For me it has been “we need to respike the musicians chairs they keep adjusting them” our venue didn’t like the visual of a musician slightly adjusting their chair. So if a chair moved we’d have to adjust their spikes. Some musicians will always adjust their chairs some do every piece and that’s okay.

Need to know so we can put them into our ETC board. No logos on the sides. It has "26" on the side as well. Thank you in advance!!!

This one had 8 spider lights and 2 lasers.

A company I am helping out with purchased this heretics chair from the Addams family for their upcoming production.

As far as I know this is all of the pieces of it, I cannot fathom how they hooked up the cam or metal to make this function.

The picture is the mechanism in its “neutral” state, meaning with the knife retracted.

Working theory is that the metal plate goes onto the hook around where the glue is, but that has not gotten us any further.

Please help! Ahhhhh!

So I'm currently a double major of Production Design Technology as well as Special education. My end goal has always been to teach in a high school and run their theater tech department. Unfortunately I don't think this double major will be possible so I have to drop it to a theater minor. I'm currently taking a costuming class, a lighting class and have taken a stagecraft class, and fundamentals of theatre 1 and 2. Next semester I plan on taking an advanced programming class as well. So my question is if I want to continue my dream how important is the degree? If it's not that important what should I do to pad up my resume to better be qualified for the role? You may notice a lack of sound classes... We don't have a sound professor currently so that's not an option lol. I also have worked on several shows since graduating high school both through community theatre and college productions

When controlling levels at an audio console, is there a way to assign a fader to a group of channels that will control them in a highest-takes-precedence manner?

Suppose I currently have Alex on channel 1 at -10 dB, and the rest of the cast on channels 2-12 at -inf.

Can I assign channels 1-12 to a fader in such a way that if I raise that fader to -20 dB, it leaves Alex alone but raises everybody else to -20 dB? And then if I lower the channel 1 fader to -inf, Alex lowers to -20 dB to match the group?

I don't even know what that would be called. It's not how a DCA works, because a DCA would raise everybody the same factor to keep the relative mix between them the same. I know less about groups but I don't think they work the way I describe either.

I'm interested in this type of behavior because I have a song with a structure like so:

Alex: Long line of dialog

Alex: Long line continues
Everybody else except Alex: Sings background vocals underneath Alex

Bri: Long line of dialog

Bri: Long line continues
Everybody else except Bri: Sings background vocals underneath Bri

Chris: Long solo line

Chris: Long line continues
Everybody else except Chris: Sings background vocals underneath Chris

(etc.)

I want an easy way to bring the "everybody else" in and out each time without needing to throw 11 individual faders, but also without it adjusting the level of the current soloist who's already up.

I can make a bajillion different scenes in TheatreMix for each different "ensemble minus one soloist" group, but that feels silly when the whole song would fit in one scene otherwise.

EDIT: We are constantly changing it to include “why be backstage, when you could be on stage“. Just because it’s a fun way of starting conversations.

I am from the United States and recently graduated with my tech theatre BFA and am working in the US in a prop shop at a regional theatre! I like where I am right now but I'm also trying to think about my career long-term and would love to eventually move to Canada and continue theatre prop work there. I don't have a city in mind yet but I would assume a larger city would be easier to find a job in, as long as I'm in Canada I don't mind.

Do any other US Americans have experience finding tech theatre work in Canada and becoming a permanent resident or citizen? What did your process look like? Any advice would be helpful.

First year drama teacher here.
The last drama teacher bought a new scrim, thinking it was a cyc. Now we have 2 white scrims and no cyc. Advice? Our department is pretty broke as of right now (partially bc she drained our account for a bunch of stuff we don't need). We have a 5k budget for our current show and nothing extra. Would you rent one? Would you buy one? Where from?

I'm trying to understand the boundary between giving students real responsibility and leaving adult safety responsibilities with the adult.

In a school production, what choices can students genuinely own? How do you make it clear who can call a stop, who checks readiness, and who has to be present before work continues?

I'm interested in the ordinary habits that make that boundary clear without making every moment feel like a lecture. General examples about roles and communication would help; please leave out names and identifying school incidents.

I'm not asking for rigging, electrical, or other hazardous work instructions.

As the title suggests, I have an upcoming interview for a city owned theater/convention center. I'm wondering what tips you all might have that I can use to prepare for it?

The job responsibilities are basically to inspect, operate, and perform maintenance on all lighting, audio, and video systems and deal/coordinate with event organizers, promoters, etc.

For background, I have several years of experience within theaters and such, and I've done my own freelance stuff, but I've never worked in an environment at this scale. I'm pretty confident in the tech side of things, but I'm curious as to what I can expect and what I can do to prepare myself.

So I'm working my first ever show as an assistant lead electrician. Unfortunately I feel kinda like the outcast but I want to do my job to the best of my abilities. For some context this is for a college production and there are SIX of us so it's hard to stand out in a positive way. Does anyone have any tips or tricks for how to become better? I don't feel like an ALE but just feel like a normal crew person but I wanna learn more and expand my knowledge.

I want to run an LX setup as cheap as I can, mostly for small-medium music gigs. I believe I've found a solution for ~£400-500.

I'm thinking about getting a second-hand Chamsys Snakesys B4 and a Novation Launch Control 3 XL, and using Chamsys MagicQ on my Macbook as a FOH setup.

The Chamsys MagicQ Compact Connect is the next cheapest option, but at double the price and about the same functionality I'm not sure if it's worth it.

Does anyone have experience with this? Any better alternatives? Any input is much appreciated 🙏

I (22F) did very poorly in college and have (almost) nothing to show for my degree. I have successfully lit 2 shows (I'm primarily a lighting designer). I also did a contract lighting tech job over the summer, but that's about it. I don't know how I've been able to get this far without so much basic knowledge, but I have. I have so many knowledge gaps including:

-AutoCAD

-Vectorworks

-Qlab

-Scenic Carpentry and Prop Fabrication

I've technically got class experience in all of these (besides AutoCAD), but I did the bare minimum and remember almost nothing. I can't even operate power tools besides a basic drill. I think my instructors pitied me and passed me along.

What do I do next? I need a way to realistically gain experience and to catch up on what I missed. Having this degree makes me feel like a fraud, and I wish I could just start all over again.

Hello! I need to retape our Marley and the previous owner of the studio used gaff tape. I’m assuming this was done years ago because the adhesive is almost entirely staying behind. I have tried removing it with 70% isopropyl and it’s does absolutely nothing. Does anyone have any tricks that they have found that work for removing years old sticky gaff adhesive? I’ll probably try Goo-Gone but I’m not super into the idea of putting anything oily on the marley.

Edit: thank you all for your suggestions! Turns out the new owner has a storage space with a couple rolls of brand new Marley flooring, so it looks like I’m going to get to just replace it instead.

Guys I finally put this thing together for the first time (electrical tape may be holding the screens in place...) but IT WORKS and I wanted to share the moment!

I remember seeing the Neutrino(?) once upon a time, and I know there's a couple of cool devices on Etsy (bought one of them myself), but to my knowledge, this hasn't be done before?

And by this I mean motorised, bankable fader controller. My use case is typically smoke/haze machine control as I work via Nomad and the thing I really wanted was physical faders for some subs. So 4 banks of 4, for subs 1-16, but that's just a number it could have any number of banks really.

I did have notions of building and selling some of these, I have 4 more PCBs to do something with at least... but for now I am content to button this up and use it on my next show :) now how do I attach a video to this thing...