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AiRay overcomes barriers

AiRay overcomes barriers

AiRay overcomes barriers

Japan: Takanori Nishikawa, also known by the stage name TM Revolution, recently performed multiple concerts at The Saitama Super Arena on the outskirts of Tokyo. Hibino Sound delivered the audio setup, as designed by its chief system designer, Hiroshi Inoue, who opted for a Coda Audio AiRay systen due to the unorthodox staging employed for the show.

The main stage gave way to a runway that covered much of the arena’s length and crossed in the middle to allow the singer to get as close to as many of his fans as possible. While visually effective, this meant that FOH was located 70m away from the stage and the lateral runway created a barrier between FOH and the ground stacked subs. Even without these hurdles, Hibino Sound had facilitated audio for previous gigs at the venue and found it to be an acoustically challenging space in general.

‘Normally, when doing shows at the Saitama Super Arena, we've always had issues with 200Hz to 300Hz in the central area around 90m from the main stage and we've always had to work hard to resolve it,’ explained Mr Inoue. ‘Using AiRay, we had clear sound from any position in the arena and I realised that our previous issues were not caused by the design of the venue at all. It was amazing that I could feel the “shape” of the sound very close up no matter where I stood in the audience area.’

The main PA setup comprised 12 AiRays flown centrally below three SC2-F bass extension units. A further eight AiRays were hung per side for side-fill, while six TiRay cabinets delivered front-fill. The ground stacked subs came in the form of 12 SCV-F enclosures.  

Hibino Sound acquired its AiRay inventory last year. ‘Using Coda Audio AiRay for this concert was a revelation,’ revealed Hibino Sound FOH engineer Shintaro Sato. ‘I couldn't believe the sound of the system from 70m away – the detail was incredible – it was as though I was listening very close up. Also what amazed me was the reproducibility of the output sound against the input signal – meaning the audience is experiencing a more “real” sound.’

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