{"id":1565,"date":"2023-09-09T07:04:41","date_gmt":"2023-09-09T14:04:41","guid":{"rendered":"https:\/\/criterionacoustics.com\/?post_type=project&p=1565"},"modified":"2023-09-11T09:13:39","modified_gmt":"2023-09-11T16:13:39","slug":"atlantic-records-nyc-studio","status":"publish","type":"project","link":"https:\/\/criterionacoustics.com\/project\/atlantic-records-nyc-studio\/","title":{"rendered":"Atlantic Records NYC Studio"},"content":{"rendered":"

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Atlantic Records NYC Studio<\/h3>\n

New York, NY<\/p>\n

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4600 concertgoers are consistently packing The AXIS at Planet Hollywood<\/a> for Britney Spears\u2019 popular \u201cPiece of Me\u201d residency. While they\u2019re in their seats at one of the most famed theaters in Las Vegas, no one has to think about why they\u2019re hearing precision, full-frequency sound \u2013 all they have to do is enjoy the show.<\/p>\n

Criterion Acoustics (CA) was selected to provide the acoustical design as part of a full renovation for The AXIS at Planet Hollywood (aka The AXIS Theater) just prior to Spears\u2019 residency, ensuring that there would be 21st Century production values for the platinum artist. Working closely with architectural firm Gensler and the venue\u2019s ownership, CA took on the challenge of working with the existing theater geometry while elevating it to the world-class acoustical standards that Las Vegas theatergoers expect.<\/p>\n

The project itself was complex, but the timeline made it even more daunting: CA had only three months from the point that they began drawing up plans, to the renovation\u2019s completion. \u201cWe really fast-tracked the acoustical treatment\u2019s design and production to get everything completed on time,\u201d says Dave Kotch, President of Criterion Acoustics.<\/p>\n

The constant evolution of large performance venues meant that the renovated AXIS Theater would have to meet a significantly higher standard than its previous incarnation. \u201cLoudspeaker systems have gotten better,\u201d Kotch observes. \u201cDistortion is significantly reduced, so shows are getting louder. The objective is to have an essentially dead theater, with excellent low frequency control.<\/p>\n

\u201cThe venue had multiple issues with the internal room acoustics prior to the redesign,\u201d continues Kotch. \u201cWhen The AXIS Theater was originally built, they didn\u2019t have the Vegas-style performances of today in mind. The room has a huge dome, for example, which makes it hard to handle acoustically. To make matters even more complicated, the dome is a wooden structure \u2013 it was an architectural element that we couldn\u2019t change or modify.\u201d<\/p>\n

Kotch and Sam Neff, Vice President of CA, devised a plan that would control the reverb time, and manage low-frequency buildup in the theater. The centerpiece was a massive broadband low-frequency absorber measuring 50 feet high by 400 feet wide. \u201cIt\u2019s huge,\u201d says Kotch. \u201cThere were limited places that we could place treatments, so making it work within the constraints of the space and budget were obstacles we had to overcome.\u201d<\/p>\n

CA\u2019s analysis also revealed that the AXIS Theater\u2019s dome was throwing unwelcome energy back onto the stage. \u201cThe artist would hear the reflections,\u201d Kotch notes. \u201cWe placed treatments strategically around the perimeter to eliminate the issue.\u201d<\/p>\n

In addition, CA provided systems engineering and documentation support for 3G Systems, the live sound provider.<\/p>\n

The result was an acoustical overhaul that helped transform the sound of the AXIS Theater \u2014 and Britney Spears\u2019 \u201cPiece of Me\u201d show keeps going on, with two extensions in 2015.<\/p>\n

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Services Provided<\/h4>\n