The manufacturer is set to showcase its latest product and software introductions at Infocomm in Orlando, including the ultra-compact LA1.16i amplified controller and immersive L-Acoustics DJ solution

ORLANDO, Florida – June 2025 – InfoComm Stand 5261 / Audio Demo Room W224H – Hot on the heels of its Keynote 2025 event held at London’s iconic Roundhouse Theatre in May, L-Acoustics announces that all of its newest product and software launches will be on public display and properly demonstrated for the first time at this year’s InfoComm Show.

“Although many people have now had the opportunity to watch our recent Keynote on YouTube, nothing compares to actually experiencing these new solutions in person,” says Bryan Bradley, CEO Americas at L-Acoustics. “InfoComm will be an exciting opportunity for those in our industry to finally be able to touch, see, and, more importantly, hear our latest offerings for themselves, and we look forward to demonstrating how these innovations can transform audio experiences across a wide range of applications and venues.”

In audio demo room W224H, L-Acoustics will be showcasing L-Acoustics DJ, a groundbreaking solution that redefines live DJ performances by transforming traditional stereo setups into fully immersive spatial audio experiences. This comprehensive solution empowers DJs and electronic music artists to transform standard stereo into dynamic, three-dimensional soundscapes – all without disrupting established workflows or requiring complex technical intervention. Demonstrated at the show on an A10 system with KS21 subs, L-Acoustics DJ unlocks new creative possibilities for artists while offering venues a crucial competitive advantage in delivering premium audio experiences that captivate audiences.

L-Acoustics DJ demo sessions will take place June 11-13 at 9:00am, 11:00am, 1:00pm, and 3:00pm. Sessions are limited to room capacity. Attendees are encouraged to arrive early to secure their spot for these exclusive demonstrations.

On stand 5261 in the exhibition hall, consultants, contractors, and other industry professionals will be able to get their first look at the new LA1.16i ultra-compact 16-channel amplified controller, explicitly engineered for installations. This latest innovation delivers unmatched channel density in a space-saving 1U format, making premium L-Acoustics sound accessible for a wider range of venues and applications. Purpose-built for near-field applications requiring lower sound pressure levels, the LA1.16i is particularly ideal for hospitality venues, retail environments, cultural spaces, and residential installations.

Soundvision Connect, a new cloud-based platform expanding the reach of the manufacturer’s industry-leading Soundvision 3D sound modeling software, will also be on display. This platform connects sophisticated audio design with all stakeholders in an intuitive environment, enabling fast collaboration that produces technically precise systems aligned with overall project needs. Soundvision Connect transforms complex sound designs into interactive 3D experiences that architects, consultants, venue owners, and other project stakeholders can easily explore and understand.

The L-Acoustics booth will also feature L-ISA 2025, with its new introduction of Sound Spaces, L Series (L2 and L2D) Progressive Ultra-Dense Line Source arrays, the K3i line source array enclosure, Xi Series (X8i, X6i, and X4i) of low-profile coaxials, and other product offerings.

During show hours on Wednesday, June 11, L-Acoustics will host a Product Management panel titled “Not Your Father’s P.A.: The Evolution of Live Sound Systems” with Scott Sugden, Director of Product Management – Solutions at L-Acoustics, and Mark Frink, IEM and Sound Engineer, Product and AR Specialist at Jacksonville Symphony, from 9:30am to 10:30am in room W311GH.

On Thursday, June 12, L-Acoustics Instructional Designers Jon Everett and Delphine Hannotin will be teaching two classes: “Immersive Audio for Performance Spaces” from 8:30am to 10:30am in room W304C, and “L-Acoustics: Loudspeakers Rigging and Integration Best Practices” from 11:00am to 12:00pm in room W307AB.

L-Acoustics will also participate in the AV User Group’s “Speed Pitches” on Tuesday, June 10 from 2:00pm to 5:30pm in room W103B. Richard Knott, Global Business Development Lead for Corporate, will present a five-minute overview of L-Acoustics’ newest innovations alongside more than 30 other manufacturers.

L-Acoustics will additionally have a variety of rack-mounted amplified controllers and processors, converters, and switches on display at the Milan by Avnu Alliance booth (7176).

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Gracia Auvindo delivers festival-grade professional sound system for Jakarta’s newest 1,500-capacity luxury nightclub

JAKARTA, Indonesia – May 2025 – NOYA X 80 PROOF, Jakarta’s most ambitious nightclub project, has established itself as Southeast Asia’s new nightlife benchmark with the installation of an L-Acoustics K2 professional sound system. The 1,500-capacity venue spans 2,000 square meters in the upscale Pantai Indah Kapuk 2 (PIK2) integrated lifestyle district—Jakarta’s newest luxury development dubbed ‘The New Jakarta City.’ Strategically located just 30 minutes from Soekarno-Hatta International Airport, NOYA X 80 PROOF combines premium location with world-class audio to attract both discerning local patrons and international visitors to its ocean-facing premises.

The venue, part of PIK2’s sprawling 6,000-hectare development project, represents Jakarta’s ambition to compete on the global nightlife stage. Open seven nights a week, NOYA X 80 PROOF offers a curated entertainment experience featuring top local talent alongside world-touring DJs in an environment where audio fidelity was prioritized from the earliest design stages.

Premium Sound as Brand Differentiator

“In Jakarta’s vibrant and competitive nightlife scene, providing a premium entertainment experience that sets new standards is crucial to long-term success,” explains Hendra Halim, Project Manager and Systems Engineer at Gracia Auvindo, the L-Acoustics Certified Partner who designed and implemented the system.

The club’s management specifically requested L-Acoustics K2 after experiencing its signature sound at Belgium’s world-renowned Tomorrowland EDM festival. For NOYA X 80 PROOF, integrating concert-level sound quality wasn’t merely a technical consideration—it was a core brand differentiator in Jakarta’s competitive nightclub market.

“The NOYA team recognized that having L-Acoustics would position them as an elite nightlife destination,” adds Mr. Hendra. “The K2 festival-grade sound quality and high-performance capabilities will undoubtedly establish NOYA as one of the best-sounding nightclubs in Southeast Asia.”

Concert Sound System for Nightclub Environment

Designing an optimal system presented specific challenges related to the venue’s construction, extensive LED displays, and over 1,000 synchronized lighting devices. L-Acoustics Soundvision 3D modeling software proved essential throughout the process, allowing the team to visualize sound distribution and adjust to architectural requirements.

Working closely with L-Acoustics APAC Application Engineers, the Gracia Auvindo team executed multiple design iterations to accommodate the nightclub’s demanding visual elements while maintaining superior acoustic performance throughout the space. “Soundvision was invaluable in coordinating with structural and mechanical engineers, as well as the interior design team,” notes Mr. Hendra. “We created a precise audio system design that included key data such as mechanics and speaker weights, their optimal positions, and coverage angles.”

K Series: Delivering Powerful, Precise Club Audio

The final installation features a main L/R system of nine L-Acoustics K2 boxes per side with 16 L-Acoustics KS28 subwoofers placed under the stage to provide the thunderous low-end essential for EDM, while maintaining pristine clarity across all frequencies. An out-fill system consists of two arrays of two L-Acoustics A15 Focus and one Wide per side, with two KS21 subwoofers stacked on stage per side for extended low frequency, ensuring every corner of the venue experiences consistent, impactful sound.

Eight A10 Focus enclosures provide front-fill from the stage lip, eliminating dead spots and maintaining the sonic experience for front-row patrons, while performing DJs receive precise monitoring through two ARCS II speakers and two KS21 subwoofers. This comprehensive configuration delivers the dynamic, high-SPL audio nightclub patrons demand without the distortion and listener fatigue common in conventional club systems.

World-Class DJs Validate NOYA’s L-Acoustics Investment

Acclaimed EDM artist Timmy Trumpet, who headlined NOYA X 80 PROOF’s grand opening weekend in April, endorsed the venue on social media, stating he expects it to be “one of the top five clubs in the world!”

“My team at Gracia Auvindo are proud to have delivered the L-Acoustics K2 system, equipping NOYA with exceptional audio technology to accommodate top international artists and DJs, while impressing audiences with stunning sound that perfectly complements their visual displays,” Mr. Hendra concludes.

For more information on NOYA X 80 PROOF, please visit www.noya.co.id

Learn more about Gracia Auvindo at www.graciaauvindo.com

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Meeting the growing demand for spatial audio live events, Paris cultural landmark upgrades with eco-conscious L Series line source arrays and L-ISA hyperreal immersive sound technology by B Live

PARIS, France – May 2025 – In the northeast corner of Paris, the sprawling 55-hectare Parc de la Villette has evolved into one of Europe’s most dynamic cultural districts where science, music, and art converge. This vibrant urban park hosts an exceptional concentration of cultural institutions, from the acoustically renowned Philharmonie de Paris to Europe’s largest science museum, the Cité des Sciences et de l’Industrie. Dominating the landscape is the breathtaking Grande Halle de la Villette, with its distinctive 19th-century industrial architecture featuring soaring glass and intricate cast iron framework. Originally commissioned by Napoleon III as an abattoir in 1867, this impressive 20,000-square-meter structure was reimagined as a versatile cultural venue in 1985, now showcasing everything from international art exhibitions to rock concerts to avant-garde theatrical productions.

Building on a long-standing partnership with L-Acoustics that began with one of the world’s first V-DOSC installations in the mid-1990s and continued with a K3 system upgrade in 2022, the Grande Halle has now reinforced its position at the forefront of performing arts technology with an L-Acoustics L-ISA Immersive Hyperreal Sound system featuring L-Acoustics newest eco-conscious L Series line source arrays. The L Series combines sustainable manufacturing practices with energy-efficient amplification technology, reducing the system’s overall carbon footprint while delivering uncompromised audio performance. The installation also includes a dedicated pre-production studio with L-Acoustics X Series coaxial speakers, completing the comprehensive L-ISA ecosystem at the Grand Halle.

The semi-permanent 1,400-capacity Charlie Parker performance space, constructed each spring and operational for six months, serves as the primary home for the new L Series L-ISA system—continuing a tradition of audio innovation that began when the venue hosted the world’s first major live event using L-ISA technology during the 2016 Jazz à La Villette festival.

“We’ve observed a significant shift in production requirements over recent years,” explains Olivier Olry, Head of Audiovisual at La Villette. “Increasingly sophisticated dance and theatre companies are specifically requesting immersive audio capabilities in their technical riders. Rather than merely keeping pace with this trend, we decided to position ourselves at its leading edge by investing in a complete L-Acoustics L-ISA ecosystem.”

The ambitious project emerged through close collaboration between La Villette’s technical team and L-Acoustics Certified Partner B Live. Alexandre Tramontin, Technical Director at B Live, who designed the solution through continuous dialogue with La Villette’s technical staff explains that “the requirements for both the Charlie Parker theatre and the dedicated pre-production studio demanded meticulous planning to integrate seamlessly with existing workflows whilst delivering unprecedented spatial audio capabilities.”

Implementing immersive audio technology within a protected historical structure presented considerable challenges. The Grande Halle’s soaring glass ceiling and metal framework required a creative solution to deliver consistent spatial imaging throughout the performance space.

“The physical constraints were significant when planning the five L2 array positions needed for the L-ISA implementation,” Olry explains. “Beyond typical acoustic considerations, we needed to respect the building’s architectural integrity whilst maintaining ideal sightlines. The L Series exceptional size-to-performance ratio proved crucial, allowing us to achieve proper coverage without overwhelming the space visually.”

The Charlie Parker performance space features five hangs of one L-Acoustics L2 over an L2D spread across the stage, while 13 X8i across the stage lip provide spatial front-fill. Two centrally flown cardioid arrays of three KS28 subwoofers provide controlled low-frequency reinforcement. Twelve X12 coaxial loudspeakers – four each on the side and back walls – provide surround sound. The entire system is driven by 11 LA7.16, two LA12X and three LA4X amplified controllers.

The L-ISA technology at La Villette fundamentally transforms how different performance types connect with audiences. For dance productions, choreographic movements can now be precisely tracked and sonically mirrored throughout the space, creating a synesthetic experience where sound follows motion. Theatrical performances benefit from voice localisation that anchors performers’ positions regardless of audience sightlines, while contemporary music showcases can now envelop listeners in three-dimensional soundscapes that transcend traditional stereo limitations.

“What’s particularly revolutionary is how L-ISA adapts to each artistic discipline,” notes Tramontin. “From the subtlest theatrical whisper precisely positioned in space to explosive musical moments that completely surround the audience, the system’s flexibility matches the creative versatility of La Villette’s programming.”

The purpose-built pre-production studio features a permanently installed coaxial L-ISA setup utilising X8i and X6i speakers and Syva subwoofers. Using L-ISA Scale Simulation, the studio environment can mimic the Grand Halle, allowing for easy transfer and optimisation during pre-production. Both environments employ L-ISA Processor II for spatial audio rendering and signal management. A Yamaha PM7 RIVAGE digital mixing console with L-ISA DeskLink integration provides intuitive control over spatial parameters directly from the mixing desk.

With the system now operational, La Villette’s technical team has begun exploring additional technologies, including performer tracking systems for dynamic spatial positioning in real-time. The initial response from creative teams has been overwhelmingly positive. The L-ISA Stereo Mapper functionality, a feature within the L-ISA 3.0 platform that allows users to seamlessly integrate existing stereo content into an immersive L-ISA speaker configuration, provides an additional safety net, ensuring productions remain coherent even when translated to traditional stereo formats.

“With this landmark installation, La Villette not only houses one of the most comprehensive L-Acoustics ecosystems in Europe but serves as a beacon for the future of immersive performance,” concludes Olry. “The L Series with L-ISA technology doesn’t just reproduce sound—it fundamentally transforms how audiences connect with artistic expression in this historic space, bridging centuries of cultural heritage with sound innovation that must be experienced to be fully understood.”

For more information on La Villette visit: https://www.lavillette.com/en/

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Eighth Day Sound flies new L2/L2D concert sound system at both Riverside Municipal Auditorium and Fox Performing Arts Center, creating a spectacular and uniform experience for crews, artists, and audiences

RIVERSIDE, California – May 2025 – Two historic Southern California venues, Riverside Municipal Auditorium and Fox Performing Arts Center, simultaneously upgraded their respective in-house sconcert sound system at the end of 2024, installing almost identical L-Acoustics L Series loudspeaker rigs. The L2/L2D systems, supplied by Eighth Day Sound, a Clair Global brand, were installed by team members from Clair Global, L-Acoustics, and Live Nation, which manages and operates both venues.

The two facilities located three blocks from each other in the City of Riverside, 55 miles east of downtown Los Angeles, originally opened two months apart. Riverside Municipal Auditorium (RMA), a Mission Revival-style building that also memorializes Riverside County’s World War I servicemembers, opened its doors in November 1928. Fox Performing Arts Center (the Fox), built in the Spanish Colonial Revival style, opened just two months later in January 1929. The theaters last underwent building improvements and sound system upgrades about 15 years ago, a few years before Live Nation assumed responsibility for the operation of the two venues.

“I’m not a sound engineer by trade, but I’ve always loved the sound of L-Acoustics equipment,” explains Brendon Davis, Director of Venue Production for Riverside Municipal Auditorium and Fox Performing Arts Center. “The club where I originally started my career had an L-Acoustics rig installed by Rat Sound, and it’s always done us right.” Davis continues, “When I came to Riverside about three years ago and began researching options for our sound systems, I knew immediately that I wanted matching setups in both venues. We share the same crew across locations, so having identical systems significantly streamlines operations for our audio engineers.”

Jason Vrobel, Global Sales, Clair Global, reports that the request for L Series came from Davis. “At that point, Vic Wagner, L-Acoustics Touring Systems Applications Engineer, and C.W. Alkire, the Design Engineer from our team, did site walk-throughs and came up with the design and what was needed in each of the venues.” Vrobel also notes that these are the first L Series systems that Clair Global has installed in a Live Nation venue.

Both venues feature L-Acoustics L2/L2D systems customized for their unique architectural requirements. The Fox, a traditional theater seating 1,600 patrons, employs two L2 and one L2D per side in its main hang, with an L2D center hang and three installed KS21i subwoofers per side. The 1,400-capacity RMA uses a more compact configuration of one L2 and one L2D per side with an L2D center hang, complemented by four floor-standing KS28 subwoofers per side. Each venue’s concert sound system includes strategically placed fill speakers (X8, X8i, and A10 Focus models) to ensure complete coverage throughout all seating areas. The Fox is powered by eight LA7.16i and one LA12X amplified controller, while RMA employs five LA7.16i, two LA12X, and three LA4X units. Both rooms are now equipped to host their diverse upcoming performances, with the Fox presenting Shen Yun, “Weird Al” Yankovic, and Engelbert Humperdinck, while RMA welcomes The Mars Volta, Less Than Jake, and Dance Gavin Dance in the coming months.

“We’ve done probably 35 Live Nation venues in the last two and a half years, keeping them as uniform as possible so that whenever a guest engineer or system tech comes into the building, the systems are the same as they saw in the last Live Nation building they were in,” Vrobel explains. In the case of the Fox and RMA, equipment uniformity extends to the front-of-house and monitor consoles at the venues, which added three DiGiCo SD12, each with an SD-Rack, to the RMA’s existing SD12, replacing three older mixing desks.

Vrobel also notes, “For some of the venues, we set them up as close to our touring packages as possible. If one of those venues has a failure – say, they have an amp rack go down – then we can send them a replacement from our touring inventory and have them back up and running the next day.”

“Because our crew managed this project, they know the rooms and how the equipment is installed,” Davis confirms. “So if they ever have to tech anything, they could do it themselves.”

Davis reports that not only did the new L-Acoustics systems deliver an immediate sonic improvement to audience members at the two theaters, but the rider-friendly package has also reinvigorated interest among artists to put the venues on their touring schedules. “Social Distortion last played RMA in 2014, I believe, and that was a band that we thought we were never going to see again,” he says. “I talked to the talent team and said, ‘What if we got this new system installed before New Year’s Eve? Will they do the show?’ And they said, ‘Send over what you’re going to install,’ and Social Distortion immediately confirmed. They played on New Year’s Eve and it was great.”

For more details on Riverside Municipal Auditorium and Fox Performing Arts Center, visit www.riversiderma.com and www.foxriverside.com. Eighth Day Sound and Clair Global can be found online at www.8thdaysound.com and www.clairglobal.com.

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Show Imaging’s concert division, Pro Systems, deploys a concert sound system of over 250 L-Acoustics loudspeakers for all three stages at CRSSD MMXXV Spring festival

SAN DIEGO, California – May 2025 – Each year, nearly a month before thousands of house rats and techno-heads make their late-March pilgrimage to Miami for Ultra Music Festival, many of those same EDM aficionados flock to San Diego for the season’s first – and last – major electronic music festival, CRSSD, hosted twice a year in March and late September. The recent two-day MMXXV Spring event, organized by local promoter FNGRS CRSSD, celebrated the biannual festival’s tenth anniversary at Waterfront Park, where an estimated 16,000 concertgoers a day danced to their favorite DJs and artists performing on L-Acoustics K Series concert sound system supplied by nearby Vista-based Show Imaging and its concert division, Pro Systems.

Show Imaging has supported CRSSD festival management and production since 2015. In 2021, Pro Systems supported CRSSD audio deployments, and this year deployed L-Acoustics PAs across all three stages: Ocean View – hosting festival headliners Fisher and Justice – The Palms, and City Steps. “The associated CRSSD genres of house and techno demand clarity and headroom across the entire frequency spectrum. L-Acoustics K Series boxes and tools like Soundvision and Network Manager allow us to extract every bit of headroom from the system,” says Show Imaging Director of Audio Services Elliot Carroll. “Putting the energy in the exact spots we need it is remarkably easy with this concert sound system, and the sound and impact it delivers are second to none.”

While Ocean View looked like a traditional large festival stage, both City Steps and The Palms featured distributed systems flown from a long and narrow truss structure used for shade. “The design of these stages lent itself to a distributed system, which both looked great and allowed us to keep reasonable SPL levels at the property line of the park,” Carroll shares, explaining that CRSSD’s prime location in downtown San Diego carries a responsibility to be a “good neighbor” in terms of noise management. “It’s also necessary to keep each stage’s audio contained and to not bleed into an adjacent stage’s coverage area. All sub deployments are in a cardioid configuration to help mitigate low-end bleed in unwanted directions, and using Soundvision gives us a great representation of this goal before we get on-site. On every deployment, we have found Soundvision to be an extremely accurate tool for predicting coverage and frequency response. Time and again, we are amazed by how precisely the final real-world results match the software models.”

Carroll further points to the L-Acoustics P1 processor, along with its M1 suite of measurement tools, as key to the speed and success of CRSSD’s concert sound system deployments. “Along with SPL restrictions, we have strict time windows in which we can check the audio systems at full show level,” he says. “P1/M1 allows us to system check and collect data, do all the tuning and alignment offline, load it up the next day, and spend our valuable tuning time verifying real-world conditions on the day.”

CRSSD’s main Ocean View stage sported left and right main arrays of 16 LA12X-driven K2, each backed by cardioid hang of a dozen KS28 subs, which were complemented by six more KS28 spread out across the face of the stage. An additional array of eight K2 supplied house-right out-fill, while ten A15 dotted across the stage lip provided front-fill coverage. On the deck, a dozen X15 HiQ served as stage monitors, while two A15 over two KS21 subs per side functioned as side-fill stacks. At center stage, three Kara II over one KS28 per side of the DJ mix position took pride of place as the now-ubiquitous monitors known as “Texas headphones.”

Tight low-frequency punch is absolutely essential for EDM, and KS28 reportedly delivered the goods. “Deploying a nice long line of vertical subwoofers in a cardioid configuration for the Ocean View stage has many advantages,” Carroll notes. “Coupling with the mains and steering the low end in a downward fashion, being dead quiet on and behind the stage, and having better tonal balance through the entire coverage area are all big improvements with this setup.”

This year’s City Steps stage featured three hangs of four K2 for main left/right and stage-left out-fill, plus seven hangs of four Kara II each for delay plus two rows of out-fills. Sixteen KS28 subs and four A15 front-fills were also utilized, while an A15 Focus and A15 Wide over two KS21 on either side of the DJ mix position provided stage monitoring.

The Palms stage was equipped with left and right main arrays of four K2, which were paired with 14 hangs of four Kara II each for delay plus three rows of out-fills. This location also featured an identical sub, front-fill, and booth monitor set up as City Steps.

But gear is only one part of the equation, says Carroll, adding his appreciation for L-Acoustics customer support. “Their team of application engineers is always quick to respond and help verify system deployment questions and help ensure your event is a success. Our personal experience with Vic Wagner over the years has been such a pleasure and learning experience, and we can’t imagine a better partner both in terms of product and people.”

For more details on this year’s CRSSD, visit www.crssdfest.com. Show Imaging can be found online at www.showimaging.com.

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Rightway Audio Consultants design and install L-Acoustics A Series to meet complex architectural requirements in dual performance venues

SUZHOU, China – May 2025 – The newly opened Suzhou Shishan Grand Theatre has deployed L-Acoustics A Series professional sound systems in its two performance halls to address the complex acoustic requirements of its diverse programming. Rightway Audio Consultants (RAC) designed and installed customized configurations of L-Acoustics A15i and A10i line arrays to ensure consistent coverage and superior intelligibility throughout both venues, which host everything from touring symphonies to traditional Chinese opera.

A Series Solves Dual-Venue Coverage Challenges Through Advanced 3D Modelling

From the project’s inception, the Grand Theatre management partnered with L-Acoustics Certified Provider Distributor Rightway Audio Consultants (RAC) with a clear goal: deliver world-class sound that would match the architectural excellence of the new-build venue while addressing the acoustic complexities of both performance spaces.

RAC’s team utilized L-Acoustics Soundvision 3D modeling software to develop precise audio solutions for each hall’s unique requirements. “Soundvision allowed our team to meticulously model the acoustic properties of each space before installation began,” explains Li Junlong, Lead Audio System Designer & Vice Production Manager at RAC. “This detailed planning phase was crucial in addressing the complex architectural features and ensuring consistent audio coverage for every seat, despite the challenging layouts.”

LCR A15i Configuration Solves Coverage and Sightline Challenges in Main Theatre

The 1,400-seat main theatre features a traditional proscenium stage with sliding acoustic panels that allow flexible conversion between theatrical productions and concert hall performances. This adaptability required an equally versatile sound system.

RAC installed an LCR configuration comprising four L-Acoustics A15i Focus and two A15i Focus per side with two SB18 IIi subwoofers flown behind each array. The center array consists of two A15i Wide enclosures. Two KS28 subwoofers, positioned on either side of the stage, deliver extended low frequency down to 25Hz, with an X12 box placed atop each enclosure stack for additional in-fill.

This configuration accomplishes two critical objectives: it maintains visual sightlines to the stage while minimizing reflections against floor, wall, and ceiling surfaces that could compromise sound quality. The result is more uniform sound pressure levels and higher speech intelligibility throughout the venue.

The ground-floor stall and second-floor balcony presented additional coverage challenges, which RAC addressed with strategically placed X8 speakers for side coverage. Ultra-compact 5XT coaxial speakers deliver coverage to the rear stall seats and are also installed in the stage lip and orchestra pit to ensure consistent sound throughout the venue.

Stage performers receive clear foldback signals from a combination of fixed flown and mobile X12 loudspeaker configurations, completing a comprehensive system that handles the venue’s diverse programming requirements.

A10i System Provides Versatile Solution for Multi-Function Hall

The smaller multi-functional hall features a left-right configuration of two L-Acoustics A10i Wide per side with two SB18 IIi subwoofers flown above each array. One SB18 IIi subwoofer on either side of the stage delivers extended lows. Five 5XT coaxial speakers, hidden and embedded across the stage lip, serve as front-fill.

This configuration delivers uniform sound pressure levels and unmatched intelligibility for presentations and smaller live performances, allowing the space to serve multiple functions while maintaining the L-Acoustics signature sound quality.

“The Suzhou Shishan Grand Theatre exemplifies how advanced audio design can complement spectacular architecture to create truly immersive performance environments,” notes the Li of RAC. “The L-Acoustics systems throughout both performance venues ensure that the sonic experience matches the visual magnificence of Suzhou’s newest cultural landmark.”

More information on Rightway Audio Consultants (RAC) can be found at www.racpro.net

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Canada’s highest music honors took place at Vancouver’s Rogers Arena and the sound quality assured that the nation’s finest singers and musicians came through loud and clear in the house

VANCOUVER, British Columbia – May 2025 – Each year, the Juno Awards celebrates Canada’s top singers and musical artists in a televised event broadcast live on CBC. This year’s three-plus-hour ceremony took place on March 30 at the cavernous Rogers Arena in Vancouver. Hosted by local native Michael Bublé, the 54th annual show featured performances by Bublé himself, Josh Ross, Snotty Nose Rez Kids, Aqyila, and Tia Wood, among others. Anne Murray was presented with a Lifetime Achievement Award, and the band Sum 41 was inducted into the Canadian Music Hall of Fame, playing its last-ever farewell performance, capping off the group’s nearly 30-year run.

The Juno Awards is a fast-paced production with numerous moving elements and no room for error – or poor sound – which is why KiAN Sound brought in L-Acoustics L Series and K Series loudspeaker systems to ensure that not a note was missed throughout the 19,000-capacity venue. This was one of the first deployments of KiAN’s newly-acquired L-Acoustics L2 and L2D enclosures. The L Series delivers exceptional sonic performance with superior clarity, precise coverage, and remarkable low-frequency extension while maintaining the unmistakable L-Acoustics signature sound. These eco-conscious systems require 56% less paint, 30% less wood, and 60% less steel than traditional line arrays, highlighting L-Acoustics’ commitment to sustainability. It was, says KiAN GM Derek Mahaffey, a winning outing as it was also the company’s first-ever Juno Awards ceremony show, after over a decade of providing live sound for many of the event’s peripheral shows.

“The Junos sounded wonderful this year,” raves Mahaffey. “Many of the Canadian music industry’s leading artists and execs were in the audience, and we deployed an L-Acoustics sound system that let everyone hear the music perfectly in every seat. The system’s coverage was extremely consistent; there were no dead spots. When it comes to sound reinforcement systems, KiAN’s owner, Mark Reimann, always goes the extra distance to ensure every single component is perfect, right down to the cables and connectors. With a production of this importance, we needed the very best system in place, and that was L Series.”

The system brought in by KiAN (pronounced “cayenne,” like the pepper) for this year’s Juno Awards was specifically designed to address the 270° seating configuration. It consisted of six L2 and two L2D in total for the left and right main arrays. Two hangs of 12 K2 per side served as side-fills, with another set of 12 K2 used for the rear out-fills. Cardioid-configured KS28 subs were flown eight per side, with eight more ground-stacked to anchor the LFE. Delay coverage was delivered by two hangs of 12 Kara II per side, while six X8 front-fills were built into stage and buttressed by four A15 side front-fills. The performers who preferred traditional monitor wedges enjoyed a dozen available X15 at their feet, plus a pair of A15 as side-fill monitors and an SB18 sub for the low notes. Eight LA7.16 and 31 LA12X amplified controllers powered the entire setup, with system management achieved via a pair of P1 Milan-AVB processors.

The Juno Awards sought the Holy Grail of all awards shows: top-flight musical reproduction combined with crystal-clear speech intelligibility. “Rogers Arena is a pretty good venue, sound-wise, but it’s an arena, so it can get a little boomy in the back,” Mahaffey adds. “But every element of our L-Acoustics system combined to create a single experience. The transition in coverage between L2 to K2 was seamless, and the front to back of the system was virtually flawless as well. Rear rejection off the PA was also excellent, with almost no bleed onto the stage. Out in the house, when I walked the entire arena – from the lower bowl on the floor to the upper bowl – everything sounded just spectacular everywhere.”

“I loved working on the L2 system,” enthuses Juno Awards Head of Sound Mark Vreeken, who also mixed front-of-house sound for the production. “It had great coverage and more consistent throw than any other rig I’ve used. Also, I have never heard that kind of rejection on stage, so the vocal tone and clarity was really nice. We were very well supported by Patricia Carr from L-Acoustics, who brought in André Pichette and Phil Hornung to help tune and set up with the KiAN crew. We also had our longtime trusted Systems Engineer François Hallé and Audio Crew Chief Alex Bibeau there from Solotech, who provided the control package. Tal Ophir and the guys from KiAN had the PA flown in record time and did a great job as they always do. We were in good hands!”

“Insight Productions sends a huge ‘thank you’ to Patricia Carr and the L-Acoustics team for their partnership and collaboration,” says Lindsay Cox, Co-Chief Content Officer and Executive Producer for Insight Productions, which produced the show. “We were thrilled to be working with such an incredible group of professionals who focus so carefully on the artists as they bring their sound to life. As showrunner of The Juno Awards, I’m tasked with delivering the best possible live and broadcast experience to the artists, and I have great appreciation for L-Acoustics’ attention to detail and client care. They planned for months how to provide the best possible experience for our arena Juno audience with a unique focus on each artists’ style and genre. We are additionally grateful to KiAN Sound, which made certain that all of the live audio requirements for a show of this magnitude were met. We could not be more appreciative of the team from KiAN and L-Acoustics for bringing our show to life.”

For more details on this year’s Juno Awards, visit www.junoawards.ca. KiAN Sound can be found online at www.kiansound.com.

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Concept Installations delivers high-performance sound system for luxury Ibiza villa, exceeding homeowner’s requirements

San Juan, Ibiza – April 2025 – On the island of Ibiza, outdoor spaces provide a natural extension to the home, offering an idyllic retreat to make the most of the 300 days of sunshine that the Balearics enjoy. A high-performance sound system from L-Acoustics is helping one homeowner to do just this in a multi-functional ‘al fresco’ sanctuary which acts as the chosen place not just for relaxation, as they soak up the stunning views, but also for hosting parties for up to 100 guests at a time.

This spectacular villa project began as a garden landscaping scheme led by local design studio and architecture firm, Terravita, with the goal of bringing the client’s dream outdoor living space to life. Local integrator, Concept Installations, were initially engaged to work alongside Terravita to design and install lighting across the entire garden.

The focal point of the lighting project became the main pergola, an impressive open structure finished in precision-engineered black timber. Both an outdoor lounge by day for enjoying the sensational views over the island, and a breathtaking pavilion for hosting social gatherings by night, the pergola is a multi-functional space that requires integrated systems to serve their purpose and be aesthetically discreet.

In collaboration with Terravita, Concept Installations delivered a solution that weaves light seamlessly into the pergola and connects the space to its evening backdrop. To amplify the experience further, the client required high performance speakers that could fill the area beneath the pergola with rich and dynamic sound, adding both depth and texture to the space. Concept Installations introduced the client to L-Acoustics, a brand that offered the perfect aesthetic match for the pergola and supported the range and fidelity of sound to match the client’s range of musical genres.

“He was blown away when he visited our showroom,” says Concept Installations, Director, Robert Cashin. “To be honest, we’ve a very modest L-Acoustics sound system there, but the sound it generates is amazing. The client couldn’t believe how well it performed. As a result, it was an easy decision for him to bring the L-Acoustics sound to transform the experience of the pergola space.”

Supported by the L-Acoustics expert team of design and calibration specialists, Concept Installations utilised the company’s advanced Soundvision 3D audio modelling and sound design tools to optimise speaker selection, placement and performance. This ensured that the audio solution was designed and tailored for every conceivable purpose and function.

“Using Soundvision, we were able to show the client exactly the audio performance that we would deliver. I really love the way that L-Acoustics can help us do that,” Cashin enthuses.

Four X6i loudspeakers with two SB10i subwoofers were specified for this dynamic outdoor space. The passive coaxial X6i loudspeaker features an elegant, streamlined design and matching finish that integrates discreetly into the pergola’s setting while providing clear, studio-like sound. When paired with a subwoofer, as in this application, it boasts a maximum SPL of 123 dB, frequency response down to 69 Hz and a wide dispersion pattern. Equipped with a single 10-inch driver and 27 Hz bandwidth limit, the high-powered SB10i is an incredibly small and efficient subwoofer, measuring only 540 x 540 x 170 mm and weighing a mere 15 kg, to provide visually discreet, high-performance low frequency sound. An LA4X amplified controller ensures this installation packs all the power needed while providing professional audio grade reliability.

The results have been spectacular. At this villa, the music is always on, adding a touch of magic wherever you are in the garden.

“This system delivers everything the client wanted and more,” Cashin concludes. “It has all the precision and detail he was looking for, and the power to scale up for party use as well. The client has already installed additional L-Acoustics speakers by the pool. He’s now asked us to introduce the L-Acoustics sound into two additional pergola spaces, currently under construction. Like us, he’s fallen for L-Acoustics, wants more and is now on a new journey with the brand.” For more information on Concept Installations visit https://concept-installations.com.

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Iconic convention centre overcomes architectural constraints to deliver world-class audio across its versatile 2,754-seat Main Hall

OSAKA, Japan – May 2025 — After 25 years as one of Asia’s premier MICE destinations, Osaka International Convention Center, fondly known as the Grand Cube Osaka, has completed its first-ever professional sound system overhaul, installing an L-Acoustics professional sound system designed to revitalize the venue’s competitive edge. The ambitious project seamlessly integrated A Series, K Series, and X Series components into existing architectural spaces, transforming sound quality throughout the 2,754-seat Main Hall without compromising the iconic building’s Metabolist Movement design.

First Complete Audio Renewal Since Opening

“Delivering consistent coverage throughout the Main Hall with our previous mobile speakers had become increasingly challenging,” explains Yasufumi Kametani, Office Manager of the Stage Management Division at Comens Co., Ltd., the Center’s technical service provider. “We needed a complete solution that could support everything from academic conferences to concerts while maintaining exceptional clarity in every seat.”

The facility’s management recognized that upgrading to tour-quality audio would attract more premium events to the venue. “Introducing a modern, tour-level sound system from a world-renowned brand would significantly enhance our appeal to potential clients,” notes Shinichi Furugane, Manager of the Center’s Facilities Management Department.

Soundvision Software Overcomes Architectural Constraints

Turning vision into reality required overcoming significant technical hurdles. The venue’s two proscenium speaker positions presented challenges, as new equipment needed to fit existing architectural openings. Using L-Acoustics Soundvision 3D modelling software, the implementation team from JATO Co.,Ltd., with support from L-Acoustics Certified Provider Distributor Bestec Audio, conducted precise simulations that identified potential obstacles before physical installation began.

“Some auxiliary speakers for the second-floor balcony couldn’t be installed according to our initial design,” reveals Yoshihiro Iwakawa, Sales Manager of JATO. “With Soundvision, we quickly replotted positions, simulated coverage data, and ensured the system would deliver optimal results.”

With the final system design confirmed and its components processed to be shipped, the Center held their annual listening event, Sound Festa. Attended by audio industry professionals, Bestec Audio presented an A15 and KS21 system against a demo line-up from various manufacturers.

“We evaluated various seats throughout both floors during Bestec Audio’s Sound Festa demonstration of a temporary L-Acoustics system. It delivered clear, crisp sound regardless of position,” Furugane confirms. “We were confident and proud that we had made the right decision by choosing L-Acoustics.”

A Modern Upgrade from a 25-Year-old Sound System

The comprehensive solution includes two proscenium configurations, both utilizing L-Acoustics. Above the front of the stage, the first proscenium LCR configuration consists of two L-Acoustics A15i Wide boxes per hang. In contrast, a second proscenium further away from the front of the stage consists of three A15i Wide boxes per hang, all hidden behind an acoustic grill. 

A mobile system of eight L-Acoustics Kara II atop four SB18 subwoofers is placed on each side of the stage, each flanked by an X15 HiQ enclosure for in-fill. Four 5XT coaxial boxes are embedded across the stage lip for front-fill.  

Audience seated on the first floor under the balcony are served by 24 5XT boxes while seats on the second-floor balcony have 12 X8 enclosures mounted in three ceiling positions. Nine X8 boxes installed in the ceiling above the stage serve as fixed monitors, while six X12 provide flexible monitoring options when the hall is sectioned into a Small Hall configuration. A total of nine LA4X and four LA2Xi amplified controllers drive all the components of the entire system. 

Industry Recognition & Future-Focused Investment

The results have impressed even the most discerning audio professionals. “External sound operators have praised the system’s excellent performance without requiring drastic adjustments,” Kametani reveals. “We’ve achieved dependable operational efficiency since all component values are saved within L-Acoustics amplified controllers and accessed via LA Network Manager.”

“We’re all pleased with the delivery and support from Bestec Audio and that the sound of L-Acoustics will be a key characteristic of the Grand Cube for years to come,” Furugane concludes.

Learn more about the Osaka International Convention Center at www.gco.co.jp

Find out more about Comens Co., Ltd.and JATO Co.,Ltd. at comens.gr.jp/osaka and www.jato.co.jp respectively

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Dallas-based church enhances worship experience with updated professional audio system

DALLAS, Texas – May 2025 – Watermark Community Church, founded in 1999 as a nondenominational evangelical house of worship seeking to “abide in Jesus, make disciples, and enjoy life together,” has since launched several new campuses, today serving over 9,000 weekly attendants. The church has always understood that the clarity of its message – both literally and conceptually – relies in large part on sound quality. For years it has been an L-Acoustics user, starting with a Kudo PA system that served them well for more than a decade. This January, Watermark headed into its next chapter with the adoption of L-ISA Hyperreal Sound technology with L-Acoustics L Series loudspeakers, sold and installed by Clark, an integration company based in Alpharetta, Georgia.

“Watermark is definitely unique,” says Clark Business Development Executive Noah Hawley. “The moment you walk in, you are riveted by the church’s nearly 100-foot-wide video wall made up of more than 1,000 half-meter-square LED tiles. And that massive scale is indicative of how they approach music and video production – there’s a lot of creative horsepower at work there. But amazing visuals aside, the single most important element in a house of worship is the sound, being able to effectively communicate the message to everyone in attendance. This is why they stayed with L-Acoustics and chose L-ISA and L Series – for the exceptional coverage, consistency, and clarity that these technologies deliver.”

The church’s recent switch to L-ISA paired with L Series arrays has provided improved intelligibility and fidelity throughout the entire seating area. The main Scene system is comprised of five arrays of one L2 over one L2D. Four Extension arrays to the far left and right are made up of Kiva II, with eight enclosures per hang closer to the Scene system and seven enclosures per hang further out. Arrays of 10 Kara II each provide out-fill, with low-end coming from a center deployment of 10 KS28 subs flown in two hangs of five KS28 in cardioid mode.

Seventeen compact coaxial X8 enclosures are evenly distributed across the lip of the stage for spatial front-fill, while three KS21i subs per side are mounted into the face of the stage to supplement the room’s low end. Arrays of two A15i Wide per side provide extreme left and right over-balcony delay, while a dozen X8 serve as under-balcony delays. The entire system is powered and processed by 16 LA7.16i amplified controllers and three LA12X. These are driven via Milan-AVB with L-Acoustics LS10 switches, while an L-ISA Processor II with a 64-output license is driven over MADI from the church’s SSL L350 Plus FOH console.

Hawley says the sanctuary’s acoustics are magnificent. “Coupled with the acoustics and L-ISA, for the first time everybody could see, wow, this is how the room is designed to be heard,” he says. “This is what the intended experience was supposed to be. Now the room’s complete, the vision’s been accomplished.”

“While I think most people don’t really understand what a spatial system does, they do know that it sounds clear and amazing, which is what we were shooting for,” says Bekah Winans, Watermark Community Church’s Audio Director. “They’re now able to pick out distinct instruments instead of just hearing a wall of sound. For them to say that it sounds fantastic means we’ve accomplished our goal to become more engaging.”

She adds that the use of L-ISA technology has dramatically expanded sound coverage in the room, with at least 80 percent of the seating areas getting a fully immersive experience. “One of the main things that we kept hearing from our leadership was that they wanted consistency of the sound. They wanted the largest number of seats in the house to have the same great, immersive experience as possible,” she says. “And they do!”

Operationally, L-ISA easily integrates into the church’s workflow, and can be controlled via either an external L-ISA Controller display or directly from a touchscreen of the SSL house desk. “Some of our operators prefer to use the L-ISA software interface, while others use the integrated L-ISA page on the console, so it comes down to preference, but the integration has been seamless,” says Hudson Horsley, the church’s Systems Engineer. “At first, I think it can be a little bit intimidating, but once people hear it and get used to working with it, it’s quite easy and intuitive. It has simplified the workflow, with less effects in the chain, by using the room engine. The team has adapted to it rapidly.”

The greatest accomplishment has been the enhanced sense of community with L-ISA making the venue feel more intimate. “Whereas a lot of other systems divert attention to the speakers, L-ISA pulls your attention to the stage, and connects the audience with the communicator. It really gives everyone a sense of being more engaged with what’s happening on stage.”

For more information on Watermark Community Church, visit www.watermark.org. Clark can be found online at www.clark.is.

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