TiMax in the Press



Magazine cover imageTwo revolutionary TiMax innovations were shown at the annual Contact Technology Showcase in Toronto's Glenn Gould Studio in December. First, the new PanSpace software features an intuitive user interface with which you can drag objects around a jpg image of your stage or field of play. An object can be a mic input from an actor, or a sound effect replayed from the unit’s internal 64-track hard-drive. The second innovation on display was the TiMax wide-band radar system, that localizes performers to within 6 inches in any dimension. One visitor noted, "The difference between conventional sound reinforcement and TiMax performer localization is akin to the difference between good stage lighting design and just turning up the house lights to see what’s happening onstage. There’s simply no comparison." Published in Broadcaster (December, 2014). Full article.



Magazine cover imageDisney's musical Aladdin is the newest and perhaps largest stage production to be propelled by TiMax's source-oriented reinforcement approach to sound design, currently enjoying a smash Broadway run at the New Amsterdam Theatre. Ken Travis' design is based on three TiMax2 64x64 matrix Soundhubs feeding more than 200 loudspeakers, and a TiMax Tracker system to localize performers anywhere on stage and high above it on a magic carpet! Published in Lighting & Sound America (August, 2014). Full article.



Magazine cover imageIt may sound like heresy, but just because it’s sound doesn’t mean it has to be mixed. With the proliferation of matrix consoles, adequate DSP, and sound design devices such as the TiMax2 Soundhub and TiMax Tracker available to the sound system designer, mixing is no longer the only way to work with live sound—let alone the best way for every occasion. Published in Live Sound International (September, 2013). Full article.



Magazine cover imageMessage impact and audience engagement—fundamental objectives anytime AV technology is applied in contexts where people are gathered together—are goals worth pursuing as much in houses of worship as in live theatre and for corporate events. Implementing a source oriented reinforcement approach incorporating sound localization, spatialization, and show control is the surest route to achieving those goals, such as with the TiMax2 Soundhub, easily retrofitted to existing consoles. Published in Technologies for Worship (July, 2013). Full article.



Magazine cover imageEven as we mark the 80th anniversary of the first live stereo transmission, we are only now starting to get it right for speech reinforcement. Unlike music, for which spaciousness ranks higher for listeners than the localization of individual instruments, speech intelligibility requires the preservation of localization cues. Overlooked in the advancement of surround reproduction systems financed by the film industry, this factor is essential for reinforcement in live theatre. Published in Live Sound International (June, 2013). Full article.



Magazine cover imageTo Mix or Not to Mix? That is one question, especially in larger theatres or outdoors. But mixing isn't the only production tool available to sound designers for voice reinforcement, where intelligibility suffers when vital localization cues from the stage are lost as voices are disembodied and mixed into a center cluster, L-R, L-C-R, or surround loudspeaker system. Published in Lighting & Sound America (May, 2013). Full article.



Magazine cover imageBattle of the Titans, a dinosaur exhibit staged at the Royal Botanical Gardens in Burlington, Ontario, featured life-size recreations of a Tyrannosaurus Rex and Triceratops designed by Jurassic Park theme park designer Hall Train, and an immersive soundscape by veteran sound designer Gary Hardesty hosted on a TiMax2 SoundHub for replay over 36 loudspeakers. Published in Sound & Video Contractor (May, 2013). Full article.



Magazine cover imageThe Royal Shakespeare Company has added the flexibility of a TiMax2 SoundHub 48x48 matrix to its audio system at its Courtyard Theatre to localize voices onstage, as well as for signal distribution and loudspeaker management in its "three-dimensional delay system." RSC head of sound Jeremy Dunn said, "It was a joy to use, sounded great, and the price was right." Published in Lighting & Sound International (April, 2013). Full article.



Magazine cover imageVeteran West End sound designer Gareth Fry used TiMax Soundhub and Tracker automated performer localization in the Barbican's recent production of The Master and Margarita, hailed by critics as a fantastic technical achievement. Published in Lighting & Sound International (March 15, 2013). Full article.



Magazine cover imageTiMax technology enables a listener to localize a performer's voice to within 6 inches in any direction—exactly what's needed in a house of worship to keep attention focused where it belongs: on the speaker, not the loudspeakers. Published in Technologies for Worship (January, 2013). Full article.



Page 1 of articleImmersive-interactive outdoor theatre for up to 30,000 visitors per day was propelled by unique sound design using TiMax technology, for The Wharf at York, part of the Redpath Waterfront Festival's 1812 bicentennial celebration in Toronto. Published in Theatre Design & Technology (Fall, 2012). Full article.



cover of L&SI article on TiMax at the OlympicsVisitors touch, stroke, scratch or simply wave at panels equipped with sensors and transducers to allow visitors to control the music and sound at Coco-Cola's Beatbox exhibit at the London Summer Games. Published in Lighting & Sound International (August, 2012). Full article.




Aida 2012 image

For the third consecutive year, the TiMax level and delay matrix system has been specified for Raymond Gubbay's in-the-round production of Verdi’s Aida at London’s Royal Albert Hall, to create clear distinctions as to exactly where individual vocals are emanating from on the very large stage. Published by AudioPro International (March, 2012). Full article.



L&SA Cover Sept. 2009Three dimensional sound in the theatre is at last possible with automatic sound localization and spatial imaging provided by TiMax audio show control. Published in Lighting & Sound America (September, 2009). Full article.




page 1 of L&SI article on Tosca at RAHPushing the boundaries of theatre sound in Raymond Gubbay's production of Tosca at the Royal Albert Hall, TiMax technology was invoked to address problems in localizing multiple performers in theatre in the round. Published in Lighting & Sound International (April, 2008). Full article.



L&SA Cover Sept. 2009The TiMax Tracker system covers a large area and can detect the transmitters on the bodies of the actors from multiple angles. Actors' movements are far less likely to block the ultra-wideband signals, nailing the nimblest of sopranos to the very spot. Published in Lighting & Sound International (April, 2008). Full article.