Anyone who has worked in the pro audio industry for even a short while has surely heard the name L-Acoustics. For years, the French brand has been providing technologically advanced, rider and great sounding audio systems for concerts and events around the world. Being one of the leaders in the stage market.
It all started in 1984 when Dr. Christian Heil, passionate about live music, inspired by an amazing Pink Floyd concert (circa 1977) founded the L-Acoustics brand. Six years later, with the invention of line source technology, Dr. Heil changed the way we publicize concerts. Less than two years later, the world saw the V-DOSC system. And 24 years later, immersive L-ISA technology was introduced. Almost three decades of research and development of their products. A time full of successes, but sometimes also stumbles (who doesn't recall with a tear in the eye the way rigging was done in the dV-DOSC system?) led us to 2023. When on April 17 L-Acoustics unveiled a new concept for a large-format system.
What new things can still be invented?
A person would ask himself: and what could it be, we have Line Array systems, beam-controlled systems, immersion technology is strongly entering the market. The French, on the other hand, asked themselves: and why not a large-format fixed-angle system?
And that's probably what the L-Series turns out to be. Many of you have probably already seen the photos leaked from one of the events in England, where the new L-acoustics baby was tested. Moments before the launch, a video about the L2 fell into place on the channel of well-known US implementer Dave Rat.
Some technicalities.
But to the point, What is L2? L2 is a system in which I see four main design considerations. First, the modules have a fixed vertical propagation angle. The manufacturer consistently implements a panflex solution, that is, controlling horizontal propagation through adjustable driver outlets. Importantly, the L2 is a column with a cardioid design that reduces the amount of unnecessary acoustic energy radiated toward the stage.
Each driver of the column (in the case of the 10-inch drivers - a pair of drivers), is driven by a separate amplifier channel with separate DSP processing. Structurally, the L2 is a strongly modern and custom column. It includes:
- 8 10 inch transducers playing forward
- 8 compression drivers 3 inch
- 4 separately controlled drivers - 12-inch drivers in a side-by-side arrangement, responsible for the cardioid action, which, according to the manufacturer, gives perfect coherence at the front of the speaker, while allowing more than 20dB less redundant sound at the rear of the speaker from 200Hz down.
If you look closely at the design of the L2, you can't help but think that it looks like a combination of 4 modules of a line array system. This impression is intensified by the fact that the driver outlets with panflex technology are divided into 4 zones. Here it is worth mentioning that the L2 has surpassed every available line system in terms of ARF (active radiation Factor). That is, active radiation factor. In short, the idea is to make the radiating source as consistent as possible throughout the cluster. So the fewer joints and rigging elements, the more coherent the source. To date, linear modules have not been able to exceed 90% ARF. With the L2, the manufacturer claims to have achieved an impressive 99%. This is supposed to translate into closeness, consistency and a realistic reflection of the sound generated.
The propagation of one parcel vertically is 10 degrees (a lot, isn't it?), while horizontally for each part of the column we can choose angles of 110° or 70° symmetrically and 90° asymmetrically (left or right).
Things are a little different with the L2D column. It is the first typically downfill package in the Fancussian brand's portfolio. Here, the entire column has 60° of vertical propagation, the two upper modules have the same panflex system as in the L2, while the two lower modules have a fixed progressive horizontal propagation characteristic from 110° to 140° ( it looks like a development of the patent from L-acoustics SYVA). Thus, in the presented package of 4 columns in a cluster, this allows maximum vertical propagation of 90° and horizontal propagation from 70° to 140°.
And what to power it with?
As for the drive, the dedicated amplifier for the L2 series is the LA7.16i touring counterpart, the LA7.16, presented with the system. This amplifier deserves a separate entry, so I'll just mention that it allows driving 16 separate speakers, with full DSP for each channel (with a touchscreen mini-display to control settings), while having 16 AVB digital inputs, 2 AES inputs and a single analog input. Lastly, let me mention that for the LA7.16 and LA2, the manufacturer has introduced a new cable system based on a 37-pin round Veam connector, with dedicated 32×1.5mm2 wiring.
PULS technology and system installation.
Back to the L2 and L2D. L-acoustics, with the introduction of its new products, seems to have finally - or at least partially - tapped into the gains of beam control technology. The PULS (Progressive Ultra-dense Line Source) performance technology presented at the presentation, related to the column design and integrated into Soundvision and LANM software, combined with a new set of auto filters, allows... to narrow the vertical propagation despite the physical propagation of the installed cluster. The Dimm slider in Soundvision software is used for this, limiting propagation from the bottom of the cluster.
Is this actually a beam control component or a completely new approach to the subject?
I don't know. What I do know is that, combined with Panflex technology and integrated cardioid, it is very possible that the French have designed one of the most powerful tools on the market. Allowing to send the sound where it is needed - that is, to the audience. As for rigging and configuration. The manufacturer has placed a strong emphasis on speeding up system installation and minimizing user errors.
The system: one amplifier - one cable - one parcel definitely reduces the risk of error in connections. The small number of modules in the cluster and the lack of variable angles between the columns means that even a young stage technician adept will manage a quick and error-free installation of the L2. (And let him be the first to throw a stone who did not mess up the angles and had to drive the cluster down to correct them).
However, it is worth remembering that this equipment is more for larger indoor, arena or outdoor events (with a good direct driveway to the assembly point). You will ask why? Because the 158kg weight of the L2 will sadden even the stoutest titanium backs from TSE. I would not like to find myself in a situation where this colossus has to be carried up stairs somewhere or even thrown into a bus without a gangway.
At this point, let me indulge in a felicitous yet subjective moment.
It is impossible sometimes to get the impression that L-acoustics in the world of sound is a bit like Apple in the world of consumer electronics. Beautiful design, closed ecosystem, higher and higher prices and a pretty strong conviction that you are the best and most innovative. And yet, beam steering or speakers with cardioid design are no novelty (just look at products from Fohhn Audio, D&B or the well-known CD18 Subbas from NEXO).
Despite these similarities, however, one thing cannot be denied to the French. Today, their products are really one big, perfectly functioning ecosystem. Beginning with design at Soundvision, through management at LANM, to cabling and rigging. Their design is consistent, and their speakers look great. After all, we work in the creative/art industry, so why not. As for the technologies being introduced. Even if L-acoustics is implementing some solutions later than the competition, we can expect them to be remarkably refined and friendly even to novice system engineers. I'll admit that I'm personally hoping for that in this truly innovative product. A couple of questions, and some doubts
Will L2 displace traditional Line Array systems?
I highly doubt it. It certainly won't happen in the next few years. Just as line array systems (despite strenuous attempts by some in the industry) have not displaced point source packages. Again, there will be places where using a multi-module system with more angular capabilities could yield better results. (Perhaps I'll brush this off as I get more firmly acquainted with the technology)
Will the product catch on in the Polish market?
There is a chance for this, but again, it is more likely to be of interest to those who play a lot around halls and stadiums or outdoors. Certainly, with the right conditions of access to the venue and rigging point, the time needed for assembly and setup will delight editors and event organizers, who often produce events in the so-called "polish production" trend.
Are L-series packages also invented with the immersive L-ISA system in mind?
I am not an expert on the subject but I think as much as possible. After all, multichannel control of a package of this type can allow us to position the sound even more precisely in space and increase the resolution of the position.
There are many questions, and most of them will probably be answered by time.
One thing, however, I am quite sure of. I sympathize with the one who, going on a "yob" across Poland, will forget the cable for L2ka, because he will certainly not borrow it in the city....
For more, of course, visit the website of the manufacturer and the Polish distributor.
Manufacturer: L-AcousticsDistributor: Audio Plus Sp z o.o.
