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 16x16 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._