The
BY KEVIN YOUNG
rapid pace of technological change has had an
effect on production technologies across the
board, and on how we consume, utilize, and
experience content of every kind. Those impacts
have been felt as much in dedicated event facil-
ities and performance spaces as in our homes, of-
fices, and virtually every space we pass through.
What’s also changed – as our phones,
consumer electronics, and toaster ovens speak
more fluently to each other – are our expec-
tations of what technology can achieve. (Like,
right this instant and at no extra cost.) That
manifests itself in the question: “If I can achieve
‘X result’ in my home quickly, inexpensively,
and easily, why can’t I get similar or better re-
sults in ‘Y setting’ with the same core benefits?”
Advances in technology, to some extent,
trickle up from the consumer space into the
commercial space and (perhaps to a lesser
degree) vice versa, but in many cases, not as
swiftly or pervasively as we’d like, or like to be-
lieve. So are our expectations of how the power
of handheld tech translates to the gear hanging
from rafters and concealed in ceilings of every-
thing from food courts to concert halls realistic?
To discuss this, Professional Sound spoke
with representatives from three firms: Greg
Bolton, Audiovisual Project Manager at Smith +
Andersen; Peter Bernatsky, Managing Partner,
and Ted Parnell, Pro Audio Sales, at Advance
Pro; and architect Jennifer Mallard of Diamond
Schmitt Architects.
Greg Bolton’s fascination with music and audio
began early on, growing up in a home where
music was highly valued. His later work as a
musician and audio professional only deepened
that fascination.
In his current role with Smith + Andersen,
a Canadian consulting engineering firm with
offices across the country and over 50 years in
the engineering and design industry, Bolton
manages AV integration projects across mul-
tiple verticals. This has afforded him a unique
perspective on how advances in production
technology, and how people consume music
and audio, influence the expectations of those
who work, live, and play in the spaces he’s
worked on over time.
“I’m sure you’ve been on phone calls
where the audio quality is far from what you
would have speaking face-to-face,” Bolton
begins. That’s an issue in any setting, partic-
ularly when meeting remotely in conference
with multiple stakeholders. “The audio quality
you’re able to obtain in your home, more of
our clients are requiring that level of clarity
and asking, ‘Why can’t I get that in my office?’
So I think the ‘trickle down’ effect from pro
audio has been helpful because more people
are more apt to see value in spending more
to get better quality.”
The benefit of implementing systems
with increased functionality and clarity pro-
vides a definite return on investment. “In the
commercial world, I’m able to sell the idea of
quality equipment for higher cost because im-
proved communication saves time,” he offers.
Greater connectivity, functionality, and
clarity are increasingly important for projects
in which, previously, no audio, basic playback,
or only emergency communications systems
were deployed, like retail and educational
facilities, for example. Additionally, communal
spaces like houses of worship and cultural and
performance venues are upping their game to
meet consumer expectations.
“The example of a food court, where
you’d never have any AV technology [previ-
ously], now you’re seeing displays promoting
things or providing more information,” Bolton
says. “Higher education is a prime example,
too. Before, we rarely had devices in common
areas and barely any in classrooms; now, virtu-
ally every classroom is connected in some way.
We expect to walk up to a screen somewhere
and interact. The idea that only certain rooms
require technology is going out the window
because of the technology in our hands, and
our desire to interact with other people and
devices as we go about our day.”
That said, while audio wayfinding – for
example, our phones telling us how to get
somewhere while driving – is commonplace,
in public, video is king. The introduction of
additional sound into already noise-rich envi-
ronments is one reason audio often plays sec-
ond fiddle relative to video, but, Bolton says, if
a video presentation is less than perfect, we’re
not too fussed; if the audio is less than ideal,
you’ll hear about it.
In many instances, even where large-
scale video walls are installed, audio is an
afterthought. That will change, he believes. “A
great example is a video wall I saw in the States
that displays this gorgeous waterfall streaming
down the wall and uses doorframes as where it
hits the rocks. It’s integrated perfectly with the
architecture, but it stands out because of subtle
waterfall noises. The video content is driving the
bus, but audio drives the effect home.”
In spaces like museums, where audio has
long played an important informational role,
the power of (and our reliance on) our phones
is fueling a desire for more intuitive, intelligible,
and user-friendly audio systems that we can
use personal devices to consume or trigger.
But on-demand audio for personal use vs.
content for public consumption are very dif-
ferent animals. In a public space, audio played
day in and day out on a loop can be an annoy-
ance. Says Bolton: “You can turn your back on a
screen, but not on sound.”
Curated audio like radio in a retail space,
for example, provides variety. Personally-curated
music – say a “Shopping for Groceries” Spotify
playlist that plays from your device on speakers
within an audio zone in a store – even more so.
Granted, retailers would likely rather curate your
experience and sprinkle in advertising.
“The problem with any type of content
for a public space is ROI,” Bolton puts in. “Cli-
ents likely won’t invest in creating something
that’s not going to have a return, especially
considering the cost of creating it, but there
are specialty applications where that would
be beneficial. It’s not really in everyday public
life yet, but, being an audio guy, I’d love to see
more of that.”
Bolton sees other benefits to higher cli-
ent/consumer expectations, explaining that,
although 5.1/7.1 haven’t replaced stereo mixes
in recorded music, immersive audio is on the
rise. “Instead of left/centre/right at a concert
venue, some shows and tours are actually
being mixed with multiple output channels to
give the audience a more immersive experi-
ence.” Cinema and live theatre have offered nu-
anced integration of video and audio sources
for years, he says, “which adds extra elements
to the art itself.”
Networked AV has decreased the required
technical infrastructure and its physical and
aesthetic presence in various spaces. “That’s the
best thing, from a design perspective, that’s hap-
pened for future proofing,” says Bolton. “I don’t
need to cut holes anywhere or worry about XLR
inputs in a floor box; I just need data ports.”
In some applications, adoption is grad-
ual, but in the educational, performance, and
corporate spaces, networking is increasingly
critical and attractive in terms of ROI.
“I’ll say it’s almost expected in a corporate
environment to connect wirelessly to a screen,
but I don’t think it’s as user-friendly as it should
be yet,” Bolton adds, noting that, in part, it’s
“because few devices allow you to be com-
pletely agnostic, in terms of your operating
system, for connectivity.”
As technology has changed over the years,
Manitoba’s Advance Pro has evolved apace.
Founded in 1971, the firm originally concen-
trated on the broadcast market but has since
diversified to provide consultation, system de-
sign, sales, installation, and post-sale services
for virtually any application, from offices and
airports to cultural institutions like Winnipeg’s
PROFESSIONAL SOUND 39