TiMax processing and control was specified by Alf Berntsen, head of leading Swedish acoustic consultants Artifon who undertook the audio design for the new space. A longtime advocate of delay-based source-oriented vocal reinforcement, Berntsen had previously included two TiMax systems in his designs for Norway's prestigious Oslo Opera House, where he had also been impressed with their ability to deliver highly immersive surround sound effects.
The project was overseen by head sound engineer at the theatre, Allan Antilla, and designed with the dual objectives of enhancing vocal intelligibility by transparent audio localisation of the actors' voices, in addition to the comprehensive sound effects editing, playback and automated panning offered by the TiMax SoundHub's S-Version software.
As well as these dynamic delay-matrix functions, TiMax SoundHub also provided multiple zone balancing and EQ presets for the eclectic mix of speaker enclosures which get re-deployed in variable setups to accommodate the many different stage and seating configurations which can be created in the state of the art auditorium. The TiMax matrix was fitted with analogue I/O cards plus an optional MADI interface for direct fibre-optic interfacing with external multichannel sources.
Four TiMax Tracker TT Sensors were positioned in the corners of the room to map the space in three dimensions, and received pulses of UWB 6-8GHz signal from 16 TT Tags worn by the actors. The TiMax Tracker location server then applied vector (AOA) and time (TDOA) analysis to track the actors in real-time and continuously adjust the delay settings in TiMax SoundHub to maintain seamless audio localisation for their individual radio mic feeds.
(Jim Evans)
