B08_Attachment_7_Stage_Rigging_Operation_and_Maintenance_Manual.pdf

Operation &

Maintenance Manual

WOLF TRAP NATIONAL PARK FOR THE

PERFORMING ARTS

Vienna, VI

MANUFACTURED & INSTALLED BY

www.wengercorp.com

WARNING

Equipment not designed or built for lifting people.

▪ Do not operate without proper training and authorization.

Improper use can lead to serious injury.

▪ Read equipment manufacturers manual and this material before using this system. Follow manual instructions to avoid possible serious injury or death.

http://www.wengercorp.com/

WOLF TRAP NATIONAL PARK FOR THE PERFORMING ARTS, VIENNA, VI

Operation & Maintenance Manual

Project Information

Equipment Guarantee

Introduction

Operations

Line Shaft Fire Curtain – Straight Lift Sure-Guard II® Release System Single Purchase Counterweight Set Description Counterweight Set Operation with a Loading Gallery Chain Hoists SceneControl® 12 Motorized Rigging Control System Operating Manual Introduction Basic Operation

SYSTEM STARTUP

PASSWORD LEVELS

Controls Clossary

Maintenance

Fire Curtain Inspection & Testing Sure-Guard Maintenance Counterweight Set Maintenance Motorized Equipment Maintenance Troubleshooting Powered Equipment

Glossary of Standard Terms ......................................................................................... Error! Bookmark not defined.

Referance Material ........................................................................................................ Error! Bookmark not defined.

Project Information

WOLF TRAP NATIONAL PARK FOR THE PERFORMING ARTS

Reston, VA

Architect: -

Consultant: Auerbach Pollock Friedlander, Inc

Date: July 30, 2022

Wenger Project Number: 10000496

Two-Year Warranty

We warrant all equipment manufactured by us to be free from defects in material and workmanship for two (2) years from date of installation. At our option, we will repair, replace, or refund the purchase price of the equipment. Any warranty on items manufactured by others will be assigned to you. In the case of motorized equipment and equipment comprising an integrated theatre rigging system, the two-year warranty is contingent on inspection of the equipment and training on its use being provided annually by a Wenger authorized technician. It is the responsibility of the end user to make arrangements with Wenger for the annual inspection and training. Failure to obtain the inspection and training annually will void the two-year warranty. In the event scaffolding or temporary lifts are required in order to perform the warranty work on the Wenger equipment, this is not covered in this warranty, and the cost of renting the scaffolding and portable lifts will be your responsibility.

No claims will be honored for equipment which, in our opinion, has become defective due to misuse, abuse, accident, act of God, alteration, vandalism, improper installation, or improper maintenance. Ordinary wear and tear is also excluded. We make no implied warranties of any kind, including warranty or merchantability, or warranty of fitness for a particular purpose, all of which are expressly disclaimed. We will not be liable under this warranty for consequential or incidental damages of any kind, including damages due to lost profits, loss of use, delays, personal injury, or property damage.

HOW TO CONTACT WENGER CORPORATION

Contact the factory at any time with questions and comments concerning this product:

Wenger Corporation 7041 Interstate Island Road Syracuse, NY 13209 USA Telephone (315) 451-3440 www.jrclancy.com http://www.jrclancy.com/

Introduction

RESPONSIBILITY

Anyone who enters a building with public access has reason to expect that he or she is safe from harm from the building itself and from the equipment and activities within the building. It is the responsibility of the owner and the owner’s designated personnel to ensure that this expectation is met.

It is the responsibility of the owner to hire and train competent people. There is a further responsibility to engage professional clients and contractors. A competent person is defined as one who is capable of identifying existing and predictable hazards in the workplace, and who has the authority to take prompt corrective action to eliminate those hazards. It is the further responsibility of the owner and the owner’s designated personnel to provide a safe working environment for all employees; including proper equipment, training on the use of equipment, and written procedures for its use and maintenance. It is also important to keep all unauthorized and/or untrained personnel from the working areas of the stage.

OPERATION

Before operating any stage equipment, operators must be given the necessary training and must then work only under the direction of qualified supervisors. Operators of the equipment must:

▪ Learn the feel, sound, and even the smell of your equipment so that you will immediately sense when something is not correct.

▪ Study the capacities and capabilities of each system and its components.

▪ Thoroughly learn and practice the proper operating procedures.

▪ Before operating any equipment, ask yourself questions about the current condition of the equipment and about any existing conditions which may affect proper operation, or which could be affected by its operation. For example, is anything fouling the equipment or in the path of its intended travel?

Any problem noticed during setup or operation of the stage equipment should be corrected

IMMEDIATELY.

MAINTENANCE

Published OSHA and ANSI standards, together with local and regional regulations, call for at least an annual inspection of industrial winch and hoist machinery. There does not appear to be any basis for assuming theatrical winches and systems should be treated any differently and regular inspections on at least an annual basis are required unless the owner’s manual specific to the system recommends a different, more frequent, inspection interval.

A routine maintenance schedule must be established and followed, and appropriate records maintained. Perform an initial inspection, followed by inspections on a regular basis. We strongly recommend that an Entertainment Technician Certification Program (“ETCP”) Recognized

Employer employing ETCP Certified Riggers be engaged to perform periodic inspections and to correct any deficiencies discovered. These firms have personnel who are trained to spot present hazards and many “potential” hazards.

Routine maintenance prolongs the useful life of equipment and keeps it operating at peak efficiency. This insures the quietest possible operation and the least effort on the part of the operator.

DISCLAIMER

The information in this manual will not cover all possible situations, nor could such inclusive instructions be written by the equipment manufacturer due to the various processes of mounting theatrical performances. This manual is intended to provide a guide to the safe and efficient operation of the furnished stage equipment and its routine maintenance. No manual can replace your duty to obtain training with regular updates, exercise constant vigilance and common sense. J.R. Clancy, Inc.

is not responsible for any damage that results from your failure to comply with this manual.

Operations

Fire Curtain – Straight Lift

GENERAL

A fire safety curtain system exists to allow an audience sufficient time to safely exit from an auditorium in the event of a fire on the stage. It does this in two ways:

▪ It helps contain smoke and heat within the stage, so they can be effectively removed by the stage ventilation systems.

▪ It delays damage to the auditorium from a fire on stage or from the reverse.

In order to serve its function, the curtain must close quickly and surely. If the curtain is used to close off the stage when it is not being used, or is used as a decorative drop, it MUST be restored to full operating condition each time it is raised.

Some building codes require that fire safety curtains be left closed when the theatre is unoccupied as a safety measure. This may also reduce unauthorized access to the stage.

Fire curtain automatically closes in emergency.

▪ Can cause injury or damage.

▪ Keep out of curtain travel path.

Blocked or improperly reset fire curtain will not close correctly.

▪ Can cause damage and injury.

▪ Reset curtain properly.

CAUTION

▪ Read equipment manufacturers manual and this material before using this system. Failure to do so can result in serious injury or death.

OPERATION

Normal, non-emergency lowering or raising of the fire safety curtain may be accomplished by pressing and holding the DOWN and UP buttons on the hoist control box. Some control stations may contain key operated UP/DOWN or ON/OFF switches. Mechanical direct strike limit switches (preset at the time of installation) will stop the curtain at its low and high low trims. Check the drawings of your system for specific details.

The hoist assembly consists of an existing electric gearmotor, lattice track arbor, a series of loft blocks and a dash pot. Each lift line attached to the fire safety curtain assembly has its own existing block.

The hoist gearmotor is equipped with an electromechanical brake which is released when raising and lowering the curtain during normal operations. An emergency release line containing fusible links and manual release devices is installed around the proscenium opening and is coupled to a brake release arm. When the release line is freed, the brake is disengaged, allowing the arbor to travel so that the curtain deploys. A dash pot slows the fire curtain down approximately 8’-0” before the curtain is fully deployed.

The fire safety curtain can be deployed in an emergency by one or more of the following methods

(check the drawings of your system for specific details):

▪ Temperature sensitive fuse links in the release line.

▪ Operating a mechanical release (Pull Ring, Lever, etc.) in the release line.

▪ Activating an electro-mechanical device by means of a switch, smoke detector, temperature rate-of-rise detector, sprinkler flow detector, or signal from the fire alarm system. Most of these devices require a Wenger Sure-Guard® to provide the interface between electric signals and the mechanical release of the fire line.

▪ At Time of acceptance, the Sure-Guard was not tied into the building fire alarm system so that it can fuction.

▪ Depressing and holding the “Down” button.

RELEASE MECHANISM

The most common manual emergency release mechanism for this type of system is a small lever located at either side of the proscenium opening. Pulling on the lever frees the release line, disengaging the brake at the hoist, and allowing the curtain to deploy. Some lever type releases may be located within a protective cover. Consult your system specific drawings for complete information.

RESETTING THE SYSTEM AFTER EMERGENCY DEPLOYMENT

The emergency release system of this type of system should not be used for normal, non-emergency lowering or raising of the fire safety curtain. Use the DOWN and UP buttons on the hoist control box for this purpose.

If the curtain has been deployed by freeing the release line (emergency release), the brake at the gearmotor has been disengaged, and the curtain allowed to freefall. Do not attempt to operate the hoist under power with the release line disengaged as it may damage your system.

Reset the release line by inserting the oval ring on the release line into the lever device. Pull the lever down so that the pin in the device holds the release line in place. Weights at the far end of the release line will put tension into the line.

Once the release line is reset, the hoist may be operated normally.

Turn the hoist control ON and push and hold the UP button. Mechanical limit switches installed and set at the time of installation will stop the curtain at its high trim.

Sure-Guard II® Release System

The Sure-Guard II allows smoke detectors, rate of rise detectors or other electrical signals to deploy the fire safety curtain in an emergency. In response to these signals, the Sure-Guard II’s electro-mechanical mechanism releases tension in the release line, allowing the fire safety curtain to deploy. The release mechanism may be located at any point along the release line and does not interfere with other deployment mechanisms.

The Sure-Guard II contains an integral battery and charger to provide emergency power in case of interruption to normal power. A test switch on the cover allows the fire safety curtain and control to be tested and LED’s indicate the presence of 120 VAC power and the status of the battery power.

After emergency (automatic) operation, the Sure-Guard II system and release line must be reset.

Reeve the release line around either of the two stacked sheaves on the unit, through the small pulley, and then around the other stacked sheave. The loop on the small pulley is then placed over the trip arm and the arm is placed in contact with the electromagnet. The Sure-Guard II must be powered before the arm and release line will stay engaged.

To ensure proper operation, the tension in the release line must be set between 5 & 40 pounds (3 &

18 Kg).

Single Purchase Counterweight Set Description

A single purchase counterweight set is a mechanical system designed to move scenery, lighting equipment, etc. vertically within a performance space. Steel or cast iron counterweights are held in an arbor to balance the load over the stage and thus reduce the amount of effort required to raise or lower the load. The total weight of the batten, scenery or lights, and the wire rope located below the loft blocks (the “load”) balances the total weight of the counterweights, arbor and wire rope located below the head block.

When the forces are equal, the set is “in balance”. If the “load” is greater than the arbor weight directly below the head block, the set is “batten heavy”. If the arbor weight is greater than the weight below the loft blocks, the set is “arbor heavy”. When the set is “in balance” the effort required to move the set is only the amount needed to overcome system friction and the inertia of the total mass (equipment load and counterweights).

Unbalanced sets can escape control and crash.

▪ Crashes can cause serious injury or death.

▪ Keep sets in balance. Follow written instructions when sets must be operated while not balanced.

CAUTION

▪ Read equipment manufacturers manual before using this system.

Failure to do so can result in serious injury or death.

Note that exact balance is only achieved at one point (midway) during the set’s travel due to the weight of the lifting cables passing over the head and loft blocks.

LOFT BLOCK

Loft blocks are located between the head block and the load, to support the lift lines and change their direction of travel. Each loft block typically carries only a portion of the load.

HEAD BLOCK

Head blocks are located between the loft blocks and arbor; they collect and support the lift lines and change their direction. They also support the hand line. The head block typically carries the full load of the set.

ARBOR

Counterweight arbors hold the weight needed to counterbalance the load on the batten. The hand line used to operate the set is connected to the top and bottom of the arbor.

ARBOR GUIDE

Arbors need guides to keep them from hitting other arbors or objects when the hand lines are pulled. The guides generally consist of tensioned wires that pass through holes in the arbor top and bottom or rigid steel “T” or aluminum “J” shapes.

FLOOR BLOCK

Floor blocks are located below the arbors to keep the hand line in tension and to change the direction of the hand line. Many floor blocks are adjustable to compensate for stretch in hand lines and maintain a constant tension in the line.

HAND LINE

The hand line (also called the “purchase line” or “operating line”) allows the operator to control the movement of the set. If the ON STAGE LINE (the front of the hand line looping between the floor block and head block) is pulled down, the arbor will rise and the batten will lower. If the OFF

STAGE LINE (the back of the hand line looping between the bottom of the arbor and the floor block) is pulled down, the arbor will be lowered and the batten will rise. In these instructions, reference will be made to the motion of a set with respect to the batten and the on stage line. To

"raise the set" means to raise the batten. When a batten is at its maximum high trim (just under the loft blocks or gridiron) and the arbor is at its lowest position, the set is considered to be FULL

OUT. Conversely, when battens are at their lowest trim (the bottom of the batten is generally about

4 to 5 feet above the stage floor) and the arbor is at its highest position, the set is considered to be

FULL IN.

ROPE LOCK

Rope locks are used to hold a balanced system load in position, and must not be used to attempt to hold an out of balance load.

Rope locks should be adjusted by an authorized person to hold an out of balance load not more than 50 lbs. Rope locks should be adjusted to grip, but not crush the rope. Adjustment should be checked regularly, as the rope diameter may change with temperature, humidity, load, and wear.

Rope locks are not intended to brake or slow the speed of a set, nor should they be used in an attempt to control the speed of an unbalanced set. Large out of balance loads will move or "run through the rope lock", causing a serious safety hazard.

When sets are significantly out of balance, they need to be tied off in a manner that will safely hold the out of balance load.

BATTEN

The batten can be a pipe, truss, or other horizontal member that is supported by the lifting cables.

Curtains, scenery, and lights are clamped or tied to a batten.

A table listing allowable batten loading for various lift line center-to-center distances is provided in the appendix.

Counterweight Set Operation with a Loading Gallery

Counterweight sets can escape from operator control and crash.

▪ Crashes can result in serious injury or death.

▪ If a counterweight set escapes from control, shout a warning to others.

▪ Get away from moving equipment.

▪ DO NOT ATTEMPT to stop the set by grabbing the hand line or engaging the rope lock.

Unbalanced sets can easily escape control and crash.

▪ Crashes can cause serious injury or death.

▪ Keep sets in balance. Follow written instructions when sets must be operated while not balanced.

Untrained and inattentive operators cause accidents. You are responsible for:

▪ The safety of those around you.

▪ Identifying and evaluating hazards.

▪ Determining and using correct methods of operation.

GENERAL INFORMATION

▪ The key to operation of a counterweighted system is to always keep the system in a stable condition: Either the set must be IN BALANCE; or the heavy side of the system (arbor or batten) should be in its lowest position. If the heavy side of the system is above its bottom stop, you are trying to defy gravity and have a potentially dangerous condition.

▪ If a counterweight set can’t be balanced exactly, it is usually better to make the set arbor heavy so the batten won’t accidentally descend and possibly injure someone.

CAUTION

▪ Do not operate without proper training and authorization.

▪ While loading or unloading sets, a competent safety person must be stationed near the rail to prevent anyone from releasing a rope lock by mistake and to keep other people at a safe distance from the work area. Newer rope locks may be padlocked to prevent opening.

▪ Identify the empty trim (or “pipe”) weight for each batten so the trim weights will not be mistakenly removed. This will also speed up the unloading process. Pipe weights can be identified by painting them red or yellow, or by strapping them in place with flat metal bands or plastic cable ties. Do not use chain, rope or cable to strap the weights, as this will cause weights placed above the chains to rock.

▪ Take care to keep the weights in neat stacks at the sides of the gallery. Weights that are evenly stacked are more stable and less likely to topple. To keep weights from being kicked off the gallery accidentally, no weight stack should exceed the height of the toe boards at the edge of the gallery. Keep stacks the same height to prevent tripping. Put only one size weight in each stack to speed batten loading. Distribute the stacks evenly along the sides of the gallery to avoid concentrating too much weight in one location. DO NOT OVERLOAD THE

GALLERY.

GENERAL PRECAUTIONS

1. Pay attention to what is happening around you. “THINK”

2. Always look around when entering the stage house, especially up.

3. Remove unnecessary items from your pockets and belt.

4. Secure any needed tools to your body before going above the stage floor.

5. Wear a hard hat when “SETTING” or “STRIKING” a show.

6. Wear heavy-duty work gloves.

7. Always wear safety shoes.

8. Do not wear loose fitting clothes and jewelry.

9. Secure long hair.

HANDLING COUNTERWEIGHT

Counterweights are made from steel or cast iron. A slot is provided in each end to accommodate the arbor rods. Weights supplied by Wenger have two diagonally opposite corners removed. Alternating the position of the weights in a stack or arbor creates finger holds.

Arbors are provided with SPREADER PLATES. These are flat bars with holes sized to fit the arbor rods. Spreader plates serve two functions. One spreader may be used to mark the top of the house or balance load. More importantly, they ensure that, should the set run away from the operator and strike the top or bottom stop batten or crash rail, the arbor rods will not spread and allow the weights to topple out of the arbor. The spreader plates must be located between the counterweights every two feet, or less, to accomplish this function.

A STOP COLLAR, with a red hand screw, is provided on each rod above the top spreader plate. These help to keep counterweight in place during an accidental crash. Note that the front collar is welded to the upper spreader plate.

▪ Falling counterweight may cause serious injury.

▪ ALWAYS check for people or obstructions before operating.

▪ PEOPLE MUST NOT BE NEAR OR UNDER MOVING ARBORS OR

BATTENS.

▪ ALWAYS place spreader plates every 2 feet in the weight stack.

▪ ALWAYS lock stop collars firmly on top of the stack.

▪ NEVER place weight on top of stop collars.

▪ ALWAYS check that the set is in balance and that the stop collars are in place and locked before moving a set.

▪ Do not use rope lock to hold out of balance loads greater than 50 lbs.

ATTACHING LOADS TO BATTENS AND LOADING ARBORS

1. Bring the empty batten to the FULL IN (or Low Trim) position just above the stage floor.

Engage the rope lock and set the oval safety ring.

2. The arbor should be braced against the upper stop batten. All the weight should be removed from the arbor, except for the “pipe weight” used to balance the weight of the empty batten.

This ensures the batten (which is at its lowest level) is the same weight or heavier than the arbor, so that the system is in a stable condition.

3. Securely attach the scenery, drapery, track, etc. to the batten. Be sure that the scenery chains, clamps or other hanging devices are (1) strong enough to hold the load, (2) securely fastened, and (3) in good condition. If the scenery is suspended by just a few pickup points, it is important that they be attached to the batten near the lift lines to avoid deforming the batten.

4. Once the equipment has been safely secured to the batten, load the arbor at the loading gallery level using the following procedure:

▪ Find a comfortable and secure place to stand before lifting and moving counterweights.

▪ By yelling “clear the rail” or some other agreed upon command, make sure that all persons are clear from the areas on the stage below the arbors and loading gallery.

▪ Raise the spreader plates and stop collars and hold them. A spring-loaded “Pony” clamp may be used to hold them out of the way during loading.

▪ Load the counterweight into the carriage by setting the weight on the stack vertically, using both hands. Ease the top back until the top slot fits around the rear rod and ease the bottom forward. Grasp the bottom of the weight between the heels of the hands and bring forward so that it slides around the front rod.

▪ Other methods are possible and acceptable as long as two things are kept in mind: First, keep fingers, etc. out from under the weights. Second, always maintain complete control over the weights.

▪ Insert spreader plates every two feet as the weight stack is built. Fill the arbor with counterweight to equal the weight of the batten and scenery.

▪ Remove any clamps securing the spreader plates and slide spreader plates down to the top of the weight stack. Extra spreader plates may be secured under the top spreader plate.

▪ Hand tighten the setscrews on both stop collars to secure the spreader plates and weights.

The set should always be in balance or under operator control before releasing the rope lock. IN

BALANCE means that the weight of the batten and load equals the weight of the arbor and counterweight. Any excessive tension in the hand line above or below the rope lock means that the set is significantly out of balance. Tension in the hand line above the rope lock and a slack condition in the hand line under the arbor indicate that the arbor is too heavy. Tension below the rope lock and a slack condition in the hand line above the rope lock indicates that the batten is too heavy.

After determining that the set is close to balanced, open the rope lock to confirm the balance while an assistant holds the hand line. Close the rope lock again and make any needed adjustment to the counterweight. Remember that rope locks are intended to lock arbors and loads that are balanced.

A properly adjusted rope lock should hold about 50 pounds. Adjusting the rope lock to hold additional loads only wears out hand lines faster and increases the potential for an accident in the form of a runaway counterweight set.

In systems that have long travels or many lift lines, there will be transfer of cable weight between the arbor side and the batten side as the lift lines go over the head block. This can lead to a set that is in balance at one point of its travel while being out of balance at other points in its travel.

REMOVING LOADS AND UNLOADING ARBORS

Removing or “striking” pieces is essentially done by reversing the order of the loading procedure:

1. Run the arbor up to the loading gallery.

2. Unload the counterweight.

3. Unload the batten ONLY after the counterweight has been unloaded.

4. Remember to leave enough weight in the arbor to balance permanent loads such as the pipe batten or curtain tracks.

5. Secure spreader plates and stop collars.

6. Store unused weight safely, below the top of any kickplates, and where they cannot fall to the stage or pose a trip hazard.

OPERATING A COUNTERWEIGHT SET

1. Start by identifying the arbor visually and by looking at the locking rail that is provided with

INDEX CARDS. These identify the set number and often its contents or function.

2. Look for obstructions that might prevent its safe operation before operating any set.

3. When approaching an arbor for the first time, especially when it is loaded, observation of the front and back purchase lines below the arbor will indicate the condition of the balance. If the front line above the rope lock is taut and the rear line is loose, the set is arbor heavy. If the rear line is taut and the front line is loose, the set is batten heavy. As an added precaution, simply squeezing the front and rear lines together will indicate movement more rapidly than visual observation as the lock is opened. If the set is out of balance, correct it. If you MUST operate it in an “as is” condition GET HELP from a competent person and perform a hazard assessment before moving the set.

4. A properly balanced counterweight set should be within 50 pounds of neutral balance at the midpoint of travel. However, if there are several lift lines, or if the travel distance is long, the set may be out of balance at the ends of travel. If operation becomes difficult, get help.

5. Before moving the batten or arbor, it is good practice to yell “Batten number X coming in (or going out)”. Make sure that people and other items are clear of any moving battens. Use another person as a “spotter” if you cannot see the moving batten during its full travel.

6. To operate the set, release the oval metal SAFETY RING that is used to prevent the lock from opening. The ring is fitted around the operating line and is slipped over the handle of the rope lock whenever it is not in operation. Then release the rope lock handle slowly until the exact state of balance is known.

▪ The rope locks are provided with a set of holes in the front of the casting that will accept a standard lock or a lock-out tag to prevent any unauthorized use of the system.

▪ The rope locks are furnished with an open slot in the handle. The slot can be used to lock several rope locks as follows: a cable can be passed through all of the rope lock handles with the oval rings in place and locked, fasten the cable ends to prevent any unauthorized operation of the counterweight system.

7. Because of the friction inherent in any counterweight set, it may be necessary to pull a balanced set both up and down. If the pull required is excessive or different than normal, stop at once, engage the rope lock, and find out what is wrong.

8. When the batten reaches the desired position, engage the rope lock and the safety ring. Use care to prevent crashing the arbor into a top or bottom stop batten by slowing down before hitting the stop batten. If a position must be found repeatedly, the hand line can be “spiked” or

“stabbed” with string through the hand line. Do not use adhesive tape to mark the hand line because it will leave a sticky residue when removed.

9. If the hand line has stretched or shrunk due to changes in load or humidity, the set can be harder to operate. Most systems have floor blocks that can be easily adjusted to remove slack or relieve excessive tension in the hand line.

10. Counterweight rigging with manila rope hand lines requires much more frequent adjustment for easy operation than systems with polyester hand lines because the length of manila rope changes with temperature and humidity conditions. If the system hand lines are equipped with manila rope, the operator should wear gloves to prevent getting slivers in the hands.

11. Guide rail mounted tension blocks can be adjusted by pushing the block kick tab down with your foot (or a rod if in a counterweight pit) while pulling forward on the back hand line. This will release the tension block guide shoes and allow the block’s weight to automatically adjust the tension in the hand line.

WORKING WITH UNBALANCE LOADS

Some loads, such as curtains or tall scenery, may apply a changing load on the system as they are raised. For example, when a curtain is first tied to a batten that is near the floor, most of the curtain’s weight is on the stage floor. As the batten is lifted, the load on the batten increases making the loading procedure more difficult. Systems without a loading gallery, or where there is inadequate access to the arbors for proper loading may also require working with out of balance sets.

Choosing the best method of operation depends upon the specific design of your system, the nature of the out of balance condition, and your facility’s personnel and equipment resources. A competent person must determine which procedure is the appropriate one for a given situation. It may be necessary to perform a hazard assessment to identify hazards, assess the severity of the hazards, and protect against the hazard.

CAPSTAN (BULL HOIST)

One method of working with changing loads is to use a capstan hoist under the supervision of a competent person.

A capstan hoist is a portable, dollied hoist with a rope capstan drum used to haul an arbor down when there is an unbalanced load on the batten. It may also be used to slowly lower a loaded batten while the arbor is under the control of the hoist. The tension in the hauling line keeps the rope tightened around the capstan drum. See the detailed instructions provided with your capstan hoist.

In brief:

▪ With the set batten heavy, attach the capstan when with the arbor powered and allow the batten to come in. Remove or add counterweight and equipment as needed so there is always tension on the capstan line.

▪ Use the capstan to raise and lower the batten to permit loading and unloading.

▪ When finished, lower the arbor and check the load balance. When satisfied, set the rope lock and remove the capstan. Last, check the set balance again by opening the rope lock while holding the hand line.

A Bull Hoist is similar to a Capstan Hoist except that it uses a wire rope cable to haul or control the arbor.

NOTICE

Capstan or Bull Hoists require special modifications to standard locking rails and arbors. Verify that your system has these modifications before using a capstan or bull hoist. If your system was supplied with a capstan or bull hoist, refer to the hoist instructions for complete operational information.

BLOCK AND TACKLE

1. Bring the empty batten to the FULL OUT (or High Trim) above the stage floor. Engage the rope lock and set the oval safety ring.

2. Attach an appropriately rated block and tackle assembly to the bottom of the arbor and secure the bottom block to the locking rail with a suitably rated chain and shackle. Confirm that the locking rail is rated to carry the load that will be applied. The block and tackle may also be secured to the hand line using a “prusik knot”. Do not secure equipment in a manner that puts tension into the floor block.

3. Release the rope lock and oval safety ring. Bring the empty batten down to the FULL IN (or Low Trim) position. The arbor should be braced against the upper stop batten.

4. Securely attach the scenery, drapery, track, etc. to the batten. The scenery chains, clamps or other hanging devices must be (1) strong enough to hold the load, (2) securely fastened, and (3) in good condition.

If the scenery is suspended by just a few pickup points, it is important that they be attached to the batten near the lift lines to avoid deforming the batten.

5. Once the load has been safely secured to the batten, haul the arbor down to the locking rail with the block and tackle or the capstan hoist. Load the arbor with counterweight to properly balance the load.

6. Remove the hoist or block and tackle and all temporary hardware.

USING TAG LINES

One method of assisting the operator in moving an unbalanced load is to loop several properly sized “TAG” lines over the batten in close proximity to the lift lines and have the deck crew hold these lines while the arbor is loaded at the loading gallery. Slowly let the batten up to where the piece weight matches the arbor weight. If the piece is not yet off the floor adjust the arbor weight.

Once the piece is in the air and IN BALANCE, one side of the tag line is released and the other side is pulled to remove the line from the batten. Be sure EVERYONE is clear as the rope falls to the floor.

Tag lines on the batten may be used in reverse to unload the set. As the batten comes into reach

(often with a ladder or personnel lift), a crewmember drapes tag lines over the batten. The deck crew then pulls the batten down as the scenery or curtains are laid on the floor. Keep the tag lines on the batten and secured by several persons until the arbor is unloaded or secured. The crew should grab the batten to directly assist the operation for the last few feet.

DO NOT “hang” your arms over the batten. If the batten starts to move up, the batten may lift you off the floor.

Care should be taken not to crash the carriage against the upper stop bar or the head block. Once the batten is at low trim, the deck crew should hold onto the batten until the carriage can be unloaded down to the empty batten trim weights.

INCREMENTAL LOADING

If loads can be attached to the batten in “stages” (i.e. lighting equipment or tracks and curtains), loading the set can be done incrementally. This is particularly useful for systems without loading galleries.

Run the set so the batten is full in (at low trim). Attach the load to the batten so that the load is slightly out of balance, but the arbor may still be pulled down to the floor by a couple of people.

Once the arbor is hauled down, secure it with a snub line (or sunday) from the locking rail top to the load side (back or offstage side) of the hand line using a prusik knot. When it is at the floor, overload the arbor slightly, and pull it back up. When the arbor is up, again secure the arbor with a snub line.

Add more equipment to the batten until the load is slightly more than that in the arbor. Repeat the process until all the loads are attached and the set is balanced.

Unloading the set is performed by reversing the process.

USING TEMPORARY WEIGHTS (SANDBAGS)

If items attached to the batten need to be removed temporarily, sandbags may be attached at the lift line location on the batten to simulate the load. These temporary weights should be added to the batten prior to removing the scenery or equipment.

TWISTING THE HAND LINE

If the out of balance condition is less than 150 lbs, you can take the on- and off-stage hand lines and twist them together four or five times. This adds friction into the hand line and keeps the set from moving.

A belaying pin or steel pipe may be held in the twists by someone to help hold the lines. NEVER insert end of the pin or pipe between the arbor guides tracks to hold the load. It may release unexpectedly and cause serious injury.

The out of balance load can be controlled by slowly releasing the lines.

This operation places extra load into the floor block, which is typically not designed for significant out of balance conditions. Caution should be used to ensure that the floor blocks and their guides are not bent or damaged. Limit out of balance loads to 150 lbs.

“LINE LOK” OR “UNCLE BUDDY”

A few commercially available devices can be used to hold the hand lines of a set together in an out of balance condition. These are steel fabrications that mimic the twisting of the hand lines as described above. As with twisting the hand lines, these devices may damage the floor block if not used correctly. Refer to the instructions that come with these devices.

Wenger does not recommend use of these devises.

HUMAN ASSISTED HAULING

If the unbalanced load is small, a few people may gather around the hand line and pull the arbor down (or the batten up) with brute strength. This approach may appear simple, but requires careful coordination. Plan where each person can stand safely, and how the individuals will work together to handle the load without interfering with each other or endangering each other.

If this method is used, a snub line or chain should be rigged to the locking rail and be readily available to secure the arbor once it is in position.

Chain Hoists

Machine may be remotely controlled.

▪ Inattentive or untrained operation can result in serious injury or death.

▪ You are responsible for:

▪ The safety of those around you.

▪ Identifying and evaluating hazards.

▪ Determining and using correct methods of operation.

GENERAL INFORMATION

Chain hoists are designed to move and hold the orchestra shell ceiling, lights and other theatrical equipment over the stage. They are designed with features and service factors that allow their use above people. Motorized hoist systems contain the following:

▪ A motor provides the force to move the load. Wenger hoists use three phase electric motors, which may provide a fixed speed or a variable speed depending on the controls specified.

▪ A motor brake to stop and hold the load. The brake is contained in the motor housing. It’s released when power is applied and engaged by springs when the motor is turned off.

▪ A gearbox reduces the speed of the motor and multiplies the torque.

▪ Limit switches or other devices limit travel.

▪ An operating panel allowing the operator to control the direction and duration of the travel.

▪ Your system drawings provide additional information about the specific electrical and mechanical components in your hoist.

Become familiar with the chain hoists, all control components, and safety devices. These include limit switches, motor disconnects, line contactors and emergency stop switches, plus any optional devices, such as phase loss or phase reversal relays, etc. Know where these are located and how they function. See the Troubleshooting section for additional details.

For operation and maintenance of the chain hoists, see the manufacturers manual.

CAUTION

▪ Do not operate without proper training and authorization.

GENERAL PRECAUTIONS

▪ Pay attention to what is happening around you. “THINK”

▪ Always look around when entering the stage house, especially up.

▪ Remove unnecessary items from your pockets and belt.

▪ Secure any needed tools to your body before going above the stage floor.

▪ Wear a hard hat when “SETTING” or “STRIKING” a show.

▪ Wear heavy-duty work gloves.

▪ Wear safety shoes.

▪ Do not wear loose fitting clothes and jewelry.

▪ Secure long hair.

OPERATING PRECAUTIONS

Check the load and look for places where the load could foul during its travel.

Ensure the hoist is not loaded beyond its capacity.

The operator must constantly watch the progress of the load being raised or lowered. If the operator cannot see the load, a spotter should be stationed to watch and report its progress to the operator.

There must always be a floor or "safety" person present on stage when sets are operated in order to:

▪ Keep people out from under moving equipment.

▪ Look for potential problems, such as lines or curtains which might foul a batten.

▪ Make sure that proper operational and safety procedures are followed.

▪ Identify any potential interference or other problems.

During set-up, operate only one set at a time.

SC12

Motorized Rigging Control System

Operating Manual

Introduction The Wenger SC12 is a sophisticated, microprocessor-based system, used for controlling motorized stage rigging. It uses a touchscreen operator interface, and offers simple modes of operation for rapid, easy use. A number of powerful features provide greater flexibility of operation for more sophisticated operators.

The control system is designed to enable the safe operation of the motorized rigging. It is crucial that, before operating any stage equipment, all operators should be given the necessary training and should then work only under the direction of qualified supervisors. Stage equipment can be hazardous when improperly operated and maintained. Never use the system to lift people!

While there are a number of principles that guide the safe operation of rigging equipment, there is one that will be reiterated throughout this manual:

WATCH THE PIECE!

Whenever a set, batten, hook, or other piece is being moved by the motorized rigging system, make sure that the operator can see the entire piece throughout its path of travel. If the operator cannot see the entire piece, or the entire path, then spotters must be positioned to supplement the operator's view. All spotters must be in clear and reliable communication with the operator throughout the move. This is the level of vigilance that is necessary to safely operate rigging equipment.

Whenever you see the words “WATCH THE PIECE!” take a second to make sure you are paying attention to the important stuff - the moving iron, not the flashing pixels!

While the information in this manual will not cover all possible situations, nor due to the nature of theatre could such instructions be possibly written, it is intended to provide a guide to the safe and efficient operation of the furnished stage equipment and its routine maintenance. No manual can replace constant vigilance and common sense.

A routine maintenance schedule should be established and followed, and appropriate records should be maintained.

▪ Learn the feel, sound, and even the smell of your equipment so that you will immediately sense when something is not correct.

▪ Study the capacities and capabilities of each system and its components.

▪ Thoroughly learn and practice the proper operating procedures.

▪ Before operating any equipment, ask yourself questions about the current condition of equipment and about any existing conditions which may affect proper operation, or which could be affected by its operation. For example, is anything fouling the equipment or in the path of its intended travel?

Further, any problem noticed during setup or operation of the stage equipment should be corrected

IMMEDIATELY. Someone’s life could be at stake.

We suggest that emergency procedures be established in case of fire or injury and that periodic drills be held.

In addition to routine maintenance, we strongly recommend that a qualified rigging firm be engaged to perform periodic inspections and to correct any deficiencies discovered. These firms have personnel who are trained to spot present hazards and many “potential” hazards. Routine maintenance also prolongs the useful life of equipment and keeps it operating at peak efficiency for the quietest possible operation and so that less effort is required on the part of the operator.

Basic Startup

SYSTEM STARTUP

The SC12 system uses a system of distributed microprocessors that communicate with each other over a network system. On startup, the main processor queries the microprocessor at each starter;

therefore, all of the starters must be able to communicate at startup. The steps required to start the system are:

▪ Release the Emergency Stop button at the console and assure that all other system Emergency

Stop buttons are released.

▪ Turn on the power switch at the console.

The system will go through a boot up routine. During this routine, the program will be loaded, and all of the hoists will be interrogated by the controller. While this boot up is going on, the following message will appear on the screen:

▪ To be operated by trained and authorized personnel only.

▪ Always maintain direct visual contact with moving sets. Do not watch the screen.

▪ Safety devices do not completely eliminate the risk of injuries. Always pay attention.

▪ Read and follow safety instructions in Operation and Maintenance Manual.

Once the boot up routine is complete, the legend “Accept” will appear at the bottom of the screen, along with a “Yes” button. Touching this button will take the startup to the next step.

The system has been configured with a password for Access Level, then upon boot-up a keyboard will pop up on the screen as a prompt to enter a password. The password entered will determine the user's operator privileges by password levels.

PASSWORD LEVELS

There are four password levels, which are used to regulate access to the control system. They are as follows:

ACCESS LEVEL - User can perform the following:

▪ move a set Up or Down in deadman operation

▪ create and move a Temporary Preset

▪ load and move a recorded Preset or Cue

Note: the borders are blue while in Access Level.

EDIT LEVEL - in addition to Access Level features, user can perform the following:

▪ Select and load a show previously saved

▪ create a new show

▪ delete an existing show

▪ edit show specific soft upper and soft lower limits

▪ record, edit, and/or delete presets and cues

Note: the borders are gold while in Edit Level or above.

SYSTEM LEVEL - in addition to Access and Edit Level features, user can perform the following:

▪ create, delete, edit sets

▪ edit motors

FACTORY LEVEL - in addition to Access, Edit and System Level features, user can access certain system base parameters. This level must only be used by factory-trained maintenance personnel.

OPERATIONS

See Controls Manuals.

Controls Glossary

▪ Acceleration Rate – pertains to variable-speed sets. Expresses the rate of change of the velocity of a set as it increases toward full speed. Expressed in distance per second per second.

▪ Acceleration Time – the number of seconds required for a variable-speed machine to achieve the specified velocity at the programmed acceleration rate. Expressed in seconds.

▪ Access Level – This is the base level. It allows moving a set using the deadman push buttons, creating and moving a temporary preset, or loading and moving a recorded preset or cue.

▪ Cue – A cue contains a list of selected sets, their targets, and speed information if appropriate.

Each cue knows where the selected sets must be when the cue completes and where all of the other sets in the preset should have been at the beginning of that cue. If a cue is ran out of sequence, then all of the sets in the preset will move to the positions required that is defined at the end of that cue, even though some of the sets were not selected to move in the cue.

▪ Deadman Operation – The user can select and operate a single set using the GO UP and GO

DOWN pushbuttons and left joystick if it is variable speed.

▪ Deceleration Rate – pertains to variable-speed sets. Expresses the rate of change of the velocity of a set as it decreases toward a stop. Expressed in distance per second per second.

▪ Deceleration Time – the number of seconds required for a variable-speed machine to come to a stop from the specified velocity, at the programmed deceleration rate. Expressed in seconds.

▪ Edit Level – This level includes all access level functions plus creating or deleting shows, editing show specific soft limits, and recording, editing, and/or deleting presets and cues.

▪ Enable – A set is enabled if a target has been designated for it. When a set is enabled, the set name will appear in BOLD characters. A green wire-frame representation of the target position will appear in the designated target position on the 3-D screen, while a blue solid figure will represent the current position of the set. If the enabled set is also selected, the set name will appear in bold green letters; if the enabled set is not selected, the set name will appear in bold white letters. When a set is enabled, it can be moved using the active Go Preset button, whether or not the set is also selected.

▪ Normal (or hard) Limit – a point, defined by a hardware limit switch, beyond which an axis may not travel.