U.S.S.U SAFETY AND TRAINING MANUAL

September 1998

1 INTRODUCTIONS

2 LIGHTING

3 SOUND

4 HEALTH AND SAFETY:
A. ELECTRICAL SAFETY
B. RIGGING
C. FIRE SAFETY
D. COSHH
E. STROBE USE
F. MANUAL HANDLING
G. OTHER HEALTH & SAFETY

5 GLOSSARY

STAGE MANAGERS INTRODUCTION

Welcome to the University of Surrey Students union Stage Crew. Stage Crew are an amenity of the Students Union, providing lighting and sound for all the events in Union House, along with many other gigs across campus and beyond.

The running of Stage Crew is handled by the Technical Manager and the Standing Committee. The Committee is made up of the Stage Manager, a Treasurer, a Secretary and two Equipment Officers. The Stage Manager is God in charge of the runnings of crew, and works closely with the Technical Manager. The Treasurer is responsible for liasing with Union accounts on the subject of Crew’s finances. The Secretary takes the minutes of the Crew meetings, which are every Monday at 6pm in the Helyn Rose Bar. He/ she also assists the Stage Manager and Technical Manager in taking care of the bookings. There are also two Equipment Officers, one for lighting and one for sound. Their jobs are to organise the repair and maintenance of Crew’s equipment.

This manual is here to provide a reference on the basic use of Crew equipment, and covers the many Safety issues which concern us. It is important that you read the manual, sign the form at the back and return it to the Stage Manager before any work is done.

Paul Curran
Stage Manager

U.S.S.U STAGE CREW
TRAINING MANUAL
SECTION 2

LIGHTING

LIGHTING EQUIPMENT

The System
Here at Surrey, most of the events we provide lighting for are bands and/or discos. In the main Union Lounge , and in the Helyn Rose Bar we have an installed disco system. The disco lighting in front of the stage and the band lighting are controlled from a portable system which is also used outside the Union building. All the systems work on the same principle.

LAMPS > MAINS PATCH > DIMMER/SWOP > SIGNAL PATCH

DESK
At the start of the chain is the lighting desk or controller. At its very simplest, this converts the position of a fader (like a volume control for lights) into a control signal. This signal, along with signals from other faders, is sent down a control cable to the racks . The racks convert the control signal into a variable mains voltage which is connected to a lamp or lighting effect.

The Lighting Desk/ Controller.
We use various lighting desks here: the Avo Rolacue 60, the Avo Pearl, the Zerro88 XL12, the Masterpiece and the Orion. The Rolacue is used for general band lighting in the union lounge because it is easy to set up and operate. The Pearl tends to be used for discos and for controlling intelligent lights which are hired in from time to time. The Masterpiece and Orion are used to control the installation disco rigs in the Union Lounge and Helyn Rose Bar respectively.

The Avolites Rolacue 60 and Pearl and XL12 (and most other lighting desks) have at least one preset fader per control channel, these select the output level for each channel. We can then program the preset level into a memory, and the outputs come up just as if they were on the preset. On top of all this, both desks have some sort of chase system, where sequences of scenes can be stored and played back at the push of a button.

The Orion and Masterpiece do not have preset faders but are based on push-button and chase control.

The biggest difference between the Rolacue and Orion and the Pearl and Masterpiece is in the way the signals come out. On the Rolacue and Orion, all the control outputs are analogue - each channel has its own wire, and the voltage on the wire represents the output from the desk (for the technically minded it, it is a 0-10V linear scale). The Pearl and Masterpiece, however, use a digital system known as DMX512 (or just DMX) which can have up to 512 channels carried down a single 3-wire cable. This is the basic protocol for controlling intelligent lights.

One brief word of warning. The 37 pin connector we use for the analogue signals are fairly delicate and are easily damaged if mishandled. They are also difficult to replace, try soldering 37 connections in a space rather smaller than a McVities Rich Tea biscuit. Treat them CAREFULLY. In particular, ensure they are lined up correctly with the locking pin in place before screwing up the retaining ring. Also ensure the end caps are fitted immediately after you disconnect them.

Dimmer and Control Racks

Racks do all the hard work of controlling mains voltages and (generally) don’t cause problems. When they do it is usually the LD’s fault.

The first thing to notice is that there are two types of lighting rack: the dimmer rack and the swop rack. The difference is that dimmers can give continuous variation of output, while SWOP racks can only be on or off (Linguistic footnote: SWOP is a derivation of Switched Output) Dimmers are generally used for generic lights, but SWOP racks are essential for controlling effect lighting. This difference will be explained later.

The control signals arrive at the racks and, in the case of DMX signals, are decoded back to analogue. These signals are connected to one or more signal patches. There are two types of signal patch: a soft patch, which can be done using the software in the lighting desk, and a hard patch, which is done on the rack. Each signal comes out on one 4mm socket, and each individual dimmer channel also has its own 4mm socket. You simply plug between desk channel and dimmer channel as required. This sounds simple, but when you’ve got 60 desk channels controlling 72 dimmer channels and 36 SWOP channels, things can get a little overwhelming. It is advisable to write down what you plan to connect.

Socapex

For carrying power from the racks to the lights we use 6-way multicore mains cables known as Socapex (from the name of the connector at each end). These plug into the sockets on the dimmer racks and onto the lamp bars in the roof. The mains patch selects which dimmer output goes to which line on which socapex, it is similar to the signal patch, but with 240V. The disco installations are pre-patched and cannot be altered.

We have a series of socapex permanently installed to service the four trusses above the dancefloor and the two trusses above stage. These are connected to the to the installation box. The remaining socapex that we own is in varying lengths and kept in the “Toy box” or “short links” trunk.

Socapex connectors are quite easy to damage. The main danger comes from the threaded portions being dropped and bent, the pin insert can be damaged causing the pin holding insert to rotate freely inside the connector head. Therefore, never drop socapex from any great height (more than a foot or so). If they do have to come down from any great distance, lower the heads first and then drop the remaining cable.

Lanterns

In band lighting, the PAR 64 lamp is the most dominant breed of lantern used. The name comes from the Parabolic Aluminised Reflector, which tells you what you’ve got in it, and 64, which tells you how big it is (in eighths of an inch!). The ones we use here come in two distinct flavours, and it is important to know the difference. The two types are known as Ray and CP60.

A ray lamp uses a 500W bulb (some people refer to this as a “Ray bubble”). This bulb is plugged into a lamp-holder mounted inside a parabolic reflector. This gives a fairly bright, but not particularly well focused, beam of light. On the other hand, a CP60 uses a 1000W sealed beam unit. The unit is clipped into the can and connected up. This unit gives a beam which is actually rectangular in shape, so it can be pointed more precisely. How to tell the difference? Firstly six CP60s weigh a lot more than six rays. Secondly all our bars of six CP60s have black cables running from the lantern to the bar and most ray lanterns have red. If still confused, look into the front of the can, a CP60 has a sheet of glass across it, a ray doesn’t.

Other important lamps are as follows:

PAR 56 - like the PAR 64 but smaller. A 300W sealed beam. Used in the Helyn Rose bar for band lighting.

PAR 36 RAYS - These are physically smaller than PAR 64 rays and we use 300W lamps in them. These are useful for mobile disco type events.

PAR 46 & PAR 36 ACL - Short for “Aircraft Landing”, these are actually the same lamps that are fitted on either side of 747s. They are only rated at 28V each and so are wired in series eight at a time. (They all come on at the same time). Ours use special cabling (yellow mains connectors). Useful for those sunlight-streaming-out-of-roof, Bugger-me-that-looks-pretty effects. Uses 2000W per set of eight.

Pinspots - Little dinky lights, lots of them are installed in the permanent disco rigs. Very well defined beam, hence the name. Must NEVER be powered from a dimmer, unless you enjoy watching transformers melt.

Follow Spots - these are the lights that beam across the punters heads and “Spot” the act. It is operated by the spot-operator who moves the follow spot depending on the position of the act.

Fresnels - these lights are more often used for theatre than rock lighting. They use fresnel lens (hence the name) to provide a controllable, soft edged pool of light. They are not designed to be flashed repeatedly - doing so will considerably shorten the life of the bulb.

Profiles - this is a generic term covering a whole range of lights (e.g. Sil, T-Spots, Leko). The common factor is that they use a lens system. However, they are like fresnels in that flashing them frequently can cause premature lamp failure. (Note that the follow spots we own are actually large profiles with a few modifications).

Strobes - camera flashes with attitude. Again, NEVER power from a dimmer, as they will fail very quickly. There are Health and Safety guidelines relating to the use of strobes which are explained in the Health and Safety section.

Effects - this encompasses all sorts of disco effects, which incorporate lights and motors. Popular ones are ministars, rainbows and magic moons (all of which produce many multicoloured moving beams of light), scanners (pinspots that make like a very small searchlight), helicopters (pinspots that make like a, well, helicopter), harvesters (pinspots that make like a combine harvester, believe it or not), Astrons and the Neptuno (not unlike pinspots after some serious category ‘A’ substance). Again, these must NEVER be powered from a dimmer rack.

Scans - a range of effects based on a moving mirror in front of a lamp and colour changer and gobo selector.

When changing a blown lamp:

* Always isolate first before removing. If you look into a lamp while perched on a ladder and it suddenly come on, you will instinctively jump back and fall.

* Use a piece of foam or tissue when holding the new lamp. This applies particularly to halogen lamps, which are sensitive to grease marks on the glass. A fingerprint could mean what the lamp manufacturers refer to as a ‘violent failure’.

* It sounds obvious, but ... don’t drop the lamp out of the roof.

All lanterns and effects need to be firmly secured to the rig by both scaff or hook clamps and at least one safety chain or wire.

Gels

All this is great if you like white light. If not, you’ll want some gels. These are transparent sheets or coloured plastic film which you fit in a gel frame and hence in the brackets in the front of each lamp. (We most commonly use Lee filters.) Each different colour has a number. So when a pretentious name; with practice you’ll start to refer to them by numbers. So when an LD asks for 5 sheets of 127, you’ll know he’s a sad man, wanting smokey pink. Take care of gels: it’s surprising how quickly they can be trashed by leaving them in a pool of beer. If they are not in the roof colouring a light, then they should be filed back in the gel box.

Cables

Below are a list of the cable types that are used by Crew in conjunction with lighting equipment:
Domestic 13A plug
16A Ceeform 240V (blue)
General power connections to equipment

15A (round pin) plug Power to lanterns

I.E.C. (kettle) Power to lighting effects and individual items of equipment

Socapex (19 pin mains) Power to groups of 6 lanterns

16A Ceeform 110V (yellow) Power to lighting using 110V supply, e.g. ACLs

5 pin (yellow tape) DMX Lighting control

Power XLR with red sheathed pins Power connector, used to supply power to some items of equipment, e.g. Avolites Rolacue 60 desk.

37 Pin Socapex Lighting signal multicore
As a basic guide a 15A can be connected to a dimmer, an I.E.C. can be connected to a swop rack and a 16A can be connected to a constant power source or ‘Hard power’.

WHEN USING ANY OF THE LIGHTING DESKS YOU MUST NEVER SMOKE OR DRINK IN THEIR PROXIMITY. THEY DO NOT APPRECIATE IT.

In order to prolong the life of cables, store them tidily. All cables should be coiled freely (in the hand, on the floor or into their correct trunk) and not folded, kinked or coiled around the arm / leg. Each cable should then be bound by tape, cable ties or string and not knotted. Coil each cable to fit the size of the trunk and do not force them in.

WHEN USING CABLES:

Never remove connectors from equipment by pulling on the cable.

Run cables around the edge of the room if possible and fix down with gaffa tape over doorways etc.

All cables run in the roof must be secured so that they do not get in the way or fall out.

Control multicores are coiled directly into their appropriate trunk. A ‘short end’ is left hanging out of the trunk and the multicore is then coiled or figure of eighted into the trunk and the short end placed on top. This allows only the cable needed at each gig to be removed from the trunk and the rest remains coiled.

U.S.S.U STAGE CREW
TRAINING MANUAL
SECTION 3

SOUND

To introduce you into sound we will consider a standard Sunday night band rig. This is a flow diagram of what is involved;

[ A diagram might appear here soon! ]

At first sight this may well look a little complicated. Do not worry, we shall take it step by step.

The microphones pick up the sounds that the band make on stage. Other outputs are taken from electric instruments such as guitars or keyboards. The leads from all the sound sources are plugged into the stage box. This splits each input into two separate outputs. One of these is fed to the Front of House desk via a long multicore cable. The other output is fed to the Monitors desk via a short multicore cable.

Front of House Desk

The Front of House desk receives the signals from the multicore. Each signal appears on a separate channel on the mixing desk. The individual desk channels have tone controls on them similar to those on your home hi-fi. The signal from each individual channel can also be sent to the effects rack. The effects rack can apply an effect to the instrument or vocal such as echo, reverberation or pitch change. The added effect is returned to the desk so that it can be added to the overall mix. The sound technician uses the desk to mix all the individual inputs down to a two channel (stereo) output.

Graphics Equaliser

The final stereo mix is sent to a Graphics Equaliser. The graphics equaliser used by Stage Crew have 31 individual frequency band controls. This enables the sound technician to have very precise control over the sound heard by the audience. The graphic equaliser sends its output to an Active Crossover unit. This unit splits the two signals into four separate frequency bands. These are sub bass, bass, middle (mid) and high (top).

Each of these four frequency bands is fed to a separate set of Amplifiers which amplify the sound which is then heard from the four sets of Speakers; Sub bass, Bass, Mid and Top.

Monitors Desk

The Monitors Desk receives the individual signals from the stage box on the separate channels. The monitors technician uses the monitors desk to mix together the individual inputs into a number of separate mixes (usually between 8 and 12). Each mix has its own 31 band graphic equaliser which is used to remove any frequencies which may feed back due to the close proximity of speakers and microphones on stage. They are then sent to their own amplifiers and monitor wedges. This enables each member of the band to hear their own separate mix of the bands performance.

WHEN USING EITHER OF THE MIXING DESKS YOU MUST NEVER SMOKE OR DRINK IN THEIR PROXIMITY. THEY DO NOT APPRECIATE IT.

Cables

Below are a list of the cable types that are used by Crew in conjunction with sound equipment:
XLR Connectors
3 pin, red tape
Microphone cables

3 pin, no tape Speaker cables

4 pin Speakon (plastic) Speakers (JBL, drumfill / disco speakers)
8 pin speakon Renkus Heinz speakers
EDAC and Harting (rectangular metal) Audio multicore connector

The covers should be put on EDAC and Harting connectors immediately after use as these use very expensive gold pins.

In order to prolong the life of cables, store them tidily. All cables should be coiled freely (in the hand, on the floor or into their correct trunk) and not folded, kinked or coiled around the arm / leg. Each cable should then be bound by tape, cable ties or string and not knotted. Coil each cable to fit the size of the trunk and do not force them in.

WHEN USING CABLES:

Never remove connectors from equipment by pulling on the cable.

Run cables around the edge of the room if possible and fix down with gaffa tape over doorways etc.

All cables run in the roof must be secured so that they do not get in the way or fall out.

Control multicores are coiled directly into their appropriate trunk. A ‘short end’ is left hanging out of the trunk and the multicore is then coiled or figure of eighted into the trunk and the short end placed on top. This allows only the cable needed at each gig to be removed from the trunk and the rest remains coiled.

U.S.S.U STAGE CREW
TRAINING MANUAL
SECTION 4

HEALTH AND SAFETY SECTION

Electricity at Work Act in Brief and the Electrical Safety Policy

THE ELECTRICITY AT WORK ACT IN BRIEF

Nearly all areas of work in the Entertainment’s Industry, specifically those undertaken by Stage Crew, involve electricity. Because of the potential risks that electricity poses, the government issued the Electricity at Work Regulations in 1989. It is these regulations that together with various Guidance Leaflets have determined many of our electricity associated safety practices.

The Act begins by illustrating the various dangers that electricity poses if it is not used correctly or is used in conjunction with faulty equipment. It then continues by cataloguing the responsibilities of the owners and operators of electrical equipment. This finally leads on to a comprehensive breakdown of the maintenance and safety checks that all electrical appliances must be subject to. This also includes an assessment of various safety devices and their correct use.

Electrical Injuries

Electricity will cause injuries if you accidentally become part of an electrical circuit. For example, if an electric current leaks from its circuit and flows through you to the earth, you will get an electric shock. It is the flow of electric current (amperage) that causes shock injury. It does not take much to cause injury or death. For example: 0.06 amperes, roughly the current required to light a Christmas tree light set, may kill if it passes through the chest for a few seconds; 0.02 amperes in certain conditions may ‘freeze’ a worker to an electrical contact so they can not let go.

Types of electrical injuries include: burns, resulting from electrical flash or arcing; medical injuries, if machinery starts unexpectedly; falls, through losing balance when accidentally touching live equipment. The flow of current through the body can cause: breathing to stop, and muscles or nerve centres to be paralysed; heart beat interruption, causing blood to stop circulating; heat, causing internal bleeding and destruction of nerves and muscles. The severity of the injury depends on where in the body current flows and for how long.

Crew responsibility - testing & daily use

In accordance with the Electricity at Work Regulations, Crew have adopted a full and comprehensive testing and maintenance procedure. Only Crew members who have passed a testing programme are qualified to test Crew equipment. For the purposes of the rest of this section, crew members who have been on this course are titled ‘Crew technicians’.

There is also an emphasis placed on maintenance. the Regulations insist on a very regular testing process (between 3-12 months depending on the equipment), and with the sheer amount of equipment that Crew now own, a concerted effort needs to be made by all Crew members to fulfil this staggered testing schedule. Provisionally, Wednesday afternoons have been put aside for this purpose, and most Crew members will be expected to assist in at least basic practices. This is to avoid the entire testing and maintenance procedure falling on to the shoulders of a few dedicated Crew members.

In addition to the regular test that Crew undertake, each Crew member has a duty to undertake rudimentary visual tests when using equipment.

1. All cables have safety test labels or tags on them. You must check that the cable test expiry date has not passed. You must also visually inspect every cable that you use, every time you use it, for any failures in the insulating sheath, security of strain relief within the connectors, and any damage to the connectors. If the cable fails or is suspect on any of these points, it must be placed in the failed leads isolation container, with a note of why it is there firmly attached.

2. You must check all equipment to be used that there is no sign of the electrical safety of the equipment being compromised. Any equipment which fails the inspection should be clearly labelled ‘DO NOT USE’ with the reason for failure, and placed in the Crew equipment maintenance area.

3. Only use the correct interconnection leads between pieces of equipment. DO NOT attempt to modify leads or connectors. If you are trying to make a correct connection between equipment, then the correct leads or adapters will exist. If they do not, ask a Crew nominated technician to build you one. Only Crew approved technicians are to build of supervise the building of new leads.

4. DO NOT interfere with the internal wiring of equipment. Any change to the wiring configuration causes the safety test to expire, and therefore the equipment has to be re-tested before in can be used again.

2 Stage Crew has a duty to ensure that all electrical items within its control are safe to use. In order to lessen any potential risks, regular electrical safety testing will be carried out by competent person (as defined later). The test will consist of visual, physical and electrical tests.

3 All electrical items used in Stage Crew activities; whether owned by stage Crew, hired, borrowed or the property of individual members of Stage Crew are covered by this document. Therefore, all electrical items brought into Stage Crew (unless purchased brand new) whether hired, borrowed, supplied by artists or their production, or purchased 2nd hand, should be checked for in-date tested labels on arrival or before use, unless the items are supplied by a company that Stage Crew know test all their equipment regularly (as listed in Appendix B).

3.1 Any items without valid labels should undergo Stage Crew testing.

3.2 NOTE:

As we can only guarantee safety of items whilst in out possession, Stage Crew tested labels on sub-hired equipment should be dated to expire on the day of return. Any unsafe items being returned should be clearly labelled and the company informed. (Form SC9x should be used to detail any faults on hired equipment, see Appendix C).

3.3 NOTE:

Owners permission should be sought before testing any item not belonging to Stage Crew.

3.4 Stage Crew Equipment returning from hire to outside bodies should be inspected for any damage or alterations and re-tested if necessary.

3.5 Any items that fail any test must be clearly labelled and arrangements made for its repair / disposal. Form SC9 should be used to detail any faults and attached to the equipment (see Appendix C).

4 Electrical Safety

4.1 Power cables and lanterns must not be used unless they have an up-to-date tested label (including all new cables built).

4.2 Electrical equipment, i.e. any item that is mains powered, but not in 4.1, must not be used after the date recorded in the equipment testing file.

4.3 Only those who have been on the University of Surrey course on Electrical Safety Testing (or an equivalent course - as decided by the Technician) and read the leaflets detailed in 4.15 may test the equipment / cables. The names of these people should be recorded in the equipment file (and are currently listed at Appendix A).

4.4 Electrical equipment / cables may be built / repaired by anyone who feels competent but must be tested independently, by someone specified in 4.3, before use.

4.5 Any item gives an electric shock during normal use, it must be removed from use immediately.

4.7 If any item appears unsafe or shows damage, whether electrical or mechanical, it must be removed from use immediately.

4.8 If any item fails the tests it must be removed from use immediately, until such time that it passes the tests.

4.9 Unsafe equipment must be clearly labelled ‘DO NOT USE’ , the plug taped over and the reason for being removed from use recorded on the Equipment Technical Report Form (Form SC9, see Appendix C).

4.10 The equipment file should contain descriptions of all equipment and description and dates of all repairs / tests during the equipment’s life and the date of the next test.

4.11 The technician is responsible for checking the test file regularly for out-of-date equipment and ensuring that it is tested.

4.12 All Stage Crew are responsible for checking that cables are in date, i.e. they have a valid test label, and that all items appear safe before they use them.

4.13 When plugs are removed from items the test labels must be removed immediately to prevent labelled plugs being attached to untested equipment.

4.14 Residual Current Circuit Breakers (RCCB) (Trip!) units must not be used if they have been opened or have failed to operate correctly.

4.15 Further information:

4.15.1 Stand fact Sheet 10 (copies available by telephoning Strand Lighting Ltd.)

4.15.2 University of Surrey Safety Office Guidance Note SP/4/91 (see Appendix E)

4.15.3 HSE ‘Electrical Safety for Entertainers’ (copies available from safety Office and Stage Crew)

4.15.4 HSE ‘Electrical safety at Places of Entertainment’

4.15.5 HSE ‘Memorandum of Guidance on the Electricity at Work Act Regulations (1989)’ (reference copy available from Stage Crew)

4.16 Should there, for any reason, be no paid Stage Crew Technician, then the two Equipment Officers (members of the Stage Crew Standing Committee) should assume their duties.

5 Testing Procedure

5.1 Cables and lanterns must be tested at least every six (6) months and tested labels attached.

5.2 Equipment must be tested at least every twelve (12) months and Form SC11 filled in with all test results recorded, and placed in the equipment file with date of next test.

5.3 Installed cables, i.e. socapex box, Main Hall gantries, Helyn Rose Bar trussing, etc., should be inspected at least every two (2) years.

5.4 Tests to consist of:

5.4.1 Visual Inspection

5.4.1.1 Cables

5.4.1.1.1 .. .. .. no damage

5.4.1.2 Plugs and Sockets

5.4.1.2.1 .. .. .. strain relief grips cable

5.4.1.2.2 .. .. .. correct fuse

5.4.1.2.3 .. .. .. terminals tightened correctly

5.4.1.2.4 .. .. .. wired correctly

5.4.1.2.5 .. .. .. no damage

5.4.1.2.6 .. .. .. can not be opened without tools

5.4.1.2.7 .. .. .. earth bond intact and rated

5.4.1.3 Cable Entries

5.4.1.3.1 .. .. .. grommet, etc., not perished

5.4.1.3.2 .. .. .. cable does not pull out

5.4.1.3.3 .. .. .. cable not damaged under cable entry

5.4.1.4 Leads (cable with plug and socket)

5.4.1.4.1 .. .. .. test continuity and correct wiring of cores with meter, Martindale or Pat tester

5.4.1.5 Lanterns

5.4.1.5.1 .. .. .. cable not damaged / burnt inside lantern

5.4.1.6 All equipment out of guarantee

5.4.1.6.1 .. .. .. all insides bolted down - wires attached

5.4.2 Earth Bond Test:

5.4.2.1 This passes about 25A at 6V to test the integrity of the earth bond.

5.4.2.2 All items should be tested for earth bonds using a PAT tester. Results should be under 0.2W except items fused at under 3A and lanterns and cables used exclusively for lanterns must be under 0.5W.

5.4.2.3 NOTE:

This test should not be repeated continuously or for long periods of time as it may cause damage.

5.4.2.4 NOTE:

Long cables may show fault conditions due to their resistance / length. The inherent resistance of the cable should be calculated and the pass value taken as this figure plus 100mW.

5.4.2.5 NOTE:

Parts such as lens tubes, yokes, frame runners, etc., do not need to be earthed. this is because standards only require earthing of those conductive parts which might otherwise become live under a single fault condition.

5.4.2.6 NOTE:

Double-insulated appliances should show a fail on this test.

5.4.3 Insulation Test:

5.4.3.1 Live and neutral conductors are joined together, and 500V applied between this junction and earth. A pass result is a resistance of more that 2 Mohms.

5.4.4 RCD Test

5.4.4.1 A RCD tester should be used to test correct operation of RCDs.

5.5 NOTHING SHOULD BE SUBJECTED TO ELECTRICAL STRENGTH TESTING (FLASH TEST) AS THIS STRESSES THE INSULATION AND MAY DAMAGE THE EQUIPMENT OR CAUSE DEGRADATION OF CABLES.

Rigging

Harnesses

* Harnesses must be worn correctly when in use at all times.

* Each harness is supplied with 2 slings to clip onto permanent attachments / running lines when working or moving in the roof space. At least one sling must be attached AT ALL TIMES.

Rigging Policy

1. No one should work up in the gantries, on Scaff towers or especially in the roof space until they have been properly trained.

2. No more than three people to be on a hall gantry at any one time.

3. All items hung from roof mountings must be safety chained to the permanent mountings.

4. Access to the hall gantries is obtained using the ladder provided for this purpose. The ladder should be attached to the provided bar. It should not be attached to the bottom edge of the gantries.

5. Any person working in the roof , but not from a gantry or tower, must wear and use correctly a safety harness.

6. Lanterns should be hoisted into the roof mountings using the rope provided for this purpose. They should not be carried up ladders.

7. All tools used in the roof space must be securely attached to either the permanent mountings or the person using them.

8. While persons are working in the roof space the area below them should be kept clear of people.

9. All loose equipment and materials must be removed from the roof space while the gig is in progress, and as soon as it has finished being used.

10. No drinks are to be taken into the roof spaces unless in re-sealable containers.

11. A 1.5 metre clearance must be given to all fire doors.

12. Cables running the length of the main hall should be secured on top of the existing ducting. They must not be allowed to present a trip hazard across doorways.

13. All cables to be tidily arranged while in use. Any cable which presents a trip hazard should be taped to the floor.

14. Power cables should be unwound fully from drums or containers to ensure adequate ventilation.

15. No one under the influence of alcohol may ever work above ground level.

16. All back stage and roof areas are non-smoking areas.

17. No one is to work above ground level without another member of crew in attendance. If this work requires a harness to be worn then a second harness or tower should be immediately available.

18. If anyone is to stay in a gantry after the ladder is removed from that gantry then they must have immediate access to a wire ladder. Abseiling equipment may be substituted for the ladder if the persons in the gantry are trained in its use.

19. Abseiling ropes must only be used for abseiling and lifting ropes must only be used for lifting. They must be stored separately and checked fully before use.

20. The rope used to hoist equipment into the roof must remain attached to the equipment until the equipment is securely attached to the roof.

When Working at Height

On a ladder - make sure someone foots the ladder, as much to stop people walking into it as anything else. Don’t over reach - move the ladder. It is far safer to hoist equipment on a rope, rather than carry it up a ladder.

In the roof - empty pockets, tie back long hair, make sure nothing on you can catch in a restricted space, wear sensible clothing and footwear. Know your limits - don’t do it if you are nervous. Never carry out roof work under the influence of any drug (this includes alcohol) or if you are tired. You MUST ensure that people who may be below you are aware of your presence and any risk to them. Always call out before dropping any piece of equipment: cable, rope etc. and wait for a reply. When dropping cables, lower the connectors to ground level first, then drop remaining cable. Ensure that ropes are secure before removing clamps or safety chains. Before finally lowering, be certain that the item is free to move. Always ensure the clamps are finger tight and a safety chain is fitted before removing rope support. Take care when crawling on lighting trusses - projecting clamps can cause injury. Always use a safety harness when working more than 6ft above ground level.

When Working Below Roof Workers

Be aware of what they’re doing - if they are waiting for a rope, the risk to you is less than if they are undoing a scaffold clamp. Ensure that ropes are secure before hoisting an item, and that a safety chain and appropriate clamps are fitted. Never allow ropes to slide through hands as a brake - serious burns can result. NEVER allow members of the public to walk under someone working in the roof.

Knots:

The two knots most used by Crew are the Clove Hitch and the Bow Line.

The clove hitch is used to secure a rope to a lamp bar or other round objects.

The bow line is used to create a loop in the end of the rope so that you can loop the rope over hook clamps.

Rigging Equipment

The basic rigging equipment used in the lighting industry are the span set, the shackle and steel wire safeties.

Span set - are used to support trusses etc. from roof beams. They must be inspected before use and removed from use if the outer material is damaged. Carpet or burlap should be used to protect them from any sharp edges.

Shackles - are used to attach span sets and steels to themselves. They must NEVER be dropped as this can cause hairline fractures causing them to fail in use.

Steels - are used as safeties in the event of span sets breaking or motors slipping. They should be rigged with as little slack as possible but not taking any load.

The Student Union Fire and Evacuation Policy

The following is the current Student Union Fire Safety Policy.

Action by Stage Crew on Hearing the Firm Alarm During Events in the Main Union

1. The LD should pull down the master faders on the desk and trip the power in the lighting box.

2. The FOH engineer should pull down the master faders.

3. The Monitors engineer should pull down all master faders and trip all breakers on the distro (starting with the amp racks) and switch off the power on the wall.

4. The monitors engineer, Stage Manager or the Technical Manager should switch off the two lighting isolators behind the stage.

5. All Crew should immediately leave the building and go to the designated assembly points as should FOH/Mons/LD as soon as they have completed 1 to 4.

6. The Stage Manager / Technical Manager should report the electrical situation to the fire brigade on their arrival.

7. Crew who have been trained should collect a yellow jacket if one is available without deviating from the nearest exit route and once outside the building direct the students towards the assembly points.

COSHH Policy

COSHH

COSHH stands for Control Of Substances Hazardous to Health. All potentially hazardous chemicals or substances used by Stage Crew are stored in a special lockable ‘COSHH cupboard’. This is to reduce any risk of accidental spillage, inhalation or injury. Additionally each item has documentation which lists its potential risks and what immediate action should be taken if an accident should occur. The latter are stored with the Technical Manager and the Safety Officer has a further copy.

All substances stored within this cupboard should be used with great respect and caution, following the directions on the packaging of the item and on the COSHH documentation form. None of the contents should be used unless you are familiar with the method of use, spillage and disposal procedures and the accident contingency instructions.

Strobe and Pyrotechnic Policy

Because of the potential risks and dangers that these two effects have, there are guidelines relating to their use which are detailed below.

Strobes

* Because of the risk of epilepsy, any venue using strobes must prominently display warning signs at the entrance to the venue.

* Each strobe unit should not exceed 8 flashes per second, and if more than one strobe unit is being used then the units should be synchronised as far as possible.

* Strobe lights should not be gelled.

* Strobes can only be used for 30 seconds if there are no other lighting effects used in conjunction with them. Units such as Golden Scan’s are considered as strobing units. There are no specific guidelines for strobe duration if other effects are also on, so operators need to apply common sense!!

Pyrotechnics

These are not allowed on campus.

Manual Handling

Lifting Procedure

Much of Stage Crews work involves the lifting of heavy items. There is a possibility of injuring when lifting equipment due to muscle strain or dropping of the equipment onto yourself.

The two most important part of the body for lifting weights are the legs and the brain. Before you lift anything heavy, THINK:

* How heavy? - It may be too heavy to lift alone. If so, get help. If the load is beyond your limit you will hurt yourself.

* Is the weight evenly distributed? - If you lift an item and it tips unexpectedly you will probably strain a muscle and may even drop the item on yourself.

* What is there to hold onto? - Some items have handles and some do not. Your choice of where to hold on to is governed by:

* What height does the lift start? and finish? - If you are lifting any great height always lift from the bottom of the load. The reason for this is that it is very hard to lift between waist and head height. Do not try to copy weight lifters by lifting the weight and then ducking underneath it. You will fall over backwards with a heavy box on top of you.

* What surface am I standing on? - You may be standing on solid concrete, a beer soaked dance floor or even a muddy bank. Adjust your lifting technique accordingly.

* Does it have to turn or tip? - Always plan out the lift fully before you start. Sudden surprises are dangerous to lifters.

* Is the load secure? - If the load is not secure it may come loose while being lifted and injure yourself or others.

Lifting the load

Solo Lifting - With the exception of the brain, the most important part of the body for lifting is the legs. While you walk your legs carry your weight and your arms manoeuvre the load you are carrying. Your back is not designed to lift loads up or manoeuvre them around.

Group Lifting - Planning and communication are very important for group lifting. All members of the lifting team must be fully aware of what is being lifted and where it is going to. When preparing to lift one of the team should call ‘Ready?’. All team members then prepare to lift and call ‘Yes’ when they are ready to lift. The leader will then call ‘One Two Three Lift’ and the lift will commence.

Ramp Lifting - Some loads are prone to tipping as they are heavier at one end or have a high centre of gravity. Be aware of this when moving them. When pushing up a ramp, push from behind the load. When manoeuvring down a ramp, descend before the load, controlling the speed with your body weight. When more than one person is needed to move equipment up or down a ramp it is very important to have an equal number of people on each side applying force evenly.

Finally a word of warning. If you see a team struggling to lift / ramp an item never rush in and grab part of the load. Ask if they need help as the lift may well be perfectly under control and an extra pair of hands could unbalance the lift.

Remember

* Know what you are lifting

* Know where you are lifting it

* Lift with your legs

* Work as a team

Other Health and Safety

* Goggles are to be warn when drilling and grinding, etc., to protect the eyes. These are kept by the workbench.

* Ear defenders should be worn by all working personnel when exposure to sound levels exceeds an Lep,d of 90db. This includes members of crew, security, bar staff, and House Officers. the only exception should be where a member of crew (e.g. sound engineer) needs to hear the sound as clearly as possible. Ear plugs are available from behind the reception desk. All reasonable attempts must be made to reduce sound levels whether by operation or configuration of P.A.

U.S.S.U STAGE CREW
TRAINING MANUAL
SECTION 5

STAGE CREW GLOSSARY

Last Updated September 1998