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TiMax

TiMax Launches New Scaling Surfaces For SoundHub

The user interface of the new Scaling Surfaces tool for TiMax SoundHub.

New tool designed to allow users to re-scale a spatial show file from a studio playback environment to an auditorium with two mouse clicks.

TiMax has announced the expansion of the capabilities of its SoundHub platform with a new tool named Scaling Surfaces, designed to allow users to re-scale a spatial show file from a studio playback environment to an auditorium with two mouse clicks.

Users can re-scale their show for a new venue by changing the Scaling Surface size, shape, and height, and they can do this at any time. When an object is attached to a Scaling Surface, and that surface is moved, all spatial positioning and movement automation for that object, across the entire show file, moves with it.

Users can also distribute content without knowing the absolute scale of the playback environment or system, enhancing flexibility. They can also utilize more than one Scaling Surface in a file – for example, to cover a “stage” and “auditorium” area, where the two Scaling Surfaces needed to be resized separately.

Integrated into the PanSpace window, between Image Definition and Spatialisation workflow elements, Scaling Surfaces is designed to provide time savings within the audio rendering workflow. It offers a familiar interface; with eight drag handles and direct manipulation controls, users can resize, reshape, and reposition spatial surfaces just as they would an image in a photo editor.

Scaling Surfaces requires TiMax SoundHub version 6.10 or later and is showcased at the new TiMax Spatial Studios in Tileyard, London. Go here to try it.

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Martin Audio TiMax

MARTIN AUDIO AND TIMAX TEAM UP TO TAKE TED THEATRE INTO NEW IMMERSIVE DIMENSION

Canada: For one memorable week each year a wing of the large Vancouver Convention Centre event space transforms into the custom-built 1,200-seat TED Theatre — which hosts powerful, high-profile talks aimed at driving meaningful change.

As the non-profit TED Organisation’s relationship with its current PA supplier was nearing an end, their long-serving and highly experienced audio consultant, Michael Nunan was working on a TED Countdown project in Brussels, alongside FOH sound engineer Miles Barton, another veteran of TED event sound mixing. “We were discussing what PA manufacturer would be a good choice going forwards,” Barton recalls. “I’ve used Martin Audio gear since leaving college 24 years ago—and now use it regularly with [Martin Audio rental partner] 22Live.”

He believed the two brands—TED and Martin Audio—would make a good alliance, and duly asked 22live director Spencer Beard to make the connection with TED Head of Production, Mina Sabet. She, in turn, contacted Martin Audio MD Dom Harter—and the idea quickly gathered momentum.

Sabet was determined to disrupt the orthodoxy when it came to audio projection. “There’s a level of perfection and excellence that we look for and a very specific sound. I want speakers to be very ‘present’—as if they’re standing in front of you—something very different from a corporate event. And for performances and music we really want an immersive space, so that attendees would feel a deep sense of connection with both the speaker and the room.”

This was a challenge that Dom Harter readily embraced. “Miles had recommended our optimisation as a tool to improve TED broadcast quality by reducing spill from the PA. At that point we introduced Simon Honywill to design and spec it—and upgraded it to a TiMax spatialisation platform.”

Honywill himself said, “I was thrilled, as I’ve been a long-term advocate of all things TED related, having worked on a TED Global event back in 2013, and even delivered my own TEDx talk.

Another bonus was the fact that this was to be in their own portable auditorium, made entirely of sourced Douglas fir trees that has been reused annually since 2014 when it was originally designed. “This made it a really beautiful environment to work in,” said Simon Honywill. “It’s the reason I really wanted to go to town on the design, because while most of the output is speech, video content, audio bumpers and live music also play a major part.”

Simon Honywill knew that by incorporating fellow Focusrite Group sister brand, TiMax into his design, a spatialised solution would enable seated audiences of up to 1200 people in the auditorium to receive the sound naturally at their seat rather than it appearing to emanate from a loudspeaker.

For the designer, the challenge as much as anything was the fact that he would be liaising with Nunan, Sabet—and Martin Audio integration partner Alford Media—remotely from his base 4,600 miles away. He was also acutely aware that aside from the live audience, TED would want to deliver a pristine broadcast feed on its streaming platform for its many subscribers.

WHAT I’M VERY IMPRESSED WITH IS THE TIME, ENERGY, THOUGHTFULNESS AND EXPERTISE THAT THE FOCUSRITE GROUP HAS BROUGHT TO THE EVENT.

Mina Sabet, Head of Production, TED

Honywill developed the workflow, creating a sound system model and transferring designs created in Vectorworks to SketchUp and then importing into Martin Audio’s proprietary DISPLAY3—before handing over responsibility to Eric Faulk at Alford Media for implementation. “The model actually looked great,” he smiles. This enabled him to send comprehensive, and immersive delayed sound to both surround and overhead speaker locations.

Five hangs of WPS line array were positioned in an arc—the three centre hangs with 11 elements deep and the two outer hangs with nine deep—making 51 fully-optimised boxes in total. These were supported by a central array of 10 SXC118 cardioid subs.

The main surround rear speakers comprise four hangs of four Martin Audio TORUS horizontal arrays, with FlexPoint 12 high performance coaxial point source boxes enveloping the space and distributing all the overheads to create full immersion in an object-based scenario. Subwoofers for surround comprised of SXH218 below the TORUS arrays.

To optimise the implementation of TiMax SoundHub distribution matrix, Simon Honywill worked closely with TiMax co-founder Dave Haydon and Senior Product Developer, Dan Higgott. “WithMartin Audio’s DISPLAY prediction software we could very accurately predict what the sound system was going to sound like. And with the TiMax software we were able to pre-calculate all the level and delay to every element of the system,” said the latter.

“The big difference with a TiMax immersive system such as TiMax is that with TiMax we can calculate the delay times for every loudspeaker and input source back to the position of that source. It allows the perception of the sound system to completely disappear for the audience; if you do it correctly the audience can forget they are listening to amplified sound.”

TED presenters occupy a set position downstage centre for their delivery—and the PA is aligned to that. Simon Honywill: “While TiMax handles that elegantly—there was content submitted in 5.1, and between Dave Haydon and I, we came up with a concept whereby there was a kind of generic set of image definitions that spread the 5.1 source out across the system in a very convincing way.

“Michael Nunan was saying that the broadcast feed sounded the best it had ever done.” In fact

he reports that the FOH (and Broadcast A1) team were hearing between 6-10dB less PA in the Presenter’s headset mic than in the past. “That is, the PA design was very effective at preventing the energy from the house spilling back onto the stage,” he says, giving it further context.

Both Nunan and Martin Audio’s Brad Stephens also emphasised the importance of having a sound system “that doesn’t put audio where it’s not wanted.” Said Stephens, “With the sound optimised for the room we can define coverage from front to back and exclude areas, either by ignoring them or actively excluding them with the ‘Hard Avoid’ [feature].” This was particularly appropriate for the stage area—an attribute also highlighted by Mina Sabet.

Reflecting on the fit-out, she said, “What sets this experience apart is that Martin Audio has been really focused in making the venue deeply immersive in a way that we haven’t experienced before at a TED conference. And in that respect TiMax is unmatched. The partnership between Martin Audio and TED is taking us to another level of audio that we never thought possible.”

Michael Nunan agreed. “Previously it has been unavoidable hear the voice coming from the loudspeaker that I am sitting closest to. But the first time we put up a microphone on the stage this year the big, distributed Martin Audio PA was effectively transparent. It has completely changed their approach to pathways and how to manage the show in a single workflow. Using TiMax SoundHub creates enormous operational efficiencies.”

In summary, Mina Sabet said, “What I’m very impressed with is the time, energy, thoughtfulness and expertise that the Focusrite Group has brought to the event. They really came through, in what was a complicated set-up. I know Michael Nunan was thrilled, and very excited about the potential.”

Next year will be the TED Conference’s 12th and final year at the Vancouver Conference Centre before relocating to California and she is confident that the sound will make a further quantum leap. “I’m really excited about the future and the opportunity to make it even more immersive,” she exclaimed. “The potential is amazing, and I further expect to be blown away in year two.”

Photography: Gilberto Tadday / TED & Jason Redmond / TED.

 

LINK TO VIDEO

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Categories
Martin Audio TiMax

Martin Audio & TiMax help create a panoramic space and immersive soundscape

China: On February 27, with the successful conclusion of the Guangzhou Entertainment Technology Show (GETshow), the cooperation between Leading Audiovisual Technology Co., Ltd. and Guangdong Stage Art Society also came to an end.

This four-day audio-visual feast not only showcased the industry’s top technology and artistic achievements, but also witnessed the in-depth cooperation and innovative practice between Leading Audiovisual and Guangdong in the field of technology and art integration.

As one of the most influential performing arts equipment exhibitions in the world, GETshow has attracted professional buyers and industry elites from more than 100 countries and regions around the world. The 2025 exhibition was themed “Guangdong Boundary – Breakthrough Space Power”, focusing on multiple fields such as stage art, intelligent sound and light technology, and cultural tourism and performing arts, and fully displays the industry’s cutting-edge technologies and innovative applications.

As a prominent AV company in China, Leading Audiovisual has been committed to providing the market with high-quality audio solutions. Here they showcased the latest results of its cooperation with Martin Audio, including advanced audio systems and TiMax immersive audio technology.

TiMax is one of the world’s pioneers in the field of immersive audio and video technology and their mature immersive technology has been widely used around the world. From London’s West End, New York’s Broadway to Hong Kong, TiMax is the core technology provider for theaters, entertainment and display experience activities.

System configuration: all-round immersive audio layout
The immersive audio system that Yuejie and Leading Audiovisual cooperated on used Martin Audio’s PI8 speakers and PI118 subwoofers, combined with TiMax’s advanced audio processing technology, to create a full-range immersive audio environment.

The successful GETshow 2025 marked the starting point of the cooperation between Leading Audiovisual and Guangdong Stage Art Society, as well as marking breakthroughs in the audiovisual field. During the exhibition, the cooperation projects of both parties attracted a lot of attention and praise from professional audiences.

Xu (Rico) Ruixian, General Manager of Leading Audiovisual, said: “Through in-depth cooperation with Yuejie, we not only demonstrated the strength of Leading Audiovisual in the field of audio technology, but also saw the possibilities of the integration of technology and art. In the future, we will continue to work with Yuejie to bring more immersive audiovisual experience to global audiences.”

Leaders and expert teachers of the Guangdong Stage Art Society said: “Yuejie has been committed to promoting the integration of stage art and modern technology. Through cooperation with Leading Audiovisual, we have successfully combined art and technology to bring a new audio-visual feast to the audience. In the future, we will continue to deepen cooperation and jointly promote the development of the industry.”

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TiMax

TiMax Helps Create An Enveloping Sonic Environment At The Dwelling Place In Texas

The Dwelling Place, a house of worship in Houston, TX, has been equipped with a new system utilizing TiMax SoundHub-S32 object-based spatialization.

Sanctuary at Houston house of worship outfitted with SoundHub-S32 object-based spatialization to foster a more immersive, engaging audio experience.

Houston, TX house of worship The Dwelling Place has been equipped with TiMax SoundHub-S32 object-based spatialization to complement a loudspeaker system upgrade within its sanctuary space.

Sound designer John Hettinger wanted to create an immersive experience that would reach out to his congregation, work with his choice of loudspeakers, and liberate vocals from static positioning at the front of the church. The Dwelling Place previously had a traditional stereo audio set up and Hettinger notes the main problem was “…how few of the seats were truly stereo in this set up.

“We wanted a sound system that had depth and soundstage for every seat in the room,” he continues. “We wanted to create a worship experience you could get lost in, and that was an experience you had to be in the room for. Broadcast is incredible, but a completely different experience. Once I’d helped the sound team here learn how to create an object-based mix we quickly hit that spot where the PA disappeared and the music wraps around you. Absolutely beautiful.”

The sound team mixes from a Waves eMotion LV1 console, from which the audio outputs via an MGB Soundgrid, into the SoundHub-S32, which in turns outputs MADI into the Auvitran platform that converts the signal to AVB for the system’s Meyer Sound Galaxy processors. They deliver output to the system’s four main hangs of Meyer Sound line array and front fills, with surrounds fed direct from TiMax analogue outs.

The objective of this sound design was to wrap the worship music around the room, with the option to localize the music back to its originating position. To this end, the four line array hangs are positioned around a phantom center, while front-corner, side and rear surrounds are positioned, in Hettinger’s words, “…with enough overlap between all the speakers so TiMax creates full immersion.”

Hettinger notes that he delved into the delay-matrix feature, adding, “…. and of course the PanSpace spatialisation, is great for getting creative with different setups, wrapping stereo keys, guitars and pads around the room. Having moving drum samples for effects in worship.

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TiMax

TiMax Spatial Announces New Software Release For TiMax SoundHub

New 695S Mac and PC client release represents a significant update and delivers a range of functional enhancements, minor bug fixes and user-experience refinements.

TiMax Spatial announced at the 2025 ISE Show in Barcelona that a new 695S Mac and PC client software release for TiMax SoundHub is complete, and it can be accessed by download by users and anyone interested in discovering more about the spatial audio platform from the TiMax website.

The latest release represents a significant update and delivers a range of functional enhancements, minor bug fixes and user-experience refinements. Specifically, SoundHub 695S adds support for the “Z” axis in the PanSpace and in Timeline, adds the ability to select all objects of the same type within a cue and refines how audio loop points are modified. Many of the key upgrades in the new version software respond in detail to feedback from the TiMax user base.

“This new 695 software release demonstrates the commitment of the TiMax team, backed by the Focusrite Group, to advance the capabilities of the full suite of performance, presentation and experiential products from TiMax,” says TiMax product development manager Dan Higgott. “Simplifying the workflow and expanding the ecosystem for production professionals further, TiMax will open the door for sound designers plus event and integration engineers from all disciplines to push the boundaries of spatial audio and show control capabilities even further.”

The update is supported with a set of training videos to help familiarize users with the TiMax spatialization and show control workflow. The videos guide users through an overview of the software, through Building a Space, Image Definitions and Timelines, to building a cue, building a mix and on to internal and external show control.

Go here and navigate to “Support” for a free TiMax SoundHub 695S Mac and PC software download.

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Martin Audio TiMax

Martin Audio & TiMax Team Up For Immersive Presentation Of Pergolesi’s “L’Olimpiad” In The UK

Three-act opera presented at The Vache estate in Buckinghamshire supported by an immersive soundscape for audiences of up to 200 utilizing TiMax SoundHub spatial reinforcement guided by TrackerD4 stage trackers delivered by TORUS 8 and FP4 loudspeakers.

A cast of seven members of operatic company Vache Baroque (plus narrator) recently delivered Pergolesi’s 1735 three-act opera L’Olimpiade on the grounds of The Vache estate in Chalfont St. Giles, Buckinghamshire, UK, supported by an immersive soundscape for audiences of up to 200 per performance utilizing elements of the TiMax spatial platform working with Martin Audio point source loudspeakers.

The production was under the direction of Laura Attridge, while the 17-piece orchestra, led by Jonathan Darbourne, helped deliver an interpretation of this Olympics-style story, from authentic early music instruments. Audience members were seated al fresco under a stretch canopy, which simulated a purpose-built concert hall that was achieved by judicious use of reverb and delay.

At the hub of the approach was TiMax SoundHub spatial reinforcement guided by TiMax TrackerD4 stage trackers worn by the performers, and played out through a series of discreet loudspeakers. The challenge had been to provide sound reinforcement without any evidence of amplification attained by rental partners 22live working with technology from within the Focusrite Group.

Dom Harter (managing director of the Focusrite Group’s live and installed sound brands) had initially been approached for assistance by a distant relative (and patron of the company) who sought adequate sound. “The fact that Vache Baroque is a charity, and the money they raise enables them to undertake valuable outreach work for schools in the area, was reason to get involved. We were delighted that with 22live we could ensure high production values.”

Already involved in the process was Harder’s 15-year-old son, Elijah (who has been mixing local musicals and shows), and the journey began. The first port of call was experienced operatic and classical sound designer Simon Honywill, who has a long relationship with Focusrite brand Martin Audio.

Honywill drew up a specification, with an audio visualization “model” constructed in Martin Audio DISPLAY (3D) predictive software before the TiMax PanSpace entered the workflow. The loudspeaker locations were then “recognized” by TiMax. Honywill then instructed TiMax to automatically render the space with Image Definition spatial objects to define where he would want audio source objects to emanate from, both on-stage and in surround for upmixed “virtual room” reverbs.

To retain the purity of Baroque opera and the integrity of the traditional instruments, Honywill says that “with TiMax, we could develop a sound system that would basically ‘disappear’. It would simply ‘lift’ everything and the imaging would remain true to life to what was taking place onstage. No-one would know it was there.”

He also determined that the most obtrusive loudspeakers would be the discreet pair of TORUS 8 mounted on poles either side of the pros arch (the pair of designated SXCF118 subwoofers were already recessed out of sight). This formed a foundation from where the sound from the orchestra would emanate. However, the bulk of the reinforcement was delivered by compact FlexPoint FP6 and FP4 loudspeakers distributed across the multi-layered staging areas.

FP4s provided front fills, while further forward, a row of four FP6 primarily handled vocal image reinforcement. An additional 24 FP4s on poles were arranged in an audience surround delay system; some were towards the stage as a dedicated reverb system for artistic and spatial distribution. This helped deliver a lift in level towards the back row of about 6 dB.

TiMax director Robin Whittaker says, “We were basically playing audio dominos with the various wavefronts through the space, getting them organized within a time window which was constantly being modified as people moved around.” TiMax ensured everyone heard the loudspeakers a tad later than any voice or instrument, thus perceptually localizing to the performance. TiMax TrackerD4 constantly maintained this imaging as performers moved around the stage.

All loudspeakers were powered by six multichannel iKON iK81 DSP amplifiers and controlled from a Yamaha DM7 digital console, supplied along with the DPA microphones, Shure Axient wireless systems and control racks by 22live. It was in the DM7 that the reverbs were generated. “We used the X-Verb reverb and onboard Rupert Neve compressors; a bit of multiband compression as well,” Whittaker adds.

Honywill adds, “The trackers were crucial to maintain the illusion of the sound system not being there. And they worked brilliantly. Both musicians and singers absolutely loved it.” The imaging and spatially upmixed reverbs created the impression that the opera was taking place in an auditorium rather than a back garden.

The show had required balancing at the mix position throughout, not only in levels, but in killing the reverb during dialogue and reintroducing it in during the singing. “Subtle adjustment of reverbs can make a huge difference in how convincing the sound system is,” he explains. “And at no point did I even stop to consider that we had to EQ the PA; because it just didn’t need it.”

Dom Harter states, “Effectively there were only 12 reverb-only loudspeakers; you don’t want to completely simulate the acoustics of a church because you’re in a tent, but if you don’t do something then it just sounds ridiculously dry. When the reverb speakers were pointed upwards it was almost impossible to hear them generating reverb; it was just washing over you from above which is exactly what it would do if you were in a building. This was one of the best sounding concerts I’ve ever been involved with. It all starts on stage — and the musicians themselves are phenomenal.”

And Jonathan Darbourne, Vache Baroque artistic director and co-founder, concludes, “Outdoor performance of traditionally acoustic music comes with many considerations, not least when Baroque-era instruments are being used. The sound team were extremely sensitive to balancing amplification with authentic effect which was very impressive.”

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Categories
TiMax

The anti-acoustic adventures of Concrete Voids and TiMax panLab

Concrete Voids at London’s Southbank Centre is provocatively described by creator Tony Birch as anti-acoustic. The experimental audio project explores the acoustic possibilities of the empty concrete spaces that surround the Queen Elizabeth Hall auditorium to create an unconventional and organic sound environment. A social media moment and subsequent collaboration with TiMax panLab originator, Dan Higgott, provided the keystone for audio control in the project, which will see the first instalment of commissioned artist performances in March 2025.

Turning away from traditional soundscape designs and instead celebrating the unique hidden acoustics of the venue, over the course of a year, sound engineer Birch who has over 17 years of experience within the Queen Elizabeth Hall auditorium space, positioned a variety of repurposed and custom-built speakers within the three voids of 14 vents located above the audience and 6 full length voids beneath the seats. “The project is completely diffused,” explained Birch. Aside from the main auditorium system that the project taps into, “…not a single loudspeaker addresses you directly.”

Until Birch saw the post from Dan Higgott announcing that his spatial audio visualisation software could operate via mixing consoles, the control aspect of the project was still up in the air. Birch expands, “Although I was already aware of Dan’s software, I was looking at my project from the perspective of it being controlled live in real time rather than as a playback piece. As soon as he built it into a console it made sense for me.”

“I’m still not quite sure how I would have managed without TiMax panLab,” the sound engineer confesses. “The brilliant thing about Dan’s software is that it doesn’t mind where everything is positioned. It’s not locked into a formal set up where the assets must be in a certain position to work. It works with what is there and what you ask of it.”

The close collaboration between Higgott and Birch worked both ways, developing both project and product. The 3D visualisation upgrade from 2D that TiMax panLab benefits from is due to Birch. Birch explains, “It was a big thing for me. The whole project is above you, below you and to the sides so I needed to control sound in 3D. A week later Dan came back with a 3D version. It’s so clever, yet unbelievably simple.”

In 3D, Birch has designed a custom spatial environment of the Queen Elizabeth Hall auditorium by layering multiple ‘zones’ – or self-contained panners – on top of each other to create a completely bespoke spatial environment. Based on the output of TiMax panLab’s bespoke spatial algorithm, auxiliary and matrix send levels on the venue’s Yamaha QL5 console activate the audio through the loudspeakers.

Yet despite the clever complexity beneath the surface of TiMax panLab, simplicity has remained a key driver. The software can be set up within five minutes, using existing audio equipment, including QLab, mixing consoles and TiMax SoundHub, to produce spatialised audio.

In a project like Concrete Voids that simplicity is vital. TiMax panLab can connect to equipment via OSC, MIDI and Timecode. One of the active elements Birch has prepared is a set of MIDI commands for artists to incorporate into their experimental sound designs: “We have it all very simply in front of the artist and they can move what they want, wherever they want.”

However, Birch concludes, “For me, there are two critical reasons for using TiMax panLab. The first is it simply acknowledges and works with the equipment we have already in the space, our workflow hasn’t changed, we just reach for panLab rather than the pan pot.

The second is the 3D visualisation which is so quick and simple to set up. As the Voids exist all around us here, I needed to visualise the sound and sources in the actual space in offline preparation. Now, using TiMax panLab, it’s easier to draw paths than it is to explain them. I’ve even got my 9-year-old son drawing what he hears when building shows. It really is that easy to use.”

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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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TiMax

TiMax assures peak spatial performance on Germany’s oldest outdoor stage

Central Europe’s outdoor performance tradition determinedly eschews standard staging formats, seeking instead the most picturesque yet challenging environments to deliver their tales to audiences in their thousands. Set in a rock labyrinth with certain upstage scene elements offset at heights up to 25m above the main stage area, Wundsiedel’s Luisenburg Festspiele, on Germany’s oldest outdoor stage, turned to TiMax SoundHub to create intelligible immersive audio for every seat in the 2000-strong audience, via sophisticated object-based soundscapes rendered by the platform’s dynamic delay-matrix processing.

System-Sound Designer, David Horn, maintains four TiMax SoundHub showcontrol systems at his disposal, but used a single 64-channel unit activated for seamless real-time vocal localisation driven by a new TiMax TrackerD4, recently purchased from the TiMax German Distributor, Pro-Audio Technik.

Eight TiMax Tracker sensors, some mounted on trees and even rocks, covered the huge 38 metre-wide and 25 metres deep performance area, complete with one section of stage that rises into the hillside to a height of 25 metres.  The system captured every movement from 24 TiMax Tracker UWB RF Tags worn by the performers moving through the space.

The pioneering TiMax SoundHub is unique in its ability to translate the experience of audio coming from a height into the 3D soundscape received by the audience. It is able to convey such finer nuances of performances in a wide variety of environments due to its highly-evolved speciality of rendering audio spatialisation with both level and delay as opposed to simple level-panning.

With on-site support from TiMax product manager Dan Roncoroni and director Dave Haydon, Horn established 30 image definitions across the stage plus a number of others accommodating the upper woodland levels. TiMax was primarily deployed to enhance vocal intelligibility but was also used to distribute the audio within the space for spot effects. He explains, “I use TiMax because it is the only system that has such experience and proven longevity in theatre world but specifically, because of the dimensions of this stage TiMax was necessary for the audience to tell on the stage who is singing or talking.

“By using TiMax we guarantee a higher level of attention from the audience – particularly for the performances for children. It was very noticeable when we stage Pippi Langstrumpf at the beginning of the Festspiele Season in May, that the younger viewers were very focussed and engaged with the play. So using TiMax has made a real difference here.”

The loudspeaker system distributed under the canopy in front of the hillside stage comprised main line array systems with a total of six high Q80 speakers, complementing two centre array hangs each with three high Q40 units all from local German manufacturer, Ritterbusch Audio. Also supplied were eight B-18 sub bass units with four B-15 centrally placed subs, eight T6 for near fill and 16 LDK81 line array modules providing audience delay reinforcement. Weatherproofed Bose 802 speakers were place at three locations on the upstage hillside, acting as localisation anchors for these distant performance areas. TiMax and the Yamaha PM5 Rivage main console were all hooked up via Dante.

Horn concludes, “The vital features of TiMax that made short work of the sound planning were the Mixer and PanSpace features. TiMax added space and direction to the resulting audio as well as much more fun for the audiences in comparison to stereo.

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Categories
TiMax

Southbank Centre launches unique experimental sound system Concrete Voids with new artist commissions

Southbank Centre launches unique experimental sound system Concrete Voids with new artist commissions

The Southbank Centre has today announced the first names as part of its bespoke large-scale experimental audio project, Concrete Voids. Concrete Voids will have its public debut with a series of concerts featuring new Southbank Centre commissioned works by rapper Lex Amor, electronic music producer and visual artist GAUNT, viola da gamba player Liam Byrne and fiddle-player Cleek Schrey, and cellist Peter Gregson.

Conceived and designed by Southbank Centre Sound Technician Tony Birch, Concrete Voids is a totally custom-built system of loudspeakers that turns the auditorium itself into an epic three-dimensional instrument. Made up of over 80 speakers which are concealed within the chambers, tunnels and vents surrounding the Queen Elizabeth Hall auditorium, Concrete Voids provides artists with enormous creative opportunities to create rich and complex sound-worlds for their performances. Using spatial audio solution TiMax panLab, sound sources can be moved and manipulated within the space, even by the artist as they perform.

Southbank Centre Artistic Director Mark Ball said: ‘Concrete Voids is an incredible opportunity for artists to expand the horizon of their artistry as we provide a platform for new, ambitious music. Equally, audiences will be able to experience a revolutionised atmosphere in the Queen Elizabeth Hall. Despite all its tonnes of concrete, the space echoes with life!’

Showcasing the power and versatility of Concrete Voids, there will be several premiere concerts where audiences can experience this ambitious use of space and sound first hand. In the opening double-bill concert on Sunday 16 March, cellist Peter Gregson performs new work for cello, synthesisers and string ensemble with Southbank Centre Resident Orchestra Aurora Orchestra. Following, viola da gamba player Liam Byrne and fiddle player Cleek Schrey extend the resonances of their old stringed instruments, creating an expansive new sound.

On Saturday 5 March, rapper Lex Amor blends live music, poetry, and sound design to explore the anthropological and societal themes that feature throughout her music. Finally, on Friday 3 October, multidisciplinary artist Jack Warne AKA GAUNT presents a brand new audiovisual performance, Augmenting the Void – ULCY. Central to the performance are four large-scale paintings by Warne, each harbouring hidden looping memories beneath their surface. These ‘loops’ are brought to life through a performer utilising a custom-built Augmented Reality system, crafted in partnership with artist Alistair McClymont (Amcc Studio).

On working with Concrete Voids, Peter Gregson said: ‘Exploring the Concrete Voids is incredibly exciting. It’s much more than a reverb (which the Queen Elizabeth Hall already has in abundance!), it creates a whole new dynamic layer for us to explore on stage and watching musicians react and respond to it is hugely inspiring to me as I continue to develop my new work for it.

More performances utilising Concrete Voids will be announced soon. Tickets for the first shows will be on-sale Thursday 10 October at 10am via the link below.

https://www.southbankcentre.co.uk/events/concrete-voids/

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