Categories
TiMax

Two powerful spatial audio worlds collide as TiMax launches TiMax panLab

TiMax – the innovative pioneer of spatial audio technology – has announced the launch of TiMax panLab. Continuing its mission to democratise access to spatial audio, the new macOS application packs a vastly augmented feature set to enable users to take spatialised audio designs further in both entry-level and large-scale systems.

TiMax panLab is the first major product release since both TiMax and panLab joined the Focusrite stable, marking the first step in an exciting roadmap of product updates.  At launch, TiMax panLab adds 3D rendering capabilities to QLab, alongside a wide range of mixing consoles and system processors and now for the first time, TiMax SoundHub.

The clever simplicity of the 3D user interface in TiMax panLab provides a powerful tool for creators to intuitively craft multi-dimensional audio soundscapes. The finely-honed UX design of the original panLab spatial programming platform skilfully developed by the recently acquired Innovate Audio, has impacted with two decades of spatialisation and showcontrol experience directly from TiMax, leading afficionados of immersive audio

With TiMax panLab there are no barriers. The simple and intuitive drag and drop interface allows users to visualise and manipulate audio in a 3D space. The process of positioning elements such as speakers and sources on to the 3D visual interface empowers users to quickly and simply set up complex 3D spatial audio environments. Users are up and running in minutes.

With simplicity and ease of use a defining characteristic of the application, new and existing users will feel immediately at home in TiMax panLab. Once inside the application, users will discover access to both the original panLab functionality to work directly with QLab, panLab Console to interface with mixing consoles, plus all-new access to enhanced spatial pan programming and live Cue management for shows and systems mapped and rendered in the TiMax SoundHub spatial processor.

TiMax panLab’s unique 3D user interface sets it apart from all other spatial audio control packages and it can also be programmed in offline mode without connection to a QLab workspace. With sources and speakers placed within the 3D space, users can take advantage of the bespoke 3D amplitude-based panning algorithm to manipulate object positions not only on the x- and y- axes but also on the height axis.

Sequence paths can be drawn directly in to the 3D space where either individual nodes or the complex path can be then moved and changed – and now also looped. When sequences are played back in QLab the movement automation is displayed in the panLab.

TiMax panLab features new levels of control over actions and output. Sequences benefit from the addition of tempo mapping. The new software offers a tap tempo function and the ability to specify the number of bars each sequence should play across. Multi-selection is also available all across the user interface, adding speed and accuracy to object updates whether for positioning or object level control.

Significant performance improvements have been included in the new TiMax panLab. The software is built upon a new animation engine to allow for further functionality in future updates and offer an augmented experience for panLab Console users. An additional focus on optimisation for older Intel Macs has assured greater access of TiMax panLab to a wider range of users.

With so much to discover and investigate, users will be keen to know that each download of the new TiMax panLab comes with a free seven-day trial of the Ultimate licence, enabling users to connect to QLab, any supported mixer or processor, as well as any TiMax SoundHub.

To start your journey today, head to the TiMax Spatial website to download the software now. There are multiple license options depending on your requirements and working offline is always free.

More Informationhttps://timaxspatial.com/products/timax-panlab/

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Categories
Martin Audio

WAVEFRONT PRECISION JOINS THE PARTY AT PORTUGAL’S GOLDEN GLOBES

PORTUGAL: Since the inauguration of Portugal’s Golden Globes awards ceremony back in 1996, production company Auditiv Audiovisuais has supported the event with advanced sound reinforcement and broadcast.

The company recently returned to the 4,300-capacity Coliseu dos Recreios in Lisbon with a Martin Audio WPC line array, providing the auditorium sound for the first time at the 2024 edition.

According to Auditiv directors Daniel Bekerman and João Escada, who also served as the event’s technical directors, the decision to deploy this advanced scalable PA was largely driven by a desire for innovation. They recognised that this solution would adapt to the space, be visually unobtrusive, provide improved coverage and adhere to the venue’s significant weight limitations.

“The WPC met this demanding challenge in every way possible.”
Daniel Bekerman – Auditiv

Two hangs of 12 WPC speakers were deployed—powered by Martin Audio iKON amplifiers, in 2-box resolution. Low-frequency extension was provided by SX218B, with Blackline X12 handling near-fill and outfill coverage, as well as stage sidefills. LE1200 wedge monitors completed the setup in a 100% Martin Audio deployment.

To ensure fully optimised sound, Auditiv utilised Martin Audio’s DISPLAY2 predictive software, VU-Net for control and SMAART for integrating the front fills, outfills and subs with the main system. System tech Isaac Bugalho was tasked with bringing the best out of the WPC. He was joined at FOH by Tiago Mendes, while Guilherme Vales managed the monitors.

Auditiv also handled the broadcast mix, sending splits via an Optocore/DiGiCo fibre loop.

The event was hosted by Clara de Sousa, one of Portugal’s leading journalists and TV presenters, with each award presented by different guests. The event production company was SIC – Sociedade Independente de Televisão. The evening’s content comprised a mix of various award presentations and live music, including a resident classical orchestra.

Summing up the event, Daniel Bekerman said he was “100% happy” with the Martin Audio performance. “Although we were very satisfied with the system used in previous years, the use of WPC brought improvements, mainly in terms of coverage uniformity.

“With two balconies and a VIP audience, including TV station representatives, the venue is very challenging, and the audience very demanding. With WPC, we were able to use more speakers, achieve better vertical dispersion, and maintain a wider 100° horizontal dispersion. All this was accomplished with less flown weight (the venue has tight limits), a reduced footprint (always important on a TV show), and a simpler, faster rigging setup, making coordination with video, scenery and lighting crews easier.

“The WPC met this demanding challenge in every way possible.”

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