The TiMax Two Soundhub is available in two formats. Soundhub-S, is used for audio show control and playback in live shows and events. The Soundhub-R format is aimed at systems integrators and contractors who need a comprehensive set of audio routing, mixing, processing, and playback tools for fixed installations, with a wide variety of remote control options. Both formats come in the same compact chassis; differences lie in the control software.

. Connector Assembly
The Soundhub comes standard with a single 16 x 16 matrix card and 16 channels of random access audio playback. Three additional card slots are available for system expansion up to 64 x 64, with 64 channels of playback. Multiple Soundhubs can be cascaded for scaling beyond this for operation in multi-zoned theme parks and other large venues.
Each matrix input can be selected from among three sets: analog or AES-3 digital audio, Cobranet or Ethersound audio, and random access audio playback from the system’s internal hard disk drives. The three inputs can be mixed together onto a matrix input, or crossfaded one to another, using presets. This effectively makes a 16x16 into a 48 x 16.
Balanced analog audio interconnect is via groups of eight channels on DB25 connectors in the now familiar Yamaha pinout. Digital I/O with sample rate conversion is provided for 16 channels on DB25 connectors, with an option to sync automatically to embedded word clock, or to lock to external word clock on a BNC connector. Digital audio on Cobranet or Ethersound networks is provided in pairs of 32 on Cat 5 cable. MIDI, SMPTE, and GPIO connectors round out the rear panel. Optional dual power supplies, dual cooling fans, dual mirrored audio hard disk or flash drives, and input relay bypass provide for fail-safe operation.
In a multi-user environment, single or multiple Soundhub units can be programmed from one or an indefinite number of computers in any mix of PCs and Macs on 100 Base-T Ethernet, while a front panel control pad and color LCD screen with simple push-button switches and menus permit stand-alone operation of the system for show and cue recall. Alternatively, presets and cues can be recalled remotely from AMX/Crestron, MIDI, SMPTE, GPIO, or TCP/IP controllers.

TiMax Editor Screen

Level, delay adjustment, and parametric equalization are provided for every input and output, with eight bands of EQ and output delay (in addition to the crosspoint delay) available on each output channel to allow for conventional loudspeaker system alignment.  If you need to ‘move’ a particular loudspeaker a little further back, the additional output delay allows you to do that without having to rewrite all the image definitions. All levels, EQs, delays, and routing paths can be stored in libraries and recalled to additional channels as required.
Each cue or preset can be crossfaded between different routing, level, delay, and EQ settings for seamless operation as performers move from one zone to another during a show. Operation of the TiMax GUI is extremely intuitive, with drag-and-drop functionality, and familiar console features such as control group faders, signal meters, and EQ displays.
A list of preprogrammed cues or presets is stored as a show or configuration, a number of which can be stored on hard disk or flash drives in the Soundhub. Via a series of simple front-panel screens, soft switches, and a rotary encoder, the user can recall a show and execute its cues. In addition, the user has access to pre-assigned level and mute groups to make adjustments across multiple zones and sources. I/O metering, solos and mutes permit localized zone control, source switching, and diagnostics. Needless to say, access is password protected.


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