VENUE 105
VANCOUVER CHAN CENTRE
SINCE BEING BUILT IN THE LATE ‘90S, THE VISUALLY STUNNING CHAN CENTRE HAS WELCOMED A WHOLE RANGE OF PERFORMING ACTS. WITH A NEW MONITOR SYSTEM IN PLACE, AND POSSIBLY MORE AUDIO UPGRADES ON THE HORIZON, THIS VENUE IT SET TO STORM INTO THE 2020S.
vancouver, canada the americas
The Chan Centre for the Performing Arts in Vancouver, Canada opened its doors in 1997. Since then, this performance venue has gained international respect for both its stunning design and its outstanding acoustics. The venue’s sleek, cylindrical appearance provides a stark contrast to its green surroundings. The Chan Centre comprises three individual spaces: The Chan Shun Concert Hall which seats 1,200 people; the Telus Theatre which can cater for up to 275 patrons; and the Royal Bank Cinema which has an 160-capacity. The building was commissioned in the early ‘90s and a world-class design team comprising Bing Thom Architects, ARTEC Consultants of New York and Theatre Projects Consultants headed up the project. The Chan Centre is located within Vancouver’s University of British Columbia campus, so the venue is in use all the time, either by the University, the local community, or travelling performers. The venue can cater for a wide variety of performances including a full range of musical concerts, dramamic plays, student rehearsals and presentations, plus there is flexibility to stage special events. Over the years, the sound system in the Concert Hall has been working hard accommodating the needs of the performers. So, recently Head Audio Technician Jay O’Keeffe made the decision
to begin upgrading the audio equipment. Upgrading would mean prolonging the life of the audio system as well as offering the chance to improve it. The first part of the system to be replaced was the monitor system. There was quite a competition for the new system, with eight manufacturers in the running, offering a total of 17 solutions. Performance expectations and testing protocol were outlined in advance by Jay, so when it came to the day of the shootout, proceedings ran smoothly. The testing process included utilising the Smaart acoustic analysis program to perform on axis and off axis, FFT measurements of the frequency response, phase and magnitude response, as well as the sound pressure level and sensitivity of each monitor. Both self-powered and conventional monitors were included as were various driver and horn sizes. For the non-powered wedges, in order to ensure that the testing process was as un-biased as possible,
Lab.gruppen PLM 10000 amps were used in all instances. Comparisons were conducted as un-processed, as well as with recommended factory presets. Each monitor was level balanced to ensure that the listening tests were only concerned with frequency and depth of field and not the audible perception of power differentials. After narrowing down the choices from 17 to three, a trial period for the three finalists took place. And once that was complete the winner was chosen. Jay explained: “With the Adamson M15 floor
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