After completing Preliminary Injunction hearing (which those apposing the amphitheater filed suit, Judge Noel Hyde siding with NO City, the suit being based on the deed, and the intent of the parties named) it is clear, the massive performing arts complex under construction within Barker Park was rushed and lacked even rudimentrary feasibility studies. We have no idea what we are getting into and how much it will cost us, not just to build out but to run, manage, secure, clean up after shows, show content, First Amendment and censorship issues....
The now under construction amphitheater is totally incompatible with the land use agreements made to Ray and Fern Barker; it also is incongruent with all the documents surrounding the intended sell and use of the land, from Utah State grant applications and NO City Parks Master Plan and MGB+A design plans, to the point of sale material used to sell the lots that are tied to the land. Whether the 4+ million dollar initial cost, to say nothing of the continued operational cost, is appropriate for North Ogden is also in need of serious consideration. Consider the outcome; the likelihood that this amphitheater as designed—the largest amphitheater in the state of Utah* save USANA—will be mothballed; built, used for a few seasons and then boarded up or scaled back to locals-only usage—a parody every show. This is the likely future of this amphitheater considering the incompatibility with the areas land use, covenants on the books, noise pollution, safety, as well as a general lack of infrastructure and community involvement.
Aaron Christensen gave a speech at the North Ogden City Council Meeting (February 6, 2017) laying out the reasons for the sell of the Barker lands to the city in the first place, and the agreements made by the Barkers and North Ogden City. You can download that speech here.
*Comparing controlled patron area (the auditorium), and yes it's even bigger than Red Butte.
Stop the building of the amphitheater in Barker Park now, before any more time or money is spent.
Once stopped there needs to be comprehensive, not rushed, feasibility and impact studies done—land use, noise, safety, health, commercial and tax liability to name the big ones.
The community needs more time. Marketing and publicity efforts were not effective. The people need to know what is going on and have easy access to information. We all need to know what we're getting into.
North Ogden Amphitheater The largest performing arts amphitheater in the state of Utah save USANA. (see bleow
NO AMPH SOUND
Steve Earle, Styx... Sunn O))) will be much louder.
Before the references and math for the above sound divergence map, consider that we all know what loud is; loudness is after all a subjective term, and what is loud to you has a great deal to do with your emotional response to that sound's features. dB-SPL however is completely objective. Few of us like the sound of freeway noise, but we are all familiar with it and have learned that we can tune it out—if nothing else it makes a nice neutral reference. For those reasons you will find it used below, to help you better correlate what a dB-SPL means to your earballs. Also, I'm asking you to trust your gut and your extensive experience with sound; those of us within a one mile radius of the former, community-sized Barker Park Amphitheater during a battle of the bands show know that live, amplified music inclusive of a bass guitar and drum kit carries pretty (cuss) far. Ask around if your gut is silent on this. Back to the map, rest assured (I know I'm funny, you might not think so) that anyone finding themselves even all the way out at the perimeter of the orange colored regions during a live music, DJ, or ruckus musical or film screening will be acutely aware of What's Going On* at the NO Amphitheater.
*Great album by Marvin Gaye. Maybe he could play No Amp—we have as good a chance of bringing him in (back) to play as any of the greats. LM(cuss)O. (No disrespect meant Marvin—I really do love that album, R.I.P.)
–Sean M Casey
NO Amphitheater 2018
Design: continues as a classic format amphitheater.
Gated diameter: ≈285ft [90m]. (Based on NOC Noise Levels Day dB(A) Map dated 8/22/2017.)
Stage to gate radius: 225ft [69m].
Spectator area defined by perimeter gate inclusive of tech booths: 64,000ft2 [5,945m2]
Usage: commercial—theater, music, weddings, movies; international and national touring acts, regional touring acts, local talent.
Sound Source Reference: Utah Symphony fortissimo (with half the players absent), easy country pop, soft classic rock…
most any not too loud live band inclusive of a drum kit as the power and bandwidth are similar.
Performers and sound system sound pressure level sum (L∑) @ stage perimeter.
Sound Power Level (SWL)≈141dB (isotropic).
SL (Lp) ∝130dBSPL @ stage source.
Bass [30→110Hz] Q = 3 (3 over 4pi r^2)
≥ 104dBSPL [Lp] @ 125 ft. from complex sum of stage (live Donny & Marie show).
≥ 98dBSPL [Lp] @ 250 ft. from complex sum of stage (live Donny & Marie show just outside the auditorium).
≥ 92dBSPL [Lp] @ 450 ft. from complex sum of stage (subway train at 300 feet away).
≥ 86dBSPL [Lp] @ 900 ft. from complex sum of stage (average motorcycle @ 35MPH 25 feet away).
≥ 80dBSPL [Lp] @ 1800 ft. from complex sum of stage (freeway noise 50 feet from pavement edge).
≥ 74dBSPL [Lp] @ 3600 ft. from complex sum of stage (living room music levels).
Surrounding Food, Drinks & Hotels
Homes Within 600' Radius of Stage (45˚L/R of Center)
dBSPL [Lp] = 20 µPa (P–0 = 2x10-5 Pascals)
c (thermodynamic speed of sound) = 1130ft/s [344m/s]
Air temperature gradients are assumed to be zero.
Q is a directivity index quality factor.
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Everest, Alton F. (1994) The Master Handbook of Acoustics (3rd ed.) TAB
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Jeans, James, Sir (1937) Science and Music. Dover
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Lamb, Horace, Sir (1960) The Dynamical Theory of Sound (2nd ed.) Dover (Original 1925)
Olson, Harry F. (1967) Music, Physics and Engineering (2nd ed.). Dover (Original 1952, formerly: Musical Engineering)
Randall, Robert H. (2005) An Introduction to Acoustics. Dover (Original 1951, Addison-Wesley. Principles of Physics, series.)
Rayleigh, J.W.S. Baron (1945) The Theory of Sound Vol. 1 & 2 (2nd ed.) Dover. (Original 1894)
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