Catalogue 2013 en

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 12
XTand XTi 14
P series 16
WST®
technology: constant curvature 18
ARCS®
WIDE and ARCS®
FOCUS 20
ARCS®
II 22
WST®
technology: variable curvature 24
KIVA 26
KARA®
and KARA®
i 28
KUDO®
30
V-DOSC®
32
K1 34
Subwoofer technology 36
SB15m, 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 system
MTD115/LLC
Wavefront Sculpture
Technology (WST®
)
V-DOSC®
and Network
ARCS®
Constant
Curvature Array
dV-DOSC®
modular line source
SOUNDVISION
simulation software
KUDO®
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 6dB attenuation per doubling of distance (spherical wavepropagation). It is to be noted that usual concepts of directivity,polar diagrams and lobes only make sense in the far field (this isdeveloped in appendix 1).
Considering next a line source with discontinuities, we alsodescribed a progressively chaotic behavior of the sound field asthese discontinuities become progressively larger. This wasconfirmed in 1997 [3] when Smith, working on an array of 23loudspeakers, discovered that 7 dB SPL variations over 1 foot wasa common feature in the near field. Smith tried raised cosineweighting approaches in order to diminish this chaotic SPL andwas somewhat successful, but it is not possible to have, at the sametime, raised cosine weighting for the near field and Besselweighting for the far field. In [1] we showed that a way tominimize these effects is to build a quasi-continuous wave front.
The location of the border between the near field and the far fieldis a key parameter that describes the wave field. Let us call dB thedistance from the array to this border. We will make theapproximation that if F is the frequency in kHz then λ=1/(3F)where λ is the wavelength in metres. Considering a flat, continuousline source of height H that is radiating a flat isophasic wavefront,we demonstrated in [1] that a reasonable average of the differentpossible expressions for dB obtained using either geometric,numerical or Fresnel calculations is:
( )FH
HFdB
3
1
1
2
3
2
2
−=
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 forfrequencies lower than 1/(3H). Hence a 4 m high array will radiateimmediately in the far field mode for frequencies less than 80 Hz.2) For frequencies above 1/(3H) the near field extension is almostlinear with frequency.
3) The dependence on the dimension H of the array is not linearbut 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 nearfield extending as far as 88 meters at 2 kHz.
We also demonstrated in [1] that a line array of sources, each ofthem radiating a flat isophase wave front, will produce secondarylobes not greater than –12 dB with respect to the main lobe in thefar field and SPL variations not greater than ± 3 dB within the nearfield region, provided that:
♦ Either the sum of the flat, individual radiating areas coversmore than 80% of the vertical frame of the array, i.e., thetarget radiating area
♦ Or the spacing between the individual sound sources issmaller than 1/(6F) , i.e., λ/2.
These two requirements form the basis of WST Criteria which, inturn, define conditions for the effective coupling of multiple soundsources. In the following sections, we will derive these resultsusing the Fresnel approach along with further results that are usefulfor line source acoustical predictions.
Figure 1 displays a cut view of the radiated sound field. The SPL issignificant only in the dotted zone (ABCD + cone beyond BC). Amore detailed description is deferred to Section 4.
Figure 1:
Radiated SPL of a line source AD of height H. In the near field, theSPL decreases as 3 dB per doubling of distance, whereas in the farfield, the SPL decreases as 6 dB per doubling of distance.
It should be noted that different authors have come up with variousexpressions 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 areincorrect concerning the size dependence. Figure 2 illustrates thevariation of border distance and far field divergence angle withfrequency 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 sourcearray 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 42
nd 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 92
nd
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 Technology
1
(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 program
Amplified 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
MANUAL
MANUEL D’UTILISATION
w w w . l - a c o u s t i c s . c o m
KARA_SP_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.
482mm/19in.
383mm/15.1in.
164mm/6.4in.
250mm/9.8in.
Usable bandwidth (-10dB) 55 Hz - 20 kHz ([KARA] preset)
Nominal directivity (-6dB)
Horizontal: 110° symmetric
Vertical:Dependent upon number of elements
and line source curvature

Maximum SPL1 139 dB ([KARA] preset)
RMS handling capacity 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

Rigging
2 Steel, certified for: 24 KARA (BGV-C1 compliant)
Angle increments: 0, 1, 2, 3, 4, 5, 7.5, 10°

Physical data
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.
WST
Technology
lA8
dRiven
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 4
MATRIX
Array
Morphing
+
11 band EQ
DEL
IN A
IN B
GAIN
DELGAIN POL
DELGAIN POL
DELGAIN POL
DELGAIN POL
Optimized
IIR/FIR
filters
System
Parameters
Accessible via “LA NETWORK MANAGER” only
Accessible via “LA NETWORK MANAGER” and front-panel user interface
depending on preset type
L-ACOUSTICS parameters
Xmax
L-DRIVE
x N
x N
IIR Filters - Bessel, BTW, LR
FIR filters - Zero phase shift
Over excursion
protection
Thermal
protection
θ°C
L-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
MATRIX+
11 band EQ
DEL
IN B
GAIN
DELGAIN POL
DELGAIN POL
Accessible via “LA NETWORK MANAGER” only
Accessible via “LA NETWORK MANAGER” and front-panel user interface
depending on preset type
L-ACOUSTICS parameters
Xmax
L-DRIVE
x N
x N
IIR Filters - Bessel, BTW, LR
FIR filters - Zero phase shift
Over excursion
protection
Thermal
protection
θ°C
L-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
SYSTEMS
OVERVIEW
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
COaxIal
TECHNOlOGY
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 sound
reinforcement in 1989. Initially designed for multi-purpose applications,
the coaxial technology has demonstrated numerous advantages over
classic two-way systems which typically suffer from interference
around 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/xTi
COaxIal 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.
COaxIal
TECHNOlOGY

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
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.
COaxIal
TECHNOlOGY

17
108P 112P
SElF-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
P series
The 108P and 112P coaxial enclosures
featureasetofcharacteristicsderivedfrom
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 for
Cabinet 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 the
radiated 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 it
is developed based on the Kirchhoff approximation 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 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 agree-
ment with experimental measurements.
0 INTRODUCTION
The frequency response and directivity of a loudspeaker
system depend on the shape of the baffle, the location of
the sound source on the baffle, and the directivity of the
sound 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 (BH) [2] used the geometric
theory of diffraction to model diffraction due to the baffle
edges. In their approach, sound rays propagate along the
surface of the baffle and are scattered by the edges, pro-
ducing a series of infinitesimal omnidirectional secondary
edge sources.
Vanderkooy [3] derived an angular form factor for the
edge sources using Sommerfeld diffraction theory. The
diffracted pressure is no longer omnidirectional and is
highly dependent on the projected angle of observation.
Vanderkooy’s experimental results concerning the phase
behavior of the edge diffraction wave are highly signifi-
cant and of great interest.
However, current literature concerning the phenomenon
of edge diffraction is somewhat contradictory, and Wright
provides 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 are
corroborated by practical experiments. Wright’s findings
are 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 propagates
to the baffle edges where it energizes a diffractive edge
sound source. The sound pressures of the driving source
and the contribution of the edge sources must be added in
order to determine the sound pressure at a given observa-
tion point. Essentially the problem is to characterize the
radiated sound field due to the edge sources or to deter-
mine an equivalent type of sound source that will account
for edge-related diffraction effects.
In this paper we choose to express the driving sound
pressure for a piston mounted on a finite baffle as follows:
Pdrive(r, ␪) ‫ס‬ K(␪) Pϱbaffle(r, ␪) (1)
where
Pϱbaffle(r, ␪) is the sound pressure produced by the piston
when situated on an infinite baffle, K(␪) is an angular form
factor for the driving sound pressure, which is character-
istic of a given model, and ␪ is the polar angle between the
direction of observation and the axis of the source.
The elementary pressure induced by the edge sources
can be expressed as
dPedge͑r, ␪͒ = F͑␪͒ Pdrive͑r = L, ␪ = 90°͒
e−jkrP
2␲ rP
dl. (2)
Pedge = o͐dPedge (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 diffra
radiated sound field for direct-radiating loudspeaker components when m
closure. The proposed approach is termed the distributed edge dipole (DEDclosure. The proposed approach is termed the distributed edge dipole (DED
is developed based on the Kirchhoff approximation using distributed dipo
perpendicular to the baffle edge as the elementary diffractive sources. T
tested against measurements for a thin circular baffle and then applied to
loudspeaker that has a thick, rectangular baffle. The forward sound press
entire angular domain are investigated, and predictions of the DED model s
behavior of the edge diffraction wave are highly signifi-behavior of the edge diffraction wave are highly signifi-
[4]. The sound pressure from the source
Pdrive(r, ␪) ‫ס‬ K
where
when situated on an infinite baffle,
istic of a given model, and
direction of observation and the axis of the source.direction of observation and the axis of the source.
can be expressed as
e−j−j− krPkrPkr
wST TECHNOlOGY
CONSTaNT 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.
WST
technology
ARCS WIDE/FOCUS
CONSTANT 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
• 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
WST
technology
ARCS II
CONSTANT CURVATURE LINE SOURCES
ARCS®
II features a bi-amplified design and advanced enclosure tuning
withacustomDOSC®
waveguideforremarkableclarityandcoherence.
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-RAK
4 ARCSII/LA8
4 ARCS II (flown)
4 ARCS II (flown)
4 SB28
1 LA-RAK
6 ARCS II/LA8
3 ARCS II (ARCBUMP)
3 ARCS II (stacked)
3 ARCS II (stacked)
3 ARCS II (ARCBUMP)
4 SB28
aRCS II
• 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
• 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 for
Cabinet Diffraction Effects*
closure. The proposed approach is termed the distributed edge dipole (DED) model since it
is developed based on the Kirchhoff approximation 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 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 agree-
ment with experimental measurements.
0 INTRODUCTION
ometry of the baffle.
edge sources.
behavior of the edge diffraction wave are highly signifi-
cant and of great interest.
cies [4]. Wright relies on finite-element analysis to con-
sider cabinet edge diffraction, and his modeling results are
corroborated by practical experiments. Wright’s findings
are 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 propagates
Pdrive(r, ␪) ‫ס‬ K(␪) Pϱbaffle(r, ␪) (1)
where
when situated on an infinite baffle, K(␪) is an angular form
istic of a given model, and ␪ is the polar angle between the
can be expressed as
dPedge͑r, ␪͒ = F͑␪͒ Pdrive͑r = L, ␪ = 90°͒
e−jkrP
2␲ rP
dl. (2)
Pedge = o͐dPedge (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
closure. The proposed approach is termed the distributed edge dipole (DEDclosure. The proposed approach is termed the distributed edge dipole (DED) model since it
is developed based on the Kirchhoff approximation using distributed dipoles with their axesles with their axes
perpendicular to the baffle edge as the elementary diffractive sources. The DED model is firsthe DED model is first
tested against measurements for a thin circular baffle and then applied to a real-worlda real-world
loudspeaker that has a thick, rectangular baffle. The forward sound pressure level and theure level and the
entire 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 source
to the baffle edges where it energizes a diffractive edgeto the baffle edges where it energizes a diffractive edge
sound source. The sound pressures of the driving sourcesound source. The sound pressures of the driving source
and the contribution of the edge sources must be added inand the contribution of the edge sources must be added in
order 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 the
radiated 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 account
for 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 sound
pressure for a piston mounted on a finite baffle as follows:pressure for a piston mounted on a finite baffle as follows:
K(K(K ␪) Pϱbaffle(r,r, ␪)
) is the sound pressure produced by the piston) is the sound pressure produced by the piston
when 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 the
direction of observation and the axis of the source.direction of observation and the axis of the source.
can be expressed as
= 90°͒
e
2␲ rPrPr
dl. (2)
(3)
)
) is the sound pressure produced by the piston
K(K(K ␪) is an angular form
is the polar angle between the
e−j−j− krPkrPkr
wST TECHNOlOGY
vaRIaBlE CURvaTURE
In combination with WST®
, coplanar symmetry (the equivalent of
coaxial assembly for HF, MF and LF drivers in vertical arrays) provides
a 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 for
more 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
WST
technology
KIVA
MODULAR 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 2013
KIva
MODUlaR wST lINE SOURCE
• Ultra-compact and lightweight design for discrete integration
• Clarity, intelligibility and precision for vocals and lead instruments
• Up to 15° inter-element vertical flexibility
• Entirely captive, near-invisible and fast rigging system
• Sonic compatibility with all other L-ACOUSTICS®
systems
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
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
WST
technology
KARA/KARAi
MODULAR 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-RAK
6 KARA/LA8
8 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
WST
technology
KUDO
Large 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-RAK
2 KUDO/LA8
1 LA-RAK
3 KUDO/LA8
2 12XT active/ARCS
(Option)
6 KUDO
12 KUDO
2 SB28
KUDO
laRGE 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
WST
technology
V-DOSC
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
amplifiedcontroller.Itcanbeseamlesslyintegratedintocomplexstadium
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-RAK
2 V-DOSC/LA8
12 V-DOSC
2 LA-RAK
2 V-DOSC/LA8
6 dV-DOSC/LA8
10 V-DOSC
6 dV-DOSC
v-DOSC
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
WST
technology
K1
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-RAK
4 K1-SB/LA8
2 K1/LA8
4 K1-SB
10 K1
8 K1-SB
16 K1
4 LA-RAK
4 K1-SB/LA8
2 K1/LA8
K1
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-SB
K1 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-RAK
4 SB28/LA8
4 SB28 - Cardioid asymmetric (R)
4 SB28 - Cardioid asymmetric (L)
4 SB28 - Cardioid symmetric
1 LA-RAK
8 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
• Pole mount for XT series and KIVA (compatible flying rigging)
• Arrayable with KIVA
SB18/SB18i/SB18m
HIGH-POwER COMPaCT SUBwOOFER
• 32 Hz LF limit, high power handling, low distortion and thermal
compression
noise
• 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
noise
• LA8 amplified controller drive and protection

38
SOUNDVISION
Acoustic 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 UK
PO. Box Adler Shine - Aston House
Cornwall Avenue - London N3 1LF
UNITED KINGDOM
Tel:+44 (0) 779 2811 442
Fax: +44 (1) 722 411 236
L-ACOUSTICS DE
Steiermarker Str. 3-5
70469 Stuttgart
GERMANY
Tel:+49 (0) 711 89660 232
Fax:+49 (0) 711 89660 233
L-ACOUSTICS US
2201 Celsius Avenue, Unit E
Oxnard, CA 93030
USA
Tel: +1 (805) 604 0577
Fax: +1 (805) 604 0858
www.l-acoustics.com
L-ACOUSTICS
13 Rue Levacher Cintrat - 91460 Marcoussis - FRANCE
Tel :+33 (0)1 69 63 69 63 - Fax : +33 (0)1 69 63 69 64
E-mail : info@l-acoustics.com

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