In 1997, Cheung launched his own lavish production of an updated traditional musical, Snow Wolf Lake, which quickly sold out an unprecedented 43 consecutive shows at Hong Kong's mammoth stadium. In late 2005, when Cheung's new touring version of the show arrived in Malaysia, local rental company SES Sound and Light welcomed him with a world-class production package that included a brand new system of Meyer Sound MILO high-power curvilinear array loudspeakers.
The two sold-out performances were staged in the Putra Indoor Stadium on the outskirts of the Malaysian capital city of Kuala Lumpur. The maximum capacity at Putra Stadium is listed as 13,000 though, in this case, audience seating was limited to just under 10,000 to accommodate both an elaborate stage set (with a 60-piece orchestra behind it) and a vast FOH platform that included extensive video production facilities.
As this show was the maiden voyage for the new MILO system, SES engineer Frando Ho worked with Meyer Sound associate "dB" Dave Dennison to generate the system design. Using Meyer Sound's MAPP Online Pro acoustical prediction software as a guide, the two laid out a system with 14 MILO cabinets in each main front array, supplemented by two sidefill arrays of six MILO units each. The 40 cabinets provided seamless coverage all the way to the rear of the hall, with crisp high frequency response noted even in the distant seats. Three LD-3 compensating line drivers provide signal splitting and system drive.
The debut performance of the MILO system was particularly satisfying to S.T. Ho, founder and managing director of SES Sound and Light's parent company, SES Sound Electronic Service Sdn. Bhd. "The MILOs are exceptionally clear, with very good low-mid balance and vocal presence," he observes. "I was also pleased with the throw of the MILOs, as we do many shows in this same arena, as well as in some larger outdoor venues."
For very low-frequency support, the new system also includes a full complement of 700-HP ultrahigh-power subwoofers. For the Jacky Cheung show, eight 700-HP cabinets were deployed on each side of the stage, with the cabinets precisely spaced (using MAPP Online Pro calculations) and delayed to create 15 dB of bass attenuation onstage, as well as backstage at the monitor mix position and on the orchestra riser.
The show's monitor engineer, Chan Wai Fung, praised the reduction in unwanted bass, saying: "With other systems we've used on the tour, the bass was very strong toward the rear, affecting the sound on the stage and requiring higher monitor levels. The result was less gain-before-feedback in our many headworn microphones. But with the 700-HP setup, low end coming backstage was reduced, giving us a cleaner stage sound and lowering the monitor SPL requirements."
After giving Frando and other SES engineers a tutorial in aligning their new MILO system, Dennison stayed in Kuala Lumpur to enjoy the show. "Everybody was extremely happy with the sound of the MILOs that night," he says. "I had several people tell me that it was the best sound they'd ever heard in the venue."
Rigging and alignment proceeded smoothly and quickly, even though it was the crew's first experience with the system. Independent audio tech Steven Fong provided the crucial language translations between Dennison and the Chinese crew.
In addition to the sound system, SES provided the stage lighting and backline musical instruments. At the other end of the signal chain from the loudspeakers was an extensive Shure radio microphone syst
