The sound team was headed by John Del_Nero, who has utilised TiMax for the Edinburgh Tattoo for the last eight years. Del_Nero is said to have been one of the first adopters of TiMax for such large-scale events, regarding it as a natural progression from channel insert delay-imaging techniques. For the Moscow festival, the TiMax matrix was employed to provide the central audio imaging and to eliminate musical timing differences between near-field reinforcement speakers and distant acoustic sources, many of which were moving around the arena.
The 16×16 TiMax Rack System ShowControl PC was rented by event sound contractor Spin Music from Out Board in the UK, and used in conjunction with L-Acoustics_ Kudo line array systems. TiMax programming was handled by Sebastian Frost (from Orbital Sound), who assisted Del_Nero throughout the event.
Out Board director Dave Haydon draws attention to the deployment of the TiMax matrix at a number of other, similar events – including those held in Edinburgh and Basle – over the last few years. _Since its original use in the Edinburgh Tattoo by John Del_Nero, it has become the de facto choice for other tattoo productions as well,_ he told II. _In large-scale events where the performers are moving around and need to be reinforced or amplified, there is no other way to do it, really._
While the TiMax system was debuted around eight years ago, Haydon believes that it is _coming of age now because people are demanding this kind of sound quality. As audiences get more discerning, and as the challenges of large open-air events become greater, the use of more complex sound reinforcement and distributed sound systems really demands something like the TiMax to make it all pull together._