Jay Pritzker Pavilion - Millennium Park

Transcription

1 Jay Pritzker Pavilion - Millennium Park Audio Systems & Music Pavilions Jonathan Laney Threshold Acoustics

2 wisdom The perc eption of sound is a highly personal ex perienc e. It is neither an art nor science, but our ow n private view through one of the window s of the senses. Dick Heyser, Scientist Jet Propulsion Labs

3 Music Pavilion History Chris Jaffe s paper sound reinforcement in the music pavilion presented at the 37 th AES convention in 1969 Over 100 Years of Alfresco Orchestral Music Performance Early Expectations Were Not High Little consideration was given to the acoustical environment characteristics of the space. It was taken for granted that facilities for outdoor alfresco concerts would never approach the acoustical environment of a 2000 seat European style symphony hall or even a larger Renaissance style Italian opera house. Chris Jaffe Jaffe Ac oustic s

4 Music Pavilion History Chautauqua Tents and Amphitheater Early Examples of Constructing Facilities for Summer Programs

5 Music Pavilion History Lewishon Stadium Hollywood Bowl Projection Enclosure for Orchestra Steeply Ramped Seating for Audience Without Cover

6 Music Pavilion History Tanglew ood Ravinia Conc eived to Improve the Environment for Orc hestral Conc erts Roofs Placed Over Both the Audience and Orchestra Shell Enclosure for the Musicians

7 Music Pavilion History Aspen Pavilion Tanglew ood Meadow Brook Pavilion Jaffe notes it was not until Aspen Pavilion Shell & Cloud Addition to Tanglewood Meadowbrook Music Pavilion Were Standards Raised to be Comparable to an Indoor Experience

8 Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell Saratoga Merriweather Post Blossom Center Mississippi River Festival New York Philharmonic & Metropolitan Opera Portable Shell & Sound Reinforcement System Jaffe Design Used Magnetic Disk Signal Delays and Reverberation Units

9 Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell Saratoga Merriweather Post Blossom Center Mississippi River Festival High Volume to Seat Ratio Acoustic Coupling Techniques Sound Reinforcement for the Lawn

10 Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell Saratoga Merriweather Post Blossom Center Mississippi River Festival High Volume to Seat Ratio Acoustic Coupling Techniques Sound Reinforcement for the Lawn

11 Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell Saratoga Merriweather Post Blossom Center Mississippi River Festival High Volume to Seat Ratio Acoustic Coupling Techniques Sound Reinforcement for the Lawn

12 Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell Saratoga Merriweather Post Blossom Center Mississippi River Festival High Volume to Seat Ratio Acoustic Coupling Techniques Sound Reinforcement for the Lawn

13 Music Pavilion History Enter Roc k & Roll Designed for Symphonic Acoustic Needs Too Reverberant for non-orchestral Music Backline and Big PA Creates unintelligible mush

14 Music Pavilion History Conc ord Pavilion Acoustician Chris Jaffe Architect Frank Gehry First Facility to Consider Acoustic Enhancement Utilizing Parkin s Assisted Resonance System

15 Music Pavilion History 40 Years Sinc e Conc ord Venue Renovations & Upgrades New Facilities all taking advantage of the experience learned along the way and the advancements in technology Carlos Moseley Pavilion Update of the Gugennheimer shell Acoustician - Chris Jaffe Audio System Designer David W. Robb Portable Stage and Sound System Utilizing Electronic Reflected Energy System (ERES)

16 Music Pavilion History Vienna Crystal Palac e - London Morebisc h Festival on the Lak e Advanc ement in Tec hnology LARES Electronic Architecture; David Griesinger & Steve Barbar Successfully Implemented in Outdoor Venues Stable, Reliable, and Repeatable

17 Chic ago Music P avilion History Grant Park Music Festival Open Air Concerts Downtown Chicago Petrillo Music Shell history tradition

18 Jay Priztker Pavilion Design Goals Reclaim the South Shore railway yards Continue Chicago s tradition of music under the stars Meet the needs of the Grant Park Music Festival musicians Immerse the Audience in the Sound Field Create a Flexible Pavilion that Accommodates a Variety of Music tradition flexibility

19 Jay Pritzker Pavilion No Roof or Side Walls Maintains the Tradition of open air concerts under the stars with views of the skyline 4000 Fixed Seats 7000 Lawn Capacity 625 Feet from the Stage to the Rear of the Lawn 300 Feet Wide

20 Jay Pritzker Pavilion Design Challenges Audience Area and Capacity much larger than a Concert Hall Audience Area Geometry and Stage Width No Walls or Ceiling for the Audience Area Weather Urban Setting Budget vs Program Expectations

21 Acoustic Enhanc ement Demo Perfect Application for Acoustic Enhancement Design Team Assumed Sound Reinforcement Only Budget based on previous Petrillo Sound System Upgrade LARES demo at Rehearsal LARES demo for Concert

22 On-Stage Ac oustic Environment Graphics courtesy of TALASKE Designed for the P erformer Stage end of a world class Concert Hall Designed to Facilitate Communication Between Musicians Innovative Riser System Variable Acoustics

23 Dual Audio Systems Designed for the Audienc e Sound Reinforcement Acoustic Enhancement

24 Sound Reinforc ement System Graphics courtesy of TALASKE Clarity Loudness Localization

25 Ac oustic Enhanc ement System Graphics courtesy of TALASKE Creates the Reverberant Field from all directions Provides Lateral and Rear Arriving Reflection Patterns Ability to focus

26 Ac oustic Enhanc ement System Graphics courtesy of TALASKE Immersing the Audience in the Sound Field Ability to focus

27 Ac oustic Enhanc ement System Graphics courtesy of TALASKE More than Reverb Not 2 Dimensional Provides Directional Information Adjustable Room Size Frequency, Time, Level Control of the Signal Ability to focus

28 Ac oustic Enhanc ement System Graphics courtesy of TALASKE Five LARES Zones Stage Seating Overhead Seating Lateral Lawn Overhead Lawn Lateral

29 Sound Reinforc ement Main Stacks Left, Center, Right Subwoofers Left, Right Distributed Stage Edge Front Fills Eight (8) Delay Rings Perimeter Distributed Approach LOUDNESS CLARITY - LOCALIZATION

30 Sound Reinforc ement Main Stacks Left, Center, Right LOUDNESS CLARITY - LOCALIZATION

31 Sound Reinforc ement Subwoofers Left, Right LOUDNESS CLARITY - LOCALIZATION

32 Sound Reinforc ement Front Fills LOUDNESS CLARITY - LOCALIZATION

33 Sound Reinforc ement Eight Delay Rings LOUDNESS CLARITY - LOCALIZATION

34 Sound Reinforc ement Eight Delay Rings LOUDNESS CLARITY - LOCALIZATION

35 Sound Reinforc ement Perimeter LOUDNESS CLARITY - LOCALIZATION

36 Ac oustic Enhanc ement Stage Overhead Lateral ENVELOP MENT REFLECTIONS - REVERB ERATION

37 Ac oustic Enhanc ement Stage sense of hall return ENVELOP MENT REFLECTIONS - REVERB ERATION

38 Ac oustic Enhanc ement Overhead ceiling canopy ENVELOP MENT REFLECTIONS - REVERB ERATION

39 Ac oustic Enhanc ement Lateral Walls ENVELOP MENT REFLECTIONS - REVERB ERATION

40 System Operation - Sound Reinforc ement HOUSE MIX P OSITION FOH Engineer Close Sectional Micing clarity, loudness, balance Panning Left, Center, Right Submix Front Fill, Delay Rings Occasional direct feed of soloist to LARES

41 System Operation Ac oustic Enhanc ement CONTROLLING THE ROOM Systems Tech & FOH Engineer 8 Preset Microphones - (4) Orchestra, (4) Chorus Preset Recall via Crestron (3) Level Adjustments via Crestron (+/- 1.5 db)

42 Listening Challenges Ambient Noise Levels Roof Top Units Traffic Emergency Vehicles Helicopters Audience flexibility tradition

43 Alternate Uses Adaptive Use of the Design LARES as FX System Surround Mixing Sound Art

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45 Jay Pritzker Pavilion Facts Digital from Mic Pres to Output Stage of the Amps 185 Speakers 143 Amps 96 Cobranet Channels 3 Amplifier Rack Rooms