Having entertained and educated over 175 million visitors since opening in 1933 on the former site of the 1893 World’s Columbian Exhibition, Chicago’s Museum of Science and Industry (MSI) has long stood as the vanguard of museum programming. Forever reinventing itself, the museum built an Omnimax theater – the city’s only five-story, domed IMAX venue – in 1986. While it has continued to draw capacity crowds in recent years, the theater was due for an overhaul, both because equipment was failing and because its technical specs were falling behind the times. Today, a fresh set of Danley loudspeakers and subwoofers have revitalized the sound system with impact and truthfulness that were simply unimaginable even ten years ago.

The IMAX experience is one of immersion, and the Omnimax variant (recently rebranded “IMAX Dome”) is its fullest realization. A standard IMAX theater, of which there are more than 300 in the world, features a screen that is at least 72 feet wide by 53 feet high. The Omnimax concept uses special recording lenses that distort the captured image and a playback system that reverses this distortion to project on a wrap-around dome. As a result, the screen takes up the viewer’s entire field of vision.

But as any intro textbook on sound for film will tell you, viewers consistently rate the overall quality of a theatrical experience more by sound quality than by visual quality. For some reason, our brains are more forgiving of visual distortions than of auditory distortions. On this score, MSI was struggling. Only four of the six audio channels were working; the components of the once-high-end loudspeakers were tired and inaccurate; and the playback system would intermittently drop audio entirely, requiring the projectionist to make a frenzied run downstairs to reseat antiquated sound cards.

Their expectations for audio performance were exacting, and an exhaustive search of the “latest and greatest” in loudspeaker technology led them to Danley Sound Labs. Danley’s patented Synergy Horn (SH) loudspeaker and Tapped Horn (TH) subwoofer designs obviate the fidelity-compromising tradeoffs that are inescapable using traditional approaches and thus deliver more natural, phase-coherent reproduction – even at high SPLs.

Noted Danley President Mike Hedden, “When Tim Olgetree at MediaMerge called, he requested a loudspeaker with the sonic characteristics of our flagship Danley SH-50. But instead of the SH-50’s 50- by 50-degree dispersion pattern, he needed a 90- by 60-degree dispersion pattern to fit the theater. Tom Danley and I discussed the details and ultimately the CSH-1196 was born with pattern control down to around 100 Hz together with a flat phase response and flat magnitude for three pass bands. From the initial request to shipping the initial CSH-1196 was only six weeks.”

The new speakers replaced the six old speakers in a one-for-one swap. In addition, four Danley CTH-50 subwoofers generate the low-end rumble for avalanches and the like. Hedden summarized, “Our loudspeakers, especially ones as large as the CSH-1196 have tight pattern control down to around 100Hz and don’t energize the room like other systems. We deliver extremely high direct to reverberant ratios that translate into clear, phase-coherent sound to the audience, and to the audience only. The fidelity is truly remarkable, so much so that, to the listener at the Omnimax, the speakers effectively disappear.”


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Screen Channel
The CSH-1196

The CTH-50