a long-awaited pavilion makes its debut tonight
1990 this is a digital version of an article from The Times Print Archive, before it starts online in 1996.
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For many who attend the New York Philharmonic Orchestra and the Metropolitan Opera House for free at New York park every summer, the harsh sounds and harsh tones produced by the amplification system shared by the two organizations have been accepted as the cost of listening to music in the open air.
But since 1980, the Philharmonic Orchestra, the Metropolitan Symphony Orchestra, and Peter Wexler, the sound and lighting designer, have been planning an ambitious alternative system.
At 8 tonight, the new $3.
The 0. 385 billion Carlos Mosley Concert Hall will debut, and Zubin Mehta will lead the New York Philharmonic at the last outdoor concert this year. Mr.
75-Mosley of the Philharmonic Orchestrayear-
On 1965, the orchestra held a series of concerts in the park and will attend the performances.
The system, named after him, includes a new band case and stage with a computer lighting system, a projection screen and 24 speaker towers, which will be distributed through the audience area.
In addition to introducing the new pavilion, the concert will also pay tribute to Carnegie Hall in honor of its upcoming century and to the post-80 s.
Tribute to composer William Schumann.
The project includes Mr.
Schumann\'s American festival prelude, the first symphony of Sibelius. 2 in D (Op. 43)
Bruch Violin Concerto in G minor (Op. 26)
Isaac Stern was the soloist.
There will also be fireworks.
The ad sound check came from the first listener curious about the new sound system, who did not want to wait until the night fell, and might attend the Philharmonic\'s sound check on the big lawn at 10. M.
\"The first thing we do is determine what the problem is before we come up with a solution,\" he said . \"
Wexler, who coordinated the project
Problems with the old system-
I should add that most outdoor systems in the country
There are two speakers towers on both sides of the stage, and what we can do is basically speak out loud, and the 200 people behind the park can hear.
But for the people in front, the voice is too loud.
\"There is also a visual problem: The stage is very far away for the people behind.
We have to find a solution to these two problems, but also to create a portable and secure system that is light enough not to damage the ground.
The band case and its components will solve the visual problem.
The shell is a pyramid-
F. Style structure of designT. L.
Ali Tayal is the architect of the project.
118 feet wide, 68 feet high, 78 feet wide on stage and 40 feet deep.
Although the stage is only slightly larger than the stage used so far, the shape of the band\'s shell is much more concerned than its rectangular predecessor.
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The plastic tension film formed on the stage provides weather protection and some acoustic projections.
Five semi-circular acoustic reinforcement plates also reflect sound.
There will be a 16-above the orchestra-
The foot projection screen, which can be used to show performers, or to project slides or information.
For opera performances, the system can display supertitles. Mr.
Wexler Company, Peter Wexler company
Lighting and projection systems are designed.
Solving the sound problem is solved by a complex system that includes 24 speaker towers, each of which can accommodate 15 speakers in three groups.
The main cluster in each tower projects the music on the stage forward.
The second cluster produces a slightly delayed ambient sound designed to create the illusion that the sound echoes from the back wall of the concert hall.
The third group strengthens the bass.
Consultant for the sound and harmony of Yafei & Associates.
The sound, lighting and projection are controlled from the booth 210 feet from the stage and are located in the center of the venue.
The speaker tower receives wireless broadcast signals from the mixed console of the booth.
Compared to the use of two towers in front, the distributed speaker system has several advantagesWexler said.
One is to delay the program by using numbers
It sends a signal to each set of speakers that is delayed by a fraction of a second to consider the time when the stage sound reaches the scene --
It is possible to produce the illusion that the sound comes from the stage rather than the speaker.
The sound volume generated by each speaker is consistent, ideally close to the volume generated by the orchestra on stage.
\"We want to get as close as possible to the voice of the real Hall,\" said Mr. Wexler said.
\"It\'s really impossible, but people want to get the feeling of reverb, depth, familiarity, warmth and breadth.
These things are not what you will naturally think.
The sound on the stage may be great, but it will dissipate quickly without a hall bounce.
By sending all this information to our speakers
Sound from the stage and reflected sound from behind-
We hope we can make even music.
\"This is our first public performance, and as you have heard in any new facility, there are always things that are still being adjusted.
I don\'t think we need this warning.
This is a framework.
Performance is painting.
There are a lot of options for how to use this pavilion, and when we see more performances, we will have a better idea of the best way to use it.
\"A version of this article appears on page C00011, country edition, August 20, 1990, with the title: Long
The long-awaited Pavilion debuted tonight.