Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 17121006; Wed, 02 Feb 2005 03:01:12 -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 #280 Date: Wed, 02 Feb 2005 03:00:50 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, DRUGS_ERECTILE 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 #280 1. Re: Sound FX Library by John Bracewell 2. Re: Rough Cut Lumber by mo 3. Props rental by "Joshua Webb" 4. Re: Sound FX Library by "Jack Morones" 5. Re: Props rental by "Stephen E. Rees" 6. Re: Props rental by Boyd Ostroff 7. Automated Fixture Comparison by Mark Harvey 8. Re: Props rental by Boyd Ostroff 9. Re: Sound FX Library by FrankWood95 [at] aol.com 10. Re: Sound FX Library by FrankWood95 [at] aol.com 11. Re: BBC Sound FX Library by "Alf Sauve" 12. Re: Automated Fixture Comparison by "C. Andrew Dunning" 13. Re: Sound FX Library by Greg Bierly 14. Re: Sound FX Library by "Paul Schreiner" 15. Re: Sound FX Library by "Paul Schreiner" 16. Rough Cut and Green lumber by Heather Hillhouse-Deans 17. Re: Rough Cut and Green lumber by Steve Larson 18. Re: Rough Cut Lumber by "Andrew Nikel" 19. Re: Automated Fixture Comparison by "Steve B." 20. Rough Cut Lumber by Heather Hillhouse-Deans 21. Re: Automated Fixture Comparison by Stephen Litterst 22. Re: Rough Cut Lumber by Wood Chip-P26398 23. Slightly OT: Insurance and the freelancer by Michael Heinicke 24. Re: Automated Fixture Comparison by "Sarah Clausen" 25. Re: We Ride!! (Waaaaay OT) by Greg Williams 26. Looking for contacts by Herrick Goldman 27. Re: Sound FX Library by FrankWood95 [at] aol.com 28. Re: Rough Cut and Green lumber by FrankWood95 [at] aol.com 29. Re: Automated Fixture Comparison by Greg Persinger 30. DMX512-A by Jerry Durand 31. Re: DMX512-A by Charlie Richmond 32. Orchestra Shell spare parts by James Feinberg 33. Re: DMX512-A by Jerry Durand 34. RDM by Jerry Durand 35. HOT DMX! by Jerry Durand 36. Re: Props rental by "Shakespeare & Company Production Department" 37. Re: Automated Fixture Comparison by Greg Bierly 38. Re: Slightly OT: Insurance and the freelancer by Greg Bierly 39. Re: Slightly OT: Insurance and the freelancer by "Scott C. Parker" 40. Re: Color Merge (was Automated Fixture Comparison) by Greg Persinger 41. Re: Orchestra Shell spare parts by "Sam Fisher" 42. Re: forklifting piano by CB 43. Re: forklifting piano by "Tony" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-Id: <5.2.0.9.0.20050201074912.00b51820 [at] pop.lightlink.com> Date: Tue, 01 Feb 2005 07:50:40 -0500 From: John Bracewell Subject: Re: Sound FX Library In-Reply-To: References:

>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. I'd second Dave's comments. I use both a LOT!!! BBC does have some more unusual sounds from all over the planet. If you can add the 6000 Extensions within your budget, get them also. -- JLB ------------------------------ Message-ID: <41FFA88A.9090606 [at] ix.netcom.com> Date: Tue, 01 Feb 2005 08:04:26 -0800 From: mo Subject: Re: Rough Cut Lumber Oh so many years ago, I got a steal of a deal on fresh from the mill rough cut green 2x4s for that play that starred Ronnie Reagan in the Burmese jungle RAF hospital (the name escapes me). Lots of rough timber and bamboo. We built the hollywood flats of 2x4 with nails as we usually would, but they started popping a day or so later as the lumber dried. We rebuilt them with screws and they held up nicely, with the only skin being bamboo cloth. Didn't have much torquing either. And then a few years later, we needed rough weathered planking. Found a ganga on some used scaffold planking. Really rough looking and pre-weathered. Only needed a scenic wash to even out the tone. And for an art gallery, scored on some old 1x12s from an old barn that was torn down. Beautiful stuff, required no scenic treatment. Sure do miss this stuff for the stodgy corporate scene I've sold my soul too. Cheers, Michael Millar Off to a meeting about viagra. ------------------------------ Message-id: Date: Tue, 01 Feb 2005 11:12:37 -0500 Subject: Props rental From: "Joshua Webb" Hello all, I'm new to the list (actually I was on it a few years back). I was hoping to use the collective wisdom of any New Englanders in the group, I'm looking for a props rental house nearby or a place to get inexpensive chairs. Specifically I am looking for bentwood (cafe style) chairs. Thanks for any help/advice in advance. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ From: "Jack Morones" Subject: RE: Sound FX Library Date: Tue, 1 Feb 2005 08:16:16 -0800 Organization: Saddleback College Message-ID: <001301c50879$5b9084b0$6500a8c0 [at] SCJACKLT> In-Reply-To: It's pretty good. Good variety of effects out of the box. Jack R. Morones Production Manager McKinney Theatre -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Kevin A. Patrick Sent: Monday, January 31, 2005 8:06 PM To: Stagecraft Subject: Sound FX Library For info, archives & UNSUBSCRIBE, see --------------------------------------------------- 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 ------------------------------ Message-ID: <41FFAD49.7070803 [at] fredonia.edu> Date: Tue, 01 Feb 2005 11:24:41 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Props rental References: Am not sure what the situation is in your area, but in the past, I have had good luck with restaurant suppliers and liquidators. I came up with metal bentwoods (!) that were acceptable to the designer at the time. Perhaps even catering companies would be of use. Steve Rees. TD SUNY-Fredonia Joshua Webb wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello all, > Specifically I am looking for bentwood (cafe style) chairs. Thanks > for any help/advice in advance. [snip] ------------------------------ Date: Tue, 1 Feb 2005 11:33:20 -0500 (EST) From: Boyd Ostroff Subject: Re: Props rental In-Reply-To: Message-ID: References: Have a look at the listings for your state here: http://www.productionhub.com/directory/listings.asp | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Tue, 01 Feb 2005 10:37:35 -0600 From: Mark Harvey Subject: Automated Fixture Comparison Message-ID: <2147483647.1107254254 [at] umd52-36.d.umn.edu> In-Reply-To: References: Our program has set aside funding to purchase two Tungsten ERS automated light fixtures and I was wondering if anyone has done a side-by-side comparison of the ETC Revolution and the Varilite VL1000. We're an undergraduate program and I'm concerned with the programming time automated fixtures use. Is the learning curve better for one of these fixtures easier than the other? Is one fixture noisier than the other? We use an ETC Emphasis lighting control system with a Expression III faceplate and I'm also wondering if that should make a difference in what we purchase. Thanks for the feedback. ____________________________________ Mark Harvey Associate Professor, Theatrical Lighting and Sound Design University of Minnesota Duluth http://www.d.umn.edu/~mharvey ------------------------------ Date: Tue, 1 Feb 2005 11:40:16 -0500 (EST) From: Boyd Ostroff Subject: Re: Props rental In-Reply-To: Message-ID: References:

Sorry, that URL wasn't as specific as I intended. Try this, but select your prefered state in the drop down menu: http://www.productionhub.com/directory/listings.asp?section_id=9&cat_id=617&state_id=3183 | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12e.569891b1.2f31143b [at] aol.com> Date: Tue, 1 Feb 2005 12:19:55 EST Subject: Re: Sound FX Library In a message dated 01/02/05 04:07:17 GMT Standard Time, patrick_kevin [at] colstate.edu writes: > 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. The BBC set is fine. Even before they came out on CD, I used to invade a control room when it wasn't being used, and assemble tapes from it. There was a fiull set of 33rpm 5" vinyl discs, and four turntables to play with. Even though re-recording is very satisfactory, now that everything is digital, having two sets of discs makes preparation quicker if you want long atmospheres. Running the same effect on two players, with a staggered start and an auto repeat means that you can do something else while the atmosphere makes itself. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <11.3dfb4648.2f3117cb [at] aol.com> Date: Tue, 1 Feb 2005 12:35:07 EST Subject: Re: Sound FX Library In a message dated 01/02/05 12:52:18 GMT Standard Time, jbrace [at] lightlink.com writes: > I'd second Dave's comments. I use both a LOT!!! BBC does have some more > unusual sounds from all over the planet. If you can add the 6000 > Extensions within your budget, get them also. There also used to be an extensive library of birdsong, separate from the main library. Frank Wood ------------------------------ Message-ID: <092501c50885$8c498c30$0400a8c0 [at] ALFOFFICE> Reply-To: "Alf Sauve" From: "Alf Sauve" References: Subject: Re: BBC Sound FX Library Date: Tue, 1 Feb 2005 12:40:46 -0500 IIRC, the BBC library gets real specific about the sounds. [Exaggerating a little] Bird call, juvenile common swift in meadow, early morning, mid-summer, mid-country, facing south or Gun shot in forest, shotgun, double barrel, 12 gauge, 2 1/2" shell, #9 shot.......right barrel. OR maybe it was somebody else's library. Alf ------------------------------ Reply-To: From: "C. Andrew Dunning" Subject: RE: Automated Fixture Comparison Date: Tue, 1 Feb 2005 12:10:07 -0600 Organization: Landru Design In-Reply-To: Message-ID: Mark - The December 2004 issue of Lighting and Sound America had a comparison of those fixtures. Do you get that publication? Regards - C. Andrew Dunning Landru Design - Nashville, TN - cad [at] landrudesign.com www.landrudesign.com >Our program has set aside funding to purchase two Tungsten ERS >automated light fixtures and I was wondering if anyone has >done a side-by-side comparison of the ETC Revolution and the >Varilite VL1000. ------------------------------ In-Reply-To: References: Message-Id: <14DB0AEE-747D-11D9-8CFE-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Sound FX Library Date: Tue, 1 Feb 2005 13:14:15 -0500 I am not sure if I missed it but who has a good source for these libraries. Educational pricing would be a bonus. Greg Bierly Technical Director Hempfield HS ------------------------------ Subject: RE: Sound FX Library Date: Tue, 1 Feb 2005 13:13:59 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C6E5 [at] exchange.rmwc.edu> From: "Paul Schreiner" > There also used to be an extensive library of birdsong,=20 > separate from the=20 > main library. Did the BBC put this one out? I recall a different collection (and a very very extensive one, too) over on this side of the pond that is managed by (IIRC) Cornell University...but I have yet to discover if they're distributing it to the general public. ------------------------------ Subject: RE: Sound FX Library Date: Tue, 1 Feb 2005 13:28:31 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C6E6 [at] exchange.rmwc.edu> From: "Paul Schreiner" > I am not sure if I missed it but who has a good source for these=20 > libraries. Educational pricing would be a bonus. When I last purchased a set (for an earlier institution), I got the 60-CD set of BBC SFX from Films for the Humanities and Sciences, http://www.films.com/, for something like $550 after shipping... ------------------------------ Message-ID: <41FFE5BF.7030109 [at] lehigh.edu> Date: Tue, 01 Feb 2005 15:25:35 -0500 From: Heather Hillhouse-Deans Subject: Rough Cut and Green lumber References: In-Reply-To: Message-ID: <2180086.1107049712431.JavaMail.hjh2 [at] lehigh.edu> Date: Sat, 29 Jan 2005 20:48:32 -0500 (EST) From: Heather Jean Hillhouse-Deans Subject: Rough Cut Lumber Hi All- I've been given a design that includes rough cut lumber planking on a small rolling wagon with upright columns (short- tallest is 5'). I have a source for the rough cut, cut to order, delivered to my doorstep, but I'm concerned about mixing the green lumber with the ply and 2x4 I'm planning on using for the platform. I know the lumber will shrink as it dries, so I'm wondering if there are any suggestions about fastners or construction methods, or if I should rethink my framing and do the entire thing out of green wood so it might all shrink at the same rate. Thoughts? Thanks! Heather Hillhouse-Deans Lehigh University Zoellner Arts Center ------------------------------ Subject: RE: Rough Cut Lumber Date: Sat, 29 Jan 2005 20:40:48 -0600 Message-ID: From: "Curt Mortimore" Heather, Your mileage will definitely vary. Have you asked your supplier if they offer dried, rough cut wood? My immediate reaction is to build your unit with an eye toward sturdy and not worry a whole lot about the green wood intermingling with the kiln dried wood. Given that the design calls for rough cut lumber I am guessing there is some aesthetic tolerance for lumber that is not perfectly straight. In my experience, once wood has been assembled into something it remains fairly stable. Things may change shape slightly and may require adjustments but normally nothing radical.=20 My suggestion would be to design the unit with the intention of having to make adjustments.=20 Gluing rough, green lumber can be done but may be difficult so using bolts or screws might be better. Threaded fasteners could also facilitate the adjustment process. Generally, more fasteners is better. If you're bored, here is an experiment. Take two 8' 1X4's and lay them face to face. Screw them together with two screws, one 3" from one end the second 3" from the other end. Now pick up the boards and I bet you can pull them apart so you can look between them in the middle. Now, take some more screws and put one every foot. Try to pull the boards apart again. More fasteners makes a sturdier joint. But I digress. Put this unit fairly early in the construction schedule so adjustments can be made and the piece has time to "settle in" before tech week. Finally, I would suggest having the lumber delivered the day of, or, the day before you plan on building the unit. Then press through and build the unit as quickly as is reasonable rather than take a week or two. The idea behind this is that the wood gets assembled before it dries and has less of a chance to turn into a spaghetti knot. I hope some, all, or none of that is useful. Now for my question: Has your production team discussed splinters or issues with snagging costumes? Thanks 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 Heather Jean Hillhouse-Deans Sent: Saturday, January 29, 2005 7:49 PM To: Stagecraft Subject: Rough Cut Lumber For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi All- 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 Zoellner Arts Center ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: Rough Cut Lumber Date: Sat, 29 Jan 2005 22:09:44 -0500 I pretty much second most of what Curtis said (Hi Curtis!) Don't worry so much about the movement. If you were doing cabinetry or furniture I would be more concerned. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 -----Original Message----- From: Curt Mortimore [mailto:cmortimo [at] graceland.edu] Sent: Saturday, January 29, 2005 9:41 PM To: Stagecraft Subject: Re: Rough Cut Lumber For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Heather, Your mileage will definitely vary. Have you asked your supplier if they offer dried, rough cut wood? My immediate reaction is to build your unit with an eye toward sturdy and not worry a whole lot about the green wood intermingling with the kiln dried wood. Given that the design calls for rough cut lumber I am guessing there is some aesthetic tolerance for lumber that is not perfectly straight. In my experience, once wood has been assembled into something it remains fairly stable. Things may change shape slightly and may require adjustments but normally nothing radical. My suggestion would be to design the unit with the intention of having to make adjustments. Gluing rough, green lumber can be done but may be difficult so using bolts or screws might be better. Threaded fasteners could also facilitate the adjustment process. Generally, more fasteners is better. If you're bored, here is an experiment. Take two 8' 1X4's and lay them face to face. Screw them together with two screws, one 3" from one end the second 3" from the other end. Now pick up the boards and I bet you can pull them apart so you can look between them in the middle. Now, take some more screws and put one every foot. Try to pull the boards apart again. More fasteners makes a sturdier joint. But I digress. Put this unit fairly early in the construction schedule so adjustments can be made and the piece has time to "settle in" before tech week. Finally, I would suggest having the lumber delivered the day of, or, the day before you plan on building the unit. Then press through and build the unit as quickly as is reasonable rather than take a week or two. The idea behind this is that the wood gets assembled before it dries and has rts Center 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 <> Sounds like you are overskinning a plywood covered wagon with green wood... yes? Have you tried to get dry rough cut? I wouldn't worry too much about shrinkage which will occur mostly across the grain. Fasten the boards with as many fasteners longitudinally as you wish, no glue. If you put any fasteners across the grain from each other, the board will split when it dries. I would look at the endgrain of the boards as I'm installing them and have the grain ends point down. Boards tend to cup in the direction of the end grain and installing them thus will keep the corners of any cupping baords pointing towards the wagon. Keep your lumber flat and stickered (row of boards side by side, little sticks across them, another row of boards, etc.) when it arrives, A wet board can turn into a pretzel over night. Moisture makes wood fibres swell. Uneven swelling causes warpage and cupping. I can't see that doing what I think you're doing will present any major problems. <> Yes, I used my spell checker. Sigh... Laters, Paul "Once upon a time there was a beautiful princess," Tom began grimly. ------------------------------ Message-ID: <1107100434.41fd03128daf3 [at] webmail.plattsburgh.edu> Date: Sun, 30 Jan 2005 10:53:54 -0500 From: kim.hartshorn [at] plattsburgh.edu Subject: re: rough cut lumber References: In-Reply-To: Rough cut lumber does not mean 'green' lumber. Any sawyer whois cutting boards is going to use logs that have probably been drying for at least a few months, in order to preserve his own machine. They will be plenty dry enough to do the work you need to do with them. Farmers have been slapping siding on barns for centuries pulled right off of the sawmill. I have to interject however, if what the design calls for are visible circular saw marks, rough cut lumber from a bandsaw mill (the type of small sawmill that you find mostly nowadays) is not going to give the look, what might actually give a better 'look' might be a dry brush set on the end of a shop compass and painted saw marks. Set the radius of the shop compass at 21" to replicate the 42" blade of the classic Belden circular saw mill. A good source for the correct saw marks according to the period of the design are Eric Sloans books. Not that I am usually a fanatic on historical accuracy by any account, but if the designer is spec'ing 'rough cut' my first question would be why...and if it because of the saw marks this is more a point of design than thickness (which is more of construction point. good luck Kim Hartshorn ssage-Id: <1.5.4.32.20050130163315.015634e0 [at] pop.paonline.com> Date: Sun, 30 Jan 2005 11:33:15 -0500 From: Joe Subject: Re: Rough Cut Lumber >>I know the lumber will shrink as it >>dries, so I'm wondering if there are any suggestions about fastners or >>construction methods, > > >>Heather Hillhouse-Deans > > I am not clear on the exact structure you are building. But, here is a general suggestion. Build the basic frame from your dried framing. When you apply the rough non-dried wood, attach it using only one fixed screw, and then any additional screws are placed in slotted holes to allow for it to change size. E.g. if the rough wood is flooring, then screw in the middle through a round hole, and at each end with a slotted hole. Joe Dunfee joe [at] dunfee.com Gordonville, Pennsylvania, U.S.A. Date: Sun, 30 Jan 2005 21:56:30 -0500 From: "sboone [at] bgnet.bgsu.edu" Message-Id: <1107140190-22645.031.25-smmsdV2.1.2 [at] smtp.bgsu.edu> Subject: Re: Rough Cut Lumber - Shrinkage 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? Depending on the wood species, and the size of the growth rings, and how wet the log was to start, & etc. if you're using narrow planks down around 1x4, you may never notice the shrinkage for a short run show. As an example, pallets are often made green, from hardwoods, and they usually hold up fairly well without hardly a split. They do use screw shank nails (way strong). If your show runs a year, you're using a rapidly growing species, you're in Florida and the tree was just cut down yesterday (still very moist), and you are up in the 1x12 realm, you'll definitely have a splitting problem. On average, a 1x12 securely nailed down will usually split into two or three pieces over a couple of years. Much sooner if left out in the weather. If it's nailed, it will also pull the nails out a little, resulting in a really squeaky floor. If you're using 2x planks, they are strong enough to really pull nails out over a couple of years. So, using cabinet screws or screw shank nails would be good. One way to deal with the splitting in wide stock is if you fasten it with four fasteners across, then the splits will run their course, but nothing will come too loose. Also, contrary to what you might think, the splits will usually form first as checks at the ends of the planks, and then run along the board. If the fasteners are held back from the end, the splits actually don't occur at the fastener holes. But, if the rustic look is desirable, maybe splits are not an issue??? If you've got lots of heart wood, or if the wood is knotty fast growth, and is from trees with lots of twists (where the tree was looking for light, or damaged by wind or lightning), twisting and warping will be your _biggest_ problem by far. How's the lumber going to be sawn? I would guess it's gonna be flat sawn in something like a band saw mill?? If you can avoid the heart wood, you'll stay away from the worst of the twisting problems. And, if you lay the planks with the cup side down, as the board shrinks (and cups more) the center of the plank will try to rise (more controllable by the fasteners) rather than the edges lifting up (which is much harder to deal with, since you can't really put a screw out at the edge of a board). Also, if you use construction adhesive along with your fasteners you'll cut down on the squeaks. Another trick is to run strips of gaff tape across the joists or, if you're using a sub floor system, wherever you attach the planks. The tape lets the planking quietly slip a little, instead of creaking and groaning when you walk on it. In general, like Curt Mortimore said, a strong frame and secure fastening system will make up for for lots of warping problems. Umm, since you're talking about a small wagon, another idea is to rip up some T111 siding (pronounced Tee-one-eleven). It's a plywood product that comes in 4x8 sheets. It has a rough surface. It looks like planks (sort of) separated by wide rabbets that run the length of the sheet. It's usually really cheap. I think it's only 3/8" or 1/2" think. Maybe you could double it up or something to look more like real planks? Hope this helps, sorry for the long post, Steve Boone TD/LD + whatever else Bowling Green State Univ. essage-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 ate: 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 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. ------------------------------ 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. ------------------------------ Date: Tue, 01 Feb 2005 15:35:02 -0500 Subject: Re: Rough Cut and Green lumber From: Steve Larson Message-ID: In-Reply-To: Ever consider trimming the fat off your posts? Steve > From: Heather Hillhouse-Deans > Reply-To: "Stagecraft" > Date: Tue, 01 Feb 2005 15:25:35 -0500 > To: "Stagecraft" ------------------------------ From: "Andrew Nikel" Subject: Re: Rough Cut Lumber Date: Tue, 1 Feb 2005 15:39:39 -0500 Message-ID: Dear Heather - You've already had a lot of good, practical responses. The one thing I would point out, as they'll be on rolling wagons, is to watch out for a greater weight than you might be expecting. In one experience, we built a set out of wet, green wood on a castered platform that was supposed to roll from the scene shop out on the stage but the greater weight compressed the plywood caster plates and it sat like 900 pounds of condemned veal at the Chicago Stockyards. Our eventual solution involved furniture dollies, car jacks, cribbing and hiring a bunch of extra guys for a day - but it wasn't very pretty. Andrew Nikel - Sales City Theatrical, Inc. 752 East 133rd Street, Bronx, NY 10405 Voice: 718-292-7932 x23, Fax: 718-292-7482 email: anikel [at] citytheatrical.com web: www.citytheatrical.com ------------------------------ Message-ID: <2180086.1107049712431.JavaMail.hjh2 [at] lehigh.edu> Date: Sat, 29 Jan 2005 20:48:32 -0500 (EST) From: Heather Jean Hillhouse-Deans Subject: Rough Cut Lumber Hi All- I've been given a design that includes rough cut lumber planking on a small rolling wagon with upright columns (short- tallest is 5'). ------------------------------ Date: Tue, 01 Feb 2005 15:37:18 -0500 From: "Steve B." Subject: Re: Automated Fixture Comparison Message-id: <003301c5089d$d27974f0$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: "Mark Harvey" > Our program has set aside funding to purchase two Tungsten ERS automated > light fixtures and I was wondering if anyone has done a side-by-side > comparison of the ETC Revolution and the Varilite VL1000. > > We're an undergraduate program and I'm concerned with the programming time > automated fixtures use. Is the learning curve better for one of these > fixtures easier than the other? Is one fixture noisier than the other? > We use an ETC Emphasis lighting control system with a Expression III > faceplate and I'm also wondering if that should make a difference in what > we purchase. There's a whole thread on this over at the LightNetwork http://forums.delphiforums.com/lightnetwork IMO, it doesn't matter which fixture for Emphasis, except that CYM is a bit more complicated on the VL vs. the scroller on the Revo. That's as much a learning/design issue as well and is an issue for you in terms of what you want the students to wrap their heads around. Certainly CYM is going to take more programming time, unless you can teach them how to think ahead and build macros/groups for standard colors to save time. On the other hand, perhaps part of the learning is that ML's take more time and is something they need to experience. FWIW, I got to spend some time with the Revo at ETC End User this past summer and was most impressed with how easy it is to service and how accessable and modular everything was internally. I also liked the Revo's use of standard templates, vs. the $50 a pop for custom from VL (last I checked). Still, I wish the Revo had some form of optional CMY...... Steve Bailey Brooklyn College ------------------------------ Message-ID: <41FFEA6E.3030009 [at] lehigh.edu> Date: Tue, 01 Feb 2005 15:45:34 -0500 From: Heather Hillhouse-Deans Subject: Rough Cut Lumber References: In-Reply-To: Hi All- Thanks so much for the good information- it will make things much easier! A little more info for those who asked.... The actual platform will be a castered 2x4 framed, 3/4" ply decked unit, with 5-1/2" rough cut lumber planking on top of the ply. It also has 6 1' square columns of various heights, the tallest is 5'. It is a representation of a slave ship for "The Colored Museum". Most of the cast is dressed, or not, appropriate, so the costumes won't be a huge issue. Splinters might be, but its a small unit and I don't think they will actually be ON the unit- I'm working on that. The supplier is cutting the pieces to size, and refers to it as "green". Poplar. They do have dry, but it is more costly, and I don't have the budget (the projections ate my budget....) for it. The show opens on Feb 18th, and only runs 2 weekends, so I don't have to worry much about long term issues. Splits/Cracks are an issue, but a tolerable one. I have worked w/ rough cut and green lumber before, but not much, so I appreciate all the comments and thoughts! Thanks- Heather ------------------------------ Date: Tue, 01 Feb 2005 15:45:38 -0500 From: Stephen Litterst Subject: Re: Automated Fixture Comparison Message-id: <41FFEA72.8F569F67 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

"Steve B." wrote: > --------------------------------------------------- > FWIW, I got to spend some time with the Revo at ETC End User this past > summer and was most impressed with how easy it is to service and how > accessable and modular everything was internally. I also liked the Revo's > use of standard templates, vs. the $50 a pop for custom from VL (last I > checked). Still, I wish the Revo had some form of optional CMY...... Well, one would think the modular design would allow for that kind of expansion. Mechanically, a CYM module would be simpler than the shutter module. I've always assumed that they didn't include CYM because the lamp isn't bright enough to punch through three separate filters. Just this once I wouldn't mind being proven wrong. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Message-ID: <014D202957F6D8118924000F20D7342B01E011BC [at] az33exm01.corp.mot.com> From: Wood Chip-P26398 Subject: RE: Rough Cut Lumber Date: Tue, 1 Feb 2005 13:53:57 -0700 Methinks, here lies a frustrated playwright. Man, that phrase is worthy of Shak^h^h^h^h Shaw. BTW, have you ever built a wagon 1 inch bigger than the door frame? Chip Wood -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Andrew Nikel it sat like 900 pounds of condemned veal at the Chicago Stockyards. ------------------------------ Message-ID: <20050201210903.65501.qmail [at] web81710.mail.yahoo.com> Date: Tue, 1 Feb 2005 13:09:03 -0800 (PST) From: Michael Heinicke Subject: Slightly OT: Insurance and the freelancer In-Reply-To: I have a question for others that freelance in the US on the list. How many people carry any type of liability insurance for yourself for work? While I trust that the company insurance at my full time job SHOULD cover me if there is an accident (I hope), what happens when I am freelancing and there is an accident involving something I built? Especially if I am working for an individual or small group that may not have much or any insurance. I have a couple of potential projects coming up that would have me building stuff that will need to last longer than typical scenery and that will leave my control once I am done, unlike my previous freelance experience. While I do my best to compensate for potential problems, there are always people that do something stupid or the unforeseen problem. I did a search of the archives and it seems the brief mention of this type of problem suggested an the solution of an LLC with proper insurance. Comments or suggestions anyone? Thanks, Mike H ------------------------------ Subject: RE: Automated Fixture Comparison Date: Tue, 1 Feb 2005 15:12:37 -0600 Message-ID: <0B70E9798A3B4E4080E46327FA359F2194BCBD [at] MIDL-MAILV.etcconnect.com> From: "Sarah Clausen" I've always assumed that they didn't include CYM because the lamp isn't bright enough to punch through three separate filters. Just this once I wouldn't mind being proven wrong. Steve Litterst Actually, we didn't do CYM because the intent was to build a fixture that matched the rest of your S4 rig, beam for beam. While CYM may be better for some applications, matching every color in the gel book isn't one of them. If we did implement a CYM system similar to the VL1K, you would see similar brightness issues in both fixtures. However, keep in mind that we run a 750w/77v lamp and the VL1K is a 1200w/120v lamp and side-by-side comparisons with both fixtures optimized usually show the Revolution as brighter. Also, our dimmer is included as a default, while you would need to choose to add the internal dimmer to the VL1K or use a remote dimmer from your system. I can highly recommend the article in the Dec 2004 Lighting and Sound America as it provides an objective look at the two fixtures. Both fixtures have their positives and negatives. Emphasis will control either one just fine. Hope this helps - Sarah Sarah Clausen Product Manager Electronic Theatre Controls, Inc. ------------------------------ Date: Tue, 1 Feb 2005 18:28:13 -0500 Subject: Re: We Ride!! (Waaaaay OT) From: Greg Williams In-Reply-To: Message-Id: On Monday, January 31, 2005, at 11:06 PM, Greg Bierly wrote: >> 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 Well, to tell the truth about it, we seriously talked about riding to Toronto... for about 3 minutes. Since it would be a one-day ride for many of the original riders, we'd have to start somewhere farther away, like Key West. Once we were in KW in March, chances are we wouldn't want to leave for the frozen north on motorcycles, so... It's a 2-pronged trip this time, with a group leaving from San Diego, and a group leaving from Washington, DC. Anyone with a motorcycle and a desire to help a good cause is welcome to ride, and anyone without a motorcycle who has a desire to help a good cause is welcome to contribute. The two groups will meet in Kansas and then meander north to the Badlands of South Dakota, where we'll spend a few days dodging bison and enjoying some jaw-dropping scenery. Little gambling in Deadwood, little sightseeing at Mount Rushmore and Crazy Horse Memorial. We pay our own way, by the way. The money raised goes to Broadway Cares / Equity Fights Aids. We need riders, contributors, a chase vehicle and drivers (coming from the west at this point). -=Greg Williams=- Production Manager Valborg Theatre Appalachian State University Check out the Long Reach Long Riders cross country fund raiser for BC/EFA at http://sapsis-rigging.com/LRLR.html ------------------------------ Date: Tue, 01 Feb 2005 18:48:03 -0500 Subject: Looking for contacts From: Herrick Goldman Message-ID: In-Reply-To: Hey Y'all, Does anyone know anyone who happens to be on either of these tours in Manila or Asia? "Martin Nievera and Patti Austin" or "Ladies of the 80's Sheena Easton, Tiffany, Taylor Dayne" If you do know someone please e-mail me their contact info (e-mail preferably) off list. I'm heading into Manila in a few weeks and we are having some communication (or lack thereof) issues with the folks on the ground. I'm just looking for a reality check from the folks who are in the venue before us. Thanks, -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: FrankWood95 [at] aol.com Message-ID: <7e.625af657.2f317130 [at] aol.com> Date: Tue, 1 Feb 2005 18:56:32 EST Subject: Re: Sound FX Library In a message dated 01/02/05 18:16:55 GMT Standard Time, pschreiner [at] rmwc.edu writes: > > There also used to be an extensive library of birdsong, > > separate from the > > main library. > > Did the BBC put this one out? I recall a different collection (and a > very very extensive one, too) over on this side of the pond that is > managed by (IIRC) Cornell University...but I have yet to discover if > they're distributing it to the general public. I don't know. I know that it was in the film dubbing suite I used, on 33rpm 5" vinyl discs, and I imagine it must have been transferred to CD by now. Whether it's commercially available, I don't know, but I should expect it to be, and the BBC is not going to miss a marketing opportunity, these days. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1dc.35b620ba.2f317556 [at] aol.com> Date: Tue, 1 Feb 2005 19:14:14 EST Subject: Re: Rough Cut and Green lumber In a message dated 01/02/05 20:27:37 GMT Standard Time, hjh2 [at] Lehigh.EDU writes: > I've been given a design that includes rough cut lumber planking on a > small rolling wagon with upright columns (short- tallest is 5'). I have > a source for the rough cut, cut to order, delivered to my doorstep, but > I'm concerned about mixing the green lumber with the ply and 2x4 I'm > planning on using for the platform. I know the lumber will shrink as it > dries, so I'm wondering if there are any suggestions about fastners or > construction methods, or if I should rethink my framing and do the > entire thing out of green wood so it might all shrink at the same rate. > Thoughts? There is a distinction betwen 'green' timber and rough sawn, at least in the UK. 'Green' means unseasoned, whereas 'rough sawn' simply means that it hasn't been through the planing machine. This is easy to find, and cheaper. If I really wanted green timber, I shouldn't know where to start looking. But, 'rough sawn' and PAR (Planed All Round) are both seasoned. For 2" x 1", rough sawn is how big it is: PAR 2" x 1" is usually about 1 3/4" x 7/8". Frank Wood ------------------------------ Date: Tue, 01 Feb 2005 19:15:29 -0600 Subject: Re: Automated Fixture Comparison From: Greg Persinger Message-ID: In-Reply-To: Mark Harvey wrote: > We're an undergraduate program and I'm concerned with the programming > time automated fixtures use. Is the learning curve better for one of > these fixtures easier than the other? Is one fixture noisier than the > other? We use an ETC Emphasis lighting control system with a > Expression III faceplate and I'm also wondering if that should make a > difference in what we purchase. Mark first let me say that I really like the Emphasis control system for certain things, but moving lights is not one of them. To me the amount of time it will take to program will be more a function of the console than the fixtures, although the more simple the fixture the easier and faster it will program in Emphasis. Yes Emphasis is much faster to program moving lights on than an Expression, but not as fast as a Grand MA or Hog, but I don't think ETC ever intended it to compete in this arena either , but instead a great control platform/console for a lot of conventionals with some moving lights thrown in. But this doesn't answer your fixture question. I think both of these fixtures are exceptional lights so your decision will need to be based on your application. As Sarah Clausen said the Revolution is made to match your other theatrical fixtures. I like to think of it this way, the Revolution is made to be a theatrical fixture that moves while the VL1000 is a moving light for theater. Both have Pros and cons depending on your use. I think the VL1000 might be a bit noisier in it's movement while you will hear the Revolution gel string crackle a bit. Overall the noise level is about the same, very quiet when compared with other moving lights. What do you envision this light doing? Why are you adding it to your rig? Answering these questions might help you with your decision. Good Luck. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-Id: <6.2.0.14.0.20050201174225.029f6fb8 [at] localhost> Date: Tue, 01 Feb 2005 17:44:26 -0800 From: Jerry Durand Subject: DMX512-A I just received my copy of the new DMX512-A spec., guess I'll be doing a little light reading tonight. A note for people shipping things, putting a soft-bound book (like the DMX spec.) in a padded envelope and then shipping by UPS results in a crumpled spec. Better to ship padded envelopes by US Mail, cheaper, too. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Date: Wed, 2 Feb 2005 01:48:20 +0000 (GMT) From: Charlie Richmond Subject: Re: DMX512-A In-Reply-To: Message-ID: References: On Tue, 1 Feb 2005, Jerry Durand wrote: > spec.) in a padded envelope and then shipping by UPS results in a crumpled UPS is usually the worst choice... unfortunately... Charlie ------------------------------ Date: Tue, 1 Feb 2005 17:54:08 -0800 Subject: Orchestra Shell spare parts From: James Feinberg Message-Id: <538ABB5C-74BD-11D9-878B-00039367B7D4 [at] sandiego.edu> Hello, All! I'm trying to track down replacement/spare parts for our antique orchestra shell. Wenger was kind enough to check their records and tell me that we have the Wenger Rollaway shell, the predecessor their current Legacy model. But then they also told me parts for the Rollaway are no longer available. I'm sure I can find suitable hardware intended for some other purpose, but it's not really my idea of a good time. Actually, under other circumstances it might be, but I'm also trying to mount three shows... So I thought I'd see if anyone else had gone through this before, and might have pointers for where to start looking. thanks for your help, --James Feinberg University of San Diego ------------------------------ Message-Id: <6.2.0.14.0.20050201180626.029c0790 [at] localhost> Date: Tue, 01 Feb 2005 18:07:10 -0800 From: Jerry Durand Subject: Re: DMX512-A In-Reply-To: References:

At 05:48 PM 2/1/2005, you wrote: >On Tue, 1 Feb 2005, Jerry Durand wrote: > >>spec.) in a padded envelope and then shipping by UPS results in a crumpled > >UPS is usually the worst choice... unfortunately... Of course it makes my copy of the spec. seem well used and old, even if the ink is still wet. :) ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <6.2.0.14.0.20050201180732.029fad60 [at] localhost> Date: Tue, 01 Feb 2005 18:10:27 -0800 From: Jerry Durand Subject: RDM Our new DC dimmer is just about ready for sale and I was wondering how important people think adding RDM to it is? I'm sure I won't have it up by the Stage Expo, but could add it at a later date. The hardware is already set up to support RDM. On that same note, how important is it to add RDM capability to our 4201 DMX Controller? The Mac software would support it early on if/when I add it. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <6.2.0.14.0.20050201182452.029c3210 [at] localhost> Date: Tue, 01 Feb 2005 18:30:05 -0800 From: Jerry Durand Subject: HOT DMX! Reading through the new spec. and see a comment that "It is recommended termination components be chosen to withstand continuous voltages of at least 30 VAC 50Hz/42 VDC." Aside from the fact that a typical MAX485 transceiver chip is only good for about 12VDC, 42VDC across a 120 ohm termination resistor is 14.7W! I will hereby state that we do not intend to put 15W resistors and cooling fans in our devices. :) So, anybody actually do this? ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Reply-To: From: "Shakespeare & Company Production Department" Subject: RE: Props rental Date: Tue, 1 Feb 2005 22:38:43 -0500 Message-ID: In-Reply-To: Josh, I have a large stock of chairs, probably many that would be useable as cafe chairs. I have pictures of many of the chairs we have in stock, but unfortunately they are not organized yet. If you want to come and look for yourself, you are more than welcome. We rent furniture for very reasonable prices, and are only located about an hour and a half away from you in the Berkshires. Please feel free to contact me off-list if you are interested and we can set up a time. We also rent hand props and weapons as well. Thank you, Nathan Towne-Smith Production Manager Shakespeare & Company 70 Kemble St. Lenox, MA 01240 (413) 637-3169 (office) (413) 637-4274 (fax) production [at] shakespeare.org This e-mail message is intended for the use of the named recipient. It may contain information that is confidential or privileged. If the reader is not the intended recipient and has received this communication in error, please (1.) immediately REPLY to the sender, stating "This message was received in error," and (2.) delete all copies of this message and attachments. Thank you. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Joshua Webb Sent: Tuesday, February 01, 2005 11:13 AM To: Stagecraft Subject: Props rental For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hello all, I'm new to the list (actually I was on it a few years back). I was hoping to use the collective wisdom of any New Englanders in the group, I'm looking for a props rental house nearby or a place to get inexpensive chairs. Specifically I am looking for bentwood (cafe style) chairs. Thanks for any help/advice in advance. Joshua G. Webb Designer/Technical Director Worcester Academy 81 Providence St. Worcester, MA 01604 508.754.5302 x174 ------------------------------ In-Reply-To: References:

Message-Id: <53F63546-74D0-11D9-8CFE-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Automated Fixture Comparison Date: Tue, 1 Feb 2005 23:10:09 -0500 > I've always assumed that they didn't include CYM because the lamp > isn't bright enough to punch through three separate filters. Just > this once I wouldn't mind being proven wrong. I read Sarah's response to this but doesn't High End have the ColorMerge that is meant to add CMY to a standard source 4. I haven't heard anyone raving about it but would it be possible to outfit an Evolution with something like this whether it be OEM or third party add on? I have never seen either the Evolution or the ColorMerge so I am only wondering. Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Slightly OT: Insurance and the freelancer Date: Tue, 1 Feb 2005 23:14:30 -0500 > what happens when I am freelancing and there is > an accident involving something I built? Especially if > I am working for an individual or small group that may > not have much or any insurance. I have not carried insurance but after years of listening to Bruce Williams on talk radio I think a personal "Umbrella" policy sounds like it might work. He always preached that for relatively little money you can cover yourself for a million dollars in liability insurance. I have never looked into further. In today's litigious society if something terrible happens, the lawyers tend to sue EVERYONE remotely connected to the accident. I might have to rethink my own present coverage. ------------------------------ Message-Id: <6.2.0.14.2.20050201231707.0261bef0 [at] mail.hstech.org> Date: Tue, 01 Feb 2005 23:22:30 -0500 From: "Scott C. Parker" Subject: Re: Slightly OT: Insurance and the freelancer In-Reply-To: References:

I carry such a policy, but it does NOT cover work related activities. Hence, "personal" liability policy. I carry it to protect what I own against the idiot who bumps into me going down the stairs on the subway and sues me for knocking him down the steps. I recommend talking to either, or both, your insurance broker and/or lawyer. I use a broker here in NY if you need one. Scott At 11:14 PM 2/1/2005, you wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >>what happens when I am freelancing and there is >>an accident involving something I built? >>personal "Umbrella" policy sounds like it might work. > > > Scott C. Parker > Scott Parker Associates > Designers of Light & Shadow > scp~AT~hstech.org > New York City > http://hstech.org/scptw ------------------------------ Date: Tue, 01 Feb 2005 22:29:00 -0600 Subject: Re: Color Merge (was Automated Fixture Comparison) From: Greg Persinger Message-ID: In-Reply-To: Greg, The color merge is made for a Source Four. The Revolution, though based on a Source Four, has a completely different body and a color merge will not adapt to it. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: "Sam Fisher" Subject: RE: Orchestra Shell spare parts Date: Wed, 2 Feb 2005 01:48:06 -0500 In-Reply-To: Message-ID: Call Wenger Back, they should have told you that they don't stock parts for them anymore but they might still have some around. If you need a large part they can still custom build the parts for you. Half a shell panel will cost you over $1000 but that's still better then replacing a whole set because new ones wouldn't match. They also did a recall recently on the closing mechanism on the Rollaway and should have send you replacement parts free of charge. Sam Fisher -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of James Feinberg Sent: Tuesday, February 01, 2005 8:54 PM To: Stagecraft Subject: Orchestra Shell spare parts For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hello, All! I'm trying to track down replacement/spare parts for our antique orchestra shell. Wenger was kind enough to check their records and tell me that we have the Wenger Rollaway shell, the predecessor their current Legacy model. But then they also told me parts for the Rollaway are no longer available. I'm sure I can find suitable hardware intended for some other purpose, but it's not really my idea of a good time. Actually, under other circumstances it might be, but I'm also trying to mount three shows... So I thought I'd see if anyone else had gone through this before, and might have pointers for where to start looking. thanks for your help, --James Feinberg University of San Diego ------------------------------ Message-Id: <3.0.6.32.20050202014502.00b96740 [at] pop.west.cox.net> Date: Wed, 02 Feb 2005 01:45:02 From: CB Subject: Re: forklifting piano >He says it was in tune. Beyond that, we know nothing. Which is why I asked the question in the first place. No, if I go to a show and I have Jeff Haskell coming in to play the piano for a client, I will, without fail, have the piano tuned after it has been placed where Jeff will play it. If I don't, jeff will not play, because the piano WILL be out of tune. He will know it, and I will know it. Even if he IS playing for a Caterpillar Tractor conventions (BTW, this never happens) and they haven't a clue, it will be painful for both of us, and the tuning is worth it just for that. For the record, it is pretty SOP to have a piano tuned for any performance after it has been moved. While you *may* be able to get away with it with an upright for the Rotarians, anything that deserves a grand deserves a tuned grand. I'll ask again, more plainly, what were the qualifications of the individual who proclaimed this piano 'in tune' after it had been forked? I will not say that iis is impossible to move a grand with a forklift and not effect the tune, but if it happened, I want to tell the story at many bars, and I want to have my facts straight. "The janitor thought that the pie-anuh sounded real good after we ddrug it up on the stage with the backhoe" is not as good a story, you see. Lets see if we can know a tad more than nothing after the next replies... Chris "Chris" Babbie Location Sound OTR Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <00e701c5090b$d0dbc080$0800000a [at] Tony> From: "Tony" References: Subject: Re: forklifting piano Date: Wed, 2 Feb 2005 09:44:34 -0000 ----- Original Message ----- From: "CB" To: "Stagecraft" Sent: Wednesday, February 02, 2005 1:45 AM Subject: Re: forklifting piano > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > >He says it was in tune. Beyond that, we know nothing. > > Which is why I asked the question in the first place. No, if I go to a > show and I have Jeff Haskell coming in to play the piano for a client, I > will, without fail, have the piano tuned after it has been placed where > Jeff will play it. If I don't, jeff will not play, because the piano WILL > be out of tune. He will know it, and I will know it. Even if he IS > playing for a Caterpillar Tractor conventions (BTW, this never happens) and > they haven't a clue, it will be painful for both of us, and the tuning is > worth it just for that. For the record, it is pretty SOP to have a piano > tuned for any performance after it has been moved. While you *may* be able > to get away with it with an upright for the Rotarians, anything that > deserves a grand deserves a tuned grand. > I'll ask again, more plainly, what were the qualifications of the > individual who proclaimed this piano 'in tune' after it had been forked? I > will not say that iis is impossible to move a grand with a forklift and not > effect the tune, but if it happened, I want to tell the story at many bars, > and I want to have my facts straight. "The janitor thought that the > pie-anuh sounded real good after we ddrug it up on the stage with the > backhoe" is not as good a story, you see. > Lets see if we can know a tad more than nothing after the next replies... > Chris "Chris" Babbie Think that was sorta what I wuz sayin', wunnit? 8-))) ------------------------------ End of Stagecraft Digest #280 *****************************