Courtesy Tabs
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STEVETERRY
Well-Known Member
Guys--
God love you, but you must have a lot of time on your hands.
Where I come from in NYC, taping pin connectors would be frowned upon, due to the time involved.
I may be an old fart, but I knot them.
Pin splitting is good--for electrical contact, not for mating retention.
Just my 2 cents.
ST
You mean for taping the connectors, or taking the time on Control Booth to discuss taping connectors?
Brooklyn is in NYC, correct? SteveB says he tapes all connectors, even TwistLocs, on deck level.
You wouldn't believe how much I got yelled at by the Master Electrician of a hotel's convention center on one of my first calls here in Las Vegas when I did that.
Two birds with one stone, isn't it?
But I'm more curious about whether the male's strain relief should be less strong than the female's on locking connectors, and if the NEC, or you, have any opinion on that.
Interesting discussion of knotting cable. To me, it seems like a very bad idea for general theatre use, I've only employed the technique twice. (I'm assuming we're talking about tying the connectors together, so pulling on them just tightens the knot.)
The first time is with one of our saber saws which has a messed up plug. It really loves to come unplugged. This is often tied in this manor to one of edison extensions. It's a thin extension cable, so easy to twist around without much damage/force, unlike the 20A SOOW.
The second time was at the shakes in the park thing. I noticed day 1 that the power run was 1. Right in the center of the "house", and a serious trip hazard. 2. Pulled apart easily. Given all the equipment hooked up to it, and the fact that we'd be dead in the water without power, I started to tie my runs. Those around me agreed it was good practice, and proceeded to tie their own runs. Again, this was with thin extension, and molded connectors. (Interestingly enough, we used a combination of 13 and 10 amp extensions, which I pointed out to the LD. He said "We'll be fine... right?". Well we were fine, but we ended up with as much as 3 S4 PARs on one run. 20 amp circuit > 10 amp extension > 12 amp extension > 20 amp input on 40 amp dimmer.)
The first time is with one of our saber saws which has a messed up plug. It really loves to come unplugged. This is often tied in this manor to one of edison extensions. It's a thin extension cable, so easy to twist around without much damage/force, unlike the 20A SOOW.
The second time was at the shakes in the park thing. I noticed day 1 that the power run was 1. Right in the center of the "house", and a serious trip hazard. 2. Pulled apart easily. Given all the equipment hooked up to it, and the fact that we'd be dead in the water without power, I started to tie my runs. Those around me agreed it was good practice, and proceeded to tie their own runs. Again, this was with thin extension, and molded connectors. (Interestingly enough, we used a combination of 13 and 10 amp extensions, which I pointed out to the LD. He said "We'll be fine... right?". Well we were fine, but we ended up with as much as 3 S4 PARs on one run. 20 amp circuit > 10 amp extension > 12 amp extension > 20 amp input on 40 amp dimmer.)
Yes, we all seemingly are stuck indoors, with nothing to do right now, except post on CB. I also subscribe to a few Bicycle forums. Talk about cabin fever ! and it's only December !.
I do not tape the connections, even vertical connections, in the FOH, nor overhead raceway's nor the multi drops in overhead positions, only on the deck where the cables might get pulled on and only then to avoid nuisance dis-connects.
I haven't seen anyone actually knot the cables as Steve T. describes in years. Why ?, can't say for sure, but when I converted the road house to 2P&G in '04, most of the folks we hired were now Local 1 and seemingly started the practice of taping deck connections. Note that this is a road house method, not something being done for shows running long term. I have no idea what the Broadway folks do. I also think that 12/3 SOOW is maybe a bit stiffer then in the old days and many folks don't want to place the same level of strain on the connectors strain relief - even though it's a better design on typical 2P&G connectors you see these days. Connectors have pins that "float" a bit and don't have as many issues with losing connection as did older 2P&G's of say 20 years ago.
I actually suspect that the practice of not knotting the connections is all old-wives-tales kind of attitude, similar to the whole Should I Pre-Heat issue.
Is taping connections time consuming ?, yes, but it's faster then using tie-line.
Steve Bailey
Brooklyn College
STEVETERRY
Well-Known Member
The NEC disallows any strain from the cable being transferred to the electrical connections. UL conducts the same pullout test on both sexes.
ST
STEVETERRY
Well-Known Member
Well, truth be told, I haven't actually done it in years in the theatre--I just think I would, out of habit, if presented with the task!
I do it at home with an extension cord without even thinking about it!
Happy Holidays!
ST
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What I love about this is we made pin connectors so they would pull apart on wagons and the like...and here we are x number of years later figuring out the best way to keep them together!
Question: What is the advantage of taping inline with the stagepin connectors as opposed to around them?
And for the record, ever since I got to college and found out about them, I have used courtesy tabs on most things I gaff, including spike marks. The only time I don't use is when I am taping down cable runs to the deck.
1. A stronger bond, as more surface area is exposed to the adhesive in the direction of come-apart-ness. 2. Easier to remove, with or without courtesy tabs, 2a. more surface on which to write the ckt./dimmer/ch#.
Courtesy tabs on spike marks is bad, because: 3. easier to have them accidentally removed, 4. the little "flags" may create an unnecessary visual distraction, 5. For invisible spikes, use UV paint, and only turn on the Blacklights during the scene changes, or supply all deckhands with UV Flashlights!
6. Now here, I think it acceptable to use tabs, as long as they are out of the traffic pattern.
I have mixed feelings about courtesy tabs on spike marks. On one hand it makes them super-easy to pull up at strike, on the other hand, they can come up super easy. But I do it because I'm told to. FWIW, we usually only use spike tape for our concerts and things (our annual variety show, a prime example) where we have a lot of moving pieces, but it's only a one-night deal. For theatre shows, we usually use paint pens.
I don't use tabs on floor cable runs, because it's not too hard to get at the end of the tape. And I understand now why you would tape connectors that way, and I think I will start doing that. Learn something new everyday, even when I'm not at school.
< Just because I like it.
I don't use tabs on floor cable runs, because it's not too hard to get at the end of the tape. And I understand now why you would tape connectors that way, and I think I will start doing that. Learn something new everyday, even when I'm not at school.
< Just because I like it.
Hmmm, paint pens for spike marks, that seems like a good way to get real confusing real fast. What happens when the placement of an object changes? You have to repaint the floor to get rid of the old mark. Spike tape makes that much easier. Given that most stage managers that I have worked with put a piece of clear vinyl tape over the spike tape, courtesy tabs become moot.I have mixed feelings about courtesy tabs on spike marks. On one hand it makes them super-easy to pull up at strike, on the other hand, they can come up super easy. But I do it because I'm told to. FWIW, we usually only use spike tape for our concerts and things (our annual variety show, a prime example) where we have a lot of moving pieces, but it's only a one-night deal. For theatre shows, we usually use paint pens.
I don't use tabs on floor cable runs, because it's not too hard to get at the end of the tape. And I understand now why you would tape connectors that way, and I think I will start doing that. Learn something new everyday, even when I'm not at school.
For cable runs in traffic patterns one should tape carpet over the cables, or if one has money, invest in cable ramps. This reduces trip hazards and makes it easier to get equipment over the cables. This may not be appropriate for on stage runs unless you can find carpet that matches the staging, but off stage it is great.derekleffew said:
You don't use it when you're teching/previewing a show, but once you open (or are sure about locations) then the spikes start being painted.
The paint doesn't peel up, and the lines of paint are thinner. Your deck doesn't look like Times Square at 12:01 New Year's Day. What's not to like?
Disclaimer: Of course this only really makes sense when you're using a painted show floor/deck. Doing this on your "house" deck is sure to piss someone off.
--Sean
Well, I would hate to be stage management for you guys. An extra work call to pull up the spike tape and mark with paint seems tedious. Not to mention the added expense of spike tape AND paint pens. Though I suppose in a case where the show runs for many weeks this is just a drop in the bucket in terms of work. Our SMs here like to be able to put things like scene numbers on the spike tape, which may not work as well if you were just writing on the deck. To each his own I suppose!
It doesn't take all that long. During preview week, as things settle down, piece by piece the spikes get painted. Not all of them and not all the time. But, on decks where the little colored specks are really going to be noticed (solid colored, glossy floors in particular) it's usually needed.
Also, it certainly takes less time to paint marks once and "touch up" once a week or so (the ones that see a lot of traffic) than it does to walk all the spikes before every show and replace tape. If you're using tape spikes that's usually a daily task for someone.
The expense of spike tape and paint markers is negligible. Paint markers last a year or so, and we (organizationally) probably use ~10-15 rolls of spike tape per production. Actual "spikes" are probably the smallest use. They use it to tape out the floor plan of each set in the rehearsal hall. It gets used on prop tables.
As for scene numbers: They use one color per set or look. And often the spikes are just reference markes to double-check automation limits, so they don't really need much information.
OK, I've babbled enough.....back to reading.
--Sean
The divergence of this thread (spike marks) reminds me of a funny time in college. The SM bemoaned to me, somewhat humorously, that the deck sweepers/moppers kept handing him little pieces of glo-tape, but couldn't tell him where they were from. This is before we learned to affix 2" Cello tape over the glow tape.
And do we all know that a single flash from a digital camera will "charge" new glow tape to last for at least two hours? No more "baking the tape" by running stage lights at full for 10-15 minutes!
And do we all know that a single flash from a digital camera will "charge" new glow tape to last for at least two hours? No more "baking the tape" by running stage lights at full for 10-15 minutes!
With upwards of 30 scene changes during a performance, we use a lot of spike tape in pretty much any color that exists. I end up replacing maybe 2 rolls of spike tape a year, which brings me to my question Sean. How big are your spikes? 10 to 15 rolls per show seems a little excessive. I replace all of our tape spikes half way through our run. I do not use courtesy tabs on my spikes.
On the subject of painted spikes, we have certain spikes that do not change from year to year. The Frame, which has been the primary light source for our paintings for the last 25 years, always goes in the same location. Frame paintings, which are built on wagons which are built to standard sizes, (Before anyone asks what a standard size is, we're talking about Pageant of the Masters standard, not industry standard.) always go in the frame. The Last Supper, our traditional closing piece, always goes in the same location. Because these sets are in the same spots from one year to the next, they have permanent spike marks painted on the stage in glossy acrylic. I have to touch these spikes up every two years.
How much abuse do our spike marks take? Well, this year we have about 40 rolling set pieces, and 18 people pushing those sets. We opened July 9th. and run seven nights a week until we close on August 31st.
Back to the subject of courtesy tabs, I use a variation of this when I hang my lights every year. I do the bulk of my light hang in January, but focus is spread out over the next 6 months as sets are completed. To avoid confusion as to which lights have and have not been focused, I put little tabs of folded orange spike tape on all my over the stage lights. As they are focused, pull the orange tabs. Why no one thought to do this before I joined the staff, I have no idea. We used to have problems with a light getting focused for one piece in February, then refocused for another piece in April. That doesn't happen anymore.