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 4365698; Fri, 10 Sep 2004 03:02:03 -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 #128 Date: Fri, 10 Sep 2004 03:01:51 -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-Status: No, score=-3.1 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, MAILTO_TO_SPAM_ADDR,SAVE_MONEY autolearn=ham version=3.0.0-pre4 X-Spam-Level: X-prxy-Spam-Filter: Scanned X-TFF-CGPSA-Version: 1.4a3 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #128 1. Re: Stagecraft course by Bsapsis [at] aol.com 2. Re: Grund Audio Design by Shawn Palmer 3. Re: Stagecraft course by "Booth, Dennis" 4. Re: Knots was Stagecraft course by Stephen Litterst 5. Re: Knots was Stagecraft course by "Joe Golden" 6. Re: cheeseboro ratings by Stephen Litterst 7. Stairs by mconn [at] cumberlandcollege.edu 8. Re: Stairs by "Stephen E. Rees" 9. web magazine by b d 10. Re: Stairs by "Steven J. Backus" 11. Re: Stairs by Steve Larson 12. Re: Stairs by Stan Jensen 13. Re: Stairs by "LES LIND" 14. Re: Stairs by Shawn Palmer 15. knots by b Ricie 16. Re: knots by "Paul Schreiner" 17. Re: Stagecraft course by FrankWood95 [at] aol.com 18. Re: Stagecraft course by FrankWood95 [at] aol.com 19. Re: Stagecraft course by FrankWood95 [at] aol.com 20. Re: cheeseboro ratings by FrankWood95 [at] aol.com 21. Re: knots by Bsapsis [at] aol.com 22. Re: cheeseboro ratings by Bsapsis [at] aol.com 23. Re: knots by Steve Larson 24. Re: Stagecraft course by "Delbert Hall" 25. Re: Mask Making Neoprene by "Brian Jeffrey" 26. Re: Fog Curtains by "Michael Finney" 27. Re: Remotely Firing a Pistol by CB 28. Re: Knots [WAS Stagecraft course] by "Michael Feinberg" 29. Re: Knots was Stagecraft course by "Dr. Randall W.A. Davidson" 30. Re: Grund Audio Design by CB 31. Re: cheeseboro ratings by CB 32. Re: Grund Audio Design by Charlie Richmond 33. Dirt by Johan Godwaldt 34. Re: Dirt by Steve Larson 35. Re: cheeseboro ratings by FrankWood95 [at] aol.com 36. storm by IAEG [at] aol.com 37. Re: cheeseboro ratings by Richard Niederberg 38. Re: storm by Fred Fisher 39. Re: Dirt by Dale Farmer 40. Re: storm by IAEG [at] aol.com 41. Re: Knots [WAS Stagecraft course] by "Delbert Hall" 42. Re: storm by "Daniel O'Donnell" 43. Re: storm by Bsapsis [at] aol.com 44. Re: storm by "Daniel O'Donnell" 45. Re: Grund Audio Design by Greg Bierly 46. Re: Remotely Firing a Pistol by "Alf Sauve" 47. Re: Remotely Firing a Pistol by "Tony Deeming" *** 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. ---------------------------------------------------------------------- From: Bsapsis [at] aol.com Message-ID: <141.3337146e.2e71986a [at] aol.com> Date: Thu, 9 Sep 2004 07:28:42 EDT Subject: Re: Stagecraft course In a message dated 9/9/04 12:07:00 AM, MissWisc [at] aol.com writes: << I don't have the study guide handy, so this is from (rusty) memory... square knot (and granny to be able to show the difference) and the shoe-tying version of a square knot for hanging drapes snub sheet bend bowline Prussic (?) clove hitch half hitch figure 8 (?) >> I think Kristi has the right of it. Knowing lots of knots is a good thing, but for stagehand use this group is really all that you need. (the only time I've ever found a monkee's fist useful was for hitting someone over the head to get their attention) Bill S. 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: <41404E7C.7020009 [at] northnet.net> Date: Thu, 09 Sep 2004 07:37:16 -0500 From: Shawn Palmer Subject: Re: Grund Audio Design References:

In-Reply-To: >> Make your dealer demo them against other boxes. Get a Peavey dealer to >> show up to make the high-dollar guys work for their money. If they can't >> get it to sound better than the Peavey's, save your money and paint over >> the logos. > > > The difference between the response on this list and the theatre-sound > list is very telling. There, the Grund is a 'cheapo' and is compared > unfavorably with Meyer, EAW and the like (which are more expensive). No > one has had the temerity to suggest that Peavey would be a decent > alternative ;-) So, it just boils down to the application and the value > for money as usual ... > > Laughin' all the way to the bank ;-) > > Charlie Pretty interesting, eh? I was quite interested to see what Jim B and CB had to say about them, so I really needed to bounce it off both lists. Other's responses after my second request were great. It probably goes without saying that we won't be getting these cabinets. And the entire cabinet will be painted... sky blue! Grills included. So Peavey logos are a non-issue. Thanks Shawn ------------------------------ Subject: RE: Stagecraft course Date: Thu, 9 Sep 2004 09:36:13 -0400 Message-ID: From: "Booth, Dennis" For knots and hitches, I go with these in my stagecraft class: Bowline Clove Hitch Water Knot Girth Hitch (Lark's Head) Figure Eight Prussick Trucker's Hitch Sheet Bend Carrick Bend ('cause it's pretty) Splices: Eye Splice Back Splice Long Splice DGB Dennis Gill Booth, Technical Faculty North Carolina School of the Arts=20 School of Design and Production=20 1553 South Main Street=20 PO Box 12189=20 Winston-Salem, NC 27117-2189=20 * Voice: (336)770-3232 x105=20 * FAX: (336)770-3213=20 * Email: boothd [at] ncarts.edu=20 * D&P URL: http://www.ncarts.edu/ncsaprod/designandproduction/=20 * Faculty URL: http://faculty.ncarts.edu/dandp/booth/ -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of MissWisc [at] aol.com Sent: Thursday, September 09, 2004 12:06 AM To: Stagecraft Cc: halld [at] etsu.edu Subject: Re: Stagecraft course For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Delbert et. al., I don't have the study guide handy, so this is from (rusty) memory... square knot (and granny to be able to show the difference)=20 and the shoe-tying version of a square knot for hanging drapes snub sheet bend bowline Prussic (?) clove hitch half hitch figure 8 (?) Have to tie the knot and identify its uses.=20 Grandma taught me macrame' when I was in 4-H as a kid. These are more fun. :) Kristi ----------------------------------------------=20 This message has been scanned for viruses and dangerous content and is believed to be clean. ---------------------------------------------- ------------------------------ Date: Thu, 09 Sep 2004 10:07:33 -0400 From: Stephen Litterst Subject: Re: Knots was Stagecraft course Message-id: <414063A5.43EFB035 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Matthew Breton wrote: > --------------------------------------------------- > > ><< The good thing about learning knots is I can learn them with out much > >more > >than a rope and the book, where as programing lights it would require a bit > >more. >> > > >What else? Rope, a book...and a drink???? > > Well -- occasionally, two ropes, or one rope and something to tie it to. But > I bet you already knew that. :) If you're at the bar, there are usually stools, a bar rail and any number of inebriated patrons upon which you can practice your knots. :) Steve L. ------------------------------ Subject: RE: Knots was Stagecraft course Date: Thu, 9 Sep 2004 07:09:11 -0700 Message-ID: From: "Joe Golden" That is absolutely what is needed to learn eye splicing. >=20 > What else? Rope, a book...and a drink???? >=20 > Bill S. >=20 ------------------------------ Date: Thu, 09 Sep 2004 10:10:02 -0400 From: Stephen Litterst Subject: Re: cheeseboro ratings Message-id: <4140643A.92EDA291 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Jason wrote: > > --------------------------------------------------- > > Steve, your wrong I have gotten rating for the manufactures for their > C-clamps. Well, don't leave us in suspense, tell us the brand and the rating! I know that THe Light Source gives a rating for their cast aluminum clamps, but haven't yet seen a cast iron clamp (or really a cast-iron anything) with a rating. That doesn't mean they don't exist, but I think many of us would like to know what you know. Steve L. ------------------------------ Message-ID: <1094742934.41407396c4288 [at] mail.cumberlandcollege.edu> Date: Thu, 9 Sep 2004 11:15:34 -0400 From: mconn [at] cumberlandcollege.edu Subject: Stairs Hello Listers, I am in the process of Designing Once Upon a Mattress and the Director suggested she would like curved stairs. Which would work very well for the show. Building stairs is a non-issue for me when the lines are "staight". However I have never tried curved stairs, and figure it would be a nice addition to the portfolio. The catch is I am not real sure about the stringers. Bending 2x12's is a little challenging, and I don't have welding capibilities or the know how. Any Suggestions are welcome, or even letting me know that this is an insane idea. Thanks Moe Thank You Everyone for Supporting the Long Beach Long Riders efforts to Raise money for Broadway Cares/Equity Fights Aids. Check Out: www.sapsis-rigging.com/LBLR.html ------------------------------ Message-ID: <414079F6.8050107 [at] fredonia.edu> Date: Thu, 09 Sep 2004 11:42:46 -0400 From: "Stephen E. Rees" Subject: Re: Stairs References: Hey Moe, You might consider a set of Radial Stair Frames of decreasing (or increasing) heights where in the top of the frame carries the front of the upper tread and a ledger affixed to the face of the frame carries the back edge of the next tread down. Pretty common solution and very sturdy. Email me your fone number offlist and I can give you abetter description. Sometimes words fail! HTH. Steve Rees, TD SUNY-Fredonia Fredonia, NY mconn [at] cumberlandcollege.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello Listers, > > I am in the process of Designing Once Upon a Mattress and the Director > suggested she would like curved stairs. Which would work very well for the > show. > > Building stairs is a non-issue for me when the lines are "staight". However I > have never tried curved stairs, and figure it would be a nice addition to the > portfolio. The catch is I am not real sure about the stringers. Bending > 2x12's is a little challenging, and I don't have welding capibilities or the > know how. > > Any Suggestions are welcome, or even letting me know that this is an insane > idea. > > Thanks > > Moe > > > Thank You Everyone for Supporting the Long Beach Long Riders efforts to Raise > money for Broadway Cares/Equity Fights Aids. > Check Out: www.sapsis-rigging.com/LBLR.html > ------------------------------ Message-ID: <20040909154620.38005.qmail [at] web20423.mail.yahoo.com> Date: Thu, 9 Sep 2004 08:46:20 -0700 (PDT) From: b d Subject: web magazine Hello All, We are in the process of a major overhaul to our website at The Meadow Brook Theatre Ensemble. http://www.mbtheatre.com. Part of our web exspansion will be to produce an on-line magazine for all aspects of theatre: acting, sound, costume construction, rigging, etc.. I just wanted to get a feeling for what the list thinks, and who may be interested in contributing articles to this type of project. You can mail me off list if you are interested. Thanks much, Brian Dambacher Production Manager, Technical Director Meadow Brook Theatre Ensemble 120 Wilson Hall, Oakland University Rochester, Mi. 48309 248-370-3320 __________________________________ Do you Yahoo!? Yahoo! Mail is new and improved - Check it out! http://promotions.yahoo.com/new_mail ------------------------------ Date: Thu, 9 Sep 2004 09:47:41 -0600 (MDT) From: "Steven J. Backus" Subject: Re: Stairs In-Reply-To: Your message of Thu, 9 Sep 2004 11:15:34 -0400 Message-ID: I built 2 of these many eons ago following a designer's plans and laying out the shapes on a floor. I made a 2x4 frame then faced it with easy curve (upsom board) and used particle board for the steps (plywood would be a lot better, my finished product weighed a ton). You need to decide on the interior and exterior radiuses. Use a pencil on the end of a piece of string to draw these on the floor. Cut a piece of particle board (or plywood) the size of your bottom pattern and decide on a rise and run for each stair. Place vertical and horizontal 2x4s appropriately. As you guessed, it's not easy, but well worth the time. Mine were for the ballroom scene in Cinderella and came out great. Good luck! Steve ------------------------------ Date: Thu, 09 Sep 2004 12:04:46 -0400 Subject: Re: Stairs From: Steve Larson Message-ID: In-Reply-To: I am currently building a 3-step unit attached to a wagon. I am using the flat-frame technique. Consult Bill Raoul's Stock Scenery Construction Handbook. I cut the top of the wagon out and then the treads of the stairs. I have a 1" lip on steps to worry about also. Allowing for facings I draw out the frame on the top of the wagon (32" tall) and the steps. Build the frames to fit and then build caster plates. Once this is done, face the unit. The tricky part to mine is actually the curved railing. Basicly I build the newel posts slightly higher than needed and measure, mark, and cut them to the correct height, then build the railing. I have a little extra time to measure 2 or 3 times before I cut. Hopefully this will help. Steve on 9/9/04 11:47 AM, Steven J. Backus at backus [at] math.utah.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I built 2 of these many eons ago following a designer's plans and > laying out the shapes on a floor. I made a 2x4 frame then faced it > with easy curve (upsom board) and used particle board for the steps > (plywood would be a lot better, my finished product weighed a ton). > You need to decide on the interior and exterior radiuses. Use a > pencil on the end of a piece of string to draw these on the floor. > Cut a piece of particle board (or plywood) the size of your bottom > pattern and decide on a rise and run for each stair. Place > vertical and horizontal 2x4s appropriately. As you guessed, it's > not easy, but well worth the time. Mine were for the ballroom > scene in Cinderella and came out great. Good luck! > > Steve > > ------------------------------ Date: Thu, 9 Sep 2004 12:08:09 -0400 Subject: Re: Stairs From: Stan Jensen In-Reply-To: Message-Id: <7162970A-027A-11D9-AEA8-0003933F192E [at] cmich.edu> On Thursday, September 9, 2004, at 11:15 AM, mconn [at] cumberlandcollege.edu wrote: > ...curved stairs. Any Suggestions... > We built our stairs for Anything Goes at Michigan State from laminated quarter-inch plywood (3 layers), and lots of glue and clamps and screws. If you would like pictures, email me off list. Stan Jensen Central Michigan University Department of Speech Communication and Dramatic Art Moore 242 Mount Pleasant, MI 48859 (989) 774-1990 office (989) 774-2498 fax ------------------------------ Message-Id: Date: Thu, 09 Sep 2004 12:08:17 -0400 From: "LES LIND" Subject: Re: Stairs Moe, We had a Dad build us a "set" of curved stairs. Can't even remember what the original show they were for. There are two separate stair cases, curved on one side (the outside) and flat on the other (the inside). When pushed together at the flat sides it created one grand curved staircase or one could push the flat side against another set piece to create a one sided curved staircase. They're great. No room to store them but they're great. Les Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA ------------------------------ Message-ID: <41408024.8040507 [at] northnet.net> Date: Thu, 09 Sep 2004 11:09:08 -0500 From: Shawn Palmer Subject: Re: Stairs References: In-Reply-To: > Building stairs is a non-issue for me when the lines are "staight". However I > have never tried curved stairs, and figure it would be a nice addition to the > portfolio. The catch is I am not real sure about the stringers. Bending > 2x12's is a little challenging, and I don't have welding capibilities or the > know how. > > Any Suggestions are welcome, or even letting me know that this is an insane > idea. > > Thanks > > Moe Moe, Do the stairs have to appear "unsupported?" If so, check this out: http://info.nwmissouri.edu/~pimmel/usitt/source_guide/issue28.htm If they don't have to appear unsupported, I've had good luck just using parallels we have and cutting treads to match the curve. Shawn Palmer Neenah, WI USA ------------------------------ Message-ID: <20040909162346.32871.qmail [at] web50603.mail.yahoo.com> Date: Thu, 9 Sep 2004 09:23:46 -0700 (PDT) From: b Ricie Subject: knots In-Reply-To: >>>What else? Rope, a book...and a drink???? Well -- occasionally, two ropes, or one rope and something to tie it to. But I bet you already knew that. :)<< I thought the drink was the something to tie it to... ===== Brian Rice b_ricie [at] yahoo.com __________________________________ Do you Yahoo!? Yahoo! Mail is new and improved - Check it out! http://promotions.yahoo.com/new_mail ------------------------------ Subject: RE: knots Date: Thu, 9 Sep 2004 12:25:49 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A74AC7F [at] exchange.rmwc.edu> From: "Paul Schreiner" I can't resist any more... =20 > >>>What else? Rope, a book...and a drink???? >=20 > Well -- occasionally, two ropes, or one rope and > something to tie it=20 > to. But=20 > I bet you already knew that. :)<< >=20 > I thought the drink was the something to tie it to... No, the drink is something to enjoy with the person you're tying it to... ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8e.149cae0a.2e71eef9 [at] aol.com> Date: Thu, 9 Sep 2004 13:38:01 EDT Subject: Re: Stagecraft course In a message dated 09/09/04 00:28:39 GMT Daylight Time, MissWisc [at] aol.com writes: > I am reminded of another old saying, "if you can't tie a good knot, tie a lot > of them." Don't you wish some of your technicians knew how to tie 30 good > knots? >> I think this is bad advice, especially when I have to unfasten them. Five round turns, and four half-hitches may be secure: so is a clove hitch and one half-hitch. Good knots are easy to untie. > > How about the one knot that gets the job done safely and correctly? ;) I > don't care how many you can tie, I want to know you can do the right/safest > one > for the task and tie it well enough to not hurt anyone. This is the jackpot answer. You need an extra set of knots for synthetic rope, which is more slippery than hemp, and others for fishing line, which is even worse. I learnt those from one SM (he of the Vodka and bitter lemon) who was a keen fisherman. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a9.28a55670.2e71f043 [at] aol.com> Date: Thu, 9 Sep 2004 13:43:31 EDT Subject: Re: Stagecraft course In a message dated 09/09/04 04:16:31 GMT Daylight Time, dale [at] cybercom.net writes: > I understand knots just fine. I know the dozen or so that I use all the > time, and > have to think a bit to dredge up another dozen or so that I use less often. > My > problem is my terrible memory for names. I can tie the knot just fine, just > don't > ask me what it is called, or tell me to tie one using just the name. > The only one I can easily remember is the bowline, and that's because I > like bunnies. You learnt it the same way as I did, many years ago. "Up the hole, round the tree, and back down the hole." Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <87.15791d9e.2e71f427 [at] aol.com> Date: Thu, 9 Sep 2004 14:00:07 EDT Subject: Re: Stagecraft course In a message dated 09/09/04 05:07:00 GMT Daylight Time, MissWisc [at] aol.com writes: > I don't have the study guide handy, so this is from (rusty) memory... > square knot (and granny to be able to show the difference) > and the shoe-tying version of a square knot for hanging drapes > snub I don't know what this one is. It probably has a different name in the UK. > sheet bend I've never found this very useful, either single or double. > bowline Standard loop. > Prussic (?) This one comes out of climbing. Off load, it slips readily. On load, it binds tightly. It's spelt Prussik. > clove hitch Standard bar attachment, preferably with a supplementary half-hitch. > half hitch > figure 8 (?) The standard use is as a stopper. When I was climbing, back in the sixties before harnesses, I used to tie a loose figure-of eight in one end of my waistline, follow it around backwards with the other end, and then work it all tight. The advantage was thet it made a very flat and secure knot. > > Have to tie the knot and identify its uses. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 9 Sep 2004 14:01:44 EDT Subject: Re: cheeseboro ratings In a message dated 09/09/04 06:30:50 GMT Daylight Time, OneOccy [at] hotmail.com writes: > Steve, your wrong I have gotten rating for the manufactures for their > C-clamps. Before, or after some gorilla with a c-wrench has been at them? Frank Wood ------------------------------ From: Bsapsis [at] aol.com Message-ID: <67.32e69445.2e71fe61 [at] aol.com> Date: Thu, 9 Sep 2004 14:43:45 EDT Subject: Re: knots In a message dated 9/9/04 12:26:40 PM, pschreiner [at] rmwc.edu writes: << I can't resist any more... > >>>What else? Rope, a book...and a drink???? > > Well -- occasionally, two ropes, or one rope and > something to tie it > to. But > I bet you already knew that. :)<< > > I thought the drink was the something to tie it to... No, the drink is something to enjoy with the person you're tying it to... >> LOL. I love this list. ------------------------------ From: Bsapsis [at] aol.com Message-ID: <1f1.2a25214e.2e720133 [at] aol.com> Date: Thu, 9 Sep 2004 14:55:47 EDT Subject: Re: cheeseboro ratings In a message dated 9/9/04 2:04:32 PM, FrankWood95 [at] aol.com writes: << Before, or after some gorilla with a c-wrench has been at them? >> Now Frank. What have you got against gorillas? 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. ------------------------------ Date: Thu, 09 Sep 2004 15:13:13 -0400 Subject: Re: knots From: Steve Larson Message-ID: In-Reply-To: Well, I think that we have beaten this poor horse quite well. One thing I always did when teaching knots: Use one black rope and one white rope. The students can follow each rope through the knot and it made it a lot easier for them. I got the idea looking at a knot tying book and the illustrations used a black rope and a white rope. Steve ------------------------------ From: "Delbert Hall" Subject: RE: Stagecraft course Date: Thu, 9 Sep 2004 15:23:42 -0400 Organization: ETSU Message-ID: <000201c496a2$84c41d90$6400a8c0 [at] delbert> In-Reply-To: Be careful with that rabbit. If the rabbit runs the wrong direction around the tree, the tail of the rope ends up on the outside of the knot. This is called a *reverse* bowline. In this case, the tail can more easily get snagged and your bowline and ends up becoming a slip knot. This can happen with a correctly tied bowline, but it is less likely. There are a couple of ways to add *safeties* to a bowline. My personal favorite is a Yosemite safety (AKA Yosemite bowline). It is easy to tie and untie, but difficult to describe - so I will not confuse you with an attempt. I use this anytime I have a bowline that needs to stay tied for an extended period, or if there is a chance that the bowline could snag on anything while in use. Of course a double bowline is another alternative that is very secure. -Delbert -----Original Message----- You learnt it the same way as I did, many years ago. "Up the hole, round the tree, and back down the hole." ------------------------------ Message-ID: <01a701c496a2$a3576aa0$0200a8c0 [at] DESKTOP> From: "Brian Jeffrey" References: Subject: Re: Mask Making Neoprene Date: Thu, 9 Sep 2004 15:24:33 -0400 You may want to consider using Wonderflex or Fosshape the heat activated materials for your mask efforts. If you or anyone else wants more info/samples to experiment with, let me know and I'll mail them along. A little more info on these at www.dazian.com The Thermoman of Dazian Brian Jeffrey b.jeffrey [at] comcast.net Subject: mask making neoprene > Date: Wed, 8 Sep 2004 14:07:28 -0500 > Message-ID: <0B9945FBD68EFC4FA0374DF4201B0C56C451C9 [at] EMPMAIL.ad.csbsju.edu> > From: "White, Brian" > > You know it's not good when 2 Directors come and ask you about making > neoprene masks for their upcoming shows... but that is what just > happened.=20 > They have given me a name of the supplier they were given in a class > over last summer (Chicago plastics) and before I started chasing a > golden goose I figured I would ask the list if anyone has experience > using neoprene to make masks and would like to share the pitfalls and > challenges with me before I start having someone who doesn't always know > which end of a pencil to sharpen giving me advice and handing me seminar > notes about it. (gotta love academics) comments on or off list would > be greatly appreciated. > > Brian K. White=20 > Technical Director=20 > College of St Benedicts=20 > Benedicta Arts Center=20 > St. Joseph MN 56374=20 > 320.363.5386 > bwhite [at] csbsju.edu > =20 ------------------------------ Subject: Re: Fog Curtains Date: Thu, 9 Sep 2004 12:29:54 -0700 Message-ID: From: "Michael Finney" On Thu, 09 Sep 2004 Anthony wrote: <> <>=20 <> <> Hey there, Anthony -=20 I don't think your fears are at all unwarranted - we tend to run into this sort of issue when using large fog curtains in permanent installations as well as special events. There are days that I really, really HATE air handling equipment....(try it in a domed stadium to really appreciate how evil HVAC can be...) First off, I think you're on the right track by using low temperature fogs (either dry ice or LN2). Anything that gives you a fog consisting of larger water droplets will help you out - it will make the fog tend to drop (making both gravity and Brownian movement your friend), and it will give you particles that are slightly more resistant to stray air currents. To really keep the curtain in place, you might want to consider using air curtains (or air knives) adjacent to both faces of the curtain - that's basically just a "sheet" of higher pressure air used to control air flow and direct it predominantly into a particular plane (that's a bit of an oversimplification). There are a number of commercial versions available that are used to manage HVAC and air transfer across open doorways, but you probably don't need that level of industrial design and engineering for a special event. For really short term things, I've just slit a length of pipe (approximately a 1/16" (1.6mm) slit running the full length of the pipe), capped one end, and then fed high pressure air into it. The air source has been either a very high volume fan ducted to the pipe, or a lower pressure (2-4 atmospheres, typically) compressed air source from a compressor. Either works OK - I usually find compressed air supplies easier to work with, as the fittings are all "off the shelf" items. The pipe is then mounted parallel to the fog outlet ducts, with the slit oriented straight down. You'll need to do some experimenting to get the relationship and distances between the homemade air knives and the fog curtain right. The other issue becomes the feeling of air flow (or over pressure) that you get when you walk through the curtain...some people really notice it, some don't. It works *for* you in some instances, and *against* you in others - again, one of those things that you can sort out with experimentation (there's usually a compromise in there somewhere between "extremely well controlled air flow" and "well that works pretty darned well"). Hope that helps some....and good luck! Let us know how it turns out? Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com =20 http://www.thinkwelldesign.com =20 ------------------------------ Message-Id: <3.0.6.32.20040909133536.018396b0 [at] pop.west.cox.net> Date: Thu, 09 Sep 2004 13:35:36 From: CB Subject: Re: Remotely Firing a Pistol >I don't know what your tech schedule is like, but is having the stage >manager watch the action and cue the effect not an option? Usually, a stage manager (that doesn't have other deep seated psychological problems) will call this as "Sound Cue 25 and Lights 43, standby to take this gundhot on a visual" or something similar. The other way to do it is to have the actors cue off the sound and lights, and have the SM call the cue and have the actors react to the cues. Either or is better than trying to depend on a jury-rigged RF setup cuing a CD player. Cueing a midi-triggered SFX, maybe... 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 Feinberg" Subject: Re: Knots [WAS Stagecraft course] Date: Thu, 9 Sep 2004 16:28:48 -0400 Message-Id: <20040909202331.M50939 [at] joyce.eng.yale.edu> In-Reply-To: References:

On Thu, 9 Sep 2004 15:23:42 -0400, Delbert Hall wrote > There are a couple of ways to add *safeties* to a bowline. My > personal favorite is a Yosemite safety (AKA Yosemite bowline). It > is easy to tie and untie, but difficult to describe - so I will not > confuse you with an attempt. I use this anytime I have a bowline > that needs to stay tied for an extended period, or if there is a > chance that the bowline could snag on anything while in use. Of > course a double bowline is another alternative that is very secure. If I need to terminate a line through a ring and have it be secure for an extended period (or through a lot of yanking,) I tend to use a follow-through figure-eight instead of a bowline. You tie a single figure-eight in your rope about 3' from the end, pass that end through the ring and then carefully lace the rope back through the single figure eight, recreating the double figure-eight you would have gotten if you had just tied a figure eight in the end of a doubled rope. It certainly will not accidentally come off, but it does take more time and skill to tie and isn't as easy to untie after being loaded as a bowline is. I guess this habit comes from learning knots first from rock climbing rather than stagecraft. As Frank noted, the standard way to secure your safety line when climbing is tie to a follow-through figure- eight around your harness. -Michael Feinberg, CTS ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Knots was Stagecraft course Date: Thu, 9 Sep 2004 13:34:04 -0700 Message-ID: <004201c496ac$59f423d0$726dfea9 [at] DrDoomsComputer> In-Reply-To: And Steve if you remember the master course where we had knots and rope and knots. doom ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. April 4, 5, 6, 2005 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen Litterst Sent: Thursday, September 09, 2004 7:08 AM To: Stagecraft Subject: Re: Knots was Stagecraft course For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Matthew Breton wrote: > --------------------------------------------------- > > ><< The good thing about learning knots is I can learn them with out much > >more > >than a rope and the book, where as programing lights it would require a bit > >more. >> > > >What else? Rope, a book...and a drink???? > > Well -- occasionally, two ropes, or one rope and something to tie it to. But > I bet you already knew that. :) If you're at the bar, there are usually stools, a bar rail and any number of inebriated patrons upon which you can practice your knots. :) Steve L. ------------------------------ Message-Id: <3.0.6.32.20040909135313.018396b0 [at] pop.west.cox.net> Date: Thu, 09 Sep 2004 13:53:13 From: CB Subject: Re: Grund Audio Design >The difference between the response on this list and the theatre-sound list is >very telling. There, the Grund is a 'cheapo' and is compared unfavorably with >Meyer, EAW and the like (which are more expensive). No one has had the temerity >to suggest that Peavey would be a decent alternative ;-) So, it just boils down >to the application and the value for money as usual ... Well, TSL always were a buncha primas. Either that, or mad scientists (I really don't need to do the quantum equations to set up a sound system for a theatre...) Seriously, I use Peavey as a very good financial base. If you can't afford anything 'real', (Meyer, EAW {which IS Peavey, sort of...}, Apologee, etc.) then why spend more money on something that is below Peavey's quality? I spent WAY too many years mixing bands in dark dank little clubs on all kinds of Peavey gear. Some of it sucked, but a CS-800 is the toughest amp I ever worked with, bar none. Peavey consoles that could take mic, line, or SPEAKER inputs! Like I said, if you can't tell the difference between their gear and a Peavey equivalent, save your money. And anyone that can tell a Peavey 18" front loaded box from anyone elses decent front loaded 18" box is a genius. 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: <3.0.6.32.20040909135558.018396b0 [at] pop.west.cox.net> Date: Thu, 09 Sep 2004 13:55:58 From: CB Subject: Re: cheeseboro ratings >Survived hurricane #2. >Standing by for #3. O crap! I'll take a hunnert-n-ten degrees in the shade any day! ------------------------------ Date: Thu, 9 Sep 2004 21:44:32 +0100 (BST) From: Charlie Richmond Subject: Re: Grund Audio Design In-Reply-To: Message-ID: References: On Thu, 9 Sep 2004, CB wrote: > And anyone that can tell a Peavey 18" front loaded box from anyone elses > decent front loaded 18" box is a genius. Well, duh! The Peavey's easy to tell cause it's got a great big logo on the front, eh? ;-) Charlie ------------------------------ Message-Id: <691405D2-02A5-11D9-9CEC-000A95D973C6 [at] oswego.edu> From: Johan Godwaldt Subject: Dirt Date: Thu, 9 Sep 2004 17:15:43 -0400 We are doing a production of Infinity's House this Fall. The play calls for a number of places on stage where digging and burying can take place. Our stage is equipped with a hydraulic pit. The suggestion in the script is to use sand. However I am very leery of putting sand on stage because of the hydraulic pistons. My fear is that the sand will get into the system and damage it. I have used ground cork in the past but the director is unhappy with the movement and the lack of sand of the cork. I am looking for a clean alternative, real dirt is not really an option. I am looking for suggestions Thank You Johan Godwaldt Technical Director SUNY Oswego Theatre 47 Tyler Hall Ph# 315 312 2987 Fax 315 312 3394 ------------------------------ Date: Thu, 09 Sep 2004 17:25:04 -0400 Subject: Re: Dirt From: Steve Larson Message-ID: In-Reply-To: Real dirt? Remember what happened in NY with the original production of Tobacco Road. No plastic under the dirt. Rotten wood. And how many performances did that show play? Try the garden stores. Maybe a mixture of something would satisfy all parties. Hey, Johan, how's it going up there? Steve on 9/9/04 5:15 PM, Johan Godwaldt at godwaldt [at] Oswego.EDU wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We are doing a production of Infinity's House this Fall. The play calls > for a number of places on stage where digging and burying can take > place. Our stage is equipped with a hydraulic pit. The suggestion in > the script is to use sand. However I am very leery of putting sand on > stage because of the hydraulic pistons. My fear is that the sand will > get into the system and damage it. I have used ground cork in the past > but the director is unhappy with the movement and the lack of sand of > the cork. I am looking for a clean alternative, real dirt is not really > an option. I am looking for suggestions > > Thank You > Johan Godwaldt > Technical Director > SUNY Oswego Theatre > 47 Tyler Hall > Ph# 315 312 2987 > Fax 315 312 3394 > > > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 9 Sep 2004 18:27:55 EDT Subject: Re: cheeseboro ratings In a message dated 09/09/04 19:57:09 GMT Daylight Time, Bsapsis [at] aol.com writes: > << Before, or after some gorilla with a c-wrench has been at them? >> > > Now Frank. What have you got against gorillas? Quite a lot. They overstress components. Quite apart from the fact that UK G-clamps are more tolerant, they are also, as a rule, fastened with butterfly nuts or bolts. My fingers are strong enough to secure lanterns with these, but not to overstress them. Frank Wood ------------------------------ From: IAEG [at] aol.com Message-ID: <194.2d7f617d.2e723de1 [at] aol.com> Date: Thu, 9 Sep 2004 19:14:41 EDT Subject: storm just got electric back on here in Tampa , , forgot what it was like to go through summer evenings in Florida without aireconditioning, not something I want to repeat, and of course , here comes IVAN, it's not fair, , Keith Arsenault Tampa, FL ------------------------------ Date: Thu, 9 Sep 2004 16:17:33 -0700 Subject: Re: cheeseboro ratings Message-ID: <20040909.163028.1400.0.ladesigners [at] juno.com> From: Richard Niederberg There is 'sort of' an implied [not legally supportable] rating . It is embodied in the essence of the lawyer for the prudent manufacturer who is screaming 'you can't ship that' every time someone tries to ship an unlisted or unrated item, if it is the type of item that, by industry custom or law, should be UL listed, CSI listed, ASTM listed, ANSI listed, or whatever. This is to lessen liability, of course. This is particularly true with items used for overhead lifting. Furthermore, the word 'unrated' should be permanently inscribed on all those items that are unrated but are used to support persons, or support any items that could fall on persons. /s/ Richard > I haven't yet seen a cast iron clamp (or > really a cast-iron anything) with a rating. > Steve L. ________________________________________________________________ Get your name as your email address. Includes spam protection, 1GB storage, no ads and more Only $1.99/ month - visit http://www.mysite.com/name today! ------------------------------ Date: Thu, 09 Sep 2004 18:33:53 -0500 From: Fred Fisher Subject: Re: storm In-reply-to: Message-id: <5.2.1.1.2.20040909183258.021e60a0 [at] wiscmail.wisc.edu> > >and of course , here comes IVAN, > >it's not fair, , > > > >Keith Arsenault > >Tampa, FL It's a big planet, there are lots of places that are worse than where you are. Fred ------------------------------ Message-ID: <4140ECF4.6111F442 [at] cybercom.net> Date: Thu, 09 Sep 2004 19:53:24 -0400 From: Dale Farmer Subject: Re: Dirt References: Johan Godwaldt wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We are doing a production of Infinity's House this Fall. The play calls > for a number of places on stage where digging and burying can take > place. Our stage is equipped with a hydraulic pit. The suggestion in > the script is to use sand. However I am very leery of putting sand on > stage because of the hydraulic pistons. My fear is that the sand will > get into the system and damage it. I have used ground cork in the past > but the director is unhappy with the movement and the lack of sand of > the cork. I am looking for a clean alternative, real dirt is not really > an option. I am looking for suggestions > > Thank You > Johan Godwaldt > Technical Director > SUNY Oswego Theatre > 47 Tyler Hall > Ph# 315 312 2987 > Fax 315 312 3394 A good thick coating of grease on the moving parts will keep the grit out of the moving parts. Just have to do a good job cleaning up the mess afterwards. You can get sterilized dirt from commercial greenhouses, they use it by the ton. --Dale ------------------------------ From: IAEG [at] aol.com Message-ID: <145.33423931.2e72489b [at] aol.com> Date: Thu, 9 Sep 2004 20:00:27 EDT Subject: Re: storm In a message dated 9/9/04 7:34:47 PM, fwfisher [at] wisc.edu writes: << >Keith Arsenault > >Tampa, FL It's a big planet, there are lots of places that are worse than where you are. Fred >> you are absolutely right, , among them the poor folks 100 miles south of here who have already been hit directly by CHARLEY, indirectly by FRANCES and stand to get hit by a super storm ( 160 mph winds ) in IVAN, , I have it easy, , i assure you very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ From: "Delbert Hall" Subject: RE: Knots [WAS Stagecraft course] Date: Thu, 9 Sep 2004 20:23:46 -0400 Organization: ETSU Message-ID: <000401c496cc$70331ff0$6400a8c0 [at] delbert> In-Reply-To: The knot you described is called a recursive figure 8 loop, and it is definitely a good knot for this purpose. Climbers use it because it is very difficult to tie incorrectly. -Delbert -----Original Message----- If I need to terminate a line through a ring and have it be secure for an extended period (or through a lot of yanking,) I tend to use a follow-through figure-eight instead of a bowline. You tie a single figure-eight in your rope about 3' from the end, pass that end through the ring and then carefully lace the rope back through the single figure eight, recreating the double figure-eight you would have gotten if you had just tied a figure eight in the end of a doubled rope. It certainly will not accidentally come off, but it does take more time and skill to tie and isn't as easy to untie after being loaded as a bowline is. I guess this habit comes from learning knots first from rock climbing rather than stagecraft. As Frank noted, the standard way to secure your safety line when climbing is tie to a follow-through figure- eight around your harness. -Michael Feinberg, CTS ------------------------------ In-Reply-To: References: Message-Id: <4293594F-02C0-11D9-A572-000D9329F45E [at] mystykworks.com> From: "Daniel O'Donnell" Subject: Re: storm Date: Thu, 9 Sep 2004 20:27:55 -0400 It might not be fair... but when we up here in the Northeast lose power it's because it's about 32 degrees outside. Think it's tough to spend a hot night without ac... try a cold one without heat. On Sep 9, 2004, at 7:14 PM, IAEG [at] aol.com wrote: > just got electric back on here in Tampa , , > > forgot what it was like to go through summer evenings in Florida > without > aireconditioning, > > not something I want to repeat, > > and of course , here comes IVAN, > --- Daniel R. O'Donnell dan [at] mystyk.com http://www.mystyk.com ------------------------------ From: Bsapsis [at] aol.com Message-ID: <7b.336ac5fa.2e725255 [at] aol.com> Date: Thu, 9 Sep 2004 20:41:57 EDT Subject: Re: storm In a message dated 9/9/04 8:28:43 PM, dan [at] mystykworks.com writes: << It might not be fair... but when we up here in the Northeast lose power it's because it's about 32 degrees outside. Think it's tough to spend a hot night without ac... try a cold one without heat. >> Then you're not spending it with the right person...... Bill S. 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. ------------------------------ In-Reply-To: References: Message-Id: From: "Daniel O'Donnell" Subject: Re: storm Date: Thu, 9 Sep 2004 21:29:21 -0400 After a week without hot water or heat, no one is the right person to be spending time with. On Sep 9, 2004, at 8:41 PM, Bsapsis [at] aol.com wrote: > > a hot night without ac... try a cold one without heat. >> > > Then you're not spending it with the right person...... > > Bill S. --- Daniel R. O'Donnell dan [at] mystyk.com http://www.mystyk.com ------------------------------ In-Reply-To: References:

Message-Id: From: Greg Bierly Subject: Re: Grund Audio Design Date: Thu, 9 Sep 2004 21:48:19 -0500 > Well, duh! The Peavey's easy to tell cause it's got a great big logo > on the front, eh? ;-) And if it is the older stuff it has that great "plastic" finish with aluminum accent panels down each side. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <170901c496d9$ad1c9e20$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: Remotely Firing a Pistol Date: Thu, 9 Sep 2004 21:42:38 -0400 I do vote for triggering a Midi device over a CD player. I also have had to coach actors to "telegraph" their action so the sound, lighting or percussionist can provide the proper effect. This is one case where "flinching" is desirable. The actor becomes, in effect, the orchestra conductor. Raising the gun in a preparatory beat then bring it to bear on the intended target as the "down" beat. Doesn't have to be a big preparatory beat, but just enough to cue the effect. One low tech and very commonly used technique is just a percussion slap stick off stage (or in the pit). If done in conjunction with some sound reinforcement it could be very effective as well. In a musical comedy where I did percussion, I used the slap stick for the gun sound, along with a siren whistle for comedic ricochets. Alf ----- Original Message ----- From: "CB" To: "Stagecraft" Sent: Thursday, September 09, 2004 13:35 PM Subject: Re: Remotely Firing a Pistol > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >I don't know what your tech schedule is like, but is having the stage > >manager watch the action and cue the effect not an option? > > Usually, a stage manager (that doesn't have other deep seated psychological > problems) will call this as "Sound Cue 25 and Lights 43, standby to take > this gundhot on a visual" or something similar. The other way to do it is > to have the actors cue off the sound and lights, and have the SM call the > cue and have the actors react to the cues. Either or is better than trying > to depend on a jury-rigged RF setup cuing a CD player. Cueing a > midi-triggered SFX, maybe... > 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: <002e01c4970e$d5120200$0a01a8c0 [at] Tony> From: "Tony Deeming" References:

Subject: Re: Remotely Firing a Pistol Date: Fri, 10 Sep 2004 09:19:03 +0100 > I also have had to coach actors to "telegraph" their action so the sound, > lighting or percussionist can provide the proper effect. This is one case > where "flinching" is desirable. The actor becomes, in effect, the orchestra > conductor. Raising the gun in a preparatory beat then bring it to bear on > the intended target as the "down" beat. Doesn't have to be a big > preparatory beat, but just enough to cue the effect. > > One low tech and very commonly used technique is just a percussion slap > stick off stage (or in the pit). If done in conjunction with some sound > reinforcement it could be very effective as well. In a musical comedy > where I did percussion, I used the slap stick for the gun sound, along with > a siren whistle for comedic ricochets. > > > Alf > Of course, another low-tech solution would possibly be to have the talent react to the SFX - ie effect was cued (either live as a slapstick or playback from midi/CD) from a scripted cue and the talent reacts to the bangs. Of course, this only works with a very practised actor and on-the-ball soundie, but it's far from impossible and all it'll cost you/them is time. Might be a bit difficult with rapid fire multiple shots, tho.... Ynot ------------------------------ End of Stagecraft Digest #128 *****************************