Bruce Havery
Owner, Soundman Productions Inc.
I’ve been solving problems in audio for over 20 years, both in the studio and at live events. There’s a lot of moving parts that make up a recording process, whether you’re recording one person or an entire orchestra. I received my Recording Engineering Diploma from Trebas Institute (1988-1990), where I specialized in live recording, starting with video/audio recording, and then moving into orchestra and choir recording. From there, I worked for Cinram Manufacturing and Number 9 Studios in Toronto in the 90s, where I picked up some of my first clients. They’d record their band and then say, “My brother has this choir; can you help with this?” I got lots of referrals that way. But even at N9, I didn’t mix. I was in the back, repairing and fixing things to make sure people got the sounds they wanted. I’m a problem solver at heart; whether it’s audio, wires, computers, or anything else, I’m not afraid to tinker and learn until I figure it out.
In 1998 I bought a van from Turtle Recording in White Rock, BC, outfitted it with a Mackie 32-9 console and Tascam DA8 78 Recorders, and built my own 48-channel broadcast snake. And I ran this truck around BC for 5 years until the vehicle broke down. I even took it to the Commodore in Vancouver for a few Long John Baldry shows. I was getting a lot of referrals from recording studios at the time. When I shut it down, the next day I got a call from a band manager asking if I could record at BC Place for U2. I was so upset. I brinastormed and tried to problem-solve different ways of making it work, but in the end, I had to pass on the job. I had all the gear and know-how; I just didn’t have the van to get me there.
All in all, I’m a perfectionist, especially with audio — that’s why what I do works. But despite my experience, I’m not so set in my ways that I won’t be willing to look into another artist’s way of doing the same thing. I love to play and experiment with equipment and sounds, and my goal is always to provide the best recorded experience possible — something that my clients can be proud of for years to come.
Over the years, I’ve worked with many conductors and orchestras, like the Fraser Valley Symphony, because they often want recordings of their concerts, just for themselves. I love hearing the orchestra play. Being able to replicate that on a recording, so that people — myself and others — can experience the music for years to come is one of the most fulfilling things I do. Orchestra recording is particularly difficult and most people don’t know how it works. I end up explaining the decca tree micking technique with clients quite a bit — you might think you need to mic every person in an orchestra to get the best sound, but that’s not the case!
Outside of audio and video production, you’ll catch me playing mandolin or tinkering with my HAM Radio equipment in my free time. I love adventuring out to the cabin with my wife Heidi and our German Shepherd, Radar.
