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A musical fountain is a type of animated Fountain for Entertainment purposes that creates an Aesthetic design and a Three-dimensional image. This is done by using the effects of Sound Waves and Laser against Water particles, in which the water streams, activated in strategic timed durations Refract and Reflect the light, and in doing so, a three-dimensional image is created. Many of the more well-known ones are large scale, and use hundreds of water jets and laser emitters, the cost of which runs up into the Million s of Dollar s, although smaller household forms exist where the budget ranges to around a Thousand . An example of one is the musical fountain in Sentosa , an island off mainland Singapore . A number of fountain companies offer software and hardware that causes pumps to turn on and off and lights to change in response to the bass and treble of music fed through the system, causing the fountain to respond automatically without a need for manual choreography. Fountains that are choreographed to music These fountains, also generally called musical fountains, appear to respond to music but have been programmed beforehand. The earliest of these were played manually by a live operator, who usually controlled pumps or valves and sometimes lights by way of switches on a control panel. Music was almost always live. Later, choreography could be prerecorded on a punched paper card which was scanned by a computer and, even later, it could be recorded on magnetic tape or, in the most modern shows, on a CD along with the music. Even so, the choreography must still be painstakingly programmed by hand, some types of shows being played live from a control console and connected to a computer that records the operator's actions for later automatic playback. The earliest choreographed musical fountains The earliest notable example of a musical fountain choreographed live was the Pool Of Industry at the 1939 New York Worlds Fair, where three operators controlled the fountain, guided by a paper program that unscrolled under a glass window like the paper roll of a player piano - rather than controlling the effects directly like a piano roll, it was marked with commands that told the operators when to push the buttons and throw the switches. This fountain was more than just water and lights, however - 3 million watts of lights, a gigantic pool containing 1,400 water nozzles, 400 gas jets with a mechanism that caused the flames to change color and fireworks shot from over 350 launchers created a nighttime spectacle on a grand scale. Music was played live by the fair's band and broadcast by large speakers to the areas surrounding the display. The updated show displayed at the same fairgrounds in 1964 lacked the colored flames but used punched cards for the choreography, had prerecorded music, and utilized the then-revolutionary system of dichroic light filtering (developed by Bausch and Lomb for the fountain) which now allowed a dark colored lens and a light colored lens to produce the same brightness of light. It was by this process that 700,000 watts of light produced over 3 million candlepower. This show also had single lights with multiple sliding color filters for mixing colors, and arrays of nozzles that could be adjusted, their direction changed by hydraulic or pneumatic actuators. The Przystawic legacy In 1930s Germany, Otto Przystawic first conceived the idea of creating a fountain that would recreate the gracefulness and elegance of ballet. His first display was built in the Resi Restaurant in Berlin, for which he was an electrical engineer. Visible through a series of archways, arrays of water nozzles created water sprays that not only rose and fell, but swayed side to side or revolved in a circle, mimicking real dancers. Colored lights bathed the moving water formations in color and made the water sparkle. Diners were enthralled as the water performed to live music, controlled by a single operator sitting at a control console. Przystawic's clever engineering took the fountains to the next level when, after the war, a show was installed on a stage in the rebuilt Resi Restaurant & Ballroom, where it became a local attraction. While traveling through Berlin with his "Skating Vanities" show, showman Harold Steinman saw the Resi installation and was taken by the idea. Contracting with Przystawic, he went to Leon Leonidoff at Radio City Music Hall in New York City . For the first time in history, Leonidoff booked a show sight-unseen, and what Steinman called the "Dancing Waters" made its American debut in January of 1953. Four weeks later, Dancing Waters took another first, being the first show to be rebooked in such a short time. This time, Dancing Waters added its magic to Radio City's famed Easter spectacular. The success of Dancing Waters in the US prompted Steinman to add them to his list of touring shows, and he formed Dancing Waters, Inc. and purchased numerous shows from Przystawic. Redesigned to be portable, the new shows could be disassembled for transport and were supplied with inflatable rubber basins to hold the water. The shows used the best Przystawic engineering - for example, variable-speed pumps and complex valves were many years away, so the fountain's pump motors were connected to large power resistors, adjustable by a row of levers on the control console. By moving these levers, the amount of power supplied to each pump's motor could be varied, which caused the pumps to speed up or slow down and change the water height. In addition, the control console grouped many of its controls into single switches, allowing the operator to play many effects at once with one hand. The Przystawic shows were unique in that water effects danced to the music, either swaying (driven by a motor) or revolving (on a bearing, pushed by water pressure) While Otto Przystawic and, soon, his son Gunter, continued to improve their shows in Germany, Harold Steinman took the Dancing Waters on a successful tour of the United States and the world. The waters found at least one "permanent home" at the short-lived Royal Nevada Hotel in Las Vegas . In the early 1970s, Gunter moved the family business to Florida and he, soon with his son Michael, continued to update their shows. Changing the name to Waltzing Waters to show the difference between Otto Przystawic's simpler fountains, the new shows sent out water through perfectly aligned nozzles with almost laser-like precision, creating very precise, orderly patterns that picked up the colored lights. The mechanics that moved the swaying nozzles became more complex, allowing one array of nozzles to move in a number of different ways depending on how the motors that moved them were connected. Abandoning the cumbersome system of resistors, each water effect was given three heights - the method that made this possible used only two pumps, without any valves. The new shows were offered as permanent installations, and those placed on a stage could have overhead lights concealed in the stage's flyloft. Outdoor shows, and indoor installations where overhead lighting was not possible, used submersible lights. The lighting and nozzles were arrayed in ways that allowed one effect to be lit in one color and another effect in front of the first to be a separate color. Each segment of the fountain in odd and even sections, front and back lights separate, in three 'areas' dividing the fountain into thirds, coupled with the various moving and rotating nozzles, provide seemingly endless arrays of effects, all of them exhibiting the high quality of construction and ingeniously simple mechanics the Przystawics are known for. New fountains were controlled by computer, and choreographed shows created by hand at the factory, using a fountain installed there, could be sent to the user on a CD that contained both water and light cues and music. One show using the new effects but still having a live operator can be seen at the Waltzing Waters Theatre in Branson , Missouri . Waltzing Waters' newest shows are, due to the precision water and lighting effects and the lightning-fast response of the pumps, known by the trademarked term "Liquid Fireworks", and video clips available from their website demonstrate as much. They also provide "Classic" fountains and "Simplicity" fountains, which offer progressively less effects for smaller budgets. Show sizes range from thirty feet up to massive units the length of a football field. Custom shows have been built in separated segments, turned around a gentle corner, even bent sharply into a "U". Waltzing Waters recently purchased the aging Dancing Waters, and has begun renting "Classic" series fountains. Imitators The Dancing Waters style of water show has been imitated and copied by many. In the United States, the only similar fountains are the Musical Waters. Started in the early 1980s by Bob and Ellen Chase, they rent small fountain shows that are played live. Bob Chase, a former engineer for Harold Steinman's Dancing Waters, built his own shows. Musical Waters shows use the basic Dancing Waters mechanics. The fountains use single-speed pumps and do not offer variable water heights, and the revolving nozzles are not present, the Dancing Waters design having been prone to jamming. These shows are unique in that bob and Ellen Chase, together, play every show live. Despite lacking the rotating nozzles that usually define this type of show, the Musical Waters shows are one of the few of this kind that still retain most of the simple elegance that defined Otto Przystawic's first fountains, including the visual attraction of the human element with live "fountaineers" controlling the effects. Numerous manufacturers in the Near and Far East, in places such as India and Pakistan, have copied the Dancing Waters style. Many of them have updated the look with individually servomotor-controlled nozzles, large water screens on which video can be projected, and laser effects. Shows are built not only in the standard linear form, but in circular, semicircular and oblong shapes, in multiple pools, and many other layouts. In many places in India, a musical fountain is a must-have attraction for any city, and there will often be at least one if not multiple local companies ready to build them. Though often much more complex, Waltzing Waters shows generally continue to top the list for reliability and quality in permanent installations. Many firms also rent shows. WET, the other big name in water displays WET fountains begin with Mark Fuller - specifically, his college thesis on laminar water flow, which can cause a jet of water to form a coherent stream that looks remarkably like a bent glass rod. Fuller was employed for a time as an Imagineer with Disney and used his thesis to design the now well-known "leapfrog fountain" at Walt Disney World 's Epcot Center . Fuller also built several other unique water features for Epcot, including a waterfall that seemed to flow in reverse. In 1983, Mark left Disney and formed his own company, WET Design. WET stands for Water Entertainment Technology, and all of their work echoes this. There is much information to be found on the Internet regarding WET's many unique architectural water displays, so here will only be discussed his fountains that are programmed to music. Most of these use, not the laminar flow nozzles, but a design WET calls a Shooter. These use air pressure to loft a jet of water much higher than would normally be possible using small pumps. Shooters range from tiny devices that spray less than ten feet to the massive mega-sized SuperShooters that can fire a water jet nearly 140 feet into the air. Shooters produce a noticeable amount of noise, in the form of a loud crack that occurs when the water in the firing chamber runs out and releases the compressed air that gave it its lift. These sounds are embraced as part of the fountain, as opposed to being masked or dampened in some way. It goes without saying that the larger Shooters must be installed in such a way that visitors cannot interact directly with the water stream - see note below about how other WET features allow direct contact between viewer and water sprays. Though they are only a small part of WET's repertoire of fountain displays, musical fountains of various sorts are indeed built by them, on a custom basis. Many of them are architectural fountains that have been programmed to perform a short performance to music at certain times, such as on the hour, and many employ WET's signature design of hiding nozzles and pool beneath modular paving stones that allow the visitor to not only watch but interact directly with the water. A good example of this is the International Fountain, built for the Century 21 Exposition in Seattle in 1963. The original design had changing water and light patterns, with a background of classical music, though the patterns weren't specifically intended to be synched with the music. The fountain was very large, designed as a concrete bowl around a 'moonscape' of broken limestone, at the center of which was a tiled dome studded with pointy black nozzles. As the fountain was not designed for interaction and, in fact, was rather unsafe for those who decided to play in the falling water, WET's redesign in 1996 replaced the broken limestone with a textured concrete floor, and switched the spiky sea-urchin dome for one of gleaming steel, with nozzles set smoothly into its surface. Switching the multicolored lights for white, WET added fog, a ring of their Shooters set into the pavers around the base of the dome, and four large SuperShooters hidden in the upper surface of the dome. Doing exactly as did its predecessor during most of the day, producing changing water patterns as music plays, it now marks each hour by bringing out its other effects to perform a choreographed, synched show. WET fountain shows range from single, short songs to multi-track medleys, and the Internatyional Fountain presents a series of shows of both types. Other WET features that perform to music exist at the Tokyo Dome stadium in Japan, in Salt Lake City, and at Epcot Center (the Fountain Of Nations, which includes multicolored lights and many sizes of Shooters) WET's most well-known project to date has been the Fountains of Bellagio in Las Vegas . Set in a manmade lake 1000 feet long with an area of nearly ten acres, these fountains dance to music in unique ways. The fountain is formed as a pair of large concentric rings and a long, curved arc, and two smaller circles are attached to the arc near each end. Shooters outline all aspects of the layout, allowing for the arc and circles to rise as columns and curtains of water, as well as providing chase sequences at speeds all the way up to 698 mph. SuperShooters were planned to outline all of the circular segments of the layout, but their shots were not impressive enough for WET's designers, who wanted them to appear as tall as the hotel tower when viewed from the street. The re-engineered design, named HyperShooter, fires a jet nearly 240 feet into the air, and when all 192 HyperShooters fire, the sound is similar to cannon fire! Needing a better way to define smoother passages of music, WET engineers developed the Oarsman nozzle, a robotic water jet that can be moved 120 degrees from side to side, and 90 degrees front to back, grouped with a pod of lights that follow the water stream. With the direction, water height and light of every Oarsman controllable independently from every other Oarsman, a nearly infinate variety of patterns can be created on the lake. A fog generating device which rises from beneath the water can blanket the entire lake with fog, and over 4,500 individially controllable underwater lights follow the water patterns' precise movements, sparkling on the water or glowing through the fog. As of last year, a ring of newly-developed Shooters at the heart of the center ring accent a few of the shows with shots that lift upwards of four hundred feet over the lake. Performing to everything from opera to classical to pop, the Fountains of Bellagio run every day on the half hour, and every evening on the hour. A team of dive-certified engineers are on-site at all times, maintaining the fountain's complex mechanical, electrical and hydraulic systems. Despite the scale of such shows as the Fountains of Bellagio, these shows must still be programmed and choreographed by hand. Computers aid the process, but engineers must still spend weeks, sometimes months, on each new performance before it is ready to be placed in rotation with the other shows. All of WET's musical fountains are this way - even the non-musical fountains must still be programmed. Other musical fountains One other notable fountain of the choreographed type is the Grand Haven Musical Fountain . Built in 1963 by volunteers and designed by a local engineer, this fountain was based on a Przystawic show seen in Germany. The display comprises a small number of water formations grouped in odd and even segments, with the same formations on each. Augmented by curtains of water at the back and front, a large fanlike array called the Peacock , and three fire hose nozzles - one placed vertically in the center, and the others aimed at an angle from each end - the show produces a simple Dancing Waters style display. Colored lights are arrayed along the front of the fountain in individually controllable groups in red, blue, amber and white, and the back curtain and Peacock sprays have their own lights - green and yellow for the back curtain, and two sets each red, blue and amber for the Peacock. In addition, nozzles called "sweeps" provide the moving effects, swaying side-to-side. A patented drive mechanism allows each pair of sweeps to follow or oppose each other in direction of movement, to move along long or short paths, and to move at any of three speeds, allowing the moving water to follow nearly any kind of music. The original show used punched paper cards, though computers control the new system. The nozzles and pumps have never been changed, only cleaned and cared-for, and shows must still be programmed by hand. Even with the simplest of the many programs used to create shows for this fountain, choreographing one three-minute song can take anywhere from two to four hours. The Grand Haven Musical Fountain still performs nightly, and is viewable from a grandstand on the waterfront in Grand Haven. The "voice of the musical fountain", spoken by resident Ron Hartsema and accompanied by a little spout of water with an orange light, introduces each performance. EXTERNAL LINKS
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