August 28, 2019
The Mount Baker Theatre is a Historic Movie Palace turned Performing Arts Center that is seeking
professional assistance to help design and manage various aspects of an anticipated $3,000,000 plus
capital project. Major elements of the project will include roof repair or replacement, gutter repair or
replacement, exterior painting including stabilizing and preserving cracks, refurbishment of some
auditorium seats, replacement of interior carpet, sound and video system upgrades and replacement,
and other things.
Attached please find a Request for Qualifications document that more fully explains the project and
what we are looking for. There will be an optional walk‐through Sept 11 at 1:30 pm and completed
forms are due to be returned Sept 25 at 4:00 pm.
Questions may be directed to Jim Zoehrer our Facilities Director via email:
[email protected] or by phone (360) 733‐5793.
Additional copies of the RFQ may be retrieved from our website www.mountbakertheatre.com
Thank you,
Brad Burdick
Executive Director
104 North Commercial Street Bellingham, WA 98225 Phone: Tickets: Fax:
360.733.5793 360.734.6080 360.671.0114
www.mountbakertheatre.com
Page 1
Mount Baker Theatre Request for Qualifications
Architectural and Administration Services
Mount Baker Theatre 2020 Renovation Projects
Proposals Due: 4:00 pm
September 25, 2019
Optional Site Walk-Through September 11, 1:30 pm
Mount Baker Theatre
104 North Commercial Bellingham, WA 98225
In an effort to comply with City of Bellingham waste reduction policies, we request that qualifications be submitted on recycled paper, copied on both sides of the page, no laminated sheets, no wire/comb binding and no cardstock.
Qualifications should be stapled in the upper left-hand corner only.
Building is owned by City of Bellingham. Mount Baker Theatre will be managing project. City will approve all work through MBT, but won’t be involved in day-to-day project management.
Page 2
The Mount Baker Theatre, in accordance with Title VI of the Civil Rights Act of 1964, 78 Stat.242, 42 U.S.C. 2000d to 2000d-4 and Title 49, Code of Federal Regulations, Department of Transportation, subtitle A, Office of the Secretary, Part 21, nondiscrimination in federally assisted programs of the Department of Transportation issued pursuant to such Act, hereby notifies all bidders that it will affirmatively ensure that in any contract entered into pursuant to this advertisement, disadvantaged business enterprises as defined at 49 CFR Part 26 will be afforded full opportunity to submit bids in response to this invitation and will not be discriminated against on the grounds of race, color, national origin, or sex in consideration for an award.
Section 1 – General Information 1.1 Purpose and Background The Mount Baker Theatre is a City owned facility on the National Historic Registry of Historic places and is managed by a not for profit organization called Mount Baker Theatre (MBT). This project will be funded and managed by MBT. As owner the City of Bellingham will approve all work through MBT. MBT is seeking submittals from firms interested in providing professional architectural consulting and construction management services to MBT for repair and replacement of various parts of the Theatre building including roof, gutter, exterior paint, carpet, and stair lighting and handrails. MBT will also be purchasing a new sound system which may require additional reinforcement on the hang points for the speakers. All interested parties are invited to respond to this Request for Qualifications (RFQ) by submitting their Statement of Qualifications relating to this type of project. All prospective consultants are advised that federally funded projects will be held to federal EEO requirements. Disadvantaged, minority, and women-owned consultant firms are encouraged to respond. Upon consideration of the submittals, MBT will negotiate final terms with the selected party. MBT is hiring a firm to complete the final design for Mount Baker Theatre’s 2020 Renovation Projects. A site walkthrough will be provided for all interested parties September 11, 1:30pm at 104 N. Commercial Street, Bellingham, WA 98225 1.2 Expertise The consultant team performing the work for the project shall have exceptional knowledge and demonstrated experience with the following:
City of Bellingham Development Guidelines and Improvement Standards, and the Bellingham Municipal Code
Historic building renovation Roofing and gutter system repair and replacement Programming design and administration of Public Projects
Note: Main Stage sound system replacement to be part of this project. Previous acoustical analysis and recommendations attached
1.3 Preparation Costs MBT shall not be responsible for qualification submittal preparation costs, including oral interviews (if held), nor for costs including attorney fees associated with any challenge to the determination of the highest ranked proposer and/or award of contract and/or rejection of qualification submittal. By submitting a qualification submittal, each proposer agrees to be bound in this respect and waives all claims to such costs and fees.
Page 3
1.4 Consultants Fees After consultant selection, the selected consultant(s) shall prepare a fee proposal for services. Direct, non-salary costs must be pre-approved by MBT. Non-salary costs should be supported for auditing purposes by copies of the invoice or billing instruments the consultant received for payment. Travel expenses will be reimbursed at the Federal and State government per diem rates including meals and mileage with no additional overhead. No additional subsistence is allowed. Reproduction costs may only be billed if copies are made at MBT’s requests, such as plan sets for bidding. This also includes overnight shipping. Costs will be paid at invoice only, no additional mark-up will be allowed. Items purchased and reimbursed by MBT for the project must be furnished to MBT. Items purchased shall be reimbursed at invoice cost. Invoice must be provided.
Section 2 – Scope of Work 2.1 General MBT is looking for a project manager to help guide us through a renovation that will include: EXTERIOR
Roof repair/replacement; gutter repair/replacement; exterior refurbishment, crack repair, spalling repair, sandstone repair, decorative metalwork repair, tower sign repair/replacement and exterior repainting of all painted surfaces and other exterior work.
INTERIOR Replacement of main theatre sound system and video projection system with updated systems
designed and installed to maximize sound and projection quality. Addition of video monitors above isles in main lobby. (Previous acoustical report recommendations attached).
Spot plaster and painting touchup; reupholstering and repair of individual seats; carpet replacement; stair handrail repair, replacement or additional; stair lighting repair or replacement and other interior work.
All repairs need to be completed keeping in mind the historic nature of the facility and minimizing visible changes from original. 2.2 Expectation MBT expects the consultant to work closely with its board and staff and to utilize additional experts in specific areas of knowledge as necessary to develop the specific scope of work, design the specifications that will be required, provide cost estimates, manage all aspects of bid process, review bids, supervise project and assure that all work is done in accordance with City of Bellingham codes, specifications, permits and requirements. 2.3 Time for Completion It is anticipated that the initial design work would take place in fall of 2019 with contractors being secured after design is complete and approved. It is important to remember that the Theatre will remain open for business through most of the construction but it has scheduled a window for construction on the parts that will require the main stage to be closed between July 1st and September 30, 2020. It is imperative that any work requiring closure of the main theatre be done within this window. Additional work can be done earlier or later but should all be completed by December, 2020. Following is a chart listing the currently targeted project deadline dates.
Page 4
2.4 Budget The specific budget for this project will be developed with the contractor during the design phase of the project. The Project Manager will be required to work within the approved budget.
Section 3 – Submission Parameters 3.1 General The intent of this Request for Qualifications is to obtain professional services from a qualified firm or team that agrees to any and all portions of the advertised project. MBT reserves the right to delegate portions of the project to professionals employed by MBT. The following is the required format for submittals. Consultants must organize their qualification submittals in the manner specified below. 3.2 Title Page Show the RFQ, project name “Mount Baker Theatre 2020 Renovation Projects,” the name of your firm, address, email address, telephone and facsimile numbers, name of contact person, name of Principal in Charge, and date. 3.3 Table of Contents Clearly identify the materials by section number. 3.4 Letter of Transmittal Briefly describe your firm’s understanding of the services to be performed and make a positive commitment to provide the services as specified. Give the name of the Principal in Charge, the name(s) of the person(s) who are authorized to make representations for your firm, their titles, address, email address, telephone, and facsimile numbers. The letter must be signed by a corporate officer or other individual with authority to bind the firm.
Targeted Project Deadline Dates
8/28/19 Notice to Architect/Engineer/Project Management firms sent
8/28/19 RFQ opening date
10/3/19 Optional Walk‐Through for potential Project Managers 1:30 pm
9/25/19 Deadline for RFQ Proposals 4:00 pm
10/3/19 Deadline to select consultant
10/17/19 Define initial scope, negotiate fee proposal and contract for services to include hourly rates for all work performed10/18/19 Check‐in/update Public Works Rep
10/24/19 Contract approval and award date DEADLINE MBT Board approval vote via email or special board meeting
11/30/19 Initial design and budget review deadline ‐‐meet with Board Reps receive input and show progress
12/31/19 Revised design and budget review deadline‐‐meet with Board Reps receive input and show progress
1/31/20 Targeted design and budget work complete‐‐present to MBT
2/6/20 Official design approval from MBT and City Rep
2/28/20 Consultant sends Notice of project to potential contractors
3/27/20 Contractor bids DEADLINE
4/2/2020 Select Contractor(s) and Award Bid(s) after Board approval at April mtg
7/1/20‐9/30/20 Main Stage CLOSED for interior rennovations
9/30/20 Interior rennovation completion DEADLINE
9/30/20 Exterior rennovation completion target DEADLINE
Page 5
3.5 Qualification Submittal Contents 20 points - Firm Qualifications & Experience: Describe firm qualifications and experience. Include examples of
similar previous experience in reviewing plans for constructability and providing construction management services.
15 points - Project Manager: Identify the project manager, including his/her specific qualifications and experience related to the project.
15 points - Team Organization: Show the organization of the proposed team. Include project management and methodology. Talk about any supporting functions such as roofing, guttering, structural, geotechnical, electrical, and mechanical sub-consultants.
20 points - Project Approach and Understanding: Describe the firm’s understanding of the project and the specific approach the firm will use to achieve a successful project.
20 points - Technical Knowledge and Qualifications: Discuss the firm’s resources available to the project manager including key personnel to be assigned within the firm and from sub-consulting firms. Include resumes for all personnel to be assigned to this project. Include proposed sub-consultants’ firms, team members’ names, qualifications, certifications, etc. Include technical knowledge of both planning and design.
20 points - Schedule & Management: Discuss other resources available to the project manager, the firm’s current workload size, and ability to manage project schedules and keep project on schedule in spite of a tight Main Stage closure window (July 1 through September 30, 2020 currently blocked for construction). Show documentation of project history.
5 points - Ease of access to the firm’s project staff: Describe firm’s physical availability to the MBT in terms of communication, conducting meetings, and field work. How will distance from the project site and the City of Bellingham affect the response time to critical matters pertaining to the project?
5 points - References: Include references. 120 points – Total Possible 3.6 Signature Requirements All qualification submittals must be signed. A qualification submittal may be signed by: an officer or other agent of a corporate vendor, if authorized to sign contracts on its behalf; a member of a partnership; the owner of a privately-owned vendor; or other agent if properly authorized by power of attorney or equivalent document. The name of the individual(s) signing the qualification submittal must be clearly shown immediately below the signature. Please ensure firm’s name, address, telephone and facsimile numbers, main point of contact, and the email address for the main point of contact for the project are included. 3.7 Submission MBT must receive an electronic submission in PDF format and six (6) copies of the qualification submittal prior to the date and time specified in the advertisement. All copies must be under sealed cover and plainly marked with the RFQ name and the name of the submitter. Qualification submittals shall be delivered to: Mount Baker Theatre 104 North Commercial Bellingham, WA 98225 Do not address your submittals to an individual. MBT is not responsible for lost or misdirected submittals. 3.8 Disposition of Qualification Submittals All materials submitted in response to this RFQ will become the property of MBT. One copy shall be retained by MBT for the official files of the City of Bellingham, Purchasing Division and will become part of the public record after award of the contract.
Page 6
3.9 Oral Change/Interpretation No oral change or interpretation of any provision contained in this RFQ is valid whether issued at a pre-qualification submittal conference or otherwise. Written addenda will be issued when changes, clarifications, or amendments to qualification submittal documents are deemed necessary by the City. 3.10 Modification/Withdrawal of Qualification Submittals A respondent may withdraw a qualification submittal at any time prior to the final submission date by sending written notification of its withdrawal, signed by an agent authorized to represent the agency to MBT. The respondent may thereafter submit a new qualification submittal prior to the final submission date or submit written modification or addition to a qualification submittal prior to the final submission date. Modifications offered in any other manner, oral or written, will not be considered. A final qualification submittal cannot be changed or withdrawn after the final submission date, except for modifications requested by the MBT after the date of receipt and following oral presentations. MBT reserves the right to waive any minor informalities or irregularities. 3.11 Late Submissions Submittals must be received by 4:00 pm, September 25th, 2019. Proposals received after this date and time will not be considered. MBT is not responsible for lost or misdirected submittals.
Page 7
Section 4 – Evaluation Criteria and Process 4.1 Evaluation Criteria Qualification submittals will be evaluated and ranked on the criteria and point range outlined in section 3.5. 4.2 Evaluation Process A selection committee of individuals representing MBT and the City will evaluate the qualification submittals as submitted. The MBT reserves the right to award a contract solely on the written qualification submittal. The MBT also reserves the right to request oral interviews with the highest ranked firms. The purpose of these interviews is to allow expansion upon the written responses. The same evaluation criteria may be used for the interviews. The final selection may be based on the total of all evaluators’ scores or just the scores from the interview process.
Section 5 – Selection Process MBT intends to enter into a contract with the consultant who provides a proposal that, in the opinion of MBT, best meets all identified evaluation criteria (receives the highest evaluated score) as determine by a selection committee. If an agreement cannot be reached with the selected firm, the second highest ranked proposer may be contacted for negotiations. This process may continue until successful negotiations have been achieved. MBT reserves the right to terminate negotiations with any proposer should it be in MBT’s best interest.
Section 6 – Sample Contract The successful firm will be required to enter into a contract with MBT using the attached Services Agreement.
Section 7 – Contact Information Upon release of this RFQ, all communications concerning the submittal process shall be directed to MBT’s Facilities Director. Questions will be gathered and an addendum will be issued. Unauthorized contact regarding this RFQ with other MBT employees may result in disqualification. Any oral communications will be considered unofficial and non-binding on MBT. MBT Facilities Director: Jim Zoehrer 360-733-5793 ext 340 [email protected]
Page 8
SERVICES AGREEMENT MOUNT BAKER THEATRE
Mount Baker Theatre (hereinafter “MBT”), with offices located at 104 North Commercial, Bellingham, WA 98225, and Contractor, Project Manager Address, City, State Zip (hereinafter “Contractor”), in consideration of the mutual covenants herein, do hereby agree as follows: I. PURPOSE: ____________ II. TERM OF AGREEMENT: Notwithstanding the date of execution hereof, this Agreement shall be in effect from ________ to ________, both dates inclusive. III. LIAISON: MBT’s officer responsible for this Agreement is Brad Burdick, its Executive Director. The Contractor’s responsible person is the Project Manager. IV. SCOPE OF WORK: See Exhibit ‘A’ attached and incorporated herein by this reference. V. PAYMENT:
A. The maximum payable to the Contractor under this Agreement is $_______, which amount is inclusive of any sales tax payable by the Contractor hereunder. B. _________
No final payment shall be made until the project is accepted by MBT. VI. EXTRA WORK AND CHANGE ORDERS: Work in addition to, or different from, that provided for in the Scope of Work section shall only be allowed by prior authorization in writing, as a modification to this Agreement. Such modifications shall be attached hereto and made a part hereof, and shall be approved in the same manner as this Agreement. VII. ACCOUNTING AND AUDIT: The Contractor agrees to keep records of all financial matters pertaining to this Agreement in accordance with generally accepted accounting principles. The financial records shall be made available to representatives of MBT or the City or any other governmental agency with jurisdiction for audit, at such reasonable times and places as MBT or the City shall designate. VIII. LIABILITY AND INSURANCE: The Contractor agrees to defend MBT and the City, hold them harmless, and indemnify them as to all claims, suits, costs, fees, and liability arising out of the acts or work of the Contractor, their employees, subcontractors, or agents (including field work) pursuant to this Agreement, where such liability is incurred as a result of the actions or omissions of such parties. Contractor will obtain and maintain in force at least the following minimum insurance coverages covering all activity under this Agreement, and as to which the City shall be named as additional insured (with any endorsement required by the policy): A. Workers Compensation Statutory Amount B. Broad Form Comprehensive General Liability $1,000,000 per occurrence $2,000,000 aggregate C. Automobile Liability $1,000,000 Contractor specifically and expressly waives any immunity that may be granted it under the Washington State Industrial Insurance Act, Title 51 RCW. Further, the indemnification obligation under this contract shall not be limited in any way by any limitation on benefits payable to or for any third party under the workers’ compensation acts. An insurance certificate showing the coverage required under this paragraph VIII will be submitted to the MBT for approval at least annually.
Page 9
IX. COMPLIANCE WITH LOCAL LAWS: The Contractor shall be duly licensed (including Business Registration with the City of Bellingham) and shall comply with all applicable laws, ordinances, and codes of the State and local governments. X. TERMINATION; REDUCTION IN FUNDING:
A. Should either party hereto believe that the other has failed to substantially perform all or part of its obligations under the Agreement, it shall deliver written notice to that effect to the other, specifying the alleged default and giving the other party fifteen (15) days to cure such default. Thereafter, should the default not be remedied to the reasonable satisfaction of the non-defaulting party, this Agreement may be terminated upon seven (7) days written notice (delivered by certified mail). In the event of termination under this subparagraph, the Contract shall be paid an amount, in the discretion of the Projector Manager, which takes into account actual costs incurred by the Contractor in performing the project work to the date of termination, the amount of work originally required which was satisfactorily completed to the date of termination, the cost to MBT or the City of completing the work itself or of employing another firm to complete it and the inconvenience and time which may be required to do so, along with any other factors which affect the value to MBT of the project work which has been performed to the date of termination. In no event shall the Contractor receive an amount based on anticipated profit on unperformed services or other work. B. On the giving of notice of termination by either party, Contract shall immediately begin winding down its services in anticipation of the termination, and shall be prepared to deliver to the City all documents and other uncompleted work on the date of termination. C. In the event that funding is withdrawn, reduced, or limited in any way after the effective date of this Agreement due to budgetary constraints, and prior to its normal completion, MBT may summarily terminate the Agreement as to the funds withdrawn, reduced, or limited notwithstanding any other termination provisions of this Agreement. If the level of funding withdrawn, reduced, or limited is so great that MBT deems that the continuation of the services covered by this Agreement is no longer in the best interest of MBT or the City, MBT may summarily terminate this Agreement in whole notwithstanding any other termination provision of this Agreement. Termination under this Section shall be effective upon receipt of written notice thereof. D. In the event of the death of a member, partner, or officer of the Contractor, or any of its supervisory personnel assigned to the project, the surviving members of the Contractor’s business entity hereby agree to complete the work under the terms of this Agreement if requested to do so by City MBT in City’ssole discretion. E. Termination of this Agreement shall not prevent MBT from invoking those provisions herein necessary to protect or enforce its rights hereunder, which provisions shall survive termination.
XI. ASSIGNMENT: Neither party shall assign or delegate any or all interests in this Agreement without first obtaining the written consent of the other party. XII. VENUE STIPULATION: This Agreement has been and shall be considered as having been made and delivered within the State of Washington, and shall be governed by the laws of the State of Washington both as to interpretation and performance without recourse to any principles of Conflicts of Laws. Any action in law or equity, or judicial proceeding for the enforcement of this Agreement or any of the provisions contained therein, shall be instituted and maintained only in Whatcom County Superior Court, Bellingham, Washington. XIV. CONTRACTOR’S STUDIES, REPORTS, AND WORK PRODUCT:
A. The Contractor may be required to prepare such information and studies as may be pertinent and necessary, or as may be requested by MBT or the City, in order that the City may pass critical judgment on the work. This item does not constitute additional work as described in this Agreement.
Page 10
B. All documents, maps, and other materials of whatever kind prepared by the Contractor pursuant to this Agreement shall be deemed property of MBT upon completion or termination of the Agreement. The Contractor may keep file copies of its work product but shall retain no other rights of ownership therein.
XV. EQUAL EMPLOYMENT OPPORTUNITY RESPONSIBILITIES: The Contractor agrees that it will comply with all State and local non-discrimination laws and regulations in effect at the time this Agreement is executed. The Contractor shall comply with all Federal non-discrimination laws and regulations if any if this Agreement is financed with Federal funds. XVI. NOTICE. Any notice required to be given under the terms of this Agreement shall be directed to the party at the address set forth herein below:
MBT: Mount Baker Theatre 104 North Commercial Bellingham, WA 98225 Attn: Jim Zoehrer Contractor: Name Address City State Zip Attn: Any notice given pursuant to this Agreement shall be delivered personally, sent by overnight courier, or mailed by registered or certified mail to the addresses above or to such other address as a party shall from time to time advise in writing. If mailed, a notice shall be deemed received three (3) business days after the postmark affixed on the envelope by the United States Post Office. XVII. ENTIRE AGREEMENT. This Agreement constitutes the entire Agreement between the parties hereto and supersedes all other prior written or oral understandings. This Agreement may only be amended, supplemented, modified, or cancelled by a duly executed document in writing pursuant to the Agreement. EXECUTED, this the _____ day of _________________________, 20____, for the Contractor: ________________________________________________ EXECUTED, this the _____ day of _________________________, 20____, for the MBT: ________________________________________________ Brad Burdick, Executive Director
Page 11
Procedures and Conditions For
SOQ
Questions concerning the bid process should be addressed to the following: Jim Zoehrer Mount Baker Theatre 104 North Commercial Bellingham, WA 98225 Phone: 360-733-5793 ext 340 Email: [email protected]
Vendors are required to possess a Washington State Business Identification Number (UBI) and a Bellingham City Business Registration Certificate prior to award and will be required to pay business and occupation taxes. For additional information, contact the City Finance Department, 360-778-8000.
The vendor shall hold and save MBT and the City, their officers, agents and employees, harmless for liability of
any nature or kind, including costs and expenses, for or on account of any or all suits or damages of any character whatsoever resulting from injuries or damages sustained by any person or persons or property by virtue of performance of this contract, unless such suits or damages arise from negligence on the part of MBT or the City or its employees in the performance of their assigned duties. Neither MBT nor the City shall not be liable for any costs incurred by the vendor in proposal preparation.
In case of default by the vendor, for whatever reasons, MBT may procure the services from other sources and
hold the vendor responsible for any excess cost occasioned thereby.
JaffeHolden.com
Headquarters: 114-A Washington Street, Norwalk, CT 06854 • 203.838.4167
Office Locations: Houston, TX and Raleigh, NC
Acoustical & Audio Recommendation Report for:
Mount Baker Theatre
Bellingham, Washington
Prepared for:
Mount Baker Theatre
JH #17-1054
September 27, 2017
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 2 of 21
I. Introduction
In February of 2006, Jaffe Holden Acoustics (JHA) provided acoustical recommendations to the
Mount Baker Theatre to better accommodate the wide range of programs presented in the
main auditorium. Following the implementation of some of these recommendations, JHA was
invited to conduct another site visit to evaluate the performance of both the implemented
treatments and the existing sound system as well as provide preliminary recommendations for a
new sound system. The following report will document the findings of our most recent site visit
and provide preliminary recommendations for a new sound system as dictated by those
findings.
II. Owner, Users and Audience Member Acoustical Concerns
The 1500 seat Mount Baker Theatre hosts over 150 events per year with a wide ranging
program including, but not limited to: symphonic repertoire, film, Broadway, touring musical
acts, standup comedy and numerous community groups and corporate rentals.
Prior to the implementation of acoustic treatments, the owner, users, and audience members
had received complaints regarding the sound in the hall being too live for amplified events and
of difficult hearing conditions in the pit and on the stage forward of the proscenium.
The consensus among the owner, users and audience members is that the implemented rear
and side wall acoustical treatments has improved the clarity and sound in the room, but the
reduction in reverberance has not benefitted the symphonic uses, however. These treatments
have eliminated complaints of a muddy sound in the center section of the orchestra level (aisles
H through U) when using the in-house sound system and improved sound from the pit and
within the pit due to the reflectors being installed. However, Broadway and other touring
musical acts often bring in their own sound systems and “overplay” the room, setting levels
much too high resulting in a loud, muddy and not pleasing sound. In addition, the problem still
remains that the sound from the performers’ monitors on stage is sometimes louder than the
sound emanating from the performance amplification system.
Patrons seated in rows 3-5 at orchestra level complain of difficulty hearing vocals. They are out
of the sound range of both the apron fills and the mains. In order to achieve 90 dBA at the
balcony lip, it is too loud in the first couple of rows.
III. Site Visit
On August 17, 2017, JHA conducted a site visit to the theatre to observe the acoustic
treatments that had been implemented since the last site visit in 2006. Upon arrival, we met
with Executive Director Brad Burdick and Facilities Director Jim Zoehrer to discuss the
challenges associated with the hall, the range in programming for the space, impressions of the
space from users and performers, and the intended direction of the Board of Directors as
regards improvement of the in-house sound reinforcement system.
We then toured the facility to observe and document the existing sound reinforcement system
and associated infrastructure as well as the acoustic treatments that were implemented from
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 3 of 21
the 2006 recommendations. Following the tour, some additional background noise issues were
investigated and some acoustic measurements were conducted to further evaluate the effect of
the acoustic treatments and to obtain metrics that would help in providing sound system
recommendations.
Acoustic Treatments
The following acoustic treatments from the 2006 recommendations were observed as having
been implemented:
• 2” fabric covered sound absorptive material added to rear wall at orchestra and balcony
levels
• Heavy, sound absorptive drapes added to side walls at orchestra level
• System of forestage reflectors added to send more acoustic energy out to audience
from performers on stage apron and in pit
Acoustical Issues
The exit door in the orchestra section at house right does not provide adequate sound isolation
from potential noise issues on the street outside the theatre. During our site visit, the sound of
birds was heard clearly from orchestra level center section with the door closed and daylight
could be observed through the perimeter of the door.
An intermittent electromechanical hum could be heard from the balcony seating, particularly in
the rear of the house near the projection booth and follow spots. The intermittent nature of
this noise made it particularly disruptive. Our investigation indicated that this was structure-
borne noise originating from a rooftop chiller unit vertically adjacent to the projection booth.
Current Sound System
The Current house sound system is composed of two 3-way arrays of loudspeakers, one each
left and right of the proscenium. SLS Audio Mid-High loudspeakers are hung from the ceiling,
three high on each side, and eight subwoofer loudspeakers are stacked on the deck below the
flown arrays, four each on each side of the proscenium. The flown arrays have a slight curve to
mimic a line array, but are not line array loudspeakers. In addition there are four portable
Apron fill loudspeakers used on the stage lip, or at the edge of the pit lift, depending on stage
configuration. There are no under-balcony or over-balcony fill loudspeakers. Ashly Protea
System Processors are employed to handle system crossover and DSP requirements.
The house mix position is located at the rear of the orchestra seating area, under the balcony,
but with full sound and sightlines to the loudspeaker clusters. The house mixing console is a
Soundcraft Vi1, 48 channel to mix digital console (32 channels into the back of the console and
an additional 16 via outboard preamps). The Owner reports that they would prefer it be
replaced.
There is a small playback rack equipped with a Denon Dual well CD player and a Denon DVD
player, feeding a Kramer switcher that drives the projector via an HDMI extender.
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 4 of 21
The monitor mixing console is a Yamaha DM2000 with 48 channels to mix. It drives 6 - 12”
Radian wedges, and 4 - 15” Radian wedges.
There is an assortment of wired microphones which would seem to be able to handle most
needs with little need to supplement.
There are six channels of wireless with both handheld and body pack transmitters available.
There is a small assortment of mic elements and instrument cables for the wireless body pack
transmitters.
There is an existing video projector that the Owner reports is not bright enough and they would
like it replaced.
The existing Clear-Com production communications system is relatively new and seems to be
very functional. It is also currently being used to handle dressing room communications and
show program. The old Page and Program system utilizing vintage JBL loudspeakers is not
functional.
Measurement of Acoustical Parameters
The acoustical parameters of Reverberation Time and Noise Criterion were measured
throughout the audience seating areas at the orchestra and balcony levels. An explanation of
the procedure, measurement equipment and data analysis can be found in the Appendix.
1. Reverberation Time
The reverberation time of a room is defined as the number of seconds it takes for a sound
to decay to 60 dB (or to 1/1,000,000) of its initial sound level. Roughly speaking, the
reverberation time is the time it takes a loud sound to decay to inaudibility after the source
has stopped. A space that is reverberant or has a longer reverberation time is referred to as
being “live”. A space with a shorter reverberation time is often called “dry” or “dead”.
Reverberation time is directly related to the volume of a space and indirectly related to the
amount of absorption distributed throughout the space. The average room reverberation
time of the main auditorium was as follows:
Table I - Average Room Reverberation Time
Octave Band Center
Frequency (Hz)
125 250 500 1000 2000 4000 8000 Mid
RT
Average Room RT (sec.) 2.35 1.71 1.27 1.25 1.30 1.19 0.84 1.26
The measurement data and graphs plotting the reverberation times measured within the
theatre can be found in the Appendix.
2. Background Noise Levels
The background noise levels create what is referred to as the noise floor of a theatre. All
sound generated on the stage or delivered through the sound system must overcome the
ambient noise levels: if the background noise levels are too high, the softest portions of the
performance must be elevated to overcome the noise. Therefore, if the background noise
levels are too high, some of the dynamic range of a performance may be lost. Industry
standards recommend an NC rating for this type of theatre of NC-20 to NC-25. The
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 5 of 21
background noise in the Mount Baker Theatre was NC-21 with the house HVAC system
running. It should be noted that this NC rating was derived without the noise contributions
of the aforementioned mechanical hum or the inadequate exit door. In other words, this is
the NC rating assuming those issues are resolved. The data and graphical representation of
the sound pressure level and the resultant Noise Criteria measured throughout the theatre
have been included in the Appendix.
IV. Acoustic Analysis and Recommendations
1. Theatre Room Acoustics
There are very different acoustical characteristics required to support the programs as
varied as a symphonic concert and amplified Broadway production. Symphonic
performances require a space with a longer reverberation time (large amounts of volume
and minimal absorption) to allow the orchestra’s sound to develop and fill the space. These
characteristics create what is often referred to as “bloom”, “spaciousness” “warmth” and
“fullness”. In addition to a longer reverberation time, it is also desirable to locate sound
reflective surfaces near the audience and the orchestra to bounce sound toward the
audience. These early reflection surfaces help provide an intimacy and localization to the
sound.
These two criteria – long reverberation times and early reflections are in conflict with the
requirements for amplified performances. Amplified events are best heard in spaces with
lower reverberation times and with absorptive surfaces at key locations. The amplification
systems are designed to supply sound in a tight pattern of distribution directly to the
audience only. Unfortunately, there is sometimes additional sound or spill that hits other
surfaces than the audience; a loudspeaker’s distribution pattern is not necessarily the same
shape as the audience area. If this sound hits an absorptive surface, as is the case with the
side wall draperies or rear wall acoustical panels, the sound is partially or mostly absorbed
and does not continue to propagate through the room and negatively impact the
intelligibility. However, if the surface that the sound hits is a reflective material, as is the
case with the plaster walls and ceiling of the theatre, then sound bounces back into the
space and reaches the audience sometime after the direct sound from the loudspeaker. This
can lead to a muddy, unintelligible sound. Therefore, the sound system must be aimed to
throw the majority of the sound to the audience and any spill from the loudspeaker must be
absorbed by the first surface it hits.
Having added absorption to both the rear and side walls of the theatre, the average mid-
frequency reverberation time is now 1.26 seconds, which is within the ideal range of 1.1-1.3
seconds for amplified events such as Broadway productions and touring musical groups. It
should be noted that this lowered reverberation time is less than ideal for unamplified
performances such as symphonies and chamber music. However, in speaking with Mount
Baker Theatre staff and management, this is an acceptable compromise given the number
of symphonic performances per year in comparison with the benefits and/or cash flow from
the amplified portion of the theatre’s program.
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 6 of 21
2. Electronic Orchestra Shell
An orchestra shell for the symphony would certainly help the sound of the symphony, by
providing useful side wall surfaces as well as overhead reflectors to improve on-stage
hearing conditions and to help send the sound out to the audience instead of into the stage
wings. The purchase of a Wenger type shell has been discussed previously over the years.
However the cost of the shell and the lack of storage has made this purchase prohibitive.
A recent development however, has eliminated the storage issue. Our firm has now
designed two electronic orchestra shells using the E-Acoustic enhancement system from
LARES (a division of Lexicon). The system utilizes high quality overhead microphones and a
series of overhead and side loudspeakers mounted on pipe battens along with sophisticated
DSP and reverberators to create a longer reverberation time and provide early reflections
from loudspeakers that create a “virtual wall” if you will, replacing the actual reflective shell.
Although the costs may be the same as a physical shell, it eliminates the storage
component. If donors from the symphony community could be identified, this might be an
interesting solution for the orchestra.
3. Mechanical Noise Isolation
Based upon the investigation conducted during our site visit, the mechanical noise issue in
the balcony is caused by vibration from a water cooled chiller unit on the roof, vertically
adjacent to the projection room. The unit itself is already mounted on spring isolators, as is
standard, which appear to be functioning properly. However, there is a network of large
pipes that are connected to the unit which run along the roof. The pipes are supported by
the roof using a system of lightweight metal supports with high density foam blocks at the
base to separate the supports from the roof and/or building structure.
JHA recommends that all piping 2” o.d. and larger which is connected to vibration isolated
equipment should be vibration isolated from the building structure for a distance of 50 feet
or 100 pipe diameters from connected equipment, whichever is greater. We recommend
using a similar metal support system, but instead of isolating the metal supports from the
building structure, the piping should be suspended from the support using a spring and
neoprene isolation hanger. See attached specification in the Appendix.
4. Exit Door House Right
JHA recommends adding, at a minimum, a single acoustically gasketed door at the
emergency exit on house right at orchestra level. This is necessary to achieve an adequate
level of sound isolation of the main auditorium from originating from the street and other
public areas outside. See attached specification in the Appendix.
V. Audio Analysis and Recommendations
1. Loudspeaker Systems
The Loudspeaker systems are not able to meet today’s standards for a space like this and for
the programming of the venue. We highly recommend that a full new loudspeaker design
be developed for the theater, including Left and Right main arrays, possibly a center array,
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 7 of 21
subwoofer array, and all fill loudspeaker systems, such as Front Fill, Under-balcony Fills, and
Over-balcony Fills to provide even coverage at equivalent levels and frequency response to
all of the seating areas. Typically we would recommend line array systems left and right,
with a horizontal cardioid subwoofer array flown above the proscenium to keep energy
focused on the seating areas and off the stage. A center array, if desired, could be either a
vertical or horizontal array, depending on how it models out. Fill speakers help fill in at the
edges of coverage of the main systems and allow for very even volume and frequency
response, or the same listening experience, throughout the seating areas. Along with the
new loudspeakers comes new amplifier/controllers specific to the manufacturer of the
loudspeaker systems. Typical manufacturers for these systems include Meyer, L’Acoustic,
D&B Audiotechnik, and JBL. It is important that all loudspeakers are voiced the same and
from the same manufacturer to get the best results. Pricing can vary widely depending on
actual design, and loudspeakers selected. We would estimate a ROM cost of $600-800K.
This cost includes the labor for installation and for loudspeaker wiring to a new rack to
house amplifiers. It does not include structural support or modifications that may be
necessary to support hanging the new loudspeaker systems, nor does it include additional
power or conduit costs that may be required.
2. Mixing Consoles
Both mixing consoles should be replaced with newer digital consoles that have greater input
capacity. We would recommend consoles from Digico, SSL, Midas, Studer, Soundcraft, or
Yamaha. Since you already have a Soundcraft console, it could be easier to stick with the
Soundcraft line of consoles to minimize the learning curve for the operations staff. The
same could be said for Yamaha consoles, as the existing monitor console is a Yamaha, but
the newer Yamaha consoles, while excellent choices, have a sufficiently different operating
software that would not really be familiar at all to someone who has been mixing on the
DM2000. We recommend a minimum of 96 inputs to mix, and two or more stage boxes
connected to the consoles via Dante, MADI, or whichever standard that manufacturer has
chosen. The Yamaha CL series may be a good choice as it runs natively using Dante for
connection to the Stage Boxes, and our recommendations below regarding the system DSP
will include the use of a system that uses Dante for networked audio distribution. Pricing
can vary greatly for consoles as well depending on configuration and manufacturer/model.
We would estimate a ROM cost of $100-200K. This figure includes two consoles, and three
stage boxes to provide a 96 input system for both FOH and Monitor consoles. It does not
include any additional power or conduit infrastructure required to connect between the
stage boxes and the consoles.
3. Digital Signal Processing (DSP)
The DSP system is the brains of the audio system. It provides a wide range of functionality,
and the best ones provide a level of flexibility that is welcome in an environment like this.
We recommend utilizing a new DSP system from BSS or QSC to not only handle the
production system DSP, but to also provide a working Page and Program system that does
not rely on the Production Comm system to function. We feel it is important to separate
these systems for multiple reasons. First, having all of your eggs in one basket is dangerous.
If the Comm system fails, and it is just a Comm system, you can grab your cell phones and
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 8 of 21
call each other to get through a performance. If it is also acting as your Page and Program
system, you now have no page and program system, and depending on the event or
performance, that could be very problematic. While it seems to be a functional method of
working right now, it is not our recommended practice.
The DSP system takes feeds from the console, preferably via Dante networked audio, and
then processes them to send to the loudspeaker systems. It also can take feed from an
open room microphone and by combining that mic signal and feeds from the console
provide a good program feed to dressing rooms, to the Comm system, and to the Assisted
Listening System, as well as to record feeds, live stream feeds or other feeds as needed.
Using paging stations backstage and at the stage manager location, pages can be initiated to
the backstage areas, and “emergency” announcements can be made to the audience (this is
NOT a life safety announcement). The DSP system cost is estimated in two parts, and
includes estimated labor for installation. The first part (A) includes what is necessary to
support the new loudspeaker and console systems, and the second part (B) includes the
remaining parts, plus paging stations, loudspeakers, and amplifiers and other accessories to
provide a fully functioning Page and Program system. We would estimate, for Part A, a
ROM cost of $40-50K and for Part B, $60-70K.
4. Audio/Video Playback rack
The Playback rack has equipment that we would recommend replacing with newer models.
The DVD player should be replaced by a Bluray player, and newer CD / Bluetooth player
should replace the dual well CD player. Denon makes good equipment to replace both of
these systems. New portable cabling snakes may be required for interconnection to the
new console. We would estimate a ROM cost of $2-3K.
5. Wireless Microphones
It is unknown if the quantity of wireless microphones (6) available is sufficient. The quality
of the system seems appropriate. We would suggest you check the frequency bands against
those that have recently been re-allocated by the FCC to make sure they do not need to be
replaced to avoid interfering with other systems. If additional wireless are required we
recommend maintaining the same manufacturer and model as is currently used (Sennheiser
EW100 series). If they do need to be replaced due to wear and tear, or frequency related
issues, we would recommend having at least eight channels of wireless on hand for a facility
of this size and nature. For new wireless systems we recommend models from Sennheiser,
Shure, and Lectrosonics.
6. Projector
It is reported that the projector in use currently is not bright enough and should be
replaced. The required brightness for a new projector is completely dependent on the
screen size, but in a space this large with the viewing distances that exist, a 16’ x 10’ screen
is as small as we would recommend. For that size screen we would recommend either a
WUXGA resolution projector at 12,000 - 15,000 lumens brightness. We also highly
recommend a laser projector although they are expensive at this size range. The lack of
necessary maintenance, the long lamp life of laser projectors, excellent image quality and
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 9 of 21
color reproduction, and the quieter operating levels make them very attractive and cost
effective when looked at over time. Typical manufacturers for projectors in this range are
Barco, Christie, Digital Projection, and possibly Epson, depending on the actual size chosen.
Projectors in this size and quality range cost in the $20-80K range depending on brightness,
lens selection, and rigging.
7. Monitor loudspeaker selection
The existing Radian monitor wedges are a good solid choice for a venue of this nature. We
would recommend having two more 12” units available, and also having a small subwoofer
for a drum sub, and possibly some larger point source loudspeakers for use as side fills. We
also recommend considering a package of wireless in-ear monitors, if this is something that
is rented more than 6-8 times a year. If not, then renting them as needed is a better
solution. Estimated ROM cost for additional loudspeakers and amplifiers is $12-20K.
Estimated ROM cost for a package of eight wireless in-ear monitors with rack, antennas and
accessories is $13-16K.
VI. Conclusion
Following the implementation of JH’s 2006 recommendations, the Mount Baker Theatre is
now a much better acoustic setting for amplified performances, barring some minor noise
issues addressed above. The lowered reverberation time within the theatre makes for a
crisp sonic environment with good clarity and intelligibility. Now that the space has been
optimized for its program, the majority of which is amplified, the space is now capable of
implementing a newer, more up-to-date sound reinforcement system following the above
recommendations.
VII. Appendix
1. Measurement of Acoustic Parameters
Measurement Locations:
Measurements were taken at the following locations in the theatre in the orchestra, loge
and balcony seating areas:
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 10 of 21
2. Measurement Equipment
a. Sound Source – 21” Balloon
b. Recording Device – Brüel & Kjær Type 2250 Sound Level Meter
1
Main Floor
2
Loge
3
4
#
Balcony
RT Measurement Position
4
1 2 3
5
6
Background Noise Measurement Position #
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 11 of 21
3. Room Conditions
All measurements were performed in an unoccupied house. The main house curtain was
drawn to segment off the volume of the stage house. The reverberation time
measurement was performed with the house mechanical system operating under
normal conditions, which were low enough to not interfere with the measurement. The
background noise level was recorded with the mechanical systems both on and off.
4. Measurement Methods, Procedures and Data
a. 2017 Reverberation Time
To measure the reverberation time, 17-inch diameter balloons were inflated
close to their burst point. The balloons were then popped on stage (center) with
a pen generating a clean impulse in the room. This impulse and subsequently
the room’s decay were recorded with the sound level meter. The results are as
follows:
Reverberation Time (s)
Position
#
Octave Band Center Frequency (Hz)
125 250 500 1000 2000 4000 8000 Mid RT
1 2.20 1.70 1.22 1.23 1.28 1.19 0.83 1.23
2 2.49 1.78 1.32 1.23 1.28 1.19 0.85 1.28
3 2.38 1.70 1.28 1.27 1.31 1.19 0.84 1.27
4 2.34 1.67 1.28 1.28 1.33 1.20 0.85 1.28
Average 2.35 1.71 1.27 1.25 1.30 1.19 0.84 1.26
Mount Baker TheatreAcoustical & Audio Recommendation Report
JaffeHolden
Baker Theatre cal & Audio Recommendation Report
Holden.com
cal & Audio Recommendation Reportcal & Audio Recommendation Report September 27, 2017
JH #17September 27, 2017
Page 12
17-1054 September 27, 2017
12 of 21
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 13 of 21
b. Background Noise Level
The background noise levels, or ambient noise levels, in a facility can be
effectively described with a single-number rating called Noise Criterion, or NC.
The NC rating is determined by measuring the sound pressure levels of the noise
in each octave band, plotting the levels on a graph and comparing the results
against a series of established noise criteria curves to determine the “NC rating”
of the space. The standard NC curves take into account the equal loudness
contours to reflect accurately the listening experience. The results are shown
below:
Background Noise Levels (dB)
Measurement
#
Frequency (Hz) dBA NC Notes:
63 125 250 500 1000 2000 4000 8000
1 45.3 35.3 25.9 18.6 15.0 12.6 11.8 11.4 25.3 15 HVAC off
2 47.8 36.8 36.3 25.9 21.0 13.1 11.2 11.5 30.8 24
Dimmer rack
noise through
projection booth
wall
3 57.2 38.1 38.1 32.0 22.9 15.6 13.5 12.8 35.3 30
electromechanical
hum/ isolation
issue
4 44.5 30.6 30.0 19.6 16.6 13.8 11.2 12.7 25.8 16 HVAC off
5 43.4 32.0 25.3 19.5 21.6 16.1 13.3 17.5 26.5 21 HVAC on
6 46.8 32.3 29.9 19.1 15.5 16.2 13.1 17.4 26.9 21 HVAC on
Mount Baker TheatreAcoustical & Audio Recommendation Report
JaffeHolden
Baker Theatre cal & Audio Recommendation Report
Holden.com
cal & Audio Recommendation Reportcal & Audio Recommendation Report September 27, 2017
JH #17September 27, 2017
Page 14
17-1054 September 27, 2017
14 of 21
Mount Baker TheatreAcoustical & Audio Recommendation Report
JaffeHolden
5. Reverberation Time
Orchestra
Balcony
Baker Theatre cal & Audio Recommendation Report
Holden.com
Reverberation Time
Position
Orchestra - Average
Balcony - Average
cal & Audio Recommendation Report
Reverberation Time Data from
Average
Average
cal & Audio Recommendation Report
Data from January 26
Reverberation Times (s)
63 125
2.91 2.49
2.80 2.56
January 26th
& 27th
,
Reverberation Times (s)
Octave Band Center Frequency (Hz)
250 500
1.90 1.76
1.88 1.76
, 2006 Study
Reverberation Times (s)
Octave Band Center Frequency (Hz)
500 1000 2000
1.76 1.76 1.80
1.76 1.76 1.68
September 27, 2017
Octave Band Center Frequency (Hz)
2000 4000
1.80 1.50
1.68 1.43
JH #17September 27, 2017
Page 15
Octave Band Center Frequency (Hz)
8000
Mid
RT
0.95 1.76
0.89 1.76
17-1054 September 27, 2017
15 of 21
Mid
RT
1.76
1.76
Mount Baker TheatreAcoustical & Audio Recommendation Report
JaffeHolden
6. Comparison of 2006 and 2017 Reverberation Times
Baker Theatre cal & Audio Recommendation Report
Holden.com
Comparison of 2006 and 2017 Reverberation Times
cal & Audio Recommendation Report
Comparison of 2006 and 2017 Reverberation Times
cal & Audio Recommendation Report
Comparison of 2006 and 2017 Reverberation Times
Comparison of 2006 and 2017 Reverberation TimesComparison of 2006 and 2017 Reverberation Times
September 27, 2017JH #17
September 27, 2017
Page 16
17-1054 September 27, 2017
16 of 21
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 17 of 21
7. Specifications
ACOUSTICAL GASKETS
PART 1 - GENERAL
1.1 SUMMARY
A. Acoustical gaskets shall be the product of one manufacturer. Doors, frames, and other
door hardware shall be as specified elsewhere.
1.2 SUBMITTALS
A. Before delivery of the acoustical gaskets, contractor shall submit for approval of the
Architect and Acoustical Consultant, the following documents:
1. Shop drawings of the door, frame, hardware and gaskets showing major operating
dimensions and cross-sections of doors and seals.
2. Product data including construction details, material descriptions, core descriptions,
label compliance, fire-resistance and temperature rise ratings, and finishes for each
type of acoustical gasket.
1.3 APPROVED MANUFACTURERS
A. The following firms are approved manufacturers, subject to the above:
1. Zero International, Inc., Bronx, NY,
800-635-5335 www.zerointernational.com
2. Reese Enterprises Inc., Rosemount, MN,
800-328-0953 www.reeseusa.com
3. National Guard Products, Memphis, TN
800-647-7874 www.ngpinc.com
4. K.N. Crowder, Burlington, Ontario, Canada
866-999-1562 www.kncrowder.com
PART 2 - HEAVY DUTY GASKETED DOOR PRODUCTS
2.1 HEAD AND JAMB SEALS:
A. Head and jamb seal shall consist of an adjustable door stop constructed of extruded
aluminum housing of thickness 0.093 inches. Adjusting screws shall be provided 12 inch
O.C. giving a 0.310 adjusting range. The housing dimensions not to exceed 1-1/2" depth or
15/16" width. The seals consist of tubular, solid neoprene. Install with neoprene touching
door and compressed 1/32". Solid neoprene to be used inside the housing to prevent
sound from "flanking" through the mechanism. Because the gasket dimension adds to the
stop dimension, a lever handle or door knobs with a 3-1/4" backset should be used.
1. The following are acceptable:
a. #770 from Zero International, Inc.
b. #499 from Reese Enterprises Inc.
c. #1038N from National Guard Products
d. W-48 from K. N. Crowder
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 18 of 21
2.2 DOOR BOTTOM SEALS:
A. Door bottom seal shall consist of an automatic door bottom, surface-mounted, semi-
mortised or mortised as called out on the drawings and schedules. Seal is actuated by an
adjustable operating rod that seals automatically with delayed action when the door
contacts the jamb. When the door is opened, a spring mechanism returns the seal to the
housing. Gasket material to be double layer, closed cell, ribbed sponge neoprene.
Neoprene or pile seal to be used inside the mechanism to prevent sound from "flanking"
through the mechanism. Housing constructed of extruded aluminum.
1. The following are acceptable:
a. #367 (surface mounted) or #368 (semi-mortised) or #369 (mortised) from Zero
International, Inc
b. #521 (surface mounted) or #371 (mortised) from Reese Enterprises Inc.
c. #420N (surface mounted) or 422N (mortised) from National Guard Products
d. CT-52 (surface mounted) or CT-53 (mortised) from K. N. Crowder
2.3 MEETING STILES:
A. Meeting stile for double doors are an adjustable surface applied type with a neoprene or
polypropylene brush seal at the door intersection. The seals should be continuous with no
interference from door hardware such as closures, panic bars, etc. Install seals so they are
compressed against each other by 1/16".
1. The following are acceptable:
e. #555S/55FS from Zero International, Inc
f. #93(C or G) (both doors active & fire rated) from Reese Enterprises Inc.
g. #140S from National Guard Products
h. W-40P from K. N. Crowder
PART 3 - LIGHT DUTY GASKETED DOOR PRODUCTS
3.1 HEAD AND JAMB SEALS:
A. Head and jamb seals shall consist of an extruded solid neoprene or silicone seal. Seal shall
be either self-adhesive or a kerf frame door seal.
1. The following are acceptable:
a. #8004, #188, or #824N from Zero International, Inc.
800-635-5335
www.zerointernational.com/pdfmaker/pdfviewer.asp?referrer=search&page=0
&part=8004
b. #5050 from National Guard Products
800-647-7874 www.ngpinc.com (various styles, see website)
3.2 DOOR BOTTOM SEALS:
A. Door bottom seals shall consist of a polypropylene brush and polypropylene fin in the
center. The polypropylene brush fibers are to be held be a carrier of the same material,
welded into a homogenous bond which means the fibers are fixed effectively in place.
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 19 of 21
Aluminum housing should not exceed 1.0” wide and should be designed to locate the
polypropylene brush and fin seal under the door leaf.
1. The following are acceptable:
a. #98 from Zero International, Inc.
800-635-5335
www.zerointernational.com/pdfmaker/pdfviewer.asp?referrer=search&page=0
&part=98
b. #964(C, D, or G) from Reese Enterprises Inc.
800-328-0953 www.reeseusa.com/item/964C
c. #600A from National Guard Products
800-647-7874 www.ngpinc.com/product_view.cfm?nProduct_ID=990
3.3 MEETING STILES:
A. Meeting stiles for a double door shall consist of a polypropylene brush and polypropylene
fin in the center. The polypropylene brish fibers are to be held by a carrier of the same
material, welded into a homogeneous bond which means the fibers are fixed effectrively in
place. Aluminum housing should not exceed 1.0” wide.
1. The following are acceptable:
a. #98 (Pair) from Zero International, Inc.
800-635-5335
www.zerointernational.com/pdfmaker/pdfviewer.asp?referrer=search&page=0
&part=98
b. #964(C, D, or G) from Reese Enterprises Inc.
800-328-0953 www.reeseusa.com/item/964C
c. #600A from National Guard Products
800-647-7874 www.ngpinc.com/product_view.cfm?nProduct_ID=990
PART 4 - EXECUTION
4.1 INSTALLATION
A. Acoustical Gaskets shall be installed in accordance with the manufacturer
recommendations.
B. Acoustical Gaskets shall be installed plumb and true to the door frame. All corners shall be
mitered. There shall be no gaps in the seals or the metal retainers. There shall be no
daylight visible between the gaskets and the door leaf.
C. Gaskets shall be tightened to the door to be snug and tight so that a credit card slid
between the gasket and the seal is tight and is slightly difficult to move. Door shall operate
freely however with the seal tightened as described above and not bind.
END OF SECTION
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 20 of 21
PIPING ISOLATION
PART 1 - GENERAL
All piping shall be floor supported or ceiling hung by resilient methods such that piping will be
isolated from the building structure (ie - no direct metal to metal contact of the piping with the
building structure) in the following locations:
a) Inside the Mechanical Equipment Room
b) Within 50 feet of vibrating equipment
c) Within 10 feet of noise critical (NC-30 or lower) spaces (this includes piping under,
over or adjacent to these spaces)
d) Inside noise critical (NC-30 or lower) spaces itself (ie - piping run in ceiling of noise
critical space)
e) All exposed piping in any occupied space
f) Pipe greater than 2" in diameter
The first three isolation devices from connected vibrating equipment shall have the same static
deflection as the connected equipment. Subsequent isolation devices shall have a static deflection
of 1/2 that of the connected vibrating equipment with a minimum of .75" static deflection. See
specific isolation devices specifications for details.
PART 2 – PIPING HANGERS
1. Piping shall be supported resiliently in the locations called out in “Part 1 – General” specification
by using combination neoprene element and spring hangers.
2. The first three pipe hangers shall be pre-compressed to the rated deflection so as to keep the
piping or equipment at a fixed elevation until installation is complete and the support is
subjected to its full load. Pipes over 6" in diameter shall have pre-compressed combination
neoprene element and spring hangers for their entire run.
3. Hangers shall be located as close to the overhead supports as practical.
4. Combination neoprene element and spring hangers shall consist of a steel frame containing a
neoprene isolation element at the top and a coil steel spring seated in a neoprene cup on the
bottom.
5. Both the element and the cup shall be molded with a neoprene bushing that passes through the
steel frame.
6. The neoprene element shall be capable of an average deflection of 0.35".
Mount Baker Theatre JH #17-1054 Acoustical & Audio Recommendation Report September 27, 2017
JaffeHolden.com Page 21 of 21
7. The steel springs shall have a minimum static deflection of 0.75" with a minimum additional
travel to solid equal to 50% of the rated deflection.
8. Spring diameters and hanger box lower hole size shall be large enough to permit the hanger rod
to swing through a 30 degree arc before contacting the box and short circuiting the spring.
9. Hangers shall be factory precompressed 75% of the total deflection determined by the assigned
load per hanger.
10. Hangers shall be manufactured with provision for bolting or attaching to ceiling flat iron straps,
rods or steel runners.
11. Hangers shall be of a fail safe design.
12. The following products and manufactures are acceptable, subject to the above:
1. Type 30N (PC30N for pre-compression) from
Mason Industries Inc.
Hauppauge, New York
631-348-0282 www��as���i�d�c��
2. Type RSH-30A (RSHP-30A) from
Vibration Mountings and Controls, Inc.
Bloomingdale, New Jersey
201-838-1780 www.thevmcgroup.com
3. Type SRH (SRPH) from
Kinetics Noise Control, Inc.
Dublin, OH
614-889-0480 www��i�etics��ise�c��
or approved equal.
END OF SECTION