...comes from one source
As well as having provided sound for all of the usual major events since the advent of the WST® line sources in 1992, today L-Acoustics®’ systems add their sonic signature to numerous installations in theatres, convention centers, sport arenas, houses of worship and amusement parks. Following the recent Winter Olympic Games ceremonies in Sochi featuring the new K2 line source system and all other prestigious references, the 250 employees of L-GROUP® would like to thank the world-wide community of users and the Certified Providers present in 60 countries for the trust and commitment they have shown in L-Acoustics ®.
We believe that this recognition mirrors a philosophy adopted 30 years ago - the permanent quest for innovation – a philosophy which is relayed today by teams whose objective is to provide you with rational, quick to deploy, powerful but intuitive tools. As ever since 1984, performance, right from power ignition, must be irreproachable, predictable, repeatable and all of this for many years, for the greater satisfaction of your customers.
Because the spectator remains the ultimate link in the audio chain. His/her enjoyment remains the objective of the technical teams who, at the other end of the chain and at the service of the creators and the artists who perform, represent the foundation of the success of our profession.
It is for this reason that more than just products, we will intensify our efforts to improve training and the advice given to professionals with a range of services that are inseparable from our global system supply. Consultant, integrator, venue operator, owner, technician or engineer, L-Acoustics will be happy to accompany you in your future projects.
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.
- 1984 : Physicist Dr. Heil founds L-ACOUSTICS
- 1989 : First coaxial system MTD115/LLC
- 1992 : Wavefront Sculpture Technology (WST)
- 1994 : V-DOSC and Network
- 1995 : ARCS Constant Curvature Array
- 1999 : dV-DOSC modular line source
- 2004 : SOUNDVISION simulation software
- 2005 : KUDO and K-LOUVER variable directivity
- 2006 : P series self-powered coaxials
- 2007 : Amplified controllers, SB28, KIVA/XT series
- 2008 : K1/KUDO pilot program
- 2009 : New Rental Network
- 2010 : KARA, SB18(laminar vent). System integration charter
- 2011 : LA NETWORK MANAGER 2.0
- 2011 : ARCS II
- 2012 : ARCS WIDE, ARCS FOCUS, SB18m, SB15m and 5XT
- 2013 : K2
- 2013 : SB15m, 5XT and LA4X
- New in 2014: K2: PANFLEX™ Technology
- WST® criteria for design and use of line source (AES Journal in 1992, 2001,2003)
- DED (Distributed Edge Dipole) 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
- PANFLEX™ horizontal steering technology
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
- Green power supplies with PFC
- Class D amplified controllesr
- Proprietary DSP boards
- Multi-channel devices
- Design and proprietary algorithms
- Array morphing contour EQ tool
- L-DRIVE dual protection (thermal, over-excursion)
- FIR filters
- Air absorption compensation EQ
- 3D acoustic and mechanical modeling
- Remote control and monitoring
AES Journal, Vol. 52, n°10 - 2004 October
A simple model is proposed to account for the effects of cabinet edge diffraction on the radiated sound field for direct-radiating loudspeaker components when mounted in an enclosure. The proposed approach is termed the Distributed Edge Dipole (DED) model since it is developed based on the Kirchoff Approximation (KA) using distributed dipoles with their axes perpendicular to the baffle edge as the elementary diffractive sources.
The DED model is first tested against measurements for a thin circular baffle and is then applied to a real world loudspeaker that has a thick, rectangular baffle. The forward sound pressure level and the entire angular domain are investigated and predictions of the DED model show good agreement with experimental measurements.
AES Journal, Vol. 51, n°10
The Fresnel approach in optics is introduced to the field of acoustics. Fresnel analysis provides an effective, intuitive way of understanding complex interference phenomena and allows for the definition of criteria required to couple discrete sound sources effectively and to achieve coverage of a given audience geometry in sound-reinforcement applications. The derived criteria from the basis of what is termed Wavefront Sculpture Technology.
AES Convention Paper #5488
Article presented at the 111th AES Convention, New York 2001
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.
AES Convention Paper #3269
Article presented at the 92nd AES Convention, Vienna 1992
How to know whether it is possible or not to predict the behaviour of an array when the behaviour of each element is known?
Our purpose is to describe the sound field produced by arrays in such a way that criteria for “arraybility” can be defined.