In a live spatial audio first, a recent performance of the Royal Philharmonic Concert Orchestra was authentically spatialised using an object-based TiMax mix across the standard left/right main system of a conventional festival PA setup.
It took place in London’s BST Hyde Park Festival (BST), where Solotech UK supplied the Martin Audio loudspeaker system. Sound designer and FOH mix engineer, Sonosphere’s Phil Wright, realised the sonic feat by replacing the usual console matrix mixer function with a TiMax SoundHub delay-matrix spatial processor.
“Usually, only a small percentage of the audience falls within the stereo corridor at any gig,” Wright explained. “We wanted to expand that experience – not artificially with more hangs – but with the powerful capabilities of TiMax across a standard festival PA.”
TiMax product and software manager, Dan Higgott, created a spatial rendering of the stage layout in the studio using TiMax, which was transferred to the TiMax SoundHub at BST’s FOH via the new TiMax Scaling Surfaces feature, and scaled up to replicate the actual stage.
TiMax received each orchestral microphone or microphone group separately as its own object, and directly fed the various main, fill, sub and delay sections of the PA from its matrix outputs. Allowing each input object to be positioned with both time and level-based control, TiMax recreated a highly accurate sonic map of the performance not just at the mix position, but across a much wider audience area.
“There was very little in the way of level-based panning in the mains,” noted Wright. “But by working with delay-based spatial cues, the imaging remained clear and authentic – even from well outside the usual sweet spot. It was more than we’d hoped for.”
One standout feature of the setup was the imaging of the chorus. With over 100 inputs, grouped where necessary but mostly preserved as individual sources, TiMax enabled the kind of spatial separation and clarity not usually achievable in stereo festival mixes. “The PA just disappeared,” Wright added. “We had full depth, full width – and the choir sat exactly where it should, without smearing or spill.”