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

Stagecraft Digest, Issue #167

 1. address change
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 2. Re: NSI DDS9600 Dimmer
    by Dale Power <dpower [at] swgc.mun.ca>
 3. Re: Lightwright survey results
    by John McKernon <stagecraft2004 [at] mckernon.com>
 4. Re: Lightwright survey results
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 5. LEDs in Theater Props & Scenery
    by SMANKO [at] aol.com
 6. Re: Amateur/professional/academic
    by "Kirk Wahamaki" <kwahamaki [at] dogwoodcenter.com>
 7. Re: Amateur/professional/academic
    by doran [at] bard.edu
 8. Re: Lightwright survey results
    by "Joe Golden" <Joe [at] elslights.com>
 9. Coffe pot and HogII library file
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
10. Re: Coffe pot and HogII library file
    by "C. Andrew Dunning" <cad [at] landrudesign.com>
11. Mac 2k reset, was coffee pot library
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
12. Re: Amateur/professional/academic
    by FrankWood95 [at] aol.com
13. Re: Amateur/professional/academic
    by Marty_Petlock [at] sarasotagov.com
14. In defense of lash cleats...
    by "Michael Finney" <mfinney [at] thinkwelldesign.com>
15. Re: LDI Gathering lets try something new
    by "Joe Golden" <Joe [at] elslights.com>
16. Re: Locking Rail/Rope light Thread
    by "LES LIND" <lindl [at] nesd.k12.pa.us>
17. Re: Locking Rail/Rope light Thread
    by "LES LIND" <lindl [at] nesd.k12.pa.us>
18. Campfire Ideas
    by Chris Fretts <cfretts [at] indianarep.com>
19. FIRE
    by Kelsey Hedrick <hedrick [at] simpson.edu>
20. Re: In defense of lash cleats...
    by Bill Sapsis <bill [at] sapsis-rigging.com>
21. Re: Campfire Ideas
    by "Curt Mortimore" <cmortimo [at] graceland.edu>
22. Re: FIRE
    by Bill Sapsis <bill [at] sapsis-rigging.com>
23. Re: Multiple LED Source
    by Mark Harvey <mharvey [at] d.umn.edu>
24. Prop authenticity question
    by "Hofmann, Christopher" <chofmann [at] capecod.edu>
25. Re: Prop authenticity question
    by "Storms, Randy" <rstorms [at] bham.wednet.edu>
26. Re: FIRE
    by "Curt Mortimore" <cmortimo [at] graceland.edu>
27. Re: Prop authenticity question
    by "Jon Ares" <jonares [at] hevanet.com>
28. Re: Mac 2k reset, was coffee pot library
    by "C. Andrew Dunning" <cad [at] landrudesign.com>
29. Re: Campfire Ideas
    by howie <hi [at] hillinteractive.net>
30. Re: In defense of lash cleats...
    by Mark O'Brien <marko [at] email.arizona.edu>
31. DMX Coffee Pot
    by "Joe Golden" <Joe [at] elslights.com>
32. Re: Prop authenticity question
    by "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
33. Re: Prop authenticity question
    by Mark O'Brien <marko [at] email.arizona.edu>
34. Re: FIRE
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
35. Re: Mac 2k reset, was coffee pot library
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
36. Re: Campfire Ideas
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
37. Re: Locking Rail/Rope light Thread
    by "Michael Feinberg" <michaelf [at] joyce.eng.yale.edu>
38. Re: Prop authenticity question
    by Stephen Litterst <slitterst [at] ithaca.edu>
39. Re: Prop authenticity question
    by Steve Larson <tiptd [at] theatreinthepark.com>
40. Re: Locking Rail/Rope light Thread
    by "LES LIND" <lindl [at] nesd.k12.pa.us>
41. Re: Campfire Ideas
    by Stephen Litterst <slitterst [at] ithaca.edu>
42. Re: DMX Coffee Pot
    by "Andrew Vance" <andrewv [at] otcmail.org>
43. Re: FIRE
    by "Alf Sauve" <alf [at] sauve.org>
44. Re: FIRE
    by "Scott C. Parker" <stagecraftlist [at] hstech.org>
45. Re: Mac 2k reset, was coffee pot library
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
46. Re: DMX Coffee Pot
    by "Joe Golden" <Joe [at] elslights.com>
47. Re: Campfire Ideas
    by MissWisc [at] aol.com
48. Re: Prop authenticity question
    by "Hofmann, Christopher" <chofmann [at] capecod.edu>
49. Re: Prop authenticity question
    by Pat Kight <kightp [at] peak.org>
50. Re: Campfire Ideas
    by Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
51. Re: Prop authenticity question
    by "Randy B." <rgbrzosk [at] usermail.com>
52. Re: Mac 2k reset, was coffee pot library
    by "C. Andrew Dunning" <cad [at] landrudesign.com>
53. Re: Prop authenticity question
    by Kevin Lee Allen <klad [at] klad.com>
54. Re: Mac 2k reset, was coffee pot library
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
55. Re: Le Maitre G300 Error: F-PU & F-LO
    by "Kacey Fisher" <Kacey [at] FisherTheatrical.com>
56. Re: Amateur/professional/academic
    by CB <psyd [at] cox.net>
57. Re: Le Maitre G300 Error: F-PU & F-LO
    by "Scott C. Parker" <stagecraftlist [at] hstech.org>
58. Re: Prop authenticity question
    by "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
59. Re: Prop authenticity question
    by IAEG [at] aol.com
60. Re: Prop authenticity question
    by FrankWood95 [at] aol.com
61. Re: Prop authenticity question
    by IAEG [at] aol.com
62. Re: Amateur/professional/academic
    by "Michael Denison" <mdenison [at] cottey.edu>
63. Re: Prop authenticity question
    by FrankWood95 [at] aol.com
64. Re: Prop authenticity question
    by Stephen Litterst <slitterst [at] ithaca.edu>
65. Re: Prop authenticity question
    by "Robert G. Anderson" <rganderson [at] nctv.com>
66. Re: Prop authenticity question
    by "Robert G. Anderson" <rganderson [at] nctv.com>
67. Re: Prop authenticity question
    by FrankWood95 [at] aol.com
68. Re: Prop authenticity question
    by IAEG [at] aol.com
69. Re: Multiple LED Source
    by "Daniel O'Donnell" <dan [at] mystykworks.com>
70. Re: Prop authenticity question
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
71. Re: Lightwright survey results
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
72. Re: spike tape on operating lines
    by "Delbert Hall" <halld [at] etsu.edu>
73. Re: Locking Rail/Rope light Thread
    by "Mikkel Mynster" <mmynster [at] megafun.com.au>
74. Re: Le Maitre G300 Error: F-PU & F-LO
    by "Kacey Fisher" <Kacey [at] FisherTheatrical.com>
75. Re: Prop authenticity question
    by "Alf Sauve" <alf [at] sauve.org>
76. Re: Prop authenticity question
    by Noah Price <stagecraft-web [at] theprices.net>
77. Germany and Austria
    by "Nicholas Kuhl" <nkuhl [at] bu.edu>
78. Re: Prop authenticity question: Outlook plain text
    by "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
79. Re: Prop authenticity question
    by Michael Feinberg <michaelf [at] joyce.eng.yale.edu>
80. Re: Prop authenticity question
    by David Duffy <david [at] audiovisualdevices.com.au>
81. Re: Prop authenticity question
    by Michael Feinberg <michaelf [at] joyce.eng.yale.edu>
82. Re: Prop authenticity question
    by David Duffy <david [at] audiovisualdevices.com.au>

*** 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: Mon, 18 Oct 2004 06:13:18 -0400
Subject: address change
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BD990F7E.38F%bill [at] sapsis-rigging.com>

Sort of.

Those of you who have been using my AOL address can stop now.  I've finally
gotten myself off that and over to my work account full time.  So, for the
future, please use Bill [at] sapsis-rigging.com

Thanks

Bill

Sapsis Rigging, Inc.
800.727.7471
800.292.3851  fax
267.278.4561
sapsis-rigging.com
We stand behind, and under, our work.


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

Message-ID: <4173A313.D7BDCC67 [at] swgc.mun.ca>
Date: Mon, 18 Oct 2004 08:33:48 -0230
From: Dale Power <dpower [at] swgc.mun.ca>
Subject: Re: NSI DDS9600 Dimmer
References: <list-4700250 [at] prxy.net> <list-4707626 [at] prxy.net>

Daryl,

Check to see if the ramp sensing lines are connected to the correct phase
power feeds, if these are not connected properly you can get all sorts of
nonsense as well.

Cheers
Dale




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

Date: Mon, 18 Oct 2004 08:55:38 -0400
Subject: Re: Lightwright survey results
From: John McKernon <stagecraft2004 [at] mckernon.com>
Message-ID: <BD99358A.D59F%stagecraft2004 [at] mckernon.com>
In-Reply-To: <list-4725639 [at] prxy.net>

> Yeah, like we care what *you* want it to do....

Actually, if all I did was what people specifically ask for, we'd be using
not much more than a clone of Excel, and we'd still be running DOS.

The trick is to read minds (including my own) and figure out what people
*want*, as opposed to what they *ask for*.

- John


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

From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Lightwright survey results
Date: Mon, 18 Oct 2004 08:59:11 -0400
Message-ID: <001401c4b512$4397d800$6701a8c0 [at] Dell>
In-Reply-To: <list-4727575 [at] prxy.net>


 
> The trick is to read minds (including my own) and figure out 
> what people *want*, as opposed to what they *ask for*.

Good advice for dealing with directors, too.

Directors are, after all, people.

Really.


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

From: SMANKO [at] aol.com
Message-ID: <1d7.2d4ff045.2ea52011 [at] aol.com>
Date: Mon, 18 Oct 2004 09:33:05 EDT
Subject: LEDs in Theater Props & Scenery

Perhaps of interest to the list.  A NY Times article on LEDs for theatrical 
applications.
http://www.nytimes.com/2004/10/18/technology/18led.html?th

Just in the last year I've had several requests for specialty props that 
light up, glow, flash or all of the above.  See any of you in LV at LDI later this 
week.  What's a Propguy doing at LDI? ...... Looking for things that light 
up, glow, flash or all of the above.

Michael Smanko
B'way Prop Guy

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

From: "Kirk Wahamaki" <kwahamaki [at] dogwoodcenter.com>
Subject: RE: Amateur/professional/academic
Date: Mon, 18 Oct 2004 10:16:37 -0400
Organization: Dogwood Center
In-reply-to: <list-4716602 [at] prxy.net>
Message-Id: <200410181012343.SM01324 [at] dogwoodkirk>

When the decisions of what goes where how are made by "Can we
afford it?"  "Does it put butts in seats or give us more seats?", and "Is
it worth what it costs in return revenue?" then its getting on towards pro.
		Chris "Chris" Babbie
				
[Kirk Wahamaki] That would put most community theaters into the pro area
based on the three questions above. I think Chris's statements lean more to
the commercial vs. non-commercial as opposed to pro vs. amateur. 


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

Message-ID: <1098109533.4173d25d0dffb [at] webmail.bard.edu>
Date: Mon, 18 Oct 2004 10:25:33 -0400
From: doran [at] bard.edu
Subject: Re: Amateur/professional/academic
References: <list-4718275 [at] prxy.net> <list-4720374 [at] prxy.net>
In-Reply-To: <list-4720374 [at] prxy.net>

That was Herrick?  I thought you were applying for the bell ringer/Lighting 
designer job!

Damn!
Andy C-D


Quoting Brian Aldous <brian [at] tany.com>:

>   I am considered a professional lighting designer (at least by those 
> who don't know me well - Herrick, stay off my back here) 

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

Subject: RE: Lightwright survey results
Date: Mon, 18 Oct 2004 08:44:07 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7A7D [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>



> Actually, "make coffee" was a recurring request. Anybody know=20
> where to get a DMX-controlled coffee maker?...;)
>=20
> - John
>=20
>=20
DOUG FLEENOR DESIGN, INC.: BOOTH #1821


DMX COFFEE POT, MARK II


"Finally!" is the word Doug Fleenor Design uses to reintroduce the DMX
Coffee Pot, first debuted at LDI in 1997 and now available for purchase.
Previously only available by lease, the company follows the lead of many
moving light companies by allowing their technology to be purchased
out-right. Operation of the Mark II has been simplified, featuring
internal termination (there is no feed through) and remote address
setting (there is no DMX address switch). Remote address setting is
accomplished via RDM making this the first (and only) RDM Coffee Pot, as
well. Watch out, Krups!
Doug Fleenor Design, Inc.
Arroyo Grande, CA
www.dfd.com

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

Date: Mon, 18 Oct 2004 11:43:44 -0400
Subject: Coffe pot and HogII library file
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BD995CF0.294%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-4728637 [at] prxy.net>

OK Whomever writes the library file for this on the whole hog II can you
please please please not make it dump all the coffee on the floor whenever I
spin the strobe channel!! (damn mac2k's grumble grumble grumble)

On 10/18/04 11:44, "Joe Golden" <Joe [at] elslights.com> wrote:


>> 
>> 
> DOUG FLEENOR DESIGN, INC.: BOOTH #1821
> 
> 
> DMX COFFEE POT, MARK II
> 
> 
> Remote address setting is
> accomplished via RDM making this the first (and only) RDM Coffee Pot, as
> well. Watch out, Krups!
> Doug Fleenor Design, Inc.
> Arroyo Grande, CA
> www.dfd.com
> 

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com

"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS


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

From: "C. Andrew Dunning" <cad [at] landrudesign.com>
Subject: RE: Coffe pot and HogII library file
Date: Mon, 18 Oct 2004 11:06:07 -0500
Organization: Landru Design
In-Reply-To: <list-4728712 [at] prxy.net>
Message-ID: <auto-000004728815 [at] prxy.net>

You just have to use the "Keep Separate" option in the Control Panel...

C. Andrew Dunning
Landru Design
-
Nashville, TN
-
cad [at] landrudesign.com
www.landrudesign.com



>OK Whomever writes the library file for this on the whole hog 
>II can you please please please not make it dump all the 
>coffee on the floor whenever I spin the strobe channel!! (damn 
>mac2k's grumble grumble grumble)




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

Date: Mon, 18 Oct 2004 12:14:31 -0400
Subject: Mac 2k reset, was coffee pot library
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BD996427.29D%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-4728816 [at] prxy.net>

That's interesting , ya learn something new every day. Just to play devil's
advocate..if I have that option on in the control panel and I need to
remotely re-strike the lamp how do I do that?

I've just learned to live with this bug for the past few years as it only
affects the Martin products.

On 10/18/04 12:06, "C. Andrew Dunning" <cad [at] landrudesign.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> You just have to use the "Keep Separate" option in the Control Panel...
> 
> C. Andrew Dunning
> Landru Design
-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com

"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS


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

From: FrankWood95 [at] aol.com
Message-ID: <8e.1792d2b0.2ea54a40 [at] aol.com>
Date: Mon, 18 Oct 2004 12:33:04 EDT
Subject: Re: Amateur/professional/academic

In a message dated 17/10/04 23:14:43 GMT Daylight Time, mdenison [at] cottey.edu 
writes:

> Okay, so the Passion Play at Oberammergau, Germany, is 
>  "amateur" and the plays that the students at the Yale School of 
>  Drama do are "amateur/academic" and the 800th road show of The 
>  Odd Couple starring a has-been TV star and playing at a dinner 
>  theatre in Boise is "professional". Do I understand all this correctly?

Well, by the definitions mostly proposed, yes.

Oberammergau, as far as I know, pays nobody; at Yale, on the contrary, the 
student actors will pay substantial fees, and the tutors and theatre staff will 
be paid by Yale; the road-show will be doing it all for money. The artistic 
merit just doesn't figure into the definitions, and neither does the competence 
of the actors and technicians.

It's a funny old world.


Frank Wood

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

Subject: Re: Amateur/professional/academic
Message-ID: <OF6AE4EC34.CDC8A862-ON85256F31.0056C15C-85256F31.005B98CA [at] sarasotagov.com>
From: Marty_Petlock [at] sarasotagov.com
Date: Mon, 18 Oct 2004 12:40:29 -0400


On October 17 Michael Denison wrote:

"Okay, so the Passion Play at Oberammergau, Germany, is
"amateur" and the plays that the students at the Yale School of
Drama do are "amateur/academic" and the 800th road show of The
Odd Couple starring a has-been TV star and playing at a dinner
theatre in Boise is "professional". Do I understand all this correctly?"

Well gee Mike; amateur is no more a synonym for bad than professional is
for wonderful. I've seen acting at "Community Theatres" where everyone was
energized and focused and much better than some LORT productions I've sat
through. I think one qualifier for 'Professional' is a consistent, reliable
result every performance, that doesn't mean it's the best, just dependable.
There's something about being paid to produce a result that obligates you
to a minimum standard but doing it for love obligates you to do the best
you can do. My hall does 180+ performances a year and I look forward to
working with the "Professionals", they mostly know what they want and can
tell me up-front. The "amateurs" can turn out some brilliant stuff but it's
usually labor intensive and a royal pain in the you know what. During the
off season I've been lighting a small local Equity Company and I always
like to say I've gotten out of Show Biz and gone back into Theatre.


Marty Petlock
Technical Facilities Manager
Van Wezel P.A.H.
Sarasota, FL.



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

Subject: In defense of lash cleats...
Date: Mon, 18 Oct 2004 09:54:47 -0700
Message-ID: <D970C7F47C09C845806F744DA67B2176473D45 [at] mercury.exchange.local>
From: "Michael Finney" <mfinney [at] thinkwelldesign.com>

On Fri, 15 Oct 2004 Mark O'Brien <marko [at] email.arizona.edu> wrote:

<<snip of good comments re: academic vs professional>>

<<That said, I am trying to bring the shop here into the 20th century.
Air compressor,  nail guns, welder, etc.
The guy before me had been here for 28 years,  and while useful, my
collection of stuff I inherited includes:
Clout nails, cinch plates, lash cleats, Yankee screwdrivers, ceiling
plates, and...2 !!!   Glue pots, and a box O' rabbit glue.>>

Good luck dragging everybody along with you into the wonderful world of
modern tools.  It kind of sounds like you could have a nice "identify
the obsolete technology" session in the shop for any students who were
interested!

That being said, though, I gotta say that there are a couple of items in
that list that I've actually found handy even in modern, high-cost/high
tech productions.  Well, maybe not the rabbit glue....

My two picks from that list would be ceiling plates (mounted them into
several scenic elements on the last museum tour to use as both temporary
hoisting points and as "tie-in" points for some stabilizing lines after
installation), and lash cleats.  Especially lash cleats, oddly enough.
I learned how to use them back in the dark ages when I was in college
(fighting dinosaurs on the way to the theatre, working with both
Neanderthals and Homo Sapiens in the shop, etc) from an old time
carpenter.  For some odd reason, the chance to use lashed joints kept
coming up while I worked in a few rep theatres (often in "true" rolling
rep schedules) and on a number of touring productions.  They worked
great for making connections between walls on quick scene changes, and
were nicely flexible when we needed a little "wiggle room" in different
theatres.  Quicker than most of the "solid" connections that were
options (don't you just *love* trying to make a loose pin hinge joint in
a hurry in the dark?).  Not to mention the really odd looks (and
"attaboys") I got from grizzled old stagehands when I threw a lashed
joint together.  Nothing like establishing a *little* credibility with
the old hands when you're 20 years old.  Actually, I used lashed joints
relatively recently  on a Disney/Buena Vista Pictures special event at
the El Capitan here in LA - it ended up being the best choice for a very
quick scene change ("get them close enough and then lash 'em!").

So how 'bout the rest of you all - any of you have any supposedly
obsolete theatre hardware or technology that you wished more students
learned about?

Enquiring minds want to know!

Michael Finney
Thinkwell Design & Production
mfinney [at] thinkwelldesign.com =20
http://www.thinkwelldesign.com =20

PS:  Herrick - once again your "Julie the Cruise Director" impersonation
is spot-on!  I think I foresee adult beverages in our future....


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

Subject: RE: LDI Gathering lets try something new
Date: Mon, 18 Oct 2004 09:55:44 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7A80 [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>

I have made 100.  Is that enough?  When asking for them at our booth,
ask for the "Stagecraft" sticker.  I will try to let everyone working
our booth to know about them.


> Joe thanks for doing the stickers!!
>=20

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

Message-Id: <s173bf65.013 [at] ac3.nesd.k12.pa.us>
Date: Mon, 18 Oct 2004 13:04:17 -0400
From: "LES LIND" <lindl [at] nesd.k12.pa.us>
Subject: Re: Locking Rail/Rope light Thread

I don't really think the original poster (?) was using the lock as a
brake. Just the wrong termonology. Ya know, kinda like using the e-brake
on my truck. Ya don't really stop the truck with the e-brake but set it
after the truck has stopped.
Les

>>> Marty_Petlock [at] sarasotagov.com 10/17/04 12:30:59 PM >>>
For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
---------------------------------------------------

<clip>
>I am bothered hearing the locking handle a "brake". I've seen rails
where
people did that and after a surprisingly short time the ropes get the
locking surfaces slicked up very smooth with a subsequent loss of
gripping
ability. Great way to set yourself up for a load to start slipping
through
the lock: Not a good thing.

Marty Petlock
Technical Facilities Manager
Van Wezel P.A.H.
Sarasota, FL.
<clip>


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

Message-Id: <s173bfa3.015 [at] ac3.nesd.k12.pa.us>
Date: Mon, 18 Oct 2004 13:04:58 -0400
From: "LES LIND" <lindl [at] nesd.k12.pa.us>
Subject: Re: Locking Rail/Rope light Thread

I don't really think the original poster (?) was using the lock as a
brake. Just the wrong termonology. Ya know, kinda like using the e-brake
on my truck. Ya don't really stop the truck with the e-brake but set it
after the truck has stopped.
Les

>>> Marty_Petlock [at] sarasotagov.com 10/17/04 12:30:59 PM >>>
For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
---------------------------------------------------

<clip>
>I am bothered hearing the locking handle a "brake". I've seen rails
where
people did that and after a surprisingly short time the ropes get the
locking surfaces slicked up very smooth with a subsequent loss of
gripping
ability. Great way to set yourself up for a load to start slipping
through
the lock: Not a good thing.

Marty Petlock
Technical Facilities Manager
Van Wezel P.A.H.
Sarasota, FL.
<clip>


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

Message-ID: <FD538F8E0ED7D211A70C00A0C9E924C7357435 [at] irt_admin.indianarep>
From: Chris Fretts <cfretts [at] indianarep.com>
Subject: Campfire Ideas
Date: Mon, 18 Oct 2004 12:19:10 -0500

I am looking for thoughts and suggestions about creating campfires onstage
for a production of The Grapes of Wrath. We are in the early design stages
and I have heard rumblings from design meetings and am trying to get a jump
on things. I do not know any other details as yet.  The show opens in Feb.
so we have plenty of time to work on this.

First off... the disclaimers 

#1. If we decide to work with live flame, and that is a BIG if, we will be
working very closely with our local Fire Marshall's Office from the start to
come up with an effect that will be safe and meet his approval. This
production is transferring to Syracuse Stage and we will need to get an
approval from that AHJ as well before we proceed too far down the live flame
road. 

#2. I have searched the archives and did not come up with much.  I did find
a couple of relevent Tech Expo entries from past years.

That being said...

I am wondering if anyone has used any particular product or method that they
might recommend for this project.  I are definitely leaning toward a
non-live flame effect if I can find something suitable.  I am interested in
Le Maitre's Le Flame units but have never used one myself and don't know if
they might be appropriate - anyone out there used one in this way?.  I have
seen them at several USITT conventions and they are quite impressive. I am
also aware of other silk/fan/light combinations that have been brought up in
the archives and would appreciate any substantive comments about those
experiences.

And of course any ideas for live flame would also be of interest -
specifically fuel choices, storage and plumbing. Additionally, ideas for
safety features and considerations to think about would be appreciated. 

So...

If you have any product or method to recommend, please reply to the list and
let me, and all of us, know.

Thanks,

Chris Fretts
Technical Director
Indiana Repertory Theatre

	

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

Date: Mon, 18 Oct 2004 12:25:09 -0500
From: Kelsey Hedrick <hedrick [at] simpson.edu>
Subject: FIRE
Message-ID: <416C6AE4 [at] Red2>

Hey everyone,

My name is Kelsey Hedrick and I am a student of technical theatre 
working on a project.  I need help getting started with my project about 
how to create fire on the stage.  Any ideas would be appreciated.

Thank you all so very much for any input you have.

Thanks,
Kelsey Hedrick

Carpe the Diem!!! Seize the Carp!!


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

Date: Mon, 18 Oct 2004 13:23:02 -0400
Subject: Re: In defense of lash cleats...
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BD997436.3E2%bill [at] sapsis-rigging.com>
In-Reply-To: <list-4729200 [at] prxy.net>

on 10/18/04 12:54 PM, Michael Finney at mfinney [at] thinkwelldesign.com wrote:

> My two picks from that list would be ceiling plates (mounted them into
> several scenic elements on the last museum tour to use as both temporary
> hoisting points and as "tie-in" points for some stabilizing lines after
> installation), and lash cleats.


Careful with those ceiling plates.  Some of the ones on the market these
days are junk.  Dinky little u-bolt tack welded to the plat and the O ring
isn't even welded closed.
Ya gotta look before you leap.

Bill S.

www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

We stand behind, and under, our work.


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

Subject: RE: Campfire Ideas
Date: Mon, 18 Oct 2004 12:31:53 -0500
Message-ID: <EA9B1801BA3A584887D7D4AB70DC30B003154B52 [at] athena.graceland.edu>
From: "Curt Mortimore" <cmortimo [at] graceland.edu>

Chris,

Remember me? I worked with Stirling at CPIP some years back.

Anyway, I have a Le Flame unit on the shelf if you would like to borrow =
it for R&D purposes. I have not actually used a Le Flame unit onstage, =
only at parties and conferences. I built a couple shop-built fan/light =
fires years back with limited success. My hope is I have learned a thing =
or two over the years and might do a better job today.

The list of good reasons to use or not use live fire is endless. I find =
it hard to make a recommendation as to what might be best for your =
situation.

IF you would like to play with the Le Flame let me know and I can ship =
it to you.

Curtis L. Mortimore
Department of Theatre
Graceland University
1 University Place
Lamoni, IA 50140
Office: 151 Shaw
Phone: 641-784-5265
Email: cmortimo [at] graceland.edu



-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Chris
Fretts
Sent: Monday, October 18, 2004 12:19 PM
To: Stagecraft
Subject: Campfire Ideas


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

I am looking for thoughts and suggestions about creating campfires =
onstage
for a production of The Grapes of Wrath. We are in the early design =
stages
and I have heard rumblings from design meetings and am trying to get a =
jump
on things. I do not know any other details as yet.  The show opens in =
Feb.
so we have plenty of time to work on this.

First off... the disclaimers=20

#1. If we decide to work with live flame, and that is a BIG if, we will =
be
working very closely with our local Fire Marshall's Office from the =
start to
come up with an effect that will be safe and meet his approval. This
production is transferring to Syracuse Stage and we will need to get an
approval from that AHJ as well before we proceed too far down the live =
flame
road.=20

#2. I have searched the archives and did not come up with much.  I did =
find
a couple of relevent Tech Expo entries from past years.

That being said...

I am wondering if anyone has used any particular product or method that =
they
might recommend for this project.  I are definitely leaning toward a
non-live flame effect if I can find something suitable.  I am interested =
in
Le Maitre's Le Flame units but have never used one myself and don't know =
if
they might be appropriate - anyone out there used one in this way?.  I =
have
seen them at several USITT conventions and they are quite impressive. I =
am
also aware of other silk/fan/light combinations that have been brought =
up in
the archives and would appreciate any substantive comments about those
experiences.

And of course any ideas for live flame would also be of interest -
specifically fuel choices, storage and plumbing. Additionally, ideas for
safety features and considerations to think about would be appreciated.=20

So...

If you have any product or method to recommend, please reply to the list =
and
let me, and all of us, know.

Thanks,

Chris Fretts
Technical Director
Indiana Repertory Theatre

=09

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

Date: Mon, 18 Oct 2004 13:34:34 -0400
Subject: Re: FIRE
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BD9976EA.3E6%bill [at] sapsis-rigging.com>
In-Reply-To: <list-4729419 [at] prxy.net>

on 10/18/04 1:25 PM, Kelsey Hedrick at hedrick [at] simpson.edu wrote:

> My name is Kelsey Hedrick and I am a student of technical theatre
> working on a project.  I need help getting started with my project about
> how to create fire on the stage.  Any ideas would be appreciated.


First you get an actor.  Then you get a match......

Bill S.
www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

We stand behind, and under, our work.


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

Date: Mon, 18 Oct 2004 12:31:22 -0500
From: Mark Harvey <mharvey [at] d.umn.edu>
Subject: Re: Multiple LED Source
Message-ID: <851255.3307091482 [at] umd52-36.d.umn.edu>
In-Reply-To: <list-4726637 [at] prxy.net>

Is anyone aware of a panel of individually controlled LEDs?  I'm looking
for a way to connect 36 individual light sources to fiber optics to light
1/2" scale scenic models and thought LED sources might work better than 36
120 volt MR16s.

Eventually, the LEDs would need to be able to be controlled by dimmers in
some way so a 36 channel lighting console would be able to program cues for
the model lighting. 

____________________________________
Mark Harvey
Associate Professor, Lighting and Sound Design
University of Minnesota Duluth
www.d.umn.edu/~mharvey

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

Subject: Prop authenticity question
Date: Mon, 18 Oct 2004 13:34:54 -0400
Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C174FF [at] ex1.capecod.edu>
From: "Hofmann, Christopher" <chofmann [at] capecod.edu>

Trying to save some time -=20

Anybody know when cassette tape recorders were introduced and widely =
available for purchase?  I'm working on an original piece set in the mid =
to late '60s.  The idea is that an inexpensive cassette recorder would =
have been available for a teenager to purchase and use to record a =
garage band.  The designer and director are at odds as to whether this =
is authentic or not. You can reply on or off list.

TIA

- Chris
=A0
Creativity is the inability to follow someone else's rules.
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0 - Cliff Stoll


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

Subject: RE: Prop authenticity question
Date: Mon, 18 Oct 2004 10:41:12 -0700
Message-ID: <555928311F8B2943B65FC7197942C3B7323965 [at] es1.bsdnet.wednet.edu>
From: "Storms, Randy" <rstorms [at] bham.wednet.edu>

I'd say a reel-to-reel would be more likely for the time period...
-- r.

Randy Storms
rstorms [at] bhan.wednet.edu

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Hofmann,
Christopher
Sent: Monday, October 18, 2004 10:35 AM
To: Stagecraft
Subject: Prop authenticity question


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

Trying to save some time -=20

Anybody know when cassette tape recorders were introduced and widely =
available for purchase?  I'm working on an original piece set in the mid =
to late '60s.  The idea is that an inexpensive cassette recorder would =
have been available for a teenager to purchase and use to record a =
garage band.  The designer and director are at odds as to whether this =
is authentic or not. You can reply on or off list.

TIA

- Chris
=A0
Creativity is the inability to follow someone else's rules.
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0 - Cliff Stoll


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

Subject: RE: FIRE
Date: Mon, 18 Oct 2004 12:43:04 -0500
Message-ID: <EA9B1801BA3A584887D7D4AB70DC30B003154B53 [at] athena.graceland.edu>
From: "Curt Mortimore" <cmortimo [at] graceland.edu>

Hey, that guy's funny!

Kelsey,

I would encourage you to start by looking at the GAM torch
www.gamonline.com/catalog/gamtorch/index.php

and the Le Flame
http://www.lemaitreltd.com/ProductDescription.asp?idxProduct=3D67&idxCate=
gory=3D12

Good luck and I am sure you will get other good advice from the list.

Curtis L. Mortimore
Department of Theatre
Graceland University
1 University Place
Lamoni, IA 50140
Office: 151 Shaw
Phone: 641-784-5265
Email: cmortimo [at] graceland.edu



First you get an actor.  Then you get a match......




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

Message-ID: <004201c4b539$ee3d13c0$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-4729569 [at] prxy.net>
Subject: Re: Prop authenticity question
Date: Mon, 18 Oct 2004 10:43:08 -0700

> Anybody know when cassette tape recorders were introduced and widely 
> available for purchase?  I'm working on an original piece set in the mid 
> to late '60s.  The idea is that an inexpensive cassette recorder would 
> have been available for a teenager to purchase and use to record a garage 
> band.  The designer and director are at odds as to whether this is 
> authentic or not. You can reply on or off list.


I'm thinking it's too  early for the cassette tape, but I'm no authority.  I 
do recall that our family had one of those 'open reel', but mini, tape 
recorders.  Not the big 1/4" tape ones - it seems to me the tape was smaller 
than that.  The reels certainly were.  Always reminded me of "Mission: 
Impossible" (the original - with the tape deck combusting at the end of the 
message).

        -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm 


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

From: "C. Andrew Dunning" <cad [at] landrudesign.com>
Subject: RE: Mac 2k reset, was coffee pot library
Date: Mon, 18 Oct 2004 12:45:42 -0500
Organization: Landru Design
In-Reply-To: <list-4728942 [at] prxy.net>
Message-ID: <auto-000004729671 [at] prxy.net>

Herrick -

I was just trying to make a "funny" regarding keeping the CoffeePot
parameters separate from the MACs, but, since you asked...

"Keep Separate" only works with parameters that are on different DMX
channels that are part of the same general group - I, C, B, or F - not for
"unalike" parameters that share channels.  For example, Strobe and Iris are
both "Beam" parameters, but can be recorded separately in palettes and cues.
If I'm correct in remembering that on MACs the control functions are on the
strobe channel - therefore what you're wanting to do may not be possible.

Sorry.

C. Andrew Dunning
Landru Design
-
Nashville, TN
-
cad [at] landrudesign.com
www.landrudesign.com




>-----Original Message-----
>From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf 
>Of Herrick Goldman
>Sent: Monday, October 18, 2004 10:15 AM
>To: Stagecraft
>Subject: Mac 2k reset, was coffee pot library
>
>For info, archives & UNSUBSCRIBE, see 
><http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>That's interesting , ya learn something new every day. Just to 
>play devil's advocate..if I have that option on in the control 
>panel and I need to remotely re-strike the lamp how do I do that?
>
>I've just learned to live with this bug for the past few years 
>as it only affects the Martin products.
>
>On 10/18/04 12:06, "C. Andrew Dunning" <cad [at] landrudesign.com> wrote:
>
>> For info, archives & UNSUBSCRIBE, see 
>> <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>> 
>> You just have to use the "Keep Separate" option in the 
>Control Panel...
>> 
>> C. Andrew Dunning
>> Landru Design
>--
>Herrick Goldman
>Lighting Designer, NYC
>www.HGLightingDesign.com
>
>"To the scores of silent alchemists who wreak their joy in 
>darkness and in light bringing magic to life, we bow most humbly. "-CDS
>



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

Message-ID: <41740150.6000504 [at] hillinteractive.net>
Date: Mon, 18 Oct 2004 13:45:52 -0400
From: howie <hi [at] hillinteractive.net>
Subject: Re: Campfire Ideas
References: <list-4729371 [at] prxy.net>
In-Reply-To: <list-4729371 [at] prxy.net>

Chris Fretts wrote:

> I am looking for thoughts and suggestions about creating campfires onstage

red light from below. some crumpled old red & yellow gel on top. Some 
half burned logs scattered around.

too realistic a fire effect is a distraction from the acting. if anyone 
notices or remembers the fire you overdid it.

-------------howie

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

In-Reply-To: <list-4729433 [at] prxy.net>
References: <list-4729433 [at] prxy.net>
Message-Id: <EC1B70F7-212D-11D9-A87F-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: In defense of lash cleats...
Date: Mon, 18 Oct 2004 10:48:30 -0700

The ones I found looked a bit scary...

>
> Careful with those ceiling plates.  Some of the ones on the market 
> these
> days are junk.  Dinky little u-bolt tack welded to the plat and the O 
> ring
> isn't even welded closed.
> Ya gotta look before you leap.

Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


On Oct 18, 2004, at 10:23 AM, Bill Sapsis wrote:


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

Subject: DMX Coffee Pot
Date: Mon, 18 Oct 2004 10:51:38 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7A82 [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>

DMX Coffee Pot LDI price $149.99, pick up at the show...

> >=20
> >=20
> DOUG FLEENOR DESIGN, INC.: BOOTH #1821
>=20
>=20
> DMX COFFEE POT, MARK II
>=20
>=20
> "Finally!" is the word Doug Fleenor Design uses to=20
> reintroduce the DMX Coffee Pot, first debuted at LDI in 1997=20
> and now available for purchase. Previously only available by=20
> lease, the company follows the lead of many moving light=20
> companies by allowing their technology to be purchased=20
> out-right. Operation of the Mark II has been simplified,=20
> featuring internal termination (there is no feed through) and=20
> remote address setting (there is no DMX address switch).=20
> Remote address setting is accomplished via RDM making this=20
> the first (and only) RDM Coffee Pot, as well. Watch out,=20
> Krups! Doug Fleenor Design, Inc. Arroyo Grande, CA www.dfd.com
>=20

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

From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
Subject: RE: Prop authenticity question
Date: Mon, 18 Oct 2004 13:51:08 -0400
In-Reply-To: <list-4729569 [at] prxy.net>
Message-ID: <auto-000004729749 [at] prxy.net>

They were a big new thing for us in 1968-69.  But we weren't necessarily
pioneers.

Jonathan

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of =
Hofmann,
Christopher
Sent: Monday, October 18, 2004 1:35 PM
To: Stagecraft
Subject: Prop authenticity question

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

Trying to save some time -=20

Anybody know when cassette tape recorders were introduced and widely
available for purchase?  I'm working on an original piece set in the mid =
to
late '60s.  The idea is that an inexpensive cassette recorder would have
been available for a teenager to purchase and use to record a garage =
band.
The designer and director are at odds as to whether this is authentic or
not. You can reply on or off list.

TIA

- Chris
=A0
Creativity is the inability to follow someone else's rules.
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=
=A0=A0=A0=A0=A0=A0=A0 - Cliff Stoll



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

In-Reply-To: <list-4729645 [at] prxy.net>
References: <list-4729569 [at] prxy.net> <list-4729645 [at] prxy.net>
Message-Id: <316E34F8-212F-11D9-A87F-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Prop authenticity question
Date: Mon, 18 Oct 2004 10:57:36 -0700

I remember having a cassette tape recorder in the late 60's  It was a 
wollensak with a funky joystick type control. It had a small red button 
nearby, when used in conjunction with said control, made recordings. As 
I recall it was Danish, or something.  As cool as it was, it was a 
PITA. It also used 6 (I think) C cells, and used them often.

Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


On Oct 18, 2004, at 10:43 AM, Jon Ares wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>> Anybody know when cassette tape recorders were introduced and widely 
>> available for purchase?  I'm working on an original piece set in the 
>> mid to late '60s.  The idea is that an inexpensive cassette recorder 
>> would have been available for a teenager to purchase and use to 
>> record a garage band.  The designer and director are at odds as to 
>> whether this is authentic or not. You can reply on or off list.
>
>
> I'm thinking it's too  early for the cassette tape, but I'm no 
> authority.  I do recall that our family had one of those 'open reel', 
> but mini, tape recorders.  Not the big 1/4" tape ones - it seems to me 
> the tape was smaller than that.  The reels certainly were.  Always 
> reminded me of "Mission: Impossible" (the original - with the tape 
> deck combusting at the end of the message).
>
>        -- Jon Ares
> Program Director, West Linn HS Theatre Arts
> www.hevanet.com/acreative
> http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm


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

Message-ID: <886EF25AF8BEF64EB89A820EF84064FF09824E2B [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: FIRE
Date: Mon, 18 Oct 2004 13:58:59 -0400

No, you have to have the match first, the actors run very fast.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Bill Sapsis [mailto:bill [at] sapsis-rigging.com] 
Sent: Monday, October 18, 2004 1:35 PM
To: Stagecraft
Subject: Re: FIRE

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

on 10/18/04 1:25 PM, Kelsey Hedrick at hedrick [at] simpson.edu wrote:

> My name is Kelsey Hedrick and I am a student of technical theatre
> working on a project.  I need help getting started with my project about
> how to create fire on the stage.  Any ideas would be appreciated.


First you get an actor.  Then you get a match......

Bill S.
www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561  mobile

We stand behind, and under, our work.

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

Date: Mon, 18 Oct 2004 13:50:25 -0400
Subject: Re: Mac 2k reset, was coffee pot library
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BD997AA1.2B6%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-4729672 [at] prxy.net>

Ah my bad trying to educate myself thru sarcasm..:)


On 10/18/04 13:45, "C. Andrew Dunning" <cad [at] landrudesign.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Herrick -
> 
> I was just trying to make a "funny" regarding keeping the CoffeePot
> parameters separate from the MACs, but, since you asked...
> 
> 

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com

"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS


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

Message-ID: <886EF25AF8BEF64EB89A820EF84064FF09824E37 [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Campfire Ideas
Date: Mon, 18 Oct 2004 14:02:59 -0400

Played around with fluorescent starters (if you can find them these days) in
series with the incandescent lamps or gelled lighting fixture.  Provided a
very nice, random, somewhat realistic flicker type flicker effect.  It has
been awhile.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati



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

From: "Michael Feinberg" <michaelf [at] joyce.eng.yale.edu>
Subject: Re: Locking Rail/Rope light Thread
Date: Mon, 18 Oct 2004 14:05:43 -0400
Message-Id: <20041018180501.M29023 [at] joyce.eng.yale.edu>
In-Reply-To: <list-4729286 [at] prxy.net>
References: <list-4729286 [at] prxy.net>

On Mon, 18 Oct 2004 13:04:17 -0400, LES LIND wrote
> I don't really think the original poster (?) was using the lock as a
> brake. Just the wrong termonology. Ya know, kinda like using the e-brake
> on my truck. Ya don't really stop the truck with the e-brake but set 
> it after the truck has stopped. Les

Which is why in this case I would consider the correct terminology to 
be "parking brake."  :)

-Michael Feinberg

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

Date: Mon, 18 Oct 2004 14:06:42 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Prop authenticity question
Message-id: <41740632.34B476C [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4729569 [at] prxy.net>

"Hofmann, Christopher" wrote:
> ---------------------------------------------------
> Anybody know when cassette tape recorders were introduced and widely available for purchase?  I'm working on an original piece set in the mid to late '60s.  The idea is that an inexpensive cassette recorder would have been available for a teenager to purchase and use to record a garage band.  The designer and director are at odds as to whether this is authentic or not. You can reply on or off list.

A quick Google reveals that the Cassette was patented in 1964.

There's a good summation of Sony's experience with the Cassette here 

http://www.sony.net/Fun/SH/1-17/h1.html

Sony introduced a cassette player/recorder in 1966 but they don't
acknowledge a point when cassette overtook reel-to-reel as the
dominant media.

Steve L.

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

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

Date: Mon, 18 Oct 2004 14:06:36 -0400
Subject: Re: Prop authenticity question
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BD997E6C.18D6%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-4729813 [at] prxy.net>

I had one in 66 or 67.  There were also small
reel-to-reels.  I just bought two on eBay for
next to nothing.  One even works.

The cassettes were flat, rectangular devices
with a handle at one end.  I had one for years,
don't know where it went.  Probably in a box
in storage.

Steve

on 10/18/04 1:57 PM, Mark O'Brien at marko [at] email.arizona.edu wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I remember having a cassette tape recorder in the late 60's  It was a
> wollensak with a funky joystick type control. It had a small red button
> nearby, when used in conjunction with said control, made recordings. As
> I recall it was Danish, or something.  As cool as it was, it was a
> PITA. It also used 6 (I think) C cells, and used them often.
> 
> Mark O'Brien
> Opera Technical Director
> University of Arizona, School of Music
> Tucson, AZ
> 520/621-7025
> 520/591-1803 Mobile
> 
> 
> Mark O'Brien
> Opera Technical Director
> University of Arizona, School of Music
> Tucson, AZ
> 520/621-7025
> 520/591-1803 Mobile
> 
> 
> On Oct 18, 2004, at 10:43 AM, Jon Ares wrote:
> 
>> For info, archives & UNSUBSCRIBE, see
>> <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>> 
>>> Anybody know when cassette tape recorders were introduced and widely
>>> available for purchase?  I'm working on an original piece set in the
>>> mid to late '60s.  The idea is that an inexpensive cassette recorder
>>> would have been available for a teenager to purchase and use to
>>> record a garage band.  The designer and director are at odds as to
>>> whether this is authentic or not. You can reply on or off list.
>> 
>> 
>> I'm thinking it's too  early for the cassette tape, but I'm no
>> authority.  I do recall that our family had one of those 'open reel',
>> but mini, tape recorders.  Not the big 1/4" tape ones - it seems to me
>> the tape was smaller than that.  The reels certainly were.  Always
>> reminded me of "Mission: Impossible" (the original - with the tape
>> deck combusting at the end of the message).
>> 
>> -- Jon Ares
>> Program Director, West Linn HS Theatre Arts
>> www.hevanet.com/acreative
>> http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm
> 
> 
> 


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

Message-Id: <s173cee3.099 [at] ac3.nesd.k12.pa.us>
Date: Mon, 18 Oct 2004 14:10:16 -0400
From: "LES LIND" <lindl [at] nesd.k12.pa.us>
Subject: Re: Locking Rail/Rope light Thread

Ah, terminology smerminology...

Les Lind, TD
NHS Dramatics
Northeastern High School
Manchester, PA



>>> michaelf [at] joyce.eng.yale.edu 10/18/04 2:05:43 PM >>>
For info, archives & UNSUBSCRIBE, see
<http://stagecraft.theprices.net/>
---------------------------------------------------

On Mon, 18 Oct 2004 13:04:17 -0400, LES LIND wrote
> I don't really think the original poster (?) was using the lock as a
> brake. Just the wrong termonology. Ya know, kinda like using the
e-brake
> on my truck. Ya don't really stop the truck with the e-brake but set

> it after the truck has stopped. Les

Which is why in this case I would consider the correct terminology to 
be "parking brake."  :)

-Michael Feinberg

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

Date: Mon, 18 Oct 2004 14:13:25 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Campfire Ideas
Message-id: <417407C5.4E2AF63D [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4729870 [at] prxy.net>

"Waxler, Steve (waxlers)" wrote:
> ---------------------------------------------------
> 
> Played around with fluorescent starters (if you can find them these days) in
> series with the incandescent lamps or gelled lighting fixture.  Provided a
> very nice, random, somewhat realistic flicker type flicker effect.  It has
> been awhile.

A couple of things on starters that I've learned over the years...

1.) Always have one constant circuit, it makes the flickering fire
look more realistic.
2.) Use the FS-2 starters.  They should be available at your local
electrical wholesaler.  

Steve L.

-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

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

Message-ID: <026301c4b53d$ef7dd450$0500000a [at] anneb>
From: "Andrew Vance" <andrewv [at] otcmail.org>
References: <list-4729750 [at] prxy.net>
Subject: Re: DMX Coffee Pot
Date: Mon, 18 Oct 2004 13:11:09 -0500

> DMX Coffee Pot LDI price $149.99, pick up at the show...

What about the fine folk who can't make it to Vegas but still think it'd =
be cool to have one?

--

Sincerely,

Andrew Vance
Lighting Designer/Supervisor
Omaha Theatre Company/Omaha Theatre Ballet



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

Message-ID: <024001c4b540$bfab3760$0600a8c0 [at] alf>
From: "Alf Sauve" <alf [at] sauve.org>
References: <list-4729520 [at] prxy.net>
Subject: Re: FIRE
Date: Mon, 18 Oct 2004 14:16:01 -0400

Match?  Match?  Aren't they obsolete now?  Today's smart young stage hands 
use Colibri Quantum Jet torches.

As for me.   I'm still into flint and steel.

Alf

----- Original Message ----- 
From: "Bill Sapsis" <bill [at] sapsis-rigging.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, October 18, 2004 13:34 PM
Subject: Re: FIRE


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> on 10/18/04 1:25 PM, Kelsey Hedrick at hedrick [at] simpson.edu wrote:
>
>> My name is Kelsey Hedrick and I am a student of technical theatre
>> working on a project.  I need help getting started with my project about
>> how to create fire on the stage.  Any ideas would be appreciated.
>
>
> First you get an actor.  Then you get a match......
>
> Bill S.
> www.sapsis-rigging.com
> 800.727.7471
> 800.292.3851  fax
> 267.278.4561  mobile
>
> We stand behind, and under, our work.
> 


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

Message-Id: <6.1.2.0.2.20041018144013.04899208 [at] mail.hstech.org>
Date: Mon, 18 Oct 2004 14:41:23 -0400
From: "Scott C. Parker" <stagecraftlist [at] hstech.org>
Subject: Re: FIRE
In-Reply-To: <list-4729419 [at] prxy.net>
References: <list-4729419 [at] prxy.net>

You may find these pages helpful.
http://www.hstech.org/howto/fire/fire.htm

Scott

At 01:25 PM 10/18/2004, you wrote:

>My name is Kelsey Hedrick and I am a student of technical theatre
>working on a project.  I need help getting started with my project about
>how to create fire on the stage.

         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.  


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

Subject: RE: Mac 2k reset, was coffee pot library
Date: Mon, 18 Oct 2004 14:46:04 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A74AD0F [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Ah my bad trying to educate myself thru sarcasm..:)

Found (by my wife, actually) in a recent catalog...a sign that reads
"Sarcasm.  Just another service we provide."

Sound like a list motto, anyone?

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

Subject: RE: DMX Coffee Pot
Date: Mon, 18 Oct 2004 11:55:49 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7A85 [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>

www.dfd.com
.
>=20
> What about the fine folk who can't make it to Vegas but still=20
> think it'd be cool to have one?
>=20
> --
>=20
> Sincerely,
>=20
> Andrew Vance
> Lighting Designer/Supervisor
> Omaha Theatre Company/Omaha Theatre Ballet
>=20
>=20
>=20

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

From: MissWisc [at] aol.com
Message-ID: <140.34d34053.2ea56bd2 [at] aol.com>
Date: Mon, 18 Oct 2004 14:56:18 EDT
Subject: Re:  Campfire Ideas
Cc: cfretts [at] indianarep.com

Went to the local fireplace store. Borrowed an electric insert that's 
designed to for inside a real fireplace (cost to purchase about $150). Insert 
consists of smallish bulb lighting a wooden frame holding red/orange/yellow gels and 
a tinsel-looking thing that rotated to make a crackling sound.)

Mounted on caster dolly frame for ease of moving off and on stage. Arranged 
remainder of stage lighting to make light seem more "real". (i.e. very little 
down light, smallish lights behind the "campfire"/front light aimed to actors 
who were upstage of campfire, darkened but not black area lighting... embellish 
as you wish.) Surrounded by small logs borrowed from friend's firewood stack 
(firemarshal OKed for brief use without requiring flameproofing, had stagehand 
immediately offstage supervising it the entire time, extinguisher within 
reach, firemarshal rep onstage in wings also). Looked fine, no hazard.

HTH
Kristi

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

Subject: RE: Prop authenticity question
Date: Mon, 18 Oct 2004 15:07:38 -0400
Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C17501 [at] ex1.capecod.edu>
From: "Hofmann, Christopher" <chofmann [at] capecod.edu>

Thanks to all who have responded so far - you pretty much confirm what I
thought.  I've also done the google search and found introduction and
patent dates.  The piece I'm looking for that I don't seem to find
easily is whether or not a cassette recorder would have been common
enough and inexpensive enough in 1968 such that a teenager might have
saved some paper route money and purchased one.

- Chris
=20
Creativity is the inability to follow someone else's rules.
                                                              - Cliff
Stoll


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

Message-ID: <41741789.90800 [at] peak.org>
Date: Mon, 18 Oct 2004 12:20:41 -0700
From: Pat Kight <kightp [at] peak.org>
Subject: Re: Prop authenticity question
References: <list-4730509 [at] prxy.net>
In-Reply-To: <list-4730509 [at] prxy.net>

Hofmann, Christopher wrote:


> Thanks to all who have responded so far - you pretty much confirm what I
> thought.  I've also done the google search and found introduction and
> patent dates.  The piece I'm looking for that I don't seem to find
> easily is whether or not a cassette recorder would have been common
> enough and inexpensive enough in 1968 such that a teenager might have
> saved some paper route money and purchased one.

I was a teenager in 1968, and I had casette recorder. I'm pretty sure my 
parents gave it to me for Christmas or my birthday. We were a military 
family of modest means; if it was unusually expensive, I wouldn't have 
received it.

Not definitive, but anecdotal...

-- 
Pat Kight
Albany (Ore.) Civic Theater
kightp [at] peak.org



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

Subject: Re: Campfire Ideas
From: Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
Date: Mon, 18 Oct 2004 15:38:11 -0400
Message-ID: <OF11C2D10F.E33F80CD-ON85256F31.006BDDCC-85256F31.006BDDD1 [at] uncg.edu>






Chris,

Ball State has two of the Le Maitre Flame units if you want to take a look
at them.  Contact John Sadler, the shop supervisor.  They owe you guys a
few favors from the winches I borrowed a couple times.



Chip Haas
Technical Director
Department of Theatre
The University of North Carolina at Greensboro

336-334-3891


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

Message-ID: <006c01c4b54a$034fdf30$a0504898 [at] D10SKY11>
From: "Randy B." <rgbrzosk [at] usermail.com>
References: <list-4729617 [at] prxy.net>
Subject: Re: Prop authenticity question
Date: Mon, 18 Oct 2004 14:38:05 -0500

Look here for the history of the cassette tape.

http://www.recording-history.org/HTML/musictech10.htm

  I think also think mid 60's was too early for a cassette recorded.



----- Original Message ----- 
From: "Storms, Randy" <rstorms [at] bham.wednet.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, October 18, 2004 12:41 PM
Subject: Re: Prop authenticity question


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I'd say a reel-to-reel would be more likely for the time period...
> -- r.
>
> Randy Storms
> rstorms [at] bhan.wednet.edu
>
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Hofmann,
> Christopher
> Sent: Monday, October 18, 2004 10:35 AM
> To: Stagecraft
> Subject: Prop authenticity question
>
>
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Trying to save some time -
>
> Anybody know when cassette tape recorders were introduced and widely
available for purchase?  I'm working on an original piece set in the mid to
late '60s.  The idea is that an inexpensive cassette recorder would have
been available for a teenager to purchase and use to record a garage band.
The designer and director are at odds as to whether this is authentic or
not. You can reply on or off list.
>
> TIA
>
> - Chris
>
> Creativity is the inability to follow someone else's rules.
> - Cliff Stoll
>
>


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

From: "C. Andrew Dunning" <cad [at] landrudesign.com>
Subject: RE: Mac 2k reset, was coffee pot library
Date: Mon, 18 Oct 2004 15:09:05 -0500
Organization: Landru Design
In-Reply-To: <list-4730298 [at] prxy.net>
Message-ID: <auto-000004731057 [at] prxy.net>

Then you'd love my forthcoming book -The Sarcastic WholeHog-...

(BTW, I have found that certain brands of fixtures do cause the occasional
spouting of snide comments.) 

>-----Original Message-----
>From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf 
>Of Paul Schreiner
>Sent: Monday, October 18, 2004 12:46 PM
>To: Stagecraft
>Subject: Re: Mac 2k reset, was coffee pot library
>
>For info, archives & UNSUBSCRIBE, see 
><http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>> Ah my bad trying to educate myself thru sarcasm..:)
>
>Found (by my wife, actually) in a recent catalog...a sign that 
>reads "Sarcasm.  Just another service we provide."
>
>Sound like a list motto, anyone?
>



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

Date: Mon, 18 Oct 2004 16:11:55 -0400
From: Kevin Lee Allen <klad [at] klad.com>
Subject: Re: Prop authenticity question
In-reply-to: <list-4729569 [at] prxy.net>
Message-id: <F568D359-2141-11D9-8EB0-003065D2C502 [at] klad.com>
References: <list-4729569 [at] prxy.net>

I had a three inch reel to reel at that time.


On Oct 18, 2004, at 1:34 PM, Hofmann, Christopher wrote:

> For info, archives & UNSUBSCRIBE, see=20
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Trying to save some time -
>
> Anybody know when cassette tape recorders were introduced and widely=20=

> available for purchase?  I'm working on an original piece set in the=20=

> mid to late '60s.  The idea is that an inexpensive cassette recorder=20=

> would have been available for a teenager to purchase and use to record=20=

> a garage band.  The designer and director are at odds as to whether=20
> this is authentic or not. You can reply on or off list.
>
> TIA
>
> - Chris
> =CA
> Creativity is the inability to follow someone else's rules.
> =CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=
=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=CA=
=CA=CA=CA=CA=CA=CA=CA=CA - Cliff Stoll
>
>

-----
Kevin Lee Allen
Production Designer
http://www.klad.com
973.744.6352.voice
201.280.3841.cell
klad [at] klad.com
=F0



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

Date: Mon, 18 Oct 2004 16:08:58 -0400
Subject: Re: Mac 2k reset, was coffee pot library
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BD999B1A.2D8%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-4731058 [at] prxy.net>

I don't need that book..that's what my programmers and assistants are for.

 "don't you know there are like 12 faster ways to do that?" ,

 "What no coffee for the crew?",

"I just push the buttons"

"I don't know why Martin puts gobos on the color wheel but it sure looks
purty when you spin thru them"

"this is some rescue! When you came in here did you have a plan for getting
out!?"  oh wait that wasn't an assistant....hmmm

-See you all at LDI


On 10/18/04 16:09, "C. Andrew Dunning" <cad [at] landrudesign.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Then you'd love my forthcoming book -The Sarcastic WholeHog-...
> 
> (BTW, I have found that certain brands of fixtures do cause the occasional
> spouting of snide comments.)
> 
> 

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com

"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS


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

From: "Kacey Fisher" <Kacey [at] FisherTheatrical.com>
Subject: RE: Le Maitre G300 Error: F-PU & F-LO
Date: Mon, 18 Oct 2004 13:48:09 -0400
In-Reply-To: <list-4723308 [at] prxy.net>
Message-ID: <auto-000004731349 [at] prxy.net>

Scott,

For future reference, the quickest way to deal with error codes like that is
just to call Le Maitre's tech support and they will take care of you.  We've
actually mentioned to them that the error codes are not in the manual and
that would be a good addition.

Sincerely,
Kacey Fisher
Fisher Theatrical
410-455-9641
410-455-9643-Fax
www.FisherTheatrical.com  

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf 
> Of Scott Parker
> Sent: Sunday, October 17, 2004 8:44 PM
> To: Stagecraft
> Subject: Re: Le Maitre G300 Error: F-PU & F-LO
> 
> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> It was some sort of clog. I took the unit apart and blew out 
> the lines on both sides of the pumps and it's working again.
> Thanks. Scott
> 
> 
> 
> > seems like there is a clog or a leak in the line somewhere. 
>  Is there 
> > a puddle of fluid under or in the machine?  I have had the 
> FLO error, 
> > and it was a clog.
> > 
> > Michael
> > 
> --
> Take care, Scott
> 
> Scott C. Parker
> 



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

Message-Id: <3.0.6.32.20041018135816.0196d810 [at] pop.west.cox.net>
Date: Mon, 18 Oct 2004 13:58:16
From: CB <psyd [at] cox.net>
Subject: Re: Amateur/professional/academic

> Do I understand all this correctly?

Well, you have it right, but I'm not sure that you understand it.  For some
reason, folks hear "amateur" and think "this sucks" and when they hear
"professional" they think that its better.  The problem is using the
descriptor for how the situation arrived with the quality of the situation.
 'Amateur' doesn't mean bad, or necessarily of a lesser quality, and we all
have seen pros that really, really sucked.
And I've been to Oberammergau.  Those guys are amateurs of the best
quality.  There is a bit of a problem with nepotism, however, you almost
have to be born into a part...
				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: <6.1.2.0.2.20041018165803.0230db18 [at] mail.hstech.org>
Date: Mon, 18 Oct 2004 16:59:53 -0400
From: "Scott C. Parker" <stagecraftlist [at] hstech.org>
Subject: Re: Le Maitre G300 Error: F-PU & F-LO
In-Reply-To: <list-4731351 [at] prxy.net>
References: <list-4723308 [at] prxy.net>
 <list-4731351 [at] prxy.net>

Thanks Kacey,
My problems occurred during our Sat. night tech and Le M.'s offices do not 
have a weekend number. A search of their web site didn't help either. I 
took the unit apart on Sunday morning and blew it out with air.
Thanks again, 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.  


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

From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
Subject: RE: Prop authenticity question
Date: Mon, 18 Oct 2004 17:09:06 -0400
In-Reply-To: <list-4730509 [at] prxy.net>
Message-ID: <auto-000004731698 [at] prxy.net>

My recollection was about $250 for a sony stereo model.

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Hofmann,
Christopher
Sent: Monday, October 18, 2004 3:08 PM
To: Stagecraft
Subject: Re: Prop authenticity question

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

Thanks to all who have responded so far - you pretty much confirm what I
thought.  I've also done the google search and found introduction and
patent dates.  The piece I'm looking for that I don't seem to find
easily is whether or not a cassette recorder would have been common
enough and inexpensive enough in 1968 such that a teenager might have
saved some paper route money and purchased one.

- Chris
 
Creativity is the inability to follow someone else's rules.
                                                              - Cliff
Stoll



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

From: IAEG [at] aol.com
Message-ID: <196.318342ed.2ea58e76 [at] aol.com>
Date: Mon, 18 Oct 2004 17:24:06 EDT
Subject: Re: Prop authenticity question


In a message dated 10/18/04 1:37:51 PM, chofmann [at] capecod.edu writes:

<< 

Trying to save some time - 


Anybody know when cassette tape recorders were introduced and widely 
available for purchase?  I'm working on an original piece set in the mid to late '60s. 
 The idea is that an inexpensive cassette recorder would have been available 
for a teenager to purchase and use to record a garage band.  The designer and 
director are at odds as to whether this is authentic or not. You can reply on 
or off list.


TIA


- Chris >>


i had an RCA battery powered Cassette recorder in the 9th Grade which would 
have been in 1967

it would have sounded awful if used to record a garage band ( it was mono 
only ) 

I didn't see a stereo, battery operated one until the 70's

I used reel to reel for everything in Junior HS and HS, , home cassette 
models weren't very good for much of anything then, , , 

very best, 

Keith Arsenault
International Arts & Entertainment Group
Tampa, FL

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

From: FrankWood95 [at] aol.com
Message-ID: <1e2.2c604c62.2ea59400 [at] aol.com>
Date: Mon, 18 Oct 2004 17:47:44 EDT
Subject: Re: Prop authenticity question

In a message dated 18/10/04 18:37:51 GMT Daylight Time, chofmann [at] capecod.edu 
writes:

> Anybody know when cassette tape recorders were introduced and widely 
> available for purchase?  I'm working on an original piece set in the mid to 
> late '60s.  The idea is that an inexpensive cassette recorder would have 
been 
> available for a teenager to purchase and use to record a garage band.  The 
> designer and director are at odds as to whether this is authentic or not. 
You 
> can reply on or off list.

Yes. The original Phillips machine was around then. About 8" x 4" x 1". Mono, 
of course, and with 'clunky' controls. But, it worked. I may still have one 
around in my junk pile.


Frank Wood

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

From: IAEG [at] aol.com
Message-ID: <1a7.29daaf0d.2ea594d2 [at] aol.com>
Date: Mon, 18 Oct 2004 17:51:14 EDT
Subject: Re: Prop authenticity question


In a message dated 10/18/04 5:48:44 PM, FrankWood95 [at] aol.com writes:

<< Yes. The original Phillips machine was around then. About 8" x 4" x 1". 
Mono, 
of course, and with 'clunky' controls. But, it worked. I may still have one 
around in my junk pile.


Frank Wood >>

yikes Frank, , I had forgotten about the BIG Phillips Cassette, , never 
really used one but do remember seeing a couple,   I do believe he was asking about 
what we would now call "standard" Phillips cassette which was actually then 
the "minature" Phillips Cassette

very best, 

Keith Arsenault
International Arts & Entertainment Group
Tampa, FL

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

Message-ID: <4173F551.24883.316061 [at] localhost>
From: "Michael Denison" <mdenison [at] cottey.edu>
Date: Mon, 18 Oct 2004 16:54:41 -0500
Subject: Re: Amateur/professional/academic
In-reply-to: <list-4729066 [at] prxy.net>

My bad. I should have put a joke alert on this post. I have been 
working in amateur and academic and professional and military and 
government-sponsored and industrial and several other types of 
theatre since about 1962. It's all theatre, people.

> On October 17 Michael Denison wrote:
> 
> "Okay, so the Passion Play at Oberammergau, Germany, is
> "amateur" and the plays that the students at the Yale School of
> Drama do are "amateur/academic" and the 800th road show of The
> Odd Couple starring a has-been TV star and playing at a dinner
> theatre in Boise is "professional". Do I understand all this correctly?"
...


Michael A. Denison 
Technical Director 
Cottey College 
1000 West Austin 
Nevada, MO 64772

(417) 667-8181 x 2265
FAX: (417) 667-8103
mdenison [at] cottey.edu
www.cottey.edu



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

From: FrankWood95 [at] aol.com
Message-ID: <6d.35c8c108.2ea5968d [at] aol.com>
Date: Mon, 18 Oct 2004 17:58:37 EDT
Subject: Re: Prop authenticity question

In a message dated 18/10/04 19:07:23 GMT Daylight Time, slitterst [at] ithaca.edu 
writes:

> Sony introduced a cassette player/recorder in 1966 but they don't
>  acknowledge a point when cassette overtook reel-to-reel as the
>  dominant media.
> 

Well, I don't know that it ever did. It depends on what you want to do. It 
was always "Low fidelity", even when it went stereo.

Reel-to-reel held up until digital overtook it, for serious purposes. There 
are those, among whom I am not to be numbered, who say that it is still better. 
They are the advocates of vinyl discs, and valve (tube) amplifiers.


Frank Wood

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

Date: Mon, 18 Oct 2004 18:01:11 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Prop authenticity question
Message-id: <41743D27.D2A2187F [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-4732158 [at] prxy.net>

FrankWood95 [at] aol.com wrote:
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> In a message dated 18/10/04 19:07:23 GMT Daylight Time, slitterst [at] ithaca.edu
> writes:
> 
> > Sony introduced a cassette player/recorder in 1966 but they don't
> >  acknowledge a point when cassette overtook reel-to-reel as the
> >  dominant media.
> >
> 
> Well, I don't know that it ever did. It depends on what you want to do. It
> was always "Low fidelity", even when it went stereo.

My bad.  I should have said "as the dominant *consumer* media."

Steve L.
-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

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

Message-ID: <007401c4b560$728abf80$fce18b40 [at] 0016599365>
From: "Robert G. Anderson" <rganderson [at] nctv.com>
References: <list-4729569 [at] prxy.net>
Subject: Re: Prop authenticity question
Date: Mon, 18 Oct 2004 17:18:47 -0500

Chris:  I bought my first real, honest-to-goodness cassette ( Norelco) in
1965.
 Bob Anderson
----- Original Message ----- 
From: "Hofmann, Christopher" <chofmann [at] capecod.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, October 18, 2004 12:34 PM
Subject: Prop authenticity question


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

Trying to save some time -

Anybody know when cassette tape recorders were introduced and widely
available for purchase?  I'm working on an original piece set in the mid to
late '60s.  The idea is that an inexpensive cassette recorder would have
been available for a teenager to purchase and use to record a garage band.
The designer and director are at odds as to whether this is authentic or
not. You can reply on or off list.

TIA

- Chris

Creativity is the inability to follow someone else's rules.
- Cliff Stoll





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

Message-ID: <00a601c4b561$32e8f6c0$fce18b40 [at] 0016599365>
From: "Robert G. Anderson" <rganderson [at] nctv.com>
References: <list-4730509 [at] prxy.net>
Subject: Re: Prop authenticity question
Date: Mon, 18 Oct 2004 17:24:09 -0500

As I remember, I paid somewhere around fifty bucks for the machine and a
half dozen cassettes.  Biggest expense was batteries...but it came with an
adapter for 110 AC so you could use it without the batteries.
----- Original Message ----- 
From: "Hofmann, Christopher" <chofmann [at] capecod.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, October 18, 2004 2:07 PM
Subject: Re: Prop authenticity question


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

Thanks to all who have responded so far - you pretty much confirm what I
thought.  I've also done the google search and found introduction and
patent dates.  The piece I'm looking for that I don't seem to find
easily is whether or not a cassette recorder would have been common
enough and inexpensive enough in 1968 such that a teenager might have
saved some paper route money and purchased one.

- Chris

Creativity is the inability to follow someone else's rules.
                                                              - Cliff
Stoll





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

From: FrankWood95 [at] aol.com
Message-ID: <c0.1988b62a.2ea59e63 [at] aol.com>
Date: Mon, 18 Oct 2004 18:32:03 EDT
Subject: Re: Prop authenticity question

In a message dated 18/10/04 23:17:05 GMT Daylight Time, rganderson [at] nctv.com 
writes:

> Chris:  I bought my first real, honest-to-goodness cassette ( Norelco) in
>  1965.
>   Bob Anderson

I remember Viv Weeks and David Edwards demonstrating them to us, little later.

BTW, have you heard anything from Viv Weeks?

Frank Wood

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

From: IAEG [at] aol.com
Message-ID: <1dd.2e3f6e34.2ea5a02f [at] aol.com>
Date: Mon, 18 Oct 2004 18:39:43 EDT
Subject: Re: Prop authenticity question


In a message dated 10/18/04 6:17:05 PM, rganderson [at] nctv.com writes:

<< Chris:  I bought my first real, honest-to-goodness cassette ( Norelco) in

1965.

 Bob Anderson >>

and if I am not mistaken NORELCO is a Phillips brand name

very best, 

Keith Arsenault
International Arts & Entertainment Group
Tampa, FL

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

In-Reply-To: <list-4729549 [at] prxy.net>
References: <list-4729549 [at] prxy.net>
Message-Id: <7D0E1EAA-2157-11D9-8A4E-000D9329F45E [at] mystykworks.com>
From: "Daniel O'Donnell" <dan [at] mystykworks.com>
Subject: Re: Multiple LED Source
Date: Mon, 18 Oct 2004 18:46:02 -0400

NOUVIR has fiber optics that can have a shutter in line, so you can 
turn them on and off with a relay.

On Oct 18, 2004, at 1:31 PM, Mark Harvey wrote:
> for a way to connect 36 individual light sources to fiber optics to 
> light
> 1/2" scale scenic models and thought LED sources might work better 
> than 36

---
Daniel R. O'Donnell
dan [at] mystyk.com
http://www.mystyk.com


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

Message-Id: <6.1.1.1.0.20041018174846.01c99e10 [at] mail.insightbb.com>
Date: Mon, 18 Oct 2004 17:49:31 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Prop authenticity question
In-Reply-To: <list-4730600 [at] prxy.net>
References: <list-4730509 [at] prxy.net>
 <list-4730600 [at] prxy.net>

Maybe your library has old Sears catalogs?  Or similar.

Mike

At 02:20 PM 10/18/2004, you wrote:

>enough and inexpensive enough in 1968 such that a teenager might have
>>saved some paper route money and purchased one.


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

Message-Id: <6.1.1.1.0.20041018175243.01cac4d0 [at] mail.insightbb.com>
Date: Mon, 18 Oct 2004 17:53:02 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Lightwright survey results
In-Reply-To: <list-4727607 [at] prxy.net>
References: <list-4727575 [at] prxy.net>
 <list-4727607 [at] prxy.net>

Barely.

At 07:59 AM 10/18/2004, Jeffrey E. Salzberg wrote:

>Directors are, after all, people.


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

From: "Delbert Hall" <halld [at] etsu.edu>
Subject: RE: spike tape on operating lines
Date: Mon, 18 Oct 2004 19:36:37 -0400
Organization: ETSU
Message-ID: <000201c4b56b$50186280$6400a8c0 [at] delbert>
In-reply-to: <list-4715706 [at] prxy.net>


>---------------------------------------------------
>
>Delbert Hall wrote:
>>  BTW, I like to spike
>>mark to be at the top of the brake handle when at trim.

It was incorrect of me to refer to the "rope lock handle" as a "brake
handle" but since the earlier post referred to the "rope lock" as a
"brake," and I new exactly what he we was referring to, I just responded
using the same term.  Yes, I know that it is a "rope lock" but after
years of telling people that it is a "batten" not a "bar" I now often
relent and call a lot of things whatever the person I am talking to
calls it.  I guess it is lazy of me to do this, and I will try to be
better in the future.
 
-Delbert


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

Message-Id: <200410190055.i9J0tiOV090928 [at] smtp3.adl2.internode.on.net>
From: "Mikkel Mynster" <mmynster [at] megafun.com.au>
Subject: Re: Locking Rail/Rope light Thread
Date: Tue, 19 Oct 2004 10:55:39 +1000
In-Reply-To: <list-4726637 [at] prxy.net>

Not wanting to disagree with the basic argument here - it should be used as
a lock, rather than as a brake - but the usage of a rope lock is in fact
remarkably analogous to the way a *hand*brake is used... I'm not thinking of
handbrake turns here ;->

"Michael Denison" <mdenison [at] cottey.edu> said;
Mea maxima culpa. I'm the one who initially called a rope lock a brake. I
myself never use them as brakes and I teach my students to use them
correctly, however, I agree with all of you that even calling them brakes
can mislead students to use them as such. 
So...I apologize. Okay?




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

From: "Kacey Fisher" <Kacey [at] FisherTheatrical.com>
Subject: RE: Le Maitre G300 Error: F-PU & F-LO
Date: Mon, 18 Oct 2004 21:01:02 -0400
In-Reply-To: <list-4731596 [at] prxy.net>
Message-ID: <auto-000004733490 [at] prxy.net>

Ahh yes, that wouldn't have helped you then!  Which is why we keep telling
our rep there to put the codes in the manual! Maybe they'll have them in
there soon!

~Kacey

> 
> Thanks Kacey,
> My problems occurred during our Sat. night tech and Le M.'s 
> offices do not have a weekend number. A search of their web 
> site didn't help either. I took the unit apart on Sunday 
> morning and blew it out with air.
> Thanks again, Scott
> 
> 



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

Message-ID: <036e01c4b579$5a74f0a0$0600a8c0 [at] alf>
From: "Alf Sauve" <alf [at] sauve.org>
References: <list-4730509 [at] prxy.net> <list-4732360 [at] prxy.net>
Subject: Re: Prop authenticity question
Date: Mon, 18 Oct 2004 21:06:52 -0400

I caught that.  110VAC.   Which has creeped to 115, to 120, and now my Main 
Panels commonly read 130VAC on all three phases.    We only buy 130V 
incandescent, now.  And most of our fluorescent ballasts are intelligent 
electronic types which handle a wide range, including 277.

Is that the target?  277?  (Obviously, a US question.)

Alf


----- Original Message ----- 
From: "Robert G. Anderson" <rganderson [at] nctv.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, October 18, 2004 18:24 PM
Subject: Re: Prop authenticity question


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> As I remember, I paid somewhere around fifty bucks for the machine and a
> half dozen cassettes.  Biggest expense was batteries...but it came with an
> adapter for 110 AC so you could use it without the batteries.
> ----- Original Message ----- 
> From: "Hofmann, Christopher" <chofmann [at] capecod.edu>
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Sent: Monday, October 18, 2004 2:07 PM
> Subject: Re: Prop authenticity question
>
>
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Thanks to all who have responded so far - you pretty much confirm what I
> thought.  I've also done the google search and found introduction and
> patent dates.  The piece I'm looking for that I don't seem to find
> easily is whether or not a cassette recorder would have been common
> enough and inexpensive enough in 1968 such that a teenager might have
> saved some paper route money and purchased one.
>
> - Chris
>
> Creativity is the inability to follow someone else's rules.
>                                                              - Cliff
> Stoll
>
>
>
> 


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

In-Reply-To: <list-4732312 [at] prxy.net>
References: <list-4729569 [at] prxy.net> <list-4732312 [at] prxy.net>
Message-Id: <D8EC1782-216E-11D9-B201-000A958ABBF8 [at] theprices.net>
From: Noah Price <stagecraft-web [at] theprices.net>
Subject: Re: Prop authenticity question
Date: Mon, 18 Oct 2004 18:33:15 -0700

Posted for Ken Holyoak -- if any list members know how to send plain 
text from Microsoft Office Outlook (Build 11.0.6353), please drop me a 
note so I can add the instructions to the "plain text" page! 
<http://stagecraft.theprices.net/nomime.html>


> From: "Ken Holyoak" <holyoak1 [at] comcast.net>
> Date: October 18, 2004 3:09:23 PM PDT

First I used was a Norelco in 1960. Large brick size case with leather 
cover. I remember that it had a mic with a remote on off that could be 
removed from the mic.

It was also my first experience with the "din" connector. I was next to 
impossible to find adaptors.

I believe that the cassette was developed by Phillips in Europe and 
distributed by Norelco.

There were a lot of options by 1966 when I worked for Olsen 
Electronics, by then you could even get prerecorded cassette tapes. 
1966 was the year that Olson started selling color TV's and I was able 
to give my parents their first color TV and I had a big black 
"portable" color set in my bedroom.



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

Date: Mon, 18 Oct 2004 21:40:36 -0400
Subject: Germany and Austria
From: "Nicholas Kuhl" <nkuhl [at] bu.edu>
Message-ID: <opsf3f9ycyhjg4uw [at] cthulhu.bu.edu>

Out of curiosity, does anyone on the list live in Austria or Germany?  I  
want thinking of spending a month abroad, either this summer or next, and  
if I could find some work while I'm there, it would make the trip that  
much more feasible.

Thanks

Nick Kuhl
Boston University

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

From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
Subject: RE: Prop authenticity question: Outlook plain text
Date: Mon, 18 Oct 2004 21:47:28 -0400
In-Reply-To: <list-4733739 [at] prxy.net>
Message-ID: <auto-000004733868 [at] prxy.net>

In the version I have (Outlook 2003):
Tools, Options, Mail format, Message Format, Plain Text

Jonathan

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Noah Price
Sent: Monday, October 18, 2004 9:33 PM
To: Stagecraft
Subject: Re: Prop authenticity question

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

Posted for Ken Holyoak -- if any list members know how to send plain 
text from Microsoft Office Outlook (Build 11.0.6353), please drop me a 
note so I can add the instructions to the "plain text" page! 
<http://stagecraft.theprices.net/nomime.html>


> From: "Ken Holyoak" <holyoak1 [at] comcast.net>
> Date: October 18, 2004 3:09:23 PM PDT

First I used was a Norelco in 1960. Large brick size case with leather 
cover. I remember that it had a mic with a remote on off that could be 
removed from the mic.

It was also my first experience with the "din" connector. I was next to 
impossible to find adaptors.

I believe that the cassette was developed by Phillips in Europe and 
distributed by Norelco.

There were a lot of options by 1966 when I worked for Olsen 
Electronics, by then you could even get prerecorded cassette tapes. 
1966 was the year that Olson started selling color TV's and I was able 
to give my parents their first color TV and I had a big black 
"portable" color set in my bedroom.




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

Message-Id: <a05210602bd9a21d54e42 [at] [192.168.1.111]>
In-Reply-To: <list-4733600 [at] prxy.net>
References: <list-4730509 [at] prxy.net> <list-4732360 [at] prxy.net>
 <list-4733600 [at] prxy.net>
Date: Mon, 18 Oct 2004 22:44:47 -0400
From: Michael Feinberg <michaelf [at] joyce.eng.yale.edu>
Subject: Re: Prop authenticity question

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>I caught that.  110VAC.   Which has creeped to 115, to 120, and now 
>my Main Panels commonly read 130VAC on all three phases.    We only 
>buy 130V incandescent, now.  And most of our fluorescent ballasts 
>are intelligent electronic types which handle a wide range, 
>including 277.
>
>Is that the target?  277?  (Obviously, a US question.)

277V compatibility is for commercial and industrial buildings that 
have power distribution as 3 phase wye 277/480V.  You get 277V to run 
lighting and 480V three phase for large motors.

As for US residential power distribution, it's got a confusing 
history.  Officially it is supposed to be 120/240V +- 5% which gives 
a range of 114/228V - 126/252V, but often it is nominally referred to 
as 110/220V [much to the annoyance of people who are sticklers for 
accuracy] and the ratings on most residential electrical outlets are 
for 125/250V.  To add to the confusion you have both 120/208V 3 phase 
wye and 240V 3 phase delta, so in the US (in the under 600V range) 
you can find nominal 120V, 208V, 240V, 277V, and 480V.  Other values 
are allowable fluctuation (your power company may be choosing to be 
on the high side to achieve greater distribution efficiency) or line 
loss.  Of course in other countries 100V, 110V, 220V, and 230V are 
common nominal values.

I've heard that US nominal used to be 110V and was bumped up to 120V 
in the 30s to increase lamp life as the majority of available 
incandescent bulbs were 115V, but I have no evidence to back this up.

If your mains are metering at 130V your electrical company is out of 
spec and in some jurisdictions could be subject to fines. ANSI C81.1 
calls for +/- 5% at the service entrance and +6/-13% at the point of 
termination, but it's up to the local utility commission to regulate 
that.  I believe that to be UL listed a product has to accept +/- 10% 
voltage fluctuation, but since you have to purchase UL standards, I'm 
not positive on that.

-Michael Feinberg, CTS

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

Message-ID: <417480B1.9060308 [at] audiovisualdevices.com.au>
Date: Tue, 19 Oct 2004 12:49:21 +1000
From: David Duffy <david [at] audiovisualdevices.com.au>
Subject: Re: Prop authenticity question
References: <list-4730509 [at] prxy.net> <list-4732360 [at] prxy.net> <list-4733600 [at] prxy.net> <list-4734273 [at] prxy.net>
In-Reply-To: <list-4734273 [at] prxy.net>

Michael Feinberg wrote:

> I've heard that US nominal used to be 110V and was bumped up to 120V 
> in the 30s to increase lamp life as the majority of available 
> incandescent bulbs were 115V, but I have no evidence to back this up. 


Huh? Increased lamp life with 120V on a 115V lamp?
David...

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

Message-Id: <a05210603bd9a32ff5472 [at] [192.168.1.111]>
In-Reply-To: <list-4734313 [at] prxy.net>
References: <list-4730509 [at] prxy.net> <list-4732360 [at] prxy.net>
 <list-4733600 [at] prxy.net> <list-4734273 [at] prxy.net> <list-4734313 [at] prxy.net>
Date: Mon, 18 Oct 2004 23:01:11 -0400
From: Michael Feinberg <michaelf [at] joyce.eng.yale.edu>
Subject: Re: Prop authenticity question

>>Michael Feinberg wrote:
>>I've heard that US nominal used to be 110V and was bumped up to 
>>120V in the 30s to increase lamp life as the majority of available 
>>incandescent bulbs were 115V, but I have no evidence to back this 
>>up.
>
>Huh? Increased lamp life with 120V on a 115V lamp?
>David...

Doh.  Of course not.  Turn brain back on:  This is the power company 
talking, so the actual rational is the opposite: increased 
brightness=increased customer happiness.  Customer fails to notice 
the side effect of shortened lamp life.

I remembered a switch due to 115V lamps and I guess I was trying to 
ascribe beneficial motivations to the power company.  Sorry about 
that.   Of course all of the above is speculation without any 
tangible facts.

-Michael



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

Message-ID: <41748499.6020503 [at] audiovisualdevices.com.au>
Date: Tue, 19 Oct 2004 13:06:01 +1000
From: David Duffy <david [at] audiovisualdevices.com.au>
Subject: Re: Prop authenticity question
References: <list-4730509 [at] prxy.net> <list-4732360 [at] prxy.net> <list-4733600 [at] prxy.net> <list-4734273 [at] prxy.net> <list-4734313 [at] prxy.net> <list-4734421 [at] prxy.net>
In-Reply-To: <list-4734421 [at] prxy.net>

Michael Feinberg wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>>> Michael Feinberg wrote:
>>> I've heard that US nominal used to be 110V and was bumped up to 120V 
>>> in the 30s to increase lamp life as the majority of available 
>>> incandescent bulbs were 115V, but I have no evidence to back this up.
>>
>>
>> Huh? Increased lamp life with 120V on a 115V lamp?
>> David...
>
>
> Doh.  Of course not.  Turn brain back on:  This is the power company 
> talking, so the actual rational is the opposite: increased 
> brightness=increased customer happiness.  Customer fails to notice the 
> side effect of shortened lamp life.
>
> I remembered a switch due to 115V lamps and I guess I was trying to 
> ascribe beneficial motivations to the power company.  Sorry about 
> that.   Of course all of the above is speculation without any tangible 
> facts.


You personally remember the switch to 115V back in the 30's ?
Maybe you just feel that old today!  :-)
David...

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

End of Stagecraft Digest #167
*****************************