# Courtesy Tabs



## Van (Dec 22, 2007)

Question for the masses;

To courtesy tab or not ? that is the question. Whether 'tis nobler in the mind of the ME to leave a little hangy piece of tape, or to make it clean. For when it is time to shuffle off with the electrical coil, is easier to pull tabs of tape wrap or whip out the multi-tool and slicing end them? For who would tabs abide when thier inheirent nastiness doth give an uncomely appearence unto the cables of sound and light?


----------



## derekleffew (Dec 22, 2007)

Very goodeth polleth Vaneth!


----------



## icewolf08 (Dec 22, 2007)

I teacheth each and every crewton of mine the art of the courtesy tab. For it dost maketh strike so much easier!


----------



## derekleffew (Dec 22, 2007)

<Gasp> icewolf08 and I actually agree publicly on something! 

Not to mention the fact that it's nearly impossible to teach _everyone_ that ETC Sensor racks are "mammary gland" down, and all ML Distro's are "mammary gland" up, so how many times has one had to remove and reposition the labels at the racks on the male ends of Socapex-compatible multi-cable? Or is this anality just me?

Although I can't be positive, I'd like to think all the $8/hour shop guys and gals appreciate that I use *courtesy tabs*, each and every time. (Except for spike marks and floor taping, of course.)


----------



## Pie4Weebl (Dec 22, 2007)

a courtesy tab, thats where the director feels bad about reheral running late and buys the drinks that night right?


----------



## len (Dec 22, 2007)

Always. With one-offs where we're in and out, usually all in the same day, you better. We usually only use tape for booms, tho. Horizontal stuff we use pieces of tie line. Re-usable and just as fast.


----------



## soundlight (Dec 22, 2007)

I use tie-line for most everything, the only time that I use gaff for electrics is when I'm temporarily labeling a Stagepin (black gaff, white paint pen), or taping down a cable to the floor. Then you can always lift the cable a tad to get the tape going, then take the piece of tape up. Tie line is also cheaper. So my uses of gaff don't require courtesy tabs. And it seems easy enough to find the end of the tape on the roll, too, so no need to put a tab there and waste more tape.


----------



## SteveB (Dec 22, 2007)

I use them on gaff tape for electrical connections on the deck level - Edison, 2P&G as well as ALL Twist-Loks. I also teach the newbies how to do it. We use it when we bulk roll back to store the dance floor on to the Big Cart Of Dance Floor. Pretty much any kind of tape where you know you need to find and release the edge. My wife and I even do this on our packing tape at home (she's in the business as well). 

Steve B.


----------



## icewolf08 (Dec 22, 2007)

We use a lot of tieline too, but sometimes you just need to use tape. We tape all vertical stage pin connections even if they have a snug fit just so when some yahoo yanks on a cable on a boom the connector doesn't hit him in the head. The tricky thing is getting people to remember to tape the connection vertically as opposed to going around the connector.

When we make hang tapes (black sharpie on white gaff on a marked & measured webbing) tabs are completely necessary, otherwise when we go to start the next show we spend forever trying to get the old tapes off. On an aside, my favorite thing about hang tapes is that before I started working at PTC they always used black gaff and a silver sharpie. Why? Because they thought that white gaff was more expensive, when it was actually costing them more on account of the cost of silver sharpies.


----------



## TupeloTechie (Dec 22, 2007)

can someone explain to me what a courtesy tab is?


----------



## avkid (Dec 22, 2007)

TupeloTechieKid said:


> can someone explain to me what a courtesy tab is?


I second the motion.
(I'm only an occasional squint)


----------



## derekleffew (Dec 22, 2007)

Courtesy Tab (just added to the Glossary)--The first 1" of tape folded over on itself to make a 1/2" 'appendage'. This allows one to easily remove the tape at strike or load-out, or for repositioning. Most often used with gaffer's tape when taping or labelling connectors, but can and should be used anytime (everytime) tape must be easily removed. Saves technicians from ruining their manicures. When taping stagepin (2P&G) connectors, tear off about a 6" piece of gaffer's tape, and fold each end over to create a 1/2" tab on each end, then place the tape in line with the connectors. Note that if the male pins fit loosely in the female connector, the pins should be split using a pinsplitter or knife before taping. For round connectors, tape around the circumference of the connector.

Hang Tape (just added to the Glossary)--a temporary tape noting the location and often circuiting of fixtures attached to the hanging position to allow lighting technicians to quickly and accurately hang and circuit lights without having to refer to the light plot or use measuring tapes. Can be gaffer's tape applied to jute webbing with grommets and tielines, or adding machine tape, paper drywall tape, or unmarked yellow police caution tape. Once the position has been hung, circuited, and tested, the tape is removed.


----------



## Sean (Dec 22, 2007)

icewolf08 said:


> When we make hang tapes (black sharpie on white gaff on a marked & measured webbing) tabs are completely necessary, otherwise when we go to start the next show we spend forever trying to get the old tapes off. On an aside, my favorite thing about hang tapes is that before I started working at PTC they always used black gaff and a silver sharpie. Why? Because they thought that white gaff was more expensive, when it was actually costing them more on account of the cost of silver sharpies.



You should consider using mailing labels. You can export LW and do a mail merge in Word. Then print the mailing labels and stick them on. Even if you do it by hand, they're way cheaper than gaff. Also, you can write all the labels in advance, then stick them on the tapes.

We use adding machine tape. It's a bit more wasteful, but for us it works very well. I used to hand write on the tapes, but now we have someone "tick" off a bunch of tapes on 12" or 18" spacing, then I build the tapes at the drafting table. Makes hang go very quick.

Contact me via PM if you'd like more information, etc.

--Sean


----------



## Charc (Dec 22, 2007)

First:

I like to use tie-line in most situations. It can be reused, as *soundlight* said. However, I've come to throwing some pieces out lately. They were too old, crusty, and over-knotted.

Now:

What was this about using gaff on booms/vertical positions? And what is this about taping connectors? I thought the whole concept behind stage pin was that if scenery or a person snags the cable, it will pull apart. I had a connector get smashed backstage last year. I identified the circuit, and that it might be live... so I walked into the green room and asked for something rubber... I should have asked for something nonconductive... Vignette aside, isn't it less safe when you gaff the connectors? One of those rigging mishaps at my school proved to me that the wires will rip out before the gaff comes undone... raining down what used to be the female end of a cable...

I'm glad I have my PinSplitterII. Yea, the cleaning thing does really rip apart the pins, but it's a good overall tool, and I'm always splitting things.


----------



## derekleffew (Dec 22, 2007)

This thread is about *whether or not to use courtesy tabs on gaffer's tape*, NOT whether to use tieline or gaffer's tape, that's a different discussion. But since I'm a nice guy (like Don Rickles) I'll attempt to educate.


charcoaldabs said:


> What was this about using gaff on booms/vertical positions? ...


Arguably, using gaffer's tape instead of tieline leads to a neater appearance when dressing cable on a vertical position such as a boom. I believe that was len's point.


charcoaldabs said:


> ...And what is this about taping connectors? ...


Personally, I try to discourage the taping of stagepin connectors. If the pins fit loosely, they're going to arc, so taping a loose connection is a band-aid approach at best, and dangerous at worst. But some like to tape every connection to guarantee against accidental unplugging, particularly where the connection is vertical.


charcoaldabs said:


> ...I had a connector get smashed backstage last year. I identified the circuit, and that it might be live... so I walked into the green room and asked for something rubber...


Seems to me your first thought should have been "What is the quickest way to remove power?" Throw a circuit breaker, or unplug the other end of the cable, or bring down the Grand Master on the desk, or ?


charcoaldabs said:


> ...I thought the whole concept behind stage pin was that if scenery or a person snags the cable, it will pull apart. ...


 Good point. When a locking 2P&G connector was introduced in the 1970s, it was argued that the male connector's strain relief must be less than the female's, so as to prevent the exposure of live wires. To my knowledge, this argument never went anywhere. Today, with the proliferation of L6-20 connectors carrying 208V for moving lights, the problem is compounded. I think this is something ship, STEVETERRY, BillESC, or JD should weigh in on. And a good Master Electrician will do everything possible to prevent connectors in the air (not tied/taped to something on the cable side of each connector). 



charcoaldabs said:


> ...I'm glad I have my PinSplitterII. Yea, the cleaning thing does really rip apart the pins, but it's a good overall tool, and I'm always splitting things.


Good boy. Keep it up. By the time you have split every pin in your inventory, it will be time to start over.

 We're always here to lend advice for you, Charc. Play safe! Work smart!


----------



## Charc (Dec 22, 2007)

derekleffew said:


> This thread is about *whether or not to use courtesy tabs on gaffer's tape*, NOT whether to use tieline or gaffer's tape, that's a different discussion. But since I'm a nice guy (like Don Rickles) I'll attempt to educate.
> Arguably, using gaffer's tape instead of tieline leads to a neater appearance when dressing cable on a vertical position such as a boom. I believe that was len's point.
> Personally, I try to discourage the taping of stagepin connectors. If the pins fit loosely, they're going to arc, so taping a loose connection is a band-aid approach at best, and dangerous at worst. But some like to tape every connection to guarantee against accidental unplugging, particularly where the connection is vertical.
> Seems to me your first thought should have been "What is the quickest way to remove power?" Throw a circuit breaker, or unplug the other end of the cable, or bring down the Grand Master on the desk, or ?
> ...



That was my first thought.

I identified the issue, informed the SM, and all crew and cast back stage right. I went to the board, brought the channel down, told the board op not to advance to the next cue, incase the circuit would go live. I then went back to the green room, asked for something rubber, got a lot of weird stares and a really awkward moment and some questions, then I went backstage, and pulled the pins out of the wall-plate with my hand through my hoodie sleeve.. (Wall-plate, correct term?) By the way, that thing is hanging on the wall by a thread. Some idiot classmate on mine freshman year smashed the %#[email protected] out of it repeatedly with a wagon.

Edit:
I have some locking stage pins...


----------



## Pie4Weebl (Dec 22, 2007)

a bit unrelated, and something someone with poll making ability should set up, but does any aside from myself use chalk to mark of where lights will hang prior to changeover, seems a bit less hassle than taping spots.


----------



## Sean (Dec 22, 2007)

Pie4Weebl said:


> a bit unrelated, and something someone with poll making ability should set up, but does any aside from myself use chalk to mark of where lights will hang prior to changeover, seems a bit less hassle than taping spots.



Occasionally, but the advantage of a hang tape is the density of information.

We put:
Position name, unit number, fixture type, accessories (scroller, barn doors, top hat, etc), color, template, fixture orientation (US, DS, SR, SL), and of course dimmer/circuit number. That way ALL of the information needed is right there at the fixture.

Also, since the tape is measured out in advance, you're only dealing with one person's interpretation of 18" spacing, not 6-12 people. Also, all you have to do is have center marked, and it takes just a minute to put the tape on the pipe (taped to the lift lines so the tape isn't in the way of clamps/cable).

It involves a lot more prep for the ME, but it easily reduces the time to hang and circuit an overhead electric by 1/3 or more.

--Sean


----------



## derekleffew (Dec 22, 2007)

I second everything Sean said, except I prefer drywall tape as it's more sturdy (remember I use truss the majority of the time. Yellow caution tape is even more sturdy, but stretches so you have to be sure to mark the truss joints.) I love when ME's print out labels for the truss tape, fixture, and power connector.


charcoaldabs said:


> That was my first thought.
> 
> I identified the issue, informed the SM, and all crew and cast back stage right. I went to the board, brought the channel down, told the board op not to advance to the next cue, incase the circuit would go live. I then went back to the green room, asked for something rubber, got a lot of weird stares and a really awkward moment and some questions, then I went backstage, and pulled the pins out of the wall-plate with my hand through my hoodie sleeve...


I still would have *first* thrown the breaker on the dimmer. 


charcoaldabs said:


> ...(Wall-plate, correct term?) By the way, that thing is hanging on the wall by a thread. Some idiot classmate on mine freshman year smashed the %#[email protected] out of it repeatedly with a wagon...


Yet another reason for us to worry about your personal safety. This is a serious safety issue, and is not that expensive to replace. Contact your local stage lighting dealer. (Or send a picture to BillESC for a quote). Consider also a guard of some sort to prevent this happening again.


charcoaldabs said:


> ...I have some locking stage pins...


Do your Locking Pin Connectors say "Harj-Lock" on them? Is the locking mechanism broken? Have you found any females the center pin won't fit into? Save at least one for your very own "Wall of Shame" to educate others on a good idea poorly implimented.


----------



## Charc (Dec 22, 2007)

derekleffew said:


> I second everything Sean said, except I prefer drywall tape as it's more sturdy (remember I use truss the majority of the time. Yellow caution tape is even more sturdy, but stretches so you have to be sure to mark the truss joints.) I love when ME's print out labels for the truss tape, fixture, and power connector.
> I still would have *first* thrown the breaker on the dimmer.
> Yet another reason for us to worry about your personal safety. This is a serious safety issue, and is not that expensive to replace. Contact your local stage lighting dealer. (Or send a picture to BillESC for a quote). Consider also a guard of some sort to prevent this happening again.
> Do your Locking Pin Connectors say "Harj-Lock" on them? Is the locking mechanism broken? Have you found any females the center pin won't fit into? Save at least one for your very own "Wall of Shame" to educate others on a good idea poorly implimented.



My key is the dept key, not the dept master key. What's the difference? I can't access the dimmer room or costume storage.

I'm not sure how easy this would be to replace. I'd need to drill new holes in the wall, but that would require re-spacing the current box. The solution has been gaff tape. I'm more concerned about the box back stage left which seems to have a miss-wired circuit. Perhaps It's worth flipping the breaker and opening up that box, though I'm not sure how to open up or correctly wire a wall plate.

I don't know what my locking connectors say.


----------



## gafftapegreenia (Dec 22, 2007)

I do tabs on stage pin connections and rolls of packaging tape. But, other than that I usually don't use them.


----------



## STEVETERRY (Dec 22, 2007)

Van said:


> Question for the masses;
> To courtesy tab or not ? that is the question. Whether 'tis nobler in the mind of the ME to leave a little hangy piece of tape, or to make it clean. For when it is time to shuffle off with the electrical coil, is easier to pull tabs of tape wrap or whip out the multi-tool and slicing end them? For who would tabs abide when thier inheirent nastiness doth give an uncomely appearence unto the cables of sound and light?




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


----------



## derekleffew (Dec 22, 2007)

STEVETERRY said:


> ...God love you, but you must have a lot of time on your hands...


You mean for taping the connectors, or taking the time on Control Booth to _discuss_ taping connectors?


STEVETERRY said:


> ...Where I come from in NYC, taping pin connectors would be frowned upon, due to the time involved...


Brooklyn is in NYC, correct? SteveB says he tapes all connectors, even TwistLocs, on deck level.


STEVETERRY said:


> ...I may be an old fart, but I knot them...


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.


STEVETERRY said:


> ...Pin splitting is good--for electrical contact, not for mating retention...


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.


----------



## Charc (Dec 22, 2007)

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.)


----------



## SteveB (Dec 22, 2007)

STEVETERRY said:


> 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.
> ...



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 (Dec 23, 2007)

derekleffew said:


> 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.



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 (Dec 23, 2007)

SteveB said:


> I haven't seen anyone actually knot the cables as Steve T. describes in years.



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


----------



## Grog12 (Dec 23, 2007)

STEVETERRY said:


> 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.
> ...


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!


----------



## Capi (Jan 1, 2008)

derekleffew said:


> When taping stagepin (2P&G) connectors, tear off about a 6" piece of gaffer's tape, and fold each end over to create a 1/2" tab on each end, then place the tape in line with the connectors.



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.


----------



## derekleffew (Jan 1, 2008)

Capi said:


> Question: What is the advantage of taping inline with the stagepin connectors as opposed to around them?...


 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#.


Capi said:


> ...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...


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!


Capi said:


> ...The only time I don't use is when I am taping down cable runs to the deck.


6. Now here, I think it acceptable to use tabs, as long as they are out of the traffic pattern.


----------



## Capi (Jan 2, 2008)

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.


----------



## icewolf08 (Jan 2, 2008)

Capi said:


> 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.


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.


derekleffew said:


> Now here, I think it acceptable to use tabs, as long as they are out of the traffic pattern.


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.


----------



## Sean (Jan 2, 2008)

icewolf08 said:


> 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.



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


----------



## Capi (Jan 2, 2008)

Sean said:


> Doing this on your "house" deck is sure to piss someone off.
> --Sean



Sean hit it on the head. And given that I go to a university where the deck gets repainted after every show anyway, (since the color/pattern of the deck is usually part of the design and we have to paint it black after the run) it works quite well and doesn't piss anyone off.


----------



## icewolf08 (Jan 3, 2008)

Sean 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




Capi said:


> Sean hit it on the head. And given that I go to a university where the deck gets repainted after every show anyway, (since the color/pattern of the deck is usually part of the design and we have to paint it black after the run) it works quite well and doesn't piss anyone off.


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!


----------



## Sean (Jan 4, 2008)

icewolf08 said:


> 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


----------



## derekleffew (Jan 4, 2008)

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!


----------



## Charc (Jan 4, 2008)

So we should all take pictures of our glow tape? In CB V. 3 we should have a glow tape gallery from everyone's pre-show.


----------



## Van (Jan 4, 2008)

charcoaldabs said:


> So we should all take pictures of our glow tape? In CB V. 3 we should have a glow tape gallery from everyone's pre-show.


 
Last few times I tried to take pictures of my glow tape it either closed it's eyes, or tried to hide from the camera. < it's at that awkward stage in life>


----------



## cdub260 (Aug 24, 2008)

Sean said:


> 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.
> 
> ...



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.


----------



## derekleffew (Aug 24, 2008)

cdub260 said:


> ...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.


Most Corporate Show electricians with whom I've worked use yellow e-tape to denote spare circuits, unassigned mults, and "active hanging spare" fixtures. Where the convention started, I have no idea; but it's easy to identify and troubleshoot.


----------



## cdub260 (Aug 24, 2008)

Charc said:


> In your LW4 file, you can display the Focus Status column on all sheets, and toggle the unit's focus status: Focused, Partially Focused, Not Focused. Combined with the units Purpose, I find it a pretty darn good way to keep track of lights.



This would be nice if I ever got any kind of documentation from our lighting designer. Unfortunately I don't even see a plot for my over the stage lights until a month or two after I've hung them. Our Technical Director is also our Lighter Designer, and he definitely takes a very make it up as you go along approach to lighting. So, in order to make my life a little easier, I just hang an assortment of 50 degree Source 4's and Parnels over the stage, so that when he finally does decide what he wants to do, I don't have to take time off from other projects to hang a couple of lights, because there's already something there.

Fortunately, when it comes tome to hang the bowl plot, or my outdoor fixtures, I am given an actual light plot. But still, its a little at a time. The plot grows as we hang more lights. It's a very inefficient way of doing things, but unless we get a new LD, which is not likely to happen anytime in the near future, things will remain more or less as is.


----------



## Sean (Aug 24, 2008)

cdub260 said:


> 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.



"L" shapes around 1"-3" long with 1/2" colored gaff spike tape. Once the show opens they usually get painted with paint markers, and the tape is removed. Like I said in my post, the spike tape is LEAST used for spikes. Stage Management uses it for actor paths backstage, labels on prop table.....and to tape out the floorplan of the set in the rehearsal hall.



cdub260 said:


> 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.



Um, paperwork? Don't you have any of this information written down?

--Sean


----------



## OnWithTheShow (Aug 24, 2008)

I try to avoid tape on cable as much as possible and use tieline to secure coils and cable to pipes etc. I use tabs on our dance floor, labeling of connectors, and fly rail labels. Definitely not on spike tape.


----------



## cdub260 (Aug 24, 2008)

Sean said:


> "L" shapes around 1"-3" long with 1/2" colored gaff spike tape. Once the show opens they usually get painted with paint markers, and the tape is removed. Like I said in my post, the spike tape is LEAST used for spikes. Stage Management uses it for actor paths backstage, labels on prop table.....and to tape out the floorplan of the set in the rehearsal hall.
> 
> Okay, that explains it.
> 
> ...



We do now, but before I came onboard, only in our programer's notes. Now we do a better job of keeping track, I think in part because I've gotten on my boss' case about it occasionally. But I find the Orange tape to be a useful shortcut. Its nice to be able to tell at a glance what's already been focused. And, as the only two people who focus lights for the Pageant are me and the LD, I don't have to worry about some new overhire tech not understanding the system. Granted, if we did our hang and focus in a more traditional matter, rather than spreading it out over 6 months, I would probably not need the orange tabs, but we all work with the hand we're dealt.


----------



## philhaney (Aug 27, 2008)

Van said:


> Question for the masses;
> 
> To courtesy tab or not ? that is the question. Whether 'tis nobler in the mind of the ME to leave a little hangy piece of tape, or to make it clean. For when it is time to shuffle off with the electrical coil, is easier to pull tabs of tape wrap or whip out the multi-tool and slicing end them? For who would tabs abide when thier inheirent nastiness doth give an uncomely appearence unto the cables of sound and light?



In sooth, when all of thine tabs be identical in appearance and application, presentest they most professionally to thy patrons.

To answer thine question, yea verily I use courtesy tabs.


cdub260 said:


> ...I find the Orange tape to be a useful shortcut. Its nice to be able to tell at a glance what's already been focused... Granted, if we did our hang and focus in a more traditional matter, rather than spreading it out over 6 months, I would probably not need the orange tabs, but we all work with the hand we're dealt.



That's as maybe, but there's nothing wrong with doing everything you can to stack the deck in your favor...


----------



## derekleffew (Aug 27, 2008)

philhaney said:


> That's as maybe, but there's nothing wrong with doing everything you can to stack the deck in your favor...


You haven't seen the Kevin Spacey movie, _21_, have you? The House frowns on anything that it considers might give the player an unfair advantage. How do you think we pay for all the extravagance?


----------



## philhaney (Aug 28, 2008)

derekleffew said:


> You haven't seen the Kevin Spacey movie, _21_, have you? The House frowns on anything that it considers might give the player an unfair advantage. How do you think we pay for all the extravagance?



I haven't seen the movie, but I have the book they based it on: Bringing Down the House. If you're going to use a system you have to do it by yourself, you can't use any computers or other devices, and most of all... you can't get caught.


----------



## bdkdesigns (Aug 29, 2008)

I can't stand it when people ignore the courtesy tab. This year, that is the very FIRST thing that I taught to all of my shop students, even before I even told them my name. It makes strike so much easier!


----------



## thenelsontwins (Aug 29, 2008)

Oh, how I try. In a theater situation where we have many days/weeks to build and all that, yes always, or beatings ensue. 

Yet, nearly all the other crazy stuff I am involved with, I employ miles and miles of electrical tape instead of gaff and tie line. No tabs, unless you count a knife as an alternate version of the 'courtesy tab'. 

People hate me for it, but, 1) that's what I want and 2) they're paid by the hour so they can shut it! 


E


----------



## tech2000 (Aug 30, 2008)

I do every once in a while, but tieline is what I use most. Plus, in a high school setting, if there is a tab, someone's going to pull it. (even if it means unwrapping it completely)


----------

