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 22712760; Mon, 30 May 2005 03:00:39 -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 #412 Date: Mon, 30 May 2005 03:00:16 -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=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 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 #412 1. Re: Seat number plaques... by Bruce Purdy 2. Re: Strand 2212 and 2216 by "Bryan H. Ackler" 3. Re: Making vinyl records by Jerry Durand 4. Re: Question about Strand Lekos by "John Gibilisco" 5. Re: Strand Century 2212 and 2216 by "Karl G. Ruling" 6. Mail server update by Jerry Durand 7. Re: lighting console advice - ganging channels for 16-bit resolution by "Jim at TheatreWireless.com" 8. Re: Question about Strand Lekos by "Steve B." 9. Re: Technical Theatre Safety Manual Needed by "Dr. Randall W.A. Davidson" 10. Re: Question about Strand Lekos by "John Gibilisco" 11. Re: refurbished theatre seats by "Dr. Randall W.A. Davidson" 12. Re: refurbished theatre seats by "Dr. Randall W.A. Davidson" 13. Re: Subject: refurbished theatre seats by "Dr. Randall W.A. Davidson" 14. Re: Technical Theatre Safety Manual Needed by FrankWood95 [at] aol.com 15. Re: Patch boxes by FrankWood95 [at] aol.com 16. Re: Patch boxes by FrankWood95 [at] aol.com 17. Re: Technical Theatre Safety Manual Needed by "Dr. Randall W.A. Davidson" 18. Re: Patch boxes by Dale Farmer 19. designer anniversaries for June by "RICHARD FINKELSTEIN" 20. Re: Question about Strand Lekos by SB 21. Re: refurbished theatre seats - another idea by MissWisc [at] aol.com 22. Re: Patch boxes by Greg Bierly 23. Re: Patch boxes by Greg Bierly 24. Re: refurbished theatre seats - another idea by "Steve Jones" 25. Re: Patch boxes by "Bill Nelson" 26. Re: Patch boxes 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. ---------------------------------------------------------------------- Date: Sun, 29 May 2005 11:40:12 -0400 Subject: Re: Seat number plaques... From: Bruce Purdy Cc: steve.jones [at] glasgowplazatheatre.com (Steve Jones) Message-ID: In-Reply-To: Steve, I took a closer look at our seating last night, and I had misspoken. The numbers are actually on the RIGHT side when you face the seat, but they are angled to the left at about a 45 degree angle, so that they are facing the seat that they apply to. If you are committed to using an adhesive, I don't have one to suggest - my feeling is that whatever you use will be too easy for some kid to pry off. We've never lost any of ours - they are attached with rounded head brads, so there is really not the danger of scratches that you might get with screw heads, and setting them at the rear end of the armrest makes them too far back for anyone to put their elbow on anyway! Looking at the photos you posted, they look to be the same seats we have (Just a different colour). I posted some shots of our seats showing the number plaques in a temporary file on one of my Websites in case you want to take a look: http://cnymagic.com/seats/ Hope this helps! Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <4299EE64.4000802 [at] ix.netcom.com> Date: Sun, 29 May 2005 09:31:32 -0700 From: "Bryan H. Ackler" Organization: Va. Tech - Vassar - USITT - NTHP Subject: Re: Strand 2212 and 2216 References: In-Reply-To: Date: Sat, 28 May 2005 21:39:50 -0400 From: "Steve B." Subject: Re: Strand 2212 and 2216 ----- Original Message ----- From: "Karl G. Ruling" >>>> Here at the Eau Claire Regional Arts Center we have a >>>> number of Strand Lekos bought in 1989 {snip} >>>> Is this correct or did some idiot >>>> put the wrong lense in the fixture? Our 2200 series have the same housing for lens barrels in the 4.5"x6 (6-1/2"?, can no longer remember), 6x9 and 6x12's. {snip} Karl is correct that you can readily mix and match, with often undesirable results, thus you have to know how to tell the different lenses apart. One method is to hold the lens flat above a table (belly up) with a light source above. A 6x16 lense, which is thinner, focuses the point source while at a greater height off the table then a 6x12 would. A x9 is thicker still. Hope this helps. Steve B. ========================================================================= The lense in the 2200 series are placed in the lens tube in a convex-to-convex relationship. ANSI Art Warning=> |) (| Remember that two (2) plano-convex lense in that relationship effectively halve the focal length of the two lense assembly. You might try to touch base with Holly Sherman (LekoBird) at Strand Lighting in California, as she is the "Goddess of All Things Historical" and still might have a copy of the famous exploded parts diagram for that series. Bryan H. Ackler Portland, Oregon ------------------------------ Message-Id: <6.2.1.2.0.20050529094427.029e5b40 [at] localhost> Date: Sun, 29 May 2005 09:49:09 -0700 From: Jerry Durand Subject: Re: Making vinyl records In-Reply-To: References:

At 11:03 AM 5/27/2005, you wrote: >So I shouldn't put pennies in the fuse box? I wish this thread had come up >sooner, ummmm..., I gotta go now! I was working on wiring in a place with screw-in fuses. We'd unscrewed all of them and had just started working on one circuit, when someone came to the door and said "Why are you working in the dark?" and flipped the light switch...the lights came on and we dropped everything. Turns out someone had removed the screw (center terminal) in the fuse socket, replaced the fiber washer with a metal one, then put the screw back (instant 1000 amp fuse). THEN screwed a fuse in as if nothing was different. ALWAYS check that wires are REALLY dead, even if you can see there isn't a fuse in the socket. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Message-ID: <001101c56478$315786c0$0200a8c0 [at] om.cox.net> From: "John Gibilisco" References: Subject: Re: Question about Strand Lekos Date: Sun, 29 May 2005 12:59:43 -0500 ----- Original Message ----- From: "Brian Hatfield" Subject: Question about Strand Lekos > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Here at the Eau Claire Regional Arts Center we have a > number of Strand Lekos bought in 1989 Manufacturer > number 2212 and 2216. Due to the fact that we have no > money we have to fix them does anyone have an exploded > view picture of them that they could email me. [JG] I can fax you the exploded view on Tuesday. However, if you have no money I'm not sure how it will help you. Contact me Tuesday jgibilisco [at] omahaplayhouse.com or call me 402 553 4890 with a fax number. > That being said when we focus these lekos to get a hard > edge on them after they are bench focused we have > about a quarter to half an inch of movement left on > the lense train. Is this correct or did some idiot > put the wrong lense in the fixture? [JG] If everything is correct you should be sharp somewhere near the center of the lens's travel. Moving the lenses towards the max of it's outward travel should soften the edge nicely. Pushing the lenses inward from center should make the beam a larger, softer and ugly. So it sounds like something is not right with your lenses. You need to take all the lense tubes apart. Sort out the lenses into matched sets thick and thin. (Hey if there apart you might as well clean them with a one to one mix of alcohol and water.) Reassemble the matched sets both convex surfaces facing inward. - )( - Label and color code the tubes and tightening knobs properly. Thick lenses are 12's. Thin lenses are 16's. And finally get the tubes into the correct fixture body. Since you only have 2212's and 2216's this is easy. The 12's (thicker lenses) go in the shorter body of the two fixtures. The 16's (thinner lenses again matched sets only) need to be in the longer bodied instrument. I think the 16 body is onlt about an inch longer than the 12 body. > I took the road less traveled now where the heck am I? [JG] Basically we are all lost in space, good luck! John Gibilisco Omaha Playhouse ------------------------------ Date: Sun, 29 May 2005 14:22:51 -0400 From: "Karl G. Ruling" Subject: Re: Strand Century 2212 and 2216 In-reply-to: Reply-to: kruling [at] esta.org Message-id: <4299D03B.6773.3C3B01 [at] localhost> > I believe the 2216 was a different housing with a longer lens tube > (never owned any so can't say for sure). > Yes. The front of the 2216 is longer. The 2212 (double 6X12), 2209 (double 6X9) use the same housing and lens tube. Both are 18" long overall when the lens tube is pushed all the way in. The 2216 (double 6X16) uses the same lens tube, but the front of the instrument, the part of the housing that holds the lens tube, is 1.25" longer to hold the lenses further from the gate to accommodate the longer focal length. When the lens tube is pushed all the way in, the instrument is 19.25" long overall. The original poster's problem of the instrument only being in focus at the extreme end of the lens tube travel could be caused by putting a 2212 lens tube in a 2216 instrument (so it has to be shoved all the way in) or by putting a 2216 lens tube in a 2212 instrument (so it has to be run all the way out). The lens tubes are the same so they will fit in either instrument. ------------------------------ Message-Id: <6.2.1.2.0.20050529120008.0294d428 [at] 192.168.0.13> Date: Sun, 29 May 2005 12:19:49 -0700 Cc: jdurand [at] interstellar.com From: Jerry Durand Subject: Mail server update We have just completed moving our e-mail server to our in-house Mac server. This has very strong spam/virus/trojan filtering and also rejects any senders on the Spamhaus blacklist. If you're on a blacklist, it means your mail server (ISP) allows spam to be sent out, we do not accept ANY mail from those servers. About 90% of our incoming mail is now rejected when the sender attempts to send it. I believe everything is working ok, but if you have any problems contacting us, please call and let me know. Anyone with an account on our server will have to change their mail settings, we now ONLY allow secure logins (SMTP-AUTH, APOP). Please contact me for help setting this up. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ From: "Jim at TheatreWireless.com" Cc: jason [at] tollefsondesigns.com Subject: RE: lighting console advice - ganging channels for 16-bit resolution Date: Sun, 29 May 2005 15:23:00 -0400 In-Reply-To: Message-Id: <20050529192301.XRNU19894.tomts20-srv.bellnexxia.net [at] p3m866> > Keep and mind (and excuse me if you realize this already) > that even if your console can gang two channels together to > create 16-bit resolution, your recieving device, in this case > your LED fixture, would need to be capable of understanding > 16-bit control. If it only listens to one channel then your > resolution isn't helped at all. In fact it may even hurt you > if it listens to the second channel (picture the fixture > flashing on and off spastically as you attempt a smooth cross fade). I'm writing the firmware for the receiving end so there's no problem there -- it's an upcoming enhancement to the RC4 Wireless Dimming system. An early version is already coded and working. More and more customers are using our system to dim LEDs, and are looking for smoother fades at the low end. Jim www.theatrewireless.com ------------------------------ Date: Sun, 29 May 2005 15:33:48 -0400 From: "Steve B." Subject: Re: Question about Strand Lekos Message-id: <001101c56485$55c06fb0$6401a8c0 [at] SBFF> References:

----- Original Message ----- From: "John Gibilisco" > [JG] If everything is correct you should be sharp somewhere near the > center > of the lens's travel. Moving the lenses towards the max of it's outward > travel should soften the edge nicely. The 2212's I've used, have a sharp edge when the barrel is very near the outer edge of travel. The 2209's - using the same housing, have a sharp edge as described, with barrel nearer the center of the fixture. This was always the case with these Strand units using the same housing and same length lens tubes for x9's and x12's. SB ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Technical Theatre Safety Manual Needed Date: Sun, 29 May 2005 14:29:20 -0700 In-Reply-To: Message-ID: This topic is a sensitive one. Since 1964 I have been writing technical manuals of all types for different clients, i.e. Defense Corporations, Rigging, Chemical Industry, Hotels, Restaurants, Race Tracks, Night Clubs, Cities, Entertainment Entities, Airports, Aircraft Corporations, Educational Entities, Construction, Law Offices, Amusement and Theme Parks, Insurance Brokers and Carriers, etc. I agree it is a heady job, and one replete with dangers, especially as one considers the liability factors. However, this is a standard for many industries, and especially as one deals with Governments and with exposures. I was privileged to work for the 2nd largest insurance corporation in the world, and thus learned my trade from some masters. I agree it is not a task that one takes lightly nor is it for everyone. We have provided this service with consulting through Risk Management. I state this not as an ad but just to speak to the issue that all of you have raised, i.e. Liability Manuals, Safety and Health Manuals, Risk Management Manuals, etc. They are stock and trade throughout the world's many industries. 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 Dale Farmer Sent: Saturday, May 28, 2005 9:07 AM To: Stagecraft Subject: Re: Technical Theatre Safety Manual Needed For info, archives & UNSUBSCRIBE, see --------------------------------------------------- James Feinberg wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > OK, so how about a manual for writing a manual? A list of topics that > someone might not immediately think to include. > > No answers, just a list of questions that every facility manager should > learn the answers to. > > I bet it would be a big seller. > > --James Feinberg > University of San Diego Well, that sort of thing we could bash out on the list here, and find someone to host it. --Dale ------------------------------ Message-ID: <001101c56495$4e160da0$0200a8c0 [at] om.cox.net> From: "John Gibilisco" References:

Subject: Re: Question about Strand Lekos Date: Sun, 29 May 2005 16:28:06 -0500 > > [JG] If everything is correct you should be sharp somewhere near the > > center > > of the lens's travel. From: "Steve B." > The 2212's I've used, have a sharp edge when the barrel is very near the > outer edge of travel. [JG] I hope I have not given bad advice. Maybe I misunderstood? Brian stated he had only a quarter to half an inch of movement left on the lense train after finding a hard edge. You had the same experience. I've have been focusing the same vintage of 2212's since 1988. With a 1/4 to 1/2 inch of travel left on the lense train (with my fixtures) you would have very soft edge. Most often my throw distance is around 30'. After focusing to a hard edge I have more like an inch and a half of outward travel to vary the softness of the edge. JG ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: refurbished theatre seats Date: Sun, 29 May 2005 14:45:21 -0700 In-Reply-To: Message-ID: Some of you will recall Fisher Hall during one of its permutations for acoustics. Dr. Joel Rubin and many other, about twenty five or more, were at the newly acoustical treatment Fisher Hall way back. Dr. Cyril was the acoustician. After his presentation he looked out into the crowd and spotted me and said: I see we have the estimable Dr. Davidson the safety expert with us. Do you see any problems with safety? My reply was simple (no comment): I have walked through the hall and looked at many areas and what I have found are about five thousand hazards. There was a slightly loud murmur of some Anglo Saxon expressions I had not heard before directed at myself. Dr. Cyril asked me to explain myself. "In keeping with your policy of screwing everything in the theater instead of nailing, I have noted that the brass plates on the back of the seats, designating different patrons who have donated to this $23 million dollar acoustical renovation, that whoever installed the brass name plates, screwed in the two screws but scored the ends of the screws so that they are now, from my examination, little razor blades, in effect. When Ms. Patron comes in during any production and tears her mink or varicose veins, I said, there might be hell to pay. " My understanding from New York folk was: the next day someone was filing down the heads of the screws on the 2500 seats. Addendum: In my risk assessment of a myriad of public assembly and entertainment structure who have many seats, including churches with upwards of five, ten and fifteen thousands, and brass plates to designate donors, I find many brass plates on the arm rests or front of seats poorly installed. We inspect each and every seat, as those of you who know our work, will attest to. Just my opinion, experience, and practice. Dr. Doom May 29 -- 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 Stephen Litterst Sent: Friday, May 27, 2005 10:51 AM To: Stagecraft Subject: Re: refurbished theatre seats For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Dale Farmer wrote: > --------------------------------------------------- > Ideally, carve a recess in the armrest just deep and wide > enough for the tags, and then rivet and glue them into place. Heck, shoot for the moon. Get templates/gobos made up for each seat number and hang Source4s focused on each seat. Include sensors that read when the seat is occupied and turn that unit off so the patron isn't blinded. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: refurbished theatre seats Date: Sun, 29 May 2005 14:46:25 -0700 In-Reply-To: Message-ID: Yes, so have I. Not a bad idea. 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 Mike Katz Sent: Friday, May 27, 2005 9:25 AM To: Stagecraft Subject: Re: refurbished theatre seats For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Steve, FWIW I have often seen the seat numbers on the bottom pan of sets like those. They were usually riveted on. Mike -- 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" ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: bill-conner [at] att.net ('Bill Conner') Subject: RE: Subject: refurbished theatre seats Date: Sun, 29 May 2005 14:48:55 -0700 In-Reply-To: Message-ID: My take is to replace the seats and comply with the Codes. 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 Conner Sent: Friday, May 27, 2005 6:59 AM To: Stagecraft Subject: Subject: refurbished theatre seats For info, archives & UNSUBSCRIBE, see --------------------------------------------------- David R. Krajec posted: Don't all modern seats have to come up when you drag your butt out of that seat? Codes require a minimum clear width in aisle accessways (the row space). The codes permit the clear space to be measured with the seat in the up position if it is self rising per the referenced ATSM standard. Codes generally apply to new construction and less frequently require retroactive changes - sprinkling of nightclubs as a result of the Station disaster being a notable exception. A major facility renovation may be of sufficient scope to require that the entire building or that area of the building be brought up to "new" standards. Simply repairing equipment - like seats - is rarely sufficient cause to prompt the "new" requirements. That being said, the Life Safety Code does, for existing places of assembly, require the minimum clear width. It has been my experience that in a renovation, especially ones involving historic buildings, that there is room to negotiate some items. For instance, if you're restoring the theatre and the original seats and it doesn't quite meet the minimum clearance with seats down but you're sprinkling the entire building and making other improvements for safety, there can be a trade off. And keep in mind that there is rarely crowd crush or crowd collapse incidents in an aisle accessway. This is based on national model codes which may or may not be adopted in your area and doesn't take into account local amendments or entire local codes. Some seat restoration projects have included retrofitting lifters to old seats. From my point of view, it's risky. Old seats were not designed for this and the hinges are typically rough castings. Lift a modern seat with it's spring removed (or without it's counterweight if gravity lift) and it moves easily. Lift a 1900 era seat and it requires much more force - and widely varying forces seat to seat. A large counterweight - which is tricky to retrofit - or a strong spring to assure all the seats rise will, result in at least a substantial portion of the seats make a pretty loud noise when they rise and no amount of bumpers will make it go away. Regards, Bill ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8.695bbc8f.2fcb92d7 [at] aol.com> Date: Sun, 29 May 2005 17:49:11 EDT Subject: Re: Technical Theatre Safety Manual Needed In a message dated 5/28/05 5:43:53 AM W. Europe Daylight Time, bill [at] sapsis-rigging.com writes: << Where you run into trouble is when you make the manual more site specific and start dealing with specific issues concerning a specific facility. If you say something wrong and someone gets hurt. You get nailed, and rightfully so. If you say something right and someone still gets hurt, you still get nailed. If you overlook something, you get nailed. The litigious nature of this country kind of forces you to A) Be very, very thorough or B) Don't get involved. I still prefer the very thorough method, but it's not cheap. All that research is done by staff people who, strangely enough, really do expect a paycheck at the end of the week. When we fly out to do a site visit, the airlines expect us to actually pay for those plane tickets. >> Bill is, as usual, right. General manuals are often of little use when faced with a particular theatre. You rally have to find the local expert: the guy who knows what works. By all means filter his opinions through your own technical expertise. But the guy who says "Last time we had this problem, this is how we solved it" is very valuable. OK, he may not be into rated shackles, but you and he may have things to learn from each other. It's called 'experience'. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1a3.349eb6cc.2fcb92db [at] aol.com> Date: Sun, 29 May 2005 17:49:15 EDT Subject: Re: Patch boxes In a message dated 5/28/05 7:39:14 AM W. Europe Daylight Time, billn [at] peak.org writes: << > Again I think you misunderstood the point. If you have a local rental > house that uses a multipin connector breakout, then you have access to > a spare if some idiot runs a roadbox over your breakout and severs the > cable 2 hours before curtain. Or you could return the favor if the > rental house needs an extra breakout when yours is sitting idle. It > can be beneficial when you can help out the local rental house. >> Just what are we talking about,here? All the installations I have met have connection boxes around the stage, with XLR-3 connectors. These turn up on connectors in the control room, individually, on the patch panel, aka jackfield. From there, they are routed to the mixer inputs as needed. TV and Radio studios are wired in the same way. Any patching is done at the control room end. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <20b.1f40f1e.2fcb92db [at] aol.com> Date: Sun, 29 May 2005 17:49:15 EDT Subject: Re: Patch boxes In a message dated 5/28/05 2:41:23 PM W. Europe Daylight Time, billn [at] peak.org writes: << The end result is that the house, for the first time, has all circuits properly functional without any 2/3 swaps or grounded shields that sometimes cause problems and sometimes don't. As you might guess, the ground loop problems they were having disappeared as well. >> A serious commendation for your dedication, for which, I prophesy, you will get little credit. And an equally serious blast towards the outfit who carried out the installation. Tell us who they were: blacken their name. ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Technical Theatre Safety Manual Needed Date: Sun, 29 May 2005 14:54:47 -0700 In-Reply-To: Message-ID: Yes. I had trained the individual at Fairfax, and he also had extended his work ..... over the years. 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 James, Brian Sent: Thursday, May 26, 2005 7:22 PM To: Stagecraft Subject: Re: Technical Theatre Safety Manual Needed For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I am not sure the name of the contact, but try contacting the Fairfax County, Virginia public school system. Years ago they already had a plan in place, including training and testing for their students. It was pretty impressive. The position used to work out of the Superintendents Office. Might be a starting point. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Carolyn Giles Sent: Thursday, May 26, 2005 8:44 AM To: Stagecraft Subject: Technical Theatre Safety Manual Needed For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hi: I am currently planning for a technical theatre safety orientation for middle and high school students in the fall and am in need of a manual that anyone would be willing to share. A digital version is preferable. A hard copy can be faxed - 513-527-1304 or mailed to me at: Carolyn E. Giles Chair, Fine and Performing Arts The Seven Hills School 5400 Red Bank Road Cincinnati, OH 45227 513-272-5390 Thanks in advance, Cg ------------------------------ Message-ID: <429A4247.EE68FDCE [at] cybercom.net> Date: Sun, 29 May 2005 18:29:27 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Patch boxes References: FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 5/28/05 7:39:14 AM W. Europe Daylight Time, billn [at] peak.org > writes: > > << > Again I think you misunderstood the point. If you have a local rental > > house that uses a multipin connector breakout, then you have access to > > a spare if some idiot runs a roadbox over your breakout and severs the > > cable 2 hours before curtain. Or you could return the favor if the > > rental house needs an extra breakout when yours is sitting idle. It > > can be beneficial when you can help out the local rental house. >> > > Just what are we talking about,here? > > All the installations I have met have connection boxes around the stage, with > XLR-3 connectors. These turn up on connectors in the control room, > individually, on the patch panel, aka jackfield. From there, they are routed to the > mixer inputs as needed. TV and Radio studios are wired in the same way. Any > patching is done at the control room end. Because in the modern world of audio and video, they have these things called multi-connectors. These allow you to connect up however many circuits all at once, with far less chance of getting channel 12 and 21 mixed up again. Ever heard the saying that Time is Money? On a touring show that only has a four hour put-in before house opens, you need that person to spend the minute needed to plug in that multiconnector, rather than the fifteen minutes to untangle, sort and plug in all those individual connectors. --Dale ------------------------------ Message-ID: From: "RICHARD FINKELSTEIN" Subject: designer anniversaries for June Date: Sun, 29 May 2005 19:38:31 -0400 Greetings folks! Here are the designer anniversaries that I have for June along with a few fun bits of trivia anniversaries. As always the full list will be found at http://www.artslynx.org/theatre/thechron.htm I have also reorganized the design/tech section of artslynx with an aim toward a major expansion later in the summer. I also keep expanding the props history chronology. I am quite proud of it. If you have never visited the page you should have a fun time exploring it (it takes a while to load) at http://www.artslynx.org/theatre/props2.htm If you want to have pure fun with the page, do a simple onpage text search (under EDIT in most browsers) on your birth year or the birth year of an associate. This should give you some fun nickname ideas. I call this your "product sign", more fun than those boring star signs. As for me, being born in 1952, I share a birthday with Mr. Potato Head! Have fun. Now the anniversaries for more fun. I hope that I haven't killed off anyone by accident . . . Designer Anniversaries and some other fun stuff for June, 2005 June 1 74th Anniversary of the birth of designer, Desmond Heeley June 2 75th Anniversary of the birth of designer, David Hays June 4 99th anniversary of the birth of designer, Richard Whorf (before he became Klingon) June 7 67th anniversary of the first play to be broadcast over TV, an excerpt of the Broadway play, Susan of God, then starring Gertrude Lawrence. June 8 83rd anniversary of the filing for a US patent of Adolph Linnebach's namesake projector June 9 9th anniversary of the passing of makeup pioneer (and co-inventor of pancake Makeup), Max Factor Jr. June 9 37th anniversary of the death of German designer, Teo Otto June 10 77th Anniversary of the birth of Designer, Author Maurice Sendak June 11 32nd anniversary of the death of designer, Sean Kenny June 12 3rd anniversary of the passing of costume designer, Bill Blass June 14 93rd anniversary of the death of Russian set designer, Nikolay Sapunov June 15 150th anniversary of when the Walnut Street Theatre in Philadelphia adds crude air conditioning June 16 114th anniversary of the birth of Scene Designer, John Wenger June 17 69th anniversary of the birth of set designer, Kert Lundell June 17 96th anniversary of the birth of lighting designer, Abe Feder June 18 116th Anniversary of the birth of lighting designer and pioneer, Thomas Wilfred June 20 57th anniversary of the birth of lighting designer, Richard Winkler June 21 90th Anniversary of the start of designer, Joseph Urban's 12 year association with The Zigfeld Follies June 21 353rd Anniversary of the death of Inigo Jones June 21 61st Anniversary of the birth of designer, Peter Docherty June 22 68th Anniversary of the birth of designer, John Conklin June 25 32nd anniversary of the opening of the TKTS booth on Times Square to sell discount tickets to Broadway shows June 25 39th anniversary of the death of designer, Raymond Sovey June 27 85th Anniversary of the birth of designer, Klaus Holm June 27 96th Anniversary of the birth of lighting designer, Abe Feder June 27 121st Anniversary of the birth of set designer, Watson Barratt Richard Finkelstein http://www.rfdesigns.org/ http://www.artslynx.org/ ------------------------------ Date: Sun, 29 May 2005 20:28:50 -0400 From: SB Subject: Re: Question about Strand Lekos Message-id: <002101c564ae$8d3c6600$6501a8c0 [at] lighting> References:

----- Original Message ----- From: "John Gibilisco" > > [JG] I hope I have not given bad advice. Maybe I misunderstood? Brian > stated > he had only a quarter to half an inch of movement left on the lense train > after finding a hard edge. You had the same experience. > > I've have been focusing the same vintage of 2212's since 1988. With a 1/4 > to > 1/2 inch of travel left on the lense train (with my fixtures) you would > have > very soft edge. Most often my throw distance is around 30'. After focusing > to a hard edge I have more like an inch and a half of outward travel to > vary > the softness of the edge. John, you could well be correct in terms of the actual measurments and I should have said "nearer the end of travel". The point I was attempting to get across is that (my) 2212's find a sharp edge when the barrel is closer to the end of the fixture, where the 2209 finds sharp closer towards the center of the fixture, the result of one housing for fixtures of different lens assemblies. Much depends on lamp alignment as well as not having lenses mixed and matched. SB ------------------------------ From: MissWisc [at] aol.com Message-ID: <203.295326d.2fcbb934 [at] aol.com> Date: Sun, 29 May 2005 20:32:52 EDT Subject: Re: refurbished theatre seats - another idea I was just at a theatre where the seat donors were honored on a huge wall display in the lobby. It's just an overhead seating chart like you might find in the box/ticket office but far bigger and with each the name of each donor's on his/her seat. I had fun looking at the names and finding who I know. Gave me something to do while waiting for the house doors to open. Just another idea. I don't rememeber where it was, but I recall hearing of a theatre that had a special "seat donor debut" where the donors sat in "their" seat to attend a concert before the building was open to the general public. Kristi Who's considering a career change to theatre marketing. :) ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Patch boxes Date: Sun, 29 May 2005 21:43:48 -0400 >> Even if the >> heavens are in alignment the touring engineer likely wouldn't consider >> using houselines. ;-) NOTE my quote above. I apologize for the above generalization. I was specifically thinking of a touring engineer using a house multipin connector. It is just too risky the house is not wired the same as the touring gear. I have come across many engineers that would not touch a houseline period, but many have tied into a few here or there to simplify everyones day. Hope I didn't offend too many of you out there. (Sorry Andy and Chris) Greg Bierly Technical Director Hempfield HS ------------------------------ In-Reply-To: References: Message-Id: <33ad7ed70839726ae8f126eaaf016d3c [at] dejazzd.com> From: Greg Bierly Subject: Re: Patch boxes Date: Sun, 29 May 2005 21:48:51 -0400 > Just what are we talking about,here? > All the installations I have met have connection boxes around the > stage, with > XLR-3 connectors. If you go back to the original posts. The sender was looking for a slick way to hide their patch panel in a remote room. It was suggested to make the panel smaller to use a multipin connector to a breakout (which of course would have the XLR and video connectors requested). a standard wall mount, XLR panel with cover is obviously the cheaper and more universal way to go. We were all just brainstorming options for the sender. Greg Bierly Technical Director Hempfield HS ------------------------------ From: "Steve Jones" Subject: RE: refurbished theatre seats - another idea Date: Sun, 29 May 2005 22:02:49 -0500 In-Reply-To: Message-ID: The only thing I have against putting all of our seat donors on a big plaque is because of a fund raising technique I learned from a fund raiser for the United Way. He would regularly find local agencies/groups/etc that put up plaques like this. He would then go to that facility, and stand there and take notes or take a photo of the plaque and instantly have all the names of the donors that he could then tap into for his charity. This was especially important if the plaque listed dollar values given. Nothing like listing on a big sign that the Jane Doe Family gave you $10,000 so that some other group could hit your donor up. Also, many donors didn't want their name on the seat plaque - they wanted it dedicated to someone. I learned the fairly vicious side to fund raising from this person. 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 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of MissWisc [at] aol.com Sent: Sunday, May 29, 2005 7:33 PM To: Stagecraft Subject: Re: refurbished theatre seats - another idea For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I was just at a theatre where the seat donors were honored on a huge wall display in the lobby. It's just an overhead seating chart like you might find in the box/ticket office but far bigger and with each the name of each donor's on his/her seat. I had fun looking at the names and finding who I know. Gave me something to do while waiting for the house doors to open. Just another idea. I don't rememeber where it was, but I recall hearing of a theatre that had a special "seat donor debut" where the donors sat in "their" seat to attend a concert before the building was open to the general public. Kristi Who's considering a career change to theatre marketing. :) ------------------------------ Message-ID: <2744.64.28.54.185.1117443048.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Mon, 30 May 2005 01:50:48 -0700 (PDT) Subject: Re: Patch boxes From: "Bill Nelson" > << The end result is that the house, for the first time, has all circuits > properly functional without any 2/3 swaps or grounded shields that > sometimes cause problems and sometimes don't. As you might guess, the > ground loop problems they were having disappeared as well. >> > > A serious commendation for your dedication, for which, I prophesy, you > will > get little credit. And an equally serious blast towards the outfit who > carried > out the installation. Tell us who they were: blacken their name. You are correct. I got zero credit - not even a "thank you". But that does not matter. I know know that I can plug a cable into any of the jacks and have it work. That in itself made the effort worthwhile. I don't know if the miswiring was due to the original installer (whoever it was) or if the errors occurred during a partial remodel of the facility. Unfortunately, I was not involved with that part of the process. Bill ------------------------------ Message-ID: <2753.64.28.54.185.1117444056.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Mon, 30 May 2005 02:07:36 -0700 (PDT) Subject: Re: Patch boxes From: "Bill Nelson" > NOTE my quote above. I apologize for the above generalization. I was > specifically thinking of a touring engineer using a house multipin > connector. It is just too risky the house is not wired the same as the > touring gear. I have come across many engineers that would not touch a > houseline period, but many have tied into a few here or there to > simplify everyones day. Hope I didn't offend too many of you out > there. (Sorry Andy and Chris) For untested circuits, that certainly is possible. But there are some inexpensive testers that make circuit verification easy - at least on a pass/fail basis. Testing the circuits is usually much faster than routing and securing your own multistrand cable. I would never travel with a show without having such testing equipment as a part of my traveling kit. Bill ------------------------------ End of Stagecraft Digest #412 *****************************