World-class systems from L-Acoustics coalesce a magnificent sonic experience at two of Tokyo’s most iconic live performance spaces – Sumida Triphony Hall and Blue Note Tokyo.

L-Acoustics Certified Distributor in Japan, Bestec Audio, played a vital role in helping two of Tokyo’s most enchanting live performance spaces – the Sumida Triphony Hall and Blue Note Tokyo – with a world-class soundscape befitting their stature and repute; all reinforced by state-of-the-art audio technologies and systems from L-Acoustcs.

Blue Note Tokyo, a cornerstone of Asia’s jazz scene since 1988, has taken a bold step in redefining its sonic experience with the installation of a state-of-the-art L-Acoustics A Series sound system. The intimate 280-seat venue in Minato City, known for hosting an eclectic range of musical performances, sought a solution that could deliver warm, natural sound while ensuring consistent coverage across its uniquely wide seating arrangement.

“Our previous system struggled to reach the venue’s rear sections without compromising the intimate feel we’re known for,” explains Toshiharu Yamauchi, Sound and Lighting Manager and Chief Sound Engineer at Blue Note Japan. “I didn’t want the sound to just pop out from the speakers – it needed to emanate naturally from the stage.” After meticulous evaluation, the choice became clear. “L-Acoustics possessed that warm feeling and sense of space our venue needed. Other systems we tested offered clarity but felt mechanical, lacking the natural sound we were after.”

Working closely with Bestec Audio, Blue Note Tokyo implemented a precisely engineered solution that has transformed both audience experience and operational efficiency. The main PA system comprises two hangs of L-Acoustics A15 arrays per side, each integrating one A15 Focus and two A15 Wide enclosures for optimal coverage. Low-end reinforcement is provided by two ground-stacked groups of twin KS21 subwoofers, while A10 Wide speakers serve as front fills and L-Acoustics X12 speakers provide out-fill coverage. The system is powered by four LA4X amplified controllers, ensuring seamless control across the venue.

A crucial addition to the installation is the integration of 5XT coaxial monitors driven by an LA2Xi amplified controller at the FOH booth, located on the mezzanine level. “This upgrade has revolutionized our workflow,” states Blue Note Japan Sound Director, Akihiro Mito. “The sound quality of the 5XT perfectly matches the main system, eliminating our previous need to constantly verify mixes from the first floor. It’s dramatically improved our efficiency and confidence in delivering the perfect mix.”

Sound Engineer Asogi Komiya echoes this sentiment: “The consistency between our booth monitors and the main system has elevated our entire operation. While the system challenges us to perfect our craft, it’s incredibly rewarding. Every night presents a new opportunity to enhance Blue Note Tokyo’s immersive live music experience through the A15 system.”

The impact of the upgrade was immediate. Visiting artists and engineers have praised the system’s ability to maintain clarity and warmth from the front row to the farthest seats, ensuring an unparalleled listening experience. For a venue that blends world-class performances with an exquisite dining experience, this investment in superior audio technology reaffirms Blue Note Tokyo’s dedication to delivering the ultimate in live entertainment.

On the other hand, the Sumida Triphony Hall stands as a landmark in Tokyo’s Sumida Ward, embodying the district’s “Music City Concept” initiative. Designed by Nikken Sekkei, the architecturally striking venue is home to the New Japan Philharmonic Orchestra and hosts a diverse array of performances, from classical concerts to jazz recitals and traditional rakugo storytelling. Named “Triphony” to signify the synergy between audience, artists, and hall, the venue is celebrated for its superior acoustics, originally designed by Nagata Acoustics. However, while the Hall’s natural reverberation time of two seconds provides an ideal listening environment for unamplified performances, it has long posed challenges when reinforcement was necessary.

To address these challenges, the Hall recently undertook a large-scale renovation, focusing on upgrading its professional PA system. Prior to this upgrade, the venue relied on an ageing point source speaker system that struggled with coverage and clarity. Sound Operator Haruka Kurokawa from Sigma Communications the firm responsible for managing the Hall’s audio operations, explains the limitations: “When we increased volume to reach the upper balconies, the sound became harsh for listeners in the front rows. The hall’s reverberant characteristics also made feedback a constant concern, making it difficult to achieve both balance and clarity in the mix.”

After a thorough evaluation, L-Acoustics Kara II was selected as the optimal solution. Takashi Fujii of the Sumida Cultural Promotion Foundation, which oversees the venue’s technical upgrades, highlights the reasoning behind this decision: “We chose Kara II because it has proven successful in venues similar to Sumida Triphony. Our confidence was further reinforced by YSS’s proposal, given their extensive experience with music halls across Japan.”

The installation, executed by Yamaha Sound System Corporation (YSS), consists of a main L/R system of six units of the L-Acoustics Kara II loudspeakers deployed on either side of the stage, reinforced by two units of the SB18 subwoofers on each side. Infill coverage is managed by one unit of the L-Acoustics X12 on each side, while four units of the X8 loudspeakers line the front of the stage as front-fill. Additionally, pole-mounted X8 units provide coverage for the second-floor balcony, ensuring consistent and uniform audio distribution. For performers, two units of the X12 stage monitors deliver pristine on-stage monitoring. The entire system is powered by eight units of the LA4X amplified controllers, optimising performance and reliability.

Tomoyuki Miura, Chief Sound Operator at Sigma Communications, emphasises the significant impact of the new system: “The new L-Acoustics line array system will reduce production costs and allow for more efficient technical planning, as visiting sound teams can now rely on our in-house system.”

The system, acquired through Bestec Audio, has garnered widespread acclaim from performers and audio professionals alike. The Hall’s regular MC immediately remarked on the transparent and natural amplification, noting how effortlessly his voice carried across the space. Similarly, artists using the X12 stage monitors reported an unprecedented level of clarity, enhancing their overall performance experience.

Kentaro Kawashima, who oversees musical programming for the Sumida Cultural Promotion Foundation, underscores the system’s ability to broaden the Hall’s artistic scope: “The system’s precision allows us to achieve perfect balance even with delicate instruments, opening doors to performances that were previously challenging to present here. This sonic flexibility means we can now accommodate a much broader range of musical genres.”