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L-ISA debuts down under

L-ISA debuts down under

L-ISA debuts down under


L-Acoustics’ L-ISA immersive sound technology made its debut in the Southern Hemisphere recently on the Adelaide Symphony Orchestra’s performance of Harry Potter and the Prisoner of Azkaban in Concert at the Adelaide Entertainment Centre. The system was deployed by technical production company Novatech, which has been searching for new opportunities to use the technology since its release.

‘With L-Acoustics being the backbone of our audio inventory, we were excited by the introduction of L-ISA and were keen to bring it to Australia for a live performance,’ explains Novatech’s production manager, James Sacca. ‘It seemed fitting to partner with the Adelaide Symphony Orchestra for this southern hemisphere first. As always, L-Acoustics was professional to deal with and extremely supportive as we planned this technically complex event.’

The L-ISA setup included 126 input channels and 96 L-ISA objects used in an L-ISA Wide design. This meant deploying a total of 84 Kara cabinets in seven hangs of 12 Kara, each spaced above the performing zone to provide source separation and localisation, as well as 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, while control was from a DiGiCo SD10 at front of house and an Avid S6L at monitors, connected via three Optocore optical loops.

Adjustments to the soundscape were made by the show’s mixing engineer, Charles Gagnon, using the L-ISA Controller software to address the processor and create the soundscape for static information such as object panning, source width and distance, based on input channels bussed from the SD10.

‘I have long been a fan of so-called surround sound and immersive audio,’ said Mr 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.’

Mr Gagnon found the L-ISA Controller software intuitive, with a well-designed GUI that made it easy 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.’

‘Novatech works closely with us as our technology partner to bring the sounds of the orchestra to audiences both small and large,’ concluded 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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