104 North Commercial Street Bellingham, WA 98225 Phone ... · August 28, 2019 The Mount Baker Theatre is a Historic Movie Palace turned Performing Arts Center that is seeking professional

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

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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.

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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.

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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.

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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

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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.

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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.

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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]

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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.

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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.

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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

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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



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.



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



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.



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,



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



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



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:



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 #



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



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


JaffeHolden


Holden.com

cal & Audio Recommendation Reportcal & Audio Recommendation Report September 27, 2017


Page 14

17-1054 September 27, 2017

14 of 21


JaffeHolden

5. Reverberation Time

Orchestra

Balcony


Holden.com

Reverberation Time

Position

Orchestra - Average

Balcony - Average

cal & Audio Recommendation Report

Reverberation Time Data from

Average

Average


Data from January 26

Reverberation Times (s)

63 125

2.91 2.49

2.80 2.56

January 26th

& 27th

,



250 500

1.90 1.76

1.88 1.76

, 2006 Study



500 1000 2000

1.76 1.76 1.80

1.76 1.76 1.68

September 27, 2017


2000 4000

1.80 1.50

1.68 1.43


Page 15


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


JaffeHolden

6. Comparison of 2006 and 2017 Reverberation Times


Holden.com

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

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17-1054 September 27, 2017

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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



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.


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".


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.


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.



Aluminum housing should not exceed 1.0” wide and should be designed to locate the

polypropylene brush and fin seal under the door leaf.


a. #98 from Zero International, Inc.

800-635-5335


&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.


a. #98 (Pair) from Zero International, Inc.

800-635-5335


&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



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".



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

Documents

104 North Commercial Street Bellingham, WA 98225 Phone ... · August 28, 2019 The Mount Baker Theatre is a Historic Movie Palace turned Performing Arts Center that is seeking professional