FL ------------------------------ From: MissWisc [at] aol.com Message-ID: <30.5a563751.2e164054 [at] aol.com> Date: Fri, 2 Jul 2004 00:36:36 EDT Subject: Re: wireless mics Topstick is toupee tape... works great for sticking wireless mics to flesh also. Ask your wig folks if they have any. I get the pre-cut strips and then trim them to fit. Kristi ------------------------------ Date: Fri, 2 Jul 2004 03:27:22 -0400 Subject: Re: 4th of July From: Herrick In-Reply-To: Message-Id: <41FA70CC-CBF9-11D8-BBAC-0003934521EC [at] hglightingdesign.com> If anyone does go let me know I can probably get you Tix to Glass Menagerie. Stagecraft is credited in the program after all. Alas I'm off Cape until the 11th. Brian I'll see you at the Land Ho soon after that. I have your 5 pin. -H On Wednesday, Jun 30, 2004, at 10:19 America/New_York, b Ricie wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Greetings all, > My favorite time of year is here (time off that is). I > again,am hosting an annual 4th of July party. The > party times are July 1st to and tru July 7th. We will > be at the beach by day and around a bon-fire in my > backyard by night. The coolers are stocked and we will > be grilling the entire time. There is plenty of room > for tents and fun people. So, if you are near Cape > Cod, or feel like making the trek, e-mail me directly > for more information. If not, then I wish all a happy > and SAFE Independence Day > > ===== > Brian Rice > b_ricie [at] yahoo.com > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Date: Fri, 2 Jul 2004 03:28:18 -0400 Subject: Re: Is it summer? From: Herrick In-Reply-To: Message-Id: <63465D3F-CBF9-11D8-BBAC-0003934521EC [at] hglightingdesign.com> Yeah we're all too pissed off to speak......damn guvmint On Wednesday, Jun 30, 2004, at 17:40 America/New_York, IAEG [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > In a message dated 6/30/04 2:39:02 PM, psyd [at] cox.net writes: > > << All those threatening to leave because they couldn't see the > relationship between politics and working stagecrafters actually > left? >> > > > most likely the subject for the next Michael Moore extravaganza........ > > > > > very best, > > Keith Arsenault > > IAEG - International Arts & Entertainment Group > Tampa, Florida > > Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ End of Stagecraft Digest #58 ****************************