FULL LINE 2013

THE BEST SOUND

COMES FROM ONE

SOURCE

When the V-DOSC system was invented at L-ACOUSTICS in 1992 the first modern line source system featuring the exclusive WST technology it revolutionized the professional audio industry. Today, L-ACOUSTICS sound systems are considered the number one choice for energizing a diverse range of applications worldwide including concert tours, olympiad sporting events, performing arts centers, houses of worship and corporate events. Since 1984, a large body of theoretical research and experience has been behind every system that L-ACOUSTICS develops - for which we have received numerous accolades. Loudspeaker systems and dedicated amplified controllers reinforce our total system approach, providing the consistent and predictable sonic performance demanded by our clients. To respond to the complexity of field applications, simplicity is key. Our product line is divided into three loudspeaker technologies: coaxial point sources for short throw applications, constant curvature line sources for medium throw applications and variable curvature line sources for long throw applications. Choosing L-ACOUSTICS allows your company to present a top quality offer for the best artists and productions. L-ACOUSTICS sound systems provide exceptional rider friendliness and durability, ensuring excellent opportunities for revenue generation. To ensure your investment is optimized, L-ACOUSTICS and its Network of Certified Providers are present in 60 countries worldwide. We are dedicated to offering you impeccable technical support, training and after sales service. We look forward to partnering with you on your installations and tours in 2013.

L-ACOUSTICS innovation

Systems and services: a holistic approach 6 Amplified controllers: LA4-LA8 Systems overview Coaxial technology XT and XTi P series WST technology: constant curvature ARCS WIDE and ARCS FOCUS ARCS II WST technology: variable curvature KIVA KARA and KARAi KUDO V-DOSC K1 Subwoofer technology SB15m, SB18(i/m), SB28 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 37 38

Christian HEIL Founder and CEO of L-ACOUSTICS

SOUNdvISION simulation software

L-ACOUSTICS
INNOVATION
______ ________
Audio En

________
Society

________

____

HEIL, URB AN AND BAUMAN HEIL, URBAN AND BAUMAN WAVEFRONT SCULPTURE TECHNOLOGY 2 THE FRE WAVEFR ONT SCU SOURCE SNEL APPROA LPTURE CH FOR fronts propagate with 3 dB attenuation TECHNO The A CONTINU per tion doubling of fact distance LOGY Conven that light We also demonstrated (cylindrical wave propagation) OUS in [1] that USA 111th is a wave a LINE whereas in k, line array of sources, each of an the NY, isoph far the field there is at 6 asic themimpli ion dB sen radiating ted per doubling attenuation es a flat isophase wave front, will produce secondary interf derat New point of waveand exten of Yor distance (spherical erenc consi ded Pre s, or e phenomena light view. st lobes propagation). not sourc greater These It 21 is to 24 reque 12 be noted that usual concepts of correction dB with when to the main lobe in e isthan ng ber but g, interf looke Fresn sendi tem directivity, editin the d at from respect ut el, in 1819 polar diagrams and lobes only make rg. farerenc ned , by e field and patter SPL t, witho .aes.o a given not greater 2001 Sep these nsvariations descr be obtai scripin sense than 3 dB within the near www are not easy the far field patter may ibed manu (this see is Fresn rs afrom ns. also developed in appendix way to field the papeinto region, provided advance to predict 1). USA; that: r's ional semiel's 0, idea autho fictiti quant Addit itatively pictu 10165-252 ousdirec t permission to partit from the for the contents. was Either the ion sum of the ut zones made New York zoneswitho individual re radiating areas covers the reproduced are classi lity nd up more mainflat, of eleme itted Considering New York, light t, next a fied than perm responsibi r has been line 80% source sourc of the Stree the accor no ntary with not vertical pape discontinuities, frame obser e of the array, i.e., the ding to their wever takesdescribed60 light sourc of, is also ntion East 42 in such a on there This conve w Board. The AES arrival area behavior of the the portichaotic Society, a progressively way thattarget radiating obser sound time differ es. The field eeringthese ver as r, or any become progressively thethe discontinuities (with Or firstspacing between ences by the Revie to Audio Engin zone This this pape the individual to larger. consists sound sources is wasof in a fraction of the zone appea tion of tance rs in phase confirmed in 1997 [3] when Smith, working Reproduc Socie elementary smaller wave and remit than 1/(6F) ty. , i.e., to on obser /2. an array ver positi length of 23 g loudspeakers, reserved. sourc ). The on, but are These discovered that 7 dB SPL variations respe twoes Engineerin requirements All rights that are form next of WST Criteria which, the basis over ct 1 to foot was collectively the Audio in-phase the a common feature in the near field. in first zone, turn, define conditions at the coupling Journal of in phase for the that Smith tried effective and so on. raised the fracti cosine of multiple sound opposition weighting approaches in order to on of sources. A Inmore following diminish this chaotic with and /2.7 sections, we will derive these results SPL and wave length is the preci se analy was somewhat successful, but it is not for sis show a 1-dimensiousing the/2 Fresnel for a 2-dim approach along possible to furthe have, r with s at further results that are useful the same detail nal ensio time, raised cosine weighting for sourc s). for line source nal sourc e (plea acoustical the near field and Bessel predictions. e se see appen weighting for the far field. In [1] dix 2 for we showed We willa way to apply Fresn minimize these effects is to build a quasi-continuousthat Figure 1 displays a cut view of the radiated sourc els wave AN front. es. Let sound field. The SPL is concepts BA us UM to the L consider significant only in the dotted zone (ABCD + cone beyond isoph sound PAU asic first L, field BC). line sourc The location of the border between N HEI A a detailed perfe description of Figure 4: more extended the near field front is deferred andwill to Section 4. the far flat, conti field e. To determine ctly RISTIA is a key parameter perfo CH The obser nuou that rm describes the wave draw BAN, field. Let us call ver O, dBcente spher the with respect to how this continuou s and USTICS distance es EL UR from the array CO is correspond a nce L-Ato this border. incre MARC Fra We will make ing Fresn no longer facin ment the red on the listen given listener positis wave ed by steps approximation that if F is the , 91400 view). There g the line el zones er positi ng on, we Ville frequency equalthen in kHz standi are on whos s the =1/(3F) of /2 (see figure source. etz-Latange where is the other off-ax is no dominant zone shown on the to thesunder The ntial distan wavelength the e radii are Gom in metres. Considering listen 3 and for approach left is. a flat, er. Basic and indiv continuous 4). The first intuitive ce that sources and line source of height H that is radiating ally separ ive, two idual zones part (front front ates effect Wave cases ing of sound terme a flatprovid d the isophasic es an wavefront, line sourc radius cancel each is ive coupl can be obser we demonstrated in [1] that a reasonable Moving the e and the the effect the basis of what 1. A a ved: el analysis for average domi of the different tics. Fresn nant form the criteri azone source and observation point possible expressions acous of criteri ishing for appea The d d obtained field B establ using outer geometric, either rs: to to the zones are . The derive can picture of repeating the exerc to a few locations numerical T in optics or Fresnel the road alternativel is: ations size is appro around the polar plot the sound ise, we can ABSTRAC uce Fresnels ideas mena and thus opens calculations rcement applic le y in-ph ximately an SPL frequ reinfo field multip line ency. ase introd pheno of then e While radia sound equal We . and and out-o in ted by the get a good qualitative consider level (SPL) array d interferenc they f-pha loade geometry r, an cancel each line sourc hornse. Their re only the peake other 3 of complex a given audience louds large 1 s.pressu e at a given We assum trapezoidal other 2 to the sound st, ally, of single Note domi out. = ding a d . e F Typic e nant We B coverage that that accor 1 chara SPL cteriz e. domi H the this radia arrayszone age can so simpl Technology and aped notthe 2 ted nant single frequ Fresnel representa al cover neglect all fan-sh rs isby Sculpture 2 at the 92nd zone is vertic wher line bled in epeake representa zones ntal and louds sourc it isrsseen 3 FH ted horizo are assem axis listen ency. The effects tions of figures al e. This is illust that e overlapping tive nomin sound nt presen of the for 3 and er position of s of this loudspeake by the an obser intensity rateddirectivity CTION pt to reduc the prepri ined are shown changing frequency 4 are at a conclusion sis and corre Figure 3 since the in sound uation of s determ in an attem ver facin first 0 INTRODU spond sure iting the angle zone. in Figure analy the serenc However, g the and the onis a contin Revis rough e. ly line ncy, each enclo interf where matic 5. dB and source ethe H are ach to in al 1992 [1]. meters, This paper mathe F is the freque in kHz. angles of with ed sound radia ctive not coupl ative appro ention in on detail cause destru loudspeakers varies peakers do ted both AES Conv more qualit standing of the that 2. No were based domiindivi dual d louds present a es with by the under There are the nant zoneby article, which ds, we now the arraye things sources. a better to note about esthree radiaof e that chang appea this sound metho ted to radiat erenc rs interf in the of formula: discrete sis that Figure the ed 1) enabl in numerical 1: The root ngfactor pattern waves obser ing indicates that how an array ver positi thereillust result and almo Fresnel analy is rates ed in arrayi that define no near field on. for ently, line the involv Radiated based on st positi on. frequencies lower thana1/(3H). from SPL of a line no source uous coher case for Referring sound AD of height H. In the near field, the listen aner phenomena establish criteria ers), apart and is off-axis obser arrayncy will create contin toHence to 3 speak radiate the physical be thea 4 m highfreque we immediately SPLs decreases bled to (column asfigure m dB per out the far doubling 4, is field analysis, mode for of distance, whereas in the far proble this be assem in frequencies less than 80 Hz. a turn systemver. er can also es From this criteri array anoth We whose field, the SPL decreases sourc 2) For these frequencies ivity, width in [1]. the near as 6 early line above dB per doubling of distance. array, a field extension discrete sounddering a flat developed 1/(3H) criteri is almost vertical direct e the main beam Considering ved with ally linear with frequency.

gineering

Conventi
________

on Pape

________

________
ture

________

___

Wavefro

nt Sculp

y Technolog

Innovation and scientific method have been L-ACOUSTICS principles from the outset. Originally rooted in the fields of physics and fundamental acoustics, the company is best known as the inventor of modern line source arrays thanks to its published research on Wavefront Sculpture Technology and the legendary V-DOSC system. Over time L-ACOUSTICS has deployed its research activity to the fields of structural engineering, power electronics, signal processing and digital networks. L-ACOUSTICS develops its own in-house simulation and modeling tools and conducts practical experimentation to observe and validate its models. L-ACOUSTICS has regularly published and presented its research work to the scientific community. As an engineering-driven team, L-ACOUSTICS is a highly respected organization in the audio manufacturing industry.

other of the outsid can be impro Bessel source. Consi which were origin source and defineof destructive narrowing of secondary lobes It is should ple, level. This 3) Theline be noted exam those that different free as the dimension authors have come up with various ison same as curvature dependence the on-ax appea es, for isrance the case not the array, H of the array field that fordistance: expressions a variable as high as shadin but quadratic. forSPL g schem ed belinear the and, border the region for consider ce a wave SPL can or number of inverse of coverage to produ tapering dB = 3H ack is a reduc optimum air ases as the a are predefined required various Smith [3] main drawb shown that the for openthat decre collective criteri e over a All of ting. The enoug this d intensity indicates that the near interferenc h it was B = H/ weighfar being Rathe [4] wave field For nce area. These Criteria. field can extend quite 1 weighting, This is far from laway. well as a audie example, a 5.4(WST) dB = maximum of (H , /6) of Besse five [2]. over the Beranek [5] Technology m high flat line source array will have a near ture es was distance field ce a EW Most extending as far as 88 meters Sculp of sourc these expressions produ REVI front A at the 2 kHz. frequency dependency and are es. in e array toomitfirst a IATION termed Wave incorrect performanc line sourc the dering nce areas size dependence. Figure 2 illustrates RCE RAD on of a concerning le. Consi sourc ND SOU r to cover large audie the the soluti e, we and more variation SOU possib ated E of border as more distance of and far advoc uous many 1 MULTIPL more sound powe implies the use phase) line lly In [1] we that is as contin distinct field divergence angle with tant frequency for for configure a flat line spatia source array asic (cons ed of Figure= 5.4 m. The need rcement applicationspractice is to wave front and isoph field exhibits two near field, wave height 5: e the requir uous on reinfo achiev to sound The effect In the flat, contin that the sound es. A comm rs in order far field. of changing ed sound sourc in arrays or cluste demonstrat near field and the frequency rs the and listen loudspeake regions: As the frequ er position. of Lency is decre trademarks so that a WST are and ased, the large r portio size of Technology dominant Sculpture zone. Conv n of the line sourc the Fresnel zone 1 Wavefront e is portion of grows ersely, as S the line sourc the frequ located within the ACOUSTIC If the ency first

e is locate frequency d inside the increases, a reduc is held const to the array ed first domi ant nant dominant , less of the line and the listener position is zone. zone due source is to away, the closer entire line the increased curva located within the source falls ture. As we first within the move furthe 3 EFFE first domi CTS OF nant zone. r ARRAYS DISCONT INUITIES In the real ON LINE SOURCE assembly world, a line sourc of separ transducers ate louds e array results from peaker enclo the vertic thicknesse do not touch each Figure 2: s. Assuming other becau sures. The radia al flat wave Representation of the variation of border se of the ting that each front, the distance and far field divergence angle enclosure transducer this line sourc with frequency array of height 5.4 metres. wall forsectio a flatn, originally line source e array is our radiates a goal is to analyze no longer conti AES 111 TH nuous. In the differ CONVEN ences versus a TION, NEW YORK, NY, AES 111TH CONVENTION, NEW USA, YORK, NY, USA, 2001 SEPTEMBER 2124 2001 SEPTEMBER 2 2124 Figure 3: Observer facing the circles are line sourc e. On the increasing drawn centered right part on the (side view) observer source AB by steps of /2. , The patte O, with is shown rn of inters Fresnel zones radii on the left ection part (fron . t view). These s on the define the 3

Innovation milestones 1984

Physicist Dr. HEIL founds L-ACOUSTICS

1989
First coaxial system MTD115/LLC

1992
Wavefront Sculpture Technology (WST)

1994
V-DOSC and Network

1995
ARCS Constant Curvature Array

1999
dV-DOSC modular line source

2004
SOUNDVISION simulation software

2005
KUDO and K-LOUVER variable directivity

FUNDAMENTAL ACOUSTICS
 WST criteria for design and use of line source (AES Journal in 1992, 2001, 2003) D  istributed Edge Dipole (DED) model for cabinet diffraction effects P  rogressive vent for increased SPL, laminar airflow and reduced turbulence noise K  -LOUVER technology for variable directivity of line source

Signal Processing
 Design of proprietary algorithms  Array morphing contour EQ tool  L-DRIVE dual protection (thermal, over-excursion)

APPLICATION Software
 3D acoustic and mechanical modeling  Remote control and monitoring

DESIGN AND Engineering

 New material analysis and sourcing  Vibrations analysis to optimize enclosure design  3D computer-assisted design and modeling Mechanical testing and rigging certification 

Electronics
D  esign of proprietary DSP boards A  mplified controllers  elf-powered speakers S

2006
P series self-powered coaxials

2007
Amplified controllers, SB28, KIVA/XT series

2008
K1/KUDO pilot program

2009
Rental Network established

2010
KARA, SB18, System Integrator Charter

2011
ARCS II

2012
ARCS WIDE, ARCS FOCUS, SB18m

NEW IN 213
SB15m, 5XT and LA4X

SYSTEMS aND SERvICES

a HOlISTIC aPPROaCH
COMPlETE SYSTEM aPPROaCH
Our universal system approach covers multiple aspects of sound reinforcement including simulation tools, amplified controllers, preset libraries, signal distribution, transport and rigging to offer our clients complete solutions at the highest, most predictable level of performance.

CERTIFIED PROvIDERS - DISTRIBUTORS

Through a Network of Certified Providers Distributors in 60 countries, L-ACOUSTICS offers a palette of specific services and tools for the rental and permanent installation markets.

Distributor
CERTIFIED PROVIDER

VERSIO N 1.1

KUDO KUDO Multi-Mod e WST Enceint En

e Mult i-M

KARA

closur ode WS e T

line SouRce ModulAR WST

Hz to 20 kHz. bandwidth from 55 has an operating frequency SB18 low frequency extension. line source element addition of the The KARA modular to 32 Hz with the be lowered down LF speakers in a This response can 2 x 8 neodymium a and is equipped with driver coupled to bi-amplified design 3 neodymium diaphragm KARA features a 2-way, section features a enclosure. The HF bass-reflex tuned of 110 horizontal coverage DOSC waveguide. generates a symmetric symmetry and transducer configuration range. The combination of coplanar The K-shaped coplanar source can be curved the entire frequency over criteria. Any KARA line lobes without secondary to fulfil the 5 WST t acoustic coupling. allows the system breaking the inter-elemen DOSC waveguide and for each element without 10 acoustical of maximum maximum up to a to ensure Baltic birch plywood a single array. is made of first grade up to 24 KARA in The KARA enclosure system allows suspending system The 4 point rigging which ensures active mechanical integrity. LA8 amplified controller is driven by the dedicated and optimization for 3 operating modes: The KARA system transducer protection, linearization, intelligent or distributed applications Line Source arrays mode for standalone The FULL RANGE for KARA as a K1 downfill mode for fills or The HIGH-PASS s. configuration mode for KARA/SB18 system configuration. The LOW EXTENSION preset and physical the choice of electronic KARA depends upon The performance of

USER MANUEL

MANUAL TION

DUTILISA

EN FR

WST Technology

lA8 dRiven

Usable bandwidth (-10dB) Nominal directivity (-6dB)

55 Hz - 20 kHz ([KARA]

preset)

730 mm / 27.7 in.

Horizontal: 110 symmetric upon number of elements Vertical: Dependent and line source curvature
1

Maximum SPL

139 dB ([KARA] preset)

LF: 450 W HF: 80 W

RMS handling capacity

Components

Rigging

Physical data

250 mm / 9.8 in.

164 mm / 6.4 in.

RENTalS

noise with specified dB crest factor pink conditions using 10 at 1m under free field 1 Peak level measured EQ settings. L-ACOUSTICS preset and corresponding designed to help with SOUNDVISION software are specified in the 2 Installation guidelines product implementation.

www.l-aco

ustics.com

The L-ACOUSTICS Rental Network community is represented by 450 rental agents employing 3000 system technicians and operating more than 40,000 WST enclosures. The Network provides a unique opportunity for each agent to heighten their profile and establish human and technical standards. Network agents can pool inventories and develop cross-rental activity to adjust to rental market peaks. Technicians have access to expert system training seminars, advanced product support, first show assistance and sound design advice from the L-ACOUSTICS application engineers team. Touring engineers benefit from using tools such as the SOUNDVISION 3D electro-acoustic simulation software and its associated venue database to optimize sound design and system set-up off-site.

KARA_SP_EN_1-1/06-10

compliant) 24 KARA (BGV-C1 Steel, certified for: 1, 2, 3, 4, 5, 7.5, 10 Angle increments: 0, x 250/164 x 482 mm W x H/h x D: 730 in 27.7 x 9.8/6.4 x 19 57.2 lbs Weight (net): 26 kg Speakon Connectors: 2 x 4-point plywood Material: baltic birch RAL 8019 Finish: Grey-brown, d steel grill, Front: polyester powder-coate neutral fabric airnet acoustically powder coating zinc and polyester Rigging: steel with dual

383 mm / 15.1 in.

482 mm / 19 in.

weather-resistant driver LF: 2 x 8 neodymium diaphragm compression HF: 1 x 3 neodymium = 8 ohms LF = 8 ohms, HF Nominal impedance:

www.

l-aco

ustic

s.co

Training seminars L-ACOUSTICS offers seminars for rental users and system integrators, conducted exclusively by instructors who have been carefully selected for their skills and professional experience in the audio industry. The Rental Network training seminars are designed for technicians, mixing engineers and sound designers and are available for each variable curvature system and SOUNDVISION. Attendees receive the status of System Technician which is the first step toward the status of K System Engineer which can be obtained through the KSE Accreditation Program. System Integration seminars provide system and sound design training for product specialists and cover in-depth system design, sound design case studies, SOUNDVISION import/export features with CAD software or acoustic simulation packages, system implementation, external control integration, installation and testing/ tuning.
7

Rental
CERTIFIED PROVIDER

PERMaNENT INSTallaTIONS
L-ACOUSTICS boasts more than 1500 referenced installations in 60 countries. The System Integrator Charter embraced by the Network of contractors offers a systematic project methodology and palette of services covering design-build project analysis, electro-acoustics and mechanical specification, installation, system tuning, commissioning and training by highly qualified personnel following precise protocols. Design-build integrators benefit from a dedicated factory support and training program. Consultants can rely on the L-ACOUSTICS System Integrators for projects awarded through a bidding process. Designers can benefit from modeling tools using either SOUNDVISION or bridges to industry standard acoustic software and integrate L-ACOUSTICS systems seamlessly with AMX and CRESTRON platforms.

System Integrator
CERTIFIED PROVIDER

Optimized IIR/FIR filters

IN A IN B

System Parameters
GAIN GAIN GAIN GAIN DEL DEL DEL DEL POL POL POL POL

Array Morphing + 11 band EQ

DEL

GAIN

2x4 MATRIX

aMPlIFIED CONTROllERS
IIR Filters - Bessel, BTW, LR
xN

la4-la8 aND la NETwORK MaNaGER

Xmax L-DRIVE
xN

C L-DRIVE

AMP

FIR filters - Zero phase shift

Over excursion protection

Thermal protection

At the heart of the L-ACOUSTICS integrated system approach, the LA4 and LA8 amplified controllers offer high performance loudspeaker amplification, DSP , network control and comprehensive system protection in a single ergonomic package. On-board library presets have been developed for immediate use with a minimum of EQ correction, optimized system resources and a unique sonic signature for all systems, a particularly beneficial feature for complex installations.

Based upon similar platforms, the exceptional and groundbreaking Accessible via LA NETWORKby MANAGER performance level delivered both only the LA4 and LA8 allows for full optimization of all L-ACOUSTICS system resources Accessible via LA NETWORK MANAGER and front-panel user interface and delivers depending on quality preset typecombined with the best possible transducer outstanding audio L-ACOUSTICS parameters protection. LA NETWORK MANAgER with its intuitive user interface, provides a high level of hands-on system control without sacrificing accurate and fast operations in real-world conditions. For fixed installation, external control of the amplified controllers is possible from AMX and CRESTRON panels.

IN B

+ 11 band EQ

DEL

GAIN

MATRIX
GAIN GAIN DEL DEL POL POL

IIR Filters - Bessel, BTW, LR

xN

Xmax L-DRIVE
xN

C L-DRIVE

AMP

FIR filters - Zero phase shift

Over excursion protection

Thermal protection

Accessible via LA NETWORK MANAGER only Accessible via LA NETWORK MANAGER and front-panel user interface depending on preset type L-ACOUSTICS parameters

RENTal BENEFITS
High performance and dynamic range for live applications LA-RAK universal drive platform for the Rental Network Consistent performance across systems worldwide Lightweight and compact package for easy storage and transportation Advanced management of resources for protection and safe operation Powerful and quick system tuning tools with presets and array morphing Full digital signal chain with LA-AES3 AES/EBU input card

NEW IN 2013

LA4X The LA4X is based on an architecture combining four inputs and four output channels while delivering exceptional energy levels (power x hold time). It offers the sound designer a pool of four amplification channels offering 1000 W RMS power over 200 ms at 8 . These channels can be allocated la carte to passive or active speakers with a one to one relationship. It is particularly adapted to applications requiring a high-count of discrete channels such as stage monitors, multi-channel system and multi-feed distributed systems with optimized performance/cost ratio. LA4X is a green amplified controller that relies on a universal switch mode power supply suitable for 90 V to 265 V mains. The Class D amplification circuits ensure the LA4X energyefficiency for minimal heat dissipation and maximum amplifier density. With a complete preset library and the possibility of creating additional user presets, the engineer is offered access to all the L-ACOUSTICS loudspeaker system configurations at their fingertips.

PERMaNENT INSTallaTION BENEFITS

Hybrid presets for power resource optimization Real-time monitoring of system status via LA NETWORK MANAgER High efficiency design (low power consumption and less heat in equipment room) Compact design for higher amplifier density External control options in a networked environment (AMX - CRESTRON Integrated Partner) Full digital signal chain with LA-AES3 AES/EBU input card

The LA4 is optimized to drive XT(i), ARCS WIdE, ARCS FOCUS, SB18, SB15m and KIvA/KILO systems. The LA8 is the universal amplified controller designed to drive all systems.

Coaxial Technology

SYSTEMS
OVERVIEW
Ever since its creation 28 years ago and the invention of line source systems a few years later, L-Acoustics has always strived to propose a clear and streamlined product line. The company philosophy is simple and revolves around the idea of engineering high quality purpose-built products designed to address well-defined practical needs. Today, L-Acoustics products are based on three major technologies: T  he coaxial point sources, for short throw applications (XT and P) T  he constant curvature WST line sources, for medium throw applications (ARCS WIDE/FOCUS and ARCS II) T  he variable curvature WST line sources for longer throw applications (KIVA, KARA, KUDO, V-DOSC and K1) All three product families can be completed with a range of universal subwoofers designed for a wide variety of system formats, arrangements and LF contour characteristics

SHORT THROW (15 m/50 ft) Non arrayable

COAXIAL POINT SOURCES

MEDIUM THROW Arrayable

(35 m/100 ft)

CONSTANT CURVATURE LINE SOURCES

LONG THROW (35 m+/100 ft+) Arrayable

VARIABLE CURVATURE LINE SOURCES

LOW FREQUENCY EXTENSION

LAMINAR VENTS SUBWOOFERS

10

NEW IN 2013

5XT

8XT/8XTi

12XT/12XTi

115XT HiQ

108P

112P

ARCS WIdE

ARCS FOCUS

ARCS II

KIvA

KARA /KARAi

KUdO

v-dOSC

K1

NEW IN 2013

KILO(*)

SB15m

SB15P (*)

SB18 (im)

K1-SB

SB28

(*)

Standard vent

11

COaxIal

TECHNOlOGY
L-ACOUSTICS introduced the first coaxial loudspeaker for sound reinforcement in 1989. Initially designed for multi-purpose applications, the coaxial technology has demonstrated numerous advantages over classic two-way systems which typically suffer from interference around the crossover point. A coaxial enclosure constitutes a real point source and offers total wave front coherence within its beam width: linear phase response, no lobing, no comb filtering, smooth coverage transition over frequency, no minimum listening distance, and constant tonal balance over distance. The sound quality is worthy of studio monitor performances and listeners experience a natural and transparent aural sensation.

12

COaxIal SERIES
By providing high SPL, various beam widths and even sonic performance off-axis, the coaxial series (XT and P) allow an extensive coverage with few elements and are suited to various sound reinforcement applications as a main or complementary system. Thanks to the quality of the direct field off-axis, reverberation does not spoil the sonic properties of XT/ P coaxial sound sources. In distributed applications, listeners will benefit from the near field coherency of the enclosure, and an excellent directivity control allows XT/P sources to be precisely aligned, avoiding cross-cancellation in the HF/MF region. This directivity control, along with the absence of lobes, also provides high feedback immunity for monitoring applications. With a remarkable vocal presence, a clear sound and a smooth radiation pattern, the artist will enjoy performing with the XT/P enclosures as monitors.

125 Hz

1 kHz

250 Hz

2 kHz

500 Hz

4 kHz

About point source radiation The point source radiation yields excellent phase response, total wavefront coherency at all frequencies and axisymmetrical directivity which produces identical coverage patterns in both the horizontal and vertical planes. The coaxial design also provides LF/HF superimposed dispersion characteristics that are free from polar lobing effects - destructive in traditional horn and woofer combinations. The coaxial wavefront coherence gives near field results superior to classic twoway systems.
13

xT/xTi

COaxIal RaNGE
The XT/XTi coaxial range delivers a complete sound reinforcement solution to fulfill the highest demands of audio professionals for both the fixed installation (XTi) and rental production markets (XT). The XT/XTi series delivers ultimate sonic performance in a compact and multi-purpose package. Setting up XT/XTi enclosures is quick and easy due to the unique integrated flying hardware system which ensures precision, safety and full compatibility with current rigging safety standards. Its compact and wedge-shaped format makes the XT/XTi range equally suited to sound reinforcement applications such as front of house, floor monitor and distributed systems. The XT/XTi range has been designed for use with the LA4 amplified controller (LA8 for 115XT HiQ). On-board the LA4/LA8, a wide variety of presets are available across the entire XT/XTi range, providing the sound designer with total creative freedom for any conceivable application in theaters, clubs, concert halls, broadcast and multipurpose facilities.

COaxIal TECHNOlOGY

14

8xT/8xTi 12xT/12xTi
COMPaCT & PERFORMaNCE COaxIalS
Ultimate sonic performance, clarity and precision Point source radiation with excellent off-axis performance FOH, fill, monitor versatility for reduced inventory Plug and play for fast set-up and reduced tuning time Integrated rigging system for distributed SR applications Sleek design, durable construction, extended longevity LA4 advanced system drive and protection White and architectural RAL colors available (XTi) 5XT

NEW IN 2013

The 5XT coaxial enclosure features acoustic characteristics derived from its XT siblings. It is specifically designed and packaged to suit the needs of designers for the fixed installation and rental markets when the integration constraints require a loudspeaker delivering high SPL and intelligibility in a ultra-compact format.

115xT HiQ
aCTIvE STaGE MONITOR
High power and sonic performance, clarity and precision Exceptional rider friendliness Tight coverage pattern and exceptional immunity to feedback Dual wedge shape for short or long-throw floor monitoring Low cabinet profile for discrete TV stage presence Sturdy design and construction for extended longevity LA8 advanced system drive and protection

SB15m The SB15m subwoofer reinforces the LF contour of XT/XTi systems down to 40 Hz. It offers an exceptional level of performance for rental and fixed installation applications in a compact format.

15

SERIES
The L-ACOUSTICS self-powered coaxial range offers a complete integrated system approach and has been designed to fulfill the highest audio expectations for a broad range of professional sound reinforcement applications. This compact and versatile package combines all the benefits of on-board amplification, digital signal processing (DSP) and contemporary coaxial transducer technology. The P series addresses the needs of fixed installation by driving down the installation and system set-up costs, and simplifies the logistics for rental businesses with regard to easier storage, handling, transportation and inventory management. As well as delivering cutting edge audio quality, the integrated amplification and DSP module offers comprehensive transducer protection, a precise system drive engine and optimized on-board preset library. The presets are instantly accessible and provide the sound designer with total creative freedom for any conceivable application.

COaxIal TECHNOlOGY

16

108P & 112P

SElF-POwERED COMPaCT & PERFORMaNCE COaxIalS
Ultimate sonic performance, clarity and precision Plug and play design for fast and easy set-up Compact and portable Sleek design, durable construction, extended longevity FOH, fill, monitor versatility for reduced inventory Coherent point source radiation with excellent performance off-axis White and architectural RAL colors available

P series The 108P and 112P coaxial enclosures feature a set of characteristics derived from the XT coaxial series but are specifically tuned, designed and packaged to suit the needs of portable PA applications and plug-and-play installation projects.

Advanced rigging system

SB15P
SElF-POwERED lF ExTENSION
Compact and discrete dedicated P series subwoofer High power handling and high efficiency for increased reliability Low thermal power compression, low distortion Digital system drive and equalization with quick set-up Suitable for live monitoring and distributed SR White and architectural RAL colors available
Wedge-shaped cabinets

Pole mounted with SB15P 17

PAPERS

The Distributed Edge Dipole (DED) Model for Cabinet Diffraction Effects*
M. URBAN, C. HEIL, C. PIGNON, C. COMBET, AND P. BAUMAN, AES Member L-ACOUSTICS, 91462 Marcoussis, France
A simple model is proposed to account for the effects of cabinet edge diffra diffraction on the mounted in an enradiated sound field for direct-radiating loudspeaker components when m (DED) model since it closure. The proposed approach is termed the distributed edge dipole (DED dipoles with their axes is developed based on the Kirchhoff approximation using distributed dipo The DED model is first perpendicular to the baffle edge as the elementary diffractive sources. T tested against measurements for a thin circular baffle and then applied to a real-world pressure level and the loudspeaker that has a thick, rectangular baffle. The forward sound press show good agreeentire angular domain are investigated, and predictions of the DED model s ment with experimental measurements.

0 INTRODUCTION The frequency response and directivity of a loudspeaker system depend on the shape of the baffle, the location of the sound source on the baffle, and the directivity of the sound source itself. Olson [1] was the first to present experimental results concerning cabinet edge diffraction, observing that the radiated sound field depends on the geometry of the baffle. Bews and Hawksford (B&H) [2] used the geometric theory of diffraction to model diffraction due to the baffle edges. In their approach, sound rays propagate along the surface of the baffle and are scattered by the edges, producing a series of infinitesimal omnidirectional secondary edge sources. Vanderkooy [3] derived an angular form factor for the edge sources using Sommerfeld diffraction theory. The diffracted pressure is no longer omnidirectional and is highly dependent on the projected angle of observation. Vanderkooys experimental results concerning the phase behavior of the edge diffraction wave are highly significant and of great interest. However, current literature concerning the phenomenon of edge diffraction is somewhat contradictory, and Wright provides an excellent summary of the major inconsistencies [4]. Wright relies on finite-element analysis to consider cabinet edge diffraction, and his modeling results are corroborated by practical experiments. Wrights findings are very important for the development of the DED model, as will be discussed in the following. Fig. 1 shows a representation of the baffle edge diffraction geometry, which is common to all models outlined in
*Manuscript received 2003 October 23; revised 2004 July 9, July 30, and August 13.
J. Audio Eng. Soc., Vol. 52, No. 10, 2004 October

[4]. The sound pressure from the source Pdrive propagates to the baffle edges where it energizes a diffractive edge sound source. The sound pressures of the driving source and the contribution of the edge sources must be added in order to determine the sound pressure at a given observation point. Essentially the problem is to characterize the radiated sound field due to the edge sources or to determine an equivalent type of sound source that will account for edge-related diffraction effects. In this paper we choose to express the driving sound pressure for a piston mounted on a finite baffle as follows: Pdrive(r, ) K() Pbaffle(r, ) where Pbaffle(r, ) is the sound pressure produced by the piston when situated on an infinite baffle, K() is an angular form factor for the driving sound pressure, which is characteristic of a given model, and is the polar angle between the direction of observation and the axis of the source. The elementary pressure induced by the edge sources can be expressed as dPedger, = F Pdriver = L, = 90 Pedge = o dPedge around edge where L ejkrP dl. 2 rP (2) (3) (1)

distance from piston center to edge element projected differential length along baffle edge, dl = L d distance from piston center to observation point
1043

wST TECHNOlOGY
CONSTaNT CURvaTURE
In 1995 L-ACOUSTICS introduced constant curvature line sources with the implementation of the Wavefront Sculpture Technology into the ARCS system. At the heart of all ARCS constant curvature enclosures is the DOSC waveguide which morphs the spherical wavefront of the HF driver into a toric, isophasic wave. As a result, ARCS can be arrayed with a perfect acoustic coupling as opposed to classic trapezoidal enclosures which interfere with each other and produce comb filtering degrading sound quality outside of the array axis. When compared to conventional line source systems, ARCS has the advantage of offering a perfect control over horizontal coverage and a smooth tonal balance over all frequencies. The wavefront emitted horizontally by the enclosure allows uniform coverage in increments.

18

PROPERTIES All ARCS line sources provide high SPL with perfect acoustic coupling, a solid LF performance and constant tonal balance over distance. Systems can be deployed either as a horizontal array or as a vertical array. In the coupling plane, the ARCS line sources yield a razor-sharp directivity pattern, particularly valuable to sector audience fields while avoiding reflective surfaces. In the other plane, they provide a smooth directivity pattern. Furthermore, the trapezoidal shape of ARCS enclosures correspond exactly to their coverage value (15, 22.5, or 30). By allowing an immediate visualization of the array coverage on-site, this feature almost eliminates the need for SOUNDVISION design software: what you see is what you get!

ARCS coverage scalability All ARCS systems can be deployed either horizontally or vertically, with a total coverage angle proportional to the number N of ARCS enclosures in the array. ARCS can fit applications requiring narrow coverage (15, 22,5, 30) such as fills, standard coverage (75, 90) for L/R FOH systems or extended coverage (105, 120) for central clusters and up to 360 for in-the-round designs. This exceptional scalability makes ARCS a system capable of adjusting to any audience geometry, including the most complex ones.

19

ARCS WIDE/FOCUS

CONSTANT CURVATURE LINE SOURCES

The ARCS WIDE and ARCS FOCUS systems are based on two constant curvature enclosures ensuring distinct directivity pattern and SPL capabilities. Intended for medium-throw applications in rental productions and fixed installations, these line sources deliver remarkable acoustic properties and versatility for FOH L/R systems, central clusters, side-fill monitors, distributed systems and complementary fills. The ARCS WIDE is suited to achieving an extensive coverage with few elements, offering a remarkably compact array, while preserving sightlines. The ARCS FOCUS line source focuses the same acoustic energy within half of the coverage angle and is therefore suited to achieving a narrower coverage and a higher SPL with a more extended throw. The ARCS WIDE and ARCS FOCUS can also be deployed in WIFO hybrid arrays for complex audience geometries. The dual directivity pattern and the various system configurations offer the sound designer and system engineer a high level of creative freedom.

WST technology

20

aRCS wIDE
CONSTaNT CURvaTURE wST lINE SOURCE
Optimized for medium-throw rental and installation applications Plug-and-play package, quick set-up and easy flying Scalable directivity from 30 x 90 to 360 x 90 by 30 increments Fills, distributed systems, FOH, central clusters Innate LF resources, possible extension with SB18 subwoofers LA4/LA8 drive and protection, with the same preset for WIDE and FOCUS IP 45 protection rating

SB18m The SB18m is a dual bass reflex tuned subwoofer primarily recommended for the ARCS WIDE and ARCS FOCUS installed systems with a system operating frequency range extended down to 32 Hz. The vent features a progressive profile allowing laminar airflow and reduced turbulence noise even at the highest operating levels and contributes to the SB18ms precision and musicality. A pole-mount socket allows ARCS WIDE/FOCUS to be mounted on top of the subwoofer. It is possible to array standalone SB18m or create arrays coupled with ARCS WIDE/FOCUS enclosures. The SB18m can be driven by either the LA4 or the LA8 amplified controller. These ensure linearization, transducer protection and optimization in the different operating modes of the SB18m, with cardioid included.

aRCS FOCUS
CONSTaNT CURvaTURE wST lINE SOURCE
Optimized for medium-throw rental and installation applications Plug-and-play package, quick set-up and easy flying Scalable directivity from 15 x 90 to 360 x 90 by 15 increments Fills, distributed systems, FOH, central clusters Innate LF resources, possible extension with SB18 subwoofers LA4/LA8 drive and protection, with the same preset for WIDE and FOCUS IP 45 protection rating

21

ARCS II

CONSTANT CURVATURE LINE SOURCES

ARCS II features a bi-amplified design and advanced enclosure tuning with a custom DOSC waveguide for remarkable clarity and coherence. When arrayed, ARCS II radiates a constant curvature wavefront of 22.5 x the number of enclosures. Vertically, the enclosure provides an asymmetrical coverage of 60 (- 20 by + 40 of site angle). The system can be arrayed both horizontally and vertically to fulfill multiple application requirements in terms of audience geometry, type of event and program material. When combined with the SB28 subwoofer, ARCS II delivers an extended LF contour with added impact. Whether permanently installed, on the road as a standalone FOH system or a complement to another WST line source, ARCS II naturally deploys all the power of WST, offering a unique near-field listening experience throughout the audience.

WST technology

22

aRCS II
CONSTaNT CURvaTURE wST lINE SOURCE
Optimized for medium-throw applications Adaptive and predictable directivity to suit many audience geometries FOH system, fills and distributed designs for touring or fixed installation Clarity, intelligibility, impact and precision for live music LA8 advanced system drive and protection Sonic compatibility of preset library with other LA systems Plug and play package, quick set-up and easy stacking and flying
4 ARCS II (flown)

4 ARCS II (flown)

1 LA-RAK 4 ARCSII/LA8

4 SB28

3 ARCS II (ARCBUMP)

3 ARCS II (ARCBUMP)

3 ARCS II (stacked)

1 LA-RAK 6 ARCS II/LA8

3 ARCS II (stacked)

4 SB28

23

PAPERS

The Distributed Edge Dipole (DED) Model for Cabinet Diffraction Effects*
M. URBAN, C. HEIL, C. PIGNON, C. COMBET, AND P. BAUMAN, AES Member L-ACOUSTICS, 91462 Marcoussis, France
A simple model is proposed to account for the effects of cabinet edge diffraction on the radiated sound field for direct-radiating loudspeaker components when mounted in an enclosure. The proposed approach is termed the distributed edge dipole (DED) (DED model since it is developed based on the Kirchhoff approximation using distributed dipoles les with their axes perpendicular to the baffle edge as the elementary diffractive sources. The he DED model is first tested against measurements for a thin circular baffle and then applied to a real-world loudspeaker that has a thick, rectangular baffle. The forward sound pressure ure level and the entire angular domain are investigated, and predictions of the DED model show how good agreement with experimental measurements.

0 INTRODUCTION The frequency response and directivity of a loudspeaker system depend on the shape of the baffle, the location of the sound source on the baffle, and the directivity of the sound source itself. Olson [1] was the first to present experimental results concerning cabinet edge diffraction, observing that the radiated sound field depends on the geometry of the baffle. Bews and Hawksford (B&H) [2] used the geometric theory of diffraction to model diffraction due to the baffle edges. In their approach, sound rays propagate along the surface of the baffle and are scattered by the edges, producing a series of infinitesimal omnidirectional secondary edge sources. Vanderkooy [3] derived an angular form factor for the edge sources using Sommerfeld diffraction theory. The diffracted pressure is no longer omnidirectional and is highly dependent on the projected angle of observation. Vanderkooys experimental results concerning the phase behavior of the edge diffraction wave are highly significant and of great interest. However, current literature concerning the phenomenon of edge diffraction is somewhat contradictory, and Wright provides an excellent summary of the major inconsistencies [4]. Wright relies on finite-element analysis to consider cabinet edge diffraction, and his modeling results are corroborated by practical experiments. Wrights findings are very important for the development of the DED model, as will be discussed in the following. Fig. 1 shows a representation of the baffle edge diffraction geometry, which is common to all models outlined in
*Manuscript received 2003 October 23; revised 2004 July 9, July 30, and August 13.
J. Audio Eng. Soc., Vol. 52, No. 10, 2004 October

[4]. The sound pressure from the source Pdrive propagates to the baffle edges where it energizes a diffractive edge sound source. The sound pressures of the driving source and the contribution of the edge sources must be added in order to determine the sound pressure at a given observation point. Essentially the problem is to characterize the radiated sound field due to the edge sources or to determine an equivalent type of sound source that will account for edge-related diffraction effects. In this paper we choose to express the driving sound pressure for a piston mounted on a finite baffle as follows: Pdrive(r, ) K() Pbaffle(r, ) where Pbaffle(r, ) is the sound pressure produced by the piston when situated on an infinite baffle, K() is an angular form factor for the driving sound pressure, which is characteristic of a given model, and is the polar angle between the direction of observation and the axis of the source. The elementary pressure induced by the edge sources can be expressed as dPedger, = F Pdriver = L, = 90 Pedge = o dPedge around edge where L r ejkrP dl. 2 rP (2) (3) (1)

distance from piston center to edge element projected differential length along baffle edge, dl = L d distance from piston center to observation point
1043

wST TECHNOlOGY
vaRIaBlE CURvaTURE
L-ACOUSTICS pioneered the field of modern line source array as early as 1993 with the introduction of Wavefront Sculpture Technology on the legendary V-DOSC system. Based on physical rules developed by Heil and Urban (AES 1992) the WST theory defines five criteria for design and use of true line source arrays. At the heart of Wavefront Sculpture Technology is the internationallypatented DOSC waveguide, which morphs the spherical wavefront of the HF driver into a cylindrical, isophasic wave. In combination with WST, coplanar symmetry (the equivalent of coaxial assembly for HF, MF and LF drivers in vertical arrays) provides a coherent wavefront over the entire horizontal coverage at all frequencies. This behaves as if the sound were radiated by a single, continuous and articulated ribbon. Any line source featuring L-ACOUSTICS elements respects the coplanar symmetry and all WST criteria over the entire sonic spectrum. This allows an exceptionally coherent sonic signature in very long throw applications, beyond the limits of other systems. L-ACOUSTICS has been designing reference line array systems for more than 15 years.

24

MODUlaR lINE SOURCES (KIva aND KaRa) Modular line sources offer maximized flexibility for installation and rental applications. KIVA or KARA(i) enclosures can be arrayed as compact and lightweight variable curvature line source which can comply with rigging and architectural constraints, while preserving sightlines. A dedicated companion LF extension (KILO, SB15m, SB18(i)) delivers the necessary LF resources. The sub: main ratio can be adjusted to accommodate various LF contour requirements.

The dOSC Waveguide At the heart of Wavefront Sculpture Technology is the internationally patented DOSC waveguide, which morphs the spherical wavefront of the HF driver into a cylindrical, isophasic wave. The signal path through the waveguide permits the fulfillment of WST criteria at high frequencies, allowing elements to couple coherently and create a single, continuous, isophasic sound source. The implementation of the DOSC waveguide explains why L-ACOUSTICS systems satisfy the WST criteria at high frequencies, as opposed to other line arrays.

laRGE FORMaT lINE SOURCES (KUDO, v-DOSC aND K1) These true full range systems are particularly suited to large format installations and touring applications for which a native and coherent LF performance is required. The touring systems rely on the Rental Network K platform featuring the LA-RAK plug-and-play amplification, signal processing and signal distribution rack. The amplified controllers and LA NETWORK MANAgER deliver a right out of the box contour adjustable with array morphing to obtain an homogeneous signature in complex system configurations.

25

KIVA

MODULAR LINE SOURCE

Utilizing the unrivalled characteristics of a variable curvature WST line source, KIVA offers a long throw capability in spite of its compact format. The sonic result is clarity and precision, for a unique sensation of proximity, and an incredible intelligibility of vocal material. KILO is the lightweight and streamlined companion to KIVA for LF extension down to 50 Hz while the SB15m subwoofer gives an extended operating bandwidth down to 40 Hz and an LF impact typical of todays music. Horizontally, KIVA delivers a smooth and controlled directivity pattern with 100 of coverage angle and a homogeneous tonal balance, a particularly valuable feature since most audiences are located off-axis. With variable inter-element angles from 0 to 15, a KIVA line source allows matching any audience geometry, from narrow sectors to an extensive vertical coverage. In standalone configuration, KIVA is particularly suited to distributed applications, as a main or complementary system. Its ultra-compact size and low weight complies with rigging and visual constraints of historical buildings, theaters, broadcast productions and corporate events.

WST technology

26

KIva
MODUlaR wST lINE SOURCE
Ultra-compact and lightweight design for discrete integration Clarity, intelligibility and precision for vocals and lead instruments LA4 advanced system drive and protection Up to 15 inter-element vertical flexibility Entirely captive, near-invisible and fast rigging system Sonic compatibility with all other L-ACOUSTICS systems White and architectural RAL colors available

NEW IN 2013

SB15m The SB15m is a bass reflex tuned subwoofer. Mainly recommended for KIVA, it extends the operating frequency range of a system down to 40 Hz, while providing impact, sensitivity, low thermal compression and reduced distortion. The vent features a progressive profile allowing laminar airflow and reduced turbulence noise even at the highest operating levels, contributing to the SB15ms precision and musicality. KIVA can be flown with the SB15m or pole-mounted (two enclosures) onto the subwoofer. The SB15m enclosure can be driven by either the LA4 or the LA8 amplified controllers which ensure system linearization, intelligent transducer protection and optimization for the loudspeaker system in the different operating modes of the SB15m, with cardioid included.

KIlO
KIva lF ExTENSION
Extends the KIVA LF bandwidth for music applications Power/size/weight ratio optimized for discrete integration Rigging entirely captive and fully compatible with KIVA Drive and protection with LA4/LA8 amplified controller White and architectural RAL colors available

27

KARA/KARAi

MODULAR LINE SOURCE

With a design inspired by the K1 stadium system, KARA/KARAi delivers the highest performance, featuring a compact and lightweight enclosure complying with rigging and sightline constraints and the complementary SB18(i) subwoofer for reinforced LF contour applications. KARA/KARAi delivers a considerable number of improvements over the previous generation of line sources: added LF resources for increased bandwidth and coherence, improved directivity control in the horizontal plane, vertical coverage capability and an integrated rigging system. With a horizontal directivity of 110 and a vertical inter-element variation up to 10, KARA/KARAi is fully configurable to match any audience geometry. Utilizing the unrivaled characteristics of WST, KARA/KARAi delivers clarity, precision and a unique proximity effect offering the audience an incomparable listening experience. The LA-RAK touring rack and LA8 amplified controller preset library deliver an extremely advanced and precise drive system for KARA/ KARAi. A wide range of system configurations to accommodate various LF contour requirements and integration constraints are available for the sound designer and system engineer allowing a high level of creative freedom.

WST technology

28

KaRa/KaRai
MODUlaR wST lINE SOURCE
Compact, lightweight design, compliant with rigging and sightline constraints Extended LF resources for contour requirements from flat to medium Clarity, intelligibility and precision for vocal, speech and lead instruments 110 horizontal directivity for distributed sound, fills and central clusters LA-RAK (LA8) advanced system drive and protection State-of-the-art rigging system for high accuracy and quick set-up White and architectural RAL colors available (KARAi)
2 SB18 6 KARA
LA8

LA8

SB18/SB18i
HIGH POwER COMPaCT SUBwOOFER
Progressive vent for more peak SPL and less turbulence noise Extends the KARA LF bandwidth from flat to medium LF contour Dual vented design for exceptional power/size ratio Rigging compatible with KARAi for coupled configurations High power handling, low distortion and thermal compression DSP presets for cardioid mode (symmetrical and asymmetrical) White and architectural RAL colors available (SB18i)
1 LA-RAK 6 KARA/LA8 8 SB18/LA8

12 KARA

8 SB18

29

KUDO

Large Format Line Source

Featuring a dual DOSC HF waveguide and K-LOUVER Modular Directivity Technology, KUDO offers far more flexibility than any other arena or theater system. This combination of technologies generates eight directivity modes in both the horizontal and vertical planes and allows KUDO to fit numerous applications in terms of audience, geometry and content. Featuring a quad-amplified design and advanced enclosure tuning, KUDO delivers extended LF bandwidth, providing a one-source, coherent sonic experience and an exceptional ability to perform without additional subwoofers. Whether installed in concert venues or touring as a standalone system or as a complement to K1, KUDO deploys all the power of WST with an unrivaled clarity and precision, offering a unique near-field listening experience throughout the audience. The LA8 amplified controllers latest preset library provides KUDO with a new sonic signature allowing seamless integration with K1 and V-DOSC in complex stadium and arena configurations.

WST technology

30

KUDO
laRGE FORMaT wST lINE SOURCE THEaTER aND aRENa
Adapted to standalone FOH applications or K1 fill complement K-LOUVER variable directivity with 50/110 symmetric, 80 asymmetric Arrayable as a constant curvature horizontal line source Variable line source, splay angle up to 10 for increased vertical coverage 25 Hz mode for exceptional LF performance, reduced subwoofer needs LA-RAK/LA8 package with advanced system drive and protection Sonic signature fully compatible with K1 and V-DOSC
12 KUDO

2 LA-RAK 2 KUDO/LA8

6 KUDO

1 LA-RAK 3 KUDO/LA8

2 12XT active/ARCS (Option)

2 SB28

31

V-DOSC

Large Format Line Source

V-DOSC has revolutionized the loudspeaker industry with its outstanding sonic results for large format live sound reinforcement applications. L-ACOUSTICS V-DOSC is the first full frequency line source based on the principles of Wavefront Sculpture Technology. V-DOSC possesses an exceptional level of rider-friendliness for touring and installation projects. At the heart of V-DOSC is the internationally-patented DOSC waveguide which fulfills WST criteria at high frequencies allowing elements to couple coherently and create a single, continuous, isophasic sound source. As a result, V-DOSC is a full-spectrum coherent system, whereas conventional horn and driver assemblies suffer interference throughout most of their operating bandwidth. V-DOSC benefits from the latest presets implemented on the LA8 amplified controller. It can be seamlessly integrated into complex stadium and arena configurations thanks to a sonic signature entirely compatible with K1 and KUDO. The K standard for V-DOSC includes the LA-RAK, SB28, dV-DOSC fill enclosure, signal distribution, cabling and rigging accessories.

WST technology

32

v-DOSC
laRGE FORMaT wST lINE SOURCE aRENa aND STaDIUM
Designed for standalone FOH arena and stadium applications Legendary sonic performance, clarity, precision and radiation characteristics Exceptional level of rider-friendliness for touring and installation projects Ergonomic and fast rigging system for quick set-up Compatibility with dV-DOSC for fill complements LA-RAK/LA8 touring package with advanced system drive and protection Sonic signature fully compatible with K1 and KUDO
12 V-DOSC

2 LA-RAK 2 V-DOSC/LA8

2 LA-RAK 2 V-DOSC/LA8 6 dV-DOSC/LA8

10 V-DOSC 6 dV-DOSC

33

K1

Large Format Line Source

Inheriting 15 years of WST experience and the latest L-ACOUSTICS research, the K1 line source delivers an unprecedented level of performance for very large concert stadium applications and outdoor festival productions. Packaged as a complete system for the touring market, K1 combines a quad-amplified enclosure, a new K transducer arrangement and boosted resources on the HF section. The K1 enclosure is associated with a dedicated LF extension (K1-SB) to offer an unprecedented level of directivity control and throw at low/sub frequencies. K1 sets a new benchmark of coherence and tonal balance control over distance. KUDO can seamlessly be operated with K1 for complementary fills and delays. K1, KUDO and SB28 are all driven by the LA-RAK universal electronic and signal distribution platform.

WST technology

34

K1
laRGE FORMaT wST lINE SOURCE STaDIUM
Exceptional SPL, LF and throw capability for stadium and outdoor festivals New K transducer configuration for smooth horizontal radiation pattern State-of-the-art rigging system for laser-like accuracy and quick set-up Dedicated LA-RAK K touring system package Preset library for out of the box results and easy tuning

2 LA-RAK 4 K1-SB/LA8 2 K1/LA8

4 K1-SB 10 K1

K1-SB
K1 lF ExTENSION
Extends K1 LF for special extended modes (throw and contour) Yields exceptional tonal balance homogeneity for long throw Increased K1 system coherence reducing need for stacked subwoofers Progressive vents for increased SPL, laminar airflow and minimal turbulence noise High power handling, low distortion and thermal power compression

4 LA-RAK 4 K1-SB/LA8 2 K1/LA8

8 K1-SB 16 K1

35

SUBWOOFER
TECHNOLOGY
In 2004, L-ACOUSTICS introduced a new diffraction model, the Distributed Edge Dipole. The DED was published in the AES Journal and provides a logical, predictable methodology for low frequency sound design. The DED model describes how a part of the wave produced by the speaker spreads toward the cabinet edges where it is diffracted with group delay and phase inversion. The DED model is implemented for modeling the physics of cardioid applications and the size of enclosures. The latest subwoofer designs incorporate a vent with a progressive profile and ultra-low vibration walls for a significant gain in peak SPL, laminar airflow and drastic reduction of turbulence noise. L-ACOUSTICS subwoofers benefit from the latest acoustic, signal processing and component innovations and deliver an exceptional level of performance while offering multiple modes of operation, whether on the road or in fixed installations.

Laminar vents
36

SB15m

NEW IN 2013

HIGH-POwER UTRa COMPaCT SUBwOOFER

4 SB18 - Cardioid asymmetric (R)

40 Hz LF limit, high power handling, low distortion and thermal compression Progressive vent for increased peak SPL, and minimal turbulence noise DSP presets for cardioid mode (symmetrical and asymmetrical) Pole mount for XT series and KIVA (compatible flying rigging) Arrayable with KIVA

4 SB18 - Cardioid asymmetric (L)

SB18/SB18i/SB18m
HIGH-POwER COMPaCT SUBwOOFER
32 Hz LF limit, high power handling, low distortion and thermal compression Progressive vent for increased peak SPL, and minimal turbulence noise DSP presets for cardioid mode (symmetrical and asymmetrical) Pole mount for XT series, ARCS WIDE/FOCUS and KIVA Compatible rigging : SB18(i)/KARA(i), SB18m/ARCS WIDE/ FOCUS
8 SB18 - Cardioid symmetric 1 LA-RAK 8 SB18/LA8

4 SB28 - Cardioid asymmetric (R)

SB28
HIGH-POwER SUBwOOFER
25Hz LF limit, exceptional power handling capability Progressive vent for increased peak SPL, and minimal turbulence noise LA8 amplified controller drive and protection DSP presets for cardioid mode (symmetrical and asymmetrical)

4 SB28 - Cardioid asymmetric (L)

4 SB28 - Cardioid symmetric

1 LA-RAK 4 SB28/LA8

37

SOUNDVISION

Acoustic Simulation SOFTWARE

Developed for sound designers, SOUNDVISION is dedicated to the acoustic and mechanical simulation of L-ACOUSTICS systems (WST line sources and coaxial sources). Benefitting from L-ACOUSTICS long term experience in the modeling of acoustic sound sources, SOUNDVISION is the first 3D sound design program capable of operating in real time. SOUNDVISION calculates sound pressure level (SPL) coverage, SPL mapping and delay coverage (or mapping) for complex sound system and venue configurations. Either horizontal (plan) or vertical (cut) views can be selected to enter room coordinates or to define loudspeaker placement/aiming. Impact coverage, SPL mapping or delay is then based on direct sound calculations over the defined audience geometry. SOUNDVISION also provides 3D renderings of the mechanical assembly of any enclosure array with detailed dimensional, weight/ constraint and rigging setting information (angle settings, pick points, etc). This information is valuable for riggers to facilitate planning, system set-up and ensure the safety of operation of the system.

38

www.l-acoustics.com L-ACOUSTICS 13 Rue Levacher Cintrat - 91460 Marcoussis - FRANCE Tel :+33 (0)1 69 63 69 63 - Fax : +33 (0)1 69 63 69 64 E-mail : info@l-acoustics.com

L-ACOUSTICS DE Steiermarker Str. 3-5 70469 Stuttgart GERMANY Tel:+49 (0) 711 89660 232 Fax:+49 (0) 711 89660 233

L-ACOUSTICS UK PO. Box Adler Shine - Aston House Cornwall Avenue - London N3 1LF UNITED KINGDOM Tel:+44 (0) 779 2811 442 Fax: +44 (1) 722 411 236

L-ACOUSTICS US 2201 Celsius Avenue, Unit E Oxnard, CA 93030 USA Tel: +1 (805) 604 0577 Fax: +1 (805) 604 0858