Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 16993300; Tue, 01 Feb 2005 03:00:30 -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 #279 Date: Tue, 01 Feb 2005 03:00:05 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.2 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, EXTRA_CASH autolearn=ham version=3.0.2 X-Spam-Level: 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 #279 1. Re: Rough Cut Lumber by zhamm [at] email.unc.edu 2. Re: Trap Fun by "Tom Hackman" 3. Lemaitre Neutron Hazer and delay "Feature" by Herrick Goldman 4. Re: Lemaitre Neutron Hazer and delay "Feature" by IAEG [at] aol.com 5. Re: Lemaitre Neutron Hazer and delay "Feature" by "Mike Burnett" 6. Re: Bill Sapsis in Indiana by RHolen [at] vinu.edu 7. Green wood usage by "Dougherty, Jim" 8. Re: Lemaitre Neutron Hazer and delay "Feature" by "Curt Mortimore" 9. Re: rough cut or green lumber by "Karl G. Ruling" 10. Re: forklifting piano by "Karl G. Ruling" 11. Re: forklifting piano by "Tony" 12. Re: Lemaitre Neutron Hazer and delay "Feature" by "Steve B." 13. Re: Lemaitre Neutron Hazer and delay "Feature" by Herrick Goldman 14. Re: Bill Sapsis in Indiana by Bill Sapsis 15. Re: Lemaitre Neutron Hazer and delay "Feature" by "Kevin Linzey" 16. Re: Lemaitre Neutron Hazer and delay "Feature" by Herrick Goldman 17. Re: rough cut or green lumber by "Paul Schreiner" 18. Re: Two-Scene Operation of Lighting Consoles [Long & Late post] by "Steven Haworth" 19. Re: Lemaitre Neutron Hazer and delay "Feature" by Nathan Kahn/Look Solutions 20. Re[2]: Bill Sapsis in Indiana by "Frank E. Merrill" 21. Re: Lemaitre Neutron Hazer and delay "Feature" by "Michael S. Eddy" 22. Re: Lemaitre Neutron Hazer and delay "Feature" by Herrick Goldman 23. Re: forklifting piano by "Karl G. Ruling" 24. Re: Lemaitre Neutron Hazer and delay "Feature" by "Joe Golden" 25. Hazers and the Unique (was Re: Lemaitre Neutron Hazer and delay "Feature") by Shawn Palmer 26. Re: rough cut or green lumber by "Waxler, Steve (waxlers)" 27. practical phone bell help? by "K. Daly" 28. Re: practical phone bell help? by "Storms, Randy" 29. typo Re: practical phone bell help? by "K. Daly" 30. Re: practical phone bell help? by "Paul Schreiner" 31. RE Trap fun by "Tom Grabowski" 32. Re: practical phone bell help?(Long) by "Paul H. Sullivan" 33. Re: Two-Scene Operation of Lighting Consoles [Long & Late post] by "Sarah Clausen" 34. Re: practical phone bell help?(Long) by Stuart Wheaton 35. Re: practical phone bell help?(Long) by FrankWood95 [at] aol.com 36. Re: Lemaitre Neutron Hazer and delay "Feature" by "Curt Mortimore" 37. We Ride!! (Waaaaay OT) by Bill Sapsis 38. Sound FX Library by "Kevin A. Patrick" 39. Re: We Ride!! (Waaaaay OT) by Greg Bierly 40. Re: Sound FX Library by David Marks *** 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: <20050131080336.3iqp0dne04800kgk [at] webmail1.isis.unc.edu> Date: Mon, 31 Jan 2005 08:03:36 -0500 From: zhamm [at] email.unc.edu Subject: Re: Rough Cut Lumber References: In-Reply-To: The one suggestion I have is to reduce cupping and twisting as you planking dries. On stair case treads putting one or two kerfs half the thickness of the board along the length of it will help it behave as if it were two or three narrower boards. In my humble opinion the mixing of new and kiln dried lumber shouldn't be an issue. I would get your rough cut in to your shop as soon as possible to allow it to acclimatize before use, and to be careful about where or how many fasteners you use since they may cause splitting. If you really want to know what wood will do try taking a look at a book like "Understanding Wood" by R. Bruce Hoadley. Good Luck Zachary Hamm UNC-CH > Message-ID: <001c01c506dc$eb09b1a0$0202a8c0 [at] MyLastPC> > From: "Paul Guncheon" > References: > Subject: Re: Rough Cut Lumber > Date: Sun, 30 Jan 2005 05:03:53 -1000 > > < I've been given a design that includes rough cut lumber planking on a=20 > small rolling wagon with upright columns (short- tallest is 5'). I have=20 > a source for the rough cut, cut to order, delivered to my doorstep, but=20 > I'm concerned about mixing the green lumber with the ply and 2x4 I'm=20 > planning on using for the platform. I know the lumber will shrink as it=20 > dries, so I'm wondering if there are any suggestions about fastners or=20 > construction methods, or if I should rethink my framing and do the=20 > entire thing out of green wood so it might all shrink at the same rate.=20 > Thoughts? > Thanks! > Heather Hillhouse-Deans > Lehigh University ------------------------------ Message-ID: <004e01c5079e$c4db9800$87d11ed8 [at] Hackman1> From: "Tom Hackman" References: Subject: Re: Trap Fun Date: Mon, 31 Jan 2005 09:11:28 -0500 Hey all: Thanks for the advice. I am just looking for a fun way of doing this. I try to find a 'tech hook' in every show, just to keep the students and myself interested and challenged. The obvious, simple answer is a hinged door that the actor drops thru to a pad, but thats just too simple. This will be the first show here in a while that I haven't designed and TD'd (I'm just the TD.). So I am looking for a fun little project. I know, I know, KISS method is always best, but on a simple interior box set, you gotta have a little challenge. Besides, I've had these pneumatics sitting around for a while, they look bored... ;) Tom Hackman TD/Scene Designer Davis & Elkins College Elkins, WV ------------------------------ Date: Mon, 31 Jan 2005 09:32:24 -0500 Subject: Lemaitre Neutron Hazer and delay "Feature" From: Herrick Goldman Message-ID: In-Reply-To: Hey folks, Does anyone own a Neutron Pro Hazer from Le Maitre. I have rented one over the weekend. At first the push button remote that goes out to a 3 pin XLR didn't function so the rental shop replaced that. Once we got that working we discovered a lovely feature: There seems to be a random delay between us holding down the button and Haze actually coming out. This delay could be anywhere from 10 seconds to 45 seconds. Even when the unit is warm and had fired moments before. How does Le Maitre expect the live entertainment industry to work this way? If I had dimmers that worked like this we'd all be out of work. Did I just get a bad unit? The rental shop seems to think this is standard. Your opinions and observations are welcome. -Herrick -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: IAEG [at] aol.com Message-ID: <6a.4dfc03ab.2f2f9c3b [at] aol.com> Date: Mon, 31 Jan 2005 09:35:39 EST Subject: Re: Lemaitre Neutron Hazer and delay "Feature" In a message dated 1/31/05 9:32:31 AM, Herrick [at] HGLightingDesign.com writes: >How does Le Maitre expect the live entertainment industry to work this >way? >If I had dimmers that worked like this we'd all be out of work. Did I >just >get a bad unit? The rental shop seems to think this is standard. > >Your opinions and observations are welcome. > >-Herrick I have found similar irregular response times from a broad variety of smoke / haze machines from what seems to be the cycling of thermostatic control. drives ya crazy, , best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Subject: RE: Lemaitre Neutron Hazer and delay "Feature" Date: Mon, 31 Jan 2005 09:37:50 -0500 Message-ID: From: "Mike Burnett" We have had one of these units for the past 4 years, and from what I remember (its been a while since we used it) this is the case. We had to send it in for repair on another problem and ended up with a brand new on this past summer, and I don't recall if it has the delay or not. Essentially, what we end up doing is running the hazer in DMX mode and programming it into Qs on the light board. We can then have it start early enough to get haze when we need it. Some times we just let it run (depending on the event). Its not the ideal, but it works for us. M Mike Burnett, M.F.A. Assistant Professor of Theatre Chair, Department of Theatre =20 Huntington College Honoring Christ in Scholarship and Service =20 260-359-4279 office 260-359-4249 fax =20 mburnett [at] huntington.edu www.huntington.edu/theatre I always thank God for you because of his grace given you in Christ Jesus. For in him you have been enriched in every way - in all your speaking and in all your knowledge. --1 Corinthians 1:4-5=20 "We are such stuff as dreams are made on and our little life is rounded with a sleep..." --The Tempest (IV:1, 156-157) =20 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Herrick Goldman Sent: Monday, January 31, 2005 9:32 AM To: Stagecraft Subject: Lemaitre Neutron Hazer and delay "Feature" For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hey folks,=20 Does anyone own a Neutron Pro Hazer from Le Maitre. I have rented one over the weekend. At first the push button remote that goes out to a 3 pin XLR didn't function so the rental shop replaced that. Once we got that working we discovered a lovely feature: There seems to be a random delay between us holding down the button and Haze actually coming out. This delay could be anywhere from 10 seconds to 45 seconds. Even when the unit is warm and had fired moments before. How does Le Maitre expect the live entertainment industry to work this way? If I had dimmers that worked like this we'd all be out of work. Did I just get a bad unit? The rental shop seems to think this is standard. Your opinions and observations are welcome. -Herrick=20 --=20 Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Subject: Re: Bill Sapsis in Indiana Message-ID: From: RHolen [at] vinu.edu Date: Mon, 31 Jan 2005 08:45:36 -0600 I attended one of Bill's Rigging Seminars in Evansville, IN on Saturday. Yes, you can teach an old dog new tricks. Well done, Bill. Thanks, Rick Richard D. Holen Professor Dept. of Theatre Vincennes University 1002 N. 1st Street Vincennes, IN 47591 Office: 812 888 5339 Home: 812 886 9135 Cell: 812 760 8000 rholen [at] indian.vinu.edu ------------------------------ Date: Mon, 31 Jan 2005 09:46:31 -0500 Subject: Green wood usage From: "Dougherty, Jim" Message-ID: I would agree with what others have said about fastening - if you use enough fasteners, most scenery doesn't have a long enough lifespan to see the changes that come from a lot of wood movement. If a nail pops, add another. It will depend on the species, too - the softwoods we usually use, like pine or spruce, don't move as much with changes in moisture as hardwoods like maple that we can't afford anyway. Mahogany and walnut are pretty stable which is one of the reasons they are so popular as a furniture wood, their beauty aside. One point about green wood to clarify though (or maybe not!) - if you look at the endgrain of a flatsawn board, if the grain curls downwards at the edges then it will cup upwards as the wood dries, downwards as it gets wet. This is assuming that it gets wet and dries evenly. There's a good picture of what will happen to wood as it dries from green in the _Wood Engineering Handbook_, published by the US Forest Products Laboratory. If wood gets wet unevenly, from one side being rained upon or painted for example, or a board left out in the sun on a wet lawn, it will cup/warp towards the dry side as the wet side expands with increased moisture. As has been mentioned, wood doesn't change length noticably with differences in moisture, but shrinks roughly twice as much tangentially as it does radially as it dries. That's why the checks in a drying log run the way they do. Also, for many species the green wood is significantly easier to work than after it's dried. Pallets are one example; the nails drive easily without splitting the wood while it's green, but once it's dried the boards are too hard to do without more splitting or bounced nails. Hemlock is widely available here rough and green, and works easily until it's dry. Old time woodworkers, using hand tools, evolved techniques that took advantage of this and of the wood's movement, especially in chair making, so that they could work the wood when it was easiest, i.e. while it was green, and the drying of the wood from green made the joints tighter and stronger . Turners like working in green for some projects too, and will leave their blanks in water to keep them from drying, or use chemicals developed for the purpose. The biggest concern I'd have has already been mentioned though - what do your costumers think of roughsawn lumber? - Jim Dougherty ATD, Middlebury College Theatre Department ------------------------------ Subject: RE: Lemaitre Neutron Hazer and delay "Feature" Date: Mon, 31 Jan 2005 08:48:33 -0600 Message-ID: From: "Curt Mortimore" Herrick, I'm not exactly sure what physics is involved but my understanding is that the LeMaitre units go through a "self cleaning" cycle on every start-up. In my experience haze is a design element and is not something that requires terribly tight cueing. That being said, I can appreciate our need to make things work in ways no one would have, or should have, considered. Have you tried calling LeMaitre tech support? I have found them to be quite helpful. http://www.lemaitrefx.com/ Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 (641) 784-5265 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Herrick Goldman Sent: Monday, January 31, 2005 8:32 AM To: Stagecraft Subject: Lemaitre Neutron Hazer and delay "Feature" For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hey folks,=20 Does anyone own a Neutron Pro Hazer from Le Maitre. I have rented one over the weekend. At first the push button remote that goes out to a 3 pin XLR didn't function so the rental shop replaced that. Once we got that working we discovered a lovely feature: There seems to be a random delay between us holding down the button and Haze actually coming out. This delay could be anywhere from 10 seconds to 45 seconds. Even when the unit is warm and had fired moments before. How does Le Maitre expect the live entertainment industry to work this way? If I had dimmers that worked like this we'd all be out of work. Did I just get a bad unit? The rental shop seems to think this is standard. Your opinions and observations are welcome. -Herrick=20 --=20 Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: "Karl G. Ruling" Date: Mon, 31 Jan 2005 09:55:54 -0500 Subject: Re: rough cut or green lumber Reply-to: kruling [at] esta.org Message-ID: <41FE00AA.1062.34CC0D [at] localhost> In-reply-to: > Hi Heather, > So slap me if I'm saying something you already know, but, green wood > will only shrink noticeably across the grain. You'll never notice any > change in length. It's kind of like people. If we get fatter or > thinner, we don't change height, just girth! > > How long does the show run for? And what's the dimension of the > planks? I've built scenery with roughcut and green lumber, which are not necessarily the same thing. The biggest issue with roughcut for me was that it is was not planed to standard dimensions. This is no big deal as long as one measures the lumber and doesn't assume what the dimensions are. For example, a piece of roughcut 1-by was unlikely to be 3/4" thick. It was more likely to be 1" thick, and maybe a little thicker. Furthermore, there were sometimes variations between boards in the same truckload, although the variations were not great, maybe a 1/16th of an inch. Roughcut does have the advantage that, since it is thicker than S4S lumber, it is stronger. The big problems with green wood for me were that everything we built with it was heavy and it tended to gum up the saws. It also bothered hayfever sufferers more. Of course, as it dried it got lighter. The difference was noticeable. Sometimes the stuff was so green that a little puddle of sap would appear around a nail as it was driven in. ------------------------------ From: "Karl G. Ruling" Date: Mon, 31 Jan 2005 09:55:54 -0500 Subject: Re: forklifting piano Reply-to: kruling [at] esta.org Message-ID: <41FE00AA.27962.34CC7A [at] localhost> In-reply-to: > >this is what I did: put the padded cover on and strapped it to > >it's "Y" dolly, put a piece of ply up against the lift risers and > >forked under the Y between the casters on the bass side as close to > >the keys as possible, lifted slowly 2 feet, rolled forward then set > >it gently down on > > the platform. Easy as pie. No torquing, no problems at all. Still in > >tune. > > "In tune" according to whom? In tune according to someone who was there to hear it, ye of little faith. ------------------------------ Message-ID: <012301c507a5$b6c5c5e0$0800000a [at] Tony> From: "Tony" Cc: kruling [at] esta.org References: Subject: Re: forklifting piano Date: Mon, 31 Jan 2005 15:01:10 -0000 ----- Original Message ----- From: "Karl G. Ruling" To: "Stagecraft" Sent: Monday, January 31, 2005 2:55 PM Subject: Re: forklifting piano > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > >this is what I did: put the padded cover on and strapped it to > > >it's "Y" dolly, put a piece of ply up against the lift risers and > > >forked under the Y between the casters on the bass side as close to > > >the keys as possible, lifted slowly 2 feet, rolled forward then set > > >it gently down on > > > the platform. Easy as pie. No torquing, no problems at all. Still in > > >tune. > > > > "In tune" according to whom? > > In tune according to someone who was there to hear it, ye of little > faith. > Do you mean in tune with your own ear? With utmost respect I ask the question "Are you a trained piano tuner or a concert pianist?" If no to either/both of these, then I'd suspect that one or other of these categories would quite probably disagree with you wholesale on the basis that "It's been moved, ergo it's outta tune!" They'd probably be right, too, albeit possibly on a very minor degree, but these guys can be as bad as opera singers whinging about haze.....! 8-)))))))))))))))))))))) Ynot ------------------------------ Date: Mon, 31 Jan 2005 10:02:44 -0500 From: "Steve B." Subject: Re: Lemaitre Neutron Hazer and delay "Feature" Message-id: <004501c507a5$eb4b8340$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "Curt Mortimore" > I'm not exactly sure what physics is involved but my understanding is > that the LeMaitre units go through a "self cleaning" cycle on every > start-up. This is correct. The self-cleaning cycle program is built into the on-board chip and is intended to give the unit maximum life in high usage scenarios. It pretty much defeats the purpose of getting the DMX controller as there seems to be no relationship to when the unit turns on/off and when you command it to do so via DMX. That said, there is a fix. LeMaitre has recognized that not everyone uses the unit all day, every day and has a replacement chip that essentially lets the DMX command over-ride the cleaning cycle. It runs about $50 or so (which I would think LeMaitre would offer free), but which I gladly paid when I had the unit in for service for another problem. It pretty much now responds to DMX, but does need to be cleaned out with the cleaning rod on a more regular basis. Steve Bailey Brooklyn College ------------------------------ Date: Mon, 31 Jan 2005 10:07:09 -0500 Subject: Re: Lemaitre Neutron Hazer and delay "Feature" From: Herrick Goldman Message-ID: In-Reply-To: Curt thanks. This is a 2 night trial run for a potential concert production so I haven't the time to call tech support. Did you mean to say this: " In my experience haze is a design element and is not something that requires terribly tight cueing." I'm certain you mis-spoke or mis-typed. I'm willing to deal with a self cleaning cycle ( I even appreciate it) but once it's on and clean it should respond in a reasonably quick fashion and at the very least be consistent. -H On 1/31/05 9:48 AM, "Curt Mortimore" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Herrick, > > I'm not exactly sure what physics is involved but my understanding is > that the LeMaitre units go through a "self cleaning" cycle on every > start-up. In my experience haze is a design element and is not something > that requires terribly tight cueing. That being said, I can appreciate > our need to make things work in ways no one would have, or should have, > considered. > > Have you tried calling LeMaitre tech support? I have found them to be > quite helpful. http://www.lemaitrefx.com/ > > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Date: Mon, 31 Jan 2005 10:25:49 -0500 Subject: Re: Bill Sapsis in Indiana From: Bill Sapsis Message-ID: In-Reply-To: on 1/31/05 9:45 AM, RHolen [at] vinu.edu at RHolen [at] vinu.edu wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I attended one of Bill's Rigging Seminars in Evansville, IN on Saturday. > Yes, you can teach an old dog new tricks. > Well done, Bill. > Thanks, > Rick > Richard D. Holen > Professor > Dept. of Theatre > Vincennes University > 1002 N. 1st Street > Vincennes, IN 47591 > Office: 812 888 5339 > Home: 812 886 9135 > Cell: 812 760 8000 > rholen [at] indian.vinu.edu > Awwww, gosh. Thanks (He said with his head down, hands behind back, feet shuffling) It's a great program that they're running out there not only for the high school students but also the college and professionals. They have one of only 2 high school student chapters of USITT. judging by the questions and responses I was getting on Saturday, this is one sharp group of kids. Made my job easy! Thanks Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: "Kevin Linzey" Subject: RE: Lemaitre Neutron Hazer and delay "Feature" Date: Mon, 31 Jan 2005 10:24:30 -0500 Message-ID: <000a01c507a8$f5cfbea0$1101a8c0 [at] KLinzeypc> In-Reply-To: Herrick, What you describe sounds like the typical behavior of the Neutron Haze Machine. If you want instance haze rent the Lemaitre G300. The Neutron is designed to run for hours on end, not run for a few = minutes at a time. I don't think the heating element and the pump run till you = turn on the haze, so it takes a few seconds to get going. The Neutron will = also perform a self cleaning cycle during it's normal operation, so you will notice that it stops hazing occasionally while you are running it. If you need instant haze, use the G300. It's a dual purpose fog and = haze machine. The heater is always hot and when you hit the switch you get instant haze. The G300 works great, but typically they are a little = louder to operate, and cost a little more to rent. Kevin=20 Kevin Linzey Fisher Theatrical, LLC. http://www.fishertheatrical.com/ > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf=20 > Of Herrick Goldman > Sent: Monday, January 31, 2005 9:32 AM > To: Stagecraft > Subject: Lemaitre Neutron Hazer and delay "Feature" >=20 >=20 > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 > Hey folks,=20 >=20 > Does anyone own a Neutron Pro Hazer from Le Maitre. I have=20 > rented one over the weekend. At first the push button remote=20 > that goes out to a 3 pin XLR didn't function so the rental=20 > shop replaced that. >=20 > Once we got that working we discovered a lovely feature: >=20 > There seems to be a random delay between us holding down the=20 > button and Haze actually coming out. This delay could be=20 > anywhere from 10 seconds to 45 seconds. Even when the unit is=20 > warm and had fired moments before. >=20 > How does Le Maitre expect the live entertainment industry to=20 > work this way? If I had dimmers that worked like this we'd=20 > all be out of work. Did I just get a bad unit? The rental=20 > shop seems to think this is standard. >=20 > Your opinions and observations are welcome. >=20 > -Herrick=20 >=20 >=20 >=20 >=20 > --=20 > Herrick Goldman > Lighting Designer, NYC > www.HGLightingDesign.com > 917-797-3624 > "To the scores of silent alchemists who wreak their joy in=20 > darkness and in light bringing magic to life, we bow most=20 > humbly. "-CDS >=20 ------------------------------ Date: Mon, 31 Jan 2005 10:34:36 -0500 Subject: Re: Lemaitre Neutron Hazer and delay "Feature" From: Herrick Goldman Message-ID: In-Reply-To: Thanks Kevin, I have used the g300's in the past and I love them!, Oddly I've never tried them in haze mode but look forward to it. I think the neutron was obviously intended for the club and amusement park industry, it's too bad, they a re quiet and the haze is lovely. Thanks all for the input. On 1/31/05 10:24 AM, "Kevin Linzey" wrote: > If you need instant haze, use the G300. It's a dual purpose fog and haze > machine. The heater is always hot and when you hit the switch you get > instant haze. The G300 works great, but typically they are a little louder > to operate, and cost a little more to rent. > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Subject: RE: rough cut or green lumber Date: Mon, 31 Jan 2005 10:45:35 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C6D5 [at] exchange.rmwc.edu> From: "Paul Schreiner" Cc: kruling [at] esta.org > The biggest issue with roughcut for me was that it is was not planed=20 > to standard dimensions. This is no big deal as long as one measures=20 > the lumber and doesn't assume what the dimensions are. For example, a=20 > piece of roughcut 1-by was unlikely to be 3/4" thick. It was more=20 > likely to be 1" thick, and maybe a little thicker. Furthermore, there=20 > were sometimes variations between boards in the same truckload,=20 > although the variations were not great, maybe a 1/16th of an inch. FWIW (and for the student-types out there), this is why 1x lumber is called "one-by". The dimensions of the rough-cut stock from which the finished piece is planed provide us with the dimensions. Rough-cut 1x4 is approximately 1" thick and 4" wide. The finished piece is usually 3/4"x3-1/2". The same process holds for everything else in boards. In fact, current standards allow for nominal width 3/8 in. scant of specified width in lumber less than 8 in. wide, and 1/2 in. less than nominal width in lumber 8 in. or wider (http://www.westwindhardwood.com/order_art.html, where it also states "Most 4/4 is cut about 1 1/8 in. and planes down to 3/4 in. or 13/16."). Of course, this is usually a little unrealistic, and the loss is more like 1/2" for boards up to 8" wide, and 3/4" for anything larger. ------------------------------ Subject: RE: Two-Scene Operation of Lighting Consoles [Long & Late post] Date: Mon, 31 Jan 2005 09:51:27 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB0909327D [at] danube.river.idm.com> From: "Steven Haworth" I've programmed moving lights on an Express 48/96, and because of the = need to move lights in the dark, or especially needing a moving light in = back-to-back cues but where the move had to be hidden, I've used = multi-part cues a number of times. Multi-parts are a pain to program (it's hard to keep track of all the = parts, especially since you can only see one part at a time). It would = be nice to be able to lay out the levels for each part individually, but = be able to see and adjust the fade times for all the parts in one = screen. Haven't yet had to use the C/D faders, but I haven't done a lot of = effects-heavy shows on that console yet. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Message-Id: <5.0.0.25.2.20050131103409.01d1dfe8 [at] 212.86.129.164> Date: Mon, 31 Jan 2005 10:56:46 -0500 From: Nathan Kahn/Look Solutions Subject: Re: Lemaitre Neutron Hazer and delay "Feature" In-Reply-To: References: > " In my experience haze is a design element and is not something >that requires terribly tight cueing." > >I'm certain you mis-spoke or mis-typed. Surely the fact that it takes a significant amount of time to haze up an area means the precise start time is not critical? A DF-50 will take an hour to haze a stage, a Neutron probably half an hour at least - does a minute either way on the start cue really matter? I think that's what the person you quoted was getting at. This would not necessarily be the case for a high-output hazer, such as our Unique, or the LeMaitre G300 which somebody else mentioned. That said - 45 seconds does seem inconvenient, and the fact that it's not predictable doubly so. If I might go "commercial" for a moment, I'd like to mention that we have demo Uniques that you or anybody on the list is welcome to borrow. Those interested should email us off-list to request one. Nathan ------------------------------------------------------------------------ Look Solutions USA, Ltd. 114 W. Third St. Waynesboro, PA 17268 Toll-Free: 1-800-426-4189 Phone: 1-717-762-7490 Fax: 1-717-762-7366 Company Email: usa [at] looksolutions.com Personal Email: nk [at] looksolutions.com Web: www.looksolutions.com and www.fogspecs.com ------------------------------ Date: Mon, 31 Jan 2005 11:06:58 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <1179974065.20050131110658 [at] tcon.net> Subject: Re[2]: Bill Sapsis in Indiana In-Reply-To: References:

Howdy all! Monday, January 31, 2005, 10:25:49 AM, Rick Holen wrote: >> I attended one of Bill's Rigging Seminars in Evansville, IN on Saturday. I really hope you guys took Unka Bill to Wolf's Barbeque down in Evansville...That alone is worth the Drive down I-70 and US-41! Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis mailto:Lamplighter [at] tcon.net ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Subject: RE: Lemaitre Neutron Hazer and delay "Feature" Date: Mon, 31 Jan 2005 11:14:50 -0500 In-Reply-To: >This is a 2 night trial run for a potential concert production so I haven't >the time to call tech support. Did you mean to say this: >>" In my experience haze is a design element and is not something >>that requires terribly tight cueing." >I'm certain you mis-spoke or mis-typed. >I'm willing to deal with a self cleaning cycle (I even appreciate it) but >once it's on and clean it should respond in a reasonably quick fashion and >at the very least be consistent. Ah, Herrick "Instant Gratification" Goldman, What do you mean, "I haven't time to call tech support." They are in Michigan and they have an 800 number, what could be easier. In fact, here is their number - 800.388.0617. Michael Eddy ------------------------------ Date: Mon, 31 Jan 2005 11:30:33 -0500 Subject: Re: Lemaitre Neutron Hazer and delay "Feature" From: Herrick Goldman Message-ID: In-Reply-To: Wow an hour? To haze a cabaret sized stage? But seriously if I were on a huge stage no this would not be a problem. But alas I frequently find myself in smaller venues where a df-50 can fill a room in 15 seconds. Not to mention it looks like Smaug is residing just off SL or even USC. So hazing in a 10 second blackout is preferable. And Michael of course I have time to call but the show opened last night and closes tonight and I have a 45 minute sound check today to do my notes. So YES I have time to CALL tech support but NO I DO NOT have the time to get the solution solved. Mostly I was looking to the list to see if indeed this was a standard problem with the Neutrons. So I could avoid it when I need them at another time. :) Thanks for the grief though it's always appreciated. Go write an article or something will ya! :) -H On 1/31/05 10:56 AM, "Nathan Kahn/Look Solutions" wrote: > > Surely the fact that it takes a significant amount of time to haze up an > area means the precise start time is not critical? A DF-50 will take an > hour to haze a stage, a Neutron probably half an hour at least - does a > minute either way on the start cue really matter? I think that's what the > person you quoted was getting at. > -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ From: "Karl G. Ruling" Cc: deeming.tony [at] btinternet.com (Tony) Date: Mon, 31 Jan 2005 11:32:14 -0500 Subject: Re: forklifting piano Reply-to: kruling [at] esta.org Message-ID: <41FE173E.31992.8CFFC3 [at] localhost> In-reply-to: <012301c507a5$b6c5c5e0$0800000a [at] Tony> > > > > the platform. Easy as pie. No torquing, no problems at all. > > > > Still in > > > >tune. > > > > > > "In tune" according to whom? > > > > In tune according to someone who was there to hear it, ye of little > > faith. > > > > > Do you mean in tune with your own ear? > With utmost respect I ask the question "Are you a trained piano tuner > or a concert pianist?" If no to either/both of these, then I'd suspect > that one or other of these categories would quite probably disagree > with you wholesale on the basis that "It's been moved, ergo it's outta > tune!" They'd probably be right, too, albeit possibly on a very minor > degree, but these guys can be as bad as opera singers whinging about > haze.....! I don't know how to answer, "Do you mean in tune with your own ear?" I wasn't there. I have no idea how the piano sounded. Did the piano sound out of tune to someone who wasn't there and who didn't hear it? That strikes me as a stupid question. Certainly, I can't answer it. It might be true that person making the original comment that the piano was in tune, the only person who heard it, has a tin ear, but I don't know that, and I doubt that anyone on the stagecraft mailing list knows that. We can just as validly assume that he has perfect pitch. Futhermore, even if he is tone deaf, that doesn't mean the piano was out of tune, only that he would not be qualified to judge. (Do we say a traffic signal is not red, because the person telling us it is red is color blind?) We have no information beyond the information that the guy who was there and who heard it said the piano was still in tune. The simplest thing for all of us who weren't there and who didn't hear it to do is to take that statement at face value. He says it was in tune. Beyond that, we know nothing. ------------------------------ Subject: RE: Lemaitre Neutron Hazer and delay "Feature" Date: Mon, 31 Jan 2005 08:33:49 -0800 Message-ID: From: "Joe Golden" Herrick,=20 I was just talking to my LeMaitre rep about problems with the Neutron hazer and they told me that they just got the prototype of the unit that will replace the Neutron. They have made the unit more robust and gotten rid of most of the timing/cleaning issues. Hopefully they will get them out soon. HTH Joe Golden > > Hey folks,=20 >=20 > Does anyone own a Neutron Pro Hazer from Le Maitre. I have=20 > rented one over the weekend. At first the push button remote=20 > that goes out to a 3 pin XLR didn't function so the rental=20 > shop replaced that. >=20 > Once we got that working we discovered a lovely feature: >=20 > There seems to be a random delay between us holding down the=20 > button and Haze actually coming out. This delay could be=20 > anywhere from 10 seconds to 45 seconds. Even when the unit is=20 > warm and had fired moments before. >=20 > How does Le Maitre expect the live entertainment industry to=20 > work this way? If I had dimmers that worked like this we'd=20 > all be out of work. Did I just get a bad unit? The rental=20 > shop seems to think this is standard. >=20 > Your opinions and observations are welcome. >=20 > -Herrick=20 >=20 >=20 >=20 >=20 > --=20 > Herrick Goldman > Lighting Designer, NYC > www.HGLightingDesign.com > 917-797-3624 > "To the scores of silent alchemists who wreak their joy in=20 > darkness and in light bringing magic to life, we bow most=20 > humbly. "-CDS >=20 >=20 >=20 ------------------------------ Message-ID: <41FE5DF4.90501 [at] northnet.net> Date: Mon, 31 Jan 2005 10:33:56 -0600 From: Shawn Palmer Subject: Hazers and the Unique (was Re: Lemaitre Neutron Hazer and delay "Feature") References:

In-Reply-To: > This would not necessarily be the case for a high-output hazer, such as > our Unique, or the LeMaitre G300 which somebody else mentioned. > > That said - 45 seconds does seem inconvenient, and the fact that it's > not predictable doubly so. > > If I might go "commercial" for a moment, I'd like to mention that we > have demo Uniques that you or anybody on the list is welcome to borrow. > Those interested should email us off-list to request one. > > Nathan I'll chime in here. I think I've said this already. Love the Unique... if anyone is in the market for a new hazer, I'd at least check it out. Our Unique replaced a DF-50. We will be replacing our Neutron Pros with Uniques as well. Great price point as well. I like our Unique better than our G300. It is a LOT smaller and therefore easier to get in tight spots. I know the G300 does 'double duty' as a hazer AND fogger, which the Unique does not TECHNICALLY do. But really, with the output variable in 99 steps it does double duty as well as the G300. If I need a huge blast of 'fog', it can do that. FWIW Shawn Palmer Neenah, WI USA ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: rough cut or green lumber Date: Mon, 31 Jan 2005 11:40:00 -0500 A lot of the Rough cut that we get is Resawn 2x which comes in at about 5/8" Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Paul Schreiner [mailto:pschreiner [at] rmwc.edu] Sent: Monday, January 31, 2005 10:46 AM To: Stagecraft Cc: kruling [at] esta.org Subject: Re: rough cut or green lumber For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > The biggest issue with roughcut for me was that it is was not planed > to standard dimensions. This is no big deal as long as one measures > the lumber and doesn't assume what the dimensions are. For example, a > piece of roughcut 1-by was unlikely to be 3/4" thick. It was more > likely to be 1" thick, and maybe a little thicker. Furthermore, there > were sometimes variations between boards in the same truckload, > although the variations were not great, maybe a 1/16th of an inch. FWIW (and for the student-types out there), this is why 1x lumber is called "one-by". The dimensions of the rough-cut stock from which the finished piece is planed provide us with the dimensions. Rough-cut 1x4 is approximately 1" thick and 4" wide. The finished piece is usually 3/4"x3-1/2". The same process holds for everything else in boards. In fact, current standards allow for nominal width 3/8 in. scant of specified width in lumber less than 8 in. wide, and 1/2 in. less than nominal width in lumber 8 in. or wider (http://www.westwindhardwood.com/order_art.html, where it also states "Most 4/4 is cut about 1 1/8 in. and planes down to 3/4 in. or 13/16."). Of course, this is usually a little unrealistic, and the loss is more like 1/2" for boards up to 8" wide, and 3/4" for anything larger. ------------------------------ Message-Id: <6.2.0.14.2.20050131125249.025c7ed8 [at] mail.comcast.net> Date: Mon, 31 Jan 2005 12:57:42 -0500 From: "K. Daly" Subject: practical phone bell help? In-Reply-To: References:

I used this a long time ago & now can'remember how it was done: a phone on the set was connected to a push-button backstage. When the ASM pushed the button, the phone would ring if the phone's receiver was on-hook. As soon as the actor lifted the receiver, the ringing would stop. Just had to be sure the ASM pushed-released-pushed at the right intervals for an authentic effect. Anyone know how to wire up the onstage phone and backstage button to do this? ------------------------------ Subject: RE: practical phone bell help? Date: Mon, 31 Jan 2005 09:56:19 -0800 Message-ID: <555928311F8B2943B65FC7197942C3B73239F6 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I'll beat the rush and point you towards a product called the Tele-Q, by = CEI. Check it out at http://www.tele-q.com ps - you shouldn't need the optional AC adapter: batteries last a = looong time in this unit. -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of K. Daly Sent: Monday, January 31, 2005 9:58 AM To: Stagecraft Subject: practical phone bell help? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I used this a long time ago & now can'remember how it was done: a phone = on=20 the set was connected to a push-button backstage. When the ASM pushed = the=20 button, the phone would ring if the phone's receiver was on-hook. As = soon=20 as the actor lifted the receiver, the ringing would stop. Just had to = be=20 sure the ASM pushed-released-pushed at the right intervals for an = authentic=20 effect. Anyone know how to wire up the onstage phone and backstage button to do = this? ------------------------------ Message-Id: <6.2.0.14.2.20050131130414.025b8608 [at] mail.comcast.net> Date: Mon, 31 Jan 2005 13:05:26 -0500 From: "K. Daly" Subject: typo Re: practical phone bell help? In-Reply-To: References:

Of course, I meant to say: ".... & now CAN'T REMEMBER how it was done ..." ------------------------------ Subject: RE: practical phone bell help? Date: Mon, 31 Jan 2005 13:01:03 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C6D7 [at] exchange.rmwc.edu> From: "Paul Schreiner" > I used this a long time ago & now can'remember how it was=20 > done: a phone on=20 > the set was connected to a push-button backstage. When the=20 > ASM pushed the=20 > button, the phone would ring if the phone's receiver was=20 > on-hook. As soon=20 > as the actor lifted the receiver, the ringing would stop. =20 > Just had to be=20 > sure the ASM pushed-released-pushed at the right intervals=20 > for an authentic=20 > effect. >=20 > Anyone know how to wire up the onstage phone and backstage=20 > button to do this? Easiest way I know is to buy a Tele-Q and plug it in with a standard modular phone cord... ------------------------------ From: "Tom Grabowski" Cc: hackman [at] davisandelkins.edu Subject: RE Trap fun Date: Mon, 31 Jan 2005 14:39:57 -0600 Message-ID: <000f01c507d5$06fc6580$b13c7181 [at] TGRABOWSKI> I had a similar situation with our production of _The Foreigner_ but I = only had 36" to make it work. Solution: I had two trap covers. The first was the one used in the first act to = go the cellar. It was hinged to drop down from one side. It was covered = with a rug that hade bee stiffened with wire because during the intermission hinged trap was opened under the rug, swung aside 180 degrees and a = second trap cover was put in place. This trap cover was 3/4 ply framed with = 2x2 and tracked with rollers on 4 angle steel guides on the corners. This = was supported by a two 1/4" aircraft cables that cradled the trap cover and = were guided on rollers on the bottom of the trap cover. This cover was = raised under the rug and secured with 2x4 support blocks. Just before the = effect, the supports were removed, the actor stood on the trap, balanced a bit = and was then lowered by a 2 to 1 block and tackle attached to cable cradle. This got him to just about waist height as the cover assembly was about = 3" thick. The rest of the "melt " was him squatting to below the top of = the platform. He then hopped up and out and the first cover was then swung closed. It took a bit of practice for the actor to balance on the cover = but it was not difficult. *** Tom Grabowski University of Texas-Pan American Designer/Technical Director Communication Department Tomgrab [at] UTPA.edu Edinburg, Texas 78541 956/381-3588 FAX 956/318-2187 ------------------------------ Message-Id: <5.2.1.1.0.20050131154125.00b552e8 [at] pop.mail.yahoo.com> Date: Mon, 31 Jan 2005 15:44:28 -0500 From: "Paul H. Sullivan" Subject: Re: practical phone bell help?(Long) In-Reply-To: References:

Greetings; The problem with a telephone ringer is that the ring voltage is over 50V and not at standard AC frequency (60Hz). The telephone company sends a ring signal which is an AC waveform, but at a lower frequency. Although the common US frequency is 20 HZ and Europe 25 Hz, it can be any frequency between 15 and 70 Hz. The average is between 20 and 40 Hz. The voltage at the phone end depends upon loop length and number of ringers attached to the line, and so on. So it can vary between 40 and 150 Volts. The timing of ringing to pause - varies from one telephone company to another. The usual arrangement is to feed the 75 V a.c. ringing current down one wire of the phone line. On the other wire is placed a slugged relay (or equivalent circuit) which is backed by -48V d.c. When you pick up the phone, the relay opens the loop to d.c. current and trips the ringing current. It also triggers an internal device to put the transmission bridge in the circuit to enable you to speak. The relay needs to be a slugged relay to prevent premature ring trip by the a.c. ringing current. In the US, the minimum ring voltage supplied is 40Vrms. This is the must detectlimit. There is also a minimum must ignorevalue of 10Vrms. This is to avoid false rings from transient current on the lines. Typically ring timing is 2 seconds on and 5 seconds off in the US. I have 3 methods that work depending upon budget and electronic experience. The first is a ringdown simulator. The Tele-q is one such beast, there is also several others made for emergency and phone system backup such as the Viking DLE-200B. They are quite common and are available for about $60.00 US. The second is to build your own circuit. While this is less expensive, there is time and experience with electronic components required. If you want to try this let me know and I send you a circuit diagram of the one I built a few years ago. The last, if your lucky and have a surplus supplier or electrical surplus depot on your campus, is to find an old MA Bell line transformer. In the good old days they would install these as helper circuits in buildings that had a large amount of POTS lines. If you find one of these all you have to do is wire it to a jack and add a N/O momentary contact switch to ring the phone. These are great because they will ring any type of phone you come across and they are built to survive WWIII. Good Luck in your quest Paul H. Sullivan Production Manager Times Union Center for the Performing Arts Jacksonville FL 32202 (904) 633-6192 (904) 633-6190 fax ------------------------------ Subject: RE: Two-Scene Operation of Lighting Consoles [Long & Late post] Date: Mon, 31 Jan 2005 15:50:37 -0600 Message-ID: <0B70E9798A3B4E4080E46327FA359F2154C739 [at] MIDL-MAILV.etcconnect.com> From: "Sarah Clausen" Steven - correct me if I'm wrong (and it's possible since I just flew cross-country and am a bit sleep deprived), but I think you can view all the part timing in the "Cue List" display available from Blind. Check in the Blind display for Softkey 2 as "Cue List". Then you can view all the part cues listed with their timing (not channel data, but you can see that by stepping through each part in the cue individually in Blind). Then you should be able to select multiple parts and edit times together, if you want. Hope this helps - Sarah Sarah Clausen Product Manager Electronic Theatre Controls, Inc. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steven Haworth Sent: Monday, January 31, 2005 9:51 AM To: Stagecraft Subject: Re: Two-Scene Operation of Lighting Consoles [Long & Late post] For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I've programmed moving lights on an Express 48/96, and because of the need to move lights in the dark, or especially needing a moving light in back-to-back cues but where the move had to be hidden, I've used multi-part cues a number of times. Multi-parts are a pain to program (it's hard to keep track of all the parts, especially since you can only see one part at a time). It would be nice to be able to lay out the levels for each part individually, but be able to see and adjust the fade times for all the parts in one screen. Haven't yet had to use the C/D faders, but I haven't done a lot of effects-heavy shows on that console yet. - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info ------------------------------ Message-ID: <41FEBC4E.5090004 [at] fuse.net> Date: Mon, 31 Jan 2005 18:16:30 -0500 From: Stuart Wheaton Subject: Re: practical phone bell help?(Long) References:

In-Reply-To: Paul H. Sullivan wrote: > I have 3 methods that work depending upon budget and electronic > experience. The first is a ringdown simulator. The Tele-q is one such > beast, there is also several others made for emergency and phone system > backup such as the Viking DLE-200B. They are quite common and are > available for about $60.00 US. > > The second is to build your own circuit. While this is less expensive, > there is time and experience with electronic components required. If you > want to try this let me know and I send you a circuit diagram of the one > I built a few years ago. > > The last, if your lucky and have a surplus supplier or electrical > surplus depot on your campus, is to find an old MA Bell line > transformer. In the good old days they would install these as helper > circuits in buildings that had a large amount of POTS lines. If you > find one of these all you have to do is wire it to a jack and add a N/O > momentary contact switch to ring the phone. These are great because > they will ring any type of phone you come across and they are built to > survive WWIII. > Re-wire the ringer through the switch activated by lifting the handset off the cradle. That way the ringer can't ring once the phone gets picked up. Of course you might want an emergency ringer backstage in case the phone doesn't get hung up properly. Stuart ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1eb.33a8b3ab.2f302310 [at] aol.com> Date: Mon, 31 Jan 2005 19:10:56 EST Subject: Re: practical phone bell help?(Long) In a message dated 31/01/05 20:45:37 GMT Standard Time, phsullivan [at] yahoo.com writes: > > The usual arrangement is to feed the 75 V a.c. ringing current down one > wire of the phone line. On the other wire is placed a slugged relay (or > equivalent circuit) which is backed by -48V d.c. When you pick up the > phone, the relay opens the loop to d.c. current and trips the ringing > current. It also triggers an internal device to put the transmission > bridge in the circuit to enable you to speak. The relay needs to be a > slugged relay to prevent premature ring trip by the a.c. ringing current. I can't speak for US 'phones, but the general mechanics of the Strowger system were inventer about 100 years ago, and most 'phones will handle it. The first thing is the bell. this has a centre-pivoted armature, and two sounders. One is struck on the positive half-cycle, and the other on the negative. It offers an impedance of about 2Kohm. The old UK practice was that all the ringers were wired in series, which is why the ringing voltage is so high. Four used to be the limit. The ring just comes on the line. When the handset is lifted, it breaks the bell circuit, and establishes a 600 ohm DC loop, at 50V. This triggers the line relay in the exchange, which disconnects the ring, and sets up the speech connection. With UK 'phones of this period, there are 20 internal straps to set, and a helpful wiring diagram inside the baseplate. Once you start with 'phones with electronic ringers, this will be different, except that they still conform to the Strowger standards. This is a nuisance to the telephone companies, but if Aunt Mary's 'phone was installed in 1940, and hasn't been changed since then, their modern systems have to talk to it properly. They will still accept 'pulse-disconnect' dialling, and send the 50V DC and the ringing voltage to handle them. Indeed, you must have at least one instrument which needs no external power supplies. Frank Wood ------------------------------ Subject: RE: Lemaitre Neutron Hazer and delay "Feature" Date: Mon, 31 Jan 2005 18:53:51 -0600 Message-ID: From: "Curt Mortimore" Herrick, I said. "In my experience haze is a design element and is not something that requires terribly tight cueing." Let me take another shot at it. The productions in which I have a been a part of, where the design called for haze, did not require tight cueing due to the desired effect, the size of the venue and many other factors.=20 My goal was to share the good information I knew about the start-up cycle and encourage you to contact LeMaitre who has been very helpful to me every time I have talked to them and would be more qualified than myself to provide you with help for your particular situation. From reading the rest of the posts I now understand that your goal was to haze a small space in a blackout. This now makes much more sense to me and I apologize if I did not communicate my thoughts well. Respectfully, Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 (641) 784-5265 ------------------------------ Date: Mon, 31 Jan 2005 22:17:11 -0500 Subject: We Ride!! (Waaaaay OT) From: Bill Sapsis Message-ID: In-Reply-To: Howdy folks. The Long Reach Long Riders (formerly known as the Long Beach Long Riders but we ain't going back there again), are proud to announce their 2nd annual Broadway Cares/Equity Fights AIDS charity motorcycle ride...."Out of the Wings and into the Wind" Yes gang, we're back. Bigger and better than ever. We're doing it a bit differently this year. We're riding in the summer and we're accepting new riders. But we've got the same goal. Raising money for Broadway Cares/Equity Fights AIDS. Tell your friends. Tell your family. Hell, tell your enemies. We'll take their money too. Got some extra cash you don't know what to do with? Got a bike and thinking about joining us? Want to know more? The website is now up. Take a stroll over to and check us out. Thanks Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: "Kevin A. Patrick" Subject: Sound FX Library Date: Mon, 31 Jan 2005 23:06:02 -0500 Organization: Columbus State University In-reply-to: Message-ID: Sorry for the not-quite-right-for-this-list topic, but I'm under a time crunch. We have one of those spend-it-tomorrow-or-lose-it time crunches, and I want to buy a SFX library. We have a couple of 6 or 10 disc compilations that have been reasonable, but not the greatest. Anyone want to support or disparage the 40 disk BBC SFX set, or the General Series 6000 set? Anything else I should look at? We produce live theatre, no film, video, or cartoons here. Thanks, \< (yes, I know of the theatre sound list, but I don't feel I have time to subscribe and ask the question.) -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.2 - Release Date: 1/28/2005 ------------------------------ In-Reply-To: References: Message-Id: <9697F4E6-7406-11D9-8CFE-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: We Ride!! (Waaaaay OT) Date: Mon, 31 Jan 2005 23:06:02 -0500 > We're riding in the summer and we're accepting new > riders. Darn. I was hoping to see photos of icicle crusted crew from the trip to Toronto this year. (Nah not really... I like you all too much to wish that on you or anyone for that matter) Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <41FF022E.4090106 [at] att.net> Date: Mon, 31 Jan 2005 23:14:38 -0500 From: David Marks Subject: Re: Sound FX Library References: In-Reply-To: Kevin A. Patrick wrote: >Anyone want >to support or disparage the 40 disk BBC SFX set, or the General Series 6000 >set? > I've got the General Series and use it a lot. I think (my 2 cents) that the BBC collections are more diverse if you're looking for more esoteric cues. Dave Marks ------------------------------ End of Stagecraft Digest #279 *****************************