CATWALKS HIGH ABOVE THE STAGE GIVE A TOP-DOWN VIEW OF THE CONCERT HALL’S ACOUSTICAL PANELS AND OTHER GEAR.
across the stage, either to reduce the sound reflecting off the three-story glass wall behind the performers or to hide off-stage performers and props. Motorized tracks around the side and back walls carry acoustical drapes or theatrical scrims, and motorized blinds can diffusely screen or totally block that tall back window. There’s a dedicated mixer board for the 5.1 surround-sound system, in addition to the separate audiovisual control booth. The audio system is isolated with its own ground to preclude any electronic hash from the lighting system, and the balcony speak- ers use a delay to ensure that sounds from the stage and the monitors reach listeners at the same time. There are some 40 microphones, including different ones for voice and instruments, plus wireless hookups. The hall’s video capability includes two remote-controlled, high-def cameras, and the sound booth con- tains synchronized digital projectors that put out a combined 12,000 lumens. Video and audio feeds can be patched to any part of the building—including the performers’ green room. The heating and cooling system features double-wide ducting designed for quiet. Even in an empty hall, you can’t hear the airflow over- head. Fire protection is provided by standard sprinklers, a fire hose mounted in a stage wall, and a super-duty “deluge” system over- head. A geo thermal system heats and cools the hall and the whole building. In fact, because heavy-duty soundproofing also helps so much to maintain temperature, the geothermal system relies on fewer bores than a typical, comparably sized building would require. Under the hall’s oak stage is neoprene cushioning, creating a sprung floor for dance performances. In front of the main stage area is an apron that is actually an elevator: It can be placed flush at stage height, dropped to floor level for additional seating, or lowered to the basement to create an orchestra pit. Of course, the concert hall is handicapped-accessible, with wheelchair access via the enormous elevator in the lobby. A wireless assistive-listening
24 SCOPE SPRING 2010
system transmits concert audio to headsets or earbuds (provided on request) and to certain models of hearing aids. Coaxial and fiberoptic connectors aplenty should be able to support any group. Touring companies who bring their own gear can route their cables in ceiling ladders or stage-level pass- throughs to the outdoors. Scores of stage lights, operated from the control booth, are powered by two tall cabinets, each with 400-amp, three-phase electrical service. That’s a lot of power.
THE INFO IN INFO TECH
WITH VIDEO SCREENS AND AUDIO
HOOKUPS ALL OVER, LECTURES AND
PERFORMANCES, WHETHER LIVE OR RECORDED, CAN BE PIPED JUST
ABOUT ANYWHERE.
In addition to, and wired to, the sound booth in the concert hall, is a recording studio on the Zankel’s basement level. The studio’s performance booth has sound-absorbing foam ceilings, and the walls are broken up by alternating reflective (wood) and absorptive (foam/fiber) panels with no right angles or large flat planes—all crafted to minimize echo and maximize recording quality and fidelity. With video screens and audio hookups all over, lectures and performances, whether live or re cord ed, can be piped just about anywhere. The large Moore recital room has a remotely operated camera and projection system, and can be used for small ensemble performances. A keyboard lab with
headphones allows an instructor or students to listen to each keyboard separately or in groups. And a computer lab puts AV editing and other software at students’ fingertips. Along with enjoying soundproof offices and classrooms, in- structors and accompanists can draw on the highly wired build- ing to retrieve online recordings—no more sending students to the library to listen to CDs. “For instructors who teach music technology, the impact will be obvious,” says Tom Denny, chair of the music department. “For those teaching from a historical or cultural perspective and those teaching performance, they’ll be able to enhance good teaching by immediately bringing in media and materials as illustrations and discussion points.”
MARK BOLLES
GARY GOLD
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