16 actors wore miniature radar-frequency UWB transmitter TT Tags which were tracked by six TT Sensors installed around the stage and the auditorium. The TiMax Tracker software used an automatic calibration routine to instantaneously map the stage area in three dimensions based on some simple measured Sensors location data. Thereafter the system followed the actors' movements around stage and sent this information via MIDI to the TiMax showcontrol software.
Delay-matrix settings for the four TiMax Image Definition panning zones DSL, DSM, DSR and US were configured using a combination of measurement and listening tests. To help get the system fully operational in few days during busy cast rehearsals,the production received on-site programming and training support from Out Board's Robin Whittaker.
The TiMax showcontrol software interpreted the tracking information and applied relevant delay instructions to the TiMax matrix to move the performers' DPA4061 audio images around stage in realtime. TiMax was patched between the Soundcraft Vi6 channel direct-outs and the Yamaha DME64 PA processor, whose outputs then fed three Meyer M1D arrays hung above the proscenium as a split LCR vocal system, left and right hangs of Melodie also used for band mix, a pair of CQ outfills, and four individual MID cabinets as stage front-fills.
Rovakis comments, "Beside the pleasing and subtle result of hearing the sound close to the actor, we also achieved a well differentiated and transparent mix for the whole audience, especially in scenes where many actors sing simultaneously. Above all, the TiMax and Tracker system was very stable and easy to use and the support from Out Board UK was excellent."
(Jim Evans)
