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Subject: Stagecraft Digest #256
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #256

 1. Re: Silica
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
 2. Re: 'Wicked' trap malfunction...
    by Theatre Safety Programs <theatresafe [at] jgorrell.com>
 3. Re: Theatre renovation/equipment
    by "Bill Conner" <bill-conner [at] att.net>
 4. Re: Sound Board Maintenance
    by Dorian Kelly <dorian [at] essex.ac.uk>
 5. Strand 300 help - no longer required.
    by "Tony" <deeming.tony [at] btinternet.com>
 6. bussing bus bars
    by "Karl G. Ruling" <kruling [at] esta.org>
 7. Re: Silica
    by "Zirngibl, Ryan John" <ZIRNGIRJ [at] uwec.edu>
 8. Re: Silica
    by "Josh Ratty" <josh.ratty [at] verizon.net>
 9. Major in Theatre
    by Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
10. Re: Major in Theatre
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
11. Re: Major in Theatre
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
12. Re: Impressionable Young Minds
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
13. Re: Silica
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
14. Re: Theatre renovation/equipment
    by FrankWood95 [at] aol.com
15. Re: Sound Board Maintenance
    by FrankWood95 [at] aol.com
16. Re: Silica
    by "Stephen E. Rees" <Rees [at] fredonia.edu>
17. Re: Silica
    by "Matthew Breton" <theatricalmatt [at] hotmail.com>
18. ETC Sensor phase output distribution information ( long?)
    by "David Fox" <DFox [at] etcconnect.com>
19. Re: Major in Theatre
    by "Jack Morones" <jmorones [at] saddleback.edu>
20. Re: "delicacy"??? of  Socapex
    by William McLachlan <willy [at] wmld.com>
21. Re: Major in Theatre/whos still there
    by "Haagen Trey P Civ 34 TRW/SDAT" <Trey.Haagen [at] usafa.af.mil>
22. Re: Mimes
    by "John Hauer" <johnhauer [at] csus.com>
23. Re: Major in Theatre
    by MissWisc [at] aol.com
24. Re: Silica
    by Stuart Wheaton <sdwheaton [at] fuse.net>
25. Re: "delicacy"??? of  Socapex
    by FrankWood95 [at] aol.com
26. Re: "delicacy"??? of  Socapex
    by Mark O'Brien <marko [at] email.arizona.edu>
27. Re: Major in Theatre
    by "RODOK!!!" <rodok [at] telus.net>
28. Kliegl Lekos
    by "Brian D Shipinski" <bshipinski [at] worldnet.att.net>
29. Scrim scallops
    by "Kevin A. Patrick" <patrick_kevin [at] colstate.edu>
30. Re: Scrim scallops
    by Bill Sapsis <bill [at] sapsis-rigging.com>
31. Re: Scrim scallops
    by Dale Farmer <dale [at] cybercom.net>
32. Re: bussing bus bars
    by Greg Persinger <gregpersin [at] comcast.net>
33. materials othe than plexiglass
    by "Robert Barnwell" <RBarnwell [at] pop.ncarts.edu>
34. Re: materials othe than plexiglass
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
35. Re: materials othe than plexiglass
    by "Michael J. Banvard" <mbanvard [at] earthlink.net>
36. Re: materials othe than plexiglass
    by "Joe Meils" <bipolarber [at] cyberback.com>
37. Re: materials othe than plexiglass
    by Dorian Kelly <dorian [at] essex.ac.uk>

*** 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: <41E28F2C.80507 [at] fredonia.edu>
Date: Mon, 10 Jan 2005 09:20:28 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Silica
References: <list-12828097 [at] prxy.net>

Ryan,
If the bag says anything about "fumed silica" it is, as Josh suggests, 
used as a thickening agent for polyester resin.  The product I've had in 
the past was called Cab-O-Sil.  This had the consistency of talc and was 
very floaty. HTH.
Regards,
Steve Rees, TD
SUNY-Fredonia

Zirngibl, Ryan John wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I found a nearly full large bag of flakey looking silica.
> This captivated me because the only time I've seen or heard of silica
> [snipped]


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

Message-Id: <6.2.0.14.2.20050110072138.01fd85c0 [at] mail.earthlink.net>
Date: Mon, 10 Jan 2005 07:23:45 -0700
From: Theatre Safety Programs <theatresafe [at] jgorrell.com>
Subject: re: 'Wicked' trap malfunction...

here is the link to the ny times article, it is a long article from 
monday's times

Ding Dong, a Witch Is Hurt, but She Takes Her Final Bow
By JESSE McKINLEY
After breaking a rib onstage on Saturday, Idina Menzel,
departing star of "Wicked," returned to a standing ovation
at the Gershwin Theater.

http://www.nytimes.com/2005/01/10/theater/10wicked.html?th


jerry gorrell



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

Message-ID: <007e01c4f722$fa98c080$4b01010a [at] schulershook.net>
Reply-To: "Bill Conner" <bill-conner [at] att.net>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: RE: Theatre renovation/equipment
Date: Mon, 10 Jan 2005 08:45:07 -0600

Following up on Terry Fitch's comments on 6" versus 8", while at a previous 
employer the office standard was 7" usually with 5" weights (but I've been 
known to use 6" to solve a travel/capacity problem).  It was a nice 
compromise between density and things going bump in the dark.  While a 
manufacture might grumble some, it never seemed to add significant cost.  We 
did enough so manufacturers were use to it.

Lately I've been attracted to 8" centers and providing good provisions, 
access, gallery, rail, wood pins, and gear, for rope and sandbag (probably 
as a result of working on a project where an annual wing and border 
production is part of the program - 60 to 70 pieces plus electrics, shell, 
leg and borders, etc.)  That way you can slip a batten in between two sets, 
like the old Broadway standard of 4" centers.  Of course I'd rather have a 
system to each side with arbors on 8" centers and battens on 4" centers but 
not many budgets afford that and it does require staff.

Good and useful discussion.  Rags opens a whole range of issues:  legs on 
tracks, travelers for mid stage legs (I hate the look but concede the 
practicality), cotton vs. synthetic, legs downstage of borders (continental 
style), plastic vs. leno vs. muslin sky drops, chain versus pipe, lined vs. 
unlined, fullness, flat, and on it goes.  I generally follow what Tom 
Skelton taught which was 5 pair legs at a 6'-7'-8'-9' spacing and borders 
with  only 1, 3, and 5 but then he relied on a 3 electric approach for 
touring ballet.  And I automatically reject the planning for the last 2 
seats in the first row and last seat in second row - usually too much 
compromise for six seats - and with a cord and battery clamp I can pull that 
leg around a little if I have to.

Also reassuring to see that if I follow the same principles and goals on 
every project. I'll only please about half the folks.

Bill





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

Message-Id: <l03130307be08457d8857 [at] [155.245.53.24]>
In-Reply-To: <list-13156389 [at] prxy.net>
Date: Mon, 10 Jan 2005 14:47:11 +0000
From: Dorian Kelly <dorian [at] essex.ac.uk>
Subject: Re: Sound Board Maintenance

Frank Woof (sic) writes
>Principally, because it's what I can buy readily. And, provided that the
>joint is properly made, wetting both components, I find it hard to beliebe
>that a
>3% change in the composition will have any effect. 60/40 is pretty near the
>eutectic.

for a discussion on the Eutectic  see
http://www.ul.ie/~walshem/fyp/Eutectic%20alloys.htm

Dorian



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

Message-ID: <004e01c4f72c$c16240c0$0800000a [at] Tony>
From: "Tony" <deeming.tony [at] btinternet.com>
References: <list-13156389 [at] prxy.net> <list-13196208 [at] prxy.net> <list-13245740 [at] prxy.net>
Subject: Strand 300 help - no longer required.
Date: Mon, 10 Jan 2005 15:55:03 -0000

Panic over....
The problem was (surprise, surprise) user error - mine!!!
It's been a long week, and I was trying to set the Goldie's to run on
channel 251 on a desk that (you guessed it!) only has 250 channels!!!

Thanks to those who e-mailed me with suggestions!

Regards
Tony



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

From: "Karl G. Ruling" <kruling [at] esta.org>
Date: Mon, 10 Jan 2005 11:03:36 -0500
Subject: bussing bus bars
Reply-to: kruling [at] esta.org
Message-ID: <41E26108.7574.55618B [at] localhost>
In-reply-to: <list-13264209 [at] prxy.net>

> One easy way to tell is to pull the modules, WITH POWER
> DISCONNECTED, and look at the buss bars.

A "buss" is a kiss. A "bus" is "a conductor or assembly of 
conductors." (Webster's 9th New Collegiate dictionary)

Don't buss the bus bars.  

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

Subject: RE: Silica
Date: Mon, 10 Jan 2005 10:44:41 -0600
Message-ID: <5CF1C3D95785A143A3E33ACFD864609B0383455E [at] PEPSI.uwec.edu>
From: "Zirngibl, Ryan John" <ZIRNGIRJ [at] uwec.edu>

 Thanks every one for your help it was in fact Cab-O-Sil, I'll have to
play around and see what I can do with it now (I love learning new ways
of doing things and how to use new mediums)

Ryan

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen
E. Rees
Sent: Monday, January 10, 2005 8:20 AM
To: Stagecraft
Subject: Re: Silica

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

Ryan,
If the bag says anything about "fumed silica" it is, as Josh suggests,
used as a thickening agent for polyester resin.  The product I've had in
the past was called Cab-O-Sil.  This had the consistency of talc and was
very floaty. HTH.
Regards,
Steve Rees, TD
SUNY-Fredonia

Zirngibl, Ryan John wrote:
> For info, archives & UNSUBSCRIBE, see=20
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> I found a nearly full large bag of flakey looking silica.
> This captivated me because the only time I've seen or heard of silica=20
> [snipped]


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

Message-ID: <003001c4f736$422b11b0$7b00470a [at] Rattys>
From: "Josh Ratty" <josh.ratty [at] verizon.net>
References: <list-13301550 [at] prxy.net>
Subject: Re: Silica
Date: Mon, 10 Jan 2005 12:03:06 -0500

Do check any MSDS you may be able to dig up for it. While i don't believe it
is the harmful form of silica it is at the very least uncomfortable to
breathe in so i'd recomend at least a dust mask. Used it for a few years
building boats, it is great for thickening polyester or epoxy resins, and
i'm sure you can find a number of other uses for it in the theatre. Have fun
and be safe.

Josh
----- Original Message ----- 
From: "Zirngibl, Ryan John" <ZIRNGIRJ [at] uwec.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, January 10, 2005 11:44 AM
Subject: Re: Silica


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

 Thanks every one for your help it was in fact Cab-O-Sil, I'll have to
play around and see what I can do with it now (I love learning new ways
of doing things and how to use new mediums)

Ryan

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen
E. Rees
Sent: Monday, January 10, 2005 8:20 AM
To: Stagecraft
Subject: Re: Silica

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

Ryan,
If the bag says anything about "fumed silica" it is, as Josh suggests,
used as a thickening agent for polyester resin.  The product I've had in
the past was called Cab-O-Sil.  This had the consistency of talc and was
very floaty. HTH.
Regards,
Steve Rees, TD
SUNY-Fredonia

Zirngibl, Ryan John wrote:
> For info, archives & UNSUBSCRIBE, see
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I found a nearly full large bag of flakey looking silica.
> This captivated me because the only time I've seen or heard of silica
> [snipped]


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

In-Reply-To: <list-12725649 [at] prxy.net>
Subject: Major in Theatre
Message-ID: <OF2EA9ECDD.8EEA43BE-ON85256F85.005EFC04-85256F85.005F66F3 [at] uncg.edu>
From: Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
Date: Mon, 10 Jan 2005 12:22:06 -0500

Greg Bierly wrote  (snipped) "I know my parents would never have supported 
me going to school for theatre"

I've always counted myself lucky that my parents never once questioned my 
theatre major and always fully supported me in that endeavor.  I had 
friends when I was in college who had to pay their own way since they were 
"majoring in a worthless area".  I've also encountered that as a 
professor, both when recruiting students and when I mention what area I 
teach in.  Maybe it's just me, but I really hate that the first comment 
people make when they find out I teach theatre is always  "How fun" or 
"How nice".  I guess maybe it's not just the comment, but the preschool 
teacher tone that it always has. 

sorry, I'll stop the rant now.


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

336-334-3891

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

Subject: RE: Major in Theatre
Date: Mon, 10 Jan 2005 12:30:27 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C688 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Maybe it's just me, but I really hate that the=20
> first comment=20
> people make when they find out I teach theatre is always =20
> "How fun" or=20
> "How nice".  I guess maybe it's not just the comment, but the=20
> preschool=20
> teacher tone that it always has.=20

I get that fairly often too...until I continue the conversation and
explain just what I do and what kinda tools I get to play with, when it
turns into "How cool!"

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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Major in Theatre
Date: Mon, 10 Jan 2005 12:35:24 -0500
Message-ID: <003501c4f73a$c7971e30$6401a8c0 [at] Dell>
In-Reply-To: <list-13305575 [at] prxy.net>


> I get that fairly often too...until I continue the 
> conversation and explain just what I do and what kinda tools 
> I get to play with, when it turns into "How cool!"

When I tell people I'm a lighting designer, I usually get, "Cool!",
which I interpret as meaning, "I have no idea what to say about that."



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

Date: Mon, 10 Jan 2005 12:38:55 -0500
Subject: Re: Impressionable Young Minds
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE0827DF.4D03%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-13264209 [at] prxy.net>

Al Fitch wrote:

>  I thought that there was something wrong with the way I have been doing
theatre for years (always doing something different not sticking to one
> thing, a generalist).  I find myself in a position that is not challenging
enough for me and am looking for a change.

    If you aren't happy as a generalist, what area interests you the most?
What can you do to pursue that speciality?

    Rule #1: "Know thyself"!    I am by nature a generalist - you may not
be. 

>That prompted me to rejoin the list to get ideas, spark my interest etc.
> 
Good move! This is a source of endless inspiration (and entertainment).

> When i work with students who have an interest in what they are doing it is
exciting and engaging for me.
> However, I don't encourage them to pursue theatre  because of the doubt I am
having at this time.
> 
    It's about *their* aspirations. Doubts about your own path relative to
who you are must not cloud your judgement. Unbelievable as it may seem to
some of us at times, most people don't dream of a life in theatre. They
would be as happy in this field as I would as a banker or insurance
salesman! Some of us are born for this. Even within this wide field, some
are born to be riggers, some squeeks, some lighting or scenic designers, and
some generalists.

    The key again is: "Know thyself", then follow your star. All that is
needed is guidance along the way. This applies to all your students, and to
yourself as well! 

> After reading Bruce's post, I will be more likely to talk with those
interested students about working in theatre.

    Glad I could help. Tell them to keep their options open, but at the same
time don't close options off for them by discouraging them from their
dreams. If you aren't happy with your Theatre career, point interested
students to others that are. Point them to this list, where they'll read all
about the good the bad and the ugly sides of this field.

    Good luck to them, and good luck to you!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House






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

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Silica
Date: Mon, 10 Jan 2005 09:53:27 -0800
Message-ID: <006301c4f73d$4abe2ea0$8d90fea9 [at] DrDoomsComputer>
In-Reply-To: <list-13303096 [at] prxy.net>

Absolutely true. I agree as do the authorities on this, that use of a
good solid face mask is a must. Dr. 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 Josh
Ratty
Sent: Monday, January 10, 2005 9:03 AM
To: Stagecraft
Subject: Re: Silica

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

Do check any MSDS you may be able to dig up for it. While i don't
believe it
is the harmful form of silica it is at the very least uncomfortable to
breathe in so i'd recomend at least a dust mask. Used it for a few years
building boats, it is great for thickening polyester or epoxy resins,
and
i'm sure you can find a number of other uses for it in the theatre. Have
fun
and be safe.

Josh
----- Original Message ----- 
From: "Zirngibl, Ryan John" <ZIRNGIRJ [at] uwec.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, January 10, 2005 11:44 AM
Subject: Re: Silica


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

 Thanks every one for your help it was in fact Cab-O-Sil, I'll have to
play around and see what I can do with it now (I love learning new ways
of doing things and how to use new mediums)

Ryan

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen
E. Rees
Sent: Monday, January 10, 2005 8:20 AM
To: Stagecraft
Subject: Re: Silica

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

Ryan,
If the bag says anything about "fumed silica" it is, as Josh suggests,
used as a thickening agent for polyester resin.  The product I've had in
the past was called Cab-O-Sil.  This had the consistency of talc and was
very floaty. HTH.
Regards,
Steve Rees, TD
SUNY-Fredonia

Zirngibl, Ryan John wrote:
> For info, archives & UNSUBSCRIBE, see
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I found a nearly full large bag of flakey looking silica.
> This captivated me because the only time I've seen or heard of silica
> [snipped]


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

From: FrankWood95 [at] aol.com
Message-ID: <144.3cd96e29.2f142094 [at] aol.com>
Date: Mon, 10 Jan 2005 13:16:52 EST
Subject: Re: Theatre renovation/equipment

In a message dated 09/01/05 23:52:54 GMT Standard Time, 
jdurand [at] interstellar.com writes:

> >I think that :( is most appropriate. This sounds to me like an ignorant
>  >client, and these are the most trouble of all!
>  
>  He's a musician, so wants really good gear.  I much prefer the spec up 
>  front like this as opposed to another client I had.  The other client 
>  ordered a small pile custom DSP-based audio devices and specified 
>  "telephone quality audio".  On delivery, they refused to pay the balance 
>  due because there was a -72dB whine from the power supply.  I modified all 
>  the power supplies and got rid of it, but never did get paid.

Even worse. I have met people with "golden ears" before. Some of them don't 
believe in measurements. I particurlarly remember one film dubbing mixer, who 
was a severe PITA. This was in the days of analogue equipment, which was 
aligned by an engineer every morning, to conform to laid-down standards. Frequency 
response +/- 0.5 dB from 50Hz to 10KHz, + 0.5dB and -1dB from 30Hz to 15KHz. 
Distortion better than 0.02%, and signal-to-noise better than 50dB (remember 
we're talking about analogue magnetic recording through the whole 
replay-mixer-record chain, here, and vinyl discs for the effects). This guy clamed to be able 
to detect a loss of 0.5dB at 12.5KHz, with his ears! It led to a major row 
between his managers and the Engineering manager.

The coming of digital audio has saved us from this sort of thing. Yes, you 
could tweak the system to be flat at 12.5KHz, but this usually led to a hump at 
17 or 18KHz. I know which I prefer, especially when I know what is going to 
happen to the end-product as it goes on air. Telecine machine, studio mixer, VT 
recorder, VT replay, continuity mixer, and then the lines to the transmitters. 
All conscientiously aligned, and all contributing subtle losses. On a bad 
day, I reckon you can be 5dB down at 12.5KHz before it hits the transmitter.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <d1.1fd66b3d.2f14239e [at] aol.com>
Date: Mon, 10 Jan 2005 13:29:50 EST
Subject: Re: Sound Board Maintenance

In a message dated 10/01/05 02:08:22 GMT Standard Time, dale [at] cybercom.net 
writes:

>     Virtually all the normal electronic solders I see on the store shelves 
> are the
>  63/47 variety. The 60/40 ones are usually kinda dusty, or marked down.  I'm
>  also seeing silver and lead-free solders more and more often.
>      But I doubt this will sway your opinion, you are remarkably resistant 
to 
> any
>  sort of change that reality presents to you.

Well, I have been using 60/40 solder, apart from stated special purposes, 
since 1965. If I told any of my former colleagues what you have just told me, 
they would laugh their socks off. None of the gear I have built or serviced, has 
failed with a solder problem. And none of them has come down with lead 
poisoning.


Frank Wood

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

Message-ID: <41E2CE03.2060405 [at] fredonia.edu>
Date: Mon, 10 Jan 2005 13:48:35 -0500
From: "Stephen E. Rees" <Rees [at] fredonia.edu>
Reply-To: Rees [at] fredonia.edu
Subject: Re: Silica
References: <list-13301550 [at] prxy.net>

PPDs and the like are wanted as you "play" with this stuff.  You don't 
want to inhale the stuff!
SER

Zirngibl, Ryan John wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>  Thanks every one for your help it was in fact Cab-O-Sil, I'll have to
> play around and see what I can do with it now (I love learning new ways
> of doing things and how to use new mediums)
> 
> Ryan


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

Message-ID: <BAY14-F8602780A081752C8C0BFBDA970 [at] phx.gbl>
In-Reply-To: <list-13301550 [at] prxy.net>
From: "Matthew Breton" <theatricalmatt [at] hotmail.com>
Subject: Re: Silica
Date: Mon, 10 Jan 2005 13:52:19 -0500

>(I love learning new ways of doing things and how to use new mediums)

The English major I once was cries out that you mean "new media."  Men's 
mediums are on the third floor.  The other mediums are in the basement, 
holding a seance convention.

Just a quick nitpick :)


-- Matt

=======

_________________________________________________________________
Is your PC infected? Get a FREE online computer virus scan from McAfeeŽ 
Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963


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

Subject: ETC Sensor phase output distribution information ( long?)
Date: Mon, 10 Jan 2005 13:31:44 -0600
Message-ID: <34CB2A959285064382C1BBFCC7141E406070D9 [at] MIDL-MAILV.etcconnect.com>
From: "David Fox" <DFox [at] etcconnect.com>

[Uncloaking]

<snip> I'm looking for info on the phase distribution to the outputs of
all the ETC Portable Sensor racks, starting with the 6 pack.<unsnip>

I was going to respond privately, but thought others might like this
information as well. I have been off list for about 14 months (new baby
can do that to ya), and missed reading it. It is good to be back.


SP6 (In Three Phase mode)
Phase A
Dimmers 1-4
Phase B
Dimmers 5-8
Phase c
Dimmers 9-12

SP6 (In Single Phase Mode)
Phase A
Dimmers 1-6
Phase B
Dimmers 7-12

SP12 (In Three Phase Mode)
Phase A
Dimmers 1-8
Phase B
Dimmers 9-16
Phase C
Dimmers 16-24

SP 12 (In Single Phase Mode)
Phase A
Dimmers 1-16
Phase C
Dimmers 17-24

Touring racks alternate phases every 8 dimmers. You can see a color
coded diagram in the patch bay but here it is for reference:

SP 24 Touring Rack
Phase A
Dimmers: 1-8,25-32
Phase B
Dimmers: 19-16,33-40
Phase C
Dimmers: 17-24,41-48

SP 36 Touring Rack
Phase A
Dimmers: 1-8,25-32,49-56
Phase B
Dimmers: 9-16,33-40,57-64
Phase C
Dimmers: 17-24,41-48,65-72

SP 48 Touring Rack
Phase A
Dimmers: 1-8,25-32,49-56,73-80
Phase B
Dimmers: 9-16,33-40,57-64,81-88
Phase C
Dimmers: 17-24,41-48,65-72,89-96

I hope this helps!
David Fox
ETC Technical Support Supervisor
Direct 608-824-5056
Toll Free Direct 888-908-2193

[Cloaking]



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

From: "Jack Morones" <jmorones [at] saddleback.edu>
Cc: stagecraft [at] jeffsalzberg.com
Subject: RE: Major in Theatre
Date: Mon, 10 Jan 2005 11:58:31 -0800
Organization: Saddleback College
Message-ID: <000a01c4f74e$c2a79990$6500a8c0 [at] SCJACKLT>
In-Reply-To: <list-13306019 [at] prxy.net>

I run into this when I recruit for Saddleback College.  As part of our
recruiting materials, my LD and I came up with 4 pages of career options
available to those trained in Theatre, both inside and outside the
industry.  This usually impresses the High School counselors (either
that or it's the free lunch).

Jack R. Morones
Production Manager
McKinney Theatre



-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey
E. Salzberg
Sent: Monday, January 10, 2005 9:35 AM
To: Stagecraft
Subject: Re: Major in Theatre


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


> I get that fairly often too...until I continue the
> conversation and explain just what I do and what kinda tools 
> I get to play with, when it turns into "How cool!"

When I tell people I'm a lighting designer, I usually get, "Cool!",
which I interpret as meaning, "I have no idea what to say about that."



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

In-Reply-To: <list-12633382 [at] prxy.net>
References: <list-12633382 [at] prxy.net>
Message-Id: <49A9DD26-634F-11D9-892F-000393B61EC2 [at] wmld.com>
From: William McLachlan <willy [at] wmld.com>
Subject: Re: "delicacy"??? of  Socapex
Date: Mon, 10 Jan 2005 13:33:37 -0800


On Jan 6, 2005, at 6:56 AM, 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.

The solution to a "complex connector" is training.  Make the users 
SMARTER, don't make the installation dumb.

Pros nationwide went thru a fiasco that very well exemplified the "make 
people smarter, not equipment stupider" idea with mains connectors many 
years ago which I can elaborate on in a different post.  However my 
suggestion to you is since you're an EDUCATIONAL facility, wire your 
facility in a way that exposes your students to the kinds of work 
techniques they'll be using if they decide to (heaven help them if they 
do...) pursue a career in production.

just my 3 cents...

Oh, and another thing.  Any connector system will require maintenance 
and replacement eventually.  Stage Pin connectors have their breakages, 
burnups, and general deterioration just as much as Socapex connectors 
do.  From the production world I can say though that medium to high 
amperage multicable connectors (I hate it when people call them by the 
name of ONE of the manufacturers of this type of connector...after all, 
if Hubbell made them first, would we call them "Hubbell cables"?) 
connectors that are well chosen, properly installed, and handled by 
people that know to line up the guide notch, not cross-thread, ensure a 
snug connection, and not drop them indiscriminately will last for a 
VERY long time.

and there's 3 more cents.  :)

WM

--
William McLachlan
willy [at] wmld.com, http://www.wmld.com
"a) faster  b) cheaper  c) better.  Choose any two."
--


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

Subject: RE: Major in Theatre/whos still there
Date: Mon, 10 Jan 2005 14:52:57 -0700
Message-ID: <67CADCB91D266042A8DAB3B981DCFD14041312 [at] AFAMAIL2.USAFA.afspc.ds.af.mil>
From: "Haagen Trey P Civ 34 TRW/SDAT" <Trey.Haagen [at] usafa.af.mil>

There are a few of us who did not have parental distain for our chosen
major.  I was lucky in that both of
my parents were in the business.  My paternal grandfather even dabbles
in drag for Friar Roast-like=20
Entertainments during the turn of the century Chicago.  My parents never
encouraged or discouraged me from=20
picking Theatre as a major. I can honestly say that I do not recall ever
making a conscience decision to go=20
into the theatre.  It was something that I just always did.  It may have
lightened the blow when I came=20
back from the Army  (as an Entertainment Specialist ) and I decided to
go into Theatre Education for my=20
undergrad degree. =20

Back in the oldyn days, right after the recession of the seas, the old
American Theatre Association had a
conference in Minneapolis.  At the keynote address, the speaker dropped
some statistics that went something like:
"Of all the Theatre degrees that are conferred, by all the colleges and
universities in this country, less than 10%
of the graduates are making a living in the field in five years.  Below
3% after 10 years"  I understood "Making=20
a living" as primary income.  Now, I have no idea what the same stats
would be for most majors.  But I seem to know=20
lots of history, poli sci and other arts majors that are not working in
their graduated field.

Has anybody heard of any updated figures or have any thoughts on what it
might be today?

Trey Haagen


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jack
Morones
Sent: Monday, January 10, 2005 12:59
To: Stagecraft
Cc: stagecraft [at] jeffsalzberg.com
Subject: Re: Major in Theatre


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

I run into this when I recruit for Saddleback College.  As part of our
recruiting materials, my LD and I came up with 4 pages of career options
available to those trained in Theatre, both inside and outside the
industry.  This usually impresses the High School counselors (either
that or it's the free lunch).

Jack R. Morones
Production Manager
McKinney Theatre



-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey
E. Salzberg
Sent: Monday, January 10, 2005 9:35 AM
To: Stagecraft
Subject: Re: Major in Theatre


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


> I get that fairly often too...until I continue the conversation and=20
> explain just what I do and what kinda tools I get to play with, when=20
> it turns into "How cool!"

When I tell people I'm a lighting designer, I usually get, "Cool!",
which I interpret as meaning, "I have no idea what to say about that."



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

Message-id: <fc.000f5b5a0133a28b3b9aca000c1493e4.133a2e7 [at] csus.com>
Date: Mon, 10 Jan 2005 13:59:26 -0800
Subject: Re: Mimes
From: "John Hauer" <johnhauer [at] csus.com>
References: <list-13264209 [at] prxy.net>
In-Reply-To: <list-13264209 [at] prxy.net>

We recently had a lecture presentation by a guy billed as " the
inspirational mime." Yes, a lecture from a mime. When he got here, there
was a bit of a chip on his shoulder when he proclaimed, " I hate being
called a 'mime.' I am a 'pantomime!'" 

Hugh?

He was a great self promoter. He claimed great successes in his field. His
sound check was more involved than what is done for most of the musicians
who perform. 

Hugh? (again.)

But....
when he pretended to have a tug of war fight with himself, we figured
maybe we were the ones stuck in the  box.

I have to say that I was entertained by this oddity of a show. It broke up
a rather mundane week. So, whereas it isn't every gig that inspires great
art, sometimes it is good to have a simple chuckle. {Even if that chuckle
is at the expense of a mime or two.}

John

"Stagecraft" <stagecraft [at] theatrical.net> writes:
>Message-ID: <000d01c4f678$a9e608f0$0202a8c0 [at] MyLastPC>
>From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
><<Nothing worse than very well lit mimes..
>Oh, there is. Badly lit mimes!>>
>STOP IT... STOP IT!!!
>Mimes killed and ate my father.
>No wait... it might have been clowns.
>Sorry,
>Paul


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

Date: Mon, 10 Jan 2005 17:38:24 -0500
From: MissWisc [at] aol.com
Subject: Re: Major in Theatre
Message-ID: <00AFA49E.4C1E7530.007B9F2A [at] aol.com>

What about those of us who DIDN'T major in theatre but find ourselves making the majority of our income from it or related things?

My hubby was a music education major, I studied opera performance. Thank GOD I didn't pursue that! :)

From my graduating class, I'd estimate that about 20% are still in music full-time... most as teachers at the HS level, as few as composers/arrangers. The rest?? Elementary classroom teacher, re-location specialist for the navy, business banker, investment banker, para-legal, business equipment sales, and a bunch of stay-at-home moms. This is just off the top of my head. 

The point of college isn't to prepare you for a specific job, it's to prepare you for LIFE. If you want "training" go to a tech school, it's cheaper, doesn't take as long, and the jobs often pay better.

And regardless of which path or major you choose, know that you will need to upgrade things every 5-10 years or so. 

Kristi

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

Message-ID: <41E30633.10804 [at] fuse.net>
Date: Mon, 10 Jan 2005 17:48:19 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Silica
References: <list-13312645 [at] prxy.net>
In-Reply-To: <list-13312645 [at] prxy.net>

Matthew Breton wrote:

>  The other mediums are in the basement, 
> holding a seance convention.


Edgar Cayce was not a Medium...He was an extra large!

;-)

Stu


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

From: FrankWood95 [at] aol.com
Message-ID: <96.1e5c54c0.2f1465cc [at] aol.com>
Date: Mon, 10 Jan 2005 18:12:12 EST
Subject: Re: "delicacy"??? of  Socapex

In a message dated 10/01/05 21:34:47 GMT Standard Time, willy [at] wmld.com writes:

> > -- 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.
>  
>  The solution to a "complex connector" is training.  Make the users 
>  SMARTER, don't make the installation dumb.

It is a difficult design decision. Connectors have a degree of unreliability 
built-in. Soldered joints, or crimped ones, make service engineers go bald 
before their time.

A case in point. The last in-house design of a sound desk by the BBC used 
many modular amplifier boards. All were fitted with solder joints, for greater 
reliability. If you wanted to change a module, there were at least nine solder 
joints involved. This is not what you need when you are trying to mend one, 
against time.

One of the designers was a friend of mine, and I remember arguing this point 
with him. He was a better and more experienced enginer than I, and I lost. All 
the same, I stayed with connectors in my designs, and am aware of no 
reliability problems.


Frank Wood

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

In-Reply-To: <list-13331934 [at] prxy.net>
References: <list-13331934 [at] prxy.net>
Message-Id: <5E8E1DFA-6361-11D9-B1D9-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: "delicacy"??? of  Socapex
Date: Mon, 10 Jan 2005 16:43:03 -0700

On Jan 10, 2005, at 4:12 PM, FrankWood95 [at] aol.com wrote:

> It is a difficult design decision. Connectors have a degree of 
> unreliability
> built-in. Soldered joints, or crimped ones, make service engineers go 
> bald
> before their time.
>
> A case in point. The last in-house design of a sound desk by the BBC 
> used
> many modular amplifier boards. All were fitted with solder joints, for 
> greater
> reliability. If you wanted to change a module, there were at least 
> nine solder
> joints involved. This is not what you need when you are trying to mend 
> one,
> against time.
>


Now Frank,

Design decision?

You have lost me here.   What is it about a Socapex connecter that 
really has ANYTHING to do with soldering, other than the initial 
fabrication?

I am certain that if Willie had to solder & de-solder the multi-pin 
connecter every-time he changed it, his opinion of them would not be 
the same.

Of course at a reasonable hourly wage....




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


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

Message-ID: <41E32AAD.1060107 [at] telus.net>
Date: Mon, 10 Jan 2005 18:23:57 -0700
From: "RODOK!!!" <rodok [at] telus.net>
Subject: Re: Major in Theatre
References: <list-13318731 [at] prxy.net>
In-Reply-To: <list-13318731 [at] prxy.net>

Jack Morones wrote:

> <>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I run into this when I recruit for Saddleback College. As part of our
> recruiting materials, my LD and I came up with 4 pages of career options
> available to those trained in Theatre, both inside and outside the
> industry. This usually impresses the High School counselors (either
> that or it's the free lunch).
>
> Jack R. Morones
> Production Manager
> McKinney Theatre
> \

I wonder if I could get copies of  any recruiting materials from folks 
out there. I teach in a H.S. in Canada and I could use any materials 
from acting and tech theatre  programs for my students to check out.
thanks
Rod Osiowy
Mount Baker "Wild" Theatre
1410 Baker St.
Cranbrook, BC
V1C 1B2


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

Message-ID: <004001c4f791$4eb5c370$67e2490c [at] briansbyukf8iv>
From: "Brian D Shipinski" <bshipinski [at] worldnet.att.net>
References: <list-13264209 [at] prxy.net>
Subject: Kliegl Lekos
Date: Mon, 10 Jan 2005 21:54:52 -0600

While beside the forum's usual curious posts, this is one of problem solving 
that I think I have found but would also be open to other solutions for. 
Much less just the acquiring of the equipment need.

Looking for three - at best in beam spread on a 20" mirror ball but with a 
small Leko fixture, at about 10 - 15',  three #1343 Kliegl 3.1/2 Leko 
fixtures for a special 200w Leko mirror ball project inspite of their lack 
of efficiency but to the best of my knowledge the only thing at that wattage 
still dimmable. that you can get lamps for in that wattage.
Even I'm not asking too much about the design concept.  While these fixtures 
are far too light for boat anchors, they very much are I would agree in 
having also used them in the past.  Still I think I need some in being the 
only solution.  Anyone willing to trade some refurbished and optimized 
Altman 360Q fixtures of any beam spread except 4.1/2x6.1/2 which I'm out of 
and a new lamp of your choice for the fixture including  the HPR in each for 
them please contact me off line about a trade.  I'll even throw in some 
company swag.

Thanks,
Brian Shipinski
Upstaging, Inc.
bshipinski [at] upstaging.com
bshipinski [at] att.net



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

From: "Kevin A. Patrick" <patrick_kevin [at] colstate.edu>
Subject: Scrim scallops
Date: Mon, 10 Jan 2005 23:00:28 -0500
Organization: Columbus State University
In-reply-to: <list-13364281 [at] prxy.net>
Message-ID: <auto-000013365062 [at] prxy.net>

A fellow designer will be using strips of scrim for an upcoming show.  They
are 60-72" wide, and about 20' tall.  He would rather not frame them, but
doesn't know how much they will scallop on the sides if only supported from
top and bottom.  I figure there must be ten people out there that have faced
this situation in the last five years.  Does anyone know what this will look
like, or have a formula for determining the scallop? 

(BTW, isn't scallop the right word?  When the scrim, or any other fabric,
bows towards the middle of a drop on the sides.  Scallops are normally on
the top, but is that the right word for the sides also?)

Thanks,

Kevin Patrick
Theatre.colstate.edu

-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.300 / Virus Database: 265.6.9 - Release Date: 1/6/2005
 


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

Date: Mon, 10 Jan 2005 23:16:11 -0500
Subject: Re: Scrim scallops
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE08BD3A.2E25%bill [at] sapsis-rigging.com>
In-Reply-To: <list-13365073 [at] prxy.net>

on 1/10/05 11:00 PM, Kevin A. Patrick at patrick_kevin [at] colstate.edu wrote:

> (BTW, isn't scallop the right word?  When the scrim, or any other fabric,
> bows towards the middle of a drop on the sides.  Scallops are normally on
> the top, but is that the right word for the sides also?)


I've always heard it called "hourglassing"

And I have no idea how to avoid it without framing.

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: <41E352AD.35B6FC29 [at] cybercom.net>
Date: Mon, 10 Jan 2005 23:14:37 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Scrim scallops
References: <list-13365073 [at] prxy.net>



"Kevin A. Patrick" wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> A fellow designer will be using strips of scrim for an upcoming show.  They
> are 60-72" wide, and about 20' tall.  He would rather not frame them, but
> doesn't know how much they will scallop on the sides if only supported from
> top and bottom.  I figure there must be ten people out there that have faced
> this situation in the last five years.  Does anyone know what this will look
> like, or have a formula for determining the scallop?
>
> (BTW, isn't scallop the right word?  When the scrim, or any other fabric,
> bows towards the middle of a drop on the sides.  Scallops are normally on
> the top, but is that the right word for the sides also?)
>
> Thanks,
>
> Kevin Patrick
> Theatre.colstate.edu

    Depends on the amount of weight you have down at the bottom.
If you have nothing but a hem, they hardly scallop at all, but they blow
and billow with every breeze and eddy of air.  It's a tradeoff.

    --Dale



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

Date: Mon, 10 Jan 2005 22:20:51 -0600
Subject: Re: bussing bus bars
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE08B043.9111%gregpersin [at] comcast.net>
In-Reply-To: <list-13298441 [at] prxy.net>

Karl Ruling Wrote:

> A "buss" is a kiss. A "bus" is "a conductor or assembly of
> conductors." (Webster's 9th New Collegiate dictionary)
> 
> Don't buss the bus bars.


Karl I just figure if you buss the bus bars you will remember how they are
arranged better. 

From the looks of David Fox's post I need to go do some bus bussing of my
own. Thanks for straightening it out David.


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com




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

From: "Robert Barnwell" <RBarnwell [at] pop.ncarts.edu>
Subject: materials othe than plexiglass
Date: Mon, 10 Jan 2005 23:58:26 -0500
Message-ID: <NDENKAIMFFJPMNHKFIBPOEJGCAAA.RBarnwell [at] pop.ncarts.edu>

Hello Everyone-

I am a student at North Carolina School of the Arts and am currently working
as TD on a show and have a question.  I am looking for options of materials
to use other than plexiglass, but that will give me basically the same look.
My designer wants flats covered with plexiglass, for a lighting effect.

So if you have any material suggestions, websites, etc, I would appreciate
it.
Thank you



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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Tue, 11 Jan 2005 05:15:31 GMT
Subject: Re: materials othe than plexiglass
Message-Id: <20050110.211539.29675.87632 [at] webmail02.lax.untd.com>


LEXAN.
/s/ Richard

Hello Everyone-
 I am looking for options of materials to use other than plexiglass, but that will give me basically the same look.





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

From: "Michael J. Banvard" <mbanvard [at] earthlink.net>
Subject: RE: materials othe than plexiglass
Date: Tue, 11 Jan 2005 00:32:57 -0600
In-Reply-To: <list-13372948 [at] prxy.net>
Message-Id: <E1CoFan-0007Ug-00 [at] pop-a065c28.pas.sa.earthlink.net>

> I am looking for 
> options of materials
> to use other than plexiglass, but that will give me basically 
> the same look.
> My designer wants flats covered with plexiglass, for a 
> lighting effect.

Be very careful about thickness and support.  If you go to thin, with
whichever option you chose (Lexan being a fine suggestion), damage will
inevitably occur.  Encourage the designer to add framing above and beyond
standard wood construction methods.

- Michael 



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

Message-ID: <000601c4f7ae$d8d319a0$10ecbed0 [at] hppav>
From: "Joe Meils" <bipolarber [at] cyberback.com>
References: <list-13372948 [at] prxy.net>
Subject: Re: materials othe than plexiglass
Date: Tue, 11 Jan 2005 01:26:19 -0600

Well, depending on what kind of stress is being placed on these flats, you
could use some clear styrene or other plastic. I once had to build a set of
"suspended animation chambers" for a science fiction play we were doing, and
the designer wanted something similar to the old "This Island Earth" glass
pipe, or the "Lost in Space" cylinder. We had a nothing budget,and was a bit
stymied, until I made a call to Plasticrafts in Denver. They sold me a set
of clear plastic sheets 4'X8', that I could simply roll by hand.I see no
reason why this same stuff couldn't be used to cover your flats. It's clear,
it's relatively cheap, and ridgid enough to look like glass. You'll probably
want to use something about half the thickness of a credit card, say, .020?

Joe
Conway, AR



----- Original Message ----- 
From: "Robert Barnwell" <RBarnwell [at] pop.ncarts.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, January 10, 2005 10:58 PM
Subject: materials othe than plexiglass


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Hello Everyone-
>
> I am a student at North Carolina School of the Arts and am currently
working
> as TD on a show and have a question.  I am looking for options of
materials
> to use other than plexiglass, but that will give me basically the same
look.
> My designer wants flats covered with plexiglass, for a lighting effect.
>
> So if you have any material suggestions, websites, etc, I would appreciate
> it.
> Thank you
>
>


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

Message-Id: <l03130300be0944ec409e [at] [155.245.53.24]>
In-Reply-To: <list-13393885 [at] prxy.net>
References: <list-13372948 [at] prxy.net>
Date: Tue, 11 Jan 2005 08:57:27 +0000
From: Dorian Kelly <dorian [at] essex.ac.uk>
Subject: Re: materials othe than plexiglass

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>Well, depending on what kind of stress is being placed on these flats, you
>could use some clear styrene or other plastic.

Ahhhh!  Fireproofing!

In extremis there is always clear Rosco or Lee, Gam etc....

DK




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End of Stagecraft Digest #256
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