TiMax provides a new musical experience for Antwerp nights

Studio Zuid you have purchased a processor TiMax SoundHub-S64 with MADI I/O for the shows it offers in its semicircular auditorium. The first work in which this solution has been used has been in an immersive production of The Bodyguard.

Studio Zuid has transformed its entertainment offering with the acquisition of a processor TiMax SoundHub-S64 with MADI I/O. The semicircular auditorium in the shape of an amphitheatre of this venue located in Antwerp (Belgium) host a wide variety of musical experiences, the first of which was an immersive production of The Bodyguard, who became famous for Whitney Houston's film and its award-winning soundtrack.

The venue's sound designer and audio director, Erik Loots, I had a great vision of the type of production the venue needed and the level of audio flexibility I wanted for shows like The Bodyguard.

“TiMax was essential. I needed it for its ability to treat both channel-based and object-based audio.. Siempre he sido un gran seguidor de TiMax y de su flexibilidad cuando se trata de aplicaciones inmersivas, and how this show was completely mixed in immersion, era la herramienta perfecta para el trabajo”.

Esta solución proporciona el motor de inmersión principal para el programa de producción de Studio Zuid y facilita la mezcla espacial de toda la reproducción multicanal y la localización de las voces en directo en el local.

El contenido del espectáculo de The Bodyguard incluye pistas musicales grabadas en inmersión en los estudios Galaxy by Wilfried Van Baelen, donde la acústica de la sala se suma a las diferentes reverberaciones grabadas en formato Auro3D.

La versatilidad de TiMax, con su renderización espacial adaptativa, fue lo que hizo que fuera la elección correcta para los retos de inmersión específicos del local. The dining room, with the capacity to 550 Diners, It was designed to closely follow the contours of the semicircular stage, so TiMax's ability to work effectively with a minimal configuration of speakers of virtually any make and type was key.

With limited test time and technology, TiMax's workflow was instrumental in achieving quick adjustment and a perfect blend of all stage elements, Surround sound and elements for a hybrid immersive environment based on objects and channels.

To adapt the large public area, different equipment has been installed Coda Audio. There are three identical sets of eight speakers Coda N-Ray. The left and right pendants also feature the subwoofer support of three flown N-Ray subwoofers in a reverse cardioid configuration, Pointing 45 degrees out, and there are also outfills made up of six N-Ray cabinets.

The filling is provided by four Coda G712 stacked left and right, while at the front of the stage eight teams have been located Coda HOPS8 front-fill supported by three other flown G712s also configured in L/C/R.

Thomas Coene He took care of the mixes with a table Digico SD7 Quantum, through which live voices were combined with music playback from a redundant Cubase system of 128 canals.

A system Qlab redundant 64 Channels also handles sound effect playback using MIDI commands to retrieve scenes and snapshots on TiMax and the mixing console. A plugin system was used Waves Multi-Rack for external reverbs, EQ & Compression.

Difficult audio setup was simplified by the TiMax platform's structure and workflow. As Erik explains, “Be able to manually change the level matrix and delay between inputs and outputs, It allowed me to manipulate the set image definitions on the fly and dial in custom settings for the channel-based look of the show, It was a lifesaver, especially because of the short production and rehearsal time we had”.

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