Alan Hardiman has been a senior engineer at Find A Way Studios for 3 years and in that time has recorded mixed and mastered many fine recordings for Find A Way. Alan's company Associated Buzz Creative is an entertainment, media, and publicity creative house. ABCBuzz works in film, TV, music, audio and video, bringing the impact of feature film production to the work they do for their clients, from audio post production to sound design for dramatic theatre and the creation of soundscapes for museums, events, and web sites.
Associated Buzz Creative also work in print media, primarily with trade publications serving these sectors of the industry. You can see more samples of Alan's work at http://www.abcbuzz.com.Creative director Alan Hardiman is a specialist in sound design and music production. Making movie and TV soundtracks for over 20 years (Street Legal, Relic Hunter, The Twilight Zone, The Forgotten), he has gained a deserved reputation for outstanding recordings and sound installations. View all articles by Alan Hardiman
Built over three years at a cost of some $110 million, the 1,135-seat concert hall is the jewel of the new TELUS Centre for Performance and Learning at the Royal Conservatory of Music. The hall achieved the highest possible acoustic rating—N1—rendering it ideal for the finest acoustical performances of classical music, jazz, and world music. The incorporation of variable acoustics makes it equally well suited to amplified music, lectures, and film presentations. The hall features two balcony tiers above the main orchestra level, and a third technical balcony, finished to provide optimal sightlines for live televised broadcasts of performances.
Centre cluster (top), rear view of voice-stick behind centre cluster (middle), and close-up of voice-stick showing house mix position (bottom)
For reinforced performances, the voice-lift system can be integrated with the flown performance sound system in an ingenious way to provide complete coverage of the orchestra level and the seating in the chorus levels above the sides and rear of the stage.
Yet another design innovation was provision of a permanent mix position at the rear of the parterre level on the centreline, just steps from the door to the sound control room. Touring professionals who may be unfamiliar with the venue will appreciate this, since it gives them a comfortable place to mix in the same acoustic space as the performers.
Read the full article by Associated Buzz Creative's Alan Hardiman in the April 2010 issue of Lighting & Sound America. More information can be found in our coverage in the March-April 2010 issue of Broadcaster.
Photo credits: Tom Arban (top and middle), Bill Coons (bottom)