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Subject: Stagecraft Digest #281
Date: Thu, 03 Feb 2005 03:00:51 -0800
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #281

 1. Re: Slightly OT: Insurance and the freelancer
    by "Delbert Hall" <flyingfx [at] hotmail.com>
 2. Re: Rough Cut Lumber and Condemned Veal
    by "Andrew Nikel" <anikel [at] citytheatrical.com>
 3. Re: Orchestra Shell spare parts
    by "Jon Ares" <jonares [at] hevanet.com>
 4. Re: Orchestra Shell spare parts
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 5. Re: Slightly OT: Insurance and the freelancer
    by Bill Sapsis <bill [at] sapsis-rigging.com>
 6. Re: Slightly OT: Insurance and the freelancer
    by Tony Miller <tony.miller10 [at] btopenworld.com>
 7. Re: Slightly OT: Insurance and the freelancer
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
 8. Re: piano tuning
    by "Karl G. Ruling" <kruling [at] esta.org>
 9. Re: piano tuning
    by Boyd Ostroff <ostroff [at] operaphilly.com>
10. Re: piano tuning
    by John McKernon <stagecraft2004 [at] mckernon.com>
11. Re: piano tuning
    by "LES LIND" <lindl [at] nesd.k12.pa.us>
12. Re: piano tuning
    by IAEG [at] aol.com
13. Re: piano tuning
    by "Karl G. Ruling" <kruling [at] esta.org>
14. Re: piano tuning
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
15. Re: Slightly OT: Insurance and the freelancer
    by Dale Farmer <dale [at] cybercom.net>
16. Re: piano tuning
    by IAEG [at] aol.com
17. Re: Slightly OT: Insurance and the freelancer
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
18. Re: Slightly OT: Insurance and the freelancer
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
19. Re: piano tuning
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
20. Re: piano tuning
    by Stephen Litterst <slitterst [at] ithaca.edu>
21. Re: piano tuning
    by IAEG [at] aol.com
22. Re: Slightly OT: Insurance and the freelancer
    by "Joker7" <crewcall [at] tiscali.it>
23. Re: HOT DMX!
    by FrankWood95 [at] aol.com
24. 1"
    by Greg Bierly <gbierly [at] dejazzd.com>
25. Re: HOT DMX!
    by Jerry Durand <jdurand [at] interstellar.com>
26. ETC LA open house
    by "Joe Golden" <Joe [at] elslights.com>
27. Rents
    by Cosmo Catalano <Cosmo.A.Catalano [at] williams.edu>
28. Archives Problem and Tool Question
    by "Robert D. Ingram" <Robert_D._Ingram [at] fc.mcps.k12.md.us>
29. Re: Rough Cut Lumber
    by Dale Farmer <dale [at] cybercom.net>
30. Re: DMX512-A
    by Nathan Kahn/Look Solutions <nk [at] looksolutions.com>
31. Re: Automated fixture comparison
    by "John D. Palmer" <john [at] palmerandcompany.biz>
32. Re: Archives Problem and Tool Question
    by "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
33. Re: Archives Problem and Tool Question
    by "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
34. Re: Archives Problem and Tool Question
    by Stuart Wheaton <sdwheaton [at] fuse.net>
35. Re: Ronnie Reagan (was Rough Cut Lumber)
    by Steve Boone <sboone [at] bgnet.bgsu.edu>
36. Re: Slightly OT: Insurance and the freelancer
    by "Delbert Hall" <flyingfx [at] hotmail.com>
37. Re: Ronnie Reagan (was Rough Cut Lumber)
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
38. Re: piano tuning
    by FrankWood95 [at] aol.com
39. Re: Slightly OT: Insurance and the freelancer
    by Tony Miller <tony.miller10 [at] btopenworld.com>
40. Re: Slightly OT: Insurance and the freelancer
    by MissWisc [at] aol.com
41. Re: DMX512-A
    by "Tony" <deeming.tony [at] btinternet.com>
42. Re: DMX512-A
    by Mitch Hefter <mitch.hefter [at] DesignRelief.com>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

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

Message-ID: <BAY16-F32047FAAD6971549E08DEC27E0 [at] phx.gbl>
In-Reply-To: <list-17079783 [at] prxy.net>
From: "Delbert Hall" <flyingfx [at] hotmail.com>
Subject: Re: Slightly OT: Insurance and the freelancer
Date: Wed, 02 Feb 2005 06:34:07 -0500

First, I would recommend that you incorporate as an LLC.  This will provide 
you some protection for your personal assets in case you are sued. It is 
much easier and less expensive in the long run to incorporate as an LLC than 
as an S corp.  Next, you might want to purchase a general business liability 
policy.  Insurance has gotten VERY expensive since late 2001.  $1,000,000 of 
business liability could cost in the $4-5K range.   Depending on exactly 
what you are doing, you might not need this much insurance, you might need 
more.

I know that this is short and will probably raise a lot more questions, but 
I am off to sunny Florida to work for the next few days and this is all the 
time I have to go into this now.  I hope this helps.

Delbert L. Hall
423-773-HALL (4255)



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

From: "Andrew Nikel" <anikel [at] citytheatrical.com>
Subject: Re: Rough Cut Lumber and Condemned Veal
Date: Wed, 2 Feb 2005 07:19:17 -0500
Message-ID: <JNEMKLCHNOMOHOGEILMLAEEACCAA.anikel [at] citytheatrical.com>

Well, thanks, but ... the originator of the Condemned Veal phrase was an
Opera director referring to the female chorus over the Voice Of God at a
late night tech (right before Grey Lady, which gives away the locale).

1 inch bigger than the door frame? Yowtch!

Andrew

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

Message-ID:
<014D202957F6D8118924000F20D7342B01E011BC [at] az33exm01.corp.mot.com>
From: Wood Chip-P26398 <Chip.Wood [at] motorola.com>
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: <000701c50930$c308ef30$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-17091254 [at] prxy.net>
Subject: Re: Orchestra Shell spare parts
Date: Wed, 2 Feb 2005 06:09:08 -0800

> They also did a recall recently on the
> closing mechanism on the Rollaway and should have send you replacement 
> parts
> free of charge.


Do they also send replacement fingers??   :)

    -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
www.wlhstheatre.org 


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

Subject: RE: Orchestra Shell spare parts
Date: Wed, 2 Feb 2005 09:14:54 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C6EA [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> > They also did a recall recently on the
> > closing mechanism on the Rollaway and should have send you=20
> replacement
> > parts
> > free of charge.
>=20
>=20
> Do they also send replacement fingers??   :)

Only if you sign up for the supplemental maintenance plan when you
purchase the units...

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

Date: Wed, 02 Feb 2005 09:28:08 -0500
Subject: Re: Slightly OT: Insurance and the freelancer
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <BE264DA7.3B07%bill [at] sapsis-rigging.com>
In-Reply-To: <list-17125210 [at] prxy.net>

on 2/2/05 6:34 AM, Delbert Hall at flyingfx [at] hotmail.com wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> First, I would recommend that you incorporate as an LLC.  This will provide
> you some protection for your personal assets in case you are sued. It is
> much easier and less expensive in the long run to incorporate as an LLC than
> as an S corp.  Next, you might want to purchase a general business liability
> policy.  Insurance has gotten VERY expensive since late 2001.  $1,000,000 of
> business liability could cost in the $4-5K range.   Depending on exactly
> what you are doing, you might not need this much insurance, you might need
> more.
> 
> I know that this is short and will probably raise a lot more questions, but
> I am off to sunny Florida to work for the next few days and this is all the
> time I have to go into this now.  I hope this helps.
> 
> Delbert L. Hall
> 423-773-HALL (4255)
> 
> 


Well, I'm sitting at home today waiting for the cable guy, so............

Reality check.  Bottom line with insurance is that it's only as good as the
attorney representing you.  you can have all the insurance in the world, but
if the other guys lawyer has found a loophole or a chink in your armor, your
done.  

Contrary to what they want you to believe, Insurance companies do not have
your best interests at heart.  They have their interests at heart.  I don't
have a grudge or anything with ins. companies.  It's just a fact of life.
some people choose accounting to make a living.  Some people choose theatre.
And some people choose insurance.  their job is to make as much money as
possible and to pay out as little as possible.

how many of us have had a minor car accident and did not report it for fear
of our rates going up?  Show of hands please......  1, 2, 17, 345, 1277.
Right.

Having an insurance policy may protect you....or it may make you a target.
In the event of an *incident*, the insurance companies go looking for the
party with the deepest pockets that they can hang the blame on.  That's why,
when there is an accident, everyone, including the janitor, gets named in
the lawsuit.  Then the ins. folks start looking for who has money.  If you
are sitting there with a 5 million dollar insurance policy, they may start
taking a closer look at you.

to have or not have an insurance policy is not a question for companies.  I
have insurance.  Lots of it.  I spend over $50K a year on it.  Fortunately,
I almost never have to use it.

For a freelancer though, it's a different story.  Not only are there $$$
issues but there are plenty of legal ones also.  Including the legality of
your 1099-Independent Contractor status.

My recommendation is that you talk to professionals in the business that you
know and trust.  And by professionals I mean an insurance person and a
lawyer.  All the info you get from us theatre types is purely anecdotal and
may not (probably isn't) accurate for your situation.

Neil Huff runs an insurance company called Prism.  he's the agent for ESTA.
You might want to talk to him.  (Not all of you, please.  He'd kill me)

Zat help?
Bill S.

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

We stand behind, and under, our work.


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

Date: Wed, 02 Feb 2005 14:30:43 +0000
Subject: Re: Slightly OT: Insurance and the freelancer
From: Tony Miller <tony.miller10 [at] btopenworld.com>
Message-ID: <BE269493.88FE%tony.miller10 [at] btopenworld.com>

> 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?

You surprise me that in such a litigious society it is not common practice
to carry at the very least Public Liability Insurance. It is common here in
Europe and pretty cheap too. I have the equivalent of about $4million for
about $100. Just think of the lawsuits if something you built or a lantern
you rigged fell onto the talent.

Stay safe

Tony Miller.


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

Date: Wed, 2 Feb 2005 14:35:26 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Slightly OT: Insurance and the freelancer
In-Reply-To: <list-17148784 [at] prxy.net>
Message-ID: <Pine.LNX.4.60.0502021432200.8773 [at] viscount.richmondsounddesign.com>
References: <list-17148784 [at] prxy.net>

On Wed, 2 Feb 2005, Tony Miller wrote:

> You surprise me that in such a litigious society it is not common practice
> to carry at the very least Public Liability Insurance. It is common here in

You've probably identified the reason right there!  Liability Insurance of 
almost every type has become incrediby expensive in the US and for companies 
operating in the US.  This is one of the main reasons we have shut down our US 
division...

> Europe and pretty cheap too. I have the equivalent of about $4million for
> about $100. Just think of the lawsuits if something you built or a lantern
> you rigged fell onto the talent.

Check with your broker how much it was cost you if you operated in the US.. you 
may be amazed....

Charlie

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

From: "Karl G. Ruling" <kruling [at] esta.org>
Date: Wed, 02 Feb 2005 09:43:14 -0500
Subject: Re: piano tuning
Reply-to: kruling [at] esta.org
Message-ID: <4200A0B2.1214.2FAF56 [at] localhost>
In-reply-to: <list-17120983 [at] prxy.net>

> 
> >He says it was in tune. Beyond that, we know nothing. 

To which, Chris Babbie wrote:

> 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. 

Yes, in my experience it is standard operating procedure to have a 
piano tuned before any performance. In my experience this was done 
whether or not it had been moved.

I'm curious about what would be proper qualifications for a person to 
decide that a piano is in tune? In a previous occupation, when I was 
responsible for getting the piano on stage, getting myself and the 
crew off the stage so the piano tuner could do his work in quiet, and 
then stage managing the concert, I had many occasions to hear a 
performer complain about the terrible tuning of our freshly-tuned 
piano. Was the piano tuner not qualified to say it was in tune when 
he finished, or was the performer not qualified to complain about the 
tuning? Is there anywhere a third-party certification program that 
will confer on a person the indisputable authority to judge the 
tuning of a piano?  I don't know of one, and I don't know how useful 
that would be anyway. In that previous job, I tried to make the 
performer happy; that never included telling the performer that he 
was wrong.

>  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.

Why do you disparage the musical ability of janitors? Let us not 
forget that Charles Ives ran an insurance company for a living.

In regard to Ives, there is an interesting story about his father, 
George, from whom Charles is said to have learned about polytonality. 
George Ives supposedly was inspired to experiment with quarter tones 
by the out-of-tune church bells of the First Congregational Church 
next to his home. 

That's a better bar story than lifting a piano with a forklift. Who 
cares if it's true?


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

Date: Wed, 2 Feb 2005 09:50:56 -0500 (EST)
From: Boyd Ostroff <ostroff [at] operaphilly.com>
Cc: kruling [at] esta.org
Subject: Re: piano tuning
In-Reply-To: <list-17150336 [at] prxy.net>
Message-ID: <Pine.LNX.4.44.0502020947360.21177-100000 [at] aria.operaphilly.com>

On Wed, 2 Feb 2005, Karl G. Ruling wrote:

> I'm curious about what would be proper qualifications for a person to 
> decide that a piano is in tune?

We have an arrangement with Yamaha to be our offical piano and use a tuner 
which they specify. But in addition we've got various other people who 
have established their credentials over the years with us as well as the 
Philadelphia Orchestra.

However you might want to investigate the "Piano Technicians Guild" 
regarding certification, etc:

http://www.ptg.org/index.html

| Boyd Ostroff
| Director of Design and Technology
| Opera Company of Philadelphia
| http://tech.operaphilly.com
| ostroff [at] operaphilly.com


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

Date: Wed, 02 Feb 2005 10:18:16 -0500
Subject: Re: piano tuning
From: John McKernon <stagecraft2004 [at] mckernon.com>
Message-ID: <BE265968.10960%stagecraft2004 [at] mckernon.com>
In-Reply-To: <list-17150336 [at] prxy.net>

> Is there anywhere a third-party certification program that
> will confer on a person the indisputable authority to judge the
> tuning of a piano?

I doubt it, but I do know that some tuners use electronic tuning meters to
ensure their accuracy. Of course, some pianos (usually those which haven't
been tuned in years) simply can't be brought to "correct" pitch, in which
case the tuner will make all of the notes correct in relation to each other,
so the piano at least sounds coherent. Fortunately, most concert grands are
kept in pretty good tune, so a truly accurate pitch is easy to get.

- John


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

Message-Id: <s200ad47.060 [at] ac3.nesd.k12.pa.us>
Date: Wed, 02 Feb 2005 10:36:24 -0500
From: "LES LIND" <lindl [at] nesd.k12.pa.us>
Subject: Re: piano tuning

I've heard the argument that a piano sounds better tuned with a tuning
fork as apposed to the electronic meters. Now I'm not a pianist, just a
janitor in real life.

<I doubt it, but I do know that some tuners use electronic tuning
meters to
ensure their accuracy. Of course, some pianos (usually those which
haven't
been tuned in years) simply can't be brought to "correct" pitch, in
which
case the tuner will make all of the notes correct in relation to each
other,


Les Lind, TD
NHS Dramatics
Northeastern High School
Manchester, PA



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

From: IAEG [at] aol.com
Message-ID: <bf.5039b394.2f324fd3 [at] aol.com>
Date: Wed, 2 Feb 2005 10:46:27 EST
Subject: Re: piano tuning


In a message dated 2/2/05 10:38:58 AM, lindl [at] nesd.k12.pa.us writes:

>I've heard the argument that a piano sounds better tuned with a tuning
>fork as apposed to the electronic meters. Now I'm not a pianist, just a
>janitor in real life.


there are two issues here, , ,  real pitch and tempering, 

depends on the tuner as to how they do it to get to the correct tempered 
pitch, 

my fav tuner here in Tampa Bay, , ( he does everything for the Florida 
Orchestra ) does use an electronic "tuner"  BUT  then relies on his own trained ear 
to temper the piano to the proper intonation


best,

Keith Arsenault

IAEG -  International Arts & Entertainment Group 
Tampa, Florida

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

From: "Karl G. Ruling" <kruling [at] esta.org>
Cc: ostroff [at] operaphilly.com (Boyd Ostroff)
Date: Wed, 02 Feb 2005 10:48:02 -0500
Subject: Re: piano tuning
Reply-to: kruling [at] esta.org
Message-ID: <4200AFE2.9588.6B00F1 [at] localhost>
In-reply-to: <Pine.LNX.4.44.0502020947360.21177-100000 [at] aria.operaphilly.com>
References: <list-17150336 [at] prxy.net>

> However you might want to investigate the "Piano Technicians Guild"
> regarding certification, etc:

Thanks. I'm sure our tuners were certified. My experience was at a  
couple of fairly fussy music schools in California.

(I didn't have to do the piano tuning contracting then, and I'm not 
looking for a piano tuner now.) 

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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Wed, 2 Feb 2005 16:04:48 GMT
Subject: Re: piano tuning
Message-Id: <20050202.080536.27549.66094 [at] webmail05.lax.untd.com>


OK, but will 'Concert A' be set at 440hz, as it is in the US, or 442hz?
/s/ Richard

Fortunately, most concert grands are kept in pretty good tune, so a truly accurate pitch is easy to get.
- John



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

Message-ID: <4200FD30.477431F7 [at] cybercom.net>
Date: Wed, 02 Feb 2005 11:17:52 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Slightly OT: Insurance and the freelancer
References: <list-17057937 [at] prxy.net>



Michael Heinicke wrote:

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

    I was working a conference the other day, and one of the
presentations was on protecting your assets from a lawsuit.
It boiled down to a few things.   First, do your protection
activities prior to the incident, anything done afterwards can
be revoked by the judge.  Declare a homestead on your home.
This varies by state so consult a local attorney on how to do
this.  Put your assets into a trust, ( Not a realty trust, but a
real trust. ) With yourself and your family as beneficiaries and
yourself as the trustee.  Again, work with a local financial
attorney to do this.  Get some liability insurance, make sure
that the fine print doesn't have too many exclusions.
    The goal is to make you not an attractive 'deep pockets'
target.  Most of these ambulance chasers are working on
a percentage of the final award, so by making yourself more
difficult to extract money from, you protect yourself from
them.  Having a large insurance coverage puts the deep
pockets over with the insurance company, who has lawyers
on staff to fight this. But always remember that those lawyers
work for the insurance company, not for you.
    There was a lot more, but I wasn't taking notes.

    --Dale



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

From: IAEG [at] aol.com
Message-ID: <e5.c150ca8.2f32580b [at] aol.com>
Date: Wed, 2 Feb 2005 11:21:31 EST
Subject: Re: piano tuning


In a message dated 2/2/05 11:07:06 AM, ladesigners [at] juno.com writes:

>OK, but will 'Concert A' be set at 440hz, as it is in the US, or 442hz?
>/s/ Richard


I am aware of it being as high as 444hz with some major European Orchestras

best,

Keith Arsenault

IAEG -  International Arts & Entertainment Group 
Tampa, Florida

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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA289ABD [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Slightly OT: Insurance and the freelancer
Date: Wed, 2 Feb 2005 11:52:08 -0500 

There is a good book, The Business of Theatrical Design (ISBN 1-58115-248-5)
by James L. Moody that covers a lot of this.  It is not the most exciting
reading and you can figure out "who done it" before the end, but it does
give a lot of good information especially for those that are free lancing.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati



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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA289ABE [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Slightly OT: Insurance and the freelancer
Date: Wed, 2 Feb 2005 11:58:06 -0500 

Along the same line that Bill was talking about, the deep pockets, when you
are starting out and don't own more than your ipod then insurance becomes a
risk assessment.  When you grow up and have cars and houses and all the
other silly things we buy then it is also a risk assessment but the decision
may be different.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati



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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA289AC5 [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: piano tuning
Date: Wed, 2 Feb 2005 12:06:16 -0500 

We have piano tuners on staff and they work their way through the
Conservatory doing all the performance venues and studios.  The performance
venues get extra care.  Often a piano is moved during a performance and it
is not possible to retune at that point.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Boyd Ostroff [mailto:ostroff [at] operaphilly.com] 
Sent: Wednesday, February 02, 2005 9:51 AM
To: Stagecraft
Cc: kruling [at] esta.org
Subject: Re: piano tuning

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

On Wed, 2 Feb 2005, Karl G. Ruling wrote:

> I'm curious about what would be proper qualifications for a person to 
> decide that a piano is in tune?

We have an arrangement with Yamaha to be our offical piano and use a tuner 
which they specify. But in addition we've got various other people who 
have established their credentials over the years with us as well as the 
Philadelphia Orchestra.

However you might want to investigate the "Piano Technicians Guild" 
regarding certification, etc:

http://www.ptg.org/index.html

| Boyd Ostroff
| Director of Design and Technology
| Opera Company of Philadelphia
| http://tech.operaphilly.com
| ostroff [at] operaphilly.com

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

Date: Wed, 02 Feb 2005 12:10:59 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: piano tuning
Message-id: <420109A3.844FF460 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-17167652 [at] prxy.net>

"Waxler, Steve (waxlers)" wrote:
> ---------------------------------------------------
 Often a piano is moved during a performance and it
> is not possible to retune at that point.

We had that happen during a dress rehearsal for "Rhapsody in Blue." 
The soloist scooted along with the piano, not missing a note, until
the conductor stopped for some other reason.  It was hard to hide the
smiles and giggles in the orchestra from the very upset pianist.  

Steve Litterst

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

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

From: IAEG [at] aol.com
Message-ID: <15b.49cd4cfc.2f32641f [at] aol.com>
Date: Wed, 2 Feb 2005 12:13:03 EST
Subject: Re: piano tuning


In a message dated 2/2/05 12:12:14 PM, slitterst [at] ithaca.edu writes:

>We had that happen during a dress rehearsal for "Rhapsody in Blue." 
>The soloist scooted along with the piano, not missing a note, until
>the conductor stopped for some other reason.  It was hard to hide the
>smiles and giggles in the orchestra from the very upset pianist.  
>
>Steve Litterst


choreography for the piano during the piece  ? 

I thought Keith Emerson was the only one to do that, , 

best,

Keith Arsenault

IAEG -  International Arts & Entertainment Group 
Tampa, Florida

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

Message-ID: <001e01c5094c$e7242f80$0100a8c0 [at] tricia>
From: "Joker7" <crewcall [at] tiscali.it>
References: <list-17148784 [at] prxy.net>
Subject: Re: Slightly OT: Insurance and the freelancer
Date: Wed, 2 Feb 2005 17:30:34 -0000

Here in the UK we can get £3million public liability insurance
for around £18 UKP I thunk thats about $9 from BECTU.

If anyone in the UK want's to know more:
http://www.bectu.org.uk/about/mem/pli_desc.html

Chris

Ps: BECTU is union for all working within the broadcasting,
film, theatre, entertainment,ect.



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

From: FrankWood95 [at] aol.com
Message-ID: <1ec.33d54f8c.2f326acc [at] aol.com>
Date: Wed, 2 Feb 2005 12:41:32 EST
Subject: Re: HOT DMX!

In a message dated 02/02/05 02:31:05 GMT Standard Time, 
jdurand [at] interstellar.com writes:

> 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?

Call it a wise precaution, but some sort of voltage limitation device is 
usually fitted to inputs fed from long lines. One way to do this would be to 
divide the termination into three, and fit diodes from the intermediate points to 
the power rails, so that if these try to go outside them the voltage is 
clamped. There are many other ways.


Frank Wood

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

In-Reply-To: <list-17130605 [at] prxy.net>
References: <list-17130605 [at] prxy.net>
Message-Id: <3448DA2A-7544-11D9-8CFE-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: 1"
Date: Wed, 2 Feb 2005 12:59:37 -0500

> 1 inch bigger than the door frame? Yowtch!
>
> Andrew

For some odd reason the backstage door is the shortest door in the 
entire high school (1 block shorter than most).  Every choral riser and 
orchestra shell needs tipped to clear.  I am off by 1/2" on the shell 
and 1" on the risers.  I can't tell you how many time I have been 
tempted to sawsall 3 inch wide notch in the frame to accommodate.  It 
is a fire rated door so don't worry Doom, I won't actually do it.


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

Message-Id: <6.2.0.14.0.20050202100332.041b87c0 [at] localhost>
Date: Wed, 02 Feb 2005 10:08:43 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: HOT DMX!
In-Reply-To: <list-17171499 [at] prxy.net>
References: <list-17171499 [at] prxy.net>

At 09:41 AM 2/2/2005, you wrote:
>Call it a wise precaution, but some sort of voltage limitation device is
>usually fitted to inputs fed from long lines. One way to do this would be to
>divide the termination into three, and fit diodes from the intermediate 
>points to
>the power rails, so that if these try to go outside them the voltage is
>clamped. There are many other ways.

That's fine for receivers, not so go for transmitters and RDM (all ports 
are both receiver and transmitter).  I would guess PTC thermistor fuses in 
the lines with voltage clamps on the circuit side of the fuses.

Assuming you don't have total isolation, ground is troublesome.  You really 
don't want that fuse to open first.  The DMX512-A spec. recommends a 2W, 
100 ohm resistor from the cable common to ground on receivers 
only.  Transmitters are to be hard-grounded.  Not sure what you would do 
for RDM (transceiver).  Also, that 2W, 100 ohm resistor doesn't meet their 
own "continuos 42VDC" requirement.



----------
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




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

Subject: ETC LA open house
Date: Wed, 2 Feb 2005 10:31:26 -0800
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7EBC [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>

ETC and USITT SoCal cordially invite you to  an ETC open house:


Lighting Event and Student mixer
Come for the moment or come for the day.
Come with questions.
Come to be educated.
This is a day for you!!!
=20
What you'll see:
Source Four Revolution
Smartfade
Smartbar
Smartpak
Emphasis
ETCNet 2
=20
=20
When: Saturday February 12, 2005 10am-8pm
Student mixer 2pm-4pm
Food and drink will be provided
=20
Where: University of Southern California
Bing Theatre
USC is located near the intersection of the 10 and 110 freeways
=20
Time: 10am-8pm
=20
R.S.V.P.: David West 323-461-0216 by February 9 2005

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

Date: Wed, 02 Feb 2005 13:51:02 -0500
From: Cosmo Catalano <Cosmo.A.Catalano [at] williams.edu>
Subject: Rents
Message-id: <62D36D0C-754B-11D9-AFD7-000D936C1414 [at] williams.edu>

We've has some discussion regarding rentals for productions.  Does 
anyone have a situation where you have long term tenants, say over the 
course of a summer season?

Cosmo


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

Message-id: <fc.0010cf5d1482da373b9aca00cc3e8515.1482ec88 [at] fc.mcps.k12.md.us>
Date: Wed, 02 Feb 2005 13:59:55 -0500
Subject: Archives Problem and Tool Question
From: "Robert D. Ingram" <Robert_D._Ingram [at] fc.mcps.k12.md.us>
References: <list-17120983 [at] prxy.net>
In-Reply-To: <list-17120983 [at] prxy.net>

Good Day Everyone,

Has anyone noticed a problem with searching the archives recently?  I know we've covered the topic of "tools to outfit a scene shop" a few times recently, but I haven't been
able to pull any archived messages.

If anyone has an outline for a scene shop tool list, or where I can find one (I know one of the trade mags did this last year -  3 levels of outfitting based on budget, but I
can't seem to remember which mag did it), could you please email me off list.

Thanks for the bandwidth, back to the sidelines.

Rob

Robert Ingram

Signature Program Technical Director 
and Media Services Technician
James Hubert Blake High School
300 Norwood Rd.
Silver Spring, MD 20905
Main:    301-879-1300
Office: 301-879-1335
Fax:     301-879-1306
Email: Robert_D_Ingram [at] fc.mcps.k12.md.us


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

Message-ID: <420026BB.F6443F78 [at] cybercom.net>
Date: Tue, 01 Feb 2005 20:02:51 -0500
From: Dale Farmer <dale [at] cybercom.net>
Subject: Re: Rough Cut Lumber
References: <list-16993264 [at] prxy.net> <list-17056518 [at] prxy.net>



Heather Hillhouse-Deans wrote:

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

    For something that is only running two weekends, don't worry about it.
Just have one of the carps check it over before each performance to
hammer down any protruding nails.   Dismantle after the show and store
the wood in your lumber rack to dry out.

    --Dale



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

Message-Id: <5.0.0.25.2.20050202155015.01d854e8 [at] 212.86.129.164>
Date: Wed, 02 Feb 2005 16:00:16 -0500
From: Nathan Kahn/Look Solutions <nk [at] looksolutions.com>
Subject: Re: DMX512-A
In-Reply-To: <list-17072734 [at] prxy.net>

At 05:44 PM 2/1/2005 -0800, you wrote:
>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.

The advantage to the vendor of UPS over USPS is the free tracking and 
insurance (up to $100 value).  A priority mail envelope with insurance and 
delivery confirmation added is $5.60 - more than UPS I expect.  Without 
those services a customer could claim he never received the envelope, and 
dispute the charge on his credit card bill.

If the spec was free, then sure - mail is the way to go.

But this would all be moot had the product been packaged in more protective 
enclosure . . .

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


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

Message-ID: <001301c5096f$a9662270$6501a8c0 [at] Toshiba2>
From: "John D. Palmer" <john [at] palmerandcompany.biz>
Cc: mharvey [at] d.umn.edu
Subject: RE:  Automated fixture comparison
Date: Wed, 2 Feb 2005 13:39:23 -0800

I have seen a side by side comparison.
The Revolution was brighter in no color.
It was quieter when moving.
I did notice the gel string noise mentioned earlier, but I 
feel that this can be minimized with a full size clear frame 
and moving the gel string at a slower rate.
The Modular options are good.
The price point is great.
The setup is very easy.  As is providing it power.
Now, I haven't yet had a chance to play with the Revolution 
in a theatre, but I am looking forward to it.
All of the above, IMHO.
See ya,
John D. Palmer
Palmer & Company Design & Production
(213) 453-1547 



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

From: "Jonathan S. Deull" <jdeull [at] clarktransfer.com>
Subject: RE: Archives Problem and Tool Question
Date: Wed, 2 Feb 2005 17:43:06 -0500
In-Reply-To: <list-17179524 [at] prxy.net>
Message-ID: <auto-000017198211 [at] prxy.net>

...If anyone has an outline for a scene shop tool list, or where I can find
one (I know one of the trade mags did this last year -  3 levels of
outfitting based on budget, but I can't seem to remember which mag did it),
could you please email me off list....

Please do it on list.

Jonathan Deull
Edmund Burke School





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

Message-ID: <AE85829C9F38D040A4B63DFBE5A042EA289BA1 [at] ucmail6.ad.uc.edu>
From: "Waxler, Steve (waxlers)" <WAXLERS [at] UCMAIL.UC.EDU>
Subject: RE: Archives Problem and Tool Question
Date: Wed, 2 Feb 2005 18:06:21 -0500 

So much of it depends on how you build and how many floks you have working
in the shop at the same time.

Steve Waxler
Technical Director
College Conservatory of Music
University of Cincinnati

-----Original Message-----
From: Jonathan S. Deull [mailto:jdeull [at] clarktransfer.com] 
Sent: Wednesday, February 02, 2005 5:43 PM
To: Stagecraft
Subject: Re: Archives Problem and Tool Question

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

...If anyone has an outline for a scene shop tool list, or where I can find
one (I know one of the trade mags did this last year -  3 levels of
outfitting based on budget, but I can't seem to remember which mag did it),
could you please email me off list....

Please do it on list.

Jonathan Deull
Edmund Burke School




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

Message-ID: <42016268.5010707 [at] fuse.net>
Date: Wed, 02 Feb 2005 18:29:44 -0500
From: Stuart Wheaton <sdwheaton [at] fuse.net>
Subject: Re: Archives Problem and Tool Question
References: <list-17200041 [at] prxy.net>
In-Reply-To: <list-17200041 [at] prxy.net>

Waxler, Steve (waxlers) wrote:

how many floks you have working
> in the shop at the same time.

Floks?  When I was there it was one sheep at a time!

Baa!   Baa!

;-)

Stu


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

Message-Id: <a06200705be2714654708 [at] [129.1.113.75]>
In-Reply-To: <list-17120983 [at] prxy.net>
References: <list-17120983 [at] prxy.net>
Date: Wed, 2 Feb 2005 18:40:59 -0500
From: Steve Boone <sboone [at] bgnet.bgsu.edu>
Subject: Re: Ronnie Reagan (was Rough Cut Lumber)

That one's called _The Hasty Heart_  by John Patrick.  Oddly enough, 
I've worked on it twice!!!

Steve Boone
Bowling Green State Univ.


At 3:00 AM -0800 2/2/05, mo <houseomo [at] ix.netcom.com> wrote:
>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).

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

Message-ID: <BAY16-F54082751EDDE719B5224BC27E0 [at] phx.gbl>
In-Reply-To: <list-17148149 [at] prxy.net>
From: "Delbert Hall" <flyingfx [at] hotmail.com>
Subject: Re: Slightly OT: Insurance and the freelancer
Date: Wed, 02 Feb 2005 18:37:28 -0500

I am in "not so sunny" Florida - its raining. Here is a short reply before I 
go get something to eat.

You, of course, should talk to an attorney about your particular situation 
and what liabilities you will have in the case of an accident.  If you are 
working as an individual, and someone sues you, they can go after your 
personal posessions.  Incorporating is one way to help protect your assests. 
  Your attorney will probably discuss "pearsing the corporate vail" and what 
that means.

Insuraqnce is something that you do both for yourself and your clients.  If 
there is an accident - it protects your assets up to the limit of your 
policy, but it also protects your clients because they have a means of 
getting compensated for the accident.  This is one reason many states 
require car owners to carry insurance.  IMHO, people will look at you 
differently (more positively) if they know that you are bonded or insured.  
Also, you will probably sleep better.

I have never filed a business insurance claim. No one wants to use their 
insurance.   But, if you ever need it, you will certainly be glad that you 
have it.

That my opinion.  OK, off to dinner.

-Delbert

Delbert L. Hall
423-773-HALL (4255)



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

Date: Wed, 02 Feb 2005 18:42:40 -0500
Subject: Re: Ronnie Reagan (was Rough Cut Lumber)
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <BE26CFA0.1AAD%Herrick [at] HGLightingDesign.com>
In-Reply-To: <list-17202946 [at] prxy.net>

The "Hasty Heart" is a great show! It was my final appearance as an actor.
I can name all the books of the bible because of that show. Pretty good for
one of the Tribe. 

I've done it twice too.

_H




On 2/2/05 6:40 PM, "Steve Boone" <sboone [at] bgnet.bgsu.edu> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> That one's called _The Hasty Heart_  by John Patrick.  Oddly enough,
> I've worked on it twice!!!
>
-- 
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: <7a.6c295705.2f32c0b5 [at] aol.com>
Date: Wed, 2 Feb 2005 18:48:05 EST
Subject: Re: piano tuning

In a message dated 02/02/05 16:07:06 GMT Standard Time, ladesigners [at] juno.com 
writes:

> OK, but will 'Concert A' be set at 440hz, as it is in the US, or 442hz?
>  /s/ Richard
>  
>  Fortunately, most concert grands are kept in pretty good tune, so a truly 
> accurate pitch is easy to get.

440Hz is the international standard, but in the earlier years of the last 
century, it could be a lot higher, some times. Brass bands were often a whole 
semitone sharp, and the instruments were made to sound at that pitch. As you will 
imagine, this caused problems when they had to combine with more 
conventionally tuned instruments. It still causes problems for people trying to buy 
instruments on the cheap. Often, these were built for the higher pitch, and you have 
to stretch your clarinet a bit at the joints, and then lip the notes into 
tune. OK if you're a good player and have a good ear.

Back to pianos. It has always been a slight mystery to me why moving a piano 
disturbs the tuning, as the myth has it. The tuning is determined almost 
entirely by the string tensions. Since the strings are attached at either end to a 
heavy, rigid, cast iron frame, the tensions are unlikely to change much. True, 
the strings bear down on the bridge, which is attached to the soundboard, but 
this in turn is attached to the iron frame, as it has to be to take the 
downloads of the strings.

With a wooden framed piano or harpsichord, it's another question. These don't 
have the same rigidity. Indeed, you will often see a continuo harpsichordist 
fiddling with the tuning in the interval of an opera.

Myself, I think it is due to environment changes. Cast iron and high-tensile 
steel have slightly different coefficients of expansion: the wood of a 
soundboard is sensitive to changes in humidity, as may be the felts on the hammers. 
All these may conspire to upset the tuning, especially as all the intervals 
apart from the octave are very slightly out of tune.

Is there a piano tuner in the house?


Frank Wood

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

Date: Thu, 03 Feb 2005 00:17:18 +0000
Subject: Re: Slightly OT: Insurance and the freelancer
From: Tony Miller <tony.miller10 [at] btopenworld.com>
Message-ID: <BE271E0E.897A%tony.miller10 [at] btopenworld.com>

> This is one reason many states
> require car owners to carry insurance.

Only 'many states', what happens if you you have a crash that is someone
else's fault in one of the other states?

Tony Miller.


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

From: MissWisc [at] aol.com
Message-ID: <fa.c02c512.2f32d0e7 [at] aol.com>
Date: Wed, 2 Feb 2005 19:57:11 EST
Subject: Re: Slightly OT: Insurance and the freelancer
Cc: tony.miller10 [at] btopenworld.com

In a message dated 2/2/5 6:17:06 PM, tony.miller10 [at] btopenworld.com writes:
<< Only 'many states', what happens if you you have a crash that is someone
else's fault in one of the other states? >>

No need to worry... within a few days you'll have several dozen solications 
from various attorneys willing to take your case. (UGH!)

Count me in the "if I can handle it without my car insurance company neeing 
to be bothered, I will" group.  I was hit last fall. Would have taken longer to 
get an adjuster out to LOOK at my car than it did to get it fixed and send 
the guy who hit me the bill. 

Kristi

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

Message-ID: <004101c5098d$2a011580$0800000a [at] Tony>
From: "Tony" <deeming.tony [at] btinternet.com>
References: <list-17190002 [at] prxy.net>
Subject: Re: DMX512-A
Date: Thu, 3 Feb 2005 01:10:31 -0000


----- Original Message ----- 
From: "Nathan Kahn/Look Solutions" <nk [at] looksolutions.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, February 02, 2005 9:00 PM
Subject: Re: DMX512-A


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> At 05:44 PM 2/1/2005 -0800, you wrote:
> >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.
>
> The advantage to the vendor of UPS over USPS is the free tracking and
> insurance (up to $100 value).  A priority mail envelope with insurance and
> delivery confirmation added is $5.60 - more than UPS I expect.  Without
> those services a customer could claim he never received the envelope, and
> dispute the charge on his credit card bill.
>
> If the spec was free, then sure - mail is the way to go.
>
> But this would all be moot had the product been packaged in more
protective
> enclosure . . .
>
> Nathan
>

I'm actually awaiting a package that was sent from New York to the UK by
USPS in early December.....! A 6-pack of Shure drum mic's. NOT at all
impressed, and seriously out of pocket now!!!

Ynot



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

Message-Id: <6.1.0.6.2.20050202211011.0202a618 [at] mail.DesignRelief.com>
Date: Wed, 02 Feb 2005 21:20:35 -0600
From: Mitch Hefter <mitch.hefter [at] DesignRelief.com>
Subject: Re: DMX512-A
In-Reply-To: <list-17120983 [at] prxy.net>
References: <list-17120983 [at] prxy.net>

Jerry Durand wrote:
>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.

Message passed on to the USITT office.  Thank you.

BTW, there is now a DMX512 FAQ on the USITT Web Site:
http://www.usitt.org/standards/DMX512_FAQ.html

Much of this material has been derived from correspondence on this list, as 
well as the 6 year revision process which included over 955 comments.


. . .
------------------------------------------------------------------------
Mitch Hefter        mitch.hefter  [at]  DesignRelief.com
ESTA / USITT DMX512 Revision (ANSI E1.11) Task Group Chair
USITT Engineering Vice-Commissioner, DMX512 Subcommittee Chair

Office:  Entertainment Technology / a Division of the Genlyte Group
         mhefter  [at]  genlyte.com 



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

End of Stagecraft Digest #281
*****************************