This project earned an award for excellence from the American Institute of Architects for Detroit area architect Harley Ellington Design and its Chicago-based team of consultants, Schuler and Shook (theater), the Talaske Group (acoustics), and the Audio Systems Group, Inc. (audio). In addition to the elegant 750 seat recital hall (shown here), there is an intimate 150 seat recital hall, three large rehearsal rooms, and an assortment of classrooms, all with excellent acoustics and first class audio systems. Planning began in 1991, but had to be put on hold for several years while the State of Michigan wrestled with a major fiscal crisis. Design work resumed in 1994, the building got a bit smaller to meet a reduced budget, and the project went out to bid in early 1996.
Acoustic Consultant David Prince, leading the Talaske design team, developed a variable acoustic system for the Large Recital Hall to support the wide range of music that is performed there -- from a symphony orchestra to jazz bands and large vocal jazz choirs. The acoustic reflectors above the stage are on motorized winches, with preset heights optimized for each musical type. The highest position is used for large classical ensembles, the lowest for a jazz band. Audio system consultant Jim Brown designed two systems for the space. A small system uses a pair of compact full range loudspeakers which fit in the gaps between the acoustic reflectors (these black boxes are barely visible in the photos, just at the upstage edge of the fixed reflectors), and allow announcements to be made at classical music performances for which no amplification is needed. The main sound reinforcement system, concealed above the winched acoustic reflectors, supports amplified musical performance. It is a 3-channel system that provides full left/center/right stereo throughout the audience, and with virtually no spill down to the stage. And because the room is still relatively reverberant, even with the variable acoustics, the system is carefully designed to keep sound off the side walls and ceiling so that the contemporary music it supports won't be muddied by the reverberation.
Additional loudspeakers around the audience perimeter support surround sound for electronic music, or for sound effects for scenic opera. An extensive network of tie lines, an excellent mix console, a nice collection of mics, a production intercom, and sound for dressing rooms round out the systems. A control room allows recording of performances, and a dedicated in-house mix position allows the operator to hear the system he or she is mixing.
The architectural team's sensitivity to budget issues relating to audio and acoustics is illustrated by their decision to keep money in the audio and acoustics budget, but not to spend it to put grille material in front of the clusters. In an ideal world, of course, the grille material would be there. But the hall has great acoustics and a fine sound system, and that's what really counts!