Renovation of Toronto’s Massey Hall has seen the construction of a Dolby Atmos studio based around a 64-fader SSL System T S500 console and ATC 9.1.4 monitoring, with IsoAcoustics V120 ceiling mounts used to decouple the loudspeakers from the structure of the room.
‘Over the years, the wear and tear had become evident, prompting a monumental renovation project in 2013,’ says Doug McKendrick, VP of Production and Technology of Massey Hall and Roy Thomson Hall. ‘This endeavour encompassed a comprehensive restoration of the hall itself and the construction of a new seven-storey tower on the south side of Massey Hall, named the Allied Music Centre.’
Dating back to 1894, Massey Hall is the oldest concert hall in Canada and recently completed a programme of extensive renovations that include a venue, bar, theatre, and recording studio. Named after the late President and CEO of the Corporation of Massey Hall and Roy Thomson Hall, the new Deane Cameron Recording Studio has its own dedicated recording rooms and is connected to all venues in Massey Hall and the Allied Music Centre.
‘The integration of content capture, encompassing both video and audio, was a significant emphasis during our venue’s renovation,’ McKendrick explains. ‘The studio serves as the central hub for audio capture within the building and is equipped with 9.1.4 Dolby Atmos mixing and monitoring.’
The studio can capture audio from Massey Hall and all venues in the Allied Music Centre via fibre-optic links, allowing flexibility when it comes to recording events. The studio itself includes a live recording room and multiple isolation booths and –with its Dolby Atmos set-up – is fully capable of creating immersive audio.
‘As we considered our studio project, it felt short-sighted to construct a new studio without the infrastructure to support Dolby Atmos and other immersive formats,’ says McKendrick, who very much supports the current trend towards immersive formats. ‘The inclusion of Dolby Atmos technology adds a new dimension to our capabilities. It opens the door for immersive audio mixing, which has the potential to elevate the listening experience and creativity for artists and audiences. We eagerly anticipate the creative possibilities that Dolby Atmos will bring to our work.’
The monitoring set-up, and the ceiling speakers in particular, posed a challenge. McKendrick eventually looked to IsoAcoustics for a solution. ‘We sought a product capable of supporting the weight, which is substantial at 66lbs,’ McKendrick says. ‘We wanted a solution with a sleek and aesthetically pleasing design. Dave Morrison and his team at IsoAcoustics exceeded our expectations, delivering an outstanding product that also provides isolation. This combination makes this new product truly remarkable.’
The suggestion to work with IsoAcoustics came from renowned engineer and producer Eddie Kramer (Jimi Hendrix, Led Zeppelin, The Rolling Stones), who acts as an advisor for Massey Hall.
‘I thought: how are we going to hang these heavy ATC SMC25A speakers from the ceiling?’ Kramer recalls. ‘We checked everywhere and couldn’t find anything that would give us the swivel and angles we would need for Dolby Atmos. I called Dave Morrison at IsoAcoustics and in a short time we had a plan. With their can-do attitude and old-fashioned ingenuity, we had our solution. Secure, flexible, and sounding amazing.’
The control room features a pipe grid structure connected to the ceiling. The IsoAcoustics V120 isolation brackets were mounted to the metal tube structures using truss clamps. The ceiling tubes allowed the monitors to be positioned correctly and the V120 mount isolated the monitors from the structure and allowed the monitors to be rotated and tilted so the position and focus of the monitors could be optimised for Dolby Atmos. ‘We were all deeply impressed by the precision and attention to detail displayed by Dave and the IsoAcoustics team,’ McKendrick says. ‘They delivered exactly as promised, precisely when they said they would. The resulting product was seamlessly installed on the first attempt. Their dedication and support were truly remarkable, and we are immensely grateful for their help.’
When the studio was completed, McKendrick first tried the rooms without audio isolation. ‘We deliberately began our work without any IsoAcoustics ISO-Pucks installed to genuinely experience the room’s characteristics. Then, we began isolating various elements. I was pleasantly surprised by how much of a difference it made; it notably cleared up some low-mid frequencies and generally improved the overall audio quality.’
This led to a considerably better starting point when it came to finalising the room with room EQ. ‘In my experience, when it came to fine-tuning the room, the ISO-Pucks played a crucial role in addressing certain issues even before we resorted to using measurement microphones and equalization. Being able to resolve problems without relying on EQ adjustments is a significant advantage and well worth the effort.’
Both the ISO-Pucks, and the V120 mounts that were used for the ceiling speakers, mitigate the transfer of vibration into the supporting structure and cavities, reducing the excitation of the supporting structure, the transfer of energy through the structure, and the conduction of vibrations back into the loudspeaker.
More: https://isoacoustics.com
