The last few years have been tough and we’re all being told that it’s not over yet. Folks that study these things often graphically represent these economic downturns as a U or a V or sometimes even a W. This one seems to look more like an L with a precipitous drop and a long slow climb out of the bottom. Wall Street is delivering some decent returns, which bodes well for the endowments that support so many of our artistic institutions. If the stock market continues to provide reasonably good news we may start seeing more of our capital projects get the green light.

We have a strong industry. There’s a lot of truth in the old phrase, “When times are good people have money so they go see shows; when times are bad people want to feel better so they go see shows.” Production Advantage is proud to be of service to you, the people that give the audiences a reason to show up. We’ll work very hard to validate your trust in us and get you what you need, when you need it, at a reasonable price every time you give us the chance.

Best regards,

David Schraffenberger, GM

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David is VP and General Manager of Production Advantage, Inc. “Schraff” started touring with various productions in the seventies, his last with the First National Broadway Tour of “Breaking Legs” in the early nineties. Schraff has recently served on the Board of Trustees of the International Alliance of Theatrical Stage Employees, Local #919, and as a Board member of the Vermont/New Hampshire Direct Marketing Group.

With a capacity range of 1/8 to 2 metric tons and a variety of speeds available, the features include:

• 5 pocket liftwheel—this translates into smoother lifting and minimal chain wear and tear
• The clutch outside gear train now meets international standards
• Precision helical gearing makes for a quieter operation—important in theatrical applications
• Redesigned control panel for easier access and fuse installation
• Finger safe wiring meets all electrical codes
• Quick change plugs allow for operating voltages from 208 thru 460—they prevent improper voltage connections that cause hoist damage
• Single-phase & three-phase models are both capable of 50 or 60 Hz operation
• Adjustable limit switch prevents the load from over-travel
• Built in overload protection helps prevent lifting of dangerous overloads
• Light-weight yet durable cast aluminum housing
• Road ready—fitting in flight cases for easy transport

Known as “the industry workhorse,” the Lodestar has made its mark over the past 50 years by becoming the industry standard. The new user-friendly design makes it the quietest and smoothest-running Lodestar suitable for all types of venue applications.

Techies can view an animation that explores the inside parts of the new Lodestar.

Happy Lifting!

Intrigued by the offer, a prospect wrote us asking if we could put him in touch with any other AnchorMAN users so he could glean their impressions. We contacted several customers who previously bought AnchorMAN systems from us, and (”long story short”) a number of conversations and emails ensued.

We’ve obtained the participants’ permission to publish one such email:

First off, I must say I took a major gamble ordering the AnchorMAN system. I researched it a bit, but really just wanted to try it out. So we ordered a system, with the WingMAN accessory box.

I must say as soon as the box arrived I was impressed. Each system was perfect, and worked great! Our 4 wireless belt packs and headsets were awesome. I got them specifically for my flyman, on our 48 line set system. They were beating up our wired system so bad, running up and down the rail to fly. Our first show we tried the new system, and it worked amazingly well.

We tied the Wingman Accessory Box into our wired (Clear-Com) system, and it worked perfectly. All wired people can talk in duplex to all wireless people. It was truly a perfect match for us. This allowed us to tie in approximately 23 people: stage managers, flyman, spot decks, lighting, spots, everything into one system.

As far as distance we haven’t found anywhere in our Performing Arts Venue [to be] a dead spot. My Wingman box is in our Theatre Control Room which is the highest point in the Performing Arts Center, and it broadcasts all over. From the control room to our large dressing room is over 500 ft, and we were able to communicate perfectly. Our building is only 3 years old, with tons of steel and concrete [and nevertheless] the system worked wonderfully.

As far as battery life, we ran a 6 hour tech call with our belt packs, and still had room to spare. The only downfall I found with the system is more of a personal one. The headsets that came with the system are made for the left ear, and personally I like the headset on the right ear. Small adjustment was to take a Clear-Com headset and plug it into the wireless belt pack. Then somebody who prefers the left ear takes that headset. Just a small adjustment, but I thought I would share it with you.

Lastly, let’s talk about service. The service of Anchorman is First Class! I had one beltpack which was broadcasting static (but you could still hear on it). Without question, Rocky sent an RMA and we returned the beltpack for service. Within a few weeks we had a brand new beltpack.

I know this is a lot of information in an e-mail, but we are truly grateful for our system.

SDM, Johnstown, PA

Presented by Church Production magazine, the conference includes workshops and hands-on training in the areas of audio, video, and lighting for houses of worship. The expo show floor hosts equipment manufacturers, dealers, and consultants, and allows pastors, worship leaders, and technical directors the opportunity to see the latest trends in technology, compare products and services, and voice their questions and comments.

Among the keynote presentations was “Tech Talk,” a panel discussion moderated by Bruce Smith, former technical director at Willow Creek Community Church. The panel included technical directors from churches of various sizes, discussing topics including how they manage their budgets, how to effectively handle and utilize volunteers, and how they interface with their pastors and others ministries within the church. This discussion was a great example of how networking among those involved with the technical side of ministry can help technical directors learn from and build on others’ experience.

Among the notable products on display:

• ETC’s Award winning Paradigm Architectural Controls. Building on the highly regarded Unison architectural dimming and control, Paradigm is a new architectural control platform for use with Unison, Sensor, or third party dimming systems. Along with advanced integrated control of stage lighting systems, new advances on the architectural side include energy efficiency options like daylight harvesting and occupancy sensors, and the ability to work with building controls from other manufacturers over the same network.
• Leprecon’s aris Architectural Interface System, including a wide array of control station options, user configurable LCD control stations, and DMX interface.
• Elation Lighting’s Impression moving head LED fixture, with amazing brightness and controlability, and the new Tri-LED PAR can. Elation’s Tri-LED technology mixes the red, blue, and green within each LED lens, eliminating the tricolor shadows often associated with other LED fixtures.
• AC Lighting: The new ChromaQ Color Blade LED is an ultra slim, high power wall washing and cove lighting fixture, which can be configured for indoor or outdoor use. Also on display were the Color Split and Color Punch LED fixtures, two favorites for their high output, color consistency, and flicker free operation. The Color Split includes an amber LED for true white light output that can be dialed into the exact color temperature required, making it ideal for broadcast facilities.
• AC Lighting also had the Jands Vista on display, in configurations ranging from laptop control with a small M1 control surface up to the T2 controller. While this is not a new product, it continues to be a favorite among church users for its scalability and ease of programming and playback, even with volunteer tech crews.
• Rosebrand’s Stretch Shapes, three dimensional spandex scenic elements including snow flakes for the holidays, drew a lot of attention. Many of our church clients also like the two dimensional spandex stretch shapes for use as scenic elements and projection or lighting surfaces.

This is just a small sampling of the great products on exhibit at WFX. For more information about any of these products or other lighting and staging equipment for your church needs feel free to call us!

It’s important to remember that it’s not enough to treat the set with a good product—you have to test what you’ve done to make sure it works right. We sell some outstanding products that can help you make sure your sets are safe for public performances. Rosco makes several versions of Flamex: C26 for cotton, S33 for synthetics, W40 for wood, and P50 for paint. For comprehensive details about how and where to apply, go to the Rosco website. Scroll down until you find RoscoFlamex, select a product from the drop down menu and click on it.

Our Snuff-It™ flame retardant will treat a wide variety of materials including fabrics, certain wood products, cardboard and paper, and even hay or straw. Each application must be tested. For example, our testing recommendations which we ship with our Snuff-It™ say regarding fabric testing,

Follow all fire safety precautions and test at your own risk. All items to be treated must be tested for verification of chemical amount, appearance, texture and performance results. Surface must be free of all dirt and coatings. Cut two strips of specimen samples long enough for testing. We suggest a minimum of 3”x18”. Apply Snuff-It™ and let it absorb thoroughly on one side of the first specimen and label. On the second specimen, apply Snuff-It™ on both sides and label. Let dry and cure for 3-72 hours (average is 3-24 hours) and test. NFPA 705, Field Flame Testing Procedures are recommended for testing, although it does not guarantee acceptance by the fire authority. If results are not satisfactory, an additional light spray may be repeated or additional curing time may be required.

You get the idea. Whatever you use, you’ve got to prove it to yourself that your stuff is safe. That way, if an AHJ (Authority Having Jurisdiction) requires an ad hoc test, you’ll be ready to show them that you’ve done it right! Click here to view the complete Snuff-it™ product description, including detailed procedures for testing flame retardancy (PDF, 40KB).

Stay safe out there!

To ease your pain, consider leasing. Leasing lets you convert large capital expenditures into small monthly payments. Its benefits include:

• obsolescence protection by matching payments to the projected utilization and value curves of equipment, facilitating upgrades and keeping equipment inventories “state of the art.”
• enhanced cash flow by requiring little or no down payment. Because of the 100% financing, cash outlays for equipment acquisitions are significantly lower than those required under bank loans or other forms of financing.
• better terms including fixed, not floating, rates; no restrictive covenants or cross collateralization with other company assets; and inclusion of both hard costs of equipment and soft costs related to its acquisition (delivery, freight, labor, etc.).
• tax advantages since payments are deducted as direct operating expenses, reducing short term taxable income. In addition, leasing can be a tool to avoid certain negative effects of the Alternative Minimum Tax.

American Capital Group is an established provider of leasing services to the theatrical industry. Call us at (800) 424-9991 and we’ll be glad to show you how a leasing arrangement with them can help you meet your specific needs.

Thanks to Steve Prettyman of ACG for providing material that formed the basis for this post.

This is not a SALE and it is not a gimmick and it is not temporary. If you have or haven’t checked our prices lately, you may want to look again.

We just did the unthinkable. We have LOWERED prices on over 3200 items in our database.

Check out our website for current prices. Our comprehensive price lists are accessible by clicking on the Price List tab in the top navigation bar. If you don’t find what you are looking for, please give us a call and we will do our best to assist you on finding what you need.

The big announcement at Workshop 2008 (though not a surprise to any of us) was the retirement of the beloved Expression line of consoles. Thursday evening’s reception at ETC Headquarters was themed as a retirement party for the revered console, complete with cake and a museum of every model Expression line console since the very first “Epcot” board designed by Fred Foster (founder and CEO of ETC) for Disney in 1982. In those 26 years ETC has produced 27,367 Expression line consoles, including the Concept, Idea, Microvision, Insight, and Express.

ETC’s new lineup of consoles, including the Eos and Ion family, the Congo line, as well as the SmartFade are well positioned to fill the needs of any users, from touring to theatre to houses of worship.

The Eos and Ion provide advanced moving light as well as conventional fixture control in a programming language that is comfortable for board-ops and designers alike. These consoles have been designed from the ground up, with attention to detail for the needs of the theatrical, broadcast, high school and college, and church user (recently reviewed in Technologies for Worship Magazine). Their modular design offers a great degree of flexibility in system layout. Multiple facepanels, fader wings, and remote video interfaces can be incorporated, allowing, for instance, a conventional lighting programmer, moving light programmer, master electrician, and designer to all work on the system simultaneously without interfering with each other. At show time cues written by both programmers can be played back by one board op (no more need for the Whole Hog board op sitting next to the Obsession board op!). In studio applications presets can be recorded by a programmer, while the lighting director can simply use faders on one of the remote fader wings. And in churches cues and moving light routines can be prerecorded for simple playback by volunteers on one of the fader wings.

The Eos and Ion line also incorporate features such as multiple cue lists (great for dance or concerts where the same cue lists are used venue after venue, but never in the same order), and effects engines for faster moving light programming.

The Congo and Congo Jr have been designed with live events in mind, with the programming concept centered around “presets” rather than “cues.” This is helpful for the designer to be able to design looks or moving light routines that can be used multiple times throughout a show. Like the Eos, the Congo offers fader wings that give the user options of playback through the keypad or multiple faders.

Both of these lines of consoles are based on the new ETC Net3 control system. More than just a new ethernet protocol, Net3 is a complete control solution that makes control system layout easy, flexible and affordable, while providing even more control options. Net3 is built on the ESTA ACN protocol (Architecture for Control Networks). While this protocol establishes a standard to be used by all manufacturers (like DMX512), the actual networking code used by ETC goes far beyond the basics established by ESTA. Mindful of the existing installations with ETC Net 2 in place, most new Net 3 devices are are backwards compatible and can be used on either type network. This enables users to migrate their existing systems to the new protocol without having to do a complete one-time replacement. Also mindful of users’ changing needs, many of the new Net 3 products are modular, such as the new Net 3 gateway, which can be configured for any combination of ins and outs with removable connector modules, and be reconfigured in the field.

Building on their reputation for being the industry leader in innovation, this Workshop demonstrated to me that ETC is not resting on their laurels but taking another step into the future of lighting controls.

Next entry I’ll tell you about the all new Unison dimming, with Smartlink or Paradigm architectural controls, and the Pharos show controller.

Schraff

David Schraffenberger, GM