Using L-Acoustics and Intended (and not)
Years ago, my introduction to L-Acoustics was ARC’s on SB218s, powered by BSS crossovers and Lab Gruppen 6400 amplifiers, the musicality, fidelity and flexibility absolutely blew my mind. Many things have changed but many things have not.
Quite some time after getting familiar with some L-Acoustics products (KUDO, V-DOSC, dV-DOSC, ARCS and the matching subs) I spent a lot of my time focusing on other systems, mainly D&B’s J series. Typically only running into L-Acoustics K1 and K2 on festivals or as house PA’s. This allowed me to compare all the systems to each other often with the exact same show, giving a side by side comparison of configurations and applications.
Making my way across the world and coming into many situations like dodgy V-DOSC rigs with homemade ARC-down brackets (doesn’t exist for a reason) in Nevada and actually quite good sounding hangs of KUDO in South Korea, I quickly learnt what worked and what didn’t. EG, 6 boxes of K2 on it’s own does not work as a main hang of PA and that the KS28 subs is fantastic but you’re better off to have less and work them harder)
Unbeknownst to me, all these festivals and in house PA’s were preparing me for an arena sized tour doing shows in everything from 2000 cap clubs to arenas with the same PA.
This PA was (Per Side);
4K1 with 12 K2 down
6 K1SB subs flown behind, beside or on top
12 K2 as the side hang
6 KARA as Down Fill and/or front fill
3 ARCS II as out fill, front fill or side hang
8 KS28 as ground subs (16 total)
The brilliance of this system, is the flexibility. As many of the smaller venues had both weight and height restrictions while being of a decent size the system had to be very malleable while keeping the same sonic performance night after night.
Starting with the main hang. Typically, an array of 12 K1 and 4 K2 is what’s required for most venues. However after looking very closely at all venues and sold maps, it was established that we would almost get away with 16 K2. The reason we chose to put 4 K1 at the top of the array was to both assist with getting the high end to the back of the larger venues and also provide the whole array with a better low end response. It’s a well known fact that the K2 lacks in deep and punchy low and low mid response thanks to it’s 12 inch drivers however the K1 has beefy 15 inch drivers which hit the spot in that area.
Increasing the amount of K2 over K1 allowed more coverage with less boxes as K2 has a much larger range of splay than the K1, it’s also significantly lighter and smaller in the truck.
This was also paired with 6 flown K1SB’s these really aided with low end in the air, K1SB’s were chosen thanks to their smaller form and less weight compared to other flown subs. They also seamlessly fit into the array with/or in lieu of the K1 as it’s the same cabinet with the same 15 inch drivers. As the content of the show was pop orientated, it was essential to have a good low end for the whole audience and flying subs is the way to do it. Having these particular subs was a gig saver as they were so small and light they could go where no subs had gone before! This was essential in some of the smaller venues where ground sub placement was limited or not optimal.
The KARA worked mainly stacked 2 high on top of the subs as Front fill, but we had the K2 KARA-DOWN bracket and a couple of shows with severely limited weight and trim height it was used on the bottom of the K2 as extra coverage with less weight and smaller form factor. I am a BIG FAN of 2 high KARA as front fill.
The ARCS II spent most of their time as out fill stacked on the outer most subs filling in the tiny area the last box of the main and side hang couldn’t quite cover. They are also invaluable for when the promoter opens seats or moves drapes in the last minute. (we’ve all been there). On one show the stage in the venue was pushed so far back the main hang had to go where the side hang would have normally been and thanks to some bizarre drapery and seating design there was seats with a great view of the stage but not in anyway in front of the main hang. The ARCS II were the only choice being flown 20 foot down stage and only 10 foot off stage from the main hang. Thanks to their size and weight they were on a single point and barely shadowed the coverage of the main hang.
The 16 KS28 Subwoofers were the ground stacked low end reinforcement. As most of the low end was coming from the main hang and flown K1SB’s these subs were positioned along the downstage edge to provide even low end to the closest section of the floor area (where the flown low end wasn’t developing) and compliment the flown subs. They worked very well. The exact configuration remained relatively constant with some changes. I will write a whole blog post about the design sub arrays and maximising power. Stay Tuned.
