The system was based on over 20 distributed speaker channels including two HW compact line array systems and 14 Kling & Freitag trapezoidal cabinets on poles or on the ground at the front of each audience seating bay. There were also six sub-bass channels feeding separate 2x18" cabinets spread out under the horseshoe-shaped audience bleachers surrounding the 80m x 25m outdoor performance area. The system was designed by Thomas Strebel with the assistance of Robin Whittaker and Dave Haydon from TiMax developers Out Board.
The job of the TiMax system was to make sure the radio mics placed on various band members and vocalists would localise to where they were standing or marching, all in real time. TiMax was calibrated with ten Haas Effect delay-based localisation zones down the length and breadth of the arena, plus a balcony and 'Lone Piper' tower image. Then using its cue-driven Playlist, the various acts' mics were sequentially applied to these zones both statically and dynamically as they moved around the site. Microphone and playback sources were mixed selectively to eight groups on the Yamaha digital console which in turn fed eight TiMax matrix inputs.
The 16-in x 24-out TiMax system was supplied by Out Board, with imaging delays and cues programmed on-site by the company's Dave Haydon, in conjunction with Stefan Binggeli who operated the system during the shows. The audio system was provided by Hyperson under the supervision of system engineer Christian Ramsauer, FOH engineer was Florens Meury, stage manager was Klemens Trenkle, supported by engineers Raphael Wäfler and Michael De Mel who looked after the show's complicated radio mic. This highly efficient band of experienced freelancers work regularly with Thomas Strebel on his more complex productions and are known collectively as the Audiopool.
From the show's intro fanfare localised to a first floor balcony, the audio imaging challenges became ever more diverse. The German Gebirgsmusikcorps performed with four huge alpine horns in the centre of the arena, with tinkling cowbell accompaniment. The Schweizer Armeespiel featured a rock ensemble and percussionist, accordion player and three guys spinning coins in a bowl, as well as full military brass band spread out across the arena.There were also the usual Highland Massed Pipes and Drums who feature at the now legendary Edinburgh Military Tattoo event in Scotland, which has also employed a TiMax system for each of the last six years to make the event's audio match up to its consistently spectacular performance and production standards.
(Lee Baldock)
