Verdi’s Requiem, l’Orchestre National de Lille, France, July 2017
L-ISA Live. Immersive Hyperrealism.
Unlike traditional stereo solutions, L‑ISA Live uses a linear topology of loudspeaker arrays that are distributed above 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:
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.
Additional systems, including fills, delays, surrounds and overheads, may be deployed either to complete the coverage or augment the sense of envelopment and immersion. These can be fed with the mono, LR or LCR signals feeds supplied by the L‑ISA Processor.
With a multiple-array frontal configuration above 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 systems have multiple arrays across the performing zone at their disposal, 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 sound spatialization to thrilling hyperrealism, the production can now bring new energy to the show and create memories that will last a lifetime. Delivering an event in immersive hyperrealism differentiates it from the competition and gives it a premium positioning, while the new multiple-array configurations are ideally suited to super-wide video or LED screens in use on many large panoramic stages.
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 Live 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
The L‑ISA Live 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 Live 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.
“We found the L‑ISA controller very simple to use, the interface is intuitive and very functional. Once the sources are placed in their space, the mixing is fairly conventional and any adjustments within the software during the concert were quick and easy.
The greatest compliment that I could receive would be for someone to ask me after a concert if there was any sound reinforcement. Given the results we obtained at the Stade, I’m convinced that in a more traditional environment, the audience wouldn’t know that there was any sound reinforcement at all.”
— Francois Gabert, Engineer
The project is to reinforce a symphonic orchestra of 100 musicians plus choir in an indoor stadium
A classic design would use a left-right configuration of 12 K2 per side plus out-fills, front-fills and subs.
The L‑ISA design solution consists of a scene system made of seven speaker groups, equally spaced above the performing zone. The total width of the system expands the size of the orchestra by 40% to sonically create a larger than live orchestra, still respecting accurate localization.
60 m deep x 80 m max width
Stage is 20m wide, 1.2 m high
Minimum trim height : 10m above stage
Acoustics: wet uncontrolled
PROGRAM TYPE: Classical
SPL MAX AVERAGE: >= 102 dBA
SPL PROFILE: 1 dB / 10 m
FREQUENCY CONTOUR @ 100Hz: 4 – 6 dB
After two editions which gathered more than 30,000 spectators, the Orchestre National de Lille and maestro Jean-Claude Casadesus returned to the Stade Pierre-Mauroy for a 3rd edition on Wednesday 12 July 2017.
Nearly 300 artists (the musicians of the Lille National Orchestra, the singers of the Nord-Pas-de-Calais regional choir and the Nicolas de Grigny-Reims choir, 4 international singers) led by maestro Jean-Claude Casadesus for a masterly work: Verdi’s Requiem.
For this edition the technical team of the ONL wished to enhance the sonic experience and contacted the L‑ISA team to support this show.
This great collaborative work from pre-mixing to sound design led to a highly successful event where every spectator enjoyed the Verdi’s Requiem masterpiece with an enveloping, natural yet very detailed sound like they had never heard before.
“Renaud is known to his fans for the sentimentality of his songs.. Unfortunately, his voice has suffered over the years and is therefore rather delicate to treat in concert, especially when his lyrics are so important.It is paramount that the public understands every word he sings. With an L‑ISA system, I no longer have to blend Renaud in with the whole of the mix while trying to make him stand out. Instead, I have the tools hear him truly surrounded by his musicians and to restore the full musicality of his poetry.”
— Madje Malki, FOH for Renaud Phénix tour
A 15-month tour of an iconic french artist that spanned between 2016 and 2017. L‑ISA configurations were deployed in all venues ranging from 5,000 to 10,000. This is the example for Zenith in Paris.
A classic design would use a left-right configuration of 12 K2 per side.
The L‑ISA design solution consists of a scene system made of 5 speaker groups of 12 Kara, equally spaced above the performing zone.
55 m deep x 70 m wide
Stage is 20m wide, 1.65 m high
Minimum trim height : 7 m above stage
PROGRAM TYPE: Rock
SPL MAX AVERAGE: >= 108 dBA
SPL PROFILE: 1 dB / 10 m
FREQUENCY CONTOUR @ 100Hz: 8 – 10 dB
For the Renaud Tour the production was looking for a sound design that would serve the show and make the audience feel at home with their favorite artist.
Madje, the sound engineer of Renaud met with the L‑ISA team to design a system layout natively reproducing: “Renaud surrounded by his musicians”
For the audio, an immediate benefit was a superior intelligibility so everyone could enjoy the lyrics of Renaud and sing along. Excellent fusion between the sound and the musicians on stage was obvious.
Great power of separation of the L‑ISA system meant the show ran at a lower SPL level than ever before which brought a great intimacy feel to it while avoiding listening fatigue even after a 3 hours set!
On the visual side, the system was far less obstructive than a classic L/R for the panoramic video and stage set which made production and the LD happy.
L‑ISA solution for outdoor Shed with audience ranging from 4000 to 6000 people and a wide variety of shows
A classic design would use a left-right configuration of 12 K2 per side plus front-fills and subs.
The L‑ISA design solution consists of a scene system made of 5 speaker groups of 12 Kara, equally spaced above the performing zone plus two extension speaker groups of eight Kara along with front-fills and subs.
Amphitheatre for approx. 4500 pax, depth approx. 60 m, front width 37 meters, rear width 75 meters
Stage proscenium width 22 meters, 1.1 meters high, very good rigging possibilities across stage and upto 5 meters in front of proscenium area
minimum trim height 7.5 meters above stage
PROGRAM TYPE: Pop/Rock
SPL MAX AVERAGE: >= 108 dBA
SPL PROFILE: 1 dB / 10 m
FREQUENCY CONTOUR @ 100Hz: 8 – 10 dB
The object of this example is to bring a better experience for the majority of the audience of an amphitheatre and not only the ones seated in the centre of the venue.
The L‑ISA design proposal provides an excellent fusion between the perceived sound and the musicians on stage with great Intelligibility and separation.