Who's more important?

[tech2000]

If need be, have a runner from the sm go down and cue the conductor if the conductor cant get a cue from anything besides the headset. My theater is going to run into this problem this year, so basically, have one at each of the vital positions, SL, SR, Sound, Lights, SM (wherever the sm is), and then the conductor if there are enough packs.
Usually our conductor doesn't even use the headset except for once or twice.

[cdub260]

Originally Posted by DHSLXOP

Ok - first thanks all for the replies - here are couple answers/additional things to keep in mind.

1) We like to keep our spot ops on headset at all times (see the thread i started a while ago about follow spot cues)
2) We used to have a lot of beltpacks but many of them have started to break (and the theatre that we rent has refused to repair them) - so now, we have 4 or beltpacks + 1 wireless (we used to have like 3 wireless) - we generally put one on SL one on SR and then the two beltpacks for each follow spot on the catwalk. The wireless is either given to the director backstage (on shows where we don't have a lot of tech time and she wants to make sure we know whats going on) or to sound. This past show, though, the conductor wanted to be in communication with me so I had to give the rail (SL) the wireless and put the wired into the pit (with a phone instead of a headset) because there is no call light on the wireless.
3) We don't have any cue lights in the theatre - (i hate this so much)

I think thats it. Again, thanks for your replies & I look forward to others!

Your venue allows you to use their headset system? When we rent out our facilities, the headset system is not part of the rental. This is a very expensive system which sees plenty of use and abuse just during the Pageant. This year, for instance, we have 14 people on wireless Clearcom. I have enough trouble trying to get our crew to treat their coms gently. I don't need people who don't give a crap about my equipment screwing it up in the off season too.

You might consider looking into renting a com system when you use your usual venue. While it will add some expense to your shows, I think you'll find having the ability to call up your rental company and say, "Hey! Only 7 of the 8 headsets I rented from you work. Get me another one!" will make it worth the added expense.

[Serendipity]

Originally Posted by Charc

Er, can spots deal with it themselves? It's really not that hard. I had a true standout this last year. A second semester senior, previously an actor in two shows, and a pure party-girl. She'd often show-up *removed*, but her work was flawless. Her pick-ups were on-target, with impeccable timing. She could react to situations, and work autonomously.

So she was spot-on with her cues?
Sorry, I really am... I couldn't resist!

As what everyone has said, the audio engineer should be on com. If you have the ability, a telephone-style com system would be better. (When I was A1 on a dance concert last year, I rigged up my own cue light system, which instead of signaling when I should execute a cue, was a signal for me to pick up the cans, so I could focus on listening to the show, as opposed to the lighting cues (of which there were at least 20x the amount of audio cues. I stole the idea from a local road house who I saw doing this years ago, except with a traditional com telephone and attached LED that showed when he was being "rung". I think it's a fairly common practice.)

As for your lack of cue light system, it does not have to be difficult. I found an extension cable with a switch, and left the switch with the SM. I ran the cable down from the balcony (where the SM was; there was a convenient curtain from the balcony to the ground, so by running the cable behind the curtain it was invisible), across the aisle (properly taped down) to the FOH position where some blue rope light that had already been underneath the raised console became my cue light.

[Dustincoc]

Originally Posted by Serendipity

So she was spot-on with her cues?
Sorry, I really am... I couldn't resist!

As what everyone has said, the audio engineer should be on com. If you have the ability, a telephone-style com system would be better. (When I was A1 on a dance concert last year, I rigged up my own cue light system, which instead of signaling when I should execute a cue, was a signal for me to pick up the cans, so I could focus on listening to the show, as opposed to the lighting cues (of which there were at least 20x the amount of audio cues. I stole the idea from a local road house who I saw doing this years ago, except with a traditional com telephone and attached LED that showed when he was being "rung". I think it's a fairly common practice.)

As for your lack of cue light system, it does not have to be difficult. I found an extension cable with a switch, and left the switch with the SM. I ran the cable down from the balcony (where the SM was; there was a convenient curtain from the balcony to the ground, so by running the cable behind the curtain it was invisible), across the aisle (properly taped down) to the FOH position where some blue rope light that had already been underneath the raised console became my cue light.

This may have worked also in that situation although anyone on cans could trigger it. The call lamps on the Beltpacks in my experience are just used to annoy everybody and for one person to make sure all the cans can talk to each other(just set them all in locations where the lights can be seen from one of the packs and then go to that pack, press the button and make sure all the lights flash).

[cdub260]

Originally Posted by Serendipity

So she was spot-on with her cues?
Sorry, I really am... I couldn't resist!

As what everyone has said, the audio engineer should be on com. If you have the ability, a telephone-style com system would be better. (When I was A1 on a dance concert last year, I rigged up my own cue light system, which instead of signaling when I should execute a cue, was a signal for me to pick up the cans, so I could focus on listening to the show, as opposed to the lighting cues (of which there were at least 20x the amount of audio cues. I stole the idea from a local road house who I saw doing this years ago, except with a traditional com telephone and attached LED that showed when he was being "rung". I think it's a fairly common practice.)

As for your lack of cue light system, it does not have to be difficult. I found an extension cable with a switch, and left the switch with the SM. I ran the cable down from the balcony (where the SM was; there was a convenient curtain from the balcony to the ground, so by running the cable behind the curtain it was invisible), across the aisle (properly taped down) to the FOH position where some blue rope light that had already been underneath the raised console became my cue light.

The telephone style com is called a handset.

As for running your own cue light system, if your cable crosses a walkway, it must be SO type cable or equivalent or be protected by other means, such as a cable ramp. The protective jacket on standard extension cord cable, SJO type, is not thick enough to protect the wires from damage when people walk on them. Zip cord is even worse.

[Serendipity]

Originally Posted by cdub260

As for running your own cue light system, if your cable crosses a walkway, it must be SO type cable or equivalent or be protected by other means, such as a cable ramp. The protective jacket on standard extension cord cable, SJO type, is not thick enough to protect the wires from damage when people walk on them. Zip cord is even worse.

I take it back, it wasn't me! :P
I actually don't know what type of cable it was... It's struck now, so I don't think I'll ever know. Thanks for the warning.

[cdub260]

Originally Posted by Serendipity

I take it back, it wasn't me! :P
I actually don't know what type of cable it was... It's struck now, so I don't think I'll ever know. Thanks for the warning.

Most power cables for stage lighting are made with 12/3 SO type cable. That's 12 gauge, 3 conductor SO. Most of my cables in Pageantland are SOOW, which is SO cable that's also rated for exposure to oil and water. The extension cords you buy at your local hardware store are typically 16/3 SJO cable. As they use a smaller gauge wire, they are rated for less amperage, but the cable jacket on the SJO cable is fairly thin and prone to damage, which is why it should never be used where it may be walked on. All the pertinent information on your cable should be printed on or stamped into the jacket.

[Serendipity]

Originally Posted by cdub260

Most power cables for stage lighting are made with 12/3 SO type cable. That's 12 gauge, 3 conductor SO. Most of my cables in Pageantland are SOOW, which is SO cable that's also rated for exposure to oil and water. The extension cords you buy at your local hardware store are typically 16/3 SJO cable. As they use a smaller gauge wire, they are rated for less amperage, but the cable jacket on the SJO cable is fairly thin and prone to damage, which is why it should never be used where it may be walked on. All the pertinent information on your cable should be printed on or stamped into the jacket.

Yes, but I don't remember which cable I used, is the issue.
I'll keep that in mind for next year though, as I highly doubt the school has decided to purchase us a clearcom system, or pondered putting a handset FOH this summer.

What does SO stand for? I caught SOOW was with "Oil" and "Water" at the end...

[philhaney]

Originally Posted by Serendipity

What does SO stand for? I caught SOOW was with "Oil" and "Water" at the end...

S = Service Grade

SO—Same as S but with oil resistant jacket. (thermoset)

SOO—Same as S but both conductor insulation and jacket are oil resistant. (thermoset)

SOOW—Same as SOO except outdoor rated. (thermoset)

I got this from North American Cable Types

Originally Posted by soundlight

Personally, I'd put the sound guy on com, and have the conductor on a cue-light system. The sound guy won't always be on com, but he needs to be able to be on com in case there is a mic issue that the folks backstage need to correct as soon as possible. Just my opinion.

Ditto.

Originally Posted by Charc

Er, can spots deal with it themselves? It's really not that hard. I had a true standout this last year... ...her work was flawless. Her pick-ups were on-target, with impeccable timing. She could react to situations, and work autonomously.

I say take the headsets from spots.

I say not all spot ops are that good, and you need them on coms.

Originally Posted by DHSLXOP

3) We don't have any cue lights in the theatre - (i hate this so much)

It's not that hard to rig up your own, bearing in mind cdub260's
post on cable requirements...

[Serendipity]

Originally Posted by Serendipity

I'll keep that in mind for next year though, as I highly doubt the school has decided to purchase us a ClearCom system, or pondered putting a handset FOH this summer.

I take it back, I take it back! The new TD wants to get us a ClearCom system for the large theater, and the rumor about the new genie is partially true, he thinks our Cotterman is very unsafe, and thinks the school should supply the funds for a new one.
To quote Radiant, "Hallelujah, praise the lawd!".