Coachella Trading Company - recent posts from Stagehands community

Boston college tech department has to make budget cuts (office parody)

2008-12-25T11:43:58-08:00

What do you do when the producer calls the stage manager to let him know there need to be budget cuts for the big Christmas show, “A Dancer’s Christmas?”

The tech crew hold a meeting to discuss their options. No surprise where they decided to save money.

Another cool demo of the Coemar StageLite LEDs (video)

2008-10-09T09:55:11-07:00

I just posted a video of the Coemar StageLite LEDs and then found the video above that demonstrates some of the amazing flexibility of these cyc lights. Fully mixable color with programmable moving strips to create some amazing effects from a conventional. Wow!

Also see a closeup view of the strips being moved in this post

Coemar StageLite LED cyc lights are sure to impress (video)

2008-10-09T09:40:56-07:00

Community member Dan Silva asked about Coemar ParLite LED lighting instruments and that got me curious about the Coemar line. After browsing some fascinating lights. But this LED CYC light, the StageLite LED from Coemar, is pretty neat.

With the Coemar StageLite LED you’ve got a cyclorama light that is flickr free, mixable with convergent RGB and White 6500K. Each strip in the StageLite is adjustable (as seen in the video) and can be focused asymmetrically on a cyc or as a floor wash for uplight. The vertical beam zoom can be adjust from 11 to 34 degrees.

See the StageLite LED at the Coemar site

See a more active demo of the Coemar StageLite LEDs in action in this post

Show for children about migratory farmworkers inspires reflection on labor unions

2008-09-26T09:55:20-07:00

I work with a union, IATSE. The interesting thing about being a stagehand doing live shows, is that you get to experience many different themes, concepts, and topics through shows, presentations, and conferences that you would otherwise not likely be exposed to. Working in technical theater is kind of like traveling for me. It helps broaden your horizons and learn how other people see the world, whether you agree or disagree, bringing great insight into the human condition.

In a recent show/presentation designed for children entitled Living Voices: La Causa I had opportunity to reflect on labor unions and the ongoing struggle of the individual against corruption, greed, and hate.

Living Voices ‘brings history to life’ through one person shows written as history lessons. The person telling the story interacts with a video that is part documentary, part narrative, and even many characters the actor communicates with to tell the story. It is a fabulous learning tool that brings you right into the story and makes you personally vested in the protagonist’s struggle.

In La Causa we meet Marta Hernandez, the daughter of a Mexican American migratory farmworker. At the start of the half hour story she is a young girl and by the end she is a young adult now fully involved in the farm workers labor union, Ceaser Chavez, and has become a journalist. The Living Voices page for the show describes it:

In the late 1960’s a man named Cesar Chavez changed the lives of Latin American farm workers, fought for civil rights, battled racism and indecent working conditions. Experience this chapter of American history as one young woman balances the demands of her family and culture and fights to see her people free of poverty.

Both the lighting board op and myself were nearly moved to tears by this story. Though it was not merely a sentimental story with a feel good ending. La Causa was a deep exploration, in simple language that children could follow, fully exploring the ugliness that humanity can become and bringing attention to the victorious struggle certain individuals have attained to bring health, welfare, and dignity to other people’s lives.

For me, as a union member, I am particularly sensitive to the concept and role of the labor union. But as I have mentioned in previous posts I have not actually had to struggle to maintain dignity or safety or fair wages in the work place. Not really. I have no concept of what it is like to be treated as a second class citizen in the workplace or to be so poor that I would endure any hardship to see that my family and future generations could have food on their table.

I have reaped the rewards of those who did fight those battles before me. I do not worry about whether I am going to be paid a reasonable wage. I do not have to wonder if I have access to water or time to take a break to use the restroom or get food. I do not worry about crop dusters dropping pesticide on a field I am working in. I do not worry about being hurt on the job through safe or unsafe work conditions and not being able to get medical treatment.

Watching the fictionalized account of Ceaser Chavez and one girl’s struggle to help meliorate the suffering of the migratory farm worker through the formation and non-violent efforts of the Farm Workers Union I had my belief in the purpose of the labor union renewed. Though I do not feel as though the labor union has historically been a selfless or entirely upright concept, it has offered more good than harm, protecting the workers, the majority, from those individuals in power, with vast wealth, who sometimes do not have any interest but their own wealth and success in mind, and who, sadly, will sometimes lie, cheat, and steal to get what they want.

Though I do not have to worry or fight like those stories portrayed in La Causa I am reminded, especially in light of countless abuses of power by corporations and within the financial sector in recent years (e.g. Enron, Mortgage collapse) that those greedy and sometimes malicious individuals of influence still exist. As an individual, the worker has no chance of ensuring a fair wage or safe work environment in the face of corruption, but united the worker has a strong voice. And while I may not be required to worry from day to day, or forced to take action to protect my rights every day, the need for the labor union has not gone away, if only to hold the line and serve as a reminder, that the people, the citizens of a country are who really keep the world running, and while leadership may change ever so many years, often the same people quiety play their part in maintaining the infrastructure of civilization regardless of who is ‘managing’ everything. These people should never be forgotten or forsaken.

This is why I don’t worry if I get every little break exactly on time. This is why I have ‘given’ a little bit ‘extra’ here and there on the job to make sure everything is running smoothly. The environment I work in, and the management that guides it, treats me fairly, listens to my concerns, and certainly gives extra when it can. The union is about ensuring this balance, this give and take. I am grateful for the work hour minimums and guarantees of overtime and meal penalty. It is a blessing to know that if I am injured on the job that my medical expenses will be covered. And even when I think safety measures go to the extreme, I am ultimately comforted knowing that there are people, including management, who are expressing and acting on concern for my welfare.

Though I may not have to worry, I can’t be so sure about the workplace somewhere else. I can’t be sure that when management changes, when the economy changes, that my safety, rights, and protections will still be looked out for. That to me is the real reason to maintain the labor unions; to hold the line against future corruption and provide hope for other industries and countries where humans are still being abused by other humans and to demonstrate through example that there is a better way to live and continue to make that a reality.

In an ideal world the labor union would simply be a redundant and whiny voice. In an ideal world no human being would tolerate or initiate the abuse of another human being for any reason.

In our real world, where executives can ‘fudge the numbers’ by billions of dollars and manipulate the entire economic structure ostensibly at whim, the labor union is a voice to those people who have no access to those closed door meetings of power and influence. Even as a firm supporter of the labor union, I understand that it is not always a perfect system, but I firmly believe that the world is better because of them, and we should not let them go until that ideal world appears.

I would encourage everyone to take some time, whether you work in a union or not, and learn a little more about the history of business and labor unions. I think you will find the history eye opening. A simple place to start would be reading about Caesar Chavez and the farm workers unions, Trade Unions at the wiki, or the outstanding Organized Labour portal at the Wiki.

I would love to hear your thoughts on labor unions. Especially those people who have never worked for a labor union and business owners/executives who have to work with labor unions. What are your thoughts and experiences? If you work in a labor union, please share your honest experiences, successes and failures, and the role you think labor unions play in the 21st century.

You might also be interested in another post of mine, Ever wonder what it really means to be a union stagehand? where I share more reflections on labor unions in reaction to a fantastic piece, We will do whatever it takes for as long as it takes. I read at One NYC Stagehand

And feel free to post your own stagehand or labor union stories here in the stagehands community blog here at CoTradeCo. For other trade and trade union discussion you might also be interested in the Business Interests or Hardworking Folk communities also at CoTradeCo.

Long day at the theater...more tomorrow...

2008-09-09T21:03:26-07:00

So it’s my first real day back as the audio engineer at the CCAE and the first show is a rental…Sony Day(s). I would tell you more but then I would have to ~~kill you~~ be sued (it’s one o’ them confidentiality deals – but not one o’ them get some free stuff deals ;). Let’s just say there’s stuff popping out you every time you look.

Anyway, today was a long day, tomorrow will be longer, and it seems like the sound system at the CCAE is crumbling apart around me.

Ahh! It’s good to be back…? :)

Talk to you all later. Just took my B-complex and it’s time for bed. Dream on, dream until your dreams come true.

Forget Guitar Hero...check out the new ROADIE HERO

2008-06-08T17:49:16-07:00

It’s always the same. The rock stars and performing artists take all the credit of their shows while the faithful stagehands and theatrical technicians slave away behind the scenes to make them look good.

Well, Guitar Hero simply reinforced this awful stereotype, but now thanks to the good folks at CollegeHumor.com we are pleased to bring you…

Roadie Hero

Attain fame vicariously and experience the realistic experience of being a stagehand on the world’s biggest rock tours.

Stand by parody….parody GO!

Even if you need the money, sometimes you want to find out the 8am call was cancelled.

2008-04-11T11:33:49-07:00

In this case the whole show was canceled the day before. And I am glad not just because it was an 8am call, but it was likely to end up being a most hellacious day type of show.

I’m hoping I can coerce the “house engineer” into posting a more full account but the quick (highly dramatized) version goes as follows.

Touring audio engineer waits till the last minute to return advance phone calls
Touring engineer then refuses to use the house equipment, demanding a Vdosc line array, that would be nice but simply cost prohibitive for the venue
House engineer explains that that would be nice it was simply cost prohibitive for the venue and not necessary as the house system is quite good
Touring engineer says, “You piece of $#!^ get a line array.”
House engineer says, “I’m sorry sir that is not going to happen.”
Touring engineer demands conference call with them and the production manager at at a time that the house engineer is unavailable
Production manager calls repeatedly, “You promised to have this conference call you piece of $#!^”
House engineer also begins requesting delays in a house which is little over a 100’ deep and haven’t been necessary in 10 years of operation
The next day house engineer receives phone call from rental house on arranging delivery and payment of line array system
House engineer says, “WTF Mate?”
Touring engineer contacts local congressman to intervene
Venue caves under political pressure from Washington, and agrees to accept the illicitly ordered line array
The day before the show the house engineer returns after 6am call to hang line array with rental company
Several hours later the night before the show in question, show is cancelled due to illness of famous singer in question
House engineer still has to come in at 8am to take down line array in question
Letter writing campaign begins to local officials demanding a recount

Okay, as far as I know nobody swore during the whole event. But I just thought the whole thing was hilarious and sad at the same time. Hopefully I can get the house engineer to share more details himself, because this was funny and infuriating at the same time.

Do you have any horror stories? Post em’ here. Aw, heck, even happy show stories are welcome.

Line array setup for the 2006 Grammys image borrowed from rentalandstaging.com in their article Unity Gain : ATK AudioTek Equalizes Success

Where can I find Coemar ParLite LEDs?

2008-03-03T23:18:15-08:00

I’ve got a friend that has a small venue attached to his coffee shop in Normal Heights San Diego. He’s interested in upgrading his small lighting package and was particularly interested in LED lighting. I recommended Coemar’s ParLite LED fixture to him for numerous reasons including low heat, low power draw, no need for dimmers, no need for gels, and its one of the brighter LED fixtures I’ve seen.

Anyone know where I can purchase these fixtures, either local in San Diego or online? Thanks!

Ever wonder what it really means to be a union stagehand?

2008-02-26T18:38:49-08:00

As an extra with local 122 my personal experiences with the deeper side of unions, in this case IATSE, are somewhat limited. I was invited to join as an apprentice member over a year ago (other business commitments have delayed my acceptance of that invitation). I taught a basic computer concepts class for my local. I helped set up for our Christmas party one year (which I thought was voluntary, but we got paid). Otherwise when I’m working I do my best to represent the union as a reliable and superior work force. But I have never been asked to sacrifice anything for the cause, maybe ever…not really.

I have romantic notions of union labor going back to the stories of the various efforts and battles fought early in the 20th century for the rights of exploited and abused workers in all industries and professions. Unfortunately unions have taken a beating and generated their own bad press through the years. But due to my concerns over the ever increasing power and influence of corporate business, it seems possible that someday the real heart of the union struggle could have to start all over.

But this post is not about that. This post is about what it means to be a union stagehand. It is about what you gain and a reminder that sacrifice is required, even if some of us have learned the reality of that yet.

In the 21st century, unions almost seem antiquated. We live in a world where most people seem to be jumping into the turbulent and disloyal world of corporate ladder climbing. A world where you follow the money without concern for where you’ve been beyond not burning any bridges (that would be bad networking). Labor unions fly in the face of that world-view. Unions are a coming together of people for a common goal, the safety and rights of the worker, not the interests of a well branded committee.

Sadly the mindset of the modern corporate worker living behind their gated home owners association doesn’t recognize that maybe the system is exploiting them. They don’t necessarily recognize that individuals cannot individually protect themselves against the corporate machine if it were to decide to work against you.

The grocery workers strike in Southern California not so many years ago demonstrated this point. I heard on talk radio countless people calling in and complaining about the strike, many repeating similar rhetoric, “I don’t get health insurance, so why should unskilled grocery clerks get it?”

And that is why unions, or some 21st century equivalent are so important. That anger towards the grocery strikers for that point alone demonstrates a disconnect. Instead of supporting the grocery workers and saying, “Hell yes they deserve health insurance, and so do I! Where is my health insurance?” they were simply embittered and condescending over the fact someone doing lowly unskilled labor might get privileges they themselves were not.

A friend of mine participated in that strike. It was not an easy effort either. Many of the grocery workers were hit hard after months of striking, but they persevered. They did not win, but they did not lose. They stood their ground against the corporate interests that to my mind are far worse than the early barons of industry. The corporate entity is a relatively faceless monolith that is tantamount to it’s own autonomous government. How do you demand individual rights against anything that large, powerful, and amorphous?

The issues that led to the organization of workers in the United States have not gone away, I’m not sure they have even changed.

However, I’m not always sure I am up to fighting that good fight.

I stumbled on a blog post today by a Local 1 IATSE stagehand today. It was not a recent post. It was a post towards the beginning of the recent Broadway strike.

He has to had to sacrifice to maintain a good living in a tough industry. He has been part of a group larger than himself. And he is clearly prepared to do what it takes to protect the interests of his union brothers and sisters.

He invoked the word ‘solidarity’, and he conveyed a glimpse of what that might mean if I ever have to fight the good fight.

So, if like me, you have wondered what it means to be a union stagehand, or a worker in any industry, or anyone fighting for what you believe is right, I encourage you to read…

We will do whatever it takes for as long as it takes.
posted by One NYC Stagehand

It is not the most astounding piece of writing ever. It will not win awards. However, it speaks simple truths from an honest place that I think everyone could benefit from reading.

While I have not lived a life of privilege, far from it, I have not had to live a life of sacrifice. I hope (wish) that none of us have to discover the real meaning of sacrifice. But the world is a crazy place, and it is nice to know that there are people out there who will stand up and against what they believe to be injustice. It gives me hope for the future.

Yet another Local 122 Stagehand...

2008-02-22T19:05:41-08:00

Hello everyone! Just introducing myself. My name is Daniel and I am Franklin’s assistant at the Sycuan Showcase Theatre in San Diego (Franklin being the Head Electrician). I’ve also had the pleasure of working at the California Center for the Arts Escondido with some of the other folks on here. I have a lot of fun doing lighting and any stage craft in general. I look forward to talkin’ shop with you guys.

Sergio rehearsing for the Nutcracker

2008-02-21T10:56:54-08:00

While it is unclear why the “rail person” was rehearsing dance moves for the show, nonetheless, here we see Sergio practicing a rather technical jumping/spinning move that only he could name. As usual making the local proud!

You rock Sergio.

Just found this review of a play I did design work for

2008-02-19T02:03:49-08:00

What a pleasant surprise to google yourself and find something nice.

In the summer of 2005 I did some sound, lighting, and set design for a play produced by Fred Tracey. While I am personally not overjoyed by what I was able to come up with, considering the $0 dollar budget and haphazard planning and scheduling, I must admit it turned out fairly well.

And at least one reviewer thought so at the North County Times. Staff writer Pam Kragen said:

Zoe Somebody, credited as scenery, lighting and sound designer, deserves extra credit for the wonderful collage of classic film noir-style and pop music that surround each scene.

Like all things it was a team effort, but I did put a lot of love into it. Good memories at any rate. Though I never did get all my lights back from that guy who owned the theater.

Anyway, if you would like to read the full review I swiped it from the nctimes.com site and posted it below. But you can read the original here .

Vampire Lesbians’ one of Misfits’ best outings

By: PAM KRAGEN – Staff Writer

For 10 years now, Escondido resident Fred Tracey has been staging plays, mostly one-acts, around San Diego County through his theater company, Misfit Productions. Some have been hits and some have been misses, but only a few have turned out as well as his current show, “Vampire Lesbians of Sodom and Other Comedies.”

A combination of strong scripts, good and well-rehearsed actors, spirited direction, polished sound design and better-than-usual costumes, wigs and props make this show a must-see for Misfit fans.

The evening consists of three short plays: Charles Busch’s “Vampire Lesbians of Sodom,” Bill Bozzone and Joe DiPietro’s “Breast Men” and Tracey’s own first stab at one-act playwriting, “Desperate Debbie.” All three are lighthearted, sometimes twisted, comedies about dysfunctional relationships (a Misfit specialty) directed by Tracey, costumed by Lisa Goodman (with makeup by Scott M. Woodbury) and performed exceptionally well by the eight-member cast. Zoe Somebody, credited as scenery, lighting and sound designer, deserves extra credit for the wonderful collage of classic film noir-style and pop music that surround each scene.

What makes this production a cut above the rest is the caliber of the acting, particularly the standout performances of Kevin Hettinger and Nicole Brokaw and notable work by Deborah Wenck and Kevin Maxemin. Filling out the ensemble are Victoria Ma, Bob Korbett, Jeremiah Powers and Tory Grande.

“Vampire Lesbians” is a wacky, naughty comedy that spans three eras — ancient Sodom, 1930s Hollywood and modern-day Las Vegas. The lesbian vampire Succubus (played by Wenck with a Cher-like wit) repeatedly matches wits with her enemy, fellow lesbian vampire Madeleine (Brokaw in a wonderfully campy performance), in a timeless quest for fame, fortune and female victims. Eventually, the burned-out bloodsuckers face off for the last time in Vegas, where Madeleine is staging a horrid lounge dance act with a handful of pudgy male dancers. The wild wigs, groan-inducing choreography and delicious costumes add spunk to this fast-paced 40-minute play that fills the first act. The second act opens with Tracey’s “Desperate Debbie,” a twisted parody of ABC’s nighttime soap “Desperate Housewives.” Debbie Pimbroke-Van Muffin (Wenck) is a bored housewife on Gonorrhea Lane who spends her dull days frolicking with Brick, the 14-year-old gardener (who comes by daily to “trim her bush”), her pregnant teen-age daughter (who dreams of ditching her tot and running away to clown college) and Dead Grandma (embalmed and seated in a living room chair). All is well until Rex, Debbie’s long-incarcerated husband, returns from prison to find a tryst under way on the living room coffee table. The 10-minute spoof — with warped characters in the vein of Nicky Silver and Christopher Durang — has its moments, with colorful characters and situations, but it still needs development and a more definitive ending to make it work.

The show’s strongest piece is its closer, “Breast Men,” a well-written buddy comedy with a surprise twist.

Stuart and Lloyd are lifelong best friends who’ve gone away for a men’s weekend to help Lloyd (a beefy fireman played with a guy’s guy sensibility by Kevin Maxemin) get over his recent breakup with a busty girlfriend. A travel agent mistakenly booked them into a room at Love Acres, a romantic retreat in the Poconos, and their original plans to drink beer, watch old movies, hang out by the pool and do guy things are disrupted when Stuart (a lonely fire dispatcher played believably and compassionately by Kevin Hettinger) makes a confession. A medical condition has caused Stuart to grow womanly breasts and he needs money for an operation to fix it. But Stuart soon finds that his new appendages wield a hypnotic power over Lloyd and the Love Acres handyman (played by Bob Korbett).

The characters in “Breast Men” are well-developed (no pun intended), the cast is terrific, and unlike many one-acts, it doesn’t reveal all of its surprises too soon. It’s a strong finish for the two-hour show.

Tracey has said he likes staging programs of one-acts because if an audience member doesn’t like one play, there are always a few more on the bill to make up for it. But with “Vampire Lesbians of Sodom and Other One-Act Comedies,” the whole evening is a delight, and one-act fans will enjoy the show from start to finish.

Thanks Lacey and Adam

2008-02-16T21:13:54-08:00

Thanks for getting a spot Lacey, glad you to have you. Now upload a picture, fill out some profile info, and post an introduction and some cools stories!

And Adam I see you finally uploaded a picture, wahoo! You are the scary biker dude in that picture. You don’t have any friends, but I KNOW that you have gotten some friend requests. Now go share some of your cool work stories in the stories community blog.

Anyway, thanks again for coming by and joining in.

Overview of Careers for Stage Technicians

2008-02-16T14:20:31-08:00

If you are new to technical theater or thinking of a career as a Stage Technician there are a lot of things to consider.
There a many different professions and specialties available, all of which are vital to the modern world of stage
and entertainment.

Sometimes unfortunately, both for the industry and for the individuals involved, the bar for entry into the field of
technical theater is very low. Working in theater is a profession that has historically relied upon apprenticeship
programs to train and mold stage technicians on the job. But as the choice of venues increase, the need for more
and more overhire increases, and entertainment choices continue to expand in the modern age, often times what would
have been beginner apprentices are thrust into roles of responsibility and show calls before they might be ready.
Through the years unions, such as IATSE
(International Association of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts)
have played a major role in training and ensuring quality stage technicians. Over the years many colleges have also
expanded their drama curriculums to include intensive training and certification programs in all areas of technical theater.
See a promotional video from Stephens College for their Technical Theatre Program as one example of not only specializing in career but focusing towards women in technical theater (skip to about 2 minutes in if you
have a short attention span) or maybe this technical theater promo for Dibden Center for the Arts .

The Career Prospects of Virginia site has a handy primer/overview of careers for Stage Technicians that even people who may
have already started into technical theater would benefit from reading to make sure that you know your options and
that you are ready for a career in theater.

The overview covers everything from available education options, certification and licensing, how to improve and get
ahead, various types of venues where stage technicians generally work, how much we earn, and various specialties that
you might wish to pursue.

See the Career Prospects of Virginia Stage Technician primer/overview here .
You might also be interested in a previous post entitled, Are you qualified to work in technical theater, film, TV, or AV?

Antique period hardware and lightbulbs

2008-02-16T13:50:04-08:00

While the items at House of Antique Hardware might be a bit pricey for your average stage production some shows
or film sets might need this level of authentic quality and craftsmanship.

House of Antique Hardware offers a wide range of custom built and replicated antique original hardware and light bulbs
including door, window, cabinet, furniture, lighting, electrical, and house hardware.
Their designs are mind blowing in their authenticity, harkening back to era’s long gone by.

Our reproductions are so well made they could easily be mistaken for genuine antiques, so we take the precaution to mark each one with an ‘H’.

They appear to be focused on the home rejuvenation market to create a finished vintage look.

And that look could be useful to a lot of people besides people renovating victorian style homes.

Theater and film people will find amazing props and set dressings.

You electricians out there might be interested in the reproduction Early Style Edison light bulbs .

Steam punk computer and technology builders will also find items that will add authenticity to their designs.

I found House of Antique Hardware while doing a search for how (and how much it costs) they go about creating
period sets for films. I love period pieces and historical films, but have always been amazed at how the level
of detail and difficulty must go into converting modern location shoots into authentic historical settings.

Sometime I will likely write an article on this subject, but for now enjoy these location shots of New Haven, Connecticut
into 1957 for the next Indiana Jones film at This Modern World by Tom Tomorrow and enjoy
some other fun and stimulating stuff while you are there.

Hey Randy...the Pelican 1200 should be perfect for your Telrad

2008-02-11T14:37:54-08:00

I remembered you were saying you wanted a Pelican for your Telrad.

I wasn’t sure if you would want a little extra space for some of your tools or what, but the 1200 Pelican should fit the Telrad perfectly and still leave a little bit of room for a speed wrench and batteries (custom fit with the pick and pluck foam). I’ll get exact measurements to see what kind of perfect fit we can get.

The 1200 is only 33 bucks and there would be no shipping for you since you are in Southern California.

Hope this helps. You’d definitely be the coolest kid at the show with a bad ass case like that to keep your Telrad safe!

I am Sergio. You are not.

2008-02-01T08:41:18-08:00

Hey everybody!! Just wanted to give a quick introduction about myself. My name is Sergio Chavez and I’m 26 years old. I am the Assistant Electrician at the California Center for the Arts, Escondido. And no, unlike Dwight Schrute who is Assistant TO the Regional Manager, I am NOT Assistant TO the Master Electrician. I am also a union stagehand, working for the International Alliance of Stage Employees (I.A.T.S.E.) Local 122. I take my apprentice test next Tuesday, so I’m not quite a member yet. I have been with Local 122 for a year and a half. Before that, I was a project manager for a computer rental company called National Micro Rentals. I did tradeshow A/V for 4 years. It equipped me with the knowledge I needed to kick ass with Local 122.
I spend most of my free time with my lovely wife, Loni. When I’m not pissing her off, I try to make it out to as many concerts as possible. I’ve been going to punk rock/hardcore shows since I was 14. I also like to dork off to my XBOX 360 and 50” plasma for R&R time at home.
Feel free to hit me up and chat people!

PS
Zoe, you need an affirmation corner on this.

ETC OBSESSION II SOFTWARE

2008-01-30T21:09:50-08:00

Anybody know where I can download this for free, so I can play around at home? Any information would be greatly appreciated! Thanks.

Sergio

Need road cases or rack solutions? We are partnering with Jan-Al Cases

2008-01-23T15:18:09-08:00

In an effort to better serve the stagehand community (and all the CoTradeCo communities) we are working out arrangements to bring you custom road case and stock solutions with quality cases from Jan-Al in Los Angeles.

Whether you need console cases, workboxes, mobile rack units, projector cases, proaudio/video, or other touring case needs Jan-Al is a respected quality source.

We will keep you posted as we beginning adding Jan-Al roadcase products and information to the site.

If you have any questions or comments about cases for touring let us know!

Visit Jan-Al online at http://janalcase.com/ to learn more in the meantime. Also join our stagehand community and share your work stories .

Hey Franklin, thanks for coming by!

2008-01-19T15:48:59-08:00

Always a pleasure to see you, whether in person or virtually. I can’t wait to read some of your pearls of wisdom and adventures.

So were you sore after all those main pulls for the Chinese Spectacular?

Hey Jeremy, have you thought anymore about our Pelican Bar idea?

2008-01-17T12:32:18-08:00

Stagehands and roadies around the world are in desperate need (even if they don’t know it), we need to get to work. I haven’t done any sketches yet, but I’ve been thinking a lot about it.

Stupied Wireless

2008-01-16T15:10:35-08:00

SO I was on tour with a small musical production of Christmas Carol as there TD.I was also responsable for running audio durning the show. We were at a 1800 seat theater in Chicago and my worst nightmare came true. We loaded the show in as normal and for this show we were told that would use the touring system that was in for audio. Which was pretty sweet due to it was a large line Array system. So I get everything turned on and up and running and started seting up my Wireless mics. I get them all set up and started to test them and I realized that I cant walk more then 5 feet away from the rack without completely losing signal. I sweeped every frequency the recivers had and checked every connection and still the same result. I finally broke down and called the company we rented the wireless rack from and the only advise they could give me is that its eather a loose connection or there is RF interferance. So I ended up having to tell my cast that I cant get the mics to work and they are going to have to project as best they can to a 1800 seat full house. Ive never felt so helpless in my life! So we got through it and the audience appeared to injoy the show (or at least what they could hear). I checked out the wireless rack when I got to the hotel and everything worked fine so apperently the space I was at was a blackhole for wireless. Stupied Wireless!!!

I almost died...well not really

2008-01-14T22:19:15-08:00

While my primary focus is on building CoTradeCo into a premier online destination, I occasionally still work with IATSE local 122 and more specifically with the California Center for the arts. Normally my specialty is audio, but I’m open to anything and I took a call prepping the rehearsal studio to act as an overflow conference room for an upcoming convention that needed more space.

No big deal, easy 4 hour mini, or so I thought. The rehearsal studio is lined with windows starting about 20’ feet up on one side and maybe 25’ or more on the other. The room was going to be used for presentations (slide shows and powerpoint stuff) and they needed the windows blacked out. So we get the genie lift out and set to work.

Fairly straight ahead stuff. We start on the lower side, and are getting a groove on. Thick black visqueen and gaffers tape, tab it up, seam the edges, done. The only real hassle is that pain and fatigue of working with your arms over your head the whole time (the ceilings prevented getting to a nice working height). Here I should point out that the windows are inset into alcoves maybe 3 feet or so, but the ledges on the lower windows were slanted so you couldn’t even get the lift basket up close to work, much less think about acting crazy and stepping out to get closer.

At any rate we finish up the first side in fairly short order, take coffee (union jokes can be inserted in here) and then head back to knock out the other side. One of my coworkers goes up to do the next set of windows. He discovers that the ledges on the high side are wider and not slanted. Feeling brave, we locked the legs on the genie down with the basket smack against the ledge and he manages to kneel out onto the ledge for a perfect working position. While perhaps not optimal in the safety arena, it seemed reasonable, and we would keep the genie between him and the edge like a guardrail.

To ease the fatigue for each of us, after 2 sets of windows were completed, we would rotate. I was up next. Up I went, visqueen in hand, and tape in the basket. I set the visqueen onto the ledge, and prepare to kneel out on the ledge. Except as I begin to put my knee and weight down, I find myself falling into the ledge. It was only my knee, and it was only a couple of inches that I moved, but at that height, it scared me to death.

So long story short, we managed to just get the whole basket into the area above the ledge (which admittedly was much safer) but it also took twice as long being that I could not stand up, so I’m crouched down in a genie lift basket having to work through the bars to affix unwieldy 13’ foot long sheets of visqueen to a dusty wall. By the time I was done, the joy of simply standing up and relieving my cramping legs was almost better than sex.

I’m not sure if a lesson was learned there, but for sure that split second when the sensation of the ground giving way beneath me at 30’ was terrifying.

Though I know some of you have much more insane stories, I can think of one from last year at the San Diego Sports Arena (I think there were even pictures), and hopefully I can get that person on here to share their harrowing adventure at much greater heights.

So be safe, and stay in the lift!

Great audio seminars for techs and musicians

2008-01-03T14:36:57-08:00

Many years ago in an effort to improve and enhance my knowledge as an audio engineer I attended a seminar by Syn-Aud-Con (Synergetic Audio Concepts). The company and their seminars were recommended to me by an audio engineer I respect so I tried it out. My experience was phenomenal. The seminars offered by Syn-Aud-Con range from beginner/introductory to advanced. The seminars helped reaffirm and remind of the basics, dispelled certain myths, and expanded on concepts that improved my abilities as an audio engineer immensely, and I highly recommend their services.

I just received a newsletter from them and I thought I would share some upcoming seminar dates and give some links to their site.

Upcoming seminars

See the current seminar schedule at synaudcon.com

Sound Reinforcement for Operators

02/18-02/19/08, Burbank, CA
03/31-04/01/08, Houston, TX
04/21-04/22/08, Ottawa, ON Canada
06/14-06/15/08, InfoComm, Las Vegas NV

Sound Reinforcement for Technicians

02/20-02/21/08, Burbank, CA
04/02-04/03/08, Houston, TX
04/23-04/24/08, Ottawa, ON Canada
06/16-06/17/08, InfoComm, Las Vegas NV

Sound Reinforcement for Designers

03/10-03/13/08, Indianapolis, IN

Syn-Aud-Con Digital

01/28-01/30/08, Atlanta, GA
05/05-05/07/08, Chicago IL

Resources, knowledge, membership

Syn-Aud-Con does more than just offer seminars. Every attendee becomes a member of a community user group where you will always be able to go to ask questions, get advice, or show off your own knowledge. They also have articles, job listings, industry links, and for sale resources to help you out.

If you want to improve as an audio engineer, whether you are just getting started or you are a jaded dinosaur, there is something to learn from Syn-Aud-Con.

From their home page:

For more than 30 years, Syn-Aud-Con has been devoted to providing practical, in-depth training on the principles of audio and acoustics. The amount of information needed to work in the audio industry can be overwhelming. Our goal is to reduce your learning curve. A picture speaks a thousand words. Our multimedia presentation enables us to teach most concepts through demonstration making learning quicker and much more enjoyable.

Visit their site: www.synaudcon.com

Can you please keep your light...

2007-11-30T18:08:31-08:00

Unfortunately this story didn’t involve or affect me directly, but it had a major impact on my psyche for the day.

We were loading in a Bulgarian opera and the day started out with a modicum of normalcy, at least for working with guys who barely spoke English (and I can’t feel that bad for not knowing Bulgarian—is that a language?).

The electrics crew at our theater is usually spot on. Everything working seamlessly, getting done quickly and efficiently. On this day we even had a lot of experienced regulars for the overhire. However, once they got to focusing, things didn’t seem quite right. Everything was taking forever, and you could hear the patient and soft spoken LD repeatedly calling out focus orders (if I remember correctly the LD showed up later and was from the US, but he definitely spoke English). All day this molasses slow focus was taking place, and it was one of the rare occasions that the days schedule was modified to get the focus done before house open.

But the real fun came at show time. Right from the first cue, one of the spot ops missed the target by half a stage. Instantly the spot op was on headset, “I am so sorry.”

Repeatedly it kept happening, all the while the LD remaining calm, rarely if every mentioning it. Cue after cue, missed the mark, didn’t track with the performer, cutting the head off, all in an ever worsening demonstration of spot light operation. With each missed cue and mark the spot op would rush to hit the talk button, “I am SO sorry,” in an ever escalating tone of fear and embarrassment.

All the while I am hanging out in the lighting booth (they had their own sound engineer) and the master electrician and I are both laughing hysterically and cringing in horror. Here was one of our union brothers dishonoring the entire local with the worst spot operation possibly in recorded history. Between the raising pitch and intensity of the “I’m SO SORRIES” and the actual thing that was being apologized for I could barely watch. The master electrician, between guffaws of laughter, kept wondering what he should do, even so far as asking me if I would run the lighting console if he decided to go up and replace the spot op himself.

The whole incident was as humorous and uncomfortable as watching a mashup of Curb Your Enthusiasm and the British version of The Office with Larry David AND Steve Carrel as one human being.

But moving through the first act it appeared as though the spot op had pulled it together. He began hitting cues and the freakshow seemed over. No, I’m sorries, just successful cues.

Then sometime nearing intermission, the unthinkable began. Not only did he begin missing his performers, but the spotlight began swinging wildly onto the proscenium and nearly hitting the opera boxes, all over the speaker clusters, top of heads in the front row. I’m SO SORRY. Not once mind you, but a few cues in a row. I am SO SORRY. Light spilling from a spot light where it should never be seen, not even for sighting in. I AM SO SORRY. Audience members and building brought into sharp perspective in the dark of a theater full of people. I AM SO SORRY.

After a couple of minutes, the LD calmly and without a hint of annoyance asked, “Could you please keep your light off the architecture.”

The spot op, suddenly sounding calm replied, “I am so sorry.”

Are you qualified to work in technical theater, film, TV, or AV?

2007-11-30T17:21:51-08:00

So you think you have what it takes do professional stage, film, TV, or AV technical work? Now you can find out.

While wandering the internet as I am wont to do, I found SkillSet.org which bills itself as the sector skills council for the audio visual industries. I wasn’t sure if I should have already known about these people until I realized they are a UK organization, but they have a lot of good resources over there that you will find useful wherever you are working.

Most interesting is their National Occupation Standards which outlines and defines the skill sets required to adequately fulfill such positions as camera operator, costumer, lighting, production, editing, sound, and even the ubiquitous stagehand. If SkillSet had nothing else on their site it would be an invaluable resource, but it extends beyond that with resources broken down by industry focus with detailed job descriptions, pay rate expectations, and breakdown of the typical workforce demographics for that industry (remember they are in the UK).

From their about statement:

Skillset is the Sector Skills Council for the Audio Visual Industries (broadcast, film, video, interactive media and photo imaging). Jointly funded by industry and government, our job is to make sure that the UK audio visual industries have the right people, with the right skills, in the right place, at the right time, so that our industries remain competitive.

We conduct consultation work with industry, publish research and strategic documents, run funding schemes and project work, and provide information about the challenges that face the industry and what we need to do to overcome them. We also provide impartial media careers advice for aspiring new entrants and established industry professionals, online, face to face and over the phone. Whether you are a freelancer looking for training information, a student seeking careers advice or a public agency partner, we aim to provide you with easy access to the information you may require.

List of standards at skillset.org

I have a fairly broad knowledge of technical theater, my expertise is within the Audio department and sound. But if I was curious how my other skills stacked up to qualify me for other positions in the field I could get a good idea at this site. After glancing over the sound qualifications, I realize that my logging and paperwork skill set could probably use some work…

As I find more resources like this I will continue to expand this article.

Why don't smaller groups learn about a tech rider?

2007-11-11T02:11:35-08:00

In my other life as an Audio Engineer, mostly working at the California Center for the Arts, Escondido and with IATSE local 122 around San Diego, I am constantly amazed that most bands have no concept of a tech rider.

Last night I did a small outdoor gig for the museum opening at the CCAE with a dance and drumming group from Gana, and two local bands.

The dance group was fairly light in their needs and everything went smooth. However, the two other bands had been told on the phone by the coordinators that they would have to supply their PA as their was no way on such short notice.

The band that was booked had apparently changed their setup. What was originally (as I was led to believe) going to be a DJ and a couple of mics had turned into a five piece rock band at the last minute. This created some confusion and the museum tried to convey the changes to the theater technical director, who lacking any further information, had to assume the worst. The worst being that this a bigger act that would require a fairly large rig, and she was forced to say we simply weren’t prepared for that. Considering the types of groups we normally work with at the concert hall, this was not an unreasonable assumption.

But the fact was that we had a 16 channel board and a small but decent PA. And the reality was the 5 piece band really only needed 2 vocal mics and a sax mic. In the small sculpture courtyard and the size and quality of the amps for the guitars and bass they travel with we only had to get the vocals and the sax out and into the mix.

Which leads to the issue of the tech rider. Had this band had a simple rider that indicated all of their instrumentation (basic input list and stage plot) and what gear they typically played/travelled with, they would have been told it was no problem. Instead the guy from the band frantically spent all day locating a PA to bring that he didn’t need.

He was a bit frustrated but nonetheless relieved when I explained what I could do for him. I asked him if he had a rider, which went nowhere. I think it is amazing that small bands who are touring around not only don’t have a simple rider to send out, but rarely even know what one is. And that larger bands who should know often still don’t know because they pay a production manager to handle all that stuff.

In the end everything went exceptionally well, great show, great band(s), and a great mix if I do say so myself. Though I think some of the museum opening crowd might not have been fully prepared for SPL this type of group puts out. But everybody that was in the sculpture courtyard for the show was dancing and having a great time.

At any rate, just thought I would share that with you all.