The Music Kit was a software package for the NeXT Computer system. First developed by David A. Jaffe and Julius O. Smith , it supported the Motorola 56001 DSP that was included on the NeXT Computer's motherboard. It was also the first architecture to unify the Music-N and MIDI paradigms. Thus it combined the generality of the former with the interactivity and performance capabilities of the latter. The Music Kit was integrated with the Sound Kit.
23-448: First demonstrated in 1988 at Davies Symphony Hall , the 1.0 release shipped in 1989 with the NeXT computer and included an Objective-C library for creating music and sound applications, a score language that included expression evaluation, MIDI, sound and DSP drivers, several command-line utilities and a simple score-playing application called ScorePlayer. The Music Kit was integrated into
46-434: A building within a building. The outer building uses one inch thick structural glass as a curtain wall, with the next structural wall forming the back wall of the lobby spaces. Passing through a door leads to a hallway, bounded on one side by the lobby wall and on the other by the structural wall of the inner building. This continuous hallway acts as an acoustical isolator and is surfaced with sound absorbing material. However,
69-414: A more effective array of curved rectangular panels covering a larger area and now computer adjustable, moving the walls of the floor-level seating inward to make the audience area narrower and more rectangular, adding aisles to replace the former continental seating, adding diffusing elements in various parts of the hall, and increasing the "rake" of the floor seating to provide better sightlines. In addition,
92-478: A permanent home. Previously, the symphony shared the neighboring War Memorial Opera House with the San Francisco Opera and San Francisco Ballet . The construction of Davies Hall allowed the symphony to expand to a full-time, year-round schedule. Designed by Skidmore, Owings & Merrill and Pietro Belluschi along with acoustical consultants Bolt, Beranek and Newman , its modern design
115-828: A variety of music applications, including Finale and Creation Station. It was also used in video games and even document processors. The 2.0 release of the NeXT computer included additional bundled applications, including Ensemble, a fractal-based improvisation tool developed by Michael Mcnabb. Others involved in the NeXT Music Kit project included Douglas Fulton (documentation and demos), Doug Keislar (third-party support), Greg Kellogg (drivers), Lee Boynton (drivers, Sound Kit) and Dana Massie (development.) In addition, consultants brought in early on included Andy Moorer (DSP software architecture), Roger Dannenberg (data structures) and John Strawn (DSP software). In 1992 (NeXT 3.0 release),
138-424: Is a primary concern in determining the seating capacity of a venue: "Seating capacity, seating layouts and densities are largely dictated by legal requirements for the safe evacuation of the occupants in the event of fire". The International Building Code specifies, "In places of assembly, the seats shall be securely fastened to the floor" but provides exceptions if the total number of seats is fewer than 100, if there
161-414: Is a substantial amount of space available between seats or if the seats are at tables. It also delineates the number of available exits for interior balconies and galleries based on the seating capacity, and sets forth the number of required wheelchair spaces in a table derived from the seating capacity of the space. The International Fire Code, portions of which have been adopted by many jurisdictions,
184-452: Is directed more towards the use of a facility than the construction. It specifies, "For areas having fixed seating without dividing arms, the occupant load shall not be less than the number of seats based on one person for each 18 inches (457 mm) of seating length". It also requires that every public venue submit a detailed site plan to the local fire code official, including "details of the means of egress, seating capacity, [and] arrangement of
207-451: Is displayed outside the hall at the corner of Grove Street and Van Ness Avenue. Davies Hall also occasionally hosts non-orchestral performances by contemporary musicians. In 1980, Paul Goldberger of The New York Times called the hall "a building utterly confused about style, a poor hybrid that has neither the verve of one aspect of the city's identity nor the powerful tradition of another." Seating capacity Seating capacity
230-604: Is the number of people who can be seated in a specific space , in terms of both the physical space available, and limitations set by law . Seating capacity can be used in the description of anything ranging from an automobile that seats two to a stadium that seats hundreds of thousands of people. The largest sporting venue in the world, the Indianapolis Motor Speedway , has a permanent seating capacity for more than 235,000 people and infield seating that raises capacity to an approximate 400,000. Safety
253-422: Is visually elegant both inside and out. A "cloud" of movable convex acrylic reflecting panels over the stage enables the acoustic space to be adjusted to suit the size of the orchestra and audience, while adjustable fabric banners around the auditorium can alter the reverberation time from approximately one to two-and-one-half seconds. Architects created acoustic isolation of the performance space by constructing
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#1732783577270276-524: The National Football League 's Super Bowl Committee decide on a venue for a particular event, seating capacity, which reflects the possible number of tickets that can be sold for the event, is an important consideration. Seating capacity differs from total capacity (sometimes called public capacity ), which describes the total number of people who can fit in a venue or in a vehicle either sitting or standing. Where seating capacity
299-784: The NeXTcube , support for audio directly via the DSP56001 serial port (which was brought out to the back of the NeXT cube), and support for NextSTEP and the use of DSP processing using the Turtle Beach DSP56001 card. A set of eight Motorola evaluation boards were combined into a chassis for the prototype "Frankenstein" platform, used by the Sondius program of the Stanford Office of Technology Licensing to develop physical models of musical instruments. In addition, Jaffe
322-661: The Music Kit was un-bundled from the NeXT software and was released as a copyrighted open source package to the Stanford Center for Computer Research in Music and Acoustics ( CCRMA ), where Julius O. Smith was a professor. Stanford University hired David A. Jaffe as a consultant to continue to develop the Music Kit. Among the additions at that time were support for the Airel QuintProcessor, a five-DSP board for
345-685: The Nextstep user environment . More recent ports of the Music Kit were done by Leigh Smith and Stephen Brandon. Davies Symphony Hall Louise M. Davies Symphony Hall is the concert hall component of the San Francisco War Memorial and Performing Arts Center in San Francisco , California . The 2,743-seat hall was completed in 1980 at a cost of US$ 28 million to give the San Francisco Symphony
368-423: The firm installed risers on the stage allowing musicians to both see and hear each other better. These and other improvements enhanced not only the acoustics but also the hall's beauty. The Fratelli Ruffatti electro-pneumatic pipe organ with 147 ranks was added in 1984. It is designed to accommodate repertory from the pre-baroque to the present. The console can be electronically reprogrammed to correspond to
391-412: The hall's large volume and seating capacity initially resulted in less than ideal results. Kirkegaard Associates completed acoustical renovations in 1992 at a cost of $ 10 million which resulted in substantial improvement. The modifications included: narrowing and shaping the walls above the stage to reduce the volume of space and increase useful reflections, replacing the cloud of reflector discs with
414-490: The kind of contract to be used and the royalties to be given. The seating capacity must also be disclosed to the copyright owner in seeking a license for the copyrighted work to be performed in that venue. Venues that may be leased for private functions such as ballrooms and auditoriums generally advertise their seating capacity. Seating capacity is also an important consideration in the construction and use of sports venues such as stadiums and arenas . When entities such as
437-474: The maximal viewing distance for a given size of screen", with image quality for closer viewers declining as the screen is expanded to accommodate more distant viewers. Seating capacity of venues also plays a role in what media they are able to provide and how they are able to provide it. In contracting to permit performers to use a theatre or other performing space, the "seating capacity of the performance facility must be disclosed". Seating capacity may influence
460-409: The seating...." Once safety considerations have been satisfied, determinations of seating capacity turn on the total size of the venue, and its purpose. For sports venues, the "decision on maximum seating capacity is determined by several factors. Chief among these are the primary sports program and the size of the market area". In motion picture venues, the "limit of seating capacity is determined by
483-618: The stage of the Opera House across the street to accommodate Opera and Ballet rehearsals. Davies Hall also contains offices for symphony staff, a music library, dressing rooms, a recreation room and lockers for Symphony musicians, and the Wattis Room, a private dining room for major donors. A proposed recital hall was never built; that portion of the site remains empty, and is used for employee parking. A Henry Moore bronze sculpture, Large Four Piece Reclining Figure 1972–73 (1973),
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#1732783577270506-564: The two major schools of organ keyboard organization, the German and the French. The console is mobile and can be placed where appropriate to the program or stored off-stage when not in use. In addition to the concert hall itself, an adjoining building contains the Harold L. Zellerbach Rehearsal Hall, comprising three separate rehearsal spaces. The largest of these was designed to be the same size as
529-471: Was hired by a third party to add MIDI time code support to the Music Kit. (The Sondius group was later spun off into an independent company, Staccato Systems, Inc., with funding from Yamaha and Stanford University. Staccato Systems, Inc. was acquired by Analog Devices in 2000.) The Music Kit was described in numerous articles in NeXTWorld and other periodicals, and in books such as The Complete Guide to
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