A High-Octane Adamson VGt Showcase at Tokyo Dome Turns Joe Hisaishi’s Orchestral Nights into an Audio-Visual Spectacle

For three electric nights, Tokyo Dome became a cathedral of cinematic sound as the legendary Joe Hisaishi, conducting the Royal Philharmonic Orchestra, delivered a sold-out symphonic spectacle—supercharged by Adamson’s flagship VGt large-format line array. The result? A breathtaking fusion of orchestral mastery and loudspeaker precision that left the 55,000-capacity arena vibrating with emotion.

At the helm of this sonic feat was Sunphonix Corp. Sound Division, a top-tier rental solutions provider, who teamed up with Adamson’s authorised Japanese partner ReWire Inc. Pro Audio to unleash the full power of Adamson’s next-gen system design. And Adamson’s VGt large-format line arrays – the flagship model of the Vergence Group – stood at the heart of the show; with its capacity to offer uniform 90° horizontal coverage, expertly crafted low-frequency dispersion, and Autolock rigging to enable rapid setup, playing a crucial role in bringing together an unparalleled sonic experience for the audience.

With the comprehensive Adamson system configured to handle both scale and nuance; the main PA spotlighted a total of 44 VGt modules coupled with 4 CS10 full-range intelligent loudspeakers deployed in (stereo) L-R hangs that flanked each side of the awe-inspiring performance stage. Equipped with dual 10‑inch Kevlar woofers and a 4‑inch HF driver and a performance output of 139 dB peak SPL with a wide 110°×10° dispersion, the CS10 with redundant Milan AVB networking, onboard DSP, and Class‑D amplification, proved to be the perfect companion for the VGt modules in the main PA as the combination allowed the audio team to offer a consistent sonic experience within the arena especially for the audience members located closest to the stage.

To ensure seamless coverage across the massive expanse of the Tokyo Dome, a total of 36 additional VGt modules were deployed in two auxiliary hangs of 18 per side, while delay coverage was locked in with two additional hangs of 12 Adamson E15 modules each which formed a rear-field buffer. This thoughtful combination allowed the audio team to ensure that even the furthest seats within the arena enjoyed the orchestra’s full dynamic range in all its glory.

And rounding off the imposing yet sonically impressive system, three Adamson Gateway units seamlessly handled distribution and control, maintaining flawless signal integrity with absolute precision.

The design and system alignment were orchestrated by Sound Designer Arne Bock and Sound Engineer Tyler Soifer, while Takuya Ando commanded the on-ground operations as Crew Chief, with System Engineer Ryuichi Kawakami ensuring every array flew flawlessly. And while it could be noted that this may not have been a typical classical setup; the resounding audience reaction within the Tokyo Dome emphatically proved that with every note, the VGt delivered pinpoint imaging, phase coherence, and monumental headroom — perfectly translating Hisaishi’s sweeping scores from the baton to the back row.

In a venue better known for stadium rock and J-pop blowouts, this collaboration turned a full symphony into a force of nature—proving that when artistry meets engineering, even silence can sound majestic. From tender piano interludes to sweeping orchestral climaxes, every sonic moment carried emotional weight – and this synthesis of technological innovation and artistic expression underscored Adamson’s mastery in redefining what live sound can achieve.