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Subject: Stagecraft Digest #709
Date: Tue, 28 Feb 2006 16:35:21 -0800
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #709

 1. Re: circuit breaker (and pilot lights for dressing rooms}
    by "Bill Conner" <bill-conner [at] att.net>
 2. Re: Video projectors - lots of questions.
    by "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
 3. Re: Quirky theaters
    by "Bill Conner" <bill-conner [at] att.net>
 4. Channel - board layout
    by "Steven Haworth" <sjh [at] idm.com>
 5. Re: Twisting Traveler Lines
    by Noemi Ybarra <noemi [at] jonesphillips.com>
 6. Re: Trap system design
    by Heather Hillhouse-Deans <hjh2 [at] Lehigh.EDU>
 7. Re: Channel - board layout
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 8. Re: You know you've been working too hard when...
    by "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
 9. Re: You know you've been working too hard when...
    by Bill Sapsis <bill [at] sapsis-rigging.com>
10. Surge Protector Failure
    by "Alf Sauve" <alf.sauve [at] mindspring.com>
11. Trap plugs
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
12. Re: Twisting Traveler Lines
    by "Peter Scheu" <peter [at] scheuconsulting.com>
13. Re: Channel - board layout
    by Stephen Litterst <slitterst [at] ithaca.edu>
14. Re: Video projectors - lots of questions.
    by Stephen Litterst <slitterst [at] ithaca.edu>
15. Re: Dressing Room lights
    by "Keith Fleschner" <keithfleschner [at] msn.com>
16. Re: Wireless tablet lighting control
    by Jason Tollefson <jason [at] tollefsondesigns.com>
17. Re: Hale Center Accident Comment
    by "Duane" <dhoberg [at] kc.rr.com>
18. Re: Video projectors - lots of questions.
    by "Ken Romaine" <ken.stagecraft [at] gmail.com>
19. Re: Twisting Traveler Lines
    by "Peter Scheu" <peter [at] scheuconsulting.com>
20. Dressing Room Pilot lights (was Re: circuit breaker)
    by "Ben Peoples" <bpeoples [at] gmail.com>
21. Re: You know you've been working too hard when...
    by "Jon Ares" <jonares [at] hevanet.com>
22. Re: Channel - board layout
    by Davy Davis <wdavis [at] du.edu>
23. Re: Trap system design
    by "Bill Conner" <bill-conner [at] att.net>
24. Re: Express (Was: Designers and consultants - A RANT!)
    by "Bill Conner" <bill-conner [at] att.net>
25. Re: You know you've been working too hard when...
    by "Jon Ares" <jonares [at] hevanet.com>
26. Re: Video projectors - lots of questions.
    by Jason Tollefson <jason [at] tollefsondesigns.com>
27. Re: Surge Protector Failure
    by Jim Hyslop <theatre [at] dreampossible.ca>
28. Re: circuit breaker (and pilot lights for dressing rooms}
    by "Mitch Hefter" <stagecraft02 [at] DesignRelief.com>
29. Re: Channel - board layout
    by John McKernon <stagecraft2006 [at] mckernon.com>
30. Re: Channel - board layout
    by "Shawn King" <skingld [at] gmail.com>
31. Adjusting mic eq
    by Jim Hyslop <theatre [at] dreampossible.ca>
32. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
33. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
34. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
35. Re: You know you've been working too hard when...
    by Dan Mills <dmills [at] spamblock.demon.co.uk>
36. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
37. Re: Trap system design
    by Greg Bierly <gbierly [at] dejazzd.com>
38. Re: Video projectors - lots of questions.
    by Bill Sapsis <bill [at] sapsis-rigging.com>
39. Tablet PCs in general (was Wireless tablet lighting control)
    by "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
40. Re: Adjusting mic eq
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
41. Re: Express (Was: Designers and consultants - A RANT!)
    by "Steven Haworth" <sjh [at] idm.com>
42. Re: Surge Protector Failure
    by "Steven Haworth" <sjh [at] idm.com>
43. Re: Surge Protector Failure
    by "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
44. Re: Tablet PCs in general (was Wireless tablet lighting control)
    by "Steve Jones" <steve.jones [at] glasgowplazatheatre.org>
45. Re: Video projectors - lots of questions.
    by "Ken Romaine" <ken.stagecraft [at] gmail.com>
46. Re: You know you've been working too hard when...
    by "Bill Nelson" <billn [at] peak.org>
47. Re: Video projectors - lots of questions.
    by Bill Sapsis <bill [at] sapsis-rigging.com>
48. Re: Express (Was: Designers and consultants - A RANT!)
    by "Bill Nelson" <billn [at] peak.org>
49. Re: You know you've been working too hard when...
    by Jim Hyslop <theatre [at] dreampossible.ca>
50. Re: Adjusting mic eq
    by Jim Hyslop <theatre [at] dreampossible.ca>
51. Re: Surge Protector Failure
    by "Bill Nelson" <billn [at] peak.org>
52. Re: Express (Was: Designers and consultants - A RANT!)
    by Stephen Litterst <slitterst [at] ithaca.edu>
53. Soundcraft sound boards
    by Jim Hyslop <theatre [at] dreampossible.ca>
54. Re: Video projectors - lots of questions.
    by "Ken Romaine" <ken.stagecraft [at] gmail.com>
55. Re: Soundcraft sound boards
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
56. Re: Soundcraft sound boards
    by Jim Hyslop <theatre [at] dreampossible.ca>
57. Re: Soundcraft sound boards
    by Jim Hyslop <theatre [at] dreampossible.ca>
58. Re: Adjusting mic eq
    by "Bill Nelson" <billn [at] peak.org>
59. Re: Adjusting mic eq
    by Jim Hyslop <theatre [at] dreampossible.ca>
60. Re: You know you've been working too hard when...
    by MissWisc [at] aol.com
61. Re: Surge Protector Failure
    by Dale Shirk <lists [at] shirkaudio.com>
62. how to set gain (was: RE: Adjusting mic eq)
    by "Cyr, Dale" <Dale.Cyr [at] getronics.com>
63. Re: Surge Protector Failure
    by "Steven Haworth" <sjh [at] idm.com>
64. Re: Express (Soft patching)
    by June Abernathy <jea00321 [at] yahoo.com>
65. Re: Tablet PCs in general (was Wireless tablet lighting control)
    by "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
66. Re: Soundcraft sound boards
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
67. Re: Tablet PCs in general (was Wireless tablet lighting control)
    by "Daniel O'Donnell" <dan [at] mystykworks.com>
68. Re: Express (Was: Designers and consultants - A RANT!)
    by CB <psyd [at] cox.net>
69. Re: Surge Protector Failure
    by FrankWood95 [at] aol.com
70. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
71. You know you've been working too hard when...
    by CB <psyd [at] cox.net>
72. Re: Surge Protector Failure
    by FrankWood95 [at] aol.com
73. Re: Lift accident - Salt Lake City Tribune.... Very Short Rant
    by CB <psyd [at] cox.net>
74. Video projectors - lots of questions.
    by CB <psyd [at] cox.net>
75. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

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

Message-ID: <00df01c63c61$ee33bc20$6f01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: circuit breaker (and pilot lights for dressing rooms}
Date: Tue, 28 Feb 2006 06:24:29 -0600

Bruce - not quite like the switch for your bathroom.  This is to indicate 
the lights and receptacles are powered.  Dressing room lights and things 
plugged into the outlets (irons, coffeepots, curlers, overloaded extension 
cords, etc.)  in combination with lots of costumes and lint and so on are 
known to result in fires.  (I don't know if this is really still true but 
the codes haven't revisited it.  Codes also still require 1 hour fire 
resistance rated construction around dressing rooms - and practically 
nowhere else any longer.  The wall between the stage and the corridor to the 
way out doesn't have to be rated in a sprinkled building but the dressing 
room does.)  Thus, the idea of a pilot light to inform someone they are on. 
It use to be required to be located in he dressing room (?) but a few cycles 
ago was changed to outside - like in the corridor - so a watchman or someone 
would know if it was left on.  I strongly believe the switch should be in 
the dressing room and only the pilot light outside.

Bill C. 


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

From: "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
Subject: RE: Video projectors - lots of questions.
Date: Tue, 28 Feb 2006 10:09:18 -0600
In-Reply-To: <list-28033815 [at] prxy.net>
Message-ID: <IVENJL00.528 [at] mail.accd.edu>

I'm not much more knowledgeable than you in this area. We are attempting a
similar purchase in my facility. Also looking for 10,000 lumens and DLP I
have found Solutions for around 20,000 up into the six figures. From what I
can gather, Barco and Christie and the like are road worthy and you pay for
it. It seems to me that in a fixed installation this ruggedness may not be
necessary. Anybody have any insight? We are also considering the option of
stacking two 5,000 lumen units. Sales rep's say it is super easy, but I'm
want a demo before I'm going to agree to that. Also, in my digging, I found
a Christie that appears to be almost identical to a Sanyo. Maybe like Ford
and Mercury?      

Justin Bennett
Technical Director / Theatre Manager
St. Philip's College - Watson Fine Arts Center
jbennett43 [at] mail.accd.edu
(210) 531-4706 Office
(210) 531-4768 Fax
 
-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Bruce Purdy
Sent: Tuesday, February 28, 2006 1:19 AM
To: Stagecraft
Subject: Video projectors - lots of questions.

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

    I have been given the task of researching what it would cost to get a
video projector for our Theatre. My boss wants the information so that he
can look into funding possibilities, and wants a ballpark of what he should
be looking for.

    Our screen is about 40' wide by 30' tall. If I ran it from the front of
the balcony, as I have done with rented equipment a time or two, the throw
is about 100' - but I'd rather run it from the projection booth, which would
give me a 150' throw.

    I know some of you are a lot more knowledgeable about the subject than I
(And that's an understatement), so I'm seeking any advice you could give me.

    So far I've been looking at
http://www.projectorcentral.com/
and am overwhelmed at the variety of choices. I'm guessing that I want about
- or at least - 10,000 lumens. I think I recall hearing on this list that
DLP is better than LCD, so those are the criteria I'm focusing on.

    Within that range, I see several listing at $125,000 to $170,000 (Ouch)
but also a Barco SLM R12 (11,500 lumens) for only $70,000! That's quite a
difference. Any experience with or opinions about Barco? Are they to video
what Baranghers supposedly is to audio?

    Some of the ones I've investigated, like the Panasonic pt-D9610u don't
even show up on projectorcentral, and the Panasonic site doesn't talk about
price. 

    I do know that the lens for any projector is additional, but it's hard
to find prices for them. Some, like the Panasonic, also apparently need
special input cards depending on the type of signal source.

    By the way, the idea is to be able to show DVDs for film festivals and
such, and computer inputs like Powerpoint for conferences. Is there a
practical way to get the signal from a laptop on the stage up to the
projection booth? (Presenters often want to run their own Powerpoints.)

    Any helpful advice would be most appreciated!

Bruce
-- 
Bruce Purdy
Technical Director
Smith Opera House





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

Message-ID: <00e301c63c62$f8c17f50$6f01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re:  Quirky theaters
Date: Tue, 28 Feb 2006 06:31:53 -0600

Jim posted:  Surely not safety, when the result is electricians hanging over 
the railing to reach the lights, and riggers loading everything from the 
floor and hauling loaded pipes out to put the weights on

It was on his basis I persuaded a committee of building officials to change 
the code to allow non-standard railings in places of assembly where 
necessary for access to equipment.  My standard lighting railings are at 28" 
clear between toe board and bottom of first rail and usually another rail 
30" above.  I prefer no railings what-so-ever on loading bridges but will 
compromise to chains and (rated) hooks or connectors if pushed.  I've never 
heard of a fall from a loading bridge and the falls from catwalks have been 
after the person left the catwalk and was hanging outbound to reach the 
fixture or simply walking over the ceiling.  (Darwin struck when a student 
walked over a lay in ceiling.)

It doesn't relieve the employer from fall protection requirements of OSHA.

Bill C. 


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

Subject: Channel - board layout
Date: Tue, 28 Feb 2006 10:02:39 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B60EC [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

You know, I thought of another thing I always do... I wonder if others
do this.

When I lay out my channels, I do it based on the console's screen
display of channels.  So if using an Express, say, which displays 24
channels per row on the screen, I will use that logically.

For example - let's say I have three systems of front light (blue, lav,
amber), over 17 areas.  I will make the first colum of the screen
display area 1, where row 1 is blue, row 2 lav, and row 3 amber.  Thus,
the blues will be channels 1-17, the lavs channels 25-41, and ambers 49-
65, etc.

In this way, I can easily look at the screen during cue-setting, and see
what areas are lit, and from which systems.  I create a color-coded
cheat-sheet that includes this screen layout, so I can have a sense of
what's up on stage at-a-glance.


- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info

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

Message-ID: <44047CF1.A9C9E2F5 [at] jonesphillips.com>
Date: Tue, 28 Feb 2006 11:40:17 -0500
From: Noemi Ybarra <noemi [at] jonesphillips.com>
Subject: Re: Twisting Traveler Lines
References: <list-28011711 [at] prxy.net>

Peter Scheu wrote:

> One thing we like to do is keep the floor clear of pulleys when the pipe
> flies, and avoid a situation where an "uniformed" user tries to fly the set
> with the floor block still attached to the floor.

What kind of uniforms do they have to wear???

Noemi Ybarra

--
Jones & Phillips Associates, Inc.
http://www.jonesphillips.com
301 North 5th Street
Lafayette, Indiana 47901
765-423-1123 (Voice)
765-742-4013 (Fax)



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

Message-ID: <44046121.8030401 [at] lehigh.edu>
Date: Tue, 28 Feb 2006 09:41:37 -0500
From: Heather Hillhouse-Deans <hjh2 [at] Lehigh.EDU>
Subject: RE: Trap system design

Thanks for the emails Jim (offlist) Dale and Dave.  While I could run to 
the trap room floor, it isn't ideal.  We have a double fire door labeled 
"Exit" about 3' from the edge of our traps, and while the campus saftey 
guy has been great about working with us on temporary strucutres, I 
doubt he would be thrilled with a more permenant solution.   I really 
like the idea of running stringers (probably steel truss) on the 8' 
direction,  probably  4' centers, with platforming on top.   The sunkin 
D-rings are great, and Stress-skin would nice sturdy way to do, but I 
may actually want the additional depth of a standard 2x framed platform 
to make it easier to attach custom pieces.  One of the pictures Jim sent 
me was something similar to this, but with steel framed platforms what 
had turnbuckle connections down below to keep them tight.   I can't 
think of a downside to any of these ideas, so if someone has a layout 
like this and has problems with it, please chime in!
Thanks so much-
Heather


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

Subject: RE: Channel - board layout
Date: Tue, 28 Feb 2006 12:47:06 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B75 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> You know, I thought of another thing I always do... I wonder=20
> if others do this.
>=20
> When I lay out my channels, I do it based on the console's=20
> screen display of channels.  So if using an Express, say,=20
> which displays 24 channels per row on the screen, I will use=20
> that logically.

Sometimes...though I'm more likely to instinctively use the fader
groupings more than the on-screen ones, particularly with the Express
72/144 as the screen shows slightly more than one fader-bank's worth of
channels.

The best layout I recall ever putting that board through (for a dance
show) had, among other things, 8 sidelights on scrollers, 2 Cyberlights,
and 2 Mac500s.  I stacked the MLs on top of each other (HL of each pair
on top), and the scrolled instrument faders directly above the scroller
controls.  Ended up being ridiculously easy to cue and adjust that
way...

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

Date: Tue, 28 Feb 2006 09:49:41 -0500
Subject: Re: You know you've been working too hard when...
From: "Ray-Pfeifer, Merel" <raypf1mg [at] cmich.edu>
Message-ID: <C029CD35.3E8F%raypf1mg [at] cmich.edu>
In-Reply-To: <list-28022803 [at] prxy.net>

Kristi, I don't mean to scare you but, I think it is a sport, ice bike
(motorcycles) racing.  Very scary to watch.

Merel


On 2/27/06 6:58 PM, "MissWisc [at] aol.com" <MissWisc [at] aol.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Reading the latest issue of Unkle Bills' occasional (and always valuable)
> newsletter NETHeads. He includes an excellent article about hand safety which
> includes the caveat:
> 
> " * Keep your finger off the trigger when carrying a  portable power saw. Do
> not support, encourage or participate in races while  using such tools. "
> 
> And my tired brain pictures a group of motorcycles on  a wooden racetrack
> with circular saw blades instead of tires - wondering why  someone would want
> to 
> race on such a thing.
> 
> :) Time to get some  sleep.
> 
> Kristi
>  


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

Date: Tue, 28 Feb 2006 07:20:43 -0500
Subject: Re: You know you've been working too hard when...
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C029AA4B.9997%bill [at] sapsis-rigging.com>
In-Reply-To: <list-28022803 [at] prxy.net>

Saw blades for bike tires.  Hmmmmmm.  It could work.....:-)

And speaking of netHeads, we're using a new e-mail program and I'd like to
make sure it's working OK.  If you think you're on our subscriber list but
didn't get a newsletter yesterday, please let me know...privately.

And for those of you who aren't subscribed but would like to be, please also
let me know....privately.

Thanks
Bill S.

www.sapsis-rigging.com
Bill [at] sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561 mobile

Join the Long Reach Long Riders on their 3rd annual cross country charity
motorcycle ride.   <www.LRLR.org>






On 2/27/06 6:58 PM, "MissWisc [at] aol.com" <MissWisc [at] aol.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Reading the latest issue of Unkle Bills' occasional (and always valuable)
> newsletter NETHeads. He includes an excellent article about hand safety which
> includes the caveat:
> 
> " * Keep your finger off the trigger when carrying a  portable power saw. Do
> not support, encourage or participate in races while  using such tools. "
> 
> And my tired brain pictures a group of motorcycles on  a wooden racetrack
> with circular saw blades instead of tires - wondering why  someone would want
> to 
> race on such a thing.
> 
> :) Time to get some  sleep.
> 
> Kristi
>  



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

Message-ID: <004e01c63c67$6bf98310$6501a8c0 [at] ALFOFFICE>
Reply-To: "Alf Sauve" <alf [at] sauve.org>
From: "Alf Sauve" <alf.sauve [at] mindspring.com>
Subject: Surge Protector Failure
Date: Tue, 28 Feb 2006 08:03:48 -0500

I had a wall mounted surge protector fail (go up in flames actually) last 
week.  Here is a link to pictures.

http://sauve.org/surgeprotector.htm

Fortunately, it was during business hours and the office personnel pulled 
the protector (kicked) off the wall.  I don't suspect simple overload, but I 
believe it may have been victim of an inductive load for which it wasn't 
intended.  In the work room this was used to protect an HP LJ5 printer, 
which should have been no problem for this 15Amp protector.  Two suspects 
are a nearby water cooler and possibly the cleaning crew using this for 
their vacuum.

The application to stagecraft is to be careful with all surge protectors and 
make sure they are used only for their rated purposes.  The extra sockets in 
a surge protector are not "free" game for anything somebody wants to plug 
in.  I might suggest that unused sockets be covered with the child 
protection plugs to discourage unauthorized use.

Alf



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

Date: Tue, 28 Feb 2006 10:19:26 -0500
Subject: Trap plugs
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <C029D42E.1F06%jdougher [at] middlebury.edu>

In our quirky theater, the traps are 4'x4' modules (5 traps wide, 6 traps
deep).  They feel like 6" of solid wood, but that can't be right.  They
aren't light stress skins, though.  They are edge-supported on 4' aluminum
I-beams, which are in turn supported at intersection points by 14'
adjustable-height columns.  Each column has a screw fitting at the bottom,
adjusted by a collar with 6" protruding steel bars, so that traps can be
leveled.  The bars are at ankle height.  In theory, each module or beam is
small enough to handle, you remove only the beams and/or columns in your way
and it's simple to perfectly level the floor by turning the collars.  In
practice, the modules are very heavy and need to be removed from below (i.e.
from 14' below the trap with a jack and post - there's no way someone on a
ladder is going to lift these beauties), the height adjustment isn't easy
(instead, the traps are leveled with shims between the modules and the
beams), and the trap room is a forest of columns on 4' centers.  I've never
had to move the columns, but based on their size and weight, we would be
using chain hoists to move them rather than our workstudy students.  Not
simple.  The beams are nice and light, though.  The aluminum was a nice
touch. Everything aligns with pins or gravity rather than bolts so you don't
need wrenches and ladders to move things around.

The column setup is in some ways the worst offender.  We don't have much
storage space, and the trap room is pretty commonly used to store extra
platforms, scenery, what have you.  With the columns there, and all the
little ankle biters on each one, it's not as usable.  That being said, there
aren't that many other ways to go if your traps are in a 20' by 24'
rectangle.  A beam long enough to span that distance is going to be pretty
heavy.

Things to look for in a new system would be:

Ensuring the plugs are light enough to handle, and strong enough to bear the
same load as the rest of your stage.
Size the plugs to fit commonly available materials.  The 4' squares we have
require more supports but it's easy to build replacement plugs with doors,
gratings, etc.
Support for the plugs that minimizes impact on the open space below, for
storage, stage machinery, what have you.
An easy method for pulling plugs so that removing them doesn't become a
major part of the build for a design that incorporates the trap room.
 
Of course, the trap room in the final scene of _Charade_ would be very very
nice. It's a 1963 Cary Grant/Audrey Hepburn film, if one is curious.

-  Jim Dougherty
ATD, Middlebury College Theatre Dept.


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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Twisting Traveler Lines
Date: Tue, 28 Feb 2006 12:57:45 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAUoY+YNL6EkmwaLynYFJBmwEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-28042000 [at] prxy.net>

>Peter Scheu wrote:
>
>> One thing we like to do is keep the floor clear of pulleys when the 
>> pipe flies, and avoid a situation where an "uniformed" user tries to 
>> fly the set with the floor block still attached to the floor.
>
>What kind of uniforms do they have to wear???
>
>Noemi Ybarra

oops... Meant to type "uninformed"

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966


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

Date: Tue, 28 Feb 2006 12:58:17 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Channel - board layout
In-reply-to: <list-28041868 [at] prxy.net>
Message-id: <44048F39.6030002 [at] ithaca.edu>
References: <list-28041868 [at] prxy.net>

Steven Haworth wrote:
> ---------------------------------------------------
> 
> You know, I thought of another thing I always do... I wonder if others
> do this.
> 
> When I lay out my channels, I do it based on the console's screen
> display of channels.  So if using an Express, say, which displays 24
> channels per row on the screen, I will use that logically.

I know a certain Tony nominated designer who lays out similarly to you. 
  He came to do a master class and observe a dress rehearsal and reamed 
the LD for using Flexi-channel since it messes up the nice orderly rows 
of channels.

Steve L.
-- 
Stephen Litterst
Technical Supervisor
Ithaca College, Theatre Arts
607.274.3947
slitterst [at] ithaca.edu

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

Date: Tue, 28 Feb 2006 09:55:32 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Video projectors - lots of questions.
In-reply-to: <list-28033815 [at] prxy.net>
Message-id: <44046464.8040406 [at] ithaca.edu>
References: <list-28033815 [at] prxy.net>

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

>     So far I've been looking at
> http://www.projectorcentral.com/
> and am overwhelmed at the variety of choices. I'm guessing that I want about
> - or at least - 10,000 lumens. I think I recall hearing on this list that
> DLP is better than LCD, so those are the criteria I'm focusing on.

Projector Central is a good resource.  It may be a little underpowered 
for the scope of projector you're looking into.

If he hasn't already contacted you based on this post, call Ken Romaine 
at Barco. He's a list member and a good guy despite that.  :)

Steve L.
-- 
Stephen Litterst
Technical Supervisor
Ithaca College, Theatre Arts
607.274.3947
slitterst [at] ithaca.edu

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

Message-ID: <BAY107-F40B0798A3FE59FA95D8A4D0F70 [at] phx.gbl>
From: "Keith Fleschner" <keithfleschner [at] msn.com>
Subject: RE: Dressing Room lights
Date: Tue, 28 Feb 2006 10:03:05 -0800

<html><div style='background-color:'><P><BR><BR></P>
<DIV>
<P><BR><BR></P>
<DIV>
<DIV class=RTE>
<P>Hi</P>
<P>Bill C was commenting about article 520.73 in the NEC</P>
<P>Start quote&nbsp;</P>
<P>"Switches Required All lights and any receptacles adjacent to the mirror(s) and above the dressing table counter(s) installed in dressing rooms shall be controlled by wall switches installed in the dressing room(s). Each switch controlling receptacles adjacent to the mirror(s) and above the dressing table counter(s) shall be provided with a pilot light located outside the dressing room adjacent to the door to indicate when the receptacles are energized. Other outlets installed in the dressing shall&nbsp;not be required to be switched"&nbsp;&nbsp;<BR></P>
<P>End quote<BR></P></DIV>
<DIV>Note this is in the article on Theaters (520) it only applies if your under the scope in 520.1 but I'm tired of typing.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Keith</DIV></DIV></DIV></div></html>


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

Message-ID: <20060228170619.32135.qmail [at] web51010.mail.yahoo.com>
Date: Tue, 28 Feb 2006 09:06:19 -0800 (PST)
From: Jason Tollefson <jason [at] tollefsondesigns.com>
Reply-To: jason [at] tollefsondesigns.com
Subject: Re: Wireless tablet lighting control
In-Reply-To: <list-28002964 [at] prxy.net>

GrandMA has a fantastic version of their control software called "GrandMA on PC" which is
specifically designed to run off a tablet PC.  It also runs well on a standard PC.  When looking
for the download be sure to look for The name above.  There is a version of their software called
"GrandMA Offline" which emulates the look and feel of the actual console but as an interface
onscreen it doesn't work as well as the version designed for the PC.

http://www.actlighting.com/Downloads/d_frme.htm

Jason Tollefson
jason [at] tollefsondesigns.com

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

Message-ID: <0c3d01c63c64$3a8c30a0$0201a8c0 [at] kc.rr.com>
From: "Duane" <dhoberg [at] kc.rr.com>
References: <list-28039457 [at] prxy.net>
Subject: Re: Hale Center Accident Comment
Date: Tue, 28 Feb 2006 06:40:59 -0600

 "Minor injuries are fairly common",... "Usually it's smashed toes and
fingers,
that kind of thing".

With that attitude, the --MINOR-- injuries will continue until one day....

Maybe his other comment was about himself???

Duane
TD
New Theatre Restaurant
Overland Park, KS




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

Message-ID: <ce2084ad0602280713yc00f63ep6b53130a722cb268 [at] mail.gmail.com>
Date: Tue, 28 Feb 2006 10:13:21 -0500
From: "Ken Romaine" <ken.stagecraft [at] gmail.com>
Subject: Re: Video projectors - lots of questions.
In-Reply-To: <list-28033815 [at] prxy.net>
References: <list-28033815 [at] prxy.net>

I've replied to Bruce off-list (it being a somewhat commercial type of
e-mail), but I wanted to make an unequivocal statement on-list:
Barco and Behringer ARE NOT equivalent.

This is most definitely not aimed at Bruce, (Bruce was asking a
question - I'm answering) but I want to make sure that nobody
mis-interprets his question as a statement of fact.

First off, all the printed circuit boards in Barco's stuff say "Barco"
on them. <vbg>

Secondly, and more importantly, Barco is a worldwide industry leader
in technology and innovation.  Has been for years, and not just in the
entertainment industry.  I was pretty suprised when I joined Barco at
the breadth of their business - entertainment, medical imaging,
avionics displays, simulation (flight, driving and other), air traffic
management visualization, even in textiles.

Anyway - enough of the commercial, and I certainly don't mean to rant,
I just want to head off any misconceptions.

If you want to know more - contact me directly, off list:
ken.stagecraft [at] gmail.com
Or go to the Barco main website:
http://www.barco.com

OK - I'm done now.

Sorry for the mini-rant.

Oh yeah - about Bruce's original question - I'm happy to answer
questions about projectors or any other Barco products, too.  Ask
away.

--
Ken Romaine
Business Development Manager
Barco Media & Entertainment
The opinions expressed here are mine - all mine - no matter how
much I want to impose them on the rest of the world.

On 2/28/06, Bruce Purdy <bpurdy [at] rochester.rr.com> wrote:
>    I have been given the task of researching what it would cost to get a
> video projector for our Theatre. My boss wants the information so that he
> can look into funding possibilities, and wants a ballpark of what he shou=
ld
> be looking for.
<snip>
> Any experience with or opinions about Barco? Are they to video
> what Baranghers supposedly is to audio?
>
<snip to almost end>
>    Any helpful advice would be most appreciated!
>
> Bruce
> --
> Bruce Purdy
> Technical Director
> Smith Opera House

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

Reply-To: <peter [at] scheuconsulting.com>
From: "Peter Scheu" <peter [at] scheuconsulting.com>
Subject: RE: Twisting Traveler Lines
Date: Tue, 28 Feb 2006 13:11:08 -0500
Organization: Scheu Consulting Services, Inc.
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAFIzFiG12TU6sr87xtBG2l8KAAAAQAAAAaGjY76W3dkCLYBMlHr/5bQEAAAAA [at] scheuconsulting.com>
In-reply-to: <list-28042000 [at] prxy.net>

>Peter Scheu wrote:
>
>> One thing we like to do is keep the floor clear of pulleys when the 
>> pipe flies, and avoid a situation where an "uniformed" user tries to 
>> fly the set with the floor block still attached to the floor.
>
>What kind of uniforms do they have to wear???
>
>Noemi Ybarra

oops... Meant to type "uninformed"

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966


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

Message-ID: <943178930602280732r2a0c1c43o96a4f6517ecc3815 [at] mail.gmail.com>
Date: Tue, 28 Feb 2006 07:32:37 -0800
From: "Ben Peoples" <bpeoples [at] gmail.com>
Subject: Dressing Room Pilot lights (was Re: circuit breaker)

> >      If so, why? The DR lights are on before any artist arrives, and we=
 know
> >  where the switch is - right inside the door where logic says it should=
 be.
> >  No one would be in there in the dark unless there were a power failure=
,
> then
> >  the switch wouldn't light up anyway, and besides it wouldn't do any go=
od if
> >  the power was out. ;-)
>
>  These are usually fitted OUTSIDE the doors, so that the guy doing the fi=
nal
> check can see whether the lights are on without having to chase up the ke=
ys.

At least in my reading of the NEC, the pilot lamps are intended to
protect from fires.  The pilot lamps on this side of the pond indicate
that the plugs above the counter are turned on.  So the guy walking
around locking up can be sure that all the curling irons and whatnot
are turned off, in theory, by making sure those little lights are off.

IIRC, the lamps aren't required for the plugs below the counter or the
lights in the dressing room, but I don't have the code infront of me
at the moment.

-- Ben

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

Message-ID: <000901c63c92$c3452c20$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-28042416 [at] prxy.net>
Subject: Re: You know you've been working too hard when...
Date: Tue, 28 Feb 2006 10:14:06 -0800

> Kristi, I don't mean to scare you but, I think it is a sport, ice bike
> (motorcycles) racing.  Very scary to watch.
>


As a kid, my brother, neighbors and I used to play "Bike Hockey" on a frozen 
pond...  but just regular rubber bike tires...

       - Jon Ares
www.hevanet.com/acreative 


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

Date: Tue, 28 Feb 2006 11:18:36 -0700
From: Davy Davis <wdavis [at] du.edu>
Subject: Re: Channel - board layout
In-reply-to: <list-28041868 [at] prxy.net>
Message-id: <440493FC.7070502 [at] du.edu>
Organization: DU Theatre
References: <list-28041868 [at] prxy.net>

I do this slightly differently because I can adjust the screen display.
If using 10 or less areas each channel for that area ends with the area 
number:
Area 1 warm channel 1
Area 1 cool channel 11
Area 1 top channel 21
If using 11-20 areas it's very similar.  I find I have memorized all the 
channel numbers for areas by the time the paperwork is finished.  I 
never need to look at it except for specials.  I figure this saves 2 to 
3 seconds per operation, focus, check, changes, and with often 100 
lights set to areas that's easily 15 minutes a day x number of people it 
affects.
Davy

Steven Haworth wrote:

> When I lay out my channels, I do it based on the console's screen
> display of channels.  So if using an Express, say, which displays 24
> channels per row on the screen, I will use that logically.

-- 
William Temple (Davy) Davis; Chair
Department of Theatre
University of Denver
wdavis [at] du.edu
303-871-3164


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

Message-ID: <00db01c63c60$74b0ab20$6f01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject:  Re: Trap system design
Date: Tue, 28 Feb 2006 06:13:53 -0600

In response to Heather Hillhouse-Deans - if dance is not a priority or if 
you cover the floor with a basket-weave floor, consider the system 
Stageright offers - honeycomb platforms supported by a shelf angle with 
nodes around the edges and posts with a plate and nodes at the 
intersections.  In your 8x16 opening I envision 8 4X4 panels with 3 columns. 
The columns need an anchor in the trap room floor.  I believe they will 
include levelers in the columns.  You could build something like this as 
well but the panels won't be as light is my guess.

Bill C. 


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

Message-ID: <00e701c63c64$6c04ae00$6f01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: Re: Express (Was: Designers and consultants - A RANT!)
Date: Tue, 28 Feb 2006 06:42:01 -0600

Frank - how many dimmers do you have?  When I design a high school today, 
there are 2 or 3 or 4 racks of 96 - so 192 to 384 circuits typically. 
That's a lot of channels, not counting the moving lights - a whole bunch 
more channels depending on your board.

Bill 


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

Message-ID: <003101c63c82$102c6dc0$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-28022803 [at] prxy.net>
Subject: Re: You know you've been working too hard when...
Date: Tue, 28 Feb 2006 08:14:34 -0800

> " * Keep your finger off the trigger when carrying a  portable power saw. 
> Do
> not support, encourage or participate in races while  using such tools. "
>
> And my tired brain pictures a group of motorcycles on  a wooden racetrack
> with circular saw blades instead of tires - wondering why  someone would 
> want to
> race on such a thing.


Interesting... in my mind, I was envisioning folks running from one end of 
the shop to the other with a circular saw in each hand....

      - Jon Ares
www.hevanet.com/acreative 


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

Message-ID: <20060228172624.62614.qmail [at] web51015.mail.yahoo.com>
Date: Tue, 28 Feb 2006 09:26:24 -0800 (PST)
From: Jason Tollefson <jason [at] tollefsondesigns.com>
Reply-To: jason [at] tollefsondesigns.com
Subject: Re: Video projectors - lots of questions.
In-Reply-To: <list-28039457 [at] prxy.net>

Just yesterday, I hung two of these for a special event this coming weekend.  While I haven't
actually used them in show yet, so far they seem like a nice unit for their size and cost; good
output, easy to hang, relatively small and light.  Know that you'll need a 30amp, 250v power
source to get it going.

Good Hunting,

Jason Tollefson
jason [at] tollefsondesigns.com 


> Within that range, I see several listing at $125,000 to $170,000 (Ouch)
> but also a Barco SLM R12 (11,500 lumens) for only $70,000! That's quite a
> difference. Any experience with or opinions about Barco? Are they to video
> what Baranghers supposedly is to audio?


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

Message-ID: <440496ED.9030407 [at] dreampossible.ca>
Date: Tue, 28 Feb 2006 13:31:09 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Surge Protector Failure
References: <list-28042623 [at] prxy.net>
In-Reply-To: <list-28042623 [at] prxy.net>

Alf Sauve wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I had a wall mounted surge protector fail (go up in flames actually)
> last week.  Here is a link to pictures.
[...]
> wants to plug in.  I might suggest that unused sockets be covered with
> the child protection plugs to discourage unauthorized use.

Thanks for the warnings. Glad to hear nobody got hurt, and damage was
minimal. Have adrenalin levels returned to normal yet?

I think sometimes the 15A rating on these things is misleading. I had a
plug-in timer show signs of melting the case after heavy use. As soon as
I noticed, I got rid of the timer, of course.

-- 
Jim Hyslop


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

Message-ID: <26025.12.156.239.114.1141151534.squirrel [at] webmail2.pair.com>
Date: Tue, 28 Feb 2006 18:32:14 -0000 (GMT)
Subject: Re: circuit breaker (and pilot lights for dressing rooms}
From: "Mitch Hefter" <stagecraft02 [at] DesignRelief.com>
Reply-To: stagecraft02 [at] DesignRelief.com
References: <list-28039457 [at] prxy.net>
In-Reply-To: <list-28039457 [at] prxy.net>

Frank pretty much has it right:

Bruce Purdy wrote:
> <snip>

> I have to admit, it's a new one to me. I assume then that you
> are talking about the kind of switch that I have in my bathroom
> at home - the switch lights up like a night light. Are you
> saying that they are required in dressing rooms?
>
> If so, why? The DR lights are on before any artist arrives, and we
> know where the switch is - right inside the door where logic says
> it  should be. No one would be in there in the dark unless there
> were a  power failure, then the switch wouldn't light up anyway,
> and besides  it wouldn't do any good if the power was out. ;-)

Frank Wood wrote:
> <snip>
> These are usually fitted OUTSIDE the doors, so that the guy doing the
> final check can see whether the lights are on without having to chase
> up the keys.

From the 2005 NEC (Article 520, Part VI - Dressing Rooms):

520.73 Switches Required
All lights and any receptacles adjacent to the mirror(s) and above the
dressing table counter(s) installed in dressing rooms shall be controlled
by wall switches installed in the dressing room(s). Each switch
controlling receptacles adjacent to the mirror(s) and above the dressing
table counter(s) shall be provided with a pilot light located outside the
dressing room, adjacent to the door to indicate when the receptacles are
energized. Other outlets installed in the dressing room shall not be
required to be switched.

Commentary from the NEC Handbook:
The requirement in 520.73 addresses only receptacles located adjacent to
the mirror and on the countertop. The receptacles located elsewhere in the
room are not subject to the disconnect and pilot light requirements of
520.73. The purpose of the switching requirement is to make sure that all
coffee pots, curling irons, hair dryers, and other similar countertop
appliances can be readily disconnected at the end of a performance.


. . .
-------------------------------------
Mitch Hefter
Office:  Entertainment Technology /
            a Division of the Genlyte Group
mhefter  [at]  genlytecontrols.com


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

Date: Tue, 28 Feb 2006 13:50:35 -0500
Subject: Re: Channel - board layout
From: John McKernon <stagecraft2006 [at] mckernon.com>
Message-ID: <C02A05AB.7DBE%stagecraft2006 [at] mckernon.com>
In-Reply-To: <list-28041868 [at] prxy.net>

> You know, I thought of another thing I always do... I wonder if others
> do this.
> 
> When I lay out my channels, I do it based on the console's screen
> display of channels.  So if using an Express, say, which displays 24
> channels per row on the screen, I will use that logically.

Yes, Ken Billington's always done it this way, and I can't imagine doing it
any other way myself, though of course that doesn't make it the *only* way.

I think KB probably picked up the habit from the days of using piano boards,
where you cared dearly which dimmers were near each other, and when writing
cues you had to take into account how far a man's arms (or rope and wood)
could reach.

- John McKernon




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

Message-ID: <84c790f30602281051j2901bcedhcf1eb8c788e7ba26 [at] mail.gmail.com>
Date: Tue, 28 Feb 2006 13:51:51 -0500
From: "Shawn King" <skingld [at] gmail.com>
Subject: Re: Channel - board layout
In-Reply-To: <list-28041868 [at] prxy.net>
References: <list-28041868 [at] prxy.net>

One of the designers that comes through my space likes to redo the rep
soft patch so everything fits in 100 channels and onto the first
screen.  He finds it faster to work that way as opposed to flipping
through three pages.

Back in my day of programming Strand boards, I even had some designers
that would ask for the screen to be formatted 20x5 as opposed to 25x4
because of the way they had channelled the show.

I also like to do what Steven said, and have similar systems in rows
right on top of each other.

On 2/28/06, Steven Haworth <sjh [at] idm.com> wrote:

> When I lay out my channels, I do it based on the console's screen
> display of channels.
<snip>
> I will make the first colum of the screen
> display area 1, where row 1 is blue, row 2 lav, and row 3 amber.  Thus,
> the blues will be channels 1-17, the lavs channels 25-41, and ambers 49-
> 65, etc.

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

Message-ID: <44049BD7.7070905 [at] dreampossible.ca>
Date: Tue, 28 Feb 2006 13:52:07 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Adjusting mic eq

OK, this has been bugging me for a while, and I finally have to ask the
skweeks on this list.

When I was in theatre school (mumble) years ago, I took some sound
courses. I seem to recall the instructor talking about "tuning" a space,
and in particular, how *not* to do it. He specificially said not to push
the mic input until it feeds back, then adjust the equalizer input for
that mic to cut out the frequency range that was feeding back, and
repeating this process.

And yet, this is precisely how I see some people adjusting mic levels.
Am I misremembering? Is this practice now acceptable? Or do these people
I'm watching not have a clue how to do it properly?

-- 
Jim Hyslop


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

From: FrankWood95 [at] aol.com
Message-ID: <2c2.440eba0.3135f818 [at] aol.com>
Date: Tue, 28 Feb 2006 14:01:44 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 28/02/06 02:45:38 GMT Standard Time, dale [at] cybercom.net 
writes:

>   I won't confuse you with circuit numbers that don't match the dimmer 
>  numbers, that may be too advanced.

Dale.
    Thank you for your wholly unnecessary and inadequate history of lighting 
control. I have worked with all the types of board you mentioned, and several 
others, usually on straight plays. This has led me to have a 'one lantern, one 
dimmer approach, and preferably one physical lever to control it, although 
with too many levers the size gets out of hand, and you need a keypad. The 
physically largest I have seen was a 256-way 2-preset board in a TV studio about 40 
years ago, made by Strand.

    The modern boards save us from much skull sweat, and from reams of 
paperwork. They remember cues for us, and allow us to talk to moving lights, if you 
find that useful. But they do not lift from the LD the burden of deciding 
exactly how bright THIS lantern is in THIS scene. This still has to be done by 
looking at the stage and adjusting the levels by hand, preferably with a fader or 
faders. They also save us from having to execute cues with a handful of 
faders, or, in the case of some very old controls, two hands and a foot, plus a 
piece of 2" x 1" timber.

Working in an adaptable theatre as I do, having circuit numbers and dimmer 
numbers different is normal. The actual circuits need to be very widely 
distributed. This implies that extra paperwork has to be done, so that the 
dimmer-to-circuit allocation is known. With one show in a straightforward pros format, 
and the next full in-the-round, some such system seems necessary. The 
alternative is miles of cable, transferring outlets from where they are to where you 
want them. We put our hard patch in only about ten or twelve years ago, so I have 
learned to live with both.

BTW, I do realise that your post was meant to be offensive and disparaging. 
The kill file waits.

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <2cc.42b4f8b.3135fa26 [at] aol.com>
Date: Tue, 28 Feb 2006 14:10:30 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 28/02/06 03:02:48 GMT Standard Time, 
bpurdy [at] rochester.rr.com writes:

>     I believe that that's all you do - light plays. In my situation, every
>  day brings something different. One day it might be a dance recital, a
>  Symphony orchestra the next, followed by a children's theatre play in the
>  morning and a classical solo piano concert that evening. We also have
>  musicals, straight plays, rock concerts and graduations. My house plot is
>  one that gives me flexibility that - with minor modifications - allows me 
to
>  handle most of them. Occasionally there is a complete re-hang, but with a
>  staff of "Me", I try to avoid doing that more than I need to.

Under these circumstances, I can see why you would want to do it. All my 
shows are 'one-offs', and there is no such thing as a 'house rig'. Every show is a 
complete re-hang. As we work off bridges, adjacent to the storage areas, this 
is less of a problem than it would be for you.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <257.72dd127.3135fc7f [at] aol.com>
Date: Tue, 28 Feb 2006 14:20:31 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 28/02/06 08:14:32 GMT Standard Time, billn [at] peak.org writes:

> I want my warm fronts in channels 1-6, cool fronts in 7-12, warm tops in
>  13-18, cool tops in 19-24, etc for sides, cyc and specials. I don't want
>  to have to hunt through 96 channels to find where the cool top for area 5
>  is located - I know it is 23 - because I soft patched the board to put it
>  there.

Fair enough. I have a different design technique. You evidently work in a 
proscenium house, I am usually in an arena, where there is no such thing as 
''front'. What is 'front' for half the audience is 'back' for the rest.


Frank Wood

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

In-Reply-To: <list-28044388 [at] prxy.net>
References: <list-28022803 [at] prxy.net> <list-28044388 [at] prxy.net>
Message-Id: <E71CC9FC-BA75-46AF-84FD-AA0A345A4FF0 [at] spamblock.demon.co.uk>
From: Dan Mills <dmills [at] spamblock.demon.co.uk>
Subject: Re: You know you've been working too hard when...
Date: Tue, 28 Feb 2006 19:26:09 +0000


On 28 Feb 2006, at 16:14, Jon Ares wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
>> " * Keep your finger off the trigger when carrying a  portable  
>> power saw. Do
>> not support, encourage or participate in races while  using such  
>> tools. "
>>
>> And my tired brain pictures a group of motorcycles on  a wooden  
>> racetrack
>> with circular saw blades instead of tires - wondering why  someone  
>> would want to
>> race on such a thing.
>
>
> Interesting... in my mind, I was envisioning folks running from one  
> end of the shop to the other with a circular saw in each hand....

In my young and stupid days, we held a power planer race...

Screw a couple of bits of 2x1 to the deck spaced so that a power  
planer will just sit between them, add a bit of scrap wood so it  
doesn't chew the deck up, tape the power switches down, and see the  
look of horror on the head carpenters face when he walks in just as  
we hit the switch.....

Regards, Dan.

BTW:
Seen on a sign above some **SERIOUS** switchgear:  "Nil coitus alto!" 

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

From: FrankWood95 [at] aol.com
Message-ID: <2d9.34f8e1b.3136002a [at] aol.com>
Date: Tue, 28 Feb 2006 14:36:10 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 28/02/06 19:06:29 GMT Standard Time, bill-conner [at] att.net 
writes:

> Frank - how many dimmers do you have?  When I design a high school today, 
>  there are 2 or 3 or 4 racks of 96 - so 192 to 384 circuits typically. 
>  That's a lot of channels, not counting the moving lights - a whole bunch 
>  more channels depending on your board.

I think, 192, and 128 faders. This leaves 64 channels 'off the end'.The whole 
space is about 70' square.


Frank Wood

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

In-Reply-To: <list-28042377 [at] prxy.net>
References: <list-28042377 [at] prxy.net>
Message-Id: <36972832-5A93-4388-8070-A0364D938E74 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: Trap system design
Date: Tue, 28 Feb 2006 14:57:47 -0500

> Stress-skin would nice sturdy way to do, but I may actually want  
> the additional depth of a standard 2x framed platform to make it  
> easier to attach custom pieces.

Just make a stress-skin with 2x.  You will sacrifice weight but in  
this case it might be worth the trade-off.

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

Date: Tue, 28 Feb 2006 15:00:18 -0500
Subject: Re: Video projectors - lots of questions.
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C02A1602.99FB%bill [at] sapsis-rigging.com>
In-Reply-To: <list-28043912 [at] prxy.net>

Care to expand on the "other" simulations????
Bill S.
www.sapsis-rigging.com
800.727.7471
800.292.3851  fax
267.278.4561 mobile

Join the Long Reach Long Riders on their 3rd annual cross country charity
motorcycle ride.   <www.LRLR.org>






On 2/28/06 10:13 AM, "Ken Romaine" <ken.stagecraft [at] gmail.com> wrote:

> Secondly, and more importantly, Barco is a worldwide industry leader
> in technology and innovation.  Has been for years, and not just in the
> entertainment industry.  I was pretty suprised when I joined Barco at
> the breadth of their business - entertainment, medical imaging,
> avionics displays, simulation (flight, driving and other), air traffic
> management visualization, even in textiles.



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

From: "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
Subject: Tablet PCs in general (was Wireless tablet lighting control)
Date: Tue, 28 Feb 2006 15:07:40 -0500
Message-ID: <005701c63ca2$a0c06650$6500a8c0 [at] p3m866>
In-Reply-To: <list-28043546 [at] prxy.net>

Is anyone on the list using a tablet PC on a regular basis?  It's getting to
be time to replace my laptop, and I'm thinking a tablet could be great.  

What are the down sides?  

I'm pretty good at freehand drawing/sketching.  Does the tablet make it easy
to do this and end up with a digital drawing instantly?  I've love to be
able to do everything I do now with a laptop, plus draw pictures and email
them in a flash.

Jim
www.theatrewireless.com



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

Subject: RE: Adjusting mic eq
Date: Tue, 28 Feb 2006 15:08:07 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B77 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> When I was in theatre school (mumble) years ago, I took some=20
> sound courses. I seem to recall the instructor talking about=20
> "tuning" a space, and in particular, how *not* to do it. He=20
> specificially said not to push the mic input until it feeds=20
> back, then adjust the equalizer input for that mic to cut out=20
> the frequency range that was feeding back, and repeating this process.
>=20
> And yet, this is precisely how I see some people adjusting=20
> mic levels. Am I misremembering? Is this practice now=20
> acceptable? Or do these people I'm watching not have a clue=20
> how to do it properly?

What you're describing isn't "tuning" the space at all, but just a quick
method for getting an idea of where to set the gain trim on each mic in
order to maximize the gain-before-feedback on the faders.
Unfortunately, it's not particularly effective, especially in situation
where there are multiple (in some cases, many) mics all live
simultaneously, because available GBF drops for every additional open
mic.  Personally, I prefer setting the fader at unity, then (with a
source at the mic) adjusting the gain to a point where I'm pushing the
limit of what volume I want to hear out of that channel is set.  That
still leaves me some headroom if I need to go over top of the other
noise on stage.

"Tuning" a space (and yes, that's a technical misnomer, but it's how
it's entered the vernacular) generally involves pink noise, a spectrum
analyzer, active crossovers (if you've got 'em), and graphic equalizers
on each output channel.  Oh, and a couple of hours.  The idea there is
to use the EQ to set the speaker response to some predetermined level on
a by-frequency-band basis, since different speakers have different
responses to different frequencies (and different room shapes and
treatments do as well).

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

Subject: RE: Express (Was: Designers and consultants - A RANT!)
Date: Tue, 28 Feb 2006 14:11:06 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B60F1 [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

Frank's right here - he reminded me of a show where I had both hard- and
soft-patches to document.  Hard-patch to connect circuits to dimmers
(and there were several sizes to choose from, to make it more
interesting) and then soft-patch to organize channels logically.

Modern theatres are true dimmer-per-circuits, w/lots of dimmers
available all over the space.  But older, or less well-funded spaces
often are constrained by limited numbers of dimmers, and then you do
indeed to need to reconfigure the dimmer / circuit link each show.

- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info


>Working in an adaptable theatre as I do, having circuit numbers and
dimmer=20
>numbers different is normal. The actual circuits need to be very widely

>distributed. This implies that extra paperwork has to be done, so that
the=20
>dimmer-to-circuit allocation is known.=20

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

Subject: RE: Surge Protector Failure
Date: Tue, 28 Feb 2006 14:14:24 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B60F2 [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>
Cc: alf [at] sauve.org (Alf Sauve)

My wife did this, less dramatically, but plugging a vacuum into a
computer surge-protector shortly after we married.  It blew a capacitor
(I think) and melted the nearby housing, but nothing more.  Simple
overload.

It was surge protector, but had no breaker or fuse in it.  Another vote
for Frank's breaker-per-device scheme from the UK, I guess.

- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info

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

From: "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
Cc: alf [at] sauve.org ('Alf Sauve')
Subject: RE: Surge Protector Failure
Date: Tue, 28 Feb 2006 15:24:54 -0500
Message-ID: <005b01c63ca5$096237e0$6500a8c0 [at] p3m866>
In-Reply-To: <list-28042623 [at] prxy.net>

> I had a wall mounted surge protector fail (go up in flames 
> actually) last week.

A couple of years ago I was going through the process of getting a product
UL approved.  I used varistor (a common surge arrest component) in the ac
input circuit.  Two UL engineers ended arguing about whether or not they
would allow it.

UL standards currently allow UL-Listed varistors (part numbers they have
certified in advance) to be placed directly across the ac line.

But more and more varistors are going up in flames, just as happened in
Alf's picture.  The components themselves weaken over time and begin to
conduct a little bit all the time, rather than just when spikes and surges
appear.  Once they start to conduct, they site there getting hotter and
hotter and hotter...

One of the UL inspectors brought this to my attention and asked me to put
the arrestor after my main fuse.  The other engineer felt they had no right
to request this, since the standards allowed it as drawn, with the varistor
before the fuse.

Here's the problem:  to be useful, the surge arrestor needs to transparently
absorb voltage spikes.  But if you put it after a fuse, the resulting
current surge will open the fuse.  So then you have a device that fails
immediately when a surge arrives at the ac input.

Makes you think twice about having "protected" power bars and outlets all
over the place, huh?  I unplug 'em when I'm not using 'em, and ocassionally
check the temperature of the ones that must remain plugged in.

Jim
www.theatrewireless.com



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

From: "Steve Jones" <steve.jones [at] glasgowplazatheatre.org>
Subject: RE: Tablet PCs in general (was Wireless tablet lighting control)
Date: Tue, 28 Feb 2006 14:47:31 -0600
Organization: Plaza Theatre
In-Reply-To: <list-28047430 [at] prxy.net>
Message-ID: <auto-000028048446 [at] prxy.net>

One thing to consider, if you want to be "bleeding edge" is the mystery
machine (handtop?) that Microsoft is set to announce supposedly on March 2.

More hype than details at:

www.origamiproject.com

But from what I have seen, it is shaping up to be a complete PC about the
size of a hardcover book but not as thick.

Steve


*************************************
Steve Jones, Director
Plaza Theatre
115 E. Main Street
Glasgow, KY  42141
Voice: (270) 361-2101
Fax: (270) 834-8147
http://www.glasgowplazatheatre.org


An Evening With Groucho
Saturday, April 22, 2006, 7:00 PM

1964 - The Tribute
Friday, May 12, 2006, 7:00 PM


-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jim at
TheatreWireless.com
Sent: Tuesday, February 28, 2006 2:08 PM
To: Stagecraft
Subject: Tablet PCs in general (was Wireless tablet lighting control)

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

Is anyone on the list using a tablet PC on a regular basis?  It's getting to
be time to replace my laptop, and I'm thinking a tablet could be great.  

What are the down sides?  

I'm pretty good at freehand drawing/sketching.  Does the tablet make it easy
to do this and end up with a digital drawing instantly?  I've love to be
able to do everything I do now with a laptop, plus draw pictures and email
them in a flash.

Jim
www.theatrewireless.com






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

Message-ID: <ce2084ad0602281250v78990e6bga197927e6e02715a [at] mail.gmail.com>
Date: Tue, 28 Feb 2006 15:50:32 -0500
From: "Ken Romaine" <ken.stagecraft [at] gmail.com>
Subject: Re: Video projectors - lots of questions.
In-Reply-To: <list-28047157 [at] prxy.net>
References: <list-28043912 [at] prxy.net> <list-28047157 [at] prxy.net>

Sure:

Ship bridge simulation
Air traffic control simulation

We also do Virtual and Augmented Reality (akin to simulation) visualization=
 for:
Oil & gas industry: stereoscopic "immersive display systems are
ideally suited to visualize seismic data, complex reservoir models,
well logs and geologic cross sections."
Automotive: Immersive CAD/CAE and CAM visual display systems.
Medical: Medical imaging technology including the "Virtual Surgery Table".
Architecture, Engineering and Construction: High-quality, large-scale
and immersive stereoscopic displays.

Thus endeth the marketing presentation for today.

Take a look at http://www.barco.com
It really is pretty cool.
--
Ken Romaine
Business Development Manager
Barco Media & Entertainment

On 2/28/06, Bill Sapsis <bill [at] sapsis-rigging.com> wrote:
>
> Care to expand on the "other" simulations????
> Bill S.
>
> "Ken Romaine" <ken.stagecraft [at] gmail.com> wrote:
>
> > Secondly, and more importantly, Barco is a worldwide industry leader
> > in technology and innovation.  Has been for years, and not just in the
> > entertainment industry.  I was pretty suprised when I joined Barco at
> > the breadth of their business - entertainment, medical imaging,
> > avionics displays, simulation (flight, driving and other), air traffic
> > management visualization, even in textiles.

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

Message-ID: <2672.208.51.52.87.1141160239.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28044388 [at] prxy.net>
References: <list-28022803 [at] prxy.net> <list-28044388 [at] prxy.net>
Date: Tue, 28 Feb 2006 12:57:19 -0800 (PST)
Subject: Re: You know you've been working too hard when...
From: "Bill Nelson" <billn [at] peak.org>

> Interesting... in my mind, I was envisioning folks running from one end of
> the shop to the other with a circular saw in each hand....

It would also add additional meaning to the terms "en garde" and "fencing".

Bill


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

Date: Tue, 28 Feb 2006 15:58:49 -0500
Subject: Re: Video projectors - lots of questions.
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C02A23B9.9A16%bill [at] sapsis-rigging.com>
In-Reply-To: <list-28048536 [at] prxy.net>

Rats.  Impressive.  Very impressive.  But not what I was hoping for...:-)
(but you knew that)



On 2/28/06 3:50 PM, "Ken Romaine" <ken.stagecraft [at] gmail.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Sure:
> 
> Ship bridge simulation
> Air traffic control simulation
> 
> We also do Virtual and Augmented Reality (akin to simulation) visualization
> for:
> Oil & gas industry: stereoscopic "immersive display systems are
> ideally suited to visualize seismic data, complex reservoir models,
> well logs and geologic cross sections."
> Automotive: Immersive CAD/CAE and CAM visual display systems.
> Medical: Medical imaging technology including the "Virtual Surgery Table".
> Architecture, Engineering and Construction: High-quality, large-scale
> and immersive stereoscopic displays.
> 
> Thus endeth the marketing presentation for today.
> 
> Take a look at http://www.barco.com
> It really is pretty cool.
> --
> Ken Romaine
> Business Development Manager
> Barco Media & Entertainment
> 
> On 2/28/06, Bill Sapsis <bill [at] sapsis-rigging.com> wrote:
>> 
>> Care to expand on the "other" simulations????
>> Bill S.
>> 
>> "Ken Romaine" <ken.stagecraft [at] gmail.com> wrote:
>> 
>>> Secondly, and more importantly, Barco is a worldwide industry leader
>>> in technology and innovation.  Has been for years, and not just in the
>>> entertainment industry.  I was pretty suprised when I joined Barco at
>>> the breadth of their business - entertainment, medical imaging,
>>> avionics displays, simulation (flight, driving and other), air traffic
>>> management visualization, even in textiles.



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

Message-ID: <2682.208.51.52.87.1141160865.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28046147 [at] prxy.net>
References: <list-28046147 [at] prxy.net>
Date: Tue, 28 Feb 2006 13:07:45 -0800 (PST)
Subject: Re: Express (Was: Designers and consultants - A RANT!)
From: "Bill Nelson" <billn [at] peak.org>

> Fair enough. I have a different design technique. You evidently work in a
> proscenium house, I am usually in an arena, where there is no such thing
> as ''front'. What is 'front' for half the audience is 'back' for the rest.

It doesn't matter. In an arena setting, I might have more areas, but I
would still group the lights logically, not have them scattered all over
the board.

And if someone else were to sit down at my board, they could quickly
figure out the groupings. The way you do it, YOU are the only person that
understands the arrangement - based on years of usage with the same
configuration.

Bill




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

Message-ID: <4404BD4E.4030708 [at] dreampossible.ca>
Date: Tue, 28 Feb 2006 16:14:54 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: You know you've been working too hard when...
References: <list-28022803 [at] prxy.net> <list-28044388 [at] prxy.net>
In-Reply-To: <list-28044388 [at] prxy.net>

Jon Ares wrote:
> Interesting... in my mind, I was envisioning folks running from one end
> of the shop to the other with a circular saw in each hand....

Circular saw racing consists of tying back or removing the guard, rev up
the saw, drop it blade-first on the ground and see how far it goes.
Similar idea for belt sander racing. There's also the toilet-paper toss:
remove the guard on a table saw, fire it up, toss a roll of toilet paper
at the blade and see how high or far it goes.

To quote Ford Prefect: "Rather childish, really." (Hitchhiker's Guide to
the Galaxy).

Disclaimer: I've only heard of these races, never actually seen them nor
done them myself.

-- 
Jim Hyslop


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

Message-ID: <4404BFC6.7020600 [at] dreampossible.ca>
Date: Tue, 28 Feb 2006 16:25:26 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Adjusting mic eq
References: <list-28047457 [at] prxy.net>
In-Reply-To: <list-28047457 [at] prxy.net>

Paul Schreiner wrote:
> What you're describing isn't "tuning" the space at all, but just a quick
> method for getting an idea of where to set the gain trim on each mic in
> order to maximize the gain-before-feedback on the faders.
> Unfortunately, it's not particularly effective, especially in situation
> where there are multiple (in some cases, many) mics all live
> simultaneously, because available GBF drops for every additional open
> mic.
Wouldn't it also distort the voice somewhat, by muting portions of the
sound spectrum? For example, if all the high-end frequencies were cut
out, it might sound muffled.

> "Tuning" a space (and yes, that's a technical misnomer, but it's how
> it's entered the vernacular) generally involves pink noise, a spectrum
> analyzer, active crossovers (if you've got 'em), and graphic equalizers
> on each output channel.  Oh, and a couple of hours.  The idea there is
> to use the EQ to set the speaker response to some predetermined level on
> a by-frequency-band basis, since different speakers have different
> responses to different frequencies (and different room shapes and
> treatments do as well).
Yes, that sounds like what I remember my instructor describing as how to
tune a space. I seem to recall that installing sound-absorbing panels at
key spots also plays a role in tuning, right?

I think he was pointing out that some sound people think that tuning
consists solely of gain-before-feedback.

Anyway, thanks for confirming that I do recall some things correctly ;=)

-- 
Jim Hyslop


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

Message-ID: <2704.208.51.52.87.1141162056.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28047617 [at] prxy.net>
References: <list-28047617 [at] prxy.net>
Date: Tue, 28 Feb 2006 13:27:36 -0800 (PST)
Subject: Re: Surge Protector Failure
From: "Bill Nelson" <billn [at] peak.org>

> It was surge protector, but had no breaker or fuse in it.  Another vote
> for Frank's breaker-per-device scheme from the UK, I guess.

Breaker-per-device is only used for high current draw appliances, just
like here in the US. In the UK, there tends to be even fewer breakers than
we have, and the ones that exist are of higher amperage. For example, I
think the typical ring breaker is 30A at 230V. Plugs in the UK have
built-in protective fuses - so if an appliance shorts, it blows it's own
plug fuse - and probably does not take out the circuit breaker.

Bill


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

Date: Tue, 28 Feb 2006 16:30:31 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Express (Was: Designers and consultants - A RANT!)
In-reply-to: <list-28045946 [at] prxy.net>
Message-id: <4404C0F7.1010108 [at] ithaca.edu>
References: <list-28045946 [at] prxy.net>

FrankWood95 [at] aol.com wrote:

> ---------------------------------------------------

> Under these circumstances, I can see why you would want to do it. All my 
> shows are 'one-offs', and there is no such thing as a 'house rig'. 

To try to clear up some cross-pond translation -- over here "one-offs" 
are usually minimally rehearsed (technically, at least) productions that 
load-in and out in a day, maybe two.  Concerts, dance school recitals, 
etc.

Based on what you describe as your tech schedule, Frank, I don't think 
any of us would describe your shows as one-offs.  You put substantial 
technical rehearsal and time into the shows.

Steve L.

-- 
Stephen Litterst
Technical Supervisor
Ithaca College, Theatre Arts
607.274.3947
slitterst [at] ithaca.edu

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

Message-ID: <4404C0F8.5020403 [at] dreampossible.ca>
Date: Tue, 28 Feb 2006 16:30:32 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Soundcraft sound boards

Hi, all

Thanks to all who provided comments on the Mackie boards.

In that discussion, I mentioned we were working on getting hold of a
second-hand rental board. It's made by Stagecraft - anyone have any
comments on that brand?

Oh, I suppose I should mention what we're using it for. It's a 262-seat
arena theatre, which we use for live reinforcement of singers' voices in
musicals. We have 12 body mics and 5 hanging area mics. Other groups
will use it primarily for playing sound effects.

-- 
Jim Hyslop


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

Message-ID: <ce2084ad0602281333o53beeedcofb0a1d8c32f4a592 [at] mail.gmail.com>
Date: Tue, 28 Feb 2006 16:33:01 -0500
From: "Ken Romaine" <ken.stagecraft [at] gmail.com>
Subject: Re: Video projectors - lots of questions.
In-Reply-To: <list-28048739 [at] prxy.net>
References: <list-28048536 [at] prxy.net> <list-28048739 [at] prxy.net>

Bill:

I'm giving up the mind-in-the-gutter thing for Lent.

Oh - wait - it's not Lent yet.

Dang.

On 2/28/06, Bill Sapsis <bill [at] sapsis-rigging.com> wrote:
>
> Rats.  Impressive.  Very impressive.  But not what I was hoping for...:-)
> (but you knew that)

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

Subject: RE: Soundcraft sound boards
Date: Tue, 28 Feb 2006 16:35:09 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B78 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> In that discussion, I mentioned we were working on getting=20
> hold of a second-hand rental board. It's made by Stagecraft -=20
> anyone have any comments on that brand?

Stagecraft, or Soundcraft?  I only ask cuz of the subject line...

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

Message-ID: <4404C291.2030501 [at] dreampossible.ca>
Date: Tue, 28 Feb 2006 16:37:21 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Soundcraft sound boards
References: <list-28049606 [at] prxy.net>
In-Reply-To: <list-28049606 [at] prxy.net>

I wrote:
> Oh, I suppose I should mention what we're using it for. It's a 262-seat
> arena theatre, which we use for live reinforcement of singers' voices in
> musicals.

And before anyone else says it: no, we don't use the *theatre* for live
reinforcement, we use the sound system for that. I shoulda proof read
more carefully before posting.

-- 
Jim Hyslop


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

Message-ID: <4404C2E5.3040109 [at] dreampossible.ca>
Date: Tue, 28 Feb 2006 16:38:45 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Soundcraft sound boards
References: <list-28049746 [at] prxy.net>
In-Reply-To: <list-28049746 [at] prxy.net>

Paul Schreiner wrote:
> Stagecraft, or Soundcraft?  I only ask cuz of the subject line...

Sorry, Soundcraft (I guess I mixed up the list name with the board name).

-- 
Jim Hyslop


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

Message-ID: <2724.208.51.52.87.1141162879.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28049452 [at] prxy.net>
References: <list-28047457 [at] prxy.net> <list-28049452 [at] prxy.net>
Date: Tue, 28 Feb 2006 13:41:19 -0800 (PST)
Subject: Re: Adjusting mic eq
From: "Bill Nelson" <billn [at] peak.org>

> Wouldn't it also distort the voice somewhat, by muting portions of the
> sound spectrum? For example, if all the high-end frequencies were cut
> out, it might sound muffled.

Not if a decent equalizer/filter is used. The feedback filters that I have
only cut 1/12th of an octave. So if the feedback frequency is 2000 Hz, for
example, it would only cut about 1915 Hz to 2085 Hz. And that would only
be cut enough to eliminate the feedback, which often is only a matter of 3
dB or so. There might be people who can detect the difference - I am not
one of them.

Bill


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

Message-ID: <4404C521.6030100 [at] dreampossible.ca>
Date: Tue, 28 Feb 2006 16:48:17 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Adjusting mic eq
References: <list-28047457 [at] prxy.net> <list-28049452 [at] prxy.net> <list-28049911 [at] prxy.net>
In-Reply-To: <list-28049911 [at] prxy.net>

Bill Nelson wrote:
>>Wouldn't it also distort the voice somewhat, by muting portions of the
>>sound spectrum? For example, if all the high-end frequencies were cut
>>out, it might sound muffled.
> 
> 
> Not if a decent equalizer/filter is used.

That's the problem - it tends to be the mixer's built-in EQ that's used,
so the range that's dampened is probably quite wide.

-- 
Jim Hyslop


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

From: MissWisc [at] aol.com
Message-ID: <15a.605f8d7b.31362064 [at] aol.com>
Date: Tue, 28 Feb 2006 16:53:40 EST
Subject: Re: You know you've been working too hard when...

_raypf1mg [at] cmich.edu_ (mailto:raypf1mg [at] cmich.edu)   writes:
<<  Kristi, I don't mean to scare you but, I think it is a  sport, ice bike 
(motorcycles) racing.  Very scary to watch. >>
 
Yeah. they do that up here on the frozen lakes with studded tires.  I  like 
my fingers too much to try it.
 
Kristi
 

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

Message-ID: <4404C653.7080408 [at] shirkaudio.com>
Date: Tue, 28 Feb 2006 16:53:23 -0500
From: Dale Shirk <lists [at] shirkaudio.com>
Reply-To:  daleshirk [at] shirkaudio.com
Organization: Shirk Audio & Acoustics
Subject: Re: Surge Protector Failure
References: <list-28042623 [at] prxy.net>
In-Reply-To: <list-28042623 [at] prxy.net>

Alf Sauve wrote:

> http://sauve.org/surgeprotector.htm


Very convincing argument for series-mode surge protection, Alf.

http://www.surgex.com

Dale Shirk
Shirk Audio & Acoustics
Terre Hill, Pa.

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

Subject: how to set gain (was: RE: Adjusting mic eq)
Date: Tue, 28 Feb 2006 17:05:44 -0500
Message-ID: <E8C02C6B1ABC6B4DBF28862341A33F8601814FBB [at] excusma100>
From: "Cyr, Dale" <Dale.Cyr [at] getronics.com>

> > Or do these people I'm watching not have a clue
> > how to do it properly?
> Personally, I prefer setting the fader at unity, then (with a
> source at the mic) adjusting the gain to a point where I'm pushing the
> limit of what volume I want to hear out of that channel is set.  That
> still leaves me some headroom if I need to go over top of the other
> noise on stage.

The channel strip on your board is designed to work at
a particular level of signal.

The actual signals to your board are arriving at widely varying levels,
from a line level out of a synth (hot), to a sm58 that's been dropped a
few
too many times (barely there).

The "gain" / "trim" / etc dial provides a way to adjust the incoming
level
to be compatible with the level the channel strip was designed for,
ie, 0 db on the (pfl, solo, cue) meter or so. =20
(don't hit reply yet, please read on ;)

So, quiet sounds, and loud sounds all come thru their respective
channel,
at (around) zero db during the loudest part of that sound.
this will provide the best signal to noise ratio for that channel.

Note to self: gross over simplifications like this tends to raise
the ire of knowledgable individuals on this list. (sigh)


This is way before, and completely independent of, the house fader
level.
(hold off on that reply key... ;)

After the incoming signal level is set,=20
You can raise the monitor faders, the house faders,
signals to outboard gear, etc.
(up to now, these faders have been turned all the way down)

but even tho the channel is working at (or around) 0 db,
you certainly wont run the hosue faders all at 0db/nominal for a show.
So, for a typical rock & roll song, you will probably set the=20
house fader for the snare drum around 0 db.  But the channel that has a
mic
on the percussionist's triangle, will probably have the house fader
set at something more like -25 db (or less).

But note that both of these sounds will be clean,
Because they both came thru their channels at, or around,
the design level of the electronics of those channels.

<rant on>
Note that the gain control is not a "volume" control.
If you have set the channel gain correctly, the channel
is already working at its best level.
If you need more volume, you need more amplification.
(or you need to turn other things down)

If, instead, you just turn up the gain, you start to get
distortion, because you are exceeding the capability of=20
the channel to deal with the incoming signal level.

Besides that, since you changed the level that the entire
Channel is working with, you also change the monitor
Level and any outboard fx levels on that channel.
</rant>

I know that some boards don't have the capability to set gain
according to a meter.  Or the only way to do it,=20
is to set the house fader at nominal and increase gain until
"it's loud enough".  Doesn't mean its right.
It only means you have a poor tool set to work with.

Ok.
*NOW* you can hit reply ;)

dale cyr
Training Supervisor
IATSE Local 93
Spokane Wa

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

Subject: RE: Surge Protector Failure
Date: Tue, 28 Feb 2006 16:14:43 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B60F6 [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

Well - fuse-per-device, then.  That's what I meant.

- Steven      (sjh [at] idm.com)
---------------------------
http://www.stagelights.info

>Plugs in the UK have
>built-in protective fuses - so if an appliance shorts, it blows it's
own
>plug fuse - and probably does not take out the circuit breaker.

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

Message-ID: <20060228222342.66228.qmail [at] web35307.mail.mud.yahoo.com>
Date: Tue, 28 Feb 2006 14:23:42 -0800 (PST)
From: June Abernathy <jea00321 [at] yahoo.com>
Subject: Re: Express (Soft patching)

Frank, you are being obstructive. You are confusing
your particular setup and the way you like to work
with the way the world should be again.

For a great many designers, in small houses that do
mainly straight plays as well as in more complex
operations, the ability to group channels in some kind
of logical way is not just a nicety, it's a
neccessity. And if you are grouping your disparate
channels into logical submaster groupings, you are
doing the same thing, one step down the line.

Since computer boards have become the norm, and even
modest theaters very often have a dimmer per circuit
setup (and that hard wired, as often as not), it has
become increasingly difficult to explain to youngsters
what the differece between a dimmer, a circuit, and a
channel is. And not just youngsters, apparently, since
Frank makes no differentiation between dimmer and
circuit, and many of the replies on this thread don't
either.

There is a difference. There are still theaters where
circuits must be assigned to dimmers, either through a
physical patch bay or through a computer. Circuits
have a capacity, dimmers have a capacity. Back in the
day, patching to specific dimmers was one way to get
yourself a logical grouping, even before you began
assigning channels.

Or, you could patch circuit to dimmer thinking about
electrical capacities, and dimmer to channel thinking
about logical programming.

Even in the world of dimmer per circuit theaters, the
ability to assign channels to dimmers in some kind of
logical sequence only makes sense. Most designers
further organize by creating groups and/or assigning
specific channels to submasters. 

All you educators out there would be doing a great
service if you could get your charges to understand
the difference between dimmmers, circuits, and
channels. Most theaters, back when I was a kid, had
more circuits than dimmers, more dimmers than
channels. So each step down the line was part of a
"funnel" toward control, with the limitations of
capacity figured in along the way. Even though that is
not necessarily the case anymore, it helps me to have
the image in my head. Young technicians and designers
who don't understand this heirarchy sometimes create
totally avoidable problems. 



June Abernathy
IATSE #321 (Tampa, FL)
FOH Electrician
The Lion King National Tour (Gazelle)

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

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

From: "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
Subject: RE: Tablet PCs in general (was Wireless tablet lighting control)
Date: Tue, 28 Feb 2006 17:25:11 -0500
Message-ID: <006501c63cb5$d6c045f0$6500a8c0 [at] p3m866>
In-Reply-To: <list-28048447 [at] prxy.net>

I know the wife of the founder of OQO (see http://www.oqo.com/).  They've
developed a full-power WinXP machine that's the size of a Palm.  I've had a
working unit in my hand; it's hot (literally).

Jim
www.theatrewireless.com
 


> One thing to consider, if you want to be "bleeding edge" is 
> the mystery machine (handtop?) that Microsoft is set to 
> announce supposedly on March 2.
> 
> More hype than details at:
> 
> www.origamiproject.com
> 
> But from what I have seen, it is shaping up to be a complete 
> PC about the size of a hardcover book but not as thick.



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

Subject: RE: Soundcraft sound boards
Date: Tue, 28 Feb 2006 17:40:52 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B79 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Sorry, Soundcraft (I guess I mixed up the list name with the=20
> board name).

Generally speaking, the ones I've had the pleasure to work with have
been a pleasure to work with.  Pretty straightforward (though the K2 has
the annoying quirk of having a channel "on" button instead of a "mute"
button).  My favorite has been the Series Two line, though YMMV.
Dependable, consistent, small learning curve...pretty much the top of
the midrange line (anything with more features and the same quality will
run five digits).

You could do a lot worse.  It'd take a lot of money to do a lot better.

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

In-Reply-To: <list-28048447 [at] prxy.net>
References: <list-28048447 [at] prxy.net>
Message-Id: <414F9C04-D92A-4696-9296-D26F54F043B2 [at] mystykworks.com>
From: "Daniel O'Donnell" <dan [at] mystykworks.com>
Subject: Re: Tablet PCs in general (was Wireless tablet lighting control)
Date: Tue, 28 Feb 2006 18:11:51 -0500

Gee, those of us who follow the more advanced computers call them Mac  
Minis. ;)

On Feb 28, 2006, at 3:47 PM, Steve Jones wrote:

> For info, archives & UNSUBSCRIBE, see <http:// 
> stagecraft.theprices.net/>
> ---------------------------------------------------
>
> One thing to consider, if you want to be "bleeding edge" is the  
> mystery
> machine (handtop?) that Microsoft is set to announce supposedly on  
> March 2.
>
> More hype than details at:
>
> www.origamiproject.com
>
> But from what I have seen, it is shaping up to be a complete PC  
> about the
> size of a hardcover book but not as thick.

---
Daniel R. O'Donnell
dan [at] mystyk.com
http://www.mystyk.com



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

Message-Id: <3.0.6.32.20060228163031.00d2b1b8 [at] pop.west.cox.net>
Date: Tue, 28 Feb 2006 16:30:31
From: CB <psyd [at] cox.net>
Subject: Re: Express (Was: Designers and consultants - A RANT!)

And I quote...

>>Seems like a pain
>>  to program or operate.
>
>Well yes, when I'm LD, it is.

'Nuff said...
				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: FrankWood95 [at] aol.com
Message-ID: <28f.6724be7.3136360d [at] aol.com>
Date: Tue, 28 Feb 2006 18:26:05 EST
Subject: Re: Surge Protector Failure

In a message dated 28/02/06 20:15:04 GMT Standard Time, sjh [at] idm.com writes:

> My wife did this, less dramatically, but plugging a vacuum into a
>  computer surge-protector shortly after we married.  It blew a capacitor
>  (I think) and melted the nearby housing, but nothing more.  Simple
>  overload.
>  
>  It was surge protector, but had no breaker or fuse in it.  Another vote
>  for Frank's breaker-per-device scheme from the UK, I guess.

Simple surge. Most biggish motors put a substantial surge load on when they 
start. My waste disposal unit certainly does: I see the kitchen lights dip when 
I turn it on. Only briefly, but still! Breakers are designed to be more or 
less tolerant of these surges, and you need to pick the right one for the 
application. We goofed here. There are, on our patch panels, outlets which are 
permanently live. They are very convenient at the rig. But they do need to handle 
surges. A cold incandescent lamp will draw, as a start surge, perhaps ten times 
the running current. We replaced all the breaker which protect these circuits 
with ones rated for 'motor start' and have had no more trouble.

My fault, as I was the project manager. I failed to issue a sufficiently 
accurate specification. It just shows the detail you need to go in to.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <65.56330c36.313638a4 [at] aol.com>
Date: Tue, 28 Feb 2006 18:37:08 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 28/02/06 21:08:54 GMT Standard Time, billn [at] peak.org writes:

> > Fair enough. I have a different design technique. You evidently work in a
>  > proscenium house, I am usually in an arena, where there is no such thing
>  > as ''front'. What is 'front' for half the audience is 'back' for the 
rest.

Think about that one.
>  
>  It doesn't matter. In an arena setting, I might have more areas, but I
>  would still group the lights logically, not have them scattered all over
>  the board.
>  
>  And if someone else were to sit down at my board, they could quickly
>  figure out the groupings. The way you do it, YOU are the only person that
>  understands the arrangement - based on years of usage with the same
>  configuration.

Read what I say. Every show is a complete re-hang, apart from the cyc 
lighting. There is no standard configuration. There is, though, adjacent to the OP's 
right ear, a lighting plan, with all the information on it.

If you are doing an arena rig, on what are your groupings based?



Frank Wood

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

Message-Id: <3.0.6.32.20060228165039.00d2b1b8 [at] pop.west.cox.net>
Date: Tue, 28 Feb 2006 16:50:39
From: CB <psyd [at] cox.net>
Subject: You know you've been working too hard when...

>And my tired brain pictures a group of motorcycles on  a wooden racetrack 
>with circular saw blades instead of tires - wondering why  someone would
want to 
>race on such a thing.

Its been done. There is a whole group of folk that race their circ saws.
While riding them.  Yep, I did say 'While riding them'.  The idea prolly
came about when someone was in ezzackly the state that you are now.  Quite
possibly chemically induced, however, in their case.  Here
<http://tinyurl.com/jjuyb> is a placewhere they race and ride all kinds of
poer tools.  You get to see the tools here, but no pics of folk actually
riding.  Ditto <http://tinyurl.com/jeegh> this one. 
Belt sander racing has always been a fave of the carp circus (and the
Gripalympics) but  there hasn't ever been too many stagehands that actually
rode them.  Circ saws have more oomph... 
				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: FrankWood95 [at] aol.com
Message-ID: <23e.7bcc4b0.31363ace [at] aol.com>
Date: Tue, 28 Feb 2006 18:46:22 EST
Subject: Re: Surge Protector Failure

In a message dated 28/02/06 21:28:59 GMT Standard Time, billn [at] peak.org writes:

> Breaker-per-device is only used for high current draw appliances, just
>  like here in the US. In the UK, there tends to be even fewer breakers than
>  we have, and the ones that exist are of higher amperage. For example, I
>  think the typical ring breaker is 30A at 230V. Plugs in the UK have
>  built-in protective fuses - so if an appliance shorts, it blows it's own
>  plug fuse - and probably does not take out the circuit breaker.

 This is so. My cooker and water heater have separate breakers, and there is 
an extra one dating back to when we had an electric shower, with a 7KW 
element. Nowadays, this powers no more than the shower pump, and a small heater in 
the bathroom. 

Frank Wood

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

Message-Id: <3.0.6.32.20060228165808.00d2b1b8 [at] pop.west.cox.net>
Date: Tue, 28 Feb 2006 16:58:08
From: CB <psyd [at] cox.net>
Subject: Re: Lift accident - Salt Lake City Tribune.... Very Short Rant

>> > There's a saying, 'backstage is the place where
>> > high-tech and low life collide,
>>     I hadn't heard that one before! This from an IATSE spokesman?

Ehm, the guy said that this is a common conception, (or a common joke) and
then refuted it.  What the guy ends up saying is that we are all pros and
we know what we are doing, this wasn't no idjit getting his hand caught in
a thresher.  I believe the quote was "things tend to be very rehearsed
backstage. It seems chaotic, but it'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...

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

Message-Id: <3.0.6.32.20060228170851.00d2b1b8 [at] pop.west.cox.net>
Date: Tue, 28 Feb 2006 17:08:51
From: CB <psyd [at] cox.net>
Subject: Video projectors - lots of questions.

In your case, I'd suggest that you look at RP.  For the cost of the lens,
you could get an RP screen and a projector.  If that isn't possible, be
prepared to spend money on  the glass.  Barco is a great brand, and nothing
like Berhinger, IMHO.  Ken, tell your boss he owes me a beer.  Other than
Ken's boss owing me a beer, I have no financial or other ties to either
Barco or Behringer.  The difference in price might be a difference in
technology. DLP is going to be more expensive than LCD, and there are
myriads of different technologies available at that stratus of projector,
all of the new ones beong, of course, more expensive.
RP allows you to use the screen as a backdrop (or electric scenery) without
shadows of folks acting or singing in front of it falling on the image.
Whatever you decide, get a budget in mind.  You can spend anything you want
to on a projector, and, as with all other newre technologies, a hundred
dollar jump in quality at the small end of the dollar spectrum won't even
be noticed at the rarified high-dollar end of the spectum.  Once you have a
budget, let all of the local (and locally accessable) vendors know how much
you want to spend, and what you need to do.  The more money you have, the
more contenders you'll get.  Make them bring their projectors to the space
and shoe them to you.  Arrange a shoot-out.  Get a decent DVD player (and a
crappy $40 home version, too) and a laptop to AB each and every one of
them.  Make the vendors teach you enough to know why you want their
product.  Heck, make 'em earn their fat commissions!

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

From: FrankWood95 [at] aol.com
Message-ID: <228.722827b.31363e35 [at] aol.com>
Date: Tue, 28 Feb 2006 19:00:53 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 28/02/06 21:31:50 GMT Standard Time, slitterst [at] ithaca.edu 
writes:

> To try to clear up some cross-pond translation -- over here "one-offs" 
>  are usually minimally rehearsed (technically, at least) productions that 
>  load-in and out in a day, maybe two.  Concerts, dance school recitals, 
>  etc.

We usually refer to these as 'one night stands'. Either way, they are a lot 
of trouble, because we don't, and can't have a house rig. That'd the downside 
of being adaptable. At the get-out, the whole rig is struck.
>  
>  Based on what you describe as your tech schedule, Frank, I don't think 
>  any of us would describe your shows as one-offs.  You put substantial 
>  technical rehearsal and time into the shows.

We do. But it is still a one-off. At the get-out, all the lighting is struck 
back to the store; the cables removed and stored; the board completely cleared.

Frank Wood

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

End of Stagecraft Digest #709
*****************************