oasis of the seas

Oasis of the Seas
How to build a mixed-use entertainment complex in a floating metal shell.
By judith rubin
In the world of themed entertainment development, there is a tendency mentally to partition off the cruise ship industr y. The reasoning goes that, between land-based and marinebased projects, the specialized parameters of
shipbuilding and marine operations impose a
gulf that is hard to cross. Those parameters
are real and inescapable but, at the same time,
the modern cruise ship industr y offers valuable lessons and opportunities. Albeit on water,
these projects are mixed-use visitor attractions
that, in terms of the guest experience they deliver, the family market they target and the extensive audiovisual systems they employ, have
a great deal in common with their land-based
counterparts.
52
Sound & Communications
To email, print or create a PDF of this page, go to www.soundandcommunications.com.
Amphibians: Both
Land And Sea
In terms of the streamlined design
and production models to which these
projects adhere, the need for most venues to be multipurpose and the necessity of being operable and maintainable
24/7 with the staff at hand, they offer exemplar y, creative solutions for
today’s leaner, meaner and greener
mandates. And the gulf is not impassable: Although there are companies
that specialize heavily in cruise ships,
there are others—amphibians, if you
will—whose portfolios encompass both
land and sea.
An examination of Royal Caribbean
Cruise Line’s Oasis of the Seas, the
biggest cruise ship in the world, is a
good way to demonstrate our point.
Time calls Oasis “a giant leisure machine, with more spas, pools, bars and
activities than you could probably hit
in a week.” With seven themed zones
and 50-plus venues featuring state-ofthe-art technologies for entertainment,
display and communications, the 16deck, 5400-passenger, 225,282-ton, $1.4
billion ship, which is 1181 feet long and
154 feet wide, has been making international headlines since its November
2009 debut.
Aqua-Theater
And Opal Theater
Theater consultant Fisher Dachs
(www.fisherdachs.com) and audio/
acoustics specialist Jaffe Holden (www.
jaffeholden.com) are two of those versatile companies with one foot on the
ground and one on the boat. Project
Manager Peter Rosenbaum of Fisher
Dachs and Audio Designer Mark Turpin, with Acoustician Russ Cooper, of
Jaffe Holden, were closely involved in
the planning and design of Oasis’ two
large theaters, the Aqua-Theater (capacity of 735) and Opal Theater (capacity of 2161).
Cruise ship theaters tend to be
wider and shallower than comparable
theaters on land due to the marine
In the Royal Promenade, the Rising Tide Bar, a slow moving elevator bar.
architecture, and both these theaters
are relatively wide—the width of the
ship—and shallow, with a thrust stage.
The Aqua-Theater, the ship’s most
elaborate and unusual venue, presents
a nightly dive spectacular, a richly integrated mix of live performance, AV,
lighting and effects. Its saltwater pool,
which Royal Caribbean states to be the
largest and deepest saltwater pool at
sea, is 21.9 feet long by 51.6 feet wide
by 17.9 feet deep.
Throughout the evenings, the AquaTheater presents choreographed fountain shows with hundreds of water nozzles—some capable of shooting water
65 feet high—programmed to music
and lights. There is a giant trampoline
centered between two diving towers
and a bridge connecting the two highdive boards, which can support an entire row of divers. On the underbelly
of this bridge are lights and nozzles
that send a water curtain into the pool
below. A trapeze hanging behind the
high-dive boards creates the illusion
that the trapeze artists are climbing
the water curtain.
Fan-Shaped Stage
The stage is fan-shaped and converts
to a platform for lounge chairs during
the day. To develop the overall strategy
with the architect for how the AquaTheater would function physically,
“we started out with the show concept: a performance based on a pool
(continued on page 57)
Judith Rubin (www.judithrubin.blogspot.com) is a freelance writer and editor specializing in themed attractions and entertainment technology.
March 2010
53
Equipment
Royal Promenade
28 Atlas FAP42TC ceiling speakers
6 Atlas FAPSUB ceiling subs
1 Aviom 6416m mic input module Pro64
2 Aviom 6416Y2 Pro64 A-net cards for Yamaha
1 Aviom A-16D Pro A-Net distributor
6 Aviom A-16II personal mixers
1 Aviom A-16R rackmount personal mixer
1 Aviom ASI A-Net interface
1 Aviom MCS mic control surface
1 Aviom MH10 A-Net merger hub
1 Aviom RCI remote-control interface
2 BSS BLU-120 (0 in x 16 out) DSP expansion
1 BSS BLU-120 (8 in x 8 out) DSP expansion
3 BSS BLU-3 UK version DSP remote control panels
1 BSS BLU-800 (8 in x 8 out) DSP processor
1 BSS BLU-8-BLK DSP remote control panel
1 Clear-Com SB-704 4-channel main station+psu
4 Clear-Com CC-260 double-muff headsets
8 Clear-Com CC-95 single-muff headsets
4 Clear-Com HS-6 handsets
1 Clear-Com RM-704 4-channel remote rack station
4 Clear-Com RS-601 single-channel beltpacks
28 Elation Impression 10° narrow lenses
1 ETC CEM+ module dimmer control module
24 ETC D20 dimmer modules
1 ETC dimmer rack SR24+ w/accessories
8 Furman RL-LED LED rack lights
2 Genelec 8030A booth monitors
1 High End USB LTC SMPTE widget
1 High End USB playback wing
1 High End Whole Hog 3 package
2 HME 30' remote antenna kits
8 HME BP200 wireless intercom belt packs
2 HME BS200 wireless intercom base stations
8 HME HS14 wireless intercom headsets
2 HME splitter/combiner wireless intercom antenna splitters
1 HP Procurve PWR 24-port 10/100 + 2-port GB POE
2 Littlite 18XR-4-LED 4-pin LED console lights
6 Martin Jem K1 208V hazers
22 Martin MAC250 Entour 208V moving head fixtures
14 Meyer Sound UCS-1P powered subs
42 Meyer Sound UPA-1P powered speakers
Meyer Sound M-10 subwoofers
2 Middle Atlantic SLIM 5-14 racks w/accessories
6 Ocotec 20U SWL racks
1 Oxmoor MDA-26T distribution amp
10 Pathway 6202 Pathport C-Series 2 DMX outputs
1 QSC CX108V 70V 8-channel amp
1 QSC CX204V 70V 4-channel amp
1 Rane ML1 live mic preamp
4 Renkus-Heinz CF121M-2 120V powered monitor speakers
4 Shure P7TR-L2 wireless monitor transmitter/receivers
2 Shure PA805SWB wideband unidirectional antenna
1 Shure PA821 antenna splitter for in-ear system
6 Shure SCL5-CL in-ear monitors
4 Shure SM57-LC mics
4 Shure SM58-LC mics
2 Shure SM81-LC mics
2 Shure SM87-LC mics
2 Shure UA845SWB antenna distribution systems
4 Shure UA870WB active antennas (directional)
54
Sound & Communications
Royal Promenade audio booth.
Swingframe audio rack
with wireless receivers
in a Royal Promenade
rack.
Lighting and audio
connection panels for
the Royal Promenade.
10 Shure UR1-J5 beltpack transmitters
10 Shure UR2/87 Beta-J5 handheld wireless mics
5 Shure UR4D-J5 dual wireless receivers
1 Shure VP88 stereo mic
5 Swisson XRD-TR-TR DMX splitters, double
1 TASCAM CD-RW901SL CD recorder
1 TASCAM CD-01UPro CD player w/AES/EBU
1 TASCAM SS-R1 CF player/recorder
1 W-DMX A40001 S-1 DMX wireless transmitter
6 W-DMX A40102 R-512 DMX wireless receivers w/antenna
Whirlwind quad mic cables
1 Yamaha DM2000 V2VCM+MB2000+SP2000 digital mixer
w/meter bridge, side panels
1 Yamaha MY16-CII CobraNet digital I/O card
3 Yamaha MY8ADDA96 analog I/O cards (Euroblock conn)
List is edited from information supplied by FUNA.
To email, print or create a PDF of this page, go to www.soundandcommunications.com.
Aqua Theater
1 360 Systems DR-600 Instant Replay 2 instant access player
1 Adtec Sign Edje MPEG player
Audio Accessories patch bays, TT-style, cables
1 AutoPatch FGP44-4864-110 composite video matrix
1 AutoPatch Optima RGBHV matrix
2 Barco Olite 612 25'x13' weatherproof videowalls
2 beyerdynamic DT-770-PRO 80 headphones
1 Bittree B48T-2WNHD video patch bay, 2x24, internal normals
Bittree VPC1807-75 video patch bay cables
1 BSS BLU-120 (0 in x 16 out) DSP expansion
1 BSS BLU-120 (8 in x 8 out) DSP expansion
1 BSS BLU-800 (8 in x 8 out) DSP processor
1 BUFTEK IFD-422 control interface
1 BUFTEK IFD-422M control interface
10 Clark Synthesis AC339 underwater speakers
3 Clear-Com RM-704 remote rack stations (4 channel)
4 Clear-Com CC-260 headsets (double muff)
10 Clear-Com CC-95 headsets (single muff)
4 Clear-Com FL-1 call signal flashers
1 Clear-Com GM-18 18" gooseneck panel mic
1 Clear-Com IF-4W4 4-wire conversion
2 Clear-Com KB-701 remote wall stations (1 channel)
6 Clear-Com RS-601 remote belt packs
12 Community W2-2V8W speakers
18 Community W2-2W8W speakers
4 Community W2-312-64HW speakers
5 Dynacord DPC 4510 paging stations
1 Dynacord DPM 4000 digital paging matrix
1 Dynacord NRS 90215 paging station module
1 Dynacord NRS 90216 audio input module
1 Dynacord NRS 90218 audio output module
12 Electro-Voice XLD291-WH-NL speakers
4 Electro-Voice XLD GRID CCA line array rigging frames
4 Electro-Voice XS212-WH-NL subs
2 Evertz 7701FR+PSX 3-slot video multi frames
2 Evertz 8-channel fiber SDI receive cards
2 Evertz 8-channel fiber SDI transmit cards
2 Evertz audio embedders
1 Evertz dual A to D converter
1 Evertz single A to D converter
5 Evertz D to A converters
1 Evertz 15-slot video multi frame
8 Furman RL-LED LED rack lights
4 Genelec 8030A booth monitors
1 HDfury Gamer Edition or Blue Edition HDMI to VGA converter
2 High End Axon digital media servers
1 High End USB LTC SMPTE Widget
1 High End USB playback wing
1 High End Whole Hog 3 digital lighting console w/accessories
8 HME BP200 wireless intercom belt packs
2 HME BS200 wireless intercom base stations
8 HME HS14 wireless intercom headsets
2 HME splitter/combiner wireless intercom antenna splitters
2 Horita TR-100 SMPTE clocks
10 Inyo Aquasonic in-wall mounting assembly kits
2 Jensen Transformers DIN-LI isolation transformer module 10
2 Jensen Transformers DIN-LO-11FL isolation transformer
module 600
16 Listen LR-400-216 RF receivers w/antenna kit
1 Listen LT-800-216 RF transmitter w/rack mount
12 Littlite L-18-LED gooseneck lamps w/PS
7 Magenta MultiView MV500A VGA Cat6 receivers
2 Magenta MultiView XRTx VGA transmitters
5 Magenta WSTx-A PC input panels
56
Sound & Communications
View of the Aqua-Theater from the audio booth.
Aqua-Theater amplifier room.
1
2
2
7
4
1
1
1
1
2
1
1
1
4
3
3
1
1
2
1
2
1
Marshall V-R151DP-AFSD hi-res 1x7.9" LCD display + audio
Marshall V-R44P rackmount full-color 4x4" active matrix LCD panels
Marshall V-R563P rackmount active matrix 3x4" LCD panels
Marshall V-R82DP-2C 2x8.4" LCD monitor sets
Martin MAC700 Profile (208V) moving head fixtures
Medialon GD_SCMIII + AD_RG1_PCI + SL_DMX_PCI show
control machine w/SMPTE card + DMX card
Medialon MNG_V5L Manager V5 Lite show control software
Medialon MSCH Scheduler show control scheduling software
Meyer Sound Cue Mixer LCS mixing control surface
Meyer Sound LX-ELC LCS EtherTracks modules
Meyer Sound MS-WTHD multitrack playback dual hard drive
Middle Atlantic MRK4431 rack
Middle Atlantic SLIM 5-14 rack
Middle Atlantic WRK4427 racks w/accessories
MIDI Solutions 1-in 2-out MIDI thru boxes
Ocean Technology Systems EMOTS-2 underwater com, FFM
mic/ear speakers
Ocotec 40U SWL rack
Ocotec 40U SWL rack
Oxmoor MDA-26T distribution amps
Panasonic WJ-SW208 video camera
Panasonic WV-CS954 video cameras
Panasonic WV-CU161C single-camera system controller
To email, print or create a PDF of this page, go to www.soundandcommunications.com.
3 Panasonic WV-CW964 video cameras
2 Peerless ST635 tilt brackets for 22" LCDs
2 QSC AD-CI52ST 70V in-ceiling speakers
12 QSC AD-S32T speakers
12 QSC AD-S52T 70V surface-mount speakers, w/yoke bracket
6 QSC CX1102 2-channel amps
1 QSC CX204V amp 70V 4-channel amp
3 QSC CX302 2-channel amps
11 QSC CX404 4-channel amps
1 QSC CX502 2-channel amps
2 QSC CX602V 70V 2-channel amps
7 QSC CX702 2-channel amps
1 Rane HC6S headphone amp
1 Rane MLM 42S mic/line mixer
2 Remote Ocean Systems CA-62-20 underwater
camera cables/connectors
2 Remote Ocean Systems ROVer miniature
color cameras
5 Samsung 943T 19" hi-def LCD monitor
2 Samsung LN22B360 22" HD LCD monitors
1 Shure UA221 antenna combiner (pair)
4 Shure UA830USTV active antennas
1 Shure UA845SWB antenna distribution system
4 Shure UR1-J5 beltpack transmitters
4 Shure UR2/58-J5 handheld wireless mics
2 Shure UR4D-J5 dual wireless receivers
2 Shure WL50B lavalier omni mics
7 Sony BRU-300 optical multiplex camera units
The Aqua-Theater’s audio booth.
7 Sony BRC-300 PTZ3 CCD video cameras
5 Sony BRCSDP12 outdoor camera housings
7 Sony BRBK302 SDI interface cards
7 Sony BRBK303 fiber interface cards
5 Swisson XRD-TR-TR DMX splitters
1 TASCAM CD-RW901SL CD player/recorder
1 TASCAM DV-D01U DVD player
2 TV One 1T-C2-100 scan converters
2 TV One C2-2355A universal I/O video switcher/scalers
Whirlwind MK420 mic cables
1 Yamaha DM1000 VCM + SP1000 + MB1000 digital mixer w/side panels + meter bridge
2 Yamaha MY8ADDA96 analog I/O cards (Euroblock conn)
List is edited from information supplied by FUNA.
(continued from page 53)
and taking design cues from Cirque,
high-dive acts, acrobatics, gymnastics
and scuba diving,” said Rosenbaum,
“then plugging in all the various components related to the uses it would
have outside of the performance: scuba
diving lessons, regular swimming and
so forth, to activate the space around
the clock.”
Turpin compared the challenges
to those that designers would have
faced creating some of the big Las
Vegas aquatic spectacles such as O,
the Treasure Island pirate show or La
Reve. “Plus,” he said, “we were working
at sea and the venue converts ever y
night from a public space to a performance space.”
In addition to being open to the
sea and weather, the Aqua-Theater is
cheek-by-jowl with numerous other
elements of the ship, making sound
containment an issue. “It’s positioned
at the fantail, on the top level. A rock
climbing wall is above it, and about
half a dozen staterooms have terrace
decks, like balconies, overlooking it,”
obser ved Turpin. Enabling the stateroom occupants to tune in or tune out
at will to the nightly show, these “box
seats” have individually controllable
loudspeakers. (Think of it as similar
to living in Anaheim and hearing the
Disney fireworks ever y night, albeit
muffled.)
(continued on page 59)
&XULRXV"
1$%/DV9HJDV6WDQG&
52&.1(73(5)250$1&($8',21(7:25.6
7KH6ROXWLRQIRU:RUOG&ODVV(YHQWV
5LHGHO&RPPXQLFDWLRQV,QF‡9LFWRU\%OYG‡*OHQGDOH&$‡86$‡ZZZULHGHOQHW
March 2010
57
Main Theater
1 360 Systems DR-600 Instant Replay 2 instant access player
6 AKG C451B mics
5 AKG C518M mics
4 AKG D112 mics
6 AKG D40 mics
26 Atlas FAP42TC ceiling speakers
Audio Accessories patch bay, cables
8 Audio-Technica ATM350 mics
8 Aviom A-16II personal mixers
2 Aviom A-16D Pro A-Net distributors
Belkin KVM switches, cables, accessories
3 BSS BLU-120 DSP expansion
1 BSS BLU-800 8 in x 8 out DSP processor
4 Clear-Com FL-1 call signal flashers
1 Clear-Com GM-18 18" gooseneck panel mic
3 Clear-Com KB-701 portable intercom speakers, enclosures
3 Clear-Com RM-704 4-channel remote rack stations
1 Comtrol Devicemaster RTS 8-port DB9 serial port/E-net box
20 Countryman Type 85 direct boxes
3 Crown PZM6D mics
1 DiGiCo CS-D5 digital audio console w/accessories
6 DPA 4061 CM10 lavalier mics, lo-sens (Shure UR1)
10 DPA 4061 FM10 lavalier mics, lo-sens (Shure UR1)
6 DPA 4066 C10 mic headsets (Shure UR1)
10 DPA 4066 F10 mic headsets (Shure UR1)
6 Electro-Voice N/D 468 mics
2 Electro-Voice RE 27 N/D mics
3 Electro-Voice US690 gooseneck paging mics
2 Genelec 8040A booth monitors
2 High End Axon digital media servers
1 High End Whole Hog 3 Package digital lighting console
w/processor, case
2 HME BS200 (K26693) wireless intercom base station, accessories
2 Horita TR-100 SMPTE clocks
2 HP Procurve 2610-24 PWR 24 Port 10/100 + 2 Port GB POE
12 JBL SRX712M monitor speakers
2 Jensen Transformer DIN-LI isolation transformer module 10
2 Jensen Transformer DIN-LO-11FL isolation transformer module 600
17 Kovatek paging speakers w/volume control
1 Lexicon PCM96SUR-D digital effects processor, digital I/O
4 Magenta MultiView MV500A VGA Cat6 receivers
2 Magenta MultiView T4A 4-port VGA Cat6 transmitters
16 Meyer Sound M’elodie powered speakers
2 Meyer Sound 600-HP powered subs
2 Meyer Sound 700-HP powered subs
3 Meyer Sound CQ-2 powered speakers
1 Meyer Sound Cue Mixer LCS mixing control surface
2 Meyer Sound LX-ELC LCS EtherTracks modules
10 Meyer Sound MM-4 speakers
2 Meyer Sound MM-4CEU MM4 controllers
1 Meyer Sound MS-LX300 primary LCS frame
2 Meyer Sound MS-LX300EXP expansion LCS frames
2 Meyer Sound MS-WTHD multitrack playback dual hard drives
3 Meyer Sound UPA-2P powered speakers
7 Meyer Sound UPJ-1P powered speakers
12 Meyer Sound UPM-1P powered speakers
6 Middle Atlantic MRK4431 racks
12 Miditech AudioLink-PRO M110 IR modulator/repeaters
1 Miditech AudioLink-PRO M400 IR modulator
4 Miditech AudioLink-PRO R400 IR repeaters
2 Neumann KM183MT mics
2 Neumann KM184 MT mics
1 Ocotec 40U SWL rack
58
Sound & Communications
A FUNA custom-made rack in Main Theater audio booth.
1 Oxmoor MDA-26T distribution amp
36 Pathway 6202 Pathport C-Series 2 DMX outputs
3 Peavey D4S + power supply (1) paging control panel + PS
1 Peavey PZS-140RA paging mixer amp rack mount
40 QSC AD-S82 surround speakers
4 QSC CX1102 2-channel amps
2 QSC CX302V 70V 2-channel amps
10 QSC CX404 4-channel amps
2 QSC CX702 2-channel amps
1 RME ADI-648 digital audio converter
2 Samsung 743BX 17" LCDs
4 Samsung 943T 19" LCDs
6 Sennheiser MD421 II mics
6 Sennheiser MD431 II mics
2 Shure Beta 52A mics
6 Shure Beta 56A mics
6 Shure Beta 87C mics
6 Shure Beta 98D/S mics
4 Shure KSM137/SL mics
5 Shure MX393/S boundary supercardioid mics
8 Shure P7TR-H3 wireless monitor transmitter/receivers
2 Shure PA805SWB wideband unidirectional antennas
1 Shure PA821 in-ear system antenna splitter
10 Shure SCL5-CL in-ear monitors
4 Shure SM57-LC mics
8 Shure SM58-LC mics
2 Shure SM81-LC mics
1 Shure SM91 mic
1 Shure UA221 antenna combiner (pair)
2 Shure UA830USTV active antennas
3 Shure UA845SWB antenna distribution systems
2 Shure UA870WB active antennas, directional
16 Shure UR1-J5 beltpack transmitters
4 Shure UR1-L3 beltpack transmitters
16 Shure UR2/87 Beta-J5 handheld wireless mics
4 Shure UR2/87 Beta-L3 handheld wireless mics
10 Shure UR4D-J5 dual wireless receivers
2 Shure UR4D-L3 dual wireless receivers
1 Shure VP88 stereo mic
4 Tannoy CMS601DC ceiling speakers
2 TASCAM CD-01Upro CD players w/AES/EBU
1 TASCAM CD-RW901SL hi-res audio player/recorder
2 TASCAM IF-AD24 ADAT interface cards
1 TASCAM MD-350 mini disc recorder/player
1 TASCAM SS-R1 CF player/recorder
1 TASCAM X-48 digital record/playback system
1 TC Electronic EQ Station 8 EQ
1 TC Electronic Moto Fader 64 EQ controller
To email, print or create a PDF of this page, go to www.soundandcommunications.com.
Surround speakers for the Main Theater
are hidden behind these cloth panels.
Side by side local and PA speakers in the
Main Theater.
1 Walther custom portable distribution assembly
1 Whirlwind custom multi-pair fanout W4/XLR3M, mon console input
1 Whirlwind custom multi-pin W4 connector for split box
8 Whirlwind mic sub snakes
8 Whirlwind mini 6-, 12-channel snakes
12 Whirlwind WMD10-BK MIDI cables
6 Yamaha IF2112/64 speaker (flying monitors)
4 Yamaha IF-2208 Installation Series speakers
Amplifiers for surround speakers
in the Main Theater amplifier
room.
List is edited from information supplied by FUNA.
(continued from page 57)
“Space isolation and architectural
acoustics are a big part of what we
do,” Turpin said. “There are a lot of
difficult adjacencies you don’t have in
most land-based theaters. Typically,
mechanical spaces are adjacent. You
can start out saying, ‘Don’t do that,’ but
ships are made of steel. We rely on a
lot of applied materials, and even those
can’t always be as heavy as we want.
Ever y little bit matters. You can’t fill
the ship full of high-density isolation
materials. They weigh too much. This
forces us to be really inventive.”
&XULRXV"
Acoustic Planning
Acoustically, Jaffe Holden’s scope
of work was to review the space planning and make sure the sound of the
nearby exhaust engines didn’t interfere with the show. “Because we can’t
really get involved with how the ship
maker designs engines, all we can do is
give advice about shielding based on a
sound-level analysis,” said Cooper. “We
took noise from the engine to calculate
what it would be at the Aqua-Theater,
and provided that info so that, in normal operating conditions, the sound of
the show would be amped above that
level. It’s just a simple analysis to know
how loud they would need to run that
show.”
He added, “We couldn’t say, ‘Don’t
put that there,’ or tell them to build a
wall to separate the Aqua-Theater from
other areas. Royal Caribbean does now
avoid putting passenger cabins over
the engine room or the theater and,
in the design of the Opal Theater, the
isolation surround is very significant.”
Although passenger cabins might be
kept separate, other areas will be adjoining. “Usually they stack the public
1$%/DV9HJDV6WDQG&
$57,67',*,7$/0$75,;,17(5&20
7KH6ROXWLRQIRU:RUOG&ODVV(YHQWV
5LHGHO&RPPXQLFDWLRQV,QF‡9LFWRU\%OYG‡*OHQGDOH&$‡86$‡ZZZULHGHOQHW
March 2010
59
Housings were custom made
for the surround speakers.
areas together.”
The main speakers are tightly focused, cross-firing EV line arrays
mounted underneath the dive platforms. On each side, there are six
weatherproof EV XLD291s, accompanied on each side by two EV XS212
subwoofers. “There was no place for
a standard left-center-right array. In a
space with no architectural barriers
to provide control, this enabled us to
achieve high-impact sound without
having that sound travel down the ship
and disturb other areas,” said Turpin.
Having a very deep thrust stage and a
limited number of positions, it was a
challenge to deliver the sound to the
audience in a tightly controlled pattern without causing feedback when
the lifts rise up to pool level.
“We needed to hit the audience
squarely but keep of f the playing
space,” Cooper offered. “The sound is
mostly playback. The terracing of the
increasingly larger staterooms forms
a kind of under balcony for fills.” As
might be expected, the compelling nature of this venue has made it a favorite
spot for all kinds of special events that
weren’t necessarily part of the original
plan. “It’s like what happens when you
build a theater in a school,” remarked
Turpin. “The drama department thinks
it is theirs, but then all of the other
departments find out about it and stake
claims for its use.”
The Pool ‘Zone’
The pool had to be zoned to accommodate the various performers: underwater, divers, gymnastic swimmers and
others. But, in addressing this, Fisher
Dachs encountered another, unique
concern. “We became aware of forces
at play connected to the movement of
the ship,” explained Rosenbaum. “We
did a hydrodynamic mockup to model
the water action within the pool, and
found that the frequency of the roll of
the ship would start generating waves
within the pool itself. The volume of
water in the pool is so great that, after
a short period of time, the water would
pump from side to side and just fly out
of the pool.”
The modeling was done via computer
simulation as well as by using real water in tanks on a motion base. To keep
the water from literally jumping out of
the pool during high seas, the solution
was to reduce the effective volume by
splitting it in half with a retractable
wall. The wall was provided by Handling Specialty, which also fabricated
the three custom hydraulic lifts in the
pool and other mechanisms.
The high-dive platforms were designed to be retractable and locked
down for when not in use or when high
winds could create unsafe conditions.
To ensure the safety of the divers entering the water as part of the show, a
specially designed traffic light provides
a red/green signal as a backup to the
deckhand’s thumbs up. Waterproof
LED fixtures lining the edges of the
lifts assist the performers in orienting
themselves safely.
All lifts have to interface with the
cue light system and other safety
devices. “Shear edge protection was
a necessity,” explained Rosenbaum.
“That ensures that, if a lift is going up
&XULRXV"
Champagne Bar and Photo Gallery in the Royal Promenade.
or down, anything going over edge of
the lift doesn’t get sliced in half. The
pool has many niches and ledges and
enclosures for divers, equipment, hose
manifolds and lift guides—it isn’t a continuous smooth surface—so all holes
or openings had to be protected to allow people to put their hands in and
not get things caught.”
Rotating Platform
The rotating trampoline platform
just upstage of the pool has to stow
for safety when not being used. “We
created a barrel roll trampoline that
closes by rotating into the floor of the
stage so you can seal off the floor,”
said Rosenbaum. For all his and the
company’s 15-year histor y designing
theaters and performance spaces on
Royal Caribbean ships, “it was the first
outdoor theater exposed to sea, and
the first time we had to design rigging
to withstand salt water,” he remarked.
“We had to design and choose materials appropriate for the severe environmental conditions. Many components
are made of stainless steel, which is
ver y expensive and not typical for
performance rigging. Other materials
were epoxy coated.”
A full theatrical lighting package
1$%/DV9HJDV6WDQG&
0(',251(7²5('(),1,1*),%5(237,&1(7:25.6
7KH6ROXWLRQIRU:RUOG&ODVV(YHQWV
5LHGHO&RPPXQLFDWLRQV,QF‡9LFWRU\%OYG‡*OHQGDOH&$‡86$‡ZZZULHGHOQHW
March 2010
61
Two views of a Royal Promenade
plasma screen: in full view and flush
with the ceiling.
was provided by FUNA International
Inc. (www.funa.com), a mainstay provider to Royal Caribbean, which supplied audiovisual systems integration,
engineering and technical design of
the Opal Theater, the Royal Promenade and most other venues on this
vast ship. FUNA’s contract for the AV
systems was with the shipyard, STX
Europe.
“To pull off a job of this size and
complexity required real cooperation
between FUNA, the shipyard and owner [RCI],” remarked FUNA Senior VP
Doug Ellis, who is responsible for all
the company’s activities in Finland.
“FUNA’s Finland office was tasked with
taking the conceptual designs and producing detailed production drawings;
building the racks; per forming the
installation, including all coordination
in the shipyard; testing the systems;
and presenting them as ‘ready to commission’ to the commissioning teams,”
added Ellis. FUNA’s various entities in
six international locations came into
play: FUNA Oy (detailed design/installation), FUNA GmbH (commissioning)
and FUNA Inc. (design, purchasing,
logistics and commissioning).
Water Works
Water works, jets and fountains are
integrated into the pool and were provided by Cr ystal Fountains, Toronto.
Two large (25'x13') Barco Olite 612
weatherproof videowalls flank the
Aqua-Theater. These are fixed in place.
Like all video screens in the ship, these
can be pulled into the digital signage
network for emergency messages, safe62
Sound & Communications
ty briefings and mustering. Andy Smith
of Boyce Nemec Design took part in
designing the projection and video systems, which include, in addition to the
big Barco walls, seven Sony BRC-300
robotic cameras, two of which shoot
through under water windows in the
pool. These capture the stage and the
space from a variety of angles, and the
footage is edited in the broadcast room
for distribution via the ship’s television
network. There are additional robotic
cameras in the Opal Theater and other
venues to record performances and
events that are shown on the ship’s
TV the next day.
Speakers in the pool from Clark Synthesis help the aquatics team to hear
the music under water. The control
gear includes a High End Whole Hog
3 lighting console and Medialon show
control system. The Dive-Com system,
custom designed by FUNA to integrate
with the Clear-Com intercom system,
allows the stage tech scuba divers to
have constant communication with the
production manager and safety riggers
using full-face scuba masks with microphones and earphones from OTS
(Ocean Technology Systems).
When a significant portion of the
stage is under water, safety is a primar y concern. It is imperative that
safety divers have constant communication with the production team. With
the moving platforms in the water and
cast members diving in from all directions, safety was a very important facet
of the design, which accordingly went
through many, many reviews.
Sound mixing is done on a Yamaha
DM 1000 console, a junior version of
the DM 2000 used in several other
areas on the ship but with the same
software platform. There are two control booths, both on deck 12. The port
booth has the video elements and to
starboard is lighting and sound.
Rack Location
The bulk of the racks are housed
below the Aqua-Theater. There are a
number of different technical spaces,
not just for amps but also the considerable equipment associated with the lift
in the pool, drainage, filtration, changing rooms, electrical rockers and so
forth. It is, of course, important to keep
electricity and water separate, and this
is done with bulkheads: amplifiers and
AV equipment in one locker and water
filtration and pumps for the fountains
in another.
“Regarding cruise lines and Royal
Caribbean in particular,” Turpin obser ved, “we work on a lot of theaters,
and we see theaters with many different owners, but how many owners
own 25 theaters? That’s really extraordinar y and changes the way we work
with someone. They have classes of
ships, and might build two or five of a
particular theater design. They’re fundamentally the same design, but the
design and the process keep getting
distilled.
“Other than it being larger, Oasis’
Opal Theater is similar to land-based
theaters in its technical design. It has
an exploded center array, line arrays
and a lot of installed effects speakers.
It was designed to have a device ev-
To email, print or create a PDF of this page, go to www.soundandcommunications.com.
er y place you might need
a device, made accessible
to facilitate getting what
you want out of the room.
Today, venues are all multipurpose like this. Concert
halls are designed so they
can be four-walled for
Broadway.”
Turpin continued, “Nobody can afford to build
single purpose. Likewise,
Royal Caribbean wants Lighting pole with a custom-made
maximum usage out of subwoofer inside.
their spaces, and so, we
tr y to build-in maximum flexibility.
The only thing these theaters are not These showrooms really
designed for is acoustic music. Ev- do rival some of the best
er ything is reinforced; ever ything is theaters in Las Vegas.
“In the Opal Theater,”
tracked to time code. It comes back to
the fact that you cannot create as com- Warner continued, “the
pletely acoustically isolated a space as sound system is all Meyer
Sound, with a full LCS suryou can on land.”
round system package and
Meyer Milo line arrays,
“Royal Caribbean is very focused on and the front of house
The Atlas Globe. Opens up
maintainability,” said Turpin. “They console is a DiGiCo D5.
with folding bridge inside.
value interoperability, minimizing the The dimmers are all ETC,
number of parts and pieces. Having paired with quite an exworked on a ship and been forced to tensive Martin moving light package. (eight retail outlets; nine restaurants
think that way is very useful when you There are 34 channels of Shure UHF and bars). Its central avenue accomgo to a land-based venue. You think, wireless and a High End Whole Hog modates a regular parade schedule.
Special events and performances are
‘I can do this, but make it simpler.’ 3 lighting console.
“One of the shows they’re doing held on its several bandstands and supSimple is good. Clean is good. Minimizing unnecessar y stuff is good. We in this theater is the Broadway show ported in other locations, as well. Here,
are all gear heads who like the latest, Hairspray, a slightly condensed version the audio mainstay, as in most venues
greatest toys, but we have to be disci- that has been quite successful. Usu- throughout the ship, is Meyer Sound
plined about what is the right tool for ally, they have a themed production self-powered loudspeakers.
“It’s a huge congregating area for
the job. We do basically system design that includes ever ything from workand not show design, but the more the ing with a live orchestra to 48 tracks most of the guests,” said Christopher
system designers understand how the of multitrack that plays along with the Vlassopulos, Entertainment Technolshow designers are working, the better orchestra. These theaters always have ogy, Royal Caribbean International.
synthesis you achieve in terms of de- complete automated rigging systems “With Royal Caribbean, there’s a defisigning around designers’ needs today, with orchestra pit lifts, flying systems nite push to do things properly, and we
but also what the future might throw [in this case, Flying by Foy] and a com- surround ourselves with people who
plete rigging system [in this case, SKS know how to do this type of work.” Two
at them.”
ceiling troughs that run the full length
FUNA Senior Project Manager Der- Mechatronics].”
of the Promenade hold lighting and the
ek Warner gave a rundown. “I worked
bulk of the audio, including 42 Meyer
on ships through the ’90s and it is hard
Another of Oasis’ wide-open spaces UPA-1Ps. “It’s a very capable box,” said
to explain how much the industr y has
changed from then to the present day. (albeit enclosed), the Royal Promenade, Vlassopulos, “and works beautifully
The ships I worked on then, you could presented challenges in acoustics and with Meyer’s new M-10 subwoofer,
fit into the Promenade on Oasis. But audio design similar to those of a large which they specifically designed for us.
it’s not just the sheer size: The enter- shopping mall atrium. This community Everybody’s problem in a large atrium
tainment technology packages we’re gathering space is three decks high space is getting the low end, and this
designing and installing are light years with 18 passenger cabins overlooking is absolutely perfect. It works ideally
(continued on page 100)
beyond what cruise ships used to have. it, and lined with shops and restaurants
Maintainability
Royal Promenade
March 2010
63
OASIS OF THE SEAS
(Continued from 63)
for the bulk of the day in background
music. It is much richer and more present than other types of ambient sound
delivery, and excellent for parades and
so forth. It has much more power than
we would ever need.”
According to Pablo Richardson of
Meyer Sound, the company had already
been contemplating the subwoofer’s
creation, to pair with one of its smallest speakers, the 4"x4"x6" self-powered
version of the MM-4XP launched three
years ago. Royal Caribbean’s inquir y
provided the catalyst. “They had specific requirements in order to be able
to conceal the subwoofers in the lamp
posts,” said Richardson. “We value
our relationship with the cruise ship
industr y and with FUNA, and were
happy to collaborate with them to develop this solution. We already had
some ideas, and it wasn’t an isolated
job. Our speakers are ever ywhere on
Oasis except the Aqua-Theater, and
the new subwoofer is being used in at
least three ships. It complements the
100 Sound & Communications
UP-4XP ver y well.”
The new M-10 subwoofer is now a
part of Meyer’s standard line. In fact,
“we saw how versatile it could be, so
we ended up creating three versions
with different power schemes,” said
Richardson.
Multiple Use
“You’d never know, walking through
the Promenade, that it is equipped for
all kinds of shows—live music, recorded music, background music and
so forth—because you don’t see any
of the gear except a few moving light
instruments,” remarked FUNA’s Warner. “But it can transform via audio and
lighting into a full-on entertainment
venue. The audio ended up exceeding
anyone’s expectations.
“With the 42 speakers hidden in the
ceiling, and the 13 subwoofers hidden
in the bases of the streetlamps, they
can turn that venue into a long stage
with the system providing even audio
quality from one end to the other. And
using the BSS London DSPs, you can
zone off the Promenade to have one
kind of event at one end and something
completely different at the other, and
the sound doesn’t bleed too much.”
The Promenade gear also includes
what Vlassopulos referred to as a “vast
array of DSPs. Ever y box is fully controlled,” he noted. “We spend as much
time as necessar y to program the location for all different events.” A feature of the fully equipped sound and
lighting is the Yamaha DM2000 sound
console. “The DM2000 is fully loaded,”
said Vlassopulos. “We have used them
historically in bigger to medium-sized
spaces, and most of our techs are comfortable with them and can readily go
from one space to another. We have
another DM2000 in Studio B, the ship’s
ice skating rink, and fleet-wide we have
them in the majority of theaters.”
Also in the control booth is a Meyer
LCS system, on which the audio resides. “FUNA provided enough equipment for a decent-sized theater in the
To email, print or create a PDF of this page, go to www.soundandcommunications.com.
Promenade,” said Vlassopulos. There
are several locations where you can
set up a band, with monitors, an Aviom
personal mixing system for the performers and Shure wireless all over
for microphones. There is one proper
bandstand above the Cupcake Cupboard, on the roof, and there are two
other input panels, both on deck six:
one at the forward end and the other at
the aft, where you can set up a quartet,
a DJ event or other combination.”
Sound Containment
Sound containment and acoustical
treatment are important in the Promenade. The area is sky lit and completely enclosed, with the entrance to
the Opal Theater at one end, and the
entrance to the Boardwalk, where the
Aqua-Theater lives, at the other, and in
proximity to many cabins. “Cabins are
ever ywhere except below,” said Vlassopulos. “But we have never had any
complaints of noise, because they are
well insulated. Of course, if there is a
ver y big party or it is New Year’s Eve,
it will get a little louder than normal.”
Under Royal Caribbean’s direction,
FUNA worked with Atkins Global
(UK), one of several architects contributing to the Promenade mix, for a
design of the ceiling and skylights to
create surface areas that discourage
excessive sound reflection. “FUNA
talked to all the architects,” said Vlassopulos, “to make sure that what they
were doing worked for the sound and
lighting. There is a tile floor but, fortunately, the space is rarely completely
empty. There are portable carts and
other things that move in and out, and
people walking through, and all that
mitigates sound reflection.”
Perform Key Duties
“The technology we have integrated
on the ship has increased the crew’s
ability to perform their duties,” said
FUNA’s Warner, referring to the proprietar y LAN network FUNA custom
built for Oasis. This ship-wide, fiberoptic, 24-channel audio and control
network is an essential entertainment
and control backbone. From a central
programming location in the broadcast
room, it streams background music
audio via CobraNet and BSS London
digital signal processors to ever y entertainment venue and public area on
the ship.
Some venues also use the network as
a time server to schedule their lighting
control systems. It also functions on the
AMX control platform to take charge of
the myriad screens and audio systems
throughout the ship for mustering and
general announcements. At the push of
a button from the bridge, the network
will automatically mute all entertainment
loudspeakers in favor of the ship-wide
PA system (provided by Audico), and
replace whatever is playing on the local entertainment screens, digital signs
and stateroom televisions with the designated message content. The system
also triggers additional screens, stowed
for such occasions, to drop down from
locations in the Royal Promenade and
outside the comedy club.
Warner portrayed the network as a
game-changer: a necessity for a modern cruise ship of this size, but also an
element of infrastructure that increasingly will be adopted for all types of
projects. “We recognized early on in
the planning of the ship that we could
not accomplish what was being asked
without that network,” he said. “It was
required for music systems, for control,
for safety, for overall management of
the complex technology that we were
being asked to integrate.”
As its planning progressed, the network grew. More IP controllable devices were added, and the size of the
ship raised cable-length issues, necessitating the use of fiberoptics between
switches. “It was an eye opener as to
how big the ship really is that standard
network cables were much too short,”
said Warner.
Sub-Networks
Activation of the muster stations is
dependent on this network. There are
sub-networks and VLANS within it:
“The show control networks for the
Aqua-Theater, the Opal Theater and
all the major entertainment venues on
the ship all tie in,” Warner noted. “It is
also ver y important in terms of engineering for future enhancements and
improvements. Down the road, ever y-
thing is going to be streaming across
some kind of IP network. It brings in a
new level of system management and
system backup, with an incredible flexibility in the ability to commission, program and manage systems.”
Warner added, “With the right permissions, a technician can hop on the
network from almost any venue in the
ship, with a laptop or PC. All these
music channels can be managed by
a broadcast technician in the central
broadcast room and programmed onsite in conjunction with the onboard
staff and the cruise directors.” (Thinking about land-based projects that have
also used their networks to allow the
integrator to provide remote system
support and updating, all the pieces appear to be in place for Royal Caribbean
to take a similar step with Oasis.)
FUNA’s LAN network is intertwined
with a digital signage network to create
a comprehensive audiovisual deliver y
system that serves a range of functions.
“This required close coordination with
Royal Caribbean and with Four Winds
Interactive (www.fourwindsinteractive.
com), which provided the media players and content for the digital signage,”
said Warner.
Shipboard
Digital Signage
Ronnie Farzad was Royal Caribbean’s
Project Manager in developing the digital signage system for Oasis. They saw
the new system as an opportunity to
enhance the guest experience with a
progression of content over the course
of the cruise that includes notifications
of events and activities, in addition
to maps and directions and the daily
newsletter. “They allow guests to find
any venue in the ship and, the more
time they spend in public areas, the
more chances we have to wow them.”
Guests use this information system
heavily during the first couple of days
on the cruise to get oriented and, after
that, turn to it automatically, according
to Farzad. “Most of what the system
does is anticipate guests’ needs. It’s
a dynamic system, with the ability to
adapt.”
Some 300 video displays on the ship
March 2010 101
oasis of the seas
are part of the digital signage network.
These include 36 interactive displays
in the form of large-screen Samsung
vertical portraits at each elevator bank.
They help people figure out what is going on in the different venues, find their
rooms, determine which restaurants are
full and which are not, and display a
map to get to a desired location.
“They have replaced god-knows-howmany man hours,” said Farzad. An additional 45 “guest guidance” screens
assist the embarkation process and
traffic guidance, with some 20 different scenarios. These are controlled by
an interactive touchpad mounted on
the wall as well as by a web-based application accessible on crewmembers’
iPhones. Other screens function as
theater marquees, displaying the event
poster as well as the show schedule. In
the Royal Promenade, a London clock
tower in the center of the space has
four screens integrated. Other screens
are integrated in the various venues
and customer ser vice kiosks.
There are 10 muster stations around
the ship, including the major entertainment venues, used for general safety
briefings, emergency passenger mobilization and ship-wide announcements.
In the Royal Promenade, five additional screens stowed in the ceiling drop
down exclusively for mustering situations. The high-fidelity nature of the
system makes even the safety briefings
a compelling part of the guest experience. “It lets them know the cruise experience has begun, and they applaud,”
obser ved Farzad.
Marine-Land
Industry Crossover
FUNA President Rex Stull has a
background in live audio, touring as
a sound engineer with Broadway productions and concerts. He had his first
taste of working on a ship in New York
City, mixing for headline entertainers on cruises to Bermuda, and then
worked his way up to being a project
manager for installations. “A core thing
for making a cruise ship work is to
come at it from both sides: balancing
the issues of permanent installation,
102 Sound & Communications
proper techniques and install practices
vs. a one-off or temporary version. We
tr y to blend those two things so we
can get the system installed correctly
to hold up to the hard conditions, and
serve the needs of the group of people
who will come in and run it. We tr y
to have both creative people and tech
people on the design staff: to use both
sides of the brain.”
On Oasis, FUNA’s initial design team
was led by Marc Goossens, who has
an electrical engineering background.
Goossens was assisted by Derek Warner and Senior Technician Andy Clement. As the project transitioned from
conceptual design to supply contract,
Warner headed the team for detailed
engineering from FUNA’s Finland offices (the shipyard that built Oasis is
in Finland, as well). Stull noted that
FUNA tends to put together its commissioning teams out of live theater and
hire its engineers from Europe, where
there are strong vocational programs
(140-plus employees in Europe).
Huge Crossover
Stull sees a “huge crossover” between cruise ships and land-based
projects today. “Oasis has its Royal
Promenade, carousel, comedy clubs,
restaurants, theaters and large themed
entertainment spaces. Today’s leaders
in the cruise ship industr y are taking
the entire concept of themed entertainment environments and applying
them.” The crossover also manifests
in personnel: Numerous senior FUNA
employees have backgrounds in theater, at major theme parks and Las
Vegas resorts.
The family market is another parallel.
“What we are seeing now is demand for
a more active vacation by families, and
a younger crowd. Oasis has a 28,700square-foot Youth Zone with areas for
four separate age groups: teen clubs,
outdoor teen areas, more than 50 child
counselors on the ship, plus zip lines,
rock climbing, surfing machines....Entire families take these cruises.”
In terms of building culture, “The
cruise ship can be the model for the
new lean and mean green building age,
now that they are starting to rein in
space requirements in buildings and
developers want to consolidate to a
smaller footprint,” said Stull. “Leading
with such things as the employment
of LEDs and other low-power, low-heat
components, ships set an example of
how to build in cost savings all the way
down the line.”
Entertainment
Complex Model
As a model for entertainment complexes, Stull added, “the ship is 24/7,
multipurpose and multi-use, running 12
hours a day or more. You need things
compact and reliable. You have to have
safety compliance.” People flow is another finely honed art on a well-run
cruise ship: Oasis of the Seas can have
more than 6000 people moving among
its multiple entertainment venues.
Stull feels that land-based projects
would also benefit by obser ving the
planning phases of marine-based
jobs. “On land, many times, the planning phases are not given enough time
and emphasis.” He emphasized that
“because ships are cutting steel ver y
early in the process, architectural coordination and integration, the process of
defining your scope, and planning your
systems” are more thorough. “Ships
are forced into that because there’s
not a lot of room to miss. Apply those
processes to land and people will see
much greater impact for the money
they spend.”
He also advises taking a harder look
at the long-term footprint of a project.
“The final piece would be people worr ying about things like usage costs. A
lot of times, it seems cheaper to put
in an incandescent light bulb, but look
at the life of the project down to its
environmental impact, and the lifetime costs of the product vs. the initial
startup costs. That’s something cruise
lines do because they know their single
biggest expense is fuel.”
Isn’t that true of all projects on
Cruise Ship Earth? n
This article is available to download, print and
share at the new www.soundandcommunica
tions.com.
To email, print or create a PDF of this page, go to www.soundandcommunications.com.