Chesser became intrigued with TiMax after the technology was presented at the ASD Winter School in 2014 and has subsequently showcased immersive soundscapes for research and development projects using TiMax.
In Vernon God Little, Chesser recreates the frenetic but isolated world of the main protagonist. In one sequence she creates an immersive memory soundscape the protagonist is reacting to, explaining, "Using TiMax's tracking/panning effects voices and sounds (bell, gunshots) are coming at him from different directions. For the audience it recreates that claustrophobic, 'can't escape!' feeling that he has in that moment, because they are in the thick of it too."
Chesser adds, "TiMax really pulled this effect together and made it the clear, understandable chaos we wanted to create. If I'd used something like Doppler Effect in edit software, for example, the timing would be almost impossible to get just right and the effect just would not be the same."
For this production the audience is tucked into a three sided in-the round configuration. Chesser augmented the Space's main L/R PA with smaller boxes at the opposite end as surrounds and also to anchor spot effects such as a toilet flushing, phone ringing or a car horn from 'outside'. QLab triggers the cues for TiMax via MIDI and a single wired mic goes to TiMax via the desk for the several newsroom segments which are central to the show's plot. TiMax switches this variously between a tightly delay-matrixed localisation for realism or a widely spatialised mode for a more surreal effect.
"Working with TiMax has brought my sound designs to the next level and the technology is encouraging me to grow and explore how sound can be used to complement and aid the creation of the worlds of the shows I work on - in this case Martirio, Texas for Vernon God Little. It's much easier to use than I first thought it would be: I will be using when and wherever I possibly can."
(Jim Evans)
