On August 8–9, the Wu Bai & China Blue "ROCK STAR 2" tour landed in Nanjing, igniting the gymnasium nights for two consecutive evenings. With no special guest performers, every single fan in the arena became the protagonist of the stage. Guitar riffs, brass rhythms, and massive audience choruses collided as classic rock anthems filled the air in succession, maintaining a passionate atmosphere throughout the entire night.

Rock live performances put the dynamic upper limits of any sound reinforcement system to the ultimate test. With a full live band setup outputting powerful energy from electric guitars, basses, and drums, compounded by continuous, large-scale audience choruses, issues like frequency stacking, drowned-out vocals, and muddy low frequencies easily arise. The production needed to unleash the exhilarating impact of rock music while preserving Wu Bai’s highly recognizable vocal texture, ensuring crisp articulation and vocal details remained fully discernible. In the early stages of the project, the technical team utilized the TURANDOT acoustic system platform to complete 3D sound field simulation for the venue, pre-calculating array rigging angles and energy coverage ranges to avoid reflection interference caused by the multi-tiered stands. This production adopted an integrated Reyn Audio sound reinforcement and ACME lighting solution, tackling the challenges of wide acoustic spans in large gymnasiums to build an all-domain audiovisual experience combining power and subtlety.

The main sound reinforcement system (Main) utilized a combined flown array of 24 units of RL15 (RAFALE15) paired with 12 units of RL2 (RAFALE2). The RL15 (RAFALE15) handled core vocal and instrumental mid-to-high frequency outputs, faithfully restoring Wu Bai’s gravelly yet warm voice and the transparent, sharp textures of his guitar solos. The RL2 (RAFALE2) served as extension units to supplement vertical coverage, steadily delivering acoustic energy deep into the floor seating area and the distant upper stands while suppressing wall reflection interference. Even in the highest nosebleed seats, the audience received a complete, uncompromised listening experience.

The side fill arrays (Side) deployed 32 units of RL2 (RAFALE2) line arrays to strengthen acoustic energy on both sides of the venue, smoothing out listening level disparities at the edges of the stands and eliminating sound field gaps. This ensured the left and right side stands were no longer acoustic "depressions," achieving uniform timber throughout the entire venue.

The low-frequency section adopted a dual architecture of flown subwoofers and a ground-stacked subwoofer matrix. A fly-sub array of 16 units of GS218 (CANNON218) subwoofers was flown to provide a suspended low-frequency atmosphere, while a ground-sub stack of 30 units of GS218 (CANNON218) subwoofers built a heavy and solid low-end chassis. Heavy drum hits were crisp and decisive, bass rhythms filled the chest with vibration, and rock tracks delivered explosive power. When switching to lyrical slow songs, the low-end control was restrained without stealing the spotlight, maintaining a clean separation from the vocal and instrumental frequency bands.

Eight units of RX12 (COBRA12) front fill speakers were arranged along the front edge of the stage (Front-fill) to fill near-field blind spots, improving the listening experience for front-row audiences and resolving pain points common in large venues like near-field acoustic congestion and missing details. Additionally, 12 units of M1 (ABRAMS) monitor speakers were distributed across various positions on stage, providing stable and clear live stage monitoring for the singer and the China Blue band. Amidst the noisy and chaotic environment, the musicians could still precisely control their performance timing, ensuring stable and high-output performances across both consecutive nights.

The entire system was driven by amplifier links RA1 and RA2, maintaining stable and controllable performance during rapid switches between wild rock movements and gentle lyrical passages under massive dynamic ranges. When tens of thousands of people sang along in unison, weaving together the singer's vocals, band performance, and audience waves, the system remained distinct in layers. The vocals were never swallowed by the wave of the chorus, and instrument lines remained clearly discernible, perfectly preserving Wu Bai's uniquely relaxed yet passionate live rock temperament.

On the visual front, ACME's complete set of lighting equipment worked in synergy. AECO 30 IP 4-in-1 moving head profile lights output solid face lighting to restore the true textures of performers on stage; XP 500BSW IP (ZEUS) 3-in-1 moving head lights cut sharp beams to shape fierce stage lines during explosive rock segments; CM 7 IP moving head wash lights laid out large-scale color bases, rapidly switching between cool and warm atmospheres. Two multi-functional effect lights, TB 1060 (SUPER DOTLINE) and STROBE 5 IP (HAIL), outputted flowing pixel lighting effects and powerful strobes that released tension following the rhythm of the drums, while BL-100 RGBW (STAGE PAR COLOUR) wash effect lights rendered large-scale ambient base colors. During lyrical performances of tracks like "Norwegian Wood" and "Wanderer's Love Song," the light and shadow were soft and hazy; during high-energy fast-song segments, beams and strobes burst simultaneously, achieving acoustic-optic resonance that magnified the freedom and frenzy unique to a live rock concert.