Unlike traditional stereo solutions, L‑ISA Hyperreal Sound is based on a linear topology of loudspeaker arrays that are distributed above or behind the full width of the stage. This Frontal configuration relies on overlapping coverage so that as much of the audience hears all of the frontal arrays as possible. The configuration consists of:
The L‑ISA scene speakers can be deployed in two different manners:
A frontal system is the configuration of choice for L‑ISA live solutions, thanks to its ease of implementation and its positive impact on sonic performance: a frontal system elevates the experience for a much larger percent of the audience and enables fusion as a primary objective.
Fill and delay systems can be deployed and fed with automatic mixdowns to complete the coverage.
Surround and overhead speakers may also be deployed. When combined with the proprietary L-ISA room engine, these systems elevate the sense of envelopment and immersion while expanding panning capabilities to full 3D configurations.
With a multiple-array frontal configuration on, above or behind the stage, L‑ISA provides a soundscape to match the modern desire for an augmented panorama and corrects the historic compromise of stereo systems that only deliver spatialized sound to a narrow sweet spot.
By contrast, L‑ISA deploys multiple arrays across the performing zone, allowing audiences to distinguish instruments and voices clearly and to enjoy a level of connection to the artists they’ve never felt before. The results? Better intelligibility, closer connections and a much larger spatialized zone. The L‑ISA Zone.
Generations of engineers have faced the challenge of mixing sound for groups of musicians performing onstage through speaker arrays positioned offstage. This challenge has become greater as ever-growing video screens have expanded the visual panorama and pushed the speakers even further from the performers.
With a frontal system across the stage, the engineer has the opportunity to localize the sound from each performer, to track moving sources and to dedicate individual arrays to individual or small groups of instruments, safe in the knowledge that the entire L‑ISA Zone is covered by all of the arrays.
L‑ISA provides the most comprehensive and robust solutions for mixing in real time / real world environments, with the confidence that the speaker designs and the mixing tools in the L‑ISA ecosystem will combine to exceed the production’s expectations.
From extraordinary spatialization through immersive hyperrealism, L-ISA enables productions to differentiate into a premium sonic position that brings new energy to the show and creates lifelong memories. L-ISA configurations are highly compatible with panoramic video and scenographic elements while presenting unmatched sightlines. And in multi-purpose venues, the L-ISA room engine allows the listening experience to be fine-tuned for a wide variety of music styles.
Mixing with L‑ISA tools for an L‑ISA frontal configuration sets the engineer free from the traditional constraints of stereo or LCR. Each console channel becomes a sound object that can be freely positioned in the soundscape, while the engineer can accurately localize sources and track performers on stage.
The properties of each sound object are defined independently from the loudspeaker layout, so the entire mix can be retained across a wide variety of venues and system configurations.
The advantages for the engineer and the audience are immediate:
The L‑ISA Ecosystem offers consistent mixing from venue to venue through the simplicity and power of its object-based mixing platform.
The L‑ISA Processor receives a post-fader, post-processing output for each channel and creates signal feeds for each frontal speaker group. Object properties are independent of loudspeaker layout allowing portability from show to show. In addition to offering real-time control of any input, parameters can also be stored in synchronization with audio tracks and then recalled as snapshots, triggered through time code, modified from sensor inputs, etc.
L‑ISA provides the mixing engineer with five parameters for each sound object:
controls horizontal location
controls perceived size, from point source to panoramic
controls perceived proximity (and applies the appropriate reverberation algorithm)
controls vertical location
provides a classic post-distance auxiliary bus send
L‑ISA technology is the culmination of years of research and development aimed to improve the live concert experience by breaking free of the stereo or dual mono paradigm that results in frustratingly poor localization.
The technology addresses the many challenging constraints specific to the live sound environment such as high SPL, intelligibility, and large spaces.
In the initial phase of research & development, numerous algorithms, options, and existing technologies were considered, yet none fully addressed the requirements of live audio. Ambisonics, for example, remains well-suited to broadcast or VR applications, but scales poorly to large audiences and venues. Wave field synthesis (WFS) is effective in a laboratory setting, but falls short in deployments where the spacing between speakers increases by a few meters, resulting in audible artefacts that significantly degrade sound quality, impact, and the feeling of proximity that L‑Acoustics line source technology has brought to the pro audio industry since the 1990s.
With the uniqueness of live sound in mind as a framework for development, L‑ISA Labs opted to approach the subject with fresh set of eyes…and ears.
Our goal was to achieve maximum spatial precision and sound quality while preserving the ability to scale to large audiences.
Research and development efforts including simulation, listening tests, and iterative prototyping yielded results in the form of three new proprietary algorithms combined in a way that establishes direct connections between objects and sound. More specifically, the algorithms enable full 3D object-based amplitude panning, position-dependent frequency compensation, and spatial spreading with zero-latency decorrelation processing. Objects can be positioned and moved in real-time via PAN, WIDTH or ELEVATION controls with accurate localization, spatial extension, and timbre. Additional sub-processing blocks are included in the L‑ISA Processor to address the specific needs of fill systems that are ever-present in large scale installations.
Designed from a blank slate to a state of the art, L‑ISA provides the perfect combination of multi-array sound design and dedicated processing for main or sub-systems.
The L‑ISA room engine, accessible via the DISTANCE mixing parameter, allows users to naturally re-create different room acoustics within the same venue or show. Specifically designed for object-based audio and variable space configurations, the engine uses full 3D multi-channel processing to diffuse energy across many loudspeakers, eliminating audible electronic processing.
A patent-pending algorithm for automatic direct sound precedence control ensures localization across the entire audience at all scales, and for all source positions. As a result, reverberations can be deployed with ease, even in large venue surround setups.
Thanks to a highly innovative approach to in-line convolution processing that allows for independent control of time, frequency and spatial behavior, the L‑ISA room engine can be used to complement existing room acoustics by adding selected effects as needed. A full acoustic space can be created in a dry room. A diffuse field can be added in rooms that need a bit more tail. Early reflections can be added if desired. Decay length and shape, as well as spectral behavior, can be adjusted with precision to reach the desired room response.
The L‑ISA room engine provides a wide range of possibilities that can be stored and recalled via intuitive presets, creating different acoustic environments within the same show or venue.
The L‑ISA ecosystem provides the most comprehensive toolchain for every stage of a multidimensional audio project. From early qualification of a sound design to low-latency real-time operation directly from the mixing console, this unique set of tools offers designers and engineers predictability, consistency and a design process that is easy to plan, simple to replicate and makes switching from mono or stereo to L‑ISA as straightforward as possible.
The L‑ISA Desk Link integrates L‑ISA Controls into DiGiCo’s industry-leading mixing consoles, allowing engineers to access configuration and control information directly from the mixing desk while using a familiar workflow and a single interface to manage immersive environments easily and intuitively.
For extreme reliability, the L‑ISA Processor focuses solely on spatial audio processing, offering panning and room simulation for up to 96 audio objects based on defined speaker positioning information and mixing parameters (pan, width, distance, elevation, aux send) and creating up to 32 outputs.
The L‑ISA Controller offers, on a single screen, a visualization of all sound objects in the 3D mixing space for live monitoring and user interaction in Windows® and Mac OS® environments and transmits control information to the Processor for selected parameters (pan, width, distance, elevation, aux send) for each sound object.
Supporting Windows and Mac OS X operating systems, the LA Network Manager 2 remote control software provides control and monitoring of up to 253 L‑Acoustics amplified controllers within the L‑Acoustics L‑NET Ethernet network.
Soundvision is L‑Acoustics’ proprietary acoustical and mechanical simulation program and is the first 3D program capable of operating in real time. It calculates SPL coverage, SPL mapping and delay coverage (or mapping) for complex sound system/venue configurations. It now features advanced parameters to qualify and certify multichannel sound designs.
“The whole concept of immersive audio is fun and exciting. We’ve had massive advancements in lighting technology over the last 10-15 years. It’s so good to see a new step forward in audio presentation. I don’t listen to a stereo anymore at home, I listen to the surround sound system and now, hopefully, I can do the same thing in my working environment. This is game changing.”
— Adam Rhodes, sound engineer for Angus and Julia Stone
Australian-born brother and sister duo Angus and Julia Stone impressed the indie folk world with their debut 2006 album, A Book Like This. Their 2010 follow up Down the Way sealed their presence at the top of the charts, winning five ARIA Music Awards: Album of the Year, Best Adult Alternative Album, Best Cover Art and Producer of the Year, and Single of the Year for “Big Jet Plane.” 2018 has seen the duo touring the world in support of their latest release, “Snow.”
UK and European production supplier for the Stones, Britannia Row Productions, were engaged to install L-ISA Hyperreal Sound technology at the Royal Albert Hall for the Classic Brits in June close to the date Angus and Julia Stone show. Knowing that FOH engineer Adam Rhodes has extensive experience with multiple stem mixing for films, they felt the technology would be a great fit – Adam agreed and the decision was made to use L-ISA for the RAH performance.
A classic design would use a left/right configuration of 14 K2 with two K1-SB per side, augmented by a centrally-flown hang of eight KS28 subwoofers. An L-ISA design for the Angus and Julie Stone performance consisted of a Scene system of five hangs of 15 Kara each, spaced above the performance zone, providing separation and localization. One flown array of four KS28 subwoofers was placed in front of the center Kara hang, and a fill system of two arrays of 10 Kara was flown left/right and a fill system of 10 X8 coaxials was distributed along the stage lip. The whole system was driven by a total of 27 LA12X Amplified Controllers
Venue 45m deep x 55m wide
Stage 12m wide front x 25m wide rear x 0.95m high
FOH 23m from D.S.E
Min Trim height 10m (from stage)
Program type Folk and indie pop
SPL max average >= 105 dBA
SPL distribution 6 – 9 dB
Frequency contour 6 dB (@ 100hz)
Frequency contour 8 dB (@ 40hz)
“I think this is the future of sound; once you’ve heard this kind of sound at a concert, if you go back to the previous sound system, it won’t feel as good. I have done many concerts in my life and this is the first time that I’ve had so much great feedback about the sound.”
— Eric Serra, composer
Spectators showed up en masse to enjoy two exceptional ciné-concerts in celebration of the 30th anniversary of Le Grand Bleu (The Big Blue), Luc Besson’s blockbuster 1988 cult film. The initial performance on May 11th marked the 30th anniversary of the film’s premier at the Cannes Film Festival to the day, with a sold out repeat performance on 2nd June in the 4,000 capacity venue, The Seine Musicale. The mesmerising score was performed live by its French composer Eric Serra and a group of musicians specially chosen for the event.
Starring Jean-Marc Barr, Jean Reno and Rosanna Arquette, the epic feature film was inspired by the lives and storied rivalry of two famous free diving champions Jacques Mayol (Barr) and Enzo Molinari (Reno). Shot on location in the South of France, the Greek islands, Peru and Sicily, the film features stunning underwater photography and an emotional intensity that is underscored by Serra’s hypnotic, ambient soundtrack, which won the César for Best Music in 1989, France’s highest honour for film scoring.
For this special occasion, Serra wanted to deliver a truly remarkable experience. After having travelled to L‑ISA headquarters in London to meet with L‑Acoustics founder and President, Christian Heil for a demonstration of the L‑ISA technology, Serra decided that L‑ISA Immersive Hyperreal Sound was the right means to deliver his vision for Le Grand Bleu concert.
An L‑ISA Focus (patent pending) configuration was deployed, comprised of three hangs of nine K2 and two hangs of 12 Kara positioned behind the screen and above the stage as the frontal system, with an additional extension system of two hangs of nine Kara each widening the image. A central hang of eight KS28 subwoofers provided low end and five Kiva II were sited along the stage lip as frontfills. The system was driven by two L‑ISA Controllers and processed through the L‑ISA Processor. L‑Acoustics’ Applications Engineer, Touring, Frédéric Bailly and Director of Application, Touring, Florent Bernard, provided support for the Soundvision design and L‑ISA mix. The event was produced by Gérard Drouot Productions with loudspeakers provided by L‑Acoustics Certified Rental Provider DUSHOW.
Type 4000 pax amphitheatre (seated)
Venue 52m deep x 90m wide
Stage 34m wide x 1.5m high
FOH 30m from D.S.E
Top max trim height 14m above floor
Program type Adult comtemporary
SPL max average >= 108 dBA
SPL distribution 6 – 9 dB
Frequency contour 9 -12 dB (@ 100hz)
Frequency contour 12 – 14 dB (@ 40hz)
“When we showed Joel that nearly all audience members throughout the venue would hear a grander, more spatial sound, it appealed to him. The perception of intimacy that L-ISA can help create is also quite impressive, and L-Acoustics was very supportive in wanting to help us make this show happen.”
— Fred Vogler, sound engineer for the deadmau5 Wiltern shows
Known professionally as deadmau5, Canadian DJ, musician and composer Joel Zimmerman has a well-deserved reputation as one of electronic dance music’s greatest producers. His latest album where’s the drop? features 15 of his best-known tracks reimagined for full orchestra by French film composer and producer Gregory Reveret (Justice League, Deadpool), recorded with the CMG Music Recording Orchestra and mixed by Alan Meyerson, who regularly works with film composers such as Hans Zimmer, James Newton Howard, and Danny Elfman.
To promote the release, deadmau5 performed two shows at The Wiltern in Los Angeles with a full 60-piece orchestra, a unique event made even more special by its presentation in L ISA hyperreal sound, chosen to widen the panorama of audio coverage to the audience and create a more intimate connection between the artist and his audience.
Kansas-based L Acoustics Rental Network member DSS, Inc. would normally have designed a typical left-right configuration of 12 K2 per side with four KS28 on the ground, augmented by six X8 front fills for the show.
Instead, to achieve a wide panorama and better localization of the performers for the two deadmau5 orchestral shows at the Wiltern, arrays of 10 Kara enclosures were flown left and right with three identical hangs of six K2 modules and three Kara for downfill positioned between them. Three KS28 subs per side stacked on the stage in a cardioid array, with the bottom enclosure reversed, supported low frequency extension, while six coaxial X8 speakers provided lip fill.
Type Performing Arts Center
Venue 30m wide x 35m deep
FOH 20m from Down Stage Center
Min trim height Live video broadcast 6m from Stage required for camera shot.
Program type Orchestral / Pop
SPL max average 102 dB(A)
SPL distribution 9dB
Frequency contour 10 (@ 100hz)
Frequency contour 12 (@ 40hz)