The Taman Ismail Marzuki [TIM] and the Graha Bakti Budaya Theatre recently finished a USD 125 million revitalisation programme, including an L-ISA Immersive Hyperreal Sound upgrade, making it the first venue in Southeast Asia to be installed with the technology.
Local L-Acoustics Certified Distributor PT Gracia Auvindo joined a bid for the project tender with a system design modelled in L-Acoustics Soundvision software. Based on the compact, powerful A series line source, the design won the approval of the theatre’s management team for its coherent coverage and its ability to blend into the architecture without obstructing sightlines.
The L-ISA design proposed by Gracia Auvindo featured fewer boxes compared to lengthy stereo arrays using A Series. The system offered similar SPL compared to larger enclosures, allowing the theatre’s management to acquire a powerful system that stayed well within the revitalisation project budget.
The final design consists of a Scene System of five hangs of two L-Acoustics A10 Focus and two A10 Wide each, spread evenly across the stage proscenium. Two further hangs, one A10 Focus and two A10 Wide each, are hung on either side of the Scene System for extension. A centre hang of six KS21 subwoofers ensures low-frequency definition. Sixteen coaxial X8 boxes distributed along the side and rear walls of the theatre hall make up the surround system, with two L-Acoustics X8 boxes for deck-fill. Six X12 point-source speakers are rigged above the audience for height, completing the spatial sound configuration.
Seven L-Acoustics 5XT embedded across the stage lip provide spatial front-fill while near-fill is accomplished by three pairs of 108P active monitors. Performers on stage are served by 10 L-Acoustics 112P monitors, and the entire system is driven by 10 LA4X and six LA2Xi amplified controllers powered by an L-ISA Processor II on a Live 32 tier license which allows for 128 inputs and 32 outputs.
The L-Acoustics Application Project team helped to calibrate the system and train theatre staff and audio consultant Bayu Wicksana to use it for object-based spatial mixing. Wicksana saind: “The main scene system makes the positioning of sound objects across the stage more realistic. This gives our productions, especially theatrical performances, a lush, panoramic feel.”
Wicksana concluded: “I am constantly discovering and exploring endless mixing possibilities with the frontal, height, and surround systems, he concludes. “It is a joy to craft and hear a livelier, more natural atmosphere for the theatre’s diverse range of performances and productions.”