Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 5030281; Wed, 17 Nov 2004 03:00:18 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #198 Date: Wed, 17 Nov 2004 03:00:05 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Status: No, score=-5.0 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.1 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #198 1. Re: Re[3]: Historical trivia about theatre by "Jonathan S. Deull" 2. Re: Surtitles,,, again by "Stephen E. Rees" 3. Re: SCRs by "Hofmann, Christopher" 4. Re: Shop-built RP by Loren Schreiber 5. Re: Moving a platform with a motor by Loren Schreiber 6. Re: Toolbox: ATA vs. Pelican by Steve Larson 7. Re: Historical trivia about theatre by "Stephen E. Rees" 8. Re: Surtitles,,, again by Boyd Ostroff 9. Re: Channels at full by "Karl G. Ruling" 10. Re: six degrees of theatre separation by Tony Miller 11. Tool cases for sound technicians by "Dougherty, Jim" 12. Re: Speeding up time by doran [at] bard.edu 13. Historical trivia about theatre by "Frank E. Merrill" 14. Re: Flame Proof by "Michael Finney" 15. Re: Surtitles,,, again by FrankWood95 [at] aol.com 16. Re: Re[3]: Historical trivia about theatre by FrankWood95 [at] aol.com 17. Re: Re[3]: Historical trivia about theatre by "Moore, Martin W." 18. Re: Channels at full by FrankWood95 [at] aol.com 19. Re: Re[3]: Historical trivia about theatre by "holyoak1" 20. Re: Getting Spray paint off road cases by CB 21. Supratitles (was: Surtitles,,, again) by CB 22. Toolbox: ATA vs. Pelican by CB 23. Kudos by CB 24. Re: Tool cases for sound technicians by "Waxler, Steve (waxlers)" 25. Black Box Seating by Shell Dalzell 26. Re: Surtitles,,, again by Boyd Ostroff 27. Permus cards by "Tony" 28. RJ-45 pinout by Jerry Durand 29. Re: Flame Proof by "Dr. Randall W.A. Davidson" 30. Re: RJ-45 pinout by "Joe Golden" 31. Re: Historical trivia about theatre by Jerry Durand 32. Re: RJ-45 pinout by Jerry Durand 33. Re: Surtitles,,, again by FrankWood95 [at] aol.com 34. Re: Surtitles,,, again by Stephen Litterst 35. Re: Flame Proof by "richard j. archer" 36. Re: Black Box Seating by "richard j. archer" 37. Re: RJ-45 pinout by Noah Price 38. Re: Surtitles,,, again by Mark O'Brien 39. Re: Toolbox by June Abernathy *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- From: "Jonathan S. Deull" Subject: RE: Re[3]: Historical trivia about theatre Date: Tue, 16 Nov 2004 08:00:54 -0500 In-Reply-To: Message-ID: I remember the big move from our stack of six packs to the new "starship enterprise" Q-File in the early 1970s. It was quite the revolution... Jonathan Deull -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Waxler, Steve (waxlers) Sent: Monday, November 15, 2004 9:36 PM To: Stagecraft Subject: Re: Re[3]: Historical trivia about theatre For info, archives & UNSUBSCRIBE, see --------------------------------------------------- We had the Kleigl 10 scene preset board with 60 dimmers and of course the safety patch system. I bet we were one of only a few theaters to have two Q-File boards. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: IAEG [at] aol.com [mailto:IAEG [at] aol.com] Sent: Monday, November 15, 2004 6:39 PM To: Stagecraft Subject: Re: Re[3]: Historical trivia about theatre For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 11/15/04 5:57:46 PM, sbmtbike [at] optonline.net writes: << Theater D got a whole bunch of Altman 360Q fixtures that were sheet metal, not their usual cast alu. All because Kleigl made sheet metal units and to meet spec's..... Fortunately the KliegMan's (sounds better then Altiegls) had PC lenses, not the typical stepped as found on the Kliegls. Theater D also got a Ward Leonard copy of a Kliegl/Thorn Q-File. That was an interesting unit !. >> weren't lateR Kleigl's from CCT ? very best, Keith Arsenault International Arts & Entertainment Group Tampa, FL ------------------------------ Message-ID: <419A017F.6060503 [at] fredonia.edu> Date: Tue, 16 Nov 2004 08:32:47 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Surtitles,,, again References:

Mark, The ones that I've built both here and for the summer opera co. I work with is a hardcovered Hollywood style flat with muslin over stretched over it. They were painted with flat latex in a very light grey. Just a hint of color to take the edge off the white. They were mounted in front of a black, flat sewn velour valance. Worked pretty well. I've never tried a black projection surface. Seems you would need a real punchy projector to get a bright enough image. Don't have that experience tho so I could be wrong. HTH, Steve Rees, TD SUNY-Fredonia Mark O'Brien wrote: > I was told that all of the equipment for the surtitles was here,[snipped] ------------------------------ Subject: RE: SCRs Date: Tue, 16 Nov 2004 08:52:17 -0500 Message-ID: <56439B09A4ADDC46876BDFF2BBD35DF001C1754F [at] ex1.capecod.edu> From: "Hofmann, Christopher" > they were sensitive to hot patching (anyone else remember Kliegl patch > panels ?. With the integral circuit breaker at each patch receptacle ?. > Safti-Patch or some such). =20 Remember - heck, I'm still using one. I've replaced just about everything upstream and downstream of the patch (dimmers, control, wiring, instruments, etc.,) but the patch is an old workhorse that keeps my system flexible. On that note, I've got a lot of old patch parts - particularly the circuit breakers - if anyone's looking some. Chris ------------------------------ Message-Id: <6.1.1.1.2.20041116054946.0386e870 [at] mail.sdsu.edu> Date: Tue, 16 Nov 2004 05:54:13 -0800 From: Loren Schreiber Subject: Re: Shop-built RP In-Reply-To: References: Pat, funny you should ask. That's one of my Tech Expo entries for this year. Yeah, flame-retardant visqueen behind regular old medium-weight muslin or bleached sheeting makes a pretty good RP screen. The two materials should be touching--stretched together on a frame. My entry will have the spec.s for the fall off of light compared to the commercial kind--but it is not so much as to make up the difference in cost. It doesn't have to be flame-retardant visqueen to do the job, but prudence recommends it. > >I am looking for some info on shop built RP screens.< Loren Schreiber, Director of Technology and Production School of Theatre, Television and Film, San Diego State University http://www-rohan.sdsu.edu/faculty/schreibr/index.html ------------------------------ Message-Id: <6.1.1.1.2.20041116061235.01f2f840 [at] mail.sdsu.edu> Date: Tue, 16 Nov 2004 06:13:01 -0800 From: Loren Schreiber Subject: Re: Moving a platform with a motor In-Reply-To: References: Pat, You could certainly do this, but your questions suggest this might be your first foray into automation and motion control. It's a lot of fun, but start up in this field takes a bit of time and money. We need a bit more information about your project--specifically, how fast does it have to move, how fast does it have to accelerate and decelerate? What sort of casters are you using and what is the floor surface like? Typically, however, a 1hp winch can probably do the job. A DC motor will be easier to control for both speed and direction with an inexpensive regenerative drive from Minarik or similar company. Automation Direct has several AC drive and motor combinations that are very(!) inexpensive, but the learning curve will be steeper. Now, if you are serious about the automation business, then several articles in past issues of TD&T might help. I have two that might be of interest: "Micro Programmable Logic Controllers--or learning to love ladder logic" and "The Basics of Stage Automation." Fritz Schwentker's article on motors and drives is another good one and Joanne Rock's article on implementing new technologies explains the pit-falls. Dan Brinker has a good article on networking PLCs for automation as well. There are more, but I will have to look them up. That said--for a simple move like you describe, I'd throw a simple manual winch on the unit and have a stage hand crank it on. > >Ok, so I have a show coming up where I would like to have a 4x8 platform >track (straight) onstage, but without any visible means of propulsion. The >weight of the platform and its contents would probably not be greater than >1000lbs. I would like to use a motor / cable / pulley system to move it on >and off stage< I also have a design for a mini manual winch that is very inexpensive and relatively easy to build (if you have welding equipment). This will be another of my Tech Expo entries, so I have the design and discussion of the design at hand if you would like to go that way. It is also available for rental. Loren Schreiber, Director of Technology and Production School of Theatre, Television and Film, San Diego State University http://www-rohan.sdsu.edu/faculty/schreibr/index.html ------------------------------ Date: Tue, 16 Nov 2004 09:15:13 -0500 Subject: Re: Toolbox: ATA vs. Pelican From: Steve Larson Message-ID: In-Reply-To: As a retired Army Reserve combat photographer, Pelican is the way we went with our still and video equipment. Did a pretty good job of keeping most of the dust out in Iraq. We used several different sizes. Steve on 11/15/04 10:03 PM, Andy Leviss at Andy [at] DucksEchoSound.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey gang, > I've finally grown tired of carefully arranging all the loose gack (aka > tools and toys) stuffed into the Anvil ATA-style briefcase I've been > using as a toolbox, so I'm looking to upgrade to a slightly larger box. > I'm torn between sticking with an ATA-style (what Anvil calls a > "technician's case", a slightly larger briefcase with the removable tool > insert in the top, although I may go with another company, perhaps > Olympic), or going for a Pelican case with one of their lid inserts. Any > thoughts on one versus the other? > > I should add that, as many of you know, I'm a sound engineer, so it's > not a hammer and saw toolbox. Typical contents include a small > multimeter, wire cutters/strippers, coupla different pliers, two > soldering irons and other soldering goodies, cable tester, that sort of > thing. Basically, a briefcase crammed to it's brim holds almost > everything (albeit only when placed "just right" and it's a tight > squeeze), although I'd love to have room to fit a pair of Sony 7506 > headphones in if I move up to a larger case (one argument for going with > an Olympic is that, while potentially a lot pricier, I can get a > compartment to hold the headphones, a compartment for the soldering > iron, and all sorts of other custom dividers in addition to the lid > organizer, although the one piece beefiness of the Pelican is appealing, > too). > > Any thoughts, be they from personal experience of just thinking out loud > would be appreciated, 'cuz I can't decide! > > Best, > Andy Leviss > Sound Engineer, Sesame Street Live: Elmo's Coloring Book > This week: DeKalb, IL and Green Bay, WI > Next week: Dubuque, IA and Milwaukee, WI > > --- > Outgoing mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.786 / Virus Database: 532 - Release Date: 10/29/2004 > > > > ------------------------------ Message-ID: <419A0C55.7080809 [at] fredonia.edu> Date: Tue, 16 Nov 2004 09:19:01 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Historical trivia about theatre References: Somebody dropped Steve Skirpan's name here not too long ago. I started grad school at Memphis State University just as the first Skirpan Auto-Cue in a university setting was being installed. This would have been about 1976. ABC-TV also had a couple installed at the same time, I think. It was a revolution at the time with the litepen, touch screen monitor and a TELETYPE (!) to print out cue sheets. Those were the days! :) Steve Rees, TD SUNY-Fredonia Jonathan S. Deull wrote: > I remember the big move from our stack of six packs[snipped] ------------------------------ Date: Tue, 16 Nov 2004 09:33:35 -0500 (EST) From: Boyd Ostroff Subject: Re: Surtitles,,, again In-Reply-To: Message-ID: References: On Tue, 16 Nov 2004 IAEG [at] aol.com wrote: > Boyd, , if you're using an LCD projector, , couldn't you program the images > "down" during dim scenes? It would be a simple matter to adjust the brightness of each title from a technical standpoint. But unfortunately this isn't a tech issue. The titles are sort of a no-win situation - everyone is an "expert," and we have a lot of very old subscribers with poor eyesight. I am not going to "fix" something that ain't broke... everyone seemed very happy that the titles are now so bright, so I'm not gonna mess with them... Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ From: "Karl G. Ruling" Date: Tue, 16 Nov 2004 10:39:27 -0500 Subject: Re: Channels at full Reply-to: kruling [at] esta.org Message-ID: <4199D8DF.11516.4DB203 [at] localhost> In-reply-to: > > My junior high school had one of the earlier Century boards with > SCR dimmers which was built in 1962 and had silver sand fuses. > Although expensive, these fuses would go long before the SCRs. > What ever happened to this idea? Those fuses are now more expensive than the modules they would protect. In the early 70s, silver sand fuses were about $12 a piece (and my monthly rent was $115), but the SCRs were even more expensive. The SCR power modules aren't so expensive now. If you really need short-circuit-proof dimmers, there are products on the market that will offer that, but they don't use SCRs. Of course, regularly scheduled equipment maintenance reduces the need for short- circuit-proof dimmers. ------------------------------ Date: Tue, 16 Nov 2004 15:50:40 +0000 Subject: Re: six degrees of theatre separation From: Tony Miller Message-ID: On Sunday, November 14, 2004 3:50 am Kristi wrote > I'd say 3 degrees would cover most any theatre separation you could come up > with. Often two, as this list covers everything from schools to Broadway to > manufacturers to vendors and back again. > > My personal opinion is that if we could pool the collective knowledge of this > list, we could solve all the problems of the world... assuming adequate > funding! > > Kristi I came across a fine example of these degrees of separation on a job last year. I was working in Geneva for an American company with English designers, Swiss German set builders and French riggers. I got a phone call from an Irish friend who now runs a production company in England. She was asking me for the phone number of a friend who runs a rigging company in Paris. I was able to walk over to the French riggers and get both his office and mobile phone number instantly. What a fantastic international business we work in and better still we know wherever we are in the world we have friends who are the same sort of people as us that we can share a beer or a coffee with. Stay safe Tony Miller. ------------------------------ Date: Tue, 16 Nov 2004 11:44:38 -0500 Subject: Tool cases for sound technicians From: "Dougherty, Jim" Message-ID: Caveat - I've never needed nor been able to afford their road cases, but we have bought tools and meters from the following vendor with no problems. Suggestion - there is a company called Techni-tool, which caters mostly to computer technicians, that has pages of hard and soft cases in their catalog, sold empty or full. Theirs is a fun catalog to look through. I never learned so much about pliers! Their website is www.techni-tool.com. - Jim Dougherty ATD, Middlebury College Catalog junkie ------------------------------ Message-ID: <1100627899.419a3fbbf072f [at] webmail.bard.edu> Date: Tue, 16 Nov 2004 12:58:19 -0500 From: doran [at] bard.edu Subject: Re: Speeding up time References:

In-Reply-To: Hey, All, About a week ago, I asked about speeding up time with an analog clock. A cheap battery-operated quartz movement was what we had. I got a couple of pretty good suggestions, but what we did was decidedly low tech, and cheap. I bought an extra set of hands. I epoxied the new minute hand to the original sweep second hand, and the new hour hand to the original minute hand. the result is that it takes five minutes for an hour to pass. The trick cost us an additional $1.48, and looks pretty good if you aren't paying too much attention. Thanks to Joe Durand and Jerry Miels for their suggestions. As always, this list is a font of wisdom. Now if we could just get a consensus on the best multitool/flashlight/PDA with a nice intuitive CAD program, we could all retire. Thanks, again, Andy Champ-Doran Technical Director Bard College Departments of Dance and Theater Annandale-on-Hudson, NY ------------------------------ Date: Tue, 16 Nov 2004 13:32:13 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <76653746.20041116133213 [at] TCON.net> Subject: Historical trivia about theatre In-Reply-To: References:

Howdy! Here's another story that might pique some memories of our industry. In the early days of electronic dimmers several manufacturers would write specifications for a new dimmer and see who might want to buy one before commiting a lot of money to R&D. Kliegl was particularly noted for that. One one large job, Major won the bid for a dimming system that Kliegl had specified and, when going through the specs, Ross Major came across a function that violated the laws of physics! He called Joel Rubin at Kliegl and asked what the specification was supposed to do and that it was electrically impossible to accomplish! Dr. Rubin undoubtedly took his cigar out of his mouth as he told Ross "If you can't build it, why the hell did you bid on it?" Ahhhh...Such were the days! Can we talk about Lee Watson's bow ties now? Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Eastablished 1946 Indianapolis 317: 255 4666 Running The Bat! Natural e-mail system v3.0 mailto:Lamplighter [at] TCON.net ------------------------------ Subject: Re: Flame Proof Date: Tue, 16 Nov 2004 10:32:43 -0800 Message-ID: From: "Michael Finney" On Mon, 15 Nov 2004 Patrick McCreary <> <> I'd agree with Patrick's response about current carpets being (primarily) inherently flame retardant...and he's spot-on about the MSDS of the root material being generally acceptable as a means of checking that. Patrick is correct about drapery formulas probably working on natural fiber carpet, but I'd be careful about durability. It's probably OK for a stage use (and personally I'd spray from the back of the carpet and test for staining), but too much traffic runs the risk of degrading the flame treatment. I'd differ with him (sorry Patrick!) regarding the requirement for flame retardant carpeting probably not being required. My experience with current codes for public assembly spaces has been that most AHJ's and most codes has been that floors are not exempted from the general standards regarding flammability. I wish I could cite specific sections of the IBC, but I'm not in the office and the books don't fit conveniently in the briefcase (darn it!). Anecdotally, though - I saw a burn test last year as part of a "flame spread" demonstration where the flame actually managed to run *under* the carpet and reappear at the wall edge. The test room went "fully involved" in something like 45 seconds after the emergence of visible flame at the wall edge (as the fire was already present under the carpet). It was a weird combination of un-treated flooring, a carpet adhesive (one that's not used any more but that is available in some shops still) that can sustain combustion in a low-O2 environment, and a flammable carpet backing. YIKES! The scary thing is that I can see just that weird combination of factors very easily coming together in a stage installation.... Fire scary...... Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com =20 http://www.thinkwelldesign.com =20 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 16 Nov 2004 13:38:46 EST Subject: Re: Surtitles,,, again In a message dated 16/11/04 10:05:50 GMT Standard Time, IAEG [at] aol.com writes: > > I would love to make > >the title projections less obtrusive during dark scenes myself. Virtually all the surtitles I have seen in opera houses in England and France have been back projected, onto the black BP screen material. This is very dark when not illuminated. Certainly there is no evidence of any front projection equipment. The boxes are far too thin to contain a projector of any sort, and are usually hung on the pros line, as high as will be visible. I don't really know how they work, but my guess is that the box is fronted by the BP screen. Behind that would lie a mirror, of the same aspect ratio, tilted at 45 degrees. This would allow the projector to be as far above the box as the flying space permits, pointing straight down, and would also prevent any interference from stray light, and cause the minimum interference to the LD. I don't know that that is how it is done. If anyone has better information, please share it. But, if asked to design one, that would be how I should approach the problem. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1ed.2ece22da.2ecba441 [at] aol.com> Date: Tue, 16 Nov 2004 13:43:13 EST Subject: Re: Re[3]: Historical trivia about theatre In a message dated 16/11/04 13:02:03 GMT Standard Time, jdeull [at] clarktransfer.com writes: > I remember the big move from our stack of six packs to the new "starship > enterprise" Q-File in the early 1970s. It was quite the revolution... It was. By modern standards, it was a very clumsy piece of gear. But, the motorised faders were very reliable, and allowed hand operated modifications when needed. The BBC used them for years; probably, if I know my former employers, well past their sell-by date. Frank Wood ------------------------------ Subject: RE: Re[3]: Historical trivia about theatre Date: Tue, 16 Nov 2004 13:49:05 -0500 Message-ID: From: "Moore, Martin W." And then the BBC had the chutzpah to design a Q-File MkII in house and could find no buyers internal or external as control philosophies had moved on since Thorn Q-file Martin Moore -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of FrankWood95 [at] aol.com Sent: Tuesday, November 16, 2004 1:43 PM To: Stagecraft Subject: Re: Re[3]: Historical trivia about theatre For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 16/11/04 13:02:03 GMT Standard Time,=20 jdeull [at] clarktransfer.com writes: > I remember the big move from our stack of six packs to the new=20 > "starship enterprise" Q-File in the early 1970s. It was quite the=20 > revolution... It was. By modern standards, it was a very clumsy piece of gear. But, the=20 motorised faders were very reliable, and allowed hand operated modifications when=20 needed. The BBC used them for years; probably, if I know my former employers,=20 well past their sell-by date. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Tue, 16 Nov 2004 13:54:32 EST Subject: Re: Channels at full In a message dated 16/11/04 15:40:41 GMT Standard Time, kruling [at] esta.org writes: > If you really need short-circuit-proof dimmers, there are products on > the market that will offer that, but they don't use SCRs. Of course, > regularly scheduled equipment maintenance reduces the need for short- > circuit-proof dimmers. Not sure about that. Lamp failure often involves a dead short. It's a time question, whether the fuse or breaker will trip out before the SCR goes. A concept called 'let-through I*T^2'. Perusal of fuse, breaker, and SCR properties will lead to a right answer. These are all published by the various manufacturers, usually as graphs. Frank Wood ------------------------------ From: "holyoak1" Subject: RE: Re[3]: Historical trivia about theatre Date: Tue, 16 Nov 2004 14:12:06 -0500 In-Reply-To: Message-ID: Sadly I remember when the Luxtrol 6 pack hot new product and it only weighted about 300 lbs. ------------------------------ Message-Id: <3.0.6.32.20041116124853.0197a940 [at] pop.west.cox.net> Date: Tue, 16 Nov 2004 12:48:53 From: CB Subject: RE: Getting Spray paint off road cases >The case itself is a standard wood road case There is such a thing? I this one of the 'standard wooden road cases' with extruded aluminum edges and seals at the closure, steel ball corners and butterfly-type handles on the latches? Or is this one of the 'standard wooden road cases' that are constructed out of wood and have the latches and ball corners added on later? In any case (ouch), if the ofending graffitus is located in one area, spray painting a large square (or rectangular) area over it and stenciling a new lable should be the easiest and fastest way to make it look decent. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20041116125412.0197a940 [at] pop.west.cox.net> Date: Tue, 16 Nov 2004 12:54:12 From: CB Subject: Supratitles (was: Surtitles,,, again) >My question is, can this screen be a black hard covered flat, hung in >front of a flat sewn black velour border? Finish on the flat to be >"eggshell"? You could contact Bryan Schlegel (the skweek) or JoAnn Knoebel (the TD) at the AZ Opera, and they'd probably tell you how they do it. It seems to work well at the shows I've seen at the Music Hall, although it IS distracting. Call me if you need contact info. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20041116130236.0197a940 [at] pop.west.cox.net> Date: Tue, 16 Nov 2004 13:02:36 From: CB Subject: Toolbox: ATA vs. Pelican I feel your pain. If I'm out on the road, a road case with drawers for all this is the best option. Lacking that, I like to keep my tools in the anvil briefcase. Tools are organized in smaller boxes in the case. Small mic boxes (like the ones that SM-57's come in) are just right. One on the right, one on the left, SPL meter and DVM in the center, smaller boxes (Stewart DI shipping box) for adaptors and bitty parts. Larger adaptors have their own small briefcase ( and adapted cassette travel case ala the 70's) larger tools in a backpack that I use for grunt gigs, and littlelites in another small case. For one-offs or short gigs, all these cases stuff into a road case and travel as one unit. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20041116131256.01970010 [at] pop.west.cox.net> Date: Tue, 16 Nov 2004 13:12:56 From: CB Subject: Kudos Just wanted to thank the list (especially Trey) for suggestions on the trip to Colo. Springs. All went well, and the local IA hands were exceptional. If they represent the rest of the folk in the local, then I am very impressed. The Golden Bee Pub was at the foot of the venue was nice, but the Hotel Bar was even better. Bring an empty credit card to either, however... 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: <886EF25AF8BEF64EB89A820EF84064FF0A4A4380 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Tool cases for sound technicians Date: Tue, 16 Nov 2004 15:19:52 -0500 I have no first hand experience with this company but I just saw an add for them in the most recent Fine Woodworking. The show a "toolbox/bag where the tools are all stored vertically so you can find what you are looking for. The company is Veto Pro Pac ("tool bags that work"). 877 847-1443 www.vetopropace.com If you buy one let us know how you like it. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Dougherty, Jim [mailto:jdougher [at] middlebury.edu] Sent: Tuesday, November 16, 2004 11:45 AM To: Stagecraft Subject: Tool cases for sound technicians For info, archives & UNSUBSCRIBE, see --------------------------------------------------- ------------------------------ Date: Tue, 16 Nov 2004 11:05:44 -1000 Subject: Black Box Seating From: Shell Dalzell Message-ID: In-Reply-To: Someone asked about 4 days ago for reccomendations for Black Box Seating. Our theater bought 200 chairs about 14 years ago and they are still going strong. They are from Sebel Furniture. http://www.sebelfurniture.com 800-234-4000 These are stackable, 20" wide, with or without arms, interlock with or without arms. I know they are still manufactured since the Theater department of University of Hawaii borrowed some of ours to test, loved them, and ordered 200 for their black box theater. Last year. Aloha, Shell ------------------------------ Date: Tue, 16 Nov 2004 16:31:58 -0500 (EST) From: Boyd Ostroff Subject: Re: Surtitles,,, again In-Reply-To: Message-ID: References: On Tue, 16 Nov 2004 FrankWood95 [at] aol.com wrote: > But, if asked to design one, that would be how I should approach the > problem. Thanks, we'll keep you in mind if we ever have an opening for a "supertitle projection system designer"... ;-) Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Message-ID: <016101c4cc24$a2ba16d0$0800000a [at] Tony> From: "Tony" References: Subject: Permus cards Date: Tue, 16 Nov 2004 21:38:36 -0000 Does anyone have any sources for replacement Strand Permus dimmer channel cards and/or replacement parts for same? I have one circuit dead at the moment and want to replace it, and it would be wise to get a couple of spares in against future faults. UK based suppliers, please. Cheers Ynot ------------------------------ Message-Id: <6.2.0.14.0.20041116141609.029a5498 [at] localhost> Date: Tue, 16 Nov 2004 14:21:44 -0800 From: Jerry Durand Subject: RJ-45 pinout I know at least some people have published a pinout for using CAT5 cable for DMX512, but the USITT DMX512 page and the ESTA report don't specify a pinout. Is there an official standard pinout? One I have is: Brown ground white/brown ground green secondary channel - white/green secondary channel + orange primary channel - white/orange primary channel + blue spare white/blue spare Also, UTP vs STP? If STP, where does the shield hook (transmitter only? receiver only? all? none?)? ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Flame Proof Date: Tue, 16 Nov 2004 14:26:17 -0800 Message-ID: <005a01c4cc2b$4b97dc00$726dfea9 [at] DrDoomsComputer> In-Reply-To: In my work with safety in hotels, we always recommended to the client that the carpeting being flame retarded. The usual problem was the pad beneath it which did not have any regulation regarding it. A need for new regulations in this regard. Dr. doom ==================================================== A Masters Workshop for Entertainment Technicians, Riggers, Public Assembly Technicians, and Educational Performing Arts Personnel - Sponsored by Risk International & Associates, Inc. April 4, 5, 6, 2005 at ELCO Performing Arts Center, Elkhart, Indiana Brochure & Registration Form available at: www.riskit.com/workshops ==================================================== Risk International & Associates, Inc. - Dedicated to making the world a healthier & safer place. Website: www.riskit.com E-mail: rdavidson [at] riskit.com ==================================================== International Secondary Education Theater Safety Association (ISETSA) - Dedicated to the protection of every student in the performing arts. Website: www.isetsa.org E-mail: info [at] isetsa.org ==================================================== 960 E. Bonita #158, Pomona, CA 91767 Phone/Fax: (909) 625-5961 ==================================================== -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Michael Finney Sent: Tuesday, November 16, 2004 10:33 AM To: Stagecraft Subject: Re: Flame Proof For info, archives & UNSUBSCRIBE, see --------------------------------------------------- On Mon, 15 Nov 2004 Patrick McCreary <> <> I'd agree with Patrick's response about current carpets being (primarily) inherently flame retardant...and he's spot-on about the MSDS of the root material being generally acceptable as a means of checking that. Patrick is correct about drapery formulas probably working on natural fiber carpet, but I'd be careful about durability. It's probably OK for a stage use (and personally I'd spray from the back of the carpet and test for staining), but too much traffic runs the risk of degrading the flame treatment. I'd differ with him (sorry Patrick!) regarding the requirement for flame retardant carpeting probably not being required. My experience with current codes for public assembly spaces has been that most AHJ's and most codes has been that floors are not exempted from the general standards regarding flammability. I wish I could cite specific sections of the IBC, but I'm not in the office and the books don't fit conveniently in the briefcase (darn it!). Anecdotally, though - I saw a burn test last year as part of a "flame spread" demonstration where the flame actually managed to run *under* the carpet and reappear at the wall edge. The test room went "fully involved" in something like 45 seconds after the emergence of visible flame at the wall edge (as the fire was already present under the carpet). It was a weird combination of un-treated flooring, a carpet adhesive (one that's not used any more but that is available in some shops still) that can sustain combustion in a low-O2 environment, and a flammable carpet backing. YIKES! The scary thing is that I can see just that weird combination of factors very easily coming together in a stage installation.... Fire scary...... Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com http://www.thinkwelldesign.com ------------------------------ Subject: RE: RJ-45 pinout Date: Tue, 16 Nov 2004 14:31:42 -0800 Message-ID: From: "Joe Golden" Give these guys a call http://www.pathwayconnect.com/index.htm they don't have the pin out listed , but they have it in their price list. HTH Joe >=20 > I know at least some people have published a pinout for using=20 > CAT5 cable=20 > for DMX512, but the USITT DMX512 page and the ESTA report=20 > don't specify a=20 > pinout. Is there an official standard pinout? >=20 > One I have is: > Brown ground > white/brown ground > green secondary channel - > white/green secondary channel + > orange primary channel - > white/orange primary channel + > blue spare > white/blue spare >=20 > Also, UTP vs STP? If STP, where does the shield hook (transmitter=20 > only? receiver only? all? none?)? >=20 > ---------- > Jerry Durand > Durand Interstellar, Inc. > 219 Oak Wood Way > Los Gatos, California 95032-2523 USA > tel: +1 408 356-3886 > fax: +1 408 356-4659 > web: www.interstellar.com >=20 >=20 >=20 >=20 ------------------------------ Message-Id: <6.2.0.14.0.20041116153104.029b71c0 [at] localhost> Date: Tue, 16 Nov 2004 15:34:10 -0800 From: Jerry Durand Subject: Re: Historical trivia about theatre In-Reply-To: References:

At 10:32 AM 11/16/2004, you wrote: >One one large job, Major won the bid for a dimming system that Kliegl >had specified and, when going through the specs, Ross Major came >across a function that violated the laws of physics! He called Joel >Rubin at Kliegl and asked what the specification was supposed to do >and that it was electrically impossible to accomplish! Dr. Rubin >undoubtedly took his cigar out of his mouth as he told Ross "If you >can't build it, why the hell did you bid on it?" Back when I worked in MIL-SPEC testing, I had the "pleasure" of informing a new customer that the test they wanted us to do was physically impossible. They said another testing lab had been doing that test for them for years, it wasn't cheap but they had papers saying their parts passed. After I went over the physics with their technical guy, they got pretty angry at the other testing lab. I hope none of those parts were used in critical applications! ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <6.2.0.14.0.20041116155700.02987010 [at] localhost> Date: Tue, 16 Nov 2004 15:59:15 -0800 From: Jerry Durand Subject: Re: RJ-45 pinout In-Reply-To: References: At 02:31 PM 11/16/2004, you wrote: >Give these guys a call http://www.pathwayconnect.com/index.htm they >don't have the pin out listed , but they have it in their price list. That would still only give me one manufacturer's pinout, not a published standard (especially if they don't publish it). T o rephrase the question: Is there a published (by USITT, ESTA, ANSI, DIN, etc.) pinout for DMX512 over CAT5 including what to do with shielding? ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9.374f88fc.2ecbeef4 [at] aol.com> Date: Tue, 16 Nov 2004 19:01:56 EST Subject: Re: Surtitles,,, again In a message dated 16/11/04 21:30:57 GMT Standard Time, ostroff [at] operaphilly.com writes: > > But, if asked to design one, that would be how I should approach the > > problem. > > Thanks, we'll keep you in mind if we ever have an opening for a > "supertitle projection system designer"... I sense a degree of sarcasm there. If I needed one, I should certainly ask a major opera house where their surtitle machine came from, and talk to their supplier. I might ask the same question of several houses, although it's a very small market. All those who have posted seem to be using a DIY approach, and front projection to boot! No wonder that they are having problems. I don't say that you should buy the professional gear. I don't suppose that it comes cheap. But I'm pretty sure that the technique I propose will work, given a suitable projector. There, I know nothing. But if some of you can make a front projection work, you should be able to make a back projection work. You know more about modern projectors than I do. Frank Wood ------------------------------ Date: Tue, 16 Nov 2004 19:15:17 -0500 From: Stephen Litterst Subject: Re: Surtitles,,, again Message-id: <419A9815.5FB420E7 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: FrankWood95 [at] aol.com wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 16/11/04 21:30:57 GMT Standard Time, > ostroff [at] operaphilly.com writes: > > > > But, if asked to design one, that would be how I should approach the > > > problem. > > > > Thanks, we'll keep you in mind if we ever have an opening for a > > "supertitle projection system designer"... > > I sense a degree of sarcasm there. > > If I needed one, I should certainly ask a major opera house where their > surtitle machine came from, and talk to their supplier. I might ask the same > question of several houses, although it's a very small market. Well, most of us would consider Boyd to be attached to a major opera company. > All those who have posted seem to be using a DIY approach, and front > projection to boot! No wonder that they are having problems. I don't say that you > should buy the professional gear. I don't suppose that it comes cheap. As you point out, it's a very small market. So small that there is no "off the shelf" product and every system becomes a DIY project. As to the front projection, it's a fairly common technique on this side of the pond. I can't think of a single show on which I've worked (many operas included) where I had the space to set up a rear projection on the proscenium. The front projection systems I've used (and occasionally designed) have worked remarkably well. Our stock surtitle screen is off-white projection screen mounted on a black flat. That greys out the screen when not in use but the white letters pop out. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 16 Nov 2004 19:31:28 -0500 From: "richard j. archer" Subject: Re: Flame Proof > > Michael Finney said..... >I'd differ with him (sorry Patrick!) regarding the requirement for flame >retardant carpeting probably not being required. My experience with >current codes for public assembly spaces has been that most AHJ's and >most codes has been that floors are not exempted from the general standards regarding flammability. I'll agree with Michael. When I'm involved in special events those involved often want to know the carpet if flame retardant, even for one night. Carpets usually have a flame spread rating and are therefore being rated on how fast the flame goes from one end to the other. They do not claim anything else. (leaving out newer IFP materials.) Remember also that the flame spread rating is for the carpet in a horizontal position....so if you put it on the walls...it probably ain't rated. They make wall covering fabrics for that. (What? Theatre folks use one thing for something else?) Dick A TD, Cornell Univ. ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 16 Nov 2004 19:43:05 -0500 From: "richard j. archer" Subject: Re: Black Box Seating >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Someone asked about 4 days ago for reccomendations for Black Box Seating. >Our theater bought 200 chairs about 14 years ago and they are still going >strong. > >They are from Sebel Furniture. http://www.sebelfurniture.com >800-234-4000 We have chairs in our student run Black Box space that were bought years before I came here and I arrived in 1979. The chairs are still going strong after years of abuse, two different buildings, and many a production. Some have been recovered. They're still made by Clarin, have arms, the interlocks are broken (but could be replaced), they fold and store best on a hanging rack. They're heavy but comfortable and well nigh indestructible, although we do break them. Had about 125 when I came. Down to 101 now although some were lost in a move to a new building in 1988. In our Flex Theatre we have 1988 vintage plastic stackers by an unnamed company. The seats break all the time and the frames bend so you can't stack them. They were cheap. You get what you pay for. Dick A TD, Cornell Univ. ------------------------------ In-Reply-To: References:

Message-Id: <19591C24-383B-11D9-BF6D-000A958ABBF8 [at] theprices.net> From: Noah Price Subject: Re: RJ-45 pinout Date: Tue, 16 Nov 2004 17:50:46 -0800 On Nov 16, 2004, at 3:59 PM, Jerry Durand wrote: > Is there a published (by USITT, ESTA, ANSI, DIN, etc.) pinout for > DMX512 over CAT5 including what to do with shielding? An ESTA task group investigated DMX512 over CAT5, but I couldn't find any final wiring recommendation. I bet Karl could tell us if there is a follow up to this which better defines the interface: Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ In-Reply-To: References:

Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Surtitles,,, again Date: Tue, 16 Nov 2004 20:06:28 -0700 Here's what went down. Since the format used, was roughly 3 x 8, I put hanging hardware on a sheet of 5/8" Medite, and painted it black.. This plays in front of the #1 Border. The "sign" disappers into the border when not being projected on, and the letters are bright as day. Thanks for the suggestions. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-ID: <20041117042421.43006.qmail [at] web14124.mail.yahoo.com> Date: Tue, 16 Nov 2004 20:24:21 -0800 (PST) From: June Abernathy Subject: Re: Toolbox Andy - I'd advise not using a metal case if you think you might ever want to fly with it - even as checked luggage. Meters and testers make them testy enough without being housed in a metal case. A case with dividers certainly makes a lot of sense, and if those dividers are adjustable, that's even better. On the other hand, you can quite possibly do without dividers if you bag individual (or like) objects in bags or Eagle Creek cubes, or something like that. We put some delicate things in small lunchbag coolers for our moves - they seem to protect them nicely, and keep them separate from other stuff in the box and easy to grab. Consider how you are going to carry this thing - only by the handle, or is there a shoulder strap option, or backpack option, or wheels? A hard case is often a heavy case. I've seen backpack toolbags that would work well for what you have in mind - pockets, dividers, etc. - and some of the backpacks made for laptops have a lot of little divider pockets and may even have wheels as well. Of course, most of these aren't as tough as a hard case, but maybe some extra padding makes up for that? Of the choices you mentioned, I'd look hard at a Pelican case, if you can get a shoulder strap on it. My .02 - June Abernathy IATSE #321 FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? The all-new My Yahoo! - Get yours free! http://my.yahoo.com ------------------------------ End of Stagecraft Digest #198 *****************************