Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 13104422; Sun, 09 Jan 2005 03:01:29 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #254 Date: Sun, 09 Jan 2005 03:01:19 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-4.9 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, URIBL_SBL autolearn=ham version=3.0.2 X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #254 1. Re: Silica by John McKernon 2. Re: Volunteering in Tucson by Bruce Purdy 3. Re: dedicated elec's vs. multi-drop by "Bill Conner" 4. Tracking large flats by "Bill Conner" 5. Re: Wagon Brakes by Bruce Purdy 6. Re: Theatre renovation/equipment by "Bill Conner" 7. Theatre renovation/equipment by b Ricie 8. Re: Theatre renovation/equipment by Bruce Purdy 9. Re: Theatre renovation/equipment by "Nigel Worsley" 10. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 11. Re: Sound Board Maintenance by FrankWood95 [at] aol.com 12. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 13. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 14. Re: Theatre renovation/equipment by CB 15. Re: Sound Board Maintenance by "Nigel Worsley" 16. Re: Sound Board Maintenance by CB 17. Re: Chocolate by CB 18. Re: Theatre Rentals? by CB 19. Re: Theatre renovation/equipment by CB 20. Re: Theatre renovation/equipment by Mitch Hefter 21. Re: Theatre renovation/equipment by FrankWood95 [at] aol.com 22. Re: Sound Board Maintenance by FrankWood95 [at] aol.com 23. Re: Theatre renovation/equipment by Charlie Richmond 24. Re: Theatre Rentals? by FrankWood95 [at] aol.com 25. Photobucket password by FrankWood95 [at] aol.com 26. Re: Theatre renovation/equipment by "Dr. Randall W.A. Davidson" 27. Re: Sound Board Maintenance by "Daryl Redmon" 28. Queen 1982 tour by BKHAIN [at] aol.com 29. Re: Queen 1982 tour by Greg Persinger 30. Re: Theater wiring suggestions by Mick Alderson *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Sat, 08 Jan 2005 09:34:33 -0500 Subject: Re: Silica From: John McKernon Message-ID: In-Reply-To: > I was cleaning out an area of > our shop and I found a nearly full large bag of flakey looking silica. It's possible it was used by scenic artists. I know you can use sodium silicate (liquid) to make paint crackle, if what you found can be dissolved in water then that's probably why it was in the shop. - John McKernon ------------------------------ Date: Sat, 08 Jan 2005 10:24:37 -0500 Subject: RE: Volunteering in Tucson From: Bruce Purdy Message-ID: In-Reply-To: Paul Schreiner wrote: > >> before I graduate and enter the crucial time in my life when=20 >> I must choose what I think I want to do for the rest of my life. > > Too long. Too much pressure. Think more along the lines of "what I > think I want to do for the next five years." > > Five years from now you'll be a much different person, with a different > set of circumstances and so on. Allow yourself the freedom to change > your mind... :) Maybe - maybe not. I'm essentially the same person I was back in HS thirty years ago. Sure I've grown and matured in many ways, but I still have the same goals and dreams - and the same passion for theatre. (On stage, House, Back office and especially Backstage!) I entered university and had my first contact with "Real" theatre people. prior to that I only knew amateur community theatre folks. It seemed inconceivable that anyone could actually earn money - let alone make a living doing theatre. If there was a way, though, I knew then, as I do now, that that was the only life for me. As a freshman, I had my first taste of the many areas of specialisation. (Costumes, makeup, set design, carpentry, lighting etc. etc. etc.) I knew that although I was especially drawn to lighting, I was by nature a generalist. I like to know about and be involved with as many areas as possible. (To this day I still consider myself a "jack of all trades and master of none") This led me to the conclusion that the "Ideal" job for me would be a TD. I mentioned this to the department TD, and asked his advice on that kind of a career track. His response shook my world! Apparently he wasn't happy with his own position, and he said "No one wants to be a TD!". He thought of the position as a stepping stone - fill in position. He considered himself to be some kind of errand boy for everyone else. This was one of the factors that led me to dropping out of school and (Temporarily ) giving up on my dream. Twenty five years an several careers (most at least tangentially related to theatre) later, here I am in my dream job - as a Theatre TD! So I can relate to Ronnie's "Bad teacher" situation. This leads me to two thoughts: A] Ronnie - Keep up and follow your passion! (I wish you were in my neck of the woods!) Unlike me, do not let bad apples derail you from your goals and dreams. B] Anyone working in academia - Be aware of co-workers in your department (or other departments for that matter) that have a poor attitude and try to do something about it. I'm certainly not advocating a "Homeland insecurity - spy on your neighbour" approach, but talk with them or something. Don't let them have a detrimental effect on impressionable young minds! Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <004201c4f59c$48b48570$690a0a0a [at] schulershook.net> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: dedicated elec's vs. multi-drop Date: Sat, 8 Jan 2005 10:08:23 -0600 Steven Hood posts: "I haven't seen a 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?" I'm not sure this responds to your question but when I design theatres with fixed electrics, I manage the multi cables directly over the electric. It usually requires two cradles and an extra pick line but essentially the feeder is managed directly above the electric. It does mean that the hi-trim is 15-20' less than other battens but I usually am working with a 65-70 ft high trim so an electric only going to 50 feet doesn't seem a problem. On the larger issue of distro, it seems the fixed electric vs. made up is primarily a question of staffing and use. I have trouble in a high school requiring the band teacher to go to the pin rail and manually lower a bunch of multi cables that feed drop boxes on a made up electric to change a lamp - and many high schools will never have proper staff. A professional theatre or opera company - probably no brainer that all electrics are going to be made up where ever they need to be for a production. It's the many theatres between the high school and the professional house that are sometimes difficult for me to decide. And how much does one design for the TD that is there now versus what a larger sample of TD's in that class would want. Totally flexible electrics with idiot proof automatic cable management is an elusive goal at any cost, and seemingly impossible on a budget. (I "just say no" to cable reels.) And since this is a catch up after a week of not reading, I'll add that wherever possible, I prefer drop boxes and wall boxes or pockets instead of floor pockets. I really don't like anything in the floor if possible for the flexibility and for rolling things (orchestra shell towers, things with air casters, pianos) as well as dancers feet. And those little holes will admit the spiked heel of a major donor and result in breaking her leg - very unpleasant. But I respect the scenic island problem so know that my preferences don't solve all problems. Traprooms which allow boring through and patching seem like one solution. Regards, Bill ------------------------------ Message-ID: <004301c4f59d$1da6fc90$690a0a0a [at] schulershook.net> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Tracking large flats Date: Sat, 8 Jan 2005 10:14:22 -0600 I'd track only and if you need floor guides consider a pair of horizontal casters mounted to the floor that only prevent the panel from swaying rather than restrain it vertically. Very rare to have a floor and track 18' up perfectly parallel. A slot and blade arrangement can work but if slot in the floor than dirt or debris can be a problem. Of course I usually worry about the sliding panel to be in place for the life of the building, not just one weekend show. Regards, Bill ------------------------------ Date: Sat, 08 Jan 2005 10:45:23 -0500 Subject: Re: Wagon Brakes From: Bruce Purdy Message-ID: In-Reply-To: > For our next High School production I am having to make a couple of wagons > that turn 180 degrees on the stage. I am looking for some ideas on how to > conceal the wagon brakes. If I use the Rosco Brakes that I have use din the > past they get mounted to the edge of the wagon and will be visible when the > wagon is turned. I can not afford any hydraulic type breaks. How about those Rosco Brakes, and installing a hinged box facing that will flip up out of the way when the brakes are unlocked, but cover them when they're down. Just a thought. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <004401c4f5a0$56fb2a90$690a0a0a [at] schulershook.net> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Theatre renovation/equipment Date: Sat, 8 Jan 2005 10:37:26 -0600 Following up on Pete Schue's excellent post, I'll simply say that in a renovation that involves planning for much more than systems replacement needs a whole lot more experience and thought from someone with an understanding of a theatre than what manufacture of lighting equipment or what spacing for linesets. It begins with looking at the market and potential users, including those that have not produced in the region previously; winning broad community support and building a constituency; and convincing them that even though the local architect and local theatre techie said $200,000 would buy all the theatre equipment they need, that in fact they need to spend at least 5 to 10 times that. And not a mention of planning for acoustics? Don't care if the pipes bang, lights hum, a/c roars, traffic noise is easily heard, and the violins can't hear the base? (I know - just add more fuzz on the walls and ceilings and buy a bigger sound system and turn it way up.) Bill ------------------------------ Message-ID: <20050108165947.30554.qmail [at] web50601.mail.yahoo.com> Date: Sat, 8 Jan 2005 08:59:47 -0800 (PST) From: b Ricie Subject: Theatre renovation/equipment In-Reply-To: Don't forget the work lights. Work lights seem to be one of those "oh-yeah" things, yet they are one thing we use every day. Work light always seem to be above the grid,so much of the light on the deck is useless, under the grid where they are impossible to change, or on a batten that renders them useless when that line-set needs to be used. How about 3 or 4 separate circuits that are easy to get to and dimable so they can be used as running light. ===== Brian Rice b_ricie [at] yahoo.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Sat, 08 Jan 2005 12:01:50 -0500 Subject: Re: Theatre renovation/equipment From: Bruce Purdy Message-ID: In-Reply-To: Frank wrote: > Look at > http://www.questors.org.uk for more information. For a few examples of what we > have done, look at 'Photobucket' using my name. Frank, I looked all over that page, and I find no mention of the word "Photobucket". I even put Photobucket in the search box and came up empty. It does look like an impressive facility you have there, but I'm at a loss as to what you were pointing us to. You did mention using your name, so perhaps it's in the M.O.A.N. (Members only) section, but that wants a password - not just your name. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <12f201c4f5a9$0c9eac20$0c00a8c0 [at] Nigellaptop> From: "Nigel Worsley" References: Subject: Re: Theatre renovation/equipment Date: Sat, 8 Jan 2005 17:39:47 -0000 Bruce Purdy wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Frank wrote: >> Look at >> http://www.questors.org.uk for more information. For a few examples of what we >> have done, look at 'Photobucket' using my name. > > Frank, I looked all over that page, and I find no mention of the word > "Photobucket". I even put Photobucket in the search box and came up empty. Frank is referring to a different site: http://photobucket.com/albums/v79/frankwood/ Nigel Worsley ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <87.1e983c44.2f117b6b [at] aol.com> Date: Sat, 8 Jan 2005 13:07:39 EST Subject: Re: Theatre renovation/equipment In a message dated 07/01/05 23:31:04 GMT Standard Time, jdurand [at] interstellar.com writes: > Yep, and yet I have a spec from a client to design some audio gear with "no > detectable whine or tone at full volume with headphones on" (-80dB white > noise ok). Seems if I just matched the whine from a moving light, nobody > would notice. :) > > Or is that :( I think that :( is most appropriate. This sounds to me like an ignorant client, and these are the most trouble of all! When last I was involved in designing theatre sound gear, the principal designer and I WERE the client. We made the drawings, laid out the printed circuits, assembled it all, including the patchbay, the interconnections, and the crate, and built the woodwork of the desk round that. It lasted 15 years, and provided facilities that its modern and much larger successor does not. This is because we talked about it endlessly. Over a beer or two every lunchtime; over a beer or three in the theatre bar. We knew what we wanted it to be able to do: the playback of sound effects with realism, and the playback of music. Microphones hardly figured, although there were a couple of mic amplifiers. If you wanted to do a full PA rig, you were on your own. We used actors who could be heard. The musical companies which visited us used singers who could be heard. Those were the days of amateur theatre! You used the talents you had available. The two of us were professional engineers, working for the BBC, and knew our business. Now, we have a huge commercial desk, installed at vast expense, enough amplifiers and speakers to simulate a nuke going off. And nobody uses its facilities! Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 8 Jan 2005 13:23:02 EST Subject: Re: Sound Board Maintenance In a message dated 07/01/05 23:40:44 GMT Standard Time, jdurand [at] interstellar.com writes: > And, with the new requirements for lead free (absolutely no detectable > trace of lead whatsoever) products, the solder requires hotter temperatures > and doesn't always wet as well. Look for more problems in newer systems > until the bugs get worked out of the soldering process. I've seen this before, and disbelieved it. By whom are these requirements published? How do you make a practicable solder without lead? Solder is basically a tin/lead alloy. The melting point depends on the exact proportions, and these two metals offer a wide range of melting points. I'm not an expert metallurgist, but I can think of no other alloy which will fulfil the role. Silver has been spoken of, and Tektronix used to use a silver based solder inside their test gear. And, have all the manufacturers of transistors and ICs conformed? The legs and pins of most were coated in solder. Me, I have several rolls of 60/40 solder, and will continue to use them. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 8 Jan 2005 13:34:50 EST Subject: Re: Theatre renovation/equipment In a message dated 08/01/05 17:38:16 GMT Standard Time, bpurdy [at] rochester.rr.com writes: > Frank, I looked all over that page, and I find no mention of the word > "Photobucket". I even put Photobucket in the search box and came up empty. > > It does look like an impressive facility you have there, but I'm at a > loss as to what you were pointing us to. You did mention using your name, so > perhaps it's in the M.O.A.N. (Members only) section, but that wants a > password - not just your name. I had an e-mail to the effect that Photobucket were going to close my account if I didn't post something new. But I am surprised that a search failed to find them. Maybe a Google search will be more rewarding, maybe our webmaster has gone to sleep. I will check this out. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 8 Jan 2005 13:51:33 EST Subject: Re: Theatre renovation/equipment In a message dated 08/01/05 17:43:47 GMT Standard Time, nigle [at] dsl.pipex.com writes: > Frank is referring to a different site: > > http://photobucket.com/albums/v79/frankwood/ > > Nigel Worsley Trust you to know where I live better than I do! Frank Wood ------------------------------ Message-Id: <3.0.6.32.20050108121448.00b5e3a0 [at] pop.west.cox.net> Date: Sat, 08 Jan 2005 12:14:48 From: CB Subject: Re: Theatre renovation/equipment >> It looks as though a lot of money is going to be spent, it would be a shame if >> sound gets left out! > >And very, very quiet. Nothing worse than very well lit mimes... Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <130901c4f5bb$26edbaa0$0c00a8c0 [at] Nigellaptop> From: "Nigel Worsley" References: Subject: Re: Sound Board Maintenance Date: Sat, 8 Jan 2005 19:49:21 -0000 FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 07/01/05 23:40:44 GMT Standard Time, > jdurand [at] interstellar.com writes: > >> And, with the new requirements for lead free (absolutely no detectable >> trace of lead whatsoever) products, the solder requires hotter > temperatures >> and doesn't always wet as well. Look for more problems in newer systems >> until the bugs get worked out of the soldering process. > > I've seen this before, and disbelieved it. By whom are these requirements > published? http://europa.eu.int/eur-lex/pri/en/oj/dat/2003/l_037/l_03720030213en00190023.pdf > How do you make a practicable solder without lead? One option is 96.2% tin, 2.5% silver, 0.8% copper and .5% antimony, info here: http://www.aimsolder.com/techarticles/A%20Study%20of%20Lead-Free%20Solder%20Alloys.pdf This version omits the Antimony: http://smt.pennnet.com/Articles/Article_Display.cfm?Section=Articles&Subsection=Display&ARTICLE_ID=165856 A whole range of solders are described here ( not all lead free ): http://www.efdsolder.com/prod_alloys.htm > Solder is basically a tin/lead alloy. The melting point depends on the exact > proportions, and these two metals offer a wide range of melting points. > > I'm not an expert metallurgist, but I can think of no other alloy which will > fulfil the role. Follow the links above! >Silver has been spoken of, and Tektronix used to use a silver > based solder inside their test gear. 2% silver is often added to tin/lead solders as well, particularly for surface mount applications. > And, have all the manufacturers of transistors and ICs conformed? The legs > and pins of most were coated in solder. Most have lead free options, the rest aren't far behind. > Me, I have several rolls of 60/40 solder, and will continue to use them. I doubt if anyone except large manufacturers will ever get pulled up on this one! The eurocrats are good at churning out directives, but enforcement is largely ignored. Nigel Worsley ------------------------------ Message-Id: <3.0.6.32.20050108123829.00b5f778 [at] pop.west.cox.net> Date: Sat, 08 Jan 2005 12:38:29 From: CB Subject: Re: Sound Board Maintenance >Cold joints should never happen if the machinery is running >correctly. 'Should' and 'if'. Hmmm... While you are right, when the machinery isn't running too well, you can find gear with cold solder joints. I've returned a few, and found that the temp sensor on the robot was bad. Or so I was told. While the offer to have someone go through and manually inspect and check the solder joints was cute, I asked for the entire units to be replaced with those that would pass my QC. The next batch was almost as bad, and I'd have scrapped tha manufacturer right then and there had I been the chief engineer at the time. The third batch was excellent and the gear is on its sixteenth year as we, uhm, type. Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050108125524.00b7b580 [at] pop.west.cox.net> Date: Sat, 08 Jan 2005 12:55:24 From: CB Subject: Re: Chocolate >The fifth is back rubs/massages. That's not currency, Kristi, that's product. What do you think the currency is FOR?!? Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050108124900.00b5fef8 [at] pop.west.cox.net> Date: Sat, 08 Jan 2005 12:49:00 From: CB Subject: RE: Theatre Rentals? >Here what should be in the contract other than the obvious: Does that mean that the 'OBTW fee' is obvious? I'd add a sixth, that 'Oh, By The Way' will cost an additional amount, usually twice what it would cost if it were to have been brought up at the production meeting. Pre-planning that will save them cash is pre-planning that they will be eager to do. Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20050108124306.00b5fc48 [at] pop.west.cox.net> Date: Sat, 08 Jan 2005 12:43:06 From: CB Subject: RE: Theatre renovation/equipment >Sound? SOUND? ....... What? WHAT!?! I'm awake, I'm here, what? Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <6.1.0.6.2.20050108141846.02cbe410 [at] mail.DesignRelief.com> Date: Sat, 08 Jan 2005 14:29:14 -0600 From: Mitch Hefter Subject: Re: Theatre renovation/equipment In-Reply-To: References: Bill Sapsi wrote: > >And very, very quiet. Charlie Richmond said: > >Not if they put in new lighting instruments ;-) Many others wrote about the advantages of using drop boxes. Get the advantages of both quiet and drop boxes - consider ET's distributed dimming. Since this is a renovation, you can increase the number of dimmers without increasing wiring. (6) 10 amp dimmers on a 3-phase, 4-wire circuit (i.e., 6 dimmers on 4 wires, not just 2). Full disclosure - I work for Entertainment Technology. If you want more information, go to www.etdimming.com or call me. . . . ------------------------------------------------------------------------ Mitch Hefter mitch.hefter [at] DesignRelief.com Office: Entertainment Technology / a Division of the Genlyte Group mhefter [at] genlyte.com +1-214/ 647-7880 x 7967 (Direct Line 214/ 647-7967) +1-214/ 647-4738 Fax http://www.etdimming.com http://www.lolcontrols.com http://www.vari-lite.com http://www.genlyte.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 8 Jan 2005 17:04:59 EST Subject: Re: Theatre renovation/equipment In a message dated 08/01/05 19:16:04 GMT Standard Time, psyd [at] cox.net writes: > >> It looks as though a lot of money is going to be spent, it would be a > shame if > >> sound gets left out! > > > >And very, very quiet. > > Nothing worse than very well lit mimes.. Oh, there is. Badly lit mimes! Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <89.1ddbee3f.2f11b6c8 [at] aol.com> Date: Sat, 8 Jan 2005 17:20:56 EST Subject: Re: Sound Board Maintenance In a message dated 08/01/05 19:53:20 GMT Standard Time, nigle [at] dsl.pipex.com writes: > > I've seen this before, and disbelieved it. By whom are these requirements > > published? > > http://europa.eu.int/eur-lex/pri/en/oj/dat/2003/l_037/l_ > 03720030213en00190023.pdf > > > How do you make a practicable solder without lead? > > One option is 96.2% tin, 2.5% silver, 0.8% copper and .5% antimony, info > here: > > http://www.aimsolder.com/techarticles/A%20Study%20of%20Lead-Free%20Solder% > 20Alloys.pdf > > This version omits the Antimony: > > http://smt.pennnet.com/Articles/Article_Display.cfm?Section=Articles& > Subsection=Display&ARTICLE_ID=165856 And a good thing, too. While Antimony, and Bismuth too, are useful metals with low melting points, Antimony is known to make brittle alloys, and to be highly poisonous into the bargain. It was used by some notorious 19th century poisoners. The question is what makes good, stable alloys, with reasonable and controllable melting points. Plumber's solder, for example, goes through a pasty stage while setting, hence 'wiped' joints in old-fashioned plumbing. And it would be idle to pretend that lead water pipes do not exist. They have their problems, yes. But I think that few houses, built before the fifties, have been totally re-plumbed in copper. I agree with you that this is another Euro-nonsense, which will seldom, if ever, be enforced. Frank Wood ------------------------------ Date: Sat, 8 Jan 2005 22:24:55 +0000 (GMT) From: Charlie Richmond Subject: Re: Theatre renovation/equipment In-Reply-To: Message-ID: References: On Sat, 8 Jan 2005 FrankWood95 [at] aol.com wrote: > Oh, there is. Badly lit mimes! They are indeed the worst theatrical experience of all... Reminds me of when I saw Marcel Marceau at the San Francisco Opera house from the back of the top balcony and had no opera glasses... Charlie ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <6.3c135a6d.2f11bb9d [at] aol.com> Date: Sat, 8 Jan 2005 17:41:33 EST Subject: Re: Theatre Rentals? In a message dated 08/01/05 20:00:19 GMT Standard Time, psyd [at] cox.net writes: > Does that mean that the 'OBTW fee' is obvious? I'd add a sixth, that 'Oh, > By The Way' will cost an additional amount, usually twice what it would > cost if it were to have been brought up at the production meeting. > Pre-planning that will save them cash is pre-planning that they will be > eager to do. But, Chris, most of these outfits can't spell 'planning'. They do it all off the tops of their heads. We, who have to plan ahead, as in lighting and sound rigs, never get a look-in. The result is chaos, and long hours. As an LD, I want to go into a get-in with a firm plan for the rig. OK, in my theatre I can shuffle lanterns around with little trouble, since it's all off bridges. That doesn't mean that I want to do this. It takes time and effort: I have neither to spare. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1dd.348507f2.2f11be6d [at] aol.com> Date: Sat, 8 Jan 2005 17:53:33 EST Subject: Photobucket password Somebody, probably but not certainly on this list, has gone into my Photobucket site and changed the password. I should have to look a long way back in the archives to identify likely candidates, but I know that there are some, who still post. I find this totally unacceptable behaviour, as I am sure that most of us do. While Photobucket's security is not what it should be, that some one of us would do such a thing causes me surprise. If the guilty party will post a private apology to me, I shall accept it. Frank Wood ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: bill-conner [at] att.net ('Bill Conner') Subject: RE: Theatre renovation/equipment Date: Sat, 8 Jan 2005 16:43:03 -0800 Message-ID: <01ca01c4f5e4$2e348900$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Totally agree. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Conner Sent: Saturday, January 08, 2005 8:37 AM To: Stagecraft Subject: Re: Theatre renovation/equipment For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Following up on Pete Schue's excellent post, I'll simply say that in a renovation that involves planning for much more than systems replacement needs a whole lot more experience and thought from someone with an understanding of a theatre than what manufacture of lighting equipment or what spacing for linesets. It begins with looking at the market and potential users, including those that have not produced in the region previously; winning broad community support and building a constituency; and convincing them that even though the local architect and local theatre techie said $200,000 would buy all the theatre equipment they need, that in fact they need to spend at least 5 to 10 times that. And not a mention of planning for acoustics? Don't care if the pipes bang, lights hum, a/c roars, traffic noise is easily heard, and the violins can't hear the base? (I know - just add more fuzz on the walls and ceilings and buy a bigger sound system and turn it way up.) Bill ------------------------------ Message-ID: <001a01c4f603$1254ab10$6500a8c0 [at] yourfsyly0jtwn> From: "Daryl Redmon" References: Subject: Re: Sound Board Maintenance Date: Sat, 8 Jan 2005 20:24:11 -0800 > Me, I have several rolls of 60/40 solder, and will continue to use them. Frank, Why not use the best solder (63/37) for sensitive electronics ? Daryl Redmon ------------------------------ From: BKHAIN [at] aol.com Message-ID: <196.35ffe801.2f121a5a [at] aol.com> Date: Sun, 9 Jan 2005 00:25:46 EST Subject: Queen 1982 tour Hi everybody, I got the DVD 'Queen on Fire, Live at the Bowl' for Christmas. It gave me the opportunity to relive my youth when I saw the 'Hot Space' tour back in 1982 and how I loved the rear follow spots with the operator sort of sitting down inside and running three as one! That's probably when I seriously decided to go into lighting. Anybody on the list work those shows and know how that was done? Was it ever used in any other concerts or by any other artist? Thanks, Ben Hain Lighting Designer bkhain [at] aol.com ------------------------------ Date: Sun, 09 Jan 2005 00:26:37 -0600 Subject: Re: Queen 1982 tour From: Greg Persinger Message-ID: In-Reply-To: Ben, There was a recent discussion of this with good pictures of the spots on the lightnetwork forum at: www.lightnetwork.com If you have problems finding it let me know and I will go find a link for you. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <41E0F2AC.1000906 [at] uwosh.edu> Date: Sun, 09 Jan 2005 03:00:28 -0600 From: Mick Alderson Subject: Re: Theater wiring suggestions Jim Doherty wrote: > One last note - if you have pigtails, plan for them to be long enough from > the start to reach your lights where you think you will want them to be. We > have a studio theater where we added lighting positions below the ones the > architect gave us (in order to put lights where we needed them), and needed > to replace all of our pigtails with longer ones to avoid having to buy and > run extra cable for every show. I'm reading this very late at night, so I'm not bothering to check my NEC book, but isn't there something in there which says that fan-outs/breakouts cannot be longer than 3 meters/ 10 feet? As I recall, this is because a multi-cable fanout is about the only place on stage that SJ cable is allowed (because you can't shove six SO cables into a soco strain relief), but the Code limits the length of the pigtails to make you go to the approved S or SO cable ASAP. Granted, if I'm correct, I've seen this ignored often enough.... -- Mick Alderson TD, Fredric March Theatre University of Wis. Oshkosh ------------------------------ End of Stagecraft Digest #254 *****************************