For GerrAudio’s Ian Robertson (Manager of Technical Services & Industry Training), the creation and installation of a new Meyer Sound system – as well as DiGiCo consoles and Clear-Com gear – at the Halifax Scotiabank Centre is a full-circle moment.
Back in the day, while working at Tour Tech East (before joining Gerr), Roberston installed the venue’s previous system: “An older Meyer system Tour Tech East used for summer festivals that still worked perfectly but wasn’t as rider-friendly as it had been.”
“Let me take it back even further,” says Ken May (Senior Manager – Events Technology at Events East Group for the Halifax Convention Centre and Scotiabank Centre). “When I started 21 years ago, there were exactly six speakers here: two UPAs and four MSL 2s hanging from the bottom of the scoreboard. That was sufficient for ice rentals, but not active event support, especially in a sellout scenario. They’re beautiful speakers, just too small.”
Daryl Yakielashek, Principal Consultant & Managing Partner for VW Mason Technology Consultants, the firm leading the design effort and overseeing the upgrades to the building’s overall AV infrastructure, is obviously familiar with the previous rig. “It had many lives, and while it was still functioning, it was technology from another era, but it had been reliable for a long time. The new system, in terms of quality, scale, and its ability to support all the various events that go on in that building, is a significant upgrade.”
The Tour Tech East Meyer Sound rig went into the venue for the 2008 Men's World Hockey Championships. “That was going to be a guaranteed sell-out every day,” May notes, adding the system provided “good coverage and all the SPL we needed.” Although a temporary solution, as is typical with Meyer Sound, the system continued to work well for many, many years: “Some boxes were 45 years old. But, from 2008 until 2025, we only lost four or five drivers. Still, eventually, we had to consider a new rig.”
Not before they’d wrung every bit of usage out of the PA, however: “The processors failed, and the amplifiers were disintegrating, so we re-powered the system and built our own crossovers, which worked fine. We knew it wouldn’t last forever, and Meyer was on board to help out. They said they’d do a manufacturing run of drivers if we needed it, but it was time.”
That longevity and support played a major role in the decision to go forward with Meyer Sound, he continues. “That PA literally hadn't been trouble for twenty years and functioned for 20-24 years before that. So, yes, that's one of the reasons we decided to go the Meyer route.”
“Ken is an ex Tour Tech guy as well, so we already had a relationship established and, being from Halifax,” Roberston says. “So, I was very familiar with the building, and we had a good idea of what we needed to accomplish, so I dove in with the current roster of Meyer Sound products, and we came up with a new plan.”
“The project had unique aspects given the architecture of the facility, multiple renovations over the years, and pieces being added,” Yakielashek says. Given the amount of seating, “shadowed or hidden from the bowl, from an audio standpoint, the distributed portion of the bowl system providing coverage for those areas was a significant investment, which created challenges on the design side and in managing budget and making sure we got the outcome everyone wanted.”
The new system consists of Meyer Leopards for mains, “Eight hangs of ten, three along each side of what we call the straightaways, then two at the north end,” Robertson explains.
“Then, at the south end for some ‘low-hanging suites,’ if you will, there's twelve Leopard, with twelve 2100-LFC subs for low end – two hangs of 3 2100-LFCs on the south end (one in front of another to make it cardioid) and the same configuration for the north side.” Additionally, 20 Meyer LINA elements cover the ice surface.
The primary challenge was that suites on either side of the arena block sound from covering the upper bowl, requiring 14 additional speaker clusters comprised of one ULTRA-X42 and one ULTRA-X40. Additional ULTRA-X40s cover the suites themselves, along with more ULTRA-X20s for accessible seating areas under the south suites.
Robertson elaborates: “The transition between the main PA and upper bowl was a challenge. The main PA had to be small enough, vertically, not to obstruct the view of the score clock from the suites, yet low enough to reach the first three rows of the upper bowl under the suites. And the hangs of ten Leopard speakers were small enough to fit that gap.”
“So we're hitting the south suites with the main Leopard PA and the side suites with fill speakers, and those ULTRA-X40s are hung on their sides off the low steel pointed straight into the other suites; nine per side. Then, behind the suites, there are seven clusters of ULTRA-X42s (also hanging on their sides), and an ULTRA-X40 aimed almost straight down behind those suites to cover the upper bowl seats.”
A Milan AVB network allows for remote monitoring of the system via Meyer’s Nebra software, providing an overview of network health and individual speaker data (level, temperature, fan speed, line voltage, et al). “And Nebra speaks ‘human’ – you don't get Error Code 27,” Robertson says, “you get: ‘Sub has gone to limit’ or 'This has left the network.’”
For processing, there are six Meyer Sound Galaxy processors, four 816s, and two 408s; also interconnected via MILAN AVB. “The nice thing about 408s,” he continues, “is they have the same processing power as 816s; only with fewer jacks on the back, but you can still access all eight inputs and all sixteen outputs over the network.”
The system can also be integrated seamlessly with incoming concert rigs. “For Hockey, Lacrosse, and other sporting events, the system runs in its normal configuration. During concerts, the suite and upper bowl fills are timed to the ‘visiting’ PA to fill out the areas that are impossible for a touring system to cover,” Roberson explains.
“I don't want to cast any shadows on the old MSL rig,” puts in Jim Crouse (Technical Services, Events East Group). “With the old PA, we very seldom ever had complaints about sound in the upper bowl. Now, though, with the ULTRA-X40s and X42s, the fidelity is phenomenal. And Ian's tuning - the coverage is completely even in the upper bowl. It's really impressive.”
For any event Scotiabank Centre hosts, Crouse adds, “What we’ve got can handle whatever we throw at it. “When a touring rig comes in, and they pull the arrays up, the sky boxes occlude the audio in the upper bowl. From about a third of the way up, you can see the stage, but not the PA. It’s completely blocked by the skyboxes. So, above row, J, you’re listening to our Meyer PA, not the ‘visiting’ system.”.
The fidelity in the upper bowl, transition, and timing are crucial to the concert experience and other applications, he continues: “Remember, we have three PA elements: the main bowl PA, the upper bowl speakers, and suite box fills. The way the suites are designed, there are glass walls between each one. In a concert format, audio is projected from the north end of the arena and hits the glass walls; glass is audio’s enemy. With rock and roll, there's so much SPL, the glass isn't much of an issue, but for theatrical gigs like Come From Away or spoken word, it’s a problem. But, now, with the fills 30 feet in front of the suites, we have all the clarity and intelligibility we needed.”
“The outcome is superb. It doesn’t matter who shows up for a concert; there won’t be any questions about the integrity and quality of the house system when they patch into it. There was never really a discussion about other options (other than Meyer Sound). Our brand and core values are built around the idea that the owner’s vision is the most important thing in any project. The Meyer decision was driven by the owners, and the outcome speaks for itself.”
“We looked at all kinds of systems over the years,” May says, “but there was always a compromise in terms of getting uniform coverage. This was the first design that nailed it – good coverage everywhere - because of the type of boxes and the technology. So it's a blessing in disguise that we kept that old system running for so long because we’ve ended up with the right system for this building.”
“I was always a Meyer fan because their systems tend to do exactly what they say they will. The company, too – they do what they say. As I said, Meyer offered us a manufacturing run for 45-year-old boxes, so I know, in 15 years' time, I’ll still get what I need from Meyer. A huge piece of my job is support, so whenever I buy product, I'm thinking, ‘What comes next when it starts to fail?’ Or, when we’re interfacing or integrating other equipment, ‘Is this going to be able to do it?’ That's a huge part of my decision-making process.”
That also led to the choice of a pair of DiGiCo S21 consoles as part of the upgrade. “I had an SD11 running for 12 years straight, May says. “And, with the exception of a broken fader here or there, it never failed us. Anytime we needed support, it was just a phone call away. The S21s were the right consoles for this installation, not crazy expensive, but with nice functionality, and the sound, well, DiGiCo’s pres are fantastic.”
It’s the same with GerrAudio, he continues: “They stand behind their products through and through. I make a phone call, and I get an answer. And if Gerr can't help, they’ll find people who can. But it's rare for support to escalate beyond Gerr. They really know what they're doing.”
Scotiabank Centre also upgraded its comms system with Gerr-represented products, moving to Clear-Com FreeSpeak and their Arcadia platform from the venue’s previous Clear-Com 2-wire, 4-channel system. “It was the next logical step in our comms’ evolution. Now, we have wireless comms everywhere in the building, we can expand on the system, and we have a local TV production mobile here often that uses FreeSpeak, so we can integrate with them seamlessly.”
“To put it into perspective, Crouse says: “Ian represents the manufacturer and dealer and knows the product inside out. Ken represents the design. He spec’d it, went through the facility with a fine-toothed comb, decided what was needed and how it should work. I represent the pry bar; my job was to ‘real-world’ this system and see if I could break it – to figure out how it should and shouldn’t operate.”
“I've been at Events East for 14 years,” Crouse adds. “Ken and I go way back, and my background previously was corporate AV in a small company here in Halifax. I’ve spent many years pounding square pegs into round holes and making things work. I like to say that my strongest skill is the ability to identify potential points of failure in a system. In this case, I haven't found it.”
When the new Meyer rig was installed, “The difference, acoustically, was incredible,” he continues. “It’s so present I thought we might get complaints from season ticket holders, not because it's too loud, but because it’s hitting them differently because it's coming from everywhere, right? But I haven't, and I don't anticipate there being any.”
Ultimately, for May, Crouse, and anyone taking in a game or show at the venue, it seems that long-term partnerships and longevity are key to success. “I'm happy that it turned out this way,” May concludes: “I mean, at the end of the day, I'm very happy that we ended up in the boat that we are with Meyer Sound and GerrAudio.”
Yakielashek concurs: “GerrAudio were great partners and collaborators. They supported this above and beyond what would be expected of a typical distributor. Ian’s experience with the Meyer product and the venue, working on the design, was invaluable.”
Scotiabank Centre in Halifax Upgrades Meyer System, Adds DiGiCo and Clear-Com