the art of selling stage curtains

The Art of Selling Stage Curtains

Custom Stage Curtains, LuXout Stage Curtains, Specialty Drapery, Shadeworks, Specialty Drapery Cleaners

3009 Lincoln AvenueRichmond, VA 232288 0 0 - 8 1 7 - 1 2 0 4FAX 888-227-8064



Your Sales Kit

Do you get “cold feet” when a customer calls about stage curtains?

How to Use Your Sample Stage Curtains

Warranty Information

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THE ART OF SELLING STAGE CURTAINSThis booklet is furnished for the use of LuXout™ Stage Curtains and Custom Stage Curtain dealers and their personnel only, to assist in the measuring, selling and installing of stage curtains purchased from Custom Stage Curtain Fabricators. Any reproduction by any means or media is prohibited.

Copyright 1993

Reprint #16, FEBRUARY 2009

Pages from the Automatic Devices Company catalog are reprinted with their permission.

3009 Lincoln Avenue

Richmond, Virginia 23228

800-817-1204

FAX 888-227-8064

www.TheSpecialtyGrp.com

www.CustomStageCurtains.com

www.LuXout.com


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Your Sales Kit

Here is your new Stage Curtains sample kit. Probably the most important component of the kit is the set of two sample curtains, Ours, and Theirs, and the accompanying sheets that suggest how to show the features of our curtain, as compared to traditional competitors, in a very effective Show - Tell - Feel demonstration. Please be sure to incorporate this time-proven demonstration in your sales presentation-it will work for you.

The large key chain of velour colors shows most of the standard colors available. Most velours are available in 16-oz, 20-oz, 25-oz, and 32-oz cotton velours, and 13-oz and 26-oz permanently flame resistant (IFR) polyester velour. Also available are Encore polyester IFR velours in the colors shown on the sample card, in both 15-oz and 22-oz weights.

The different weights and qualities are shown on the smaller key-chain set labeled “Qualities of Velour.” The large key chain shows most of the colors; all qualities are available in all colors (except Encore, which is available only in the colors on the color card.)

Colors 8148, 8150, 8154, and 8158 are special colors dyed for us, and kept in inventory at all times.

In addition to these six velour colors, we keep in stock 25-oz and 16-oz black velour, black Nassau Chevron repp, black Atlas Oxford repp , and black Super Commando.

To obtain pricing for a job, please send us by fax or mail or e-mail the sizes and fabrics needed. We accept quotation requests in any form, and if we don’t understand it, we call and ask you about it. Our prices are always your delivered cost.

A question generally in salespeople’s mind is “What happens if I make a mistake?” As our sales book says, many mistakes in stage curtains are fixable on the spot by adjusting track or curtain. But if it can’t be fixed, and the mistake is not due to our error, we ask only that you pay the freight both ways (back to us and return to you) and we fill fix most errors without charge. We’ll shorten curtains, make them narrower, or make them wider, at no charge except for fabric used.

The only measuring mistake we can’t fix free is if the curtain is too short, because you can’t add to a curtain height after it’s been made.

We don’t want to make too much of the possibility of a mistake, because they rarely happen. We double-check each order and if something doesn’t look right, we question it.

We try to return all requests for pricing the same day we get it, or no later than the next day. If you need a price immediately, perhaps while you’re meeting with a customer, call our 800 line, and we’ll give you your cost over the phone while you wait.

When your order is received, we fax an acknowledgement copy to you for your inspection. If you have ordered a special custom-dyed color of velour, we send a lab dip sample of the color to you for approval before dying the fabric.

We’re hoping to see you be successful in selling LuXout™ Stage Curtains at a profit for you, so we’re here to help in whatever way we can. Please don’t hesitate to fax, write, call or e-mail with any question or any problem about our products.

We stay in business by providing products with sales features, making prompt and competitive quotations, answering questions, resolving problems, and shipping promptly in good protective packaging.

Cordially,

Tony Lovette


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DO YOU GET “COLD FEET” WHEN A CUSTOMER CALLS ABOUT STAGE CURTAINS?A lot of sales people tell us, “We just had a school (or church or club) call us to come over and measure for new stage curtains and we’re pretty sure we can get this order, but we don’t really know how to go about doing it”.

We call this the “cold feet syndrome” caused by not selling enough stage curtains often enough to keep all the details fresh in your mind or maybe caused by never having sold stage curtains. Then, when you have the chance to make a sales call, all the possible questions a customer can ask begin to worry you. You may find your mind racing, wondering about all the materials that can be used on a stage, how to measure for the curtains and how to answer about replacement tracks.

We can help with the “cold feet syndrome” by being your stage curtain fabricator and by being available to you with answers, information, suggestions, samples, and the knowledge you need so that you can feel assured that you know more than the customer.

HOW TO USE YOUR SAMPLE STAGE CURTAINSYou should be equipped with two sample curtains: OURS and theirs. OURS is flat, without pleats, but with two grommets in the top for making a pleat in the center of the curtain, and with metallic-weighted bottom hem, and with two turnbacks. Theirs is made the way most others make stage curtains: burlap top hem, flat sewed down pleats, one turnback, and a chain in the bottom hem. You should also have the Herculite “tear me” sample strip with a slit cut in it.

You can begin your presentation by keeping OUR curtain out of sight, and showing theirs, and saying something like this:

“When we entered the stage curtain business years ago, we knew that in order to be successful, we’d have to make stage curtains that were better than anything on the market, and do it at a competitive price. Based on the knowledge we had of stage curtains, we knew that there were several things wrong with the way stage curtains were being made, and had been made for about 100 years, just like this sample curtain here.

“Until we improved on the way to make stage curtains, they were all made this way: flat sewed down pleats, sewed onto a piece of burlap, with a grommet in the center of each pleat. The curtains had pieces of chain sewed into a little bag in the bottom hem, and a single turnback in the center of each front curtain panel. The turnback is used to keep the back of the curtain from being visible when the curtain is pulled across the track, or when people use the center of the curtain to look out at the audience, or to pass between the curtains for before-the-curtain appearances.

“We knew that the chain in the bottom, used to provide weight to keep the curtain stable and keep it from being moved by breezes or from being brushed against, was not good. You can tell this, more than likely, by looking at your present stage curtains, and seeing how few of them still have the chains in the bottom. The first thing that happens to many chains is that it rusts and corrodes, wears through the little bag it’s suspended in, hangs out, drags on the floor, and is eventually pulled out completely, leaving an unweighted curtain. The rust and corrosion marks on the curtain hem are visible to the audience. Also, the curtain doesn’t stack back neatly, and it has a “puffy” look, with wrinkles at the bottom hem.”

(Now, bring OUR curtain out.)

“These problems were the first we wanted to eliminate, and we did eliminate them by using metallic weights in a strip of supported vinyl weight pockets in the bottom hem. Each weight is encased in its own individual supported vinyl pocket. It doesn’t rust, and it doesn’t corrode, and it doesn’t wear through the bottom hem, and therefore


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Your Sales Kit

doesn’t drop out or get pulled out, so the bottom hem remains weighted the way it should be. The flexible weight strip provides the same amount of weight and the same degree of stability as the chain, without the problems of the chain. See how the weights fold up so the curtain stacks back neatly on the track, taking up less space when it’s stacked? See how smooth the bottom hem is, without a bulky chain. NO puffy hems, no wrinkles.

It’s good to note, in these environmentally conscious days, that the weights are galvanized steel, not lead. Some fabricators no longer use chain, but have switched to lead weights glued to a piece of cloth. The weights may come loose from the strip of cloth over time and use, and gather into a bundle. And, “lead’ is something most people want to keep away from their children, and avoid putting into landfills when the curtain life is over. And, these individual steel weights are inserted into individual pockets of electronically welded supported vinyl that is permanently and inherently flame resistant to NFPA 701 standards.

“Also, because the chain has a tendency to want to be flat, it flattens out the pleats in the curtains, so that the curtain looks flat along the bottom. The flexible weight strip doesn’t have this strong tendency to straighten out, so the pleats stay in the curtain from top to bottom. One of the distinguishing characteristics of LuXout™ curtains is the round columnar pleats from top to bottom of the curtain.

(Illustrate all this as you describe it, by bunching up their curtain along the bottom hem, to show how bulky the chain is, and then by neatly folding OURS to demonstrate how neatly the weights allow folding. Show them the wrinkly bottom hem in theirs, and let them feel the chain in theirs, and then let them feel the weights in OURS.)

“All OUR curtains that hang to the floor have this flexible weight strip; we do not use chain at all. Valances and borders usually don’t have weights in the bottom hem, but if weighted hems are specified, we’d use our flexible weight pockets. We use them for sky drops and scrim curtains that don’t have pipe pocket bottom hems, too.

“I mentioned that OUR pleats stay in from top to bottom. One reason is the individual weights, but another reason is the way we make our pleats, which is another basic change we made in stage curtain design.

“Their construction uses flat sewed down pleats, using 6" of material every 12", for 50% fullness, which is standard for stage curtains. They sew this 6" pleat onto a piece of burlap, and then put a grommet in the center of this pleat, to attach the curtain to the carrier in the track.

“OUR curtain uses the same 6" of material every 12", the same 50% fullness, the same amount of material, but OUR pleat is a round pleat, not a flat pleat, and our pleats stay in from top to bottom. OUR curtain comes to you folded flat, and the pleats are put in when it is hung, by bringing two grommets together and holding them together with the same S-hook that attaches the curtain to the carrier.” (Demonstrate this while describing it.) “You get a curtain that has less wrinkles from shipment, and that looks good as soon as you hang it. You will get some wrinkling, unavoidable from being folded and shipped, but far fewer wrinkles than their construction.

“Also, because of OUR kind of pleating, you can open the curtains out and use them flat, without pleats, should you want to any time. And there are certain times that cyclorama curtains are more suitable flat, without pleats. Your stage director will appreciate the versatility of having flat curtains OR pleated curtains available. And, if you ever want to store the curtains, they’re easier to store and handle without pleats, and less apt to crease and wrinkle. Should you have them cleaned, they’re easier to clean without the sewn-in pleats.

“But, the major advantage to you is the strength of the heading. OUR heading is made of TWO grommets and SIX layers of material, as opposed to the one grommet and two layers of material in theirs. We get six layers of material by having two layers of velour or repp, then the two layers of almost untearable Herculite 80, and then two layers of a special waterproof flame resistant plasticized buckram used to hold and form the pleat. Compare the “feel” of our durable top hem with their piece of buckram. We call Herculite 80 almost untearable because it is almost untearable. Here’s a piece of Herculite 80 in which I’ve cut a slit. Try to tear this apart. You’ll find that you cannot do it. This is the same strength that used in OUR curtain - two layers of it when pleated.


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“You know that one of the problems you’ve had with stage curtains in the past is the grommet pulling out of the burlap strip at the top; when a student decided to climb up the curtain, or swing on it, or when the curtain got caught on something when being moved along the track. That grommet is hard to put back into the burlap strip. With OUR curtain, the S-hook holding the curtain to the track carrier is more likely to open up than the grommet is to tear out of the heading. OUR heading provides real strength that you just can’t get with the one piece of burlap. We also sew all our floor-length curtains three times across the top heading, for even more strength. Most competitors only have two rows of stitching across the top. The green binding tape finishing the top of each LuXout™ stage curtain has come to represent the identifying mark of a carefully designed and fabricated stage curtain.”

(You might want to make a slit in the heading of our curtain, in order to show the piece of heavy plasticized waterproof flameproof buckram inside.)

“The third change we made in stage curtain construction has to do with the center turnback of the front curtain. Almost all specifications we read call for a ½ width turnback at the center of each curtain panel, and 2" or 3" side hem on the off-stage side. This doesn’t make a whole lot of sense, when you think about it, and compare it with OUR construction. We use a 12" turnback on both ends of each curtain panel. You have the same amount of material being used for a turnback, but you get the benefit that they don’t offer: you can exchange the curtain panels on the track, when the center gets worn and dirty from being handled. Just move the left side curtain to the right side of the track, and the right side to the left track, and you have two brand new centers, with the dirty, worn, old centers now off-stage and out of sight. By just a simple little re-arrangement of hems, we have almost doubled the usable life of the curtains. Every manufacturer could do this without any extra charge. Why don’t they? We don’t know, unless it’s just because they don’t like to change.

“We have another important change, on the bottom hem. Their curtains use a blind-stitched bottom hem. Blind stitching means that the stitching doesn’t come all the way through the curtain, so that, theoretically, you can’t see the row of stitching from the audience side. The problem with blind stitching is that it’s a chain stitch. Chain stitching means that all the stitches are connected together, so that if one stitch breaks, then the whole chain of stitches can unravel, and the bottom hem is no longer a bottom hem-it just comes apart.

“OUR curtains use a lock-stitched bottom hem. Lock stitching means that each stitch is locked in individually, so that if one breaks, it doesn’t affect any other stitch, which means that the bottom hem doesn’t unravel. You can see our lock-stitched bottom from the audience side of the curtain, when you’re looking close-up like we are right now. But not one of one hundred spectators would notice the hem and say, “Why, that’s a lock-stitched bottom hem, not a blind-stitched one.” Most people don’t even notice the difference until we point it out, and what the difference means to you in longer lasting curtains.

“Another extra little feature we provide that others don’t is to ship, along with the curtains, large pieces of material from which the curtain was made. We suggest that you hang this material on the top of one of the curtains, so that it gets the same exposure to light and air as the curtains, so it ages at the same rate. Then, if at any future time you have damage to a curtain, you have a matching piece of material all ready to repair the damage—the same material as the original curtain, and matching the curtain exactly. We ship extra material with every curtain we make, along with a note suggesting how to store it.

“We know that flame resistance is becoming more and more important with local fire inspectors, so we put a label on each curtain specifying that it is flame resistant, and giving cleaning and maintenance instructions. ALL the materials in a LuXout™ curtain are flame resistant, including the complete top hem of Herculite and plasticized buckram, and the pockets holding the weights in the bottom hem. It’s problematic whether the buckram on competitive curtain headings has been treated to be flame resistant; you might ask.


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Your Sales Kit

“That’s OUR story: super-strong top hem; round pleats that stay in; flexible individual weights in the bottom hem that stay in place; two turnbacks to every front curtain panel, and lock-stitched bottom hems. Does it make sense to you.”

The important thing to do when going through this presentation with a customer is to USE both curtains. Let them examine the piece of burlap in the competitor’s curtain, and the single grommet, and the bulky chain in the bottom, and see what a turnback on only one side of the curtain looks like. SHOW them how our pleats are made by bringing together the two 6" apart grommets, and hold the curtain up when you shape the round pleat from top to bottom.

Fold the bottom hem and then hand it to them so they can feel how neatly and closely the weights allow the hem to fold, and how the weights are really individual galvanized weights inside an individual pocket.

SHOW them the two turnbacks on each front curtain panel. Let them try to tear the Herculite 80 strip apart.

Handle OUR curtain gently and with respect and care, and the competitive curtain with disdain.

Make this a “hands-on” demonstration, and the customer will remember it, and the features will help you sell stage curtains.

You DO have something more than price to talk about when it comes to stage curtains. And we haven’t even mentioned our extraordinary inspection and special packing processes.

WARRANTY

Specialty Custom Stage Curtains makes the following warranty to purchasers of its stage curtains:

The Specialty Group will repair or replace without charge any item which displays defective materials or workmanship within one year of the date of the invoice, provided a written claim is made within the warranty period.

Claims should be addressed:

Specialty Custom Stage Curtains3009 Lincoln AvenueRichmond, VA 23228

If you require assistance in making a claim you should contact:

Warranty Manager1-800-817-1204

This Warranty gives you specific legal rights and you may also have other rights which vary from state to state.



Stage Curtains: Product Information

Why is it so hard to buy stage curtains?

Stage Curtain Fabrics

Back and Side Curtain Fabrics

“Scenery Curtains”

Should Stage Curtains be Lined?

What about curtain fullness?

Flame Resistant Requirements

Monograms, Letters, Emblems, Fringe

What do I call the curtains?

How do I measure for replacement curtains?

Use Us as a Resource - a Confidential Resource

Trimming Stage Curtains

What about TV studio curtains?

What if I make a really bad mistake?

What do I do if the curtain is wrinkled?

Are you using the sample kit?

Are velour colors every dropped?

What about custom dyed velour colors?

What about lining window draperies?

Recommend Back Packs for Tracks

Back Pack Guides

Unique Protection: Covers, Not Bags

What about double-faced curtains?

What about slanted tops or bottoms, cut-outs, or stair steps?

What about “out-of-the-blue” requirements?

The Four Basic Kinds of Stage Curtain Track

Machine Descriptions

Stage Curtain Track

What is included in the cost?

Measuring for Curtain Height

Why an “opening” measurement really doesn’t tell us anything.

Center Overlap on Stage Tracks

What are Headers?

What is normal delivery time?

Stage Curtain Terminology

Center Overlap on Stage Tracks

Accessories

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WHY IS IT SO HARD TO BUY STAGE CURTAINS?It seems that some of our dealer’s customers find it hard to find someone or some company that will sell them stage curtains. We have many dealers who have been successful in the stage curtain business because they ask about stage curtains when they’re in the school, church, lodge or other business. Quite often, the response might be “Well, yes, we do need new curtains, but we don’t know where to go.”

Maybe you’re in an area in which there’s a stage curtain company on every corner, and every customer knows two or three places to get pricing. However, most sales people live in areas where the people that sell stage curtains rarely call on customers or do much advertising and therefore, customers don’t know where to buy.

The moral is: ASK ABOUT STAGE CURTAINS ON YOUR SALES CALLS.

STAGE CURTAIN FABRICSALL STAGE CURTAIN FABRICS WE FURNISH ARE FLAME RESISTANT

Most stage curtains anywhere in the county are for the most part made of the same materials, varying little from year to year. Here are the basic stage curtain materials you should know:

Velour: (sometimes called velvet) Velour is used most often for the front curtain and valance and sometimes for the side and back curtains. Velour can also be used with a lining for window curtains matching the stage curtains. There really isn’t any usual or standard color for velour curtains any more than there is a standard size. There are two kinds of velour:

Cotton: 100% cotton is a woven pile fabric, available in a wide range of colors, as shown on the fabric color card in your stage curtain sample kit. Cotton velour comes in 16-oz Princess, 20-oz Marvel, 25-oz Memorable, 25-oz combed Majestic, or 32-oz Magic. Majestic goes through an extra finishing step that makes it look “silkier” or smoother than the other velours. Cotton velour is chemically treated to be flame resistant and require dry cleaning in pure solvent. It is important to note that FR chemicals are affected by water and may cause a whitish gray stain to appear if the curtains are made wet by a leak or by accidental spillage. This stain is difficult and most times impossible to remove. Cleaning of Stage Curtains is an important step in the maintenance of your curtain and can greatly extend the life of the curtain. Cleaning should only be done by professionals such as Specialty to ensure it is not damaged or it’s fire proofing is not compromised. Cotton velour has been used for stages for many years and may be what people expect to see when they look at a stage.

The usual choice for a front curtain and valance is 25-oz Memorable. For those with a larger budget, the heavier 32-oz Magic may be preferred, or maybe even the smoother looking 25-oz Majestic. For those with a tight budget, 20-oz Marvel is a good choice, or even the 16-oz Princess. The weight of the fabric has little to do with the extended life span of curtains. What matters most is how well they are maintained. (See our section on cleaning and maintenance.) For those conscious of sound problems caused by sound reverberation, the heavier the fabric, the more reverberation control. No velour is “sound proof”, but they will absorb and muffle reverberations caused by hard surfaces in the surrounding areas. In fact, 25-oz velour curtains are one of the best sound reverberation barriers that can be used in a room. (See our information on acoustical curtains.)

Polyester Velours: As the name implies, polyester velour is made of 100% polyester fibers, woven in the same process as cotton velour and dyed to very closely match the same colors as available in cotton. The polyester fibers are :”shinier” which causes the color to appear slightly different from cotton velour. The colors on the fabric color card are available in both cotton and polyester, as well as in all weights of both.

Polyester velour is permanently and inherently flame resistant and will require no further FR treatment in the


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future. They are less affected by moisture changes than cotton and, therefore, shrink and stretch less when hanging. These velours are washable, so if they are stained by some accidental spilling or get wet because of a roof leak, the stains can be washed off.

These velours are available in 13-oz Plateau, 20-oz Crescent, 26-oz Prestige, or 27-oz Charisma. The most common choice for a front curtain and valance is the 26-oz Prestige, and for side and back curtains, the 13-oz Plateau. However, Plateau is woven to be opaque so it can also be used for front curtains where the budget requires this. Charisma has a matte finish with a great depth of color.

You might consider offering your customer a choice by quoting both the cotton velour and the polyester velour. Oftentimes your competitor will not think to do this and, if you explain the advantages of polyester over cotton, you may increase the dollar amount of your sale while at the same time providing extra benefit to the customer.

Colors: All weights of velour, whether cotton or polyester, are available in any velour color, as shown on your fabric color card or velour color cards. No velour color is ever dropped because velour is dyed to order and not kept in inventory (except for the colors we stock at our factory). Dyeing-to-order is one reason for the typical 4-5 weeks we quote for delivery of velour to us.

If you do not see a desired color in your samples, we can custom dye velour to match a sample you provide- perhaps a piece of carpet, wallpaper, or paint chip. We furnish a “lab dip”, which is a small sample of the velour dyed to your custom color for your approval before proceeding to dye the entire order.

Velour Weights: Velour is graded in weight per yard, which is a combination of number of picks per inch and the pile height. For example, 25-oz Memorable cotton velour weighs 25 ounces for one yard of fabric 54" wide. This is true for all of the velour fabrics. The weight given implies how much that fabric weighs for one yard of fabric.

Encore Brand Polyester Velour: There is polyester velour from another mill, called “Encore”. It comes in two weights: 22-oz (which is 64" wide) and 15-oz (which is 62" wide). 22-oz Encore is IFR and 15-oz Encore is DFR (durable flameproof treated). Both IFR and DFR Encore velour are permanently flame resistant. The difference is that in IFR, the chemical goes into the fiber, whereas in DFR, the chemical goes into the fabric after weaving. Thirteen colors are available. Custom colors are not available. Both fabrics are usually less expensive than the comparable cotton or polyester velour.

BACK AND SIDE CURTAIN FABRICSFor years, back curtains, side curtains and borders have been made of cotton fabric treated to be flame resistant. Recently, IFR polyester fabrics have been growing in popularity for the same reasons as polyester velour:

There is a large range of fabrics, colors, and appearance for these curtains. The customer will sometimes ask for your opinion or you may be able to guide their choice of color.

Black is the best color to recommend for background curtains for a stage because it doesn’t clash with anything in the scenery, lighting, and actors’ make up or costumes. It is easy to light and disappears from view more than other colors.

When advising customers on a color, keep in mind that the purpose of the background curtains is to form a background for the scenery and the actors, not to look “pretty” to the audience. The background curtains should disappear from the attention of the audience. Very attractive and colorful background curtains draw attention to themselves, when the audience is supposed to be looking at the action and scenery on stage. It is never a good idea to try and match the background curtains to the color of the front curtain.


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Nassau Chevron and Atlas Oxford Repp: These two cotton FR fabrics are the old reliables and have been for many years. They are both tightly woven cotton with a chevron type of pattern (which is not apparent to the audience) and come in 11 colors (we keep black in stock for both types). Nassau Chevron is about 14 ounces per yard and Atlas Oxford is about 17 ounces per yard, with both materials being 54" wide. We recommend no preference in choice. The Nassau repp curtains will cost about 10% less than the Atlas Oxford. If there is strong lighting from windows behind the stage, Atlas Oxford will be more opaque.

IFR 2000 Chevron Repp: This is woven in the same pattern as Nassau Chevron, but is IFR polyester in a variety of colors. Consideration should be given to the amount of light behind the curtains, particularly from windows on the back or sides of the stage, as IFR 2000 has a looser weave than others, and more light may transmit through the curtains. If this is a problem, consider a more opaque fabric as an alternative.

Regular Commando and Heavy Commando: These are 54" wide cotton fabrics treated to be FR. They have a matte kind of “felted” appearance. Regular Commando comes in four colors and is approximately 12 ounces per yard, which is probably the lowest cost of fabric usable for curtains. Heavy Commando comes in black only and weighs 16 ounces per yard. It is a blackout type of fabric so it is usable not only for stage curtains, but for light control curtains in darkrooms and other areas where light control is important.

Cyclorama (Cyc) Cloth: These are IFR polyester fabrics that are 72" wide. While sometimes used as stage background curtains, they are more generally used for TV studio background curtains (in which case, they are usually flat rather than pleated). They are available in black, beige, grey, ChromaKey Blue and ChromaKey Green (colors important to TV production work).

Doral: This is an IFR fabric with an IFR opaque vinyl backing. The front fabric is available in a range of colors, with the vinyl backing in either black or beige. Used most often for front curtains, valances, and blackout window curtains, this fabric is specified for background curtains in some areas of the country.

Icon: This has the same features as Doral, but is less expensive.

“SCENERY CURTAINS”There are several types of curtain that serve specific purposes on the stage other than a general side or back curtain. These include:

Muslin Drops: These are made of 100% cotton muslin treated to be FR. This is usually made flat (no pleats or fullness) with either a weighted bottom hem or a pocket in the bottom hem for a pipe weight. These are sometimes tied to an overhead pipe batten, sometimes operating on a track. Muslin comes in a variety of widths (9'0", 12'0", 16'5", 20'0", 25'0", and 33'0") so that curtains can be made seamless by railroading the fabric. For more economical curtains where the seams are not important, it can have horizontal seams by sewing together, for example, two 9'0" pieces to make an 18'0" high curtain. Sky Blue Muslin is called a “sky drop” and is usually behind the back curtain (the last curtain behind the back curtain) to represent sky. The only exception to our statement that all curtains we finish are either FR or IFR is when natural Muslin curtains are purchased to be used as a paint curtain for FR paints. In that case, the curtain is supplied NFR (non flame-resistant) to avoid any interaction with the FR paints.

Sharktooth Scrim and Leno: These are limited purpose specialty curtains in FR cotton. Sharkstooth scrim resembles mosquito netting and is always flat (no fullness or pleats) with either a weighted bottom hem or a pipe pocket bottom hem, usually being tied to a pipe or on a track. Sharkstooth scrim comes in white, black, blue, gray, or natural and is usually placed mid-way on the stage. When lighted from the front with no lighting behind, it appears opaque. When the lighting is reversed (lit from behind only), it appears translucent so that the audience


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sees through it to the scene set behind the curtain. Sometimes called a “dream” or an “illusion” curtain, scrims require good, strong lighting on both sides of the curtain to make it work properly. These curtains are always seamless and require that the curtain be taut and unwrinkled, thus the need for a pipe in the bottom. Leno is the same as the Sharkstooth scrim, only with the openings filled in. While it cannot function the same way as scrim, it is usable for a cyclorama curtain, lighting curtain, or a bounce curtain to soften and reflect projected light. Leno comes in white or gray in 20'0" or 31'0" widths.

Scrim and Leno are also available in a limited size range of IFR fabric.

SHOULD STAGE CURTAINS BE LINED?A common question is, “Should our new velour curtains be lined?” Generally, if the existing curtains are lined, the customer will want the new curtains lined. Certain areas of the country also have a tradition of having their front curtains and valances lined and want that tradition continued. Lining the front curtain and valance will add about 25% to the cost of the curtains. Is it worth it?

Our opinion is that it is not because the lining of a curtain is generally the first part of a curtain to show damage or vandalism. Lining a curtain primarily makes it look better from the back of the curtain. We don’t think it adds much to the appearance of the curtain from the stage, nor does it add to the life of the curtain. The customer, however, is paying the bill and we will line any curtain the customer wants lined. Please note, however, that window curtains should always be lined to protect against sun exposure and moisture damage.

Lining Cotton FR Curtains: The most common material used is Denim cloth, a light weight cotton FR fabric in black or beige. Also used is Ranger Cloth, a slightly heavier weight version of denim. If the curtain to be lined is

a window curtain then an FR white or ivory backed blackout lining should be used to protect against sun exposure or moisture damage.

Lining IFR Fabrics: It doesn’t make much sense to us to line an IFR curtain with a FR cotton lining, as we sometimes see specified. IFR curtains should always be lined with a compatible IFR lining, such as:

Poplin Cyc: 72" wide IFR polyester lining in black or beige

Linings should be in the same fullness as the curtain to be lined, sewed to the curtain heading at the top and along the side hems and fastened at the bottom hem to the face curtain with 6" long trim tabs.

WHAT ABOUT CURTAIN FULLNESS?The standard curtain fullness is 50%. Drapery workrooms may also call this 150% fullness. What it means is that there is a 6" pleat every 12". So if you have a track 10'0" wide, for example, then you would have 15'0" of curtain to be pleated down to cover the 10'0".

Occasionally, you will see a specification for 60% fullness, which is unusual and, quite frankly, not an industry standard. For 75% fullness, 9" of material would be pleated on 12" centers (for those who want extra fullness). Once in a while a customer will want 100% fullness, which would mean 12" pleated on 12" centers, or maybe 6" pleats on 6" centers, requiring more carriers on the standard stage curtain track. Drapery workrooms will sometimes write specification for 2x fullness, which in stage curtain terminology would be 100% fullness (twice the track width), or even 2-1/2 fullness, which is way too much fullness to use in stage curtains and needs to be brought to the owners attention to correct.


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FLAME RESISTANT REQUIREMENTSAll of our curtains are either treated to be flame resistant (FR) or made of fabrics that are permanently and inherently flame resistant (IFR). The only exception is natural Muslin, which can be non flame resistant and specifically ordered for paint curtains.

The standard code requirement for stage curtains is NFPA 701 (National Fire Protection Association specification 701). This should be accepted by any fire marshal. In addition, most of our curtains also meet the specifications of the New York Port Authority, Boston Fire Department, Commonwealth of Massachusetts, and the State of California.

ASTM E84-81a Standard Test Method for Surface Burning Characteristics of Building Materials certification, while not really a test for hanging curtains, is also available for most fabrics if needed. This provides a “Flame Spread Classification” number and is sometimes called the “tunnel test”.

Each curtain has a label attached stating the type of flame resistance for that curtain, with care and cleaning instructions. If a written certificate, including the manufacturer warranty, is required by specific customers, these are available on request.

MONOGRAMS, LETTERS, EMBLEMS, FRINGEWe can reproduce, in chenille embroidered on felt, any kind of monogram, emblem or logo, for the front curtain valance. We have a wide range of letter styles that go up to 36" high (see the letter style sheet). Send us a drawing of the special artwork the customer wants so we can see how complicated it may be so we can give accurate pricing.

Letters and emblems always go on the valance. We leave an appropriate flat unpleated space in the center of the valance onto which the letters or emblems are sewn. Customers may ask to have these letters or emblems sewed on the curtain itself, but this does not work and we do not have that service available. Our embroidery is done on a felt backing on the flat section of the valance, which does not fold into pleats.

Some advantages of having the felt backing for the letters or emblem are as follows: (1) it allows a two-color letter. The felt backing forms a “mat” edging all around the letter or emblem about a 1/2" wide. This felt edging can be (and we recommend that it be) furnished in a different color from the chenille itself. This darker or lighter edging makes the chenille part look sharper and deeper, making it stand out more from the curtain. Unless you specify a color, we pick a color for the felt that best matches the color of the valance. (2) The letters or emblem can be removed from the valance and reused.

We have done Masonic emblems, Christian and Jewish designs, tigers, lions, heraldic designs, etc. In short, if it can be drawn, we can reproduce it in chenille and felt. A wreath encircling the letter(s) is available, but they are expensive due to the amount of handwork required to make and sew the individual leaves in the wreath.

If 6" bullion is requested, our standard placement is to sew it 6" from the bottom of the valance so that the fringe falls in line with the bottom of the valance, not hanging 6" down below the bottom of the valance.

All valance tops have our extra-strong supported vinyl heading so that it can be tacked or stapled directly to the back of the proscenium wall or we will install Velcro tape on the top hem and send the matching pressure-sensitive piece, or we can install grommets and furnish zip ties to attach to a pipe batten.


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WHAT DO I CALL THE CURTAINS?Almost every area of the country has some different name for any stage curtain. Don’t worry about the name, just call it what you think is right and describes what it does or where it is on the stage. We’ll know what you are talking about from your description, not from what you call it. We have provided a page in this booklet for a more detailed description of stage curtains with the accompanying stage layout. This will help you learn the proper names for certain curtains on the stage and enhance your reputation as an expert stage curtain provider.

HOW DO I MEASURE FOR REPLACEMENT CURTAINS?The Measuring Instruction worksheets have detailed instructions that are easy to follow. If you don’t have a Measuring Instruction worksheet set, just ask us for some. They are free!

Unlike window draperies, stage curtains can be forgiving of little measuring errors. Tracks can be raised or lowered and curtains can be lowered using trim chains or extra S-hooks. Ends of curtains can be folded back or let pull away from track ends to make curtains narrower or wider. Just about the only error that cannot be corrected on-site is if the curtains are way too short (a foot or more).

We’re not advocating carelessness in measuring; naturally, you want to measure as closely as possible and have the curtain fit as well as possible. However, don’t go into the measuring terrified that an error of a few inches will cost you an arm and a leg to get corrected. Small errors can be compensated for during hanging. In the event that something really terrible happens, take a deep breath, call us right away, and we will make every effort to get you out of the bad spot.

USE US AS A RESOURCE- A CONFIDENTIAL RESOURCEIf matters get beyond what can be handled between us by phone, e-mail, or fax, you can give us the customer’s name and phone number and we’ll call the customer on your behalf (if you wish) and work directly with them to resolve any questions or to provide exactly what the customer is looking for and what we recommend they should have for curtains or track.

Your customer’s name is always confidential with us. We don’t sell curtains direct - we only sell through dealers. We won’t tell anyone else about your customer.

We are a resource to help you sell stage curtains, to look professional about it, to do a good job for your customer, and to let both of us make profit. Let us help you!

TRIMMING STAGE CURTAINSIt is a normal service when installing stage curtains to return to the job after a few weeks to “trim” the curtains. “Trimming” means adjusting the curtain and the track so that the bottom of the curtain is even with the floor and at the right height above the floor (about 1-1/2" is ideal so that the shoes of those behind the curtain can’t be seen by the audience. More than 2-1/2" is too high!). Cotton fabrics will shrink or stretch, depending on the humidity of the room, and it is up to the installer to make this adjustment in leveling or trimming. Naturally, not everyone does it, but we recommend it to you as part of the after-the-sale service that makes customers want to buy from you again.

Both cotton velour and cotton repp, in recent years, have shown a tendency to SHRINK rather than stretch after


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hanging a while. This tendency is so common that we allow some extra inches for shrinking on most cotton curtains. After you install the curtains, you will probably find that they have shrunk by one or two inches. The humidity of the room has a lot to do with it, but if you have to take a chance on whether a curtain will shrink or stretch, we bet on the shrink. If you install a curtain and you find that you cannot adjust to any higher than right at the floor, leave it for a week or so, and when you inspect it again, it probably will have shrunk to right where you want it.

The inability to completely control the shrink or stretch of cotton curtains is where the use of trim chains is particularly effective. Trim chains are smalls lengths of chain, about 4-6" long, that hook onto the eye of the carrier and hang down from the carrier. The S-hook from the curtain is then hooked into one of the trim chain links, starting with a link about half-way down the chain. This allows the curtain to be trimmed or adjusted either up or down on the chain, giving more or less floor clearance as needed.

When a track is mounted direct to the ceiling, eliminating any chance of curtain adjustment by raising or lowering the track, a trim chain can be a life saver.

When we supply ceiling mounted tracks, we automatically supply trim chains. We recommend you consider adding trim chains for all tracks you supply. At a cost of less than one dollar per chain, you have from 4-6" of adjustment possible on curtain heights.

If the floor itself is uneven, trim chains allow you to adjust various parts of the curtain to the same distance from the floor when the curtain is closing and opening, so that it appears straight across the bottom.

Polyester IFR curtain fabrics do not have the same shrink/stretch characteristics as cotton, but we think it is still a good idea to furnish trim chains for those as well.

WHAT ABOUT TV STUDIO CURTAINS?You may get some calls from your local school, cable station or public access station. Most of these small studios will have at least one curtain to use as a backdrop and many of them will have more than one.

The most typical arrangement is to have a curved I-beam track running along three walls of the studio to form a U-shaped track. The curtain or curtains move along this track to make backdrops for various camera setups. Usually these curtains are flat (no pleats, no fullness). In some circumstances the customer may want to have the option of having pleats, so we put the grommets on 6'0" centers in the heading, allowing the curtain to be pleated with pleats every 6", or every 12", or left flat: double purpose curtains.

Because of the lack of reflectance of velour, we like to use it for studio curtains. Velour comes 54" wide and cannot be railroaded, thus creating a vertical seam about every 50". If vertical seams are not acceptable to the customer, then 100" wide polyester cloth can be used and railroaded with one or more horizontal seams. Care is taken when making these curtains so that the horizontal seam does not occur at normal head height of the talent.

If seamlessness is required, curtains can be made in Muslin or leno scrim in up to 30'0" high without seams. This, of course, adds to the cost.

All curtains have our flexible weighted bottom hem and our standard reinforced heading construction.

Tracks, straight or curved, ceiling, wall mounted or suspended, with or without switches, are available.

You will find that there are not a lot of companies selling curtains and/or tracks to small studios and this may be a chance for you to make a sale, make a profit, provide service to a customer and establish a reputation for


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being a “problem solver”. As with stage curtains, many customers will have been told somewhere that they need something which really is not the best thing for them to purchase, such as a black curtain with box pleating (just like a stage curtain). Perhaps we can help you provide possible alternatives, along with the reasons why.

WHAT IF I MAKE A REALLY BAD MISTAKE?We naturally want every order to be as perfect as possible, with both the customer satisfied and our dealer happy. Sometimes measuring mistakes are made, but they don’t have to be ruinous. The only mistake we cannot correct is to make draperies longer if they are too short by a foot or so. We can make corrections to any other mistake. We can make them a little wider or narrower as required, or shorten them. Many times corrections can be made right on the job, so just call us first. If together we decide that the curtains have to come back, we ask that you pay the shipment charges back to us as well as the shipment charges to return the remade order to you.

We will remake, within reason, an order without making a charge for our remake work by using the original fabric. We think this is a pretty unusual policy, but we want your repeat business.

WHAT DO I DO WHEN THE CURTAIN IS WRINKLED?There is no way to pack a cloth curtain and ship it hundreds of miles by truck through all kinds of weather and still have it arrive wrinkle-free.

When you receive our curtains, there will be wrinkles. There will be fewer wrinkles in our curtains than in others’ curtains due to our extra care in boxing and packaging. The wrinkles will disappear as the curtain hangs over time. The higher the humidity in the room, the quicker the wrinkles will hang out. In an emergency, the curtains can be lightly steamed from the rear with your portable steamer to remove the worst of wrinkles. They can also be lightly sprayed with a wrinkle-easing solution. Be careful, however, because moisture can permanently damage a cotton FR treated fabric.

Wrinkles are normal, expected, and unavoidable, but will always disappear in time. Wrinkles most commonly occur in shipping and in the hanging process. Specialty takes extra care in packing curtains to avoid folds using curves instead of folds in the packing process. Be careful to avoid unpacking curtains and leaving them un-hung for any period of time. For best results hang the curtains as soon as possible.

ARE YOU USING THE SAMPLE KIT?It’s surprising how professional you can be when you’re fully equipped with samples: a sample curtain, a sample track, and colors of all materials (including fringe and letters). It helps to have measuring instructions and explanations of what to call the curtains as well as where they go on stage and what they do.

Best of all is the sample curtain which shows exactly how your curtain is made and how it compares to our traditional competition. This presents an opportunity for us to show the customer why our differences from other competitors represent value for them.

The kit is available for a small investment, with a money-back-if-you-don’t-like-it guarantee. UPS charges are added. Use “hands on” sales aid and it will help you sell stage curtains like a pro.


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ARE VELOUR COLORS EVER DROPPED?No. The velour colors in the line now have been in the color line for years and will be available for years to come. There is very little change in velour color availability since almost every stage curtain order is specially dyed. We do, however, strongly recommend that you renew your cloth samples every 3-4 years as your colors may have changed from exposure to light or from getting dirty in handling.

Please note that if you have samples in your possession that were ordered prior to 3-4 years ago, you need to purchase an updated kit. We can not be responsible for color problems that arise from using old color samples.

WHAT ABOUT CUSTOM DYED VELOUR COLORS?We can do it. Custom dyeing colors requires a minimum of 50 yards, but that’s the only requirement. If you cannot find a color you like in the velour color line, send us a sample of the color you want matched (a paint chip, a piece of carpet, or a piece of fabric) and we’ll dye it to match. A lab-dip sample is done first and sent to you for approval and sign off before the entire order is dyed.

You will see some colors in our key chain sets that you don’t see in the other’s sample books. That’s because we have had some colors custom developed and dyed for us.

WHAT ABOUT LINING WINDOW DRAPERIES?Yes, they should be lined especially if they are made of velour. Lining will help with light control and provide protection against sun-rot, fading and water damage. It also works to present a uniform appearance from the outside.

Our recommendation for lining is a blackout white or ivory backed lining. Linings for cotton FR fabrics should be cotton FR and linings for IFR polyester fabrics should be IFR, so that the lining characteristics match the curtain fabric characteristics. One also has to be sure that the lining fabric can be dry cleaned (vinyl backed linings often require special dry cleaning techniques). We offer complete stage curtain and window treatment dry cleaning and repairs.


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RECOMMEND BACK PACKS FOR TRACKSDemonstrate your stage experience and professionalism by telling your customers about one of the most overlooked accessories available for stage tracks and one that your competitors seldom think to suggest: back pack guides for rope-operated curtain tracks. This accessory adds greatly to t he attractiveness of the front curtain in particular because of its action in reversing the stacking of curtains.

Think for a moment how the normal stage curtain or window curtain operates: when you pull on the cord to stack the curtains at the ends of the track, the bundle of curtain forms in the middle and gets larger and larger as it moves along the track. If you stop the curtain anywhere along its travel, you have, right in the center, two big bundles of curtain.

Now, put the back pack accessory on the track, at the cost to you of about $2.00 per foot, and the curtains begin to bundle at the off-stage ends of the track (see illustration). With back packs, as you draw the curtains to the ends of the track, the pleats stay in place, and the curtains just seem to “slide away”. If you stop pulling the curtains anywhere along their travel, you have stretched-out curtains in view, looking like they were made to fit that length of track. All of the pleats are 12" apart with the bundle of stacked curtain at the off-stage ends of the track, often completely out-of-sight to the audience.

Back-pack guides also reduce the billowing of a curtain as it is being retracted since the bundle of curtain is not being pulled along the track, but being formed at the end of the track. This helps in cases where the curtains are stored in pockets.


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BACK PACK GUIDESSTAGE CURTAIN TRACKS WITHOUT BACKPACKS: Note how the “bundle” of curtain forms at the middle and gets larger and larger as the end of the track approaches.

STAGE CURTAIN TRACKS WITH BACKPACK: The bundles of stacked curtain form at the ENDS of the tracks, generally out of audience sight, and the curtains seem to “slide” off without breaking any of the pleats.


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UNIQUE PROTECTION: COVERS, NOT BAGSWhile others supply bags with drawstring tops for use in covering and protecting curtains, we’ve designed something much better: CURTAIN COVERS. These covers are made of 18-oz vinyl-coated polyester and come in a variety of colors to complement the curtains being protected.

Our curtain covers are usually 8'0" high and have the feature of being a wrap-around cover, not a bag. Bags are hard to pull up over a bundle of curtain, they have to be held with drawstring (a probable cause for wrinkling) and they hold dirt and trash in the bottom.

Our covers have sturdy plastic posts sewn inside both ends so that the cover is held up by the posts. To use simply wrap the cover around the curtain, pull it snug, and hold it with the adjustable Velcro-brand straps we firmly sew onto the cover. No pulling and tugging is necessary. All covers are permanently flame-resistant, washable and tear-resistant. Plus, there is no dirt collecting at the bottom.

WHAT ABOUT DOUBLE-FACED CURTAINS?Sometimes, maybe for a room divider or a curtain where both sides are going to be visible, you want a curtain that looks the same on both sides. This “self-lined” curtain is made by sewing two layers of fabric together at the top hem and holding the ends together either by sewing them together or by using Velcro-brand fastener to allow for future shrink/stretch adjustment. The curtain can be box pleated or flat without pleats and will have weighted bottom hems.

WHAT ABOUT SLANTED TOPS OR BOTTOMS, CUT-OUTS, OR STAIR STEPS?These are possible, although rather expensive because of the extra handwork. Slanted tops and slanted bottoms are available for either box pleated or pinch pleated curtains. Where curtains are hung on a wall alongside steps you may want the curtain heights cut to match the steps- in effect, a series of cutouts in the curtain. It can be done with very careful measurement on your part and very careful work on our part.

Where a curtain has to fit around a pipe projecting through it, or around a ventilating duct running through it, this can also be done with careful measurements on your part. Usually, the cutout is made from the top and held together from the top of pipe or duct to the heading with Velcro-brand tape.

WHAT ABOUT “OUT OF THE BLUE” REQUIREMENTS?Because of our combination of divisions within the parent company, we often are asked to do, and can do, very unique things with curtains. Before turning a request down, run it by us to see if we can do it.


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THE FOUR BASIC KINDS OF STAGE CURTAIN TRACKThese four tracks, all from Automatic Devices Company, represent the majority of stage curtain tracks in use.

A. #280 tracks, used for long and/or high curtains, usually operated by rope-and-pulley or by an electric operator. Each intermediate carrier includes a 5-link trim chain. #280 can be attached directly to a ceiling by screwing through the top of the track into the structure or by hanging it by chain from the structure, using the #2808 hanging clamps on maximum 7'0" spacing. #2808 clamps are furnished as a standard with each track, unless for ceiling mount. Wall brackets are also available. #280 tracks cannot be curved.

B. #170 tracks, the general purpose medium-duty stage curtain track, and the one we generally use on any curtains up to about 40'0" wide. This is the track and carrier sampled in your stage curtain kit. This track is usually operated by rope-and pulley for the front curtain. A walk-draw type of track is recommended for rear and side curtains, identified as #173. This #173 walk-draw track comes with carriers on 12" centers, end stops, hanging clamps on maximum 6'0" centers, and splices where required. #170 and #173 can be installed direct to the ceiling or suspended from the structure by chain, or wall-attached using the special #1721 and #1722 wall brackets. #170 tracks cannot be curved. Factory-made curves are available for the #173 wall-draw track, in 90-degree, 75-degree, 60-degree, and 45-degree curves at additional costs.

Sometimes you may want a track that does not have the center overlap made by two pieces of track bypassing each other, but where the center overlap is made by master carriers with long overlap arms. When #170 is used as a one-piece track with overlap made by master carriers, then it is called #260 tracks and uses #2602 master carriers.

C. #140 tracks, an I-beam track made of anodized aluminum, which can be curved, on-site, to a minimum radius of 24". Tracks can be operated by rope-and-pulley (#140) or walk-draw (#142R). They can be attached direct to the ceiling using #1423 ceiling clamps on maximum 4'0" centers or suspended by chain using the #4208 hanging clamps on maximum 4'0" centers.

D. #132 tracks, a light-weight aluminum I-beam track, also curvable on-site to almost any radius. #132 is walk-draw only. Attach directly to the ceiling using #1423 ceiling clamps on 5'0" centers or suspend by chain using #1308 hanging clamps on 4'0" centers.

Model 280, 170, and 140 are also available with black track and all black accessories.

ALL ROPED TRACKS use cotton-covered non-stretch ropes. #140 and #170 used #8 cord (1/4" diameter). #280 uses #12 cord (3/8" diameter). Replacement cord for almost any track is available.

ALL STAGE CURTAIN TRACKS ARE SHIPPED COMPLETE with accessories including rope and floor tension pulleys for roped tracks. Complete assembly instructions are included in each shipment. 2/0 Tenso double-loop chain and chain links for suspension of tracks are available if requested. We do not recommend the use of S-hooks to terminate chains into suspended tracks.


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MACHINE DESCRIPTIONSADC curtain machines are designed for specific purposes, and each has certain characteristics which should be taken into consideration during the selection process. ADC’s HERCULES®, SILVER SERVICE® and AUTODRAPE® lines include machines specifically designed to operate auditorium draw curtains, gym divider draw and lift curtains, and screen side, top and bottom masking curtains. The TOM THUMB® series machines are used for smaller and lighter weight applications of the same general nature as those described above. All curtain machine motors and control systems operate at line voltage unless otherwise specified. All machines are available with low voltage controls (standard on most machines).

AUDITORIUM DRAW CURTAIN MACHINESOffer relatively fast operation with variable speed control available as an option. Models with larger than normal cable drums, or with driving wheels and track-mounted limit switches are available on a project specific basis. Draw curtain machines cannot not be used for lifting; they are not designed for an overhung type of load.

SCREEN MASKING MACHINESAvailable to operate side, top or bottom masking curtains and are similar to auditorium draw curtain machines except that a sprocket or spool drive is used in most cases in place of the conventional cable drum. The speed and travel are much less than that available with an auditorium draw curtain machine, providing greater stopping accuracy. Screen masking machines with 6" diameter aluminum drums and 4" diameter steel spools are available for use in masking systems with top and bottom corded tracks and with continuous loop systems.

LIFT CURTAIN MACHINESIn general, utilize a high gear ratio and are intended for auditorium lift curtains. A magnetic brake is used to minimize the drift of the curtain. An auditorium lift machine typically moves the curtain at a somewhat slower speed than an auditorium draw machine. Top masking, gym divider, and similar lift machines generally operate quite slowly. Upon request, it is possible to increase the lifting speed with special drums, gear reduction units and variable speed drives. Altering the speed affects other characteristics of the machine and, therefore, must be designed on a per project basis. In addition to being designated for specific purposes, ADC curtain machines are also classified according to versatility within each category of use.

INTERMEDIATE MACHINES(Gym Divider) 1452, 2902, 6502, 933, 1453, 2903, 6503

(Auditorium) 936, 1456, 2906, 6506, 963

Tom Thumb: 872, 873, 1002, 1003

These machines have positive drives and limit switches but also have specific operational limitations. The machines in this category are true Stop-Start-Reverse types but can be operated at only one control location.


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VERSATILE CURTAIN MACHINES(Draw Machines) 934, 1454, 2904, 6504, 2905, 6505, 7005,

2928, 2917, 2950

(Variable Speed) 934-TV, 1454-TV, 2904-TV, 6504-TV, 2907-

TV, 6507-TV, 7007-TV, 8007-TV, 9007-TV, 9507-TV

(Side Masking) 940, 1460, 2910, 963S, 963

(Lift Machines) 936-SFR, 2907, 7007, 8007, 9007

(Tom Thumb) 872-MCS, 873-MCS, 1002-MCS, 1003-MCS,

1002-VEA, 1002-VED, 579

Versatile curtain machines provide complete flexibility of operation. All machines in this category are of the Stop-Start-Reverse type and can be used with any number of control switches. These curtain machines have magnetic control systems and are compatible with most automated controls. Low voltage control systems (optional on most machines) are available on all units within this category. Multi-Stop positioning is available on all but the variable speed and smallest units. When selecting a curtain machine for a specific application, the type of machine (lift, draw, etc.) should be taken into consideration as well as the method of operation (INTERMEDIATE or VERSATILE). On lift curtain applications, allowance must be made for friction of lines over pulleys, etc. We do not recommend that any curtain machine be selected on the basis of its maximum capability, but that a safety factor always be allowed.

WIRELESS REMOTE CONTROLADC’s Wireless Remote Control system is ideal for operating one or more drapery machines from a hand-held transmitter. The system, which operates by radio signal, allows total flexibility in room layout because furniture and/or drapery fabrics do not interfere with the signal. Receiver measures 4-3/8" long x 2-1/2" wide x 1" deep and requires a 11 0 volt power source. Transmitter measures 3" long x 1-3/8" wide x 3/4" deep. Start, stop and reverse control is standard.

Low Voltage Control is required on machines using Model WRC-1 Wireless Remote Control.


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STAGE CURTAIN TRACK


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WHAT IS INCLUDED IN THE COST?The following are always included in the quoted price of any stage curtain:

FLAME RESISTANT TREATMENT for all fabrics. A certificate is available on request.

NEW S-HOOKS , ZIP TIES OR TIELINES, as required for installation. (Snap hooks available at a slight increase.)

FREIGHT PAID to destination specified by you. Shipped Freight Prepaid.

FLEXIBLE METALLIC WEIGHTED BOTTOM HEM in all floor-length curtains. Not a chain; not lead; but a flexible galvanized steel-loaded strip sewed inside the bottom hem.

50% FULLNESS for all curtains, with a 6" pleat every 12" unless you specify more or less fullness or for scrims, sky drops or studio curtains.

EXTRA MATERIAL FOR REPAIRS sent with each kind of material we use in a shipment. Usually a yard or more, by full width, to be kept for repairs if ever needed.

MEASURING FOR CURTAIN HEIGHTWe sometimes get requests for quotations for stage curtains where the measurer has measured from the TOP of the track to the floor. Measuring from the TOP of the track always presents a problem in knowing the actual finished height of the curtain because there are many different kinds of stage curtain track, and each different kind has a different measurement from the top of the track to the top of the curtain.

For example, on ADC #280 track, our heavy duty track, we would deduct 12" to allow for track, carrier, S-hook, trim chain and floor clearance. Compare that to our #170 track, the medium-duty track. We would deduct 7" for track, carrier, S-hook and floor clearance. Other models of track would have different deductions. This not only makes a difference in price, but also a great difference in how the curtain fits on the track.

The same questions occur when you measure from the BOTTOM of the track to the floor. Different tracks have different size carriers, some have trim chains and some don’t. The difference can be several inches.

The best way to measure for replacement is to measure from the eye of the carrier to the floor, or measure the existing curtains (if they fit properly) from top to bottom, or measure from half-way down the trim chain (if there is one) to the floor. One of these three choices should be measured for replacement curtains. Be sure to tell us which way you measured so we can make the necessary allowances for it.

Your logical question may be, “What the heck is the ‘eye of the carrier’?” On the page showing the end sections of the four major kinds of track, we have indicated the eye of the carrier for each kind of track. Basically, the eye of the carrier is the little round hole into which you put the top part of the S-hook that connects the curtain to the moving carrier in the track.

Remember that stage curtains are forgiving and minor measuring errors can almost always be compensated for on-site. Tracks can be lowered or raised to fit curtains. The only non-adjustable curtain error is to make curtains too long when tracks are mounted on the ceiling and the track cannot be raised. For ceiling-mounted tracks, it would be best to give us the measurement from the eye of the carrier to the floor and let us make the necessary allowances. Or, if we are furnishing new ceiling-mounted track with the curtains, tell us the distance from the ceiling to the floor and let us make proper deductions.


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WHY AN “OPENING” MEASUREMENT REALLY DOESN’T TELL US ANYTHINGSometimes, when asking for a quotation for a front curtain, a dealer will tell us the “opening” is (for example) 30'0" wide, the track is already there and he needs a replacement curtain. This information leaves us at somewhat of a loss, because we wonder:

1. How long is the track that is already there? Does it extend beyond the opening on each side, so the curtain can be stacked out the way? How much of a center overlap does it have? By “opening” does the dealer really mean the track length from one end to the other end?

2. How high is the track from the floor? We need to know this in order to quote and fabricate a curtain. A dealer may tell us (for example) the “opening” is 30'0" wide and 15'0" high. Is this 15'0" from the floor to the top of the opening, or 15'0" from the floor to the track, or just what is it?

3. Is there a valance? If there is a valance, how high is it? How wide is it?

In short, giving us an “opening” size is not very helpful. The best way is to measure one-half of the track, then measure from the eye of the carrier to the floor. If there is a valance, measure the valance from one end to the other and from top to bottom. With these dimensions, we know exactly what is required for the replacement curtains. You can also refer to the directions on our Detailed Measuring Instructions form which gives measuring directions step-by-step, curtain-by-curtain. This form can be found at the end of this booklet.


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CENTER OVERLAP ON STAGE TRACKS “Center Overlap” is where the tracks run side-by-side for a short distance in the center in order to make the curtains overlap to insure a positive center closing that the audience cannot see through. This center overlap varies from track to track and from seller to seller. It is most important that we have the exact size of each track in order to make the curtains fit properly. This is why we ask, on all tracks with center overlap, that you measure ONE HALF OF THE TRACK, as shown below. This eliminates all questions of whether the overlap is included in your track length or not, how much the overlap is, and how long the track actually is. (For ex ample, if you tell us there is a 3'0" center overlap, this could be 3'0" past center on each half, OR 1'6" past center each half.) By giving us the length of one half of the track, we know the other half of the track is the same length. We then know exactly how wide to make the curtain.

A. This shows the center overlap which is where the two tracks are running side-by-side B. This is the distance to measure. Measure either of the pieces of track; both are the same size.

NOTE how the support lines to the two hanging clamps at the center of the track are bridled like an upside-down “Y”. Each track with a center overlap should be installed with a bridled center support line as shown, both to support the center of the track and to reduce swaying of the track.


page 20


WHAT ARE HEADERS?When cyclorama curtains are parted for placement of a flat open area, such as a door or window, a bare space is left immediately above the door or window. The HEADER is used to cover and fill in this space. A SINGLE HEADER is 4'0" wide. A DOUBLE HEADER is 6'0" wide. Headers allow 6'6" from the header bottom to the floor and should be ordered at the same time as the rest of the curtains to allow for dye match. Headers are usually tied to the same pipe that the side or rear curtains are tied to, if they are on pipe battens, OR sometimes tied onto the track in the bare space left when the curtains are pulled aside OR sometimes special fittings are used that hook onto the track and provide a 4'0" or 6'0" wide pipe onto which to tie to the header.

WHAT IS NORMAL DELIVERY TIME?We stock certain popular colors of 25-oz Velour and 16-oz Velour, Nassau Repp, Oxford Repp and Super Commando cloth in black. If we have materials in stock, shipment can be made within two to three weeks. If we have to order the velour, shipment should be made within six weeks. Letters and emblems for the valance require five weeks from the date of the order to produce. Lead time for velour that is specially dyed to match is six weeks before it is shipped to us.

All of these estimated shipment lead times are typically three weeks longer during the months of July, August, and September when order volumes for schools is very high.

If you have a specific deadline, call us. Let us know what you need and we’ll tell you right away if we can get it done in time.


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STAGE CURTAIN TERMINOLOGYAny stage having all of the curtains we describe and show would be very complete and unusual; but you should know the names and uses of these curtains. Please refer to the drawing on the next page which shows the usual location of the curtains we list below.

Valance (A) Hangs in front of the front curtain and is made of the same material as the front curtain. The valance may have monograms, emblems and fringe. It may be tied to a pipe or tacked or stapled to the back of the opening wall and is sometimes called the front teaser.

Front Curtain (B) The curtain the audience sees when the stage is closed off before performances. Sometimes called house curtain, act curtain, main curtain.

Tormentors (C) Narrow curtains made of the same material as the front curtain, used to frame the stage, and block audience from seeing sides of the stage. Not often used.

Back and Side Curtains: The name for all the curtains behind the front curtain. The type of setting used for schools is usually either the Theatre-type or the School-Type shown on the next page, but many high schools will also use the type of setting shown in the large drawing at the top of the page in which the legs are parallel to the front curtain. They may be on pivots so that the legs can be adjusted at angles to the front curtain.

Borders (D) These are short curtains to block audience view of the top of the stage and the stage lighting. They are sometimes called teasers, sky borders or sky valances and are usually tied to a pipe.

Legs (E) Side curtains to block audience view of the sides of the stage.

Intermediate Curtain (F) Some stages have one or more curtains that can be used to make the stage shallower so that an act can be presented in front of the intermediate curtain, while scene changing is done behind the curtain. This is sometimes called an opera curtain, olio curtain or mid-curtain.

Scrim (G) An open netting type of curtain. When lighted from the front it is opaque. When lighted from the back it is translucent and can be seen through. Good lighting is required to make this special effort work.

Rear Curtain (H) The curtain at the back of the stage used to keep the audience from seeing the back wall of the stage.

Sky Drop (I) A blue muslin curtain, usually behind the rear curtain, used to represent sky for outside scenes or through windows. If this curtain is made of natural colored muslin for painting scenery on, it is called a Scenery Curtain. It is always flat - no pleats.


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CENT ER OVERLAP ON STAGE TRACKS


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ACCESSORIESSTANDARD BOX PLEATED VALANCE

Standard with 6" pleats on 12" centers, for 50% fullness to match the front curtain. Other fullness and pleating is available. The valance is either TACKED UP to the rear of the proscenium wall or made with GROMMETS to be tied to a batten. Letters, emblems, and 6" fringe are available, as are slanted tops, peaked tops and custom cut-outs.

ROUND TOP VALANCES

Round top valances can be made for the stage valance or for matching window draperies in the standard box pleated style. They usually require a paper pattern be furnished to insure that the new valance fits the actual curvature of the opening.

PINCH PLEATING

Draperies are available with Double-Fold pinch pleats, as shown to the right, in a range of fullness. 50% fullness has pleats on 6" centers; 100% fullness has pleats on approximately 4" centers. Draperies are shipped banded in folds, with pins inserted or in a hardware bag. Triple-fold pinch pleats are not available due to the thickness of most stage curtain materials. Pinch pleat headings do not have the strength of box pleat headings. Round top or slanted valances are not available with pinch pleats.

HEADERS

When cyclorama curtains are parted for placement of a flat such as a door or window, a bare space is left immediately above the door or window. The HEADER is used to cover this space. A Single Header is 4'0" wide and a Double Header is 6'0" wide. Headers allow 6'6" from header bottom to floor and should be ordered at same time as rest of curtains to allow for color matching.


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CURTAIN COVERS

Stop worrying with bags that have to be pulled up around the curtain and then tied to hold them up. Our unique CURTAIN COVERS have rigid plastic supports encased within the side hems, allowing the covers to be wrapped around the bundle of curtain, and then held together with Velcro® brand hook-and-loop tape. Bags collect trash and wrinkle the curtain. Our covers don’t. They are constructed of 18.5 oz. vinyl-laminated polyester in black, grey, white, blue, red, yellow or green. Flame resistant, tear-resistant and washable.

LETTERS AND EMBLEMS

Letters and emblems are made by embroidering chenille thread onto a heavy wool/rayon felt backing. Letters are available in the five letter styles shown or in custom styling to match any sample. Standard sizes are 10'0", 12'0", 15'0", 18'0", 22'0", 24'0", 30'0" or 36'0" in a selection of 18 colors. About 1/2" to 1" of the felt background projects beyond the chenille all around the letter to allow sewing space. This enables you to select the color of the felt background as a different color from the chenille. You could have, for example, a red letter with a white edging, OR a red letter with a matching red edging, either at the same price. Our skilled embroiderers can reproduce in chenille and felt any emblem or design, from the most simple to extremely detailed styles. 6" BULLION FRINGE is stocked in white, black, antique gold or bright gold with many other colors available.




Stage Curtain Specifications

Part 1-General

Part 2-Product: STAGE CURTAIN SYSTEMS

Part 3-Execution

1-2

2-4

4


page 1

SECTION 116143 - STAGE CURTAINS

PART 1-GENERAL DESCRIPTION A.

General: Provide operable draperies in accordance with this document and plans. 1.

Related work specified elsewhere. 2.

Rough carpentry for wood blocking and support grounds. a.

Miscellaneous metal for framing and reinforcing. b.

Optional: Electrical power requirements and controls for motorized draperies. c.

QUALITY ASSURANCE B.

Provide operable draperies from a firm that has specialized in the fabrication and installation of such work for at least 1. one (1) year in projects of similar size and scope.

Provide operable draperies as complete units produced by a single manufacturer, including the necessary mounting 2. brackets, hardware, fittings, fastenings, and installation.

Installation shall be performed by an authorized manufacturer’s representative experienced in the installation and 3. maintenance of such assemblies.

STANDARDS C.

Except as modified by governing codes and contract documents, comply with applicable provisions and 1. recommendations of the following:

Fabrics shall be flame resistant in accordance with NFPA-701 test requirements. a.

Flame proofing shall leave the fabric cleanable, dimensionally stable, and resistant to UV deterioration. b.

Optional: All electrical components and systems shall be listed by the Underwriters Laboratories, and all wiring shall c. be performed to National Electric Code (N.E.C.) standards.

SUBMITTALS D.

Manufacturer’s Data: Submit specifications and operating and installation instructions for draperies. 1.

Samples: Submit 24" x 24" samples of fabrics(s) selected, plus a full range of available color selections. Submit 2. a sample curtain showing the top hem, bottom hem with weighting system, a vertical seam, center turn back arrangement and grommets. Sample curtain shall be retained as a quality control sample for the furnished curtains.

Any deviation from curtain fabrication specifications or track and hardware specifications contained herein shall be 3. specifically noted in the bid submitted.

Maintenance Instructions: Submit manufacturer’s printed instructions for cleaning and maintenance of the products. 4.

Optional: Submit wiring diagrams detailing the wiring for motorized operation, relays, low-voltage interfaces, and 5. switch locations.


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PRODUCT DELIVERY, STORAGE AND HANDLING E.

Subcontractor shall not deliver the draperies until area(s) containing draperies are painted and ready for stage curtain 1. installation. Draperies and components shall be protected from damage during delivery and installation.

WARRANTY F.

A written warranty agreeing to repair or replace hardware or fabric due to faulty material, workmanship or installation 1. for a period of one (1) year.

PART 2-Product: STAGE CURTAIN SYSTEMS MANUFACTURER A.

General: Provided an operable stage curtain system as produced by one manufacturer. Products specified herein by proprietary designation are as provided by The Specialty Group and establish the quality standards required. Equivalent products of other manufacturers will be considered provided they meet those established standards and comply with the contract documents and deviations are clearly stated.

The Specialty Group

3009 Lincoln Ave.

Richmond, VA 23228

800-817-1204

804-264-3700

www.TheSpecialtyGrp.com

FABRICATION B.

Specifications for STAGE CURTAIN SYSTEMS consist of the following:

Stage curtain heading shall be fabricated as follows: one continuous strip of 3-1/2" wide waterproof plasticized flame 1. resistant 10 oz. buckram and one continuous strip of 3-1/2" wide 18.5 oz. flame resistant supported vinyl material, finished by 1-1/4" wide flame resistant binding tape folded in half and sewed down, with finished ends. There shall be three rows of nylon lock-stitching running the full length of the top hem on all floor length curtains.

Stage curtain sizes are based on track or pipe batten size, to which 50% fullness is to be added (plus turn backs where 2. used). There shall be no horizontal seams in the curtains and no less than half-widths shall be used.

Side hems shall be 2" wide. Turn backs; each panel of the front curtain shall have a turn back at both ends; 12" folded 3. back at each end, sewed across the top hem and grometted through both layers.

Bottom hems are to be 6" (front curtain), 2" deep (borders), and 3" deep (all other curtains). Galvanized metallic 4. weights in a segmented supported vinyl weight pocket strip shall be sewed inside the bottom hem of all curtains except borders. Chain weights are not acceptable. All hems shall be lock-stitched with a matching nylon thread. Blind-stitching on bottom hems is not desired. All selvages shall be trimmed and surged together. “Butterfly” type of seams, whether clipped or not, are not permitted.

If less than a full width of fabric is required to accomplish the specified fullness, no less than one-half widths shall be 5. used, and they shall be located at the extreme ends of each stage curtain panel.


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Stage curtain Grommets: Grommets on 6" and 12" centers shall be placed in the top hem. Grommets shall be 6. Stimpson No. 2 brass, chemically treated to be black and non-rusting or equal. Valances shall have grommets on 12" centers, where required.

Pleats: All pleats (except valance pleats) shall be round pleats formed by grommetting, not sewed. 6" of material 7. shall be gathered into a pleat every 12" and fastened with a 2-1/8" zinc-plated S-hook or an 18" tieline, whichever is appropriate, which shall be inserted on the job site. Valance pleats shall be formed of 6" of material every 12" and these box pleats shall be sewed down the two rows of stitching across the top hem.

Optional: linings shall be equal to the widths of the face fabric, joined to the face fabric at the top and side hems, and 8. with 6" twill tabs at 3'0" centers across the bottom hem.

FABRIC(S) C.

Fabric selection shall be 1. :

The COLOR AND NAME OR WEIGHT velour used for the curtains is made of 100% cotton and contains no asbestos. a. The fabric has been flame-retardant treated by the Pyrolux immersion method and has been registered and approved by the California Fire Marshal under California Administrative Code Title 19 Paragraph 1237.1 and the New York Board of Standards & Appeals Calendar No. 294-40.S., and NFPA 701 Small Scale and Large Scale. Annual testing is recommended as atmospheric conditions may reduce the degree of flame resistance.

This velour has a Class I or A rating after testing with the procedures and equipment specified by ASTM E84-81a b. Standard Test Method for Surface Burning Characteristics of Building Materials. Flame Spread is 0-15, and Smoke Developed Is 450 or less according to this test. The fabric is woven and flame retardant treated by KM Fabrics Inc. of Greenville, SC. The product used is Pyrono KM, a stable blend of inorganic salts.

Denim Lining: The black denim fabric used for lining the front curtain and valance is 100% cotton fabric which has c. been treated by immersion to meet the requirements of NFPA Standard 701 for flame resistance.

The IFR “Prestige” velour was manufactured in the USA utilizing 100% Trevira FR polyester type CS yarn produced d. by Hoechst Celanese Corp. Flame resistance is permanent for the life of the fabric and it can be washed without losing the flame resistant properties inherent in the yarn. The fabric contains no asbestos and complies with the laws of the State of California, NFPA 701 Small and Large Scale, the Boston Fire Department, the New York Port Authority, and the Commonwealth of Massachusetts.

The ICON IFR fabric with vinyl back is woven with Inherently Fire Resistant fiber creating a fabric which will remain e. fire resistant for the life of the product. The warp yarn is a 2-ply 150-denier and the filling is a 3-ply 150-denier. This fabric has been tested for NFPA-701-1999 (Small Scale) and NFPA-701-1989 (Large Scale), and ASTM E-84 Class 1 or A, the City of New York Board of Standards and Appeals Bulletin #44, and the California Fire Marshal Section 13115 Registration No. F-23203. The vinyl backing is inherently flame resistant. Spot wash with mild soap and follow with clear rinse. This fabric should not be machine washed or dry cleaned.

The DORAL IFR fabric used is Inherently Flame Resistant, made of 36% modacrylic, 33% Saran, 25% rayon and 6% f. polyester backing with 100% flame resistant vinyl backing, and meets the requirements of NFPA 701 for flame resistance. The construction is 40 warp yarns by 28 filling yarns, weight of 24 ounces per lineal yard 48" wide, including 10 ounces of vinyl laminated to the face fabric.

The Nassau Chevron Repp used for the curtains has been treated to be flame retardant. This fabric will self-g. extinguish after being exposed to sources of ignition including flame or heat. This fabric meets NFPA 701 Small scale test requirements. Annual testing is recommended as atmospheric conditions may reduce the degree of flame resistance.

The Atlas Oxford Repp used is 100% cotton Herringbone weave, 54" wide, weighing 18-oz per lineal yard, and has h. been flame retardant treated to pass NFPA701 Small and Large scale tests. Annual testing is recommended as atmospheric conditions may reduce the degree of flame resistance.


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The Super Commando fabric used is 100% cotton filling with sateen weave, construction 50x50, weighing 16-ozs. i. per lineal yard 54" wide and has been treated to meet NFPA 701 and State of California requirements for flame resistance.

The Regular Commando fabric used is 100% cotton warp sateen weave, construction 96x56, weighing 12 ozs. per j. linear yard 54" wide and treated to be flame resistant to pass NFPA 701.

The IFR 2000 Chevron Repp used is made of 100% IFR polyester and meets the requirements of NFPA 701 for flame k. resistance. The fabric is inherently flame resistant and can be washed without removing the flame resistance.

None of the fabrics used for this order contain asbestos.

Flameproof: Materials used in this work must be flame-proofed by immersion or inherently and permanently flame 2. resistant. A label on each curtain shall indicate whether the curtain is permanently fire resistant, or whether it requires re-treatment after dry cleaning. Care and maintenance instructions shall be printed on each label. Additional material shall be shipped with each curtain for use in future repair if needed for flame resistance testing.

Top hem materials including binding and weighting system in the bottom hem shall be flame resistant. No non-FR 3. materials and no lead products are to be used in the curtain fabrication.

PART 3-Execution EXAMINATION A.

Examine substrates, adjoining construction and conditions under which the work is to be installed. The work shall not 1. proceed until unsatisfactory conditions have been corrected.

PREPARATION B.

Install stage curtains with hardware in accordance with manufacturer’s recommendations. 1.

PROTECTION C.

Protect stage curtains from soiling or damage after hanging. Provide Specialty Curtain Covers of heavy vinyl to protect curtains while not in use.

MAINTENANCED.

Vacuum thoroughly annually.1.

Dry clean every 5 years to remove embedded dirt.2.

Maintain consistent facility humidity to reduce curtain shrinkage3.

Re-flameproof curtains according to local fire or other codes or after each 3-5 cleanings in no code requirement4.

Repair all minor curtain tears as soon as noticed to prevent from major damage to the curtain.5.




Typical Stage Layouts

Working Space

Suggested Cyclorama Layouts

Site Lines

1-4

5-10

11-12


page 1

WORKING SPACE

It’s always surprising, and frustrating, how so many stages can be designed without adequate working room for stage presentations, without planning for good sight lines for the audience and without even considering what happens on the stage. It’s not unusual to see a stage layout like Plan A on an architectural drawing. This stage is designed like a “hole in the wall”, with no working space, no way to cross from one side of the stage to another and with the side and rear curtains hanging directly in front of the walls of the stage.Unfortunately, all too many stages have to contend with this kind of stage planning and this kind of work space, so they may come to you with hope that you can do something for them-and you can.

To understand what can be done for a school stage with inadequate working space, you first need to understand what adequate working space is. There are some “rules of thumb” sizing guidelines that can let us quickly lay out a usable stage:

1. The proscenium arch is the frame through which the audience observes the action on stage. This opening will normally be supplied with a front curtain that opens in the middle and pulls back to both sides of the stage. It will also usually have a valance matching the front curtain, usually dead hung (meaning it doesn’t move) by being tied to a pipe or stapled or tacked to the rear of the proscenium wall. An attractive size for the proscenium opening is to be 50% as high as it is wide. For example, a 30'0" wide opening should be 15'0" high. Of this 15'0" height, the valance should fill 1/4th to 1/3rd of the space. This varies according to no specific rule, but according to what will look best in that specific location. The 15'0" opening of our stage then, would have a valance 3'6" high of which 3'3" will be visible below the arch, leaving an opening for audience viewing of ll'9" from stage floor to bottom of valance. It’s not necessary for the front curtain to be more than 18" above the bottom of the valance, so our front curtain is going to be (ll'9" + 1'6" =) 13'3" high. The width should be one half of the opening of 30'0" is 15'0", plus a center overlap of l'0", or 16'0". Most stages have a stacking space on each side of the opening and most curtain tracks will stack to 2" to 3" of stack per foot of track, so our track of 16'0" will need 32" to 48 of stack, depending on the track size. Most tracks for a 30'0" opening are the medium size track. We’ll figure 32" of stacking is needed, so each half of the track will be 15'0" + 1'0" + 2'8" = 19'0" (rounded off to even feet, since you pay for even feet when buying track). Now we know that each half of the front curtain is 19'0" wide by 13'3" high, and the valance is 31'0" wide (30'0" + 6" overlap on each side) by 3'6" high.


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2. Since we’re working on a new stage, we need to plan for the cyclorama curtains. “Cyclorama” has come to have the general meaning of “all curtains behind the front curtain” and that’s how we will be using the term. A true cyclorama is a curved construction or curtain, beginning behind the front wall of the stage on one side, curving toward the back wall, running parallel to the back wall, and then curving back to the front wall. This cyclorama can be a carpenter built painted wall (rare) or a seamless curtain tied to a curved pipe suspended from the ceiling. True cycloramas are seldom used on a primary or secondary school stage. Our cyclorama curtains are curtains hung from tracks or pipes in various arrangements. A good rule of thumb for our cyclorama setting is that the stage should be half as deep as the opening is wide. For the 30'0" opening we have, the stage setting should be 15'0" deep, which means the rear curtains should be 15'0" from the front wall. We need to check the actual stage depth from front wall to back wall, and be sure that we leave at least 3'0" between the back wall and the back cur tain, to allow for crossing from one side of the stage to the other side behind the curtain out of sight.

3. It would be best if you do the rest of the layout on graph paper, so that you can scale the side curtains and the borders. A scale of 1/6" to 1'0" is easy to work with. Draw the general outline of the stage, and then put in the back curtain we have just sized. Find the center line of the stage and put the center of the back curtain on the stage center line. It’s a good idea to put a center overlap in the back track, so you don’t have a gap where the two halves of the curtain meet. The front opening is 30'0", and the rear track should be narrower since the stage setting area should be narrower in the back than the front opening. The sight lines you are going to draw as described in Working Space 2 will determine the width of the rear curtain track. Let’s say for now that you determine that the stage should be 25'0" wide at the back. Half of 25'0" is 12'6", plus a 1'0" center overlap, so each half of the track will be 13'6", and the track will be 25'0" from one end to the other. Draw the 25'0" track on your scaled layout.

4. The typical school, church or small performing arts stage has two sets of side curtains. Locate a point 1'0" behind the front curtain and 1'0" off-stage from the proscenium opening, and draw a line from that point to the end of the rear curtain track on the same side of the stage. This represents the side curtain track. You obtain the length of the track by measuring the length of the line. The height of the rear curtains and the side curtains can be estimated as the same height as the front curtain. You should check to be sure what this height is by drawing a vertical sight line, described in Working Space 2.

5. The typical stage setting has two or more borders, short curtains running from one side curtain to the other side curtain. Borders have two purposes: (1) to hide the border lights on the stage; (2) to prevent the audience from seeing the ceiling of the stage. Until we draw the vertical sight lines, estimate two borders, divide the stage into thirds, and draw one border in 5'0" behind the front wall (our stage setting is 15'0" deep divided by 3 = 5'0".) The second border will be 10'0" behind the front wall. Measuring each line on the scaled drawing will tell us how wide each border is. We will estimate the height of the borders as being the same height as the valance until we can check it by sight lines.

Some things to watch out for when planning borders:

A. If there are border lights present on the stage, you need to plan a border for the audience side of each run of border lights.

B. All borders should be the same height from the floor. It is not current procedure to try to establish perspective by making each border progressively lower than the one in front of it. Borders may have to be different heights because of some masking problem, but the bottom of all borders should be the same distance from the floor.

Now you have a “typical” stage planned. You may need to modify it after you check working space requirements. The absolute minimum space between curtains and walls for the back curtain and the side curtain is 3'O". More is desirable, but sometimes hard to obtain. “As a minimum, it is generally considered that the clear, unobstructed


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width of a stage should be twice the width of the proscenium arch, divided equally to each side. The stage depth should equal roughly one and one-half the width of the arch...A proscenium width of 30'0" to 40'0" is standard for most dramatic productions. Musicals can afford slightly larger openings, and opera prosceniums may extend to 75'0" in width.” 1 This kind of work space is difficult to obtain on the normal school stage, but you will often find proscenium openings much larger than the 30'0" or 60'0" suggested. The “let’s have enough room to get the whole band on the stage if we need to” syndrome is much in evidence in secondary schools or large houses of worship.

When describing your plan for the stage to your customer, you will find yourself needing to give locating directions, and you will want to be professional in your wording. There is a standard way to describe location on a stage which you should use. All stage directions are given from the actor’s viewpoint when he/she is looking at the audience. Picture yourself standing in the center of the stage looking at the audience. Whatever is to your right is STAGE RIGHT. Whatever is to your left is STAGE LEFT. Whatever is toward the audience (in front of you) is D0WNSTAGE. Whatever is behind you, towards the rear wall, is UPSTAGE. Whatever is behind the curtains or scenery surrounding you, that the audience cannot see, is OFFSTAGE. OFFSTAGE RIGHT means that something is behind the curtains on your right. If you become accustomed to using these terms, your meaning will always be clear to your customer, to us, and to all other stage professionals.

“Upstage” and “downstage” probably came into usage because of the early stage habit of producing “forced perspective” by slanting the stage floor uphill from the audience, to produce the effect of seeing into the distance, of making the stage look deeper. Perspective scenery for the sides and the border curtains all directed the eye towards a vanishing point in the center of the back wall of the stage setting. Since the sides slanted toward that vanishing point, and the overhead border curtains got progressively lower towards the rear, the floor of the stage was also slanted uphill so all four lines guided the eye to the center rear. Even though general forced perspective is no longer used except for elements of scenery, the sides of the stage performance area still slant towards the back to provide perspective adjustment, an adjustment of a stage set to produce for a member of the audience the same visual pattern as would be produced if he were present in the actual area. A more complete description of perspective adjustments is given in Welker, page 133 (see bibliography).

Another reason for the slanted sides of the performance area is consideration of what the audience can see. The further away from the center of the stage a member of the audience sits, the less of the back part of the stage he/she can see. Making the back of the stage area less in width than the front part is an attempt to keep the back part more in keeping with what a good part of the audience can actually see.

The position of power on the stage is downstage, closer to the audience, and facing the audience. When one is “upstaged”, one has another actor moving between the actor and the rear wall, making the front actor turn toward the upstage actor, and thus turning away from the audience and losing the power position. Or, if the upstaged actor doesn’t turn toward the upstager, the motion of the upstager draws audience attention away from the upstaged actor. Either way, actors don’t like to be upstaged and lose the power position, and that’s probably how “upstaging” came to have the connotation it has in general conversation. This, of course, has nothing to do with curtain sizing, but it’s one of the little bits of stage lore it’s helpful to know about, because it can help establish your credentials as a knowledgeable stage curtain supplier. (Factors affecting the audience’s power of attention are discussed at greater length in Welker, page 196.

The stage shown previously on page 1, while sadly typical of many stages, is also a stage that provides none of the working space a stage needs. Think for a moment of all that goes on behind the scene in any stage presentation-

1 Arnold, Richard L., Scene Technology (Englewood Cliffs, NJ: Prentice Hall, 1990) p. 196


page 4


even the first grade song group.

Somewhere behind the curtains at least one teacher is standing in as stage manager. Also there is at least one student who is working lights, and another student who is working the curtain, and another student who is working sound. There’s quite likely two, three or four students who are in charge of getting props and scenery on and off, and several others standing by waiting for their time to appear, and probably several other miscellaneous bystanders who are just observing.

These people all have to stand somewhere out of sight, and somewhere handy to the performing area there has to be an area in which small props and small flats or scenery elements can be stored for quick use. Maybe the piano is also back there, and some extra lighting equipment, and a microphone stand or two. And quite likely there’s storage of tumbling or wrestling mats or other phys ed equipment waiting for the stage to be vacant to double as a small gym.

Then consider what the actors or performers are going to do. Maybe in a little skit, one actor exits the stage on stage left, but for some reason needs to come back on stage from stage right. How does he get across the stage without being seen? If three actors have to come onto the stage from stage left, how do they get over there? Exits, entrances, and crosses are all done behind the scenery or behind the curtains, so there has to be space between the curtains and the surrounding hard walls for people to walk, people to stand, and people to store things.

This space is the “working space” that every stage needs and suffers greatly from if it isn’t provided. So if it isn’t there, it may someday be up to you to suggest how to make it appear.

And even on the worst kind of stage, Plan A, you can make space appear by arranging the curtain layout. The easiest way to do this is to just not pull the front curtain all the way to the ends of the track. Please read about back pack guides on page. Allow at least 3'0" on each side of curtain extension, which will look normal and attractive because the back pack guides have made the curtain stack at the on-stage ends of the track, leaving the pleats in position in that unstacked 3'0" part. This gives you 3'0" of off-stage working space on each side, because you will then plan to start the down-stage (toward the audience) part of the side track 3'0" from the wall and about 1'0" behind the front curtain track. This side curtain will then slant back toward the rear wall and stop at least 3'0" from the back wall-and there’s your working space.


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SUGGESTED CYCLORAMA LAYOUTSThe following layouts are not to scale, and are shown as basic suggestions only; they can be modified and changed endlessly to meet specific local conditions and requirements.

LAYOUT # 1

This is probably the basic elementary school arrangement. Each side track has two curtains, and each section of rear track has one curtain, providing seven entrance/exit points.

LAYOUT # 2

Another basic layout, with the added advantage that all the curtains on each curved track can be pulled around to the front of the stage for stacking, to open the stage for activities. Another length of curved track could be added as shown by the dotted lines, to allow the curtains to be pulled along the wall for out-of-the-way storage. There should be two sections of side curtain and one section of rear on each side.


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The following layouts are not to scale, and are shown as basic suggestions only; they can be modified and changed endlessly to meet specific local conditions and requirements.

LAYOUT # 3

Much the same as layout #2, except that the curves are less than 90 degrees, so the sides of the stage slant toward the back of the stage.

LAYOUT # 4

The four side curtains could be dead hung on pipe battens, or could be on walk draw tracks, allowing them to be gathered for storage at the off stage track end, thus opening the stage up for scenery placement. These side curtain tracks could be extended to the stage side wall to get the curtains completely off the stage, as could the tracks for the two sections of rear curtain.


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LAYOUT # 5

This is an adaptation of #4, and represents a more versatile stage. The four side leg curtains are attached to pivot fixtures, allowing them to be rotated 360 degrees, so they can be set at any angle from parallel to the front curtain (producing a layout like #4) to perpendicular to the front curtain, producing a layout like #1. Note that the legs are installed between the borders, allowing the pivot fixture room to turn.

LAYOUT # 6

Here is probably the most versatile layout for an elementary or secondary school stage. The side legs are on a pivot fixture, but the pivot fixture, instead of being immobile, is now installed in a length of track, so it can be moved back and forth, anywhere along the length of track. Now, the side legs can be rotated anywhere from parallel to perpendicular to the front curtain, and moved on stage or off stage, to widen or make narrower the stage. The tracks in which the pivot fixtures run could be make long enough to end at the stage side walls, allowing the leg curtains to be stacked along the side wall, completely off the stage, out of the way. Note that the pivot leg tracks run between the borders, so the pipe on which the curtain is tied has room to rotate between the borders.


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LAYOUT # 7

This is a very traditional layout. The side legs are either stationary (tied to a dead hung pipe batten) or on lengths of walk draw track, and are installed closely behind the borders. An intermediate curtain is used, to close off the rear part of the stage. The tracks for the intermediate curtain (A) could be longer than the curtain, so that the stacked curtain is off the stage when it is not in use, OR, if back pack guides are used the ends of the curtains could be left extended on stage, to form another set of leg curtains.

LAYOUT # 8

This is a traditional and very complete high school stage. Two pair of intermediate curtains (CA and CB) is used allowing progressive closing off of the stage. There is a scrim curtain (D) between one third and half way back from the opening, and a sky drop curtain (A) behind the rear curtain (B). Both the sky drop and the scrim is one way roped tracks which extend off stage far enough to allow the curtains to be stacked and wrapped for storage off the stage. The side legs (E) can be either tied to pipes or on walk draw tracks. This layout requires extensive lighting, both to make the scrim work and to light the back parts of the stage. (Borders: F)


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LAYOUT # 9

Above is another adaptation of layout #8, but with the addition of pivot fixtures in tracks for the side legs, allowing them to be rotated and moved on and off stage. This is a more versatile stage layout than #8 and costs only slightly more.

LAYOUT # 10

One sometimes sees a layout like this that seems to be designed to produce a small or large stage. The section of curtain on the back track can be pulled around to the stack track (A), then the switch (B) changed, and some sections of curtain moved onto the front track, thus reducing the depth of the stage. The switch mechanism is an expensive, difficult-to-install mechanical part, and the same effect could be obtained at almost the same cost, without the requirement for a switch, by putting another track with addition al curtains in front of the deep stage track. Storage space for the shallow stage curtains is obtained by extending the end of its track off-stage, beyond the side curtains.


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Another adaptation of this two depth layout is sometimes seen, in which the track is a closed oval, with the idea being that the curtains can be put on either the back side of the oval or pulled around to the front side, making the stage deeper or shallower. The problem with this idea is that the audience sees the back side of the curtains on one of the tracks. (If the curtains are put on the back part of the track, facing the audience, then when they’re pulled around to the front part of the track, the back of the curtains faces the audience.) This problem is often realized only after the curtains and track have been installed.

Some general information to keep in mind when talking about stage curtain layouts:

1. Side curtains (legs, wings, teasers) and back curtains are most versatile and usable on walk draw (not roped) tracks. Putting them on a roped track limits the way in which the curtains can be arranged on the track. Roped tracks open in the middle and pull back to both ends (or pull from one end to the other end if a one - way track) and often that arrangement does not fit what a current production requires.

2. The more individual pieces, within reason, that side and back curtains are made in, the more ways they can be arranged on the track, and the more entrance - exit points and scenery location points are available. Side and back curtains should be made in at least two sections per track to allow for an opening in the middle.

3. Sky drops and scrim curtains are best when operated on a roped track, which avoids handling of the curtain. When stacked at the end of the track, they should be protected by a curtain cover. Sky drops and scrims are ideally hung from overhead pipes, but it’s not always possible to fly them, so a track is often used. The weights in the bottom of a sky drop are usually sufficient to taut the curtain, since a sky curtain doesn’t have to be absolutely flat. A scrim curtain needs to be taut and flat to work well. While the weights in the bottom of a scrim help to pull it taut, it can be improved by sewing tielines into the bottom hem, and tying a tauting pipe onto the curtain after it has been extended along the track. While tying a length of pipe onto the extended curtain is difficult because the pipe needs to be in one piece (to avoid creases in the curtain) there is no easier way to provide tautness if the scrim cannot be flown. (The same pipe tauting system can be used for painted backdrops if they cannot be flown.)

4. It’s obvious but sometimes overlooked that side curtains (legs) parallel to the front curtain should not be as high as the border lights, to prevent the curtains from casting shadows behind then.

5. Center overlaps on rear curtain tracks are highly recommended so that no gap is visible when the two curtains meet. When there is no center overlap, one often observes the curtains pinned together to eliminate the gap. On side curtains similar to Layout #1 where it isn’t required to stack all the curtains at the end of the track, a center overlap on side curtain tracks would be useful to eliminate the gap which often develops where the curtains butt together.

6. Because curtains have a tendency to retract (to draw in towards the center of the curtain), a curtain made to exactly fit the track will often pull away from the ends of the track. For instance, a 10'0" wide curtain on a 10'0" wide track may not cover the entire 10'0" of track because of this “drawing in” tendency. A good solution is to make the curtain somewhat wider than the track. For example, for a 10'0" wide, use an l0'6" or ll'0" curtain. Because good stage curtain fabricating practice uses no less than half widths of material, the extra width of curtain may not cost any more than the narrower curtain. However, the problems with making the curtains a little wider than the track are:

A. When providing replacement curtains, there may not be enough carriers on the existing track to allow a wider curtain.

B. When bidding new curtains and track, wider curtains may need more material and more carriers than curtains the size of the track, and if you furnish wider curtains, your price may not compare to competitors furnishing only the minimum requirements.


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SIGHT LINES“Sight lines” refer to what the audience can see of what happens on the stage. A very complete discussion of sight lines is included in Richard Southern’s Proscenium and Sight Lines. A very simplified explanation of sight lines is sufficient for our purposes. There are two different sight lines to consider: horizontal and vertical. Horizontal sight lines determine what the audience can see of the action occurring on the stage proper; that is, how far back on the stage they can see, and how well their sight is blocked from seeing beyond the curtains and scenery to the off stage parts they should not be seeing. The horizontal sight line is drawn by finding the two seats farthest out from the center of the stage: one seat on the right of the auditorium and one seat on the left. When the seats are in a rectangular arrangement, this could be the seat at each end of the front row or the two seats at each end of the back row. If the seating arrangement is on a curve, you need to determine which of the curves has its end seats farther from the stage. Obviously, you will find it easier to use a floor plan for this exercise, but if you don’t have one, you can draw a simplified outline of the stage and the seating arrangement on graph paper.

When you have located the seat farthest away from stage center, draw a line from that seat just touching the near edge of the pro scenium arch, as shown above. Extend that line past the arch to the back of the stage. Everything on the off stage side of the line is hidden to the person in that seat. Everything on the on stage side of the line can be seen. Now draw the sight line from that same seat but just touching the edge of the proscenium arch on the far side. These two lines show you what the person in that seat will be able to see of what is on the stage. Since those lines represent the poorest view of the stage, at the most extreme angle, the other seats will have a wider view of the stage. You obviously cannot plan the entire stage setting based on what can be seen from these seats, but you need to keep in mind when sizing the performance area these horizontal sight lines are.

Another use for the horizontal sight lines is to be sure that the occupants of these seats cannot see past the side curtains into the off stage area. By drawing lines from the seats at various angles along the side of the stage, you can see if the curtains you have planned block the sight line (as they should) or if the occupants can see past the end of a curtain to off stage. If they can see past the curtain, then the width of the curtain or the angle of the curtain needs to be adjusted so the sight line is blocked.


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The vertical sight line is somewhat more complicated. To establish this line, you find the seat closest to the stage. Usually this will be the center seat in the first row of seating, if the rows are straight. If the rows are curved, then you find the “virtual center” seat by drawing a line from one end seat to the other end seat, and finding the center of this line, which is the virtual center of the audi torium. If you can properly block sight lines for this center seat, then the other seats will also be blocked. Assume that the average occupant’s eye is 3'6" from the floor. If the seating is not fixed, but folding chairs are to be used, then, unless you know for sure where the first row of folding chairs will be placed, assume that the closest seat will be 10'0" from the edge of the stage. Your sight line starting point will then be 10'0" out and 3'0" up where the occupant’s eye will be assumed to be.The first sight line to draw is that which passes immediately under the valance (#1). Draw a line from the “eye point” under the valance and continue it up to the ceiling of the stage. This is what the audience will see unless you block it with a border. You know where the bottom of the border should be: at the same height from the floor as the bottom of the valance. Draw the first border at a location that will stop the sight line from seeing the ceiling of the stage. I find it helpful to draw a construction line parallel to the stage floor at the level of the valance bottom and another at the top of the valance. Wherever the sight line cuts that top line is where the first border should be located, about 5" in front of the intersection.

Draw the first border in, and then draw sight line 2 under the border from the eye point in the audience. Where this #2 line cuts the top of your parallel construction lines is where the next border should go, about 6" in front. Then, draw line #3 under this border, to establish the location of the third border. Sight line #4 will then establish the location of the rear curtain.

You will immediately see that there are a lot of variables to work with. If you make the valance just a little longer, then the first sight line moves back on the stage, and the second then moves a little farther back. You can make the borders higher than the valance, and change the sight lines. If border lights are already installed, then you have to experiment with heights of valances and borders in order to provide adequate masking with fixed locations of borders. Sometimes you may find it necessary to put more borders on the stage than you think appropriate, due to bad sight lines.

It’s also necessary to consider the height of the side curtains when drawing these sight lines. Beware of the “unmasked triangle” on side curtains: when the audience is looking at the borders, and you have adequately stopped their sight line from the ceiling, be sure that they cannot look over the tops of the side curtains. If the sight line drawn under the border forms a triangle with the side curtain, the audience will see through this triangle. The shaded triangle in the illustration above represents an “unmasked triangle” and the audience can see over the top of the side curtain into offstage.

There is, of course, much more to know about planning an efficient and workable stage layout. You may already have learned more than you care to know about stages, or you may want to learn even more. The books listed in the bibliography will be of considerable help, and your hands - on work experience will help. Every stage you sell and install will increase your confidence. We are available to answer questions, help you solve problems, and take suggestions.

Let’s work together to sell stage curtains and make happy customers.




A Brief History of the Stage Curtain

A Brief history of the Stage Curtain

Bibliography

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STAGE CURTAINS: A BRIEF HISTORY OF THE STAGE CURTAINThe proscenium arch of a theater is the picture frame through which we view the action on the stage - the “fourth wall” that we pretend is not there. We take it for granted now, and although we seldom notice its presence, we feel uncomfortable when it is absent.

As with all things, there is a story behind the proscenium arch. The theatrical proscenium arch followed a circuitous route from the Green “proskenia” through centuries of painting, to reappear in Renaissance Italy in almost the exact form we know today.

To trace this route, we shall begin at the probable beginning of our Western theater, in Greece, where both drama and comedy originated. The source of drama is found in choric dithyrambs sung in honor of the god Dionysius. Dithyrambs gradually became poetic, then a formal chant directed by one man serving as a leader. Thespis then made the leader into an actor, whose words were answered by the chorus.1 Gradually, during the 6th century B.C., the actor began to deal with subjects other than praise to Dionysius, and tragedy was born.

Comedy grew out of processions organized by townspeople in honor of the same god, Dionysius. The procession was led by a chorus, and was more in the nature of amusement than worship. The chants were often satiric and reflected local events. The onlookers would answer back to the chanters, and their response gradually became a part of the ritual, which grew into the use of two choruses with repartee, and comedy was born.2

With both comedy and drama, the entire community entered into the presentation, either as a participant or as a spectator. Theater was a part of their life, not an occasion of escape. So, when theaters first came to be built, the primary need was for space to hold the audience and space for the chorus to perform the intricate dancing patterns they made as they chanted. For the audience to see these movements, it was necessary for spectators to be above the chorus in an area called the “orchestra”.

Therefore, the first theaters consisted of a round level place for the chorus, set at the foot of a sloping hillside. For honored guests, a few seats were placed around the orchestra, and eventually seats for the entire audience, following the curve of the orchestra around the hillside.

As actors were added, and the presentations began to have a linear plot, it became necessary for the actors to have a place to change, or a place to wait until their next appearance. This need led to the construction of a small hut called a “skené” which was quickly found to have other usable dramatic advantages. It is from this time that plays, instead of being set in open country, are presumed to take place before a temple or a palace, requiring the presence of some sort of locating scenery.

About 425 B.C. skenes were being built with a long front wall, a “proskenia”, with two projecting wings at each end, called “paraskenes.”3 Between the paraskenes, there probably was a low stage, no more than a foot above the orchestra level, on which the actors performed. The proskenia had three doors for entrance and exit. Set at each side of the proskenia were two triangular structures called “periaktoi”, which could be turned to expose one side at a time to the audience. Since each of the three sides were painted with a simple scene, these were useful for quickly setting the scene. The periaktoi became one of the inspirations for movable scenery.

This proskenia with its three doors framed by towers on each side is the ancestor of our proscenium arch. It is this facade that set the pattern for painting for the next 1,500 years, and led to the proscenium arch in Renaissance Italy. Whether the artistic design came first and the proskenia - periaktoi arrangement was derived from the

1 Allardyce Nicoll, The Development of The Theater (NewYork: Harcourt Brace & World, 1966), p. 92 Ibid3 Theodore W. Hatlen, Orientation To The Theater (Englewood Cliffs, N.J.: Prentice—Hall, 1972) p. 273

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design, or whether pictorial artists recognized the value of the proskenia as a background and the periaktoi as the enclosing elements, the “side accent” style of painting became a common element, and still is common in present - day design. This basic design should be kept in mind as we continue with the development of the theatrical frame as it exists today.

During the course of the 4th century B.C., changing social conditions brought change to the theater. A new and more realistic way of handling situation and dialogue and an emphasis on plot complications gradually reduced the role of the chorus. The focus of attention changed from the chorus to the actors and the stage.

Now, the stage was raised as much as ten to thirteen feet from the orchestra, the skene became larger and more elaborate, and the proskenia became more architectural-more columns, more decoration, larger and more decorative doorways.4 In addition to the doorways, other openings were made in the proskenia, into which large panels could be set, painted in a realistic manner to support the play. The arrangement of doorways and enclosing columns is also found in much Italian painting, in which small scenes are set under pavilions, with towers or walls enclosing both sides of the scene.

The next development of the proscenium arch is found in Roman theater, in which the orchestra becomes a half-circle instead of the circle, the stage becomes deeper, and the stage, orchestra, and auditorium now become a part of a unitary whole design.5 The theater is now no longer confined to a hillside, since it is found that it can be built on flat ground by elevating the seats-making a man-made hillside for the seating. A roof is erected over the stage to protect the actors and the stage with its elaborately decorated proscenium (the proskenia is now romanized in style and in language).6

Now theater begins a decline matching the decline of the Roman Empire. After 86 A.D. we find no records of theatrical stage productions. The Dark Ages have begun. The theater is not totally dead, however. It lives in mimes, and jugglers, and minstrels, and puppet shows.7 It lives on in the church, nourished by the desire to place the important facts of Christ’s life before the people, in a realistic, understandable, and memorable way.

Because the Latin mass was not designed for the people to understand, but was performed for their benefit, the congregations showed great enthusiasm for the simple dramatic presentations they could understand. These presentations at first were in Latin, but soon became presented in the vernacular, with more and more embellishment.

Churches became unable to handle the crowds that came to see, so the plays were moved outside, to the steps of the church.8 Man has a tendency to improve on success, and the monks became enthusiastic about improving their dramas, and about costuming the players, and about working out the miracles. The church leaders became concerned about the amount of time the monks were spending on the plays and eventually prohibited the clergy from taking any part in presentations outside of the church. The plays were then taken over by the laity.

Originally, the whole interior of the church was used as acting space, with structures or locations represented by chairs or other simple devices. As the drama expanded, and more areas became necessary, “mansions” were developed.9 A mansion was a small elevated stage representing a location, such as Herod’s palace, the stable, the

4 Nicoll, p. 185 Ibid, p. 386 Ibid, p. 407 Benjamin Hunningher, The 0rigin Of The Theater (New York: Mill & Wang, 1955), p. 678 Mordecai Gorelik, New Theatres for Old (New York: Miii. & Wang, 1955), p. 67

9 Hatlen, p. 275


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town, or Hell.

At first, following the church pattern of moving from station to station, the audience moved from mansion to mansion, standing all around the mansion for the presentation of that mansion, and then moving on to the next. Eventually, it was found that in preference to the audience moving from mansion to mansion, it was possible to line all the mansions up in a straight line, and have the story proceed from one end to the other. The audience was supposed to forget all the mansions except the particular one involved in the scene being presented.

After a while, the mansions were brought back inside, and grouped on an elevated stage so all could see the action. The mansions made no attempt to render a scene realistically; they “suggest” rather than depict, and there is no plot to the presentations. But now we have drama back indoors, on an elevated stage, and the next step takes place.

The Renaissance was based on the rediscovery of the classical arts and sciences. From the point of view of the theater, the pioneer work was the De Architectura of Vitruvius, first published in Rome in 1686, and thereafter in many editions, with commentaries and plans.10 Vitruvius was the chief source of information about Greek and Roman theaters and also dealt with their scenery and machinery. His book encouraged others to publish works dealing with the construction of theaters.

An important work was presented in Ferrara in 1486, by Julius Laetus Pomponius (1425 - 1498). Laetus presented Plautius Nenaechni, one of the many classical works brought to Italy after the capture of Constantinople by the Turks. This flood of manuscripts encouraged and supported the growth of classicism in Italy.

Laetus’s production was notable because at the rear of the stage were five houses, or mansions, each with a door and a window. The mansions were all placed together with decorated columns at each end of the row. “This may not seem particularly significant, but, primitive as the device may be, it points to a desire on the part of those responsible to treat the houses not as separate units but as a complete whole; indeed it represents the first tentative movements towards . . .(the proscenium arch).”11 These houses at Ferrara are looked upon as a kind of single “picture” requiring some sort of frame, which was provided by the columns at each end.

In Ferrara again, in 1508, for a performance of Ariosto’s Cassaria, Pellegrino la Udine prepared a perspective painting of a town scene for a backdrop. Other artists were preparing painted perspective scenery backdrops throughout Italy during these years, but the very first complete proscenium arch known to us appeared at Urbino, in 1513, for a production of La Calandria, by Gerolama Genga (1476 - 1551), who had two - dimensional constructed towers at both ends of his painted scene.

In Italy, the interest in classical Rome and Greece meant that classically inclined dramatists were writing the plays that got performed, and they followed one of the supposed “unities” of Aristotle: unity of place.12 They interpreted unity of place as meaning the entire action of the play took place in one location. Since there was to be only one location, much time and, money could be spent preparing an elaborate perspective painting to set the scene. A convention of three scenes arose: one scene for comedy, another for drama, and another for satire.

Painted perspective scenery was now a necessity for theatrical products. “People like scenery. It gives them a sense of trust. If the scenery is delectable, then they can rest satisfied at having had a good show. If there is no scenery, they have to judge the quality of the show by the effect made upon them by the skill of the player’s art and that’s very much more strenuous an act of personal participation. It involves understanding a reality, not an appearance-and appearance is always easier to understand than reality.”13

10 Sybil Rosenfeld, A Short history of Scene Design in Great Britain (Totowa, N.J. : Bowman & Littlefield, 1973), p. 1111 Nicoll, p. 7112 Gorelik, p. 98

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The existence of many small cultured Italian courts offered an atmosphere especially conducive to the invention and growth of theater and new effects. These courts competed with one another in the encouragement of arts and learning and their theatrical entertainments had to be both rich and varied, since they represented visible signs of the power and wealth of the dukes. However, the man paying the bills was the duke, and it was his satisfaction that was of the utmost importance. The richness and the variety of the dramatic presentations had to be geared to him and his pleasure. Because the presentation was made indoors, usually in a smaller room, to a small group, and directed in particular to one man, one of the principles of perspective setting came into action. This principle is that an exact relation, unknown before, was established between audience, actor, and setting, when the eye point from which the stage picture was viewed was fixed at one definite point-the duke. The vanishing point for all lines of depth was fixed opposite his eye point, at the center of the picture.14

In earlier drama, the scenic element was really only a nucleus around which the actors were placed, with many viewpoints from an audience arrayed all around the stage. With perspective, scenery was no longer a nucleus but began to enclose the actor.

This perspective painting and architectural scenery required a frame to completion and for full effect; this frame was already available and worked out by 15th century Italian painters, who followed the side-accent school of painting, using the two enclosing elements at the outside of the scene to unify and make exact the space in the center, and define the limits of the scene. This enclosing pattern, with the accent at the sides, furnished the basis for Italian Perspective settings, with the action in an open center area enclosed by the wings at the sides.15

That this side-accent design was already well worked out is borne out by most of 15th Century Italian painting, and in the design of triumphal arches, and in the use of towers as side-framing elements in tapestries, and in pavilions (a canopy and four columns, with two columns at each side of the center object) in pictorial art and in tomb design.16

A long-standing convention made use of archways through which scenes of all kinds could be seen.17 Since the standard perspective scene at that time was a city square, an obvious parallel exists between a painted picture of a city square and a painted stage scene, since the same artist may have done both. Thus, when the painter-architect was called to do a stage setting, he adapted what he already knew so well how to do, and had seen done so many times, and used a side-accent for his perspective, thus producing houses or columns or other structures at the front sides of the stage, as his side-accent frame, and finished it off by a top frame required for the complete enclosure of the “picture.”

This side-accent principle can be traced back to the proskenia and periaktoi of the Greek stage, which provided the inspiration for this type of pictorial framing, but it can be seen that there is no direct relationship between the proskenia and the proscenium, other than through the connection of pictorial art traced above. In other words, while it is easy to see a drawing of a proskenia and immediately understand its relationship to a proscenium, the translation from proskenia to proscenium was made through the proskenia’s influence on painting, not by the proskenia’s direct adaption to a proscenium.

While spectators were at first thrilled with perspectives, they constantly craved variety, and soon tired of the perspectives. They wanted something different. In 1585, when Bernardo Buontalini (1536 - 1608) was commissioned to construct a theater in the Uffizi at Florence, he took the final step in the development of Renaissance theatre. Instead of a single fixed painted scene behind the actors, audiences saw scene after scene of

13 Southern, The Seven Ages of The Theatre (New York: Hill & Wang, 1944), p. 22214 George fl. Kernodle, From Art To Theatre (Chicago: Univ. of Chicago Press, 1944), p. 17815 Ibid, p. 1916 Ibid, p. 19317 Nunnirigher, p. 79


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different landscapes, with clouds, flames, and seascapes with boats and monsters. This work involved a number of trapdoors in the stage and complicated devices for the cloud effects and for changing the scenery rapidly. Naturally, it also required a fixed proscenium arch to enclose the scene and restrict sight lines.18

It was opera which was destined to become the most popular dramatic form in Italy. During the Renaissance, Italy had many “academies” or associations of men with common artistic or intellectual interests, and it was out of one of these, the Camerato of Florence, that opera came.19 Members of the Camerato, who were concerned with Greek music and its relation to drama, sought to create plays similar to ancient Greek tragedy but the focus soon shifted from tragedy to spectacle and music.

In 1634, a public opera house in Venice opened. It was here, for the first time, that the general public could see opera. This highly successful enterprise quickly led to many others, first in Venice, then throughout Italy, and then the rest of Europe. With opera went the scenic practices and the proscenium arches of Italian theater.

Italian theater practices were exportable because they were new to other countries. English and French artists had followed the school of “center accent”, in which artistic accent is on the center of the composition, and the northern countries had followed the arcade principle of artistic composition, in which artistic accent is evenly distributed across the picture. Therefore, these other theaters had not developed the enclosing and limiting principles of the proscenium arch to any extent, because, just as in Italy, pictorial painters also did stage scenery, and reproduced on the stage, in larger scale, the same works they produced on canvas. All three principles of composition can be traced to the Greek Proskenia, with by far the most popular being the Italian proscenium arch. Survivals of the English center-accent and the arcade accent can be seen in today’s arena stage, open stage, and thrust stage for the center-accent, in a tableaux vivants for the arcade principle.

The operatic spectacle means that the speed with which scenery could be changed became very important, and producers of plays tried to outdo each other with the speed with which they could shift the scenery. This required more and more extensive machinery and more off-stage storage, which led to increased use of the picture frame stage.20

The invention of the gas light was a boon for the proscenium arch theater and the illusion theater. Now theaters could darken their auditorium during the performance to provide what Richard Wagner called the “mystic gulf”21 between actors and audience. The stage brightly lit, the audience darkened-a kind of peep-show which led to greater use of the front curtain as a removable fourth wall and a need for the proscenium arch as the peep-show picture frame.

The two main theaters in London were equipped with gas lighting in 1817 on the stage and in the auditorium, with the double advantage of control for both sides of the curtain.22

“New improvements in lighting, the substitution of three-dimensional for the older two-dimensional settings, all devised to satisfy the craving for realism, had the result of placing still more stress upon the proscenium arch...the frame and the curtain, for purely practical reasons, had now become absolute essentials. If the theatre was to have a chance of making the scenes life-like (the director) had to have this frame, sharply separating the stage picture from the spectators, so that these spectators might, from their darkened seats, enjoy in peep-show view

18 Ibid, p. 8419 Oscar C. Brockett, History Of The Theatre (Boston: Allyn & Bacon, 1976), p. 11420 Hugh Hunt, The Live Theatre (London: oxford Univ. Press, 1962), p. 821 Goreik, p. 288

22 Michael Warre, Designing and Making Stage Scenery New York: Reinbach Book Corp., 1966), p. 36

page 5


the solidly set and naturalistically illuminated spectacle set before them. Still further, external conditions forced its retention. Up to the latter half of the 19th century nobody worried much about the theatrical fire hazards...By the 1880’s the danger of fire…becoming a subject of frequent debate…the result…numerous regulations…a prime element in which was the compulsory use of a fire curtain…effectiveness (of which)…depends upon a solidly - built wall between stage and auditorium…hence the framing arch…besides being a necessity for…naturalistic and spectacular effect…became a necessity under law.”23

During the 1880’s, electric lighting had replaced gaslight in the main theaters throughout the world.24 Worries about fire and smoke from the stage spreading to the audience and causing a panic led to the retention of fire curtain laws although the open gas lighting had disappeared.

We have grown very accustomed to the proscenium arch, and most of us need it for our theatrical experiences. “It is not a pleasant thing to come upon a frantically sobbing woman in a corridor - it has the effect of an outrage. We frequently have a frantically sobbing woman in a stage play. We can accept her when she is on the stage and we are in the audience. But if she suddenly crosses the proscenium arch and comes into the audience, we foresee possible embarrassment if she comes to us and requires an actual response from us. Our enjoyment of the play is interrupted by thoughts of what we ought to do if she comes up to us, while 900 other people watch our reaction to this made - up actress playing a part.”25

We use the proscenium arch to keep the disorder in the drama from spreading into our world, so we can watch it without discomfort. “Theater is playing . . . (it) fences in an area of the imagination in which it creates absolute order, strictly guarded against anything which might disturb the illusion. In every respect, the order it creates is contrary to the disorder of the imperfect world outside.”26

Thus, we have the reasons the proscenium was created and is still needed:

A. To provide a removable fourth-wall

B. To mask the sides and top of a scene and provide fixed points for viewing

C. The audience needs to feel that events on the stage are under control and will not touch them

D. Requirements for lighting the stage and darkening the auditorium

E. Requirements for fire curtains

And, when the need for the proscenium was first felt in Renaissance Italy, the Greeks, as in so many other things, had a word for it, and a plan which survived through hundreds of years of pictorial art to become our present-day proscenium arch.

23 Hunningher, p. 20624 Warre, p. 3825 Southern, p. 276 26 Hunningher, p. 11


page 6


BIBLIOGRAPHYArnold, Richard L. Scene Technology. Englewood Cliffs, NJ; Prentice

Hall, Inc., 1990

Brockert, Oscar C. The Theatre. New York: Holt, Rinehart & Winston, 1969

Brockert, Oscar G. History of The Theatre. Boston: Allyn & Bacon, 1974

Corelik, Mordecai. New Theatres for Old. Binghamton, NY: Vail—Ballou Press, 1940

Hatlen, Theodore W. Orientation To The Theatre. Englewood Cliffs, NJ:

Prentice—Hall, 1972

Hunningher, Benjamin. The Origin Of The Theatre. New York: Hill & Wang, 1958

Hunt, Hugh. The Live Theatre. London: Oxford Univ. Press, 1962

Kernodle, George R. From Art to Theatre. Chicago: Univ. of Chicago Press, 1944

MacGown, Kenneth, and William Melnitz. The Living Stage. Englewood Cliffs, NJ: Prentice—Hall, 1955

Nicoll, Allardyce. The Development Of The Theatre. New York: Harcourt, Brace & World, 1966

Rosenfeld, Sybil. A Short History of Scene Design in Great Britain. Totowa, NJ: Bowman & Littlefield, 1973

Russell, Douglas A. Theatrical Style: A Visual Approach to The Theatre. Palo Alto, CA: Mayfield Publishing Co., 1976

Simonson, Lee. The Stage Is Set. New York: Theatre Arts Books, 1963

Southern, Richard. The Seven Ages Of The Theatre. New York: Hill & Wang, 1961

Southern, Richard. Proscenium and Sight Lines. New York: Theatre Art Books, 1964

Welker, David. Theatrical Set Design. Boston: Allyn & Bacon, Inc., 1960

page 7



Studio Curtains: Product Information

TV Studio Curtains

Studio Curtain Hardware

1-2

3-4


TV STUDIO CURTAINS

We understand the specific requirements that buyers of television studio backdrop curtains have:

the need for durable, long-lasting curtain materials; 1.

the need for a variety of colors and material surfaces; 2.

the need for functional and versatile background curtains- curtains that can be used flat OR with pleats on 3. different centers as the need arises;

the need for prompt shipment of curtains to meet production deadlines: 4.

the requirement to have NO VISIBLE FLAWS in the curtain. 5.

Curtain fabrics rarely come with no visible flaws, so we have to order extra yards in order to eliminate the flaws. The cost of closely inspecting each inch of fabric, and the cost of the material wasted to produce flaw-free curtains, is part of the cost of each curtain. When comparing prices, please consider the extraordinary efforts we make to produce flaw-free curtains. If the standard of “run-of-the-mill” goods is acceptable, please notify us so that you may receive the benefit of the lower cost of this less-rigorous selection of fabric. When equipping a new studio, it may be to your advantage to purchase your curtains and the operating tracks for curtains from one supplier. We maintain a stock of basic studio curtain hardware and parts, as shown on the following pages, all available for prompt shipment.

page 1


STUDIO STRENGTH TOP HEMSThese are not the usual burlap or jute one-layer top hems, but a TRIPLE-LAYER combination of 18 oz. vinyl coated nylon (permanently flame resistant), AND vinyl-impregnated 10 oz. heavy buckram, AND the curtain material. Three layers lock-stitched together with nylon thread into a heavy-duty STUDIO STRENGTH heading that will withstand years of pulling and tugging without having grommets tear out. Looking for trouble-free service? This is it.

YOUR CHOICE: PLEATS OR FLAT, EASY CHANGEOVERSometimes you want a flat curtain without pleats, other times you need part of it with nice round pleats. Our unique grommet arrangement allows the curtain to be flat, no pleats; OR with 6" pleats every 12"; OR with 6" pleats every 6". Round pleats are formed, when and where desired, by S-hooks and grommets, and are easily removed.(A lacing flap can be sewed into each curtain end to allow tensioning of flat curtains, if desired.)

RUST-FREE BOTTOM HEMS - NO CHAINSTired of seeing studio curtains with rust and corrosion at the bottom hem, caused by the chain most others use for weighting? We use galvanized steel weights in individual pockets, which fold neatly, take up less room, never rust, never corrode, and never fall out. Looking for trouble- free service with attractive appearance? This is it.

MATERIALSYour studio curtains can be made of any material you specify, but the most usual materials are:

VELOUR: 100% cotton, in 16 oz., 20 oz., or 25 oz. weights. A variety of colors are available in blues, blacks, reds, greens, beiges, golds - ask for color samples. Because velour is 54" wide and the fabric is directional, velour backdrop curtains must always have vertical seams every 50".

SUPER COMMANDO: A 100% cotton felted material that resembles velour, but with a lower pile and lower cost. PE100: 100% polyester inherently flame resistant material in Chroma Key blue, red, green, and in black, white, several shades of grey, and an assortment of other colors. 100'0" wide with vertical or horizontal seams.

MUSLIN: 100% cotton in skydrop blue, natural, or grey. 100" wide; seams can be vertical or horizontal.

ALL COTTON MATERIALS ARE TREATED TO BE FLAME RESISTANT.

(Note: Wherever horizontal seams are furnished in a curtain, care is taken that seams are not at normal head

level.)

PRICINGBecause each curtain is custom made for you, there is no standard price list. All prices are quoted per job by-our office, within minutes of your request. Our prices include all delivery charges.


page 2


STUDIO CURTAIN HARDWARENO. 1400 STUDIO TRACK11-gauge extruded aluminum I-beam weighing approximately 11 oz. per foot, is obtainable in un-spliced lengths up to 20'0". It may be curved on-site to a recommended minimum ra dius of 2'0", and can be ceiling mounted, or sus-pended by chain, punched strap or threaded rod, or by pipe clamps from a supporting pipe batten, which is recommended for suspended curved tracks. The flange above the carrier prevents tilting or climbing of the carriers.

NO. 4208 HANGING CLAMPRecommended spacing is 4'0", also at splices. Adjustable to any location. Attach to a pipe batten with pipe clamps for most rigid bracing.

NO. 4237 CARRIERStandard spacing is one carrier for each foot of track plus one for the end grommet on each curtain. No.4237 has a plated steel block supported from two solid nylon wheels. Snap-on nylon spacers reduce noise and friction. Plated steel swivel for free effortless curtain movement. Two rubber bumpers for each carrier function as noise-reducers.

NO. 1423 CEILING CLAMPRecommended spacing is 5'0" and at splices. Top plate is mounted first, then clips holding top flange of track are installed.

NO. 4252 MASTER CARRIERPivoting block assembly of plated steel supported from four nylon-tired ball- bear ing wheels. Snap-on nylon spacers reduce noise and friction. Front swivel accepts tow-rope and second swivel holds S-hook from end grommet on curtain. Two master carriers recommended for each curtain, one for each end.

NO 1481 JOINING STRAPAttachment for joining punched strap or suspension strap to No. 4208 hanging clamp. 4” long is stan dard but available in custom lengths.

NO. 1482 MULTIPLE TRACK HANGERRigidly supports two or three parallel tracks with fixed spacing. Standard model provides 6 spacing between tracks. Suspend from structure with chain, threaded rod, punched strap on 4'0" centers and at splices.

NO. 4224 SPLICELock plates for joining and extending track, assur ing proper vertical and horizontal track alignment. Tracks must be straight at splice location.

TRACK SWITCHESSimply by pulling down on a pendant, the track channel is shifted and the curtain is then moved to the switched channel. The mechanism is motivated by a spring-loaded lever locking the switched channel into place. Curtains are easily switched from track to track and facilities for curtain stor age are made easily available. The switching mechanism is installed by splicing the track channel to the permanent track sections in corporated in the switch mechanism. The device must be rigidly

page 3


mounted and supported. The position pole is used to move the switch to another position by engaging the pendant and pulling. The position pole is 8'6" long extending to 16'0". A four-way switch is avail able.

TYPICAL ARRANGEMENTSBecause Series 142 Track is curved on-the-job to a recommended minimum of 2'0", a wide variety of customized arrangements is possible. Right and left switches extend the versatility of track and curtain arrangements, allowing quick background changes, partitioning off of studio space for additional set locations, and out-of-the-way storage tracks for curtains.

WALL BRACKETSCustom-sized wall brackets are available to suspend one or two or three tracks from the wall when suspension from overhead struc ture is not possible or not desired. Brackets are made of angle iron, painted grey or black, with No. 1423 ceiling clamps attached for proper spacing between tracks.

PIPE CLAMPSTwo-piece heavy duty pipe clamps sized to fit 1� or 1 ¼� or 1 ½�W pipes and connecting to No. 1408 hanging clamps to support track from pipes.

TAUTING POLESTauting poles are used to provide horizontal ten sion on the curtain. A sandbag-weighted verti cal post has adjustable claws which hook into grommets in the ends of the curtain, spaced on 2'0" centers. Tauting poles on each end of the curtain are then adjusted for proper wrinkle-free tension.

MODEL 132 LIGHT-TO-MEDIUM DUTY TRACKThis economically priced aluminum I-beam track is supplied for walk-alone operation, and be curved on-the-job to virtually any degree of radius. For most satisfactory operation, the track chan nel should be solidly anchored to the ceiling by No. 1423 ceiling clamps, or suspended by hanging clamps for a pipe backbone. Carriers are furnished on 12” centers.

FLEX-I-TRAC MODEL 132 A light-duty cyclorama track for use in schools and small studios.It can be factory-curved or curved on the job to any radius (2'0"minimum). This track is designed for “walk-along” operation only.

RIG-I-FLEX MODEL 142A medium-duty cyclorama track for use in TV studios and medium sized curved stage applications. This track can be factory-curved or curved on the job. This track is designed for “walk-along” operation. This track is also available with a black finish.


page 4



System Hardware Track and Accessories

System Hardware Track and Accessories1-37

2

* An accurate figure for the approximate maximum curtain weight per foot of track cannot be established for cord-operated curved tracks due to immeasurability of certain variable factors. ** Data in Tables A and B are based on average track length for individual track models. *** This figure is based on direct attachment of track channel to ceiling. **** Based on standard carrier spacing.

CURTAIN TRACK SELECTOR GUIDE

Trade Names and

Metal Construction

Cross Section View

Methods of Attachment (Cross Section View)

Approx. Max. Curt. Wght. per foot of Track (lbs.)

****

Maximum Track Length (Bi-parting)

Carrier Spacing Ceiling

MountTrack

Suspension

Maximum Span Between Attachments

SILENT STEEL®

Steel or Aluminum Track

2-1/2”

2-3/4”

60' 60' 80' 80'

Any length Any length

�2” �2” �2” �2” �2” �2”

-- -- -- -- -- --

7’ 7’ 7’ 7’ 7’ 7’

BESTEEL®

Steel or Aluminum Track 1-3/4”

2”

�0 �3 �5 �0 �0 �3 �5

40’ 48’ 48’ 40’

Any length Any length Any length

�2” �2” �2” �2” �2” �2” �2”

�8” *** �8” *** �8” *** �8” *** �8” *** �8” *** �8” ***

6’ 6’ 6’ 6’ 6’ 6’ 6’

PATRIARC®

Aluminum Track(can be curved)

1-9/16”

3-3/16”*

30 30


Layout Dependent

�2” �2” �2”

5’ 5’ 5’

5’ 5’ 5’

CURVIT-SURE®


2-1/4”

2-1/2”

**

�5 �5�5

60’ (No.350) 50’ (No.340)

60’ Any lengthAny length

�2”�2” �2” �2”�2”

5’5’ 5’ 5’5’

5’5’ 5’ 5’5’

TRIPL-I-TRAC®


1”

3-1/2”*

�5 �5

60’ 60’

Any length

�2”�2” �2”

6’6’ 6’

6’ 6’ 6’

RIG-I-FLEX®


1”

2-1/2” * �5 �5

60’ 60’

Any length

�2”�2” �2”

5’5’ 5’

4’ 4’ 4’

FLEX-I-TRAC®


5/8”

1-9/16” 6.5 �3 �3


�2”�2” �2”

5’5’ 5’

4’ 4’ 4’

MOTO-TRAC®Motorized

Aluminum Track 2-3/16”

7/8”

Total CurtainWeight75 lbs.

�00 lbs.

20'24'

6”�2"

�2” 4’

VERS-UTIL®Aluminum Track (can be curved)

SPECIFINE®

Aluminum Track

TRAK-EZE®

Aluminum Track 1 9/32”

1 7/8” �3 �3

26’32’

6” �2”

4’4’

4’4’

1-1/4”

1-7/8”

4 40’

Layout Dependent

6” �2” 4’

1-1/4”

7/8”448

40'20’20'

6”6"6"

�2"�2”***�2"

4’4'4'

20 25 30 50 50 30

SUSPENDED

CEILING

WALL

SUSPENDEDCEILING

WALL

CEILINGWALL

NOTE: ADC products are not to be used to transport living objects.C

urv

able

Tra

ck S

yste

ms

Cu

rved


page 1

3

Approx. Curt. Stacking Space Per Ft. Track

(Total Per Linear Ft. Track)

Table A**

Approx. Shipping Wght. Per Ft. Track (lbs.)

Table B**

Model No.

Catalog Page No.

2.4” 2.4” 2.4” 2.4” 2.4” 2.4”

4 4.54.5 4.5 5 5

280 (380) 280-A (380-A)

28� (38�) 282 (382)

283-N (383-N) 283-R (383-R)

7-�7 7-�7 7-�7 7-�7 7-�77-�7

STANDARD ACCESSORIES NORMALLY SUPPLIEDWITH CURTAIN TRACK:

An individual stage curtain track is usually sold on a "per foot" basis. A standard accessory group includes track channel, single carriers and master carriers supplied on �2" centers (unless otherwise noted), end pulleys, floor pulley, lap clamps, hang-ing clamps, end stops and operating cord. Assume a 28' No. �70 track in two �4' sections for hand operation �2' high is ordered. Shipment would include:

28' No. �700 Channel (2 x �4’)26 No. �70� Single Carriers2 No. �702 Master Carriers� No. �703 Live End Pulley� No. �704 Dead End Pulley� No. 2865 Tension Floor Pulley2 No. �707 Lap Clamps 8 No. �708 Hanging Clamps (pairs)2 No. �709 End Stops80' No. �728 Cord(To calculate approximate amount of cord required, double track length and curtain height and add. When track is operated by drum drive machine, add one-half of track length plus 5 ft. to ordinary cord total.)

�.5” 2”

�.5” �.5” �.5” �.5” 2”

2.5 2.5 2.5 3

2.5 2.5 2.5

�70, 260 (270) �7�-R (27�-R) �7�-N (27�-N)

�72 (272) �73 (273)

�73-N (273-N) �73-R (273-R)

�8-27 �8-27 �8-27 �8-27 �8-27 �8-27 �8-27

2.4” 2.4” 2.4”

4.5 4.5 4.5

500, 500-R 50�, 50�-R 502, 502-R

28-33 28-33 28-33

333 3 3

350, 350-R 340, 340-R 35�, 35�-R 34�, 34�-R 342, 342-R

34-4034-40 34-40 34-4034-40

�.8”�.8” �.8”

2 2 2

420, 420-R 42�, 42�-R 422, 422-R

4�-474�-474�-47

�.8”�.8” �.8”

2 2 2

�40, �40-R (240, 240-R) �4�, �4�-R (24�, 24�-R) �42, �42-R (242, 242-R)

48-55 48-55 48-55

� � �

�32, �32-A �32-B �32-C

56-59 56-59 56-59

2.5”�.25"

22

�60�60B 64-67

�”�” �”

3.0” �.5”

� �

220 220 - N

60-6360-63

2.5” �.5 ��4 68-70

2.5”2.5"2.5"

��

��3A��3

��3B7�-74

CURTAIN TRACK SELECTOR GUIDE

NOTE: The maximum track length used on “walk-along” tracks depends on the ability of the operator to physically move the curtain to its opened or closed position.

NOTES:�. All track systems are shipped unassembled. 2. We supply tracks in even lengths only. For example, if a 35’ track in two �7-�/2’ sections is ordered, we will actually ship a 36’ track in two �8’ sections and customer will be invoiced on that basis. 3. Unless instructed otherwise on an order all track systems are assumed to be bi-part operation and will be outfitted as such.4. Unless advised otherwise, all track systems will be assumed to be suspended installations and will be outfitted as such.

HOW TO ORDER STAGE CURTAIN TRACK:

NOTE: TRACKS SOLD IN EVEN FOOTAGES ONLY. PLEASE ROUND-UP TO THE NEXT

EVEN FOOT.

Assume proscenium opening of 20', height from track to floor �2',medium weight curtain. Add �0% for lapping at center area for double-sectioned track. Add �0% for accommodating curtain when stacked at each track end: Total 30%. Order: �-28' No. �70 track in two �4' sections for hand (or machine) operation �2' high, CWANA. (NOTE: CWANA means Complete With All Necessary Accessories).

�.8”�.8”�.8” �.8” �.8”


page 2


8

SILENT STEEL® 280 SERIES CURTAIN TRACKS

SILENT STEEL® MODEL 280 (380)SILENT STEEL is the most famous name in heavy duty stage tracks. Model 280 steel (380 aluminum) is used in the majority of stage installations with heavy weight curtains of almost any length and is particularly quiet in operation. Models 28�(38�) and 282(382) can be used for heavier curtains. They are essentially identical to Model 280(380) except Model 28�(38�) is equipped with neoprene-tired ball-bearing carriers and Model 282(382) is supplied with nylon tired ball-bearing carriers. Both systems are equipped with larger diameter floor and end pulleys.

MODEL 281 (381)Model 28�(38�) features quiet and smooth operating No. 2849(BL) Neoprene Ball-Bearing Single Carriers and No. 2850(BL) Neoprene Ball-Bearing Master Carriers. No.2827 Rubber Spacers are used to reduce noise even further. With Model 28�(38�) Back Pack® tracks No. 2826 and No. 2827 Rubber Spacers are used.

MODEL 282 (382)Model 282(382) features No. 285�(BL) Nylon Ball-Bearing Single Carriers and No. 2852(BL) Nylon Ball-Bearing Master Carriers. No. 2827 Rubber Spacer is used in place of No. 2825. No. 2863(BL) 5" Live End Pulley, No. 2864(BL) 5" Dead End Pulley and No. 2866(BL) 5" Adjustable Floor Pulley help in easing the operation of heavy curtains. With Model 282(382) Back Pack® tracks No.2826 and No. 2827 Rubber Spacers are used.

MODEL 280-A (380-A)Model 280-A(380-A) is identical to Model 280(380) except No. 280�-B(BL) Single Carriers (with plated steel block) are used instead of the nylon blocked No. 280�(BL).

MODELS 283-N (383-N) and 283-R (383-R)Model 283-N(383-N) and Model 283-R(383-R) employ No. 2863-A(BL) 8" Live End Pulleys, No. 2864-A(BL) 8" Dead End Pulleys and No. 2866-A 8" Adjustable Floor Pulleys which combined with the No. 2830 �/2" Sash Cord reduce operating effort on systems with heavy curtains. The difference between Model 283-N(383-N) and 283-R(383-R) is as follows: Model 283-N(383-N) uses No. 285�(BL) Nylon Ball-Bearing Single Carriers and No. 2852(BL) Nylon Ball-Bearing Master Carriers while Model 283-R(383-R) uses No. 2849(BL) Neoprene Ball-Bearing Single Carriers and No. 2850(BL) Neoprene Ball-Bearing Master Carriers.

Model 284 (384), 284-N (284-N), and 284-R (284-R)Model 284(384), 284-N(384-N), and 284-R(284-R) are for walk-along operation only and are provided with no pulleys or oper-ating cord. The difference between Model 284-N(384-N) and 284-R(384-R) is as follows: Model 284(384) employs 280�(BL) single and 2802(BL) master carriers. Model 284-N(384-N): No. 285�(BL) Nylon Ball-Bearing Single Carriers and No. 2852(BL) Nylon Ball-Bearing Master Carriers are used. Model 284-R(384-R): No. 2849(BL) Neoprene Ball-Bearing Single Carriers and No. 2850(BL) Neoprene Ball-Bearing Master Carriers are used.

NOTE: Component parts also available in black. Designated by [BL] after part number.

Model 280 Assembly

Cross Section of Track at

Center OverlapPipe Mounted

Min. pocket width: 7 in.

Cross Section of280 Suspended

Cross Section of280 Ceiling

Mount

280(380) Series tracks cannot be curved.

28

0


page 3

9


No. 2800 Channel�' - 2 lbs. �2 oz.

No. 2800-ABL Channel�' - �5 oz.�4 gauge galvanized steel. (No. 2800-A supplied in �2 gauge aluminum with a black finish) Obtainable in unspliced lengths up to 26'. Holes can be drilled for direct ceiling attachment. Approximately: 2-5/8" wide x 2-3/4" high.

No. 2801 (BL) Single Carrier � - 3-�/4 oz.Carrier spacing: �2". Block constructed of nylon material supported from ball-bearing with 2 heavy duty polyethylene wheels. Plated swivel for free, effortless curtain movement. Trim chain supplied for curtain trimming. Combined carrier and bumper width: Approximately 2". Length from bottom of track to bottom of 5 chain links: Approximately 9-�/4”.

Full Size End View(NOTE: TRIM CHAIN NOT SHOWN)

28

0


page 4


��

SILENT STEEL® 280 SERIES CURTAIN TRACKS2

80

No. 2852 (BL) Nylon Ball-Bearing Master Carrier� - � lb. 8 oz.Block constructed of plated steel sup-ported from 4 sealed and greased nylon-tired ball-bearing wheels. Used with Model 282 & 283-N.Approximately: 9-�/4” high from bottom of track to bottom of trim chain.

No. 2839 Overlapping Master Carrier� – 2 lbs. �3 oz.Used with single section tracks to create a fixed �2” center overlap. Approximately: �5-�/2” long x 2” wide x 9-�/4” high from bottom of track to bottom of trim chain.

No. 2840 Masking/Panel Master Carrier� – 2 lbs. 9 oz.For side-masking or panel moving tracks. Steel plate is attached to masking or panel frame. Constructed of painted steel and equipped with 4 nylon-tired ball-bear-ing wheels and 2 cord/cable connectors (Model C098) to clamp cord to carrier.Carrier width: Approximately 4"

No. 2861 Door Carrier� – 28 oz.Constructed of 4 nylon-tired ball-bearing wheels mounted to plated steel body. Adjustable design permits leveling of door height without removing door from carrier. Rated for �00 pound load on properly supported track. Approximately 4” long x �-3/4” wide x 6-3/8” high (to base of plate).

No. 2861A Basic Scenery Carrier �-�6 oz.Rated for �50 pound load on properly supported track. Approximately 4-�/2" long x 3-�/4" high 3/8" thread

No. 2833(BL) Back Pack Guide® (Optional)� - � oz.Provides sliding door effect. Prevents cur-tain from accumulating until track ends are reached. Thickness �/8”

No. 2834 (BL) Back Pack Guide® (Optional)� – � oz.For machine operated tracks. Prevents curtain from accumulating until track ends are reached. Thickness �/8”

No. 2833-A(BL) Back Pack Guide® (Optional)Used with Model 283-N and Model 283-R manually operated tracks. Hole sized for No. 2830 Cord. Thickness �/8”

No. 2848 Space Saver� - � oz.For reducing curtain stacking area. Used in place of carrier. Recommended spacing: no more than � between two carriers at end pulley area only. 3/�6” thickness. Not used with Model 283-N and Model 283-R manually operated tracks. Total quantity should not exceed �0% of curtain width. (Example: 40’ cur-tain would use 2 per side).


page 5

�3


80

No. 2809 (BL) End Stop� - 6.4 oz.Prevents carriers from moving beyond selected position in track.

Cannot be used with Rotodrapers®. Use bolt and nut through track with Rotodrapers®.

No. 2824 (BL) Suspended Splicing Clamp � pr. - 6 lbs. 6 oz.Two piece �� gauge steel clamp for join-ing track sections assuring proper align-ment of track channels. Approximately �2” long x 2-3/4” wide x 5-�/2” high.NOTE: For suspended tracks only.

No. 2824-A (BL) Ceiling Splicing Clamp � pr. – 2 lbs. �4 oz.Two piece �� gauge steel clamp for join-ing track sections assuring proper align-ment of track channels.Approximately: �2” long x 7/8” wide x 2-�3/�6” high.NOTE: For ceiling mounted tracks only.

No. 2808 (BL) Hanging Clamp� pr. - �6 oz.Recommended spacing: 7 ft. Steel, chain or cable suggested for track sus-pension. Adjustable to any location on the track. Pipe battens recommended for long and heavy curtain installations. Sold in pairs.

No. CPS-1 Center Pipe Support� pr - �5.2 oz.To facilitate the clamping of steel track channel to a single pipe batten. The Center Pipe Support is placed at the overlap and the two lap clamps are used in the normal manner.

No. 2807 (BL) Lap Clamp� - � lb. 8 oz.For securing bi-parting tracks at the center overlap.NOTE: For use with suspended track systems only.

No. 2821 Pocket Mounting Bracket for Model 2800 Track� - � lb.Steel offset bracket for mounting Model 2800 track to side of ceiling pocket. Projects track approximately 4 �/2" from side of pocket. Must be used with Model 2808 Hanging Clamp (not included). Plated steel construction.4-�/2” L x 2” W

No. 2822 Pocket Mounting Bracket for Model 2800 Track� - �2 oz.Steel offset bracket for mounting Model 2800 track to side of ceiling pocket. Projects track approximately 2" from side of pocket. Must be used with Model 2808 Hanging Clamp (not included). Plated steel construction.4-�/2”L x 2”W

NOTE: If using pocket mounting brackets with bi-parting track system, both 282� & 2822 pocket brackets must be used.

NOTE: These brackets are not designed for wall mounted track systems. They do not project enough to allow the curtain to stack without rubbing against the wall.


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�4

No. 2865 (BL) Tension Floor Pulley� - � lb. �2 oz.Equipped with � oil-impregnated sleeve bearing nylon wheel. Tension spring provides continuous cord tension. Can be either wall or floor mounted. Spring-loaded latch maintains wheel in upper-most position during installation.Approximately: �-�/2” long x 3-�/2” wide x �3” high.

For more information on the Model 28 and 28-A Rotodrapers®, please see page 73.

No. 2866-A 8” Adjustable Floor Pulley� - 9 lbs.Equipped with one ball-bearing 8” diam-eter nylatron wheel. Wheel locks in place via threaded axle. Adjustment – 8”. Approximately: 4” long x 8” wide x 20” high. Used with Model 283-N andModel 283-R.

Need a Flexible Leg Curtain for your Stage?Consider using the Model 28 Rotodraper®


No. 2814 [BL] Pipe Clampfor �-�/4” I.D. Schedule 40 pipe (� pr. - �3 oz.)

No. 2815 [BL] Pipe Clampfor �-�/2” I.D. Schedule 40 pipe(� pr. - �6 oz.)

No. 2816 [BL] Pipe Clampfor 2” I.D. Schedule 40 pipe (� pr. - �8 oz.)

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No. 2866 5” Adjustable Floor Pulley� - 4 lbs. �3 oz.For manual operation. Equipped with one 5” diameter glass-filled nylon ball-bearing wheel. Wheel locks in place via threaded axle. Adjustment – 7”. Approximately: 3” long x 5-�/2” wide x �3” high. Used with Model 282.

No. 2823 Ceiling Bracket� - �3 oz.Ceiling Bracket used when it is not pos-sible to drill through track and attach directly to ceiling.Approximately: 5-�/4” long x 2” wide x 2-3/4” high.

No. 2805 [BL] Adjustable Floor Pulley� - 4 lbs. 5 oz.Equipped with � oil-impregnated sleeve-bearing nylon wheel. Wheel locks in place via threaded axle. Adjustment - 9".Approximately: 3-�/4" long x 5" wide x �3" high.

No. 2806 Floor Pulley� - 2 lbs. 4 oz. Non-adjustable type with � oil-impreg-nated sleeve-bearing nylon wheel.


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80

No. 2830 Cord�00’ - 6 lbs. 2 oz.Synthetic center and stretch resistant. For manually operated Model 283-N and Model 283-R tracks. �/2” (No. �4)

No. 2828 Cord�00’ - 5 lbs. 7 oz.Synthetic center and stretch-resistant. For manually-operated 280, 28�, 282 tracks. 3/8” (No. �2)

No. 2829 Cable�00’ - 2 lbs. �5 oz.Wire center. Used with machine oper-ated track systems.�/4” (No. 8)

No. 3529 Cable�00’ - 2 lbs. 7 oz.Wire center with woven polyester cover. Used with drum-drive machines.3/�6” (No. 6)

No. 2825 Rubber Bumper9 - � oz.Attaches to No. 280� Single Carriers. Functions as noise reducer. Not used with Back Pack® guides.

No. 2826 Rubber Spacer8 - � oz.

No. 2827 Rubber Spacer6 - � oz.

No. 2827-A Rubber Spacer�0 - � oz.For use with Back Pack® guides to pro-vide quieter operation. No.2826 (�/8”) inserted between carrier and attached Back Pack® Guide. No. 2827 (7/�6”) inserted on other side of Back Pack® Guide and between master carrier and adjoining single carrier; also used with Nos. 2849, 2850, 285�, and 2852 carri-ers. No. 2827-A is used with Model 283-N and Model 283-R tracks. 5/8” hole.SEE PAGE 83 FOR PHOTO OF BACKPACK SYSTEM.

Machine Operators:When considering a machine opera-tor for large 280 track systems con-sider the “TV” series of draw machines. These machines feature:

• Accelerated starts to minimize curtain sway and cable slack.

• Decelerated stops to minimize curtain sway and cable slack.

• Variable speed to allow a user definable final run speed for the curtain.

• Low voltage control to allow connection to most automation systems.

• Frequency drive controls to provide precise control.

See the Curtain Machine Selector Guide for the page number of various “TV” machine models.


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BESTEEL® 170 SERIES CURTAIN TRACKS

BESTEEL® MODEL 170 (270)BESTEEL is the most famous name in medium-duty stage tracks. The Model �70(270) is used on the majority of stage installations with medium or light weight curtains with lengths up to about 40’. On slightly heavier installations Models �7�-N (27�-N) or �7�-R(27�-R) can be used.

BESTEEL Model 260(360) is identical to Model �70 except special master carriers with extension arms are used to overlap the curtain for a single track system.

BESTEEL Model �73, which is for “walk-along” cyclorama and gym divider curtains can be outfitted with pre-manufactured curved sections.

The track system is also available with a black finish.

MODEL 171-N (271-N)Model �7�-N(27�-N) employs No. �737(BL) Nylon Ball-Bearing Single Carriers and No. �738(BL) Nylon Ball-Bearing Master Carriers which provide an easier operation are used in place of the standard No. �70�(BL) and No. �702(BL).

MODEL 171-R (271-R)Model �7�-R(27�-R) employs No. �749(BL) Neoprene Ball-Bearing Single Carriers and No. �750(BL) Neoprene Ball-Bearing Master Carriers which provide a quieter operation (and No. �726 Rubber Spacers) in place of the standard No. �70�(BL) and No. �702(BL).

MODEL 172 (272)Model �72(272) utilizes larger end pulleys No. 2803(BL) Live End, No. 2804(BL) Dead End which provide an easier operation. No. �702-A(BL) Master Carriers are used in order to accommodate the heavier No. �730 operating cord.

MODEL 173 (273) (Walk-Along Track System)Model �73(273) is for stage cyclorama and gym divider instal-lations where it is necessary that the operator walk the curtain to its opened and closed positions. Curves are obtainable in 90°, 75°, 60° and 45° bends curved to a 24” radius. Two pairs of No. �724(BL) or 2624(BL) splicing clamps are furnished with each curve. The track can be supplied either as a single-sec-tioned or overlapping unit. No cord or pulleys are supplied with “walk-along” tracks

Model 173-N (273-N) (Walk-Along Track System)Model �73-N(273-N) provides greater strength and durability by utilizing the No. �737(BL) Nylon Ball-Bearing Single Carriers and No. �738(BL) Nylon Ball-Bearing Master Carriers.

Model 173-R (273-R) (Walk-Along Track System)Model �73-R(273-R) is both quiet and durable. It features No. �749(BL) Neoprene Ball-Bearing Single Carriers and No. �750(BL) Neoprene Ball-Bearing Master Carriers.

BESTEEL® MODEL 260 (360)Model 260(360) is identical to Model �70 except that it oper-ates as a single-sectioned bi-part unit (vs. double-sectioned). No. 2602 Master Carriers (self-lapping) are used instead of No. �702.



Center OverlapPipe Mounted Min. pocket width: 5 in.

Model 170 Assembly

Shown with optional pipe clamps.

Cross Section of 170 Suspended

Cross Section of 170 Ceiling Mount

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Cord operated �70 and 260 series tracks cannot be curved.Custom curves are not available.


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No. 1700 Channel�’ - � lb. �� oz.

No. 1700-A [BL] Channel�’ - 9 oz.�4 gauge galvanized steel. (No. �700-A supplied in �2 gauge aluminum.) Obtainable in unspliced lengths up to 26’ (�700-A, 24' max unspliced length). Holes can be drilled for direct ceiling attachment. Approximately: �-3/4” wide x 2” high.

No. 1701 (BL] Single Carrier� - � oz.Carrier spacing: �2”. Block construct-ed of plated steel with 2 polyethylene wheels. Plated swivel for free, effortless curtain movement. Carrier width: Approximately �-3/�6”.

No. 1702 (BL) Master Carrier� - 3 oz.Block constructed of plated steel with 4 polyethylene wheels. Plated swivel for free, effortless curtain movement. Supplied with 2 cord/cable connectors. (Model C098) Carrier width: Approximately 3”.

Full Size End View

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No. 1737 (BL) Nylon Ball-Bearing Single Carrier� - 2 oz.Plated steel body equipped with 2 nylon-tired ball-bearings wheels. Used with Model �7�-N.


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No. 1703-F Flying Live End Pulley� – 2 lbs. 7 oz.Used with flying type curtain machines. Pulley is designed to route the cable �80 degrees back over the top of the track, to the track-mounted machine.Extends beyond track approximately 2".

No. 1703-AC Center-Take-Off Pulley Ceiling Mount� – � lb. �0 oz.Center-Take-Off Pulley for ceiling mount-ed track systems. Designed to route the operating lines perpendicular to the track. Must add � each �704 Dead-End pulley if used. �703-AC must be located a minimum of 4’ from the end of the track. Additional pulleys may be required to mule operating lines to floor pulley or machine. Approximately: 6" long x 3" wide x 3" high.

BESTEEL® 170 SERIES CURTAIN TRACKS1

70

No. 1724 (BL) Splicing Clamp� pr. - 4 lbs. 3 oz.Two piece �� gauge steel clamp for join-ing track sections assuring proper align-ment of channels. Approximately: �2” long x 2” wide x3-3/4” high.NOTE: For suspended tracks only.

No. 2624 (BL) Splicing Clamp � pr. - 2 lbs.Two piece �� gauge steel clamp for join-ing track sections on ceiling-mounted installations assuring proper alignment of channels. Approximately: �2” long x 2” wide x 2-�/4” high. NOTE: For ceiling mounted systems only.

No. 2803 (BL) Live End Pulley� - 2 lbs. 5 oz.No. 2803 Live End Pulley can be used to help ease the operation of a �70 series track system. Standard with Model �72.Pulley width: Approximately 4".

No. 2804 (BL) Dead End Pulley � - � lb. 8 oz.Can be used to help ease the operation of a �70 series track system. Standard with Model �72. Pulley width: Approximately 4".

No. 1704 (BL) Dead End Pulley � - 9.5 oz.Equipped with � oil-impregnated sleeve-bearing steel wheel. Steel block, ancho-rable to any position under track without drilling. Pulley width: Approximately 3”.

No. 1703-AS Center-Take-Off Pulley Suspended Mount� – 3 lbs. 5 oz.Center-Take-Off Pulley for suspended track systems. Designed to route the operating lines perpendicular to the track. Must add � each �704 Dead Endpulley if used. �703-AS must be located a minimum of 4’ from the end of the track. Additional pulleys may be required to mule operating lines to floor pulley or machine. Approximately: 4-�/2" long x 4-7/8" wide x 3-�3/�6" high.


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70

No. 1706 Floor Pulley� - �2 oz.Non-adjustable type with � oil-impreg-nated sleeve-bearing steel wheel.

No. 2805 [BL] Adjustable Floor Pulley� - 4 lbs. 5 oz.Painted steel side plates equipped with � oil-impregnated sleeve-bearing wheel. Locks in place via threaded axle. Adjustment – 9".Approximately: 3-�/4" long x 5" wide x �3" high.

No. 2865 (BL) Tension Floor Pulley � - � lb. �2 oz.Plated steel construction equipped with � oil-impregnated sleeve-bearing nylon wheel. Tension spring provides cord ten-sion. Can be either wall or floor mount-ed. Spring-loaded latch maintains wheel in uppermost position during cording. Approximately: �-�/2" long x 3-�/2" wide x �3" high.

No. 1707 (BL) Lap Clamp� - 9.5 oz.For securing bi-parting tracks at center overlap. For suspended tracks only.

No. 1708 (BL) Hanging Clamp� pr. - 6.5 oz.Recommended spacing: 6’. Steel, chain or cable suggested for track suspension. Adjustable to any location.

No. 1709 (BL) End Stop� - 4.5 oz.Prevents carriers from moving beyond selected position in track.

Cannot be used with Rotodrapers®. Use bolt and nut through track with Rotodrapers®.

No. CPS-2 Center Pipe Support� pr - 5.5 oz.To facilitate the clamping of steel track channel to pipe batten, a Center Pipe Support is available. The Center Pipe Support is placed at the overlap, and the two lap clamps are used in the normal manner.

No. 1721-Pocket Mounting Bracket for Model 1700 Track� - 8 oz.Steel offset bracket for mounting Model �700 track to side of ceiling pocket. Projects track approximately 4" from side of pocket. Must be used with Model �708 Hanging Clamp (not included). Plated steel construction.4-3/�6"L x �-�/4"W

No. 1722-Pocket Mounting Bracket for Model 1700 Track� - 8 oz.Steel offset bracket for mounting Model �700 track to side of ceiling pocket. Projects track approximately 2" from side of pocket. Must be used with Model �708 Hanging Clamp (not included). Plated steel construction.4-3/�6"L x �-�/4"W


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No. 3529 Cable�00' - 2 lbs. 7 oz.Wire center with woven polyester cover. Used with drum-drive machines. 3/�6" (No. 6)

No. 1783-Wall Mounting Bracket for Model 1700 Track� - 3 lbs. �2 oz.Used to mount 2 Model �700 tracks (bi-part operation) to side walls. Projection of track closest to the wall is �2" (to center of track). Painted steel angle with 3 mounting holes on vertical leg.�4" long x �4" high x �-�/2" deep


No. 1713 [BL] Pipe Clampfor �” I.D. Schedule 40 pipe (� pr. - 5.5 oz.)

No. 1714 [BL] Pipe Clampfor �-�/4” I.D. Schedule 40 pipe(� pr. - 7 oz.)

No. 1715 [BL] Pipe Clampfor �-�/2” I.D. Schedule 40 pipe (� pr. - 7 oz.)

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No. 1726 Rubber Spacer(See No. �749)

No. 1728 Cord�00’ - 2 lbs. 4 oz.Synthetic center and stretch-resistant. For manually-operated tracks.�/4” (No. 8)

No. 1730 Sash Cord�00’ - 4 lbs.Used with Model �72 tracks.Synthetic center with woven cover. 5/�6” (No. �0)

No. 1733 (BL) Back Pack Guide® (Optional)4 - � oz.Provides sliding door effect. Prevents curtain from accumulating until track ends are reached. Thickness: �/8”.

No. 1734 (BL) Back Pack Guide® (Optional)� - 5 oz.Provides sliding door effect (for machine operated tracks). Prevents curtain from accumulating until track ends are reached. Has smaller hole than �733.Thickness: �/8”.

No. 1735 (BL) Back Pack Guide® (Optional)� - 5 oz.Used with Model �72 tracks. Has larg-er hole for �730 cord. Thickness: �/8”.

No. 1748 Space Saver5 - � oz.For reducing curtain stacking area. Used in place of carrier. Recommended spacing: no more than � between two carriers at end pulley area only. Total quantity used should not exceed �0% of curtain width. Thickness: �/8”.


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70

No. 1752 Curve (90º, 24” radius)� - 8 lbs. 8 oz., 62” long(Approximately 3’ x 3’).

No. 1753 Curve (75º, 24” radius)� - 7 lbs. 6 oz., 57” long.(Approximately 2’8” x 2’8”).

No. 1754 Curve (60º, 24” radius)� - 6 lbs. 6 oz., 5�" long(Approximately 2'3" x 2'3").

No. 1755 Curve (45º, 24” radius)� - 5 lbs. �4 oz., 44" long(Approximately 2' x 2').

CUSTOM CURVES ARE NOT AVAILABLE.

CURVES USED WITH WALK-ALONG TRACK SYSTEMS ONLY.

Two No. �724 or 2624 (must be speci-fied when ordering) Splicing Clamps are included with each curve.

MASKING SYSTEMS:The Model �700 BESTEEL® Track and its components are used extensively in screen masking systems for the movie theater and home theater markets.

The track and its components are used in both horizontal as well as vertical masking systems and are motorized and incorporate multiple stop control circuits to provide preset stops for various film formats.

Vertical Masking Systems:

Incorporates:

• �700 or �700A Track

• �740 Vertical Masking Master Carriers

• �703 Live End Pulleys

• �704 Dead End Pulleys

• �709 End Stops

• Mounting Brackets

• Track and Components available in black

Horizontal Masking Systems:

Incorporates:

• �700 Track

• �740 Vertical Masking Master Carriers

• �703 Live End Pulleys

• �704 Dead End Pulleys

• �709 End Stops

• Mounting Brackets

Masking Machines:Masking machines are available in a wide variety of models with a multi-tude of features in order to provide amotorized solution for almost any mask-ing project.

Model 936SFR withgrooved cable spool.


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PATRIARC® 500 SERIES CURTAIN TRACKS

PATRIARC® MODEL 500 (600)PATRIARC is an all-purpose heavy-duty stage curtain track system specially designed for large reverse curved auditorium stages. All curves are custom formed at the factory. With ball-bearing equipped carriers, end pulleys and cable guides, this is one of the quietest tracks in the ADC line.

PATRIARC track systems are normally used with a machine operator. Each drum curtain machine furnished with PATRIARC systems is equipped with a Cable Tension Device at no extra cost. Cable guides are used to help maintain tension on the operating cables as well help guide the operating cable onto the grooved drum.

PATRIARC curved tracks are available for hand-operation.Curved track systems are inherently more difficult to operate manually than are straight track systems. While PATRIARC

tracks are available for manual applications, we suggest motorizing curved applications of the track.

MODEL 500-R (600-R)Model 500-R(600R) is identical to Model 500(600) except that No. 500�-A neoprene-tired Ball-Bearing Single Carriers are used in place of the standard nylon-tired No. 500� single carriers.

MODELS 501 AND 501-R (600 AND 601-R)Model 50�(60�) is entirely straight in layout. Model 50�-R(60�-R) is identical to Model 50�(60�) except that No. 500�-A(BL) neoprene-tired Ball-Bearing Single Carriers are used in place of the standard nylon-tired No. 500�(BL) single carriers.

MODELS 502 AND 502-R (602 AND 602-A) (Walk-Along Systems)Model 502(602) is for walk-along operation only. This track sys-tem is recommended for stage cyclorama installations where it is necessary that the operator walk the curtain to its opened and closed positions. No cord or pulleys are supplied with “walk-along” tracks. No. 5002-A(BL) Master Carriers and No. 5008-A Hanging Clamps (or No. 5023A Ceiling Clamps) are used instead of No. 5002(BL) and No. 5008. Model 502-R(602-R) is identical to Model 502(602) except that No. 500�-A(BL) neoprene-tired Ball-Bearing Single Carriers are used in place of the standard nylon-tired No. 500�(BL) single carriers.

Model 500 Assembly

Cross Section of track at

Center OverlapPipe Mounted Min. pocket width: �0 in.

Shown with optional pipe clamps.

Cross Section of500 Ceiling Mount


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CA

B

R R

D

A sketch or template must accompany each inquiry or order for PATRIARC curved tracks. The sketch shown below explains terms used in connection with curved tracks. A simple formula for determining the radius when Chord (AC) and Rise (BD) are given is as follows:

Radius (R) =

When placing an order for PATRIARC curved tracks, the following information is required:

A. Arc (track channel) and all radii dimensions B. Manner of mounting track (suspended or ceiling-mounted). C. Is the track machine or hand operated?

PATRIARC® 500 SERIES CURTAIN TRACKS

Explanation of Curved Track Terms

No. 5000(BL) Channel�' - �-�/2 lbs.7 gauge extruded aluminum, mill-finish. Obtainable in unspliced lengths up to 20'. Custom-curved at factory. Flange above carrier prevents tilting of carrier. Approximately: �-5/8" wide x 3-�/4" high.

No. 5001(BL) Nylon Ball-Bearing Single Carrier� – �� oz.Carrier spacing: �2". Block constructed of plated steel supported from 2 nylon-tired ball-bearing wheels. Plated swivel for free, effortless curtain movement. Rubber bumpers and nylon strips attached to car-rier to assure quiet operation. Carrier width: Approximately 2-�/8".

No. 5001-A(BL) Neoprene Ball-Bearing Single Carrier�- �� oz.Carrier spacing: �2". Block constructed of plated steel supported from 2 neoprene-tired ball-bearing wheels. Plated swivel for free, effortless curtain movement. Rubber bumpers and nylon strips attached to car-rier to assure quiet operation. Carrier width: Approximately 2-�/8".

No. 5002 Master Carrier� - 4 lbs. 3 oz.Block constructed of painted steel sup-ported from 4 nylon-tired ball-bear-ing wheels. Rubber bumper included for quieter operation. Carrier width: Approximately 5-�/4".

(AC)2 + BD2

2BD2

ABC - ArcAC - ChordBD - RiseR - Radius

NOTE: Track can be curved to a minimum 2’ radius for curves up to 90 degrees. For curves greater than 90 degrees and systems with multiple curves please consult the factory.

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No. 5002-S Master Carrier With Extension Arm� - 4 lbs. �2 oz.Used with single section track systems to create center overlap. Creates 20” overlap (�0” in front of �0”).Approximately: �’- 4” long x 6-9/�6” high x 3-3/4” wide.


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RIG-I-FLEX® 140 SERIES CURTAIN TRACKS

Model 140 Assembly

Cross Section of 140 Track at Center Overlap

Pipe MountedMin. pocket width: 8 in.

Cross Section of 142 TrackPipe Mounted


RIG-I-FLEX® MODEL 140 (240)RIG-I-FLEX is a versatile I-beam track which has been engi-neered for both curved (Model �40 (240)) and straight (Model �4� (24�)) cord operated systems as well as for "walk-along" (Model �42 (242)) systems. It was designed for medium weight curtains on stages and TV studios and for enclosing areas in industrial plants. Overall track length should not exceed 60’ for biparts or 40' for one-way draws.

Model �40(240) utilizes spindles and idler brackets (NOT IN-CLUDED IN CWANA PRICING) for guiding the operating cord along the curved areas. The track can be curved on-the-job or at the factory (optional).

This track cannot be used for reverse curved or serpentine layouts.

Manually operated cord-drawn curved tracks require more effort than straight tracks. Therefore, motorized systems should be used, especially where sharp curves are involved.

NOTE: track can be curved to a 2’ minimum radius for curves up to 90 degrees. For systems with curves greater than 90 degrees or systems with multiple curves, please contact the factory.

TRACK MUST BE SOLIDLY ANCHORED TO AN OVERHEAD STRUCTURE WITH CEILING CLAMPS. PIPE BACKBONES ARE RECOMMENDED FOR SUSPENDED SYSTEMS.

MODEL 140-R (240-R)Model �40-R(240-R) is identical to Model �40(240) except that No. 4237(BL) Single Carriers and No. �438(BL) Master Carriers are used instead of No. 420�(BL) and No. �402(BL).

MODELS 141 AND 141-R (241 AND 241-R)Model �4� is identical to Model �40(240) except that it is ENTIRELY STRAIGHT IN LAYOUT and No. �403-B(BL) Live-End Pulley is used instead of No. �403. Model �4�-R(24�-R) is identical to Model �4�(24�) except that No. 4237(BL) Single Carriers and No. �438(BL) Master Carriers are used.

MODELS 142 AND 142-R (242 AND 242-R)Model �42(242) is recommended for stage and TV studio cyclorama installations where it is necessary that the operator walk the curtain to its opened and closed positions. The track is curved on-the-job and can be bent to a minimum radius of 2’ (layout dependent). No cord or pulleys are supplied with "walk-along" tracks. Model 4252(BL) Master Carriers are used with the systems. Model �42-R(242-R) is identical to Model �42(242) except that No. 4237(BL) Single Carriers and No. 4253(BL) Master Carriers are used.

A scaled drawing or template must accompany each inquiry or order for model 140(240) RIG-I-FLEX® curved tracks. Drawings are required so that the correct number of spindles and idler brackets can be quoted or supplied. When order-ing, advise whether the track is to be ceiling mounted or suspended.

Cross Section of 142 Suspended


Cross Section of 142 Ceiling Mount


Shown with optional pipe clamps. Shown with optional pipe clamps.

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No. 1400 (BL) Channel� - �0 oz.�� gauge extruded aluminum, mill-finish or anodized black finish [BL Models]. Obtainable in unspliced lengths up to 20'. May be curved on-the-job to recom-mended minimum radius of 2' (layout dependent). Flange above carrier pre-vents tilting of carrier. Approximately: �" wide x 2-�/2" high.

Full Size End View

No. 4237 (BL) Single Carrier� - 3 oz.Carrier spacing: �2". Same construction as No. 420� except equipped with 2 solid nylon wheels. Used on Model �40-R, �4�-R and �42-R.Carrier width: Approximately �-3/8".

No. 1438 (BL) Master Carrier� – �0.5 oz.Used with Model �40-R and �4�-R tracks. Pivoting block assembly con-structed of plated steel supported from 4 solid nylon wheels. Snap-on nylon spac-ers reduce noise and friction.Two cord connectors provided for clamping cord to carrier.Carrier width: Approximately 3-�/4".

No. 4201 (BL) Single Carrier� - 4 oz.Carrier spacing: �2". Block construct-ed of plated steel supported from 2 nylon-tired ball-bearing wheels. Snap-on nylon spacers reduce noise and friction. Plated swivel for free, effortless curtain movement. Used with models �40(240), �4�(24�). Carrier width: Approximately �-3/8".

No. 4252 (BL) Walk-Along Master Carrier� - 8 oz.Used with Models 422 and �42 tracks. Pivoting block assembly constructed of plated steel supported from 4 nylon-tired ball-bearing wheels. Snap-on nylon spacers reduce noise and friction.Carrier width: Approximately 3".

No. 1402 (BL) Master Carrier� - �� oz.Used with Model �40 and �4� tracks. Pivoting block assembly constructed of plated steel supported from 4 nylon-tired ball-bearing wheels. Snap-on nylon spacers reduce noise and friction.Two cord connectors provided for clamp-ing cord to carrier.Carrier width: Approximately 3-�/4".

No. 4253 Walk-Along Master Carrier� – 8 oz.Used with Models 422-R and �42-R tracks. Pivoting block assembly con-structed of plated steel supported from 4 solid nylon wheels. Snap-on nylon spac-ers reduce noise and friction.Carrier width: Approximately 3".

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No. 1403 Live End Pulley� - � lb. �2 oz.Painted steel construction, equipped with 2 oil-impregnated sleeve-bearing nylon wheels. Anchored to track end, no drilling required. Pulley width: Approximately 7".

No. 1403-F Flying Live End Pulley� – 2 lbs.Used when track is operated by a fly-ing type machine. Pulley routes oper-ating lines �80 degrees parallel and above track, to the track-mounted flying machine.Approximately: 6-�/2" long x 7" high x 2-�/4" wide.

No. 1404 Dead End Pulley� - � lb. � oz.Painted steel construction, equipped with � oil-impregnated sleeve-bearing nylon wheel. Anchors to track end. No drilling required.Pulley width: Approximately 5-�/4".

No. 1404-A Dead End Pulley� – � lb. � oz.Dead end pulley used with one-way draw applications. Painted steel con-struction, equipped with � oil-impreg-nated sleeve-bearing nylon wheel.Approximately: 4" long x 4" high x2-�3/�6" wide.

No. 1403-A Center Take Off Live End Pulley� – 3 lbs.Used when the operating lines need to be routed perpendicular to the track.NOTE: You must order an additional �404 Dead-End pulley and MB-3 mule block when using this device. Additional pulleys may be needed to mule the operating line to the machine or floor pulley.

No. 1403-B Live End Pulley� - � lb. �4 oz.Used with straight track systems (Models �4� and �4�-R). Same construction and components as �403. Pulley width: Approximately 3-�/4".

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No. 4251 Scenery Carrier� – � lb. 5 oz.Used to traverse medium weight scen-ery panels. Normally used in pairs on a single panel. Maximum panel weight (2 carriers per panel) is 30 pounds.Approximately: 4-3/8" long x 4-7/8" high x �-�/2" wide.

No. 4224 (BL) Splicing Clamp� pr. - �� oz.Lock plate for joining track sections assuring proper vertical and horizontal track alignment. Track must be straight at splices. Approximately: 8-�/4" long x �" wide.

No. 4208 (BL) Hanging Clamp� pr. - 2-�/2 oz.Recommended spacing: 4' with addition-al units at curves and in stack areas. Pipe batten recommended for suspend-ed curved tracks. Sold in pairs.


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5�


No. 4209 (BL) End Stop�pr – 2 oz.Identical to 4208 except installed in inverted position at bottom of channel. Used with track Models �42 & �42-R.

Cannot be used with Rotodrapers®. Use bolt and nut through web of track with Rotodrapers®.

No. 1423 (BL) Ceiling Clamp� - 6 oz.Recommended spacing: 5' with addi-tional units added at curves and in stack areas. For use on ceiling-mounted installations. Adjustable to any location. Top plate can be mounted first, with the track clips added as the channel is installed.Approximately: 3-�/4” wide x �-�/2”long.

No. 2865 (BL) Tension Floor Pulley� - 2 lbs.Plated steel construction, equipped with � oil-impregnated sleeve-bearing nylon wheel. Tension spring provides cord ten-sion. Can be either wall or floor mount-ed. Spring-loaded latch maintains wheel in uppermost position during cording. Approximately: �-�/2" long x 3-�/2" wide x �3" high.

No. 1407 Lap Clamp� - 7 oz.For securing double-sectioned track at center overlap. Approximately: 4" wide x �-�/2" long x 3/8" deep.

No. 1407-A Lap Clamp� – 7 oz.For use with continuously curved track systems. Provides wider track spacing in the overlap. Approximately: 6" wide x �-�/2" long x 3/8" deep.

No. 1409 End Stop� - 2 oz.Prevents carriers from moving beyond selected position in track. Used also as cord guide. Approximately �-3/8".

Cannot be used with Rotodrapers®. Use bolt and nut through web of track with Rotodrapers®.

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No. 1408-A (BL) Threaded Rod� – 4 oz.Used with Model 4208 Hanging Clamp (not included). Provides a 3/8" hole parallel with the ceiling (perpendicular to the mounting hole of the 4208).Approximately: �-�/4" x �-3/4" x 2-3/8".For use with 2808, �708, 4208 clamps.

No. 1483 Double Track Wall Bracket� – 2 lbs. 4 oz.Used to mount 2 tracks, parallel with each other, to side walls. Standard track separation is 6" center to center (NOTE: fabric will rub if 2 stacked curtains pass). Projection of track closest to the wall is 6" (to center of track). Painted steel construction with 3 mounting holes on vertical leg.Approximately: �3-�/2" long x 9" high x �-�/2" deep.Also available in a single track version, model �483S.

No. 1482 Double Track Hanger� – 20 oz.Used to mount 2 tracks, parallel with each other when the tracks are sus-pended. Standard track separation is 6" center to center (NOTE: fabric will rub if 2 stacked curtains pass). Painted steel construction with 3 holes for attaching suspension hardware (not included).Approximately: �0" long x �-�/2" high x �-�/2" deep.


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No. 1478-A (BL) Suspension Strap� pr. – 2 oz.Used to with Model 4208 hanging clamp (not included) to attach track to parallel overhead pipe batten. Strap length 6" from bottom of pipe.

No. 1481-A (BL) Twist Strap� – 2 oz.Used with Model 4208 hanging clamp (not included) to attach track to perpen-dicular overhead pipe batten. Strap length 6" from bottom of pipe.

No. 1481 (BL) Twist Strap� – 2 oz.Used with Model 4208 hanging clamp (not included) and pipe clamp (also not included) to attach track to perpendicu-lar overhead pipe batten.Strap length 4”

No. 1478 (BL) Suspension Strap� – 2 oz.Used with Model 4208 Hanging Clamp (not included) and pipe clamp (also not included) to attach track to parallel over-head pipe batten. Strap length 4".

RIG-I-FLEX® 140 SERIES CURTAIN TRACKS1

40

No. 1458 (BL) Spindle A� - �4 oz.Consists of steel tubing equipped with 2 ball-bearings. Used for guiding cord around curves. Also has ball-bearing wheel for guiding return cord. Always placed on Live-End half of track on inside of curve. Minimum pocket width to accommodate spindles and idlers: Approximately 8".

Not included with CWANA systems. Must be ordered separately.

No. 1459 (BL) Spindle B� - �2 oz.Same as No. �458 but without ball-bear-ing wheel. Always placed on Dead-End half of track on inside of curve. Minimum pocket width to accommodate spindles and idlers: Approximately 8".


No. 1460 (BL) Idler Bracket� - �0 oz.Bracket includes ball-bearing wheel for guiding cord around curve. Always placed on the Dead-End half of the track on outside of curve.


No. 1460-A (BL)Used only at the overlap for track sys-tems with a continuous radius.



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No. 1713 Pipe Clampfor �” I.D. Schedule 40 pipe (� pr. - 5 oz.)

No. 1714 Pipe Clampfor �-�/4” I.D. Schedule 40 pipe(� pr. - 7 oz.)

No. 1715 Pipe Clampfor �-�/2” I.D. Schedule 40 pipe (� pr. - 8 oz.)

No. BT-2 Bending Tool� - 4 lbs. �4 oz.Approximately: 7-�/2" long x 9-�/2" wide x 3-�/2" high.For use with Models �300 & �400 only.See page 80 for description of use.

No. 3529 Cable�00' - 2 lbs. 7 oz.Wire center with woven polyester cover. Used with drum-drive machines.3/�6” (No. 6)

No. BT-1 Bending Tool� - �9 lbs. 4 oz.Approximately: 48" long x �5" wide x 9" high.For use with Models �300, �400 & 4200 tracks. See page 80 for description of use.

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No. 1728 Cord�00' - 2 lbs. 4 oz.Synthetic center and stretch-resistant. For manually-operated tracks.�/4" (No. 8)

Need additional flexibility?Consider adding a Rotodraper® to your track system.

No. 14 Rotodraper®� - 4-�/2 lbs.For use with �400 and 4200 track. Brackets formed of �� gauge steel. Can support 75 lbs. maximum weight. Two Pipe Clamps supplied (clamps for �" pipe standard). Two No. 400-C Clamps provided for connecting towlines.

Outfitting a TV or Photo Studio?Don't forget about our full line of track switches. Track switches make it easy to change backdrops, scenery panels, fab-ric and chromakey colors. You can "park" the various drops on side tracks and bring them onto the main track as needed.

Motorized 2-Way Switcher-I®

Parallel Switch PTS-2

5-Way Switcher


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FLEX-I-TRAC® 132 SERIES CURTAIN TRACKS

FLEX-I-TRAC® MODEL 132FLEX-I-TRAC is a light-to-medium duty cyclorama I-beam type track designed for light to medium weight stage and TV studio curtains, hospital cubicle curtains, and for enclosing industrial welding booths. This economically priced track is supplied for "walk-along" operation only with no cord, pul-leys or master carriers. The track can be curved on-the-job (or at the factory) to virtually any degree on a 2’ minimum radius. For most satisfactory track operation the track should be solidly anchored to the ceiling with the use of ceiling clamps or suspended from a pipe backbone.

When ordering, advise whether the track is to be ceiling-mounted or suspended.

MODEL 132Model �32 features the No. �30� Nylon Single Carriers.

MODEL 132-ASame as Model �32 except Model �32-A features the No. �30�-A Nylon Single Carriers.

MODEL 132-BSame as Model �32 except Model �32-B features the No. �337 Nylon Ball-Bearing Single Carriers.

MODEL 132-CSame as Model �32 except Model �32-C features the No. �337-A Nylon Ball-Bearing Single Carriers with non-binding lips.

Model 132 Assembly

Cross Section of 132 Track Ceiling Mount Min. pocket width: 4 in.

Cross Section of 132 Track Suspended


A scaled drawing or template must accompany each inquiry or order for model 132 Flex-I-Trac® curved tracks.

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No. 1337-A Nylon Ball-Bearing Single Carrier� - 3 oz.Carrier spacing: �2". Steel block sup-ported from 2 nylon-tired ball-bearing wheels. Plated swivel for free, effortless curtain movement. Block provides "bum-per-to-bumper" action. Carrier width: Approximately �-�/8".

No. 1337 Nylon Ball-Bearing Single Carrier� - �-�/2 oz.Carrier spacing: �2". Constructed of rigid steel wire supported from 2 nylon-tired ball-bearing wheels. Plated swivel for free, effort-less curtain movement. Carrier width: Approximately �". Used with Model �32-B.


No. 1300 Channel�' - 4 oz.�3 gauge extruded aluminum, mill-fin-ish. Obtainable in unspliced lengths up to 20'. Curved on-the-job or at the fac-tory (optional) to a 2’ minimum radius (layout dependent). Flange above car-rier prevents tilting or climbing of car-rier. Approximately: 5/8" wide x �-��/�6" high.

No. 1301 Carrier4 - 3 oz.Carrier spacing: �2". Constructed of rigid steel wire supported from 2 nylon wheels. Plated swivel for free, effortless curtain movement.Carrier width: Approximately �".

No. 1301-A Single Carrier� - 2 oz.Carrier spacing: �2". Block constructed of plated steel supported from 2 self-lubricating nylon wheels. Plated swivel for free, effortless curtain movement. Block provides "bumper-to-bumper" action.Carrier width: Approximately �-�/8".

Full Size End View13

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57


No. 1308 Hanging Clamp� pr. - � oz.Recommended spacing: 4' with addi-tional units in curves and stack areas.Adjustable to any location. Pipe batten and pipe clamps recommended for sus-pended curved track systems.

No. 1309 End Stop4 - � oz.Prevents carriers from moving beyond selected position in track.

No. 1324 Splicing Clamp� - � oz.For both ceiling and suspended instal-lations. Lock plate for joining track sec-tions assuring proper alignment.NOTE: Track can not be curved at splice.Approximately: 4" long x 5/�6" wide x 5/�6" high.

No. 1352 Master Carrier� - 7 oz.Painted steel body supported from nylon-tired ball-bearing wheels. Carrier width: Approximately 3-3/4". Supplied with Model �32-C.Optional for all other track models.

No. 1423 Ceiling Clamp (Shown on 1400 Track)� - 6 oz.Recommended spacing: 5' with addi-tional units added at curves and in stack areas. For use on ceiling-mounted installations. Adjustable to any location. Top plate can be mounted first, and clips installed when track is lifted into placeApproximately: 3-�/4" wide x �-�/2" long.

No. BT-2 Bending Tool� - 4 lbs. �4 oz.Approximately: 7-�/2" long x 9-�/2" wide x 3-�/2" high.For use with Models �300 & �400 only.See page 80 for description of use.

No. BT-1 Bending Tool� - �9 lbs. 4 oz.Approximately: 48" long x �5" wide x 9" high.For use with Models �300, �400 & 4200 tracks.See page 80 for description of use.

No. 1302 Master Carrier (Optional)� - �2 oz.Walk-along master carrier with overlap-ping arm. Body constructed of paint-ed steel with nylon-tired ball-bearing wheels. Arm provides 6” of curtain over-lap per carrier.

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2

No. 1713 Pipe Clampfor �” I.D. Schedule 40 pipe (� pr. - 5 oz.)

No. 1714 Pipe Clampfor �-�/4” I.D. Schedule 40 pipe(� pr. - 7 oz.)

No. 1715 Pipe Clampfor �-�/2” I.D. Schedule 40 pipe (� pr. - 8 oz.)


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TRAK-EZE® 220 SERIES CURTAIN TRACKS

1-9/32”

1-7/8”

3-1/8”

Model 220 - Trak-Eze® Assembly

The Model 220 Trak-Eze track is an ideal commercial duty curtain track for straight medium weight curtains of 32 feet or less, where it is important that the cord be completely con-cealed in the track and that the track be mounted directly to the ceiling. The track has been designed to have a low profile and to be aesthetically appealing while still providing the strength needed for moderately sized curtains.

The track channel is designed to be mounted flush to an over-head structure, but can be equipped with Model 2208 hanging clamps which can be used to suspend the track below a sus-pended ceiling. The track can also be recessed into a finished ceiling. When recessed, the channel can be installed before finish spackle is applied with operating components added later. The channel is custom cut at the factory and is obtainable in unspliced lengths of up to 26’.

Cross Section of 220 Track Ceiling Mount

Cross Section of 220 Track Suspended

Full Size End View

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No. 2224 Splice Clamp � – 8 oz.Formed from 20 gauge sheet steel sur-rounds the outer surface of the two track sections being joined. Used only to assure proper alignment of the two track sections. Not designed to support track or track load. Approximately: 8" long x 2-�/8" wide x�-�/4" high.


No. 2200 Track �’ – 8 oz.�6 gauge extruded aluminum, clear anodized finish. Obtainable in unspliced lengths up to 26’. Holes provided on �6" centers on top of the channel for direct ceiling attachment. Approximately: �-7/8" wide x �-�/4" high.

No. 1701 Single Carrier � – �-�/2 oz.Block constructed of plated steel with two heavy-duty polyethylene wheels. Carrier spacing 6" on center. Carrier width: Approximately �-�/4".

No. 2202 Master Carrier � – 3 oz.Block constructed of plated steel with two nylon wheels and cord lock. Rolls in single runway to provide overlap. Carrier width: Approximately 4".

No. 2202-B Master Carrier� – 3-�/2 oz.Block constructed of plated steel with two nylon-tired ball-bearing equipped wheels and cord lock. Rolls in single runway to provide overlap. Carrier width: Approximately 4".

No. 2202-T Tandem Carrier � – 3 oz.Block constructed of plated steel with two nylon wheels. Rolls in single runway behind master carrier to provide addi-tional overlap. Carrier width: Approximately 4".

No. 2202-BT Tandem Carrier � – 3-�/2 oz.Block constructed of plated steel with two nylon-tired ball-bearing equipped wheels. Rolls in single runway behind master carrier to provide additional overlap. Carrier width: Approximately 4".

No. 2201 Single Carrier� - 2 oz.Block constructed of plated steel with two nylon-tired ball-bearing equipped wheels. Carrier spacing �2” on center. Carrier width: Approximately �-�/4”.

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No. 2163 Projection Bracket� - �� oz.For use when track is to be mounted to side wall as opposed to overhead. Recommended spacing 2’ on center along length of track. Projects center-line of track approximately 3-�/2" from side wall.

NOTE: CURTAIN FABRIC MAY RUB WALL WHEN STACKING

Approximately: 3-�5/�6" long x 3-��/�6" high x 3/4" wide.


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6�


No. 2208 Hanging Clamp � – 4 oz.Formed plated steel construction, pro-vided in two halves. Recommended spacing 5’ on center (also within 2" of each end pulley). Adjustable to any location. Must be rigidly supported to an overhead structure. Approximately: �-�/2" wide.

No. 2209 End Stop 3 – � oz.Plated steel construction. Prevents car-riers from moving beyond selected posi-tion in track.

No. 2202L Leg Master Carrier � – �� oz.Master carrier for one-way draw (leg) track systems. Unit provides fabric over-lap of dead-end pulley. Plated steel construction with nylon tired ball-bearing equipped wheels. Carrier width: �0” (5.5” extension arm)

No. 2165 Floor Pulley� - 4 oz.Equipped with � nylon ball-bearing wheel. Tension spring provides cord tension. Can be either wall or floor mounted. Approximately: �" long x 3/4" wide x 9" high.

No. 2160 Cord�00’ – � lb. �0 oz.Synthetic center and stretch-resistant. For manually operated tracks. 3/�6" (No. 6)

No. 2203 Live End Pulley � – 6 oz.Equipped with two oil-impregnat-ed sleeve-bearing steel sheaves. Extends 2-3/4" beyond track end. Pulley width: Approximately 2-5/8".

No. 2204 Dead End Pulley� – 5-�/2 oz.Equipped with one ball-bearing steel sheave. Extends 2-�/2" beyond track end. Pulley width: Approximately 2-5/8".

No. 1151 Cable�00' - � lb. 3 oz.Wire center. For machine-operated tracks.�/8” (No. 4)

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0Installing A 220 Track?Consider...

Model No. 1002-VED Curtain MachineConsider using the Model �002VED Tom Thumb® machine to motorize your 220 track.

This type of machine is mounted to the floor directly below the live-end pulley of the track.

Refer to page �05 for more information on Model �002-VED machines.


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SPECIFINE® 113 SERIES CURTAIN TRACKS

Model 113 Assembly

Cross Section of 113 Track

Suspended Installation Min. pocket width: 4-3/4 in.

SPECIFINE® Model 113SPECIFINE Model ��3 is an aluminum box-shaped curtain track specifically designed to meet architectural specifications for straight curtains up to 20’ in length. Classrooms, residenc-es, boardrooms, multi-purpose rooms, cafeterias, churches, hotels, banks, are all ideal applications for the Model ��3 Specifine track.

This track can be either recessed, surface mounted, or can besuspended from the ceiling. The cord is completely concealedwithin the track channel. The carriers move effortlessly through the track channel without the carrier block binding against the channel.

Cross Section of 113 TrackCeiling Mount

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7�


No. 1131 Single Carrier2 - � oz.Carrier spacing: 6". Block provides "bum-per-to-bumper" action, supported from 2 polyethylene wheels. Plated swivel for free, effortless and quiet curtain movement. Carrier width: Approximately �-3/�6".

No. 1124-A Splicing Clamp� - 2 oz.Anodized aluminum sleeve for joining track sections assuring proper alignment. Approximately: 8" long x �-3/8" wide x �" high.

No. 1100-A Channel�' - 5 oz.�6 gauge extruded aluminum, clear anodized finish. Obtainable in unspliced lengths up to 20'. When recess mount-ing is desired, dovetail design on exte-rior of channel allows joint compound to seep into slot allowing a flush finish. Approximately: �-�/4" wide x 7/8" high.

No. 1132 Master Carrier� - 2-�/4 oz.Composed of a plated steel body with 4 solid polyethylene wheels. Extension arm provides 8" maximum overlap (4" in front of 4"). Carrier width: Approximately 7-�/2".

No. 1133 Live End Pulley� - 2 oz.Equipped with 2 nylon ball-bearing wheels. Attaches to track end and also functions as an end stop. Pulley bracket width: Approximately �-�/4". Extends �-�/2" beyond track end.

No. 1134 Dead End Pulley� - �-�/2 oz.Plated steel construction, equipped with � nylon-tired ball-bearing wheel. Pulley bracket width: Approximately �-�/4". Extends �-�/2" beyond track end.

No. 1138 Hanging Clamp� pr. - � oz.Plated steel construction, recommended spacing: 4'. Adjustable to any location. Chain or cable suggested for track sus-pension. Sold in pairs.

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No. 1132-B Master Carrier� - 4 oz.Similar to No. ��32 except equipped with 4" extension arm and 4 nylon-tired ball-bearing wheels. Also used on pinch-pleat installations. Provides 8” overlap. 4” in front of 4”. Carrier width: Approximately �".

No. 1131-B Single Carrier2 - � oz.Carrier spacing: 6". Block, provides "bumper-to-bumper" action, supported from 2 nylon-tired ball-bearing wheels.Carrier width: Approximately �-3/�6".

No. 1164 Adjustable Dead End Pulley� - �-�/2 oz.Equipped with � nylon ball-bearing wheel. Adjustable to any position along track without drilling. Designed for one-way or bi-parting operation.Pulley width: Approximately 3�/32".

No. 2163 Projection Bracket� - �� oz.For use when track is to be mounted to side wall as opposed to overhead. Recommended spacing 2’ on center along length of track. Projects center-line of track approximately 3-�/2" from side wall.

NOTE: CURTAIN FABRIC MAY RUB WALL WHEN STACKING

Approximately: 3-�5/�6" long x 3-��/�6" high x 3/4" wide.


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Model No. 579 Drapery MachineFor light weight drapery applications requiring motorization, consider using the Tom Thumb® Model 579 machine.

This machine can attach to the ceiling at the track end, to a side wall, or the floor below the live-end pulley of the track system.

This machine plugs into a standard �20 Vac outlet and utilizes track mounted limit switches to signal the full open and full closed positions.

The Model 579 machine can also be equipped with an optional WRC-� wireless remote control to eliminate the need for hardwiring the remote control station(s). Refer to page �02 for more information.

Model No. 1002-VED Curtain MachineFor applications with heavier curtains, consider using the Model �002VED Tom Thumb® machine.

This type of machine is mounted to the floor directly below the live-end pulley of the track.

The machine offers a grooved cable drum to eliminate cable slippage, inte-gral rotary limit switches for the open and closed positions, low voltage control and fixed speed operation.

The unit requires a hardwired �20 Vac, 60 hz power source and the hardwired remote controls (Class 2) require 4 con-ductors plus a ground.

The machine can also be equipped with the optional Model WRC-� wireless remote control.

Refer to page �05 for more information on Model �002-VED machines.

NOTE: Guards Not Shown

Refer to page 85 for more information on the WRC-� wireless remote control.

Installing A 113 Track?Consider...

Installing A 113 Track?Consider...

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No. 1135 Tension Floor Pulley� - 3 oz.Equipped with � nylon ball-bearing wheel. Tension spring provides cord tension. Approximately: �" long x 3/4" wide x 7" high.

No. 1150 Cord�00' - 7 oz.Synthetic center and stretch-resistant. For manually-operated tracks. �/8" (No. 4-�/2)

No. 1151 Cable�00' - � lb. 3 oz.Wire center. For machine-operated tracks.�/8” (No. 4)

No. 1163-AV Carrier� - 3 oz.Used with No. ��00-A Channel to sup-port light weight projection screens, maps, charts, etc. Steel block with 4 nylon ball-bearing wheels, S-hook, and swivel snap. Carrier width: Approximately �-3/4".


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ROTODRAPERS®

No. 28 Rotodraper®� - 4 lbs. �4 oz.Used with 2800 track channel. Brackets formed of �� gauge steel. Can support 75 lbs. maximum weight. Two Pipe Clamps supplied (clamps for �" pipe standard).

No. 17 Rotodraper®� - 4 lbs. 5 oz.Used with �700 track channel. Brackets formed of �� gauge steel. Can sup-port 75 lbs. maximum weight. Two pipe clamps supplied (clamps for �" pipe standard).

Rotodraper® pivotal fixtures are used for changing the position of curtains on tor-mentors, side legs, back-drops and cycloramas. The effect is easily accomplished either by turning the curtain itself or by fastening a towline to the curtain pipe and pulling the tow line until the curtain is in the desired position.

The pivot arm is unique because no implement is required to secure the curtain to its proper position. The Rotodraper® is simply installed and easily manipulated to any angle desired including a full 360° turn.

Special pivotal fixtures (Models 28-A, �7-A, �4-A, and 6-A) include an index plate and spring-loaded roller latch which secures the device at �5 degree intervals and helps to prevent accidental rotation.

With the use of a special brake, track-type Rotodrapers® can be secured to any location along the track, helping to prevent accidental movement of the device. Simply by pulling down on the cord, the brake can be released and the pivot arm moved. (Obtainable as an option.)

OUTSTANDING FEATURES:• SELF-LOCKING BRAKES (Optional on all Rotodrapers®) No. 40� for use with No. 28 Rotodrapers®. No. 402 for use with all other Rotodrapers®. No. 28 and �7 Rotodrapers® incorporate the use of large diameter Kralastic wheels which help prevent climbing and tilting in the track channel.

• TWO C-CLAMPS No. 400 furnished with each Rotodraper® for fitting to each end of the pipe attached to the Rotodraper®. For use with towlines.

• TENSION SPRING composed of �-3/32" O.D. heavy duty compression spring. Provides necessary friction to secure Rotodraper® in position.

• PIPE CLAMPS furnished with each Rotodraper® to accommodate �" pipe. �-�/4", �-�/2" and 2" pipe clamps also available BUT MUST BE REQUESTED WHEN ORDER PLACED.

• PIPE BATTEN is available in either �", �-�/4", or �-�/2" O.D.. All pipe is Schedule 40. Maximum suggested length of pipe is 8’. Must be ordered separately.

• DIMENSIONS OF Rotodrapers®: Standard Units: �3" long x 2-�/4" wide x 9-3/8" high For units with locking devices ("A" type) �3" long x 4" wide x �0" high

• Safety end stops are included with all track type Rotodrapers® and MUST be used.

No. 6 Rotodraper®� - 4-�/2 lbs.Brackets formed of �� gauge steel. For hanging from pipe with use of U-bolts. Can support �00 lbs. maximum weight. Two pipe clamps supplied (clamps for �" pipe standard). Two No. 400 C-clamps provided for attachment to pipe ends.

Rotodraper® Pivot Arms

Shown without optional brake

Shown with optional brake

Mis

c.


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SILENT STEEL® MODEL 280 (380)SILENT STEEL is the most famous name in heavy duty stage tracks. Model 280 steel (380 aluminum) is used in the majority of stage installations with heavy weight curtains of almost any length and is particularly quiet in operation. Models 28�(38�) and 282(382) can be used for heavier curtains. They are essentially identical to Model 280(380) except Model 28�(38�) is equipped with neoprene-tired ball-bearing carriers and Model 282(382) is supplied with nylon tired ball-bearing carriers. Both systems are equipped with larger diameter floor and end pulleys.

MODEL 281 (381)Model 28�(38�) features quiet and smooth operating No. 2849(BL) Neoprene Ball-Bearing Single Carriers and No. 2850(BL) Neoprene Ball-Bearing Master Carriers. No.2827 Rubber Spacers are used to reduce noise even further. With Model 28�(38�) Back Pack® tracks No. 2826 and No. 2827 Rubber Spacers are used.

MODEL 282 (382)Model 282(382) features No. 285�(BL) Nylon Ball-Bearing Single Carriers and No. 2852(BL) Nylon Ball-Bearing Master Carriers. No. 2827 Rubber Spacer is used in place of No. 2825. No. 2863(BL) 5" Live End Pulley, No. 2864(BL) 5" Dead End Pulley and No. 2866(BL) 5" Adjustable Floor Pulley help in easing the operation of heavy curtains. With Model 282(382) Back Pack®tracks No.2826 and No. 2827 Rubber Spacers are used.

MODEL 280-A (380-A)Model 280-A(380-A) is identical to Model 280(380) except No. 280�-B(BL) Single Carriers (with plated steel block) are used instead of the nylon blocked No. 280�(BL).

MODELS 283-N (383-N) and 283-R (383-R)Model 283-N(383-N) and Model 283-R(383-R) employ No. 2863-A(BL) 8" Live End Pulleys, No. 2864-A(BL) 8" Dead End Pulleys and No. 2866-A 8" Adjustable Floor Pulleys which combined with the No. 2830 �/2" Sash Cord reduce operating effort on systems with heavy curtains. The difference between Model 283-N(383-N) and 283-R(383-R) is as follows: Model 283-N(383-N) uses No. 285�(BL) Nylon Ball-Bearing Single Carriers and No. 2852(BL) Nylon Ball-Bearing Master Carriers while Model 283-R(383-R) uses No. 2849(BL) Neoprene Ball-Bearing Single Carriers and No. 2850(BL) Neoprene Ball-Bearing Master Carriers.

Model 284 (384), 284-N (284-N), and 284-R (284-R)Model 284(384), 284-N(384-N), and 284-R(284-R) are for walk-along operation only and are provided with no pulleys or oper-ating cord. The difference between Model 284-N(384-N) and 284-R(384-R) is as follows: Model 284(384) employs 280�(BL)single and 2802(BL) master carriers. Model 284-N(384-N): No. 285�(BL) Nylon Ball-Bearing Single Carriers and No. 2852(BL) Nylon Ball-Bearing Master Carriers are used. Model 284-R(384-R): No. 2849(BL) Neoprene Ball-Bearing Single Carriers and No. 2850(BL) Neoprene Ball-Bearing Master Carriers are used.


Model 280 Assembly


Center OverlapPipe Mounted



Cross Section of280 Ceiling

Mount

280(380) Series tracks cannot be curved.

280


page 33

86

CURTAIN MACHINE SELECTOR GUIDE

(A) Based on diameter of drive and size cable normally supplied with machine (see appropriate catalog page). Additional cable travel is obtainable by increasing size of drive and/or gear. To determine maximum track length useable with particular machine, cable travel is doubled (e.g. 36’ cable travel indicates 72’ curtain separation or 72’ track in 2-36’ sections, but figure does not include stacking space). (B) Based on loft block diameter of 6” minimum and over. (C) Low voltage available only if magnetic control system is supplied, at additional cost. (D) Discuss application with factory. * Variable Speed. Vertical lift machines are not to be used for the lifting, supporting, or transporting of people, or over areas where people are present unless suitable safety devices are installed.

NOTE: Special machines can be designed to job specification upon request. Also, most of our machines can be mounted upside down if necessary. However, we should be so advised when order is placed with us.

CURTAIN MACHINE SELECTOR GUIDE Max. Machine Trademark Model Control Motor Low Max. No. One Way Page Type or Name No. Circuit HP Voltage Remote Cable Listing No. Available Switches Travel (ft) (A)

Ma

ch

ine

s

Autodrape 934 Versatile �/4 Standard Unl. 45 ETL 88 Autodrape �454 Versatile �/3 Standard Unl. 45 ETL 88 Silver Service 2904 Versatile �/2 Standard Unl. 45 ETL 88 Silver Service 2904-TV Variable �/2 Standard Unl. 45 89 Hercules 6504 Versatile 3/4 Standard Unl. 45 ETL 88 DRAW Hercules 6504-TV Variable 3/4 Standard Unl. 45 89 Silver Service 2905 Versatile �/2 Standard Unl. 90 ETL 90 Silver Service 2905-TV Variable �/2 Standard Unl. 90 9� Hercules 6505 Versatile 3/4 Standard Unl. 90 ETL 90 Hercules 6505-TV Variable 3/4 Standard Unl. 90 9� Hercules 7005 Versatile � Standard Unl. 90 ETL 90 Hercules 7005-TV Variable � Standard Unl. 90 9� Silver Service 2928, 29�7, Versatile �/2 Standard Unl. Unl. ETL 87 2950 Autodrape 936 Intermediate �/4 (C) � 48 ETL 92 Autodrape �456 Intermediate �/3 (C) � 48 ETL 92 Silver Service 2906 Intermediate �/2 (C) � 48 ETL 92 Hercules 6506 Intermediate 3/4 (C) � 48 ETL 92 Autodrape 963 Intermediate �/4 (C) � 24 ETL 93 Silver Service 2907 Versatile �/2 Standard Unl. 70 ETL 94 LIFT Silver Service 2907-TV Variable �/2 Standard Unl. 70 95 Hercules 6507-TV Variable 3/4 Standard Unl. 70 95 Hercules 7007 Versatile � Standard Unl. 70 ETL 94 Hercules 7007-TV Variable � Standard Unl. 70 95 Hercules 8007 Versatile �-�/2 Standard Unl. 70 ETL 94 Hercules 9007 Versatile 2 Standard Unl. 70 ETL 94 Hercules 9007-TV Variable 2 Standard Unl. 70 95 Hercules 9507-TV Variable 5 Standard Unl. 55 ETL 96

Autodrape 933 Intermediate �/4 (C) � 54 ETL 97 Autodrape �453 Intermediate �/3 (C) � 54 ETL 97 Silver Service 2903 Intermediate �/2 (C) � 54 ETL 97 GYM Hercules 6503 Intermediate 3/4 (C) � 54 ETL 97 DIVIDER Autodrape �452 Intermediate �/3 (C) � 36 ETL 98 Silver Service 2902 Intermediate �/2 (C) � 36 ETL 98 Hercules 6502 Intermediate 3/4 (C) � 36 ETL 98

Autodrape 940 Versatile �/4 Yes Unl. �8 UL /ETL 99 Autodrape �460 Versatile �/3 Yes Unl. �8 UL /ETL 99 Silver Service 29�0 Versatile �/2 Yes Unl. �8 UL /ETL 99 SIDE Autodrape 936SFR Versatile �/4 Yes � 24 UL /ETL �00 MASKING Autodrape 963S Versatile �/4 Yes � 48 UL /ETL �00 Tom Thumb 873 Intermediate �/30 No � �8 ETL �0� Tom Thumb 873-MCS Versatile �/30 Std. Unl. �8 UL /ETL �0� Tom Thumb �003 Intermediate �/8 No � �8 UL �0� Tom Thumb �003-MCS Versatile �/8 Std. Unl. �8 UL /ETL �0�

Tom Thumb 579 Variable 24W Standard Unl. 30 UL �02 Tom Thumb 872 Intermediate �/30 No � 30 ETL �03 Tom Thumb 872-MCS Versatile �/30 Standard Unl. 30 UL /ETL �03 DRAPERY Tom Thumb �002 Intermediate �/8 No � 30 ETL �04 Tom Thumb �002-MCS Versatile �/8 Standard Unl. 30 UL /ETL �04 Tom Thumb �002-VED Versatile �/8 Standard Unl. �7 UL /ETL �05 Tom Thumb �002-VEA Versatile �/8 Standard Unl. 30 UL /ETL �05


page 34


Door and Scenery Carriers

These carriers were specifically designedfor applications where heavy doors or fixedwidth scenery panels need to be moved.These carriers provide:

• Four ball-bearing equipped wheels to help distribute the load and prevent tipping during operation.

• Height adjustment to level doors or panels that do not require the removal of the door or panel for adjustment.

• Formed steel bodies for years of trouble-free operation.

• Cord connectors which allow the carriersto be connected to a hand operated cordsystem or a cable operated motorized system.

• Load ratings:-Nylon wheels up to 100 pounds-Steel wheels up to 125 pounds

• Additional information can be found inour product catalog or on-line at www.automaticdevices.com.

What ADC does for you...

For over 70 years, ADC has beenproviding architects, engineers,and designers with systems thatachieve dramatic effects andresults. Our versatile productscan be effectively applied to meetyour space and designchallenges. ADC manufacturesthe full range of products fordependable, behind-the-scenesoperation.

Track Systems and Hardwarefor motorized and manuallyoperated stage curtains, scenery,draperies, and doors.

Machines to raise, lower, anddraw curtains, doors, scenery,lighting, athletic equipment, andaudio-video devices.

Controls to provide mutliple-stop, programmable stop,multiple maching, or projectspecific operation.

Experience

ADC's equipment has anoutstanding reputation for long-lasting, trouble-free performance.Our products exhibituncompromising quality whileproviding precisely the functionyou need.

The tracks illustrated in this publication provide thesmoothest, quietest, and most time-tested curtain movementavailable today. Complete specifications on all of our tracksystems can be found in our product catalog, CD-ROM, oron-line at www.automaticdevices.com.

ADC manufactures electric curtain machines for a wide varietyof stage and commercial applications. Our machines are designedto provide all essential curtain movements by remote control(including wireless), and each has an outstanding record ofsmooth, reliable operation. Complete specifications are availablein our stage equipment catalog, on our CD-ROM, or on-line atwww.automaticdevices.com.

Lift, draw, fixed-speed, variable-speed, single-phase, three-phase, multiple-stop, full-voltage,or low-voltage, ADC has a machine to meet yourproject specifications.

These machines are the most versatile drawmachines of the ADC line. Incorporatingelectronic frequency drive controllers andefficient 3-phase inverter duty motors, thesemachines provide maximum flexibility andefficiency. Standard units are provided with userdefinable accelerated starts, decelerated stops,and run speeds. Available in 1/2 and 1 HP.

Fixed cable speed of 86 fpm. Maximum cabletravel 45 feet. Stop, start, or reverse from anypoint of travel. Unlimited number of remotecontrol stations can be used. Available in 1/4,1/3, 1/2, and 3/4 HP.

Fixed cable speed of 72 fpm. Maximum cabletravel 90 feet. Stop, start, or reverse from anypoint of travel. Unlimited number of remotecontrol stations can be used. Available in 1/2,3/4, and 1 HP.

Fixed cable speed of 18 fpm. Maximum cabletravel 8 feet. Stop, start, or reverse from anypoint of travel. Unlimited number of remotecontrol stations can be used. Available in 1/4,1/3, and 1/2 HP.

Fixed cable speed of 29 fpm. Load rating 100to 300 pounds* model dependent. Stop, start,or reverse from any point of travel. Availablein 1/4, 1/3, 1/2, and 3/4 HP.

Fixed cable speed of 18 fpm from ungroovedspool. Load rating 200 to 700 pounds* modeldependent. Stop, start, or reverse from any pointof travel. Available in 1/4, 1/3, 1/2, 3/4 HP.

Fixed cable speed of 54 fpm from grooveddrum. Load rating 200 to 700 pounds* modeldependent. Stop, start, or reverse from anypoint of travel. Unlimited number of remotestations can be used. Available in 1/2, 3/4 1,1 1/2, and 2 HP.

These machines are the most versatile liftmachines of the ADC line. Incorporatingfrequency drive controllers and 3-phase motors,they are user-programmable and can be setup with accelerated starts, decelerated stops,and various run speeds. These machines canbe configured for 120/220 Vac single-phaseor 208/230/460 Vac 3-phase power sources.

Start, stop, and reverse from any point of travel.115V. (1/30, 1/8) HP Maximum cable travel30 feet (18 feet on masking machines). Curtainseparation speed 0 to 1.6 feet per second onvariable machines and 1.6 feet per second onconstant speed machines (0.83 or 0.66 feetper second on masking machines). Remotecontrol switches and integral limit switchesstandard.

* Range. See our stage equipment catalog for specific characteristics of each model.† Other electrical characteristics are available.

Engineering Assistance: ADC's technical department can provide engineering assistance for special projects or special machines. Please call orfax specifications for review.

Note: ADC curtain machines are equipped with numerous safety features such as disconnect switches, overload protective breakers, and thermal overloaddevices. Many accessories are also available for these machines. Please write or call for more information.

Standard and Custom Products We offer:• Stage Curtain Tracks• Window Curtain Tracks

• Machines - Lift and Draw

• Machines - Variable Speed and Multi-Stop• Acoustical Contouring Systems and Panel Tracks

• Hospital Cubicle Tracks and Curtains• Cyclorama Tracks

• Gym Divider Machines, Tracks, and Hardware

Call today for our catalog or for more information about theADC dealer in your area.

Need information immediately?Visit us online at www.automaticdevices.com

• ADC track and machine specifications (cut and paste ready)

• Track and machine selector guides.• Newest version of our catalog in page and print format

• Component and system information• Features on new and non-catalog items

Or call us and request your copy of our CD-ROM• ADC track and machine specifications (cut and paste ready)

• Track and machine selector guides• CAD drawings for most of our system components and machines

• Installation instructions for our track systems

• Machine manuals for our wide variety of curtain machines and Logistop multiple-stop control.

• Electrical schematics for our lift and draw machines.

TV Studio Cyclorama SystemsFlex-I-TracModel 132

A light-duty cyclorama track foruse in schools and small studios.It can be factory-curved or curvedon the job to any radius (2'0"minimum). This track is designedfor "walk-along" operation only.

Rig-I-FlexModel 142

A medium-duty cycloramatrack for use in TV studios andmedium sized curved stageapplications. This track can befactory-curved or curved onthe job. This track is designedfor "walk-along" operation. Thistrack is also available with ablack finish.

Track Switching Devices

Model 143-5B

ADC switching devices allow for theswitching of curtains from one track to asmany as five tracks in a fan-shapedarrangement. Fan-shaped switchingdevices are designed for use on "walk-along" tracks. Models 142, 422, 132, and502.

Model 143 Model MTWS

Designed for use with model 142 "walk-along" cyclorama track. Must be rigidlymounted in all instances. Motorizedoperation is presently limited to models132, 142, 422, and 502 tracks.

Gym Divider Hardware

Shaft Operated Fold-up System

ADC's shaft-type fold-up system isdesigned for simplicity and long-lasting,trouble-free operation. It consists of amotorized shaft with spool located abovethe curtain lift lines. The curtain folds upas the lines are wound onto the spools.

This system is operated by a model 6502-3/4 hp Hercules Curtain Machine. Other

Clew-Operated Fold-up System

ADC offers a second motorized fold-upsystem. This assembly consists of lighterweight components than the shaft-operatedsystem. The lift lines are drawn over singleline and multiple line lift curtain pulleysand then attached to a clew. The clew ispulled by a single line which winds aroundthe drum of the curtain machine mountedat one side of the gym. As the line is pulledtoward the machine, the curtain folds up.

These systems are operated by HerculesLift Machines. An optional No. KOW-1key-operated switch is available for remotecontrol.

Multi-Stop Limit Switch

LogiStop

Automatic DevicesCompany offers theingenious LogiStopcontroller. Theaddition of aLogiStop device toexisting or newmachinery is aneconomical, simple,and reliable meansof gaining up to 20user-definable stopsaddressable by hardwired orwireless remote controls, PLCoutputs, or on board key pads.

Control Panels

Custom control panels can be provided toallow individual, multiple, or individual andmultiple control of various types of curtainmachines. When used in conjunction withfully automatic curtain machines, it'spossible to set or change a curtain contourwith the press of a single button. Customcontrol panels also prove useful when it isdesirable to change the reflective orabsorptive characteristic of an auditoriumby moving a series of panels or curtains todifferent locations depending onperformance characteristics. Panels areavailable with pushbuttons and custometched faceplates, or with programmabletouch screens.

AV Screen Tracks

ADC's AV Screen Tracks allow a projectionscreen to be stored in one location andmoved to another.The system willaccommodate screens up to 8 feet in width.Two options are available: (1) One longtrack with the screen stored at one end andmoving to the other end or (2) Two tracksinstalled at right angles to each other withthe screen stored on one track and movingacross the corner. Corner may be miteredor butt joined.Plan View

"Flying" Type Machines

If the project requires that the curtainmachines be kept off of the floor or "fly" upand out with the curtain track, then considerusing a "Flying" type machine. Most ADCtrack systems can be equipped with "Flying"type machines. Machine models 934, 1454,2904, 6504, 2904TV, and 6504TV are allavailable in a "Flying" configuration. A"Flying" Live End pulley must be used on allflying systems to correctly route the operatingcable.

Rotodrapers

Get the most from your stage no matter whatits size, with Rotodraper pivoting devices.

These unique devices are normally alignedin parallel along the sides of the stage. Pipebattens are attached to the pipe clamps ofthe Rotodrapers. Fixed width curtains arethen installed on the pipe battens.

The curtains can be easily rotated to providevarious effects by attaching a pull-line to theend of the curtain pipe. Once rotated, thecurtains are held in place by the Rotodraperdevice.

Models 17, 28, and 14 ride in tracks to alloweven greater flexibility. Not only can thecurtains attached to these devices rotate, butthey can also move along the length of thetrack.

For precise positioning of the curtainsconsider adding and indexing plate to theRotodraper. These plates use a spring loadedlock and formed steel plate to lock theRotodraper in position in 15 degreeincrements. For track type Rotodrapers, afriction brake can be added to hold thedevice in position along the track length.The brake is released by pulling on a cordattached to the brake.

Wireless Remote Control

ADC's Wireless Remote Control system isideal for operating one or more draperymachines from a hand-held transmitter. Thesystem, which operates by radio signal,allows total flexibility in room layout becausefurniture and/or drapery fabrics do notinterfere with the signal. Receiver measures4 3/8" long x 2 1/2" wide x 1" deep andrequires 110 volt power source. Transmittermeasures 3" long x 1 3/8" wide x 3/4" deep.Start, stop, and reverse control is standard.

Low Voltage Control is required on machinesusing model WRC-1 wireless remote control.

Variable Speed Frequency Drive Draw Machine

Automatic Draw Machine - Constant Speed

Automatic Draw Machine - Constant Speed (Extended Travel)

Automatic Masking Machine - Constant Speed

Automatic Lift Curtain Machine - Rotating Shaft Type

Automatic Lift Machine - Constant Speed


Variable Speed Frequency Drive Lift Machine


ADC has been providing track systems to thetheatrical, movie, and industrial markets forover 70 years and is proud of its reputation asa provider of quiet and trouble-free systems.

2121 South 12th Street • Allentown, PA 18103 • Phone: 610-797-6000 • Fax: 610-797-4088www.automaticdevices.com • [email protected]

AUTOMATIC DEVICES COMPANY

ADC offers you the highest standard of qual ity tracksand machines in the industry.


Sketch of right angle wall system


page 35














Experience

















Standard and Custom Products We offer:• Stage Curtain Tracks

• Window Curtain Tracks• Machines - Lift and Draw


• Hospital Cubicle Tracks and Curtains

• Cyclorama Tracks• Gym Divider Machines, Tracks, and Hardware





• Component and system information

• Features on new and non-catalog items


• Track and machine selector guides

• CAD drawings for most of our system components and machines• Installation instructions for our track systems





Rig-I-FlexModel 142



Model 143-5B












LogiStop


Control Panels


AV Screen Tracks




Rotodrapers



















Variable Speed Light-Duty DraperyMachine

Tom Thumb Model 579

• Plugs into standard120 volt receptacle.

• Motor is 24 volt, DC, 60 hz, single-phase, 18 watts, .024 hp, less than2 amps.

• Cable speed is variable between 0and approximately 40 fpm (60 rpm).

• Externally-mounted, user-adjustable speed control.

• Low-voltage (24 volt) magnetic track-mounted limit switches.

• Machine can be mounted above or directly below track's live-end pulley.

• Included with the machine is a bracketto enable wall, floor, or ceiling mounting.

• Externally-mounted fuse protection• Wireless (RF) remote control available

- optional• Dimensions: 4.5" wide (including

mounting bracket) x 5.5" deep x 7"high; weight: 8 pounds, 8 ounces







page 36















Experience

















Standard and Custom Products We offer:• Stage Curtain Tracks

• Window Curtain Tracks• Machines - Lift and Draw


• Hospital Cubicle Tracks and Curtains

• Cyclorama Tracks• Gym Divider Machines, Tracks, and Hardware





• Component and system information

• Features on new and non-catalog items


• Track and machine selector guides

• CAD drawings for most of our system components and machines• Installation instructions for our track systems





Rig-I-FlexModel 142



Model 143-5B












LogiStop


Control Panels


AV Screen Tracks




Rotodrapers



















Variable Speed Light-Duty DraperyMachine

Tom Thumb Model 579

• Plugs into standard120 volt receptacle.

• Motor is 24 volt, DC, 60 hz, single-phase, 18 watts, .024 hp, less than2 amps.

• Cable speed is variable between 0and approximately 40 fpm (60 rpm).

• Externally-mounted, user-adjustable speed control.

• Low-voltage (24 volt) magnetic track-mounted limit switches.

• Machine can be mounted above or directly below track's live-end pulley.

• Included with the machine is a bracketto enable wall, floor, or ceiling mounting.

• Externally-mounted fuse protection• Wireless (RF) remote control available

- optional• Dimensions: 4.5" wide (including

mounting bracket) x 5.5" deep x 7"high; weight: 8 pounds, 8 ounces







page 37



Appendix

the art of selling stage curtains

Documents

use of luxout stage

sample curtains

new stage curtains sample

custom stage curtain

standard colors available

special colors

black velour

specialty drapery cleanerspage