Side-1 (12 RL2(RAFALE2)) and Side-2 (6 RL2(RAFALE2)) filled the left and right audio blind spots, fixing volume drop and thin sound in the corner seats.

The low-frequency system adopted a cardioid directional placement method, divided into two combinations: suspended subwoofers and ground-stacked subwoofers. 8 GS218 (CANNON218) subwoofer cabinets were suspended on each side of the stage, and 30 GS218 (CANNON218) ground subwoofers were uniformly arranged on the ground. The upper and lower cardioid arrays precisely cooperated to gather low-frequency acoustic energy, constructing a thick and solid low-frequency foundation. It enhanced the atmosphere in soft musical styles, strengthened the rhythmic texture in clapper-talk and percussion segments, ensuring the low frequencies were neither scattered nor booming, and blended perfectly with the vocals.

10 RX12(COBRA12) covered the front row, solving near-field audio gaps and giving close listeners a great experience.

14 M1(ABRAMS) stage monitors helped Zhang Yunlei and the band hear clearly over the loud audience chorus, ensuring smooth live vocals through fast-paced monologues and traditional songs.

The complete audio chain was paired with RA1 and RA2 amplifier system racks to drive all sound reinforcement units across the venue. Each array performed its own duties and cooperated with one another, achieving a balanced and unified sound pressure level throughout the venue—from the remote stands, middle stands, and front floor area to the stage region. The delicate and lingering opera singing, warm and healing original vocals, and crisp clapper rhythms were all fully restored. When a ten-thousand-person chorus poured into the sound field, melodies and vocal layers could still be clearly distinguished without any messy or muddy sound.

Visually, a full set of ACME professional stage lighting equipment was adopted, arranged in a combination of multiple fixtures including XP 550 BSW (LEO), TB 1060 (SUPER DOTLINE), STROBE 5 IP (HAIL), AECO 20, and CM-620Z (ICARYS 620). 

Different categories of lights divided labor and cooperated, with moving head lights, wash lights, and strobe lights matching each other. They switched lighting and shadow atmospheres according to different performance segments such as traditional Chinese-style tracks, pop singles, and improvised clapper-talk. Cool-toned beams set off lyrical and quiet moments, dynamic strobes ignited the enthusiastic atmosphere of the scene, and characteristic pattern lighting and shadows outlined exclusive stage pictures.

As the final song "Searching for Tan Shui River" played amidst a green sea of lights, the sound and lights created a deeply emotional hometown moment, connecting the artist and fans perfectly.

Reyn Audio and ACME proved their expertise in handling diverse musical styles. We look forward to powering more amazing tours in the future.