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 23197465; Mon, 20 Jun 2005 03:01:28 -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 #433 Date: Mon, 20 Jun 2005 03:01:16 -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 #433 1. Re: Lumber dimensions, etc. by Steve Larson 2. Re: 1x3's by "Paul Guncheon" 3. Re: Dust Mask by "Paul Guncheon" 4. Re: Lumber dimensions, etc. by Stuart Wheaton 5. Re: Dust mask by Jerry Durand 6. Re: Dust Mask by Jerry Durand 7. Re: More rigging Questions by FrankWood95 [at] aol.com 8. Mackie trim by CB 9. Re: Dust Mask by "Dr. Randall W.A. Davidson" 10. Re: Mackie trim by FrankWood95 [at] aol.com 11. Re: Mackie trim by Adam Fitchett 12. New Shop Tools by "Rebekkah Meixner" *** 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, 19 Jun 2005 09:26:12 -0400 Subject: Re: Lumber dimensions, etc. From: Steve Larson Message-ID: In-Reply-To: I disagree. I believe that it is harder than pine. Structurally, I would rather use poplar than pine. I'd sooner build a chair out of poplar than pine any day. Steve > From: Mark O'Brien > Poplar is a hardwood, because the leave drop, but is softer than pine. Many > different flavors. I recall just about any soft/hardwood being sold as Poplar. > > You can check this out, or look in your latest edition of Poplar Science > magazine. > > http://tinyurl.com/82rhe > > Mark O'Brien > Opera Technical Director > University of Arizona, School of Music > 520-621-7025 > 520-591-1803 Mobile > > > ------------------------------ Date: Sun, 19 Jun 2005 05:24:21 -1000 From: "Paul Guncheon" Subject: Re: 1x3's Message-id: <007d01c574e2$f8928530$f73e4104 [at] yourxhtr8hvc4p> References: > I remember back when I worked in a scene shop in the mid-80's, we got around > this quality problem (and some cost issues) by buying 1x12's and ripping our > own 1x3's I remember starting in a scene shop as shop hand in 1980. Within 6 months I became one of the lead carpenters and within a year I was the assistant designer and draughtsman. (This apparent rocket to fame and fortune was not nearly as exciting as it appears.) In any event, they ripped all their 2-1/2" stock from1x12. When asked why, I was told "That's the way it's done", a statement that to me means,"I dunno". I researched and found that while 1x3 was marginally more expensive, the time saved by avoiding not only the ripping itself, but the Backlog at the saw made the switch to 1x3 economically attractive. I now have occasional contact with a shop that rips its 1x3 stock from plywood, sometimes even lumber core.I've tried to convince them that plywood 1x3 is way weaker than solid wood but nooooo... I have mentioned before that the quality (and variation thereof) of lumber we get here is astounding.. While I don't think there is any difficulty in getting 1x3 here, the width an vary from 2-1/4" to 2-3/4" and the thickness can be between 1/2" - 7/8"... within the same load. The section of the material may not be rectangular or have any square corners (although this is rare). The lumber ends are almost always ragged cut. In 1x3 we have two grades... treated with large knots, and clear with rounded corners (stuff I call bed boards because this material is often placed across the bed frame to support a box spring). Plywood is not always square, and not always 4' x 8'. Laters, Paul ------------------------------ Date: Sun, 19 Jun 2005 05:41:24 -1000 From: "Paul Guncheon" Subject: Re: Dust Mask Message-id: <008101c574e5$5a434ce0$f73e4104 [at] yourxhtr8hvc4p> References: <> Doom, please stop shouting... I also have a beard so usuually breathe through my gills in dusty situations. I have seen a few dust masks for guys witth beards. here's one: http://www.hartvilletool.com/product/10834 The others were basical the same idea but the filters were in the front... like this one http://www.hartvilletool.com/product/10997 Laters, Paul "Someone bumped into me while I was brushing my teeth," said Tom with a gleam in his eye. ------------------------------ Message-ID: <42B59459.4060003 [at] fuse.net> Date: Sun, 19 Jun 2005 11:50:49 -0400 From: Stuart Wheaton Subject: Re: Lumber dimensions, etc. References: In-Reply-To: Mark O'Brien wrote: > Poplar is a hardwood, because the leave drop, but is softer than pine. It is softer than Yellow pine, but far harder than white pine. > Many > different flavors. I recall just about any soft/hardwood being sold as > Poplar. In my experience poplar means one species, called tulip poplar or yellow poplar. It is difficult to compare to "pine" since "pine" can be so many varieties of wood. Poplar as I have used it has always been consistent. Very easy to work, light, strong, takes finish well. High quality furniture frequently uses poplar for those areas that are not seen. At times clear 1x10 poplar has been a better deal than clear white pine in 1x10. > > You can check this out, or look in your latest edition of Poplar Science > magazine. > > http://tinyurl.com/82rhe ------------------------------ Message-Id: <6.2.1.2.0.20050619092203.029fc7a0 [at] 192.168.0.13> Date: Sun, 19 Jun 2005 09:24:55 -0700 From: Jerry Durand Subject: Re: Dust mask In-Reply-To: References: At 01:18 PM 6/18/2005, you wrote: >ALSO, OF COURSE, THE REGULATIONS FOR RESPIRATORS, AS A RULE, SPECIFICALLY >STATES THAT THE FIT IS IMPORTANT, BUT PERHAPS NOT FOR DUST MASKS. HARDWARE >STORES CARRY DUST MASKS IF THAT IS ALL YOU WEAR. RESPIRATORS ARE A VERY POOR >PROTECTION, EVEN THOUGH THEY HELP A TAD. THEY MAY DETER SOME PARTICLES FROM >YOUR RESPIRATORY SYSTEM BUT THEY IMPOSE A GREATER STRAIN ON YOUR >CARDIOVASCULAR SYSTEM. DOOM [caps left out to balance the post] i'm currently using one designed to go under a welding helmet. the paper hardware store ones don't seal against the face at all, and push glasses up. the one i currently use has a nice rubber seal that fits tightly against the face and still allows me to wear glasses. so, anyone have brand/model suggestions? i don't want to start buying ones just to find out they don't fit. ---------- 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: <6.2.1.2.0.20050619100419.03b2d4f0 [at] 192.168.0.13> Date: Sun, 19 Jun 2005 10:06:31 -0700 From: Jerry Durand Subject: Re: Dust Mask In-Reply-To: References: At 08:41 AM 6/19/2005, you wrote: >I have seen a few dust masks for guys witth beards. here's one: > >http://www.hartvilletool.com/product/10834 > >The others were basical the same idea but the filters were in the front... >like this one > >http://www.hartvilletool.com/product/10997 Looks strange, but I can see it would work. Of course, if you used it for a long period of time you'd have problems with drying out your mouth. For my needs (mainly fiberglass dust lately), the JR should be fine. Thanks for the link. ---------- 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: FrankWood95 [at] aol.com Message-ID: Date: Sun, 19 Jun 2005 14:36:49 EDT Subject: Re: More rigging Questions In a message dated 19/06/05 04:10:32 GMT Daylight Time, dale [at] cybercom.net writes: > Okay Frank. I'll draw a parallel. I want you to design a power supply > for > a cardiac pacemaker that is going to be implanted into your body and you > will require for your continued survival. Once it is installed, any service > you > need to do will require a surgical operation that is expensive and has a > small > but finite chance of killing you anyway. By the way, service includes > replacement of the battery. What safety factor would you be comfortable > with for your own life, or the life of a loved one? Interesting thought, although I shouldn't describe it as a parallel. The most difficult bit is the battery. Here it's not a question of safety factors, but of battery life. An ideal answer would be to devise a cell which uses body fluids as the electrolyte. This should last as long as I do. The next best answer is to do it the way my electric toothbrush does. This uses a non-contact charger for it's cell, and if it will work through 2mm of plastic, it should work through my skin. However, re-chargeable cells are not immortal. You would have to operate a closely controlled charging regime to maximise the life. Without knowing more about the device parameters, that's really all I can say. Safety factors, of the sort we have been discussing, don't really enter into electronics design. As a conservative engineer, I use components within their specifications. Sometimes, one has to use a component for a non-specified parameter. Since this involves you in doing your own testing, it is expensive and undesirable. I remember one piece of gear which required two FETs to match closely in their properties as variable resistors. Two out of twenty would. That represents a lot of work. Purely theoretically, a piece of equipment used within its limits should have an indefinite life. From a more practical point of view, when I was a rock climber, if someone fell on a rope, it was not used again in any critical application. Frank Wood ------------------------------ Message-Id: <3.0.6.32.20050619122245.01811258 [at] pop.west.cox.net> Date: Sun, 19 Jun 2005 12:22:45 From: CB Subject: Mackie trim >Hey, I'm a lighting designer that also now has to do sound stuff, too. I'm >learning by the seat of my pants! >And every day, the director wants more and more. Make sure that the lights are spot on. Do sound in your 'spare' time. Every time the director complains about sound, remind him that you are the lighting designer, that every other group uses a sound team to do sound, and that's what sound on a budget sounds like. If he is concerned about sound, he'll get someone to do it. If he's not, you just need to remind him that he's not. 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... ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Dust Mask Date: Sun, 19 Jun 2005 17:06:40 -0600 In-Reply-To: Message-ID: Could work. Take care. 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 Jerry Durand Sent: Sunday, June 19, 2005 11:07 AM To: Stagecraft Subject: Re: Dust Mask For info, archives & UNSUBSCRIBE, see --------------------------------------------------- At 08:41 AM 6/19/2005, you wrote: >I have seen a few dust masks for guys witth beards. here's one: > >http://www.hartvilletool.com/product/10834 > >The others were basical the same idea but the filters were in the front... >like this one > >http://www.hartvilletool.com/product/10997 Looks strange, but I can see it would work. Of course, if you used it for a long period of time you'd have problems with drying out your mouth. For my needs (mainly fiberglass dust lately), the JR should be fine. Thanks for the link. ---------- 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: FrankWood95 [at] aol.com Message-ID: <208.350fd5f.2fe75aea [at] aol.com> Date: Sun, 19 Jun 2005 19:34:02 EDT Subject: Re: Mackie trim In a message dated 19/06/05 20:06:52 GMT Daylight Time, psyd [at] cox.net writes: > >Hey, I'm a lighting designer that also now has to do sound stuff, too. I'm > >learning by the seat of my pants! > >And every day, the director wants more and more. > > Make sure that the lights are spot on. Do sound in your 'spare' time. > Every time the director complains about sound, remind him that you are the > lighting designer, that every other group uses a sound team to do sound, > and that's what sound on a budget sounds like. If he is concerned about > sound, he'll get someone to do it. If he's not, you just need to remind > him that he's not. There is one big difference between lights and sound. Lighting cues tend to happen more slowly. If the operator is reasonably with it, he can say to himself: "Hang on, this doesn't look right", hit the 'stop' button and try to sort it out. An ample supply of information will help, although it shouldn't happen. This is one of the reasons I dislike having all the cues called. It tends to disinvolve the operators. Sound is different. By the time the operator knows it's wrong, so does the whole audience. I'm sure we have all done it: I know that I have. And the operations are more complicated, too. For lights, with a modern control, the information "Cue 26; GO" may suffice. For sound, it does not. The source, levels, and destinations all need to be set up first. That's just for effects replay. Multiple, simultaneous effects are not unusual. Lighting just passes from one 'look' to another. I wish I could do that with sound, but I know of no gear to do it. Forget computers. They are always short of outputs. I have done a show which needed two quad outputs, to different speaker sets, four stereo, and two mono. Frank Wood ------------------------------ Message-ID: <42B614A6.5050505 [at] fitchtech.net> Date: Sun, 19 Jun 2005 20:58:14 -0400 From: Adam Fitchett Subject: Re: Mackie trim References: In-Reply-To: Depends on what you are using sound for. If all you are doing is cue playback it isn't much more than pressing GO these days, regardless of how many simultaneous cues you have going at a time. In your given scenario of needing four stereo and two mono (a total of 10 channels by my calculations) a simple computer running SFX with an M-Audio Firewire 410 attached could tackle this with no problems. But, obviously, if one is having to mix microphones then this cannot be replaced by a computer any more than a lighting board programmer can be. -Adam Fitchett FrankWood95 [at] aol.com wrote: >There is one big difference between lights and sound. Lighting cues tend to >happen more slowly. If the operator is reasonably with it, he can say to >himself: "Hang on, this doesn't look right", hit the 'stop' button and try to sort >it out. An ample supply of information will help, although it shouldn't happen. >This is one of the reasons I dislike having all the cues called. It tends to >disinvolve the operators. > >Sound is different. By the time the operator knows it's wrong, so does the >whole audience. I'm sure we have all done it: I know that I have. And the >operations are more complicated, too. For lights, with a modern control, the >information "Cue 26; GO" may suffice. For sound, it does not. The source, levels, and >destinations all need to be set up first. That's just for effects replay. >Multiple, simultaneous effects are not unusual. Lighting just passes from one >'look' to another. > >I wish I could do that with sound, but I know of no gear to do it. Forget >computers. They are always short of outputs. I have done a show which needed two >quad outputs, to different speaker sets, four stereo, and two mono. > > > >Frank Wood > > > ------------------------------ Subject: New Shop Tools Reply-To: rebekkah [at] excite.com From: "Rebekkah Meixner" Message-Id: <20050620022545.0376A19734E [at] xprdmailfe3.nwk.excite.com> Date: Sun, 19 Jun 2005 22:25:45 -0400 (EDT) Hello, I am looking for advice on some good quality table saws, radial arm saws, and other scene shop necessities. I recently accepted the design and production professor position at Indiana University Southeast and upon inspection of the shop and its contents; I have found out that I need to replace a few things. The first two items on my hit list are the table and radial arm saws due to safety concerns. What is everyone using and how do you like them? I was looking at a Delta 10� unisaw for the table saw but would like some other brands to compare against. Thanks for your help. Rebekkah Meixner Indiana University Southeast _______________________________________________ Join Excite! - http://www.excite.com The most personalized portal on the Web! ------------------------------ End of Stagecraft Digest #433 *****************************