From running sound at Hope College to a career designing professional audio-video systems, Tim Hamilton has always had a knack for coupling technology with the human experience. Sound Input interviewed him as part of our new “Backstage” series where we uncover the history of ABD personnel. Learn what makes him tick, what music he listens to, and where he thinks digital technology is headed. Meet Tim Hamilton, the AVL Designer with a pulse on humanity.
Tim, you’ve worked in AVL design for almost 15 years, but I imagine your affinity for technology started long before that. Tell us how you first got interested in the field.
During college, I worked in the Theater and in the Chaplain’s office at Hope College, running the sound for plays, musicals, and chapel services. The more I worked and learned about the technical side of productions, the more interested I became. After I graduated, I was hired as the technical director for the Chapel Program. I spent five years on staff there which allowed me to do quite a bit of free-lance live work with numerous bands as well as a bunch of studio recording projects. After that, I moved into the world of contracting and then on to the design side.
If there’s one thing ABD employees have in common, it’s a love for music. What is your background as a fan of music and as a musician?
I’ve always loved music, mostly listening to it. I did take piano lessons as a child but that was relatively short-lived. After college, I learned how to play the guitar and I still enjoy, when I have the time, playing a few tunes. I also tend to be a bit conservative, with a progressive bent, in my musical tastes. I listen to Creed, Coldplay, U2, and even some of the 80s heavy metal bands like AC/DC and Pink Floyd. And, though not popular with everyone, I even enjoy listening to Country music (just kidding…well, maybe just a couple of tunes).
Tell us about some of the key events leading up to becoming an AVL Designer.
I have always had an interest in sound, both musically and from a physics and mathematical perspective. As I said earlier, my initial experiences with “official sound” included running sound and working with musicians at a college chapel. From there, doors opened up to running sound for local bands and working with churches and other organizations in technical capacities. I also became friends with other “roadies” and “techies,” who helped me better understand both system functionality and design, not to mention the basics of what it means to work with technical equipment. From there, my interests have grown, as has my experiences and expertise. All of this contributes positively to my work as an AVL Designer.
The certification process for becoming an AVL Designer isn’t as clear cut as say, becoming a professional engineer. Why did you ultimately pursue and become an InfoComm Certified Technical Specialist? And what does this credential say about your expertise?
I love to learn new things and better my own skill set, personally and professionally. Getting the CTS certification was a next-step in my learning, as well as professionally advantageous. The more I know and learn, the better I do my job and, hopefully, the better technical systems I design. Ultimately, it improves the quality for those who run and experience said systems. I want things to sound and function well, and I do whatever I can to make that happen, including furthering my own training.
As an Audio-Video Consultant, what are some aspects of your design philosophy?
First and foremost, I want to ensure a positive and fluid listening and viewing experience for people. This experience includes not only the audio and video quality of any given space, it also includes the aesthetics and functionality of any given product or system. When I design a system, it is always with the end user. Regardless of the space and or financial parameters, it’s always about the end product and how people experience the design.
Working in the A/E/C industry means that some of your AVL design projects span the course of several years. Do you ever get the feeling of a job well done? How do you know when you “got it right”?
Yes, and it’s a great feeling, especially when everything comes together and works exactly as it should, for the client and for the audience. Getting something “right” is hard to define, but for me, it’s being in a finished space and seeing and hearing everything work exactly as it should. When clients and audiences are able to fully see and hear all that goes on, without technical difficulties or diversions and when all hardware and software components compliment the audience’s experiences, then it’s “right” and that’s a good feeling.
Can you give us an example of a specific AVL design project where you were presented with challenges and had to overcome them with good design?
A couple of years ago we were brought in to consult with the Diocese of Grand Rapids as they were designing their new facility. They needed to integrate an AV system into their conference center but also needed to have several support classroom spaces equipped with AV systems. To top it off they wanted to be able to have it all integrated together and controlled remotely. We came up with a very effective design that provided them an excellent balance between functionality and cost. It gives them the ability to do everything they wanted to do but also leaves the door open for future expansion.
You have been in the industry since the shift to digital technology became main stream. Where do you see digital technology heading in the future?
Digital technology is definitely here to stay, and it’s a good thing. It has the potential to truly enhance an audience’s experience in any given performance space. However, digital technology presents some very difficult challenges, and opportunities, to how we design systems. We have to make sure that the systems we are designing will work not only today but will also be compatible with sources for many years into the future.
Thanks for the interview, Tim. We look forward to watching you continue to push the envelope of AVL design.
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