Catalogue 2013 en

F U L L L I N E 2 0 1 3

THE BEST SOUND COMES FROM ONE SOURCE

Christian HEIL Founder and CEO of L-ACOUSTICS®

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 4

Systems and services: a holistic approach 6

Amplified controllers: LA4-LA8 8

Systems overview 10

Coaxial technology 12XT and XTi 14 P series 16

WST® technology: constant curvature 18 ARCS® WIDE and ARCS® FOCUS 20ARCS® II 22

WST® technology: variable curvature 24 KIVA 26KARA® and KARA®i 28KUDO® 30 V-DOSC® 32K1 34

Subwoofer technology 36SB15m, SB18(i/m), SB28 37

SOUNdvISION simulation software 38

4

INNOvaTION

MIlESTONES

l-aCOUSTICS INNOvaTION

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.

First coaxial systemMTD115/LLC

Wavefront Sculpture Technology (WST®)

V-DOSC® and Network

ARCS® Constant Curvature Array

dV-DOSC®

modular line sourceSOUNDVISION

simulation softwareKUDO® and K-LOUVER®

variable directivity

Physicist Dr. HEIL founds

L-ACOUSTICS®

1984 1989 1992 1994 1995 1999 2004 2005

HEIL, URBAN AND BAUMAN

WAVEFRONT SCULPTURE TECHNOLOGY

AES 111TH CONVENTION, NEW YORK, NY, USA, 2001 SEPTEMBER 21–24

3

2 THE FRESNEL APPROACH FOR A CONTINUOUS LINE

SOURCE The fact that light is a wave implies interference phenomena when

an isophasic and extended light source is looked at from a given

point of view. These interference patterns are not easy to predict

but Fresnel, in 1819, described a way to semi-quantitatively picture

these patterns. Fresnel's idea was to partition the main light source

into fictitious zones made up of elementary light sources. The

zones are classified according to their arrival time differences to

the observer in such a way that the first zone appears in phase to

the observer (within a fraction of the wave length λ). The next

zone consists of elementary sources that are in-phase at the

observer position, but are collectively in phase opposition with

respect to the first zone, and so on. A more precise analysis shows

that the fraction of wave length is λ/2 for a 2-dimensional source

and λ/2.7 for a 1-dimensional source (please see appendix 2 for

further details). We will apply Fresnel’s concepts to the sound field of extended

sources. Let us consider first a perfectly flat, continuous and

isophasic line source. To determine how this continuous wave

front will perform with respect to a given listener position, we

draw spheres centered on the listener position whose radii are

incremented by steps of λ/2 (see figures 3 and 4). The first radius

equals the tangential distance that separates the line source and the

listener. Basically two cases can be observed: 1. A dominant zone appears: The outer zones are alternatively in-phase and out-of-phase. Their

size is approximately equal and they cancel each other out. We can

then consider only the largest, dominant zone and neglect all

others. We assume that this dominant zone is representative of the

SPL radiated by the line source. This is illustrated in Figure 3

where it is seen that for an observer facing the line source the

sound intensity corresponds roughly to the sound radiated by the

first zone. 2. No dominant zone appears in the pattern and almost no sound is

radiated to the observer position. Referring to figure 4, this

illustrates the case for an off-axis observer.

Figure 3: Observer facing the line source. On the right part (side view),

circles are drawn centered on the observer O, with radii

increasing by steps of λ/2. The pattern of intersections on the

source AB is shown on the left part (front view). These define the

Fresnel zones.

Figure 4: The observer O, is no longer facing the line source. The

corresponding Fresnel zones are shown on the left part (front

view). There is no dominant zone and individual zones cancel each

other off-axis. Moving the observation point to a few locations around the line

source and repeating the exercise, we can get a good qualitative

picture of the sound field radiated by the line source at a given

frequency. Note that the Fresnel representations of figures 3 and 4 are at a

single frequency. The effects of changing frequency and the on-

axis listener position are shown in Figure 5.

Figure 5: The effect of changing frequency and listener position.

As the frequency is decreased, the size of the Fresnel zone grows

so that a larger portion of the line source is located within the first

dominant zone. Conversely, as the frequency increases, a reduced

portion of the line source is located inside the first dominant zone.

If the frequency is held constant and the listener position is closer

to the array, less of the line source is located within the first

dominant zone due to the increased curvature. As we move further

away, the entire line source falls within the first dominant zone.

3 EFFECTS OF DISCONTINUITIES ON LINE SOURCE

ARRAYS In the real world, a line source array results from the vertical

assembly of separate loudspeaker enclosures. The radiating

transducers do not touch each other because of the enclosure wall

thicknesses. Assuming that each transducer originally radiates a

flat wave front, the line source array is no longer continuous. In

this section, our goal is to analyze the differences versus a

HEIL, URBAN AND BAUMAN WAVEFRONT SCULPTURE TECHNOLOGY

AES 111TH CONVENTION, NEW YORK, NY, USA, 2001 SEPTEMBER 21–24 2

fronts propagate with 3 dB attenuation per doubling of distance (cylindrical wave propagation) whereas in the far field there is 6 dB attenuation per doubling of distance (spherical wave propagation). It is to be noted that usual concepts of directivity, polar diagrams and lobes only make sense in the far field (this is developed in appendix 1). Considering next a line source with discontinuities, we also described a progressively chaotic behavior of the sound field as these discontinuities become progressively larger. This was confirmed in 1997 [3] when Smith, working on an array of 23 loudspeakers, discovered that 7 dB SPL variations over 1 foot was a common feature in the near field. Smith tried raised cosine weighting approaches in order to diminish this chaotic SPL and was somewhat successful, but it is not possible to have, at the same time, raised cosine weighting for the near field and Bessel weighting for the far field. In [1] we showed that a way to minimize these effects is to build a quasi-continuous wave front.

The location of the border between the near field and the far field is a key parameter that describes the wave field. Let us call dB the distance from the array to this border. We will make the approximation that if F is the frequency in kHz then λ=1/(3F) where λ is the wavelength in metres. Considering a flat, continuous line source of height H that is radiating a flat isophasic wavefront, we demonstrated in [1] that a reasonable average of the different possible expressions for dB obtained using either geometric, numerical or Fresnel calculations is:

( )FHHFd B

311

23

22 −=

where dB and H are in meters, F is in kHz. There are three things to note about this formula: 1) The root factor indicates that there is no near field for frequencies lower than 1/(3H). Hence a 4 m high array will radiate immediately in the far field mode for frequencies less than 80 Hz. 2) For frequencies above 1/(3H) the near field extension is almost linear with frequency. 3) The dependence on the dimension H of the array is not linear but quadratic. All of this indicates that the near field can extend quite far away. For example, a 5.4 m high flat line source array will have a near field extending as far as 88 meters at 2 kHz.

We also demonstrated in [1] that a line array of sources, each of them radiating a flat isophase wave front, will produce secondary lobes not greater than –12 dB with respect to the main lobe in the far field and SPL variations not greater than ± 3 dB within the near field region, provided that: ♦ Either the sum of the flat, individual radiating areas covers more than 80% of the vertical frame of the array, i.e., the target radiating area ♦ Or the spacing between the individual sound sources is smaller than 1/(6F) , i.e., λ/2. These two requirements form the basis of WST Criteria which, in turn, define conditions for the effective coupling of multiple sound sources. In the following sections, we will derive these results using the Fresnel approach along with further results that are useful for line source acoustical predictions. Figure 1 displays a cut view of the radiated sound field. The SPL is significant only in the dotted zone (ABCD + cone beyond BC). A more detailed description is deferred to Section 4.

Figure 1: Radiated SPL of a line source AD of height H. In the near field, the SPL decreases as 3 dB per doubling of distance, whereas in the far field, the SPL decreases as 6 dB per doubling of distance. It should be noted that different authors have come up with various expressions for the border distance:

dB = 3H Smith [3] dB = H/π Rathe [4] dB = maximum of (H , λ/6) Beranek [5] Most of these expressions omit the frequency dependency and are incorrect concerning the size dependence. Figure 2 illustrates the variation of border distance and far field divergence angle with frequency for a flat line source array of height = 5.4 m.

Figure 2: Representation of the variation of border distance and far field divergence angle with frequency for a flat line source array of height 5.4 metres.

___________________________________

Audio Engineering Society

Convention Paper Presented at the 111th Convention

2001 September 21–24 New York, NY, USA

This convention paper has been reproduced from the author's advance manuscript, without editing, corrections, or consideration

by the Review Board. The AES takes no responsibility for the contents. Additional papers may be obtained by sending request

and remittance to Audio Engineering Society, 60 East 42nd Street, New York, New York 10165-2520, USA; also see www.aes.org.

All rights reserved. Reproduction of this paper, or any portion thereof, is not permitted without direct permission from the

Journal of the Audio Engineering Society.

___________________________________

Wavefront Sculpture Technology

MARCEL URBAN, CHRISTIAN HEIL, PAUL BAUMAN

L-ACOUSTICS

Gometz-La-Ville, 91400 France

ABSTRACT We introduce Fresnel’s ideas in optics to the field of acoustics. Fresnel analysis provides an effective, intuitive approach to the understanding

of complex interference phenomena and thus opens the road to establishing the criteria for the effective coupling of sound sources and for the

coverage of a given audience geometry in sound reinforcement applications. The derived criteria form the basis of what is termed Wavefront

Sculpture Technology.

0 INTRODUCTION

This paper is a continuation of the preprint presented at the 92nd

AES Convention in 1992 [1]. Revisiting the conclusions of this

article, which were based on detailed mathematical analysis and

numerical methods, we now present a more qualitative approach

based on Fresnel analysis that enables a better understanding of the

physical phenomena involved in arraying discrete sound sources.

From this analysis, we establish criteria that define how an array of

discrete sound sources can be assembled to create a continuous line

source. Considering a flat array, these criteria turn out to be the

same as those which were originally developed in [1]. We also

consider a variable curvature line source and define other criteria

required to produce a wave field that is free of destructive

interference over a predefined coverage region for the array, as

well as a wave field intensity that decreases as the inverse of the

distance over the audience area. These collective criteria are

termed Wavefront Sculpture Technology1 (WST) Criteria.

1 MULTIPLE SOUND SOURCE RADIATION - A REVIEW

The need for more sound power to cover large audience areas in

sound reinforcement applications implies the use of more and more

sound sources. A common practice is to configure many

loudspeakers in arrays or clusters in order to achieve the required

1 Wavefront Sculpture Technology and WST are trademarks of L-

ACOUSTICS

sound pressure level (SPL). While an SPL polar plot can

characterize a single loudspeaker, an array of multiple

loudspeakers is not so simple. Typically, trapezoidal horn-loaded

loudspeakers are assembled in fan-shaped arrays according to the

angles determined by the nominal horizontal and vertical coverage

angles of each enclosure in an attempt to reduce overlapping zones

that cause destructive interference. However, since the directivity

of the individual loudspeakers varies with frequency, the sound

waves radiated by the arrayed loudspeakers do not couple

coherently, resulting in interference that changes with both

frequency and listener position.

Considering early line array systems (column speakers), apart from

narrowing of the vertical directivity, another problem is the

appearance of secondary lobes outside the main beamwidth whose

SPL can be as high as the on-axis level. This can be improved with

various tapering or shading schemes, for example, Bessel

weighting. The main drawback is a reduced SPL and, for the case

of Bessel weighting, it was shown that the optimum number of

sources was five [2]. This is far from being enough for open-air

performances.

In [1] we advocated the solution of a line source array to produce a

wave front that is as continuous as possible. Considering first a

flat, continuous and isophasic (constant phase) line source, we

demonstrated that the sound field exhibits two spatially distinct

regions: the near field and the far field. In the near field, wave

5

FUNDaMENTal aCOUSTICS

• WST® criteria for design and use of line source (AES Journal in 1992, 2001, 2003)

• Distributed Edge Dipole (DED) model for cabinet diffraction effects• Progressive vent for increased SPL, laminar airflow and reduced

turbulence noise• K-LOUVER® technology for variable directivity of line source

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

• Design of proprietary DSP boards• Amplified controllers• Self-powered speakers

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

P series self-powered

coaxials

K1/KUDO®

pilot programAmplified controllers, SB28, KIVA/XT series

Rental Network established

KARA®, SB18,System Integrator

Charter

ARCS® II ARCS® WIDE, ARCS® FOCUS,

SB18m

SB15m, 5XT and LA4X

NEW IN 2132006 2007 2008 2009 2010 2011 2012

6

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

C E R T I F I E D P R O V I D E RC E R T I F I E D P R O V I D E R

7

KUDO® Multi-Mode WST®Enclosure

KUDO® Enceinte Multi-Mode WST®

VERSION 1.1

www.l -acoustics.com

EN

FR

USER MANUALMANUEL D’UTILISATION

w w w . l - a c o u s t i c s . c o m

KA

RA_S

P_EN

_1-1

/06-

10

KARA ModulAR WST® line SouRce

The KARA modular line source element has an operating frequency bandwidth from 55 Hz to 20 kHz.

This response can be lowered down to 32 Hz with the addition of the SB18 low frequency extension.

KARA features a 2-way, bi-amplified design and is equipped with 2 x 8” neodymium LF speakers in a

bass-reflex tuned enclosure. The HF section features a 3” neodymium diaphragm driver coupled to a

DOSC® waveguide.

The K-shaped coplanar transducer configuration generates a symmetric horizontal coverage of 110°

without secondary lobes over the entire frequency range. The combination of coplanar symmetry and

DOSC® waveguide allows the system to fulfil the 5 WST® criteria. Any KARA line source can be curved

up to a maximum of 10˚ for each element without breaking the inter-element acoustic coupling.

The KARA enclosure is made of first grade Baltic birch plywood to ensure maximum acoustical and

mechanical integrity. The 4 point rigging system allows suspending up to 24 KARA in a single array.

The KARA system is driven by the dedicated LA8 amplified controller which ensures active system

linearization, intelligent transducer protection, and optimization for 3 operating modes:

• The “FULL RANGE” mode for standalone Line Source arrays or distributed applications

• The “HIGH-PASS” mode for fills or for KARA as a K1 downfill

• The “LOW EXTENSION” mode for KARA/SB18 configurations.

The performance of KARA depends upon the choice of electronic preset and physical system configuration.

730 mm / 27.7 in.

482

mm

/ 1

9 in

.

383

mm

/ 1

5.1

in.

164

mm

/ 6

.4 in

.

250

mm

/ 9

.8 in

.

Usablebandwidth(-10dB) 55 Hz - 20 kHz ([KARA] preset)

Nominaldirectivity(-6dB) Horizontal: 110° symmetric

Vertical: Dependent upon number of elements

and line source curvature

MaximumSPL

1 139 dB ([KARA] preset)

RMShandlingcapacity LF: 450 W

HF: 80 W

Components LF: 2 x 8’’ neodymium weather-resistant

HF: 1 x 3’’ neodymium diaphragm compression driver

Nominal impedance: LF = 8 ohms, HF = 8 ohms

Rigging2 Steel, certified for: 24 KARA (BGV-C1 compliant)

Angle increments: 0, 1, 2, 3, 4, 5, 7.5, 10°

Physicaldata W x H/h x D: 730 x 250/164 x 482 mm

27.7 x 9.8/6.4 x 19 in

Weight (net): 26 kg 57.2 lbs

Connectors: 2 x 4-point Speakon®

Material: baltic birch plywood

Finish: Grey-brown, RAL 8019®

Front: polyester powder-coated steel grill,

airnet® acoustically neutral fabric

Rigging: steel with dual coating zinc and polyester powder

1 Peak level measured at 1m under free field conditions using 10 dB crest factor pink noise with specified

preset and corresponding EQ settings.

2 Installation guidelines are specified in the SOUNDVISION software designed to help with L-ACOUSTICS®

product implementation.

WSTTechnology

lA8dRiven

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.

RENTalS

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.

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.

Rental


System Integrator


8

2 x 4MATRIX

Array Morphing

+11 band EQ

DEL

IN A

IN B

GAIN

DELGAIN POL

DELGAIN POL

DELGAIN POL

DELGAIN POL

OptimizedIIR/FIRfilters

System Parameters

Accessible via “LA NETWORK MANAGER” only

Accessible via “LA NETWORK MANAGER” and front-panel user interfacedepending on preset type

L-ACOUSTICS parameters

XmaxL-DRIVE

x N

x N

IIR Filters - Bessel, BTW, LR

FIR filters - Zero phase shift

Over excursion protection

Thermal protection

θ°CL-DRIVE AMP

aMPlIFIED CONTROllERS la4-la8 aND la NETwORK MaNaGER

Based upon similar platforms, the exceptional and groundbreaking performance level delivered by both the LA4 and LA8 allows for full optimization of all L-ACOUSTICS® system resources and delivers outstanding audio quality combined with the best possible transducer 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.

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.

9

NEW IN 2013

2 x 4MATRIX

Array Morphing

+11 band EQ

DEL

IN A

IN B

GAIN

DELGAIN POL

DELGAIN POL

DELGAIN POL

DELGAIN POL

OptimizedIIR/FIRfilters

System Parameters

Accessible via “LA NETWORK MANAGER” only

Accessible via “LA NETWORK MANAGER” and front-panel user interfacedepending on preset type

L-ACOUSTICS parameters

XmaxL-DRIVE

x N

x N

IIR Filters - Bessel, BTW, LR

FIR filters - Zero phase shift

Over excursion protection

Thermal protection

θ°CL-DRIVE AMP

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

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.

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 Ω. These channels can be allocated “à 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 energy-efficiency 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.

10

COaxIal TECHNOlOGY

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:

• The coaxial point sources, for short throw applications (XT and P) • The constant curvature WST® line sources, for medium throw

applications (ARCS® WIDE/FOCUS and ARCS® II)• The 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

SYSTEMSOvERvIEw

SHORT THROw (15 m/50 ft)

Non arrayable

COaxIal

POINT SOURCES

MEDIUM THROw (35 m/100 ft)

Arrayable

CONSTaNT CURvaTURE

lINE SOURCES

lONG THROw (35 m+/100 ft+)

Arrayable

vaRIaBlE CURvaTURE

lINE SOURCES

lOw FREQUENCY ExTENSION

laMINaR vENTS

SUBwOOFERS

11(*) Standard vent

8XT/8XTi5XT 108P 112P12XT/12XTi 115XT HiQ

ARCS® IIARCS® WIdE ARCS® FOCUS

KIvA v-dOSC®KARA® /KARA®i KUdO® K1

SB15mKILO(*) SB15P (*) SB18 (i∕m) K1-SB SB28

NEW IN 2013

NEW IN 2013

12

COaxIalTECHNOlOGY

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.

L-ACOUSTICS® introduced the first coaxial loudspeaker for soundreinforcement in 1989. Initially designed for multi-purpose applications,the coaxial technology has demonstrated numerous advantages overclassic two-way systems which typically suffer from interferencearound the crossover point.

13

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

About point source radiation

The point source radiation yields excellent phase response, total wavefront coherency at all frequencies and axi-symmetrical 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 two-way systems.

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.

14

xT/xTiCOaxIal 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.

COaxIalTECHNOlOGY

15

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)

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

NEW IN 2013

5XT

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.

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.

16

P 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.

COaxIalTECHNOlOGY

17

108P & 112PSElF-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

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

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

Wedge-shaped cabinets

Pole mounted with SB15P

18

The Distributed Edge Dipole (DED) Model forCabinet 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 theradiated sound field for direct-radiating loudspeaker components when mounted in an en-closure. The proposed approach is termed the distributed edge dipole (DED) model since itis developed based on the Kirchhoff approximation using distributed dipoles with their axesperpendicular to the baffle edge as the elementary diffractive sources. The DED model is firsttested against measurements for a thin circular baffle and then applied to a real-worldloudspeaker that has a thick, rectangular baffle. The forward sound pressure level and theentire angular domain are investigated, and predictions of the DED model show good agree-ment with experimental measurements.

0 INTRODUCTION

The frequency response and directivity of a loudspeakersystem depend on the shape of the baffle, the location ofthe sound source on the baffle, and the directivity of thesound source itself. Olson [1] was the first to present ex-perimental results concerning cabinet edge diffraction, ob-serving that the radiated sound field depends on the ge-ometry of the baffle.

Bews and Hawksford (B&H) [2] used the geometrictheory of diffraction to model diffraction due to the baffleedges. In their approach, sound rays propagate along thesurface of the baffle and are scattered by the edges, pro-ducing a series of infinitesimal omnidirectional secondaryedge sources.

Vanderkooy [3] derived an angular form factor for theedge sources using Sommerfeld diffraction theory. Thediffracted pressure is no longer omnidirectional and ishighly dependent on the projected angle of observation.Vanderkooy’s experimental results concerning the phasebehavior of the edge diffraction wave are highly signifi-cant and of great interest.

However, current literature concerning the phenomenonof edge diffraction is somewhat contradictory, and Wrightprovides an excellent summary of the major inconsisten-cies [4]. Wright relies on finite-element analysis to con-sider cabinet edge diffraction, and his modeling results arecorroborated by practical experiments. Wright’s findingsare 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 diffrac-tion geometry, which is common to all models outlined in

[4]. The sound pressure from the source Pdrive propagatesto the baffle edges where it energizes a diffractive edgesound source. The sound pressures of the driving sourceand the contribution of the edge sources must be added inorder to determine the sound pressure at a given observa-tion point. Essentially the problem is to characterize theradiated sound field due to the edge sources or to deter-mine an equivalent type of sound source that will accountfor edge-related diffraction effects.

In this paper we choose to express the driving soundpressure for a piston mounted on a finite baffle as follows:

Pdrive(r, �) � K(�) P�baffle(r, �) (1)

where

P�baffle(r, �) is the sound pressure produced by the pistonwhen situated on an infinite baffle, K(�) is an angular formfactor for the driving sound pressure, which is character-istic of a given model, and � is the polar angle between thedirection of observation and the axis of the source.

The elementary pressure induced by the edge sourcescan be expressed as

dPedge�r, �� = F�� Pdrive�r = L, � = 90°�e−jkrP

2� rPdl. (2)

Pedge = o�dPedge (3)around edge

where

L distance from piston center to edge element pro-jected differential length along baffle edge, dl =L d�

r distance from piston center to observation point*Manuscript received 2003 October 23; revised 2004 July 9,

July 30, and August 13.

PAPERS

J. Audio Eng. Soc., Vol. 52, No. 10, 2004 October 1043

M. URBAN, C. HEIL, C. PIGNON, C. COMBET, AND P. BAUMAN,M. URBAN, C. HEIL, C. PIGNON, C. COMBET, AND P. BAUMAN, AES Member


A simple model is proposed to account for the effects of cabinet edge diffraradiated sound field for direct-radiating loudspeaker components when mclosure. The proposed approach is termed the distributed edge dipole (DEDclosure. The proposed approach is termed the distributed edge dipole (DEDis developed based on the Kirchhoff approximation using distributed dipoperpendicular to the baffle edge as the elementary diffractive sources. Ttested against measurements for a thin circular baffle and then applied toloudspeaker that has a thick, rectangular baffle. The forward sound pressentire angular domain are investigated, and predictions of the DED model s

The frequency response and directivity of a loudspeakersystem depend on the shape of the baffle, the location ofthe sound source on the baffle, and the directivity of thesound source itself. Olson [1] was the first to present ex-perimental results concerning cabinet edge diffraction, ob-serving that the radiated sound field depends on the ge-

Bews and Hawksford (B&H) [2] used the geometrictheory of diffraction to model diffraction due to the baffleedges. In their approach, sound rays propagate along thesurface of the baffle and are scattered by the edges, pro-ducing a series of infinitesimal omnidirectional secondary

Vanderkooy [3] derived an angular form factor for theedge sources using Sommerfeld diffraction theory. Thediffracted pressure is no longer omnidirectional and ishighly dependent on the projected angle of observation.Vanderkooy’s experimental results concerning the phasebehavior of the edge diffraction wave are highly signifi-behavior of the edge diffraction wave are highly signifi-

However, current literature concerning the phenomenonof edge diffraction is somewhat contradictory, and Wrightprovides an excellent summary of the major inconsisten-

[4]. The sound pressure from the sourceto the baffle edges where it energizes a diffractive edgesound source. The sound pressures of the driving sourceand the contribution of the edge sources must be added inorder to determine the sound pressure at a given observa-tion point. Essentially the problem is to characterize theradiated sound field due to the edge sources or to deter-mine an equivalent type of sound source that will accountfor edge-related diffraction effects.


Pdrive(r, �) � K

where

P�baffle(r, �) is the sound pressure produced by the pistonwhen situated on an infinite baffle,factor for the driving sound pressure, which is character-istic of a given model, anddirection of observation and the axis of the source.direction of observation and the axis of the source.


e−j−j− krPkrPkr

wST TECHNOlOGYCONSTaNT 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.

19

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.

20

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.

wSTTECHNOlOGY

aRCS wIDE/FOCUSCONSTaNT CURvaTURE lINE SOURCES

21

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

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

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 SB18m’s 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.

22

wSTTECHNOlOGY

aRCS IICONSTaNT 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.

23

1 LA-RAK4 ARCSII/LA8

4 ARCS II (flown)

4 ARCS II (flown)

4 SB28

1 LA-RAK6 ARCS II/LA8

3 ARCS II (ARCBUMP)

3 ARCS II (stacked)

3 ARCS II (stacked)

3 ARCS II (ARCBUMP)

4 SB28

aRCS IICONSTaNT 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

24

The Distributed Edge Dipole (DED) Model forCabinet Diffraction Effects*



A simple model is proposed to account for the effects of cabinet edge diffraction on theradiated sound field for direct-radiating loudspeaker components when mounted in an en-closure. The proposed approach is termed the distributed edge dipole (DED) model since itis developed based on the Kirchhoff approximation using distributed dipoles with their axesperpendicular to the baffle edge as the elementary diffractive sources. The DED model is firsttested against measurements for a thin circular baffle and then applied to a real-worldloudspeaker that has a thick, rectangular baffle. The forward sound pressure level and theentire angular domain are investigated, and predictions of the DED model show good agree-ment with experimental measurements.

0 INTRODUCTION

The frequency response and directivity of a loudspeakersystem depend on the shape of the baffle, the location ofthe sound source on the baffle, and the directivity of thesound source itself. Olson [1] was the first to present ex-perimental results concerning cabinet edge diffraction, ob-serving that the radiated sound field depends on the ge-ometry of the baffle.

Bews and Hawksford (B&H) [2] used the geometrictheory of diffraction to model diffraction due to the baffleedges. In their approach, sound rays propagate along thesurface of the baffle and are scattered by the edges, pro-ducing a series of infinitesimal omnidirectional secondaryedge sources.

Vanderkooy [3] derived an angular form factor for theedge sources using Sommerfeld diffraction theory. Thediffracted pressure is no longer omnidirectional and ishighly dependent on the projected angle of observation.Vanderkooy’s experimental results concerning the phasebehavior of the edge diffraction wave are highly signifi-cant and of great interest.

However, current literature concerning the phenomenonof edge diffraction is somewhat contradictory, and Wrightprovides an excellent summary of the major inconsisten-cies [4]. Wright relies on finite-element analysis to con-sider cabinet edge diffraction, and his modeling results arecorroborated by practical experiments. Wright’s findingsare 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 diffrac-tion geometry, which is common to all models outlined in

[4]. The sound pressure from the source Pdrive propagatesto the baffle edges where it energizes a diffractive edgesound source. The sound pressures of the driving sourceand the contribution of the edge sources must be added inorder to determine the sound pressure at a given observa-tion point. Essentially the problem is to characterize theradiated sound field due to the edge sources or to deter-mine an equivalent type of sound source that will accountfor edge-related diffraction effects.


Pdrive(r, �) � K(�) P�baffle(r, �) (1)

where

P�baffle(r, �) is the sound pressure produced by the pistonwhen situated on an infinite baffle, K(�) is an angular formfactor for the driving sound pressure, which is character-istic of a given model, and � is the polar angle between thedirection of observation and the axis of the source.


dPedge�r, �� = F�� Pdrive�r = L, � = 90°�e−jkrP

2� rPdl. (2)

Pedge = o�dPedge (3)around edge

where

L distance from piston center to edge element pro-jected differential length along baffle edge, dl =L d�

r distance from piston center to observation point*Manuscript received 2003 October 23; revised 2004 July 9,

July 30, and August 13.

PAPERS

J. Audio Eng. Soc., Vol. 52, No. 10, 2004 October 1043



A simple model is proposed to account for the effects of cabinet edge diffraction on theradiated sound field for direct-radiating loudspeaker components when mounted in an en-closure. The proposed approach is termed the distributed edge dipole (DEDclosure. The proposed approach is termed the distributed edge dipole (DED) model since itis developed based on the Kirchhoff approximation using distributed dipoles with their axesles with their axesperpendicular to the baffle edge as the elementary diffractive sources. The DED model is firsthe DED model is firsttested against measurements for a thin circular baffle and then applied to a real-worlda real-worldloudspeaker that has a thick, rectangular baffle. The forward sound pressure level and theure level and theentire angular domain are investigated, and predictions of the DED model show good agree-how good agree-

[4]. The sound pressure from the source[4]. The sound pressure from the sourceto the baffle edges where it energizes a diffractive edgeto the baffle edges where it energizes a diffractive edgesound source. The sound pressures of the driving sourcesound source. The sound pressures of the driving sourceand the contribution of the edge sources must be added inand the contribution of the edge sources must be added inorder to determine the sound pressure at a given observa-order to determine the sound pressure at a given observa-tion point. Essentially the problem is to characterize thetion point. Essentially the problem is to characterize theradiated sound field due to the edge sources or to deter-radiated sound field due to the edge sources or to deter-mine an equivalent type of sound source that will accountmine an equivalent type of sound source that will accountfor edge-related diffraction effects.for edge-related diffraction effects.

In this paper we choose to express the driving soundIn this paper we choose to express the driving soundpressure for a piston mounted on a finite baffle as follows:pressure for a piston mounted on a finite baffle as follows:

K(K(K �) P�baffle(r,r, �)

) is the sound pressure produced by the piston) is the sound pressure produced by the pistonwhen situated on an infinite baffle,when situated on an infinite baffle,factor for the driving sound pressure, which is character-factor for the driving sound pressure, which is character-istic of a given model, and � is the polar angle between theis the polar angle between thedirection of observation and the axis of the source.direction of observation and the axis of the source.


= 90°�e

2� rPrPrdl. (2)

(3)

)

) is the sound pressure produced by the pistonK(K(K �) is an angular form

factor for the driving sound pressure, which is character-is the polar angle between the

direction of observation and the axis of the source.The elementary pressure induced by the edge sources

e−j−j− krPkrPkr

wST TECHNOlOGYvaRIaBlE CURvaTURE

In combination with WST®, coplanar symmetry (the equivalent of coaxial assembly for HF, MF and LF drivers in vertical arrays) providesa 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 formore than 15 years.

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 internationally-patented DOSC® waveguide, which morphs the spherical wavefront of the HF driver into a cylindrical, isophasic wave.

25

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.

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.

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.

26

wSTTECHNOlOGY

KIvaMODUlaR 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 today’s 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.

27

NEW IN 2013KIvaMODUlaR 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

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

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 SB15m’s 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.

28

wSTTECHNOlOGY

KaRa/KaRaiMODUlaR lINE SOURCE

With a design inspired by the K1 stadium system, KARA®/KARA®i 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®/KARA®i 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®/KARA®i is fully configurable to match any audience geometry. Utilizing the unrivaled characteristics of WST®, KARA®/KARA®i 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®/KARA®i. 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.

29

2 SB18 6 KARA

1 LA-RAK6 KARA/LA88 SB18/LA8

8 SB18

12 KARA

LA8

LA8

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 (KARA®i)

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 KARA®i 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)

30

wSTTECHNOlOGY

KUDOlaRGE 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 controller’s latest preset library provides KUDO® with a new sonic signature allowing seamless integration with K1 and V-DOSC® in complex stadium and arena configurations.

31

2 LA-RAK2 KUDO/LA8

1 LA-RAK3 KUDO/LA8

2 12XT active/ARCS (Option)

6 KUDO

12 KUDO

2 SB28

KUDOlaRGE 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®

32

wSTTECHNOlOGY

v-DOSClaRGE 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.

33

2 LA-RAK2 V-DOSC/LA8

12 V-DOSC

2 LA-RAK2 V-DOSC/LA8

6 dV-DOSC/LA8

10 V-DOSC6 dV-DOSC

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®

34

wSTTECHNOlOGY

K1laRGE 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.

35

2 LA-RAK4 K1-SB/LA8

2 K1/LA8

4 K1-SB10 K1

8 K1-SB 16 K1

4 LA-RAK4 K1-SB/LA8

2 K1/LA8

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

K1-SBK1 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

36

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

37

1 LA-RAK4 SB28/LA8

4 SB28 - Cardioid asymmetric (R)

4 SB28 - Cardioid asymmetric (L)

4 SB28 - Cardioid symmetric

1 LA-RAK8 SB18/LA8

4 SB18 - Cardioid asymmetric (R)

8 SB18 - Cardioid symmetric

4 SB18 - Cardioid asymmetric (L)

SB15m NEW IN 2013

HIGH-POwER UTRa COMPaCT SUBwOOFER

• 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

SB18/SB18i/SB18mHIGH-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

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)

38

SOUNDvISIONaCOUSTIC 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.

L-ACOUSTICS UKPO. Box Adler Shine - Aston HouseCornwall Avenue - London N3 1LF

UNITED KINgDOMTel:+44 (0) 779 2811 442Fax: +44 (1) 722 411 236

L-ACOUSTICS dESteiermarker Str. 3-5

70469 StuttgartgERMANY

Tel:+49 (0) 711 89660 232Fax:+49 (0) 711 89660 233

L-ACOUSTICS US2201 Celsius Avenue, Unit E

Oxnard, CA 93030USA

Tel: +1 (805) 604 0577Fax: +1 (805) 604 0858

www.l-acoustics.com

L-ACOUSTICS13 Rue Levacher Cintrat - 91460 Marcoussis - FRANCETel :+33 (0)1 69 63 69 63 - Fax : +33 (0)1 69 63 69 64

E-mail : [email protected]