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

Stagecraft Digest, Issue #713

 1. Re: Gripples!
    by "Delbert Hall" <delbert.hall [at] gmail.com>
 2. Re: Gripples/VER Locks
    by "Delbert Hall" <delbert.hall [at] gmail.com>
 3. Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
    by Jim Hyslop <theatre [at] dreampossible.ca>
 4. Re: Express (Soft patching)
    by Jim Hyslop <theatre [at] dreampossible.ca>
 5. Re: Dimmers, Channels and such
    by Jim Hyslop <theatre [at] dreampossible.ca>
 6. Re: If only.....
    by Jim Hyslop <theatre [at] dreampossible.ca>
 7. Re: If only.....
    by "Jonathan Wills" <jbwills [at] gmail.com>
 8. Re: mac software
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 9. Re: plexiglass floor
    by Steve Larson <tiptd [at] theatreinthepark.com>
10. Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
11. Re: plexiglass floor
    by "Johnson, Keith" <Keith.Johnson [at] EKU.EDU>
12. Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
    by "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
13. Re: Motor Question
    by "Bill Conner" <bill-conner [at] att.net>
14. Re: Mac software
    by "Steven Haworth" <sjh [at] idm.com>
15. Re: Give me those old time theatres  (Was:  Express (Soft patching))
    by Heather Carter <heatherc [at] marlboro.edu>
16. Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
    by Dale Farmer <dale [at] cybercom.net>
17. Re: Give me those old time theatres  (Was:  Express (Soft patching))
    by Stephen Litterst <slitterst [at] ithaca.edu>
18. Re: If only.....
    by Jerry Durand <jdurand [at] interstellar.com>
19. Patch panels
    by Steve Bailey <Bailey [at] BrooklynCenter.com>
20. Re: Express (Soft patching)
    by Jerry Durand <jdurand [at] interstellar.com>
21. Re: If only.....
    by "Idaho Scenic" <idahoscenic [at] earthlink.net>
22. Re: If only.....
    by "Tony Deeming" <deeming.tony [at] btinternet.com>
23. Re: Express (Soft patching)
    by "Idaho Scenic" <idahoscenic [at] earthlink.net>
24. Engineering suggestions anyone?
    by "Fitch, Tracy" <tfitch [at] email.uncc.edu>
25. Re: Motor Question
    by "Fritz Schwentker" <fritz.td [at] mindspring.com>
26. Re: Motor Question
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
27. Re: Express (Was: Designers and consultants - A RANT!)
    by "Kurt Cypher" <kurt.stagecraftlist [at] gmail.com>
28. Re: Give me those old time theatres  (Was:  Express (Soft patching))
    by "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
29. Re: Atta Boys ( professional endorsement follows )
    by "Hall Associates Flying Effects" <info [at] flyingfx.com>
30. Re: Give me those old time theatres (Was: Express (Soft patching))
    by "Matthew Breton" <theatricalmatt [at] hotmail.com>
31. Re: Tablet PC's in general
    by "Ryan Knapp" <RKnapp [at] olneytheatre.org>
32. Re: Give me those old time theatres (Was: Express (Soft patching))
    by Stephen Litterst <slitterst [at] ithaca.edu>
33. Re: Give me those old time theatres (Was: Express (Soft patching))
    by Steve Larson <tiptd [at] theatreinthepark.com>
34. Re: Give me those old time theatres (Was: Express (Soft  patching))
    by Jerry Durand <jdurand [at] interstellar.com>
35. Re: Give me those old time theatres (Was: Express (Soft  patching))
    by Stephen Litterst <slitterst [at] ithaca.edu>
36. Re: Give me those old time theatres (Was: Express (Soft  patching))
    by Jerry Durand <jdurand [at] interstellar.com>
37. Re: Give me those old time theatres (Was: Express (Soft  patching))
    by "Paul Sanow" <psanow [at] vls.com>
38. circuit breaker and pilot lights
    by Paul Marsland <paulbmarsland [at] yahoo.com>
39. Re: Engineering suggestions anyone?
    by "Idaho Scenic" <idahoscenic [at] earthlink.net>
40. Re: mac software
    by SS <cueonego [at] gmail.com>
41. Re: Patch panels
    by SS <cueonego [at] gmail.com>
42. Re: Par can
    by FrankWood95 [at] aol.com
43. Re: Express (Soft patching)
    by rwhitco [at] comcast.net
44. Re: Adjusting mic eq
    by FrankWood95 [at] aol.com
45. Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
    by FrankWood95 [at] aol.com
46. Re: Old dimmers was Re: Express (Soft patching)
    by FrankWood95 [at] aol.com
47. Re: Express (Was: Designers and consultants - A RANT!)
    by FrankWood95 [at] aol.com
48. Re: Express (Soft patching)
    by FrankWood95 [at] aol.com
49. Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
    by FrankWood95 [at] aol.com
50. Re: I'm lost!
    by CB <psyd [at] cox.net>
51. Re: Adjusting mic eq
    by CB <psyd [at] cox.net>
52. Stain Free Stage Blood
    by Mark Harvey <mharvey [at] d.umn.edu>
53. Aging, gracefully or otherwise
    by "Don Taco" <taco [at] peak.org>
54. Re: Adjusting mic eq
    by CB <psyd [at] cox.net>
55. Re: how to set gain (was: RE: Adjusting mic eq)
    by CB <psyd [at] cox.net>
56. Re: Aging, gracefully or otherwise
    by Bill Sapsis <bill [at] sapsis-rigging.com>
57. Re: Stain Free Stage Blood
    by "Frank E. Merrill" <Lamplighter [at] tcon.net>
58. talk-back mic
    by CB <psyd [at] cox.net>
59. Re: Dimmers, Channels and such
    by CB <psyd [at] cox.net>
60. Re: Dimmers, Channels and such
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
61. Re: Adjusting mic eq
    by CB <psyd [at] cox.net>
62. Re: If only.....
    by CB <psyd [at] cox.net>
63. Re: talk-back mic
    by "Mt. Angel Performing Arts Center" <admin [at] mtangelperformingarts.com>
64. Re: Falling Flowers
    by Joe Collings <joe.collings [at] westnet.com.au>
65. Re: Give me those old time theatres (Was: Express (Soft  patching))
    by "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
66. Re: Adjusting mic eq
    by "chip.a.wood" <chip.a.wood [at] gmail.com>
67. Re: Give me those old time theatres  (Was:  Express (Soft patching))
    by "Christopher Hofmann" <cdhofmann [at] comcast.net>
68. Re: Adjusting mic eq
    by Jerry Durand <jdurand [at] interstellar.com>
69. Re: Opinions on Yates fall arrest harness?
    by "Jared Fortney" <jared.fortney [at] gmail.com>
70. Re: Express (Soft patching)
    by "Bill Nelson" <billn [at] peak.org>
71. Re: Adjusting mic eq
    by "chip.a.wood" <chip.a.wood [at] gmail.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: <b7318c480603020422g7a678e6ocfc9ca4ce6a4ac60 [at] mail.gmail.com>
Date: Thu, 2 Mar 2006 07:22:01 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: Gripples!
In-Reply-To: <list-28057551 [at] prxy.net>
References: <list-28056162 [at] prxy.net> <list-28056971 [at] prxy.net>
	 <list-28057551 [at] prxy.net>

Eric,

ZFX uses them to attach the dead end of the lift rope to a slack line
cable.  Generally speaking, the max load that they have to support is
around 60 lbs.  We ALWAYS attach a swivel to the VER Locks to prevent
the eye from unscrewing.  Plus, I swage the end of tha cable to the
quicklink that attaches the top of the swivel, so if any part of the
VER Lock failed, there would not be an accident.  To my knowledge, we
have never had VER Lock fail.

Anyone at SETC?  Want to get together for an adult beverage?  Come by
the ZFX booth and let's plan a "meeting."

-Delbert

--
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

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

Message-ID: <b7318c480603020430h5f8a7270od38de465c4f38cc1 [at] mail.gmail.com>
Date: Thu, 2 Mar 2006 07:30:01 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Cc: Rees [at] fredonia.edu
Subject: Re: Gripples/VER Locks
In-Reply-To: <list-28071144 [at] prxy.net>
References: <list-28056162 [at] prxy.net> <list-28056971 [at] prxy.net>
	 <list-28071144 [at] prxy.net>

Steve,

Since we will rig several system with "slack lines" I am sure that we
will.  A "slack line" on a performer flying system is somewhat similar
to a Jack line on a rope-line (hemp) system.

-Delbert



On 3/1/06, Stephen E. Rees <Rees [at] fredonia.edu> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Delbert,
> Maybe you can mention VER LOcks at the USITT PDW on flying as well.
> Steve
>
>
> Delbert Hall wrote:
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/=
>
> > ---------------------------------------------------
> >
> > Eric,
> >
> > I don't use Gripples, but I do use, and like, VER Locks.
>
>


--
Delbert L. Hall
ZFX Flying Director
Phone: 714-585-7070

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

Message-ID: <4406E9FB.9060607 [at] dreampossible.ca>
Date: Thu, 02 Mar 2006 07:50:03 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
References: <list-28088222 [at] prxy.net> <list-28092804 [at] prxy.net> <list-28100786 [at] prxy.net>
In-Reply-To: <list-28100786 [at] prxy.net>

Bill Nelson wrote:
> If I understand correctly, DSL is NOT over the old lines. When I had DSL
> installed, they pulled a new phone line.

Depends where you live, I think. Back when DSL was starting, the big
hurdle was "the last mile". If you're within a certain distance (1 mile,
IIRC) of the central office (CO), then no new wiring is required. When I
got my DSL, I just plugged it in and it worked. The phone wiring in this
house was probably installed in the 70s, when Bell Canada converted
everyone to the modern RJ11 jacks.

Mind you, I have no idea how many infrastructure upgrades may have gone
into the CO in order to accomodate DSL. Quite a few, I would imagine.

-- 
Jim Hyslop


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

Message-ID: <4406ECDB.4070209 [at] dreampossible.ca>
Date: Thu, 02 Mar 2006 08:02:19 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Express (Soft patching)
References: <list-28050994 [at] prxy.net> <list-28081413 [at] prxy.net> <list-28081836 [at] prxy.net>
In-Reply-To: <list-28081836 [at] prxy.net>

Idaho Scenic wrote:
> I suddenly feel very old... 

Tell me about it. I think there comes a time in everyone's life when
they'll be working with an adult and suddenly realize: "My god, if
things had worked out differently, this could be my child."

-- 
Jim Hyslop


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

Message-ID: <4406EEE3.5060709 [at] dreampossible.ca>
Date: Thu, 02 Mar 2006 08:10:59 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: Dimmers, Channels and such
References: <list-28094427 [at] prxy.net> <list-28094885 [at] prxy.net>
In-Reply-To: <list-28094885 [at] prxy.net>

Don Taco wrote:
>   a 'Channel' is that nearly palpable energy beam that everyone
> backstage almost visibly tries to send to a performer who has obviously
> gone up on his lines.  If you've seen it, and I'm sure you have, it's
> enough to make you believe in telepathy.  Unfortunately, there seems to
> be a huge disparity between the number of 'transmitters' and the number
> of 'receivers.'

More likely, the receivers are faulty. Probably gummed up with an excess
of adrenalin. ;=)

-- 
Jim Hyslop


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

Message-ID: <4406EFE7.70107 [at] dreampossible.ca>
Date: Thu, 02 Mar 2006 08:15:19 -0500
From: Jim Hyslop <theatre [at] dreampossible.ca>
Organization: Dreampossible Inc.
Subject: Re: If only.....
References: <list-28100752 [at] prxy.net>
In-Reply-To: <list-28100752 [at] prxy.net>

Tony Deeming wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I hate to risk starting this chestnut up again, but can't resist this one...
> <Quote>
> However, the wireless phone industry is up in arms over the development.

Predictable.

> "We oppose any kind of blocking technology," said Joe Farren, spokesman for
> The Wireless Association, the leading cell phone trade group. "What about
> the young parents whose baby-sitter is trying to call them, or the brain
> surgeon who needs notification of emergency surgery? These calls need to get
> through."
> <unQuote>
> 
> Simple answer - encourage the brain surgeon or the parents to leave the
> frickin cellphone with the house manager!!!!!

They don't give a hoot about the parent or the brain surgeon - that's
just a FUD argument. They just don't want to lose air time (i.e. money).

-- 
Jim Hyslop


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

Message-ID: <a34e6f5a0603020520u7390ed49ua24e0a25c50df848 [at] mail.gmail.com>
Date: Thu, 2 Mar 2006 08:20:43 -0500
From: "Jonathan Wills" <jbwills [at] gmail.com>
Subject: Re: If only.....
In-Reply-To: <list-28100752 [at] prxy.net>
References: <list-28098524 [at] prxy.net> <list-28100752 [at] prxy.net>

I agree about leaving the phone with a theatre employee who is
responsible (for the doctor, Credentials need accompany the phone).
Why not just leave a phone number for the theatre and you seat
numbers, (for the parents). We would not want to over burden the house
manager wit hall the parential phones when they have a phone line at
the theatre and they should have ushers, why not utilize them.

I have a friend who is the head of the local ER and he will turn his
phone off more than the common idiot who has no respect for the other
people. Went to see a show and the same persons phone rang 3 times
during the show. To my knowledge it was not an emergency as he stayed
through the entire show.

Jonathan Wills
Wills Lighting & Stage
www.WillsLighting.com

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

Subject: RE: mac software
Date: Thu, 2 Mar 2006 08:21:54 -0500
Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9B80 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> I totally agree, Vectoworks rocks.... Can I say that at 59?=20

At 59, I'd think you could say whatever you damn well pleased...

And VW was my first thought, as well, even though I'm on a PC.

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

Date: Thu, 02 Mar 2006 09:08:11 -0500
Subject: Re: plexiglass floor
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <C02C667A.A5C1%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-28087981 [at] prxy.net>

Wouldn't use anything thinner than 3/4".  My
own experiences.

Steve

> From: propguy1 [at] att.net
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 01 Mar 2006 23:18:59 +0000
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: plexiglass floor
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> I am sure this has been discussed but I can't get the searchable database to
> work sso here I am. We need a plexiglass topped platform for our production of
> Cabaret. I am thinking of using 1/2" lexan with framing on 2' centers. Should
> I have a smaller open space or thicker plexi/ lexan? Any help would be great.
> I can't seem to find any load tables for the stuff and the salesman at
> GEpolymer shapes was nice but not know what kind of spacing I needed or any
> load tables for that matter.
> Thanks
> 
> --
> Brent"Mickey" Henry
> Technical Director
> UofMN - Twin Cities


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

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 2 Mar 2006 14:10:25 GMT
Subject: Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
Message-Id: <20060302.061048.10965.129882 [at] webmail36.lax.untd.com>

Now days, it it mostly software upgrades, at least in the big cities suc=
h as Los Angeles with 10 out of the 26 area codes in California. When th=
ey replaced the old SS-7 switches with DMS-100 and the newer 5ESS switch=
es, My POTS, ISDN, and DSL services now come off the same switch that is=
 over 22,000 feet from my office, through a repeater. =

/s/ Richard
_________________________________
Bill Nelson wrote:
> If I understand correctly, DSL is NOT over the old lines. When I had D=
SL installed, they pulled a new phone line.

Depends where you live, I think. Back when DSL was starting, the big
hurdle was "the last mile". If you're within a certain distance (1 mile,=
 IIRC) of the central office (CO), then no new wiring is required. When =
I got my DSL, I just plugged it in and it worked. The phone wiring in th=
is house was probably installed in the 70s, when Bell Canada converted e=
veryone to the modern RJ11 jacks.
Mind you, I have no idea how many infrastructure upgrades may have gone =
into the CO in order to accomodate DSL. Quite a few, I would imagine.
Jim Hyslop

 


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

Subject: RE: plexiglass floor
Date: Thu, 2 Mar 2006 09:12:31 -0500
Message-ID: <2175145D8764B145B932DA9D45DE6C48015EBFED [at] FACSTAFF.facultystaff.eku.edu>
From: "Johnson, Keith" <Keith.Johnson [at] EKU.EDU>

Ditto to Steve's comment.  Based on past experience I used 3/4" plexi.

Keith W. Johnson
Associate Professor
Designer/Technical Director
EKU Theatre
306 Campbell Bldg.
Eastern Kentucky University
521 Lancaster Ave.
Richmond, KY 40475
phone:=A0859-622-1321
email: keith.johnson [at] eku.edu

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Steve =
Larson
Sent: Thursday, March 02, 2006 9:08 AM
To: Stagecraft
Subject: Re: plexiglass floor

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

Wouldn't use anything thinner than 3/4".  My
own experiences.

Steve

> From: propguy1 [at] att.net
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Wed, 01 Mar 2006 23:18:59 +0000
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: plexiglass floor
>=20
> For info, archives & UNSUBSCRIBE, see =
<http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> I am sure this has been discussed but I can't get the searchable =
database to
> work sso here I am. We need a plexiglass topped platform for our =
production of
> Cabaret. I am thinking of using 1/2" lexan with framing on 2' centers. =
Should
> I have a smaller open space or thicker plexi/ lexan? Any help would be =
great.
> I can't seem to find any load tables for the stuff and the salesman at
> GEpolymer shapes was nice but not know what kind of spacing I needed =
or any
> load tables for that matter.
> Thanks
>=20
> --
> Brent"Mickey" Henry
> Technical Director
> UofMN - Twin Cities


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

From: "Jim at TheatreWireless.com" <stagecraft [at] theatrewireless.com>
Subject: RE: Adjusting mic eq - it's all about bandpass and bandstop  :)
Date: Thu, 2 Mar 2006 09:13:50 -0500
Message-ID: <018601c63e03$87e89af0$6500a8c0 [at] p3m866>
In-Reply-To: <list-28100786 [at] prxy.net>

> > True for a long long time, but high-speed DSL modems have achieved 
> > incredibly fast data rates on those same old telephone lines.
> 
> If I understand correctly, DSL is NOT over the old lines. 
> When I had DSL installed, they pulled a new phone line.

Over the past several years I've had DSL installed in several locations in
and around Toronto.  They have always used existing (and often visibly old)
telephone infrastructure. (I have no experience with cable-tv modems.)

The phone company installs a new line card at their end of the line, and
couriers me the high-speed modem for my end.  Everything generally is up and
running about 5 minutes after I open the box, delivering a data rate of
3Mb/s or more.  

The most recent unit I setup, in the nearby town of Cobourg, didn't even
require pc software or passwords -- Internet TCP/IP was immediately
available on the RJ45 connector.

Jim Smith
www.theatrewireless.com





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

Message-ID: <004f01c63e06$82b0f980$6501a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: RE: Motor Question
Date: Thu, 2 Mar 2006 08:35:10 -0600

Is this a design where anyone could be injured if the motor failed or is it 
purely scenic effect?  It appears that everyone assumes risk to people is 
involved and that might not be the case.

Bill C. 


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

Subject: RE: Mac software
Date: Thu, 2 Mar 2006 08:41:27 -0600
Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B610A [at] danube.river.idm.com>
From: "Steven Haworth" <sjh [at] idm.com>

I've always liked MacLux Pro for that - you can import a 2d drawing of
the space, then hang pipes and positions above it.  When you hang
fixtures, they can turn on and show you beam coverage.  It handles
different veiwing planes (beam size on the floor, at head height, etc),
fixture types (most fixtures are in the library, and you can add more of
your own), and gels (beams are colored, footcandles are adjusted for gel
transmission rates, blended beams generate the combined footcandle
readings, etc).

Hanging positions handle stacked positions also - booms and so forth.

And it's got pretty good paperwork sorting / printing options as well.

Check it out:
	http://www.macluxpro.com/


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



>>> I need to know if there is a really good lighting and stage design =20
>>> program for mac users.  Something that will allow us to set up a =20
>>> room in 3d on the computer as well as set up lighting plots and =20
>>> the such.



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

Date: Thu, 02 Mar 2006 09:58:57 -0500
From: Heather Carter <heatherc [at] marlboro.edu>
Subject: Re: Give me those old time theatres  (Was:  Express (Soft patching))
Message-id: <13206337-A9FD-11DA-B02F-003065535662 [at] marlboro.edu>

The old hard patch panel has been fantastic for helping it to "click" 
with students for me. Since I often freelance for a college for the 
learning differenced, I thought the channel-circuit-dimmer distinction 
was going to be, er, challenging. For all of us. But with the circuits 
located both on the electrics and on the pins to be plugged into your 
dimmer-of-choice, it's pretty clear. For all of us. Luckily, we have 
more channels than dimmers (anyone want a couple of extra channels for 
cheap? ;-), so we maintain one-to-one. The students know about 
softpatching-we look at the patch and set-ups screens (ETC Express 
48/96) and discuss, but we don't get into doing it. Since theater tech 
is basically an extra-curricular activity at this college, it's better 
to just leave it in the very concrete. And, so far, those that get it, 
really, really get it. (Good Lord willin' and the crick don't rise.)

Now if we could only keep the patch panel in good working order. It's 
kind of starting to look snaggle-toothed from all the circuit patching 
pins which have been clipped off, due to non-working/dangerosly working 
circuits. Anybody else still got a functioning hard patch panel, out of 
curiosity?

--Heather.


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

Message-ID: <44070930.7050807 [at] cybercom.net>
Date: Thu, 02 Mar 2006 10:03:12 -0500
From: Dale Farmer <dale [at] cybercom.net>
Organization: I'm working on that....
Subject: Re: Adjusting mic eq - it's all about bandpass and bandstop  :)
References: <list-28088222 [at] prxy.net> <list-28092804 [at] prxy.net> <list-28100786 [at] prxy.net> <list-28105373 [at] prxy.net>
In-Reply-To: <list-28105373 [at] prxy.net>

Jim Hyslop wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Bill Nelson wrote:
>> If I understand correctly, DSL is NOT over the old lines. When I had DSL
>> installed, they pulled a new phone line.
> 
> Depends where you live, I think. Back when DSL was starting, the big
> hurdle was "the last mile". If you're within a certain distance (1 mile,
> IIRC) of the central office (CO), then no new wiring is required. When I
> got my DSL, I just plugged it in and it worked. The phone wiring in this
> house was probably installed in the 70s, when Bell Canada converted
> everyone to the modern RJ11 jacks.
> 
> Mind you, I have no idea how many infrastructure upgrades may have gone
> into the CO in order to accomodate DSL. Quite a few, I would imagine.
> 
   DSL needs a copper pair from you to the central office or SLC unit 
that services your line.  No repeat coils allowed, and loop length has 
to be shorter than a certain amount for the different speeds.  Basically 
the further away you are, the slower your DSL line can be.  I'm not 
going to try and remember the various numbers as I type this in my 
precaffeinated state.  Usually this translates into about five miles out 
and back over the cable to your home to get DSL.  With the increasing 
use of SLC units, this is becomeing less of an issue in suburban areas. 
  And with the pushing of fiber service all the way to your house, this 
is becoming a non-issue in even distant suburbs.  I am ignoring the 
morass of state and federal regulations that govern all of this.
    Voice on bell standard lines only specifically uses a fairly limited 
hunk of bandwidth.  As soon as your voice hits the first digital device 
in the system, only that hunk of bandwidth gets encoded.  DSL uses the 
audio frequencies above the cutoff.  So the DSL filter at the consumer 
end is just a high cut filter.  If you listen to a DSL line without the 
DSL filter in-line, you get a lot of higher pitched signals which are 
distracting unless you have a pretty severe hearing loss.
	At the central office, your line goes to the DSL box, and it has a 
filter that filters out the voice frequencies and then translates that 
signal into data that goes onto a separate data only network. Meanwhile, 
another filter filters out the data signal from the line, and passes the 
  voice frequencies off to the regular voice switch which provides your 
dial tone and voice service.  There are also integrated devices which 
provide both services in the same line card, if your DSL service is 
coming from the same company as your voice service.

   --Dale

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

Date: Thu, 02 Mar 2006 10:05:06 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Give me those old time theatres  (Was:  Express (Soft patching))
In-reply-to: <list-28108907 [at] prxy.net>
Message-id: <440709A2.4000700 [at] ithaca.edu>
References: <list-28108907 [at] prxy.net>

Heather Carter wrote:

> ---------------------------------------------------
  Anybody else still got a functioning hard patch panel, out of
> curiosity?

I have both a slider patch and a telephone patch panel. One in each 
theatre.  They've each been disconnected for quite some time, but should 
be functioning.

Actually, the slider patch may not work anymore as I've been trying to 
disassemble it to get to the huge sheet of copper to try to recycyle it.

Steve L.

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

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

In-Reply-To: <list-28098524 [at] prxy.net>
References: <list-28098524 [at] prxy.net>
Message-Id: <A0FE494E-61CC-4BD8-905E-A6BC2C75B1A4 [at] interstellar.com>
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: If only.....
Date: Thu, 2 Mar 2006 07:11:53 -0800


On Mar 1, 2006, at 11:08 PM, Stuart Baulch wrote:

>
> "New paint blocks out cellphone signal"
>
> www.tinyurl.com/fxa5z
>

It actually works.  Not cheap, but works.  Note, you should coat all  
doors and windows, too, so nothing leaks in.

I can see it, tense moment in the show, someone opens a door and all  
the phones beep that there's voice mail  (signal gets in through the  
door and informs phones there's messages waiting).


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

Message-ID: <F6275691D8BF4749B5B17ABA059AC48A36C072 [at] APOLLO>
From: Steve Bailey <Bailey [at] BrooklynCenter.com>
Subject: Patch panels
Date: Thu, 2 Mar 2006 10:28:05 -0500 



Heather Carter wrote:

> ---------------------------------------------------
  Anybody else still got a functioning hard patch panel, out of
> curiosity?

I have a 1958 vintage Century Lighting PP still in use in our 500 seat Gershwin Theater, which is the primary space used by our Theater Dept.

84 original circuits, plus an expanded 66 via an overhead troughway with hanging connectors.  

I only just replaced 2 years ago, our 60 circuit home-made PP in our Workshop with a Sensor rack, as well as replacing our 150 circuit Century PP in our main rental hall with a 300 dimmer Sensor system.

Not for one minute do I miss our patch panels, and cringe when I have to work in the Gershwin Hall (which is mostly twice a year).


On a side note, I got a call a few years ago from a location scout for a movie, that needed a "portable" patch panel.  They were filming in the booth at the Waldorf-Astoria hotel in NY with the production designer wanting an "authentic" looking booth.

I explained that they were unlikely to find a "portable" patch panel, as any such device was likely assembled (from parts) in place with everything being hard wired in conduits.  "Oh".  "Really ?".  "Damn", was the surprised response.  I then suggested that the electrics dept. make them one, as it would probably be cheaper then hauling one out of a theater that had one to spare, thinking that most theaters would remove the old PP (usually with a Sawzall) when they went DPC (as we did).  I'm actually surprised that Ithaca still has theirs in place.  

FWIW, not even Steve Short at Litetrol wanted the parts off ours (no room to store it, probably).   

Steve Bailey
Lighting Director
Brooklyn Center for the Performing Arts
Brooklyn College
 
718 951-5349 P
718 951-4673 F
 
baileyst [at] brooklyn.cuny.edu



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

In-Reply-To: <list-28105512 [at] prxy.net>
References: <list-28050994 [at] prxy.net> <list-28081413 [at] prxy.net> <list-28081836 [at] prxy.net> <list-28105512 [at] prxy.net>
Message-Id: <9D129627-31E6-4F4E-83DD-120CB12BEF35 [at] interstellar.com>
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Express (Soft patching)
Date: Thu, 2 Mar 2006 07:29:42 -0800


On Mar 2, 2006, at 5:02 AM, Jim Hyslop wrote:

>
> Tell me about it. I think there comes a time in everyone's life when
> they'll be working with an adult and suddenly realize: "My god, if
> things had worked out differently, this could be my child."

Then there's my wife, a year+ ago her father died and she found out  
she has a  sister around 45 years younger than her!  That was a bit  
of a shock, a sister young enough to be her great-grandchild.

They've never met or talked, don't know if they ever will.


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

Message-ID: <002501c63e0f$5e847b50$6401a8c0 [at] amd2200>
From: "Idaho Scenic" <idahoscenic [at] earthlink.net>
References: <list-28098524 [at] prxy.net> <list-28100752 [at] prxy.net> <list-28105793 [at] prxy.net>
Subject: Re: If only.....
Date: Thu, 2 Mar 2006 08:38:35 -0700

At a movie theatre a while back I received a small round of applause
when a teenager's phone rang and he promptly answered it and started
talking.  I stood up, turned around to face him, and did an animated
swirl of the hand and pointed towards the exit. He got the message.
One of the advantages of being a surly old man.

Robert Riddle
Will Disagree for the Sake of Discussion
Will Discuss for the Sake of Learning


...Went to see a show and the same persons phone rang 3 times
during the show. To my knowledge it was not an emergency as he stayed
through the entire show.

Jonathan Wills
Wills Lighting & Stage
www.WillsLighting.com


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

From: "Tony Deeming" <deeming.tony [at] btinternet.com>
Subject: RE: If only.....
Date: Thu, 2 Mar 2006 15:50:10 -0000
Message-ID: <ODEMKLAMIBKNHPJLNKDPAEHODOAA.deeming.tony [at] btinternet.com>
In-Reply-To: <list-28109874 [at] prxy.net>

One of these days I'm going to play with the Goldenscans that are above the
audience's heads and programme a cue that will cover every seat in the
house, so when that happens I can just seek out the phone owner and shoot a
nice bright white light straight onto him/her.....!

<evil grin and pantomime baddie's laughter echoes down the
auditorium.....!!>

8-)))

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Idaho
> Scenic
> Sent: 02 March 2006 15:39
> To: Stagecraft
> Subject: Re: If only.....
>
>
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> At a movie theatre a while back I received a small round of applause
> when a teenager's phone rang and he promptly answered it and started
> talking.  I stood up, turned around to face him, and did an animated
> swirl of the hand and pointed towards the exit. He got the message.
> One of the advantages of being a surly old man.
>
> Robert Riddle
> Will Disagree for the Sake of Discussion
> Will Discuss for the Sake of Learning
>
>
> ...Went to see a show and the same persons phone rang 3 times
> during the show. To my knowledge it was not an emergency as he stayed
> through the entire show.
>
> Jonathan Wills
> Wills Lighting & Stage
> www.WillsLighting.com
>
>



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

Message-ID: <004201c63e13$8f28bbf0$6401a8c0 [at] amd2200>
From: "Idaho Scenic" <idahoscenic [at] earthlink.net>
References: <list-28050994 [at] prxy.net> <list-28081413 [at] prxy.net> <list-28081836 [at] prxy.net> <list-28105512 [at] prxy.net> <list-28109616 [at] prxy.net>
Subject: Re: Express (Soft patching)
Date: Thu, 2 Mar 2006 09:08:34 -0700

It works both ways.  I have had adults working under me that I would
trust my life with. (and do) That I would be proud to have fathered.

There are the others that amaze me they have reached adulthood and I'm
glad I wasn't in "their town" thirty years ago.
" I have house plants older than you, and smarter, too"

Both my kids,  in their late twenties, are constantly threatened with a
new sibling. Per chance that opportunity should arise     : -)

Robert Riddle
Will Disagree for the Sake of Discussion
Will Discuss for the Sake of Learning


> On Mar 2, 2006, at 5:02 AM, Jim Hyslop wrote:
>
> >
> > Tell me about it. I think there comes a time in everyone's life when
> > they'll be working with an adult and suddenly realize: "My god, if
> > things had worked out differently, this could be my child."
>
> Then there's my wife, a year+ ago her father died and she found out
> she has a  sister around 45 years younger than her!  That was a bit
> of a shock, a sister young enough to be her great-grandchild.
>
> They've never met or talked, don't know if they ever will.
>


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

Subject: Engineering suggestions anyone?
Date: Thu, 2 Mar 2006 11:13:14 -0500
Message-ID: <A01ABA2A211C644596549C5FF91C50E404183D85 [at] EXEVS02.its.uncc.edu>
From: "Fitch, Tracy" <tfitch [at] email.uncc.edu>

An upcoming show calls for a roughly 28' piece of 1-1/2" sched 40  (I
know, I know -- first problem -- rigid splice) hanging vertically from a
lineset to rotate smoothly about 90 degrees and back.  Of course the
reason it is hanging vertically and rotating is a 5' wide by 17' tall
door hanging off one side of the pipe.
=20
I've gone back and forth with a number of ideas on how to accomplish
this including such items as flange mounted bearings (see
http://www.thebigbearingstore.com/servlet/Detail?no=3D151 ) and
modifications to mega-couplers.  I like the flange bearing notion, what
I'm missing is the load-rating on axle holding power.  All I can seem to
find are blocks rated in RPM and other useful tidbits like that.  All
great info for some applications -- but not for me.
=20
For those wondering more details of this wackiness -- a quick summary of
my currently forming plan.  3/8" cable (why? -- because I have it)
permanently attached from floor to grid -- tensioned with a cable
comealong. Cable runs through pipe which is attached to lineset batten
(you guessed it -- this silliness needs to fly in and out) in highly
stylistic fashion to be determined as is a mirrored pipe 10' away.  Door
attached to each pipe with door frame piece (again attachment TBD) above
and below to hold pipes relatively parallel.  Lever arm attached to
offstage side of pipe to allow "magical" opening of door.  Is that
confusing enough for you?
=20
Anyway,  thoughts from anybody on either a load-rated piece of hardware
to use in my current hair-brained scheme or a whole other way to crumble
this cookie?
=20
--Tracy S. Fitch
TD, UNC Charlotte; LD, Pretty much anyplace

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

Reply-To: <fritz [at] schwentker.com>
From: "Fritz Schwentker" <fritz.td [at] mindspring.com>
Subject: RE: Motor Question
Date: Thu, 2 Mar 2006 10:14:05 -0600
Message-ID: <005301c63e14$54495d40$1400a8c0 [at] FFS>


 
As others have noted, it would appear that you have the wrong motor for the
job--if you want to control the speed. For fixed speed operation, while not
necessarily an elegant choice, it will probably work.

For mechanical effects, we typically want speed control, and more
importantly we want to ramp the accel and decel a bit so as not to make
starting and stopping the effect too jarring.

A single phase AC motor will not provide this capability. Remember that the
speed of any AC induction motor is relative to the frequency of the line
input. 60hz (in the US) gives top speed (1725rpm in your case.) If you lower
the voltage (without lowering the line frequency), you get a motor that runs
with reduced torque--without full torque, the motor is less than useful!
While reducing the torque will certainly slow the speed of your load, it
will provide uneven operation at best. More likely, you will have trouble
starting the motor and it will ultimately overheat. At worst, since this is
a case of something being lifted and without the ability to use the full
torque of the motor, you create a potentially dangerous operating situation.


I am happy provide more details on exactly why a motor such as yours is not
a good variable speed machine if that would be helpful. Meanwhile, The
suggestions of DC motor/controller combinations are good. If the 1/4 hp
motor is really enough to run the load you have, then the cost may be
reasonable for you. My choice would be an AC 3-phase motor with a
micro-inverter. Automationdirect.com is a good place to start. Finally,
don't forget to think about a mechanical brake as well, especially if there
is any way that the load can move by itself under the influence of gravity.

Best,

Fritz

===========================
Fritz Schwentker
Theatre Systems Designer

WJHW, Inc
12500 Network Blvd,
Suite 402
San Antonio, TX 78249

210.561.9800
fschwentker [at] wjhw.com
===========================


> -----Original Message-----
> I've got a motor attached to a split drum worm gear winch
> (40:1 gear) that
> raises and lowers a drawbridge I've built. My question is if I can 
> attach a dimmer switch to the power feed to control the motor speed.
> It does work in
> controlling the speed, but will it fry the motor? It's not going to be 
> on for long times, just short bursts to open or close the drawbridge, 
> no more that 3 or 4 minutes at a time.
> I got the motor dirt cheap at a surplus store. Knowing how you guys 
> (and
> gals) want all the details to answer, here's the 411 on the motor:
> Brand: Emerson (out of St. Louis)
> belted fan and blower duty, 1/4 HP, 1725 rpm Cat 1194, 115v, 4.4 amps, 
> PH1, Code N, S.F.A. 5.2, Amb 40, Time rating  - Cont.
>  Insul Class A
===========================
Fritz Schwentker
Theatre Systems Designer

WJHW, Inc
12500 Network Blvd,
Suite 402
San Antonio, TX 78249

210.561.9800
fschwentker [at] wjhw.com
===========================



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

Date: Thu, 2 Mar 2006 16:29:46 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Motor Question
In-Reply-To: <list-28110690 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0603021627440.25176 [at] viscount.richmondsounddesign.com>
References: <list-28110690 [at] prxy.net>

On Thu, 2 Mar 2006, Fritz Schwentker wrote:

> A single phase AC motor will not provide this capability. Remember that the

There are some very capable AC motor speed controllers around now which preserve 
almost full torque at virtually any speed with very good speed control.  Will 
these not work with single phase motors?

Charlie

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

Message-ID: <fcb018350603020837p76e9eaeco1fd767ec9cfab54d [at] mail.gmail.com>
Date: Thu, 2 Mar 2006 11:37:50 -0500
From: "Kurt Cypher" <kurt.stagecraftlist [at] gmail.com>
Subject: Re: Express (Was: Designers and consultants - A RANT!)
In-Reply-To: <list-28099762 [at] prxy.net>
References: <list-28082448 [at] prxy.net> <list-28099762 [at] prxy.net>

On 3/2/06, Bill Nelson <billn [at] peak.org> wrote:
(replying to Frank)
>
> YOU don't light an arena stage that way. That does not mean that everyone
> follows your practices.
>

Like Dan Mills said, earlier in this thread:

"Not all of us work in your world Frank, "

We each work in our own little world.  Sometimes there is comon ground
between those worlds, sometimes there isn't.  I can pretty much
guarantee that the way lighting design/channel groupings/etc are done
at the two community theater groups I usually work with are completely
different from just about everybody on the list, since nobody in
either theater has any actual training/professional experience.

That doesn't make them right or wrong.  The way they do the lighting
WORKS FOR THEM, and THAT is the important thing.  Frank's way works
for Frank in his particular theater, which is fine.  Frank's way may
or may not work for someone else in that same theater, and that's
fine, too.  Frank just seems to have a little trouble accepting the
fact that other people would prefer to do things differently.

So, how about we all just agree to disagree, and move on to another topic?

Kurt

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

From: "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
Subject: RE: Give me those old time theatres  (Was:  Express (Soft patching))
Date: Thu, 2 Mar 2006 11:05:09 -0600
In-Reply-To: <list-28108907 [at] prxy.net>
Message-ID: <IVIFGO00.W2J [at] mail.accd.edu>

One of the rarely used spaces where I went to college still has one...
something like 60 circuits and 6 6K dimmers (of which only two or three
still work). Needless to say, no theatre happens there, and on the occasion
the dance dept uses it they hire in a lighting rig. 

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-----

Anybody else still got a functioning hard patch panel, out of 
curiosity?

--Heather.




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

Reply-To: <info [at] flyingfx.com>
From: "Hall Associates Flying Effects" <info [at] flyingfx.com>
Subject: RE: Atta Boys ( professional endorsement follows )
Date: Thu, 2 Mar 2006 11:08:44 -0600
In-Reply-To: <list-28103259 [at] prxy.net>
Message-ID: <auto-000028112216 [at] prxy.net>

Hi Keith

Thanks for the public kudos.  We all had a great time working with your
performance team, and are looking forward to your next event.

Tracy Nunnally
Technical Director / Assistant Professor of Theatre Technology
Northern Illinois University School of Theatre and Dance
815-753-9342 - tnunnally [at] niu.edu

President - Hall Associates Flying Effects
888-FLY HALL - tracy [at] flyingfx.com
www.flyingfx.com


-----Original Message-----
From: IAEG [at] aol.com
Message-ID: <2c6.4585717.3137bf06 [at] aol.com>
Date: Wed, 1 Mar 2006 22:22:46 EST
Subject: Atta Boys ( professional endorsement follows )

Like to give a public thanks and a BIG "atta boy" to the folks at Hall 
Associates, , 

We just finished a quick mini tour of our production of Circus Nexus
presents 
Rites & Rituals in four theatres and Tracy and Gabe Nunnally, John Tilford, 
Bill Auld and John Moore did a superb job of flying all three of our aerial 
attractions for these one night stands.

Certainly made my life easier as well as that of the aerial artists.

Many, many thanks to all of you.

The preceding was a non compensated, non subliminally suggested by the 
parties involved and deeply from the heart stated, professional endorsement
for the 
services provided by the aforementioned.


best,

Keith Arsenault

International Arts & Entertainment Group
Tampa, FL


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

Message-ID: <BAY112-F108BADA9B385E415D60C30DAF50 [at] phx.gbl>
In-Reply-To: <list-28112087 [at] prxy.net>
From: "Matthew Breton" <theatricalmatt [at] hotmail.com>
Subject: Re: Give me those old time theatres (Was: Express (Soft patching))
Date: Thu, 02 Mar 2006 12:21:05 -0500

>Anybody else still got a functioning hard patch panel, out of
>curiosity?

UMass/Boston used to have one -- they had a ~106 circuit patch panel 
(telephone style), for 30 dimmers.  If memory serves, they had six 7k 
dimmers, 18 3k dimmers, and six 3k non-dims.  Quite an interesting set-up.

They recently renovated, though, installing a 96-dimmer Sensor rack, a new 
board, and a motorized FOH pipe (one of the most poorly thought-out choices 
I've seen in a while).  I don't know what happened to the old patch panel 
board or the old dimmers.


Matthew Breton
Technical Director
Cambridge Family YMCA Theater
(617) 447-5261 (cell)
www.cambymca.org

_________________________________________________________________
Express yourself instantly with MSN Messenger! Download today - it's FREE! 
http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/


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

Subject: RE: Tablet PC's in general
Date: Thu, 2 Mar 2006 12:35:52 -0500
Message-ID: <071168C3EF37C34580207EB53478A0F722A02B [at] stage.OTC.local>
From: "Ryan Knapp" <RKnapp [at] olneytheatre.org>

I use a Panasonic Toughbook CF-18 tablet pc with centrino that twists
and lays flat.  The computer is completed sealed to be weather resistant
and has never crashed on me in the 2 years that I have been using it.
We use the computer for everything from setting up projectors to running
SFX and addressing ETC nodes.=20

Funny story about my computer:

I was in my car once with my wife driving (that's not the funny part)
and she wanted to move the seat up.  She grabbed the level and was
shifting the seat forward and it wasn't moving.  Well, instead of
figuring out why it is stuck, she just tried harder.  After a few good
slams I realized my toughbook was under the seat!  Now I have a thumb
sized dent in the top, and I firmly believe that no other computer could
with stand the wrath of my wife.  I will only own toughbooks from now
on.


Ryan N. Knapp
Olney Theatre Center for the Arts
rknapp [at] olneytheatre.org
301.924.4485 *122

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of
productionmanager [at] minnesotaballet.org
Sent: Wednesday, March 01, 2006 9:06 AM
To: Stagecraft
Subject: Tablet PC's in general

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. >

Jim,

I have a Gateway M275 tablet. It's a regular laptop with a screen that
rotates and can then lie flat. I love the thing. The best thing about it
is when I'm on tour and at the start of focus. I turn it into a tablet
and open up my cad software and read my plot right off the screen. No
more having to look at a paper plot with a flashlight. Plus, if I decide
to make a change because of some issue or other, I can make the change
right on my cad plot as we go.

I don't use the tablet hand writing as much since I can type faster than
I write. Had it for tow years, and there are no downsides. Just make
sure the hinge for the screen is heavy duty. The Gateway came with a 3
year warranty, all the others I've looked at had only 1 year.

If you have more questions or want more info, reply to me off- list. I'm
heading out of town for a quick weekend tour and will be back on Monday.

Kenneth Pogin
Production Manager
Minnesota Ballet=20



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

Date: Thu, 02 Mar 2006 12:37:24 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Give me those old time theatres (Was: Express (Soft patching))
In-reply-to: <list-28112516 [at] prxy.net>
Message-id: <44072D54.3010600 [at] ithaca.edu>
References: <list-28112516 [at] prxy.net>

Matthew Breton wrote:
> ---------------------------------------------------
> 
>> Anybody else still got a functioning hard patch panel, out of
>> curiosity?
> 
> UMass/Boston used to have one -- they had a ~106 circuit patch panel 
> (telephone style), for 30 dimmers.  If memory serves, they had six 7k 
> dimmers, 18 3k dimmers, and six 3k non-dims.  Quite an interesting set-up.

As long as we're delving into history here, does anyone know what drove 
the change from 3k dimmers being the norm to 2.4k dimmers?

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

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

Date: Thu, 02 Mar 2006 12:45:15 -0500
Subject: Re: Give me those old time theatres (Was: Express (Soft patching))
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <C02C995B.A5E4%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-28112907 [at] prxy.net>

20 amp circuit breakers?

Steve

> From: Stephen Litterst <slitterst [at] ithaca.edu>
> Reply-To: "Stagecraft" <stagecraft [at] theatrical.net>
> Date: Thu, 02 Mar 2006 12:37:24 -0500
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Give me those old time theatres (Was: Express (Soft patching))
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Matthew Breton wrote:
>> ---------------------------------------------------
>> 
>>> Anybody else still got a functioning hard patch panel, out of
>>> curiosity?
>> 
>> UMass/Boston used to have one -- they had a ~106 circuit patch panel
>> (telephone style), for 30 dimmers.  If memory serves, they had six 7k
>> dimmers, 18 3k dimmers, and six 3k non-dims.  Quite an interesting set-up.
> 
> As long as we're delving into history here, does anyone know what drove
> the change from 3k dimmers being the norm to 2.4k dimmers?
> 
> Steve L.
> -- 
> Stephen Litterst
> Technical Supervisor
> Ithaca College, Theatre Arts
> 607.274.3947
> slitterst [at] ithaca.edu


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

Message-Id: <7.0.1.0.0.20060302094618.01ec0ef0 [at] interstellar.com>
Date: Thu, 02 Mar 2006 09:46:43 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Give me those old time theatres (Was: Express (Soft
  patching))
In-Reply-To: <list-28112907 [at] prxy.net>
References: <list-28112516 [at] prxy.net>
 <list-28112907 [at] prxy.net>

At 09:37 AM 3/2/2006, you wrote:
>As long as we're delving into history here, does anyone know what 
>drove the change from 3k dimmers being the norm to 2.4k dimmers?

20A x 120V = 2.4K


-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand



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

Date: Thu, 02 Mar 2006 12:54:07 -0500
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: Give me those old time theatres (Was: Express (Soft  patching))
In-reply-to: <list-28113179 [at] prxy.net>
Message-id: <4407313F.8000201 [at] ithaca.edu>
References: <list-28112516 [at] prxy.net> <list-28112907 [at] prxy.net>
 <list-28113179 [at] prxy.net>

Jerry Durand wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> At 09:37 AM 3/2/2006, you wrote:
>> As long as we're delving into history here, does anyone know what 
>> drove the change from 3k dimmers being the norm to 2.4k dimmers?
> 
> 20A x 120V = 2.4K

Well, duh.  But 25A x 120v = 3Kw.  Why the switch from 25A circuits to 20A?

Steve L.
(really, folks.  I'm not dumb, just curious.)

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

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

Message-Id: <7.0.1.0.0.20060302095652.01ed4bd0 [at] interstellar.com>
Date: Thu, 02 Mar 2006 10:01:57 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Give me those old time theatres (Was: Express (Soft
  patching))
In-Reply-To: <list-28113402 [at] prxy.net>
References: <list-28112516 [at] prxy.net>
 <list-28112907 [at] prxy.net>
 <list-28113179 [at] prxy.net>
 <list-28113402 [at] prxy.net>

At 09:54 AM 3/2/2006, you wrote:

>Well, duh.  But 25A x 120v = 3Kw.  Why the switch from 25A circuits to 20A?

Standard breaker sizes.  You're free to custom order 25A breakers, 
but you won't find spares in Home Depot.

Lots of numbers are "out of thin air" just to make it easier to get 
parts.  There was a time when it seemed every chip I used went out of 
their way to use TV color burst crystals because they were readily 
available.  I bucked the trend and had custom ones made since we were 
using thousands (made the overall product cheaper).  Now everything 
is starting to use watch crystals (32.768KHz) because they're small 
and cheap.  It's now easy to get anything you want from any starting 
point, so it's no longer a big deal.


-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand



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

Subject: RE: Give me those old time theatres (Was: Express (Soft  patching))
Date: Thu, 2 Mar 2006 13:06:46 -0500
Message-ID: <E321F8A26790B044A1ED6D4A493E4F46062E75 [at] dionysus.vlsoffice.com>
From: "Paul Sanow" <psanow [at] vls.com>

> > At 09:37 AM 3/2/2006, you wrote:
> >> As long as we're delving into history here, does anyone know what=20
> >> drove the change from 3k dimmers being the norm to 2.4k dimmers?
> >=20
> > 20A x 120V =3D 2.4K
>=20
> Well, duh.  But 25A x 120v =3D 3Kw.  Why the switch from 25A=20
> circuits to 20A?
>=20
> Steve L.
> (really, folks.  I'm not dumb, just curious.)

If I were to hazzard a guess, I would say that with the move to
dimmer/circuit reduced the need for higher capacity circuits.  Now there
were 1-3 lights per dimmer as opposed to three or more in some cases.
Then, if you don't need high capacity circuits there is savings with
smaller wire size.  Remember, most of your branch circuits from the
patch panel were 20A (the rating of the plugs) patching to 25A, 30A, 40A
and so on dimmers.  It's about installation costs too.  My experience is
that circuits are rarely fully loaded in dimmer per circuit systems.=20
Just a guess though.=20

Paul

***********************************************************
Paul Sanow 			psanow [at] vls.com
Technical Sales			www.vincentlighting.com
Vincent Lighting Systems


1420 Jamike Ln. #2
Erlanger, KY 41018

(859) 525-2000	x211		FAX (859) 525-2050
***********************************************************


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

Message-ID: <20060302180744.73151.qmail [at] web52201.mail.yahoo.com>
Date: Thu, 2 Mar 2006 10:07:44 -0800 (PST)
From: Paul Marsland <paulbmarsland [at] yahoo.com>
Subject: circuit breaker and pilot lights
In-Reply-To: <list-28092704 [at] prxy.net>

The "good" people (by my own subjective standards) get
the facts -- and they typically recognize it for the
interesting and sensible feature it is.  The "other"
people (you know; jerks, posers, dummies, etc.) will
start getting more creative answers.  Thanks for your
help!

Paul

> 
> Paul Marsland wrote:
> > checks, and also serves as a good conversation
> piece
> > for visiting casts and crews.  ("What is that
> little
> > red light over the dressing room door?")
> What kind of wierd and wonderful explanations do you
> give?
> 
> -- 
> Jim Hyslop
> 


> From: "Peter Scheu" <peter [at] scheuconsulting.com>
> 
> "It's a security feature. The light indicates that
> the automatic door lock
> is active. At 15 minutes after curtain down the door
> locks and doesn't
> unlock until 15 mins prior to the next call."
> 
> Sure would get the chorus out faster... Could have
> used that when I was
> SM'ing operas... <VBG>
> 

> From: "Paul Schreiner" <pschreiner [at] rmwc.edu>
> 
> 
> "The light comes on when the airlock is
> depressurized..."
> 


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

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

Message-ID: <005b01c63e25$83948aa0$6401a8c0 [at] amd2200>
From: "Idaho Scenic" <idahoscenic [at] earthlink.net>
References: <list-28110673 [at] prxy.net>
Subject: Re: Engineering suggestions anyone?
Date: Thu, 2 Mar 2006 11:17:06 -0700

le'see   Hmm
10' by 17'  "French doors" that fly.

cable come-along... nix.  use rated turnbuckles.

Build  10' x 17' 1" door frame from: pipe or angle or channel. extending
up to batten  (or maybe not, just wire hang them) Is the pipe part of
the aesthetic design or your idea for function?
 batten is going to rub floor to grid wire (or want to roll if extended
US or DS) a burlap wrap on the batten can be used for dampening.
I don't know how heavy your doors are but build frame accordingly
1 inch extra for your lever inside door frame
nylon guides for cable through steel.   (pre show check should include
wear on these) (I would put a couple extra in line and cut away a worn
one and slide a new one into place as opposed to disassemble, put a new
one in, and reassemble)

GAC is a wonderful abrasive device.

use traditional hinges on doors.

Depending on:
a: height of grid
b: tension of cable   (How strong is your floor?)
c: height of batten at in position  (28' ?)
    These are going to TILT when opened (unless there are weighted
stagebraces upstage, figure that one out!)

Just my quick $.02   Hope any of this helps.


----- Original Message ----- 
From: "Fitch, Tracy" <tfitch [at] email.uncc.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Thursday, March 02, 2006 9:13 AM
Subject: Engineering suggestions anyone?


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

An upcoming show calls for a roughly 28' piece of 1-1/2" sched 40  (I
know, I know -- first problem -- rigid splice) hanging vertically from a
lineset to rotate smoothly about 90 degrees and back.  Of course the
reason it is hanging vertically and rotating is a 5' wide by 17' tall
door hanging off one side of the pipe.

I've gone back and forth with a number of ideas on how to accomplish
this including such items as flange mounted bearings (see
http://www.thebigbearingstore.com/servlet/Detail?no=151 ) and
modifications to mega-couplers.  I like the flange bearing notion, what
I'm missing is the load-rating on axle holding power.  All I can seem to
find are blocks rated in RPM and other useful tidbits like that.  All
great info for some applications -- but not for me.

For those wondering more details of this wackiness -- a quick summary of
my currently forming plan.  3/8" cable (why? -- because I have it)
permanently attached from floor to grid -- tensioned with a cable
comealong. Cable runs through pipe which is attached to lineset batten
(you guessed it -- this silliness needs to fly in and out) in highly
stylistic fashion to be determined as is a mirrored pipe 10' away.  Door
attached to each pipe with door frame piece (again attachment TBD) above
and below to hold pipes relatively parallel.  Lever arm attached to
offstage side of pipe to allow "magical" opening of door.  Is that
confusing enough for you?

Anyway,  thoughts from anybody on either a load-rated piece of hardware
to use in my current hair-brained scheme or a whole other way to crumble
this cookie?

--Tracy S. Fitch
TD, UNC Charlotte; LD, Pretty much anyplace


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

Message-ID: <8231e7ea0603021031k310b0364gad6f997a4813fef6 [at] mail.gmail.com>
Date: Thu, 2 Mar 2006 13:31:56 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: mac software
In-Reply-To: <list-28095571 [at] prxy.net>
References: <list-28095571 [at] prxy.net>

>>>>I totally agree, Vectoworks rocks.... Can I say that at 59?<<<<


I believe we already covered this one a few weeks back during all the
Rolling Stones hub-bub. The correct terminology is: Vectorworks
TOTALLY EFFING RULES!!
Or something of that nature.
:)

-SS
TTS-EKU

"Just for the record...The weather today is slightly sarcastic with a
good chance of
A) Indifference  and  B) Disinterest in what the critics say"
 --BU

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

Message-ID: <8231e7ea0603021038v3326a20dl1cff1d1730b93087 [at] mail.gmail.com>
Date: Thu, 2 Mar 2006 13:38:52 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: Patch panels
In-Reply-To: <list-28109468 [at] prxy.net>
References: <list-28109468 [at] prxy.net>

>>>>I have a 1958 vintage Century Lighting PP still in use in our 500
seat Gershwin Theater, which is the primary space used by our Theater
Dept.<<<<

I remember that old guy. I also remember you making me use it!!
:)

--SS
TTS-EKU

"Just for the record...The weather today is slightly sarcastic with a
good chance of
A) Indifference  and  B) Disinterest in what the critics say"
 --BU

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

From: FrankWood95 [at] aol.com
Message-ID: <256.74eb5a5.31389608 [at] aol.com>
Date: Thu, 2 Mar 2006 13:40:08 EST
Subject: Re: Par can

In a message dated 02/03/06 00:36:23 GMT Standard Time, clmortimore [at] bsu.edu 
writes:

> Occy, asks...
>  
>  > When was the par can introduce as performance lighting instrument?
>  > 
They were around as car headlights in the early sixties, and probably in the 
theatre at the same time. 230V ones were hard to come by, and rental houses 
sent them out as 120V pairs, with a cable to series them up for our higher 
voltage.


Frank Wood

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

From: rwhitco [at] comcast.net
Subject: Re: Express (Soft patching)
Date: Thu, 02 Mar 2006 18:44:02 +0000
Message-Id: <030220061844.19946.44073CF1000E1AE500004DEA2200734076010C9B0708999D [at] comcast.net>



> Tell me about it. I think there comes a time in everyone's life when
> they'll be working with an adult and suddenly realize: "My god, if
> things had worked out differently, this could be my child."

Last year, my boss who retired  and is less than 10 yrs. older than me, was directing the child of a former student of his , and the student was a senior.

"Turning, turning, turning through the years.  Minutes into hours and the hours into years..."

Sorry for the show tune on deck CB; we open Les Mis. student tonight.

Randy Whitcomb
Manager/TD
Price Civic Aud.
Loveland, CO

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

From: FrankWood95 [at] aol.com
Message-ID: <261.7c54e45.313897bc [at] aol.com>
Date: Thu, 2 Mar 2006 13:47:24 EST
Subject: Re: Adjusting mic eq

In a message dated 02/03/06 01:01:47 GMT Standard Time, 
jbennett43 [at] mail.accd.edu writes:

> Frank Wrote: How high is high? Old-fashioned telephones worked with a
>  passband from 300Hz to 5KHz, and were perfectly intelligible.
>  
>  I recall 3KHz-4KHz being the range in which we perceive a great deal of
>  clarity. Then again, I could be imagining that little morsel. 

Something like that is true. I remember a different band, from 500Hz to 2KHz, 
but I may well be wrong. Certain frequencies called 'formants' define the 
vowels. Oddly enough, these have been found to be the same for all voices from 
bass to soprano.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <1c3.3b130d51.31389a86 [at] aol.com>
Date: Thu, 2 Mar 2006 13:59:18 EST
Subject: Re: Adjusting mic eq - it's all about bandpass and bandstop  :)

In a message dated 02/03/06 02:42:46 GMT Standard Time, 
stagecraft [at] theatrewireless.com writes:

> > How high is high? Old-fashioned telephones worked with a 
>  > passband from 300Hz to 5KHz, and were perfectly intelligible. 
>  > Wired instruments still do. It's one of the reasons why wired 
>  > modems are so slow: cable and exghange limits.
>  
>  True for a long long time, but high-speed DSL modems have achieved
>  incredibly fast data rates on those same old telephone lines.

They do. Even my old-fashioned dial-up modem runs at over 50Kbps (I'm waiting 
for the cable company to get its act together on broadband). But all you are 
sending is 1-0 sequences. These are very different from signals where the 
analogue amplitude is important. Clever coding and modulation have done this.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <1ad.4841999f.31389eea [at] aol.com>
Date: Thu, 2 Mar 2006 14:18:02 EST
Subject: Re: Old dimmers was Re: Express (Soft patching)

In a message dated 02/03/06 05:47:10 GMT Standard Time, mptecdir [at] gmail.com 
writes:

> Dimmers for an office suite or conference room were a thing of the
>  future.  So I built a  "dimmer" with 4 glass one quart milk bottles.
>  the carrier was like one side of a cardboard six pac carrier for beer
>  or soda except with 4 compartments on one side and none on the other. 
>  The bottom & high side were 3/4 ply and the rest was 1/4 ply.  It
>  worked, I'm still alive, but I wouldn't reccomend this to anyone
>  today, much less a clueless teenager.

I too remember these. The trouble was that if left on check for any time, 
they used to boil up. This had two consequences. First, the area round them was 
soaked in salt water, and second, the bubbles used to make the top plate jump 
around, and the lights flicker. This was sometimes bad enough to lift the top 
plate off its attachment. At the time, and I was still at school, we had a mad 
electrician. If this happened, he would roll up his sleeve, stick his hand 
down to the bottom, and put it back, WITHOUT turning off the power! All 230V!! He 
survived to get a First in Physics, and a Ph.D. from Manchester, where I 
followed him some three years later.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <1a0.46b32898.3138a027 [at] aol.com>
Date: Thu, 2 Mar 2006 14:23:19 EST
Subject: Re: Express (Was: Designers and consultants - A RANT!)

In a message dated 02/03/06 08:05:36 GMT Standard Time, billn [at] peak.org writes:

> YOU don't light an arena stage that way. That does not mean that everyone
>  follows your practices.
>  
>  Yes, the lights may have more than one usage. So what? I still know right
>  where the instruments are located, regardless of how I may use them.
>  
>  > Thinking back through the many plays I have lit on this sort of stage, I
>  > find it
>  > hard to find one when I could have achieved some logical grouping of the
>  > faders, even had it been possible.
>  
>  I have never had a problem.

You've been lucky!

Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <236.7d20711.3138a367 [at] aol.com>
Date: Thu, 2 Mar 2006 14:37:11 EST
Subject: Re: Express (Soft patching)

In a message dated 02/03/06 13:02:47 GMT Standard Time, 
theatre [at] dreampossible.ca writes:

> > I suddenly feel very old... 
>  
>  Tell me about it. I think there comes a time in everyone's life when
>  they'll be working with an adult and suddenly realize: "My god, if
>  things had worked out differently, this could be my child."

    "But at my back, I always hear
     Time's winged chariot drawing near."

I remember the elderly aunts and uncles of my youth. Then I think to my own 
nephews and nieces. I think back to the university friends I had, two of whom 
are no more.

I have a parking cone ready for 'time's winged chariot'.


Frank Wood

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

From: FrankWood95 [at] aol.com
Message-ID: <23b.7d973ae.3138a48e [at] aol.com>
Date: Thu, 2 Mar 2006 14:42:06 EST
Subject: Re: Adjusting mic eq - it's all about bandpass and bandstop  :)

In a message dated 02/03/06 14:12:46 GMT Standard Time, ladesigners [at] juno.com 
writes:

> Now days, it it mostly software upgrades, at least in the big cities such 
as 
> Los Angeles with 10 out of the 26 area codes in California. When they 
> replaced the old SS-7 switches with DMS-100 and the newer 5ESS switches, My 
> POTS, ISDN, and DSL services now come off the same switch that is over 
22,000 
> feet from my office, through a repeater.
 
 What a fine collection of acronyms, and buzz words. Before you hit the reply 
button, I don't want to know what any of them means.

Frank Wood

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

Message-Id: <3.0.6.32.20060302134220.00d2c0a0 [at] pop.west.cox.net>
Date: Thu, 02 Mar 2006 13:42:20
From: CB <psyd [at] cox.net>
Subject: Re: I'm lost!

>For hotel, plane tickets, and per diem I will forward all messages
>independently.

HEY!!  No weezing my gig!
				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: <3.0.6.32.20060302135545.00d2c0a0 [at] pop.west.cox.net>
Date: Thu, 02 Mar 2006 13:55:45
From: CB <psyd [at] cox.net>
Subject: Re: Adjusting mic eq

>An observation... it seems far too many sound guys are looking for "how
loud 
>can I make it" instead of  "how can I help the audience to  hear/understand 
>the performance better".

Well, at sound check, I tend to be far louder than I would normally like to
run the system, but that's checking the headroom, shake-down, etc.  If your
sound guys are not running to spec (i.e., loud equals good) check what
they're getting paid.  I just turned down a tour because they didn't want
to pay me as much as the spot-op.  There is a long-standing, systematic
theatrical tradition of treating sound like a poor cousin, and
consequently, theatre sound gets; 1. very dedicated threadbare sound
technicians  2. sound techicians that moonlight in corporate, music,
corporate music, and film to make ends meet, and 3.  The crappy end of the
spectrum of sound technicians.
While history has proved that Kristi isn't one of this type, I'm going to
use her post to describe a bunch of typical sound critics.  Quite often,
their experience with sound, and the electronics and physics that create
sounds playground, is limited to their living room set, if not their car
stereo.  This is also their measure for comparison.  They don't have the
expertise to understand the answer to the questions that they have, and
still think that the reason that the big speakers can't go upstage of the
set is that the sound guy just wants to be difficult.
I've been the 'culprit' on many gigs where money told me what to do, and
art kept its mouth shut.  I don't necessarily like it, but it goes with the
territory.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

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

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

Date: Thu, 02 Mar 2006 14:54:10 -0600
From: Mark Harvey <mharvey [at] d.umn.edu>
Cc: pelo0031 [at] d.umn.edu
Subject: Stain Free Stage Blood
Message-ID: <B80B71A93CCBC0ACBA3A08D2 [at] mharvey.d.umn.edu>
In-Reply-To: <list-28103259 [at] prxy.net>
References:  <list-28103259 [at] prxy.net>

Stagecrafters,

A student in our theatre program sent me the following question.  I was 
hoping someone on the list could help her resolve this issue.  Please 
respond to her directly at:  pelo0031 [at] d.umn.edu

Megan Pelowski writes:

I need to be making large amounts of a rich deep (almost royal in 
color) stage
blood for a production of Julius Caesar.  Does anyone have any tips for 
creating
a deeper colored blood that could be washed out of costumes?

Thank you

Megan Pelowski
pelo0031 [at] d.umn.edu



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

Message-ID: <005201c63e3b$fc2a21d0$e28aaa43 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-28114594 [at] prxy.net>
Subject: Aging, gracefully or otherwise
Date: Thu, 2 Mar 2006 12:57:52 -0800

>
>> Tell me about it. I think there comes a time in everyone's life when
>> they'll be working with an adult and suddenly realize: "My god, if
>> things had worked out differently, this could be my child."
>
> Last year, my boss who retired  and is less than 10 yrs. older than me, 
> was directing the child of a former student of his , and the student was a 
> senior.

> Randy Whitcomb


   One of my high school buddies ended up teaching at the high school we 
attended.  Years passed, and eventually one of his students became a teacher 
there, too.  They were in the faculty office one day, and Jim was telling 
the other fellow how odd it seemed to now be a colleague of a man he had 
taught as a boy.  A few moments later, he realized that another man in the 
room had been one of his own teachers.


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

Message-Id: <3.0.6.32.20060302140858.00d2c0a0 [at] pop.west.cox.net>
Date: Thu, 02 Mar 2006 14:08:58
From: CB <psyd [at] cox.net>
Subject: Re: Adjusting mic eq

>On the topic of hearing & understanding, my lighting instructor also
>insisted that there's a psychological connection between being able to
>see someone, and being able to hear them.

This is actually true.  Two reasons.  One, the face gives clues to what is
being said, in what context it is being said, and there are far to many
sounds that are uttered by humans that sound quite a bit alike.
Ventriloquists have been taking advantage of this fact for years.  Second,
humans train themselves to focus understanding on what their vision is
focused on.  Ever since 'Peek-a-boo', you start to figure out that once its
out of sight, its gone.  Object permanence has a tenuous hold on the human
race.  Actually, if all of the sounds that occurred in the space that you
occupy were processed in the 'cognitive' (OK, I'm trying not to get in to
every aspect of psychoacoustins here... all you Skinner vs. Freud folk just
take a step back) area of the brain, you'd go crazy.  Don't think so?  Go
back and read all my posts.  I can point out a sound in almost any
environment and describe it to a non-sound person, and half the time
they'll still not hear it.  If I point to it, however, suddenly its as if I
turned on a light.  Most people heavily filter what enters their ear into
what they hear.
				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: <3.0.6.32.20060302141626.00d2c0a0 [at] pop.west.cox.net>
Date: Thu, 02 Mar 2006 14:16:26
From: CB <psyd [at] cox.net>
Subject: RE: how to set gain (was: RE: Adjusting mic eq)

>Maybe that's why chris is such a respected member of this list. :)

"Respected"?  Because I can google?  I don't think so.  'Tolerated', I
think is the word that you were looking for...
				Chris "Chris" Babbie
				Location Sound
				MON AZ

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

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

Date: Thu, 02 Mar 2006 16:18:40 -0500
Subject: Re: Aging, gracefully or otherwise
From: Bill Sapsis <bill [at] sapsis-rigging.com>
Message-ID: <C02CCB60.9BD0%bill [at] sapsis-rigging.com>
In-Reply-To: <list-28117677 [at] prxy.net>

Sounds more like a very small gene pool.




On 3/2/06 3:57 PM, "Don Taco" <taco [at] peak.org> wrote:

>    One of my high school buddies ended up teaching at the high school we
> attended.  Years passed, and eventually one of his students became a teacher
> there, too.  They were in the faculty office one day, and Jim was telling
> the other fellow how odd it seemed to now be a colleague of a man he had
> taught as a boy.  A few moments later, he realized that another man in the
> room had been one of his own teachers.



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

Date: Thu, 2 Mar 2006 16:22:22 -0500
From: "Frank E. Merrill" <Lamplighter [at] tcon.net>
Reply-To: "Frank E. Merrill" <Lamplighter [at] tcon.net>
Message-ID: <76415692.20060302162222 [at] tcon.net>
Subject: Re: Stain Free Stage Blood
In-Reply-To: <list-28117646 [at] prxy.net>
References: <list-28103259 [at] prxy.net> <list-28117646 [at] prxy.net>

Howdy !

Thursday, March 2, 2006, Megan Pelowski wrote:

> any tips for creating a deeper colored blood that could be washed
> out of costumes?

Dawn dish detergent and Hershey's chocolate syrup.  Don't put it on your ice
cream....

Best regards,
  Frank E. Merrill
  MERRILL STAGE EQUIPMENT
  Indianapolis
  Established 1946
  www.merrillstage.com 

  Running THE BAT!  Natural e-mail system v.3.65.03          mailto:Lamplighter [at] tcon.net

   



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

Message-Id: <3.0.6.32.20060302144900.00d2c0a0 [at] pop.west.cox.net>
Date: Thu, 02 Mar 2006 14:49:00
From: CB <psyd [at] cox.net>
Subject: talk-back mic

> I would
>like it to be a goose-neck type and phantom power is
>not a option on the talk-back microphone.  Also I
>would like to be somewhat inexpensive.  

<http://shop.vendio.com/hytechgear/item/729367206/>.
<http://tinyurl.com/o74b2> has a coupla more.  These won't be great mics,
but as a talk-back, they'll probably suffice.
Google is your friend.  
Also, you could get a Swtchcraft M3M and a P3F and make your own gooseneck
XLR.  Plug the gooseneck into the jack, plug a dynamic mic into the
gooseneck, and viola, there you go. 
				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: <3.0.6.32.20060302151151.00d2c0a0 [at] pop.west.cox.net>
Date: Thu, 02 Mar 2006 15:11:51
From: CB <psyd [at] cox.net>
Subject: Re: Dimmers, Channels and such

>everyone backstage 
>almost visibly tries to send to a performer who has obviously gone up on his 
>lines.

I got a copy of a very useful prompter program on a gig once, and now use
it primarily as a replacement for this type of thing.  I have the script
loaded on my laptop,and anytime a performer flubs a line, I load it up on
the prompter and have it ready for thier next exit.  So far, everyone has
thought it was funny, but I know that one day someone is going to smack me
inna mouth for it. ; >
				Chris "Chris" Babbie
				Location Sound
				MON AZ

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

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

Date: Thu, 2 Mar 2006 22:04:29 +0000 (GMT)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: Dimmers, Channels and such
In-Reply-To: <list-28119123 [at] prxy.net>
Message-ID: <Pine.LNX.4.63.0603022203410.25176 [at] viscount.richmondsounddesign.com>
References: <list-28119123 [at] prxy.net>

On Thu, 2 Mar 2006, CB wrote:

> loaded on my laptop,and anytime a performer flubs a line, I load it up on
> the prompter and have it ready for thier next exit.  So far, everyone has

Hmmm...  Oh, I'll bet you're really popular for that!

Charlie

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

Message-Id: <3.0.6.32.20060302154414.00d2c0a0 [at] pop.west.cox.net>
Date: Thu, 02 Mar 2006 15:44:14
From: CB <psyd [at] cox.net>
Subject: Re: Adjusting mic eq

>When I go to a R&R concert and see the FOH operator putting on/in hearing
>protection, I know that it is time to leave.

Two things:
1.  The FOH guy has to endure a lot more than the one and a half hours of
hig energy sound than the audience, and he does it every night.
2.  You were going to a rock concert and you didn't bring ear protection?

I tend to get a mix up and running and then apply proper hearing
protection.  Once I get it in, I let the mix go for ten minuts or so to get
acclimitized, and then listen for changes. I like to hear about 100dB at
the mix position, 110 at the max.  This gives the "We Wanna ROCK!" crowd
enough that they won't kvetch, and gives the parents a place to run to at
teh back of the room with me. I carry enough hearing protection that I can
hand it out to mom's with small children (it happens) and anyone I see with
thier fingers in their ears.  Like Frank said, I don't always get to set
the levels of the mix, and its common in smaller rooms for me to drive a
90% vocal mix just to get lyrics over drums and guitars.
				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: <3.0.6.32.20060302154654.00d2c0a0 [at] pop.west.cox.net>
Date: Thu, 02 Mar 2006 15:46:54
From: CB <psyd [at] cox.net>
Subject: RE: If only.....

>Simple answer - encourage the brain surgeon or the parents to leave the
>frickin cellphone with the house manager!!!!!

I sent that exact message (well, paraphrased...) to the Public Affairs
Co-ordinator (Shannon Nix, <snix [at] ctia.org>) just a moment ago.
				Chris "Chris" Babbie
				Location Sound
				MON AZ

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

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

Date: Thu, 02 Mar 2006 14:47:59 -0800
From: "Mt. Angel Performing Arts Center" <admin [at] mtangelperformingarts.com>
Subject: Re: talk-back mic
In-reply-to: <list-28118684 [at] prxy.net>
Message-id: <4407761F.8060309 [at] mtangelperformingarts.com>
References: <list-28118684 [at] prxy.net>

CB wrote:

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>  
>
>>I would
>>like it to be a goose-neck type and phantom power is
>>not a option on the talk-back microphone.  Also I
>>would like to be somewhat inexpensive.  
>>    
>>
>
><http://shop.vendio.com/hytechgear/item/729367206/>.
><http://tinyurl.com/o74b2> has a coupla more.  These won't be great mics,
>but as a talk-back, they'll probably suffice.
>Google is your friend.  
>Also, you could get a Swtchcraft M3M and a P3F and make your own gooseneck
>XLR.  Plug the gooseneck into the jack, plug a dynamic mic into the
>gooseneck, and viola, there you go. 
>				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...
>
>  
>
We re-worked a Luxo type swing arm lamp (bought at a thrift store for 
$4) into a talkback mic holder. Used a banana microphone clip and 
slipped in a $30 RatShack microphone -

Viola ! - a violin on steroids...

Voila! - a $30 talkback microphone.

A couple of advantages over the gooseneck:

Much more positionable -

The sound the system makes if you move the microphone on the swing-arm 
whilst the mike is 'hot' is much less painful than the bone jarring 
noise of a gooseneck moving..

Resistance of the swing arm to motion is adjustable - goosenecks get 
tired after a while and start drooping, usually at the wrong time.

Carla

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

Message-ID: <44077837.4050308 [at] westnet.com.au>
Date: Fri, 03 Mar 2006 08:56:55 +1000
From: Joe Collings <joe.collings [at] westnet.com.au>
Subject: Re: Falling Flowers
References: <list-27815002 [at] prxy.net>
In-Reply-To: <list-27815002 [at] prxy.net>

we just did this trick in a production in which we had to drop petals 
and ashes  (actually we still are till tomorrow night but anyway).  
After I strained my brain trying to invent something clever using bits 
we had around the workshop our SM suggested chinese takeaway boxes with 
their handles taped to the rig with strings attached which, when pulled 
turn the boxes upside down.  We all laughed, but invariably thats what 
we went with.

The petals fall a little down stage of the tree and no one audience-wise 
can figure out how we do it.

Barnes, Zarin wrote:

>For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>---------------------------------------------------
>
>I am a student from Huntington University designing a show that requires that I have flowers fall from a tree periodically through out the run. I am designing in a 14'-0" tall studio space, and I need to be able to control the release of the flowers. Any suggestions would be appreciated.  
>Thanks,
>Zarin Barnes
>
>  
>
-- 

Joe Collings
Production Manager
Underground Productions

http://www.undergroundproductionsuq.org.au/

email: joe.collings [at] westnet.com.au
phone: 0416 247 848

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

From: "JUSTIN DAVID BENNETT" <jbennett43 [at] mail.accd.edu>
Subject: RE: Give me those old time theatres (Was: Express (Soft  patching))
Date: Thu, 2 Mar 2006 17:29:54 -0600
In-Reply-To: <list-28113402 [at] prxy.net>
Message-ID: <IVIX9V00.Z4P [at] mail.accd.edu>

12ga. wire combined with the move to 1-1 systems would be my guess. 

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 Stephen
Litterst

>> As long as we're delving into history here, does anyone know what 
>> drove the change from 3k dimmers being the norm to 2.4k dimmers?
> 
> 20A x 120V = 2.4K

Well, duh.  But 25A x 120v = 3Kw.  Why the switch from 25A circuits to 20A?

Steve L.
(really, folks.  I'm not dumb, just curious.)



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

Reply-To: <chip.wood [at] ieee.org>
From: "chip.a.wood" <chip.a.wood [at] gmail.com>
Subject: RE: Adjusting mic eq
Date: Thu, 2 Mar 2006 16:36:47 -0700
Message-ID: <BDEPLAABBMODPEGKLIAPGELNCKAA.chip.a.wood [at] gmail.com>
In-reply-to: <list-28114705 [at] prxy.net>

Sorry Frank, you lose.  While they do define the vowels, formants vary
systematically between bass to soprano.

Formants are the resonances of the vocal tract (based on it's length mostly)
excited by the frequency spectra (based on tract shape mostly) produced by
the complex sawtooth tone generated by the vocal folds (based on their
tension and length mostly).  Since the male vocal tract is about 10% longer
than the female which in turn is 10% longer than the pre-adolescent, the
male formants are correspondently lower, for any given vowel.  Also since
the female vocal folds are shorter than the males, female pitch is generally
higher.  The Adam's apple is the jutting out of the male thyroid to
accommodate the longer vocal folds.  It is a secondary sex characteristic.
I actually wrote a couple chapters in a book about this stuff during the
time I was teaching it..

Chip

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of
> FrankWood95 [at] aol.com
 Certain frequencies called 'formants' define the
> vowels. Oddly enough, these have been found to be the same for
> all voices from
> bass to soprano.


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

From: "Christopher Hofmann" <cdhofmann [at] comcast.net>
Subject: RE: Give me those old time theatres  (Was:  Express (Soft patching))
Date: Thu, 2 Mar 2006 19:46:02 -0500
Message-ID: <000001c63e5b$db47a710$0201a8c0 [at] ChrisLaptop>
In-Reply-To: <list-28109054 [at] prxy.net>

Heather Carter wrote:

> ---------------------------------------------------
  Anybody else still got a functioning hard patch panel, out of
> curiosity?

I'm a little late to chime in, but I just left a job at a facility with a
circa 1978 Kliegl Safe-Patch telephone type patch panel - still going strong
when I left.  Originally it was formatted for 309 circuits, 64 dimmers, and
6 non-dims.  The first 36 dimmers were 3kw and the others were 7kw.  About
six years ago or so we had the dimmers replaced with ETC equipment.  Money
didn't allow for dimmer per circuit so we kept the patch (the only part of
the system that still worked like it did when new,) and replaced the 3kw
dimmers with 2.4 and the 7kw (including the six non-dims) with 6kw.  Several
years earlier I had already replaced the old Kliegl Performance board
(pre-Performer series and literally the size of a desk) with an Express
77/144.  In a one-to-one patch (of 70 dimmers + house lights,) an operator
has direct, two-scene preset, control of all the dimmers.  But we still used
soft patch to "arrange" the channels (as has already been discussed.)  As
others have noted, the patch allowed for re-patching during the show.

Chris



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

Message-Id: <7.0.1.0.0.20060302171635.01ec5fa0 [at] interstellar.com>
Date: Thu, 02 Mar 2006 17:19:00 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Adjusting mic eq
In-Reply-To: <list-28121001 [at] prxy.net>
References: <list-28114705 [at] prxy.net>
 <list-28121001 [at] prxy.net>

At 03:36 PM 3/2/2006, you wrote:
>Since the male vocal tract is about 10% longer
>than the female which in turn is 10% longer than the pre-adolescent, the
>male formants are correspondently lower, for any given vowel.

Due to a childhood injury, my vocal cords apparently have a scar on 
them.  It makes a second base tone along with the first.  In the 
early days when we were starting the computer voice business, the 
programmer hated/loved my voice, it tended to break all the 
compression algorithms.  It's only the sort of thing a guy with a PhD 
in arcane algorithms would find exciting.  :)


-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
219 Oak Wood Way, Los Gatos, California 95032-2523 USA
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand



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

Message-ID: <45c56d340603021732s9c2635of9bac3c70e96125c [at] mail.gmail.com>
Date: Thu, 2 Mar 2006 17:32:37 -0800
From: "Jared Fortney" <jared.fortney [at] gmail.com>
Subject: Re: Opinions on Yates fall arrest harness?
In-Reply-To: <list-28094387 [at] prxy.net>
References: <list-28094387 [at] prxy.net>

Mike,
I use a Yates Basic Rope Access harness and I like it.  From looking
at the Yates website, it looks as if the differences are shoulder pads
and bigger side positioning rings on the Voyager.  Nearly all of our
employees use Yates harnesses and like them.  We've even done some
special order sizes and Yates turned them around in two days.

-Jared Fortney
Rigger
Cirque du Soleil's Corteo

> I have been looking at the Yates brand Voyager Riggers
> harness.
> Thanks,
> Mike Heinicke
>

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

Message-ID: <12953.69.59.200.119.1141355150.squirrel [at] webmail.peak.org>
In-Reply-To: <list-28105512 [at] prxy.net>
References: <list-28050994 [at] prxy.net> <list-28081413 [at] prxy.net>
    <list-28081836 [at] prxy.net> <list-28105512 [at] prxy.net>
Date: Thu, 2 Mar 2006 19:05:50 -0800 (PST)
Subject: Re: Express (Soft patching)
From: "Bill Nelson" <billn [at] peak.org>

>> I suddenly feel very old...
>
> Tell me about it. I think there comes a time in everyone's life when
> they'll be working with an adult and suddenly realize: "My god, if
> things had worked out differently, this could be my child."

Heh, heh!

That is the first time it happens. You must still be a youngster. Sooner
or later  you realize that the adult you are working with is young enough
to have been  your grandchild.

Bill


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

Reply-To: <chip.wood [at] ieee.org>
From: "chip.a.wood" <chip.a.wood [at] gmail.com>
Subject: RE: Adjusting mic eq
Date: Thu, 2 Mar 2006 20:13:06 -0700
Message-ID: <BDEPLAABBMODPEGKLIAPKEMACKAA.chip.a.wood [at] gmail.com>
In-reply-to: <list-28122821 [at] prxy.net>

I know it has me all aquiver!

BTW, what kind of "computer voice business"?

Chip 

> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Jerry
> Durand
it tended to break all the 
> compression algorithms.  It's only the sort of thing a guy with a PhD 
> in arcane algorithms would find exciting.  :)


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

End of Stagecraft Digest #713
*****************************