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Subject: Stagecraft Digest #164
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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #164

 1. Re: NSI DDS9600 Dimmer
    by "James, Brian" <bej [at] vt.edu>
 2. Re: NSI DDS9600 Dimmer
    by "Alf Sauve" <alf [at] sauve.org>
 3. sound ,sound person
    by b Ricie <b_ricie [at] yahoo.com>
 4. Amateur/professional/academic
    by "Dougherty, Jim" <jdougher [at] middlebury.edu>
 5. Re: Wireless batteries
    by FrankWood95 [at] aol.com
 6. Fall Leaves
    by SMANKO [at] aol.com
 7. Re: NSI DDS9600 Dimmer
    by Greg Bierly <gbierly [at] dejazzd.com>
 8. LDI
    by "Joe Golden" <Joe [at] elslights.com>
 9. Audrey II BC, Canada
    by rodok [at] telus.net
10. Re: Amateur/professional/academic
    by Richard Niederberg <ladesigners [at] juno.com>
11. Re: LDI
    by Richard Niederberg <ladesigners [at] juno.com>
12. Re: Amateur/professional/academic
    by Mark O'Brien <marko [at] email.arizona.edu>
13. Re: LDI
    by "Joe Golden" <Joe [at] elslights.com>
14. Amateur v. Professional theater
    by Mick Alderson <alderson [at] uwosh.edu>
15. Re: Amateur v. Professional theater
    by FrankWood95 [at] aol.com
16. Re: LDI
    by "Joe Golden" <Joe [at] elslights.com>
17. Re: NSI DDS9600 Dimmer
    by "Daryl Redmon" <jonathand01 [at] sbcglobal.net>
18. HELP: EAW SB284C
    by Mat Goebel <mgoebel [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.

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

Subject: RE: NSI DDS9600 Dimmer
Date: Fri, 15 Oct 2004 07:22:16 -0400
Message-ID: <89DE71075FCD6E44A4D117FBFBBD801C04D3EBC0 [at] fangorn.cc.vt.edu>
From: "James, Brian" <bej [at] vt.edu>

I had similar problems with my rack, it was only when a protocol =
converter was used in line. When suing MPX every thing worked well.

One thing we found that helped for a while was to reduce the "speed" of =
the DMX broadcast from the console. We used an ETC Express so this was =
very easy to do. You may try that if this is an option available to you.

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Daryl
Redmon
Sent: Wednesday, October 13, 2004 8:15 PM
To: Stagecraft
Subject: NSI DDS9600 Dimmer


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

I want to query the wisdom of the list. I have already spoken to the =
fine=20
fokes at NSI tech support and I feel that it is now time to see what =
others=20
have experienced with this dimmer.

The problem that I am having now with two differect NSI dimmers DDS9600 =
(=20
they replaced the first unit already) is that I am running with DMX =
control=20
and the dimmer will shut off all my lights for approx. one second. This=20
action is very random and it is driving me crazy! I have the dimmer load =

balanced on channel 2,4,6 of 2k each. I was running the dimmer at about =
50%=20
when this happens. It may happen at other power levels but as this =
dimmer=20
controls the house lights at my church this is the power level it is =
most of=20
the time. I monitored the first dimmer and noted that when the lights go =
out=20
the the dimmer panel lights all flash in a random manner. Please contact =
me=20
on or off list if you have experienced a similar problem and have a=20
solution.

Thanks in advance

Daryl Redmon

Resounding Light


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

Message-ID: <029701c4b2ad$c077a790$0600a8c0 [at] alf>
From: "Alf Sauve" <alf [at] sauve.org>
References: <list-4700284 [at] prxy.net>
Subject: Re: NSI DDS9600 Dimmer
Date: Fri, 15 Oct 2004 07:54:24 -0400

Actually, for a test, remove the rest of the DMX universe going to the intel 
fixtures and terminate the DMX signal at the rack.

One axiom of trouble shooting is isolate, isolate, isolate.  The fewer 
variables you're dealing with the clearer the source of the problem will 
become.

Alf

----- Original Message ----- 
From: "CB" <psyd [at] cox.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Thursday, October 14, 2004 23:46 PM
Subject: Re: NSI DDS9600 Dimmer


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
>>> similar difficulties when using mic cable.  Also make sure your last 
>>> pack
>>> in line is terminated.
>
>
>>I had hoped that it would not
>>be necessary as the signal left the rack and continued into 6 intell.
>>lights.
>
> He meant the last DMX user gets the terminator. If the signal goes out of
> the rack to six movers, terminate the last mover. 


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

Message-ID: <20041015142832.69245.qmail [at] web50604.mail.yahoo.com>
Date: Fri, 15 Oct 2004 07:28:32 -0700 (PDT)
From: b Ricie <b_ricie [at] yahoo.com>
Subject: sound ,sound person
In-Reply-To: <list-4701353 [at] prxy.net>

Hello wise list, I have missed you so...
I am currently on the road with a musical and we are
looking for a replacement sound person, My producer
and director are just not happy with the quality of
work our current sound operator is doing. The tour
runs to mid March with a nice break between
Thanksgiving and the New Year(or nutcracker season as
I call it). We are looking for someone who can mix 20
plus Mic's and has previous tour experience. If anyone
is interested, or can point me to someone who might be
I would be most grateful. Please e-mail me direct for
info or with questions.
Thanks.



=====
Brian Rice 
b_ricie [at] yahoo.com


		
_______________________________
Do you Yahoo!?
Declare Yourself - Register online to vote today!
http://vote.yahoo.com

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

Date: Fri, 15 Oct 2004 12:22:17 -0400
Subject: Amateur/professional/academic
From: "Dougherty, Jim" <jdougher [at] middlebury.edu>
Message-ID: <BD957179.12DD%jdougher [at] middlebury.edu>

Chris Babbie wrote:

<I think the situation that you are describing here is, by defenition, not
professional.  Pro's tend to be defined by the fact that they make thier
living at whatever it is that they do professionall.  As a profession.  I'm
not sure that that wouldn't make the educational setting amateur, but I'm
not sure what else it could be.  Unless, of course, you consider teh
academic environment exclusive of both amateur or professional status.
Mind you, I'm not denigrating the quality of the work done in the academic
world, I've seen some schools that I'd like to send some of my professional
colleagues to so as they could learn from the work that the students do.>

Actually, although I wasn't clear, I _was_ considering academic theater as
separate from professional or amateur in this case, because the purpose is
different, as are the constraints under which we work.  So cross my name
outta your book, wouldja?  BTW, I consider myself and my colleagues on the
staff and faculty professionals, both in attitude and in terms of making a
living at it.  I think you'll find most people working in academic theater
do, too.

-  Jim Dougherty
ATD, Middlebury College


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

From: FrankWood95 [at] aol.com
Message-ID: <104.52f6ddea.2ea15853 [at] aol.com>
Date: Fri, 15 Oct 2004 12:44:03 EDT
Subject: Re: Wireless batteries

In a message dated 14/10/04 22:53:57 GMT Daylight Time, 
jdurand [at] interstellar.com writes:

> tin/silver/copper mix instead of tin/lead.
>  
>  Expensive, requires more heat (THAT causes all sorts of problems and uses 
a 
>  lot more energy) and often the chemicals used for flux and cleaning are 
>  harder on the environment than the lead.

All these are true. I remember, way back, Tektronix used to use silver and 
ceramic tag strips in their gear for reliability. They included a small reel of 
a solder with a silver content.

I also remember the early Germanium transistors, when it was suggested that 
you apply a heat shunt to their legs when soldering. A thing like a crocodile 
clip, but with quite heavy copper jaws. 


Frank Wood

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

From: SMANKO [at] aol.com
Message-ID: <6.35b76954.2ea15912 [at] aol.com>
Date: Fri, 15 Oct 2004 12:47:14 EDT
Subject: Fall Leaves

For the recent Broadway production of ''Into the Woods", I supplied large 
parchment paper leaves sourced from a gourmet foods supplier as ''cheese 
leaves''.  They can be flameproofed to a class 1 rating however are printed on only 
one side.  We sprayed a mottle of color on the reverse with Design Master paints.
 
Mike Smanko
Broadway Prop Guy

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

In-Reply-To: <list-4701879 [at] prxy.net>
References: <list-4700284 [at] prxy.net> <list-4701879 [at] prxy.net>
Message-Id: <013C0747-1ED2-11D9-ACA7-000D936BFA94 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: NSI DDS9600 Dimmer
Date: Fri, 15 Oct 2004 12:45:29 -0500

Alf Sauve wrote:
> Actually, for a test, remove the rest of the DMX universe going to the 
> intel fixtures and terminate the DMX signal at the rack.
>
> One axiom of trouble shooting is isolate, isolate, isolate.  The fewer 
> variables you're dealing with the clearer the source of the problem 
> will become.
>
> Alf

CB wrote:
He meant the last DMX user gets the terminator. If the signal goes out 
of
the rack to six movers, terminate the last mover.

My Reply:
CB was correct in what I meant.  I didn't realize their was anything 
downline of the dimmers.  As Alf said remove everything after the 
dimmers to trouble shoot.  Also I hope you don't have any passive y's 
or splitters in the system.  I would recommend all of 6 movers to be 
daisy chained and the last one terminated or get an active DMX split 
and terminate the last mover in each line.

Related question:
Would you need a terminator on the "through" jack on an active splitter 
or would that be different for each manufacturer?  For that matter do 
you need to terminate unused jacks on DMX splitter?



Greg Bierly
Technical Director
Hempfield HS


Greg Bierly
Technical Director
Hempfield HS


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

Subject: LDI
Date: Fri, 15 Oct 2004 09:49:39 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7A6E [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>

Does anybody have an idea on some sticker or something to put on our LDI
badge to associate us with the list?

Joe

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

Message-ID: <1097860310.417004d607aa8 [at] webmail.telus.net>
Date: Fri, 15 Oct 2004 10:11:50 -0700
From: rodok [at] telus.net
Subject: Audrey II BC, Canada

Hello all,
I know that this has been around several times, but after looking at the plans 
from MTI, and my time/resources at the moment, we are entertaing the idea of 
renting a couple of large plants for Little Shop of Horrors, and building as a 
less perferable alternative. I called and MTI doesn't ship rental plants to BC, 
and the costs would be out of hand anyway..I'm sure that it has nothing to do 
with moving plant materials across borders...It's more a size and container /
cost issue.

Has anyone a nice set of Audrey II's in BC or Alberta that we could borrow/rent 
for a school show in Feb.? Or maybe I could truck something back myself from 
the Spokane area? 
Please contact me off list.
thanks,
Rod Osiowy
MBSS Wild Theatre
phone 250-426-5241 x.610
rodok [at] telus.net
Cranbrook,BC


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

Date: Fri, 15 Oct 2004 10:02:34 -0700
Subject: Re: Amateur/professional/academic
Message-ID: <20041015.101249.2212.1.ladesigners [at] juno.com>
From: Richard Niederberg <ladesigners [at] juno.com>

        Yes, you and your colleagues are professionals, but your product
is educated STUDENTS, not the SHOW that they perform in, design, or
direct. This is not to say that Professional Educators are not also
Theatre Professionals. Nonetheless, your primary purpose is to utilize
the  resources allocated to higher education to forging skilled theatre
practitioners from unskilled ones. This is desirable from a societal
point of view.
/s/ Richard

> BTW, I consider myself and my colleagues on the
> staff and faculty professionals, both in attitude and
> in terms of making a living at it.  I think you'll find 
> most people working in academic theater do, too.
> -  Jim Dougherty
> ATD, Middlebury College

________________________________________________________________
Speed up your surfing with Juno SpeedBand.
Now includes pop-up blocker!
Only $14.95/ month - visit http://www.juno.com/surf to sign up today!

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

Date: Fri, 15 Oct 2004 10:24:39 -0700
Subject: Re: LDI
Message-ID: <20041015.102443.2212.2.ladesigners [at] juno.com>
From: Richard Niederberg <ladesigners [at] juno.com>

        This sounds like an excellent low-cost promotional opportunity
for ELS, and even John Chuck should agree that it could generate traffic
to your booth if LDI attendees had to visit booth #1405 to get their
sticker/button/whatever. Of course, I could be 'preaching to the choir'
on this...
/s/ Richard

> Does anybody have an idea on some sticker or something
> to put on our LDI badge to associate us with the list?
> Joe

________________________________________________________________
Speed up your surfing with Juno SpeedBand.
Now includes pop-up blocker!
Only $14.95/ month - visit http://www.juno.com/surf to sign up today!

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

In-Reply-To: <list-4703406 [at] prxy.net>
References: <list-4703406 [at] prxy.net>
Message-Id: <F8B9638B-1ED2-11D9-BF11-000393897332 [at] email.arizona.edu>
Cc: marko [at] email.arizona.edu (Mark O'Brien)
From: Mark O'Brien <marko [at] email.arizona.edu>
Subject: Re: Amateur/professional/academic
Date: Fri, 15 Oct 2004 10:52:24 -0700

Can I agree with both of you?

As far as what CB said,  I think that one has to make the educational 
setting a separate entity.   In my situation, I have no formal teaching 
classes, yet I still have students in my shop.

My _primary_ responsibility is to build sets so that the student 
singers have something to sing in front of.  This means that I run a 
scene shop  to build scenery.  Instead of bidding, I have a budget.  
Otherwise, it seems to work the same.

That said, I am trying to bring the shop here into the 20th century.  
Air compressor,  nail guns, welder, etc.

The guy before me had been here for 28 years,  and while useful, my 
collection of stuff I inherited includes:

Clout nails, cinch plates, lash cleats, Yankee screwdrivers, ceiling 
plates, and....

2 !!!   Glue pots, and a box O' rabbit glue.

It appears that my main mission now, is to give the music students a 
safe, workable set to play on.

It is a different world, but allot of fun.

Mark O'Brien
Opera Technical Director
University of Arizona, School of Music
Tucson, AZ
520/621-7025
520/591-1803 Mobile


On Oct 15, 2004, at 9:22 AM, Dougherty, Jim wrote:

> For info, archives & UNSUBSCRIBE, see 
> <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Chris Babbie wrote:
>
> <I think the situation that you are describing here is, by defenition, 
> not
> professional.  Pro's tend to be defined by the fact that they make 
> thier
> living at whatever it is that they do professionall.  As a profession. 
>  I'm
> not sure that that wouldn't make the educational setting amateur, but 
> I'm
> not sure what else it could be.  Unless, of course, you consider teh
> academic environment exclusive of both amateur or professional status.
> Mind you, I'm not denigrating the quality of the work done in the 
> academic
> world, I've seen some schools that I'd like to send some of my 
> professional
> colleagues to so as they could learn from the work that the students 
> do.>
>
> Actually, although I wasn't clear, I _was_ considering academic 
> theater as
> separate from professional or amateur in this case, because the 
> purpose is
> different, as are the constraints under which we work.  So cross my 
> name
> outta your book, wouldja?  BTW, I consider myself and my colleagues on 
> the
> staff and faculty professionals, both in attitude and in terms of 
> making a
> living at it.  I think you'll find most people working in academic 
> theater
> do, too.
>
> -  Jim Dougherty
> ATD, Middlebury College
>


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

Subject: RE: LDI
Date: Fri, 15 Oct 2004 11:49:26 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7A70 [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>


If someone comes up with the stickers we will pass them out at our
booth.  If you want to make the stickers please contact me by e-mail to
work out the details.

Joe
joe [at] elslights.com
>         This sounds like an excellent low-cost promotional=20
> opportunity for ELS, and even John Chuck should agree that it=20
> could generate traffic to your booth if LDI attendees had to=20
> visit booth #1405 to get their sticker/button/whatever. Of=20
> course, I could be 'preaching to the choir' on this... /s/ Richard
>=20
> > Does anybody have an idea on some sticker or something
> > to put on our LDI badge to associate us with the list?
> > Joe
>=20
> ____

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

Date: Fri, 15 Oct 2004 16:37:22 -0500
From: Mick Alderson <alderson [at] uwosh.edu>
Subject: Amateur v. Professional theater
Message-id: <v04020a00bd95c7768432 [at] [141.233.131.246]>

 CB <psyd [at] cox.net> wrote:

>
>>From my own personal bias working in an academic environment, I would argue
>>that the most experimental/adventurous work is done in schools, where ticket
>>sales aren't necessarily the main source of revenue,
>
>I think the situation that you are describing here is, by defenition, not
>professional.  Pro's tend to be defined by the fact that they make thier
>living at whatever it is that they do professionall.  As a profession.  I'm
>not sure that that wouldn't make the educational setting amateur, but I'm
>not sure what else it could be.  Unless, of course, you consider teh
>academic environment exclusive of both amateur or professional status.

Now you've got it! "Professional" is about doing theatre and getting paid
for it,  "amateur" is about doing theatre and NOT getting paid for it, and
academic is about teaching others how to do theatre and getting paid for it
(unless you are the student, then you pay for it). They are similar but
different, separated by fundimental purpose, their reason-for-being.

EXCEPT most every theatre I've ever seen is a blend of all three, not
mutually exclusive at all. I've learned (and taught) lots as a working
professional and in amateur theatres, and I pay my bills with money made
doing theatre while I teach. So think of it not as a continuum but as some
three dimensional form. We all wander around somewhere inside, but hardly
anyone is exclusively all one thing. The distinctions are, as it were,
academic. <gg>

And those three aren't the only classes, either. For example, how about
"church theatre"? Some of those get pretty "professional" in performance
values and methods. Some have LOTS more toys than I do! :-) Many "theatre"
people make a living doing"church theatre". There can be some serious money
involved (I worked Kenneth Copeland Ministies gig not long ago) but the
collections go to the ministry and not to stockholders, and the
congregations would probably be quite insulted if you called them
"professional".

Professional, amateur, academic, whatever; it's more about mindset and
intention than anything else.

Mick Alderson
TD, Fredric March Theatre
University of Wisconsin Oshkosh

alderson [at] uwosh.edu

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

From: FrankWood95 [at] aol.com
Message-ID: <13d.3cb2c97.2ea1a59e [at] aol.com>
Date: Fri, 15 Oct 2004 18:13:50 EDT
Subject: Re: Amateur v. Professional theater

In a message dated 15/10/04 22:30:27 GMT Daylight Time, alderson [at] uwosh.edu 
writes:

> Now you've got it! "Professional" is about doing theatre and getting paid
>  for it,  "amateur" is about doing theatre and NOT getting paid for it, and
>  academic is about teaching others how to do theatre and getting paid for it
>  (unless you are the student, then you pay for it). They are similar but
>  different, separated by fundimental purpose, their reason-for-being.

An accurate set of definitions.

One thing to remember is that the amateur has to hold down a job, and work in 
the theatre in his spare time. Some are very dedicated; I remember my wife 
and I coming into our theatre at six o'clock one Monday morning to paint the 
stage, having spent all the previous day there (and I mean from midnight), going 
to work, coming home for a scratch meal, and running a full dress rehearsal 
the same night. I remember driving from South-West France, where I have a house, 
back to London for a week to light the show of the local ballet school, and 
driving back a week later, all for a bottle of scotch.

I/we must have been mad. But, "the show must go on". Every other year, we 
take a show to the Minack Theatre, in the extreme west of Cornwall. This involves 
the whole cast and crew taking itself there, at its own expense, and doing a 
week's hard work as its summer holiday.

Unfortunately, it's getting harder to find people prepared to do this sort of 
thing. As I have got older, I have joined the lazier section. When I was 
younger, jobs were less demanding.
 

Frank Wood

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

Subject: RE: LDI
Date: Fri, 15 Oct 2004 16:19:00 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A7A7B [at] els02.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>

Unless I hear from anyone by noon pacific time on Monday I am going to
make stickers of the Hamster that is posted at
http://stagecraft.theprices.net/tradeshows/badge.html to be given out at
the ELS booth #1405 at LDI.
>=20
>=20
> If someone comes up with the stickers we will pass them out=20
> at our booth.  If you want to make the stickers please=20
> contact me by e-mail to work out the details.
>=20
> Joe
> joe [at] elslights.com
> >         This sounds like an excellent low-cost promotional
> > opportunity for ELS, and even John Chuck should agree that it=20
> > could generate traffic to your booth if LDI attendees had to=20
> > visit booth #1405 to get their sticker/button/whatever. Of=20
> > course, I could be 'preaching to the choir' on this... /s/ Richard
> >=20
> > > Does anybody have an idea on some sticker or something
> > > to put on our LDI badge to associate us with the list?
> > > Joe
> >=20
> > ____
>=20

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

Message-ID: <001a01c4b31c$1f912a80$6500a8c0 [at] yourfsyly0jtwn>
From: "Daryl Redmon" <jonathand01 [at] sbcglobal.net>
References: <list-4700250 [at] prxy.net>
Subject: Re: NSI DDS9600 Dimmer
Date: Fri, 15 Oct 2004 18:04:43 -0700

I am only using DMX cable. 
----- Original Message ----- 
From: "CB" <psyd [at] cox.net>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Thursday, October 14, 2004 11:43 PM
Subject: Re: NSI DDS9600 Dimmer


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
>>the dimmer rack is 250' from my controller 
> 
> 250' of mic cable or DMX cable?
> 
> 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: <d983c4a041015204963fc215b [at] mail.gmail.com>
Date: Fri, 15 Oct 2004 20:49:31 -0700
From: Mat Goebel <mgoebel [at] gmail.com>
Cc: theatre-sound [at] listserv.aol.com (theatre sound)
Subject: HELP: EAW SB284C

Does anyone know anything about the EAW SB284C?  The spec sheet says
the rating is 1,600w  [at]  4ohms, but there are two barrier strips for the
cabinet! What wiring configuration is this spec for? Is that per
driver, parallel, series, what?!

Need to have this up by 7:30pm GMT for a show and I'm trying to find
the right amp to power these with.

Thanks all!

-- 
Mat Goebel
Entertainment Technical Services
Paramount's Great America
Cell: 510.693.1448

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

End of Stagecraft Digest #164
*****************************