Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2) with PIPE id 4188615; Thu, 19 Aug 2004 03:00:33 -0700 X-ListServer: CommuniGate Pro LIST 4.2 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #106 Date: Thu, 19 Aug 2004 03:00:16 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.0-pre4 (2004-08-04) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-2.9 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, MAILTO_TO_SPAM_ADDR,SAVE_MONEY autolearn=ham version=3.0.0-pre4 X-prxy-Spam-Filter: Scanned X-TFF-CGPSA-Version: 1.4a3 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #106 1. Scam or for real? by Herrick 2. Re: Evacuation by Jason Tollefson 3. Re: Sound Position Announcement by "Immel,Patrick" 4. hey his is pretty cool by Herrick 5. Re: Evacuation by "Tony Deeming" 6. Re: Mackie or not by "Paul Schreiner" 7. Re: CAD vs. Hand by "Paul Schreiner" 8. Re: Mackie or not by Christopher Haas CEHAAS 9. Re: Sound Position Announcement by "Paul Guncheon" 10. Re: Scam or for real? by MissWisc [at] aol.com 11. Re: hey his is pretty cool by "richard j. archer" 12. Re: hey his is pretty cool by Stephen Litterst 13. More Free dimmer packs available in NYC by Mike Voytko 14. Re: Sound Position Announcement by CB 15. Re: Anti Cellular wallpaper by Wood Chip-P26398 16. Re: Sound Position Announcement by CB 17. Re: Sound Position Announcement by CB 18. Re: Mackie or not by CB 19. Re: Mackie or not by Shawn Palmer 20. Re: Sound Position Announcement by MissWisc [at] aol.com 21. Re: Anti Cellular wallpaper by Greg Bierly 22. Re: Anti Cellular wallpaper by 23. Re: Sound Position Announcement by Bruce Purdy 24. Re: Model Lighting / Mini Light Lab by Joe 25. Chldrens Theatre [was Re: Sound Position Announcement] by "Andrew Vance" 26. Re: Mackie or not by Kyle Dugger 27. Re: Model Lighting / Mini Light Lab by "Immel,Patrick" 28. Re: Scam or for real? by "Scott C. Parker" 29. Re: hey his is pretty cool by Noah Price 30. Re: Chldrens Theatre [was Re: Sound Position Announcement] by MissWisc [at] aol.com 31. Re: Childrens Theatre [was Re: Sound Position Announcement] by Andrew Vance *** 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: Wed, 18 Aug 2004 07:21:57 -0400 Subject: Scam or for real? From: Herrick Message-Id: Hey gang, I received the following last night. This could be in response to the=20= festival post I sent out and if it is then that's cool. Or it could be=20= someone on the list with a real business that does this. Have any of you gotten anything similar? As wonderful as they make my=20 "career" sound I don't think I can take on an intern from overseas.=20 However if we think it's legit I'm betting we could forward this on to=20= a handful of folks who could oblige. I haven't e-mailed back yet. -Herrick Forwarded Message: > From: "Hitomi/AIT" > Date: Tue Aug 17, 2004 22:28:25 America/New_York > To: > Subject: seeking internship opportunities > > Dear Mr. Herrick Goldman, > =A0 > Good morning.=A0=A0My name is Hitomi Merva and I work as an = International=20 > Program Coordinator here at=A0 Access Internship & Travel, located in=20= > Tokyo, Japan.=A0 We arrange > U.S J-1 Exchange Visitor Programs for Japanese students and=20 > professionals wishing to train abroad in a practical, working=20 > environment. > I have studied your web site and=A0understood you have had > created=A0various kinds of lighting arts and=A0made successful career = as=20 > well as historical progress in this field. > =A0 > Now we have an enthusiastic candidate who is willing to intern in the=20= > field of Stage Lighting and in New York City. This candidate is a=20 > professional stage lighting designer who have=A0had=A0experience in=20 > designing the stages of musicals, modern dances and plays as=20 > freelance. His aim is to learn and experience the specific feature of=20= > American stage > lighting techniques for future prospects. As well as building up his=20= > professional career, he also hopes to experience in American business=20= > environment so he improves his English skills. > > We would be more than happy if you consider having our=A0Japanese=20 > trainee. =A0If you would be interested in having this young and=20 > energetic candidate as your trainee, please reply to the e-mail=20 > address or fax number below, and we will send his CV and motivation=20 > letter. Also, we arrange telephone interview at the time convenient=20 > for you and the candidate will call you directly. > > Thank you very much for your time and I hope to hear from you in the=20= > near future. > > Yours faithfully, > > Hitomi Merva > International Program Coordinator > > Access Internship & Travel > 1F Grace Iijima Bldg., 1-16-22 Ikebukuro, Toshima-ku, Tokyo 170-0014=A0=20= > JAPAN > http://www.ait-net.com/ > TEL:=A0 +81-3-3980-2500 > FAX:=A0 +81-3-3980-2290 ------------------------------ Message-ID: <20040818115920.80471.qmail [at] web50304.mail.yahoo.com> Date: Wed, 18 Aug 2004 04:59:20 -0700 (PDT) From: Jason Tollefson Subject: Re: Evacuation In-Reply-To: Keep in mind that Disney paid 15,000 cast members to ride out the storm and begin cleanup as soon as the winds died down. I was hope with my family during the storm but went in at 9am, before my own home was even cleaned out (It was my choice BTW, Mickey didn't coerce me at all.) Fantasmic was able to go the very next night due in large part to extensive storm prep and backup copies of many props. Also in case any of you were wondering, Yes a Studio Spot can withstand hurricane force winds with minimal protection but I wouldn't recommend it. Jason Tollefson LD-at-Large (and Disney tech) www.tollefsondesigns.com > The Disney area itself seemed to get away extremely lightly - the organised > precautions seemingly rather effective. Yes, many trees were uprooted or > snapped, a fair number of signs alongside the roads were conspicuous by > their absence, but very little structural damage was obvious. ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39011EDC5FF [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: Sound Position Announcement Date: Wed, 18 Aug 2004 07:00:51 -0500 Well said John. Patrick Immel Northwest Missouri State University -----Original Message----- From: John Gibilisco To: Stagecraft Sent: 8/18/2004 1:43 AM Subject: Re: Sound Position Announcement For info, archives & UNSUBSCRIBE, see --------------------------------------------------- CB wrote: > >Sound Designer/Engineer/Assistant Electrician > Assistant Electrician? This is really a joke, right? No. No joke here in Omaha. We call it "working" doing something we want to do. I have no problem with The Omaha Children Theater's job post. I agree that it is difficult to concentrate and do a good job with audio while hanging lights. I know, I've done it for 17 years for the Omaha Playhouse. I really don't think of my position as joke. > Any "Sound Designer" that would take this gig under these circumstances is > either the nicest guy you ever want to meet, (yeah, right) or he has no > other options. Glad to hear there are plenty of options in Arizona. I don't imagine you will be applying for this job! The OCT is really a great company. And they get to work in an incredible space. I am sure whomever takes the position will be grateful and probably one of the nicest gal or guy you would ever want to meet. > I wouldn't bet the house on his credentials or his product. Your right. The product will not be as good while time is shared. But lets get real. This is the best the company can do. It is not a matter of a producer trying to save money. It will be a great job for the right person. Count your blessings Chris. Best, John Gibilisco ----- Original Message ----- From: "CB" To: "Stagecraft" Sent: Tuesday, August 17, 2004 10:15 AM Subject: Sound Position Announcement > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >Sound Designer/Engineer/Assistant Electrician > > Assistant Electrician? This is really a joke, right? You have your sound > designer working for your ME when they hang and focus? Just curious, what > are the lighting designer and the set designer doing when this happens? > Does the director help in the hang too, or are they busy sweeping the lobby. > Look, I'm all for everyone helping everyone. but putting the > designer/engineer in another dept's. labor pool is really giving him a hard > time establishing any real credibility. I am not a rank and file type of > guy, but this is really a bit silly. I guess it simply reflects the > present paradygm's view of sound, and you're either part of the solution or > you're part of the problem. > Any "Sound Designer" that would take this gig under these circumstances is > either the nicest guy you ever want to meet, (yeah, right) or he has no > other options. I wouldn't bet the house on his credentials or his product. > 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: Wed, 18 Aug 2004 08:14:51 -0400 Subject: hey his is pretty cool From: Herrick Message-Id: <34A7E182-F110-11D8-88B7-0003934521EC [at] hglightingdesign.com> a city sized fog chiller! Go Toronto! Does this mean I can use more lights? _Herrick ------------------------------ Message-ID: <04d501c4851e$e0eba830$0000fea9 [at] Tony> From: "Tony Deeming" References: Subject: Re: Evacuation Date: Wed, 18 Aug 2004 13:28:33 +0100 Surprises me not at all. Whatever negative things can be said for Disney, I reckon they are pretty good at keeping organised. BTW - had I known you were a Disney guy, I'd have stopped of and said 'Hi!'..... Which area do you work - I assume Fantasmic. I almost popped up to the control room after we saw the show mid-week, but the crowds took me the wrong way. 8-) Ynot ----- Original Message ----- From: "Jason Tollefson" To: "Stagecraft" Sent: Wednesday, August 18, 2004 12:59 PM Subject: Re: Evacuation > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Keep in mind that Disney paid 15,000 cast members to ride out the storm and begin cleanup as soon > as the winds died down. I was hope with my family during the storm but went in at 9am, before my > own home was even cleaned out (It was my choice BTW, Mickey didn't coerce me at all.) Fantasmic > was able to go the very next night due in large part to extensive storm prep and backup copies of > many props. Also in case any of you were wondering, Yes a Studio Spot can withstand hurricane > force winds with minimal protection but I wouldn't recommend it. > > Jason Tollefson > LD-at-Large (and Disney tech) > www.tollefsondesigns.com > > > The Disney area itself seemed to get away extremely lightly - the organised > > precautions seemingly rather effective. Yes, many trees were uprooted or > > snapped, a fair number of signs alongside the roads were conspicuous by > > their absence, but very little structural damage was obvious. > ------------------------------ Subject: RE: Mackie or not Date: Wed, 18 Aug 2004 09:45:18 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74AC2D [at] exchange.rmwc.edu> From: "Paul Schreiner" > Since you've asked for a "basic" console, I would reccomend=20 > one of the=20 > smaller consoles from allen and heath. If you want to kick it=20 > up a notch=20 > in quality, perhaps consider soundcraft - but its a big price jump. Jumping in late on this thread, so I don't recall what the specs are on = the particular mixer the original poster is looking for, but about 18 = months ago I was comparing A&H vs. Soundcraft for a FOH mixer at my last = incarnation (I mean, job)...and there really wasn't that much difference = in price between similar configurations. Yes, there was a difference, = and yes, Soundcraft was a bit pricier, but I'd hardly call it a big = jump. FWIW, I was in the market for a 32x8 and ended up with a SeriesTwo from = Soundcraft...and apart from a mysterious failure on the Aux3/4 bus it = was fabulous. So you may wanna check out the smaller Soundcraft boards = if that's more up your alley... ------------------------------ Subject: RE: CAD vs. Hand Date: Wed, 18 Aug 2004 10:09:25 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74AC2E [at] exchange.rmwc.edu> From: "Paul Schreiner" > When drafting in normal theatrical scales, like 1/2"=3D1'-0"=20 > it is impossible to scale more accurately than 1/2", quarter=20 > inches can be guessed at, anything more precise is pure=20 > fantasy. Even at 3"=3D1'-0" you can only get to 1/8"=20 > accuracy. Almost every carpenter should be able to work=20 > more precisely than these limits. =20 A couple of thoughts that came to me when I read this... The number of theatrical carpenters I've seen and worked with who can = consistently and reliably work more precisely than 1/8" tolerances is = small. But then I've been working mostly with college students for the = past umpteen years. At the same time, I've also seen as much as 1/8" variance in lumber = widths, even among the same batch. I've seen 1x stock come to me as = thin as 21/32, and as thick as 25/32. Differences in width are = similar...it's relatively common to find, say, 1x8 that's only a hair or = a smidge over 7-1/4" wide. With that much wiggle room in the lumber, = it's impossible IMHO to hold carpenters to a more exacting standard. Besides, unless you're talking props carpentry (which is a whole 'nother = ball of wax entirely), 1/8" tolerances are almost overkill when viewed = from the perspective of the audience. With the exception of the occasional diagonal measurement (which I = usually indicate is approximate, with a note of "cut to fit" included on = the drawing), how often do you deal with drawn pieces that are intended = to NOT be some reasonably "normal" dimension where that level of = precision with a scale rule isn't adequate? ------------------------------ Subject: Re: Mackie or not From: Christopher Haas CEHAAS Date: Wed, 18 Aug 2004 10:18:46 -0400 Message-ID: Having been in a similar situation and having a Mackie 24*8 (along with the 24 channel sidecar), I avoided buying a new Mackie. We consistently had problems with the board (channels dropping out, auxes crapping out, line inputs deciding they didn't want to receive signal). A big headache was when I lost phantom power to channels 17-24. I'm now a big fan of phantom power supplies on each channel vs. global. In the same general price range are several boards which I would recommend. If you don't need all 8 busses, look at the Midas Venice series (4 bus). I just installed one at a high school and it is very nice. Sounds great, easy interface and was flexible enough to cover various situations needed for the space. You could also look at the Soundcraft Spirit LX7 (not as nice as some of their other boards, but usable) For 8-bus boards I've had good experiences with Allen & Heath GL 3300M. Used it in a multi use venue covering everything from theatre productions, speakers, bus and truck shows, commencement, etc. I demoed a Soundcraft Spirit-8 for a space, funding fell through and we ended up not getting it. However we would have gotten that board had the donation pulled through. I really like Soundcraft boards and (in my opinion) you won't go wrong with one. Chip Haas Technical Director Department of Theatre The University of North Carolina at Greensboro 336-334-3891 ------------------------------ Message-ID: <004801c4852f$1ccb2910$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Sound Position Announcement Date: Wed, 18 Aug 2004 04:24:45 -1000 <> <> I can see why Chris takes umbrage at the position announcement and I can understand that the position may have been established because that the way things developed with previous employees became "the way it's done". With my basic (well established and based on true experience) mistrust of management, I seriously question whether this is "the best they can do". I truly doubt it. It's more probably "what they can get away with". I am not necessarily talking about the theater manager, but one of his/her higher ups. Not unlike the $80+k plus managing director who work from 10 - 4 who hires a $40+k bookkeeper to work the same hours telling the $32k technical director who works 12 hours / day minimum that he additionally has to do building maintenance including cleaning the bathrooms. I am not saying that this is not a great job... it very well may be. I just can see why it may rankle some. Laters, Paul "Crosby is my favourite singer. Is he yours?" asked Tom probingly. ------------------------------ From: MissWisc [at] aol.com Message-ID: <1d4.28872434.2e54c748 [at] aol.com> Date: Wed, 18 Aug 2004 10:52:56 EDT Subject: Re: Scam or for real? Herrick - There are businesses who do this kind of matchmaking, but I wouldn't take an employee -- especially an international worker -- from one without a reference whom I trust. Too many opportunities for things to go wrong. I'm finding more and more people are using the words "school" or "intern" as a way to get around laws - immigration, copyright, employment, etc. If indeed this guy is working professionally in the industry in Japan, he'll run into someone from this list eventually and, assuming he has any talent, doors will open. Kristi ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 18 Aug 2004 11:07:25 -0400 From: "richard j. archer" Subject: Re: hey his is pretty cool > >a city sized fog chiller! > > > >Go Toronto! Does this mean I can use more lights? > >_Herrick Cornell uses this technique for chilled water for HVAC. We ain't "high above Cayuga's waters" for nothing. It is not without controversy. Dick A ------------------------------ Date: Wed, 18 Aug 2004 11:58:56 -0400 From: Stephen Litterst Subject: Re: hey his is pretty cool Message-id: <41237CC0.DADE321E [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

"richard j. archer" wrote: > --------------------------------------------------- > > > > >a city sized fog chiller! > > > > > > > >Go Toronto! Does this mean I can use more lights? > > > >_Herrick > > Cornell uses this technique for chilled water for HVAC. We ain't > "high above Cayuga's waters" for nothing. It is not without > controversy. True, but in Ithaca, nothing is without controversy. Or lawsuits. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: From: Mike Voytko Subject: More Free dimmer packs available in NYC Date: Wed, 18 Aug 2004 11:59:46 -0400 (Last batch for now...Here we go again! :-) I have the following available immediately in NYC: (6) TTI MDS-1-6 "Blue" dimmer pack (6x2.4kw) w/dual *nub-out* twist outputs Analog Control is via Cinch Jones connectors. I may be able to offer some control cable. All packs are offered on an "as-is" basis. They have been professionally maintained over the years. They're not Sensor racks (or small...or lightweight...) but they still work, give or take a dimmer. Two spare dimmer modules are included. Here's the fine print: I can only offer these to not-for-profit groups **with the requisite documentation** (IRS letter and/or other proof of nonprofit status). The group must fill out an application to receive them through NYU's asset management department, which makes the final determination. There is a waiver of liability that must be signed, and recipient must arrange for pickup from my building in the East Village. If you or someone you know is interested, e-mail me off-list (No calls please!) ASAP. Cheers, -- Mike Voytko Lighting & Sound Supervisor TSOA Theatrical Production New York University ------------------------------ Message-Id: <3.0.6.32.20040818095209.0182df30 [at] pop.west.cox.net> Date: Wed, 18 Aug 2004 09:52:09 From: CB Subject: RE: Sound Position Announcement >This just perpetuates the white glove sound engineer stereotype. You just don't kow me very well at all, do you? ANYONE who has worked with me knows that I ain't that guy. What it DOES perpetuate, however, is the belief that sound isn't that hard, and its just a 'side dish' and since it won't take too much to get sound happening, we need to get this guy to do some 'real' work. Since he does sound, he should be able to understand the basics of electrics (don't the IA consider him an electrician?) so we'll have him work for the ME. Really, all this and no Tony? >Don't get me wrong. I have a lot of respect for Audio Engineers and their >skills. But, come on. A lot of respect? Tell me which of the other designers you respect enough to think about assigning them to another depts labor pool? Which Dept Head do you think you need doing the menial portion of your work? This in NO way resembles respect for an individual's skills and experience. ------------------------------ Message-ID: From: Wood Chip-P26398 Subject: RE: Anti Cellular wallpaper Date: Wed, 18 Aug 2004 11:16:38 -0700 And this is bad? Seems to me the ideal solution to misuse of cell phones by both crew and audience. Turn it on when down and off when necessary. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tony Deeming Sent: Tuesday, August 17, 2004 6:26 PM To: Stagecraft Subject: Re: Anti Cellular wallpaper For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Only problem is that you'd then have to get an aerial and a cell repeater installed for your own phone to work during downtime! Ynot ----- Original Message ----- From: "Mark O'Brien" To: "Stagecraft" Cc: "Mark O'Brien" Sent: Friday, August 06, 2004 7:58 PM Subject: Anti Cellular wallpaper > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I saw something this morning (tomorrow morning) In the Sydney Morning > Herald, tech section http://www.smh.com.au/ that described wallpaper > that passively would block cellular, and Wi-Fi signals. > > How 'bout we paper the town? > > Mark O'Brien > Opera Technical Director > University of Arizona, School of Music > Tucson, AZ > 520/621-7025 > 520/591-1803 Mobile > > ------------------------------ Message-Id: <3.0.6.32.20040818122257.0183a0b8 [at] pop.west.cox.net> Date: Wed, 18 Aug 2004 12:22:57 From: CB Subject: Re: Sound Position Announcement > Anyone reading the ad who doesn't >want to help out another department won't apply. As someone said, we = >like team players here. Again, anyone who knows me knows that I am the first on the deck helping out carps, props, squints, whoever in whatever capacity that I am able, once I have nothing else to do in sound. I AM a team player, and that's the one reason I've never had to lift a console by myself. ; > It just starts to feel a bit like I've been doing the favor so long its now part of my job description. >FYI, I have the utmost respect for sound folk. No matter how many times = >they explain how they're routing the signal from A to B, processors, = >compressors, and matrixes I still can't manage to retain, let alone = >understand, any of it. I think I have the same blank look on my face as = >Omaha third graders do when you try and explain lighting to them. Which is why its a seperate dept, and a whole job unto itself. Its not like we're not helping lighting everytime video goes into a gig (that instrument DOES only put out light, don't it?) >And no offense meant, Chris. I agree its not ideal, but its what we've = >got to work with so we make the best of it. I'll still ship you some = >Leinies next time my aunt and uncle make the trip down there. [Assuming = >you want some, that is.] None taken (personally, at least), but it does point to the larger picture, that sound folk are just electricians with a cool stereo at home. It IS a practice that would not fly in any other dept, nor would it fly in any other work environment. I'd expect anyone and everyone to pitch in and help if they're free, and to help in their best capacity. Assigning them the task, however, automatically assumes that sound is done, and starts to breed bad feelings everytime the soundguy has to do sound instead of hanging lights. I'd assume that the guy doing sound would pitch in AFTER the sound design is implemented, and all the sound needs are met. Having the second job means having to schedule sound around lighting. All justifications aside, I understand the budgetary forces behind using all your folk in as many areas as possible, but it should be stated and read that way. I guess its just a knee-jerk reaction to the same old story, and seeing the 'tradition' continued as normal instead of as unusual means that somewhere there are still a huge number of folk that just dont see the problem. Its wrong, it needs to change, and if I don't say something, who will? Let's start with a Tony, and see where it goes from there... And, of course, I'd drink the Leinie's. I'd travel all the way across Tucson again just to spend those ten minutes with your kin! 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: <3.0.6.32.20040818123453.0183a0b8 [at] pop.west.cox.net> Date: Wed, 18 Aug 2004 12:34:53 From: CB Subject: Re: Sound Position Announcement >I agree that it is difficult to concentrate and do a good job with audio >while hanging lights. I know, I've done it for 17 years for the Omaha >Playhouse. I really don't think of my position as joke. OK, so I went off maybe a bit more strongly than maybe I should have. I'm sure that you are doing what you can, but even the gist of your post indicates that sound is suffering to make the lights happen. I guess that having that happen in my work, my world, my budgets, and my union, not to mention my representation in the awards that should be representing my work, I find the attitude that its alright, no, that it's to be expected, a bit grating. I don't doubt that you do good work, that you are good people, or that OCT is a nice place filled with great folk. As a matter of fact, anyone that goes to the lengths that Andy has to make a stranger happy is absolutely a good person. I'm not bitching about the job, per se, or the people, but the accepted practice. The ride gets boring if you don't rock the boat, and a steady boat is home to the status quo. "I have a dream" Ends justify the means and all, it still ain't right. While I DO understand the factors that make it happen, I DON'T understand why those involved aren't doing more to change it. 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: <3.0.6.32.20040818123929.01838578 [at] pop.west.cox.net> Date: Wed, 18 Aug 2004 12:39:29 From: CB Subject: Re: Mackie or not > I >have heard many others condemn Mackie. >Since I work mostly with non-theatre major student (UMR does not offer a >theatre major) the simpler the board, the easier my life is going to be >when training students. I'll second the Allen and Heath line. Mackie has started to take manufacturing to China, and Berhinger is just out of the question. A&H is the next step up, and they're alright. I'd look into spending the money on a Soundcraft or a Yamaha, and while your life may become a bit more difficult training students, their lives will become a little less difficult once they start to mix in the real world. Submixes are great, but students should have some exposure to matrices and VCA's before they have to use them in front of a client or a boss. 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: <4123B2E1.6000102 [at] northnet.net> Date: Wed, 18 Aug 2004 14:49:53 -0500 From: Shawn Palmer Subject: Re: Mackie or not References: In-Reply-To: > I'll second the Allen and Heath line. Mackie has started to take > manufacturing to China, and Berhinger is just out of the question. A&H is > the next step up, and they're alright. I'd look into spending the money on > a Soundcraft or a Yamaha, and while your life may become a bit more > difficult training students, their lives will become a little less > difficult once they start to mix in the real world. Submixes are great, > but students should have some exposure to matrices and VCA's before they > have to use them in front of a client or a boss. > Chris "Chris" Babbie > Location Sound > MON AZ Very definitely what CB said. I've said this before, and as a point of reference I am not a gear snob. But you get what you pay for. I have had two catastrophic failures during VERY inopportune times with a Mackie 32/8. I won't use Mackie now, period. For small consoles (like the Mackie 1604) I now use the Allen and Heath MixWizard. A nice board for the tiny size. For a little larger board, I will use the A and H GL line, A Midas Venice or a Soundcraft. I replaced our old console with a 40 channel Soundcraft Series II. That was the budget... so VCAs and a "real" matrix were out of the question. I REALLY like it at that price point. A few people have mentioned Yamaha. I would mention that in the time that has elapsed since I asked about the M3000, I've used one. CB was right about that, too. Yucky. I'll get something else when I need VCAs. Right now I can't imagine any circumstance that would compel me to use a Mackie. I know you use one, Pat, and I am sorry you have to do that :-) FWIW, Shawn Palmer Neenah, WI USA ------------------------------ From: MissWisc [at] aol.com Message-ID: <1c2.1d3b74f2.2e552406 [at] aol.com> Date: Wed, 18 Aug 2004 17:28:38 EDT Subject: Re: Sound Position Announcement Cc: psyd [at] cox.net Tangentally, Chris, you are bring up the point that because it's theatre for children, it doesn't have to be held to the same standard of artistic quality as theatre for adults. :) That is often the view of the producers. Even Equity has a contract with lesser provisions for TYA actors. Often their crew is not IA or is on a pink contract so weak it'd would only support a single tee-totaler, and who doubles as van driver/manager and the venues are... let's just say "challenging". I had a great converstaion about this with Joan Lazarus of UT-Austin formerly of UW-Madison about this exact thing. Imagine the difference in the "magic" for a kid seeing their first performance in a school gym with the boombox sound versus being at a theatre like the FoxCities PAC. :) I think you make an excellent point. Kristi ------------------------------ In-Reply-To: References:

Message-Id: <2D232132-F166-11D8-90D1-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Anti Cellular wallpaper Date: Wed, 18 Aug 2004 17:30:15 -0500 > Only problem is that you'd then have to get an aerial and a cell > repeater > installed for your own phone to work during downtime! As I read it if you either connect or disconnect a capacitor (IIRC) it turns the blocking properties on and off. Greg Bierly Technical Director Hempfield HS Greg Bierly Technical Director Hempfield HS ------------------------------ From: Subject: Re: Anti Cellular wallpaper Date: Wed, 18 Aug 2004 17:34:58 -0400 Message-Id: <20040818213458.NYGV25903.de-fe01.dejazzd.com [at] de-fe01> > Only problem is that you'd then have to get an aerial and a cell repeater > installed for your own phone to work during downtime! > As I read it if you either connect or disconnect a capacitor (IIRC) to turn the blocking properties on and off. Greg Bierly Hempfield HS ------------------------------ Date: Wed, 18 Aug 2004 17:50:17 -0400 Subject: Re: Sound Position Announcement From: Bruce Purdy Message-ID: In-Reply-To: > The OCT is really a great company. And they get to work in an incredible > space. I am sure whomever takes the position will be grateful and probably > one of the nicest gal or guy you would ever want to meet. I'll vouch for that! Although I've only worked with the OCT's touring company so I can't speak to their space, They are always a joy to work with and produce a good show. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-Id: <1.5.4.32.20040818225955.01316928 [at] pop.paonline.com> Date: Wed, 18 Aug 2004 18:59:55 -0400 From: Joe Subject: Re: Model Lighting / Mini Light Lab The last time I saw prices for a fiber optic system, they were outrageously expensive. I think LED's may be an alternative, now that their output is so bright. At 1/2"=1', the jumbo LED's are approximately the size of a short par-56. LED's are available in a variety of beam spreads, but the beam quality is poor in many LED's. The other drawback to LED's is that their colors are very monochromatic. This can be good if you want that, but a white LED is not the same light as you get from a halogen bulb. Joe Dunfee joe [at] dunfee.com Gordonville, Pennsylvania, U.S.A. ------------------------------ Message-ID: <03f101c4857b$a8052e80$0500000a [at] anneb> From: "Andrew Vance" References: Subject: Chldrens Theatre [was Re: Sound Position Announcement] Date: Wed, 18 Aug 2004 18:32:38 -0500 Somewhere in northeast Wisconsin, Kristi wrote: > Tangentally, Chris, you are bring up the point that because it's = theatre for=20 > children, it doesn't have to be held to the same standard of artistic = quality=20 > as theatre for adults. :) And I think that's a valid point; many people [at least in my = experience] do hold children's theatre to a lower standard because its = children's theatre. And it shouldn't be. I've seen and worked shows = [touring and not] from various children's theatre's throughout the = country and there is a wide variance of production values between them. = But the ones I remember are the ones that took the material seriously = and treated it as "theatre" and not as "children's theatre." Our = Artistic Director always says that the only difference he sees between = directing for adult audiences and directing for young audiences is the = shows for young audiences tend not to curse. Just because the audience = is young doesn't mean that the production should be short changed. = Really good children's theatre scripts have a great story to tell and an = interesting way to tell that story; really good children's theatre = productions don't talk down to their audience just because they're = shorter than the rest of us. Just because its not Ibsen, Williams, or = O'Neil doesn't mean it doesn't deserve the same effort on everyone's = part. Here, we treat all our productions are seriously as any other = theatre and give our all to ensure that all of our patrons [children, = parents, grandparents, etc.] walk away thinking it was a quality show. = We're all professionals who take what we do seriously. I know the shows = we ship out for tour are the same complete productions we do here and = are staffed with the best actors/technicians that we can find. The = proof is in the pudding: my young cousins saw one of my touring shows = in Wisconsin last year and couldn't shut up about it for weeks [or so = their mom says]. =20 [Didn't meant to go proselytizing about my theatre. I love the work = I've seen out of places like Seattle and Minneapolis' children's = theatres, as well as the ones in Milwaukee, Louisville and others that = are escaping me now. I just, obviously, have more first hand knowledge = of my own company. And the legitimacy and quality of children's theatre = is always something that gets me going.] So its all in how you look at it. If you want to appeal to the lowest = common denominator that you're product isn't going to be great. If you = treat the script and the institution with respect and give it your all, = then you're giving a truly amazing experience to a child. -- Sincerely, Andrew Vance Lighting Designer/Supervisor Omaha Theatre Company/Omaha Theatre Ballet ------------------------------ Message-ID: <21606256.1092875555097.JavaMail.root [at] donald.psp.pas.earthlink.net> Date: Wed, 18 Aug 2004 19:32:34 -0500 (GMT-05:00) From: Kyle Dugger Subject: Re: Mackie or not Look at a Yamaha digital console. I was a bit Leary of the multiple page t= hing but now that I have been using the DM 2000 for some time I would not t= ake anything for it. With the latest version of software it has turned int= o an excellent live console. It eliminates the need for nearly all outboar= d processing. You use one work surface for everything so you never have to= take you eyes away from what is going on to look a rack of gear to make ch= anges. On a smaller scale there is the DM 1000 and the O1V96 both of which = are excellent consoles. They are a bit harder to move around in because th= ey do not have a display for channel names. The sound company that I work = for rarely, if ever, installs an analog console any more. With the advance= s in digital consoles there is just not much reason to go analog anymore. = I did a show recently and one rider spec'd a Midas H3000 for monitors. Tha= t thing drove us crazy. It took up twice as much room as the digital conso= le, DM 2000, that was being used by everyone else for monitors and could o= nly do half the channels. It did have the advantage of having 24 aux sends= but they were only using 8. ------------------------------ Message-ID: <147CF8DFB9C5D41187300001FA7EE39011EDC601 [at] mail.nwmissouri.edu> From: "Immel,Patrick" Subject: RE: Model Lighting / Mini Light Lab Date: Wed, 18 Aug 2004 19:57:53 -0500 I agree Joe. The fiber systems are *very* cool, but equally expensive. I see the same drawbacks to LED's. I am thinking now about making something using birdie PAR 16's and a homebuilt controller. Does anybody have any experience in this? Thanks, Pat Immel Northwest Missouri State University -----Original Message----- From: Joe To: Stagecraft Sent: 8/18/2004 5:59 PM Subject: Re: Model Lighting / Mini Light Lab For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The last time I saw prices for a fiber optic system, they were outrageously expensive. I think LED's may be an alternative, now that their output is so bright. At 1/2"=1', the jumbo LED's are approximately the size of a short par-56. LED's are available in a variety of beam spreads, but the beam quality is poor in many LED's. The other drawback to LED's is that their colors are very monochromatic. This can be good if you want that, but a white LED is not the same light as you get from a halogen bulb. Joe Dunfee joe [at] dunfee.com Gordonville, Pennsylvania, U.S.A. ------------------------------ Message-Id: <6.1.2.0.2.20040818215732.042d3cd8 [at] mail.hstech.org> Date: Wed, 18 Aug 2004 22:00:00 -0400 From: "Scott C. Parker" Subject: Re: Scam or for real? In-Reply-To: References: To add. I'm all for exchanging work experiences with other countries for those who are learning and such. If this person is a "professional" then giving an intern slot to him rather than a local newbie rubs me the wrong way. Scott 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. ------------------------------ In-Reply-To: References:

Message-Id: <7E7FEEC5-F192-11D8-9ECB-000A958ABBF8 [at] theprices.net> From: Noah Price Subject: Re: hey his is pretty cool Date: Wed, 18 Aug 2004 20:47:29 -0700 On Aug 18, 2004, at 8:58 AM, Stephen Litterst wrote: > "richard j. archer" wrote: >> On Aug 18, 2004, at 5:14 AM, Herrick wrote: >> >>> a city sized fog chiller! >>> >>> >> >> Cornell uses this technique for chilled water for HVAC. We ain't >> "high above Cayuga's waters" for nothing. It is not without >> controversy. > > True, but in Ithaca, nothing is without controversy. Or lawsuits. Ah, some things never change :-) I could swear this was being discussed while I was there, but according to the site it wasn't even being investigated until I was long gone. Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ From: MissWisc [at] aol.com Message-ID: <1df.285cded5.2e5581ea [at] aol.com> Date: Thu, 19 Aug 2004 00:09:14 EDT Subject: Re: Chldrens Theatre [was Re: Sound Position Announcement] Cc: remy [at] io.com My deepest apologies, Andy. My comment was NOT intended as a slight toward you nor Omaha (arguably one of the best TYA companies out there), but a commentary on an often held view about TYA. I do think the experience is greatly enhanced by children attending a production, even a TYA one, in a "real" theatre rather than the gym or (ugh) "multi purpose room." We've had van and trailer TYA companies come to our PAC and comment on how "exciting it is to be on a REAL stage!" The lights dimming, the padded seats, the room full of strangers, the ushers, and so on are all part of the experience of attending theatre. Several years back I took a bus of high school students to Madison Civic Center's Oscar Mayer Theatre to see Aida. We were seated on the main floor near the organ and several of the kids told me the view of the theater was worth the $$ alone! But even there, no one would ask the Baritone to sing the roll of the tenor just to keep costs down. That's not to say that great theatre can't be done in other spaces, just that some folks don't feel kids are worth it. Kristi ------------------------------ In-Reply-To: <1df.285cded5.2e5581ea [at] aol.com> References: <1df.285cded5.2e5581ea [at] aol.com> Message-Id: From: Andrew Vance Subject: Re: Childrens Theatre [was Re: Sound Position Announcement] Date: Thu, 19 Aug 2004 00:59:20 -0500 Kristi => I didn't mean to imply that I was insulted and I didn't think that was your intent at all. I think you were absolutely correct in saying that the view is out there that TYA is not perceived as on the same level as other forms of theatre and I was just trying [evidently not very well] to expound upon that. Growing up, my school district was fortunate enough to have a high school auditorium where us elementary kids could do our Christmas sing-fests and such, but every touring group that came through [and they were few] always performed in an elementary school gym or cafeteria. We lived far enough from Chicago, Milwaukee, and Madison for the district to justify not bussing us there to see shows. I think there was only once in my 12 years there where we were exposed to a theatrical event in a setting conducive to the experience ["Miracle Worker" at the Pabst in Milwaukee]. I can still remember the sheer awe I had in the theatre, the show, and the experience [not to mention the fear I had that I was going to fall out of the balcony, but that's a different story], and that was more years ago that I like to think about. Wouldn't have been the same had I seen it in the cramped gym of my elementary school. Seeing the show in the theatre is part of the experience for the children and shouldn't be left aside "just because" its a youth show. I know the tours we send out sometimes end up on stages that they never should be on, and that doesn't make us very happy [the tour staff especially]. I don't think we've ever been booked into any gyms, cafeterias, or multi-purpose rooms; I doubt any of our sets would fit into those. So I consider ourselves lucky that we're able to bring the full theatre experience to children [for the most part] without compromise. I do have to admit that some of our local educational outreach shows primarily perform in gyms, but that's what they're designed to do artistically, stylistically, and educationally. Most schools book those shows and bring their students down to the theatre several times a year as well. There's something about the look of joy and awe on a child's face after they've seen their first show that really warms your heart and makes everything worthwhile. I'm just lucky enough to see that several times a week. -- Sincerely, Andrew Vance Lighting Designer www.io.com/~remy ------------------------------ End of Stagecraft Digest #106 *****************************