Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 19156601; Sat, 19 Feb 2005 03:00:56 -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 #301 Date: Sat, 19 Feb 2005 03:00:30 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=unavailable version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #301 1. Re: Peter Foy by Bill Sapsis 2. Re: Sepia Tone by "will kent" 3. Re: HELP! Colortran Encore 'airflow' light by "Fitch, Tracy" 4. Re: HELP! Colortran Encore 'airflow' light by BKHAIN [at] aol.com 5. Re: HELP! Colortran Encore 'airflow' light by "Paul Sanow" 6. Re: Stock Platforms by Mike Katz 7. Re: props in the academy by "Tom Hackman" 8. Re: Breaking Glass by "Paul Guncheon" 9. Re: Peter Foy by RHolen [at] vinu.edu 10. Re: Thrid appendage (slightly OT) by "Paul Guncheon" 11. Re: Stock Platforms by "jknipple" 12. Consolidated Display by "Stephen E. Rees" 13. Re: Stock Platforms by "Stephen E. Rees" 14. Peter Foy by "Stephen E. Rees" 15. Re: Consolidated Display by "Jeffrey E. Salzberg" 16. Re: Consolidated Display by Kevin Holly 17. Re: Creating Effects ETC 48/96 by Bill Peeler 18. Re: Consolidated Display by IAEG [at] aol.com 19. Re: Contract negotiations by Peter Simmel 20. Re: Creating Effects ETC 48/96 by "Scott C. Parker" 21. Re: Consolidated Display by "Stephen E. Rees" 22. Re: Consolidated Display by IAEG [at] aol.com 23. Re: contract negotiations by Bob Frame 24. Re: Consolidated Display by "Waxler, Steve (waxlers)" 25. Re: Fog Curtain by "Sam Fisher" 26. Re: Cable Clip Torque (was Impact Wrenches) by "Dr. Randall W.A. Davidson" 27. Re: Curtain pipe safety cable by "Dr. Randall W.A. Davidson" 28. Re: Curtain pipe safety cable by "Dr. Randall W.A. Davidson" 29. Re: Curtain pipe safety cable by "Delbert Hall" 30. Re: Fire Retardation Info Needed. by "Dr. Randall W.A. Davidson" 31. Re: Fire Retardation Info Needed. by "Dr. Randall W.A. Davidson" 32. Re: Peter Foy by "Dr. Randall W.A. Davidson" 33. message headers? by Sunil Rajan 34. Re: message headers? by Mark O'Brien 35. Re: Curtain pipe safety cable by FrankWood95 [at] aol.com 36. Re: Creating Effects ETC 48/96 by "Jon Ares" 37. Re: message headers? by Noah Price 38. Re: message headers? by Brian Munroe 39. Cable clip thread length by Brian Munroe 40. Re: Cable clip thread length by "Jon Ares" 41. Re: message headers? by Noah Price 42. Re: Creating Effects ETC 48/96 by Noah Price *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Fri, 18 Feb 2005 06:23:34 -0500 Subject: Re: Peter Foy From: Bill Sapsis Message-ID: In-Reply-To: on 2/18/05 12:28 AM, usctd [at] columbia.sc at usctd [at] columbia.sc wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > A true legend of the theatre has passed on. Peter Foy died this afternoon > in Las Vegas. > > To show that life is full of unexplainable wierdness.....He was a Daily > Double question on Jeopardy this evening. He watched the show every > night. > > It was an honor to have worked with him. I had the privilege of knowing Peter for over 25 years and the honor of speaking to him yesterday morning. He died peacefully with his family and friends around him. He was a man of great accomplishments and great passion.. And he told great stories. You're right Eric. It was indeed an honor. I will miss him very much. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: In-Reply-To: From: "will kent" Subject: Re: Sepia Tone Date: Fri, 18 Feb 2005 12:48:36 +0000 I love R33 for front light, at full it looks like a N/C almost but when you dim it it gives off a great warm tone that looks great. Will Kent Owner/Operator/LD Kent Production Services www.kentlighting.cjb.net ----Original Message Follows---- > >BTW, I love R05-Rose Tint. Everybody looks good under it and the color >shift when you dim isn't too profound. R05=My favorite colour for caucasian skin. Use it all the time. ------------------------------ Subject: RE: HELP! Colortran Encore 'airflow' light Date: Fri, 18 Feb 2005 08:34:17 -0500 Message-ID: From: "Fitch, Tracy" Cc: BKHAIN [at] aol.com I suspect the board is just keeping the trouble signal until it is dismissed. My recollection of colortran setups says that the "airflow" indicator is a dimmer rack issue. If you've got the old gray colortran D192s for example, there was a problem with a damper or something on the top of the rack. I recall that colortran tech support actually had a fix that involved cutting open a soda can and using it as a shim for something fan related in/on the top o' the rack. Anybody remember more what I'm talking about than I do? (it's been a loooooong time since I saw this trick used.) --Tracy Fitch TD, UNC Charlotte; LD, Everywhere Else > Anybody know what it means when the red 'airflow' light comes on? I mean > obviously I know the board freezes up, but does anybody know how to fix > it? We disconnected the board from the dimmers and still have the error > light so have deducted that it's some kind of board error. Doing a 'hard > reset' by holding down the 'clear' key and turning the key switch on, off, > on then reloading the show from disc will fix it for awhile... any body > know any other tricks? ------------------------------ From: BKHAIN [at] aol.com Message-ID: <29.6d2c4e81.2f474dfd [at] aol.com> Date: Fri, 18 Feb 2005 08:56:13 EST Subject: Re: HELP! Colortran Encore 'airflow' light Still having problems but got through the show using a programmable wall panel. (And a brief speech to the audience.) So the dimmers are working fine. They are ENR dimmers. Colortran tech support thinks maybe it's the battery in the board? This is in a high school theater and they had the airflow problem a couple years ago when it really meant 'airflow' at the dimmers. They have since installed an A/C in the room with the dimmers. And as I said before, if we disconnect the board from the dimmers we still get the airflow light so that's why we're pretty sure it's a board issue. It started Tuesday night at the end of rehearsal and I'm wondering if some cue is triggering it? Yeah, we made backups, but did not keep them from different parts of the recording process... The plan for today is to reset the board but not reload the cues and see if the 'airflow' light comes on. We're trying to find a replacement board and can come up with a couple other DMX boards, just not the same size. "OK kids, time for a lesson in quick programming." Thanks again for the help everybody. Ben Hain Rochester, MN ------------------------------ Subject: RE: HELP! Colortran Encore 'airflow' light Date: Fri, 18 Feb 2005 09:01:49 -0500 Message-ID: From: "Paul Sanow" > top of the rack. I recall that colortran tech support actually had a > fix that involved cutting open a soda can and using it as a shim for > something fan related in/on the top o' the rack. I think you might be talking about the air flow switch at the top of the = rack. Add that piece of soda can to increase the air resistance and the = switch would close again. You're making a sail. Paul *********************************************************** Paul Sanow psanow [at] vls.com Technical Sales www.vincentlighting.com Vincent Lighting Systems 1420 Jamike Ln. #2 Erlanger, KY 41018 (859) 525-2000 x211 FAX (859) 525-2050 *********************************************************** ------------------------------ Message-Id: In-Reply-To: References:

Date: Fri, 18 Feb 2005 09:14:49 -0500 From: Mike Katz Subject: Re: Stock Platforms Cc: rcarovillano [at] verizon.net (Rob Carovillano) Ah the stock Platform discussion, One option is to go even bigger than 1x6. We have platforms built at 8" true which works out very well for a number of reasons. 1. less legs needed- In Holden & Sammler Structural Design for the stage there is a convincing argument that for normal stage loading an Inch of platform depth will equal a Foot of span. So with an 8" platform you need only put Legs in the corners which I find to be a tremendous time saver. 2. A good rise for the stage- We have found that 8" is a good theatrical rise. By standardizing on 8" and building stairs with 8" rises as well we can usually just pull from stock and drop platforms and stairs on stage without having to customize heights. This is another big time saver. For a raked stage I just build raked stud walls and cross brace them and drop the platforms onto them. Mike snip >I am contemplating a change in our stock platforms. We currently >have 2x4 frame construction platforms (some of which are 15+ years >old, others made from warped wood). We have corner leg brackets >bolted to the 4 corners and 2 inside corners. We are going to be >raking the stage for our next production and I was thinking that it >would be easier to work with 1xstock platforms without the bolted >leg brackets. We could reuse the 3/4" ply from most of the >platforms we have. In the end the only downside I see is being able >to store less (aprox 12 where we now have 18) and the time involved >in building them. Input, suggestions? > >Rob Carovillano >Technical Director Snip -- Mike Katz Technical Director MIT Theater Arts Rinaldi Tile Building 77 Mass Ave E33-101 Cambridge MA 02139 617.253.0824 mkatz [at] mit.edu "Lunacy Abounds" ------------------------------ Message-ID: <001e01c515c5$dffa7180$87d11ed8 [at] Hackman1> From: "Tom Hackman" References: Subject: Re: props in the academy Date: Fri, 18 Feb 2005 09:26:40 -0500 -----Original Message----- From: David R. Krajec [mailto:drkrajec [at] stritch.edu] Sent: Thursday, February 17, 2005 4:36 PM Just taking a quick informal survey of small to medium liberal arts BA programs in Theatre Who is in charge of props for your productions? TD/SCENE DESIGNER AND STUDENT PROPS MASTER Does the director get all of the hand props? NO, UNLESS THEY HAVE A LEAD ON SOMETHING SPECIFIC. Does the scenic area just deal with set props and set dressing? NO, WE ALL DO A LITTLE OF EVERYTHING. Do you have a separate budget for props? YES, ABOUT 50% OF THE SCENERY BUDGET. Who comes up with a list of props for a show? DIRECTOR, SM AND PROPS MASTER. If it is the director, what is the deadline for said list? START OF REHEARSALS. When do the actors get show props in rehearsal? UNLESS, FRAGILE OR DANGEROUS, AS THEY ARE READY. What do you do when the director wants the Titanic the day before you open? (Just kidding, the answer is to shoot him/her.) GIVE 'EM MY BLOCKBUSTER CARD AND TELL THEM TO GET OUT. Tom Hackman TD/Scene Designer Davis & Elkins College Elkins, WV ------------------------------ Message-ID: <006901c515c8$63d568a0$0202a8c0 [at] yourxhtr8hvc4p> From: "Paul Guncheon" References: Subject: Re: Breaking Glass Date: Fri, 18 Feb 2005 04:44:44 -1000 <> I've used a solenoid to release a rat trap with a short 1/4" dia. steel rod brazed to the wire to break stuff. I would have to check if it has enough whoop to break tempered glass. Seems likely. If 'twer I, I would use more than one breaker. Laters, Paul "There's no need for silence," Tom allowed. ------------------------------ Subject: Re: Peter Foy Message-ID: From: RHolen [at] vinu.edu Date: Sat, 19 Feb 2005 08:47:00 -0600 I worked at Bill Toon Shop in Dallas and built some of Sandy Duncan's Peter Pan that went to Broadway. I had a chance to meet him. What a thrill. The greats are moving on. Richard D. Holen Professor Dept. of Theatre Vincennes University 1002 N. 1st Street Vincennes, IN 47591 Office: 812 888 5339 Home: 812 886 9135 Cell: 812 760 8000 rholen [at] indian.vinu.edu ------------------------------ Message-ID: <006c01c515c9$ad7e6a00$0202a8c0 [at] yourxhtr8hvc4p> From: "Paul Guncheon" References: Subject: Re: Thrid appendage (slightly OT) Date: Fri, 18 Feb 2005 04:53:57 -1000 > Which would be better for a electrician/stagehand to have: a=20 > third arm & hand OR a prehensile tail (one that can support=20 > your weight)?= I went with the Askuls "GrabTail 600 EX" with the optional extra set of ":Lil Sucka" pads and was fairly impressed with its dexterity and strngth. The surgical implantation of the mounting bracket was rather painful. The main drawback of the tail is the unending furniture modifcation. One usually always has to eat at the bar in restaurants but I have not decided whether this is a positve or negative. I also tried the third arm and a third hand formthe Priantle Collection, and found them not worth the price of admission. Perhaps I should have tried them at the same time. Laters, Paul "Okay, you can switch on the electric chair now," said Tom conceitedly. ------------------------------ Subject: RE: Stock Platforms Date: Fri, 18 Feb 2005 10:01:14 -0500 Message-ID: From: "jknipple" Like Steve, I'm a fan of stress-skins, but if it's not feasible for your theater (for whatever reason), then maybe think about 5/4 framing at 3 1/2 inches. I like it head and shoulders above 2X4 (cleaner, less warping, etc), but it's the same width, so you're not losing any storage space.=20 Jim James Knipple =20 Technical Director REP Stage - www.howardcc.edu/repstage Student-Alumni Arts - Howard Community College=20 - www.howardcc.edu/studentarts jknipple [at] howardcc.edu 410-772-4451 >I am contemplating a change in our stock platforms. =20 ------------------------------ Message-ID: <42160502.3070805 [at] fredonia.edu> Date: Fri, 18 Feb 2005 10:08:50 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Consolidated Display Hi, Does anyone have contact information for Consolidated Display, purveyors of snow? Their website is letitsnow.com but there is no contact phone info to be had. I think they have an 800 number. The guy I spoke with is named Buzz. TIA< Steve Rees, TD SUNY-Fredonia ------------------------------ Message-ID: <4216072B.50008 [at] fredonia.edu> Date: Fri, 18 Feb 2005 10:18:03 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Stock Platforms References: The system that preceded the stress-skins I use now was 5/4 x 6 on-face construction in several modular sizes like 4x8, 4x4, 2x4, 2x8. they also had Rota-Locks. Excellent system that lasted about 15 or so years. Heavy as hell, cost a fortune, and labor intensive to install. They were originally built for a road company of Sugar Babies-installed once and cut from the tour. That design worked pretty well too but had some drawbacks. Regards, Steve Rees, TD SUNY-Fredonia jknipple wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Like Steve, I'm a fan of stress-skins, but if it's not feasible for your > theater (for whatever reason), then maybe think about 5/4 framing at 3 > 1/2 inches. I like it head and shoulders above 2X4 (cleaner, less > warping, etc), but it's the same width, so you're not losing any storage > space. > > Jim > > James Knipple > > Technical Director > REP Stage - www.howardcc.edu/repstage > Student-Alumni Arts - Howard Community College > - www.howardcc.edu/studentarts > jknipple [at] howardcc.edu > 410-772-4451 > > >>I am contemplating a change in our stock platforms. > ------------------------------ Message-ID: <4216092B.9040704 [at] fredonia.edu> Date: Fri, 18 Feb 2005 10:26:35 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Peter Foy Hi, Let me express my sadness on learning of the death of Peter Foy. I did not know him nearly as well as many of you here did. However, each time I encountered him he was pleasant, charming and a joy to listen to. I have a great photo of him and Unka Bill from USITT taken last year. Gentlemen of his caliber, talent and skill are found less and less in this and other industries. He will be sorely missed. Steve Rees, TD SUNY-Fredonia ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: Rees [at] fredonia.edu Subject: RE: Consolidated Display Date: Fri, 18 Feb 2005 10:33:15 -0500 Message-ID: <018501c515cf$2d2b8e90$6401a8c0 [at] Dell> In-Reply-To: > Hi, > Does anyone have contact information for Consolidated > Display, purveyors > of snow? Consolidated Display Co. Inc. PO BOX 4108 Naperville, IL T: 630-851-8666 F: 630-851-8756 ------------------------------ Message-Id: In-Reply-To: References: Date: Fri, 18 Feb 2005 09:41:14 -0600 From: Kevin Holly Subject: Re: Consolidated Display >Does anyone have contact information for Consolidated Display, >purveyors of snow? Their website is letitsnow.com but there is no >contact phone info to be had. I think they have an 800 number. The >guy I spoke with is named Buzz. 1210 US Highway 34 Oswego, IL 60543 Phone: 888-851-SNOW (7669) Fax: 630-851-8756 buzzp [at] aol.com -- Kevin Holly Libertyville High School ------------------------------ Message-ID: <42160DA5.2080405 [at] txstate.edu> Date: Fri, 18 Feb 2005 09:45:41 -0600 From: Bill Peeler Subject: Re: Creating Effects ETC 48/96 References: In-Reply-To: nancy moeur wrote: >On a side Express-related note: Roger asked a couple of days ago about a >tutorial for this board. I responded to him privately and sent him mine, and >tried to post to the list to offer it to anyone else who wanted it. But I'm >not real smart, so I got the address wrong and it bounced.... If anyone DOES >want an Express tutorial, let me know. If I sent you one last year, it hasn't >been revised much--you probably don't need a new one. I can send either a .doc >or a .pdf > Nancy, I'm probably stepping way out of line here, but is this something that might be made available on the Stagecraft website? Of course, this would only be IF 1) you wouldn't mind making it available, and 2) Noah is willing to find a place for it. But I know I would like to see it and would especially love for my students to have access to it as well. Bill Peeler Texas State University ------------------------------ From: IAEG [at] aol.com Message-ID: <12b.5709ffec.2f4768b8 [at] aol.com> Date: Fri, 18 Feb 2005 10:50:16 EST Subject: Re: Consolidated Display In a message dated 2/18/05 10:42:06 AM, kholly [at] mac.com writes: >1210 US Highway 34 >Oswego, IL 60543 >Phone: 888-851-SNOW (7669) >Fax: 630-851-8756 >buzzp [at] aol.com these are the folks who had thier "snow plant" burn down a couple of years ago creating a "snow shortage" if I am not mistaken, hence the Oswego address I would guess is there new locale as opposed to the old "Naperville" address ? Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Message-Id: In-Reply-To: References: Date: Fri, 18 Feb 2005 10:57:29 -0500 From: Peter Simmel Subject: Re: Contract negotiations I have taught at several universities, the current one included, where the MFA is paid on the same scale as the PhD. This is perhaps more true for faculty in the Performance area (acting/directing) than in the Technical and Theory/History/Criticism areas where there are PhD programs. I guess it really depends on the school Peter Simmel U of M >Good luck!!! > >My thoughts have been it's always easier to get a pay raise when you have >another job offer in hand or close to in hand. Every University/College >that I've moved on from has always come up with the extra money to match >offers and to tempt me to stay. It's kind of sad that it takes looking >for another job to get the hopes of a significant pay raise. My >frustration in my last couple TD positions is the fact that since I'm >contract and not tenure track, there's no hope of promotion (Asst Prof to >Assoc Prof, etc). So those potential pay raises aren't available either. >Don't get me started about the differences between PhD and MFA salaries. >Why don't salary scales in Universities reflect that the MFA is a terminal >degree? I get tired of being lumped in with the folks with MAs in >English, History, etc. I've got the recognized terminal degree for my >field, I don't need nor want a Phd!!! Oh well, I guess I should have gone >into Engineering like I first thougt I would, but then I would probably >have to wear a tie to work, so never mind. > >Chip Haas >Technical Director >Department of Theatre >The University of North Carolina at Greensboro > >336-334-3891 ------------------------------ Message-Id: <6.1.2.0.2.20050218105350.028b69f0 [at] mail.hstech.org> Date: Fri, 18 Feb 2005 10:57:41 -0500 From: "Scott C. Parker" Subject: Re: Creating Effects ETC 48/96 In-Reply-To: References:

if Noah doesn't have the time or web space to host the tutorial, I would be more than happy to host it on my technical production web site. www.hstech.org. Scott At 10:45 AM 2/18/2005, you wrote: >I'm probably stepping way out of line here, but is this something that >might be made available on the Stagecraft website? >Bill Peeler >Texas State University Scott C. Parker Production Designer/Technical Director High School Tech Production Web Site hstech~AT~hstech.org High Schoolers: come visit the HS Tech Web Site... http://www.hstech.org Our Mission: To assist High School Technical Theater students in their desire to learn about, create, and execute theatrical productions. ------------------------------ Message-ID: <4216165C.2020109 [at] fredonia.edu> Date: Fri, 18 Feb 2005 11:22:52 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Consolidated Display References: Hi, Just got off the phone with Buzz. Indeed they had a fire and have moved to a new address. The phone numbers are the same as Keith listed as is the website. www.letitsnow.com Thanks for your help. Problem solved. Best, Steve IAEG [at] aol.com wrote: >>1210 US Highway 34 >>Oswego, IL 60543 >>Phone: 888-851-SNOW (7669) >>Fax: 630-851-8756 >>buzzp [at] aol.com >> > these are the folks who had thier "snow plant" burn down a couple of years > ago creating a "snow shortage" if I am not mistaken, > > hence the Oswego address I would guess is there new locale as opposed to the > old "Naperville" address ? > > > Keith Arsenault > > IAEG - International Arts & Entertainment Group > Tampa, Florida ------------------------------ From: IAEG [at] aol.com Message-ID: <15.3ed3e894.2f4770e0 [at] aol.com> Date: Fri, 18 Feb 2005 11:25:04 EST Subject: Re: Consolidated Display In a message dated 2/18/05 11:23:56 AM, Rees [at] fredonia.edu writes: > The phone numbers are the same as Keith listed as is >the website. to be fair, , I didn't list it, , I clipped it from the previous posting and was just commenting, , , keith ------------------------------ Message-ID: <2FDDC3C2F5B5F4499C096779EF5493B99C33AF [at] EXCHANGE_NT.cayuga-cc.edu> From: Bob Frame Subject: re: contract negotiations Date: Fri, 18 Feb 2005 12:44:56 -0500 Let me first qualify this by saying I am not a lawyer but I have been dealing with similar situations for awhile now. You have numerous options, none of them easy. First off however you can't do anything without evidence. Document, document, document! What does your job description require? What do you do beyond that? How many hours spent in the those duties? Note if your job description doesn't require teaching yet you do (that point at least should require adjunct pay- of course if the class is during your normal work hours you must get release time to teach which you might have to then make up- like at a show call!) Does you contract specify a certain number of hours per week for non-teaching faculty (to use a high number for academia let's say 40 hrs) How many hours in an average week do you put in? Does your supervisor permit you to balance a 60 hour week with a 20 hour week? (comp time) Basically what I'm saying is you need documented 'proof' of your "abuse" before you can approach anyone. Then start with your supervisor, moving up then chain of command and watch them give you lip service and see if anything happens. Go to the Union and present your case. Threaten to take the case to arbitration and see if the union will support you. But first you need to understand your contract and your job description. And have documentation to support your claim. If you have that lovely clause in your description "and other duties as assigned" you have trouble. Again that is where you need the power of the union behind you and you need documentation. That clause intends temporary assignments but when you can prove that the work has become constantly above and beyond your job desc. you might have a case- if the union is willing to support your cause. You could find other people in similar situations in other units at your College. Unite them and petition to form a union outside of the faculty. (The majority of the classroom faculty are not going to care nor champion your cause- they are concerned with class size and release time.)Not an easy option but in the long run might be beneficial. You can always of course take the classic- "work to the terms of your contract/ job description" Refuse to design the show, your job description only requires you to build it. Make the administration have to hire outside for a designer. Refuse to teach the course next semester- make them search for and hire a faculty member. (Notice I said next semester- you have to live up to your present commitments.) Of course if you do not have the support of your supervisor and the department this is a very uncomfortable position to take. See what kind of support you have from your supervisor, department and union. Make your decision from there about your course of action of course remembering that you always have the option of sending out resumes! Good luck Bob Frame ***original message**** From: "Scott Boyle" Subject: Contract negotiations Date: Thu, 17 Feb 2005 10:42:49 -0600 Hello all, I am looking for some advice from my academic colleagues. I am a ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: RE: Consolidated Display Date: Fri, 18 Feb 2005 13:07:09 -0500 Try 800 information. 1-800-555-1212 Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: Stephen E. Rees [mailto:Rees [at] fredonia.edu] Sent: Friday, February 18, 2005 10:09 AM To: Stagecraft Subject: Consolidated Display For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi, Does anyone have contact information for Consolidated Display, purveyors of snow? Their website is letitsnow.com but there is no contact phone info to be had. I think they have an 800 number. The guy I spoke with is named Buzz. TIA< Steve Rees, TD SUNY-Fredonia ------------------------------ From: "Sam Fisher" Subject: RE: Fog Curtain Date: Fri, 18 Feb 2005 13:36:46 -0500 In-Reply-To: Message-ID: LeMaitre's Fog Curtain system also works very well. They have a demo video clip on their website. www.LeMaitreFX.com Sam Fisher VP - Fisher Theatrical, LLC. ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Cable Clip Torque (was Impact Wrenches) Date: Fri, 18 Feb 2005 13:27:13 -0800 Message-ID: <01cd01c51600$aca59130$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Yes. What Mr. Sapsis says is valid. We recommend this in all of our risk management rigger workshops, and indeed Crosby comes to verify that we do this. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis Sent: Thursday, February 17, 2005 7:16 AM To: Stagecraft Subject: Re: Cable Clip Torque (was Impact Wrenches) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 2/17/05 8:04 AM, Scheu Consulting Services at peter [at] scheuconsulting.com wrote: > The torque will vary depending upon the size of your clips. Assuming you are > using 1/4" cable, Crosby recommends 15 Ft. Lbs. Being that I have never used > or specified anything other than "red" Crosby cable clips (when not using > Nicopress sleeves), I don't know if this holds true with other > manufacturers. So if you're really concerned, track down the clips' > manufacturer and check with them. If you can't find the manufacturer (and > I'm sure Mr. Sapsis will agree with me here) you may have to consider > replacing them with hardware that is "traceable". Agreed. But....Crosby is not the end all and be all for wire rope clips. Chicago Hdwr. makes a good drop forged clip also. Same torque. > > Yes, a properly sized and calibrated torque wrench should be able to apply > this force. Not sure what you're asking with your last question. Calibration > should be set to the wrench's manufacturer's standard. > BTW, Crosby also offers this IMPORTANT advice (their emphasis, not mine) - > "Apply first load to test the assembly. This load should be of equal or > greater weight than loads expected in use. Next, check and retighten the > nuts to recommended torque." This is because wire rope does stretch under > load, and (although we're talking microns here in everyday theatre use) will > reduce in diameter. Did the installer do this? In my experience, probably > not... :-( > > Unless Unca Bill was on the job... ;-) Damn straight! Did you know that wire rope clips of any type are illegal for overhead lifting in many European Countries? Is true. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: tomgrab [at] utpa.edu Subject: RE: Curtain pipe safety cable Date: Fri, 18 Feb 2005 13:46:35 -0800 Message-ID: <032a01c51603$600f8530$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Some of you will recall the incident at the JFK Center in Wash, where the pipe ripped during the rehearsal and some stage door johnnie used gaffers tape to fix it, and then during the actual performance it ripped again, and the pipe nearly took off a shoulder and arm of the most famous ballerina of our time. Settled out of court. Rogers Stevens was head of the Center at that time apponted by Kennedy. Crew .... some connections with Wolf Trap. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tom Grabowski Sent: Wednesday, February 16, 2005 7:29 AM To: Stagecraft Subject: Re: Curtain pipe safety cable For info, archives & UNSUBSCRIBE, see --------------------------------------------------- From Bill Conner: And the fact that half the drop fell makes me wonder if it was a bottom hem failure. From Bill Sapsis: I think that the hem started to rot away and could not support the weight of the pipe. Chain, I believe, is also lighter than pipe. I haven't read all the posts on this thread but I believe there was some discussion on the pipe _vs_ emt issue. IMHO, emt is too light to do the job adequately and pipe is heavy enough to cause a hem failure. From Stuart Wheaton: So I would guess that something snagged the cyc, and being a wrap-around cyc that's no challenge really, maybe even lifted the cyc a ways before it slipped off the outgoing pipe and shock-loaded the 15 year old fabric, which then split and the lower part came down with the bottom pipe still in the pocket. I was able to go over to the theatre yesterday to see what happened. It appears that it happened as Stuart figured. About 5' of the 100' wide cyc and the curved 1" EMT bottom pipe are on the stage. Some how that dance folk must have gotten the scenic drop pipe moving sideways and it caught the cyc and started it ripping. If the pipe were out of the cyc and the bottom free to flutter up there in the stored position, there would probably be more problems with it getting caught on adjacent pipes as they move than if that bottom were in a more fixed stable position. The EMT did have enough weight to keep the cyc stretched in the "U" configuration. Since the auditorium is not under my control, I can only recommend how things get done in the space. As the other department is now frantically trying to replace this cyc as they need it for an event in 9 days, I hope that I can finally get them to realize that it is more complicated that just pulling the ropes to make things go up and down. *** Tom Grabowski University of Texas-Pan American Designer/Technical Director Communication Department Tomgrab [at] UTPA.edu Edinburg, Texas 78541 956/381-3588 FAX 956/318-2187 ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: Lamplighter [at] tcon.net ('Frank E. Merrill') Cc: tomgrab [at] utpa.edu Subject: RE: Curtain pipe safety cable Date: Fri, 18 Feb 2005 13:46:35 -0800 Message-ID: <032d01c51603$643e13b0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: It seems to me that this should have become standard by now, i.e. a sleeve with in bottom part of the curtain, perhaps even of canvas. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Frank E. Merrill Sent: Wednesday, February 16, 2005 10:13 AM To: Stagecraft Cc: tomgrab [at] utpa.edu Subject: Re: Curtain pipe safety cable For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Howdy! Monday, February 14, 2005, 6:44:32 PM, Tom Grabowski wrote: > there was an incident with a cyc ripping and dropping the bottom > pipe to the floor.... I'm hard pressed to imagine the fabric disintegrating without the application of outside force, but I believe Tom's description. That is merely one more reason why I put a pocket inside the bottom hem. I suppose if the pocket failed, the resultant "funny" appearance of the drop would alert even the least observant person to the potential problem. -- Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis mailto:Lamplighter [at] tcon.net ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Curtain pipe safety cable Date: Fri, 18 Feb 2005 17:00:37 -0500 I remember this one. It was quite a while back that this happened. I cut the newpaper article out of the paper to show my stagecraft class at the time. -Delbert Delbert L. Hall 423-773-HALL (4255) > >Some of you will recall the incident at the JFK Center in Wash, where >the pipe ripped during the rehearsal and some stage door johnnie used >gaffers tape to fix it, and then during the actual performance it ripped >again, and the pipe nearly took off a shoulder and arm of the most >famous ballerina of our time. Settled out of court. Rogers Stevens was >head of the Center at that time apponted by Kennedy. Crew .... some >connections with Wolf Trap. Doom > >-- >Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - >www.riskit.com Latest workshops for Educational and Entertainment >Industry Performing Arts Personnel (Riggers, and Public Assembly and >Educational Technicians) www.riskit.com/workshops International >Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org > >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tom >Grabowski >Sent: Wednesday, February 16, 2005 7:29 AM >To: Stagecraft >Subject: Re: Curtain pipe safety cable > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >From Bill Conner: >And the fact that half the drop fell makes me wonder if it >was a bottom hem failure. > >From Bill Sapsis: >I think that the hem started to rot away and could not support the >weight of the pipe. Chain, I believe, is also lighter than pipe. I >haven't read all the posts on this thread but I believe there was some >discussion on the pipe _vs_ emt issue. IMHO, emt is too light to do the >job adequately and pipe is heavy enough to cause a hem failure. > >From Stuart Wheaton: > So I would guess that something snagged the cyc, and being >a wrap-around cyc that's no challenge really, maybe even >lifted the cyc a ways before it slipped off the outgoing >pipe and shock-loaded the 15 year old fabric, which then >split and the lower part came down with the bottom pipe >still in the pocket. > > I was able to go over to the theatre yesterday to see what >happened. It appears that it happened as Stuart figured. About 5' of >the 100' wide cyc and the curved 1" EMT bottom pipe are on the stage. >Some how that dance folk must have gotten the scenic drop pipe moving >sideways and it caught the cyc and started it ripping. > If the pipe were out of the cyc and the bottom free to flutter >up there in the stored position, there would probably be more problems >with it getting caught on adjacent pipes as they move than if that >bottom were in a more fixed stable position. The EMT did have enough >weight to keep the cyc stretched in the "U" configuration. > Since the auditorium is not under my control, I can only >recommend how things get done in the space. As the other department is >now frantically trying to replace this cyc as they need it for an event >in 9 days, I hope that I can finally get them to realize that it is more >complicated that just pulling the ropes to make things go up and down. > >*** >Tom Grabowski University of Texas-Pan American >Designer/Technical Director Communication Department >Tomgrab [at] UTPA.edu Edinburg, Texas 78541 >956/381-3588 FAX 956/318-2187 > ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Fire Retardation Info Needed. Date: Fri, 18 Feb 2005 14:05:17 -0800 Message-ID: <040201c51605$ee556ab0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: Duane: the regs regarding flame retarding in NYC are tough and could be enforced more of ten, Also, the person doing the flame retarding, or at least this used to be, must have passed the exam for flame retarding from the city of state. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Duane Sent: Wednesday, February 16, 2005 4:48 AM To: Stagecraft Subject: Fire Retardation Info Needed. For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Group, My theatre is beginning production of a show that has an option of being moved to the New York City area. If the production does travel to that theatrical Meca, I want to be sure that it is not delayed by any hazardous conditions that is locally allowed by our local Fire Authority. Does anyone in the group have the information available or a link to the appropriate sites in New York that would give me a heads up on Fire regulations and requirements that are different than here in the midwest? Any information pertaining to labor restrictions or crossover that stage hands and stage electricians are allowed during load in to the theatre would also be appreciated. The set involves integrated electrics and mechanics so it would require interlacing the labor during the load into the theatre. I would not want to step on any toes. We open here in eight weeks so the info would need to be available like yesterday since the build has started. Typical theatre! Please direct any info or links to dhoberg [at] newtheatre.com. Thanks in advance to any that reply. Duane Technical Director New Theatre Restaurant dhoberg [at] newtheatre.com ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Fire Retardation Info Needed. Date: Fri, 18 Feb 2005 14:05:17 -0800 Message-ID: <040301c51605$eef9e810$8d90fea9 [at] DrDoomsComputer> In-Reply-To: And the person doing the flame retarding must have passed the exam for the city and or state. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bill Sapsis Sent: Wednesday, February 16, 2005 4:56 AM To: Stagecraft Subject: Re: Fire Retardation Info Needed. For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Duane. the questions you asked can best be answered only by knowing what theatre you are going into. Maybe not the name, if you don't want to give that out, but type of space and location. (garage, off-broadway house, Lincoln Center...Midtown, Downtwon, SOHO, NOHO, etc.) NYC is complex but not necessarily daunting. And the rules, or at least the interpretation and enforcement of them, tends to change depending on where you are. As far as scenery is concerned, you must have a flame retardancy cert. for just about everything. No raw wood of course. 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. on 2/16/05 7:48 AM, Duane at dhoberg [at] kc.rr.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Group, > > My theatre is beginning production of a show that has an option of being > moved to the New York City area. If the production does travel to that > theatrical Meca, I want to be sure that it is not delayed by any hazardous > conditions that is locally allowed by our local Fire Authority. > > Does anyone in the group have the information available or a link to the > appropriate sites in New York that would give me a heads up on Fire > regulations and requirements that are different than here in the midwest? > > Any information pertaining to labor restrictions or crossover that stage > hands and stage electricians are allowed during load in to the theatre would > also be appreciated. The set involves integrated electrics and mechanics so > it would require interlacing the labor during the load into the theatre. I > would not want to step on any toes. > > We open here in eight weeks so the info would need to be available like > yesterday since the build has started. Typical theatre! > > Please direct any info or links to dhoberg [at] newtheatre.com. > > Thanks in advance to any that reply. > > Duane > Technical Director > New Theatre Restaurant > dhoberg [at] newtheatre.com > > ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Peter Foy Date: Fri, 18 Feb 2005 14:40:33 -0800 Message-ID: <042001c5160a$dbdb3ef0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: I was just in Las Vegas today. And drove home. Peter was one of my closest friends and we shared his passion for safety in flying and professionalism in the entertainment industry. He was a great man, a person of integrity, an individual who gave his all for the industry and he will be sorely missed by all who loved him and who received the benefits of his work in the theater and beyond. Hail to thee Peter Foy. We shall miss you, dearly. Dr. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert Hall Sent: Friday, February 18, 2005 2:41 AM To: Stagecraft Subject: Re: Peter Foy For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I am sad to hear of Peter's passing. He was a true legend in our industry. It is ironic that on the day he died Peter was the subject of a question on Jeopardy! -Delbert Delbert L. Hall 423-773-HALL (4255) >From: usctd [at] columbia.sc >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Peter Foy >Date: Fri, 18 Feb 2005 00:28:05 -0500 (EST) > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >A true legend of the theatre has passed on. Peter Foy died this afternoon >in Las Vegas. > >To show that life is full of unexplainable wierdness.....He was a Daily >Double question on Jeopardy this evening. He watched the show every >night. > >It was an honor to have worked with him. >-- >Eric Rouse >TD-University of SC, Columbia >Freelance Foyboy > > ------------------------------ In-Reply-To: References: Message-Id: <1F96A5F4-81FF-11D9-9550-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: message headers? Date: Fri, 18 Feb 2005 17:47:53 -0500 I know I'm adding to this... but is it necessary to have message headers be THIS long? Just curious, as I page down the list... Cheers, Sunil Rajan Freelance Audio Mercenary On Feb 18, 2005, at 6:00 AM, Stagecraft wrote: > > Message-ID: <1108697493.335a61e959a3d [at] www.email.arizona.edu> > Date: Thu, 17 Feb 2005 20:31:33 -0700 > From: Mark O'Brien > Subject: Re: checking cable clips > References:

> > In-Reply-To: ------------------------------ In-Reply-To: References:

Message-Id: Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: message headers? Date: Fri, 18 Feb 2005 15:58:26 -0700 Huh? Hello? Nothing I did. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Feb 18, 2005, at 3:47 PM, Sunil Rajan wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I know I'm adding to this... but is it necessary to have message > headers be THIS long? > Just curious, as I page down the list... > > Cheers, > Sunil Rajan > Freelance Audio Mercenary > > On Feb 18, 2005, at 6:00 AM, Stagecraft wrote: > >> >> Message-ID: <1108697493.335a61e959a3d [at] www.email.arizona.edu> >> Date: Thu, 17 Feb 2005 20:31:33 -0700 >> From: Mark O'Brien >> Subject: Re: checking cable clips >> References:

>> >> In-Reply-To: > ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <25.597bb302.2f47d225 [at] aol.com> Date: Fri, 18 Feb 2005 18:20:05 EST Subject: Re: Curtain pipe safety cable In a message dated 18/02/05 21:48:18 GMT Standard Time, doomster [at] worldnet.att.net writes: > It seems to me that this should have become standard by now, i.e. a > sleeve with in bottom part of the curtain, perhaps even of canvas. Doom Cycloramas come in many different forms. I think that I am fortunate. Ours is a 13" brick wall, curved on a 70' radius, plastered, and painted. It is the full height of the stage, and has a pit at its base to accommodate lighting. It is also the full width of the stage, about 70'. When not needed. the pit is filled in, and black drapes drawn across to hide it. It works well. Go to 'photobucket' , and look for a file I posted there called 'builder'. This will show what can be done. Frank Wood ------------------------------ Message-ID: <000701c51624$41f44b50$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Creating Effects ETC 48/96 Date: Fri, 18 Feb 2005 17:42:22 -0800 > I'm probably stepping way out of line here, but is this something that > might be made available on the Stagecraft website? Of course, this would > only be IF 1) you wouldn't mind making it available, and 2) Noah is > willing to find a place for it. But I know I would like to see it and > would especially love for my students to have access to it as well. I also have an Express 'quickstart' guide, written by a former student/ME, that I could offer to the Stagecraft site, or personally. It is not a 'top to bottom' review of every feature and function - it's designed to get a student quickly patching, writing cues, and executing them. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ In-Reply-To: References:

Message-Id: From: Noah Price Subject: Re: message headers? Date: Fri, 18 Feb 2005 21:11:55 -0800 On Feb 18, 2005, at 2:47 PM, Sunil Rajan wrote: > I know I'm adding to this... but is it necessary to have message > headers be THIS long? > Just curious, as I page down the list... You wouldn't see those in single message mode :-) Ideally I'd pare it down to Subject/Date/From and add a message number, but the current list server is not capable of that customization to the digest. Thanks, Noah > On Feb 18, 2005, at 6:00 AM, Stagecraft wrote: > >> Message-ID: <1108697493.335a61e959a3d [at] www.email.arizona.edu> >> Date: Thu, 17 Feb 2005 20:31:33 -0700 >> From: Mark O'Brien >> Subject: Re: checking cable clips >> References:

>> >> In-Reply-To: -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ Message-ID: Date: Sat, 19 Feb 2005 01:05:24 -0500 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: message headers? In-Reply-To: References:

I just switched from the digest version, on my regular email, to single message mode with my gmail account. GMail makes it much easier to manage and read the lists. Brian Munroe On Fri, 18 Feb 2005 21:11:55 -0800, Noah Price wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On Feb 18, 2005, at 2:47 PM, Sunil Rajan wrote: > > > I know I'm adding to this... but is it necessary to have message > > headers be THIS long? > > Just curious, as I page down the list... > > You wouldn't see those in single message mode :-) > > Ideally I'd pare it down to Subject/Date/From and add a message number, > but the current list server is not capable of that customization to the > digest. > > Thanks, > > Noah > > > > On Feb 18, 2005, at 6:00 AM, Stagecraft wrote: > > > >> Message-ID: <1108697493.335a61e959a3d [at] www.email.arizona.edu> > >> Date: Thu, 17 Feb 2005 20:31:33 -0700 > >> From: Mark O'Brien > >> Subject: Re: checking cable clips > >> References:

> >> > >> In-Reply-To: > > -- > | Noah Price | http://stagecraft.theprices.net/ | > | Stagecraft Mailing List | stagecraft-web [at] theprices.net | > > ------------------------------ Message-ID: Date: Sat, 19 Feb 2005 01:09:50 -0500 From: Brian Munroe Reply-To: Brian Munroe Subject: Cable clip thread length While we are on the subject of cable clips: Why, oh why, can't they make the saddle a little longer with a little more threads, so that the nuts don't have a tendency to fall off while you are pulling the dead end thru the clip? Would another 3/8" of thread destroy the ratings? Brian Munroe ------------------------------ Message-ID: <000501c5164a$96f97910$0600000a [at] BRUTUS> From: "Jon Ares" Cc: bpmunroe [at] gmail.com (Brian Munroe) References: Subject: Re: Cable clip thread length Date: Fri, 18 Feb 2005 22:16:46 -0800 > Why, oh why, can't they make the saddle a little longer with a little > more threads, so that the nuts don't have a tendency to fall off while > you are pulling the dead end thru the clip? Would another 3/8" of > thread destroy the ratings? Can't comment on the ratings, but I bet the extra length would probably snag on things a lot easier! :) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ In-Reply-To: References:

Message-Id: <9f9aabae173090665420192232848c8e [at] theprices.net> From: Noah Price Subject: Re: message headers? Date: Fri, 18 Feb 2005 22:17:52 -0800 On Feb 18, 2005, at 10:05 PM, Brian Munroe wrote: > I just switched from the digest version, on my regular email, to > single message mode with my gmail account. GMail makes it much easier > to manage and read the lists. Almost any recent email program and many webmail services can file lists into their own folder. One of these days I'll add instructions to the web site for major programs! Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ In-Reply-To: References:

Message-Id: <2e927dd06872191ad9ee87d8613e9ce6 [at] theprices.net> From: Noah Price Subject: Re: Creating Effects ETC 48/96 Date: Fri, 18 Feb 2005 22:29:22 -0800 On Feb 18, 2005, at 7:45 AM, Bill Peeler wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > nancy moeur wrote: > >> On a side Express-related note: Roger asked a couple of days ago >> about a >> tutorial for this board. I responded to him privately and sent him >> mine... > I'm probably stepping way out of line here, but is this something that > might be made available on the Stagecraft website? Of course, this > would only be IF 1) you wouldn't mind making it available, and 2) Noah > is willing to find a place for it. But I know I would like to see it > and would especially love for my students to have access to it as > well. Sure, pretty much anything useful to Stagecraft folk is welcome on the Stagecraft site. Just email it, or let me know where to download it. Noah ------------------------------ End of Stagecraft Digest #301 *****************************