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	WPI Technical Theatre Handbook: Wire Rope
	Wire Rope Wire rope, often called cable, is a material made of a several strands of groups of thin steel wires. Different types of wire rope exist, the main differences being the arrangement of the wires, and the type of steel used. Figure 4.2: Cross sectional diagram of typical wire rope. Shown is standard 7 X 19 aircraft cable, a very flexible and strong type of wire rope. One type of wire rope used frequently is called hoisting cable, and is typically 6 X 19 in construction. This means that there are 6 larger strands of 19 wires each. Hoisting cable is often used in fly systems, as it is strong and flexible. Aircraft cable is another type of wire rope that is used often in theatre applications. It is usually 7 X 19 in construction, and is more flexible and stronger than hoisting cable. Aircraft cable is made out of specially processed steel that has a very high tensile strength. Aircraft cable can be purchased that has a thin coating of plastic on the outside. This coating can generally be painted, which makes it possible to mask visible pieces of aircraft cable on a set. Wire rope is a very strong and effective means for rigging, however there are several things to note: Be sure that you know the material you are working with. Many hardware stores carry what may look like wire rope, but in reality is a material not rated for bearing load. When in doubt ask, and if they don't know, don't use it. Never exceed wire rope load limits. Keeping an 8-to-1 safety factor is necessary to be well assured that the wire rope will handle the load. Never bend wire rope sharply. Always use a thimble in any situation where the wire rope may get bent. Be careful of the ends of cut wire rope. Many sharp pieces of wire are exposed in the cutting process. Be sure to cover the cut ends with gaffer's tape or a vinyl coating. Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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