Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 23119643; Thu, 16 Jun 2005 03:00:24 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #429 Date: Thu, 16 Jun 2005 03:00:13 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.3 (2005-04-27) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, EXTRA_CASH autolearn=ham version=3.0.3 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #429 1. Re: Rental Fees for Theatre Spaces by "Steve Rossi" 2. Re: mixer by "Steve Rossi" 3. Broadway SOUND Master Class by Scott Parker 4. Re: Vermont electrician licensing by "Jared Fortney" 5. Re: advice on mounting a boom position by "Bill Conner" 6. Digital Theatre Sound Design Workshop by Jason Romney 7. Re: Folding Chairs, Large Outdoor Assembly, and Safety by "Dr. Randall W.A. Davidson" 8. Re: advice on mounting a boom position by "Dr. Randall W.A. Davidson" 9. Rectangular Knock out punches. by Bruce Purdy 10. Re: Rectangular Knock out punches. by Stephen Litterst 11. Re: Rectangular Knock out punches. by "Frank E. Merrill" 12. Re: Rectangular Knock out punches. by Chuck Mitchell 13. Re: Folding Chairs, Large Outdoor Assembly, and Safety by "Stephen E. Rees" 14. Re: Rectangular Knock out punches. by "Richard Wolpert" 15. Re: Rectangular Knock out punches. by FrankWood95 [at] aol.com 16. Re: Portable Lighting Consoles by "Michael Finney" 17. As stand he myrtle sensuality by CB 18. Re: As stand he myrtle sensuality by "Tony Deeming" 19. Re: As stand he myrtle sensuality by Jerry Durand 20. Mis-addressed e-mail by CB 21. Re: Mis-addressed e-mail by Jerry Durand 22. Re: Mis-addressed e-mail by Charlie Richmond 23. Re: Mis-addressed e-mail by Jerry Durand 24. Re: As stand he myrtle sensuality by "Paul Schreiner" 25. Re: As stand he myrtle sensuality by Mark O'Brien 26. Re: Mis-addressed e-mail by Charlie Richmond 27. Re: Mis-addressed e-mail by Jerry Durand 28. Re: Mis-addressed e-mail by "Michael Diederich" 29. Re: 1" X 3" by Marty_Petlock [at] sarasotagov.com 30. Re: Mis-addressed e-mail by Pat Kight 31. AHJ and meters by CB 32. Re: Portable Lighting Consoles by "Daniel O'Donnell" 33. Re: 1" X 3" by "Haagen Trey P Civ 34 TRW/SDAT" 34. Re: 1" X 3" by Michael Heinicke 35. Freq. analyzer by Greg Bierly 36. Re: Mis-addressed e-mail by FrankWood95 [at] aol.com 37. Re: As stand he myrtle sensuality by FrankWood95 [at] aol.com 38. Re: 1" X 3" by FrankWood95 [at] aol.com 39. Re: 1" X 3" by "Chad Croteau" 40. Re: More rigging Questions by J Burch 41. Re: More rigging Questions by Bill Sapsis 42. Re: 1" X 3" by "Bill Nelson" 43. Re: audio cables by Dale Farmer 44. Re: 1" X 3" by Brian Munroe 45. Costuming: How the batsuit works by Herrick Goldman 46. Re: mixer question by Adam Fitchett 47. Lighting Truss by "holyoak1" 48. Re: Costuming: How the batsuit works by Stephen Litterst 49. Re: Freq. analyzer by Adam Fitchett 50. Re: audio cables by Greg Bierly 51. Re: 1" X 3" by "Bill Nelson" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- From: "Steve Rossi" Subject: Re:Rental Fees for Theatre Spaces Date: Wed, 15 Jun 2005 07:25:37 -0400 Message-ID: In-Reply-To: Wow Those sound like some nice venues, it seems a pity to only have limited tech support, especially for a 1600 seat hall. Is there any way you can go to your local union and see about getting support for shows that the rentor would have to pay for so it wasn't a drain on your facility? The thought of a rentor coming in and using my systems with just a supervisor there worries the bejesus out of me, especially with a fly system! As for costs, you're right they are very different everywhere. We have a lot of local halls here and I've worked with/for most of them. Our "bigger" hall in the area rents for around $2500/day plus union tech fees (It's in the neighborhood of 2000 seats). The smaller venues (500-800 seats) seem to have liked the number $500 as that's what most charge daily (again not including union tech fees or in house tech fees). It's best to just ask around what any other venues in your area or state are charging and go from there. HTH Steve Steve Rossi Facilities Manager Merritt Island Performing Arts Center -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.6.9 - Release Date: 6/11/2005 ------------------------------ From: "Steve Rossi" Subject: RE: mixer Date: Wed, 15 Jun 2005 07:34:56 -0400 Message-ID: In-Reply-To: I agree, sounds like a mackie. In reality all boards have some crosstalk and leak, especially when the levels are hot (like from a line level source). The higher you go in quality (and ultimately price), you will see less and less of this to where it almost seems nonexistant but it is still there in measureable terms. I will go out on a limb and say that for "popular" boards, Mackies are the worst when it comes to this. The problem arises from using cheap parts to curtail the price of the board. Cheaper pots, and circutry will be the culprit and there isn't much that can be done about it. To make the headache even more intense, 2 boards of the same model will sometimes be different. So someone could be having worse or better luck than you with the same board. When it comes to the console try and shell out the extra cash... skimp somewhere else. The only suggestion I can give you is to make sure you are plugged into the line level inputs and not mic level unless you have a pad. If this is the case, and the signal is just still too hot you can get inline attenuators but I would only do it if you are also having level problems to the speakers (as in even with the gain down you just touch the fade and it's blaring). Good luck. Steve Steve Rossi Facilities Manager Merritt Island Performing Arts Center -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.6.9 - Release Date: 6/11/2005 ------------------------------ Message-ID: <90d9c99805061505132b5f77a [at] mail.gmail.com> Date: Wed, 15 Jun 2005 08:13:20 -0400 From: Scott Parker Reply-To: Scott Parker Subject: Broadway SOUND Master Class I have a lead into two scholarships to the Broadway Sound Master Class. Yes, that would be attending the three day event tuition FREE. Drop me a note ASAP and I'll forward it to the appropriate people. --=20 Take care, Scott USITT NY Scott C. Parker Professor/Technical Director Dept. of Performing Arts Dyson College of Arts and Sciences [at] Pace University Office/shipping: 41 Park Row, 1205F Mailing: 1 Pace Plaza=20 New York, NY 10038 212-346-1423 Fax: 914-989-8425 ------------------------------ From: "Jared Fortney" Subject: RE: Vermont electrician licensing Date: Wed, 15 Jun 2005 08:47:07 -0400 In-Reply-To: Message-ID: <42b0235b.22923ad6.5134.ffffbbb5 [at] mx.gmail.com> Thanks to everyone who shared their experience and resources related to this issue. I think I've found the correct answer, though it's not the answer I was hoping for. It looks like a licensed Master Electrician will have to be on site to verify our setup. Hopefully the new ETCP exams will help bring government recognition of the skills of a stage electrician. If anyone happens to wander into our little circus this summer, come say hi. We'll be in VT, NH, MA, RI and ME. -Jared Fortney Tech. Director Circus Smirkus Big Top Tour 2005 Phone: 802-533-7443 Fax: 802-533-2480 ------------------------------ Message-ID: <000b01c571ad$cb143ff0$6a01a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: advice on mounting a boom position Date: Wed, 15 Jun 2005 08:25:59 -0500 While the mounting is interesting, what provisions have you planned for access for hanging and focusing safely? I'm generally more concerned about the loads and forces of a person climbing the pipe or bracing a ladder to it than I am about the loads of lighting units. Extension ladders in areas of sloped or tiered floors are problematic. Regards, Bill ------------------------------ Message-Id: From: Jason Romney Subject: Digital Theatre Sound Design Workshop Date: Wed, 15 Jun 2005 10:04:18 -0400 Hi everyone, We've had a great response to our sound workshop we're offering next month. Thanks to the members of the list who offered suggestions during the planning process for this. We have just a few spaces left so if anyone is still interested, sign up now. Here's the website for more information including what we're covering each day: http://www.ncarts.edu/ncsaprod/designandproduction/dtsdw.asp Please pass this on to anyone who you think would be interested. Thanks! _______________________________________________________ Jason Romney Sound Design Instructor - North Carolina School of the Arts Vice Commissioner for Computing Industry - USITT Sound Commission jason [at] cd-romney.com romneyj [at] ncarts.edu http://www.ncarts.edu/ncsaprod/designandproduction/dtsdw.asp http://www.cd-romney.com ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: mgoebel [at] gmail.com ('Mat Goebel') Subject: RE: Folding Chairs, Large Outdoor Assembly, and Safety Date: Wed, 15 Jun 2005 09:04:35 -0600 In-Reply-To: Message-ID: There are always life safety code considerations and directions, via the Fire Marshal, and exiting is indeed a problem if you develop the scenarios sufficiently with such a large outdoor group. Check your NFPA Life Safety Code specifically and speak with your Fire Marshal, as you have indicated you would do. You must also keep in mind that these are chairs and seating that do not have self rising seats, and thus the distance between the seats, which is not usually done by people doing this type of outdoor venue, is crucial to any exiting in a safe manner. Distances you have stated must be in keeping with the number of people, the accumulation of people who might have to exit at any one time or in some untoward situation. Unfortunately in today's world, not all large crowds are submissive and orderly, and can become unruly for the oddest reasons. I realize adding more distances between seats spreads out the audience, but you must think ahead for them. There are literally thousands of graduations outside this summer, and it is good that you have given this some major attention in terms of safety of the assembled masses. I am sure, positive that Bill Conner might address this with some greater focus. Dr. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mat Goebel Sent: Wednesday, June 15, 2005 1:34 AM To: Stagecraft Subject: Folding Chairs, Large Outdoor Assembly, and Safety For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I'm looking for some advice on where to look for advice or specific regulations. I'm doing some pro bono work for a high school graduation with 2,000 folding chairs. The whole thing is set up in a field outdoors, soI don't think number number of exits,etc, is an issue, but I want to make sure I am providing ample aisles and such. To generalise, each row is 84 seats wide. In the upstage-downstage direction, there is a 3 foot or greater aisle (4 feet in most places) at least per every 20 chairs. In the stage-left/stage-right direction, every 10 rows back there is a 6 or 9 foot aisle. There is 14" of clearance between the edge of any given seat and the back of the seat in front of it. I have 64 dedicated handicapped spaces, and 64 seats "reserved for those assisting the handicapped." I want to secure the chairs in banks of at least 3, but I'm getting lots of opposition to it "because it's too much work." Isn't this part of the NFPA life safety code? 9-4.4.3 I've seen referenced? If this is the case, can someone provide me with the verbage to help back me up? I know the most correct answer to all of this, ultimately, is "talk to your Fire Marshall", which I intend to do soon. I just wanted some extra input. Thanks for the bandwidth! -- Mat Goebel Audio Engineer / Sound Designer www.matgoebel.com Mobile: 510.693.1448 ------------------------------ From: "Dr. Randall W.A. Davidson" Cc: mptecdir [at] gmail.com ('Michael Powers') Subject: RE: advice on mounting a boom position Date: Wed, 15 Jun 2005 09:14:07 -0600 In-Reply-To: Message-ID: Absolutely on the mark. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Michael Powers Sent: Tuesday, June 14, 2005 10:19 AM To: Stagecraft Subject: Re: advice on mounting a boom position For info, archives & UNSUBSCRIBE, see --------------------------------------------------- "David R. Krajec" writes: << ..... advice as to how to mount a new boom position........ How should this mount to the cinderblock wall? ....... >> David, Cinderblock is notoriously poor at supporting heavy loads when bolted through only one wall of the block, so, as others have already said, bolt through the wall with backer plates if at all possible. If it is not possible to bolt through the wall, extend the vertical member of the boom upwards until you can attach it to the building steel. The extension should be the same material the boom is made of or solid rod sized and speced by an engineer, no threaded couplings in any pipe etc. Under no circumstances should you use aircraft cable (wire rope) for the vertical support as it stretches under load. While the stretch may not seem like much, the constant lengthening and shortening as the boom is loaded and unloaded will loosen and weaken the attachment to the cinder block. HTH Michael Michael Powers 413-863-4376 home 413-522-3036 cell << ..... ------------------------------ Date: Wed, 15 Jun 2005 11:28:52 -0400 Subject: Rectangular Knock out punches. From: Bruce Purdy Message-ID: I need to install some 2P&G panel mount female connectors in a metal box. I've done this in the past once, by cutting the rectangular holes with a sabre saw, but it's a lot of work - and not the neatest cleanest finished product. I have a set of knock out punches that work great for round holes - is there such a thing as a rectangular knock out punch? If so, where would I find one? My local electrical store hasn't heard of such a thing. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Wed, 15 Jun 2005 11:37:29 -0400 From: Stephen Litterst Subject: Re: Rectangular Knock out punches. Message-id: <42B04B39.76A24890 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Bruce Purdy wrote: > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I need to install some 2P&G panel mount female connectors in a metal > box. I've done this in the past once, by cutting the rectangular holes with > a sabre saw, but it's a lot of work - and not the neatest cleanest finished > product. > > I have a set of knock out punches that work great for round holes - is > there such a thing as a rectangular knock out punch? If so, where would I > find one? My local electrical store hasn't heard of such a thing. There is such a thing, I have one in the shop. Unfortunately, I inherited it with the shop so I don't know where they acquired it. Looks like they have some rectangular units on pg 2125 of the current Mcmaster-Carr catalog (available online at www.mcmaster.com) Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Wed, 15 Jun 2005 10:38:46 -0500 From: "Frank E. Merrill" Reply-To: "Frank E. Merrill" Message-ID: <174189332.20050615103846 [at] tcon.net> Subject: Re: Rectangular Knock out punches. In-Reply-To: References: Howdy ! Wednesday, June 15, 2005, Bruce Purdy wrote: > is there such a thing as a rectangular knock out punch? If so, where > would I find one? I habve exactly what you need, Bruce. I bought it from Union Connector Company some years back and, although slow, it works like a charm. In simple terms, you drill three holes in the sheet metal: Two for the alignment pins and one for the draw bolt. Assemble the punch and die, turn the draw bolt about a hunnerd times, and the result is a rectangular openig perfectly sized for the 2P&GF-FL connector! Um...Wanna borrow it? Best regards, Frank E. Merrill MERRILL STAGE EQUIPMENT Indianapolis Established 1946 www.merrillstage.com mailto:Lamplighter [at] tcon.net ------------------------------ Date: Wed, 15 Jun 2005 10:48:47 -0500 From: Chuck Mitchell Subject: RE: Rectangular Knock out punches. In-reply-to: Message-id: <000c01c571c1$b7ee1ef0$0be25c90 [at] Chuck> There are rectangular ones. Maybe not the size you need, but perhaps a few multiple punches with a square one. Check the Greenlee website or a Greenlee dealer. Chuck Mitchell Scene Studio Supervisor University Theatre-University of Wisconsin Madison 608-263-3330 FAX 608-265-4075 - is there such a thing as a rectangular knock out punch? If so, where would I find one? My local electrical store hasn't heard of such a thing. ------------------------------ Message-ID: <42B0515B.4010708 [at] fredonia.edu> Date: Wed, 15 Jun 2005 12:03:39 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Folding Chairs, Large Outdoor Assembly, and Safety References: Mat, I can only speak to the securing of the chairs together based on indoor (fieldhouse) application where for our graduation events, all chairs in a row must be joined at the front and back to create a continuous row. Here the custodial staff does this and used nylon cable ties for the purpose. You AHJ will surely tell you if your configuration is appropriate I should think. Best, Steve Rees, TD SUNY-Fredonia Mat Goebel wrote: > > I'm looking for some advice on where to look for advice or specific regulations. > > I'm doing some pro bono work for a high school graduation with 2,000 > folding chairs. [snip] ------------------------------ From: "Richard Wolpert" Subject: RE: Rectangular Knock out punches. Date: Wed, 15 Jun 2005 13:12:05 -0400 Message-ID: In-Reply-To: Get the unit that Frank has. We used to sell that punch and die set years ago when folks wanted to punch a few holes in sheet metal. A local tool and die shop made it for us, but they went out of business about 10 years ago. We only get maybe one or two people a year who ask for a punch, so it's not worth having a t&d shop set up and make them. The size of the cutout ( 2.00" x .75" ) is NOT available as a standard Greenlee punch. The tolerances to hold the connector in place are pretty tight ( plus 0", minus .010" ) so using a sabre saw is not recommended. An alternate would be for us to cut the panel on our CNC plasma machine. Call me if you want to go that route. But if it's just a few punches, I'd say to go with Frank's offer. Richard A.Wolpert President Union Connector Co., Inc. 40 Dale Street West Babylon, NY 11704 Ph: 631-753-9550 ext. 204 Fx: 631-753-9560 richw [at] unionconnector.com -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Bruce Purdy Sent: Wednesday, June 15, 2005 11:29 AM To: Stagecraft Subject: Rectangular Knock out punches. For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I need to install some 2P&G panel mount female connectors in a metal box. I've done this in the past once, by cutting the rectangular holes with a sabre saw, but it's a lot of work - and not the neatest cleanest finished product. I have a set of knock out punches that work great for round holes - is there such a thing as a rectangular knock out punch? If so, where would I find one? My local electrical store hasn't heard of such a thing. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <66.592d8cf2.2fe1c3c6 [at] aol.com> Date: Wed, 15 Jun 2005 13:47:50 EDT Subject: Re: Rectangular Knock out punches. In a message dated 15/06/05 16:29:43 GMT Daylight Time, bpurdy [at] rochester.rr.com writes: > I have a set of knock out punches that work great for round holes - is > there such a thing as a rectangular knock out punch? If so, where would I > find one? My local electrical store hasn't heard of such a thing. There is certainly a wide range available in the UK. Here, they are called Q-max. Try places like Radio Shack. Frank Wood ------------------------------ Subject: Re: Portable Lighting Consoles Date: Wed, 15 Jun 2005 10:49:24 -0700 Message-ID: From: "Michael Finney" On Tue, 14 Jun 2005 "Daniel O'Donnell" wrote: <> <> <> Sorry - I did a bad job of explaining myself there - I wouldn't = recommend the Horizon as a console for the application that was = originally described (as I said - that's mostly because of the = interface). *But* it's been a very good lighting controller in a number = of pretty complicated applications for me in the past (like operating = multiple scenes in different rooms within the same attraction). =20 The difference is (I think) that we're talking about two different = things here - one is lighting consoles (or boards) and one is lighting = controllers...and they have different strengths and weaknesses (and, = thus, different applications). =20 Consoles provide a number of tactile interface options (faders, wheels, = etc) and are intended to provide a high degree of direct control of = playback (pausing or slowing cues, creating or modifying looks on the = fly, etc). On the downside, they take up a lot of real estate, provide = access to a number of playback functions that may not be needed (or = desired!) for a long-term installation (think "theme parks"), and may = not allow the option of playing back multiple looks independently and = asynchronously (think "theme parks" or "architecture"). Controllers provide a more streamlined playback option, with (generally = speaking) more options for external control triggers, more options for = configuration of the output and more options for asynchronous playback - = and usually a lower price. On the downside, controllers frequently = provide a less user friendly programming interface (although plug-in USB = control wings are certainly changing that), and the access to direct = control of playback options can be a pain. If you're just working in live theatre, then consoles are going to be = all you need - and most controllers are going to seem very foreign to = you. On the other hand, if you're going to work in a lot of different = parts of the lighting industry (theme parks, museums, architecture, = etc.), then there's a real value to learning controllers as well (and = not just the Horizon, but also some of the units that are based more = closely on show control animation controllers)...it seriously increases = your employability. Not to mention it makes it a lot more likely that = you'll spec the technologically appropriate unit into your = designs...'cause I'd suggest that using a Whole Hog II to control a = single universe (actually 356 channels) of LED architectural fixtures = performing 3 chase sequences 24/7 in a casino is *probably* the wrong = playback device in the wrong application. That's not actually = hypothetical...I came across it in a casino job. The Hog is now running = their showroom (replacing the Expression), and the LED's are playing = back on a DMX playback device (cost about $1500, takes up 1 RU in an = audio rack). BTW: As I keep coming across Horizon systems, I've found that there are = a number of keyboard shortcuts that seem to speed up access to the = different functions a lot (yeah - I had to crack the manual open...and = it seems to be written by somebody who writes server manuals for a = living). I've also found it a help to use 2 screens whenever possible - = it makes it a lot quicker to get to the window you need to use. And the = fader wing is pretty much a necessity if you're trying to work fast. = Not ideal for a lot of people, but it's not any more difficult to = program than any of the show controllers or industrial controllers that = I have to play with. Person opinions! YMMV..... =20 Michael Finney Thinkwell Design & Production mfinney [at] thinkwelldesign.com www.thinkwelldesign.com =A0 ------------------------------ Message-Id: <3.0.6.32.20050615120244.01807438 [at] pop.west.cox.net> Date: Wed, 15 Jun 2005 12:02:44 From: CB Subject: As stand he myrtle sensuality >From: "Marcelo Thomason" >To: "Ltocco" >Subject: As stand he myrtle sensuality >Date: Wed, 15 Jun 2005 13:36:37 -0600 >X-Antivirus: AVG for E-mail 7.0.322 [267.7.1] > > Sa 80 OF Reta > Pri ces With ED-D ve U % F > VI C'I LE > U'L AM SO AG ALI >VIT TR NEW: VI & >CI SO >AGRA color="#009966">ALIS face=Verdana size=3 color="#FF3366">FT TABS! > Any Item P'riced U To >Spe V'ia 30x100m ls on $59. >day cial gra g pil Cl2ick her4e, - no prescr4iption >requir1ed! > > The Fox soon became jealous of the Lion carrying off the Lion's She's not >making a copy for the next door neighbors. She's not No virus found in >this incoming message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus >Database: 267.7.1 - Release Date: 6/13/2005 ------------------------------ From: "Tony Deeming" Date: Wed, 15 Jun 2005 19:47:49 +0100 Message-ID: In-Reply-To: Subject: RE: As stand he myrtle sensuality Hmm..... You're doing it again, Chris....!!! 8-)) -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of CB Sent: 15 June 2005 12:03 To: Stagecraft Subject: [Norton AntiSpam] As stand he myrtle sensuality For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >From: "Marcelo Thomason" >To: "Ltocco" >Subject: As stand he myrtle sensuality >Date: Wed, 15 Jun 2005 13:36:37 -0600 >X-Antivirus: AVG for E-mail 7.0.322 [267.7.1] > > Sa 80 OF Reta > Pri ces With ED-D ve U % F > VI C'I LE > U'L AM SO AG ALI >VIT TR NEW: VI & >CI SO >AGRA color="#009966">ALIS face=Verdana size=3 color="#FF3366">FT TABS! > Any Item P'riced U To >Spe V'ia 30x100m ls on $59. >day cial gra g pil Cl2ick her4e, - no prescr4iption >requir1ed! > > The Fox soon became jealous of the Lion carrying off the Lion's She's not >making a copy for the next door neighbors. She's not No virus found in >this incoming message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus >Database: 267.7.1 - Release Date: 6/13/2005 ------------------------------ Message-Id: <6.2.1.2.0.20050615120143.04150ea0 [at] 192.168.0.13> Date: Wed, 15 Jun 2005 12:02:58 -0700 From: Jerry Durand Subject: Re: As stand he myrtle sensuality In-Reply-To: References:

At 11:47 AM 6/15/2005, you wrote: >Hmm..... >You're doing it again, Chris....!!! >8-)) And all the way across the alphabet this time (since he moved the spam to AAA something). Maybe he should move StageCraft to ZZZZZZZ-Stagecraft. Better, he drops some money in the pizza fund for every one of these messages. :) ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Message-Id: <3.0.6.32.20050615122917.01807d58 [at] pop.west.cox.net> Date: Wed, 15 Jun 2005 12:29:17 From: CB Subject: Mis-addressed e-mail The good news is, I haven't been mistakenly sending spam to the list. The bad news is, I don't know how its been happening. The really good news is that I will no longer be forwarding spam to my ISP, at all, so that should cure this thing once and for all. There have been other anomolies with the spam reporting addy in the past that I had blamed myself for, and I finally started tracking and researching the problem My out box shows the spam going to the reporting address, and does not show it going to the Stagecraft addy. Anyone have any ideas? Its just a curiosity at this point, as I woll no longer be fwding spam to this reporting addy. My apologies yet again. 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: <6.2.1.2.0.20050615121602.041685a0 [at] 192.168.0.13> Date: Wed, 15 Jun 2005 12:20:25 -0700 From: Jerry Durand Subject: Re: Mis-addressed e-mail In-Reply-To: References: At 05:29 AM 6/15/2005, you wrote: >Anyone have any ideas? Its just a curiosity at this >point, as I woll no longer be fwding spam to this reporting addy. >My apologies yet again. I think CB is just an evil spammer! He's been seen at some very strange concerts and plays with expensive electronic toys. A sure sign! :) Actually, I just found out that apparently SBCGLOBAL is quietly trashing all mail from interstellar.com to them, at least based on the one client with SBCGLOBAL. I guess I'm evil, too (our mail server is secure AND I have SPF records which most people don't). :( ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Date: Wed, 15 Jun 2005 20:22:57 +0100 (BST) From: Charlie Richmond Subject: Re: Mis-addressed e-mail In-Reply-To: Message-ID: References: On Wed, 15 Jun 2005, CB wrote: > Stagecraft addy. Anyone have any ideas? Its just a curiosity at this It looks like you sent it to the list by inspecting the header but this is the only line that arouses suspicion: Received: from prxy.net (prxy.net [209.237.15.7] (may be forged)) Charlie ------------------------------ Message-Id: <6.2.1.2.0.20050615122549.029b9620 [at] 192.168.0.13> Date: Wed, 15 Jun 2005 12:26:23 -0700 From: Jerry Durand Subject: Re: Mis-addressed e-mail In-Reply-To: References:

At 12:22 PM 6/15/2005, you wrote: It looks like you sent it to the list by inspecting the header but this is the only line that arouses suspicion: >Received: from prxy.net (prxy.net [209.237.15.7] (may be forged)) That's Noah's server. We use it as our backup server, too. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Subject: RE: As stand he myrtle sensuality Date: Wed, 15 Jun 2005 15:26:34 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C84D [at] exchange.rmwc.edu> From: "Paul Schreiner" > Better, he drops some money in the pizza fund for every one of these=20 > messages. :) We have a pizza fund?? Shee-it! If I'd-a known that... Is the amount we pull out of it dependent upon how many posts we make? Do we have a separate beer fund, or is it all just kinda combined? ------------------------------ In-Reply-To: References:

Message-Id: <4f3fe4538e7d613d622fbca3b72a31fb [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: As stand he myrtle sensuality Date: Wed, 15 Jun 2005 12:31:37 -0700 I think that the pizza is an excellent idea. In fact, being local to Mr. Babbie, I shall collect the penalty pizzas, personally, on behalf of the Stagecraft Mailing List. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Jun 15, 2005, at 12:02 PM, Jerry Durand wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > At 11:47 AM 6/15/2005, you wrote: > >> Hmm..... >> You're doing it again, Chris....!!! >> 8-)) > > And all the way across the alphabet this time (since he moved the spam > to AAA something). Maybe he should move StageCraft to > ZZZZZZZ-Stagecraft. > > Better, he drops some money in the pizza fund for every one of these > messages. :) > > > ---------- > Jerry Durand > Durand Interstellar, Inc. > 219 Oak Wood Way > Los Gatos, California 95032-2523 USA > tel: +1 408 356-3886, USA toll free: 1 866 356-3886 > web: www.interstellar.com > > > ------------------------------ Date: Wed, 15 Jun 2005 20:33:48 +0100 (BST) From: Charlie Richmond Subject: Re: Mis-addressed e-mail In-Reply-To: Message-ID: References:

On Wed, 15 Jun 2005, Jerry Durand wrote: >> Received: from prxy.net (prxy.net [209.237.15.7] (may be forged)) > > That's Noah's server. We use it as our backup server, too. I know - but why does mine think it may be forged? ;-) Charlie ------------------------------ Message-Id: <6.2.1.2.0.20050615123544.029b9bc8 [at] 192.168.0.13> Date: Wed, 15 Jun 2005 12:39:09 -0700 From: Jerry Durand Subject: Re: Mis-addressed e-mail In-Reply-To: References:

At 12:33 PM 6/15/2005, you wrote: >>That's Noah's server. We use it as our backup server, too. > >I know - but why does mine think it may be forged? ;-) Mine does, too. The problem is his Hello name doesn't match the reverse DNS. My mail server warns me every time his forwards mail here. I just ignore that along with the rejected spam (code 550 or 554) every second or so. Amazing how much traffic is just rejected spam. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886, USA toll free: 1 866 356-3886 web: www.interstellar.com ------------------------------ Subject: RE: Mis-addressed e-mail Date: Wed, 15 Jun 2005 15:42:14 -0400 Message-ID: From: "Michael Diederich" >>>>>>The bad news is, I don't know how its been happening. We have had a problem with random spam going out over our system at times. It may be a spam email you deleted that uses your "deleted files" folder to find addresses to send out to by using your address. That way it looks like someone they know sent them something. The way to fix it (if this is the problem) is to permanently delete your "deleted files" folder. That usually takes care of it here.=20 Hope that helps! Good Luck. Mike Diederich Theater Technical Assistant Mohawk Valley Community College ------------------------------ Subject: Re: 1" X 3" Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Wed, 15 Jun 2005 15:49:05 -0400 Went to Home Depot with my Propmaster to buy supplies for summer projects yesterday. They no longer carry 1' X 3" unless you want oak or poplar. Is anyone else shakin' their head in amazement? Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Message-ID: <42B086AA.1040505 [at] peak.org> Date: Wed, 15 Jun 2005 12:51:06 -0700 From: Pat Kight Subject: Re: Mis-addressed e-mail References:

In-Reply-To: Charlie Richmond wrote: > On Wed, 15 Jun 2005, Jerry Durand wrote: >>> Received: from prxy.net (prxy.net [209.237.15.7] (may be forged)) >> That's Noah's server. We use it as our backup server, too. > I know - but why does mine think it may be forged? ;-) There are probably server-side spam filters that are flagging anything in which the From: and Received: lines don't match up, since that's a common way to spot a forgery. Unfortunately, it also hits a lot of legitimate mailing lists. My ISP installed a new spam-protection service a couple of weeks ago; initially, it flagged everything from this list with a [SPAM] or [FORGED] tag for that very reason. I was afraid I was going to have to whitelist every single stagecraft list subscriber's address in order to get past the problem, but I talked to the sysadmin and he tweaked the filter so it's not happening any more. -- Pat Kight kightp [at] peak.org ------------------------------ Message-Id: <3.0.6.32.20050615132029.01807438 [at] pop.west.cox.net> Date: Wed, 15 Jun 2005 13:20:29 From: CB Subject: AHJ and meters >1) Just so I know, would you please tell me what the acronym "AHJ" >stands for? Authority Having Jurisdiction. Differs from the Authority Sans Sovereignty in the fact that the latter doesn't have any responsibility or actual knowledge pertaining to the laws and ordinances locally. >"Volume" (as in "Tom, the volume is too high, take it down 2 points"- >one of these days, I need to learn what a "point" is- lol) is often a >question in our small space. A 'point' for most designers, is a noticable change, so down two points might be five or six dB. The great part is that, if the estimation of teh operator is more than waht the designer wanted (or more likely, the estimation of the designer was more than what the designer wanted), you've got the "No wait, split that" option. Loudness is a perception, like brightness. If you wake up in the middle ofthe night, the light you normally percieve as dim can be blinding. Coming in from bright sunlight, that same light can be inadequate. There is no bad art. There's art you lke, art you don't like, and not-art. >2)Would anyone out there care to >recommend a meter or metering system for use in small indoor venues? If itsthe same guy allthe time, I'd reccomendthat Rat Shack digital. Easier to read (read: harder to misinterpret), and has a coupla 'test this sound over a period of time and give me some figgers' modes. Read the manual and play with it, and its a decent meter for under a hundred bucks. This also tends to make it the 'industry standard' in clubs and civic venues. 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... ------------------------------ In-Reply-To: References: Message-Id: <2896B05C-8D00-40A5-ACB0-94688A8B3E7F [at] mystykworks.com> From: "Daniel O'Donnell" Subject: Re: Portable Lighting Consoles Date: Wed, 15 Jun 2005 16:07:31 -0400 On Jun 15, 2005, at 1:49 PM, Michael Finney wrote: > appropriate unit into your designs...'cause I'd suggest that using > a Whole Hog II to control a single universe (actually 356 channels) > of LED architectural fixtures performing 3 chase sequences 24/7 in > a casino is *probably* the wrong playback device in the wrong > application. That's not actually hypothetical...I came across it > in a casino job. The Hog is now running their showroom (replacing! > the Expression), and the LED's are playing back on a DMX playback > device (cost about $1500, takes up 1 RU in an audio rack). Yea, but think of how happy that spec made the salesman. ;) > BTW: As I keep coming across Horizon systems, I've found that > there are a number of keyboard shortcuts that seem to speed up > access to the different functions a lot (yeah - I had to crack the > manual open...and it seems to be written by somebody who writes > server manuals for a living). I've also found it a help to use 2 > screens whenever possible - it makes it a lot quicker to get to the > window you need to use. And the fader wing is pretty much a > necessity if you're trying to work fast. Not ideal for a lot of > people, but it's not any more difficult to program than any of the > show controllers or industrial controllers that I have to play with. Which, when all is said and done, you've spend as much as a real lighting board. And as you say, in theater that's what you need. > Person opinions! YMMV..... Yea, and don't we all get a lot of milage out of our opinions? --- Daniel R. O'Donnell dan [at] mystyk.com http://www.mystyk.com ------------------------------ Subject: RE: 1" X 3" Date: Wed, 15 Jun 2005 14:19:26 -0600 Message-ID: <67CADCB91D266042A8DAB3B981DCFD14FD4B94 [at] AFAMAIL2.USAFA.afspc.ds.af.mil> From: "Haagen Trey P Civ 34 TRW/SDAT" Marty noted: Went to Home Depot with my Propmaster to buy supplies for summer projects yesterday. They no longer carry 1' X 3" unless you want oak or poplar. Is anyone else shakin' their head in amazement? Yes, I noticed that about 9 months ago. They did carry it, but only in 8 foot sticks. Our did not carry even the finger jointed for other than flatage. =20 On a related note: what is the rest of the list paying for 5/4 x 3 #1 ( clear; screenstock; clean; whatever you'r calling it ) per LF? Trey Haagen Arnold Hall Theatre USAF Academy ------------------------------ Message-ID: <20050615203146.67565.qmail [at] web81709.mail.yahoo.com> Date: Wed, 15 Jun 2005 13:31:46 -0700 (PDT) From: Michael Heinicke Subject: Re: 1" X 3" In-Reply-To: What about that they don't seem to carry 1/4" hardboard (masonite) anymore? Now it is 3/16". Mike H --- Marty_Petlock [at] sarasotagov.com wrote: > Went to Home Depot with my Propmaster to buy > supplies for summer projects > yesterday. They no longer carry 1' X 3" unless you > want oak or poplar. Is > anyone else shakin' their head in amazement? > > Marty Petlock > Technical Facilities Manager > Van Wezel P.A.H. > Sarasota, FL. > > ********** > E-mail messages sent or received by City of Sarasota > officials and > employees in connection with official City business > are public records subject to disclosure under the > Florida Public Records > Act. > ********** > > > ------------------------------ Message-Id: <4c3f8e8c294dff9ad66c848a8d8345ac [at] dejazzd.com> From: Greg Bierly Subject: Freq. analyzer Date: Wed, 15 Jun 2005 17:07:42 -0400 I ran into a guy touring a couple of years back with a battery operated, handheld frequency analyzer with a color LCD screen that he used to look for wireless mic conflicts. IIRC it was around $1000 US and it looked like a Sony Watchman TV (and actually could watch TV signals). I remember him saying something about him having a hack for it to listen in on some restricted frequencies. I don't need that capability but after a lot of google searching I have come up empty on anything close. I am looking for something to start watching local frequencies and see if I can start coordinating my wireless frequencies a little better. I am not looking for a top of the line rig but something beyond radio shack. Anyone have any leads for me. Thanks Greg Bierly Technical Director Hempfield HS ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <203.3b9296a.2fe20214 [at] aol.com> Date: Wed, 15 Jun 2005 18:13:40 EDT Subject: Re: Mis-addressed e-mail In a message dated 15/06/05 20:13:25 GMT Daylight Time, psyd [at] cox.net writes: > The good news is, I haven't been mistakenly sending spam to the list. The > bad news is, I don't know how its been happening. The really good news is > that I will no longer be forwarding spam to my ISP, at all, so that should > cure this thing once and for all. There have been other anomolies with the > spam reporting addy in the past that I had blamed myself for, and I finally > started tracking and researching the problem My out box shows the spam > going to the reporting address, and does not show it going to the > Stagecraft addy. Anyone have any ideas? Its just a curiosity at this > point, as I woll no longer be fwding spam to this reporting addy. > My apologies yet again. It can happen to anyone. A couple of years ago someone hi-jacked my e-mailer, when I was in France. The first I knew of it was when AOL blocked my account, due to the high level of traffic. Full marks to them for doing that, and for sorting it all out with a telephone call. OK, I had to re-set all the security: new passwords, and so on. The interesting thing was that some of the messages actually appeared in my outbox. I have also, just occasionally, seen messages posted under my name, but with a different ISP. These were very well done. They posted views I might have expressed, in a style not too different from mine. Why, I don't know. If you know the business that well, and write good English, what is to prevent you from joining the group as yourself? Maybe it's the 'I want to be a secret agent' syndrome. I remember that, in my schooldays, I made a complete set of keys for all the classrooms, including the 7-lever Chubbs on the new laboratories. Not for nefarious purposes, but simply to crack the codes. I think I still have them, 50 years later. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <104.6329e3e7.2fe20313 [at] aol.com> Date: Wed, 15 Jun 2005 18:17:55 EDT Subject: Re: As stand he myrtle sensuality In a message dated 15/06/05 20:32:20 GMT Daylight Time, marko [at] email.arizona.edu writes: > I think that the pizza is an excellent idea. In fact, being local to > Mr. Babbie, I shall collect the penalty pizzas, personally, on behalf > of the Stagecraft Mailing List. Myself, I should vote for the beer fund. I need to be hungry to want a pizza: beer I can handle any time. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <146.468f2df5.2fe20567 [at] aol.com> Date: Wed, 15 Jun 2005 18:27:51 EDT Subject: Re: 1" X 3" In a message dated 15/06/05 21:20:14 GMT Daylight Time, Trey.Haagen [at] usafa.af.mil writes: > On a related note: what is the rest of the list paying for 5/4 x 3 #1 > ( clear; screenstock; clean; whatever you'r calling it ) per LF? Nice bit of jargon. May I issue a reminder that not all of us on this list are on the US side of the pond. Translation would be in order. Frank Wood ------------------------------ Message-ID: <000901c57203$9c750430$6601a8c0 [at] cz1lbfinkbrlun> From: "Chad Croteau" References: Subject: Re: 1" X 3" Date: Wed, 15 Jun 2005 19:40:26 -0400 Hi Mr. Wood, The lumber stock he's referring to is commonly referred to as 1"x3" lumber. Just in this case, the original poster used the ACTUAL dimensions of the stock. Like most lumber, 1"x3" isn't actually 1"thick or 3" wide, although the exact reason for that varies from storyteller to storyteller. The "LF" designation simply means linear foot (or feet, depending on context), and #1, I think, refers to the quality of the wood. Anyone care to specify any further, or clarify/correct any of the above? Chad ----- Original Message ----- From: To: "Stagecraft" Sent: Wednesday, June 15, 2005 6:27 PM Subject: Re: 1" X 3" > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 15/06/05 21:20:14 GMT Daylight Time, > Trey.Haagen [at] usafa.af.mil writes: > > > On a related note: what is the rest of the list paying for 5/4 x 3 #1 > > ( clear; screenstock; clean; whatever you'r calling it ) per LF? > > Nice bit of jargon. May I issue a reminder that not all of us on this list > are on the US side of the pond. Translation would be in order. > > Frank Wood > > ------------------------------ Message-ID: <20050616005431.16397.qmail [at] web33303.mail.mud.yahoo.com> Date: Wed, 15 Jun 2005 17:54:31 -0700 (PDT) From: J Burch Subject: Re: More rigging Questions Cc: delbert.hall [at] gmail.com (Delbert Hall) In-Reply-To: --- Delbert Hall wrote: > BTW, although there is no nataional "standard" for > the design factor > for flying performers, the generally used > recommendation is 8:1, not > 5:1 for this used. > Thanks for the replies to my questions. In our field it seems as though every house does something a little differently from the next, so I like to confirm anything that varies too much from the rest of me experience. I was surprised however, about your recommendation for a 8-1 ratio. I tend to use a 8-1 ratio for everyday rigging (understanding that most components are stamped with a 5-1 ratio), but rely on a 10-1 Ratio for anything "life-threatening". (generally meaning something particularly at risk- flying people, or something prone to unusual flying stresses. Additionally I was under the impression that OSHA mandated a 10-1 ratio for lifting people. Am I misinformed? Overly cautious? Thanks Jean __________________________________ Discover Yahoo! Stay in touch with email, IM, photo sharing and more. Check it out! http://discover.yahoo.com/stayintouch.html ------------------------------ Date: Wed, 15 Jun 2005 21:20:59 -0400 Subject: Re: More rigging Questions From: Bill Sapsis Message-ID: In-Reply-To: OSHA does not mandate anything for flying people. If they knew more about it they would require a hawser about 3" thick to a full body suit that would make the performer look like the Michelin Tire Guy. OSHA mandates in broad strokes. Our industry is much too small at this point to have gained too much of their attention. Even after a large accident, they tend to back away after the initial furor has died down. That's not to say they don't regulate the use of pieces of equipment that we use. There are rules for the use of wire rope and wire rope fittings. There are rules for the inspection and maintenance of motorized equipment. But you will not find anything in OSHA that points directly to flying some yahoo around the stage. And I agree that an 8:1 design factor is a little low for flying people. I'm more comfortable with a 10: 1. To be more exact, I'm more comfortable not flying people at all. I consider myself a professional (go ahead and snicker if you must) and I do not fly people. I leave that to the folks who do only that for a living. There's no point in my re-inventing the wheel. I'm not going to design and build my own harnesses when there are really good people out there doing that, and last but not least, I'd much rather use their liability policy than mine. We will fly anything else however. And we will fly people but only when they are in something that we are flying. A cage, for example. We fly the cage and someone else is responsible for protecting the performer inside it. I'll have to check with Mike but when we flew the Wright Flyer replica at the Hazy Center opening, there may have been a human in it 'acting' as the pilot. I don't remember. Zat help? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.2778.4561 mobile Please support the Long Reach Long Riders benefit ride for Broadway Cares/Equity Fights AIDS On 6/15/05 8:54 PM, "J Burch" wrote: > Thanks for the replies to my questions. In our field > it seems as though every house does something a little > differently from the next, so I like to confirm > anything that varies too much from the rest of me > experience. > > I was surprised however, about your recommendation for > a 8-1 ratio. I tend to use a 8-1 ratio for everyday > rigging (understanding that most components are > stamped with a 5-1 ratio), but rely on a 10-1 Ratio > for anything "life-threatening". (generally meaning > something particularly at risk- flying people, or > something prone to unusual flying stresses. > Additionally I was under the impression that OSHA > mandated a 10-1 ratio for lifting people. Am I > misinformed? Overly cautious? ------------------------------ Message-ID: <1663.64.28.61.169.1118886458.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Wed, 15 Jun 2005 18:47:38 -0700 (PDT) Subject: Re: 1" X 3" From: "Bill Nelson" >> On a related note: what is the rest of the list paying for 5/4 x 3 #1 >> ( clear; screenstock; clean; whatever you'r calling it ) per LF? This is what I remember. There are two primary methods of listing lumber sizes in the US, nominal and dimension. Nominal dimensions are used for construction grade lumber and most softwoods. With a common 2x4 the actual finished dimensions are roughly 1 1/2 inches by 3 1/2". The piece started out 2" x 4" when cut. Drying causes it to shrink and finishing reduces the dimmensions even further. The actual finished dimensions are used with dimension lumber. x/4 is the thickness in 1/4" increments, so 5/4 is 1 1/4" thick. The piece would also be 3 inches wide. Grades that are often seen are Utility, Stud, Common, #1, #2, #3, Standard and Better (Std & Btr), Clear. You will also sometimes see S2S, S3S, S4S. This refers to the number of finished sides (planed smooth). S4S is surfaced on all four sides. For hardwoods, you will often not get a specific width - just a specific thickness. The wood is sold as "random width". This is because hardwoods are so much more expensive that they lumber yard maximizes the yield, rather than cutting to standard dimensions. Bill ------------------------------ Message-ID: <42B0DCBE.8A3E96C5 [at] cybercom.net> Date: Wed, 15 Jun 2005 21:58:22 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: audio cables References:

Bill Schaffell wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > This morning I went to my daughters elementary school to set up a > backdrop for their talent show. > I ended up troubleshooting the year old portable sound system. They had > a bad speaker cable and an XLR mic cable that were in need of > replacement. No matter how many times I tell teachers and the janitor > not to coil cables around their elbow or yank on connectors it happens. > My question: Do we replace these cables with something of higher > quality that can take the abuse or stick the DJ quality and just replace > it more often? > > Your thoughts? > > Thanks, > > Bill Schaffell > WJS Studios > 909-986-2363 I saw at a guitar center or the like, a microphone cable that had steel armor spiral wrapped around the entire cord. Like the sheath that AT&T uses on pay phone handset cords. One of the things in the ad copy suggested as a possible use was for running a mic cable across a street. It looked pretty bullet-proof. --Dale ------------------------------ Message-ID: Date: Wed, 15 Jun 2005 22:23:58 -0400 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: 1" X 3" In-Reply-To: References:

On 6/15/05, Bill Nelson wrote: > Nominal dimensions are used for construction grade lumber and most > softwoods. With a common 2x4 the actual finished dimensions are roughly 1 > 1/2 inches by 3 1/2". The piece started out 2" x 4" when cut. Drying > causes it to shrink and finishing reduces the dimmensions even further. >=20 > The actual finished dimensions are used with dimension lumber. x/4 is the > thickness in 1/4" increments, so 5/4 is 1 1/4" thick. The piece would als= o > be 3 inches wide. 5/4x3 that Trey refers to is a nominal size, and will be finished at 1 1/8" x 2 1/2". LF means linear feet and refers to how the lumber is priced. Lumber is sold by linear feet or board feet. A linear foot is one foot long, regardless of the size of the lumber. A board foot is a volume measurement, 144" cubic inches of lumber (nominal or unfinished). A 1'X12" board 10' long is 10 linear feet or 10 board feet. A 1"x6" board 10' long is still 10 linear feet, but only 5 board feet. A 2"x4" 10' long is still 10 linear feet, but 6.66 board feet.=20 Confusing. Does anyone still sell by the board foot? Brian Munroe bpmunroe [at] gmail.com ------------------------------ Date: Wed, 15 Jun 2005 22:36:25 -0400 Subject: Costuming: How the batsuit works From: Herrick Goldman Message-ID: http://www.howstuffworks.com/batsuit.htm/printable -- Herrick Goldman Lighting Designer, NYC www.HGLightingDesign.com 917-797-3624 "To the scores of silent alchemists who wreak their joy in darkness and in light bringing magic to life, we bow most humbly. "-CDS ------------------------------ Message-ID: <42B0E62F.2040308 [at] fitchtech.net> Date: Wed, 15 Jun 2005 22:38:39 -0400 From: Adam Fitchett Subject: Re: mixer question References: In-Reply-To: A couple of questions for you: What out do you have the monitor plugged in to? Does this happen with every channel? Only with the CD player? Knocking this around at work, our first two thoughts were possibly a bad switch/pot or maybe an angel hair of solder connecting a couple of points, which has been known to happen in even far better consoles. As far as Mackie's "it's running hot", I doubt that being the issue. Does it do this right away when you first turn on the mixer, before it has a chance to really get hot? The mention of opening up and blowing out the desk is never a bad idea as theatre dust can cause some issues, especially when coupled with heat. Hope that helps for now, -Adam Fitchett Console Technician David R. Krajec wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >I have a Mackie 32*8 mixer that does something weird. It acts as if it is a >powered mixer. >Situation: I have a CD player plugged into say channel 31 and 32 (R & L). >With the trim panned all the way down, the AUX panned all the way down, Mix >B panned all the way down, the channel sliders panned all the way down and >nothing being sent to any of the 8 submasters or the LR Mix, I still get >some bleed-through on the booth monitors. I've had someone come out and he >was just as puzzled as me. He called Mackie and we got some sort of >statement that amounted to "some boards are hot". >This doesn't seem right. The board was installed new in 1997 and has been >lightly used since then (4 shows per year plus about 6 special >events/talking heads per year). > >Any reactions? Thanks! > >David K. > > > > > ------------------------------ From: "holyoak1" Subject: Lighting Truss Date: Wed, 15 Jun 2005 21:44:51 -0500 In-Reply-To: Message-ID: We are looking at replacing our existing FOH lighting with an all robotic system. Wee are looking for used Martin MAC 2000 with a Whole Hog II. Depending upon pricing we would like as many as 20 and I would prefer used (budget) Any suggestions or equipment eMail me off list I will also have 12 Altman 360 6x22. 4 Cyberlight SL, and Teatronics 12x2.4KW dimmers with 2 scene preset. Kenneth H. Holyoak, Lighting Designer St. Luke's United Methodist Church ken [at] kenholyoak.com 317-253-7000 FAX 317-255-3708 ------------------------------ Date: Wed, 15 Jun 2005 22:51:44 -0400 (EDT) From: Stephen Litterst Subject: Re: Costuming: How the batsuit works In-reply-to: Message-id: <1862.172.144.122.212.1118890304.squirrel [at] 172.144.122.212> References: > --------------------------------------------------- > > http://www.howstuffworks.com/batsuit.htm/printable > -- > Herrick Goldman > Lighting Designer, NYC First the light-sabers, now this -- apparently business is a little slow for Herrick. Anyone have any leads on Lighting gigs for him? Steve Litterst ------------------------------ Message-ID: <42B0EF4A.7010505 [at] fitchtech.net> Date: Wed, 15 Jun 2005 23:17:30 -0400 From: Adam Fitchett Subject: Re: Freq. analyzer References: In-Reply-To: What you are looking for is a frequency spectrum analyzer, not to be confused with an RTA. A couple that I've heard talked about are: Optoelectronics X Sweeper (http://www.optoelectronics.com/xsweeper.htm) which seems pretty similar to what you described, WinRadio (www.winradio.com) which is a PC based scanner, which I've been told costs about $500 (1500 series under general receivers) if you already have a computer but there are various set-ups so it can vary. Hopefully that will help you get in the right direction. -Adam Fitchett Greg Bierly wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I ran into a guy touring a couple of years back with a battery > operated, handheld frequency analyzer with a color LCD screen that he > used to look for wireless mic conflicts. IIRC it was around $1000 US > and it looked like a Sony Watchman TV (and actually could watch TV > signals). I remember him saying something about him having a hack for > it to listen in on some restricted frequencies. I don't need that > capability but after a lot of google searching I have come up empty on > anything close. I am looking for something to start watching local > frequencies and see if I can start coordinating my wireless > frequencies a little better. I am not looking for a top of the line > rig but something beyond radio shack. Anyone have any leads for me. > Thanks > > > Greg Bierly > Technical Director > Hempfield HS > > ------------------------------ In-Reply-To: References:

Message-Id: <21ebd5198833755f5c826e669b3be1d7 [at] dejazzd.com> From: Greg Bierly Subject: Re: audio cables Date: Thu, 16 Jun 2005 00:07:20 -0400 > I saw at a guitar center or the like, a microphone cable that had > steel > armor spiral wrapped around the entire cord. I bought two of them from Samson. I was hoping to use them for clearcom cables but every time I hook them up weird things happen to com. I have never had time to play with them and have never needed it for use as a mic cable. (I actually forgot they were on the shelf until this email) Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <1707.64.28.63.223.1118895849.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Wed, 15 Jun 2005 21:24:09 -0700 (PDT) Subject: Re: 1" X 3" From: "Bill Nelson" Cc: bpmunroe [at] gmail.com (Brian Munroe) > 5/4x3 that Trey refers to is a nominal size, and will be finished at 1 > 1/8" x 2 1/2". Thanks for the correction. It appears my ancient memory has faded a bit. > Does anyone still sell by the board foot? Hardwoods are generally sold by the board foot, as they come in random widths. There is a store near here that only sells hardwoods and that is the only measure they use. Bill ------------------------------ End of Stagecraft Digest #429 *****************************