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	WPI Technical Theatre Handbook: Non-Counterweighted Pulley Systems
	Non-Counterweighted Pulley Systems Simple arrangements of rope and pulleys make up the simplest batten fly system. Three manila ropes, tied to a pipe batten, pass through pulleys (called loft blocks) mounted on the gridiron. These ropes then pass through another set of pulleys (called the head block), where they then are tied off to a heavy steel railing called the pinrail. The pinrail is in what is known as the fly gallery, which is a suspended platform generally at least twelve feet off the ground in over the wings of the stage. The front railing of the platform holds several steel belay pins that the ropes are tied off to. Fly operators (people operating the fly system) stand on the platform in the fly gallery to fly objects in and out. Typically it takes two to four people to safely use a non-counterweight fly system -- one, two, or three to lift the load, the other to brake the rope and tie it off when the batten is moved into position. The rope is tied off to the belay pins using a figure-eight pattern. Non-counterweighted fly systems are extremely difficult to use, not to mention dangerous. The main theatre venue at WPI, Alden Hall, still has several battens that are flown using such a system. Access to the fly gallery is obtained by climbing the ladder to the grid, crossing the grid and descending a second ladder. There is enough space for several people to work a set of lines, which is advantageous, because hoisting a batten full of lighting instruments is usually a three to four person job. Most designers try to avoid using these battens, but occasionally using the ``hemp bars'', as they are called at WPI, becomes a necessity. Training with an experienced fly operator is mandatory for safe use of these battens. 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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