In his Delay-Imaging presentation, TiMax creator Robin Whittaker demonstrated to audience members how audio wavefront arrival time differences significantly influence the perceived localization of multiple audio sources, a phenomenon discovered by Helmut Haas in the 1950s. In live audio demos, precise control and management of source delay offsets was shown to significantly improve voice and music mix intelligibility, a perceptual outcome known as the Cocktail Party Effect. Several case studies have explained the benefits of this sort of control in real life operatic and orchestral sound reinforcement, say Out Board.
The creation of animated surround effects soundscapes for theatrical, corporate and special events was demonstrated with the help of cannon fire, Harley Davidsons and a helicopter fly-by played off the new TiMax PC audio playback system.
For a slightly different flavour, TiMax was installed in the new Polo's Blue Cube club, which hosted several evenings of entertainment during the AES, sponsored by the likes of Shure, SLS, Allen&Heath and the Huge Universe Group. In performances ranging from electronica groups to DJ/acrobatic dance ensembles, musicians and sound engineers played with automated surround placement and panning of multiple mix sources, using a wireless PC tablet to control TiMax across two floors of the club. Blue Cube's technical manager Terrance Alan commented: "I am glad to see the excitement about the system and potential of the venue. It is a truly amazing system."
A review of AES appears in the December issue of Lighting&Sound International magazine, out now.
(Sarah Rushton-Read)(Photo: courtesy of the Audio Engineering Society)
