October 2020 - Web Edition

FULL LINE - OCTOBER 2020 - WEB EDITION

CONTENTS FULL LINE - OCTOBER 2020

ABOUT L-ACOUSTICS 2 - 5

NEW PRODUCTS 6 - 7

LOUDSPEAKERS 8 - 39

ELECTRONICS 40 - 49

SOFTWARE 50 - 57

SUPPORT 58 - 59

TECHNICAL SPECIFICATIONS 60 - 71

MARKET REFERENCES 72 - 73

CERTIFIED PROVIDERS 74

Page 8 and 9: Omnia Dayclub Los Cabos © Tomas Muscionico; Page 11: Getty Images; Page 13: SPYSCAPE © Scott Frances; Page 15: Machine Hallucination, ARTECHOUSE © Refik Anadol; Page 17: Zero Gravity © Aleksander Pasaric; Page 19: The Los Angeles Philharmonic Orchestra © Mast Media; Page 21: European Games © Scott Willsallen; Page 23: Louis Vuitton Fashion Show © Ludovic Monchat; Page 25: Lexus National Conference @ LGA; Page 27: jazzopen © Wolf Peter Steinheißer; Page 31: EartH © Maria Zhytnikova; Page 35: Aerosmith © Katarina Benzova; Page 37: Zhang Jie © Li Benpao; Pages 39: Ferdinands Feld @ Sandra Hz; Pages 40 and 41: Blue Man Group @ Evan Zimmerman for Murphymade; Page 43: Getty Images; Page 47: Mark Knopfler © Ludovic Monchat SLU; Page 49: Alexandra Palace Theatre @ James Cumpsty; Pages 55 and 57: Bon Iver © Matt Benton; Page 63: Island and Ocean installation © Maria Zhytnikova.

1 -Acoustics can trace its beginning to 1977, when The world has never seen a better era for live entertainment particle physics scientist Christian Heil attended a than right now. Industry publication Pollstar points to L Pink Floyd concert. His love of music combined with 2018 as a “jaw-dropping year” of “goliath ticket sales a fascination for their groundbreaking approach to sound numbers,” with experts forecasting that this upward trend design would ultimately spark a lifelong vocation. Heil will continue for the next decade and beyond. founded L-Acoustics in 1984 to serve the live events industry by creating pragmatic solutions that enable At the same time, new technologies constantly transform sound professionals to elevate the audience experience. how we are entertained. Events are becoming increasingly sophisticated with the deployment of impressive lighting Years of research, experimentation and prototyping and visual effects in ultra-high resolution. Immersive culminated in the advent of the line source array in environments and experiential, multisensory content are 1992. Heil’s invention offered a leaner, lighter, and more the new norm. cost-effective alternative to the heavy and power-hungry “wall of sound” approach to stacking loudspeakers. In this ever-evolving context, L-ISA Immersive Hyperreal By achieving greater throw, directional precision, Sound raises the standard as the audio technology of and clarity, the line source array—and V-DOSC in the times. First introduced in 2016, and experienced by particular—represented a clear win for live productions, over five million people to date, L-ISA delivers panoramic, disrupting the music industry and paving the way for extremely detailed, and highly natural sound that is today’s massive arena tours and live festivals. accurately matched to the visual content. L-ISA reimagines sound as a vital element in today’s productions, offering True to its scientific foundations and spirit of questioning unprecedented authenticity that captures the essence of the status quo, L-Acoustics cultivates innovation with the performance and deepens the sense of emotional more than 20% of the team dedicated to research and connection with the artist. development, and application. Our pioneering approach to electro-acoustics is complemented by expertise in L-Acoustics provides production teams with high-level psychoacoustics, mechanics and automation, electronics, support, training, and an ecosystem that combines ease software development, and education. L-Acoustics of use, portable and reliable sonic quality, and limitless consistently strives to propel the professional audio creative possibilities. industry state of the art forward with solutions engineered for optimal performance. L-Acoustics was founded on the ambition to elevate the industry state of the art and we continue to shape the future of sound.

2 Sound surrounds us, entertains us, and connects“ us to the art, music, and cultural events that are meaningful to us. Sound is truly the vector of emotion and should be central to the audience experience. We believe that sound can and should be spectacular, cinematic, magical, intimate… or anything the artist wants it to be. It is precisely this, our desire to create tools that make audio gloriously impactful and true, that drives everything we do at L-Acoustics. ” Dr. Christian Heil, President and Founder of L-Acoustics

3 TECHNOLOGIES

WAVEFRONT COAXIAL SCULPTURE 3D ENGINE TECHNOLOGY TECHNOLOGY

In 1989, L-Acoustics introduced the With the proprietary Wavefront Sculpture In 2004, Soundvision was the first acoustical first coaxial1989 loudspeaker enclosure for Technology, 1992the L-Acoustics V-DOSC system and mechanical2004 modeling software for professional sound reinforcement, bringing was the first line array to operate coherently L-Acoustics sound systems. Soundvision studio quality to near-field applications for across the whole audible frequency range. is powered by a 3D engine to generate the first time. Since then, coaxial technology Since 1992, this major technological highly detailed models and provide real- has been implemented in all L-Acoustics innovation is at the heart of every L-Acoustics time calculation of impact coverage, SPL point sources. line source element, with a specifically mapping and mechanical data. tailored WST for each product.

ARRAY L-FINS PANFLEX MORPHING

Introduced in 2008 with the K1 system, the Array morphing was introduced in 2009. Introduced with K2 in 2014, Panflex offers L-Fins waveguide2008 marked the transition from This DSP algorithm2009 allows to set a unique the possibility2014 to widen or narrow the the “V” transducer layout of legacy V-DOSC frequency response for a line source. directivity pattern of line sources thanks and dV-DOSC systems to the “K” transducer Multiple geometry line source arrays can to adjustable L-Fins. With Panflex, users layout. L-Fins significantly improve the be combined in the same installation while can adapt the system coverage pattern to precision and smoothness of the directivity offering the same sonic signature. match the complex shape of any audience pattern in the horizontal plane. geometry.

4 n its over thirty years of research and development, L-Acoustics engineers have developed a number of major technologies Iin acoustics, mechanical engineering, amplification, control, signal processing, networking, material science... These innovations contribute to better, more predictable performances, increased flexibility in sound design, and faster setup.

LAMINAR BRAIN POWER L-DRIVE VENTING

Introduced for the first time in 2007 in the In 2007, L-Acoustics pioneered the In 2007, L-Acoustics introduced the SB28, the laminar2007 venting technology is concept of amplified2007 controller with LA4, a proprietary2007 L-DRIVE circuit. When a progressive vent design that drastically multi-channel architecture combining high transducers operate in the nonlinear domain minimizes turbulence noise leading to an performance amplification with DSP capable (at high excursion, high temperature or high increase in output capability. All current of handling system crossover, multiband EQ, voltage), L-DRIVE smartly regulates power L-Acoustics loudspeaker enclosures with and advanced protection, all in one “brain to extend the component durability, while low-range capacities feature L-Vents. power” chassis. preserving the sonic transparency and dynamic range of the system.

ELLIPSOID IMMERSIVE MILAN WAVEGUIDE HYPERREALISM

The L-Acoustics Ellipsoid Waveguide made L-ISA technology empowers the presentation L-Acoustics is a founding member of the its debut in2015 2015 in the X12 and X15 of sound as2016 a multidimensional art. This Milan group2019 within the Avnu Alliance. HiQ coaxial enclosures. By providing a comprehensive sound technology ecosystem Milan was created to support interoperability distinct coverage angle for both vertical provides an extremely natural and vivid at the application layer to provide reliable and horizontal dimensions, it extends the soundscape that heightens emotion and installation and configuration of products. versatility of the enclosures, as well as invites the listener inside the music. The L-ISA It is the first tangible solution for promising improving control over the reverberant field. ecosystem combines the L-ISA Processor, deterministic, reliable, and future-proof L-ISA Controller, with loudspeakers, amplified delivery of networked media. controllers, prediction and control software.

5 NEW K3 FULL-RANGE. COMPACT. NO COMPROMISES.

DOSC L-VENTS PANFLEX DSP

INSTALLATION VERSION K3i: Coming 2021

6 NEW PRODUCTS

Completing the K series line, K3 is a versatile rigging. It also features L-Acoustics Panflex™ loudspeaker satisfying all the requirements technology to offer a choice of four horizontal NEW K3 for mid-size events and venues from 1,000 to directivity patterns: 70° or 110° symmetrical or 10,000 people. Designed as a true full-range 90° asymmetrical on either side. With Panflex and line source, K3 integrates 12” transducers to inter-element angles ranging from 0° to 10°, K3 deliver large-format system performance but is line source coverage can be precisely tailored to FULL-RANGE. dimensioned in a typical 10” compact format. fit any audience geometry. With reduced subwoofer and amplification COMPACT. needs, K3 deployment is fast, straightforward, Ideally dimensioned to keep sightlines clear, sustainable, and more economical. K3 integrates easily into venues with space restrictions. It also complements the larger K1 or NO COMPROMISES. The K3 two-way active enclosure possesses all of K2 systems for large-scale touring events, festivals, the hallmarks that have made K Series the reference and concerts. in line array technology, including optimized mechanical design for reduced weight, laminar vents for a powerful and linear low frequency response, and time-tested effortless captive

INSTALLATION VERSION K3i: Coming 2021

7 Omnia Day Club – Los Cabos, MX LOUDSPEAKERS

Short throw - Up to 15 m

SHORT THROW ► X Series ► P Series

Medium throw - Up to 45 m

MEDIUM THROW ► S Series ► A Series

Long throw - Beyond 35 m

LONG THROW ► K Series

SUB Subwoofers

► SB Series ► KS Series

9 Short throw ▶ X Series

SHORT THROW X4i THE POWER OF SMALL

POINT SOURCE COAXIAL

Speakers that fit into small spaces tend to sacrifice an L-Acoustics-engineered, birch wood cabinet. The high- sound quality for the right fit. Any professional knows a performance coaxial X4i is versatile, complementing a loudspeaker that provides powerful, clear sound is too main L-Acoustics system as front or under balcony fill or large for architectural applications. For the first time, X4i used as surrounds and overheads for multichannel L-ISA gives you both: the output that you expect from L-Acoustics projects. On its own, X4i is ideal for vocal reinforcement in a highly weatherized enclosure, purpose-built to melt and with Syva Sub, it can also be used for background into standard construction. Measuring only 3.9 inches / 99 music both indoors and outdoors in bars, restaurants, millimeters deep, X4i can be hidden in walls, stair risers, museums, conference rooms or any hospitality venue. stage lips and pit rails, yet still produce the signature of

10 Restaurant outdoor terrace

In developing X4i, our aim was to provide unsurpassed utility without “compromising on sound quality while catering to known architectural constraints. X4i is quite literally the perfect fit for the integration needs of today’s installation markets. ” Cédric Montrezor, Director of Application, Install

11 Short throw ▶ X Series

SHORT THROW 5XT GOOD THINGS IN SMALL PACKAGES

POINT SOURCE COAXIAL

5XT offers the L-Acoustics sonic signature in an ultra- Available in a wide variety of custom colors, 5XT can compact 5-inch enclosure. Packing a punch with be easily integrated into any building style for ultimate high MF/HF SPL, 5XT complements any larger discretion, satisfying the most demanding architectural sound system in front-fills or distributed applications. needs. Rigging options include wall-mount, ceiling-mount Its wide conical directivity pattern gives smooth and pole-mount in various orientations for integration into off-axis response, assuring the best sound for the audience. any possible situation.

12 SPYSCAPE – New York City, NY, USA – L-ISA

We chose the 5XT speakers not only for their small size, but also for “their big solutions. The 110° conical directivity coverage brings a lot to the design. The dispersion of the 5XT also means that less speakers are needed compared to other traditional small speaker solutions. ” Shane Smith, LMG Director of Audio for the US Democratic Presidential Debate

13 Short throw ▶ X Series

SHORT THROW

X8 BIG PA SOUND IN A COMPACT BOX

POINT SOURCE COAXIAL L-VENTS

X8 is the ideal live monitor, with the capacity to accurately X8 can also be rigged in a diverse array of configurations, translate the sonic signature of a large sound system including pole-, wall- or ceiling-mounted or flown. at FOH or in control rooms. X8 boasts high SPL and Configurations are quick and easy, with the complete extended LF resources in a compact format carrying the range of rigging accessories offered. Whether using X8 pristine L-Acoustics sonic signature. The point source wide, as a monitor, or as an integral part of a larger PA system, conical directivity pattern imparts excellent spatialization X8 will be appreciated for its power, broad bandwidth and no minimum listening distance, assuring a flawless and immaculate sound. listening experience when monitoring sound.

14 Refik Anadol: Machine Hallucination, ARTECHOUSE – NYC, NY, USA – L-ISA

The stage design for Adele’s Hello world tour called for clear sightlines, “leading us to choose the X8 as the front fill system for its minimal footprint and high SPL. These little speakers provided a beautiful sound with excellent clear highs and a nice warm body that perfectly matched the performance of the larger K2 FOH system. The X8 gave us high reliability and great headroom not just as fill, but also at FOH where Dave Bracey, Adele’s sound engineer, became a big fan of those little fellows for monitoring. ” Ulf Oeckel, System Designer and Technician, Adele World Tour

15 Short throw ▶ X Series

SHORT THROW X12 JACK OF ALL TRADES

POINT SOURCE COAXIAL L-VENTS ELLIPSOID WAVEGUIDE

X12 is a jack of all trades, taking on any short throw X12’s passive design gives it maximum efficiency, sound duty imaginable. X12 can be flown or mounted reducing the need for amplified controllers. for multi-channel, distributed or fill applications but is powerful and rugged enough to be deployed as a At only 20 kg / 44 lb, X12 is easy to rig or mount in any stage monitor. Its ellipsoid directivity of 90° × 60° gives situation. Integrated risers allow for a 35° or 55° angle optimal coverage for a multitude of situations, and the on stage, and a wide range of rigging accessories offers compact footprint allows it to be discreetly integrated infinite install possibilities. No matter what sound job is into any architecture or scenery, preserving sightlines required, X12 is a valuable, versatile tool in the sound for the audience. engineer’s toolbox.

16 Zero Gravity – Dubai, UAE

I appreciate the versatility of X12. It looks great and is durable – one “of the reasons it was perfect for the outdoor distributed system at Zero Gravity. As an FOH system, the stereo imaging is excellent; as fill, it stands up to the biggest house system, and as a stage monitor, it’s got punch. But most importantly, it sounds great. It’s got impact while retaining a warm, natural sound.

Gareth Armstrong, Delta” Solutions, Zero Gravity Sound Designer

17 Short throw ▶ X Series

SHORT THROW

X15 HiQ DIVA OF THE STAGE

POINT SOURCE COAXIAL L-VENTS ELLIPSOID WAVEGUIDE

X15 HiQ is the ultimate stage monitor: impressively At only 21 kg / 46 lb, X15 HiQ is easy to rig or mount powerful, yet melting into the stage with an ultra-sleek in any situation and will ensure minimum space and profile. Its active design and low-latency preset guarantee weight in trucks. A wide range of rigging accessories the best experience on stage. Its 40° × 60° beam-width offers infinite install possibilities including special narrow focuses on the artist only, offering an excellent acoustic fill applications. isolation from other performers. Able to endure even the most energetic of artists, X15 HiQ is built to take abuse X15 HiQ has become a staple of any stage and a yet remain strong and flexible: its built-in risers allowing favorite of artists. it to be angled at 35° or 55° onstage.

18 The Los Angeles Philharmonic Orchestra – Seoul, KR – L-ISA

I use EQ sparingly, only applying it to individual source inputs and the X15“ HiQ translates those sources beautifully, without needing additional filters. I configure the wedges in stereo setting them back a bit from the artist and in this configuration it gave me an extremely stable polar response across its ope- rating bandwidth, and nice stereo imaging. Even at a distance, the vocals are smooth, not aggressive yet still in your face, with plenty of gain before feedback. The X15 HiQ is a powerful and beautiful sounding wedge. ” Joe Campbell, Monitor Engineer, Adele World Tour 2016-17

19 Short throw ▶ P Series

SHORT THROW 108P – 112P EFFORTLESS LOGISTICS

POINT SOURCE COAXIAL

108P and 112P associated product: SB15P

The self-powered P Series fulfills the highest audio easily handles a variety of stage monitoring, compact FOH expectations for a broad range of professional sound and fill applications. Both can be deployed with the SB15P reinforcement applications. Combining the benefits subwoofer when low frequency extension is required. of on-board amplification and DSP, the P Series offers comprehensive transducer protection, a precise system Rental businesses appreciate the P Series for its low system drive engine and an optimized on-board preset library. set-up costs, as well as the simplified logistics, storage, handling, transportation and inventory management it offers. Perfect for live monitoring, the 108P boasts a sonic signature similar to a large format system and the 112P

20 EFFORTLESS LOGISTICS

European Games – Baku, AZ

We use local monitoring extensively on our major event projects as “our primary listening system in rehearsals so as not to cause too much disruption to other technical departments. It’s essential that we have a local monitor that provides the same tonal characteristics as the main system. I’ve found the 108P to be an excellent reference for an L-Acoustics system of any scale.

Scott Willsallen, Sound” Designer for European Games

21 Medium throw ▶ S Series

MEDIUM THROW SYVA PERFORMANCE ART

COLINEAR DOSC L-FINS L-VENTS SOURCE

Syva associated products: Syva Low, Syva Sub

Syva colinear source is a new breed of speaker that mounted, or simply ground stacked wherever needed. combines L-Acoustics’ line source heritage with plug- For any special event or install calling for large surface and-play simplicity and an elegant design. Tailor-made coverage, visual discretion and short install times, Syva for projects that demand discretion, Syva blends into or is the perfect solution. enhances any event or venue.

With an impactful 142 dB of peak SPL, Syva covers 140° and up to 35 m / 115 ft with consistent sound pressure. Quick and easy to deploy, Syva can be pole- or wall-

22 Louis Vuitton: Runway, Paris Fashion Week – Paris, FR

As soon as I saw Syva, with its remarkably fluid form, I suspected this “might be a good solution and as soon as I heard it, I knew it was right for this project. I demonstrated it to the Vuitton team and they were completely convinced by the sound and were impressed enough with the look that they chose to make it part of the set. No need to hide it! ” Alain Français, Sound Designer for Louis Vuitton fashion shows

23 Medium throw ▶ A Series

MEDIUM THROW A10(i) PERFORMANCE AND DISCRETION

CONSTANT DOSC L-VENTS PANFLEX CURVATURE LINE SOURCE

A10(i) associated product: KS21(i)

The compact size and light weight of A10 make it ideal The single preset for both Focus and Wide models for applications with architectural constraints. On its own combined with the adjustable directivity, offers easy A10 combines optimal bandwidth and clarity for vocal performance and unlimited adaptability. reinforcement or light music and produces an ideal SPL- to-size ratio to complement a larger system as fills. On Boasting a high SPL-to-size ratio, A10 can be coupled a stick, stacked or flown, vertically or horizontally, as a with the compatible KS21 subwoofer for events that single enclosure or in a line source arrangement, the true require broader bandwidth and larger contour. versatility of A10 allows it to fit into any venue.

24 Rooftop Party: Don’t Let Summer Die at Nashville Underground – Nashville, TE, USA

Deployment examples for A10 rental (brown) and A10i installation (white)

25 Medium throw ▶ A Series

MEDIUM THROW A15(i) PERFORMANCE AND SIMPLICITY

CONSTANT DOSC L-VENTS PANFLEX CURVATURE LINE SOURCE

A15(i) associated product: KS21(i)

A15 was designed to provide the bandwidth and A15 delivers L-Acoustics renowned concert performance contour of a large format line source system in an and reliability in a multi-purpose system that is extremely easy-to-use and ultra-scalable solution, for medium- quick to deploy and yet offers unparalleled flexibility. throw applications. As a speaker-on-a-stick, stacked or A single preset for both Focus and Wide models flown with the companion KS21 subwoofer, vertically facilitates connectivity, offering easy performance while or horizontally, A15 scales to any application from 50 adjustable directivity, combined with sophisticated to 5,000 people. optimization tools in Soundvision give A15 unlimited adaptability.

26 jazzopen – Stuttgart, DE

Deployment examples for A15 rental (brown) and A15i installation (white)

27 Long throw ▶ K Series

LONG THROW KIVA II POWER IS BEAUTIFUL

VARIABLE DOSC CURVATURE LINE SOURCE

Kiva II associated product: SB15m

Kiva II is an ultra-compact modular line source, adding symmetric horizontal coverage of 100° without secondary 6 dB of peak SPL versus its predecessor, maximized amplifier lobes over the entire frequency range. density with 16 ohm impedance, and a sturdy cabinet. Weighing only 14 kg / 31 Ib, the product’s elegant Despite its ultra-compact format, Kiva II features lines and flush-fitted rigging allow it to melt into any L-Acoustics’ Wavefront Sculpture Technology, giving it architecture, making it a natural fit for installations in a long throw capability and delivering even SPL from performing arts centers and special events demanding the front row to the back of the audience. Its coplanar minimum visual obtrusion, and particularly in L-ISA multi- transducer arrangement and K front grill generate a channel configuration installations.

28 Texas Live! – Arlington, TX, USA

Our Kiva II keeps the elegance of its predecessor, but that’s where the “comparison ends. Delivering an extra 6 dB, the model offers an impressive peak SPL of 138 dB. Kiva II features the best SPL-to-size ratio and is the benchmark in its format category. Beside the whopping SPL, we also bring reinforced weather resistance, a rigging visual safety check, and new rigging accessories to expand the range of applications. ” Brian Anderson, Sound Technician, Capitol Theater

29 Long throw ▶ K Series

LONG THROW KARA II(i) THE DAWN OF A NEW KARA

VARIABLE DOSC L-VENTS PANFLEX DSP CURVATURE LINE SOURCE

Kara II(i) associated products: SB18 and SB18 IIi

The Kara II modular line source delivers ultimate flexibility Kara II(i), an install version with streamlined rigging and a to any sound design, with its optional low frequency custom color palette allows Kara II to adapt to any install extension. This active, two-way compact enclosure boasts which calls for architectural discretion. exceptional throw as well as smooth and wide horizontal directivity. Deployed alone, Kara II is ideal for enhanced speech and vocal programs. With the SB18 subwoofer, Kara II delivers full range performance, capable of reproducing high impact low frequency for the most INSTALLATION VERSION energetic music concerts. Available Q1 2021

30 KARA II(i)

Johnny Marr, EartH – London, UK – L-ISA

With the addition of Panflex, Kara II boasts four-in-one directivity: “one box handily covers any audience geometry. Kara II morphs to fit any design, offering consistent coverage and SPL distribution with precise focus in four different directivity patterns: 70° or 110° symmetrical and 90° asymmetrical, steering to either the left or right. In its 70° configuration, Kara II packs a full 2 dB more than in 110°. ” Germain Simon, L-Acoustics Application Design Engineer, Product and Technology Communication

31 Long throw ▶ K Series

LONG THROW K3 FULL-RANGE. COMPACT. NO COMPROMISES.

VARIABLE DOSC L-VENTS PANFLEX DSP CURVATURE LINE SOURCE

K3 associated product: KS28

Satisfying all the requirements for mid-size events from Laminar vents for a powerful and linear low frequency 1,000 to 10,000 people, K3 is a true full-range line source. response, time-tested effortless captive rigging, and Panflex™ K3 integrates 12” transducers to deliver large-format system adjustable horizontal directivity, make K3 the right tool for performance but is dimensioned in a typical 10” compact any audience and complements the larger K1 or K2 systems format. With reduced subwoofer and amplification needs, for large-scale touring events, festivals, and concerts. K3 deployment is fast, simple, sustainable, and economical. K3i, the install version with streamlined rigging and custom Boasting an optimized mechanical design for reduced color palette, fits indoor and outdoor events calling for weight, K3 integrates easily into venues with space restriction. architectural discretion.

32 Example of typical application for K3

Our design team created a dual-12-inch-based system with the form factor and price of “a 10-inch design, without the inherent performance compromises of 10-inch loudspeakers. K3 offers long-throw, full-range performance in a compact, accessible package, tailor-made for small to mid-capacity events and venues that are the mainstay of most sound providers. It is a ‘no compromises’ tool, perfectly adapted to the current event landscape and, when paired with K1 and K2, is quickly and powerfully scalable for large-capacity events. ” Florent Bernard, Executive Director of Application Design

33 Long throw ▶ K Series

LONG THROW K2 LIGHTWEIGHT HEAVYWEIGHT

VARIABLE DOSC L-VENTS PANFLEX DSP CURVATURE LINE SOURCE

K2 associated product: K1-SB

K2 offers the same pristine, powerful sonic signature L-Acoustics Panflex adjustable horizontal directivity, K2 as K1 in a lighter, more compact format and with 10° focuses sound coverage on the audience only, handily inter-element angles for maximum versatility. K2 can be addressing the most challenging acoustic environments deployed as a complement to K1 or as a standalone or noise pollution issues for outdoor events. system for events or installations with audiences of up to 20,000, without sacrificing power. With integrated rigging compatible with K1 and the entire K System, technicians the world over seek out K2 Lightest in its class, K2 can be flown even under the for its lightning-fast set up. most stringent rigging limitations. And with the exclusive

34 Aerosmith Deuces are Wild residency – Las Vegas, NV, USA – L-ISA

The variable horizontal coverage of K2 is invaluable in being able “to optimize coverage and keep energy away from unwanted parts of stadiums. ” Josh Lloyd, Audio Engineer at Britannia Row Productions

35 Long throw ▶ K Series

LONG THROW K1 THE INDUSTRY BENCHMARK

VARIABLE DOSC L-VENTS L-FINS CURVATURE LINE SOURCE

K1 associated product: K1-SB

K1 is the benchmark for sound at global stadium tours With proprietary, state-of-the-art rigging, the K1 is the and the world’s most renowned outdoor festivals. K1 go-to choice for precise deployment and lightning fast has no equal in SPL per meter and, coupled with the load-in and load-out. K1-SB, offers an unprecedented level of directivity control, making it the leader for handling noise containment and Top productions demand K1 and can rely on the throw issues in outdoor settings. L-Acoustics Rental Network to deliver the pristine and impactful sound signature of K1 to their audiences the world over.

36 Zhang Jie Future Live Tour, Beijing National Stadium – Beijing, CH

For me, K1 is the only serious choice for stadiums, given its superior “throw capability and high directivity control. K1 on the LA12X amps takes the system to a new level! ” Antony King, Front of House Engineer for Depeche Mode

37 SUB Subwoofers ▶ SB Series / KS Series

SOLID FOUNDATIONS OMNI / CARDIO L-VENTS SUBS SUBWOOFER

L-Acoustics subwoofers complement systems in L-Acoustics subwoofers can be deployed in different applications where extended bandwidth is required. configurations, making them versatile enough to address All subs incorporate high excursion drivers, ultra-low any rental or fixed installation application. Engineers vibration walls and laminar airflow L-Vents with a flared and sound designers can choose from standard or profile, resulting in dramatic reduction of port noise, cardioid configurations, creating a variety of symmetric maximized dynamics and power handling, and an and asymmetric directivity patterns adapted to each exceptional level of performance. specific design.

38 Ferdinands Feld Festival – Rotenburg-Wümme, DE

The KS28 is 50 per cent louder and 30 pounds lighter than the SB28. “They have a tighter, deeper and richer sound, which helped to enhance David’s show. ” Colin Norfield, Front of House Engineer for David Gilmour

39 Blue Man Group, Speechless Tour – North America – L-ISA ELECTRONICS

Networking

Processors

Amplified controllers

41 MILAN THE FUTURE OF AUDIO NETWORKING

As a founding member of the Milan initiative, L-Acoustics Once network connectivity is established, Milan reserves is one of the first manufacturers to design AVB and Milan bandwidth specifically for deterministic delivery, ensuring natively into its ecosystem. From the FOH position with that users will never have a dropout or loss of information the P1 processor, through the LS10 AVB switch and during a show or live performance, even on a busy to amplified controllers, L-Acoustics offers a “full AVB” network. For ultimate reliability, users can set up a primary environment, passing audio and control with ease on a and secondary network architecture, by simply running an single network cable. additional network path, creating a seamless redundant network, minimizing cable needs for a cost-effective Milan offers superior audio quality over other, traditional solution compared to standard redundant methods. digital signal transports, by ensuring absolute synchronicity of media clocks across the entire network. Native multi- With Milan and AVB, users can focus on what they do channel, multi-point insertion and routing capabilities offer best: creating amazing experiences for their clients and unparalleled flexibility. audiences.

42 NEW PRODUCTS

LS10 is a plug-and-play Avnu-certified AVB switch that Upgrading LA-RAK II to LA-RAK II AVB is possible. The integrates seamlessly within the L-Acoustics ecosystem to rugged LS10 incorporates features designed to overcome further simplify connectivity, uniting audio and control the challenges of touring events but also installation distribution. LS10 runs out-of-the-box AVB, providing applications. The quick, 5-second, startup time allows a reliable network solution that does not require IT for rapid recovery in case of power loss. A configurable expertise. On its own or as an integral part of the LA-RAK GPO port enables status monitoring and the auxiliary II AVB, LS10 distributes audio and control via front and DC input offers ultimate reliability.With LS10, lightning- rear EtherCON™ connectors and SFP cages, enabling quick setup of a stable distribution of your AVB signal long-distance optical links. Two units mounted side-by- is ensured without the need for extensive IT knowledge side on LS10-RAKSHELF, the dedicated 1U rack shelf, or experience. allow to create a seamless redundant network effortlessly.

43 P1 AVB PROCESSOR M1 MEASUREMENT PLATFORM

P1 is a 3-in-1 digital processing solution that serves as In addition to analog and AES/EBU I/O, P1 is an a front-end processor, a bridging audio matrix and a AVB talker, bridge and listener compliant with the system tuning platform fully integrated with LA Network Milan protocol. This helps deliver higher audio quality, Manager. simplifies signal distribution and processing as a front-end processor and matrix mixer and provides P1 is a gateway to the expanding L-Acoustics ecosystem. an integrated measurement platform to ensure best It increases audio quality, simplifies the audio path from performance. front of house to the amplified controllers and provides a hardware platform for system tuning. It answers the P1 is directly controlled and managed within LA Network demand from both touring and installation applications Manager software – making it simple, reliable and for an integrated and easy to use front-end platform. convenient for L-Acoustics users. P1 is a step forward in the optimization and longevity of all L-Acoustics systems.

44 P1 AVB PROCESSOR

Integrating the M1 suite of measurement tools and the P1 AVB audio processor into LA“ Network Manager results in a streamlined system calibration process. These powerful new tools will allow engineers to be show ready faster thank ever before. ” Cyril Perrin, Director of Software Development

45 L-ISA PROCESSOR OBJECT-BASED 3D AUDIO

The heart of L-ISA technology, the state-of-the-art L-ISA Depth, Elevation and an Aux send, as well as a room Processor enables object-based mixing, allowing each simulation engine, for up to 96 audio objects and up to sound object to be independently placed in a 3D 64 audio outputs. The L-ISA Processor is remotely and soundscape and faithfully scaled from a studio mix to uniquely controlled by L-ISA Controller software. any venue or system configuration. The L-ISA Processor empowers sound engineers to step The powerful multi-core architecture of the L-ISA Processor outside of traditional left/right audio mixing to create is fully dedicated to spatial audio processing providing panoramic, multidimensional sound experiences that are five parameters for each sound object: Pan, Width, correctly localized to sound sources.

46 OBJECT-BASED 3D AUDIO

Dave Dixon on the Mark KnopflerDown the Road Wherever Tour

I can now open up my mix to put instruments left, right, backwards, forwards, or anywhere “in the scene, knowing full well that the audience are going to actually hear it. You can really express yourself and create a great expression of what the band are doing. For the audience it is a far better experience and that is what L-ISA is all about. ” Dave Dixon, Front of House Engineer for Mark Knopfler

47 AMPLIFIED CONTROLLERS BRAIN POWER

L-Acoustics amplified controllers offer high performance All amplified controllers have analog and AES/EBU and efficient loudspeaker amplification, 96 kHz/32-bit inputs. LA2Xi, LA4X and LA12X also include an AVB digital signal processing and comprehensive system bridge and a listener compliant with the Milan/AVB protection in a single ergonomic package integrated protocol. Automatic fallback functions make the creation with LA Network Manager. of redundant audio paths possible with constant delay and constant level. LA2Xi, LA4X and LA12X rely on a proprietary Switched Mode Power Supply with Power Factor Correction, to The DSP combines IIR and FIR filters to generate perfectly deliver high energy (power × hold time) for best LF linearized phase curves and significantly improved reproduction, from 240 V down to 100 V with high impulse responses for an even, more natural, transparent immunity to unstable mains. and realistic sound experience. For fixed installations, external control of amplified controllers is possible using SNMP, QSC® Q-SYS, CRESTRON® and EXTRON®.

48 Alexandra Palace Theatre – London, UK

Milan-certified LA2Xi amplified controller Designed for install applications

49 Ennio Morricone – Milan, IT – L-ISA SOFTWARE

Soundvision

LA Network Manager

L-ISA Controller

51 SOUNDVISION 3D SOUND DESIGN

Soundvision is an industry leading 3D modeling software Recent enhancements to Soundvision include the new that supports sound designers to create acoustical and Autosplay and Autofilter tools which further simplify, mechanical simulations of L-Acoustics sound systems. accelerate and improve system optimization. Autosplay Audience zones can be drawn, imported from CAD files automatically adjusts line source inter-element angles to or uploaded from the L-Acoustics online database of the optimize both the wavefront integrity and SPL distribution. world’s most renowned venues. Autofilter automatically applies unique FIR filters to line source elements to improve high-frequency consistency Soundvision allows highly accurate sound designs, throughout the venue. with real time calculation of impact coverage and SPL mapping. Soundvision also provides mechanical data These filters can then be loaded into LA Network with detailed set-up information for installers and riggers. Manager to streamline the user experience.

52 State Farm Stadium – Phoenix, AZ, USA

What I like most about L-Acoustics Soundvision is its accuracy in predicting actual “performance of the sound system.We have not had a single instance where the predicted performance and measured performance were even moderately different, and this allows me to accurately design installation projects both for new construction and for building redesigns. It is obvious that L-Acoustics has mastered the science of prediction, and the fact that they have been so consistent over the years is a testament to their manufacturing precision. ” Deward Timothy, Poll Sound

53 LA NETWORK MANAGER SETUP. TUNING. LIVE.

LA Network Manager remote control software provides The latest updates integrate Autoclimate and M1. real time control and monitoring of L-Acoustics electronics. From Setup, Tuning, and Live, each typical phase of Autoclimate calculates system equalization optimization the engineer workflow corresponds to a specific page that corresponds to changes in atmospheric conditions, offering a dedicated set of tools making the interface thereby maintaining the original system response, intuitive and quick to use. preserving show quality from start to finish.

Soundvision project data can be imported in LA Network The M1 suite is a comprehensive set of measurement Manager. Based on sound design and array zoning tools from data acquisition through system tuning to live parameters, logical groups are created. Gain, delay monitoring. M1 harnesses the power of L-Acoustics P1 and tonal balance parameters are transferred to these processor and amplified controllers to offer a streamlined groups and fully available to the user. system calibration process.

54 LA Network Manager with its intuitive user interface provides a high level of hands-on “system control without sacrificing accurate and fast operation under real-world conditions. ” Marc Benard, Head of Application Design, Electronics & Control

55 L-ISA CONTROLLER INTUITIVE 3D MIXING

The hub for all L-ISA functionality, the L-ISA Controller Sound Control (OSC) protocol, allowing the sound is an integrated software suite that enables object- engineer to mix in the familiar environment of a favorite based mixing, along with comprehensive control and console and access L-ISA as an integrated element of the programming capabilities, in a single platform. existing workflow.

The L-ISA Controller provides a powerful control gateway The L-ISA Controller offers an extraordinarily intuitive for each source parameter. Control workflow can be 3D mixing environment that makes the process of customized by choosing between integrated snapshots, multidimensional mixing straightforward. the L-ISA Source Control Plugin, or a wide range of third party software and hardware devices via the Open

56 NewBon Creation Iver – Santa Church Barbara, - Singapore, CA, USA Singapore – L-ISA

With each sonic element having its own distinct identity in the wider soundscape, I“ had several moments during the concert where I noticed things that I’d never noticed before. As a mix engineer, being able to identify elements to operate on with speed and precision made mixing this complex band easier, faster and even more fun. ” Xandy Whitesel, FOH, Bon Iver

57 SUPPORT TRAINING AND ASSISTANCE

L-Acoustics doesn’t stop at creating the best hardware to providing full certification as a System Engineer, and and software tools on the market. To ensure users get many of our trainings are recognized by the AVIXA™ the best out of their L-Acoustics system, we offer training, Certified Technology Specialist™ program to grant show assistance, design support and on-site tuning and Renewal Units (RU). calibration for rental providers and system integrators. For sound professionals who wish to add a Our in-house engineers and certified consultants are multidimensional layer to their sound art, we offer among the most skilled professionals in the audio training on designing and mixing for object-based industry. We offer training, from basic technical and sound via L-ISA Immersive Hyperreal Sound technology. operational knowledge of L-Acoustics systems through

58 As an L-Acoustics application engineer, I have the opportunity to work with a wide range“ of professionals, from users to integrators to consultants. Our team offers support to audio professionals right from the early stages of their project, all the way through to commissioning and training. From small live clubs to the world’s most renowned venues, our goal is to always ensure that we offer engineering-driven advice and expertise with the goal of attaining the optimum sound solution for each individual project.

Julien Laval, Application Engineer at L-Acoustics ”

59 ► Single element deployment X SERIES POINT SOURCE ► Axisymmetric or ellipsoidal directivity COAXIAL L-VENTS ELLIPSOID P SERIES WAVEGUIDE

SHORT THROW UP TO 15 m SHORT THROW

X4i 5XT X8 X12

Type Passive 2-Way Passive 2-way Passive 2-way Passive 2-way

Amplified controller LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X

Usable bandwidth (-10 dB) 120 Hz - 20 kHz ([X4] preset) 95 Hz - 20 kHz ([5XT] preset) 60 Hz - 20 kHz ([X8] preset) 59 Hz - 20 kHz ([X12] preset)

Maximum SPL 1 116 dB ([X4] preset) 121 dB ([5XT] preset) 129 dB ([X8] preset) 136 dB ([X12] preset)

Coverage angle (-6 dB) 2 110° axisymmetric 110° axisymmetric 100° axisymmetric H × V: 60° × 90° symmetric

Transducers LF: 1 × 4’’ neodymium LF: 1 × 5’’ bass-reflex LF: 1 × 8’’ bass-reflex LF: 1 × 12’’ bass-reflex HF: 1 × 1.4’’ HF: 1 × 1’’ compression HF: 1 × 1.5’’ compression HF: 1 × 3’’ compression

Rigging M5 inserts for X-U4i 3/8’’ insert for microphone 35 mm pole-mount socket 35 mm pole-mount socket M6 inserts for rigging stand X-UL8 and X-US8 brackets,X-UTILT X-UL12 and X-US1215 brackets, X-UTILT accessories M6 inserts for ETR5 U-bracket Wedge angle: 35° from vertical Wedge angles: 35°/55° from vertical

Physical data W × H × D 116 × 116 × 99 mm 165 × 165 × 165 mm 250 × 424 × 264 mm 430 × 496 × 375 mm 4.6 × 4.6 × 3.9 in 6.5 × 6.5 × 6.5 in 9.8 × 16.7 × 10.4 in 16.9 × 19.5 × 14.8 in

Weight (net) 1 kg / 2.2 lb 3.5 kg / 7.7 lb 12 kg / 26 lb 20 kg / 44 lb

1 - Peak level at 1 m under free-field conditions (half-space for subwoofers) using pink noise with crest factor 4 (preset specified in brackets). 60 2 - Horizontal plane convention: plane parallel to the longest sides of the enclosure. 4 Seasons Hotel Hamburg, DE Hard Rock Café Orlando, FL, USA

Adele World Tour Hollywood Bowl Hollywood, CA, USA

Chanel Fashion Show Havana, CU Jersey Boys London, UK

Cherry Hills Community Church Highland Ranch, CO, USA Peter Gabriel + Sting Tour

The Coopers Malthouse Theatre Melbourne, AU The Royal Opera Stockholm, SE

European Parliament Brussels, BE Terminal 5 NYC, NY, USA

Festival of Life London, UK Yale University New Haven, CT, USA

First Baptist Church Los Angeles, CA, USA Zero Gravity Dubai, UAE

X15 HiQ 108P 112P SB15P

Active 2-way Active 2-way Passive 2-way Bass-reflex

LA2Xi, LA4X, LA8, LA12X Self-powered Self-powered Self-powered

55 Hz - 20 kHz ([X15] preset) 55 Hz - 22 kHz ([FRONT] preset) 50 Hz - 20 kHz ([FRONT] preset) 40 Hz - 125 Hz ([SB15P] preset)

138 dB ([X15] preset) 127 dB ([FILL] preset) 133 dB ([FILL] preset) 133 dB

H × V: 40° × 60° symmetric 100° axisymmetric 90° axisymmetric Standard

LF: 1 × 15’’ bass-reflex LF: 1 × 8’’ bass-reflex LF: 1 × 12’’ bass-reflex 1 × 15’’ HF: 1 × 3’’ compression HF: 1 × 1.5’’ compression HF: 1 × 3’’ compression

35 mm pole-mount socket 35 mm pole-mount socket 35 mm pole-mount socket 35 mm pole-mount socket X-UL15 and X-US1215 brackets, X-UTILT ETR8-2 bracket ETR12-2 bracket Stacked Wedge angles: 35°/55° from vertical Wedge angle: 30° from vertical Wedge angle: 30° from vertical

430 × 580 × 375 mm 250 × 421 × 298 mm 410 × 540 × 388 mm 520 × 445 × 520 mm 16.9 × 22.8 × 14.8 in 9.8 × 16.6 × 11.7 in 16.1 × 21.3 × 15.3 in 20.5 × 17.5 × 20.5 in

21 kg / 46 lb 13 kg /29 lb 32 kg / 72 lb 36 kg / 79 lb

61 ► Single element deployment S SERIES COLINEAR SOURCE ► Wide horizontal MEDIUM THROW and narrow vertical directivity DOSC L-FINS L-VENTS UP TO 35 m MEDIUM THROW

Syva Syva Low Syva Sub

Type Passive 2-way Bass-reflex Bass-reflex

Amplified controller LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X

Usable bandwidth (-10 dB) 87 Hz - 20 kHz ([SYVA] preset) 40 Hz ([SYVA LOW_100] preset) 27 Hz ([SYVA SUB_100] preset)

Maximum SPL 1 137 dB ([SYVA] preset) 137 dB ([SYVA LOW_100] preset) 128 dB ([SYVA SUB_100] preset)

Coverage angle (-6 dB) 2 H × V: 140° × (+5°/-21°) Standard Standard

Transducers MF: 6 × 5’’ bass-reflex 2 × 12’’ 1 × 12” HF: 3 × 1.75’’ compression

Rigging Pole-mounted with Syva Pole Stacked with Syva Base Stacked with Syva Base Stacked on Syva Low / Sub with Syva Base Flown with Syva Bar / Syva Wall

Physical data W × H × D 144 × 1304 × 209 mm 334 × 849 × 350 mm 334 × 849 × 350 mm 5.7 × 51.3 × 8.2 in 13.1 × 33.4 × 13.8 in 13.1 × 33.4 × 13.8 in

Weight (net) 21 kg / 46 lb 29 kg / 64 lb 27 kg / 60 lb

1 - Peak level at 1 m under free-field conditions (half-space for subwoofers) using pink noise with crest factor 4 (preset specified in brackets). 62 2 - Horizontal plane convention: plane parallel to the longest sides of the enclosure. Island and Ocean installation – L-ISA Labs, London, UK

alt-J Forest Hill Stadium Queens, NY, USA Mountain Christian Church Abingdon, MD, USA alt-J Royal Albert Hall London, UK Maritim Hotel Bonn, DE

Arizona State University Neeb Hall Phoenix, AZ, USA Victoria’s Secret Fashion Show New York City, NY, USA

Evergreen Ministries Hudsonville, MI, USA Santos Tour Down Under Adelaide, AU

Evangelisch-Lutherische Apostelkirche Harburg, DE Sorbonne University Paris, FR

Louis Vuitton Fashion Show Louvre Museum, Paris, FR Hollywood Bowl Los Angeles, CA, USA

63 ► Deployment in

A SERIES horizontal / vertical lines CONSTANT CURVATURE LINE SOURCE ► Incremental coverage MEDIUM THROW with fixed inter-element angles DOSC L-VENTS PANFLEX UP TO 45 m MEDIUM THROW

A10 Wide A10 Focus A15 Wide A15 Focus

Type Passive 2-Way Passive 2-Way Passive 2-Way Passive 2-Way

Amplified controller LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X

Usable bandwidth (-10 dB) 67 Hz - 20 kHz ([A10] preset) 66 Hz - 20 kHz ([A10] preset) 42 Hz - 20 kHz ([A15] preset) 41 Hz - 20 kHz ([A15] preset)

Maximum SPL 1 137 dB ([A10] preset) 140 dB ([A10] preset) 141 dB ([A15] preset) 144 dB ([A15] preset)

Coverage angle (-6 dB) 2 Enclosure: 30° – L-Fins: 70° / 110° Enclosure: 10° – L-Fins: 70° / 110° Enclosure: 30° – L-Fins: 70° / 110° Enclosure: 10° – L-Fins: 70° / 110° symmetrical or 90° asymmetrical symmetrical or 90° asymmetrical symmetrical or 90° asymmetrical symmetrical or 90° asymmetrical

Transducers LF: 1 × 10’’ bass-reflex LF: 1 × 10’’ bass-reflex LF: 1 × 15’’ bass-reflex LF: 1 × 15’’ bass-reflex HF: 1 × 2.5’’ compression HF: 1 × 2.5’’ compression HF: 1 × 3’’ compression HF: 1 × 3’’ compression

Rigging Flown V. with A10-BUMP Flown V. with A10-BUMP Flown V. with A15-BUMP Flown V. with A15-BUMP or A10-RIGBAR or A10-RIGBAR or A15-RIGBAR or A15-RIGBAR Flown H. with A10-LIFT Flown H. with A10-LIFT Flown H. with A15-LIFT Flown H. with A15-LIFT Pole-mounted with A-MOUNT Pole-mounted with A-MOUNT Pole-mounted with A-MOUNT Pole-mounted with A-MOUNT Stacked with A-TILT Stacked with A-TILT Stacked with A-TILT Stacked with A-TILT

Physical data W × H × D 347/180 × 581 × 344 mm 350/292 × 581 × 339 mm 424/182 × 764 × 494 mm 427/347 × 764 × 490 mm 13.7 / 7 × 22.9 × 13.5 in 13.8 / 11.5 × 22.9 × 13.3 in 16.7/7.2 × 30 × 19.4 in 16.8/13.7 × 30 × 19.3 in

Weight (net) 20 kg / 44 lb 22 kg / 49 lb 33 kg / 73 lb 35 kg / 77 lb

1 - Peak level at 1 m under free-field conditions (half-space for subwoofers) using pink noise with crest factor 4 (preset specified in brackets). 64 2 - Horizontal plane convention: plane parallel to the longest sides of the enclosure. Bicentennial Center Arena Salina, KS, USA Oslo Nightclub London, UK

Calvary Church Sumner, WA, USA Palais Montcalm Québec City, CA

CBC/Radio-Canada’s Historic Studio 42 Toronto, CA Parkteatret Scene Oslo, NO

Hollywood Bowl Hollywood, CA, USA Pepsi Center Mexico City, MX

National Theatre London, UK Primavera Festival Barcelona, ES

Omnia Nightclub Las Vegas, NV, USA

A10i Wide A10i Focus A15i Wide A15i Focus

Passive 2-Way Passive 2-Way Passive 2-Way Passive 2-Way

LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X

67 Hz - 20 kHz ([A10] preset) 66 Hz - 20 kHz ([A10] preset) 42 Hz - 20 kHz ([A15] preset) 41 Hz - 20 kHz ([A15] preset)

137 dB ([A10] preset) 140 dB ([A10] preset) 141 dB ([A15] preset) 144 dB ([A15] preset)

Enclosure: 30° – L-Fins: 70° / 110° Enclosure: 10° – L-Fins: 70° / 110° Enclosure: 30° – L-Fins: 70° / 110° Enclosure: 10° – L-Fins: 70° / 110° symmetrical or 90° asymmetrical symmetrical or 90° asymmetrical symmetrical or 90° asymmetrical symmetrical or 90° asymmetrical

LF: 1 × 10’’ bass-reflex LF: 1 × 10’’ bass-reflex LF: 1 × 15’’ bass-reflex LF: 1 × 15’’ bass-reflex HF: 1 × 2.5’’ compression HF: 1 × 2.5’’ compression HF: 1 × 3’’ compression HF: 1 × 3’’ compression

Flown V. with A10i-BUMP Flown V. with A10i-BUMP Flown V. with A15i-BUMP Flown V. with A15i-BUMP or A10i-RIGBAR or A10i-RIGBAR or A15i-RIGBAR or A15i-RIGBAR Flown H. with A10i-LIFT Flown H. with A10i-LIFT Flown H. with A15i-LIFT Flown H. with A15i-LIFT Flown H/V with A-U10i Flown H/V with A-U10i Flown H/V with A-U15i Flown H/V with A-U15i Stacked with A10i-TILT Stacked with A10i-TILT Stacked with A15i-TILT Stacked with A15i-TILT

347/180 × 569 × 366 mm 350/294 × 569 × 366 mm 424/180 × 752 × 521 mm 427/345 × 752 × 516 mm 13.7 / 7.1 × 22.4 × 14.4 in 13.8 / 11.6 × 22.4 × 14.4 in 16.7/7.1 × 29.6 × 20.5 in 16.8/13.6 × 29.6 × 20.3 in

18 kg / 40 lb 19 kg / 42 lb 29 kg / 64 lb 33 kg / 73 lb

65 ► Deployment in vertical lines K SERIES VARIABLE CURVATURE LINE SOURCE ► Adjustable coverage with LONG THROW variable inter-element angles BEYOND 35 m DOSC L-VENTS L-FINS PANFLEX DSP LONG THROW

PRELIMINARY

Kiva II Kara II Kara IIi K3

Type Passive 2-way Active 2-way Active 2-way Active 2-way

Amplified controller LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA4X, LA8, LA12X

Usable bandwidth (-10 dB) 70 Hz - 20 kHz ([KIVA II] preset) 55 Hz - 20 kHz ([KARA II_70] preset) 55 Hz - 20 kHz ([KARA II_70] preset) 42 Hz - 20 kHz ([K3_70] preset)

Maximum SPL 1 138 dB ([KIVA II] preset) 142 dB ([KARA II_70] preset) 142 dB ([KARA II_70] preset) 143 dB ([K3_70] preset)

Coverage angle (-6 dB) 2 H × V: 100° × 15° 3 H x V: 70° / 90° / 110° x 10° 3 H x V: 70° / 90° / 110° x 10° 3 H x V: 70°/90°/110° x 10°

Transducers LF: 2 × 6.5’’ bass-reflex LF: 2 × 8’’ bass-reflex LF: 2 × 8’’ bass-reflex LF : 2 x 12’’ bass-reflex

HF: 1 × 1.75’’ compression HF: 1 × 3’’ compression HF: 1 × 3’’ compression HF: 1 x 4’’ compression

Rigging Flown/stacked with KIBU II/ Flown with M-BUMP / KARA-MI- Flown with M-BUMP IIi / M-RIG- Flown with K3-BUMP / K3-RIGBAR KIBU-SB NIBU Stacked with M-BUMP / BARi Stacked with K3-Chariot Pole-mounted with KIET II KARA-MINIBU Stacked with M-BUMP IIi Under balcony with KIET II

Physical data W × H × D 520 × 202/104 × 357 mm 733 × 252/162 × 482 mm 730 × 250/164 × 482 mm 4 950 x 355/286 x 400 mm 20.5 × 8/4.1 × 14 in 28.9 × 9.9/6.4 × 19 in 28.7 × 9.8/6.4 × 19 in 4 37.4 x 13.9/11.2 x 15.7 in

Weight (net) 14 kg / 31 lb 26 kg / 57 lb 26 kg / 57 lb 4 43 kg / 94.7 lb

1 - Peak level at 1 m under free-field conditions (half-space for subwoofers) using pink noise with crest factor 4 (preset specified in brackets). 66 2 - Horizontal plane convention: plane parallel to the longest sides of the enclosure. 3 - Maximum inter-enclosure angle. 4 - Physical data may vary with versions. Consult detailed specs. Calling Festival at Clapham Common London, UK La Philharmonie de Paris Paris, FR

Coachella Valley Music and Arts Festival Indio, CA, USA Reading / Leeds Festival Reading, UK

Foo Fighters Concrete And Gold Tour 2017-18 Red Hot Chili Peppers Getaway Tour, 2016-17

Hammerstein Ballroom Manhattan, NY, USA Swiss Tech Convention Center Lausanne, CH

Hollywood Bowl Los Angeles, CA, USA Tomorrowland Boom, BE

Lorde Melodrama Tour, 2017-18 Toyota Center, NBA Houston Rockets Houston, TX, USA

PRELIMINARY

K3i K2 K1 K1-SB

Active 2-way Active 3-way Active 3-way Bass-reflex

LA4X, LA8, LA12X LA4X, LA8, LA12X LA8, LA12X LA8, LA12X

42 Hz - 20 kHz ([K3_70] preset) 35 Hz - 20 kHz ([K2_70] preset) 35 Hz - 20 kHz ([K1] preset) 30 Hz ([K1SB_60] preset)

143 dB ([K3_70] preset) 147 dB ([K2_70] preset) 149 dB ([K1] preset) 145 dB ([K1SB_X]) preset)

H x V: 70°/90°/110° x 10° H × V: 70° / 90° / 110° × 10° 3 H × V: 90° × 5° 3 Standard

LF : 2 x 12’’ bass-reflex LF: 2 × 12’’ bass-reflex LF: 2 × 15’’ bass-reflex 2 × 15’’ MF: 4 × 6.5’’ bass-reflex MF: 4 × 6.5’’ bass-reflex HF: 1 x 4’’ compression HF: 2 × 3’’ compression HF: 3 × 3’’ compression

Flown with K3i-BUMP / K3i-RIGBAR Flown with K2-BUMP Flown with K1-BUMP Flown with K1-BUMP, K2-BUMP Stacked with K3i-BUMP Stacked with K2-Chariot

907 x 355/288 x 403 mm 1338 × 354/286 × 400 mm 1342 × 438 × 520 mm 1342 × 434 × 520 mm 35.7 x 13.9/11.3 x 15.9 in 52.7 × 14/11.3 × 15.8 in 52.8 × 17.2 × 20.5 in 52.8 × 17.1 × 20.5 in

37 kg / 81.6 lb 56 kg / 123 lb 106 kg / 234 lb 83 kg / 183 lb

67 ► Deployment in horizontal /

SB SERIES vertical lines OMNI / CARDIO SUBWOOFER

► Omni / KS SERIES cardioid configurations L-VENTS

SUB SUBWOOFERS

PRELIMINARY

SB15m SB18 SB18 IIi

Type Bass-reflex Dual bass-reflex Dual bass-reflex

Amplified controller LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X

Usable bandwidth (-10 dB) 40 Hz ([SB15_100] preset) 32 Hz ([SB18_100] preset) 32 Hz ([SB18_100] preset)

Maximum SPL 1 137 dB ([SB15_100]) preset) 138 dB ([SB18_100]) preset) 138 dB ([SB18_100]) preset)

Coverage angle (-6 dB) 2 Standard or cardioid Standard or cardioid Standard or cardioid

Transducers 1 × 15’’ 1 × 18’’ 1 × 18’’

Rigging Flown with KIBU-SB Flown with M-BUMP / KARA-MINIBUEX Flown with M-BUMP IIi Stacked with KIBU-SB Stacked M-BUMP / KARA-MINIBUEX 35 mm pole-mount socket 35 mm pole-mount socket

Physical data W × H × D 580 × 439 × 520 mm 750 × 553 × 707 mm TBA 22.8 × 17.3 × 20.5 in 29.5 × 21.8 × 27.8 in TBA

Weight (net) 36 kg / 79 lb 52 kg / 115 lb TBA

1 - Peak level at 1 m under free-field conditions (half-space for subwoofers) using pink noise with crest factor 4 (preset specified in brackets). 68 2 - Horizontal plane convention: plane parallel to the longest sides of the enclosure. 3 - Physical data may vary with versions. Consult detailed specs. KS21 KS21i SB28 KS28

Bass-reflex Bass-reflex Bass-reflex Bass-reflex

LA2Xi, LA4X, LA8, LA12X LA2Xi, LA4X, LA8, LA12X LA2Xi, LA8, LA12X LA2Xi, LA12X

31 Hz ([KS21_100] preset) 31 Hz ([KS21_100] preset) 25 Hz ([SB28_100] preset) 25 Hz ([KS28_100] preset)

138 dB ([KS21_100] preset) 138 dB ([KS21_100] preset) 142 dB ([SB28_100]) preset) 143 dB ([KS28_100] preset)

Standard or cardioid Standard or cardioid Standard or cardioid Standard or cardioid

1 × 21’’ 1 × 21’’ 2 × 18’’ 2 × 18’’

Flown with A15-BUMP or A15-RIGBAR Flown with A15i-BUMP or A15i-RIGBAR Flown with BUMPSUB-2 Flown with KS28-BUMP 35 mm pole-mount socket with threaded Flown with A-U15i and SB28CHAIN insert

764 × 571 × 620 mm 752 × 569 × 629 mm 1300 × 550 × 700 mm 1351 × 565 × 719 mm 30 × 22.5 × 24.4 in 29.6 × 22.4 × 24.7 in 51.2 × 21.7 × 27.6 in 53.2 × 22.2 × 28.3 in

49 kg / 108 lb 49 kg / 108 lb 93 kg / 205 lb 79 kg / 174 lb

69 ► Seamless integration within the NETWORKING L-Acoustics ecosystem. ► United audio and control distribution

AVNU-CERTIFIED AVB SWITCH ► Reliable networking

LS10

Type 10-port Ethernet AVB switch, Avnu-certified Designed to support network redundancy

Ethernet ports 8 Gigabit Neutrik EtherCON™ and 2 SFP cages

Power supply Integrated SMPS 100 - 240 V / 50 - 60 Hz

Redundant power 1 redundant 24V DC power input circuit 1 redundant 24V DC power output

Startup time 5 seconds

Management gPTP priority, RSTP

GPO General fault indication

Physical data Height: 1U Width: 1 / 2 U Weight (net): 1.5 kg / 2.2 lb

Accessory Rack mountable tray accommodating two LS10

70 ► Gateway to L-Acoustics drive platform PROCESSORS (P1)

► Object based processing (L-ISA Processor) SYSTEM GATEWAY - 3D PROCESSING

P1 L-ISA Processor

Type Milan AVB processor and measurement platform Type L-ISA multichannel audio processor

Architecture 96 kHz / 32-bit floating point Audio inputs Up to 96 20 in x 16 out (+headphones) Sampling rate 44.1, 48 or 96 kHz Matrix mixing to 8 DSP busses + Cue Bus MADI optical 1/2 and BNC 3 Direct routing for format conversion Audio outputs Up to 64 I/O 4 Mic/Line inputs (48V), 4 Line I/O, 4 AES/EBU I/O, 8 AVB I/O MADI optical and BNC with redundancy 1 automatic stereo headphone downmix Redundancy Time-aligned redundant signal distribution 1 automatic stereo downmix (AES/EBU)

Processing Gain, mute, polarity Audio clock Word Clock In (BNC) (per bus) Delay up to 4000 ms sources MADI optical in (1, 2) / BNC in (3) 16 EQ filters Clip protection Network 1 Gb/s Ethernet port (RJ45)

Measurements System impulse response acquisition Control L-ISA Controller Simultaneous measurements at multiple locations Silent tuning

Network 2x Ethernet AVB 1Gb/s ports, Milan-certified Seamless network redundancy

Control LA Network Manager Q-SYSTM, Crestron® 71 AMPLIFIED ► Loudspeaker amplification ► Digital signal processing CONTROLLERS ► Comprehensive system protection

DRIVE PLATFORMS

PRELIMINARY

LA2Xi LA4X LA8 LA12X

Type Class D amplified controller with PFC Class D amplified controller with PFC Class D amplified controller Class D amplified controller with PFC

Output 4 x 640 W at 4 ohms 4 x 1000 W at 4 ohms 4 x 1800 W at 2.7 ohms 4 x 3300 W at 2.7 ohms Power 2 x 1260 W at 8 ohms 4 x 1000 W at 8 ohms 4 x 1800 W at 4 ohms 4 x 2600 W at 4 ohms 1 x 2550 W at 4 ohms 4 x 1300 W at 8 ohms 4 x 1400 W at 8 ohms

Architecture 96 kHz/32-bit floating point DSP 96 kHz/32-bit floating point DSP 96 kHz/32-bit floating point DSP 96 kHz/32-bit floating point DSP 4 in x 4 out 4 in x 4 out 2 in x 4 out 4 in x 4 out Bridge modes: 4 x 3, 4 x 2, 4 x 1. AVB, AES and analog AES and analog AVB, AES and analog AVB, AES and analog

Processing Array Morphing Array Morphing Array Morphing Array Morphing Multiband EQ Multiband EQ Multiband EQ Multiband EQ Air absorption compensation filter Air absorption compensation filter Air absorption compensation filter Air absorption compensation filter 1000 ms delay per output 1000 ms delay per output 680 ms delay per output 1000 ms delay per output L-DRIVE advanced system protection L-DRIVE advanced system protection L-DRIVE advanced system protection L-DRIVE advanced system protection

Network 2x Ethernet AVB 1Gb/s ports, 2x Ethernet AVB 1Gb/s ports, 2x Ethernet 100 Mb/s ports 2x Ethernet AVB 1Gb/s ports, Milan-certified Milan-certified Milan-certified Seamless network redundancy Seamless network redundancy

Control LA Network Manager LA Network Manager LA Network Manager LA Network Manager Q-SYSTM, Crestron®, Extron® and SNMP Q-SYSTM, Crestron®, Extron® and SNMP Q-SYSTM, Crestron®, Extron® and SNMP Q-SYSTM, Crestron®, Extron® and SNMP

72 TOURING ► AVB with Milan seamless redundancy ► 12 channels of high power amplification RACK ► Usable worldwide

LA-RAK II AVB

Type Touring Rack for L-Acoustics systems

Amplification Hosts 3 x LA12X for maximum drive flexibility and power

Distribution 2 x LS10 switches for redundant AVB network Analog audio signal panel AES / EBU audio signal panel Universal power distribution panel

Physical Shock-absorbing 9U frame with removable doors and dolly

Deployment Stacked, flown or mounted on K1 / K2 bumpers

Other Rigging compatibility with LA-RAK II Electrical compatibility with LA-RAK II

73 INSTALLATION REFERENCES

SPORT FACILITIES NIGHTCLUBS

AL WAKRAH STADIUM Al Wakrah, QT JEWEL NIGHTCLUB @ ARIA Las Vegas, NV, US AT&T CENTER, NBA SPURS San Antonio, TX, US HI CLUB Ibiza, SP ENTERPRISE CENTER, NHL ST. LOUIS BLUES St.Louis, MO, US LE BRIDGE Paris, FR MALAYSIA NATIONAL STADIUM Kuala Lumpur, MY OMNIA Las Vegas, NV - US / San Diego, CA - US / Los Cabos, MX ROGERS ARENA, NHL CANUCKS Vancouver, BC, CA OSLO HACKNEY London, UK RUPP ARENA Lexington, KY, US TEMPLE BAR Dublin, IE STATE FARM STADIUM, NFL CARDINALS Phoenix, AZ, US WET REPUBLIC HAKKASAN Las Vegas, NV, US WELLS FARGO CENTER, NBA 76ers Philadelphia, PA, US ZERO GRAVITY Dubai, AE

HOUSES OF WORSHIP CONVENTION CENTERS

CHERRY HILLS COMMUNITY CHURCH Highlands Ranch, CO, US CARTIER FONDATION Paris, FR ELEVATION CHURCH BALLANTYNE Charlotte, NC, US DUESSELDORF CCD CONGRESS CENTER Duesseldorf, DE GRACE METHODIST CHURCH Singapore, SG FUZHOU GOVERNMENT NEW BUILDING Fuzhou, CN LDS CONFERENCE CENTER Salt Lake City, UT, US KUALA LUMPUR CONVENTION CENTER Kuala lumpur, MY MARTINIKERK Groningen, NL MELBOURNE EXHIBITION CENTER Melbourne, AU SACRED ASSEMBLY Johannesburg, ZA MINEAPOLIS CONVENTION CENTER Minneapolis, MN, US SRI SATHYA SAI PREMAMRUTHAM ASHRAM Muddenahalli, IN STOCKHOLM CONFERENCE HALL Stockholm, SE ST. JAMES CHURCH Medjugorje, BA SWISS TECH CONVENTION CENTER Lausanne, CH

LIVE CLUBS PERFORMING ARTS CENTERS

APOLLO HAMMERSMITH London, UK MOSCOW PHILHARMONIC OPERA HALL Moscow, RU BROOKLYN STEEL Brooklyn, NY, US NATIONAL GRAND THEATRE Beijing, CN CAIRO JAZZ CLUB Cairo, EG PEPSI CENTER Mexico City, MX EARTH London, UK PHILHARMONIE DE PARIS Paris, FR HAMMERSTEIN BALLROOM New York, NY, US ROYAL CARRE THEATRE Amsterdam, NL LA CIGALE Paris, FR ROSSIYA THEATRE Moscow, RU MERCURY LOUNGE Moscow, RU SMART FINANCIAL CENTRE Sugar Land, TX, US MUSE BAR Chengdu, CN STAR PERFORMING ARTS CENTRE Singapore, SG TROUBADOUR Los Angeles, CA, US THE PALMS PEARL Las Vegas, NV, US

74 RENTAL REFERENCES

FESTIVALS TOURS

AUSTIN CITY LIMITS Austin, TX, US ALT-J North America Tour - 2018 BLUESFEST Byron Bay, AU CÉLINE DION Asia Tour - 2018 BOSTON CALLING Boston, MA, US CHER North America Tour - 2019 COACHELLA Indio, CA, US CHILDISH GAMBINO North America Tour - 2018 CREAMFIELDS Daresbury, UK DEPECHE MODE World Tour - 2018 DOWNLOAD FESTIVAL Castle Donington, UK FOO FIGHTERS World Tour - 2017/2018 EUROCKÉENNES Belfort, FR HELENE FISCHER European Tour - 2018 GLOBAL CITIZEN Mumbai, IN LANA DEL REY North America Tour - 2018 HEAVEN AND HELLFEST Mexico City, MX LORDE North America Tour - 2018 LOLLAPALOOZA Santiago, CL - Sao Paolo, BR - Chicago, IL, US LU HAN China Tour - 2018/2019 PENTAPORT ROCK FESTIVAL Incheon, KR MARK KNOPFLER European Tour - 2019 PRIMAVERA FESTIVAL Barcelona, SP MUMFORD AND SONS World Tour - 2018/2019 ROCK AM RING Mendig, DE P!NK World Tour - 2018/2019 ROLLING LOUD Miami, FL, USA POST MALONE North America Tour - 2019 READING / LEEDS Reading / Leeds, UK RADIOHEAD North American Tour - 2018 SUMMERFEST Milwaukee, WI, US RAMMSTEIN European Tour - 2019 TOMORROWLAND Boom, BE ZHANG JIE FUTURE LIVE Asian Tour - 2018/2019 WONDERFRUIT Pattaya, TH

SPECIAL EVENTS MUSICALS

AEROSMITH DEUCES ARE WILD 2019 Las Vegas Residency BANDSTAND - US Broadway 2017 - present ASIAN GAMES Jakarta, ID BOOK OF MORMON - US Broadway 2011 - present BBC PROMS London, UK CABARET - US National Tour 2016 - present BRIT AWARDS London, UK HAMILTON - US Broadway 2015 - present F1 MEXICO CITY GRAND PRIX Mexico City, MX KINKY BOOTS - US Broadway 2015 - present F1 SINGAPORE GRAND PRIX Singapore, SG MAGIC MIKE THE MUSICAL - UK West End 2018 - present GOLDEN MELODY AWARDS Taipei, TW MEAN GIRLS - US Broadway 2018 - present HOUSTON RODEO AND LIVESTOCK SHOW Houston, TX, US THE PROM - US Broadway 2018 - present LADY GAGA 2019 Las Vegas Residency RENT 20th ANNIVERSARY - US National Tour 2016 - present LOUIS VUITTON FASHION SHOW Paris, FR TOOTSIE THE MUSICAL - US Broadway 2019 - present VICTORIA’S SECRET FASHION SHOW New York City, NY, US WEST SIDE STORY - Europe, Middle East, Asia 2016 - present

75 CERTIFIED PROVIDERS

L-Acoustics is present in 85 countries through a network of Certified Distributors, Rental Partners and System Integrators. This certification ensures that end users always receive the same high-quality service from professionals committed to our quality charters.

Distributor Rental System Integrator

CEC E RRTT IIFIEF I E D PPRR OOVV IIDD EERR CEC E RRTT IIFIEF I E D PPRR OOVV IIDD EERR CEC E RRTT IIFIEF I E D PPRR OOVV IIDD EERR

DISTRIBUTION RENTAL SYSTEM INTEGRATOR NETWORK NETWORK NETWORK

Alongside the L-Acoustics in-house The L-Acoustics Rental Network The L-Acoustics System Integrator team, the Distribution Network is comprises over 700 agents worldwide. Network follows a precise charter set out committed to serving the professional Our agents operate on the most by L-Acoustics. A systematic approach audio industry in over 50 countries. prestigious tours, festivals and events from project analysis, electro-acoustic Distributors provide assistance and around the globe. They are committed and mechanical specification, system support to system integrators, rental to providing equipment according to tuning, commissioning and training is companies, engineers, consultants the L-Acoustics system standards and provided by highly qualified personnel. and end-users, as well as providing experienced technicians, trained and Integrators and consultants can benefit access to demonstration equipment and certified on L-Acoustics systems. from the accumulated experience of ensuring local product availability and nearly 20,000 installations worldwide. customer service.

L-Acoustics 13 rue Levacher Cintrat • 91460 Marcoussis • France +33 1 69 63 69 63 • [email protected]

l-acoustics.com • l-isa-immersive.com • l-acoustics-creations.com

L-Acoustics GmbH L-Acoustics, Inc. L-Acoustics Ltd. Steiermärker Str. 3-5 2645 Townsgate Road • Suite 600 67 Southwood Lane 70469 Stuttgart Westlake Village • CA 91361 Highgate • London N6 5EG Germany USA United Kingdom +49 7 11 89660 232 +1 805 604 0577 +44 1 722 411 234