Germany - The historic Deutsches National Teater in Weimar has complemented its purchase of a new Studer Vista8 console with a TiMax2 SoundHub-R32 system matrix and playback server, replacing an old analogue Studer and legacy TiMax Classic matrix which had been in daily use for the past ten years. The new TiMax SoundHub system was purchased from distributor Pro Audio Technik following on-site demos by the company's TiMax technical sales specialist Matthias Ziegenberger.
TiMax SoundHub was chosen by the theatre's experienced and distinguished sound crew of tonmeister Moritz Kobel, tonmeisterin Sarah Hscher and tontechniker Uwe Kohlhaas, for its dynamic delay-matrix SOR localisation capabilities combined with comprehensive general housekeeping functions of linkable 8-band parametric system eq, routing and multi-zone level grouping.
Audio is transported between TiMax and the Studer console using a combination of MADI and analogue I/O, and there is a patchbay so other sources can access the TiMax directly. The TiMax SoundHub analogue outputs feed Crown Macrotech MA600 amps, via a splitter to allow TiMax to also deliver occasional feeds to additional mobile active speakers.
The Weimar sound system consists of 12 of the classic Meyer UPA theatre cabinets and 20 of the compact Meyer UPM boxes. The main PA comprises an LCR system consisting of a dozen UPA's above the stage, with another eight as delays and fills. The UPMs are mounted around the audience as delay fills and for surround sound effects.
TiMax SoundHub handles system management, eq, zone control, and delay-matrixing of the entire distributed speaker system. Also, multiple sets of Image Definition delay-matrix presets provide a library of on-stage vocal localisation and surround sound effects pan points for the varied show configurations which the theatre has to accommodate.
Head of Sound Moritz Kobel comments, "With the TiMax SoundHub we can manage even complex speaker setups very easy. That's especially useful in the Weimar theatre, as we have constantly changing staging setups which have an influence on the speaker setup as well. Another big advantage is that we are able to acoustically adapt dynamically to complex movements and changing position by the actors. This way we can automate movements that otherwise would need a lot of work by hand."
