Jay Pritzker Pavilion - Millennium Park Audio Systems & Music Pavilions Jonathan Laney Threshold Acoustics
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
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
Music Pavilion History Chautauqua Tents and Amphitheater - 1879 Early Examples of Constructing Facilities for Summer Programs
Music Pavilion History Lewishon Stadium - 1915 Hollywood Bowl - 1921 Projection Enclosure for Orchestra Steeply Ramped Seating for Audience Without Cover
Music Pavilion History Tanglew ood - 1938 Ravinia - 1940 Conc eived to Improve the Environment for Orc hestral Conc erts Roofs Placed Over Both the Audience and Orchestra Shell Enclosure for the Musicians
Music Pavilion History Aspen Pavilion - 1950 Tanglew ood - 1959 Meadow Brook Pavilion -1964 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
Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell - 1965 Saratoga -1966 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
Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell - 1965 Saratoga -1966 Merriweather Post Blossom Center Mississippi River Festival High Volume to Seat Ratio Acoustic Coupling Techniques Sound Reinforcement for the Lawn
Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell - 1965 Saratoga -1966 Merriweather Post - 1967 Blossom Center - 1968 Mississippi River Festival - 1969 High Volume to Seat Ratio Acoustic Coupling Techniques Sound Reinforcement for the Lawn
Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell - 1965 Saratoga -1966 Merriweather Post -1967 Blossom Center - 1968 Mississippi River Festival -1969 High Volume to Seat Ratio Acoustic Coupling Techniques Sound Reinforcement for the Lawn
Music Pavilion History Suc c ess Leads to More Facilities Minnie Gugenneheimer Shell - 1965 Saratoga -1966 Merriweather Post -1967 Blossom Center -1968 Mississippi River Festival -1969 High Volume to Seat Ratio Acoustic Coupling Techniques Sound Reinforcement for the Lawn
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
Music Pavilion History Conc ord Pavilion - 1975 Acoustician Chris Jaffe Architect Frank Gehry First Facility to Consider Acoustic Enhancement Utilizing Parkin s Assisted Resonance System
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 - 1990 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)
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
Chic ago Music P avilion History Grant Park Music Festival -1931 Open Air Concerts Downtown Chicago Petrillo Music Shell history tradition
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
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
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
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
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
Dual Audio Systems Designed for the Audienc e Sound Reinforcement Acoustic Enhancement
Sound Reinforc ement System Graphics courtesy of TALASKE Clarity Loudness Localization
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
Ac oustic Enhanc ement System Graphics courtesy of TALASKE Immersing the Audience in the Sound Field Ability to focus
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
Ac oustic Enhanc ement System Graphics courtesy of TALASKE Five LARES Zones Stage Seating Overhead Seating Lateral Lawn Overhead Lawn Lateral
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
Sound Reinforc ement Main Stacks Left, Center, Right LOUDNESS CLARITY - LOCALIZATION
Sound Reinforc ement Subwoofers Left, Right LOUDNESS CLARITY - LOCALIZATION
Sound Reinforc ement Front Fills LOUDNESS CLARITY - LOCALIZATION
Sound Reinforc ement Eight Delay Rings LOUDNESS CLARITY - LOCALIZATION
Sound Reinforc ement Eight Delay Rings LOUDNESS CLARITY - LOCALIZATION
Sound Reinforc ement Perimeter LOUDNESS CLARITY - LOCALIZATION
Ac oustic Enhanc ement Stage Overhead Lateral ENVELOP MENT REFLECTIONS - REVERB ERATION
Ac oustic Enhanc ement Stage sense of hall return ENVELOP MENT REFLECTIONS - REVERB ERATION
Ac oustic Enhanc ement Overhead ceiling canopy ENVELOP MENT REFLECTIONS - REVERB ERATION
Ac oustic Enhanc ement Lateral Walls ENVELOP MENT REFLECTIONS - REVERB ERATION
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
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)
Listening Challenges Ambient Noise Levels Roof Top Units Traffic Emergency Vehicles Helicopters Audience flexibility tradition
Alternate Uses Adaptive Use of the Design LARES as FX System Surround Mixing Sound Art
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