Acoustic Shell Overview Binder by Wenger Corporation

We are pleased to take this opportunity to showcase our Acoustical Shells along with our full line of acoustic solutions. We encourage you to explore this binder of product and technical information as well as our showcase installations There are many reasons that Wenger Acoustic Products are the ideal choice for your project. • Since 1945, Wenger Corporation worked closely with consultants, designers, facilities and event managers and those partnerships have given us a focused understanding of customer needs and helped us to create high-value products that enable and inspire great performances. • Wenger has a long track record for durable products backed by a five-year warranty. • Our technical design support team, featuring three dedicated engineers, will ensure that your project is a success. • We have acoustical and engineering test data and the technical expertise to ensure that our shell design will meet or exceed the acoustical and aesthetic requirements for any project. • Our design incorporates features and benefits that make our Acoustical Shells easy to use and can be configured for any performance need. • Light Weight and Durable Aluminum Extruded Frames means our towers are easy to move. • We offer many high-grade standard and custom veneer options manufactured using a consistent wood grain pattern. Proper veneer application is as much art as science, and Wenger’s commitment to excellence ensures that the end product is aesthetically correct. In addition to our Acoustical Shells, Wenger is excited to introduce the new Wenger Lieto™ LED light fixture specifically designed for use in full-stage acoustical shells. The three-axis beam positioning and built-in knob provide tool-free pan, tilt and rotation. With a 12,000-lumen output, less Lieto light fixtures can be incorporated into an acoustical shell ceiling design without compromising light levels. The Lieto fixture is now available with Diva® and Maestro® Acoustical Shells. Our goal is to provide you with all the necessary tools and information to help you make informed purchasing decisions. We thank you for your consideration and look forward to working with you on your upcoming projects.

1.800.493.6437 • +1 507.455.4100 • 555 Park Drive, Owatonna, Minnesota 55060 USA • www.wengercorp.com

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

CONTENTS 1 | Wenger Acoustics Team

2 | Wenger Acoustics History

5 | Wenger Corporation Overview Brochure

CONTENTS

89 | Legacy® Classic Acoustical Shell Product Sheet 91 | VAE® - Virtual Acoustic Technology Brochure 97 | VAE® Rehearsal System Brochure 101 | Transform® Motorized Acoustical Banner Product Sheet

103 | Acoustical Treatment Solutions Brochure

111 | Soundlok® Sound-Isolation Rooms Brochure

Product specifications in this book are subject to change without notice. Contact your Wenger Representative or visit www.wengercorp.com for the most up-to-date information.

4 Tab Bank (2.50 Tab)

87 | Legacy® Select Acoustical Shell Product Sheet

3 Tab Bank (3.33 Tab)

53 | Project Profiles

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CONTENTS

www.wengercorp.com/acoustics

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THE WENGER TEAM RON FREIHEIT

Ron Freiheit graduated from Southern Technical Institute (division of Georgia Institute of Technology) with a bachelor’s degree in Electrical Engineering Technology. He later pursed graduate-level studies in Acoustics at Penn State. Ron began his career as an electrical engineer for the Owatonna Tool Company (now Bosch) in design of handheld microprocessor-based automotive diagnostic systems. He joined Wenger Corporation in 1991 as a Product Manager and served as Director of Design Engineering 2002 to 2015. He is currently the Director of Acoustics at Wenger Corporation. Ron has been a member of the Acoustical Society of America (ASA) since 1991, the Institute of Noise Control Engineers (INCE) since 1992 and the Audio Engineering Society (AES) since 1976. He was elected Fellow of the ASA in 2003. Ron serves as a TCAA liaison with the Newman Award, ASA and Wenger Foundation to provide an ongoing sponsorship of the Student Design Competition for the Technical Committee on Architectural Acoustics. He has also been granted six U.S. patents related to acoustic products.

MATT HILDEBRAND

Matt Hildebrand is a Product Manager at Wenger Corporation and the lead Design Engineer for Wenger’s Active Acoustic Systems. His musical background, advanced degrees in engineering and physics, and passion for acoustics make him a strong asset to Wenger’s Acoustics Group. Since joining Wenger in 2011, Matt has played a key role in the development of several acoustic products including the Tunable Acoustic Panel, VAE® Rehearsal System, and Transcend® Active Acoustic System. Prior to his role in Product Management, Matt led Wenger’s Research & Development Center and Acoustic Laboratory. He is an active member of the Acoustical Society of America (ASA) and Audio Engineering Society (AES).

MARK INGALLS

Mark Ingalls, Performing Arts Custom Product Manager, is responsible for handling the support, coordination and collaboration of custom performing arts products at Wenger Corporation. Ingalls, a 30-year Wenger veteran, also continues his role as Product Manager for Diva® Acoustical Shells. He earlier managed Wenger’s applications engineering department and was the Performing Arts Segment Manager.

STEPHANIE ATKINSON

Stephanie Atkinson is a Business Development Manager for Europe, Middle East, Africa, in Performing Arts at Wenger Corporation and the Performing Arts Specialist Internationally. Her structural and architectural background, degree in architecture and organization management, and passion for performing arts makes her a strong asset to Wenger’s Performing Arts Group. Since joining Wenger in 2001, Stephanie has played a key role in the design and engineering of acoustical shells including the development for the Maestro acoustical shell. Prior to her role in International Sales, Stephanie was involved in design, manufacturing, and installation coordination of acoustical shells worldwide. She is a member of the Construction Specifications Institute (CSI).

www.wengercorp.com/acoustics

1946

Harry Wenger started making lightweight, durable batons 1950’s Harry started working on a portable acoustical shell concept

1960’s Sound Module, Wenger “Bandwagon” and FullStage Acoustical Shells.

1980’s & 1990’s

Today’s line of Acoustical Panels

Acoustical treatments for Music rehearsal rooms.

1995 & 1996 WAVE Room Acoustics and V-Room Practice Rooms

2000’s

Provided choral anechoic source material for auralizations. VAE Practice, Tunable Acoustic Panels, VAE Rehearsal, Transform Acoustic Banners, Transcend Active Acoustic System and Virtuoso Acoustical Shell.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

and

founded Wenger Corporation.

Today’s line of Portable Acoustical Shells

Today’s SoundLok Sound-Isolation Rooms, Showmobile and Full-Stage Acoustical Shells

ACOUSTICS

history

www.wengercorp.com/acoustics

THE PRODUCTS THAT DEFINE PERFORMANCE

wengercorp.com 4

THE PRODUC TS THAT DEFINE

PERFORMANCE 5

FULFILLING YOUR VISION OF EXCELLENCE You see it in the rehearsal room and in the performance hall, behind the scenes and on center stage, at the practice field and in the stadium on game day. You see students inspired to reach higher, performers empowered to excel, athletes motivated to do their best. We see it too. By providing innovative products and services, we push our own boundaries and look for new ways to help you achieve something special.

Music Education Create your ideal music suite

usic educators know that pursuing excellence requires high-quality equipment built to excel despite the daily demands of practice and performance. Chairs, stands and risers that endure every session. Staging that moves and reconfigures as your needs change. Acoustics that enhance the environment. Storage cabinets that safeguard your investment. Sound isolation systems that protect hearing and enhance learning. Wenger is your total resource for elementary, secondary and university-level music rehearsal and performance. • A tradition of creating the most trusted products

Music Chairs & Stands

Choral Risers

• Flexible solutions that perform class after class, year after year

Acoustic Solutions

Mobile Storage Carts

Teaching Tools

Staging & Platforms

• Unsurpassed engineering focused on durability, versatility and functionality • Innovative solutions that make the most of every budget • Friendly and insightful customer service and technical support

Elementary Products

• “Your Performance Partner” for music education

Storage Solutions

Sound-Isolation

Performing Arts Create a world-class performance space

rom backstage to the back row and from concert halls to black box theatres, Wenger & J.R. Clancy offer acoustic, stage and storage solutions designed for flawless performance. Since joining forces in 2011, we’ve focused on excellence in versatility, comfort and acoustics that enhance every performance space we serve. Our advanced products provide the highest levels of safety and reliability, as well as aesthetics that help transform venues. Our capabilities go beyond products to include installation and service.

Acoustical Shells

Stage Engineering & Rigging

Control Systems

• Exceptional solutions for performance spaces • The broadest array of products to meet your needs

Acoustic Solutions

• Custom solutions to meet your project vision

Platforms & Pit Fillers

Audience Seating

Performance Equipment

Makeup Stations

• Enhanced experiences for performers and audiences worldwide • “Creativity of Engineering” for performing arts

Virtual Acoustics

Athletics Create the ideal team room

hether you’re managing a physical education class or equipment for a professional sports team, GearBoss® products are built specifically to help you succeed. Our entire line of innovative products and systems has been engineered to improve your use of space, time and resources — which studies show improve everything from on-field performance to recruiting. Our heavy-duty construction never quits and includes innovative features that organize and protect your investment. This includes our unique cart-andtrack system that optimizes storage space, improves security and quickly moves gear wherever you need it. • Flexible and customizable solutions to improve organization, cleanliness, transportation and pride

Custom Wood Team Lockers

High-Density Storage Carts

AirPro® Metal Lockers

Storage Shelving

Workstations

Mobile Kiosk

Mobile Storage

Field Carts

Field Podium

• Engineering ingenuity saves time, space and effort • Powerful aesthetics for team rooms that attract recruits and motivate athletes • Options to protect your valuable equipment and uniforms

CO N T IN U IN G A T R ADI T I ON Wenger Corporation began in 1946 with our founder, Harry Wenger. As a music teacher himself, Harry’s vision was to develop innovative products that made an impact in the classroom and on the stage.

M US I C E D UC ATI O N

Harry’s ingenuity continues today with the spirit of innovation and support he inspired to become a worldwide leader in every market we serve. The addition of J.R. Clancy to the Wenger family in 2011 greatly expanded our presence in the performing arts field. Today, we offer the broadest product line in the industry and we work

PE R FO R M I N G A RTS

closely with venues of all sizes, from community playhouses to international opera houses. Wenger’s line of GearBoss products is also setting a new standard in athletic programs, creating breakthroughs in space, organization and spirit for high schools and professional franchises alike.

ATH LE TI C S

With over 800,000 square feet (74,322 square meters) of manufacturing space, we supply a broad array of products and service for music education, performing arts and athletics.

WENGER CORPORATION

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse | NY 13209-9713

GEARBOSS

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

ACOUSTICAL SHELL OVERVIEW DIVA® ACOUSTICAL SHELL AND MAESTRO® ACOUSTICAL SHELL

4 Tab Bank (2.50 Tab)

3 Tab Bank (3.33 Tab)

Product specifications in this book are subject to change without notice. Contact your Wenger Representative or visit www.wengercorp.com for the most up-to-date information.

ACOUSTICAL SHELL OVERVIEW

35 | Technical Information: Acoustical Shell Enclosures

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ACOUSTICAL SHELL OVERVIEW

www.wengercorp.com/acoustics

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

D I V AÂ® A C O U S T I C A L SHELL SYSTEM

www.wengercorp.com/acoustics “Our Diva shell is finished in a beautiful Honduran mahogany veneer – it’s absolutely gorgeous. Our technical staff appreciates the Diva’s versatility and easy handling. Working with Wenger on our new facility was a really nice collaboration. They understood our objectives and whenever we had needs, Wenger stepped up and met them.” Don Fassinger Manager Tempe Center for the Arts Tempe, Arizona

“The Diva shell’s big advantage is the acoustic environment it creates, helping students become critical listeners. They’re learning to respond to what they’re hearing and the audience overwhelmingly hears the difference too. “The Diva shell finishes the appearance of the auditorium very beautifully. Wenger matched the shell’s veneer to the warm cherry wood interior panels, giving a really nice, unified look. “For setup and takedown, the Diva shell works exactly as promised.”

Robert Palmer Chairman of Performing Arts Avon Old Farms School Avon, Connecticut

M A G N I F I C E N T

DIVA SHELLS REWARD YOU WITH BETTER PERFORMANCES

A C O U S T I C S

The first goal of the acoustical shell is to improve the acoustical environment on stage. Diva has the acoustical and enginering test data along with the technical expertise to ensure that it will meet or exceed acoustic requirements of your project. Wenger is recongnized as an expert in custom veneer design and application to deliver beautiful aesthetics for both new construction and historic restoration. 12

DIVA PAYS ITS WAY

800.4WENGER (493.6437) | ®Worldwide +1.507.455.4100

WITH SUBSTANCE, STYLE, AND EASE. Diva’s composite-panel construction provides superior acoustical performance and Diva’s ability to produce custom aesthetics at a lower cost is a Wenger exclusive. We also think you’ll see that Diva is engineered and built to a higher standard. The all-aluminum frame provides longer-lasting rigidity and easy operation. Diva also gives you the unique advantages of the Air Transporter, which allows one person to move Diva towers on a cushion of air. Setup time and crew size are slashed, and there’s less wear and tear on the shell itself – and on your stage floor.

DIVA GIVES YOU THE TOOLS TO CREATE THE LOOK YOU WANT.

FOLSOM LAKE COLLEGE, FOLSOM, CALIFORNIA

B R E A T H T A K I N G

Diva reflects sound back to the source so musicians can hear themselves more accurately.

By reflecting and diffusing sound throughout the enclosure, Diva enhances cross-communication vital to ensemble performance.

You can choose from a vast selection of hardwood veneers, laminates, paint finishes, and accents that allow you to enhance any decor and complement any architecture.

A E S T H E T I C S

For conductors, Diva delivers a more accurate blend of sounds from the entire orchestra.

Diva projects sound into the audience and prevents sound energy from escaping into the fly loft, curtains, and stage wings.

www.wengercorp.com/acoustics “Our Diva shell is often put up in the auditorium for all sorts of events, including piano recitals, show choir contests and concert choir performances. “Without the shell, sound just goes completely into the rafters – it’s very obvious. The shell makes a sizable difference in containing the sound and projecting it out to the audience rather than up into the ceiling. Whether onstage or in the audience, you can really tell the shell’s benefits.”

Dan Baker Choir Director and Music Department Chair Northridge High School Middlebury, Indiana

“Acoustically the Diva shell makes a world of difference. We can hear everything beautifully – it’s amazing! The shell looks great too, coordinating nicely with the Diva panels in the seating area. It’s the perfect package.”

Luis Martinez Band Director Booker T. Washington High School for the Performing and Visual Arts Dallas, Texas

“The Diva shell’s effect is very encouraging – we know we’re going to have a good sound. Playing is much more exciting when we’re not struggling to hear each other. The audience also hears a balanced sound, even from smaller ensembles.”

David Large String Orchestra Director Booker T. Washington High School for the Performing and Visual Arts Dallas, Texas

A W E S O M E DESIGN ADVANTAGES

ATWOOD CONCERT HALL, ALASKA CENTER FOR THE PERFORMING ARTS, ANCHORAGE, ALASKA

V E R S A T I L I T Y

• Inherent design flexibility and economies allow you to achieve extensive finish options and allow you to achieve virtually any look within any budget range • Wall and ceiling design enables multiple configuration sizes for orchestras, bands and ensembles for superior sound reflection • Rigid composite panel construction • All-aluminum frame is rigid, durable and economical • Stage access doors are quiet, convenient and can accommodate a grand piano • Nesting wall tower design saves storage space • Integrated Wenger Lieto™ LED fixtures provide uniform lighting on stages with clean architectural appearances 14

OPERATION ADVANTAGES

• Counter-weighted base stabilizes towers and maintains balance during setup/strike • Air Transporter moves towers on a cushion of air • Ceiling panel performance angle presets eliminate guesswork and speed setup • Tower Wing Panels lock securely in performance and storage position • Tower leveling pads eliminate gaps between towers

DIVA ADAPTS

800.4WENGER (493.6437) | ®Worldwide +1.507.455.4100

TO YOUR BUDGET. • Diva’s inherent design features are well worth your investment and will save you time and labor costs year after year. • All Diva features are standard allowing the maximum performance and features for your budget. • Customization is unlimited - Finishes, Shapes, Acoustic Shelves and Acoustical Venting. • Additional or variable acoustic panel mass options available

DIVA’S EXTRUDED

ALUMINUM FRAME • Light weight and extremely rigid. • Integrated panel hinges with Oilite® bearings provides smooth/quiet operation.

BOOKER T WASHINGTON HIGH SCHOOL FOR THE PERFORMING AND VISUAL ARTS, DALLAS, TEXAS

S M A R T

E C O N O M I C S Composite-panel/ honeycomb-core construction creates an acoustically reflective surface that excels across a broad range of frequencies.

•

L A S T I N G Convenient, quiet stage access doors make it fast and easy to move people on and off stage. Double doors can accommodate grand pianos.

V A L U E Ceiling panels attach to stage rigging and are available with Wenger Lieto™ LED fixtures. Diva’s integral aluminum trusses incorporate electrical raceways.

www.wengercorp.com/acoustics “The Diva shell helps create the best acoustic environment for the musicians, enabling them to do their jobs in a better, easier way. If musicians can hear each other, they can play together as a much more unified group. That’s been my experiences with Diva shells at two different facilities. The Diva’s flexibility definitely gives us different options for setting up the orchestra. The Symphony probably uses the Diva two or three times per month – it varies from month to month.”

Laura Bordner Adams Director of Orchestral Operations Richmond Symphony Orchestra Richmond, Virginia

“ We’ve worked with Wenger on other unusual shells; they very much have a can-do attitude and offer creative solutions. I like how they roll up their sleeves and get into the spirit of what we’re trying to accomplish, even if it’s something they’ve never done before. The Diva shell fit all the right criteria for the Carpenter Theatre, including portability and affordability. We needed a flexible shell that could be moved on and off stage, with the ability to park and nest the towers.”

Bruce Herrmann, AIA, Director, Wilson Butler Architects Boston, Massachusetts

B E A U T I F U L

CUSTOM DIVA OPTIONS

C U S T O M I Z A T I O N S

ACOUSTICS

AESTHETICS/DESIGN

STORAGE

• Custom-shaped ceiling and wall panels

• Wood veneer finishes

• Towers with folding bases

• Field-applied faux finishes

• Towers flown for storage

• High-density panels

• Panels with custom shapes/radius

• Removable top tower sections

• Adjustable acoustically transparent panels

• Accents, inlaid features, and other architectural enhancements

• Removable ceiling sections

• Acoustical tower shelves

• Ceiling storage carts • Flown ceiling storage carts

• Flat and curved panel combinations

• Flown or attached rear wall

• Forestage reflector/diffuser 16

DIVA IS THE RIGHT PLATFORM FOR ANY CUSTOM SHELL.

800.4WENGER (493.6437) | ®Worldwide +1.507.455.4100

We’ve designed Diva to accommodate any customization required for your project. Our designers work with your project team to create the shell that is perfect for your facility. Diva design and aesthetics accommodate everything from historic theatres to the most modern architecture. Acoustical requirements for specific shapes and mass can all be realized with the Diva platform. Acoustical shell storage is of paramount concern for all facilities and Wenger has a long history of solving shell storage challenges – everything from folding tower bases to flying walls and removable ceilings.

CUSTOM DIVA ACOUSTIC SHELLS THAT FIT YOUR BUDGET. Our years of experience in designing custom acoustic shells offers your project team the ability to create a shell as unique as your facility and fit within your budget. Wenger offers a design-build approach to satisfying your most stringent aesthetic, acoustic or storage requirements. Our designers are here to collaborate with you to create the perfect shell and add valueengineered solutions while controling costs.

RICHMOND SYMPHONY ORCHESTRA, RICHMOND CENTERSTAGE, RICHMOND, VIRGINIA

I N T E R N A T I O N A L Tunable panels use flat, curved, and acoustically transparent panels to meet specific acoustical needs.

E X P E R I E N C E Tower shelves enhance crossstage hearing for musicians and fold for compact storage.

Removable tower top sections allow access to storage areas with lower ceiling heights.

www.wengercorp.com/acoustics

“ The whole Diva system is amazing – and so user-friendly. The orchestra really likes that they can hear themselves, and Diva also projects sound to the audience. Setup, adjustments, and fine-tuning are easy, and it all nests into a 15’ x 8’ footprint.” Ralph Wilson Stage Manager Fox Cities Performing Arts Center Appleton, Wisconsin

“I’m a big proponent of the Diva system. I think it’s easy to deploy; we deploy it at least twice a month, sometimes more. Deploying takes less than two hours and striking less than one hour. For storage, I like how the towers nest together and stack fairly tight, without taking much room.”

Steve Sweet, Technical Director Richmond CenterStage Richmond, Virginia

The counter-weighted base provides stability when the Diva towers are set in place and when they are moved from performance to storage areas.

F E A T U R E S ALUMINUM TOWER FRAME DESIGN

Easy to move, durable aluminum extruded frame towers reduce overall weight of tower assembly and minimizes point loads on the stage floor (weight of aluminum is about 35% of the weight of steel). The standard aluminum extruded frame is designed for towers up to 40' tall

Adjustable bases and pads make it easy to level Diva towers. You’ll love having the ability to quickly and precisely fine-tune your Diva presentation.

A N D

WING AND DOOR HINGES

Tower wing and door hinge assemblies consist of extruded aluminum sleeves that are built to last using Oilite® self-lubricating bearings that enables a smooth and quite door operation that is virtually maintenance free 18

Wing stays and angle positioners make it easy to adjust Diva’s wing panels into the perfect position. Preset ceiling panel angles are infinitely adjustable.

B E N E F I T S

SUPERIOR WOOD VENEER Wenger’s commitment to excellence ensures proper veneer application of our standard high-grade veneer options that are presorted based on wood grain and color. Custom veneer solutions available

MULTIPLE FACTORY-APPLIED FINISH OPTIONS

Wood Veneer: Rich aesthetic appearance available in any wood species Plastic Laminate: Durable with a vast array of colors and paterns Paint: Durable and unlimited color choices

DIVA OWNERS

800.4WENGER (493.6437) | ®Worldwide +1.507.455.4100

KNOW — DIVA’S

EFFICIENCIES ARE PRICELESS.

Engineering excellence is a Wenger hallmark, and Diva may be our finest example. The ingenious design, built with the highestquality materials and hardware, operates in a unique manner that is one of Diva’s greatest attributes. You’ll need fewer people and less time to set and strike the shell because Diva is so easy to operate and so stable and secure. That’s also why you’ll be likely to use and reconfigure it more often. Diva is designed and built to last.

EXCLUSIVE AIR TRANSPORTER REDEFINES ‘CONVENIENCE’. THE AMERICAN INTERNATIONAL SCHOOL OF MUSCAT (TAISM), MUSCAT, OMAN

The compact nesting design is a big space saver. Use the Wheeled Mover or Air Tansporter to move towers into a stage wing where they nest snugly into a small footprint.

O F DIVA AIR MOVER

Patented Diva Air Mover makes moving towers easy by lifting approximately 75% of the tower weight, reducing the point load on two 6" rear casters and minimizing potential stage floor damage

This feature moves Diva towers on a cushion of air for easy one-person operation that also protects your stage floor. It’s simple to use with just a push of a button. Adjustable ceiling panels attach to stage rigging and deploy quickly. When not in use, they store in the fly loft. Available with Wenger Lieto™ LED light fixtures.

D I V A

ALUMINUM CEILING FRAME DESIGN

S H E L L

CEILING HINGE SYSTEM

Built-in aluminum extruded truss makes Diva’s ceiling assembly rigid and straight allowing hanger arms to be located next to rigging cables for the strongest point of support and also serves as an electrical raceway for integrated light fixtures

Diva’s ceiling hinge system uses self-lubricating thermoplastic bearings that are durable, quiet and virtually maintenance-free making rotating to and from the performance position easy for one or two people 19

EASY-TO-USE CEILING ANGLE ADJUSTMENT

Locking into performance positions is easy using Ceiling stays that are spring-loaded and allow for quick, easy and infinite angle adjustments to your preferred preset angles

www.wengercorp.com/acoustics Northridge High School Middlebury, Indiana

Avon Old Farms School Avon, Connecticut Phoenix Symphony Hall Phoenix, Arizona

Montclair State University Montclair, New Jersey

Alexander Kasser Theater Charles W. Eisemann Center for Performing Arts Richardson, Texas

Teatro Aguascalientes Aguascalientes, Mexico

Andy Dekaney High School, Houston, Texas

WWW.WENGERCORP.COM/INSTALLATIONS

DIVAÂ® INSTALLATIONS AROUND THE WORLD. Your Wenger team of experts is ready to work closely with you to design the ideal acoustical shell system for your facility. Visit www.wengercorp.com to view an extended owners list and photos of installations from around the world.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100 Tivoli Concert Hall Copenhagen, Denmark

Janáček Theatre Brno, Czech Republic

Harbin Engineering University Harbin, China

Sankei Hall Osaka, Japan

Teatro Del Canal Madrid, Spain

National Theater Seoul, South Korea

Sha Tin Town Hall N.T., Hong Kong

PERFORMANCE CENTERS • • • • • • • • • • • • • • • • • • • • • • • • • •

Belle Mehus City Auditorium, Bismarck, North Dakota Cape Cod Symphony, Barnstable, Massachusetts Charles W. Eisemann Center for Performing Arts, Richardson, Texas Coronado Theatre, Rockford, Illinois Eisemann Center for Performing Arts, Richardson, Texas Embassy Theater, Fort Wayne, Indiana Four Rivers Center for the Performing Arts, Paducah, Kentucky Fox Cities Performing Arts Center, Appleton, Wisconsin Gwinnett Civic and Cultural Center, Duluth, Georgia Harris Theatre at Chicago Music & Dance, Chicago, Illinois Lensic Theatre, Santa Fe, New Mexico Lyric Opera House, Kansas City, Missouri McCallum Theatre, Bob Hope Cultural Center, Palm Desert, California Orpheum Theatre, Sioux City, Iowa Philharmonic Veterans Memorial Auditorium, Providence, Rhode Island Phoenix Symphony Hall, Phoenix, Arizona Richmond CenterStage, Richmond, Virginia Saenger Theater, Mobile Symphony, Mobile, Alabama San Francisco Opera House, San Francisco, California Spencer Theater, Ruidoso, New Mexico Spokane Opera Center, Spokane, Washington Sunset Center for Performing Arts, Carmel, California Tampa Bay Performing Arts Center, Tampa, Florida Tennessee Theater, Knoxville, Tennessee Tempe Center for the Arts, Tempe, Arizona The Granada Theatre, Santa Barbara, California

COLLEGES AND UNIVERSITIES • • • • • • • • • • • • • • • • • • • •

Anne Arundel Community College, Arnold, Maryland Ball State University, Muncie, Indiana Bethune-Cookman College, Daytona Beach, Florida Fort Lewis College, Durango, Colorado Indiana Wesleyan University, Marion, Indiana McIntyre Hall Performing Arts and Conference Center, Skagit Valley College, Mount Vernon, Washington Missouri Southern State College, Joplin, Missouri Montclair State University, Montclair, New Jersey Moorpark College, Moorpark, California Point Loma Nazarene College, San Diego, California Rhode Island College, Providence, Rhode Island Rose State College, Midwest City, Oklahoma Rowan University, Glassboro, New Jersey Scripps College, Claremont, California South Mountain Community College, Phoenix, Arizona Stephen F. Austin State University, Nacogdoches, Texas Tsinghua University, Beijing, China University of Memphis, Memphis, Tennessee University of Mississippi, Oxford, Mississippi University of Pennsylvania/Clarion, Clarion, Pennsylvania

SECONDARY SCHOOLS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Andy Dekaney High School, Houston, Texas Ashley High School, Minnie Evans Performing Arts Center, Wilmington, North Carolina Avon Old Farms School, Avon, Connecticut Booker T. Washington High School for the Performing and Visual Arts, Dallas, Texas Brenham High School, Brenham, Texas Buffalo High School, Buffalo, Minnesota Castle Dale High School, Castle Dale, Utah Central York Middle School, York, Pennsylvania Clarkston High School, Clarkston, Washington Cooperativa De Anasco, Anasco, Puerto Rico Fajardo High School, Fajardo, Puerto Rico Galena High School, Galena, Kansas Gillett High School, Gillett, Wisconsin Grants Pass High School, Grants Pass, Oregon Hastings High School, Hastings, Minnesota High School for the Creative & Performing Arts, Philadelphia, Pennsylvania Hurricane High School, Hurricane, Utah Judson High School, Converse, Texas Ketchikan High School, Ketchikan, Alaska Klahowya Secondary School, Silverdale, Washington Mesquite High School, Gilbert, Arizona Minnehaha Academy, Minneapolis, Minnesota Nequa Valley High School, Naperville, Illinois North Thurston High School, Lacey, Washington Northridge High School, Middlebury, Indiana Oliver Middle School, Brockport, New York River Rouge Middle/High School, River Rouge, Michigan Santa Monica High School, Santa Monica, California Tempe High School, Tempe, Arizona West Salem High School, Salem, Oregon Dunman High School, Singapore

INTERNATIONAL

• Aalto Theatre, Essen, Germany • Belle Artes, Humacao, Puerto Rico • CAFAM, Bogota, Colombia • Casino Theater, Zug, Switzerland • Cooperativa De Anasco, Anasco, Puerto Rico • Fajardo High School, Fajardo, Puerto Rico • Haifa Auditorium, Haifa, Israel • Harbin Engineering University, Harbin, China • Heichal Hatarbut, Rishon LeZion, Israel • Hirosaki University, Japan • Janáček Theatre, Brno, Czech Republic • Konser Sahne, Istanbul, Turkey • Luxor Theater, Rotterdam, Netherlands • Meininger Theater, Meiningen, Germany • Mississauga Living Arts Center, Mississauga, Ontario • Nagano Public Hall, Japan • National Theater, Seoul, South Korea • Saskatoon Centennial Auditorium, Saskatoon, Saskatchewan • Seosan Cultural Center, Seoul, South Korea • Sankei Hall, Osaka, Japan • Shanghai Concert Hall, Shanghai, China • SODRE, Montevideo, Uruguay • Teatro Aguascalientes, Aguascalientes, Mexico • Teatro Del Estado - Xalapa, Veracruz, Mexico • Teatro Solis, Montevideo, Uruguay • Tivoli Concert Hall, Copenhagen, Denmark • Tiyatro Sahne, Istanbul, Turkey • Tuen Mun Town Hall, Hong Kong • Umea Theater, Umea, Sweden • University of Guelph, Guelph, Ontario • Upper Canada College Secondary High School, Mississauga, Ontario • Wuxi Opera House, Wuxi, China • Yongsan-gu, Seoul, South Korea

www.wengercorp.com/acoustics

MCALLEN PERFORMING ARTS CENTER, MCALLEN, TEXAS

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com 22 | 7041 Interstate Island Road | Syracuse | NY 13209-9713

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

DIVA® ACOUSTICAL SHELL TECHNICAL SHEET

• Mobile towers and rows of ceiling panels form a full stage acoustic enclosure when placed together on stage. • Separate air transporter or wheeled mover easily lifts and moves the towers. • Towers nest for storage backstage, ceiling panels hang from rigging and are stored in fly-loft. • Towers and ceilings are constructed from composite, stressed skin panels. • The stressed skin surface of the composite panels can be a 0.25" (7 mm) hardwood veneer plywood, or 0.187" (5 mm) masonite with either a painted or plastic laminate finish. • Tower and ceiling panel framework is constructed of aluminum. • Door, wing and ceiling panel hinges feature self-lubricating bearings for continuously smooth and quiet operation. • Tower and ceiling panels come in various finishes. Varnished hardwood veneers, a choice of paint colors or laminates are available. • Trim strips on towers prevent backstage light from shining between the panels and may be finished in many ways to complement the shell. • Patented designs. • Five-year warranty. • Environmental attributes and LEED compliance for these products can be found at www.wengercorp.com/ GREEN or by contacting your Wenger representative. Because of the component nature of the Diva Acoustic Shell, different configurations may be created by using different numbers of towers and ceiling panels. For instance, fewer towers and ceiling rows can be used to create a smaller shell for chamber music or choral performances.

Front View Performance position.

Side View

Full set of towers and ceiling panels used for a full ensemble.

Fewer towers and ceiling panels used for a smaller ensemble.

www.wengercorp.com/acoustics

DIVA® ACOUSTICAL SHELL TECHNICAL SHEET

Tower • All towers feature panels with a 5' (1524 mm), 10' (3048 mm) or 20' (6096 mm) radius curve. • Each tower consists of one center panel and two adjustable wing panels. • Towers are available in heights from 16' (4877 mm) to 32' (9754 mm). Custom towers can be as high as 40' (12192 mm). • Lower wing panels can be used as a door as required. • Double doors allow access of large equipment, including concert grand pianos. • Framework of towers and base are constructed of extruded aluminum and steel weldments. • Diagonal bracing between the tower frame and the base distributes weight over several areas of the tower assembly. • Each tower is equipped with a counterweighted base assembly for stability. • A telescoping wing-stay locks tower wings in performance or storage positions. • Extruded aluminum bearings incorporate bronze Oilite® bearings. • Each tower incorporates leveling adjustment mechanisms. • Towers nest one within another to minimize storage space. • The panel faces may be finished with varnished hardwood veneer, painted masonite or with a plastic laminate. • The back side of towers are painted black. • Five-year warranty.

Internal Trim Clip

Maximum width required is 8' 1" (2464 mm)

C 1' 1/4" (32 mm) D

4'9" (1448 m)

4' 9" (1448 mm) first tower, add 1' 1/4" (32 mm) each additional tower. Top View

Showing how Diva Towers nest together in the storage position, minimizing required storage space.

Back View Telescoping wing-stays lock wings into performance and storage positions (A). The door lock (B) and door handle (C). The counterweighted base (D) provides shell stability when shell is stationary or being moved on stage. The shell rests on leveling pads (E) for uniform set-up on uneven floors.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

DIVA® ACOUSTICAL SHELL TECHNICAL SHEET

Shell Ceiling Panels • Shell ceiling panels have either 5' (1524 mm), 10' (3048 mm) or 20' (6096 mm) radius curves and are available in various single or triple configurations. • Ceiling panels store in a vertical position, and rotate to pre-set, adjustable performance angles. • Ceiling panels are balanced so that each row requires no more than two people to deploy. • Shell ceiling panels feature an integral aluminum alloy truss and hang from stage rigging pipe battens. • Extruded aluminum hinges incorporate bronze low friction acetyl bearings. • Ceiling storage profile can be as little as 13-1/2 (343 mm). • The back side of ceiling panels are painted black. • Optional integrated Wenger® Lieto™ LED light fixtures are available. • Ceiling panel truss features an ETL rated integral raceway so separate plug strips are not required. • Five-year warranty. Ceiling panels feature the option of integrated Wenger Lieto LED light fixtures.

Ceiling panels with built-in truss hang from stage rigging.

Ceiling panels easily tilt into storage position. Adjustable preset (A) allows shells to rotate back to exact performance angle.

Rear View of a 10' (3048 mm) radius ceiling panel.

www.wengercorp.com/acoustics

DIVA® ACOUSTICAL SHELL TECHNICAL SHEET

Tower Transporters • A separate air transport unit makes lifting and transporting the towers an easy job. • A cushion of air carries most of the tower's weight, which prevents damage to stage floor. • Moves the tower easily in any direction, so it is easier to position. • Requires standard 110-volt 15 amp circuit. • A wheeled mover is also available. • Five-year warranty.

1-1/4" (32 mm) Diameter Round Steel Tube Push Handle

Lower Hand Lever and secure under the Hook to raise the Tower 1-1/4" (32 mm) Diameter Round Steel Tube Push Handle

On/Off Switch

Steel Tube Frame Assembly

Air Beam Assembly Lift Brackets engage the Tower Leveler Assembly

Air Transporter

Lift Brackets engage the Tower Leveler Assembly

6" (152 mm) Diameter x 2" (51 mm) wide Swivel Casters

Wheeled Mover

The Air Transporter lifts majority of the tower weight and maneuvers shell in all directions for exact placements and easy mobility to and from storage.

WENGER CORPORATION

Phone 800.4WENGER (493-6437) Worldwide +1.507.455.4100 | Parts & Service 800.887.7145 | Canada Office 800.268.0148 | wengercorp.com 555 Park Drive, PO Box 448 | Owatonna MN 55060-0448

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse NY 13209-9713

GEARBOSS

26 Phone 800.493.6437 | email gearboss@wengercorp.com | gearboss.com | 555 Park Drive, PO Box 448 | Owatonna MN 55060-0448

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

MAESTROÂ® ACOUSTICAL SHELL SYSTEM

www.wengercorp.com/acoustics Ferguson Center for the Arts, Christopher Newport University, Newport, Virginia

Gangdong Arts Center, Seoul, South Korea

A C O S T- E F F E C T I V E A C O U S T I C A L S H E L L S O Maestro ceiling panels complete your full shell by providing critical acoustic and aesthetic elements. They prevent sound from getting lost in the fly loft. Maestro ceilings also create a complete aesthetic appearance. Integrating Wenger Lietoâ&#x201E;˘ LED fixtures into the ceilings provides uniform lighting throughout the shell and a comfortable environment for performers. Maestro ceilings are suspended from typical stage rigging systems. 28

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

A cost-effective solution packed with features, conveniences and performance aesthetics for your venue. The Maestro lives up to its name, delivering impressive full-stage acoustics, while creating live entertainment environments for performances at an affordable price. ∹ Easy Setup – Maestro is easy to set up with a crew of three people. ∹ Flexibility – Easily reconfigure Maestro to accommodate groups of varying sizes. ∹ Stability – Wall towers are counterweighted to ensure superior stability and safety. ∹ Space-Saving Design – Individual towers nest together when not in use, saving precious back-stage space.

∹ Cost Effective – Maestro is an affordable full-stage shell system for any performance space.

Lewisville Center for the Creative Arts, Lewisville, Texas

O L U T I O N F O R A N Y P E R F O R M A N C E S PA C E . “ The users of the shell, both the audience and the performers, have found the visual and acoustical results to be superb! The audience is hearing the Duluth-Superior Symphony Orchestra like they never have before. he orchestra is benefiting from finally properly hearing T themselves perform, and the Maestro is enjoying the ability to help his orchestra reach their full potential. A whole new world of possibilities exists for what the DSSO can do in their performances.” - Brian D. Morse AIA, SJA Architects

“ The Maestro Acoustical Shell is a wonderful addition to the Pavilion’s Great Hall. The shell looks great and sounds superb. It is well designed and engineered, allowing for easy setup in a variety of layout configurations. Thanks for a job well done.” - Terence L. Ross, Technical Director, Washington Pavilion of Arts and Sciences, Sioux Falls, South Dakota

Construction • The Maestro® is a cost-effective solution for any performance space requiring an acoustical enhancement. • Finishes available include: • Low pressure laminate with black painted aluminum panel edges • High pressure laminate with black painted aluminum panel edges • Hardwood veneer stained and finished to match space requirements • Painted panel finish ready for a show • Side towers for stage access for musicians and performers. • Shell towers are easily moved into performance position and moved back into storage via the Wenger wheeled tower mover. Mover is designed for easy transport of towers without marring stage floor. Towers nest together to reduce storage space required. • Ceiling panels set up with a crew of as few as two people. • Ceiling panels with optional integrated light fixtures feature tilt switches making storing the ceilings fool proof. Lighting will not turn on while in storage. • Wenger Lieto™ LED fixtures available for integrated lighting option. • Ceiling panels store easily in rigging fly loft for storage. Ceiling panels are adjustable in performance position. No tools are required to tilt ceilings. • Panels are constructed with black aluminum edging, a rigid honeycomb interior, and a hard panel skin for superior sound quality and durability.

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com 30 | 7041 Interstate Island Road | Syracuse | NY 13209-9713

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

MAESTRO® ACOUSTICAL SHELL TECHNICAL SHEET

• The cost-effective solution for any performance space requiring an acoustical enhancement. • Mobile towers and rows of ceiling panels form a full stage acoustic enclosure when placed together on stage. • Separate wheeled mover easily lifts and moves the towers. • Towers nest for storage backstage, ceiling panels rotate and hang from rigging and are stored in fly-loft. • Panels are constructed with black aluminum edging, a rigid honeycomb interior and a hard panel skin for superior sound quality and durability. • Finishes available include: - Low Pressure Laminate with black painted aluminum panel edges - Hardwood Veneer stained and finished to match space requirements - Painted Panels – Finished painted panel ready for a show. • Environmental attributes and LEED compliance for these products can be found at www.wengercorp.com/GREEN or by contacting your Wenger representative. The component nature of the Maestro Acoustic Shell allows different configurations to be created by using different numbers of towers and ceiling panels. For instance, fewer towers and ceiling rows can be used to create a smaller shell for chamber music or choral performances.

Front View Performance position.

Side View Full set of towers and ceiling panels used for a full ensemble.

Side View Fewer towers and ceiling panels used for a smaller ensemble.

www.wengercorp.com/acoustics

MAESTRO® ACOUSTICAL SHELL TECHNICAL SHEET

Towers • All towers feature panels with an 8' (2438 mm) radius curve. • Each tower consists of one center panel and two adjustable wing panels. • Towers are available in heights from 16' (4877 mm) to 32' (9754 mm). • Lower wing panels can be used as a door as required. • Double doors allow access of large equipment, including concert grand pianos. • Framework of towers and base are constructed of steel weldments. • Diagonal bracing between the tower frame and the base distributes weight over several areas of the tower assembly. • Each tower is equipped with a counterweighted base assembly for stability. • A telescoping wing-stay locks tower wings in performance or storage positions. • Steel hinges incorporate bronze bearings. • Each tower incorporates leveling adjustment mechanisms. • Two-year warranty.

Ten tower nested width is approximately 8' (2438 mm). Width increases as additional towers are added.

C D 1' 1-3/4" (349 mm)

4' 2-3/4" (1289 mm)

First tower is 4' 2-3/4" (1289 mm) add 1' 1-3/4" (349 mm) for each additional tower. E Back View

Top View

Telescoping wing-stays lock wings into performance and storage positions (A).

Showing how Maestro Towers nest together in the storage position, minimizing required storage space.

The door lock (B) and door handle (C). The counterweighted base (D) provides shell stability when the shell is stationary or being moved on stage. The shell rests on leveling pads (E) for uniform set-up on uneven floors.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

MAESTRO® ACOUSTICAL SHELL TECHNICAL SHEET

Ceiling Panels • Have an 10' (3048 mm) radius curve and is available in various single curved configurations. • Store easily in rigging fly loft for storage and are adjustable in the performance position. No tools are required to tilt ceilings. • Store in a vertical position, and rotate to pre-set, adjustable performance angles. • Require as few as two people to deploy. • Hang from stage rigging pipe battens. • Ceiling storage profile can be as little as 1' 4" (406 mm). • Optional integrated Wenger® Lieto™ LED light fixtures are available and feature tilt switches that make storing the ceilings easy. Lighting will not turn on while ceilings are in storage. • Lighted ceiling panels feature an ETL classified electrical system. • Two-year warranty. Ceiling panels hang from stage rigging and feature the option of integrated Wenger Lieto LED light fixtures.

Ceiling panels easily tilt into storage position. Adjustable presets allow panels to rotate back to exact performance angles.

www.wengercorp.com/acoustics

MAESTRO® ACOUSTICAL SHELL TECHNICAL SHEET

Wheeled Mover • Moves the tower easily in any direction, so it is easier to position. • Two-year warranty.

1-1/4" (32 mm) Diameter Steel Tube Push Handle

Lower Hand Lever and secure under the Hook to raise the Tower

Steel Tube Frame Assembly

Lift Brackets engage the Tower Leveler Assembly

6" (152 mm) Diameter x 2" (51 mm) wide Swivel Casters

WENGER CORPORATION

Phone 800.4WENGER (493-6437) Worldwide +1.507.455.4100 | Parts & Service 800.887.7145 | Canada Office 800.268.0148 | wengercorp.com 555 Park Drive, PO Box 448 | Owatonna MN 55060-0448

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse NY 13209-9713

GEARBOSS

Phone 800.493.6437 | email gearboss@wengercorp.com34 | gearboss.com | 555 Park Drive, PO Box 448 | Owatonna MN 55060-0448

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

ACOUSTICAL SHELL ENCLOSURES DATA BOOK

www.wengercorp.com/acoustics

ACOUSTICAL SHELL ENCLOSURES OVERVIEW

Incredible acoustics and sophisticated looks in the auditorium and throughout the facility.

DIVA® FULL-STAGE ACOUSTICAL SHELL An investment in Diva acoustics will reward you the first time you hear the remarkable difference. Diva is a beautiful centerpiece for your stage that is engineered to last for years and years. Diva is also incredibly easy to use, so you can use it more often. No other acoustical shell gives you so much long-term value.

MAESTRO® FULL-STAGE ACOUSTICAL SHELL

LEGACY® ACOUSTICAL SHELLS

The Maestro is a welcome addition to our acoustical product line. Maestro is a cost-effective solution packed with features, conveniences and performance aesthetics for your venue.

The latest Wenger technology gives you three attractive, effective acoustical shell options to fit your application and budget. The Legacy system can be set up quickly and easily – by just one person. Its mobility allows you to acoustically transform almost any space within a facility into a performance venue.

The Maestro lives up to its name delivering impressive full-stage acoustics, while creating live entertainment environments for performances at an affordable price.

We pioneered acoustical shell design, so it's no surprise that our honeycomb core panel construction delivers enhanced acoustics to both the ensemble and the audience. When the performance is over, Legacy acoustical shells take down in no time and nest together compactly.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

ACOUSTICAL SHELL ENCLOSURES OVERVIEW

Diva® Shell Wall Towers (Rolling/Movable)

Diva Acoustical Shell Features

• Shell Towers are designed to move from storage to performance positions — and nest one within the other for compact storage.

• The design, flexibility and extensive finish options of the Diva Acoustical Shell provide a customized shell at an affordable price.

• Shell Towers are constructed of materials to effectively reflect sound.

• A combination of shell towers and ceiling rows form a full-stage acoustic enclosure.

• Diva Shell models incorporate access doors for personnel and equipment access to the performance area.

• The modular design allows for flexible configurations that can fit ensembles and performances of all sizes.

• Diva towers are moved with a Manual Wheeled Mover or Electric Air Transporter which makes consistent shell placement an easy process and which also greatly reduces wear and damage to the floor.

• Rigid composite panels improve acoustics. Curved panel surfaces reflect and diffuse sound for optimum acoustical performance. • Two standard tower widths: - 10' (3048 mm) 4' (1219 mm) center and 3' (914 mm) wings - 12' (3658 mm) 4' (1219 mm) center and 4' (1219 mm) wings.

Diva Shell Ceiling Panels

• Each row of shell ceilings is designed to be suspended from one pipe batten or line set.

• Towers can be sized to your specification, with heights from 16' to 32' (4877 to 9754 mm).

• Storage — ceilings are designed to rotate to a vertical position for storage in the stage loft area. Ceiling panels can be specified to be removable to free up additional line sets.

• Custom towers heights are available up to 40' (12192 mm). • A variety of painted, plastic laminate and wood finishes help to make the Diva Acoustical Shell aesthetically pleasing and visually define a performance area.

• Give proper consideration to shell ceiling weight and rigging line set capacity. • Optional integrated Wenger® Lieto™ LED light fixtures are available.

• The Diva Acoustical Shell is designed to significantly reduce setup time.

• Wenger works to integrate Diva ceiling rows with existing or new theatrical rigging. Rows of ceilings rotate to the vertical position for storage and lock into the performance position for fast setup.

• The Diva Acoustical Shell tower frames and ceiling trusses are manufactured with extruded aluminum and steel weldments.

• Ceiling aluminum trusses provide space for an ETL rated integrated electrical raceway that supplies power for optional lighting packages.

• Diagonal bracing between the tower frame and the base distributes weight over several areas of the tower assembly. • Access Doors are available including double doors that accommodate a grand piano. • Towers nest together for compact storage with minimal footprint — in alcove, stage wing or backstage.

www.wengercorp.com/acoustics

ACOUSTICAL SHELL ENCLOSURES TYPICAL DRAWINGS

Front Elevation of Typical DIVA Acoustical Shell Integrated Light Fixtures

Access Doors

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

ACOUSTICAL SHELL ENCLOSURES TYPICAL DRAWINGS

Symbols for Standard Diva Ceiling Panels All symbols are available, please contact Wenger.

14" (356 mm) In Storage

4' (1219 mm) Ceiling without Lights

14" (356 mm) In Storage

7' (2134 mm) Ceiling without Lights

4' (1219 mm) Ceiling with Lights

14" (356 mm) In Storage

7' (2134 mm) Ceiling with Lights

14" (356 mm) In Storage

5' (1524 mm) Ceiling without Lights

6' (1829 mm) Ceiling without Lights

14" (356 mm) In Storage

8' (2438 mm) Ceiling without Lights

14" (356 mm) In Storage

10' (3048 mm) Ceiling with Lights

5' (1524 mm) Ceiling with Lights

11' (3353 mm) Ceiling with Lights

14" (356 mm) In Storage

8' (2438 mm) Ceiling with Lights

6' (1829 mm) Ceiling with Lights

14" (356 mm) In Storage

9' (2743 mm) Ceiling with Lights

14" (356 mm) In Storage

12' (3658 mm) Ceiling with Lights

Notes: 1. Ceiling assemblies will weigh about 4 lb (2 kg) per square foot. 2. Each Lieto LED light fixture will weigh 15 lb (7 kg). 3. Panels that are painted will be constructed of 3/16" (5 mm) hardboard on both sides of 1-1/2" (38 mm) paper honeycomb. 4. Panels that are veneered will be constructed of 1/4" (6 mm) veneered MDF plywood on face side of 1-1/2" (38 mm) paper honeycomb. Back is 3/16" (5 mm) hardboard painted black.

www.wengercorp.com/acoustics

ACOUSTICAL SHELL ENCLOSURES TYPICAL DRAWINGS

Typical Diva Layout for a 70' x 35' (21.3 x 10.7 m) Performance Area Contact Wenger for a layout designed to fit your facility. Ceiling panels are designed to fit between existing fixed or standard stage lighting.

70' (21.3 m) 8' 1" (2.5 m)

Ceiling in stored position 35' (10.7 m)

10' 10" (3.3 m)

Proceninum Opening

Performance Area

Indicates Door

Proceninum Opening

Section through center line DIVA full stage acoustical enclosure

Ceiling panels are designed to fit between existing fixed or standard stage lighting.

70' (21.3 m) 8' 1" (2.5 m)

Ceiling in stored position 35' (10.7 m)

10' 10" (3.3 m)

Proceninum Opening

Performance Area

Indicates Door

Proceninum Opening

Section through center line DIVA full stage acoustical enclosure

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

ACOUSTICAL SHELL ENCLOSURES TYPICAL DRAWINGS

Diva Shell Towers Top View 12' (3658 mm) Tower

4' (1219 mm)

Top View 10' (3048 mm) Tower

4' (1.22 m)

3' (914 mm)

4' (1219 mm)

3' (914 mm)

16' (4877 mm) Minimum 32' (9754 mm) Maximum

Front Elevation

Telescoping wing-stays lock wings into performance and storage positions (A).

The door lock (B) and door handle (C). The counterweighted base (D) provides shell stability when shell is stationary or being moved with on stage. The shell rests on leveling pads (E) for uniform set-up on uneven floors.

C Access Door

E Rear Elevation

www.wengercorp.com/acoustics

ACOUSTICAL SHELL ENCLOSURES TYPICAL DRAWINGS

70' (21.3 m) 8' 1" (2.5 m)

Ceiling in stored position 35' (10.7 m)

10' 10" (3.3 m)

Proceninum Opening

Performance Area

Indicates Door

Proceninum Opening

Section through center line DIVA full stage acoustical enclosure

Ceiling panels are designed to fit between existing fixed or standard stage lighting.

70' (21.3 m) 8' 1" (2.5 m)

Ceiling in stored position 35' (10.7 m)

10' 10" (3.3 m)

Proceninum Opening

Performance Area

Indicates Door

Proceninum Opening

Section through center line DIVA full stage acoustical enclosure

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

ACOUSTICAL SHELL ENCLOSURES APPLICATION INFORMATION

Air Transporter

• A separate air transport unit makes lifting and transporting the towers an easy job. • A cushion of air carries most of the tower's weight, which prevents damage to stage floor. • Moves the tower easily in any direction, so it is easier to position. • Requires standard 110-volt 15 amp circuit. • A wheeled mover is also available. • Five-year warranty.

1-1/4" (32 mm) Diameter Round Steel Tube Push Handle

Lower Hand Lever and secure under the Hook to raise the Tower

1-1/4" (32 mm) Diameter Round Steel Tube Push Handle

On/Off Switch

Steel Tube Frame Assembly

Air Beam Assembly Lift Brackets engage the Tower Leveler Assembly

Lift Brackets engage the Tower Leveler Assembly

Air Transporter

6" (152 mm) Diameter x 2" (51 mm) wide Swivel Casters

Wheeled Mover

The Air Transporter lifts majority of the tower weight and maneuvers shell in all directions for exact placements and easy mobility to and from storage.

Maximum width required is 8' 1" (2464 mm)

Diva Towers in Storage Top view showing how Diva towers nest together in the storage position, minimizing required storage space.

Top View

1'-1/4" 4' 9" (311 mm) (1448 mm) 4' 9" (1448 mm) first tower, add 1'-1/4" (311 mm) for each additional tower.

www.wengercorp.com/acoustics

ACOUSTICAL SHELL ENCLOSURES APPLICATION INFORMATION

Diva Shell Ceiling Panels

14" (356 mm) in storage position Back View of Ceiling Panel in Storage Position

Optional Integrated Wenger Lieto LED Light Fixtures

Ceiling Performance Angle The angle of the ceilings can be adjusted for different acoustical requirements.

Shell ceiling in performance position.

Ceilings placed in a more horizontal position will return more sound energy to the performers on stage. Ceilings placed at a steeper angle will reflect more sound energy to the audience. 44

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

ACOUSTICAL SHELL ENCLOSURES APPLICATION INFORMATION

Maestro® Acoustical Shell The Maestro Acoustical Shell is a welcome addition to our acoustical product line. Maestro is a cost-effective solution packed with features, conveniences and performance aesthetics for your venue. The Maestro lives up to its name delivering impressive full-stage acoustics, while creating live entertainment environments for performances at an affordable price. Towers • All towers feature panels with an 8' (2438 mm) radius curve. • Each tower consists of one center panel and two adjustable wing panels. • Towers are available in heights from 16' (4877 mm) to 32' (9754 mm). • Lower wing panels can be used as a door as required. • Double doors allow access of large equipment, including concert grand pianos. • Framework of towers and base are constructed of steel weldments. • Diagonal bracing between the tower frame and the base distributes weight over several areas of the tower assembly. • Each tower is equipped with a counterweighted base assembly for stability. • A telescoping wing-stay locks tower wings in performance or storage positions. • Steel hinges incorporate bronze bearings. • Each tower incorporates leveling adjustment mechanisms. Ceiling Panels • Have an 10' (3048 mm) radius curve and is available in various single curved configurations. • Store easily in rigging fly loft for storage and are adjustable in the performance position. No tools are required to tilt ceilings. • Store in a vertical position, and rotate to pre-set, adjustable performance angles. • Require as few as two people to deploy. • Hang from stage rigging pipe battens. • Lighted ceiling panels feature an ETL classified electrical system. • Optional integrated lighting fixtures feature tilt switches that make storing the ceilings easy. Lighting will not turn on while ceilings are in storage. • Ceiling storage profile can be as little as 1' 4" (406 mm).

General Features • The cost-effective solution for any performance space requiring an acoustical enhancement. • Mobile towers and rows of ceiling panels form a full stage acoustic enclosure when placed together on stage. • Separate wheeled mover easily lifts and moves the towers. • Towers nest for storage backstage, ceiling panels rotate and hang from rigging and are stored in fly-loft. • Optional integrated Wenger® Lieto™ LED light fixtures are available. • Panels are constructed with black aluminum edging, a rigid honeycomb interior and a hard panel skin for superior sound quality and durability. • Finishes available include: - Low Pressure Laminate with black painted aluminum panel edges - High Pressure Laminate - Hardwood Veneer stained and finished to match space requirements - Painted Panels – Finished painted panel ready for a show.

www.wengercorp.com/acoustics

ACOUSTICAL SHELL ENCLOSURES TYPICAL DRAWINGS

Symbols for Maestro Ceiling Panels All symbols are available, please contact Wenger.

14" (356 mm) In Storage 4' (1219 mm) Ceiling without Lights

14" (356 mm) In Storage

7' (2134 mm) Ceiling without Lights

14" (356 mm) In Storage 4' (1219 mm) Ceiling with Lights

14" (356 mm) In Storage 7' (2134 mm) Ceiling with Lights

14" (356 mm) In Storage

5' (1524 mm) Ceiling without Lights

5' (1524 mm) Ceiling with Lights

14" (356 mm) In Storage 8' (2438 mm) Ceiling without Lights

6' (1829 mm) Ceiling without Lights

14" (356 mm) In Storage 8' (2438 mm) Ceiling with Lights

Notes: 1. Ceiling assemblies will weigh about 3 pounds (1.36 kg) per square foot. 2. Each Lieto LED light fixture will weigh 15 lb (7 kg). 3. Panels that are painted will be constructed of 1/8" (3 mm) hardboard on both sides of 1-1/2" (38 mm) paper honeycomb. 4. Panels that are veneered will be constructed of 1/8" (6 mm) veneered MDF plywood on face side of 1-1/2" (38 mm) paper honeycomb. Back is 3/16" (3 mm) hardboard painted black. 46

14" (356 mm) In Storage 6' (1829 mm) Ceiling with Lights

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

ACOUSTICAL SHELL ENCLOSURES TYPICAL DRAWINGS

Maestro Tower Telescoping wing-stays lock wings into performance and storage positions (A). The door lock (B) and door handle (C). The counterweighted base (D) provides shell stability when shell is stationary or being moved with on stage.

The shell rests on leveling pads (E) for uniform set-up on uneven floors.

C D Access Door

Rear Elevation

Typical Maestro Layout for a Performance Area Contact Wenger for a layout designed to fit your facility.

Ceiling panels are designed to fit between existing fixed or standard stage lighting.

Ceiling in stored position

Proceninum Opening

Indicates Door Performance Area

Section through center line DIVA full stage acoustical enclosure

Proceninum Opening

www.wengercorp.com/acoustics

ACOUSTICAL SHELL ENCLOSURES APPLICATION INFORMATION

Wheeled Mover

Lower Hand Lever and secure under the Hook to raise the Tower

â&#x20AC;˘ Moves the tower easily in any direction, so it is easier to position.

1-1/4" (32 mm) Diameter Round Steel Tube Push Handle

â&#x20AC;˘ Two-year warranty.

Steel Tube Frame Assembly

Lift Brackets engage the Tower Leveler Assembly

6" (152 mm) Diameter x 2" (51 mm) wide Swivel Casters

Wheeled Mover

Maestro Towers in Storage Top view showing how Maestro Towers nest together in thestorage position, minimizing required storage space.

Ten tower nested width is approximately 8' (2438 mm). Width increases as additional towers are added.

1' 1-3/4" (349 mm)

4' 2-3/4" (1289 mm)

First tower is 4' 2-3/4" (1289 mm) add 1' 1-3/4" (349 mm) for each additional tower.

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ACOUSTICAL SHELL ENCLOSURES APPLICATION INFORMATION

Maestro Ceiling Panels Stage rigging not supplied by Wenger.

Shell ceiling in performance position.

Optional Integrated Wenger Lieto LED Light Fixtures

Ceiling Performance Angle The angle of the ceilings can be adjusted for different acoustical requirements.

Ceilings placed in a more horizontal position will return more sound energy to the performers on stage. Ceilings placed at a steeper angle will reflect more sound energy to the audience.

www.wengercorp.com/acoustics

ACOUSTICAL SHELL ENCLOSURES APPLICATION INFORMATION

Lieto™ Light Fixture “Lieto” is an LED light fixture specifically designed for use in orchestra shells. Fixture construction is lightweight aluminum and “snag-free” curved ABS. The exceptionally shallow mechanical design fully encloses components and precludes interaction with people or nearby stage equipment. The fixture includes a powder-coat steel bezel to properly finish shell ceiling appearance from below. Features • Designed for Maestro and Diva Orchestra Shell applications. • High Output CREE LED Light Engine - 12,000 lumens produced @ 150 watt setting. • Music venue quiet with no buzzing or detectable RFI with no cooling fans. • Musician comfortable - No UV and minimal heat produced. • Choice of beamspread options - 18, 28, 36 and 70 degree. • Choice of Color Temperature Options - 2700K, 3000K and 4000K. • Choice of glare control options. • Three axis beam positioning provided - pan, tilt and rotate with adjustment scale. • 1% DMX512 dimming, without visible stepping, flash or flicker. • RDM remote fixture address and status reporting. • USB download of performance and usage data. • Each fixture individually addressible and controllable. • Compatible with DMX512 controlled UL924 emergency lighting solutions. • Shallow ABS housing is compact, lightweight and snag free. • No tools needed for adjustments. • Energy efficient and LEED certification friendly - Wattage is firmware selectable. • Long life and low maintenance - L70 > 70,000 Hours - One oversized LED driver used. • MVOLT - Compatible with 100 - 240 VAC 50 / 60 Hz electric service. • Five-year limited warranty. • Patent pending. • Includes Safety Cable Lanyard and Configuration Tablet/Firmware/USB Cable. • ETL and CE listed and labeled. • RoHS compliant and IP20 rated. 14.50" (368 mm)

14.50" (368 mm)

2.75" (70 mm)

13.47" (342 mm)

19.45" (494 mm)

Dimensions

Ø11" (279 mm)

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ACOUSTICAL SHELL ENCLOSURES APPLICATION INFORMATION

Optical Performance Lieto IES files were created using a calibrated goniophotometer by a third party independent laboratory. Wenger Corporation can assist with photometric calculations and layout recommendations using Lighting Analysts AGI software. IES files can be requested from Wenger and are also availble for download from www.wengercorp.com. Ordering Code

Description

Lumens Watts

LPW

Conversion Factor (from 150W)

LTO-150-18-30-RJ45-80-NL

18°, 150 watts, 3000K

11949

154

77.5

1.0

LTO-125-18-30-RJ45-80-NL

18°, 125 watts, 3000K

10671

132

81.0

0.9

LTO-100-18-30-RJ45-80-NL

18°, 100 watts, 3000K

9272

102

90.8

0.8

LTO-75-18-30-RJ45-80-NL

18°, 75 watts 3000K

7239

96.1

0.6

LTO-150-28-30-RJ45-80-NL

28°, 150 watts, 3000K

11759

151

77.9

1.0

LTO-125-28-30-RJ45-80-NL

28°, 125 watts, 3000K

10461

126

83.3

0.9

LTO-100-28-30-RJ45-80-NL

28°, 100 watts, 3000K

8968

101

88.7

0.8

LTO-75-28-30-RJ45-80-NL

28°, 75 watts, 3000K

7275

95.6

0.6

LTO-150-36-30-RJ45-80-NL

36°, 150 watts, 3000K

11495

151

76.2

1.0

LTO-125-36-30-RJ45-80-NL

36°, 125 watts, 3000K

10274

126

81.2

0.9

LTO-100-36-30-RJ45-80-NL

36°, 100 watts, 3000K

8848

102

86.6

0.8

LTO-75-36-30-RJ45-80-NL

36°, 75 watts, 3000K

7163

93.6

0.6

LTO-150-70-30-RJ45-80-NL

70°, 150 watts, 3000K

11114

138

80.5

1.0

LTO-125-70-30-RJ45-80-NL

70°, 125 watts, 3000K

10481

126

83.4

0.9

LTO-100-70-30-RJ45-80-NL

70°, 100 watts, 3000K

9046

101

89.3

0.8

LTO-75-70-30-RJ45-80-NL

70°, 75 watts, 3000K

7309

96.3

0.7

Ordering Information Ordering Code Example: LTO-150-18-30-RJ45-80-HX

Lieto Model Prefix

Lens (optional) CR = Concentric Ring Louvre HX = Hexcel Louvre HM = Homogenizing Lens NL = No Lens (standard)

Control Connection RJ45 = RJ45 (standard) 5XLR = 5 Pin XLR

Wattage 150 (standard) 125 100 75

Beam Angle (°) 18 28 36 70

Color Rendering Index 80 (standard) 90

Color Temperature 27 = 2700K 30 = 3000K (standard) 40 = 4000K

Accessories

Homogenizing Lens 30% Lumen Reduction

Hexcel Louvre 17% Lumen Reduction

Concentric Ring Louvre 11% Lumen Reduction

www.wengercorp.com/acoustics

ACOUSTICAL TEST REPORT ABSORPTION AND TRANSMISSION LOSS TESTING (ASTM C423-02A AND ASTM E90-2) Products:

Diva Panels Maestro Panels

The following collection of acoustical test reports were created to provide performance information necessary to those involved with the design and implementation of shells, and/or clouds. Wenger fully understands the requirement for accurate technical information needed during design development to insure successful implementation in facilities being constructed or renovated. To support that end Wenger conducted acoustical testing with independent test labs to insure consistent and accurate results. These tests were conducted at and the reports compiled by Riverbank Acoustical Laboratories. A point to note is the mounting used for absorption testing (ASTM E795-00). Typically, “A” mounting has been the reference for most absorption testing in the past. In discussions preceding the latest testing it was felt that “A” mounting did not reflect the actual performance implementation of the panels correctly and that the “K” mounting would provide a truer representation of the product during most performance situations. This decision is reflected in the mounting used during absorption testing of the panels. It is our sincere hope that the information will be of benefit as you consider Diva and Maestro products for inclusion in your projects. December 2018

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PROJECT PROFILES DIVA® ACOUSTICAL SHELL AND MAESTRO® ACOUSTICAL SHELL

Product specifications in this book are subject to change without notice. Contact your Wenger Representative or visit www.wengercorp.com for the most up-to-date information.

PROJECT PROFILES

77 | Mahaffey Theater, Florida USA

4 Tab Bank (2.50 Tab)

69 | Richmond Centerstage, Virginia USA

3 Tab Bank (3.33 Tab)

65 | Alice Tully Hall, New York USA

)baT 33.3( knaB baT 3

)baT 05.2( knaB baT 4

PROJECT PROFILES

www.wengercorp.com/acoustics

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DIVAÂŽ ACOUSTICAL SHELL PROJECT PROFILE

CULTURAL QUARTER ASSEN, NETHERLANDS Date of Installation: 2011 Wenger International Sales: Paula Ulrich Consultant: pb|theateradviseurs - Netherlands Specification Summary: (14) 10' x 28'- 6 Â˝" (3048 x 8700 mm) Towers (16) 9'-10" x 8' (2997 x 2438 mm) Ceiling Sections with Lights White Oak Veneer Unique Features: The shell features a standard 5' (1524 mm) radii with openings provided in the panels for Flutterfree panels in the tower wings and QRD panels in the center of the tower that were provided and installer by others. The ceilings were assembled in sections to allow for different configurations required by the end user. The ceilings were hung in storage in pairs under one another on one truss batten.

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DIVAÂŽ ACOUSTICAL SHELL PROJECT PROFILE

EISEMANN CENTER â&#x20AC;&#x201C; RICHARDSON, TEXAS USA Date of Installation: 2002 Wenger Sales: John Kimpton Consultant: PMK Specification Summary: (9) 12' x 28' (3658 x 8534 mm) Towers, casters (no mover) (3) Rows of 11'-3" (3429 mm) Ceilings with 42 Lights Cherry Veneer towers, painted ceilings Unique Features: Each tower consists of 4 vertical sections, the curved panels are 15' (4572 mm) radius separated by decorative flat steel frame, and steel faced grill sections. The grilled section of the wings included rear opening hinged wood panel that open for venting. The eight of nine tower have folding base and store folded to the rear stage wall, the other tower include special connection for lift frame and is flown for storage. The ceilings are single curve 25' (7620 mm) radius panels.

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DIVAÂ® ACOUSTICAL SHELL PROJECT PROFILE

FOX CITIES PERFORMING ARTS CENTER - APPLETON, WISCONSIN USA Date of Installation: 2002 Wenger Regional Sales Manager: Chris Mislinski Consultant: Artec Specification Summary: (11) 12' wide x 24' high (3658 x 7315 mm) square top towers (5) 6' wide x 71'-9" long (1829 x 21869 mm) square end ceilings (2) storage carts towers have a cherry veneer and the ceilings have a painted finish Unique Features: Each tower has two pivoting shelves located at 13' and 23' (3962 and 7010 mm) high. A 7/8" wide (22 mm) brushed brass banding is recessed into the towers at six different locations for esthetic appeal. Towers are arranged in a half circle configuration.

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DIVA® ACOUSTICAL SHELL PROJECT PROFILE

MONTCLAIR UNIVERSITY - MONTCLAIR, NEW JERSEY USA Date of Installation: Wenger Sales: Chris Mislinski Consultant: Creative Acoustics (David Greenberg) Specification Summary: (9) 12' x 17'-2" (3658 x 5232 mm) Towers (3) Rows of 11' (3353 mm) Ceilings with 36 Lights (2) 4' (1219 mm) Side closure ceilings that are off stage from main ceilings and run up-down stage American Black Cherry Veneer Finish Unique Features: The rear towers are 10' (3048 mm) radius panels, the side wall towers are 20' (6096 mm) radius. The tower include a 3' deep (914 mm) folding shelve at 15' (4572 mm) AFF. The darker area of the towers is a 6' high (1829 mm) steel frame, fabric covered panel with plywood backing. Each speaker panel includes two hinge rear opening doors. The main ceilings are standard Diva with custom light layout. The side closer ceilings are flat panel’s 3' wide (914 mm) stage right, 4' wide (1219 mm) stage left.

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DIVA® ACOUSTICAL SHELL PROJECT PROFILE

SANKEI HALL - OSAKA, JAPAN Date of Installation: 2008 Wenger Sales: Sherrie Ulrich Consultant: M & N Acoustics Specification Summary: (7) 12' x 25' (3658 x 7620 mm) Towers (3) Rows of 7'-8" (2337 mm) ski-shaped Ceilings with 29 Lights 3 Ceiling Transport Carts Birch Veneer Finish Unique Features: The flat tower panel’s skins are 3/8" (10 mm) thick materials. The wing sections are either positioned forward or back from the center fixed section. There is a 2'-8" wide x 3'-2" high (813 x 965 mm) reversible panels in each of the sections, the side not shown is absorber material. The down stage side towers are stained darker to create the look. The ceilings a flat to curve profile and are removable as a complete row for storage near the upstage wall.

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DIVA® ACOUSTICAL SHELL PROJECT PROFILE

CENTRAL HIGH SCHOOL - RAPID CITY, SOUTH DAKOTA USA Date of Installation: 2012 Wenger Regional Sales Manager: Steve Grubish Consultant: Bill Conner Associates, LLC Specification Summary: (8) 12' x 22'-1" (3658 x 6731 mm) Towers (3) Rows of 8' wide (2438 mm) Ceilings with Lights Plastic Laminate – Wood Grain Unique Features: The shell features 10' (3048 mm) radii ceiling panels which allowed for custom light locations in the both the upstage and downstage edge of the panels. The consultant also specified cross baffle top hat for each light fixture to in order to control stray beams and light spills.

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DIVA® ACOUSTICAL SHELL PROJECT PROFILE

SUNSET CENTER - CARMEL, CALIFORNIA USA Date of Installation: 2003 Wenger Regional Sales Manager: Howie Goplin Consultant: unknown Specification Summary: (9) 12' wide x 20' high (3658 x 6096 mm) square top towers (double layered panels) (3) 10' wide x 45'-6" (3048 x 13868 mm) long square end ceilings with 48 lights (double layered panels) (1) forestage reflector with 8 lights Finish of the towers, ceilings and reflector is a Class “A” Wilsonart plastic laminate. Unique Features: Both the ceiling and tower panels are constructed with 2 layers of 3/16" (5 mm) hardboard on the front and back. Ceilings have 30" (762 mm) gap between panels to allow for active acoustics. The forestage reflector is a combination of Diva panels and perforated metal speaker panels. The panels are arranged to resemble the tail feathers of a bird.

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DIVAÂŽ ACOUSTICAL SHELL PROJECT PROFILE

APPALACHIAN STATE UNIVERSITY, BOONE, NORTH CAROLINA USA Date of Installation: July 2013 Wenger Regional Sales Manager: Warren Givens Consultant: Creative Acoustics (David Greenberg) Specification Summary: (10) 12' x 23'-10" (3658 x 7264 mm) towers with removable top panels (3) rows of 12' (3658 mm) ceilings with 41 LED lights (3) carts for removable top tower panels The ceilings and towers have a maple veneer finish Unique Features: The shell ceilings feature square ended panels that extend out over the towers with little to no angle. The ceilings also have integrated LED lights by The Light Source which is a first for Wenger. The shell towers are all one height and are positioned under the ceilings. The towers feature pivoting shelves at 15' (4572 mm) high for the purpose of adding to the acoustic properties per Mr. David Greenberg. Another unique feature of the towers is the removable 3' (914 mm) high panels which are removed by hand and stored on carts. The removable panels are required in order for the towers to clear the storage area threshold.

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TEMPE CENTER FOR THE ARTS TEMPE, ARIZONA USA PROJECT PROFILE

“ They understood our objectives and whenever we had needs, Wenger stepped up and met them.” - Don Fassinger, Manager, Tempe Center for the Arts

C HA LLENGE Provide acoustical support and aesthetic harmony in multi-purpose theater environment

W E N G E R SOLU T I ON Designed and constructed full-stage acoustical shell in partnership with architect, acoustical consultant, theatrical consultant, stage equipment contractor and facility owner.

www.wengercorp.com/acoustics

TEMPE CENTER FOR THE ARTS TEMPE, ARIZONA USA

BENEFITS • Coordinates with hall’s distinctive architectural features

• Improves onstage communication by reflecting and diffusing sound

• Integrates with electro-acoustic enhancement system

• Projects sound energy to audience – not fly loft, curtains and stage wings

• Offers flexible configuration options and easy handling

• Couples stage area and auditorium into one acoustical space

HIGHLIGHTS “We had a great team and owner involved,” says Millie Dixon, principal with Theatre Projects Consultants (TPC). “It was a wonderful convergence of everyone moving in the same direction with the same purpose.” The $65.7 million Tempe Center for the Arts (TCA), which opened in September 2007, features a multi-purpose theater, studio theater, gallery and multi-function room. Besides TPC, other key consultants were architects Barton Myers Associates and Architekton, along with Arup Acoustics. “It’s been a tremendous experience,” says Don Fassinger, TCA’s manager, who worked on the project since its conception through the construction and now operating the building. Before his hiring in June 2001, Fassinger served on the Tempe Municipal Arts Commission during the community meetings and design competition. The centerpiece of TCA’s 600-seat proscenium theater is the Diva full-stage acoustical shell, consisting of 10 wall towers and three rows of ceiling panels, all finished in a beautiful Honduran mahogany veneer. Fassinger says the planning committee struggled with the decision on the shell finish: natural wood or painted. “On any project you’re always balancing limited dollars,” he notes. “Wood was a significant cost increase compared with painted, but I’m so glad we chose wood because it’s absolutely gorgeous.” He says working with Wenger was a really nice collaboration. “They understood our objectives and whenever we had needs, Wenger stepped up and met them.” The shell was part of the stage equipment package supplied by Texas Scenic Company. Gary Henley, vice president of marketing, says his company has worked with Wenger for 25 years. “We always have a good working relationship and we always have a happy customer,” remarks Henley. “We never have to worry about the quality of the product.”

CREATING VISUAL UNITY For architect Peter Rutti, senior associate with Barton Myers Associates, a key objective for the shell was to visually unify the stage area and audience house. He designed horizontal bands in the audience house walls that are carried through to the shell’s towers. “Wenger coordinated their veneer layouts of the wall towers with my drawings, so the bands in the house and towers align properly,” notes Rutti. “There was a lot going on behind the scenes, and Wenger was a great manufacturing partner that knew how to pull it all off.” Wenger created the desired banding effect by using a precision router on the panels, exposing the MDF (medium density fiberboard) core beneath the veneered surface. The revealed bands appear darker because of how the core material absorbed stain. Unlike a piece of furniture that may require a single sheet of veneer, the towers and ceiling panels of this large acoustical shell utilized nearly 4,000 square feet (372 sq. m) of veneer constructed from approximately 125 4’ x 8’ (1219 x 2438 mm) sheets. Achieving a consistent visual appearance across such a large surface area is a challenging task. Wenger and its wood supplier pride themselves on paying attention to this key aesthetic detail. “The veneer of the shell had to match everything else in the room and Wenger did a great job putting it all together,” notes Dixon, who has worked with Wenger on numerous shell projects. “They do an excellent job matching all the wood flitches in the shell’s veneer, including colors and wood grains going different directions.” Continues Dixon, “You can usually walk into a space and tell whether or not it’s a Wenger shell. Other companies that manufacture shells make them completely differently, and it’s very obvious whose is whose.” To complement the horizontal banding on the wall towers and audience house, Rutti designed light troughs in a radial pattern extending through the shell ceiling and out into the auditorium acoustical reflector. Light fixtures incorporated into these troughs were a unique design feature Wenger had never created before. In a typical Diva shell ceiling, light fixtures are mounted into holes cut in the panels. 62

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Because these troughs protruded through the back of the ceiling panels, Wenger adjusted the mounting hardware and other ceiling components. This ensured the lights would not compromise the limited storage area provided for the ceiling panels to rotate and store vertically. A secondary objective was achieving lighting angles that would not blind the first few rows of the audience. For this project, as with many custom Diva shells, Wenger made finished mock-ups of ceiling and wall tower panel sections. These were hung in the incomplete theater space for review by the project team before shell manufacturing started. “Acoustical shells are very complicated and it’s difficult describing them over the telephone,” notes Rutti. “You really need to stand underneath them and point at them. Wenger was on-site several times during the construction and this helped the back-and-forth discussions.” Rutti adds, “One of Wenger’s key strengths is asking the right questions at the right times – that’s very important.”

ACHIEVING ACOUSTICAL FLEXIBILITY Multi-purpose spaces like the TCA theater present an acoustical challenge: How to best accommodate the requirements of a wide range of community and touring events. Principal consultant Kurt Graffy of Arup Acoustics says in the past a common approach would be to build a room large enough to support the longest reverberation times required, and use passive acoustical systems like draperies to decrease the reverberation time when necessary. Improvements in technology can offer a small-room acoustical solution by incorporating an electro-acoustic enhancement system. The room is sized so that its natural acoustics support the dramatic spoken word. Early on, there was discussion about which approach to take for the TCA theater. “Larger facilities are more expensive to build and operate,” explains Graffy. “Smaller, more compact buildings have lower foundation costs, construction material costs and lifetime costs like heating and cooling.” The decision was made for a smaller space with electro-acoustic enhancements. Graffy prefers the term ‘electronic architecture’ because it underscores the system’s importance to the facility’s overall functionality. “This isn’t just an optional ‘sound system’ – it’s architecture,” he states. “Value-engineering out this system would be like removing some of the facility’s structural steel columns. The whole building has been purpose-built and designed based on this, and it’s what enables this room to work.” The TCA theater features two separate LARES systems for the stage and house, totaling four microphones and more than 100 loudspeakers. Onstage, the system can adjust the amount of coupling to the hall to suit the musicians, including reverberation and early/late sound energy. Complementing the electronic architecture, the Diva shell is a traditional acoustical solution intended to support the musicians onstage, whether a symphony, smaller ensemble or solo performer. The shell provides nearby surfaces for early reflections, enabling musicians to better hear themselves onstage and to foster cross-stage communication. “In a natural acoustic hall, the reverberation is developed by reflections off all the surfaces on the stage and in the room,” explains Graffy. The TCA theater’s natural acoustics feature a reverberation time of 1.1 seconds. “But when the room acoustics are being enhanced by 100+ loudspeakers, adding loudspeakers to the shell ceiling assembly effectively moves the musicians out into a common volume again,” he says. “Even though they’re onstage, they’re experiencing the same reverberation and acoustic conditions.” To support this electronic architecture, a dozen of the theater’s 100+ loudspeakers are gimbal- mounted on pipe outriggers attached to the upstage edge of the shell’s front two ceiling panels. These loudspeakers rotate with gravity on the pipes so they are always facing down to the stage, even when the ceiling panels are rotated vertically and flown into their storage position. This additional weight from loudspeakers required that Wenger recalculate the center of gravity for the ceiling panels, to maintain their proper balance in the performance position. “Both Ron Probst and Mark Ingalls of Wenger were very instrumental in helping us engineer the necessary modifications,” recalls Dixon.

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TEMPE CENTER FOR THE ARTS TEMPE, ARIZONA USA

“There’s a certain level of quality I know I can expect when working with Wenger,” she continues. “I know they’ll build the shell the way it needs to be built. If I ask for any special adjustments to the framing, I know they will engineer it. They also take care of all the little details and always stand behind their products to ensure I’m satisfied.” To accommodate different size performing groups, the TCA shell is designed for three possible configurations. The largest setup features three wall towers on each side, four wall towers across the back and three rows of ceilings. To reduce the shell size, downstage side towers are removed and the remaining side and back towers brought forward. Two rows of ceilings are used to coordinate with the remaining side towers, which feature angled tops to fit beneath the concert ceiling in any configuration. Unused ceiling rows are stored onstage rigging in the loft when not required for the alternate setups. Depending on the number of side towers used, the downstage height of the tallest tower ranges from 28’ to 21’ (8534 to 6401 mm). “As you get into a smaller number of musicians, you want those shell boundaries to be closer to them,” explains Graffy. “This improves their playing, their sense of ensemble and support. This shell offers quite a flexible configuration.”

MAKING IT EFFORTLESS Fassinger agrees about the flexibility, saying that his technical staff appreciates the versatile shell setups and ease of operations. In day-to-day use, he says the Diva shell moves quite easily. “Our production coordinator and two assistants can get the shell in and out in pretty fast order,” explains Fassinger. “The Air Transporter makes the whole process extremely easy – probably 1.5 hours to two hours.” The ten towers nest compactly for storage in a designated upstage area. Graffy says the LARES system smoothly adapts to suit the shell configuration and these adjustments are transparent to the user. “Once you select the shell size, certain parameters are automatically adjusted to fit the resulting microphone and loudspeaker configuration,” he explains, adding that the reverberation time and level can also be adjusted. “I’ve worked with Wenger for years and this was the second project where loudspeakers were integrated to the ceiling assembly,” remarks Graffy. “Wenger was very supportive of our direction and how the outriggers were designed. They were very easy to work with – it was a good collaborative effort.” Because of their history and experience working with acousticians and musicians, Graffy believes Wenger is already up to speed on the key issues. “Their shells are well-constructed and high quality.” Beyond TCA’s showpiece acoustical shell, Fassinger also found Wenger easy to work with when ordering furnishings and smaller equipment like music stands and conductor’s equipment. “Wenger was very responsive,” he says. “When I requested product samples, they were on my doorstep right away. I really couldn’t have asked for better customer service or a more congenial and professional working relationship.” Dixon agrees. “Wenger is very good with customer service, product training and long-term customer support,” she says. “Their longevity as a company is also a big advantage.”

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ALICE TULLY HALL NEW YORK, NEW YORK USA PROJECT PROFILE

“ Wenger put in a lot of time and an honest, earnest effort to help us achieve what we wanted – and we got it. The quality of the work executed by Wenger was great, guided by an unwavering commitment to our satisfaction.” – Anthony Saby Project Leader, Diller Scofidio + Renfro Architects

C HA LLENGE Furnish acoustical solution for multi-use facility that beautifully accommodates limited space.

W E N G E R SOLU T I ON Designing and manufacturing ceiling panels to satisfy acoustical, architectural, theatrical and operational requirements.

www.wengercorp.com/acoustics

ALICE TULLY HALL NEW YORK, NEW YORK USA

BENE FI TS • Enhances acoustics for performers and audience alike • Accomplishes design team’s intent • Improves functionality of multi-purpose venue

• Complements hall architecture and aesthetics • Meets aggressive timetable and budget requirements

During the evolution of the renovation project, the design team prepared a wish list of functions and operating systems for the renovated auditorium, to be called the Starr Theater.

HIGHLIGHTS “Wenger’s strengths include their long track record of producing excellent products, their willingness to work with consultants and clients and their ‘can-do’ attitude,” says Larry King, senior consultant, acoustics, with JaffeHolden of Norwalk, Conn. “We’ve partnered with them for years on stage enclosures – we have a very good relationship with them.”

“The design team recommended mechanized rigging equipment above the stage, so that settings could be done quickly with minimal stagehand time,” King recalls. A logical solution was employing tip-and-fly acoustical reflectors, which could adjust between a fixed and open ceiling. This would save time compared to storing reflectors off-stage – where space was scarce – and moving them into position. “The decision to use tip-and-fly reflectors pointed right to Wenger,” explains King.

An attitude of partnership between Wenger and other members of the design team helped make this project at Alice Tully Hall in New York City a success. Opened in 1969, it had evolved into one of the most heavily used and flexible venues in Lincoln Center because the main auditorium featured ample seating capacity (1,096) and lacked any major constituent occupying its schedule. But the auditorium wasn’t designed to do all the things for which it was being adapted.

To save time, the process of dropping the reflector panels down and rotating them is now motorized and controlled by microprocessors. The panels drop down 4’ - 5’ (1219 1524 mm) and then automatically flip, with the mechanism and drive motor pulling cables that rotate the panels into the vertical position. “The panels move into the storage position at the touch of a button – it’s pretty impressive to watch,” he explains.

In 2004, plans were unveiled for a major renovation. A key goal was making an even more flexible venue for all types of performances, including dance, film, music and theatrical events.

Equally impressive is the coordination with the fire alarm system. At a signal from the alarm panel, all four reflectors will rotate into the vertical position so water from overhead sprinklers can reach the stage. The reflectors rotate under motor control unless power is lost, in which case the reflectors will rotate vertically by gravity when a manual release cord is pulled or a fusable link opens due to heat.

SPEEDING TRANSITIONS In the original hall, a primary concern was the amount of time spent by stagehands setting up and taking down the various stage hardware systems in the catwalks above the fixed auditorium ceiling. The catwalks provided above-stage access for lighting, microphones and “strong points” that allowed rigging of film screens and other stage hardware when required.

“An aero-mechanical/hydraulic governor releases the clutch on the motor brake, enabling the reflectors to rotate into the vertical position and controlling their speed,” says Peter Rosenbaum, senior associate with Fisher Dachs Associates (FDA) of New York City, the project’s theater consultant. “It’s the first time we’ve ever done anything like this.”

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FITTING LIMITED SPACE Creating a renovated theater within the original building’s shell meant that one of the greatest challenges for the reflectors was the limited space available. As the project progressed, the clearances got even smaller when the deconstruction work revealed existing concrete in locations that varied from original drawings. “The space constraints overall were extreme,” explains Barbara Pook, partner with Pook Diemont & Ohl (PDO), the project’s stage equipment contractor based in New York City. “We had to go through quite a few drawing sets to make the reflectors work with the incredibly compromised space available.” Wenger built a reflector mock-up and shipped it to New York City for a design team review that included evaluating the finish, light fixture placement, seams and wood trim. Pook also flew out to Minnesota to view another mock-up. Wenger redesigned the fourth, upstage-most reflector to collapse into even less space than originally allowed and PDO re-engineered the motorized rigging. “Wenger was instrumental in solving problems and they readily accommodated the changes the design team requested,” explains Pook. This was the first sizable project PDO had done with Wenger as a supplier; Pook says Wenger was a pleasure to work with. “We’re currently doing several other jobs with them – I have only good things to say about Wenger.” Rosenbaum echoes her praise, based on his 15-year working relationship with Wenger. “We appreciate how Wenger’s engineering department is willing and able to tackle some tough problems, the design obstacles we come across as we get deeper and deeper into a project,” he states. Replacing the original catwalks over the Alice Tully Hall stage is a complex system of 25 motorized axes for stage rigging equipment that includes the tip-and-fly reflectors, electrics/ scenic battens, house curtain, speaker clusters, and film screen/masking system. “It’s an incredibly dense configuration in a rather small space,” explains Rosenbaum. Because of these space constraints, the design team also needed to be very aware of the clearance around each reflector as it rotates throughout its entire rotational envelope. Each reflector is operated by twin motors – for tipping and flying – which means that the reflector’s center of gravity moves slightly upstage or downstage as it rotates. “We had especially tight clearances between the first reflector and the mounted concert lighting fixtures,” states Rosenbaum, adding that 3-D modeling and evaluating mock-ups ensured this reflector would never clip or bang into any light fixtures. Praising the successful team effort, Rosenbaum states, “We all pushed each other to find an acceptable solution that would fit the available space.” Stagehand Frank Ferrante has found the ceiling panels easy to work with. “They get moved all the time, whether up into storage, into concert position or over the stage for theatrical events,” he says.

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ALICE TULLY HALL NEW YORK, NEW YORK USA BALANCING REQUIREMENTS

FINE-TUNING ACOUSTICS

The design architect was Diller Scofidio + Renfro (DSR) and project leader Anthony Saby agrees that the reflectors posed unique challenges. “We ran the gamut with Wenger from an engineering, fabrication and finishing perspective,” explains Saby. “A good percentage of the reflector project was a hybrid or customized standard.” Despite the challenges, he says Wenger helped the project stay within budget and the aggressive schedule.

Before the official re-opening, three tuning events were held with a wide range of performers on stage. The motorized system adjusted the tilt and height of all four panels until a single compromise position was reached.

DSR also worked closely with FDA and Wenger on the lighting arrangement in the reflectors. Lights were not placed in the center, but arranged to strike a balance between theatrical and architectural requirements. “We wanted lighting coverage for the stage and also to create a perspective in how this lighting relates to the rest of the theater,” says Saby.

This wall lighting had to be done from the first catwalk, immediately downstage from the first tip-and-fly panel. If that panel was lowered too far, it would occlude the lighting aimed at the rear and side walls. The fourth panel also faced tight space constraints limiting its maximum height.

“We needed acceptable positions for the panels, while also accommodating certain atmospheric lighting of the stage walls requested by the architect,” explains King.

The Starr Theater’s interior walls consist of resin panels sheathed in veneer created from a single African Moabi tree. LED lights embedded in the wall panels help illuminate the theater with rosy hues.

During the tuning events, experimentation was focused on adjusting the middle two panels; King believes their compromise “works reasonably well and also looks good.” He notes that future alterations can be made easily with the motorized system.

The first reflector features a compound curve hardwood edge or nosing that wraps around, created by precision computer-controlled machinery. Wenger worked to ensure the finish and stain on this nosing – and all four reflectors – were consistent with the theater’s other veneered surfaces.

Since its re-opening in February 2009, the Starr Theater has been praised by audience members, performers and critics alike. The improved brightness and warmth of the hall’s acoustics are perfectly complemented by the beautiful, rich aesthetics.

From a visual perspective, Saby believes that having all these elements come together was one of the greatest architectural challenges. “It was a collaborative effort between Wenger, us, the primary millworker, the veneer supplier and Wenger’s own millworker,” Saby says. “There was a lot of direct interaction between the different trades and the end result turned out fantastic. “Wenger put in a lot of time and an honest, earnest effort to help us achieve what we wanted – and we got it,” comments Saby. “The quality of the work executed by Wenger was great, guided by an unwavering commitment to our satisfaction.”

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RICHMOND CENTERSTAGE RICHMOND, VIRGINIA USA PROJECT PROFILE

DIVA® ACOUSTICAL SHELL

“ One of the things I like about working with Wenger is their can-do attitude. They get into the spirit of what we’re trying to accomplish, roll up their sleeves and offer solutions – even when we’re asking for something new.” – Bruce Herrmann, AIA, Director, Wilson Butler Architects

C HA LLENGE Provide full-stage acoustical shell to enhance acoustics and complement aesthetics of renovated historic theatre.

W E N G E R SOLU T I ON Engineering and constructing ceiling panels and custom wall towers incorporating unusual niches, shapes and angles.

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RICHMOND CENTERSTAGE RICHMOND, VIRGINIA USA

BENEFITS • Incorporates design elements of interior architecture • Custom tower design simulates ‘skyline’ with visual depth

• Creates optimal acoustical environment for musicians and audience • Offers easy handling and flexible configuration options

HIGHLIGHTS

To continue this feeling of depth in the skyline, Wenger sandwiched together two of its Diva full-stage acoustical shell wall towers, spaced 2"-3" (51 - 76 mm) apart. The ‘blue sky’ Diva in back recedes behind the ‘city wall’ Diva in front.

“Having worked with Wenger on other unusual shells over the past ten years, we knew they could do something different in the design once they understood our goals,” explains Bruce Herrmann, AIA, Director with Wilson Butler Architects of Boston, Mass. “We wanted something memorable,” he recalls.

Wenger constructed niche boxes, or insets, in six of the 11 Diva wall towers, inspired by the niches in the auditorium’s walls. While the auditorium niches contain statues, the shell’s niches are simply insets featuring hidden lights that create a bluish, twilight glow.

When it opened in 1928, the historic Carpenter Theatre in Richmond, Va., was designed for both silent films and vaudeville. One of the original ‘atmospheric theaters’ designed by John Eberson and built by Marcus Loew, the Carpenter featured interior architecture Herrmann describes as ‘Spanish baroque’ or a ‘medieval Mediterranean castle garden.’ After sitting vacant for two years due to stalled civic efforts, the Carpenter was completely renovated and restored, and reopened in 2009 as part of the new Richmond CenterStage complex.

CRAFTING THE SKYLINE, SUSPENDING DISBELIEF To help create the outdoor atmosphere, the original theatre featured cloud projectors that cast moving shadows across the ceiling. New cloud projectors were installed to continue that fantasy, and the cloud motif is also designed into six custom acoustical reflectors suspended from the ceiling in front of the proscenium.

While the physical dimensions of the Carpenter’s auditorium were maintained, the stage house was demolished and replaced: its depth and width were almost doubled, and the grid was raised to over 70 feet (21336 mm). Other updates to suit the 21st century included a new 80-line manual counterweight rigging system, an enlarged orchestra pit, increased dressing room capacity and a functional loading dock and scene dock.

The 48 original incandescent-light stars in the ceiling were upgraded to fiber-optics, providing more variety in sizes and a better twinkling effect. More stars were added to help fill empty areas while maintaining a random, natural look. In manufacturing the shell, one of Wenger’s biggest challenges was cutting the niches in the wall towers and unusual “skyline” shapes along the top edges of the shell. A solid block edge was fabricated into the honeycomb panel so it was strong enough not to fray when cut.

The Carpenter’s interior side walls were designed to resemble building facades, complete with balconies, statues and inset niches glowing blue from the simulated “twilight” lighting behind them. The domed ceiling is painted dark blue, featuring twinkling stars.

Photo by Richmond Symphony Orchestra

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Herrmann and Wenger worked together to create the Diva’s unusual shapes and angles. “If Wenger couldn’t cut the exact shape or unusual angle or I was looking for, they would send me a sample of something else approximating it,” he recalls. “Wenger was great to work with and the result turned out really well. “All the interior architectural elements are intended to enhance the temporary suspension of disbelief – imagine you are in a plaza under the evening sky,” says Herrmann. This visual treatment was also carried through to the acoustical shell, which features a vibrant color scheme. The shell’s ornamentation is painted on because real ornamentation would have made folding it and parking it too difficult. Herrmann praises EverGreene Architectural Arts for their creative painting of shell and theatre interior. “They have one foot in real world and one foot in artistic world,” he explains. Herrmann believes that if orchestra shells are really done well, the room and shell integrate together. “You feel like you’re in the same room with the orchestra.”

IMPROVING ACOUSTICS, OFFERING FLEXIBILITY Aurally, shells strive to create that same feeling of connectedness by joining the stage house and audience chamber into one acoustical space. The result benefits both the audience and performers. “The Diva shell helps us create the best acoustic environment for the musicians,” says Laura Bordner Adams, Director of Orchestral Operations with the Richmond Symphony Orchestra. “Musicians are now able to hear each other, which they couldn’t before. This enables them to play together as a much more unified group.” Adams had previous experience with a Diva shell when she worked at the Embassy Theatre in Fort Wayne, Indiana. Early in the renovation process, Herrmann says the Richmond Symphony played a key developmental role. Symphony representatives attended every meeting and shared their goals for this multi-use venue. “The Diva’s flexibility definitely gives us different opportunities and ways of thinking about how to set up the orchestra,” Adams remarks. The Symphony prefers a smaller shell configuration, allowing just enough space onstage to fit all the musicians.

Photo by Richmond Symphony Orchestra

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RICHMOND CENTERSTAGE RICHMOND, VIRGINIA USA

HANDLING WITH EASE, ‘CAN-DO’ ATTITUDE

The theatre design consultant also valued collaborating with Wenger. “After the Carpenter Theatre opened, Wenger’s follow-up and field modifications were especially appreciated, ensuring the towers operated in a functional, safe manner,” says Jules Lauve, ASTC, Associate with Theatre Projects and their project manager for the Carpenter Theatre. The acoustical consultant was Jaffe Holden.

Like Adams, Technical Director Steve Sweet worked with a Diva shell previously, in Columbus, Georgia. He says the Carpenter’s crew can deploy the shell in less than two hours and strike it in under one. For storage, he likes how the Diva towers nest together and stack fairly tight, without taking much room in a dedicated area located offstage left. Because of its architectural details, Sweet says this Diva shell must be deployed in a specific way; the towers are not interchangeable. The large configuration is 11 towers – five across the back and three on each side. The medium configuration features eight towers – four across the back and two on each side.

REKINDLING THE PAST, MAKING MEMORIES

“I’m a big proponent of the Diva system,” explains Steve. “I think it’s easy to deploy – we deploy it at least twice a month, sometimes more.”

“Some people remember seeing shows here as kids and now they’re bringing their grandchildren,” comments Herrmann. He believes the facility pulls on emotional strings for patrons – sharing memories and building traditions – by recapturing that magic.

The Carpenter Theatre beautifully blends the new and old – hearkening back to a golden past while adding the Diva shell and other enhancements for the future.

Recalling the earliest stages of this project, Herrmann says Wenger was originally selected because the Diva shell was a product his firm knew well. “The Diva fit all the right criteria, including portability, affordability and flexibility for this multi-use facility,” he contends.

“Memorable buildings like this have the potential to be enjoyed by generations who haven’t even been born yet,” he concludes. “What a great legacy to leave behind.”

“One of the things I like about working with Wenger is their can-do attitude,” Herrmann continues. “They get into the spirit of what we’re trying to accomplish, roll up their sleeves and offer solutions – even when we’re asking for something new.”

Photo by Richmond Symphony Orchestra

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UNIVERSITY OF WESTERN ONTARIO LONDON, ONTARIO PROJECT PROFILE

DIVA® FULL-STAGE ACOUSTICAL SHELL

“ The transformation is nothing short of amazing – a 45-year-old acoustic nightmare has been changed into a beautiful and acoustically superior performing space.” – Robert W. Wood, Ph.D. Dean, Don Wright Faculty of Music

C H A LLE NGE Provide full-stage acoustical solution that delivers functional and aesthetic excellence.

W E N G E R SOLU T ION Manufacturing towers and ceiling panels to satisfy acoustical specifications and complement interior architectural elements. Coordinating installation timetable with project team.

www.wengercorp.com/acoustics

UNIVERSITY OF WESTERN ONTARIO LONDON, ONTARIO PROJECT PROFILE

BEN E FI TS • Flexible configuration options suit range of performances • Onstage sound is blended and projected more effectively • Compact storage conserves limited space

• Shell enclosure helps prevent sound leakage into fly loft and wings • Easy handling speeds transitions, reduces labor costs • Engineering expertise enables cost-effective solution

HIGH LI G HTS “Our music faculty overwhelmingly asked for ‘better sound’ when we were planning the Talbot Theatre’s renovation,” recalls Louis D’Alton, Concert Manager at the University of Western Ontario (UWO).

“If you’re a violin player and your sound hits a flat ceiling, it’s not going to project to the other side of the stage very well,” O’Keefe explains. “Tilting the panels along the perimeter of the shell helps scatter the sound.”

The faculty wanted the proscenium-stage hall to have acoustics more suited for a range of performances. The room’s small size also meant the sound was often overpowering.

Operationally, two primary shell setups are used regularly: the full shell for large ensembles or six towers arranged in an arc – using half the clouds – for smaller concerts or recitals.

“The volume of the Talbot Theatre was far too small,” says acoustical consultant John O’Keefe, Principal with Aercoustics Engineering Ltd. in Toronto. “It would never be reverberant enough at its existing size.”

A four- to five-person crew can set up the shell from its storage position and then strike it back into its storage position in approximately four hours. With the patented, electric-powered Air Transporter, one person can easily move a 1,350-pound tower.

After considering several options, UWO decided to enlarge the space by demolishing a floor of classrooms above. This raised the ceiling 13 feet (3962 mm) and increased the room’s overall volume by 33 percent.

The towers and ceiling panels each feature framework constructed of aluminum extrusions, which are lighter and stronger than steel. As a result, fewer hanger arms are required to secure the ceiling panels to the rigging.

In the larger renovated space, the Diva® full-stage acoustical shell creates a ‘blending chamber’ for sound on stage and helps reflect that sound toward the audience.

“It’s pretty hard to beat the storage technology that Wenger has for both towers and ceiling panels,” O’Keefe notes.

“As an audience member, there’s definitely much better clarity and sound projection,” comments Stéphan Sylvestre, Assistant Professor of Piano and Keyboard Division Coordinator. “As a musician performing in the hall, the most important thing is the supportive environment and the inspiration that comes with the warmth and presence.”

This Diva shell visually complements and reinforces the overall design of the renovated auditorium, which was renamed the Paul Davenport Theatre. Birch wood is featured on many auditorium profiles and finishes, including the proscenium arch and Diva shell, which features a warm-looking birch veneer.

The shell’s design accounted for the shallow stage depth, which squeezed the available space for freestanding acoustical towers. The three rear towers were attached to the stage’s back wall, with three movable towers on each side. The ceiling panels, or clouds, are also unique – 20 individual units, arranged in four rows of five panels.

This shell’s exquisite combination of science and art continues to receive rave reviews. “The transformation is nothing short of amazing,” says Robert W. Wood, Ph.D., the Don Wright Faculty of Music’s Dean. “A 45-year-old acoustic nightmare has been changed into a beautiful and acoustically superior performing space.”

“Openings between the panels allow some sound to escape,” O’Keefe explains, adding that the ability to fine-tune each panel’s angle is another advantage.

PRO D U C T LI ST Diva® Acoustical Shell

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TOBIN CENTER FOR THE PERFORMING ARTS SAN ANTONIO, TEXAS USA PROJECT PROFILE

DIVA® FULL-STAGE ACOUSTICAL SHELL, MUSICIAN CHAIRS, CELLO CHAIRS, FLEX® CONDUCTOR’S STAND

“ Customization makes each Diva shell special and there’s peace of mind from working with Wenger for so many years. We trust the Diva shell – it’s an established product with a strong warranty.” – Adam T. Huggard, Senior Associate, Fisher Dachs Associates

C HA LLENGE Create full-stage acoustical shell that delivers superior acoustical performance and beautiful design aesthetics.

W E N G E R SOLU T I ON Working with architect and project team to develop digital-printing solution on wood veneer, partnering with interior millwork supplier. Engineering and building shell components to meet design criteria and production timeline. Coordinating project details and accommodating specification changes.

B E N E FI TS • Provides acoustical excellence to performers and audience alike • Complements facility interior with unique, custom aesthetic treatment • Offers assurance of strong warranty and readily available parts • Reduces labor costs and speeds changeovers with user-friendly operation 75

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TOBIN CENTER FOR THE PERFORMING ARTS SAN ANTONIO, TEXAS USA PROJECT PROFILE

HIGHLIGHTS “Excellent auditorium acoustics were essential for the Tobin Center’s various resident companies,” says Vicki Dickerson, Owner’s Representative with The Projects Group. “The right acoustical shell plays a huge role in this.”

“The project team reviewed numerous veneer samples to ensure proper matching,” explains Brent Gilbert, Engineering Manager with Linbeck/Zachry Joint Venture, the construction management firm. He praises Wenger’s attention to detail throughout the project in execution, coordination and communication. Akustiks was the acoustical consulting firm.

The Tobin Center for the Performing Arts in San Antonio incorporates portions of the city’s historic Municipal Auditorium while dovetailing a new 1,768-seat auditorium and stage house into the existing footprint. Other elements include a 250-seat studio theatre and an outdoor performance plaza connected to the city’s famous River Walk.

As prime architect, LMN Architects took part in the design development of the shell. Rich Johnson, AIA, who coordinated architectural design intent during the construction phase, joined other project team members in a visit to Wenger’s Minnesota facility to view the shell mock-up and participate in a tour of Wenger’s factory.

“We wanted a semi-standard shell we knew and trusted – Wenger’s Diva model – with enough customization to make it look special,” says Adam Huggard, Senior Associate with Fisher Dachs Associates theatre consultants. “Most custom, purpose-built shells are a little fussy but the Diva is not.”

“Wenger offers an impressive array of technology, capabilities and equipment,” recalls Dickerson, an opinion echoed by Johnson. “Everyone was very knowledgeable and accommodating,” notes Johnson of this visit. “And the quality of the mock-up was excellent.” He claims Wenger met all the design criteria and worked to integrate architectural details where possible.

Huggard believes the Diva system offers technical advantages including user-friendly operation, along with readily available parts and strong warranty. “We’re not re-inventing the wheel,” he states.

In the project’s final stages, Wenger made engineering modifications to the approved tower specifications, meeting to the owner’s request for a standard manual wheeled mover rather than an air caster system.

Although Wenger has manufactured hundreds of acoustical shells for performing arts facilities worldwide, this was the first shell incorporating a digitally printed overlay pattern along with the traditional woodworking craftsmanship and fabrication.

The shell will be reconfigured often; the Tobin Center is booked solid for its first six months. When stored, the towers nest backstage; if necessary they can all fit in a footprint measuring only 16ft 7in by 9ft 3in (5055 by 2819 mm).

ENCOURAGING INTERPRETATIONS. The printed overlay was inspired by the arabesque ornamentation of the original auditorium’s Spanish Colonial Revival architecture, but the resulting design also evokes other images: Clouds…Ocean waves…Wind currents…

ACHIEVING HARMONY. During the design process, Huggard asked Wenger if they had ever done a printed shell. “They said, ‘No, but let’s figure it out together.’” He adds, “It’s really nice that Wenger will spend the time with you up front – even if they’re not guaranteed the project – to work through issues and understand what’s possible.”

“Any of these multiple interpretations – or others – are encouraged,” said Miles Mazzie, Associate with Sussman/Prejza graphic design studio. “Some visitors will attend numerous concerts and see the shell many times.” The shell’s graphics were intended to feel comfortable in the space, according to Mazzie, and in scale with the overall architecture. The graphics also appear in other interior design elements, such as on the auditorium balcony fronts where they are enhanced with color-changing LED illumination.

Huggard believes the shell blends two looks – organic, natural wood and high-tech printing – to create a dualistic visual effect analogous to painted scenery onstage. “With a scenic painting, every brush stroke is visible; up close it is hard to make out the pattern,” he explains. “But from the audience’s vantage point, everything makes sense and looks perfect.”

Mazzie says today’s digital technology can seamlessly integrate such images into architecture on almost any material, including wood, metal, glass and vinyl. Printing on the wood veneer was performed at Image Mill, where John van Rensburg states the challenge was creating an image that didn’t look too overt, yet appeared very intentional from a distance.

The audience sees the shell image formed by the collective printed dots as a backdrop for the musicians, a gestalt greater than the sum of its parts. Meanwhile, musicians onstage do not perceive the overall pattern, but only bask in the warmth of the stained wood veneer suggesting the richness of a finely crafted musical instrument.

FOCUSING ON DETAILS. “Printing with translucent ink allowed the veneer’s wood grain to show through the dot pattern,” notes van Rensburg. He adds that the Anegre wood’s natural coloring creates interesting variations depending on the viewer’s perspective, while transforming the ink’s nut-brown color into more of a plum hue.

“Although the shell’s visual element does not directly influence the musician’s craft, there are psychoacoustic benefits,” states Huggard. “A comfortable, natural-wood surrounding helps relax the musicians, enabling them to play their best.”

To ensure visual consistency, Wenger obtained the shell veneer on ¼” (6 mm) plywood from Fetzer Architectural Woodwork, fabricator of the Tobin Center’s interior millwork. Wenger incorporated this veneer into the Diva’s honeycomb-core composite panels, attaching all the necessary framework and hardware. For the three ceiling rows and ten 38’ (11582 mm) tall wall towers, more than 7,400 ft3 (685 m3) of veneer was required. This tropical African hardwood is noted for its natural luster and straight-to-interlocking grain pattern.

In a way, the shell’s dualistic visual effect also mirrors its twofold acoustical impact. Onstage, performers benefit from enhanced early reflections and improved communication. In the auditorium, audience members hear a blended, focused and fuller sound.

PRO D UC T LI ST Diva® Full-Stage Acoustical Shell, Musician Chairs, Cello Chairs, Flex® Conductor’s Stand and Chair Move & Store Carts. 76

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MAHAFFEY THEATER ST. PETERSBURG, FLORIDA USA PROJECT PROFILE

CUSTOM DIVA SHELL, TWO CUSTOM COUNTERWEIGHT ASSIST HOISTS, TWO CUSTOM TILTING HOISTS AND TWO CUSTOM TRIM LINE SHAFT HOISTS

MAHAFFEY THEATER: A DIVA IN SOUND QUALITY Originally built in 1965, the 2,031-seat Mahaffey Theater in St. Petersburg, Florida, is a cultural jewel featuring elegant ballroom space, spectacular waterfront views, and European box-style seating. The top quality national and international artists it hosts include Broadway shows, classical, pop and rock musical performances, comedy acts, dance performances and the renowned Florida Orchestra. The visually stunning theater had one problem: it was in desperate need of an acoustical upgrade. “The Mahaffey was visually the music palace of the region but the sound wasn’t comparable,” says Michael Pastreich, President and CEO of The Florida Orchestra. Pastreich assembled a team of experts, including acoustical consulting firm The Talaske Group, theatrical consulting firm Fisher Dachs Associates, and ARC3 Architecture to determine the best solution.

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MAHAFFEY THEATER ST. PETERSBURG, FLORIDA USA

CHALLENGE The primary problem was the 30-year-old existing shell was missing a critical piece that was allowing sound to escape into the stage house – sound that wouldn’t make it into the audience. It also looked like it didn’t belong there. It was unattractive and needed a major facelift, and a simple replacement would not suffice. The new solution needed to fit the budget, needed to fit into the existing space, and needed to fit the operational needs of the staff who would be responsible for its staging night after night.

SOLUTION • A Custom Diva® Acoustical Shell was installed to meet the needs of the orchestra and other groups performing in the space with a sleek and seamless look that complimented the rest of the auditorium. • Two 2,500 lb (1134 kg) Motorized Counterweight Assist Hoists were installed to raise and lower the massive acoustical shell ceilings, which weigh a total of 20,000 lbs (9072 kg). • Two Custom Tilting Hoists designed to raise and lower the end panels on both ceiling rows. • Two Custom Trim Line Shaft Hoists designed to control the performance and storage positions of the acoustical ceiling rows.

BENEFITS • Dramatically improved sound quality • Beautiful shell and panels that match the rest of the auditorium • Ease of use for operator with fully automated ceiling panels • Custom rigging solutions for raising, lowering and tilting each ceiling assembly with the touch of a button • All equipment fits into existing storage space

FORMING A TEAM, FINDING A SOLUTION Pastreich brought in Rick Talaske, President and Principal Acoustics Consultant of TALASKE | Sound Thinking based near Chicago, Illinois, and Associate Principal Robert Campbell of Fisher Dachs Associates, Theatre Planning and Design out of New York City. The three had tackled other projects before and had tremendous respect and confidence in each others’ skill sets. “This was a very complicated project due to logistics and requirements of all parties involved,” explains Campbell. “But we knew we could figure out a solution together.” Talaske reviewed the current equipment and determined which products would best fit the orchestra’s needs. After considering many options, he chose Wenger’s customizable Diva® Acoustical Shell as the primary solution. “We have worked with Wenger many times in the past,” Talaske says. “They are one of very few companies capable of creating an orchestra shell of this quality.” Part of what he likes about the Diva is the customization. “When we designed the Diva, we worked with architects who wanted it to be beautiful, acoustical consultants who sought a rich sound, and theatrical consultants who required additional custom parameters,” explains Mark Ingalls, Wenger Performing Arts Segment Manager. “For Mahaffey Theater, we knew the answer should allow the design team to customize the Diva for their specific space.” 78

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For example, shelves set at specific angles were added at mid-height locations on the towers and the bases were turned inward to allow larger shelves with greater stability. The heavy weight is needed to reflect low-pitched sound. “This adds warmth to the quality of sound, much like turning up the bass control on your home stereo,” explains Talaske. The customization also allows for the new shell to blend beautifully into the hall, which was a priority for the architect. Custom tilts for superior sound Additional customization made the sound even better. The ends of the canopy elements were tilted downward to a specific angle to help facilitate cross-stage communication. Sound diffusing and sound absorbing finishes were also installed in strategic locations. That helped overcome issues like the proscenium opening being lower than desirable for optimizing sound projection to the audience. “These changes significantly enhance the ability of musicians to hear sound created on the opposite side of the stage,” Talaske says. “And that helps the entire ensemble perform better.” Pastreich couldn’t agree more. “I sat in the audience during the orchestra’s first rehearsal and noticed two things: The quiet passages were much easier to hear, and the clarity of individual instruments was amazing. I could really identify the clarinet or oboe or bassoon far better than I could before.” He also sat on stage during the second performance, near the percussion section in the back where he heard the basses and cellos much more clearly. He describes how the new system benefits both the musicians and the audience. “If you’re playing in a void you don’t really know how you sound to the other musicians,” Pastreich says. “You’ve got a conductor and instincts, but when you’re going into the note and you can really hear the violins, it clicks. You play more confidently and the result is a fantastic sound for the audience.” Custom panels and hoists As with any major renovation, there were a number of challenges encountered along the way. The new ceiling, for example, was much heavier than the old one. Initially, the team had considered three ceiling pieces, but the theater operator asked the team to reduce the number from three to two to not compromise existing fly tower capacity and allow more area for the theater house rig. “The two ceiling rows combined weigh close to 10 tons (9072 kg),” says Campbell. “Additional structural steel reinforcement was added to existing building steel to support the increased ceiling weight. It also made necessary a fully automated custom rig.” Campbell and Talaske recruited the help of J.R. Clancy, a subsidiary of Wenger Corporation, to develop a way to raise, lower, and angle the ceiling panels for performances and then move them into storage. “We created six custom hoists: two custom counterweight assist hoists, two custom tilting hoists, and two custom trim line shaft hoists,” explains Ryan Cole, J.R. Clancy Project Manager. “The custom counterweight assist hoists are used to lower the ceiling rows into performance position and raise the panels into the fly loft for storage.”

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MAHAFFEY THEATER ST. PETERSBURG, FLORIDA USA

Due to the weight, J.R. Clancy engineers designed the custom hoists with increased capacities. The two custom tilting hoists position the ceiling end panels, and the custom trim line shaft hoists control the angle and position of the main ceiling rows in performance position. Campbell says, “The fully automated rig also has the added benefit to allow the ceiling to be fully deployed with minimal labor.” This helps the staff operating the panels set them up and put them away faster as they don’t have to clear the stage to move the ceiling panels and towers. “Our team creates custom rigging solutions for projects around the world. Our ability to customize almost any product to meet the needs of a space is what sets us apart,” adds Cole. The team also worked around the venue schedule, to ensure no performances were changed. One last, unforeseen challenge happened just weeks before the orchestra’s opening night. At the time of installation, all of Florida was preparing for Hurricane Irma. The equipment couldn’t be tuned until the hurricane had passed. The final tuning of the equipment happened during rehearsal just days before the first performance. “Despite those things, on so many levels, this was an exciting experience for the orchestra. Our sound is now comparable with the Mahaffey’s visual beauty,” Pastreich says.

HIGHLIGHTS • Custom Diva Acoustical Shell; Custom Rigging solutions • The combined weight of the two ceiling rows is 20,000 lbs (9072 kg) and the rigging is customized to be able to raise, lower and tilt each ceiling assembly.

PRODUCT LIST Custom Diva Shell; Two Custom Counterweight Assist Hoists with 2,500 lbs (1134 kg) capacity to raise and lower the acoustical shell ceilings; Two Custom Tilting Hoists designed to raise and lower the end panels on both ceiling rows; Two Custom Trim Line Shaft Hoists designed to control the performance and storage positions of the acoustical ceiling rows.

About Wenger | J.R. Clancy Wenger and J.R. Clancy provide the widest array of innovative, high-quality products and services for the performing arts industry. Their advanced products provide the highest levels of safety, reliability and aesthetics, helping transform performance venues and engineer unforgettable experiences.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

UNIVERSITY OF WISCONSIN AT MADISON MADISON, WISCONSIN USA PROJECT PROFILE

DIVA® ACOUSTICAL SHELL

“With J.R. Clancy and Wenger together as a single entity, collaborating on our unique design solution for the rigging and shell was a simpler, more efficient process.” – Jody Kovalick, Senior Theatre Consultant, Schuler Shook

SHELL TOWER HOIST

SCENECONTROL® 5100

CHALLENGE Enhance the acoustical quality of a multiple-use, 76-year-old historic theater without crowding the backstage areas or making significant changes to the stage house.

WENGER SOLUTION Wenger and J. R. Clancy (JRC) developed a custom solution, combining a Wenger Diva® Acoustical Shell with lifting storage rack and hoist with the capacity required to store the shell and its towers above the stage.

www.wengercorp.com/acoustics

UNIVERSITY OF WISCONSIN AT MADISON MADISON, WISCONSIN USA PROJECT PROFILE

BENEFITS • Preservation of a much-loved theater space • Reduced load-in and load-out times

• Dramatically improved sound quality • Flexibility to host many kinds of performances

• Easy, pushbutton control • Above-stage storage frees wing space

HIGHL I G HT S “We started by creating an area in which the shell towers could be hoisted out of the way and avoid the original loading area,” said DiBlasi. “There was area off stage left, against an outside wall that was clear of the stage rigging. We moved the theater’s loading doors and freed up this location, allowing the very heavy shell to be raised vertically.”

When the University of Wisconsin-Madison took on the herculean task of renovating its 76-year-old Wisconsin Union Theater, acoustical quality became one of the top priorities of the two-year project. “It’s a historic Art Moderne theater, known and loved by the university and community as well,” said Michael DiBlasi, Partner and Principal Designer at theater consultancy Schuler Shook. “The Union Theater fills a lot of different needs for the university and the community, presenting dance, theater, school events, graduations, lectures, and music.”

To handle the load and design the hoisting capability to take the shell to the grid, Schuler Shook turned to Wenger’s partner, rigging company J. R. Clancy, Inc. (JRC). “We worked with Clancy to create a shell support frame that could grasp the towers and haul them away,” said DiBlasi. “It had to be able to fly with only a partial load as well as the whole load, for days when the performance would need fewer shell towers.”

While the building’s acoustical qualities were lauded by its first performers—the legendary acting duo Alfred Lunt and Lynn Fontanne—at the theater’s opening performances in 1939, the superlatives faded over time in comparison with 21st century expectations. The university added an orchestra shell to the theater decades ago, but this shell came secondhand from the UW-Madison School of Music, and it did not fit the space well enough to deliver the sound quality audiences demanded.

JRC’s engineers designed the frame with structure at the bottom to hold the towers, and a ramp to allow stagehands to push the towers up to a stable position within the frame. “The ramp is hinged, so it folds up and becomes the closure to the frame and helps lock the shell in place,” said Jody Kovalick, Senior Theatre Consultant, Schuler Shook. The frame includes a guardrail on both sides, and a bracket fabricated by Wenger that attaches to the shell towers and the rail.

“The old shell had to be stored in pieces backstage, so it was always in the way,” said Julie Grove, Project Manager in Capital Planning and Development at UW-Madison. “It was not designed specifically for this theater and therefore never functioned at 100 percent. We wanted to find a way to enhance the quality of stage performance as needed, but not at the expense of stage size reduction. It was hard to find a convenient place where it could be stored.”

To hoist the frame and shell above the stage, JRC provided a high-capacity custom hoist controlled with a simple pushbutton pendant for basic up-down operation. “The stagehand can just hold the button until the hoist reaches the end of its travel at 31 feet (9449 mm) above the stage, or down at the stage floor,” said Kevin Auses, JRC Project Manager.

To this end, the university hired world-renowned acoustician Rick Talaske to determine the internal elements required to produce a new level of sound quality. Talaske selected the Wenger Diva® Acoustical Shell for the task, adding custom modifications to the shell’s architecture.

The end result provides the functionality UW-Madison sought as well as the sparkling acoustics the theater deserved. “Yo-Yo Ma played at the opening concert,” said Grove. “He dramatically held on to several notes as long as he possibly could, and you could hear the touch of his bow so clearly. The audience was literally silent. It was a truly memorable listening experience for me.”

There was one more degree of complexity to surmount in the execution of this design: With so many different kinds of performances taking place in the Union Theater throughout the year, the space needed to maintain flexibility. The shell’s structure had to allow stagehands to change over from one event to another in a matter of hours.

PRODUCT LIST

Wenger Diva® Acoustical Shell, J. R. Clancy custom products including shell support frame, ramp, guiderails, and pushbutton control pendant, J. R. Clancy PowerLifts, SceneControl® 5200, high-capacity lineshaft hoist, drum hoists, and fire curtain hoist.

About Wenger | J.R. Clancy

Wenger and J.R. Clancy provide the widest array of innovative, high-quality products and services for the performing arts industry. Their advanced products provide the highest levels of safety, reliability and aesthetics, helping transform performance venues and engineer unforgettable experiences.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

THE

AMERICAN INTERNATIONAL SCHOOL OF MUSCAT

OMAN

PROJECT PROFILE

DIVA® FULL-STAGE ACOUSTICAL SHELL

“ The Diva shell surrounds you with a natural warmth…it’s a very fulfilling experience. As a performer, projection requires less effort; your energy starts going toward being more musical. Pianissimos are truly pianissimos, and fortes truly are fortes.” – Kevin Schafer Director DIVA® FULL-STAGE ACOUSTICAL SHELL

CHALLENGE

Create custom acoustical solution for theatre/performing arts center in K-12 international school.

WENGER SOLUTION Collaborating with owner and project team to design and manufacture full-stage acoustical shell and auditorium wall panels.

BENEFITS • Enhances acoustical environment • Complements theatre architecture • Provides easy setup and handling

• Inspires excellent musicianship • Facilitates different shell configurations

www.wengercorp.com/acoustics

THE

AMERICAN INTERNATIONAL SCHOOL OF MUSCAT

OMAN

PROJECT PROFILE

HIGH LI G HTS “When planning our new theatre, our first call was to Wenger,” recalls Tim Willson, Instrumental Music Teacher at the American International School of Muscat (TAISM) in Muscat, Oman, located near Saudi Arabia and the Persian Gulf.

Giegold requested a double layer surrounding the Diva tower’s honeycomb core – more mass to enhance the bass response. “The heavier shell design gives a warmer sound off the stage,” he explains. The ceiling panels were standard to avoid overloading the rigging’s manual counterweighted system.

Confidence in Wenger was rooted in a long history. “I’ve purchased Wenger equipment for over thirty years for music programs around the world,” Willson explains. “I’ve learned to trust the quality and durability of the products and the professionalism and integrity of the people at Wenger.”

He describes the TAISM Diva shell’s configuration as “fairly typical” – three pairs of sidewall towers, four upstage towers and three ceiling panels. The option of multiple shell configurations was very important to accommodate a wide range of performances.

Willson, who served as TAISM’s project manager for the theatre construction, said acoustics were a top priority, in part because they knew changes would be difficult later. Wenger agreed to supply the full-stage acoustical shell and recommended the involvement of an acoustical consultant and theatre designer. After evaluation, TAISM selected Threshold Acoustics and Schuler Shook.

For choral concerts, the common setup would be a short shell consisting of one pair of sidewall towers with the rear wall towers located 10' (3048 mm) upstage of the proscenium. Giegold prefers to keep smaller ensembles far downstage, with the upstage wall as near to the ensemble as possible. “This is very important for clarity and communication between the musicians onstage,” he notes.

The theatre and its interior were designed by architect Navjit Singh Matharu, the Principal Designer and Owner of A+D Canada in Toronto. His history with TAISM began with developing the school’s master plan in 2000; he is also the design architect for entire school campus development. The overall vision for the TAISM campus, which currently enrolls 725 students from over 50 nationalities, called for an architectural style blending local Arabic influences with modern elements.

Most instrumental ensembles will use the mid-sized configuration, consisting of two pairs of sidewall towers and all four upstage towers. Joint concerts or large festival ensembles will use the full shell. “The Diva shell hits a sweet spot,” comments Giegold. “It’s lightweight enough to be maneuverable, but heavy enough to speak with authority and support the musical efforts on stage.”

The 522-seat theatre, called the Bosch Center for the Performing Arts, includes interior finishes of wood, stone, fabric and glass, designed for acoustical support, visual interest and low maintenance.

Uniting Interior To enhance the theatre’s acoustic response, Giegold wanted an “acoustic device” to narrow the upper volume of the audience chamber. The narrowed volume creates soffits along the side walls that emphasize acoustic intimacy. Because the soffits are cantilevered from the side walls, they can support only limited weight.

Building Teamwork From the start, successful teamwork was a hallmark of this project. Michael DiBlasi, Partner with Schuler Shook Minneapolis, praised the working relationship between his firm and both Tim Willson and Kevin Schafer, TAISM’s Director.

Finding a material heavy enough to serve acoustically without overtaxing the structure was a challenge. Masonry would have been too heavy. Giegold says they considered having the local millwork contractor create auditorium panels from a stick-built framework covered with veneered plywood.

“We all had a lot of confidence in each other, and we challenged each other on different ideas and options,” DiBlasi states. “The school wanted a great facility that could really nurture students, while also serving as a community asset,” he says. Together with Threshold Acoustics, Schuler Shook designed a multipurpose theatre particularly suited for TAISM’s musical ensembles. Schuler Shook’s services included both architectural lighting design and theatre planning – from stage lighting and rigging to dressing rooms and shell storage.

“For a number of reasons, we ultimately decided the best solution was asking Wenger to adapt their laminated Diva-panel technology,” he recalls. The custom panels were constructed of 3/4" (19 mm) plywood on each side of a 3" (76 mm) honeycomb core, with panels incorporating slight curvature on a 20' or 30' (6096 or 9144 mm) radius. Overall, Wenger supplied auditorium panels totaling 2,340 square feet (217.4 square meters) – approximately half the combined square footage of the Diva shell’s towers and ceilings. Additionally, Wenger provided more than 1,800 square feet (167.2 square meters) of veneer for other theatre surfaces.

“Acoustical shells require a number of coordinated elements, including the acoustician’s criteria and client’s expectations,” explains Jody Kovalick, Project Theatre Consultant with Schuler Shook Minneapolis. Ceiling panels must hang from the rigging properly, along with moving and storing easily. Built-in lighting is coordinated with the theatrical dimming system.

“I appreciate Wenger’s contributions to this project,” explains Matharu. “I was very particular about coordinating the color of the Diva shell with the wall panels and other finishes.” He adds that Wenger patiently supplied numerous samples until he was satisfied. “Wenger helped achieve a harmonious interior in the theatre,” Matharu notes.

The TAISM theatre’s shallow fly loft incorporates rigging with a safety interlock mechanism to prevent the shell’s ceiling panels, in their performance position, from contacting the catwalks that provide lighting access above the stage. “Wenger does a fantastic job providing all the information we need to design and develop a shell’s support system,” declares Kovalick. During the shop drawing and construction process, he says Wenger coordinates everyone’s information to ensure everything works as designed, while also being very responsive when something needs attention or tweaking.

Fulfilling Experience Kevin Schafer, TAISM’s Director, is equally enthusiastic about the outcome. “We feel like we’re completely surrounded by a Wenger shell,” exclaims Schafer, who plays with Tim Willson in a brass quintet. “There’s a natural warmth that is a very different feeling than in many places I’ve played,” comments Schafer. “It’s a very fulfilling experience.”

DiBlasi believes an experienced project team can often anticipate – and avoid – potential problems. “Whether differences in culture, material procurement or construction methods, asking the right questions can help minimize surprises.”

As a performer, Schafer says projection requires less effort. “Your energy starts going toward being more musical and your expectations are immediately raised.” He thinks student musicians also sense this and are going to start working harder to play more musically.

These skills were particularly important on the TAISM project because local contractors and suppliers were largely unfamiliar with theatre construction techniques and procedures. Contributions from local firms were blended with outsourced elements from companies like Wenger to achieve a successful result.

Schafer also appreciates how the Diva shell’s functionality makes setup work easy. “It’s really important we can handle the shell ourselves because we’re a K-12 school, not a university with a large operations staff,” he remarks, adding it’s ‘amazing’ they can move such a massive shell on their own. Concludes Schafer, “That’s the joy of working with Wenger products that are so well-engineered.”

Hitting ‘Sweet Spot’ Acoustician Carl Giegold, Partner with Threshold Acoustics of Chicago, Ill., says his firm has worked with Wenger for at least 15 years. “I appreciate talking through ideas with Wenger and the value they add to the design process,” Giegold remarks. On the TAISM project, he says some simple suggestions from Wenger helped manage the budget while meeting the desired acoustical performance and the architect’s requirements.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

OHIO THEATRE COLUMBUS, OHIO USA PROJECT PROFILE

DIVA® FULL-STAGE ACOUSTICAL SHELL TOWERS, FORTE™ ACOUSTICAL SHELL CEILINGS AND CUSTOM FORESTAGE REFLECTOR

“ Wenger worked with us and our acoustician to ensure our efforts would ultimately focus on providing the best classical music for our community.” – Anne Melvin, Honorary Trustee, Columbus Symphony Orchestra

C HA LLENGE Design full-stage acoustical shell for multi-purpose historic theatre.

W E N G E R SOLU T I ON Creating custom towers, ceiling panels and forestage reflector in partnership with project team. Utilizing combination of two acoustical shell technologies to better suit weight requirements. Engineering innovative storage solutions to accommodate range of events.

www.wengercorp.com/acoustics

OHIO THEATRE COLUMBUS, OHIO USA PROJECT PROFILE

BENE FI TS • Enhanced acoustics for performers and audience • Shell’s visual elements complement theatre interior • Early project involvement ensures cost-effective solution

• Expertise in acoustical shells and rigging adds value • Fast, flexible shell setup speeds logistics, reduces labor costs • Creative storage solutions conserve space, ease transitions

HIGH LI G HTS ally, CAPA wanted the new shell to be much easier and faster to work with, to speed changeovers and reduce labor costs.

“Wenger did an amazing job on our Diva shell,” says Anne Melvin, Honorary Trustee of the Columbus Symphony Orchestra and a primary donor for the shell. “The improved acoustics benefit the audience, musicians and conductors.”

“In the truest sense, our theatre is a roadhouse,” says Jason Gay, Head Carpenter. “We present everything from speeches to ballet to a classic movie series to Broadway touring productions.

Years earlier, Melvin and her husband (the late Noel Melvin) had attended the classical masterworks series with the prior shell in place; it traced back to 1980. She knew the musicians could not hear each other; this inability made it impossible for them to play cohesively. While a board member, Melvin also began to attend pops concerts without any shell used or with the orchestra pushed to the back of the stage.

“During certain times of the year, we’re like a factory, with multiple events in and out,” he explains. “The Diva shell’s fast, flexible setup is really a positive for us.” It takes a four-person crew four hours to make the space concert-ready, and half that time if only working with the shell. The entire shell consists of 12 towers, six ceiling panels and a forestage reflector.

“Our largest paying audiences were not getting the quality of performances they deserved,” she recalls. “There was not a properly designed acoustical environment for the performers.”

Because large Broadway shows require as much stage deck and rigging space as possible, Wenger was challenged to develop creative storage solutions. To remove the ceiling panels from the rigging hoist, Wenger designed carts for the ceilings; these carts can hang from the upstage grid. “They’ve worked out beautifully,” comments Gay. “Wenger’s engineers were very instrumental.” Wenger also developed a mechanism to hang the 12 towers from the grid with bolt-on brackets.

“Musicians felt they were playing in a black hole,” adds acoustician David Kahn, Principal with Acoustic Distinctions, a firm that has worked with CAPA for more than 20 years. (The nonprofit CAPA owns and operates the Ohio Theatre, along with four other venues.) This theatre’s small proscenium opening made it challenging to acoustically couple the stage and audience seating areas. Kahn’s firm recommended enlarging the existing shell, flattening its ceiling and extending it out further over the forestage.

When evaluating acoustical shell manufacturers, Gay firmly believes Wenger is the company of choice. “We needed our new shell to last 30 or 40 years,” he comments. “Other orchestra enclosures I had experienced from other companies seemed to have flimsy construction.”

Ten years later, when Melvin generously offered to fund a new shell, the project became a collaboration between Rogers Krajnak Architects, Acoustic Distinctions, the Columbus Symphony, CAPA, Wenger and Tiffin Scenic Studios.

Along with technical and operational improvements, the new Diva shell has dramatically enhanced the acoustics. “For the audience, the orchestra sounds brighter,” explains Gay, adding that musicians onstage can also hear other better.

“Because everyone worked together from the beginning, the result was a much more successful, cost-effective solution,” comments Kahn. “The Wenger-J.R. Clancy partnership adds value by bringing rigging expertise and understanding.”

“When you go with Wenger, you get the results you’re after – and Wenger stands behind their work,” concludes Todd Bemis, Vice President of Operations with CAPA. “Wenger’s reputation is well-respected and well-deserved.”

Aesthetically, a primary goal was visually uniting the shell and theatre with common architectural elements. Operation-

PRO D U C T LI ST Diva Full-Stage Acoustical Shell Towers, Forte Acoustical Shell Ceilings and Custom Forestage Reflector.

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

OTHER ACOUSTIC SOLUTIONS LEGACY® ACOUSTICAL SHELL, VAE®, SOUNDLOK®, ACOUSTIC PANELS & TRANSFORM®

103 | Acoustical Treatment Solutions Brochure

111 | Soundlok® Sound-Isolation Rooms Brochure

4 Tab Bank (2.50 Tab)

3 Tab Bank (3.33 Tab)

OTHER ACOUSTIC SOLUTIONS

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)baT 05.2( knaB baT 4 www.wengercorp.com/acoustics

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

LEGACY® SELECT ACOUSTICAL SHELL PRODUCT SHEET

With Legacy® Select Acoustical Shells, setting up great acoustics is easier than ever. Creating acoustical shells that meet your needs is part of Wenger’s tradition. The Legacy Select Acoustical Shell continues to set the standards for ease of setup, acoustical effectiveness and flexibility. Legacy Select is designed for applications where you need a foldable tower to roll off the stage through a doorway for storage. It is intended to be used with an overhead ceiling system in a proscenium stage with a fly loft. For set up and take down, only one person is needed. The kicker panel is removable to allow for nesting the towers for storage. Legacy Select is available with select woodgrain laminates or any Sherwin Williams paint.

www.wengercorp.com/acoustics

LEGACY® SELECT ACOUSTICAL SHELL PRODUCT SHEET

Simple, safe one-person setup.

Shells nest together for compact storage.

Upper panel latches securely into performance position.

Roll tower into place.

Gas-assisted pistons help raise the top panel

Kicker panel neatly stores on rear of shell.

Use tool to raise top panel to its full height.

Remove kicker panel from back of tower.

Set kicker panel in place.

Fasten top and bottom fasteners.

Upper panel lifts easily with the help of gas assisted pistons.

Many colors available:

PRODUCT SPECIFICATIONS:

• Curved 1” (25 mm) thick panels to provide superior cross-communication of sound • Use with overhead ceiling system for optimum acoustical performance • Counterweighted base system • Panels are tower design, 6' (1829 mm) wide • Top half of panel folds flat for storage, and includes lift assists to raise and lower • Kicker panel is removable for nesting and stores on back of tower frame • Shell tower is 11' 6" (3505 mm) high and custom heights are available • In storage position, unit fits through a standard 34" x 80" (864 x 2032 mm) door opening • Available in several paint finishes and woodgrain laminates • 502 lbs (226 kg) • Non-marring casters • Folded dimensions are 6' 6" h x 2' 93/4" d (1981 x 857 mm) at 11' 6" height (3505 mm). When multiple units are nested together for storage each additional shell adds 21" (533 mm) © 2018 Wenger Corporation USA/5-18/200/W/LT0321E

WENGER CORPORATION

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse | NY 13209-9713

GEARBOSS

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

LEGACY® CLASSIC ACOUSTICAL SHELL PRODUCT SHEET

With the Legacy® Classic Acoustical Shell, setting up great acoustics is easier than ever. Creating acoustical shells that meet your needs is part of Wenger’s tradition. The Legacy Classic Acoustical Shell continues to set the standards for ease of setup, acoustical effectiveness and flexibility. In its storage position, Legacy Classic Shells move through standard doorways and will roll around your facility with ease. To set it up, all it takes is one person and six rotations of a handle. The large canopy locks into one of four different angles. This provides adjustable acoustics, which benefits all types of performances from choral to instrumental. Considering the acoustical performance, ease of use, aesthetics, Wenger customer service and the five year warranty, Legacy Classic Acoustical Shells are a great value. 89

www.wengercorp.com/acoustics

LEGACY® CLASSIC ACOUSTICAL SHELL PRODUCT SHEET LEGACY SHELL SETS Legacy can be configured to accommodate virtually any size performing group. Please call your Wenger rep for help finding the perfect set for your ensembles. Available in tapered and rectangular canopy options.

Simple, safe one-person setup.

Roll shell into place. Lower its kick panel and raise and set the canopy.

Use tool to adjust canopy angle for optimum sound projection.

Rollaway line art

Turn handle of lift mechanism7/95 to set shell height into performance position.

Position panels together to create your finished shell.

42'-wide (12802 mm)

Rollaway line art 7/95

“I cannot believe the difference in sound Rollaway line art when the Legacy shell 7/95 is up. Our gym has very good acoustics, but I can clearly tell whether or not the Rollaway line art shell is up. The Legacy shells 7/95 are very easy to work with – my kids and I can easily handle ” Rollaway line them. art 7/95

Legacy Choral Sets

Band/Or chestra

– Cydney Dixon, Band Director, Lower Lake High School, Lower Lake, California

Legacy Units: 7 Risers: 4-foot=10 or 6-foot=7 Group Size: 84-112 36'-wide (10973 mm)

Legacy Units: 6 Risers: 4-foot=8 or 6-foot=6 Chor al Group Size: 72-96 30'-wide (9144 mm) Chor al Legacy Units: 5 Risers: 4-foot=7 or 6-foot=5 Group Size: 60-80

Band/Or chestra

Chor al

24'-wide (7315 mm)

Legacy Units: 4 Risers: 4-foot=5 or 6-foot=4 Chor al Group Size: 48-64

Band/Or chestra

18'-wide (5486 mm)

Band/Or chestra

Rollaway line art 7/95

’

)

Legacy Units: 16 Group Size: 100-110

Rollaway line art 7/95

42' (12802 mm)

) ’ 18 mm 86 (54

Legacy Units: 13 Band/Or chestra85-96 Group Size:

Chor

36' (10973 mm) Band/Or chestra

) ’ 18 mm 86 (54

186L054 Legacy Classic Acoustical Shell, Tapered Canopy, 434 lbs (197 kg) 186L055 Legacy Classic Acoustical Shell, Rectangular Canopy, 446 lbs (202 kg)

48' (14630 mm)

(73

• Panels are flat in standard 1" (25 mm) thick construction, 6' (1829 mm) wide • Improved lift mechanism to raise and lower shell Oyster • Canopy folds flat for storage and is adjustable to 45, 60, 75 and 90 degree angles • Kicker panel provides coverage within 2" (51 mm) of floor, and folds up for storage Additional • All panels fit flush with no overlap shadows Charge for: • No unsightly exposed fasteners Harvest • Fully extended height is 15' 2" (4623 mm) Maple • Canopy is 54" (1372 mm) high and available in tapered or rectangular design • In storage position, unit fits through a standard 36" x 80" (914 x 2032 mm) door opening • Available in Oyster solid color or Harvest Maple woodgrain finish • Includes counterweighted base system, with no legs protruding in front of shell • Tapered Canopy: 434 lbs (197 kg). Rectangular Canopy: 446 lbs (202 kg) • Folded dimensions are 6' 6"h x 34.5"d (1981 x 876 mm). When multiple units are nested together for storage each additional shell adds 10.625" (270 mm)

Legacy Band/Orchestra Sets

Rollaway line art 7/95

mm )

Standard Color:

PRODUCT SPECIFICATIONS:

Chor al

Easy-to-turn handle on Legacy Classic the frame raises the shell is available with to the maximum height in a rectangular or Band/Or chestra just six turns. tapered canopy.

(73

Panels fit together when in performance position without overlapping.

(54 18 86 ' mm )

Canopy locks in the desired position.

(54 18 ’ 86 mm )

Magnetic latch holds panels in performance position.

Legacy Units: 3 Risers: 4-foot=4 or 6-foot=3 Group Size: 36-48

Legacy Band/OrUnits: chestra 12 Group Size: 60-75

WENGER CORPORATION

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse | NY 13209-9713

GEARBOSS

Chor a

You wonâ&#x20AC;&#x2122;t believe your ears.

What is VAE® Technology? • • • • • • Switch the acoustics of your practice space like changing channels on a television • • • • • • In the pursuit of music perfection, much attention is paid to posture, breathing, and proper fingering. Lost in the discussion is the role of what a performer hears. What we hear when practicing helps each musician refine their skill so that when the audience is seated and the conductor raises the baton, the notes played are flawless. However, what a musician hears in a rehearsal room can be quite different than what they will hear in a larger recital hall or auditorium. The articulation and dynamics must change to suit the space.

Training the musician’s ear to understand the sound behavior of larger performance spaces is where the magic of VAE technology comes in. VAE (Virtual Acoustical Environment) lets musicians transform the acoustics of their rehearsal space with a push of a button. We call it variable acoustics. VAE brings you nine pre-programmed acoustical simulations – each one so perfect, you simply won’t believe your ears. Push a button and you’re transported to center stage. Push another, and you’re sitting in a gothic cathedral. This amazing technology is available for practice rooms, studios, offices and rehearsal rooms.

distinct practice and performance environments: SMALL AUDITORIUM LARGE RECITAL

MEDIUM AUDITORIUM

MEDIUM RECITAL

LARGE AUDITORIUM

BAROQUE ROOM

CATHEDRAL

PRACTICE ROOM

ARENA

Custom environments are available with VAE Rehearsal system

SoundLok® Sound-Isolation rooms with

VAE® Technology

• • • • • • Add a few thousand square feet to your practice room with the push of a button • • • • • •

VAE Practice is the solution for individual or small groups of instrumentalists and vocalists. Built into Wenger SoundLok® Sound Isolation Rooms, VAE technology lets you master the development of your instrument or voice in an effective and inspiring environment. Pick a concert hall to prepare for an upcoming solo, a dry room to compare how your articulation is affected, or a spacious room for breath support. It’s your choice. VAE incorporates the latest state-of-theart music practice technology. VAE technology offers realistic acoustical simulations, creating the sensation of being enveloped by the sound and enabling musicians to hear themselves in various performance venues.

Wenger SoundLok rooms have GUARANTEED sound isolation (NIC Rating of 63) so you can concentrate fully on your music – without disturbing others. And SoundLok’s sound isolation is 25% quieter than any other room on the market. Step in, push a button, and be transported to a new acoustical environment. SoundLok rooms are modular, set up quickly, and are relocatable and reconfigurable. The panels interlock without adhesives or caulking and all lighting, wiring and ventilation can be incorporated into the room. A full-length window in the door improves security and supervision. It’s the perfect practice environment that’s so effective it will have students lining up for their turn to practice.

“The active acoustics are a big improvement from our old practice rooms. They help me to emanate a bigger sound. The record-playback setting is also very useful. My teacher always recommends that we should record ourselves so we can hear what needs to be fixed.” – Pam Schroeder, Student, University of Iowa, Iowa City, Iowa

Like many Wenger products, SoundLok rooms are GREENGUARD certified to protect indoor air quality. The correct amount of absorption and diffusion is built-in so the musician can clearly hear the best possible sound.

Schools like the University of Boston have installed SoundLok rooms of various sizes to accommodate their growing music program. Many rooms have VAE technology installed. 93

Studio VAE® • • • • • • Adding VAE technology to an existing room • • • • • •

Studio VAE is an affordable, easy-to-install package for your own small practice or teaching space. The Studio system components offer all the same features and technology of the VAE Practice in a kit that can be installed in just about any room less than 200 square feet. Wenger’s Studio VAE allows you to convert an existing faculty studio or built-in practice room to one that incorporates the acoustic simulation capabilities of our VAE technology.

While quality sound isolation rooms like SoundLok are recommended, when new installation or construction are unfeasible, Studio VAE is a great option. Your students will be amazed, they will be inspired to practice more! The following components are included: VAE digital processor, four speakers, two microphone wall absorber panels, control panel, all cables and speaker wire for complete installation.

“The biggest advantage of the Studio VAE is providing students the opportunity to practice and hear themselves in different acoustical environments. Our recital hall is heavily scheduled, so students only have limited opportunities to get accustomed to that environment. Students can easily download their own recordings or accompaniment parts from the Studio VAE directly to their laptops or flash drives. I also use it for evaluating students.” – Robert Smith, Associate Professor of Voice and Vocal Literature, St. Olaf College, Northfield, Minnesota

Record and Playback Equipped VAE technology features built-in digital recording and playback, which dramatically enhances the educational value of the VAE system. VAE will: • Allow educators to easily follow the assessment strategy recommended in the National Standards for Music Education. • Increase your ability to carefully evaluate the progress of more students in less time. • Provide the ability to upload music files or download practice sessions to a computer or other recording device. • Enable musicians to practice with uploaded accompaniments and other pre-recorded pieces.

CONNECT TO YOUR LAPTOP A USB connection to your computer or laptop makes it easy to upload accompaniments or download practice sessions.

CONVENIENT FOOT SWITCH The optional foot switch provides hands-free record and playback from anywhere in the room.

VAE® Rehearsal • • • • • • Transport an entire rehearsal room to the auditorium and back before the bell rings • • • • • •

School auditoriums are heavily scheduled places. So trying to find time for your choral and instrumental groups to practice on stage can be difficult. The same goes when you are preparing for a special occasion in a large performance venue. Practicing in the dry environment of your rehearsal room can be limiting – unless you have VAE Rehearsal. Easing the transition from the rehearsal to the performance environment allows students to focus more

on the skills and habits they’ve developed in rehearsal and less on the unfamiliar performance space. VAE Rehearsal comes with the same capabilities as all our VAE systems and includes the ability to be programmed to mirror the acoustics of your own auditorium.

“From the beginning, part of my interest in the VAE Rehearsal system was the ability to have a “Wayzata Auditorium” setting. The Wenger acousticians and engineers measured the acoustic environment in our auditorium and emulated that in our rehearsal room, making a smooth transition for our young musicians. Now when we’re rehearsing in our orchestra room, we can feel like we’re rehearsing on our stage. Or we can choose an acoustically drier environment if we like. The VAE Rehearsal gives us many options. – Mark Gitch, Orchestra Director, Wayzata High School, Plymouth, Minnesota HERE ARE JUST THREE OF THE NINE RICH ENVIRONMENTS THAT VAE CAN TAKE YOU TO:

+Plus...

BAROQUE ROOM Expand the breadth of your musicians’ sound to mimic the open and reflective space of a baroque hall.

LARGE AUDITORIUM Preparing for an important performance that takes your students to a professional venue? Let VAE show your group what this large volume of space does to their sound!

with the VAE Rehearsal system, custom environments are available as well!

CATHEDRAL It’s a special occasion when your group can perform in such an impressive space. VAE can help you prepare for the unique acoustics found there.

VAE® Practice

Studio VAE®

VAE® Rehearsal

Ideal for Music education programs for individual and small group practice.

Ideal for Music faculty coaching studios and existing built-in practice rooms.

Ideal for Instrumental and choral music rehearsal rooms.

Key features Sound isolated, free-standing practice room with variable acoustic environments and record/playback capability. Can be moved and reconfigured as needed.

Key features Nine different acoustical environments with free-standing control panel pedestal at your fingertips. Includes record/playback capability.

Key features Professional grade speakers, microphones, and digital signal processing that transforms your rehearsal space into performance environments. Includes record/playback capability. Turn-key installation.

Pre-set programs 9 pre-set acoustical environments: Practice Room, Baroque Room, Medium Recital Hall, Large Recital Hall, Small Auditorium, Medium Auditorium, Large Auditorium, Cathedral, and Arena.

Pre-set programs 8 pre-set environments: Baroque Room, Medium recital Hall, Large Recital Hall, Small Auditorium, Medium Auditorium, Large Auditorium, Cathedral, and Arena. Includes 1 customized performance space of school’s choosing.

Size configurations Select sizes starting at 5'8" x 5'8" (1.5m x 1.5m)

Size configurations Suitable for studios or practice rooms up to 200 sq. ft. in size.

Size configurations Adaptable to most music rehearsal rooms.

The Ultimate Green Room By precisely simulating the acoustics of your center stage, VAE creates the perfect environment for pre-concert warm-up. There’s simply no better environment for aspiring and professional musicians to prepare for a demanding performance.

WENGER CORPORATION

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse | NY 13209-9713

GEARBOSS

VAEÂŽ Rehearsal System

The future of music rehearsal

VAE® Rehearsal is changing the way W

hat a musician hears in a rehearsal room can be quite different than what they will hear on stage in a recital hall or auditorium. This is due to the vastly different acoustical properties of the larger spaces. Training the musician’s ear to understand the sound behavior of larger performance spaces is where the magic of VAE technology comes in. VAE (Virtual Acoustical Environment) lets musicians transform the acoustics of their rehearsal space with a push of a button. Its effectiveness is revolutionizing the learning process!

“The VAE Rehearsal System is outstanding – my students can actually experience playing in a performance environment: maintaining rhythm, tuning and pitch across the band.” – Joey Ashbrook, Director Of Bands, Central High School, San Angelo, TX

Shown with Wenger’s Nota® Conductor’s Chair and Flex® Conductor’s Stand (sold separately).

SYSTEM BENEFITS: Works as an everyday teaching tool to improve students’ music skills: 4 Articulation 4 Intonation 4 Ear Training 4 Vertical Alignment 4 Attacks and Releases 4 Balance and Blend “ Initially, I thought the system was just a way to show students how they would sound onstage. But as soon as I was given a demo, I realized how I could use it as an everyday teaching tool.” – Joey Ashbrook, Dir. Of Bands Central High School San Angelo, TX

Teaches students to listen and work differently during rehearsal “ When we first used the system, my students went “wow”. They said ‘can we do that again?’ or ‘can we try different settings?’ What I found was that they went from the “oohs and aahs” to talking about how they were listening to themselves differently and each other differently. While the “oohs and aahs” really are fun, and kids are inspired by them, they quickly found that they worked differently and more intelligently in their everyday rehearsal.” – Mark Gitch, Dir. Of Orchestras Wayzata High School Plymouth, MN 98

Helps ease the transition from rehearsal room to auditorium stage “ From a competition standpoint, we now have the opportunity to play every day in a hall that sounds like the stages we’ll compete on. That can’t help but give us an advantage.” – Joey Ashbrook, Dir. Of Bands Central High School San Angelo, TX

students learn to play and sing! 8 Distinct practice and performance environments PLUS: Record and Playback VAE Rehearsal’s ability to instantly change the acoustics of your practice space is an amazing learning tool. In addition to the eight standard virtual environments, Wenger can customize a setting that mimics your own auditorium or performance space. LARGE The Record and Playback function enhances learning even more with instant feedback that can be clearly heard through the system’s speakers.

RECITAL

SMALL AUDITORIUM

YOUR SCHOOL AUDITORIUM

MEDIUM RECITAL

LARGE AUDITORIUM

BAROQUE ROOM

PRACTICE ROOM

Record/Playback ability provides immediate feedback “ We were rehearsing a long, technical woodwind lick with the band. Students were struggling with clarity, and fingering and tonguing were not lining up precisely. I worked with them over several weeks, they still struggled. When I asked them to play the lick in four different VAE settings, from a large arena to small, dry room, the students could hear themselves in the different room settings and the problem was immediately cleaned up! What a time saver!”

Customized setting - Add your school auditorium in to the system “ Like many school auditoriums, it gets used almost on a daily basis by many school disciplines. Having the ability to have a custom setting that mirrors our auditorium in my rehearsal room is so valuable. It really helps when performance time comes on stage.” – Mark Gitch, Dir. Of Orchestras Wayzata High School Plymouth, MN

– Joey Ashbrook, Dir. Of Bands Central High School San Angelo, TX 99

CATHEDRAL

ARENA

Inspires students to practice more! “ We get a lot of students coming in to practice in my room before school, after school and even during school. I’ve had to kick students out because they were late for their next class! Any time you can inspire students to practice more, that’s a good thing.” – Mark Gitch, Dir. Of Orchestras Wayzata High School Plymouth, MN

The System: Keypad plus a series of wall and ceiling speakers, microphones and a digital signal processor.

Contact Wenger today to learn how VAE Rehearsal can enhance your music learning!

WENGER CORPORATION

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse | NY 13209-9713

GEARBOSS

800.4WENGER (493.6437) | Worldwide +1.507.455.4100

TRANSFORM®

MOTORIZED ACOUSTICAL BANNER PRODUCT SHEET

Variable acoustic technology in our new acoustical banners! Wenger’s new line of Motorized Acoustical Banners offers the benefits of variable acoustics for performance spaces, including theaters, performance halls, worship spaces, athletic venues and auditoriums. Adding Transform Motorized Acoustical Banners to your performance space allows you to improve the audience experience during every performance. You’ll never be more than a few seconds away from transforming your acoustics to best suit your next performance. Transform controls the levels of sound absorption and reflection in your performance space. Each banner includes adjustable spacing options, both for distance away from the wall and between the two fabric layers. Banners deploy quietly and quickly, with a tubular motor designed for operator-controlled or pre-set environments. Wenger’s banner system integrates with SceneControl™ by J.R. Clancy and other intelligent control systems.

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www.wengercorp.com/acoustics

TRANSFORM®

MOTORIZED ACOUSTICAL BANNER PRODUCT SHEET

Finished laminated wood end enclosures in a variety of finishes.

Built-in adjustable spacing between fabric layers for fine tuning absorption

Available fabric options include wool serge and velour material

Scan the QR Code below to watch a video of Transform banners

Banners deploy quickly and quietly up to 30' (9 m) long in certain sizes

PRODUCT SPECIFICATIONS: • • • • • • • • • • • • • • •

Available in 3’ - 10’ (.9 m - 3 m) widths. 3’ - 5’ (.9 m - 1.5 m) wide banners are available in fabric lengths of up to 30’ (9 m) long. 5’ - 10’ (1.5 m - 3 m) wide banners are available in fabric lengths of up to 15’ (4.5 m) long. Tubular motor driven system for use in an operator-controlled or pre-set environment. Available fabric options: - Encore Velour, double layer, 22 oz (0.6 kg) - Wool Serge, double layer, 30 oz (0.85 kg) Adjustable spacing - between the fabric and the wall and between the layers of fabric. Includes standard “quick change” feature that allows removal of fabric for maintenance. Banner retracts into frame to hide from view when not in use. Laminated wood closures and end caps in a variety of finishes for exposed installations. Fast and quiet deployment of up to 45’ (13.7 m) per minute. Wall mount brackets offer fast and easy installation. Simple wall switch included or integrate with J.R. Clancy SceneControl systems. Requires a standard 120-volt/60 Hz circuit. Worldwide voltages available. 3-year warranty. Patent pending. © 2018 Wenger Corporation USA/8-18/200/W/LT0140E

WENGER CORPORATION

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse | NY 13209-9713

GEARBOSS

ACOUSTICAL TREATMENT SOLUTIONS Ensuring quality sound for more effective music education

Traditional Acoustic Panel series Dynamic Acoustical Panel series VAEÂ® Rehearsal System

www.wengercorp.com | 103 800.4WENGER (493.6437)

UNDERSTANDING CRITICAL LISTENING The study of music is dependent upon the ability to learn and hear differences in intonation, dynamics, articulation and balance. This skill, called critical listening, can be developed only in a learning environment with proper acoustics.

DECIBEL LEVEL EQUIVALENTS

Wenger Acoustical Treatment Systems promote critical listening and effective music education. The information in this brochure will help you understand how you can effectively put these treatments to work in your facility to ensure successful music education. If your music space has proper cubic volume, Wenger panels can tune the acoustics to perfection. But when room size is too small, sound reflections return too quickly for musicians to properly hear the sound they create, resulting in a lack of envelopment. In these environments, no combination of panels can completely compensate for the lack of cubic volume. But, the right combination of Wenger acoustical panels can enhance acoustics by increasing your room’s ability to accommodate big sound in a small space.

Faint 30-40 decibels

Moderate 50-70 decibels

Very Loud 80-100 decibels

Extremely Loud 110-130 decibels

Painful 140-170 decibels

whisper library

conversation business office

fire crackers street traffic

rock concert jack hammer

airplane pain threshold

Wenger Acoustical Treatment Systems can help by absorbing and diffusing damaging levels of sound. It’s smart to monitor the loudness of all your rehearsal facilities and evaluate the risk to yourself and your students. Please feel free to call us at Wenger any time you have questions or would like additional information.

The chart below shows typical problem areas that can be remedied by Wenger Acoustical Treatment Systems, thus creating an environment in which real learning can be achieved through listening.

TYPICAL ACOUSTICAL PROBLEMS

Protect Yourself from Hearing Loss Rooms without adequate space to dissipate and absorb the loudness generated by musical ensembles can have dangerously high sound-pressure levels. Concert bands, marching bands, orchestras, and jazz bands generate especially high levels. In fact, according to OSHA standards*, 90 decibels (dB) is the maximum acceptable level of noise in a workplace. Yet sound levels in band rehearsal rooms reach peak levels that are often 7 to 12 dB higher than the standard, an alarming find when you consider that every 6 dB equates to a doubling of sound. No wonder that, in a recent study, 20% of K-12 choral and band instructors showed signs of noiseinduced hearing loss. Ringing ears after a day of rehearsals is an indication that there is too much strain on your hearing. It’s a serious problem often overlooked, even though severe consequences can happen quickly. At 115 decibels, permanent hearing damage can occur after just 15 minutes. And, because we all react to sound differently, a sound level that one person might consider tolerable may be damaging to someone else.

Problem area

Effect on acoustics

Rooms with limited cubic volume

Overwhelming loudness; lack of presence; dangerous conditions

Low ceilings

Reduction in cubic volume and its consequences

Poured concrete risers

Unnecessary reduction of room volume and increased loudness

Untreated parallel walls

Create an annoying ringing or buzzing sound, called flutter echo

Multi-angled walls

Create hot spots and dead spots if not properly designed, in which case construction costs may be prohibitive

Visual acoustics (ie., curved walls and domes that look to have good acoustical properties but are more often detrimental to the acoustic environment)

A myriad of problems, including hot spots, dead spots, and echoes

Square or cube-shaped rooms with parallel walls

Create additive wave lengths, called standing waves, that overemphasize certain frequencies, making them abnormally loud

Instrument storage cabinets with solid doors in the rehearsal room

Reduction in cubic volume (they should be kept outside of rehearsal rooms, if possible, or outfitted with grille doors)

Excessive soft finishing materials (i.e., carpet, drapes, upholstery)

Absorption of higher frequencies, but not lower frequencies**

Excessive hard finishing materials (i.e., concrete, tile, hard wood)

Harsh reflection of sound; minimal absorption, very loud

**Note: In rooms that only utilize high-frequency absorption, flutes, violins, sopranos and other high-frequency sounds, including the high overtones of most instruments, can be lost; intonation, articulation, and timing can be blurred; and critical listening becomes impossible. Similarly, the remaining low frequencies become overpowering, and acoustics within the environment will lack clarity and become loud and boomy.

*OSHA bases its standard on continuous exposure to noise. And though music directors are more often subjected to less prolonged periods of sound, they are still at risk if subjected to such high levels 104

SOLUTIONS To achieve critical listening, the music environment must have the proper combination of absorption and diffusion, which control excessive loudness and diffuse sound throughout the space, thereby improving acoustics. Wenger Acoustical Treatment Systems are based on these principles.

THAT ENHANCE CRITICAL LISTENING

Absorption Sound absorption can generally be defined as the reduction of sound energy that occurs when sound comes into contact with various surfaces and materials. When sound strikes a hard, dense surface, such as a gymnasium floor, there is nominal absorption. When sound comes into contact with thick, fibrous materials, such as acoustical panels, a great deal of sound energy can be absorbed, and less sound is reflected back toward its origin. Diffusion Sound diffusion can generally be defined as

the scattering and redirection of sound caused when sound comes into contact with acoustically reflective surfaces. Diffusion of musical sound is necessary so that the music can be clearly heard from all points in a facility. The ornamentation, columns, and plaster work in historic theaters, for example, provide many angled, acoustically reflective surfaces which result in excellent diffusion.

Different music environments require varying degrees of absorption and diffusion, depending upon their shape, volume, etc. Wenger professionals work to achieve the right balance of absorption and diffusion to create the ideal music-learning environment, where musicians can hear the music as they play it. In these effective environments, proper reverberation times are attained to give instructors a more accurate account of student performance and progress.

PASSIVE Traditional Acoustic Panel Series • The ideal combination of absorber and diffuser panels creates an acoustically balanced environment • Flutter echo, excessive reverberation, and boomy sounds are eliminated. • Loudness is controlled and balanced over the full audible range. • Performers hear themselves and others. • Instructors hear balance with accuracy.

DYNAMIC Dynamic Acoustic Panel Series Wenger’s Dynamic Acoustical Panel Series allows the same wall-mounted panel to adapt from absorption to diffusion with the simple turn of a handle changing reverberation time by up to . 8 seconds. It’s the multi-purpose solution to room acoustics. Wenger can now acoustically design your new or existing space into one that’s appropriate for both instrumental and choral rehearsal (yes, the same space).

ACTIVE VAE® Rehearsal Wenger’s Virtual Acoustic Environment technology is acclaimed for its ability to simulate different acoustic environments in a sound-isolation room. Now that technology can be applied to an entire rehearsal room. Our specialized system of microphones and speakers can be controlled by a simple keypad. And the system can be customized to simulate your Performance Space (your auditorium, gymnasium or competition venue).

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PASSIVE

TRADITIONAL ACOUSTIC PANEL SERIES — Each panel is tuned to a particular acoustical task

The Traditional Acoustic Panel Series provide a traditional “fixed” acoustical treatment solution to a specific instrumental or choral rehearsal room. It includes the ideal balance of absorption and diffusion, and each solution is unique, based on the shape, cubic volume and type of group using the rehearsal space. Their placement, mix and size must be analyzed according to the room and the type of group that practices in the space.

Wall Acoustical Panels Absorber Panels Suited for a wide range of music environments. Designed to reduce the reverberation and loudness of a room. Engineered to absorb sound across a broad frequency range for effective, balanced abatement.

Type I Convex Dif-

Type II Convex Dif-

fuser Panels Designed to scatter and blend sound, these panels diffuse middleto high-range frequencies that define timbre and articulation.

fuser Panels Significantly larger than Type I panels, but with the same shape. In addition to sound-diffusion qualities, they selectively absorb low-frequency sound.

Convex Diffuser

Quadratic Diffuser

Pyramid Diffuser

Panels Impact-resistant diffuser panel. Lay-In or ceiling mount applications in 2' x 2' (610 x 610 mm) or 4' x 4' (1219 x 1219 mm) sizes.

Panels Engineered to provide the most effective diffusion in the 750 Hz to 3300 Hz range. These 4' x 4' (1219 x 1219 mm) diffusers are designed as easyto-apply ceiling in-lays.

Panels Impact-resistant ceiling diffuser panels feature an offset pyramid shape to treat specific acoustical applications. Ceiling mounts in 4' x 4' (1219 x 1219 mm) or 2' x 2' (610 x 610 mm).

Ceiling Acoustical Panels

Fabric made of 100% recycled material Environmentally responsible

All panels meet Class A fire rating.

“In our new performing arts center, Wenger designed and installed the optimal configuration of acoustical panels for our three rehearsal rooms and recital hall. The results are amazing!” — 106

Jim Probasco, Music Coordinator Kettering City School District Kettering Ohio

DYNAMIC

DYNAMIC ACOUSTIC PANEL SERIES Wenger has taken rehearsal room acoustics to a new level — Level “WOW” How do you create the optimal acoustical space for vocal and instrumental music in the same room with the same acoustical panels? Impossible – until now. Wenger’s Dynamic Acoustical Panel Series is an innovative design that adjusts its absorption and diffusion capability to create a “flexible” room acoustically. The panel changes as quickly as you can turn a handle. Turn to the left and the panel becomes an absorber – turn to the right, and it becomes a diffusor. It takes just seconds, so you can tune your room between classes or after school, or whenever your students rehearse. The exterior shape of the panel always stays the same, providing a clean, professional appearance.

Dynamic Acoustic Panel Series are available in two sizes 4' x 4' (1219 x 1219 mm) and 4' x 8' (1219 x 2438 mm) panels. An Absorber only and Diffuser only panel is also available in the same configuration to make all panels look identical. Several fabric options and woodgrain cap finishes are available.

Diffusion Mode

Reflects sound waves for improved blending of sound.

Now you can turn your rehearsal room into a flexible space without sacrificing the acoustics. No more scheduling conflicts for rehearsal spaces. Have a shared rehearsal room for band and choir? Wenger’s Dynamic Acoustical Panel Series is the perfect solution!

Absorption Mode

“Bellows” panel moves to front.

“Bellows” panel moves to back. “Air” space behind panel helps absorb sound.

Lack of “air” space behind panel diffuses more sound.

Metal microperf panel

Fabric wrap Handle Sliding the handle to the right puts the panel in Diffuser mode.

Certified Test Lab Results

Absorbs sound waves to lower sound level.

Fabric wrap Handle Sliding the handle to the left puts the panel in Absorption mode.

Provides up to .8 seconds of change in reverberation time. Test is actual independent lab test conducted by Riverbank Labs.

“The acoustical treatment has really changed our rehearsals; my students are excited to hear the difference. Band comes alive when you’re able to hear and analyze everybody’s part.”

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— Anthony H. Bailey, Band Director Hart High School Santa Clarita, CA

TAKE YOUR MUSICIANS ON AN ACOUSTICAL FIELD TRIP

ACTIVE

â&#x20AC;&#x201D; You can now completely modify the acoustics of your classroom with the push of the button

Practice where you perform! Now you can simulate nine different acoustic environments in your rehearsal room at the push of a button. Wenger can also program custom simulations of your auditorium or a competition venue. Your students benefit by being able to practice in an environment before they perform there. You control the entire system of microphones and speakers from a simple keypad.

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VAE® REHEARSAL SYSTEM — Transport an entire rehearsal room to the auditorium and back before the bell rings Easing the transition from the rehearsal to the performance environment allows students to focus more on the skills and habits they’ve developed in rehearsal and less on the unfamiliar performance space. VAE Rehearsal comes with the same capabilities as all our VAE systems and includes the ability to be programmed to simulate the acoustics of your own auditorium. School auditoriums are heavily scheduled places. So trying to find time for your choral and instrumental groups to practice on stage can be difficult. The same goes when you are preparing for a special occasion in a large performance venue. Practicing in the dry environment of your rehearsal room can be limiting – unless you have VAE Rehearsal.

Here are just three of the nine rich environments that VAE can take you to: +Plus... with the VAE Rehearsal system, custom environments are available as well!

BAROQUE ROOM Expand the breadth of your musicians’ sound to mimic the open and reflective space of a baroque hall.

LARGE AUDITORIUM Preparing for an important performance that takes your students to a Professional venue? Let VAE show your group what this large volume of space does to their sound!

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CATHEDRAL It’s a special occasion when your group can perform in such an impressive space. VAE can help you prepare for the unique acoustics found there.

ACOUSTICAL PANELS AND ACOUSTICABINETS™ IN THE REHEARSAL ROOM Proper acoustics are essential in music education environments, enabling the development of critical listening skills. As one part of an overall acoustical solution, AcoustiCabinets are ideal for situations where instrument storage cabinets are located within a rehearsal room. The encapsulated acoustically absorptive material built into the back of the cabinets provides specific acoustical benefits by absorbing a broad range of sound frequencies.

WITHOUT ANY TREATMENT A rehearsal room without any cabinets or acoustic treatments will have excessive loudness, flutter echoes and could possibly cause hearing loss over extended periods of time.

WITH ORDINARY STORAGE CABINETS A rehearsal room with instrument storage cabinets succeeds in diffusing some sound but has little effect in quieting loudness or absorbing high and low frequencies.

WITH WENGER ACOUSTICABINETS A rehearsal room with Wenger’s AcoustiCabinets and used in conjunction with absorber and diffuser panels can create an acoustically balanced environment. Loudness is controlled and balanced over the full audible range.

“The acoustics in my band room are good - much better than my former band room. Even with my 100-piece marching band in there, the sound level is pretty comfortable. There’s not as long of a delay, which is nice. When I make a cutoff, the sound doesn’t ring for six or seven seconds afterwards. I can also hear better because the sound is getting diffused correctly. I love the AcoustiCabinets - I wish we had more.” —

Brent Morrison, Band Director Otsego High School Otsego, Michigan

WENGER CORPORATION

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse | NY 13209-9713

GEARBOSS

SOUNDLOK® SOUND-ISOLATION ROOMS

Aldine Middle School Houston, Texas

Wenger’s modular design provides exceptional, guaranteed sound isolation anywhere in your facility.

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The elements that make a Wenger Sound-Isolation Room so effective:

ACOUSTICALLY TUNED SPACE

GUARANTEED SOUND ISOLATION

The correct amount of absorption and diffusion built-in to room.

NIC 63 room-to-room based on Independent Lab Test The highest rating in the marketplace.

No need to purchase additional acoustic treatment which adds to cost of room.

Results of actual Field Test of 11 room installation in Weslaco, TX ranged from NIC 63-67.

Additional absorption built-in for recording/broadcast applications.

QUALITY AND SERVICE GUARANTEE

VAE TECHNOLOGY OPTION

Professional installation Removes risk. Durable product construction as rooms installed over 40 years ago are still being used today!

Transform your practice room to multiple performance environments, ranging from recital hall to 10,000 seat arena. Record/playback provides immediate feedback for musician.

Low Maintenance. GREENGUARD certified product. 5-year warranty.

DOOR & FLOOR RAIL COLORS:

DESIGNING THE BEST SOLUTION 116 standard sizes available ability to maximize space utilization. Room heights from 7’6” to 10’ (2286 to 3048 mm) high (6” (152 mm) increments) Multiple window and door options - extra benefit: improved security and monitoring.

Charcoal Grey

Warm Beige

WALL & CEILING PANEL COLORS:

Warm Sand

Vanilla

Three color options available for wall and ceiling panels, two for floor rails and door

Oyster

Ability to upload accompaniments and download practice session on to a laptop for future critique.

RELOCATABLE AND RESIZED SOLUTION Modular designed rooms allow for flexibility as music programs or facilities change, saving thousands of dollars as built-in rooms require complete demolition and re-construction. Over the past 20 years, 18% of all rooms installed have been re-located or resized during their lifetime. Competitor’s rooms use caulk to seal joints, making it very difficult to re-locate rooms. Wenger uses NO caulk, but uses a roto-lock design with gasketing to seal joints cleanly and securely.

Accessories available including wall-mounted mirror, metronome/tuner and technology desk for laptops.

Engineering advantages make Wenger the smart choice for sound isolation. 112

WENGER GUARANTEES LEVELS OF SOUND ISOLATION NEARLY IMPOSSIBLE TO ACHIEVE WITH BUILT-IN ROOMS

36th Infantry Division Band Austin,Texas

Wenger Sound-Isolation Rooms used as Museum Experience Space - Percussive Arts Society, Indianapolis, Indiana

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Wenger Sound-Isolation Rooms used as Music Practice Space - Walnut High School, Walnut, California

SoundLok

SOUND–ISOLATION ROOM

We’ve taken the acoustical performance of our sound isolation rooms to the next level! A refined design, greater sound isolation and other improvements our customers have asked for. Wenger was a pioneer in developing sound isolation rooms over forty years ago and today offers you the perfect combination of proper acoustics and simplicity of installation and relocation. Our proprietary design eliminates the variables of built-in rooms, where carpentry, electrical, mechanical, and fire suppression are all contracted and installed independently, making the sound isolation only as good as the weakest link. Wenger rooms, on the other hand, are self-contained, with every square inch pre-engineered to meet the highest levels of performance. With a modular room from Wenger, you are guaranteed proper sound isolation, no matter where it’s installed or how often it’s relocated. A perfect fit and an easy install If you know exactly where you want your new sound-isolating space to go, we’ll make it fit to maximize space utilization. Our great breadth of sizing options allows us to tailor our sound isolation rooms to virtually any space, and our interlocking design lets us install your new room with amazing efficiency and with guaranteed sound isolation.

Typical plan view of a soundisolation room installation. One foot of space recommended between rooms for optimum acoustical performance.

Relocatable/Reconfigurable Even if you can’t imagine a scenario where you’d move your Wenger room once installed and performing as promised, it’s great peace of mind knowing you could relocate it anyplace you need it – down the hall, up the stairs, even across town. You can easily resize it too. Pre-engineered personalized installation Your room’s aesthetics and functionality are as important as its sound-controlling qualities, and Wenger has built its reputation by building products right. If you choose a sound isolation room from Wenger, we can promise you a high-integrity installation. A fitting solution Wenger Sound-Isolation Rooms fulfill a variety of needs in facilities all around the world: • Music Practice • Broadcast and recording studios • Voiceover studios • Interrogation rooms • Security check points • Briefing rooms • Polygraph spaces* • Libraries and retreat rooms • Meeting rooms • Museum spaces for media demos * Research shows that lie-detector tests risk false readings when not conducted in a quiet place; you can eliminate that risk and better ensure reliable polygraph results with a sound isolation room from Wenger. ________________________________

Private conference rooms

Wenger Sound-Isolation Rooms used as Music Practice Space San Jose City College, San Jose, California 114

GREENGUARD Certification The mission of The GREENGUARD Environmental Institute (GEI) is to protect human health and quality of life through programs that help reduce chemical exposure and improve indoor air quality. To date, GREENGUARD has certified many Wenger products including Instrument Storage Cabinets, Posture Chairs, SoundLok Sound-Isolation Rooms and GearBoss® Storage Carts, with more certification to come. www. greenguard.org

INDEPENDENT COST STUDY:

SoundLok Rooms Cost Less!

CASE STUDY #1

CASE STUDY #2

BELVIDERE HIGH SCHOOL, ILLINOIS

CENTRAL WASHINGTON UNIVERSITY, WASHINGTON

Rooms: 4

Rooms: 7

Total Area: 603 square feet

Total Area: 2,346 square feet

Construction Type: Dual Wall

Construction Type: Single Wall

Stick-Built: $180,586 or $299/sq. ft.

Stick-Built: $492,680 or $210/sq. ft.

Wenger SoundLok: $134,542 or $223/sq. ft.

Wenger SoundLok: $399,622 or $170/sq. ft.

Cost Study document available upon request.

SOUND-ISOLATING QUALITIES: • 4” (102 mm) thick sound-isolating wall and 6” (152 mm) ceiling panels with 16-gauge steel exterior and 22gauge steel interior surfaces. • Dual-pane safety-glass windows insulated by 3” (76 mm) sealed air space. • Ventilation channels baffled to reduce fan and air noise. • Acoustically isolated HVAC connections; fan ventilation also available. • All wiring runs through sound-isolated raceways. • Redundancies in performance guarantee a sealed space that will not leak like built-in sound-isolating rooms. SPECIFICATIONS: • Vast range of sizes, from 5’8” x 4’5” to 25’8” x 19’5” (1727 x 1346 mm to 7823 x 5918 mm). • Heights available in 7’6” - 10’ (2286 - 3048 mm) in 6” (152 mm) increments. • Weight: Starting at 2,200 lbs (990 kg) and up. • Rooms are designed with a integrated ETL-Classified electrical wiring System for direct connection to 20-amp/120V service.* • Dimmable LED lighting, ventilation and acoustical system power individually controlled by UL/ETL/CSA listed switches and sensors. • Dimmable edge-lit LED flat panel lighting with occupancy sensor option. • Double junction boxes for customer-installed fire alarms, clocks, communications and phone lines, and other individual needs. • Windows are composed of two panes of safety glass that are separated by a 1.5” (38 mm) sealed air space. One large window is standard in the door. Optional wall panels with windows are available. • Architectural specifications available upon request.

MODULAR ADVANTAGES: • Interlocking panels seal at the floor and ceiling without adhesives, caulking, or other attachments. • Ingenious design can be installed, relocated, or reconfigured within hours with the turn of a wrench – and resized or relocated as programing or needs change. • Integrated wiring and ETL-classified 20-AMP/120V room electrical system. • A self-contained ventilation system provides a full fresh air exchange every two minutes. Ventilation channels are baffled to reduce fan and air noise. The system can either run independently or connect to the building’s HVAC system. • Lighting, wiring and ventilation are built in. The self-contained electrical system runs all wiring through sound-isolated raceways. • Precision pre-engineering guarantees a fit superior to most built-in rooms, plus a level of performance and flexibility nearly impossible to achieve with standard construction. OPTIONS: • 4’ (1219 mm) wide door • Double-width doors, 6’ (1829 mm) wide with removable mullion. • Horizontal and vertical windows • One-way glass • Built-in fan or direct-connect HVAC • Additional sound-isolated raceways available for intercoms, fire alarms, recording equipment, and other electrical and communications lines • VAE® Technology • Mountable tuner/metronome • Mirror • Fold-down shelf • Lighting control: Manual dimmer or programmable occupancy sensor

* Power connections vary from country to country. Please contact your Wenger representative for installations outside of North America 115

Some examples of the many uses of Wenger Sound-Isolation Rooms: Here are some schools, companies and organizations who currently own a Wenger Sound-Isolation Room: Education Facilities: • Blue Valley ISD, KS • Boston University, MA • Fordham University, NY • Harvard University, MA MUSIC PRACTICE

RECORDING STUDIOS

• Hong Kong Institute of Education • Intl. School Manila, Philippines • Middle Tenn State University, TN • Orange County Public Schools, FL • Ottawa University, KS • Shakopee Public Schools, MN • University of Dayton, OH • University of Iowa, IA • University of Northern Colorado, CO • University of Southern California, CA

Non Education Facilities: • Boeing Company, MO CONFERENCE ROOMS

•E xperience Music Project, WA •H BO Studio Productions, NY • Mackie Designs, WA •M icrosoft Corporation, WA • National Public Radio, DC • NCIS-Washington, DC • Navy School of Music, VA • Radio Free Europe, DC • Steinway & Sons, NY • Voice of America, DC

BROADCAST STUDIOS

WENGER CORPORATION

JR CLANCY

Phone 800.836.1885 Worldwide +1.315.451.3440 | jrclancy.com | 7041 Interstate Island Road | Syracuse | NY 13209-9713

GEARBOSS