The performing zone is the portion of the stage occupied by the performers. It is the primary focus of L‑ISA Live to offer a faithful reproduction of the sound generated by the action taking place in the performing zone.
Fusion is the ability to match any sound source to the location that the audience sees on stage (“what you hear is what you see”).
Localization is the ability to associate a precise position to each sound. Good localization is a primary requirement for fusion both in the horizontal and vertical dimensions.
Separation is the ability to isolate individual sounds from a complex mix. Separation is improved if individual sounds have a precise Localization.
Intelligibility is the ability to understand the musical message and/or the lyrics of a musical performance.
Coverage is the ability of the sound system to offer a homogeneous broad bandwidth sound level distribution throughout the audience independently of the localization of the sound event.
Hyperrealism is a genre of visual art introduced in the 70s. Coming from photorealism, it represents forms and shapes with an extreme resolution. Applied to sound, it describes a sound design that delivers extreme coverage, localization and impact over a large area, enabling perceptual fusion, separation and intelligibility for the members of the audience.
Panorama indicates how wide the spatial distribution of sound sources is.
Envelopment is the degree to which the audience feels a room effect due to natural and/or electronic reflections and reverberation.
Immersion combines panorama and envelopment. It is the feeling of being within the experience.
Sonic performance relates to the quality of sound in the audience in terms of SPL performance, distribution and profile, impact and frequency contour.
Frequency contour relates to the frequency response of the sound system in relation to a reference curve.
Impact relates to the temporal integrity of the sound. Impact is impaired by the dispersion over the audience of the respective contribution of the speaker groups that radiate the same signal from different locations.
The SPL profile describes the variation of sound pressure level along the depth of the venue. For each speaker group, a curve representing the level of SPL in the 1-10 kHz band expresses the way that the SPL evolves in the longitudinal section of the audience from the first row to the last.
The scene system is set to match the actual width of the performing zone. The scene system amplifies the action on stage through a linear pattern of equally spaced identical speaker groups.
The extension system expands the soundscape beyond the performing zone up to the side walls of the venue.
The frontal system is the combination of the scene system and the extension system.
The L‑ISA Zone is the area of the audience that is within the coverage area of all speaker groups in the scene system. The L‑ISA Zone defines the audience area that benefits from a hyper-realistic immersive experience.
The surround system consists of identical speakers distributed at the periphery of venue.
The overhead system consists of a small number of identical speakers distributed above the frontal audience or middle audience.
The near fills system achieves coverage of the area close to the stage.
The delay lines system achieves coverage of masked or distant areas.
SPL Max Average
The SPL max average is the average maximum SPL. The input signal utilized in this calculation is a pink noise on the 20 Hz – 20 kHz frequency bandwidth.
The SPL distribution evaluates the consistency of the coverage over the audience.
The time criterion evaluates the impact of the sound over the audience. The time criterion is defined as the portion of the audience that shows good temporal integrity of the sound in relation to the respective contributions of the multiple speaker groups that radiate the same signal from different locations.
The L‑ISA Zone criterion describes the ratio of the L‑ISA zone extension over the entire audience area. The L‑ISA Zone is defined as the intersecting zone of the speaker groups of the scene system.
The spatial resolution criterion reflects the density of speaker groups in the scene system. It corresponds to the number of speaker groups in the scene system.
The horizontal localization criterion evaluates the ability of the sound design to achieve fusion in the horizontal dimension and create smooth trajectories.
The vertical localization criterion evaluates the ability of the sound design to achieve fusion in the vertical dimension.
The Immersion criterion describes the potential of the sound design to provide a high degree of immersion for a frontally-oriented live act.