CLIENT
The Royal Edinburgh Military Tattoo
LOCATION
Edinburgh Castle, Edinburgh, UK
YEAR
2024
PROJECT TYPE
Live Event / Entertainment
Scope
Audio system and control design, Show control programming, Music editing and consultancy, Rehearsal and technical support
Services Provided
- →Audio System Design
- →Show Control Design
- →Music Editing
- →TiMax Programming
- →Creative Collaboration
The Brief
A globally renowned cultural spectacle, the Royal Edinburgh Military Tattoo returns each August with a fresh narrative, welcoming international military bands and performers to the iconic Edinburgh Castle Esplanade. For the 2024 edition, titled Journeys, the brief was to deliver a robust, dynamic audio system that would faithfully support everything from traditional pipe bands to contemporary musical arrangements.
Auditoria were engaged from the concept stage to lead the design of loudspeaker systems, audio control, and show control systems, and to collaborate closely with the creative and music teams on shaping the sound of the show.
The Challenge
One of the show’s greatest strengths is also its biggest technical challenge: movement. The performers are constantly on the move, with massed bands dynamically forming and reforming across a wide and deep esplanade. This continuous spatial shift affects time alignment and localisation for the audience, who surround the performance area on three sides.
Additionally, all mixing is done remotely from the control room in the East grandstand; there is no front-of-house position in the traditional sense. That means the entire control operation must work without any real-world reference to the open-air acoustics of the venue. To deliver a seamless and natural-sounding result, a high degree of coordination between the sound designer, mix engineers, and music team is essential.
Add to that the constraints of weatherproofing, limited space for loudspeakers, and the need to preserve unobstructed sightlines, and it’s clear why this project requires both careful design and experienced execution.
Our Approach
Our design intent was to seamlessly blend the natural acoustic energy of the performers with amplification that enhanced rather than overpowered. Localisation was managed through precise TiMax programming, which was first tracked during rehearsals and then locked to timecode for consistency across the month-long run.
We worked closely with Composer and Arranger Tom Hodge during rehearsals to ensure the mix aligned with the show’s musical direction, while Simon Fox mixed a mono reference inside the control room. Ethan Curry programmed every performer’s movement into TiMax to align with loudspeaker delay times, ensuring that what the audience heard always matched what they saw.
Custom rigging solutions allowed us to mount KIVA II arrays unobtrusively on “goal post” frames at each stair entrance, preserving sightlines while delivering targeted coverage. Additional 5XT fills were installed along the accessible platforms and VIP areas, and a system of 24 SB15m subwoofers were deployed to give weight to more modern musical sections.
This year also saw a large stage band in the moat, which added another layer of complexity and richness to the performance.
Technical Highlights:
Audio Design
14 x KIVA II arrays mounted on custom frames with outfill via pairs of 5XT per array
64 x 5XT front fills for platform coverage and nearfield localisation
13 x 5XT and 7 x SB10i for VIP areas
24 x SB15m subwoofers
2 x Gatehouse arrays of 4 x K2 each
L-Acoustics Soundvision for acoustic modelling
TiMax for spatial programming and delay management
Over 150 wireless IEM packs supporting:
-
- 72 channels Shure Axient Digital
- 12 channels Shure PSM1000 IEM
- 4 channels Sennheiser SR2050 IEM
2 x TiMax SoundHub Processors
Timecode-locked TiMax programming based on tracked rehearsals
Dual-engine DiGiCo Quantum 7 consoles each at FOH and Monitors (both at full input capacity)
Redundant AVB and Optocore signal distribution networks
The Results
Despite the outdoor location, minimal rehearsal window, and sheer scale of the show, the 2024 edition of the Tattoo was another resounding success. Our system design and TiMax programming enabled an engaging, high-fidelity experience for every member of the audience, wherever they were seated.
Feedback on the sound was once again an excellent testament to the continuous refinement of our workflow and the strong collaboration with the REMT creative and technical teams.
As ever, watching the show come together remains a special experience. The sheer momentum of the Tattoo is unlike anything else, and it’s a privilege to contribute to its magic.
Acknowledgements
Our Client
The Royal Edinburgh Military Tattoo
Creative & Production Partners
Creative Director – Michael Braithwaite
Musical Director – Nick Grace
Composer and Arranger – Tom Hodge
Production Director – Harry Guthrie
Technical Delivery – Solotech
Our Team
Sound Designer – Scott Willsallen
Associate Sound Designer – Ethan Curry
Music Editor and Consultant – Joe Callister
Additional Team
FOH Mix Engineer – Simon Fox
Monitor Mix Engineer – Martin Dineley
Our Supplier
Our thanks to Solotech for supplying, installing and maintaining the system for us
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