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

Stagecraft Digest, Issue #360

 1. Re: theatre company reference
    by "Bll Conner" <bill-conner [at] att.net>
 2. Re: theatre company reference
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 3. Re: theatre company reference
    by Greg Bierly <gbierly [at] dejazzd.com>
 4. Re: Cleaning cyc (was positioning hazer)
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 5. Re: baaack & related question
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 6. FW: related question
    by "jsmith at theatrewireless.com" <stagecraft [at] theatrewireless.com>
 7. scuff marks on stage floor
    by "David R. Krajec" <drkrajec [at] stritch.edu>
 8. Re: theatre company reference
    by Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
 9. Re: scuff marks on stage floor
    by "Merel Ray-Pfeifer" <mraypfeifer [at] mail.millikin.edu>
10. Re: theatre company reference
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
11. Re: baaack & related question
    by "Chris Warner" <bearz2 [at] cox.net>
12. Re: He's baaaack...
    by "Warren Stiles" <w_stiles [at] techie.com>
13. Re: Box Office software...
    by "Warren Stiles" <w_stiles [at] techie.com>
14. Re: theatre company reference
    by "Sam Fisher" <Sam [at] FisherTheatrical.com>
15. Re: Gerber update
    by CB <psyd [at] cox.net>
16. Re: Sound question and film
    by CB <psyd [at] cox.net>
17. Re: Sound question and film
    by CB <psyd [at] cox.net>
18. Re: Sound question and film
    by CB <psyd [at] cox.net>
19. Re: Sound question and film
    by CB <psyd [at] cox.net>
20. Re: Sound question and film
    by CB <psyd [at] cox.net>
21. related question
    by CB <psyd [at] cox.net>
22. Re: Gerber update
    by Mick Alderson <alderson [at] uwosh.edu>
23. Scrim repair
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
24. Re: Scrim repair
    by Barney Simon <barney [at] josephchansen.com>
25. Dance towers
    by "Steve B." <sbmtbike [at] optonline.net>
26. Re: Cleaning cyc (was positioning hazer)
    by Chris Davis <cdavis309 [at] optonline.net>
27. Re: related question
    by Paul Puppo <ppuppo [at] gmail.com>
28. Re: Sound question and film
    by FrankWood95 [at] aol.com
29. Delrin
    by "Warren Stiles" <w_stiles [at] techie.com>
30. Re: related question
    by FrankWood95 [at] aol.com
31. Re: Sound question and film
    by FrankWood95 [at] aol.com
32. Re: related question
    by "Occy" <OneOccy [at] hotmail.com>
33. Re: Delrin
    by Dale Farmer <dale [at] cybercom.net>
34. Re: Delrin
    by Mark O'Brien <marko [at] email.arizona.edu>
35. Re: Sound question and film
    by Greg Williams <gwilliams [at] appstate.edu>
36. Re: Delrin
    by "Occy" <OneOccy [at] hotmail.com>
37. Re: theatre company reference
    by "Robert Bruemmer" <rbruemme [at] mail.plymouth.edu>

*** 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: <001a01c53e91$5f949440$6a01a8c0 [at] BCA1>
Reply-To: "Bll Conner" <bill-conner [at] att.net>
From: "Bll Conner" <bill-conner [at] att.net>
Subject: Re: theatre company reference
Date: Mon, 11 Apr 2005 07:24:08 -0500

I'm a little uneasy with the notion of annual rigging inspections - as in
one rule fits all and every system should be inspected annually no matter
how small or how seldom used and every system should be inspected annually
no matter how large or how heavily used.  Further, it would seem the
thoroughness and competency of the inspector is still more critical than the
frequency of the inspection.

So post the name of the not so hot rigging company in PA already.

Bill


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

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Cc: bill-conner [at] att.net ('Bll Conner')
Subject: RE: theatre company reference
Date: Mon, 11 Apr 2005 08:32:47 -0400
Message-ID: <001201c53e92$947610c0$6601a8c0 [at] Dell>
In-Reply-To: <list-21784920 [at] prxy.net>


> I'm a little uneasy with the notion of annual rigging 
> inspections 

It might not always be necessary, but I can't imagine a situation in
which it would hurt.



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

In-Reply-To: <list-21784920 [at] prxy.net>
References: <list-21784920 [at] prxy.net>
Message-Id: <82010003aab994c7d56b76569829eb05 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: theatre company reference
Date: Mon, 11 Apr 2005 08:40:55 -0400

> So post the name of the not so hot rigging company in PA already.
>
> Bill

If they are who I think they are I don't know there name  (if they even 
have one).  They were doing two installs at once in adjacent counties.  
They were working during the day at a new high school theater and 
driving the hour to a newly renovated performing arts center with 
sometimes an hour or two of sleep between the two if they got lucky.  
Both were coming down to turnover dates and they flat out refused to 
look at punch-list items since they were "punchy" themselves.  They got 
the job done and that was it.  No attention to detail.  I don't know if 
they were hired by the GC, a subcontrator, or rigging supplier.  Nice 
enough guys when they had sleep.  In there defense they were up against 
some impossible timelines BUT you should never have to run overlapping 
18 hour shifts on two simultaneous installs.  Admit your overbooked and 
call for help even if it means calling in your competitor.


Greg Bierly
Technical Director
Hempfield HS


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

Subject: RE: Cleaning cyc (was positioning hazer)
Date: Mon, 11 Apr 2005 09:13:27 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7B9 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Maybe you should use the flogger on the TD instead.  It won't=20
> get the cyc any=20
> cleaner, but it might make you feel better.

All well and good, but there's always the chance the TD might actually
enjoy that sorta thing...<g>

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

Subject: RE: baaack & related question
Date: Mon, 11 Apr 2005 09:26:04 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7BA [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Steve's leaving MTSU (and reasons he cites) reminds me
> of similar situations in other academic settings. I'd
> like to get the list's wisdom on matters relating to
> treatment of TDs by other faculty members.=20

In my experience, part of the problem with directing faculty/technical
staff relationships stems from the fact that in many places the
technical personnel are staff and not faculty.  In certain institutions,
with certain people in charge, there then becomes this sense of
"second-class citizenship". =20

A few years ago, I was working on a production of "Betty's Summer
Vacation" in an already overloaded schedule.  The director (with whom I
never saw eye to eye...only partly cuz she was married to another
TD-type) was expecting a railing on a particular platform; this railing
had never been drawn by the designer on his groundplan, and had never
been communicated to me.  The director (who also had a habit of
directing scenic/technical notes to the designer in person and not me in
any form of written communication) got a bit snippy after rehearsal one
night, and made a comment about needing the railing and when were we
going to get it.  I replied that I'd have it up as soon as I got a note
about it, because it wasn't on the drawing.

After I left, she scrawled a rather rude note on a piece of legal pad
paper and taped it to the platform in question--and did this in the
presence of students.

Yes, it's an all-too common attitude.  But I haven't found a solution to
it other than to present the problem to the chair and hope s/he is
sympathetic; and, if not, find an institution that hasn't yet succumbed
to this mindset.  S'why I'm here and not there any more!

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

Reply-To: <stagecraft [at] theatrewireless.com>
From: "jsmith at theatrewireless.com" <stagecraft [at] theatrewireless.com>
Subject: FW: related question
Date: Mon, 11 Apr 2005 09:38:55 -0400
Organization: Home of the RC4 Wireless Dimmer System
Message-Id: <20050411133857.YVCK21470.tomts22-srv.bellnexxia.net [at] p3m866>

I've always liked that one.  Even further reduced:

- cheap
- fast
- good

Pick any two!

Jim
www.theatrewireless.com


 

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of 
> productionmanager [at] minnesotaballet.org
> Sent: April 10, 2005 10:40 PM
> To: Stagecraft
> Subject: related question
> 
> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> <... I'm not really looking for positive strokes - just examples of 
> ways to improve the thinking/understanding/actions of everyone 
> (including me!!!).
> -alex->
> 
> I'm sure many people on the list will say "I feel your pain."
> We've all been there, done that, still doing it! I was given a little 
> nugget of wisdom many years ago: There are three ways of doing 
> something, and you can only do two of them at the same time.
>  1) You can do it quickly.
>  2) You can do it with high quality.
>  3) You can do it cheap.
> 
> Quick and high quality will not be cheap.
> Quick and cheap will not be high quality.
> Cheap and high quality will not be done any time soon.
> 
> My second phrase of wisdom I told my Artistic Director over and over 
> again was that I could do anything his imagination could think up, he 
> just had to foot the bill to make it happen. To my surprise one day (a 
> year later) we were talking about something he wanted to do and I told 
> him we (could) make it happen. His response was: "Yea, but can I 
> afford it?"
> These two nuggets of wisdom have done wonders for me in getting my 
> message to directors and has improved the "thinking/understanding" of 
> those around me.
> 
> 
> Kenneth Pogin
> Production Manager / Tour Manager
> Minnesota Ballet
> 
> 
> 
> 


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

Reply-To: <drkrajec [at] stritch.edu>
From: "David R. Krajec" <drkrajec [at] stritch.edu>
Subject: scuff marks on stage floor
Date: Mon, 11 Apr 2005 09:21:12 -0500
Message-ID: <FFEKLPMABANLAIDPOAKBMELHCJAA.drkrajec [at] stritch.edu>
In-Reply-To: <list-21784105 [at] prxy.net>

Here's a poser for y'all!
Strips of luan (laid to simulate a wood floor), stained and sealed with a
flat acrylic sealer (brand
unknown).  Some shoes are leaving serious black scuff marks on the floor.
Scuff marks are very hard to get up.
Any ideas on how to prevent this from happening?  The finish has to be flat.
Would a polyurethane work?  Opening night is Thursday.

Thanks,

David K.



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

In-Reply-To: <list-21765355 [at] prxy.net>
Subject: Re: theatre company reference
Message-ID: <OF581D8F3A.041C57F4-ON85256FE0.004EF6D2-85256FE0.004F3DFB [at] uncg.edu>
From: Christopher Haas CEHAAS <CEHAAS [at] uncg.edu>
Date: Mon, 11 Apr 2005 10:25:32 -0400

I worked with William McCorkle many years ago when he was performing 
inspections for Custom Rigging out of Greensboro and he inspected the PAC 
for which I was the TD.  He was a great guy to deal with, and really 
worked hard at both the inspection and at educationg myself and the 
students who were assisting with the inspection.   I second the earlier 
comment about him performing maintenance while inspecting, it seemed that 
all the little things he caught, he fixed because it was "easier to do it 
now while I'm right here". 

While it has been several years since I dealt with him, I wouldn't 
hesitate to work with him again or to bring his company in to perform work 
for me.

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

336-334-3891

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

Message-Id: <s25a4491.075 [at] mail.millikin.edu>
Date: Mon, 11 Apr 2005 09:33:51 -0500
From: "Merel Ray-Pfeifer" <mraypfeifer [at] mail.millikin.edu>
Subject: Re: scuff marks on stage floor



Here's a poser for y'all!
Strips of luan (laid to simulate a wood floor), stained and sealed with
a
flat acrylic sealer (brand
unknown).  Some shoes are leaving serious black scuff marks on the
floor.
Scuff marks are very hard to get up.
Any ideas on how to prevent this from happening?  The finish has to be
flat.
Would a polyurethane work?  Opening night is Thursday.

Thanks,

David K.


No poser at all I just had a show with that situation in January.

Start with a nylon scrubby the kind you would use on a teflon pan.  If
that isn't enough a slightly damp rag with paint thinner.  Dont rub to
hard or to much.  You may need to do a touch up with more poly
afterwards.  But a light coat of poly will give it a real fresh look for
opening.


Merel Ray-Pfeifer
Production Manager
Dept. of Theatre & Dance
Millikin Univ.
Decatur, IL  62522

217-424-3708

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

Date: Mon, 11 Apr 2005 10:42:26 -0400
Subject: Re: theatre company reference
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Message-ID: <BE800512.6816%bpurdy [at] rochester.rr.com>
In-Reply-To: <list-21784984 [at] prxy.net>

>> I'm a little uneasy with the notion of annual rigging
>> inspections 
> 
> It might not always be necessary, but I can't imagine a situation in
> which it would hurt.
> 
> 
If you can't even imagine it, you haven't ever dealt with the economics of
operating a non profit theatre in small town USA! :-)


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

Message-ID: <004201c53ea6$43c8bf10$6401a8c0 [at] chris>
From: "Chris Warner" <bearz2 [at] cox.net>
References: <list-21785409 [at] prxy.net>
Subject: Re: baaack & related question
Date: Mon, 11 Apr 2005 07:53:47 -0700

Sadly it's the attitude among many in political instutions it appears, one
of the theatre groups I work with have been notified that the space would
demolished in approximately a year, leaving the group without a space until
a new library can be built, considering this is California, you can imagine
how long it could take.

Chris

----- Original Message ----- 
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Monday, April 11, 2005 6:26 AM
Subject: Re: baaack & related question

Yes, it's an all-too common attitude.  But I haven't found a solution to
it other than to present the problem to the chair and hope s/he is
sympathetic; and, if not, find an institution that hasn't yet succumbed
to this mindset.  S'why I'm here and not there any more!


-- 
No virus found in this incoming message.
Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.9.5 - Release Date: 4/7/2005




-- 
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Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.9.5 - Release Date: 4/7/2005


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

From: "Warren Stiles" <w_stiles [at] techie.com>
Date: Mon, 11 Apr 2005 10:09:27 -0500
Subject: Re: He's baaaack...
Message-Id: <20050411150928.27486CDA75 [at] ws1-2a.us4.outblaze.com>

<P>Hi Steve, </P>
<P>Welcome back to the list, and congratulations on the new baby and other =
successes. </P>
<P>G. Warren Stiles</P>
<P><BR>&gt; Greetings! <BR>&gt; 3) We had a baby (Natalie Hope Jones) and h=
er first birthday is next <BR>&gt; Saturday. <BR><BR></P><PRE>Dew knot trus=
sed yore spell chequer two fined awl yore mistakes. - Brendan Hills</PRE><B=
R><BR>

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

From: "Warren Stiles" <w_stiles [at] techie.com>
Date: Mon, 11 Apr 2005 10:18:20 -0500
Subject: Re: Box Office software...
Message-Id: <20050411151821.09755CDA3E [at] ws1-2a.us4.outblaze.com>

<P>I don't have any personal experience with it, but as I was leaving Vande=
rbilt, I believe that they were trying out Velvetseat.com for web based tic=
ket sales with some success. IIRC it handles credit card sales, season subs=
criptions, seating charts, etc... and is compatable with existing websites.=
 Has anyone else had experience with this?</P>
<P>G. Warren Stiles<BR><BR>----- Original Message ----- <BR>snip<BR>&gt; <B=
R>&gt; Greetings! <BR>&gt; <BR>&gt; One of my tasks as we open the Plaza Th=
eatre is in selecting Box Office <BR>&gt; Software. <BR>snip<BR><BR><BR><BR=
><BR><BR></P><PRE>Dew knot trussed yore spell chequer two fined awl yore mi=
stakes. - Brendan Hills</PRE><BR><BR>

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

From: "Sam Fisher" <Sam [at] FisherTheatrical.com>
Cc: stagecraft [at] jeffsalzberg.com
Subject: RE: theatre company reference
Date: Mon, 11 Apr 2005 11:25:45 -0400
In-Reply-To: <list-21784984 [at] prxy.net>
Message-ID: <auto-000021787336 [at] prxy.net>

A yearly rigging inspection doesn't necessarily have to be done by a rigging
company.  For instance the competent staff of a venue could thoroughly
inspect their systems annually and every few years bring in an outside
company to also inspect it.

Sam Fisher
VP - Fisher Theatrical, LLC.
410-455-9641 office
410-455-9643 fax
410-961-0921 cell
 
All information contained in this email, including any attachments, is to be
treated as Confidential. 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey E.
Salzberg
Sent: Monday, April 11, 2005 8:33 AM
To: Stagecraft
Cc: 'Bll Conner'
Subject: Re: theatre company reference

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


> I'm a little uneasy with the notion of annual rigging 
> inspections 

It might not always be necessary, but I can't imagine a situation in
which it would hurt.





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

Message-Id: <3.0.6.32.20050411101138.016f69d8 [at] pop.west.cox.net>
Date: Mon, 11 Apr 2005 10:11:38
From: CB <psyd [at] cox.net>
Subject: Re: Gerber update

>When I moved here, I brought
>my car, a Checker A-11, in cherry condition.  It rusted in half within a
>year. 

AAAUGH!  You took a Checker to Hawaii?!?  That's like tearing the wings of
of spotted owls! Anyone who is going to a seaside or island locaton, or any
other car-eating environment that has to find a good home for a Checker, or
an old Ferrari, whatever, I have garage space in Tucson...
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20050411101442.016f69d8 [at] pop.west.cox.net>
Date: Mon, 11 Apr 2005 10:14:42
From: CB <psyd [at] cox.net>
Subject: Re: Sound question and film

>Confusion! It also, and more usually, stands for Production Stage Manager. 

Except in film, where there isn't one...
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20050411102330.016f69d8 [at] pop.west.cox.net>
Date: Mon, 11 Apr 2005 10:23:30
From: CB <psyd [at] cox.net>
Subject: Re: Sound question and film

>I'm sure Frank will catch this little slip so here's a way to try to calm
the 
>situation down:  dBm is an absolute power reference level relative to 1mW
and 
>it's not what the DAT machine is calibrated in.

HMmm... I was going to say something else having to do with dBm, and then
thought better of it, and I can't for the life of me remember what it was.
I deleted the sentence, but I must have left those three letters.  Listen
to Charlie, they aren't the same, and I apologize for the mixup if it
confused anyone.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20050411103627.016f69d8 [at] pop.west.cox.net>
Date: Mon, 11 Apr 2005 10:36:27
From: CB <psyd [at] cox.net>
Subject: Re: Sound question and film

>> With a 96dB (at least) dynamic range on almost any digital recorder
>>  nowadays, that12 to 20 dB isn' being missed.  As David said, however,
>>  setting up for -8 for the system leaves you on;y 8 db of headroom.
Period.
>>   No going beyond.
>This isn't true.
>Digital devices have even more rigid limits. The next step after FF, at the 
>16-bit level, is 00. Transgressing this limit produces really horrible
noises.

First you say it isn't true, then you go on to prove my point.
On a digital recorder,(which is what we were posting about) the analog
experience that you have is somewhat counterproductive in the level-setting
arena.
First, the noise floor is almost a non-issue, secong, the next step after
FF is going to be the first step after 0 dBFS, and will be unusable.
Therefore, if you set up so that nominal levels are -8, and 0 is the last
usable bit, you have 8 dB of headroom, adn no more.

>At the other end of the scale, you want to have the highest safe level, to 
>keep away from the 'noise floor'. I have always been taught to record at the 
>highest safe level. This gives you the best noise performance.

This was all true for analog, not quite as true for digital.  As I said,
the noise floor is so far down as to be almost non-existant (audio purists
will now start the argument over the meaning of the word non-existant) and
headroom beyond 0 dBFS IS non-existant, these rules no longer apply in the
same manner.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20050411103847.016f69d8 [at] pop.west.cox.net>
Date: Mon, 11 Apr 2005 10:38:47
From: CB <psyd [at] cox.net>
Subject: Re: Sound question and film

>> >I tend to put a vocal head-slate on the tape, giving the audio post folks
>>  all the relevant info, 
<snip>
>Fine. But don't forget the clapper-board.

Quoi?!?  What ever for?
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20050411104139.016f69d8 [at] pop.west.cox.net>
Date: Mon, 11 Apr 2005 10:41:39
From: CB <psyd [at] cox.net>
Subject: Re: Sound question and film

> I'm not going to get drawn 
>into it any further.  
<snip>
>I'll bow out now and let you two guys go back at it again ;-)

Once again, Charlie shows just how much smarter he is than me!  ; >
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Message-Id: <3.0.6.32.20050411104353.016f69d8 [at] pop.west.cox.net>
Date: Mon, 11 Apr 2005 10:43:53
From: CB <psyd [at] cox.net>
Subject: related question

>My second phrase of wisdom I told my Artistic Director over and over again 
>was that I could do anything his imagination could think up, he just had to 
>foot the bill to make it happen.

Also one of my favorites.  I let them know that the answer is always yes in
my shop.  The real question that they need to know the answer to is:  "Can
you write the check?"
				Chris "Chris" Babbie
				Location Sound
				MON AZ

Delete key training and post trimming done by appointment.  Rates
negotiable, will trade for typing lessons/ADD treatment...

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

Date: Mon, 11 Apr 2005 12:42:33 -0500
From: Mick Alderson <alderson [at] uwosh.edu>
Subject: Re: Gerber update
Message-id: <c5080df55de0bb0a036ae4ea28a232fe [at] uwosh.edu>

Paul Guncheon reposted from Google:
>
> 1. Carbon Steel
>
> This is the Traditional knife material used most widely over the past 
> few
> hundred years.
>
> It is a good material because it can hold an extremely sharp edge. It 
> also
> has several disadvantages, for instance, it discolors easily and 
> sometimes
> transfers color to the food you are cutting. Carbon Steel also reacts 
> with
> eggs, onions and acid foods
>

How well an steel takes and hold an edge has to do with how fine 
grained it is (how big are the crystals that form as it cools) and how 
inherently hard it is. Carbon steel is pretty forgiving, so it's 
popular. It is fairly fine grained and the carbon makes it fairly hard 
(a little carbon goes a long way). It was the traditional steel because 
it was easy to work, and you could judge its hardness by color as it 
cooled, then quench at the right moment to get a predictable hardness 
and grain size. That made it possible for a smith to work by hand and 
by eye, and get a good blade. But the carbon makes it rust/ tarnish 
VERY easily.

>
> 2. Stainless Steel
>
> This material will not rust or corrode but is a very poor choice for 
> knives,
> it is too brittle and it is difficult to keep a very sharp edge on a
> stainless steel knife.

Adding chromium to iron to make stainless steel makes it very hard and 
brittle and gives it pretty large crystals. So the crystals break off 
easily under pressure, making it instantly dull

>
> 3. High Carbon Stain Free Steel
>
> This is a relatively new alloy that combines the best features of 
> Carbon
> Steel and new modern alloy metals (Chromium-Molybdenum Steel). A 
> quality
> High Carbon Stain Free Alloy Steel knife should have a Rockwell 
> Hardness of
> 56/57 , this steel is the perfect hardness for the professional. It 
> takes an
> edge as well as Carbon Steel and holds it longer, it will not rust, 
> corrode,
> discolor or stain the knife or food.

Making steel has got to be like making a cake, add chromium for stain 
resistance, moly for toughness, carbon for grain and edge holding, etc. 
It is only stain RESISTANT, though as adding the carbon also adds easy 
staining back in, countering what the chromium does. It's a fine 
balance. Stain resistant steels can be fined grained, and so hold an 
edge, but it takes very precise temperature control in the "heat 
treatment" process when the crystals are reformed. It is usually done 
in electric ovens so tempurature can be raised to a precise point, and 
cooled at a specific (slow) rate, sort of like annealing glass, to keep 
grain structure small. Overheat the blade or cool too fast, and the 
crystals reform large, and ruin the steel.

Just guessing, but it sounds like Gerber may have upped the carbon 
content to get better edge holding and easier resharpening qualities, 
but that made it more susceptible to corrosion in Hawaii's salt-laden 
environs, and now they don't want to admit it.

No, I'm NOT a cutlery-smith, but I am a small-time knife collector, so 
I read about it alot Take this with a grain of salt, but don't get the 
salt on your knives! ;-)

Mick Alderson

TD, Fredric March Theatre
University of Wisconsin Oshkosh

alderson [at] uwosh.edu


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

Subject: Scrim repair
Date: Mon, 11 Apr 2005 15:49:48 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7BD [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

I have a black scrim with a couple of small (quarter-size and less)
holes in it.  If they were straight rips, it'd be an easy (relatively
speaking) repair job for me, as I've done that sort of thing
before...but unfortunately, these are holes where the material that once
was there is no longer.  I have a little bit of time, and want to give a
repair a try, but weaving ain't my strong suit.

I'm googling now, but if anyone has any knowledge of some online
instructions or suggestions as to how to do this, could you point me to
them?  Much obliged...

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

Message-ID: <425AD976.7030602 [at] josephchansen.com>
Date: Mon, 11 Apr 2005 16:09:26 -0400
From: Barney Simon <barney [at] josephchansen.com>
Subject: Re: Scrim repair
References: <list-21791451 [at] prxy.net>
In-Reply-To: <list-21791451 [at] prxy.net>

Paul Schreiner wrote:

>I have a black scrim with a couple of small (quarter-size and less)
>holes in it.  ...weaving...
>
You are correct that re-weaving is the way to go, scrim is relatively 
easy, use a hoop to hold the fabric, use a heavy thread or light weight 
yarn.  I'll see if we have some more info around here... Or, not as 
practical as doing it yourself, find someone who crochets or a tailor 
that reweaves.

Barney Simon
JC Hansen Co., Inc.
Drapes, Drops, and Dance Floors.


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

Date: Mon, 11 Apr 2005 16:12:32 -0400
From: "Steve B." <sbmtbike [at] optonline.net>
Subject: Dance towers
Message-id: <000b01c53ed2$cba85c70$6701a8c0 [at] SBFF>
References: <list-21791451 [at] prxy.net>

Some help and thoughts from the list required.

We have decided it's time to acquire/build a dance side light tower setup.

To keep from having to build booms, we want to keep a set of 8 towers, 
similar to the style used by touring dance companies and touring shows to 
provide for a fast setup up of side light.

Design objectives:

- +7 ft. or so, hold up to 5 units ea., S4's down the road, Altman 4.5" 
zooms for now, thinking 2 shins at +1', +2'-6", and 2 head hi's at +5' and 
+6'-6"' or so, something in the middle as required.
- Some vertical flexibility for unit positioning (or not if designed well).
- As narrow as possible - it doesn't need to be 2 units side by side.
- Does not need to stack, doesn't need to be able to build higher to +14', 
+21', as example (we have lighting ladders)
- Doesn't necessarily need casters/wheels/dolly as we can load onto carts to 
store vertically.

So, 2 questions.

1) Does anyone know of any source of used units.  I've tried PRG/4th Phase, 
no go.  The usual sources - usedlighting.com, and others generally never had 
these units as they were often one-off's for specific companies, etc... I'm 
thinking defunct dance companies, etc... or a company that changed to a 
newer design and still has the old ones around.

2) Any thoughts on home built ?.  Kindorf ?, steel ?, etc... appreciated. 
has anyone got a design that works for them and are willing to share ?.   I 
have access to someone who can weld aluminum as needed.

Thanks in advance, and feel free to contact direct at:

baileyst [at] brooklyn.cuny.edu

Steve Bailey
LD/ME
Brooklyn Center for the Performing Arts
Brooklyn College








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

Date: Mon, 11 Apr 2005 12:05:41 -0400
From: Chris Davis <cdavis309 [at] optonline.net>
Subject: Re: Cleaning cyc (was positioning hazer)
In-reply-to: <list-21785298 [at] prxy.net>
Message-id: <5.1.0.14.0.20050411120418.00a00240 [at] mail-hub.optonline.net>

I believe it's a prerequisite at the theatre Cris is speaking of.


At 09:13 AM 4/11/2005 -0400, Paul Shreiner wrote:
>--
>
> > Maybe you should use the flogger on the TD instead.  It won't
> > get the cyc any
> > cleaner, but it might make you feel better.
>
>All well and good, but there's always the chance the TD might actually
>enjoy that sorta thing...<g>

__________________________________
Chris Davis     cdavis [at] queenstheatre.org
Associate Lighting Supervisor
Queens Theatre In The Park
http://www.queenstheatre.org




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

Message-ID: <3998154b05041114447500a23a [at] mail.gmail.com>
Date: Mon, 11 Apr 2005 14:44:19 -0700
From: Paul Puppo <ppuppo [at] gmail.com>
Reply-To: Paul Puppo <ppuppo [at] gmail.com>
Subject: Re: related question
In-Reply-To: <list-21789753 [at] prxy.net>
References: <list-21789753 [at] prxy.net>

I like to say:
"Reality is defined by two things, the laws of physics, and the black
ink in the check book."

Paul Puppo
ILLUMINEERING
http://www.Nifty-Gadgets.com

On Mon, 11 Apr 2005 10:43:53, CB wrote: 
> "Can you write the check?"
>                                 Chris "Chris" Babbie

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

From: FrankWood95 [at] aol.com
Message-ID: <ce.666038d5.2f8c5374 [at] aol.com>
Date: Mon, 11 Apr 2005 18:25:56 EDT
Subject: Re: Sound question and film

In a message dated 11/04/05 03:17:29 GMT Daylight Time, 
charlier [at] RichmondSoundDesign.com writes:

> I didn't mean that at all.  I meant what I said, but this kind of 
> conversation 
>  gets complicated even on a technical sound list so I'm not going to get 
> drawn 
>  into it any further.  Your definition of dBu is correct and it is the 
> preferred 
>  one for measuring signal levels at interconnects exactly as you say but 
> Chris 
>  was referring to the dB level on the 'front' of the DAT, which presumably 
> means 
>  the metering, but I'll bow out now and let you two guys go back at it 
again ;
> -)

The metering on a DAT may mean anything. Study of the handbook may help. If I 
were designing one, something on the display would indicate a peak level, but 
there would be some internal headroom over that, and a rigid limiter before 
the signal hit the ADC. A count overload sounds terrible.

In the BBC, and other professional organisations, levels are precisely 
defined by the engineering team, who will, in critical situations, check the line-up 
daily. I have just got back from a memorial service for a friend of mine. 
This included a certain amount of music played in off a cassette machine. While I 
am sure that the cassette was correctly recorded, the playback levels had not 
been checked, so the playback machine was being asked to do more than it was 
capable of, in terms of output.

This rather sloppy approach is common among amateurs. To be fair, handling 
music with a wide dynamic range is difficult. A hand on the fader is good, as is 
a really good compressor. Both imply good measurement techniques.


Frank Wood

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

From: "Warren Stiles" <w_stiles [at] techie.com>
Date: Mon, 11 Apr 2005 17:32:33 -0500
Subject: Delrin
Message-Id: <20050411223233.0D54ECDA32 [at] ws1-2a.us4.outblaze.com>

<P><BR>I've recently come across an odd rigging related problem. I'm involv=
ed in the installation of an automated rigging system in a new theatre. Dur=
ing a site visit to the venue last week to inspect the dimming installation=
, I noticed that the steelworkers had installed&nbsp;five 45 degree beams f=
rom the back of the proscenium wall up to the roofing steel. You guessed it=
...they are directly beneath the future position of&nbsp;the loft blocks on=
 the first electric, and no, they were not on the structural drawings. We h=
ave a way to offset the loft blocks so that the lift lines will drop beside=
 the diagonal beams. My concern is that with a certain amount of lateral sw=
ay, the lift lines may still come into contact with the steel. While this i=
s unlikely, it is not impossible. The manufacturers' recommendation is that=
 we place a Delrin (similar to UHMW) cover over the steel to prevent damage=
 to the lines in the event that they contact the beams. Of course, regular =
inspections will be needed. So the question is, has anyone on the list enco=
untered this kind of situation before, and/or attempted this kind of soluti=
on? Also, has anyone had any experience, positive or negative, with Delrin?=
 Thanks in advance,<BR></P>
<P>G. Warren<BR><BR><BR></P><PRE>Dew knot trussed yore spell chequer two fi=
ned awl yore mistakes. - Brendan Hills</PRE><BR><BR>

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

From: FrankWood95 [at] aol.com
Message-ID: <80.256d35d9.2f8c5858 [at] aol.com>
Date: Mon, 11 Apr 2005 18:46:48 EDT
Subject: Re: related question

In a message dated 11/04/05 03:41:10 GMT Daylight Time, 
productionmanager [at] minnesotaballet.org writes:

> My second phrase of wisdom I told my Artistic Director over and over again 
>  was that I could do anything his imagination could think up, he just had 
to 
>  foot the bill to make it happen. To my surprise one day (a year later) we 
>  were talking about something he wanted to do and I told him we (could) 
make 
>  it happen. His response was: "Yea, but can I afford it?"

Both are wise phrases, although the first is rather bold. I have met 
directors with hypertrophied imaginations. But they do emphasise the importance of the 
artistic and technical people getting together before too many decisions are 
taken. Chats in the bar are a very useful preliminary.

What I do find depressing is just how often the technical side's input has to 
be negative. But they are the people who know about the fabric of the 
theatre. They really need to be able to go back into the production concept, and say; 
"I see what you are trying to do. But, the grid will not support a two ton 
point load. How can we do this within the physical limitations?" Dialogue is the 
name of the game, well before final decisions are taken.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <85.255f3201.2f8c59f5 [at] aol.com>
Date: Mon, 11 Apr 2005 18:53:41 EDT
Subject: Re: Sound question and film

In a message dated 11/04/05 18:25:53 GMT Daylight Time, psyd [at] cox.net writes:

> >Fine. But don't forget the clapper-board.
>  
>  Quoi?!?  What ever for?

Synchronisation, at edit time.

Frank Wood

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

Message-ID: <BAY24-DAV6613E6922173D70270505BD320 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
Cc: ppuppo [at] gmail.com (Paul Puppo)
References: <list-21789753 [at] prxy.net> <list-21792771 [at] prxy.net>
Subject: Re: related question
Date: Mon, 11 Apr 2005 15:57:48 -0700




----- Original Message ----- 
From: "Paul Puppo" <ppuppo [at] gmail.com>

Whos quote is that as I would like to use it


> I like to say:
> "Reality is defined by two things, the laws of physics, and the black
> ink in the check book."
> 
> Paul Puppo
> ILLUMINEERING
> http://www.Nifty-Gadgets.com
> 

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

Message-ID: <425B0624.E0D79103 [at] cybercom.net>
Date: Mon, 11 Apr 2005 19:20:04 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Re: Delrin
References: <list-21793156 [at] prxy.net>



Warren Stiles wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>
> ---------------------------------------------------
>
>
>
>
> I've recently come across an odd rigging related problem. I'm involved
> in the installation of an automated rigging system in a new theatre.
> During a site visit to the venue last week to inspect the dimming
> installation, I noticed that the steelworkers had installed five 45
> degree beams from the back of the proscenium wall up to the roofing
> steel. You guessed it...they are directly beneath the future position
> of the loft blocks on the first electric, and no, they were not on the
> structural drawings. We have a way to offset the loft blocks so that
> the lift lines will drop beside the diagonal beams. My concern is that
> with a certain amount of lateral sway, the lift lines may still come
> into contact with the steel. While this is unlikely, it is not
> impossible. The manufacturers' recommendation is that we place a
> Delrin (similar to UHMW) cover over the steel to prevent damage to the
> lines in the event that they contact the beams. Of course, regular
> inspections will be needed. So the question is, has anyone on the list
> encountered this kind of situation before, and/or attempted this kind
> of solution? Also, has anyone had any experience, positive or
> negative, with Delrin? Thanks in advance,
>
> G. Warren

    Delrin is a rather tough plastic, that slides reasonably nicely.
Some
furniture companies use it for making floor glides.  Slapping a couple
of bars of delrin on the steel sounds like a fine idea.   To elaborate
it
a bit more, put a ground fault detector on a sensor wire that is in the
middle of one of the delrin bars.  when the things wear partly through
the delrin, they will touch the sensor wire and activate the detector.

    --Dale



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

Message-ID: <20050411173455.s22pwgsow8408koc [at] www.email.arizona.edu>
Date: Mon, 11 Apr 2005 17:34:55 -0700
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Delrin
References: <list-21793156 [at] prxy.net> <list-21793512 [at] prxy.net>
In-Reply-To: <list-21793512 [at] prxy.net>

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


Quoting Dale Farmer <dale [at] cybercom.net>:

>
>     Delrin is a rather tough plastic, that slides reasonably nicely.
> Some
> furniture companies use it for making floor glides.  Slapping a couple
> of bars of delrin on the steel sounds like a fine idea.   To elaborate
> it
> a bit more, put a ground fault detector on a sensor wire that is in the
> middle of one of the delrin bars.  when the things wear partly through
> the delrin, they will touch the sensor wire and activate the detector.
>
>     --Dale




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

In-Reply-To: <list-21793316 [at] prxy.net>
References: <list-21793316 [at] prxy.net>
Message-Id: <0f46023853844fdcc6fede76a68f69d4 [at] appstate.edu>
From: Greg Williams <gwilliams [at] appstate.edu>
Subject: Re: Sound question and film
Date: Mon, 11 Apr 2005 20:35:17 -0400


On Apr 11, 2005, at 6:53 PM, FrankWood95 [at] aol.com wrote:
> In a message dated 11/04/05 18:25:53 GMT Daylight Time, psyd [at] cox.net 
> writes:
>
>>> Fine. But don't forget the clapper-board.
>>
>>  Quoi?!?  What ever for?
>
> Synchronisation, at edit time.
>
> Frank Wood
>

Yeah Chris, c'mon... when you crank up the kinetoscope and play the 
sync tone on the phonograph,
you _must_ have a clapper-board. Don't forget the lime-light so that 
you can read it, though!

Sheesh, Chris, it's not like you do this with current technology for a 
living or anything...

-=Greg Williams=-
Production Manager
Valborg Theatre, Appalachian State University
------We're at it again!!!------
Check out the Long Reach Long Riders cross country fund raiser for 
BC/EFA at http://sapsis-rigging.com/LRLR.html


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

Message-ID: <BAY24-DAV16640CF04A684546DD081FBD330 [at] phx.gbl>
From: "Occy" <OneOccy [at] hotmail.com>
References: <list-21793156 [at] prxy.net> <list-21793512 [at] prxy.net>
Subject: Re: Delrin
Date: Mon, 11 Apr 2005 18:02:21 -0700

Dale, that's a good idea, but what if the entire counter weight system is 
built with Nylatron sheaves and headblocks? Its totally electrically 
isolated from the building unless electrics are hung with grounds. I am sure 
it won't be long until the NEC solves this problem with out some type of 
bonding to the electrical ground of the building.

If I were the rigging contractor I would in major contact with the 
architect, the theater consultant and the structural engineer to find out 
why my prints where not up dated as the change happen, as the change that 
some approved will cause many problems in more ways than one in the future 
not including the job that I am doing.

I have had many steel, electrical, HVAC and security contractors remove or 
redesign things as they don't know how a theater has to work. The best one 
is when the HVAC guys had to move the supply duct 3 time time once to get 
the battens to come in and another time to make the pin rail functional.

----- Original Message ----- 
From: "Dale Farmer" <dale [at] cyber.net>


>     Delrin is a rather tough plastic, that slides reasonably nicely.
> Some
> furniture companies use it for making floor glides.  Slapping a couple
> of bars of delrin on the steel sounds like a fine idea.   To elaborate
> it
> a bit more, put a ground fault detector on a sensor wire that is in the
> middle of one of the delrin bars.  when the things wear partly through
> the delrin, they will touch the sensor wire and activate the detector.
>
>     --Dale
>
>
> 

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

From: "Robert Bruemmer" <rbruemme [at] mail.plymouth.edu>
Subject: RE: theatre company reference
Date: Mon, 11 Apr 2005 21:39:14 -0400
Organization: Plymouth State University
Message-ID: <005f01c53f00$6f491ea0$3947889e [at] plymouth.edu>
In-Reply-To: <list-21787337 [at] prxy.net>

Here, here, that's exactly what we do,.
Annually ourselves and every 5 an independent.

Bob Bruemmer
TD
 Silver Cultural Arts Center
Plymouth State University
Plymouth NH


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Sam =
Fisher
Sent: Monday, April 11, 2005 11:26 AM
To: Stagecraft
Cc: stagecraft [at] jeffsalzberg.com
Subject: Re: theatre company reference

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

A yearly rigging inspection doesn't necessarily have to be done by a =
rigging
company.  For instance the competent staff of a venue could thoroughly
inspect their systems annually and every few years bring in an outside
company to also inspect it.

Sam Fisher
VP - Fisher Theatrical, LLC.
410-455-9641 office
410-455-9643 fax
410-961-0921 cell
=20
All information contained in this email, including any attachments, is =
to be
treated as Confidential.=20




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

End of Stagecraft Digest #360
*****************************