The 16-time Grammy Award-winning artist places a high priority on the sound of her shows, and L-Acoustics L-ISA delivers the sonic quality and immersive experience that best match her performance.

Everyone wants to get close to Adele. The 16-time Grammy Award winner has a knack, through her lyrics, vocal delivery, and vulnerable-yet-strong personality onstage, of bringing concertgoers into her world. And she’s been doing just that during Weekends With Adele, her current residency at The Colosseum at Caesars Palace, a five-month series of weekend-night shows running from November 18th through March 25th. Helping to enhance her artistic flair is a fully immersive sound system using L-ISA technology from L-Acoustics. USA Today called it “a spectacular two hours,” while the venue’s “sound matched Adele’s flawless vocals,” wrote the Las Vegas Review-Journal.

“Adele is very aware of the importance of sound quality—it’s always been a high priority on her earlier tours,” says Johnny Keirle, the production’s system engineer, who began touring with Adele in 2016 and has also worked on past tours with Billie Eilish and P!NK in similar roles.

“We began the conversation about using L-ISA early on with Adele and her management team.” Although there had been some initial caution on the subject of budget, he recalls, a demo of the system in London followed by further discussions with production manager Paul English very quickly led to a decision that the immersive environment that L-ISA brings would add a valuable and unparalleled sense of intimacy to her performances.

“With tight load in and out times of only 72 hours, this production is quite literally a 40-truck stadium show being staged in a remarkably intimate 4,100-capacity theatre each weekend,” says Paul English. “But the size of the room is only part of the equation. L-ISA gives us the best quality sound for this show and perfectly helps foster Adele’s personal connection with her audiences.”

Supplied by Clair Global, Weekends With Adele’s L-ISA Scene system, which comprises the body of the mix and the focal point of the performance, features L-Acoustics K2 loudspeakers configured in seven arrays.

Kara in two hangs make up the Extension arrays and out-fills. KS28 subwoofers, in two columns, are hung directly behind the centre K2 array, and more ground-stacked subs are deployed in a distributed line across and underneath the downstage edge. Compact 5XT spatial fills are distributed across and in front of the downstage edge, along with larger X8 that are deployed as out-fills. All are powered by LA12X amplified controllers, and the system is managed by an L-Acoustics P1 processor and L-ISA Processor II units. The signal is distributed over a Milan AVB network via a combination of L-Acoustics LS10 and Luminex AVB switches.

Keirle was new to L-ISA himself, but he says the online training he took while home in New Zealand got him up to speed and confident quickly. “The L-Acoustics Application team were very accommodating,” he says. “We did the training online over Teams, where I learned the practical and theoretical aspects of immersive audio, and I felt comfortable with L-ISA as soon as I walked into rehearsals.”

Keirle and FOH engineer Dave Bracey quickly established a workflow for themselves. Keirle created a combination of automated and manual movements for each song in the processors, while Bracey concentrated on perfecting the mix of the vocals, band, and orchestra.

“Johnny and I collaborate through L-ISA in a very unique way—it’s not the typical relationship between a front-of-house and system engineer, and he’s not doing a typical system engineering role,” Bracey explains. “He has creative input into the show’s sound. We discussed how we should approach every song in the set, and he created a series of automated and manual snapshots that fit the song and the production. He takes my mix and places it into the Scene, creating an immersive template that I’m mixing into. It’s a very new way to approach a live music mix, and it’s thrilling.”

Keirle says the mixing and system engineering roles are distinct but integrated into the immersive L-ISA environment. “We haven’t worked in this kind of environment before, so we developed our methodology as we went along,” he says. “It needs people dedicated to each role. I’m focused the entire time on the processing and positioning of the sound—taking 96 post-fader feeds from the FOH console and determining parameters like depth and width—while Dave is completely focused on the console and the mix, not worrying about the processing behind it. It’s a workflow we established during rehearsals, looking at how L-ISA befitted each individual song and building around that.”

Keirle has plenty of engineering to manage at FOH. From Bracey’s DiGiCo Quantum7 house audio console, he has Optocore DD4MR-FX digital I/O and interface units as part of the optical control loop. Channels are sent from the console, via direct outs, to the DD4MRs, where they output as optical MADI. The optical MADI is received by an RME MADI Bridge, which outputs MADI over BNC to both the primary and secondary L-ISA Processor II units. For output signal distribution from the processors to the amplified controllers, the LA12X take Milan AVB from a series of LS10 and Luminex GigaCore 26i and 14R AVB distributed network switches.

“AVB also feeds directly from each L-ISA Processor into my AVB V-LAN, and I have each L-ISA Processor outputting MADI into a second RME MADI Bridge as well,” Keirle explains. “This outputs optical MADI to various Ferrofish A32 converters. The RME MADI Bridge acts as an input matrix, and the Ferrofish A32s convert the chosen MADI stream to analog, which feeds the analog inputs of the LA12X amplified controllers.”

In terms of philosophy, Keirle and Bracey follow Adele’s dynamic cues, generally starting songs quietly—often with just a solo piano and voice—keeping the immersive soundstage relatively tapered and focused center stage. The soundscape then widens and deepens as additional musicians and sounds are introduced and revealed.

It’s a good approach to immersive sound in general, Keirle believes. “This is something we discussed early on: the key to making an immersive mix effective is using the technology sparingly and subtly,” he explains. “You allow the audience to get accustomed to one level of it, then you increase the intensity, changing and broadening the image. Once the audience’s ears and eyes are settled, they’ll notice the slight changes you’re progressively making to the sound, moving her voice back into the instruments and then pulling it forward. Even small moves can make for a very emotional and effective contrast.”

Together, Keirle and Bracey form a model of a workflow that will likely become increasingly common in the live sound industry for immersive productions, particularly for high-profile events such as Weekends With Adele. At the same time, the initial novelty of immersive live sound will give way to it becoming a more customary way of working. “Once you’re comfortable with the technology, you find that it’s an easier way to mix music,” says Bracey. “It’s easier to place a vocal in with instrumentation instead of using EQ and dynamics to try to squeeze it in. In fact, with L-ISA, it’s easier to find a place for everything.”

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This week, L-Acoustics executive director, creative technologies, Guillaume Le Nost takes the hot seat for our Getting To Know interview…

How did you get into the industry?
Through my drummer. He was playing in another band with an L-Acoustics R&D engineer.

What was your first job?
I started in the sound system development team at L-Acoustics, and my first mission was to work on the design of Arcs Wide, Focus and SB18.

What does your working day look like?
Two key words, innovation and coordination. Looking outside to sense the future directions of our industry, and looking inside to coordinate development projects which will hopefully drive the industry forward.

What is your favourite thing about the pro audio industry?
The passion, commitment and feeling of community within this industry.

And your least favourite thing?
That it is still very hard to fulfil both audio and visual concerns in a given project. As humans, these two senses are equally important, be it for a live show or a conference call.

What is the achievement/project you are most proud of?
The launch of L-ISA technology in 2016, which has started a big shift towards object-based audio in the live industry.

What do you like to do outside of work?
I am focusing on technology and sometimes very abstract concepts at work, so I enjoy very much down to earth activities during my spare time: cooking, music practice, and family activities in the outdoors.

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The 11th edition of PLASA Focus Leeds will open its doors from 14-15 May at the Royal Armouries Museum, spanning two sold-out halls and providing a platform for over 175 leading brands from the world of live entertainment technology.

For the first time in the UK, visitors will be able to check out the Vero VX from Funktion-One, which promises to bring the Vero sound to a wider range of venues.

KV2 Audio will debut its ESD Cube, its most compact loudspeaker solution, Bose is presenting its ArenaMatch loudspeakers, and Martin Audio is displaying its BlacklineX series.

Additionally, a range of wireless systems will be at the show including Shure’s Axient Digital, Trantec’s newly launched S5 series of Rack ‘n’ Ready, and the new generation R-4 from JTS.

Standouts in the programme include the record-breaking audio install at the Royal Albert Hall, presented by the iconic venue’s head of technical and d&b audiotechnik, while sound engineer Raphael Williams will reveal how he is preparing for Stormzy’s upcoming Glastonbury headline performance.

L-Acoustics will reveal how it creates immersive audio experiences with its L-ISA technology, and KV2 Audio will run demonstrations of its latest sound systems taking the West End and Broadway by storm.

Meanwhile, audio consultant Roland Hemming will present on voice alarm systems, digital audio networking, and British standards and Brexit. Elsewhere, Shure will delve into managing wireless in a post-700MHz world and Audinate will deliver Level 2 Dante Certification. Also hosted by PLASA, a panel of industry leaders will discuss mental health, sharing their approaches and suggesting for how others can contribute to this important topic.

“We are excited to return to Leeds, marking the start of the show’s second decade,” said PLASA’s head of events Sophie Atkinson. “With a sold-out show floor and fully-stocked programme, we are confident that PLASA Focus Leeds will continue to lead the way and inspire the thousands of visitors we expect to welcome throughout the two-day show.”

PLASA Focus Leeds runs from 14-15 May at the Royal Armouries Museum, Leeds. To browse the programme and register for your free ticket visit www.plasaleeds.com.

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L-Acoustics was the top choice for the US leg of Ben Howard’s transatlantic tour, with Sound on Stage providing a left-right K2 system on all dates. Howard’s audio consultant and front of house engineer, Andy Magee noted that the K2 system was chosen for its “rock solid predictability.”

When the tour moved back to home turf, culminating in a four-night London residency at the O2 Brixton Academy, Magee chose L-ISA Immersive Hyperreal Sound technology to present the English singer-songwriter’s fans with an especially intimate show to create a sense of proximity with the performer.

“Audience capacities had ranged from 2,000 to 10,000 for the tour and we’d used a standard stereo configuration,” said Magee. “But we’d been talking for a while about creating a surround sound-esque vibe, as Ben has always wanted to do that. Brixton was the perfect opportunity to make it happen and L-ISA presented the ideal technology.”

Magee undertook a week of pre-production at his home studio before full tech rehearsals in London, with the scalability of L-ISA making the transition from preparation to performance as seamless as possible. “I had an L-Acoustics 108P compact coaxial loudspeaker setup with nine channels so that I could pull the mixes together,” he said. “I thought going from an eight square metre room to Brixton Academy would have taken a lot more refining than it did, but It all translated very easily on site.”

There, Britannia Row Productions’ expertise were brought to the fore, flying five hangs of 12 Kara across the front of Brixton’s stage, along with two flown sub arrays of three KS28 each. Four Syva and four X12 provided surrounds for the ground and balcony levels respectively. Magee mixed the show on his own DiGiCo SD5 console, and also had a second engineer at FOH, namely veteran mix engineer and Noonday Dream album engineer, John Cornfield.

“John was doing specific effects with a panning system,” revealed Magee. “I had 110 inputs and 90 busses on my SD5. We had 64 outputs going to the L-ISA Processor. This was a combination of inputs, output groups and auxiliary outputs. In addition to the outputs to L-ISA, we had sends and returns from the SD12 doing the specific panning cues, some outboard effects and dynamics processors, etc.

“Some of the inputs and outputs were dedicated to a Midi based talkback system that I had custom built for this tour, which gave the crew the capability to select who they wanted to talk to in their IEMS via a beltpack controller. John mixed on a DiGiCo SD12 which was inserted into my console. There was a lot going on at the same time, but the DiGiCos made it easy.”

On Ben Howard’s last campaign, there were only six people on stage. Here, there were 11, meaning a lot more sources. “I was struggling to put all the musical info into an L-R mix,” Magee explained. “However, with L-ISA, I could increase the width and depth of the sound field so much that I could wholly convey the auditory experience.”

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L-Acoustics and the L-Acoustics Group have announced the future acquisition of a majority stake in DeltaLive UK, a specialist in audiovisual services and rental.

This move follows the November 2018 acquisition by L-Acoustics Group of HGP, a manufacturer of precision sheet metal, and its sister entity, API, specialised in powder coating.

For the founders of DeltaLive UK, Paul Keating and Mark Bonner, the transaction coincides with the sale of their Dubai-based operations, Delta Sound LLC to PRG, heralding a turning point in the history and activity of the company.

For L-Acoustics Group, the acquisition of DeltaLive UK vertically reinforces its expertise in all areas of professional audio, from conception through to manufacturing and operation in the field, widening the possibilities for fresh creative and collaborative approaches to the deployment of audio and visual technologies.

DeltaLive UK has been a long-standing customer of L-Acoustics as a member of the L-Acoustics Certified Provider Network. DeltaLive UK uses L-Acoustics sound solutions in association with all components of the audiovisual chain in a wide range of services, for prestigious projects ranging from BBC Proms, to the opening and closing ceremonies of major cultural and sporting events, to Royal and public events, and more. DeltaLive UK has also deployed L-ISA technology in high-profile events such as the award-winning sound production of BBC Proms 2018 at Royal Albert Hall.

“The medium-term strategy is for DeltaLive UK to venture into markets that have hitherto remained unexplored by L-Acoustics, with the commissioning of private and professional multichannel auditoria such as Island or Ocean, featuring best-in-class L-ISA technology under the banner of ‘L-Acoustics Creations’,” said Hervé Guillaume, CEO of L-Acoustics Group.

“Technologies are currently becoming more complex and often challenging for service companies. L-Acoustics is a pioneer in multiple audio-related fields and connected activities. We therefore need partners who are consistently in touch with end-users and can assist us in refining and validating our offer to better align with the escalating standards of high-level show production,” added Christian Heil, president and founder of L-Acoustics. “DeltaLive UK brings a wide range of opportunities, and its geographical proximity to our UK offices in London will allow us to fulfil this mission.”

Commenting on the acquisition, Paul Keating added: “Delta has always had a strong professional and friendly relationship with L-Acoustics. Excuse the pun, but very much the French Connection. This year is our thirtieth year and we felt it was time to move the business forward for the future. As Hervé mentioned, nothing will change in terms of the day-to-day management of the company, and the excellent team at DeltaLive UK will continue to exceed customer and audience expectations.”

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L-Acoustics has announced a number of training programs for systems and mixing engineers seeking to implement its L-ISA Immersive Hyperreal Sound technology, an object-based mixing technology for live events and installations.

In the initial phase of the rollout, training sessions will be available by invitation only in L-Acoustics locations in Marcoussis, France; New York City, NY and Westlake Village, CA, and at select partner facilities. Phase two, planned for the fourth quarter of 2019, will extend training to a wider audience.

Sherif El Barbari, director of L-ISA Labs, notes that the accelerated interest and adoption of L-ISA technology have created a real need for a global community of expert users: “L-ISA is gaining momentum everywhere: events, touring, and experiential venues,” he explained. “To accompany this industry shift to multidimensional audio, we want end users to feel fluent in designing systems and mixing with L-ISA. Having personally interacted with many systems and FoH engineers to date regarding L-ISA, I can say that inherent ease-of-use and intuitiveness make the technology quite approachable for new users.

“This said, object-based mixing is a different way of thinking. We know our end users want to give audiences the best possible experience and there is no substitute for hands-on training to help achieve that goal.”

L-ISA training blends theory and hands-on practice in three-day seminars, dispensed in half-day sessions, that bring together systems engineers and mixing engineers. Mixing engineers will learn to prepare, encode and mix an L-ISA show. System engineers meanwhile will learn to design, implement, calibrate, and operate a sound reinforcement project built around L-ISA technology and gain access to the L-ISA Tools feature pack in Soundvision 3.1.0.

The sessions are structured to begin and end with a common core relevant to both certifications, introducing L-ISA technology in a full system approach through tutorials and best practices for live object-based mixing in static and dynamic settings. The program branches out mid-seminar to role-specific sessions for systems engineers and mixing engineers with differentiated tasks, learning paths and objectives. To conclude the seminar, systems and mixing engineers reconvene to discuss L-ISA project management, considering native L-ISA pre-production and guest engineer support, as well as the process of transitioning from stereo to L-ISA. Following the seminar, system engineers and mixing engineers will receive official certification from L-Acoustics acknowledging their completion of the program.

L-Acoustics will be in Hall 8.0 on booth H85, as well as in Hall 7 and demo room Symmetrie 2+3, at Prolight + Sound 2019. For information about the L-Acoustics training offering, please visit l-acoustics.com/en/training/program

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L-Acoustics will return to Prolight + Sound in 2019 with an exhibition space in a new area and a host of product-related announcements, demonstrations, and contributions to events throughout the show.

Following the introduction of the small and highly weatherised X4i enclosure for installation markets at ISE 2019, the company plans to unveil a new range of scalable solutions for the rental market at Prolight + Sound 2019.

Jochen Frohn, director of business development, L-Acoustics, commented, “We always look forward to welcoming visitors, customers, and partners to this important annual gathering in Frankfurt. This year, we are especially looking forward to revealing new enclosures for our touring range that offer accessible, scalable solutions to any application.”

L-ISA Immersive Hyperreal Sound demonstrations, which filled to standing-room-only capacity at last year’s show and earlier this year at NAMM and ISE, will be offered several times daily on a first come, first seated basis. The demos feature refreshed content in a presentation specially updated for PL+S. Attendees can hear L-Acoustics director of scientific outreach, Etienne Corteel, at Prolight + Sound Interactive Technology Forum on 2 April, delivering a talk on the scalability of live Immersive Hyperreal experiences.

Additionally, the Milan member companies will share their latest news. L-Acoustics will host a Thursday evening Milan event explaining the new network initiative and its technical features.

L-Acoustics Prolight + Sound Event Schedule

Demo room Symmetrie 2+3 in the Galleria next to Hall 8.0

News Conference

Daily at noon, Tuesday, April 2nd – Thursday 4th

New Product Presentation

Daily at 11:00 am*, 2:00 pm and 4:00 pm

*except Tuesday, April 2nd

L-ISA Immersive Hyperreal Sound Demonstration

Daily at 1:00 pm, 3:00 pm, 5:00 pm*

*except Tuesday, April 2nd

Additional Prolight + Sound Events

• Interactive Technology Forum, L-Acoustics presentation by Etienne Corteel, Director of Scientific Outreach, Tuesday, April 2nd at 1:00 pm, Hall 4.0 / Room Konsens
• L-Acoustics hosted Milan – Avnu Alliance Event, Thursday, April 4th, 5:00 pm, L-Acoustics Demo room Symmetrie 2+3

Those attending Prolight + Sound 2019 can visit L-Acoustics in Hall 8.0, on booth H85.

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British singer/songwriter and producer Johnny Marr has been on the road with his fourth solo studio album – Call the Comet – bringing his latest UK journey to a close with a sold-out date at EartH (Evolutionary Arts Hackney), London, a venue which marks the first permanent installation of L-Acoustics’ L-ISA Immersive Hyperreal Sound technology in a European live music venue.

The EartH L-ISA Frontal system comprises five hangs of seven Kara and a central sub system of four KS28 flown in end-fire configuration in front and above the central Kara hang. Ten X8 enclosures are positioned along the stage lip for front fill. 12 Syva make up the surround system – four per side – mounted along the left, right, and rear walls, while an overhead system of eight ceiling-mounted X8 completes the installation.

The former founding lead guitarist of The Smiths has forged a successful solo career since his debut album in 2013. For Marr’s FoH engineer, Russ Miller, this was his first date with L-ISA, and said: "I was blown away by it. The separation is unbelievable, without it feeling like it’s separate sources. At sound check our backline techs were amazed: we had people just walking around the venue listening; it sounded the same from front to back and from side to side.”

Miller decided to adopt a more object-based mix for the show: "We’ve got the two-channel show to a point where, input-wise and processing-wise, I have the kick, snare, bass, and lead vocals in the centre of the mix with effects specifically to give the lead vocal more width. I then push the guitars and ‘keyboard’ elements out to the side and use delays within the Haas region to clear space for the central elements. This creates a stereo illusion and gives mono compatibility even when the speaker stacks are a long way apart, you get pseudo stereo without the old ‘disappearing guitar’ problem when a listener is right in front of one side. But switching to L-ISA and not having to jump through hoops to get the separation was amazing. With L-ISA, if you put the vocal in the centre, it’s in the centre and not a phantom centre.”

The Call the Comet tour uses DiGiCo SD11 consoles, sharing SD Rack I/O. In this instance, Miller’s FoH SD11 was connected to EartH’s in-house DiGiCo SD12, allowing him to get creative with L-ISA. DiGiCo consoles now have natively integrated L-ISA Source Control functionality, so Miller was able to pan from the console, while Melchior provided support on the L-ISA Controller software.

Miller also decided to make use of L-ISA’s 3D processing for a psychedelic moment in the Marr set. "Johnny has a song on the new album called “New Dominions”. It has a break-down section in the middle that comes down to just bass and drums, and then Johnny comes in and there are delay throws where I change the delay time so that it creates a pitch change,” he said. “It’s an old trick, but it works for this."

At EartH, Miller took the stereo delay output and sent it to the house console where they could ‘play’ the L-ISA Pan, Width, Depth, and Elevation parameters. "I said let’s go crazy and throw it around – send it over people, to the back, all around," Miller added. "Johnny always said it should be trippy and psychedelic. It worked incredibly well.

"After only about four minutes of putting stuff through the PA I realised that this system is a solution to a very old problem,” Miller concluded. “It’s a big move into bringing down sound levels so you’re not smashing people in the face, but you’re still producing something that excites and intoxicates the audience. This technology is amazing, it’s not going away, and it can only become more popular."

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L-Acoustics will be more than doubling its footprint this year at NAMM 2019 with a new demo space to showcase its L-ISA Immersive Hyperreal Sound. 

In addition, the L-Acoustics interactive showroom will be populated by the latest loudspeakers, processors, and software, including ARCS Wide, ARCS Focus, X Series, K Series, and Syva loudspeakers, along with the P1 AVB processor which began shipping in June 2018.

“The combination of technology showcases, education opportunities, and exciting awards ceremonies make NAMM a great place to reconnect with peers and key clients, as well as reaching the broader audience of music enthusiasts who help our industry thrive,” commented Laurent Vaissié, CEO, USA & Canada for L-Acoustics. 

“The January timing in our annual events calendar, in addition to NAMM’s location not far from our US headquarters in Westlake Village, make this show a great way to kick off our year.”

Attendees can visit L-Acoustics at Booth n°17208 and experience L-ISA and other technologies in Demo room 203A.

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This November marked the first ever use of L-Acoustics L-ISA Hyperreal Sound in the southern hemisphere when the Adelaide Symphony Orchestra, in partnership with CineConcerts and Warner Bros. Consumer Products, performed Harry Potter and the Prisoner of Azkaban in Concert at the Adelaide Entertainment Centre, South Australia.

The L-ISA setup, which was deployed by Australian technical production company Novatech, included 126 input channels and 96 L-ISA objects and used an L-ISA Wide design solution, deploying a total of 84 L-Acoustics Kara cabinets in seven hangs of 12 Kara, each spaced above the performing zone to provide source separation and localisation, two extension speaker groups of 12 Kiva II and two flown subwoofer arrays of four SB28 in an end fire configuration in the centre.

The monitor system comprised ten X15 HiQ cabinets and eight X8. Control was via a DiGiCo SD10 mixing console at front of house and an AVID S6L at monitors, connected via three Optocore optical loops.

Charles Gagnon, who mixed the show, made adjustments to the soundscape using the L-ISA Controller software to address the processor and create the soundscape for static information such as object panning, source width, distance, etc., based on input channels bussed from the SD10.

“I have long been a fan of so-called surround sound and immersive audio,” said Gagnon. “I’ve done numerous recordings and broadcasts in ‘traditional’ 5.0/5.1 surround and have been involved in experimental immersive audio projects going back to the early 2000s. Advances in processing power and algorithms now make object-based systems practical so I am intrigued, but not surprised, about the emergence of these systems in the competitive live sound market.”

Gagnon found the L-ISA Controller software intuitive, with a well-designed GUI that made it easy for him to quickly make broad adjustments to the soundscape: “I was pleased with the result, especially with dialogue clarity and localisation, and overall clarity and coherence of the soundstage,” he added. “It was a great experience and I would most definitely like to use it again.”

“Novatech works closely with us as our technology partner to bring the sounds of the orchestra to audiences both small and large,” said Vince Ciccarello, CEO of the Adelaide Symphony Orchestra. “We were thrilled and excited to learn of the new L-ISA technology that would more faithfully engage our artists with the audience and are proud to be a part of this collaboration with Novatech and L-Acoustics.”

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