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 9820311; Tue, 21 Dec 2004 03:01:49 -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 #234 Date: Tue, 21 Dec 2004 03:01:34 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Status: No, score=-5.2 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, ITS_LEGAL autolearn=ham version=3.0.1 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #234 1. Re: DMX question by Bruce Purdy 2. Re: DMX question by "Jeffrey E. Salzberg" 3. Re: DMX question by "Paul Sanow" 4. Re: Aluminized Mylar by Mike Katz 5. dmx over mains by Dorian Kelly 6. another plexi floor ? by "jknipple" 7. Re: another plexi floor ? by Stephen Litterst 8. Re: mic stories by "Karl G. Ruling" 9. Re: "at LEAST an ATF permit" by "Karl G. Ruling" 10. Re: dmx over mains by FrankWood95 [at] aol.com 11. Re: Aluminized Mylar by usctd [at] columbia.sc 12. faculty technical director listing by Linda Essig 13. DMX question by CB 14. Re: another plexi floor ? by Steve Larson 15. Re: Tuscon arena by CB 16. Re: another plexi floor ? by "jknipple" 17. Re: "at LEAST an ATF permit" by "ladesigners [at] juno.com" 18. Re: "at LEAST an ATF permit" by "Paul Schreiner" 19. Re: mic stories by "Douglas McCracken" 20. Re: "at LEAST an ATF permit" by Stephen Litterst 21. Re: DMX question by Stuart Wheaton 22. Re: DMX question by Greg Bierly 23. Re: DMX question by Stuart Wheaton 24. Re: DMX question by Michael Feinberg 25. Re: Wireless Mic slip ups by "Tony" 26. Re: "at LEAST an ATF permit" by "Dr. Randall W.A. Davidson" 27. Re: mic stories by FrankWood95 [at] aol.com 28. Re: Fire in Tucson Convention Center Arena by Jerry Durand 29. Re: "at LEAST an ATF permit" by "Matthew Breton" 30. FS - S4 19 deg lens tubes by "Tony" *** 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, 20 Dec 2004 06:56:49 -0500 Subject: Re: DMX question From: Bruce Purdy Message-ID: Thank you to all who responded to my question. The DMX merger that Steve suggested sounds like a good option, but I'd prefer not to have to invest in another piece of equipment. I don't believe my rack has the two input option Kyle mentioned. The switch appears to be an elegant and simple solution, but it really wouldn't solve the basic problem with my present plugging situation: I carry the board from FOH all the way up to the booth and plug it in - only to realise that I forgot to change the plug backstage. The lazy me was hoping to avoid having to trudge all the way back down to the stage to re-plug the cable. :-( Since apparently the star topology would not be a good solution (Thank you all - that's what I wanted to know!), I guess I'll stick to the plugging arrangement. Besides, it provides me the third option of plugging the board directly into the rack if I wish to run from the wings. ;-) Thanks again! -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: DMX question Date: Mon, 20 Dec 2004 10:03:49 -0500 Message-ID: <000201c4e6a5$42a83a10$6601a8c0 [at] Dell> In-reply-to: > The switch appears to be an elegant and simple solution, > but it really wouldn't solve the basic problem with my > present plugging situation: I carry the board from FOH all > the way up to the booth and plug it in - only to realise that > I forgot to change the plug backstage. It would be easy enough to rig a relay with control both backstage and in the booth that would switch between the two. --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.811 / Virus Database: 552 - Release Date: 12/13/2004 ------------------------------ Subject: RE: DMX question Date: Mon, 20 Dec 2004 10:05:55 -0500 Message-ID: From: "Paul Sanow" There is one other option that I've employed in these situations. = Fleenor makes a Buffered DMX output receptacle that should keep your = system within spec and allow for an open receptacle at the remote = location. Go to www.dfd.com and click on "Buffered DMX512 plates" under = Wall Plates (left hand side). It requires a small power supply but is = much less expensive than a splitter. It will allow you to make a star = by essentially starting a new DMX run from this receptacle. Basically = it's a DMX extender plate. Wire from console receptacle to Dimmers to = Buffered DMX then make the run to the remote receptacle. List price is $200.00 per their price list. Contact me off list and I = can work on improving that price if you like. Paul *********************************************************** Paul Sanow psanow [at] vls.com Technical Sales www.vincentlighting.com Vincent Lighting Systems 1420 Jamike Ln. #2 Erlanger, KY 41018 (859) 525-2000 x211 FAX (859) 525-2050 *********************************************************** > -----Original Message----- > From: Bruce Purdy [mailto:bpurdy [at] rochester.rr.com] > Sent: Monday, December 20, 2004 6:57 AM > To: Stagecraft > Subject: Re: DMX question > Importance: Low >=20 >=20 > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 > Thank you to all who responded to my question. >=20 > The DMX merger that Steve suggested sounds like a good=20 > option, but I'd > prefer not to have to invest in another piece of equipment. I=20 > don't believe > my rack has the two input option Kyle mentioned. >=20 > The switch appears to be an elegant and simple solution,=20 > but it really > wouldn't solve the basic problem with my present plugging=20 > situation: I carry > the board from FOH all the way up to the booth and plug it in=20 > - only to > realise that I forgot to change the plug backstage. The lazy=20 > me was hoping > to avoid having to trudge all the way back down to the stage=20 > to re-plug the > cable. :-( >=20 > Since apparently the star topology would not be a good=20 > solution (Thank > you all - that's what I wanted to know!), I guess I'll stick=20 > to the plugging > arrangement. Besides, it provides me the third option of=20 > plugging the board > directly into the rack if I wish to run from the wings. ;-) >=20 > Thanks again! > --=20 > Bruce Purdy > Technical Director > Smith Opera House >=20 >=20 >=20 ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 20 Dec 2004 10:06:27 -0500 From: Mike Katz Subject: Re: Aluminized Mylar Wayne, I have almost always heated the shiny side, and not the back, (It makes for interesting times in the shop when you set up a pipe of scoops to work as the oven, Sunglasses are a must) I did not know that you were "supposed" to heat the back. Is that tidbit in the instructions that real men refuse to read? :-0 Mike >Snip >I know that the mylar should be shrunk from the back side (without the >aluminum), but I'm wondering if anyone has had any positive experiences >shrinking from the aluminized side. It sure would be easier to skin the >back side with luaun (which I eventually need to do) before the mylar is >applied. -- Mike Katz Technical Director MIT Theater Arts Rinaldi Tile Building 77 Mass Ave E33-101 Cambridge MA 02139 617.253.0824 mkatz [at] mit.edu "Lunacy Abounds" ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 20 Dec 2004 16:21:10 +0000 From: Dorian Kelly Subject: dmx over mains Does anyone have knowledge of, or experience in using mains-borne DMX feed equipment? Is it reliable? Is it safe? Dorian Kelly ------------------------------ Subject: another plexi floor ? Date: Mon, 20 Dec 2004 11:40:00 -0500 Message-ID: From: "jknipple" Sorry to keep pestering about the plexi floor, but the designer wants = the frosted side out. The production manager seems to think that once = you frost it, it'll only get deeper scratches on it as people walk on = it, move stuff across it, etc, and that we'll have to resand it before = every weekend. Does anyone have experience with plexi, frosted side up? James Knipple =A0 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 ------------------------------ Date: Mon, 20 Dec 2004 12:02:35 -0500 From: Stephen Litterst Subject: Re: another plexi floor ? Message-id: <41C705AB.3E342A3D [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: jknipple wrote: > --------------------------------------------------- > > Sorry to keep pestering about the plexi floor, but the designer wants the frosted side out. The production manager seems to think that once you frost it, it'll only get deeper scratches on it as people walk on it, move stuff across it, etc, and that we'll have to resand it before every weekend. My concern with frosted side up is that it will be impossible to clean. As shoe rubber gets worn into the sanded areas I don't think you'll be able to erase them as easily as you would from the smooth side. Stephen Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: "Karl G. Ruling" Date: Mon, 20 Dec 2004 12:18:52 -0500 Subject: Re: mic stories Reply-to: kruling [at] esta.org Message-ID: <41C6C32C.31370.87A298 [at] localhost> In-reply-to: > Suddenly, there was a frantic pounding on the door and the chief > skweek poked his head in to tell us that her mic was on and everything > she'd said about that well known actor had been shared with 1500 > people in the auditorium. With all these mic-left-on stories, why does the sound tech leave the fader up? In this case, wouldn't it have been faster and easier to mute the input channel than to send some guy to pound on the door? There's more going on here than simply a mic being left on by the performer. ------------------------------ From: "Karl G. Ruling" Date: Mon, 20 Dec 2004 12:18:52 -0500 Subject: Re: "at LEAST an ATF permit" Reply-to: kruling [at] esta.org Message-ID: <41C6C32C.19937.87A1CD [at] localhost> In-reply-to: > > >Also remember that current federal regulations (Safe Explosive Act) > >say you have to have at LEAST an ATF permit to have "anything that > >can be made to explode". > > Does that mean that craft services has to actually provide cow > squeezin's for coffee unless they have said permit? No powdered sugar, either. No flour. No methane. No propane. No butane. No gasoline. No hydrogen. (There goes the Hydrogen Economy!) I'd say we'll have to start cooking with dried cow dung, but the dust from that is probably explosive, too. We'd have no matches to light it anyway, since you can make bombs with matchheads. We'll have to rub sticks together or use flint. The list of things that could be made explosive is rather long, so long that I wonder if having "at LEAST an ATF permit to have 'anything that can be made to explode'" is really what the Safe Explosive Act requires. Might the actually wording be a bit different? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <66.4cdadb22.2ef86c6a [at] aol.com> Date: Mon, 20 Dec 2004 12:56:58 EST Subject: Re: dmx over mains In a message dated 20/12/04 16:22:22 GMT Standard Time, dorian [at] essex.ac.uk writes: > Does anyone have knowledge of, or experience in using mains-borne DMX feed > equipment? Is it reliable? Is it safe? It's not unusual to do this sort of thing. With proper equipment it is both reliable and safe. However, since some electricity suppliers send control signals on their supplies, for switching tariffs and so on, you would need to make sure that there is no mutual interference. In France these are about 200KHz, which it is often hard to receive the BBC Droitwich transmitter on 198KHz in remoter areas. Frank Wood ------------------------------ Message-ID: <1439.24.168.209.168.1103566257.squirrel [at] webmail.columbia.sc> In-Reply-To: References:

Date: Mon, 20 Dec 2004 13:10:57 -0500 (EST) Subject: Re: Aluminized Mylar From: usctd [at] columbia.sc I have usually done the same. The few times I have used the stuff I have skinned the other side of the frame, leaving me no choice. It makes it interesting when you are using a heat gun. You have to watch for discoloration if you leave the gun in one place too long. Of course there is also that potential melting hole to worry about too. -- Eric Rouse TD-University of SC, Columbia Freelance Foyboy > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Wayne, > I have almost always heated the shiny side, and not the back, (It > > ------------------------------ Date: Mon, 20 Dec 2004 11:11:00 -0700 From: Linda Essig Subject: faculty technical director listing Message-id: <6FDC16223A03A6448994101EBF44F1A5C128D3 [at] ex1.asurite.ad.asu.edu> Q2xpbmljYWwgQXNzaXN0YW50IFByb2Zlc3NvciBvZiBUZWNobmljYWwgRGlyZWN0aW9uLiBBcml6 b25hIFN0YXRlIFVuaXZlcnNpdHkNCg0KVGVhY2ggc3RhZ2VjcmFmdCBhbmQgZHJhZnRpbmcgdG8g dW5kZXJncmFkdWF0ZSBhbmQgZ3JhZHVhdGUgc3R1ZGVudHMuICBDb29yZGluYXRlIGFuZCBtYW5h Z2UgdGhlIHRlY2huaWNhbCBlbGVtZW50cyBvZiBhbGwgc2NlbmljIGNvbXBvbmVudHMgZm9yIE1h aW5zdGFnZSBwcm9kdWN0aW9ucy4gIFRlY2huaWNhbCBkaXJlY3Qgb3Igc3VwZXJ2aXNlIHN0dWRl bnQgdGVjaG5pY2FsIGRpcmVjdG9ycyBvZiBhbGwgTWFpbnN0YWdlIHByb2R1Y3Rpb25zLiAgU3Vw ZXJ2aXNlIHN0dWRlbnQgY3Jld3Mgd2hvIHBlcmZvcm0gdGVjaG5pY2FsIHdvcmsuIE1GQSBpbiBU ZWNobmljYWwgRGlyZWN0aW9uLiBEZW1vbnN0cmF0ZWQgYWJpbGl0eSB0byB0ZWFjaCBzdGFnY3Jh ZnQgYW5kIGRyYWZ0aW5nIGFuZCBwcm9mZXNzaW9uYWwgZXhwZXJpZW5jZSBhcyBhIHRlY2huaWNh bCBkaXJlY3RvciBkZXNpcmVkLiAgQmFjaGVsb3JzIGRlZ3JlZSB3aXRoIGEgbWFqb3IgaW4gdGhl YXRyZSBvciByZWxhdGVkIGZpZWxkIGFuZCB0d28geWVhcnMgZXhwZXJpZW5jZSBpbiB0ZWNobmlj YWwgZGlyZWN0aW9uLCBleHBlcmllbmNlIGluIGN1cnJlbnQgcHJvZHVjdGlvbiB0ZWNobm9sb2d5 LCBkZW1vbnN0cmF0ZWQga25vd2xlZGdlIG9mIGNvbGxhYm9yYXRpbmcgYW5kIGRlbW9uc3RyYXRl ZCBhYmlsaXR5IGluIHRoZSBvcmdhbml6YXRpb24gYW5kIG1hbmFnZW1lbnQgb2YgYnVkZ2V0cywg ZXF1aXBtZW50LCBjcmV3cywgcHJvZHVjdGlvbiBzY2hlZHVsZXMsIHN0YWdlIHJpZ2dpbmcsIGFu ZCBzYWZldHkgcmVxdWlyZWQuIERlYWRsaW5lIEZlYi4gMSwgMjAwNSBpZiBub3QgZmlsbGVkIHRo ZSAxc3Qgb2YgZWFjaCBtb250aCB0aGVyZWFmdGVyIHVudGlsIHNlYXJjaCBpcyBjbG9zZWQuICBT dWJtaXQgbGV0dGVyIG9mIGludGVyZXN0LCBjdXJyaWN1bHVtIHZpdGFlLCBuYW1lcy9hZGRyZXNz ZXMvcGhvbmUgbnVtYmVycyBvZiB0aHJlZSByZWZlcmVuY2VzIHRvOiAgQ2xpbmljYWwgQXNzaXN0 LiBQcm9mZXNzb3Igb2YgVGVjaG5pY2FsIERpcmVjdGlvbiBTZWFyY2ggQ29tbWl0dGVlLCBQLiBP LiBCb3ggODcyMDAyLCBUZW1wZSwgQVogIDg1Mjg3LTIwMDIuICBBQS9FT0UNCg0K ------------------------------ Message-Id: <3.0.6.32.20041220111954.0181c3f0 [at] pop.west.cox.net> Date: Mon, 20 Dec 2004 11:19:54 From: CB Subject: DMX question > I'm wondering whether they could both be hard wired into the cabinet or >would the unused cable run cause "Termination" problems. Being finished with the install, this may not be the easiest way to go, but it will allow you one connector in the cabinet and no re-plugging. Make all of your runs one long run. Instead of a star (signal terminating at the center and five separate runs coming from five seperate areas), make it a daisy chain (signal starting at one end and running through each area). You would have a connection at each area that you wanted DMX to be able to go, and you would just disconnect whatever needed to be used and send it. All of the unused cable would be out of the loop. Think of it as one long run that you can interrupt any plavce you need to. Future expansion could be done by just snipping the cable and adding connectors. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Mon, 20 Dec 2004 13:20:58 -0500 Subject: Re: another plexi floor ? From: Steve Larson Message-ID: In-Reply-To: How about covering the underside with a frost gel? Steve on 12/20/04 12:02 PM, Stephen Litterst at slitterst [at] ithaca.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > jknipple wrote: >> --------------------------------------------------- >> >> Sorry to keep pestering about the plexi floor, but the designer wants the >> frosted side out. The production manager seems to think that once you frost >> it, it'll only get deeper scratches on it as people walk on it, move stuff >> across it, etc, and that we'll have to resand it before every weekend. > > My concern with frosted side up is that it will be impossible to > clean. As shoe rubber gets worn into the sanded areas I don't think > you'll be able to erase them as easily as you would from the smooth > side. > > Stephen Litterst ------------------------------ Message-Id: <3.0.6.32.20041220113921.0181c3f0 [at] pop.west.cox.net> Date: Mon, 20 Dec 2004 11:39:21 From: CB Subject: RE: Tuscon arena > IIRC, the Ex-hall is eight feet >higher than than the Arena floor And I do recall correctly, although the thing I recall isn't the thing we were talking about. I just found out that the ex hall I ws thinking about here is not the ex hall that they were shooting in. the hall that they were shooting in would be far downstage of the arena, with the seating and consessions and the larger traffic hallway between the 'oundstage' and the concert. there is (at least) a very large roll-up door between the two venues. >any resemblance to facts, living or >dead, is purely co-incidental. This caveat still applies. 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... ------------------------------ Subject: RE: another plexi floor ? Date: Mon, 20 Dec 2004 13:51:46 -0500 Message-ID: From: "jknipple" That was what I wanted to do, but the designer doesn't want a glossy floor. She wants something matte. James Knipple =20 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 How about covering the underside with a frost gel? Steve ------------------------------ From: "ladesigners [at] juno.com" Date: Mon, 20 Dec 2004 19:15:25 GMT Subject: Re: "at LEAST an ATF permit" Message-Id: <20041220.111552.22276.371195 [at] webmail17.lax.untd.com> This includes LINT! /s/Richard The list of things that could be made explosive is rather long, so long that I wonder if having "at LEAST an ATF permit to have 'anything that can be made to explode'" is really what the Safe Explosive Act requires. Might the actually wording be a bit different? ________________________________________________________________ Juno Gift Certificates Give the gift of Internet access this holiday season. http://www.juno.com/give ------------------------------ Subject: RE: "at LEAST an ATF permit" Date: Mon, 20 Dec 2004 14:27:26 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C66A [at] exchange.rmwc.edu> From: "Paul Schreiner" > This includes LINT! Does this mean that if someone in the guv'mint finds out that I've been hoarding dryer lint since around 1998 (y'know, never getting around to taking it out to the trashplus, it's so warm and fuzzy!), and I don't have an ATF permit for it, that I'm in deeper doo-doo than I am already? ------------------------------ Reply-To: From: "Douglas McCracken" Cc: kruling [at] esta.org Subject: RE: mic stories Date: Mon, 20 Dec 2004 08:50:12 -1000 Message-ID: In-reply-to: > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of Karl G. Ruling > Sent: Monday, December 20, 2004 7:19 AM > To: Stagecraft > Subject: Re: mic stories > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > Suddenly, there was a frantic pounding on the door and the chief > > skweek poked his head in to tell us that her mic was on and > everything > > she'd said about that well known actor had been shared with 1500 > > people in the auditorium. > > With all these mic-left-on stories, why does the sound tech > leave the fader up? In this case, wouldn't it have been > faster and easier to mute the input channel than to send some > guy to pound on the door? > There's more going on here than simply a mic being left on by > the performer. > Hear, Hear ;) As we know, audio engineers are not idiots. Aloha, Douglas ------------------------------ Date: Mon, 20 Dec 2004 14:57:10 -0500 From: Stephen Litterst Subject: Re: "at LEAST an ATF permit" Message-id: <41C72E96.AFD86AEA [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Paul Schreiner wrote > --------------------------------------------------- > Does this mean that if someone in the guv'mint finds out that I've been > hoarding dryer lint since around 1998 (y'know, never getting around to > taking it out to the trashplus, it's so warm and fuzzy!), and I don't > have an ATF permit for it, that I'm in deeper doo-doo than I am already? Relax, Paul. The guv'mint still needs a warrant to search your belly-button. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <41C739D5.2000702 [at] fuse.net> Date: Mon, 20 Dec 2004 15:45:09 -0500 From: Stuart Wheaton Subject: Re: DMX question References: In-Reply-To: Jeffrey E. Salzberg wrote: >> The switch appears to be an elegant and simple solution, >>but it really wouldn't solve the basic problem with my >>present plugging situation: I carry the board from FOH all >>the way up to the booth and plug it in - only to realise that >>I forgot to change the plug backstage. > > > It would be easy enough to rig a relay with control both backstage and > in the booth that would switch between the two. > Maybe use the unassigned pair in the DMX cable to trigger the relay? Just plug in and the dimmers 'know' which cable? Just short pins 4 and 5 in the board??? Stuart ------------------------------ In-Reply-To: References:

Message-Id: From: Greg Bierly Subject: Re: DMX question Date: Mon, 20 Dec 2004 16:25:56 -0500 > Maybe use the unassigned pair in the DMX cable to trigger the relay? > Just plug in and the dimmers 'know' which cable? Just short pins 4 > and 5 in the board??? WHOOP! WHOOP! Here come the DMX police. I haven't read the whole dmx specs but I am pretty sure that it would be frowned upon. ;-) (Hey I think it is a great idea) Can I steal the idea for a scoreboard switching system I want to implement? It won't be DMX. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <41C74F41.5010001 [at] fuse.net> Date: Mon, 20 Dec 2004 17:16:33 -0500 From: Stuart Wheaton Subject: Re: DMX question References:

In-Reply-To: Greg Bierly wrote: >> Maybe use the unassigned pair in the DMX cable to trigger the relay? >> Just plug in and the dimmers 'know' which cable? Just short pins 4 >> and 5 in the board??? > > > WHOOP! WHOOP! Here come the DMX police. I haven't read the whole dmx > specs but I am pretty sure that it would be frowned upon. ;-) > According to the spec I have... Pins 4 and 5 are "Optional Second Data Link" As I see it, a 3-12 volt signal sent over this line to notify the dimmers that the board is attached to that cable, is supplying a second stream of data. ;-) Stuart ------------------------------ Message-Id: In-Reply-To: References:

Date: Mon, 20 Dec 2004 17:35:04 -0500 From: Michael Feinberg Subject: Re: DMX question >>Maybe use the unassigned pair in the DMX cable to trigger the >>relay? Just plug in and the dimmers 'know' which cable? Just >>short pins 4 and 5 in the board??? > >(Hey I think it is a great idea) Can I steal the idea for a >scoreboard switching system I want to implement? It won't be DMX. I've done something similar for touchpanel switching. The panels connected through a DB9 [plus a HD15 for RGB, - the PTB rejected my plan for combining everything in a custom wired 13W3 connector :(] though they only needed 3 pins for the serial data, so 2 more pins provided DC power, and the remaining four pins were available for ID. By connecting two pins from each connection point to individual inputs on a control system, and having those two pins shorted in the touchpanel's cable, the control system will know where the panel is connected and can appropriately direct the serial [and RGB] router[s]. If you have multiple panels and need to know which panel is connected where, you can use more than two pins from each control location and different shorting combinations in each panels cable will identify the panel, 1 panel with 2 pins (1-2), 3 panels with 3 pins (1-2,1-3,1-2-3), 7 panels with 4 pins, 2^(n-1) - 2 panels with n pins.... Of course this rapidly eats up logic inputs on the control system (3 pins x 12 locations equals more 8 inputs cards than I had room for in the card frame...) -- -Michael Feinberg, CTS ------------------------------ Message-ID: <0f4201c4e6e8$9ea633b0$0800000a [at] Tony> From: "Tony" References: Subject: Re: Wireless Mic slip ups Date: Mon, 20 Dec 2004 23:06:59 -0000 ----- Original Message ----- From: "Colin Koffel" To: "Stagecraft" Sent: Friday, December 17, 2004 8:52 PM Subject: Wireless Mic slip ups > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi, > > A good Friday afternoon question that will help me immensely for a > class assignment and provide hours of amusement (or at least a good ten > seconds). > > I'm looking for anecdotes about moments when a mic should have been > muted or should have been unmuted during a show. An example: during a > high school production of Oklahoma, as soon as Judge Carnes got off > stage after the trial, an amplified: "Oh ----! I gotta pee!" was heard > by all in the audience. > > If you want, you can email me off list and I'll compile all the stories > and share > > Thank you, > > Colin > ________________________ > Colin Koffel Whilst not entirely a pro-attitude, one thing we used to do occasionally was quite good for the after-show bash. For one of the big amateur show companies I used to work with, just after they started to afford radio mics, we used to listen in during slow parts of the show to those mics not on stage, feeding them to the tape deck that we had running constantly. The cast were all aware we were doing this, 'cos we told 'em, and there were a couple of signs up saying so. Towards the end of the run, we'd go through the tapes, locate all of the humorous bits and string 'em together on a short soundtrack that the DJ played back at the party. Anyone who featured prominently and identifiably was approached and an OK sought, so we didn't upset anyone, though we never actually played back what we taped until the broadcast, so there were always a few "I didn't know you'd heard THAT!" exclamations! But it was all done and taken in the way it was meant - all fun. Everyone enjoyed the playback, and no-one sued! Oh, to have the time and energy to do something similar these days.....! 8-))))) Ynot ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: "at LEAST an ATF permit" Date: Mon, 20 Dec 2004 15:22:32 -0800 Message-ID: <000001c4e6ea$c8dc6800$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Oh no they do not. Recall Primeminister Ashcroft and the Patriot Act I and II. Check closely, if you have not read it.Tedious but scary. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen Litterst Sent: Monday, December 20, 2004 11:57 AM To: Stagecraft Subject: Re: "at LEAST an ATF permit" For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Paul Schreiner wrote > --------------------------------------------------- > Does this mean that if someone in the guv'mint finds out that I've been > hoarding dryer lint since around 1998 (y'know, never getting around to > taking it out to the trashplus, it's so warm and fuzzy!), and I don't > have an ATF permit for it, that I'm in deeper doo-doo than I am already? Relax, Paul. The guv'mint still needs a warrant to search your belly-button. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12a.5306cc91.2ef8bd59 [at] aol.com> Date: Mon, 20 Dec 2004 18:42:17 EST Subject: Re: mic stories In a message dated 20/12/04 19:47:24 GMT Standard Time, dbasMcCracken [at] hawaii.rr.com writes: > > With all these mic-left-on stories, why does the sound tech > > leave the fader up? In this case, wouldn't it have been > > faster and easier to mute the input channel than to send some > > guy to pound on the door? > > There's more going on here than simply a mic being left on by > > the performer. It was the custom, back in the sixties when I was doing my TV engineering training, that each course made a short TV programme, using the students as all the staff. Cameramen, boom operator, sound mixer, lighting operator, and so on. The students were very mixed, and some were going on to be transmitter engineers, which is very different. One of these was acting as a cameraman, and I was chosen as the director. He persistently refused to provide the shots for which I was asking, and I confided my opinion of him to the control room, in no uncertain terms. What I had forgotten was that the director's mic is permanently live to the talkback, which goes to all the crew, including the cameras. He was very distant to me for the remaining week of the course! For anybody who remembers it, it was DE13. Irrelevant reminiscences. The technology was all valves (tubes) in those days, and, of course, black and white. The stability of the equipment was not all that it might be, and total re-alignment was normal, on a daily basis. In those days, engineers really worked. Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20041220161511.02974c78 [at] localhost> Date: Mon, 20 Dec 2004 16:18:12 -0800 From: Jerry Durand Subject: Re: Fire in Tucson Convention Center Arena In-Reply-To: References: At 05:24 AM 12/19/2004, you wrote: > >Also remember that current federal regulations (Safe Explosive Act) say you > >have to have at LEAST an ATF permit to have "anything that can be made to > >explode". > >Does that mean that craft services has to actually provide cow squeezin's >for coffee unless they have said permit? Well, the current injunction against FireFox (pyro supplies distributor) faults them for selling things like sulfur and other perfectly legal chemicals because these COULD be used to make illegal explosives. So you decide what "can be made to explode" means. ---------- 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: In-Reply-To: From: "Matthew Breton" Subject: Re: "at LEAST an ATF permit" Date: Mon, 20 Dec 2004 23:36:58 -0500 >The list of things that could be made explosive is rather long, so >long that I wonder if having "at LEAST an ATF permit to have >'anything that can be made to explode'" is really what the Safe >Explosive Act requires. Might the actually wording be a bit >different? I am inclined to believe that the paper the Safe Explosive Act is written on could, albeit with a little chemical assistance, be made to explode. What do others make of that? :P -- Matt ======= _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! hthttp://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Message-ID: <002e01c4e738$fd0710a0$0800000a [at] Tony> From: "Tony" Cc: dbasMcCracken [at] hawaii.rr.com References: Subject: FS - S4 19 deg lens tubes Date: Tue, 21 Dec 2004 08:42:17 -0000 I'll be changing out 4 of my Source 4 profiles from 19 to 26 degree tubes in the next week or two - as I have no other S4's in stock and those I have form my main FoH front line, I won't be needing those I'm taking off. So, before I stick them on Ebay, is there anyone (UK based) that would be interested in a purchase? Offers via e-mail would be preferred, though interest on-list would be OK. Cheers Ynot ------------------------------ End of Stagecraft Digest #234 *****************************