Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 22615067; Thu, 26 May 2005 03:00:58 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #408 Date: Thu, 26 May 2005 03:00:40 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.3 (2005-04-27) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-4.8 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, BUY_DIRECT autolearn=ham version=3.0.3 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #408 1. Patch boxes by "Tony Deeming" 2. TD Job announcement, Virginia by "RICHARD FINKELSTEIN" 3. Re: Student designers by "Paul Guncheon" 4. Re: "Prop" Trees by "Michael Wade" 5. Re: Student designers by "C. Dopher" 6. Re: "Prop" Trees by Shawn Palmer 7. Re: Big Trees by PAUL_RICHARDSON [at] qvc.com 8. Re: Patch boxes by Dale Farmer 9. EGJ Lamps for trade by Mike Voytko 10. Re: Making vinyl records by "Josh Ratty" 11. Re: Patch boxes by "Tony Deeming" 12. school theaters by 13. Re: Student designers by "Bill Nelson" 14. Re: Making vinyl records by doran [at] bard.edu 15. Car for Quake by Chuck Mitchell 16. Re: Making vinyl records by "Matthew Breton" 17. Re: Making vinyl records by "Storms, Randy" 18. Clearcom in a rental house by CB 19. Re: Parachute by "Jerry Dougherty" 20. Re: French speaker/translator needed. by FrankWood95 [at] aol.com 21. Re: Parachute by Delbert Hall 22. Seat number plaques... by "Steve Jones" 23. Re: Seat number plaques... by "Jeffrey E. Salzberg" 24. Re: French speaker/translator needed. by "Tony Deeming" 25. Re: Seat number plaques... by Boyd Ostroff 26. Re: Seat number plaques... by "Bill Nelson" 27. Dealing with Conflict WAS: Student designers by CB 28. Re: Seat number plaques... by MissWisc [at] aol.com 29. Re: parachutes by "Maurice Moe Conn" 30. Re: Seat number plaques... by Bruce Purdy 31. Suspended car [at] Indy 500 by Greg Williams 32. Re: Suspended car [at] Indy 500 - doh! by Greg Williams 33. Re: Suspended car [at] Indy 500 - doh! by Mat Goebel 34. Re: Suspended car [at] Indy 500 - doh! by Greg Williams 35. Re: automatic fly systems by "H-High-S (Ferreira, Jr.)" 36. Re: Making vinyl records by Stuart Wheaton 37. Re: Seat number plaques... by Mike Brubaker 38. Re: Seat number plaques... by Steve Jones 39. Re: Seat number plaques... by Steve Jones 40. Re: Seat number plaques... by Bruce Purdy 41. Re: automatic fly systems by "Bill Nelson" *** 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. ---------------------------------------------------------------------- From: "Tony Deeming" Subject: Patch boxes Date: Wed, 25 May 2005 11:46:36 +0100 Message-ID: In-Reply-To: OK, chaps & chap-esses. I need to house one end of a sound multicore in one of our meeting/rehearsal rooms that occasionally gets used for a remote band room. (The idea being we send the live feeds from the band to the squeeks' box for mixing into the house). My problem is that I need to find a suitable housing for it that's not going to look like an abortion stuck to the wall in what can be used for semi-formal occasions. It needs to be lock-able (for obvious reasons!) and be big enough to cope with 19 XLR/Jack sockets plus a couple of phono's for video feed/return. I had thought maybe of a mains distro box shell with a custom made panel rivetted on, but if anyone knows of a suitable (UK supplied) option I'd be interested to hear. Cheers Ynot ------------------------------ Message-ID: From: "RICHARD FINKELSTEIN" Subject: TD Job announcement, Virginia Date: Wed, 25 May 2005 07:47:57 -0400 STAFF TECHNICAL DIRECTOR for active undergraduate NAST/NASD accredited theatre and dance program. Working with faculty and guest designers, supervise technical execution of scenery, props, sound and lighting for school productions, including a summer season. Supervise paid and volunteer student assistants in well-equipped shop. Possibly design or take on instructional duties. Skills in theatrical carpentry, welding, CAD, rigging, management, electrics and sound are desired. M.F.A. in technical theatre or B.A./B.F.A. with professional technical direction experience required. Position available August 1, 2005. Twelve-month staff position. Salary $28,143 - $32,000 plus full state benefits. To apply send a cover letter, resume, names and phone numbers of three references, and a completed state application form to: Human Resources James Madison University MSC 7009 Harrisonburg, VA 22807 EEO/AAO Please note: You can find a link (it's near the top if you look carefully) to the state application form at the following website. . . http://www.jmu.edu/humanresources/jobs/wage.shtml ------------------------------ Date: Wed, 25 May 2005 02:41:41 -1000 From: "Paul Guncheon" Subject: Re: Student designers Message-id: <003601c56127$1fa80110$0202a8c0 [at] yourxhtr8hvc4p> References: <> Something is really wrong with an educational environment that makes conferring with the director appear to be "cheating". Discussing the script with the director is one of the crucial first steps in the process. I will usually read the script at least once... preferably two or three times before talking to the director. I will then reread it two or three times more... making notes on stage directions. I normally ignore those in the script. Laters, Paul "Parsley, sage, rosemary," said Tom timelessly. ------------------------------ Reply-To: From: "Michael Wade" Subject: RE: "Prop" Trees Date: Wed, 25 May 2005 08:50:50 -0400 Message-ID: <000501c56128$651b6f10$0100a8c0 [at] Mike> In-reply-to: Peter- There is a place in NYC that I have used, Silk Gardens & Trees. 212-629-0600. These guys made me two 16' tall trees for a show. Good luck- Mike Wade Daedalus Design and Production ------------------------------ Date: Wed, 25 May 2005 09:09:30 -0400 Subject: Re: Student designers From: "C. Dopher" Message-ID: In-Reply-To: Greg Bierly wrote: >> Cris Dopher wrote: >>> I cheated: I sought out the director >>> beforehand and > Jeff Salsberg wrote: >> >> ...Which is, of course, another valuable "real life" training exercise. > > Unless it was expressly forbidden in the "competition" I don't see it > as cheating. Every participant could have gone to speak with the > director beforehand. ...which was the point the professor made in class later, once my design was chosen and other students objected about my tactics. This was a grey area for me, but I've since had to kick my ethical shivs many a time and it doesn't bother me like it used to. (Besides, the set worked very well for the text and the director's style and that was the proof-is-in-the-pudding, I suppose.) CD ------------------------------ Message-ID: <42947B0E.5040701 [at] sbcglobal.net> Date: Wed, 25 May 2005 08:18:06 -0500 From: Shawn Palmer Subject: Re: "Prop" Trees References: In-Reply-To: > I've had an inquiry as to where one might purchase LARGE "fake" trees, for > use in a store display. When I say LARGE, this is their description: > > >>20 feet high - look like fully leaved out oaks - trunk diameter 12 inches > > at least. > > I know these would be expensive, as they must be pretty realistic. No > "thirty foot rule" here. Any ideas or sources? > Peter... You can also try Naturemaker, a Carlsbad, California-based company that specializes in realistic tree sculptures. They made some good looking 65 foot trees for Scheel's All Sports Stores. http://www.naturemaker.com/ Shawn Palmer Neenah, WI USA ------------------------------ Subject: Re: Big Trees Message-ID: From: PAUL_RICHARDSON [at] qvc.com Date: Wed, 25 May 2005 09:50:08 -0400 We get most of our stuff from these folks: Company: TROPICAL FANTASIES Contact: TROPICAL FANTASIES Contact2: KEVIN GERARD Street: 426 WEST 55TH STREET, 2ND FLOOR Street2: Town: NY State: NY Zip: 10019 Tel: [212] 245-4240 Fax: [212] 245-4280 Web: Email: tropfant [at] yahoo.com WWW.TROPFANT.COM Resource: FULL LINE OF CUSTOM ARTIFICIAL TREES & SHRUBERY Hope that helps-- Paul Richardson QVC I've had an inquiry as to where one might purchase LARGE "fake" trees, for use in a store display. When I say LARGE, this is their description: > 20 feet high - look like fully leaved out oaks - trunk diameter 12 inches at least. I know these would be expensive, as they must be pretty realistic. No "thirty foot rule" here. Any ideas or sources? Thanks in advance. Peter Scheu ------------------------------ Message-ID: <42949FF8.4D5D4EBF [at] cybercom.net> Date: Wed, 25 May 2005 11:55:37 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Patch boxes References: Tony Deeming wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > OK, chaps & chap-esses. > > I need to house one end of a sound multicore in one of our meeting/rehearsal > rooms that occasionally gets used for a remote band room. (The idea being we > send the live feeds from the band to the squeeks' box for mixing into the > house). > > My problem is that I need to find a suitable housing for it that's not going > to look like an abortion stuck to the wall in what can be used for > semi-formal occasions. > > It needs to be lock-able (for obvious reasons!) and be big enough to cope > with 19 XLR/Jack sockets plus a couple of phono's for video feed/return. > > I had thought maybe of a mains distro box shell with a custom made panel > rivetted on, but if anyone knows of a suitable (UK supplied) option I'd be > interested to hear. > > Cheers > Ynot If the wall construction allows it, recessing the box into the wall with a nice cover that is painted/wallpapered to match the room. Or if you have a built in counter someplace to install it inside of the cabinet. You could also terminate in a single many-pin connector, and plug a normal snake box and cable into that as needed. Which would reduce the size of the ugly spot. --Dale ------------------------------ Message-Id: From: Mike Voytko Subject: EGJ Lamps for trade Date: Wed, 25 May 2005 12:07:39 -0400 Hi all, I still have about (40) EGJ lamps that I can't use. (1000 watt, medium prefocus base, for 1kw scoops) If anyone out there can use these, please contact me off-list to arrange a trade. Cheers, Mike V. -- Mike Voytko Lighting & Sound Supervisor TSOA Theatrical Production New York University ------------------------------ Date: Wed, 25 May 2005 12:09:00 -0400 From: "Josh Ratty" Subject: Re: Making vinyl records Message-id: <007e01c56144$1247c150$7f00000a [at] Rattys> References:

> If you're going for that 'level' of realism, remember to tape a quarter > to the tonearm. Sure if you only want to be able to listen to it a few times! Start smaller,a few papaer clips or a dime maybe. Josh Ratty ------------------------------ From: "Tony Deeming" Subject: RE: Patch boxes Date: Wed, 25 May 2005 17:25:43 +0100 Message-ID: In-Reply-To: ------------------------------------------------- > > OK, chaps & chap-esses. > > I need to house one end of a sound multicore in one of our meeting/rehearsal > rooms that occasionally gets used for a remote band room. (The idea being we > send the live feeds from the band to the squeeks' box for mixing into the > house). > > My problem is that I need to find a suitable housing for it that's not going > to look like an abortion stuck to the wall in what can be used for > semi-formal occasions. > > It needs to be lock-able (for obvious reasons!) and be big enough to cope > with 19 XLR/Jack sockets plus a couple of phono's for video feed/return. > > I had thought maybe of a mains distro box shell with a custom made panel > rivetted on, but if anyone knows of a suitable (UK supplied) option I'd be > interested to hear. > > Cheers > Ynot If the wall construction allows it, recessing the box into the wall with a nice cover that is painted/wallpapered to match the room. Or if you have a built in counter someplace to install it inside of the cabinet. You could also terminate in a single many-pin connector, and plug a normal snake box and cable into that as needed. Which would reduce the size of the ugly spot. --Dale We are looking to re-furb the room, but likely not til next year, and I need to get the multi-core in before November. It had occurred to me that when we did the re-work we could sink a cupboard into the plasterboard wall, but it may not be feasible at this time. Started me thinking about it again, tho...! 8-)) ------------------------------ Message-ID: <000a01c56146$941953e0$0200a8c0 [at] lpt> From: References: Subject: school theaters Date: Wed, 25 May 2005 11:26:59 -0500 Organization: Minnesota Ballet I haven't found that to be the case (yet). This is the critical aspect that I refer to when I said I had to fix half the equipment if I want to use it. It's the quality of the care the space gets, not the quantity of the latest toys. I'd rather load into a crappy theater space with a good TD that gives the place good TLC than a great space with a crappy TD that doesn't maintain his equipment. I've been in several HS theaters that will give any roadhouse a good run for their money. A theater space is only as good as the people that run it. Kenneth Pogin Production Manager Minnesota Ballet ------------------------------ Message-ID: <3967.64.28.54.115.1117038360.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Wed, 25 May 2005 09:26:00 -0700 (PDT) Subject: Re: Student designers From: "Bill Nelson" > Something is really wrong with an educational environment that makes > conferring with the director appear to be "cheating". Discussing the > script > with the director is one of the crucial first steps in the process. I > will > usually read the script at least once... preferably two or three times > before talking to the director. I will then reread it two or three times > more... making notes on stage directions. I normally ignore those in the > script. I agree. One of the first items that should be emphasized in a basic lighting design class is that you must consult with the director at the start of the process. Unfortunately, I often do not get the chance to read the script before such a consultation, but at least I can find out the director's vision and mold my initial analysis around that. Bill ------------------------------ Message-ID: <1117039436.4294ab4c27536 [at] webmail.bard.edu> Date: Wed, 25 May 2005 12:43:56 -0400 From: doran [at] bard.edu Subject: Re: Making vinyl records References:

In-Reply-To: You guys with your technical talk! I love this list. Andy C-D > > If you're going for that 'level' of realism, remember to tape a quarter > > to the tonearm. > > Sure if you only want to be able to listen to it a few times! Start > smaller,a few papaer clips or a dime maybe. > > Josh Ratty > ------------------------------ Date: Wed, 25 May 2005 12:42:02 -0500 From: Chuck Mitchell Subject: Car for Quake Message-id: <000e01c56151$0f83ac60$0be25c90 [at] Chuck> Does anybody in the upper Midwest have the car for Quake available for loan or rent? Or tell us how you made or did the car? Thanks Chuck Mitchell Scene Studio Supervisor University Theatre-University of Wisconsin Madison 608-263-3330 FAX 608-265-4075 ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: Re: Making vinyl records Date: Wed, 25 May 2005 15:11:13 -0400 >If someone is going to "design" an item, they should also give some >suggestions for the implementation of that idea. If I design a wooden bowl, >I'm not >going to expect it to be made from glass, for example. I gladly second this thought, Kristi. When I design, I try to design items I know the theater has or can easily acquire. (I do have some sketches that include an enormous, elaborate stained-glass chandelier; any wonder its never been produced?) Greg, thanks for the reminder about platform diameters -- I had actually statred to dig up those old emails to get the specific dimension. Thanks for saving me the hard work :) Bruce, my charge artist suggested we use mastic and then trace the groove pattern with a long board with many nails in it (ahh, high tech!). A lot easier than kerfing a zillion concentric circles. I rather like the idea of painting the highlights and shellacking it to make it permanently glossy. Thanks, everyone! I'll let you know how it turns out. -- Matt ========= _________________________________________________________________ Don�t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ Subject: RE: Making vinyl records Date: Wed, 25 May 2005 12:13:15 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B7323AC0 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Doesn't Rosco make a temporary floor product that would work for this? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Matthew Breton Sent: Wednesday, May 25, 2005 12:11 PM To: Stagecraft Subject: Re: Making vinyl records ------------------------------ Message-Id: <3.0.6.32.20050525132845.01920458 [at] pop.west.cox.net> Date: Wed, 25 May 2005 13:28:45 From: CB Subject: Clearcom in a rental house > I am now faced with a local dance school teacher that is insisting I run >the show with her walkie talkies so she won't have to pay the small fee for >the clearcoms! Make her have one of her people listen to teh walkie and then give you cues. She'll re-consider. I once had to wear one of the infamous Rat Shack 49 MHz headsets because the ballet company I was touring with decided that real com was too expensive. The thing would spike randomly at 4K, and I suggested as I wouldn't wear the thing anymore as the companies retirement policy was less than lucrative, and I wanted to continue to be a sound engineer. Once I had one of her crew listening to the com and cueing me, she decided that the mere few dollars com would cost us wouldn't be that awful much. As I kept telling my fellow crew members on the last one, "As long as its not thier problem, its still your problem." 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... ------------------------------ Reply-To: From: "Jerry Dougherty" Subject: RE: Parachute Date: Wed, 25 May 2005 13:27:22 -0700 Message-ID: In-Reply-To: anyone got a good source for parachutes? I need/want a couple Desert Storm issue. The obvious is a Army Surplus, I know, but that requires a road trip to Knoxville, TN that is not really in the grand time plan. What is this a trick question? No one parachuted during Desert Storm. The 82d ABN walked off of airplanes, much to the heartbreak of some of my old bosses and the rest Fort Bragg mafia. As for genuine parachutes, try para-gear.com or skykat.com. Best bet, however, is lowyusa.com. Great selection of surplus and all the hardware you could ever want. Especially if you engage in the sort of activities that Delbert teaches. Depending on who it is you are buying for, you could try drms.dla.mil and buy direct from Uncle Sugar. You would need to be affiliated with a state college or university or a local school district to take advantage of this, and it may not be worth the headache. This route may stick you with a lot of 50 too. Jerry ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <156.51d065a5.2fc64143 [at] aol.com> Date: Wed, 25 May 2005 16:59:47 EDT Subject: Re: French speaker/translator needed. In a message dated 5/24/05 6:12:51 PM W. Europe Daylight Time, Herrick [at] HGLightingDesign.com writes: << Does anyone on this list speak fluent French? Preferably someone in the states so my phone bill doesn't get crazy. I need to translate a brief (4 paragraph) proposal into French and also have someone read a document to me and give me the gist of the guidelines for a festival I am working on. Please contact me off list. >> I'll do what I can. Just at the moiment, I'm in limbo between two versions of AOL, one of which will allow me to reply to the list, and one of which will allow me personal replies. At the moment, I can reply to the list (I hope). but not individually. Send me the text, and I will do with it what I can. ------------------------------ Message-ID: Date: Wed, 25 May 2005 17:07:23 -0400 From: Delbert Hall Reply-To: Delbert Hall Cc: jerrydougherty [at] earthlink.net Subject: Re: Parachute In-Reply-To: References:

Lowy is a major supplier of parachute hardware, but DJ Associates is better when you need a small quanity of things. The problem with a=20 federal supplus (like the one east of Knoxville) is that you never know what they will or will not have in stock at any given time. What are you doing with the chutes? Do you need the harnesses? When do you need them? It might be possible for a member of this list to check for you (I am probably 75 miles from the federal surplus and we have others on the list who live even closer). -Delbert > As for genuine parachutes, try para-gear.com or skykat.com. Best bet, > however, is lowyusa.com. Great selection of surplus and all the hardware > you could ever want. Especially if you engage in the sort of activities > that Delbert teaches. ------------------------------ From: "Steve Jones" Subject: Seat number plaques... Date: Wed, 25 May 2005 16:27:14 -0500 In-Reply-To: Message-ID: Greetings all! The theatre I manage is looking to put seat plaques on all of its seats (1,048) so we can do reserve seating. We just opened the doors to the renovated vaudeville/movie house about 6 weeks ago, and this was not done in advance. I have a few questions for those who might have been involved w/ such a project before: 1) We are putting both the row letter and the seat number on each plaque, separated by a space (no hyphen) to try to help patrons remember what row they are in when seat hunting. 2) We are using engraved brass plaques and will NOT be screwing them down. Any recommendations for an adhesive? The plaques MUST go on the arms, so they will take a good bit of abuse. The arms are the original 1934 wooden chair arms, in various states of finish (or lack there of). I need an adhesive that will hold to shellaced, partially shellaced, and un shellaced wooden arms and brass. 3) Placement - which arm of the chair does a plaque get placed on - the right or the left as you sit in the seat? There are no other places where the plaques could be mounted. 4) What orientation should plaques be? So they can be read as you come down the aisle? Should the bottom of the text on the plaque face the stage, the seat back, or to one side or the other? We have dedication plaques that patrons can purchase for $250 to "buy" a seat - we put those on the rear right hand armrest (as you sit in the seat) with the bottom of the text facing the chair so the patron can read the plaque when they sit in it. Thanks for sharing any thoughts and experiences. Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 651-2511 http://www.glasgowplazatheatre.com ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Seat number plaques... Date: Wed, 25 May 2005 17:31:04 -0400 Message-ID: <000001c56171$1138c8e0$6601a8c0 [at] Dell> In-Reply-To: > 1) We are putting both the row letter and the seat number on > each plaque, separated by a space (no hyphen) to try to help > patrons remember what row they are in when seat hunting. Then don't have a row "I" (eye), or the seats will all be perceived as "11...12...13...." ------------------------------ From: "Tony Deeming" Subject: RE: French speaker/translator needed. Date: Wed, 25 May 2005 22:38:44 +0100 Message-ID: In-Reply-To: -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of FrankWood95 [at] aol.com I'm in limbo between two versions of AOL, one of which will allow me to reply to the list, and one of which will allow me personal replies. At the moment, I can reply to the list (I hope). but not individually. Frank - word of friendly advice.... DITCH AOL! Wipe it all off your PC (s) and load something a little more friendly!! I tried AOL once and it screwed half my PC's settings - had to completely rebuild it! Never again!! Ynot ------------------------------ Date: Wed, 25 May 2005 17:40:22 -0400 (EDT) From: Boyd Ostroff Cc: stagecraft [at] jeffsalzberg.com Subject: Re: Seat number plaques... In-Reply-To: Message-ID: References: On Wed, 25 May 2005, Jeffrey E. Salzberg wrote: > Then don't have a row "I" (eye), or the seats will all be perceived as > "11...12...13...." That reminds me of a funny story. When we first got a computer at work (a Mac 512 in 1985!) we had the departmental secretary type all the alumni addresses into a database. When we tried sorting by zip code we got very odd results. At first we thought this was a software bug, but after looking carefully we saw that she'd used a lowercase "L" for the number "1", just like she did on her typewriter! | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: <4036.64.28.54.151.1117058408.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Wed, 25 May 2005 15:00:08 -0700 (PDT) Subject: Re: Seat number plaques... From: "Bill Nelson" > 2) We are using engraved brass plaques and will NOT be screwing them down. > Any recommendations for an adhesive? The plaques MUST go on the arms, so > they will take a good bit of abuse. The arms are the original 1934 wooden > chair arms, in various states of finish (or lack there of). I need an > adhesive that will hold to shellaced, partially shellaced, and un > shellaced wooden arms and brass. Why must they go on the arms? The numbers I have seen have always been attached to the seat bottom along the front edge (which is up when no one is sitting in the seat). These can be fastened to the metal with screws, pop rivets or adhesive. Another suggestion is to put just the number on each seat - that should reduce the cost as there will be many duplicates. The letter part is put on the outside of the seat frame at the ends of the rows. Bill ------------------------------ Message-Id: <3.0.6.32.20050525153240.01920458 [at] pop.west.cox.net> Date: Wed, 25 May 2005 15:32:40 From: CB Subject: Dealing with Conflict WAS: Student designers >All of those people (and, of course, the show) suffered because the = >designer >couldn't (or wouldn't) resolve his conflict with the director. Which doesn't necessarily mean that it was the lighting designers fault. There are times when the reason that a conflict cannot be resolved, and its the sane person that leaves teh room, never to return. I can NOT work for a nutcase that thinks that the proper reaction to a difference in interpetation is screaming curses. I will mention this the first time screaming curses are slung at me, remind them the second time, and pack my kit the third. This doesn't mean that I am unable to work well with others, this means that I am unwilling to take abuse for money. Its rare that I'll walk off a job, and its usually because of reasons that Jeffery cited, or some similar to those, that I stay. I will, however, never hesitate to leave any gig that refuses to grant me the basic minimum of respect required of one human to another. If I leave you in a lurch because some director actually likes to degrade and abuse those that work for him, I'll hope you understand. Teaching your student this will greatly reduce the amount of tears shed over such conflicts, and make them stronger humans in all aspects of their lives. 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: Wed, 25 May 2005 18:19:12 -0400 From: MissWisc [at] aol.com Subject: Re: Seat number plaques... Message-ID: <7C14839E.0A6B6830.007B9F2A [at] aol.com> I would also suggest you NOT put them on the arms where they run the risk of snagging clothing, scratching arms, and so on. The front middle edge of the seat IMHO is the best place - easy to read from either side and if/when you need to remove or replace the seat you can just unscrew the plate and put it on the new seat. HTH Kristi ------------------------------ Message-ID: In-Reply-To: From: "Maurice Moe Conn" Subject: Re: parachutes Date: Wed, 25 May 2005 22:31:08 +0000 Parachutes are being used for Ground Cover. Doing "Oz of Ozma" and I thought the desert of shifiting sand could be acheived with a couple of fans and parachutes. One scene doesn't last long but could be fun. Moe We're at it again: Check out www.sapsis-rigging.com/LRLR.html A Charity ride to help raise money for Broadway Cares/Equity Fights AIDS ------------------------------ Date: Wed, 25 May 2005 18:42:20 -0400 Subject: Re: Seat number plaques... From: Bruce Purdy Message-ID: In-Reply-To: > Greetings all! Greetings to you steve! > The theatre I manage is looking to put seat plaques on all of its seats > (1,048) so we can do reserve seating. We just opened the doors to the > renovated vaudeville/movie house about 6 weeks ago, Congratulations! My place is 1400 seats, and was completely remodelled in 1931, so it's of a similar vintage to yours. Welcome to the club! I know you gave us your own parameters, which are different, but here's how WE have it set up: The brass tags are screwed on to the armrests, and we only have the number on each seat. The row letter is on the armrest of the isle seat. Is there a reason you are opposed to screwing them on? By the way, we have Even numbers on the house right section, Odd on house left, and three digit numbers in the centre section. I forget how the balcony is differentiated. This makes it easier for the ushers to know which section to take them to. > 3) Placement - which arm of the chair does a plaque get placed on - the > right or the left as you sit in the seat? There are no other places where > the plaques could be mounted. Ours are on the Stage left side. As the patron walks down the isle looking at the seats, it will be on their left. People read (English) from left to right, so I guess it seems logical. Yes, the bottom of the text should face the stage. Again, people need to read them as they are looking for their seat - not whilst sitting in it! ;-) > > We have dedication plaques that > patrons can purchase for $250 to "buy" a seat - we put those on the rear > right hand armrest (as you sit in the seat) with the bottom of the text > facing the chair so the patron can read the plaque when they sit in it. We put those plaques on a large display board under glass. The feeling was that "Buying a seat" does not guarantee you the exclusive use of a particular seat, but purchasers might not understand that. We wouldn't want someone upset because someone else was sitting in "Their" seat - even at a unreserved seating show. Speaking of armrests, does anyone know of a source for wooden Haywood-Wakefield armrests? Even though they are *supposed* to be screwed down (Some come loose, and it's murder to keep track of them all!) Kids manage to steal them! (Beware of this, Steve!) Haywood-Wakefield no longer is in the Theatre seating business, but is there a company out there that specialises in "Reproductions" of classic style armrests? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ In-Reply-To: References: Message-Id: <29895e595fea67d4164911ecfd4ffe01 [at] appstate.edu> From: Greg Williams Subject: Suspended car [at] Indy 500 Date: Wed, 25 May 2005 20:33:22 -0400 I saw a quick blurb and clip as I was channel-surfing, but all I could find on the web was this pic: http://www.wishtv.com/Global/story.asp?S=3392255&nav=0Ra7aIKR Anybody have more info? Curious minds and all that. -=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 ------------------------------ In-Reply-To: References:

Message-Id: <514afb6a3ec8b3e433b72c789676e6dd [at] appstate.edu> From: Greg Williams Subject: Re: Suspended car [at] Indy 500 - doh! Date: Wed, 25 May 2005 20:56:16 -0400 On May 25, 2005, at 8:33 PM, Greg Williams wrote: > Anybody have more info? > Whoops! Should have read the LRLR message board, where Unka Bill was talking about that stunt. So Bill, what's more satisfying... hanging a car 21 stories up on the side of a building, or hanging with the First Dog at the White House? -=Greg=- ----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: Date: Wed, 25 May 2005 18:09:11 -0700 From: Mat Goebel Reply-To: Mat Goebel Subject: Re: Suspended car [at] Indy 500 - doh! In-Reply-To: References:

What was the thread? I can't seem to find it. Could you cross-post? On 5/25/05, Greg Williams wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- >=20 >=20 > On May 25, 2005, at 8:33 PM, Greg Williams wrote: > > Anybody have more info? > > >=20 > Whoops! Should have read the LRLR message board, where Unka Bill was > talking about that stunt. >=20 > So Bill, what's more satisfying... hanging a car 21 stories up on the > side of a building, or hanging with the First Dog at the White House? >=20 > -=3DGreg=3D- > ----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 >=20 >=20 --=20 Mat Goebel Audio Engineer / Sound Designer www.matgoebel.com Mobile: 510.693.1448 ------------------------------ In-Reply-To: References:

Message-Id: <14a26bb97a73539a65a2710fd10d4b1e [at] appstate.edu> From: Greg Williams Subject: Re: Suspended car [at] Indy 500 - doh! Date: Wed, 25 May 2005 21:21:59 -0400 On May 25, 2005, at 9:09 PM, Mat Goebel wrote: > What was the thread? I can't seem to find it. Could you cross-post? > Hi Mat, It was on our Long Reach Long Riders website. Go to sapsis-rigging.com/LRLR.html and choose "message board". It's under the heading "Mike", where we're discussing that Bill's twin brother is the only one currently without a nickname for the ride. Feel free to join the conversation(s)! -=Greg=- ------------------------------ Message-Id: <6.2.1.2.0.20050525204406.02ba33f0 [at] mail.kingphilip.org> Date: Wed, 25 May 2005 22:13:10 -0400 From: "H-High-S (Ferreira, Jr.)" Subject: Re: automatic fly systems I have to agree w/Kristi here. We are about to start the long anticipated renovation/reconstruction of my school, including the construction of a new "from-the-ground-up" 875 seat theatre w/45 ft. stage house to replace our 562 seat auditorium w/a 30 ft. stage house. This comes after the renovation of our middle school's auditorium, which provides proof for Kristi's argument. The MS stage was renovated w/out input from anyone in the district who would use it. It has a 20 ft. stage house that is 35 ft wide at the proscenium, 15 ft deep to the back wall and 45 ft wide to the wing walls. The facility originally relied on an antiquated Luxtrol dimming system w/half of the controls actually working and no real stage instruments...just architectural fixtures dead-hung from a FOH cove. This was replaced by a Strand CD 80 96 channel rack w/ Strand 300 board w/two dozen Strand Fresnelites, 40 SL Coolbeams (most dead-hung over the house w/no access as of this time) and and four Strand Iris 4s. All soft goods were dead hung in the old space; now, there are eleven Clancy counterweight line sets and two Hoffend motorized battens for electrics. Since the renovation and installation, no one on the middle school staff is sure how to use ANY of this equipment, not the band or choral directors, the drama director, not even the maintenance staff. Given that I run a tech theatre program in the high school, I seem to have become the default person to contact when someone wants to use the stage, any time of day or evening, regardless of whether it's my space or not. This doesn't mean I know much about everything installed. The single purchase fly system was fairly straightforward and the Vortek pendulum system was fairly quick and easy to learn. Having worked only w/small EDI or ETC control and dimming systems in my own space, the learning curve to "get the lights on" on a fully computerized programmable Strand 300 has been challenging, to say the least. I am learning slowly, as are my students w/me, but it is a given that this likely means I am condemned to having to perpetually oversee this space because it wasn't made simpler for those constantly using it. The new theatre soon to be constructed is as of this writing supposed to be ETC controls, 192 channels of dimming and instruments through and through w/a Clancy 18 line set double purchase counterweight system and three motorized Hoffend electric battens, all discussed and selected w/me and the music director involved. I anticipated the work and training involved w/my own space. I never anticipated having to also become an "expert" in Strand systems simply because they included technology beyond the needs or the abilities of the middle school staff. Joe Ferreira Joseph J. Ferreira, Jr. Department of Social Studies Director, KP Drama & GAPS King Philip Regional High School 201 Franklin Street Wrentham, MA 02093 Web page: http://fac.kingphilip.org/~ferreiraj/ E-mail: ferreiraj [at] kingphilip.org >> From: MissWisc [at] aol.com Subject: Re: automatic fly systems Message-ID: <43681389.72F0D13F.007B9F2A [at] aol.com> Kenneth said: <> More evidence that many schools are installing or already have equipment that is beyond the needs and skills of the people using it. The standard single-purchase counterweight system is pretty easy to explain. Well, honestly it USED to be easy before schools started removing teeter-totters from the playground. I use a pencil balanced on my finger to describe the basic movement. Then move to a small pulley and finally take the kids to see a "real" theatre. Far too many schools are buying "state of the art" rather than "what meet's the needs of 1) the students and 2) others who may use the facility. Where Kenneth is in the unenviable position of needing to make a professional show work in what is often a less-than professional setting, that's part of the whole nature of touring. Lord bless all of you who do this on a daily basis. I'll still prefer that schools - high, middle or even college - only install what you can maintain and are willing to hire QUALIFIED employees to run. Kristi << ------------------------------ Message-ID: <42953DE8.4080005 [at] fuse.net> Date: Wed, 25 May 2005 23:09:28 -0400 From: Stuart Wheaton Subject: Re: Making vinyl records References: In-Reply-To: MissWisc [at] aol.com wrote: > If someone is going to "design" an item, they should also give some > suggestions for the implementation of that idea. If I design a wooden bowl, I'm not > going to expect it to be made from glass, for example. > NOPE!!! Designers design, TD's and props artisans build. Designers need to tell us what it looks like, and what it has to do. We will decide how best to reach that end. It is foolish to limit all design to that which the designers could do themselves. Your wooden bowl will be made from spun aluminum because it will tour better and pass the fire code, and I also need to rivet a steel plate inside it so the magnets in the fake fruit have something to grab so they can't dump the apples during the dance number. But don't fear, it will be exactly the shape you drew and it will look just like the rendering. Stuart ------------------------------ Message-Id: <6.2.0.14.0.20050525224351.01d0ba30 [at] mail.insightbb.com> Date: Wed, 25 May 2005 22:47:29 -0500 From: Mike Brubaker Subject: Re: Seat number plaques... In-Reply-To: References:

...and how often do you have to explain to a (new) patron that they really are sitting next to their spouse, even though they have seats 102 and 104? How about a 100 section, a 200 section, and a 300 section, with the seats in any given row numbered sequentially? If you show the usher tickets for seats in row B, 103 and 104, they can tell you're sitting house left, second row, 3d and 4th seats in. Mike At 05:42 PM 5/25/2005, Bruce Purdy wrote: >By the way, we have Even numbers on the house right section, Odd on house >left, and three digit numbers in the centre section. I forget how the >balcony is differentiated. This makes it easier for the ushers to know which >section to take them to. > ------------------------------ Date: Wed, 25 May 2005 23:30:36 -0500 Subject: Re: Seat number plaques... From: Steve Jones Message-ID: In-Reply-To: On 5/25/05 5:00 PM, "Bill Nelson" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > >> 2) We are using engraved brass plaques and will NOT be screwing them down. >> Any recommendations for an adhesive? The plaques MUST go on the arms, so >> they will take a good bit of abuse. The arms are the original 1934 wooden >> chair arms, in various states of finish (or lack there of). I need an >> adhesive that will hold to shellaced, partially shellaced, and un >> shellaced wooden arms and brass. > > Why must they go on the arms? The numbers I have seen have always been > attached to the seat bottom along the front edge (which is up when no one > is sitting in the seat). These can be fastened to the metal with screws, > pop rivets or adhesive. Because the seats are the original 1934 seats that have been refoamed and reupholstered. There is no wooden thickness or other surafce where you indicate - I would have done that if we could. The upholstery wraps all the way to under the seat. These are NOT modern seats. As I said, the arm is the ONLY place these seat plaques can go. (And before someone else asks, no - the seat back in front of each seat won't work either. Neither will the top edge of the seat back. Or anywhere else EXCEPT THE ARMS!) > Another suggestion is to put just the number on each seat - that should > reduce the cost as there will be many duplicates. The letter part is put > on the outside of the seat frame at the ends of the rows. Cost is not an issue as a local company is creating the plaques for us at cost. Thanks! Steve ------------------------------ Date: Wed, 25 May 2005 23:32:06 -0500 Subject: Re: Seat number plaques... From: Steve Jones Message-ID: In-Reply-To: On 5/25/05 5:19 PM, "MissWisc [at] aol.com" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I would also suggest you NOT put them on the arms where they run the risk of > snagging clothing, scratching arms, and so on. The front middle edge of the > seat IMHO is the best place - easy to read from either side and if/when you > need to remove or replace the seat you can just unscrew the plate and put it > on the new seat. > > HTH > > Kristi > > While I appreciate the advice, I said they MUST go on the arms. As I reiterated in my response to another suggestion - they must go on the arms. There is no surface where you indicate that will accept a plaque! Steve ------------------------------ Date: Thu, 26 May 2005 00:44:12 -0400 Subject: Re: Seat number plaques... From: Bruce Purdy Message-ID: In-Reply-To: I wrote: > >> By the way, we have Even numbers on the house right section, Odd on house >> left, and three digit numbers in the centre section. I forget how the >> balcony is differentiated. This makes it easier for the ushers to know which >> section to take them to. >> to which Mike Brubaker replied: > ...and how often do you have to explain to a (new) patron that they really > are sitting next to their spouse, even though they have seats 102 and 104? Never! But that's because I'm the tech guy, and don't have to deal with those problems. :-) > > How about a 100 section, a 200 section, and a 300 section, with the seats > in any given row numbered sequentially? If you show the usher tickets for > seats in row B, 103 and 104, they can tell you're sitting house left, > second row, 3d and 4th seats in. But that would make too much sense! I was reporting the way things *are* here - not necessarily the *best* way. You do make a valid point, and a logical alternative. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <4103.64.28.60.58.1117083293.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 25 May 2005 21:54:53 -0700 (PDT) Subject: Re: automatic fly systems From: "Bill Nelson" > the work and training involved w/my own space. I never anticipated having > to also become an "expert" in Strand systems simply because they included > technology beyond the needs or the abilities of the middle school staff. It is not really that the system has technology beyond the needs/abilities of the users. The problem is that Strand does not seem capable of making a light board that is user friendly. The two theatres where I work the most both have Bijou light boards. One is a 24/48 and the other is a 48/96. It is very easy to learn the basic programming, it is almost intuitive. There are two things that I dislike, it does not appear possible to program an effect into a cue and you cannot use a channel slider to grab a channel level and reduce it. Bill ------------------------------ End of Stagecraft Digest #408 *****************************