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

Stagecraft Digest, Issue #251

 1. Re: "delicacy"??? of  Socapex
    by "Jason" <OneOccy [at] hotmail.com>
 2. Re: Theatre renovation/equipment
    by "Jason" <OneOccy [at] hotmail.com>
 3. Re: Theatre renovation/equipment
    by "Scheu Consulting Services" <peter [at] scheuconsulting.com>
 4. Re: 12' dia platform
    by Greg Bierly <gbierly [at] dejazzd.com>
 5. Re: dedicated elec's vs. multi-drop
    by Steven Hood <hoodnik77 [at] yahoo.com>
 6. Re: dedicated elec's vs. multi-drop
    by Stephen Litterst <slitterst [at] ithaca.edu>
 7. Re: "delicacy"??? of  Socapex
    by "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
 8. Re: Theatre renovation/equipment
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
 9. Re: dedicated elec's vs. multi-drop
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
10. Re: "delicacy"??? of  Socapex
    by Greg Persinger <gregpersin [at] comcast.net>
11. Theatre renovation/equipment
    by b Ricie <b_ricie [at] yahoo.com>
12. Re: Theatre Renovation/Equipment
    by "Shawn Nolan" <ShawnN [at] entertainmentstructures.com>
13. Chandelier Flying (was Theatre renovation/equipment)
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
14. Re: Theatre renovation/equipment
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
15. Re: Theatre renovation/equipment
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
16. Re: Theatre renovation/equipment
    by "John Hauer" <johnhauer [at] csus.com>
17. Re: Theatre renovation/equipment
    by "Andrew Vance" <andrewv [at] otcmail.org>
18. 
    by Kelsey Hedrick <hedrick [at] simpson.edu>
19. 6x16 lenses for trade
    by "sboone [at] bgnet.bgsu.edu" <sboone [at] bgnet.bgsu.edu>
20. Re: Theatre renovation/equipment
    by Stephen Litterst <slitterst [at] ithaca.edu>
21. Re: Theatre renovation/equipment
    by Bill Sapsis <bill [at] sapsis-rigging.com>
22. Re: Theatre renovation/equipment
    by FrankWood95 [at] aol.com
23. Re: Sound Board Maintenance
    by FrankWood95 [at] aol.com
24. Re: Theatre renovation/equipment
    by Chris Purpura <chrisp [at] jonesphillips.com>
25. Re: Theatre renovation/equipment
    by FrankWood95 [at] aol.com
26. Re: Theatre renovation/equipment
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
27. Re: 12' dia platform
    by "John Hauer" <johnhauer [at] csus.com>
28. Re: Theatre renovation/equipment
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
29. Re: 12' dia platform
    by Mark O'Brien <marko [at] email.arizona.edu>
30. Re: Theatre renovation/equipment
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
31. Stock circles
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
32. Chocolate (was:Re: Turntables)
    by CB <psyd [at] cox.net>
33. Re: Theatre renovation/equipment
    by "Haagen Trey P Civ 34 TRW/SDAT" <Trey.Haagen [at] usafa.af.mil>
34. Tracking large flats
    by usctd [at] columbia.sc
35. Chocolate (was Re: Theatre renovation/equipment0
    by CB <psyd [at] cox.net>
36. Re: Theatre renovation/equipment
    by CB <psyd [at] cox.net>
37. Re: Theatre renovation/equipment
    by Paul Toben <paul.toben [at] tufts.edu>
38. Re: Tracking large flats
    by Mark O'Brien <marko [at] email.arizona.edu>
39. Payrates for academic TDs
    by "Jonathan Wills" <Jonathan [at] WillsLighting.com>
40. Re: 12' dia platform
    by Steve Larson <tiptd [at] theatreinthepark.com>
41. Sound Board Maintenance
    by CB <psyd [at] cox.net>
42. Re: Theatre renovation/equipment
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
43. Re: Tracking large flats
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
44. Re: Tracking large flats
    by roguerpj [at] mn.rr.com
45. Re: Tracking large flats
    by Bill Sapsis <bill [at] sapsis-rigging.com>
46. Re: Tracking large flats
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
47. Re: Payrates for academic TDs
    by Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
48. Re: Payrates for academic TDs
    by "jknipple" <jknipple [at] howardcc.edu>
49. Re: Theatre renovation/equipment
    by Brendan Quigley <bcquigley [at] earthlink.net>
50. Volunteering in Tucson
    by "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
51. Re: Theatre renovation/equipment
    by "Sarah Clausen" <sclausen [at] etcconnect.com>
52. Theatre to close
    by "Joker7" <crewcall [at] tiscali.it>
53. Re: 12' dia platform
    by FrankWood95 [at] aol.com
54. Re: Theatre renovation/equipment
    by "richard j. archer" <rja10 [at] cornell.edu>
55. Socapex, raceways etc...
    by "Steve B." <sbmtbike [at] optonline.net>
56. Re: Tracking large flats
    by "Jon Lagerquist" <jon [at] lagerquist.com>
57. Re: Theatre renovation/equipment
    by Stuart Wheaton <sdwheaton [at] fuse.net>
58. Re: Theatre renovation/equipment
    by Stuart Wheaton <sdwheaton [at] fuse.net>
59. Re: Theatre renovation/equipment
    by "Steve B." <sbmtbike [at] optonline.net>
60. Re: Volunteering in Tucson
    by "Don Taco" <taco [at] peak.org>
61. Re: Volunteering in Tucson
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
62. Re: Chocolate (was:Re: Turntables)
    by Bill Sapsis <bill [at] sapsis-rigging.com>
63. Re: Turntables and encoders
    by Loren Schreiber <lschreib [at] mail.sdsu.edu>
64. Re: Volunteering in Tucson
    by "Mike Rock" <rockm [at] new.rr.com>
65. Re: Volunteering in Tucson
    by "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
66. Re: Volunteering in Tucson
    by "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
67. Re: "delicacy"??? of  Socapex
    by Dale Farmer <dale [at] cybercom.net>
68. Re: Volunteering in Tucson
    by "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
69. Re: Theatre renovation/equipment
    by Greg Bierly <gbierly [at] dejazzd.com>
70. Re: Volunteering in Tucson
    by Greg Bierly <gbierly [at] dejazzd.com>
71. Re: Volunteering in Tucson
    by "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
72. Re: Volunteering in Tucson
    by Greg Bierly <gbierly [at] dejazzd.com>
73. Re: Volunteering in Tucson
    by "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
74. Re: Volunteering in Tucson
    by MissWisc [at] aol.com

*** 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.

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

Message-ID: <BAY24-DAV9B9CDA3D1BF0EE0DD97CABD930 [at] phx.gbl>
From: "Jason" <OneOccy [at] hotmail.com>
References: <list-12538792 [at] prxy.net>
Subject: Re: "delicacy"??? of  Socapex
Date: Thu, 6 Jan 2005 05:13:52 -0800

Make that any professional touring show.



> Huh??? Socapex delicate?
>
> Jonathan this connector is the mainstay of the rock and roll touring
> industry. They are only delicate if you buy the cheap knockoffs of the 
> real
> thing.
>
> In my 12 years of experience I have found the original Socapex  brand with
> the solder connections to be the best. I came to this conclusion after
> watching all sorts of connectors get bashed about doing arena tours.
>
> Tell your friends and maybe they will have better luck.
>
>
> Greg Persinger
> Vivid Illumination
>
> Greg [at] Vividillumination.com
>
>
> 

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

Message-ID: <BAY24-DAV16E4264CB34C365446DD10BD930 [at] phx.gbl>
From: "Jason" <OneOccy [at] hotmail.com>
References: <list-12531882 [at] prxy.net>
Subject: Re: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 05:18:54 -0800



Your making a big mistake going with the old times drop boxes.


----- Original Message ----- 
From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
>
> Without firsthand experience, I have heard from a number of people that 
> the
> added expense and "delicacy" of the Socapex -- particularly if a lot of
> people are handling them, frequently outweigh the virtues.  We're going 
> with
> drop boxes in our new facility.
>
> Jonathan Deull
> Edmund Burke School
>
>
>
> 

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Subject: RE: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 08:48:57 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAA0kA2l+kcukqTofQ3/qhA/wEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-12619703 [at] prxy.net>

Rob Johnson wrote:

> If the city is still unsure how to go about it the best thing they =
could
do is hire
> a Theatre consultant. It would put the design of the space in the =
hands of
someone
> who was on the side of the city not on the side of the architect.

While trying hard not to sound like I'm blowing my own horn here, this =
is a
critical decision. And without setting off another "rant and rave" =
thread
about consultants, someone has to act as an "advocate" for the Owner's =
needs
on a project with many non-theatre players. One that can translate those
needs into terms that an Architect and/or General Contractor can =
understand
(namely detailed drawings and specifications).

Missing from the list of questions are critical things like: Where =
should
our steel be located? What are the loads involved? What sizes on =
conduits do
we need to run? How much power do we need? Can we afford all this? Is it
what we need to do the kind of shows we do, or want to do?

THEN you have to translate all that information into a form that =
non-theatre
people can understand while keeping the integrity of the designs intact. =
And
any GOOD consultant should ALWAYS work for the Owner no matter who signs
their check. The GREAT ones work for everybody.

Stepping off the soapbox now. Thank for the bandwidth.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966


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

In-Reply-To: <list-12556061 [at] prxy.net>
References: <list-12542209 [at] prxy.net> <list-12556061 [at] prxy.net>
Message-Id: <F1EA28F0-5FE9-11D9-A8FE-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: 12' dia platform
Date: Thu, 6 Jan 2005 08:50:37 -0500

> sometimes 12' is an arbitrary number that can be changed to 11'3".   
> Just make sure you check with the designer before changing things....
>
As it was in this case.  Just got back from my meeting and the 11'3" 
circles were approved.  The designer is an elementary art teacher that 
may as well design on napkins.  He has a wonderful vision but no 
concept of structure, mechanics, or physics for that matter.  Many 
times his designs required those fabled "skyhooks" (have any in stock 
yet Uncle Bill) or a supplier for 3/4" ply that bends to a 6' radius in 
two directions (on a modest budget).  Hey, he keeps my job interesting.

Greg Bierly
Technical Director
Hempfield HS


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

Message-ID: <20050106140803.13441.qmail [at] web20823.mail.yahoo.com>
Date: Thu, 6 Jan 2005 06:08:03 -0800 (PST)
From: Steven Hood <hoodnik77 [at] yahoo.com>
Subject: Re: dedicated elec's vs. multi-drop
In-Reply-To: <list-12619703 [at] prxy.net>

We have the single electric and multi drop system here
at Regent, and the guys like it, since they can spread
the power out for the TV folks that come in to shoot
videos of concerts on our stage from time to time. The
thing that gets me is this: I like ebing able to have
side tabs running parallel to center-line to mask off
troublesome areas or be able to hide the wings if I
have to leave more space than decent between leg sets
for whatever reason. I haven't seena facility that has
side tabs that uses the multi-drop set-up, and I'm
assuming it because no one's figured out how to make
the two sets of cable drops wrap around each other in
any satisfactory way... Anyone seen it work anywhere?

Steven R. Hood
TD/PM/etc.
Regent Uni


		
__________________________________ 
Do you Yahoo!? 
Take Yahoo! Mail with you! Get it on your mobile phone. 
http://mobile.yahoo.com/maildemo 

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

Date: Thu, 06 Jan 2005 09:23:34 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: dedicated elec's vs. multi-drop
Message-id: <41DD49E6.D6AB299E [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-12629546 [at] prxy.net>

Steven Hood wrote:
> ---------------------------------------------------
> thing that gets me is this: I like ebing able to have
> side tabs running parallel to center-line to mask off
> troublesome areas or be able to hide the wings if I
> have to leave more space than decent between leg sets
> for whatever reason. I haven't seena facility that has
> side tabs that uses the multi-drop set-up, and I'm
> assuming it because no one's figured out how to make
> the two sets of cable drops wrap around each other in
> any satisfactory way... Anyone seen it work anywhere?

The Jepson Theatre at the U of Richmond has a pretty good setup.  The
multi drops come from the grid at the end of the batten, both SR and
SL.  Side tabs can be rigged off-stage from the battens pretty easily
and/or from the mid-rail.

Steve Litterst


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

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

From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
Subject: RE: "delicacy"??? of  Socapex
Date: Thu, 6 Jan 2005 09:56:09 -0500
In-reply-to: <list-12626771 [at] prxy.net>
Message-ID: <auto-000012633380 [at] prxy.net>


> Huh??? Socapex delicate?

Ok, delicate is the wrong word and I am properly rebuked.  Just to clarify
-- I definitely understand the value and utility of Socapex.  The advice I
was getting was that in our fixed high school installation, where our crews
are students, a complex connector such as a Socapex is another point of
potential failure and misuse that will eventually require maintenance and
replacement.  Having 20' of cable hard wired with a drop box is a less
elegant, but possibly simpler, and definitely less expensive solution for us
where we don't need to move things around every day.

Jonathan Deull
Edmund Burke School



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

Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D383 [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 10:02:12 -0500 

Can't agree with you more!!!!!!!!

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Scheu Consulting Services [mailto:peter [at] scheuconsulting.com] 
Sent: Thursday, January 06, 2005 8:49 AM
To: Stagecraft
Subject: Re: Theatre renovation/equipment

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

someone has to act as an "advocate" for the Owner's needs
on a project with many non-theatre players. One that can translate those
needs into terms that an Architect and/or General Contractor can understand
(namely detailed drawings and specifications).

Missing from the list of questions are critical things like: Where should
our steel be located? What are the loads involved? What sizes on conduits do
we need to run? How much power do we need? Can we afford all this? Is it
what we need to do the kind of shows we do, or want to do?

THEN you have to translate all that information into a form that non-theatre
people can understand while keeping the integrity of the designs intact. And
any GOOD consultant should ALWAYS work for the Owner no matter who signs
their check. The GREAT ones work for everybody.

Stepping off the soapbox now. Thank for the bandwidth.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966

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

Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D398 [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: dedicated elec's vs. multi-drop
Date: Thu, 6 Jan 2005 10:04:47 -0500 

I have double side tabs in one of my theaters.  No problems.  Some times
lighting uses on and I put side tabs on the other.  A traveler track on the
side tabs works nicely, also.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Steven Hood [mailto:hoodnik77 [at] yahoo.com] 
Sent: Thursday, January 06, 2005 9:08 AM
To: Stagecraft
Subject: Re: dedicated elec's vs. multi-drop

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

We have the single electric and multi drop system here
at Regent, and the guys like it, since they can spread
the power out for the TV folks that come in to shoot
videos of concerts on our stage from time to time. The
thing that gets me is this: I like ebing able to have
side tabs running parallel to center-line to mask off
troublesome areas or be able to hide the wings if I
have to leave more space than decent between leg sets
for whatever reason. I haven't seena facility that has
side tabs that uses the multi-drop set-up, and I'm
assuming it because no one's figured out how to make
the two sets of cable drops wrap around each other in
any satisfactory way... Anyone seen it work anywhere?

Steven R. Hood
TD/PM/etc.
Regent Uni


		
__________________________________ 
Do you Yahoo!? 
Take Yahoo! Mail with you! Get it on your mobile phone. 
http://mobile.yahoo.com/maildemo 

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

Date: Thu, 06 Jan 2005 09:17:04 -0600
Subject: Re: "delicacy"??? of  Socapex
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE02B290.8FC0%gregpersin [at] comcast.net>
In-Reply-To: <list-12626771 [at] prxy.net>

Jason Wrote:

> Make that any professional touring show.

Sorry,  I thought that went without mention. My reasoning for using rock and
roll is that it loads in and out everyday, typically 5 days a week, and gets
much harder use there than in a theater or traveling  Broadway show that
loads in and out once every two weeks.

Jonathan Deull wrote:

> The advice I 
>was getting was that in our fixed high school installation, where our crews
> are students, a complex connector such as a Socapex is another point of
> potential failure and misuse that will eventually require maintenance and
> replacement.  Having 20' of cable hard wired with a drop box is a less
> elegant, but possibly simpler, and definitely less expensive solution for us
> where we don't need to move things around every day.

Jonathan I agree that another connection of any type adds another point of
failure. With a hard wired box if you have a failure you are stuck with it
until you can get it rewired, with a Soco box you just drop another one in
and repair the bad unit.

All systems have their pros and cons. You have to decide what is best for
you.

Happy Lighting!


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



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

Message-ID: <20050106161842.72604.qmail [at] web50601.mail.yahoo.com>
Date: Thu, 6 Jan 2005 08:18:42 -0800 (PST)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: Theatre renovation/equipment
In-Reply-To: <list-12619703 [at] prxy.net>


Drop boxes, drop boxes, drop boxes!!! Be sure to
include the appropriate rigging to trim the cable
nicely out of the way. Not only do drop boxes give you
the flexibility of putting electrics where you need
them, but they also keep all that cable overhead when
using booms on stage. I would much rather take a few
more minutes to hang an electric than bump scenery
over a cable chase on the floor. Not sure, but I would
guess that dancers are not a fan of cable on the floor
as well.

=====
Brian Rice 
b_ricie [at] yahoo.com


		
__________________________________ 
Do you Yahoo!? 
Meet the all-new My Yahoo! - Try it today! 
http://my.yahoo.com 
 


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

From: "Shawn Nolan" <ShawnN [at] entertainmentstructures.com>
Subject: Re: Theatre Renovation/Equipment
Date: Thu, 6 Jan 2005 11:43:45 -0500
Message-Id: <20050106164522.BF59916C101 [at] mailout-1.isoc.net>

I don't think I've heard anyone mention the need to determine the 
structural capacity of the building before installing all of these
lovely new line sets.  This may or may not be obvious to the
architects involved but, they should definitely get some input
on the loads they will be dealing with.  If the structure can't
hold the anticipated load, it could mean big bucks to renovate
it so that it is capable of holding something like 1200 to 1500
pounds per set at 8" on center.  The architects may be good at
general programming but, in most cases, they really don't know
what to spec as far as loading requirements for a stagehouse.
We have seen a number of projects come through our parent company
(mostly things like 600 seat auditoriums in new high schools)
where the structural spec for the stagehouse loading made no
sense at all.

So, be sure that someone tells them what the anticipated loads
could be.  And, be sure that they are aware that a structural
engineer will need to check existing structure, if that will be
the case in the flyhouse.

My two cents worth!
Shawn

 
Shawn Nolan, P.E.
Entertainment Structures Group
A Division of Steven Schaefer Associates
10411 Medallion Drive, Suite 121
Cincinnati, OH  45241
(513) 699-2571 direct line
(513) 542-3300 main line
(513) 542-5540 fax
(513) 706-3125 mobile
Shawn.Nolan [at] EntertainmentStructures.com
 
Check out our new website!
www.EntertainmentStructures.com <http://www.entertainmentstructures.com/>  
 



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

Message-Id: <6.1.2.0.0.20050106114807.10117918 [at] mail.insightbb.com>
Date: Thu, 06 Jan 2005 11:49:44 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Chandelier Flying (was Theatre renovation/equipment)
In-Reply-To: <list-12538848 [at] prxy.net>
References: <list-12538848 [at] prxy.net>

We had a similar problem for a recent production of "My Fair Lady".  We 
flew the chandelier sideways into the wings.

Mike

At 05:25 PM 1/5/2005, Waxler, Steve (waxlers) wrote:
>boxes works very well.  In an up coming show we have a chandelier that needs
>to fly out right under the electrics. Since there is no raceway we can


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

Message-Id: <6.1.2.0.0.20050106120018.1013f190 [at] mail.insightbb.com>
Date: Thu, 06 Jan 2005 12:02:30 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Theatre renovation/equipment
In-Reply-To: <list-12642513 [at] prxy.net>
References: <list-12619703 [at] prxy.net>
 <list-12642513 [at] prxy.net>

That leads to a logical next question: if you have a space that is designed 
with drop boxes in mind, can you eliminate the side floor pockets and add 
those circuits to the drop boxes?

I have an opinion on this question, but I want to hear what you all think.

Mike

At 11:18 AM 1/6/2005, b Ricie wrote:

>the flexibility of putting electrics where you need
>them, but they also keep all that cable overhead when
>using booms on stage. I would much rather take a few
>more minutes to hang an electric than bump scenery
>over a cable chase on the floor. Not sure, but I would


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

Subject: RE: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 12:08:11 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C683 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> That leads to a logical next question: if you have a space=20
> that is designed=20
> with drop boxes in mind, can you eliminate the side floor=20
> pockets and add=20
> those circuits to the drop boxes?

In a perfect world, I'd have both.  There have been numerous times where
I've had to put audience on stage, and it'd be butt-ugly to have drop
boxes coming all the way down to the floor for those occasions...

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

Message-id: <fc.000f5b5a01337535000f5b5a01337535.13375cc [at] csus.com>
Date: Thu, 06 Jan 2005 09:42:59 -0800
Subject: Re: Theatre renovation/equipment
Cc: tiptd [at] theatreinthepark.com
From: "John Hauer" <johnhauer [at] csus.com>

Hi Steve,

I am a facilities manager/TD. I suggest you get them to hire a consultant
for this process.  Then you can tell the consultant what you really want
and get his/her input in a report. The key is the institution needs to
feel the fee - commitment - so they respect the input. As a hired
employee, your opinion is discounted (almost ever time) by the human
nature of defending space and institutional politics.

The last consultant I hired was electrical. The consulting fee seemed
expensive because I knew more about what we needed than they did. But,
when the time came to increase the budget to accomplish what was required
to do the job correctly, the process was very smooth. I  briefly gave my
opinion -- referring to the design plans and the consultant's report. Then
I let the business manager make the right decision.

Yes, I am available -- as are many others on this list.

John Hauer

>Date: Wed, 05 Jan 2005 15:09:58 -0500
>Subject: Re: Theatre renovation/equipment
>From: Steve Larson <tiptd [at] theatreinthepark.com>
>Message-ID: <BE01B3C6.2CAA%tiptd [at] theatreinthepark.com>
>In-Reply-To: <list-12521003 [at] prxy.net>
>
>
>My intention is to get input on what you folks
>are buying, selling, installing, and using. 
 


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

Message-ID: <04d801c4f417$41563390$0500000a [at] anneb>
From: "Andrew Vance" <andrewv [at] otcmail.org>
References: <list-12642513 [at] prxy.net>
Subject: Re: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 11:43:38 -0600

> Not sure, but I would
> guess that dancers are not a fan of cable on the floor
> as well.

I know my dancers aren't big fans of cable runs on the floor.  Something =
about being carried blind offstage and having to maneuver around the =
cable runs that tends to get to them.

--

Sincerely,

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



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

Date: Thu, 6 Jan 2005 12:04:53 -0600
From: Kelsey Hedrick <hedrick [at] simpson.edu>
Subject: 
Message-ID: <41C73F38 [at] Red2>

I would like to unsubscribe please.

Carpe the Diem!!! Seize the Carp!!


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

Date: Thu,  6 Jan 2005 13:02:05 -0500
From: "sboone [at] bgnet.bgsu.edu" <sboone [at] bgnet.bgsu.edu>
Message-Id: <1105034525-2250.023.639-smmsdV2.1.2 [at] smtp.bgsu.edu>
Subject: 6x16 lenses for trade
In-Reply-To: <list-12619703 [at] prxy.net>

Hi all,
Anybody have any 6x9 or 6x12 lenses that they would be interested in trading for some 
6x16s?  We have about 12 to 18 instruments (a mixed bag of Strand models 2216 and 1916) 
that I'd like to convert.
Feel free to reply off-list.

Thanks,
Steve Boone
Bowling Green State Univ.
Bowling Green, OH  
USA



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

Date: Thu, 06 Jan 2005 13:10:18 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Theatre renovation/equipment
Message-id: <41DD7F0A.EA192B2D [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-12619703 [at] prxy.net> <list-12642513 [at] prxy.net>
 <list-12647041 [at] prxy.net>

Mike Brubaker wrote:
> ---------------------------------------------------
> That leads to a logical next question: if you have a space that is designed
> with drop boxes in mind, can you eliminate the side floor pockets and add
> those circuits to the drop boxes?

I've had enough experiences with scenery "islands" (you can see L,R
and above the scenery)that needed electricity that I'd be inclined to
always want floor and wall pockets.  

Steve Litterst

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

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

Date: Thu, 06 Jan 2005 13:24:48 -0500
Subject: Re: Theatre renovation/equipment
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE02EC9F.2B98%bill [at] sapsis-rigging.com>
In-Reply-To: <list-12654010 [at] prxy.net>

on 1/6/05 1:10 PM, Stephen Litterst at slitterst [at] ithaca.edu wrote:

> I've had enough experiences with scenery "islands" (you can see L,R
> and above the scenery)that needed electricity that I'd be inclined to
> always want floor and wall pockets.


Back pockets work well for me.  And those nice little zippered ones on the
sides?  They work great too.

Oh.  Wait.  You're not talking about those kinds of pockets.

Nevermind


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

We stand behind, and under, our work.


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

From: FrankWood95 [at] aol.com
Message-ID: <ba.68acd1c9.2f0edf5c [at] aol.com>
Date: Thu, 6 Jan 2005 13:37:16 EST
Subject: Re: Theatre renovation/equipment

In a message dated 06/01/05 01:20:23 GMT Standard Time, 
stagecraft2004 [at] mckernon.com writes:

> Assuming you have plenty of circuits, few things are simpler than hanging a
>  multicable drop box on a pipe, thereby turning it into an electric.

I feel transatlantic confusion striking again.

To start with, I have an idea that we mean different things by "circuit". 
This side of the pond, its normal meaning is the connection between a dimmer and 
the outlet(s) that it feeds. Each circuit is controlled by one channel on the 
board.

Then, there's the "multicable drop box". I assume, perhaps wrongly, that it's 
something like the output end of a Socapex cable, but where is the input from 
the dimmers to be found? Multiple outlets in the flies, or a Socapex; either 
way we come back to huge redundancy in the wiring. Plus the need for 
meticulous documentation. I don't think it's as easy as you make out.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <13e.a10051e.2f0ee46f [at] aol.com>
Date: Thu, 6 Jan 2005 13:58:55 EST
Subject: Re: Sound Board Maintenance

In a message dated 06/01/05 08:14:03 GMT Standard Time, tlipcon [at] mercea.net 
writes:

> > I'm sending my mixer in for service tomorrow in order to address some 
>  > small issues (a couple of bad channels, intermittent meter ghosting, 
>  > etc.) What else should I ask the shop to do as long as they have my 
>  > chassis open?  It's a Mackie SR40.8, about five years old.

I assume that, apart from fixing the faults you have signalled, they will do 
a complete engineering test on all the channels. Frequency response, 
signal-to-noise ratio, distortion, functionality (do ALL the knobs and buttons do what 
they are meant to), phantom powering. There may be internal controls as well, 
which should be adjusted if needed. At the end, it ought to be as good as new.

Given that you have a few problems, they really ought, having fixed them, to 
see if any more are likely to arise. While most components have an indefinite 
life, this does not apply to electrolytic capacitors, whether Aluminium or 
Tantalum. A close visual inspection for defective solder joints might be in 
order, if one is found to be the source of your problems.

Service at this level won't be cheap, but it will be rewarding. It needs 
expensive test gear, and real engineers.



Frank Wood

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

Message-ID: <41DD8D78.8030104 [at] jonesphillips.com>
Date: Thu, 06 Jan 2005 14:11:52 -0500
From: Chris Purpura <chrisp [at] jonesphillips.com>
Subject: Re: Theatre renovation/equipment
References: <list-12619703 [at] prxy.net> <list-12642513 [at] prxy.net> <list-12647041 [at] prxy.net>

And I take the bait.....

Just to warn everyone, Brubaker and I have been arguing this topic for 
weeks now.

I will admit, using drop boxes are advantageous in several situations. 
But, there still are times when having floor pockets (i.e. pieces of 
scenery, certain stage configurations, and some practical lighting) are 
beneficial. I think the function and purpose of the space should be 
considered before eliminating all floor pockets.

A combination would be nice, but then the VE monster comes.

Chris

Mike Brubaker wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> That leads to a logical next question: if you have a space that is 
> designed with drop boxes in mind, can you eliminate the side floor 
> pockets and add those circuits to the drop boxes?
>
> I have an opinion on this question, but I want to hear what you all 
> think.
>
> Mike
>
> At 11:18 AM 1/6/2005, b Ricie wrote: 

-- 
---
Jones & Phillips Associates, Inc.
301 North 5th Street
Lafayette, Indiana 47901

http://www.jonesphillips.com

T: 765-423-1123
F: 765-742-4013




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

From: FrankWood95 [at] aol.com
Message-ID: <1ee.32721e2c.2f0ee7c4 [at] aol.com>
Date: Thu, 6 Jan 2005 14:13:08 EST
Subject: Re: Theatre renovation/equipment

In a message dated 06/01/05 17:03:22 GMT Standard Time, 
mdbrubaker [at] insightbb.com writes:

> That leads to a logical next question: if you have a space that is designed 
>  with drop boxes in mind, can you eliminate the side floor pockets and add 
>  those circuits to the drop boxes?
>  
>  I have an opinion on this question, but I want to hear what you all think.

Probably not. The floor pockets (UK usage is "dips") are invaluable for 
powering practical fittings on stage. They are also handy for 'shinbusters' in 
ballet shows, or for any other low-level luminaires that the design may require.


Frank Wood

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

Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D6C0 [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 14:23:22 -0500 

While you could take a dropped line into the wings and then add some cable
from the wings to that wagon on stage, it is nice to have circuits in the
floor also.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

I've had enough experiences with scenery "islands" (you can see L,R
and above the scenery)that needed electricity that I'd be inclined to
always want floor and wall pockets.  

Steve Litterst

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

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

Message-id: <fc.000f5b5a01337530000f5b5a01337530.13378ce [at] csus.com>
Date: Thu, 06 Jan 2005 11:28:46 -0800
Subject: re: 12' dia platform
Cc: gbierly [at] dejazzd.com
From: "John Hauer" <johnhauer [at] csus.com>

Hello Greg,

Personally, I would not worry too much about the best way to lay out this
circle. You are not going to change your waste ratio much in any
direction. The easiest lay out will show itself to you. The person who
suggested that if you could change the size of the circle was on the best
track to "material efficiency." This comes with the added bonus of seeing
the designer cringe.... 

I enjoy finding better "time efficiency." My technique is to lay out what
ever platforms I have upside down on the floor. I skin the top (what was
the bottom) with a new layer of plywood that covers the seams as needed.
Then I draw the circle and cut it out. Of course, you will need to block
it up for cutting. This is very fast. This technique may change if the
platform needs to do something "strange" or is hard to support.

What I can tell you is that I too inherited a set of 4'x8'/2"x4'
constructed platforms. They worked well for a while. But they last too
long, because they are heavy and are hard to store. So, we soon had a set
of 4'x4' platforms made by cutting the 4x8 in half. Now we hardly use
them. I rarely frame 3/4 ply any longer. So, I would can get the top skin
material by breaking down some more of those old platforms. If you are
lucky, you will soon have a collection of 2x4 lumber and single sheets of
plywood. This will allow you the greatest flexibility in the long run.
Also this is the easiest to replace because you don't have to build new
platforms when your stock runs short.

Some people build 1x folding frames that can hold up sheets of plywood and
can store and move more easily.There is a name for this, but I forget it.
This is preferable to the old 4'x8' method. Sometimes I used 2x4 stud
walls when I need something stronger. These platforms assemble very
quickly.

Good luck,

John Hauer



>Message-Id: <5EF82F34-5F53-11D9-A8FE-000D936BFA94 [at] dejazzd.com>
>From: Greg Bierly <gbierly [at] dejazzd.com>
>Subject: 12' dia platform
>Date: Wed, 5 Jan 2005 14:52:46 -0500
>
>
>Not to reinvent the "wheel"  but what have you found out to be the most 
>efficient method to lay out 4x8 sheet good to make a 12' diameter 
>circle (platform)?  I have inherited 4x8 and 4x4, two by four framed 
>3/4" ply platforms.  Have you found it easier to start from scratch?  
>Any thoughts or suggestions would be appreciated.  (I have 6 to build.) 
>  Thanks
>
>
>Greg Bierly
>Technical Director
>Hempfield HS



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

Message-ID: <41DD911E.2010906 [at] fredonia.edu>
Date: Thu, 06 Jan 2005 14:27:26 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Theatre renovation/equipment
References: <list-12526698 [at] prxy.net>

Hi,
I'd like to second Steve's suggestion.  We made our electrics movable 
about 15 years ago and have never regretted it.  There are five of them 
and all used to be attached to the battens with U-bolts(unrated,of 
course).  I had a mounting device fabricated that worked much better and 
facilitated fast swapping from one pipe to another.  Go for as many 
linesets of COUNTERWEIGHT as you can get.  9" centers are less annoying 
than 6" centers.
HTH,
Steve Rees

Waxler, Steve (waxlers) wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> My inclination is to go with NO designated electrics. Or just the #1.  That
> way any thing can be an electric and anything can be for whatever else you
> want.  
> 
> Steve Waxler
> [snip]


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

In-Reply-To: <list-12661593 [at] prxy.net>
References: <list-12661593 [at] prxy.net>
Message-Id: <6B6656B4-601A-11D9-9755-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: 12' dia platform
Date: Thu, 6 Jan 2005 12:37:37 -0700




On Jan 6, 2005, at 12:28 PM, John Hauer wrote:

> The person who
> suggested that if you could change the size of the circle was on the 
> best
> track to "material efficiency." This comes with the added bonus of 
> seeing
> the designer cringe....


IF the designer has a valid reason for the platform to be 12' as 
opposed to 11-3, I think that the platform shall be 12'.

Most times, that 11-3, would be just fine, and the designer will work 
that in.   We like those designers.

However, once in a while a designer will want 12' because they want 
12'.  "No reason, I just want 12', build it 12', along with my 4'3" 
wide flats, and 7-1/4" rise stairs"  These would be the designers 
labeled as difficult, and shortly thereafter, unemployed designers. And 
yes, we enjoy making this type of designer cringe.


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


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

Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D6E8 [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 14:38:16 -0500 

I do like the 6" centers.  You just have to convince all (and I mean all) of
the designers that you cannot hang anything but drops on adjacent pipes.  It
does give you the flexibility of putting things where you want them.  And
yes, we do end up hanging things too close together sometimes but that could
happen with 9" centers also and you can always breast the lines where
needed.  The one thing I don't do is kick sheaves because they never get put
back where they originally were.  

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Stephen E. Rees [mailto:Rees [at] fredonia.edu] 
Sent: Thursday, January 06, 2005 2:27 PM
To: Stagecraft
Subject: Re: Theatre renovation/equipment

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

Hi,
I'd like to second Steve's suggestion.  We made our electrics movable 
about 15 years ago and have never regretted it.  There are five of them 
and all used to be attached to the battens with U-bolts(unrated,of 
course).  I had a mounting device fabricated that worked much better and 
facilitated fast swapping from one pipe to another.  Go for as many 
linesets of COUNTERWEIGHT as you can get.  9" centers are less annoying 
than 6" centers.
HTH,
Steve Rees

Waxler, Steve (waxlers) wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> My inclination is to go with NO designated electrics. Or just the #1.
That
> way any thing can be an electric and anything can be for whatever else you
> want.  
> 
> Steve Waxler
> [snip]

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

Date: Thu, 06 Jan 2005 14:43:51 -0500
Subject: Stock circles
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <BE02FF27.17E%jdougher [at] middlebury.edu>

For a variety of reasons, we have the bits to make stock circles in 8', 12',
16', 18', and 20'.  The 12'is made with 2  [at]  4'x8' as a center, with two
8'x2' edge pieces and four 2'x4'-6"ish bits to make up the other edges.  You
can build the two pieces that make up the longer section out of one 2'x8'
piece of ply as well by flipping and offsetting the shapes, so there isn't
really that much waste.

If anyone's interested or taking a survey, e-mail me privately and I'll send
a diagram of the layouts we chose since verbal descriptions aren't my
strongest suit.   

-  Jim Dougherty 
ATD, Middlebury College Theatre Dept.


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

Message-Id: <3.0.6.32.20050106130908.00c6acc0 [at] pop.west.cox.net>
Date: Thu, 06 Jan 2005 13:09:08
From: CB <psyd [at] cox.net>
Subject: Chocolate (was:Re: Turntables)

>I'll do just about anything for chocolate.

Its people like you that keep me bringing the never ending supply DSL.  All
the actors and crew that have worked with me are familiar with "Stage Left
Snacks".  I've never had an unco-operative actor yet...
				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: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 13:11:29 -0700
Message-ID: <67CADCB91D266042A8DAB3B981DCFD1404130D [at] AFAMAIL2.USAFA.afspc.ds.af.mil>
From: "Haagen Trey P Civ 34 TRW/SDAT" <Trey.Haagen [at] usafa.af.mil>

Two years ago, I had our 10 floor pockets replaced.  In addition to the
three each 2P&G I had a non board duplex included in each one.  This has
saved numerous AC cords being draped over the stage for one thing or
another.

Another subject.  Does the Guillotine in The Scarlet Pimpernel have to
be practical?  Within reason. ( Hhmmmm.  They are actors )  Or, do I
need to find plans for an illusion?


Trey Haagen
Arnold Hall Theatre
USAF Academy

In a message dated 06/01/05 17:03:22 GMT Standard Time,=20
mdbrubaker [at] insightbb.com writes:

> That leads to a logical next question: if you have a space that is=20
> designed
>  with drop boxes in mind, can you eliminate the side floor pockets and
add=20
>  those circuits to the drop boxes?
> =20
>=20
P

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

Message-ID: <2849.129.252.241.105.1105042619.squirrel [at] webmail.columbia.sc>
Date: Thu, 6 Jan 2005 15:16:59 -0500 (EST)
Subject: Tracking large flats
From: usctd [at] columbia.sc

I can't decide!

I have to make 2 -18' high x 18'6" wide soft covered panels that will be
pulled back and forth by actors to vary the stage opening.  I will be
making them from 1" steel in 9 foot wide panels, covering with duv and
then bolting them together in the space once vertical.

The top of the panels connecting to the track is easy, no problem.  I will
also be tying off the track so there can be no horizontal/USDS movement 
The part I can't decide is what to do at the bottom.  Do I need a track to
keep the bottom in line?  Should I put wheels at the bottom to make it
smoother?  Would a break in the 1/4" flooring provide enough of a track
for small casters?  Actors will be crossing the plane so safety is an
issue.

Thoughts?
-- 
Eric Rouse
TD-University of SC, Columbia
Freelance Foyboy



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

Message-Id: <3.0.6.32.20050106131545.00c6acc0 [at] pop.west.cox.net>
Date: Thu, 06 Jan 2005 13:15:45
From: CB <psyd [at] cox.net>
Subject: Chocolate (was Re: Theatre renovation/equipment0

>I have this image of Uncle Bill, jumping up and down, , waving his hands in 
>the air like a 6th grader.

Me too!  Somehow I think that it may be accurate.

>Have you no dignity! 

None that he's exhibited on this list so far, but dignity can easily be
replaced by chocolate...
				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: <3.0.6.32.20050106132223.00c6acc0 [at] pop.west.cox.net>
Date: Thu, 06 Jan 2005 13:22:23
From: CB <psyd [at] cox.net>
Subject: Re: Theatre renovation/equipment

>> What's their budget? $20,000? $200,000? $2,000,000? $20,000,000?
>> 
>Don't know. 

This is basic.  If there is no idea of a budget, I'll tell them that I get
to charge them for the second proposal.  And the first proposal will be for
the biggest fastest strongest prettiest top-o-the-line most expensive and
shiny gear I can spec.  We tend to come up with a budget fairly quickly
after that.  I did, however, have one client that just looked at the f1rst
and said, "Fine."  Best sounding strip club in Tucson.
				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...

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

In-Reply-To: <list-12619703 [at] prxy.net>
References: <list-12619703 [at] prxy.net>
Message-Id: <C918825C-6020-11D9-9B57-000393A57E1A [at] tufts.edu>
From: Paul Toben <paul.toben [at] tufts.edu>
Subject: Re: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 12:23:11 -0800


On Jan 6, 2005, at 3:00 AM, Steve Larson  wrote:
> Subject: Theatre renovation/equipment
>
> How many instruments in the house stock?

Do a quick estimation of a rep plot (or buy a six-pack and have a 
lighting designer friend do one).  Something simple like two frontlight 
washes, two colors of sidelight from each side, two colors of 
backlight, three colors on the cyc (heck, make it six colors--three top 
and three bottom), shins for dance, a texture wash or two, and some 
instruments you can use as specials (maybe 5 or 10 or something).  Then 
add more of the stuff you think you'll use lots of.  You can never have 
too many ellipsoidals.

Don't forget followspots . . . even this just means buying the 
appropriate accessories for converting a Source 4.

> What brand?
> Source 4 or Shakespeare?

Gotta be ETC Source 4s.  Except for . . .

> Fresnel or Parnel?

. . . Fresnels.  But then again, if you want to stick with one 
manufacturer you could probably do the entire plot with Source 4s and 
Source 4 PARs.  Including the cyc with their new strips.  The response 
to the Parnels seems mixed.  I'd tend to stay away from them.

> How many circuits?  How many receptacles per circuit?

Like everyone says, ask for three racks worth, which would be 288 
circuits.  Expect that you'll only get two racks.  I like spaces that 
have the floor-pocket circuits doubled on the back wall or the torm, 
and it's okay to double circuits that are in weird locations (like the 
followspot booth, the control booth, etc.), but other than that I think 
that everything should be single-run.

I like drop-boxes or multi runs for circuits over the stage.  Raceways 
are probably okay for the FOH positions.  One thing I do like if 
they're gonna give you raceways is when the raceways have cable tails 
on them instead of flush-mount sockets.  In one theater that I work in 
often, it is sometimes possible to circuit the FOH catwalks without a 
single piece of extra cable because every circuit has a five-foot tail.

> How many dimmers?  what brand?

Ask for 288, expect 192.  If they want to cut you from 288, first ask 
them to install three dimmer racks and only buy 125 modules.  At least 
this way the venue can just buy more dimmer modules to "fill out" the 
rack.  The rack itself and the power for the new modules will already 
be there.

Do not let them short-change you on the stuff that is hard to add 
later.  Extra circuits and more power are easy to run before the 
drywall goes up, and much harder to run at a later date.  Popping a new 
module in the rack is something any of us can do.

> Computer light board - what brand?

ETC or Strand . . . at the end of the day they are both fine for this 
kind of work.  DO NOT let your ETC rep try to sell you Emphasis.  The 
inexperienced community groups that will be using the space will have 
no idea how to draft their plots in WYSIWYG, and they won't care.  
Emphasis is a waste of money for this kind of venue.

> How many sets of legs and teasers?

However many the riggers have said . . . but I'd say buy an extra set 
(of legs, at least) 'cause they'll probably see some wear.


I hope that helps . . . back to work now . . .
~Paul


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

In-Reply-To: <list-12665868 [at] prxy.net>
References: <list-12665868 [at] prxy.net>
Message-Id: <4FE32FFE-6021-11D9-9755-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Tracking large flats
Date: Thu, 6 Jan 2005 13:26:57 -0700

I have made a bunch of "pizza cutters"  that mount to the bottom of the 
flats, and they ride in a 1/4" groove in the floor.  They are 4" 
wheels, spring loaded to push them into the tracks. This way, if  (yeah 
right, IF!) the floor is irregular, or not parallel to the tracks, no 
jamming happens.

Sometimes I use them, sometimes not.. The last show I raised the tracks 
to move the panels, then overhauled the set in slightly to park them.

We found them essential for using winches to move the panels. as air 
currents sometimes would cause adjacent panels to drift into each 
other.  Big big crash,  not good.

If you need more info, contact me off list.


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


On Jan 6, 2005, at 1:16 PM, usctd [at] columbia.sc wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I can't decide!
>
> I have to make 2 -18' high x 18'6" wide soft covered panels that will 
> be
> pulled back and forth by actors to vary the stage opening.  I will be
> making them from 1" steel in 9 foot wide panels, covering with duv and
> then bolting them together in the space once vertical.
>
> The top of the panels connecting to the track is easy, no problem.  I 
> will
> also be tying off the track so there can be no horizontal/USDS movement
> The part I can't decide is what to do at the bottom.  Do I need a 
> track to
> keep the bottom in line?  Should I put wheels at the bottom to make it
> smoother?  Would a break in the 1/4" flooring provide enough of a track
> for small casters?  Actors will be crossing the plane so safety is an
> issue.
>
> Thoughts?
> -- 
> Eric Rouse
> TD-University of SC, Columbia
> Freelance Foyboy
>
>


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

Reply-To: <Jonathan [at] WillsLighting.com>
From: "Jonathan Wills" <Jonathan [at] WillsLighting.com>
Subject: Payrates for academic TDs
Date: Thu, 6 Jan 2005 15:34:11 -0500
Organization: Wills Lighting & Stage
Message-ID: <0MKyxe-1CmeKh0Fli-00076r [at] mrelay.perfora.net>

Hello all,

I am wondering if someone has a =93guide=94 slash reference to what TDs =
in
College and Universities make. I am leaving the college I am at at the =
end
of this academic year and the department chair is trying to get a pay
increase for the position. I am looking for some reference outside of =
Labor
and Statistics. Or if you are in academia and would like to email, off =
list
of course, me a range of what you are paid that would be beneficial. =
They
are looking for something to help fight for the pay increase.

Thank you,

Jonathan Wills


--=20
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.6.8 - Release Date: 1/3/2005
=20


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

Date: Thu, 06 Jan 2005 15:33:11 -0500
Subject: Re: 12' dia platform
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE030AB7.2D4C%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-12661593 [at] prxy.net>

I believe what you are referring to are parallels.  Not
used as much as they were years ago.

Steve

on 1/6/05 2:28 PM, John Hauer at johnhauer [at] csus.com wrote:
> Some people build 1x folding frames that can hold up sheets of plywood and
> can store and move more easily.There is a name for this, but I forget it.
> This is preferable to the old 4'x8' method. Sometimes I used 2x4 stud
> walls when I need something stronger. These platforms assemble very
> quickly.
> 
> Good luck,
> 
> John Hauer


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

Message-Id: <3.0.6.32.20050106134240.00c6acc0 [at] pop.west.cox.net>
Date: Thu, 06 Jan 2005 13:42:40
From: CB <psyd [at] cox.net>
Subject: Sound Board Maintenance

>What else should I ask the shop to do as long as they have my =
>chassis open?  It's a Mackie SR40.8, about five years old.

Set it afire?  OK, ok, all kidding aside, they'll probably do it.  Greg's
kids USED to be really good about PM and repair.  I dunno what he's got
left stateside since manufacturing started going to China, but if its
anything like it used to be, they'll open it all up and clean it alll out
and update the pcb's where required.  Tell them that you're willing to pay
to have it get special attention in all these areas.  You'll probably be
told that it'll happen at no charge.   This is when you offer them beer.

				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: <886EF25AF8BEF64EB89A820EF84064FF0B52D7EB [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 15:52:22 -0500 

The one I have (from the National Tour) is practical.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Haagen Trey P Civ 34 TRW/SDAT [mailto:Trey.Haagen [at] usafa.af.mil] 
Sent: Thursday, January 06, 2005 3:11 PM
To: Stagecraft
Subject: Re: Theatre renovation/equipment

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

Two years ago, I had our 10 floor pockets replaced.  In addition to the
three each 2P&G I had a non board duplex included in each one.  This has
saved numerous AC cords being draped over the stage for one thing or
another.

Another subject.  Does the Guillotine in The Scarlet Pimpernel have to
be practical?  Within reason. ( Hhmmmm.  They are actors )  Or, do I
need to find plans for an illusion?


Trey Haagen
Arnold Hall Theatre
USAF Academy

In a message dated 06/01/05 17:03:22 GMT Standard Time, 
mdbrubaker [at] insightbb.com writes:

> That leads to a logical next question: if you have a space that is 
> designed
>  with drop boxes in mind, can you eliminate the side floor pockets and
add 
>  those circuits to the drop boxes?
>  
> 
P

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

Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0B52D7F2 [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Tracking large flats
Date: Thu, 6 Jan 2005 15:53:53 -0500 

The last time we did that we did not use a floor track and it worked very
well

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: usctd [at] columbia.sc [mailto:usctd [at] columbia.sc] 
Sent: Thursday, January 06, 2005 3:17 PM
To: Stagecraft
Subject: Tracking large flats

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

I can't decide!

I have to make 2 -18' high x 18'6" wide soft covered panels that will be
pulled back and forth by actors to vary the stage opening.  I will be
making them from 1" steel in 9 foot wide panels, covering with duv and
then bolting them together in the space once vertical.

The top of the panels connecting to the track is easy, no problem.  I will
also be tying off the track so there can be no horizontal/USDS movement 
The part I can't decide is what to do at the bottom.  Do I need a track to
keep the bottom in line?  Should I put wheels at the bottom to make it
smoother?  Would a break in the 1/4" flooring provide enough of a track
for small casters?  Actors will be crossing the plane so safety is an
issue.

Thoughts?
-- 
Eric Rouse
TD-University of SC, Columbia
Freelance Foyboy


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

From: roguerpj [at] mn.rr.com
Subject: Re: Tracking large flats
Date: Thu, 06 Jan 2005 14:55:08 -0600
Message-ID: <tk8rt05d0768at8k8aqi7c87me7f1t8apl [at] 4ax.com>
References: <list-12665868 [at] prxy.net>
In-Reply-To: <list-12665868 [at] prxy.net>

On Thu, 06 Jan 2005 15:16:59 -0500 (EST), you wrote:

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>I can't decide!
>
>snip...
>
>The top of the panels connecting to the track is easy, no problem.  I =
will
>also be tying off the track so there can be no horizontal/USDS movement=20

Don't forget the sl to sr movement as panels move on and off. At that
height you will get a lot of sway.

>The part I can't decide is what to do at the bottom.  Do I need a track =
to
>keep the bottom in line? =20

You will get a lot of up stage to down stage movement at the bottom.
Can the actors keep them in line enough to avoid running in to things
like the proscenium?

>Should I put wheels at the bottom to make it smoother?=20

I have never found that to be much help. All the weight is on the
carries at the top and most floors are uneven enough that as some
point the wheels just don't touch

> Would a break in the 1/4" flooring provide enough of a track for small =
casters?  Actors will be crossing the plane so safety is an
>issue.

Again the is going to be some up and down movement so for this to work
you need a guide to be able to stay in the tracking channel. If you
can keep any variance in the channel to just a 1/4 through the length
of flat movement then you are set. If not I would rig some spring
mechanism to keep the guide down in the channel Also I would try to
get a little more height our to the flooring by increasing the
thickness. More like a 1/2 inch or 3/4 if possible.

If you do this with a pin that floats then you may be able to get away
with 1/4 depth. This will also keep the bottom of the flat in line
with the top.

Rob Johnson

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

Date: Thu, 06 Jan 2005 16:13:42 -0500
Subject: Re: Tracking large flats
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE031435.2BC8%bill [at] sapsis-rigging.com>
In-Reply-To: <list-12665868 [at] prxy.net>

on 1/6/05 3:16 PM, usctd [at] columbia.sc at usctd [at] columbia.sc wrote:

> I have to make 2 -18' high x 18'6" wide soft covered panels that will be
> pulled back and forth by actors to vary the stage opening.  I will be
> making them from 1" steel in 9 foot wide panels, covering with duv and
> then bolting them together in the space once vertical.
> 
> The top of the panels connecting to the track is easy, no problem.  I will
> also be tying off the track so there can be no horizontal/USDS movement
> The part I can't decide is what to do at the bottom.  Do I need a track to
> keep the bottom in line?  Should I put wheels at the bottom to make it
> smoother?  Would a break in the 1/4" flooring provide enough of a track
> for small casters?  Actors will be crossing the plane so safety is an


Eric.  I don't know if you need to track the bottom or not, because there
are a lot of variables involved with answering that question.  I do know,
however, that tying off the track will not eliminate sway in the panels.
the carriers will rock in the track significantly, especially with a 18'
tall lever hanging from them.

I just had a conversation with another list member and he is working on a
possible solution to that very problem. Not sure if he wanted to or was
ready to share at this point.  but I'm sure he will when he's sure about the
effect.

Be well


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: <886EF25AF8BEF64EB89A820EF84064FF0B52D894 [at] UCMAIL4>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Tracking large flats
Date: Thu, 6 Jan 2005 16:52:21 -0500 

Eric, 
Of course I wouldn't contradict Bill, but our panels were 6'x18' and the
cast moved them at warp speeds at times and they behaved very well.  The
carriers were attached directly to the top of the panels and the track was
attached directly to the bottom of some shop built truss.  The pipes were
tied off right and left (with a little diagonal up-down stage) and those
puppies just behaved as nicely as you could imagine.  I think having the
truss attached to the pipe so that there was little bounce helped.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

Eric.  I don't know if you need to track the bottom or not, because there
are a lot of variables involved with answering that question.  I do know,
however, that tying off the track will not eliminate sway in the panels.
the carriers will rock in the track significantly, especially with a 18'
tall lever hanging from them.



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

We stand behind, and under, our work.

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

In-Reply-To: <list-12667688 [at] prxy.net>
Subject: Re: Payrates for academic TDs
Message-ID: <OFFDC2C013.C87BA177-ON85256F81.007A283F-85256F81.007A4D67 [at] uncg.edu>
From: Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
Date: Thu, 6 Jan 2005 17:15:52 -0500

Are we talking about a 12 month appointment?  An 9/10 month academic 
appointment?

Teaching responsibilities?  What I guess what I mean is it faculty or 
staff? 

Does it require an MFA or a BFA?


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

336-334-3891

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

Subject: RE: Payrates for academic TDs
Date: Thu, 6 Jan 2005 17:23:13 -0500
Message-ID: <AA692554B034A84D977E17CD1E1C1569014CBE97 [at] ex2000.hccnet.howardcc.edu>
From: "jknipple" <jknipple [at] howardcc.edu>

I forgot to mention I get benefits and 20 days vacation as well. It's a
12 month appointment. We run a summer camp when school's out.=20

The teaching is technically as an adjunct faculty. It doesn't require a
BFA or MFA (I only have a BA). I'm probably leaving at the end of this
year, so when they look for a replacement, they're probably going to
want an MFA.

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

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
Christopher Haas CEHAAS
Sent: Thursday, January 06, 2005 5:16 PM
To: Stagecraft
Subject: Re: Payrates for academic TDs

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

Are we talking about a 12 month appointment?  An 9/10 month academic=20
appointment?

Teaching responsibilities?  What I guess what I mean is it faculty or=20
staff?=20

Does it require an MFA or a BFA?


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

336-334-3891


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

In-Reply-To: <list-12619703 [at] prxy.net>
References: <list-12619703 [at] prxy.net>
Message-Id: <36041E62-6032-11D9-B505-003065555B26 [at] earthlink.net>
From: Brendan Quigley <bcquigley [at] earthlink.net>
Subject: Re: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 16:27:55 -0600

Jonathan S. Deull joyfully penned:

> Without firsthand experience, I have heard from a number of people 
> that the
> added expense and "delicacy" of the Socapex -- particularly if a lot of
> people are handling them, frequently outweigh the virtues.  We're 
> going with
> drop boxes in our new facility.

Deilcacy???

Socapex Connectors?

You sure you're talking about the same ones the rest of us use?  With 
the advent of new, single piece shells, I haven't broken a Socapex 
connector since my days with KISS in '86.

IMHO, they're pretty bulletproof.  And I'm betting on it for this next 
tour I'm about to leave on ...

Kind Regards,

Brendan C. Quigley	
Vari*Lite Technician/Electrician
WICKED - A New Broadway Musical


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

From: "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
Subject: Volunteering in Tucson
Date: Thu, 6 Jan 2005 15:33:18 -0700
Message-ID: <001a01c4f43f$bb8be100$6401a8c0 [at] ronnie>

Hello,
=A0
I am a high school student who has been interested in the technical =
aspects
of theatre for years. =A0I recently got the pleasure of working on =
Arizona
Onstage!=92s production of Ruthless! The Musical, but my dedication to =
that
production is going to be fulfilled at the end of the month.=A0 I want =
to try
to work in as many different environments as possible before I graduate =
and
enter the crucial time in my life when I must choose what I think I want =
to
do for the rest of my life.
=A0
On to my point. =A0I need to get some volunteer/community services hours =
to
fulfill my National Honors Society Requirements.=A0 I would be very =
pleased if
I could get the hours I need while also getting experience. If any of =
you
happen to be in the Tucson, Arizona area and know of some community or
professional theatre companies that I could volunteer at please tell me.
=A0
Thank you,
=A0
Ronnie Thevenot
rkt [at] ronniethevenot.com




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

Subject: RE: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 16:37:29 -0600
Message-ID: <0B70E9798A3B4E4080E46327FA359F2194BC4E [at] MIDL-MAILV.etcconnect.com>
From: "Sarah Clausen" <sclausen [at] etcconnect.com>

Correct me if I'm wrong (and I know you will) - but I've always been
careful with Soca connectors due to the threads on the connector, not
due to the actual wire terminations. Too many drops on a concrete floor
and getting the Soca to actually connect to the receptacle can become a
problem. An unskilled crew might do this kind of damage, then again if
the cable is stored correctly, or most often connected to a distro box,
it may not be a problem.

If one is designing an _installed_ dimming and distribution system these
days, I would also vote for well placed and well thought out drop boxes
(with enough circuits on each and enough multicable on them to allow for
flexible placement along the battens - I hate it when they drop in and
stop 8 feet from the floor...) Beyond a #1 Electric position, electrics
battens are never in the right place for all the types of events going
into a multi-purpose space...

My $0.02...

Sarah

Sarah Clausen
Product Manager
Electronic Theatre Controls, Inc.

*Unless otherwise stated, my opinions are my own and not those of my
employer.

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Brendan
Quigley
Sent: Thursday, January 06, 2005 4:28 PM
To: Stagecraft
Subject: Re: Theatre renovation/equipment


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

Jonathan S. Deull joyfully penned:

> Without firsthand experience, I have heard from a number of people
> that the
> added expense and "delicacy" of the Socapex -- particularly if a lot
of
> people are handling them, frequently outweigh the virtues.  We're=20
> going with
> drop boxes in our new facility.

Deilcacy???

Socapex Connectors?

You sure you're talking about the same ones the rest of us use?  With=20
the advent of new, single piece shells, I haven't broken a Socapex=20
connector since my days with KISS in '86.

IMHO, they're pretty bulletproof.  And I'm betting on it for this next=20
tour I'm about to leave on ...

Kind Regards,

Brendan C. Quigley=09
Vari*Lite Technician/Electrician
WICKED - A New Broadway Musical


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

Message-ID: <001301c4f440$b7b87560$0100a8c0 [at] tricia>
From: "Joker7" <crewcall [at] tiscali.it>
References: <list-12677815 [at] prxy.net>
Subject: Theatre to close
Date: Thu, 6 Jan 2005 22:40:27 -0000

Hi,

The local council are to close our lovely old theatre in sweeping budget
cut.
Please visit http://teaup.port5.com and vote in our poll and leave any
comment you may have in our guestbook.

If you have worked\visited at The Palace Theatre Westcliff we would love to
hear from you.

Regards
Chris


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

From: FrankWood95 [at] aol.com
Message-ID: <1fb.2c09cbe.2f0f18cd [at] aol.com>
Date: Thu, 6 Jan 2005 17:42:21 EST
Subject: Re: 12' dia platform

In a message dated 06/01/05 19:38:17 GMT Standard Time, 
marko [at] email.arizona.edu writes:

> However, once in a while a designer will want 12' because they want 
>  12'.  "No reason, I just want 12', build it 12', along with my 4'3" 
>  wide flats, and 7-1/4" rise stairs"  These would be the designers 
>  labeled as difficult, and shortly thereafter, unemployed designers. And 
>  yes, we enjoy making this type of designer cringe.

I agree. On the other side of the coin, I remember a designer whose set 
included two short helical stairs. His drawings included the cutting drawings for 
getting them out of 8' x 4' sheet material. This is a man who knows his trade. 
I wish there were more of them.


Frank Wood

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

Message-Id: <p05210600be036fce9348 [at] [132.236.252.58]>
In-Reply-To: <list-12662770 [at] prxy.net>
References: <list-12662770 [at] prxy.net>
Date: Thu, 6 Jan 2005 17:50:05 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Re: Theatre renovation/equipment

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>I do like the 6" centers.  You just have to convince all (and I mean all) of
>the designers that you cannot hang anything but drops on adjacent pipes.
>
>Steve Waxler
>Technical Director
>College Conservatory of Music
>University of Cincinnati

Ditto:  Our lines are on 6" centers (also at 6", 1"-0" 1'-6" ...etc 
from the plaster line----it saves thinking ). Designers are always 
filling adjacent lines with stuff that has thickness.   Didn't they 
ever hear of clearance?.  Lighting designers too, and then there are 
those on stage speakers sound guys love.  Of course, we've got to see 
and hear but....

Dick A
TD Cornell Univ

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

Date: Thu, 06 Jan 2005 18:07:21 -0500
From: "Steve B." <sbmtbike [at] optonline.net>
Subject: Socapex, raceways etc...
Message-id: <005701c4f444$7a10c790$6401a8c0 [at] SBFF>
References: <list-12619703 [at] prxy.net> <list-12642513 [at] prxy.net>
 <list-12647041 [at] prxy.net>


----- Original Message ----- 
From: "Mike Brubaker" <mdbrubaker [at] insightbb.com>
> That leads to a logical next question: if you have a space that is 
> designed with drop boxes in mind, can you eliminate the side floor pockets 
> and add those circuits to the drop boxes?

I wouldn't.  It's a real pain to coordinate the cable runs from the grid to 
the deck, so as to avoid conflicts with everything that moves - wagons, 
camels, dancers, camels dancing, whatever.  Much easier to have dedicated 
deck circuits, or as we did (soon) floor pockets, 1 per wing with all FP 
circuits repeating (or not if you have rack real estate) on the wall 
corners, in case the FP's get covered.

FWIW, I'm a big fan of 6 circuit multi's with Socapex.

Our just completed renovation gave me 8 such on my US/DS full span ladders 
plus my cyc lights.  It wasn't that much more to do Socapex as opposed to 
drop boxes (in the overall context of the entire renovation budget), plus 
they're lighter, can fit thru the gridiron (in our house) where drop boxes 
would not.  That makes it a whole lot easier to relocate.  They are also 
compatable with everything in the industry, so you can feed circuits readily 
to outside users using Soca circuiting, and they're easy to change to fan 
vs. staggered drops, and/or add 25 or 50 ft. extensions as needed.

I do have 4 dedicated electric raceways though (road house even).  Mostly as 
we use our rep hang over and over and over.  With such a tight space, it's 
far easier to get the multi pickup rigging done once correctly, then having 
to deal with it on every event.  Not as flexible for sure, but a lot faster 
to hang, swap units, etc...

I cannot over-emphasize our tough it can be to coordinate the placement of 
grid junction boxes, placement of pick points, location of where multicables 
route thru the grid to J boxes, etc...  If it's a big fly space/stage with 
lots of wing space then maybe not as much an issue as you have room to move. 
My space is very tight, thus I'm glad for dedicated electrics with multi 
pickups that are correctly placed.

Steve Bailey
Brooklyn College







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

From: "Jon Lagerquist" <jon [at] lagerquist.com>
Date: Thu, 06 Jan 2005 15:27:14 -0800
Subject: Re: Tracking large flats
Reply-to: jon [at] lagerquist.com
Message-ID: <41DD58D2.5409.9C7BDC3 [at] localhost>
In-reply-to: <list-12665868 [at] prxy.net>

It sounds like you have a good plan. My take on this would be to not 
install a bottom guide, but have some bolt holes pre drilled to bolt 
on a couple of floating blades ("what good luck that those holes are 
already drilled there"). To keep a blade down in a 1/4" deep slot you 
will need a spring or a heavy blade. A deeper slot may let the blade 
be secured, which accommodates the stuff that accumulates in the 
track.

I expect that the offstage edges of these are always offstage, so you 
might be able to place a set of guides or rollers that traps the 
offstage end, or if the rest of the show allows, guides it into a 
slot.

Jon Lagerquist
Technical Director  [at]  South Coast Repertory
Costa Mesa, CA


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

Message-ID: <41DDCFC6.6080609 [at] fuse.net>
Date: Thu, 06 Jan 2005 18:54:46 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Theatre renovation/equipment
References: <list-12642513 [at] prxy.net> <list-12651425 [at] prxy.net>
In-Reply-To: <list-12651425 [at] prxy.net>

Andrew Vance wrote:


> 
> I know my dancers aren't big fans of cable runs on the floor.  Something about being carried blind offstage and having to maneuver around the cable runs that tends to get to them.


I've thought about how nice a trench or two running 
upstage/dnstage in the wings would be.  Make removeable lids 
with custom fillers or hinged lids a foot or two long, and 
get the cable out right where you need it.

Stuart


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

Message-ID: <41DDD5D7.2020605 [at] fuse.net>
Date: Thu, 06 Jan 2005 19:20:39 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Theatre renovation/equipment
References: <list-12656688 [at] prxy.net>
In-Reply-To: <list-12656688 [at] prxy.net>

FrankWood95 [at] aol.com wrote:


> To start with, I have an idea that we mean different things by "circuit". 
> This side of the pond, its normal meaning is the connection between a dimmer and 
> the outlet(s) that it feeds. Each circuit is controlled by one channel on the 
> board.

The outlet is generally referred to as the 'circuit' and 
each has a number to help identify it.

> 
> Then, there's the "multicable drop box". I assume, perhaps wrongly, that it's 
> something like the output end of a Socapex cable, but where is the input from 
> the dimmers to be found?

Drop boxes....

First, mostly used in proscenium theatres, so they might not 
work for you.  That does not mean they are a bad idea.

The dimmer outputs are fed from the dimmer through conduits 
to the grid.  at the grid, they are fed to a large 
multicable, that leads from the grid to the stage floor, and 
part way across the width of a pipe. (flybar)  At the end of 
the cable, there is a steel box about a foot long and 6 
inches square that clamps to the flybar and has outlets or 
pigtails for 4-12 outlets.  Each outlet is numbered to 
correspond to the dimmer that feeds it, (or it's place in 
the patchbay.)

The boxes can be lifted to the grid and dropped over any 
pipe, thus letting every pipe be used for lights and 
allowing the electrician to put lots of outlets on heavy 
pipes and just a few circuits on a pipe with only a few 
lanterns.  The extra cable swags are picked up and tied off 
with a spot line.

> Multiple outlets in the flies, or a Socapex; either 
> way we come back to huge redundancy in the wiring. Plus the need for 
> meticulous documentation.

Less redundancy, since the right number of circuits can be 
dropped where needed, there is less going unused.  Going to 
socapex, means placing soca outlets around the facility and 
on the fly floors or the mid gallery.  There are no unused 
cables dangling in the way. When you need circuits, you plug 
in, and note the numbers on your plot.
The paperwork is only slightly more complex than tracking 
the circuiting in any other show.

> I don't think it's as easy as you make out.
> 

I've done it, it is.

Stuart



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

Date: Thu, 06 Jan 2005 20:23:33 -0500
From: "Steve B." <sbmtbike [at] optonline.net>
Subject: Re: Theatre renovation/equipment
Message-id: <005f01c4f457$80e91eb0$6401a8c0 [at] SBFF>
References: <list-12642513 [at] prxy.net> <list-12651425 [at] prxy.net>
 <list-12683886 [at] prxy.net>


----- Original Message ----- 
From: "Stuart Wheaton" <sdwheaton [at] fuse.net>
>
> I've thought about how nice a trench or two running upstage/dnstage in the 
> wings would be.  Make removeable lids with custom fillers or hinged lids a 
> foot or two long, and get the cable out right where you need it.

We thought of going this route during our design phase, the idea being skip 
the floor pockets and just run cables into the slotted cover on a trough 
running to a DS or US wall box, but could not come up with something that 
was practical (large enough for 12 cables or so) AND sturdy enough to handle 
the weight of riser dollys, wagons, etc... It was going to be a totally 
custom job and not cheap.  Floor pockets in each wing where we "normally" 
place our shins/booms PLUS the repeating wall boxes will cover nearly all 
requirements.  Yes we tape cable to the floor, but have gotten practiced at 
laying it flat enough to alleviate most complaints about tripping.  No 
perfect solution for all scenarios though.

Ditto someone's suggestion to put in line voltage receptacles on the deck, 
at least.  We installed 12 - 20 amp DMX relay circuits on the deck, with 6 
as 75ft. cables as dual duplex plus a pigtail 2P&G ea.  They turned out to 
be a VERY good idea as they get used all the time.

Steve B.
Brooklyn College




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

Message-ID: <035001c4f45d$36c543d0$e28aaa43 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-12677538 [at] prxy.net>
Subject: Re: Volunteering in Tucson
Date: Thu, 6 Jan 2005 18:04:25 -0800

   I hear the distant sigh of 1000+ listmembers muttering, 'Dangit, I wish 
he lived in (insert your town name here).'


>On to my point. I need to get some volunteer/community services hours to
>fulfill my National Honors Society Requirements. I would be very pleased if
>I could get the hours I need while also getting experience. If any of you
>happen to be in the Tucson, Arizona area and know of some community or
>professional theatre companies that I could volunteer at please tell me.
>
>Thank you,    Ronnie Thevenot





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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Volunteering in Tucson
Date: Thu, 6 Jan 2005 21:06:06 -0500
Message-ID: <000001c4f45d$794be790$6401a8c0 [at] Dell>
In-Reply-To: <list-12699240 [at] prxy.net>


>    I hear the distant sigh of 1000+ listmembers muttering, 
> 'Dangit, I wish 
> he lived in (insert your town name here).'

Heck, I'd pay his airfare to New York.



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

Date: Thu, 06 Jan 2005 21:13:37 -0500
Subject: Re: Chocolate (was:Re: Turntables)
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE035A81.2BF0%bill [at] sapsis-rigging.com>
In-Reply-To: <list-12665476 [at] prxy.net>

on 1/6/05 1:09 PM, CB at psyd [at] cox.net wrote:

> Its people like you that keep me bringing the never ending supply DSL.  All
> the actors and crew that have worked with me are familiar with "Stage Left
> Snacks".  I've never had an unco-operative actor yet...


I spoke at a small conference recently.  30 - 40 very nice people.  Third
night into it they had Thai food catered in.  But no desert.  Don't know
'bout yoy but I can't eat Thai without some chocolate afterward.  So, a
quick run to the local Walgreen and I bought 'em out of their Hersheys
stuff.  Didn't last but 15 minutes after I got back.

If you're gonna go all the way, ya gotta go all the way....ya know?

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: <6.1.1.1.2.20050106182028.034f2860 [at] mail.sdsu.edu>
Date: Thu, 06 Jan 2005 18:21:28 -0800
From: Loren Schreiber <lschreib [at] mail.sdsu.edu>
Subject: Re: Turntables and encoders
In-Reply-To: <list-12619703 [at] prxy.net>
References: <list-12619703 [at] prxy.net>


>Even if you use a different type of PLC than I do, I
>would like to see what you've done.
>
>Thanks!
>
>Chuck


Show me yours and I'll show you mine!




Loren Schreiber, Director of Technology and Production
School of Theatre, Television and Film, San Diego State University




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

Message-ID: <000b01c4f461$01356ca0$80fea8c0 [at] Fred>
From: "Mike Rock" <rockm [at] new.rr.com>
Cc: stagecraft [at] jeffsalzberg.com
References: <list-12699522 [at] prxy.net>
Subject: Re: Volunteering in Tucson
Date: Thu, 6 Jan 2005 20:31:33 -0600

> >    I hear the distant sigh of 1000+ listmembers muttering, 
> > 'Dangit, I wish 
> > he lived in (insert your town name here).'
> 
> Heck, I'd pay his airfare to New York.
> 
How about a place to stay? 

Mike 


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

From: "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
Subject: RE: Volunteering in Tucson
Date: Thu, 6 Jan 2005 19:49:31 -0700
Message-ID: <000b01c4f463$86964070$6401a8c0 [at] ronnie>
In-Reply-To: <list-12699522 [at] prxy.net>

Ah, really?  :) Too bad there are too many commitments I am obliged to here
in Tucson, such as work and school.  Although, I do have a four day weekend
in February.

Thanks for your very unexpected compliment.

Ronnie Thevenot

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey E.
Salzberg
Sent: Thursday, January 06, 2005 7:06 PM
To: Stagecraft
Subject: Re: Volunteering in Tucson

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


>    I hear the distant sigh of 1000+ listmembers muttering, 
> 'Dangit, I wish 
> he lived in (insert your town name here).'

Heck, I'd pay his airfare to New York.





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

From: "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
Subject: Re: Volunteering in Tucson
Date: Thu, 6 Jan 2005 19:51:12 -0700
Message-ID: <000c01c4f463$c29c4f60$6401a8c0 [at] ronnie>

Trust me, I wish I lived in a place where there were more opportunities =
for
me to do things like this were readily available, but I guess the =
challenge
make it more exciting.  I have really enjoyed doing the work I have been
doing both at my school and, recently out of my school.

Ronnie Thevenot


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Don =
Taco
Sent: Thursday, January 06, 2005 7:04 PM
To: Stagecraft
Subject: Re: Volunteering in Tucson

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

   I hear the distant sigh of 1000+ listmembers muttering, 'Dangit, I =
wish=20
he lived in (insert your town name here).'


>On to my point. I need to get some volunteer/community services hours =
to
>fulfill my National Honors Society Requirements. I would be very =
pleased if
>I could get the hours I need while also getting experience. If any of =
you
>happen to be in the Tucson, Arizona area and know of some community or
>professional theatre companies that I could volunteer at please tell =
me.
>
>Thank you,    Ronnie Thevenot







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

Message-ID: <41DE04E6.6F6EDAC1 [at] cybercom.net>
Date: Thu, 06 Jan 2005 22:41:26 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: "delicacy"??? of  Socapex
References: <list-12633382 [at] prxy.net>



"Jonathan S. Deull" wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> > Huh??? Socapex delicate?
>
> Ok, delicate is the wrong word and I am properly rebuked.  Just to clarify
> -- I definitely understand the value and utility of Socapex.  The advice I
> was getting was that in our fixed high school installation, where our crews
> are students, a complex connector such as a Socapex is another point of
> potential failure and misuse that will eventually require maintenance and
> replacement.  Having 20' of cable hard wired with a drop box is a less
> elegant, but possibly simpler, and definitely less expensive solution for us
> where we don't need to move things around every day.
>
> Jonathan Deull
> Edmund Burke School

    If it is something that is going to be connected and left connected forever.

( for reasonable values of forever. ) then a hardwired connection is the way
to go.  You lose the cost of the connectors, which is non-trivial, and the
labor cost of wiring up the connectors.   Perhaps a few words about your
specific application may let us help you better.
    Socapex connectors can fail, and eventually will if they don't get a little
attention avery so often. The most common failure is the strain relief lets
loose of the jacket.  The usual cause of this is the person left too much
slack on the leads inside, and then has to force the jacket in so the
strain relief can grip it, or the screws on the strain relief loosen up over
time and are not retorqued when needed.
    The other less common failure is the slip ring on the rotating screw
sleeve.  When the connector has gotten a lot of wear on it, this ring
will allow the connector to just fall apart, usually when you get some
gorilla using a wrench to tighten the connector together.
    I've also seen them not get fully seated and this leads to arcing
and high resistance heating in the connector under use.  This will
eventually kill the connector, and if not detected soon enough, the
damaged connector will infect the rest of the connectors in the
same way.  This is, as they say, a bad thing.

    --Dale



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

From: "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
Subject: Re: Volunteering in Tucson
Date: Thu, 6 Jan 2005 21:08:49 -0700
Message-ID: <000b01c4f46e$9aeba190$6401a8c0 [at] ronnie>

If that could happen what reason would there be for me to refuse?

Too bad I'm not that lucky.

Ronnie Thevenot
rkt [at] ronniethevenot.com 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mike Rock
Sent: Thursday, January 06, 2005 7:32 PM
To: Stagecraft
Cc: stagecraft [at] jeffsalzberg.com
Subject: Re: Volunteering in Tucson

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

> >    I hear the distant sigh of 1000+ listmembers muttering, 
> > 'Dangit, I wish 
> > he lived in (insert your town name here).'
> 
> Heck, I'd pay his airfare to New York.
> 
How about a place to stay? 

Mike 




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

In-Reply-To: <list-12683886 [at] prxy.net>
References: <list-12642513 [at] prxy.net> <list-12651425 [at] prxy.net> <list-12683886 [at] prxy.net>
Message-Id: <C4A993CE-6063-11D9-A8FE-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Theatre renovation/equipment
Date: Thu, 6 Jan 2005 23:22:40 -0500

> I've thought about how nice a trench or two running upstage/dnstage in 
> the wings would be.  Make removeable lids with custom fillers or 
> hinged lids a foot or two long, and get the cable out right where you 
> need it.

The local Taj Mahal/2000 seat church put in crawl height tunnels up and 
down stage with connecting tunnels cross stage all leading back to the 
monitor mix position so they don't need to run sub snakes across the 
deck.  At their open house they still wound up taping down a few runs 
due to time constraints (and laziness).  It is amazing what a LOT of 
money will buy.

Greg Bierly
Technical Director
Hempfield HS


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

In-Reply-To: <list-12677538 [at] prxy.net>
References: <list-12677538 [at] prxy.net>
Message-Id: <70975F26-6065-11D9-A8FE-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Volunteering in Tucson
Date: Thu, 6 Jan 2005 23:34:38 -0500

> I want to try to work in as many different environments as possible 
> before I graduate and
> enter the crucial time in my life when I must choose what I think I 
> want to do for the rest of my life.

Sorry I don't have any work leads for you.  I did notice the above 
sentence and wanted to make a comment.  I did theatre as a hobby all 
through high school and college.  At some point in college I started 
making money at it while getting a broadcast degree.  I agree that you 
are on the right track with trying to work in as many "environments" as 
possible.  I don't think it is ever too late to change directions.

I am not criticizing, I just remember myself saying similar things and 
quitting a theatre job because I was graduating from college and 
thought I would have to move on and get a full time job in 
broadcasting.  Three months later I was making a living as a freelance 
theatre tech and would never have dreamed of  being where I am 13 years 
later.  Always keep your options open (like I think you are doing)  
Good luck and hope someone finds some fun work for you.

Greg Bierly
Technical Director
Hempfield HS


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

From: "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
Subject: RE: Volunteering in Tucson
Date: Thu, 6 Jan 2005 21:46:23 -0700
Message-ID: <000001c4f473$d70c2410$6401a8c0 [at] ronnie>
In-Reply-To: <list-12721058 [at] prxy.net>


I meant primarily theatre places because I want to get a good feel of =
the
field before I decide if I want to choose that as a career as opposed to
something such as an engineering major.  I recently applied for a =
position I
planned to volunteer for and am getting paid for it, which is really
awesome. I am enjoying the opportunity of working with new people (I do =
not
like the way my Theatre teacher treats students, it is through a system =
of
negative reinforcement and he often blames his shortcomings on others.) =
He
always tells us that is how "real-world" theatre is so I want to find =
out if
it is really like that before I choose to do that as a large portion of =
my
life. I love the work, but it is not worth being taken for granted and
getting yelled at for, especially for his mistakes. I was actually =
talking
to my Mom early about conservatories and opposed to universities.

Ronnie Thevenot
rkt [at] ronniethevenot.com <mailto:rkt [at] ronniethevenot.com>=20


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg =
Bierly
Sent: Thursday, January 06, 2005 9:35 PM
To: Stagecraft
Subject: Re: Volunteering in Tucson

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

> I want to try to work in as many different environments as possible=20
> before I graduate and
> enter the crucial time in my life when I must choose what I think I=20
> want to do for the rest of my life.

Sorry I don't have any work leads for you.  I did notice the above=20
sentence and wanted to make a comment.  I did theatre as a hobby all=20
through high school and college.  At some point in college I started=20
making money at it while getting a broadcast degree.  I agree that you=20
are on the right track with trying to work in as many "environments" as=20
possible.  I don't think it is ever too late to change directions.

I am not criticizing, I just remember myself saying similar things and=20
quitting a theatre job because I was graduating from college and=20
thought I would have to move on and get a full time job in=20
broadcasting.  Three months later I was making a living as a freelance=20
theatre tech and would never have dreamed of  being where I am 13 years=20
later.  Always keep your options open (like I think you are doing) =20
Good luck and hope someone finds some fun work for you.

Greg Bierly
Technical Director
Hempfield HS




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

In-Reply-To: <list-12722658 [at] prxy.net>
References: <list-12722658 [at] prxy.net>
Message-Id: <FC70629A-6069-11D9-A8FE-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Volunteering in Tucson
Date: Fri, 7 Jan 2005 00:07:10 -0500

> I meant primarily theatre places because I want to get a good feel of 
> the
> field before I decide if I want to choose that as a career as opposed 
> to
> something such as an engineering major.

Nothing wrong with engineering.  If you can swing it an engineering 
background could come in handy as a theatre person.  It sounds like you 
are approaching this the right way.  I commend you on your good sense.  
It sounds like your Mom might be supportive.  Even better.  I know my 
parents would never have supported me going to school for theatre but 
my Dad did pull me aside after freelancing for a year and told me that 
and that he was very leery I just threw out 5 years of college, but he 
was very proud of me for making a living at it.  I'll never forget how 
good that made me feel.  Good luck.

Greg Bierly
Technical Director
Hempfield HS


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

From: "Ronnie Thevenot" <rkt [at] ronniethevenot.com>
Subject: RE: Volunteering in Tucson
Date: Thu, 6 Jan 2005 22:21:37 -0700
Message-ID: <000001c4f478$c61b5770$6401a8c0 [at] ronnie>
In-Reply-To: <list-12725649 [at] prxy.net>

Thank you,

I am trying to make informed decisions because they may stay with me for =
a
very long time. It is really a blessing to be able to make money doing
something you love, that is why I was so shocked when I heard I was =
getting
paid for the work I am doing on a current show.  My partner and I have =
never
even asked the amount, it didn't even matter to us.  My Mother is =
wonderful
and she will support me in whatever I decide to do, I am truly blessed =
to
have her. I hope everything works out, I am really enjoying this work. I
just signed up for this group and I even enjoy reading the emails, even
though a lot of them do not apply to my current projects I am still =
learning
a lot.

Ronnie Thevenot
rkt [at] ronniethevenot.com <mailto:rkt [at] ronniethevenot.com>=20

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg =
Bierly
Sent: Thursday, January 06, 2005 10:07 PM
To: Stagecraft
Subject: Re: Volunteering in Tucson

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

> I meant primarily theatre places because I want to get a good feel of=20
> the
> field before I decide if I want to choose that as a career as opposed=20
> to
> something such as an engineering major.

Nothing wrong with engineering.  If you can swing it an engineering=20
background could come in handy as a theatre person.  It sounds like you=20
are approaching this the right way.  I commend you on your good sense. =20
It sounds like your Mom might be supportive.  Even better.  I know my=20
parents would never have supported me going to school for theatre but=20
my Dad did pull me aside after freelancing for a year and told me that=20
and that he was very leery I just threw out 5 years of college, but he=20
was very proud of me for making a living at it.  I'll never forget how=20
good that made me feel.  Good luck.

Greg Bierly
Technical Director
Hempfield HS




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

From: MissWisc [at] aol.com
Message-ID: <46.604b61ee.2f0f78e4 [at] aol.com>
Date: Fri, 7 Jan 2005 00:32:20 EST
Subject: Re: Volunteering in Tucson
Cc: rkt [at] ronniethevenot.com

You COULD combine the two, Ronnie! Get a degree as a structural engineer and 
do scenic/rigging/theatrical design and installations. Perhaps combine some 
archetecture too. Or get a degree in electrical engineering (computer 
engineering?) and design/build lighting things.  

Tech theatre LOVES people who are masters of more-than-one-trade. Makes you 
more marketable too.

You interested in sound? Chris Babbe from this list is in MON, AZ (where ever 
the heck that is) and would be a great person for you to do some volunteering 
with. He's smart, funny and will teach you to properly wrap cable. 

You said:<<(I do not like the way my Theatre teacher treats students, it is 
through a system of negative reinforcement and he often blames his shortcomings 
on others.) He always tells us that is how "real-world" theatre is so I want 
to find out if it is really like that>>

I can guarantee you that you can find places like that and places that are 
not at all like that. It's all in the people who are on the show. One right you 
have as an adult that you don't enjoy now is that if you hate the gig, you 
don't have to stay. I'd venture to say that everyone on this list has had a 
crappy job at some time or another but we like the fundamentals of the career 
enough to keep coming back. 

It's like the story of the two salesmen sent to rural Africa. One wired back 
to his employer "No one wears shoes here, send me home." The other wired "No 
one wears shoes here! Send me a thousand pairs! Everyone needs them!!!" You 
will get exactly what you expect to find most times.

Kristi


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

End of Stagecraft Digest #251
*****************************