Last year, L-Acoustics encouraged users to ‘amplify differently’, unveiling the new LA7.16i amplified controller. Based on years of research and development, LA7.16i significantly improved flexibility and efficiency, especially in multi-channel fixed installation projects. Today, L-Acoustics unveils its road-ready counterpart, the LA7.16 amplified controller for live productions.

The LA7.16 amplified controller offers supreme flexibility to meet real-time power needs while offering a level of efficiency and sustainability unheard of in modern touring applications. The high-density format — 16×16 architecture in a 2U format — powers more line array speakers than any similar-size amplifier, meaning fewer racks on tour, which in turn translates directly to energy and time savings along with the ability to address multichannel and hybrid productions, while offering a level of efficiency and sustainability required in modern touring applications. The high-density format saves space, weight, and time in deployment.

LA7.16 responds perfectly to the amplification needs of L Series, whose L2 and L2D elements contain 20 drivers and require 16 high-power amplifier channels and 16 state-of-the-art DSP channels. LA7.16 boasts a touch screen and an encoder wheel to rapidly set up initial parameters and a single SC32 connector on the rear for connecting loudspeakers. Using new connection accessories, LA7.16 powers any L-Acoustics line source array up to K2.

The new LA-RAK III touring rack houses three LA7.16 amplified controllers boasting 48 amplification channels and 48 individual DSP channels totalling more than 60,000 watts of peak power in a 9U rack, with two LS10 switches to support MILAN AVB seamless redundancy.

Current amplifier technology is dimensioned to power all channels simultaneously over extended periods of time. However, in real-world applications, this kind of demand is rare.

The LA7.16 amplified controller technology delivers power more efficiently and uses energy more effectively.

“LA7.16, with its best-in-market efficiency, is the perfect partner to the newly launched L Series,” says Scott Sugden, Director of Product Management, Electronics at L-Acoustics. “The power capacity and energy efficiency are breakthroughs in design and will help rental providers to deploy faster and realise real-life economies in transport and deployment.”

LA7.16 uses L-SMART, a suite of advanced power management technologies that allows designers to mix and match any L-Acoustics loudspeaker onto one amplifier. L-SMART uses proprietary predictive modelling algorithms to manage the power supply unit (PSU) and the individual amplification channels. Hardware sensors within the amplifier supply real-time information, which is analysed by the DSP to dynamically match the loudspeaker system needs. The PSU then provides extremely high short-term peak power, or lower power over longer hold times. This energy is delivered intelligently to the advanced Class-D output stages, assuring optimum system performance at all times. LA7.16 can drive any L-Acoustics loudspeakers up to K2, enabling high-resolution amplification and processing of large-format speakers with less system budget.

LA7.16 ships in October 2023.

Watch the L-Acoustics Keynote where LA7.16 was unveiled.

Meyer Sound has introduced the MPS-488X, a new integrated power supply and signal distribution unit for multi-channel audio systems using the company’s exclusive IntelligentDC technology. By delivering both balanced audio signals and 48V DC for loudspeakers powering over a single composite cable, IntelligentDC uniquely combines the sonic superiority of self-powered loudspeakers with the installation ease of low-voltage systems. Each MPS-488X supplies eight channels of power and balanced audio signals.

The MPS-488X also incorporates a network connection as standard, with telemetry and control data accessed via an RJ45 connector on the rear panel. Critical data such as load status, current draw, fan speed, and temperature are reported for visual display and fault alerts in Meyer Sound’s Nebra software for Mac and PC. Current draw is reported for each output channel, enabling the operator to assess the status of connected loudspeakers. The Nebra software platform also allows the operator to mute or solo individual channels of the MPS‑488X.  

Unlike the predecessor MPS-488HP, the network connectivity on the MPS-488X does not require the use of an external RMServer device. However, for mixed system compatibility, both the MPS-488X and MPS-488HP with RMServer can report their status on the same Nebra interface.

“The MPS-488X now provides a direct link between IntelligentDC systems and Nebra, Meyer Sound’s new monitoring and control software,” says Meyer Sound Product Manager Gautam Sharma. “Through Nebra, the MPS-488X enables integrated monitoring and control of connected IntelligentDC loudspeakers. It also seamlessly works with mixed systems comprising both IntelligentDC loudspeakers and our new generation of fully networked larger loudspeakers such as the PANTHER line array loudspeaker.”

The MPS-488X also features a two-way Wink mode, which allows quick identification of the unit when multiple units are in a rack. Pressing a button on the unit identifies it in Nebra while clicking on it in Nebra winks an LED on the unit. In addition, a Safe Mode facilitates troubleshooting while a Restore option allows resetting to the original factory settings.

Designed principally for installed sound applications, the MPS-488X utilises 3-pin Phoenix connectors for balanced audio input and 5-pin Phoenix connectors for audio and DC power output. 

As with its predecessor, the MPS-488X has selector switches for each output which can select either the corresponding input or the signal from the adjacent lower channel — input 1 to output 1, input 2 to outputs 2, 3 and 4 etc, for example. Larger IntelligentDC loudspeakers typically require powering from a dedicated channel, but two or more smaller Ashby series loudspeakers often can be connected to a single channel, depending on power requirements.

The Meyer Sound IntelligentDC range includes the Ashby ceiling and MM-4XP miniature surface mount loudspeakers, along with powerful, true bi-amplified systems such as the ULTRA-X20XP compact wide coverage and HMS-15 surround loudspeakers. The IntelligentDC range also includes two subwoofers.

During the first two weeks of July, legions of music lovers again descended on the shores of Lake Geneva for the Montreux Jazz Festival, which returned this summer as an iconic musical event with a packed schedule of concerts, club DJ sets, films, and workshops. Meyer Sound also returned to Montreux at full force for its 36th year as a Strategic Partner and Official Sound Provider, supporting the festival with nearly 300 loudspeakers deployed across 12 venues, indoors and out, large and small.

Most of the festival’s headliner concerts are presented in the 4,000-seat Auditorium Stravinski, and this year the venue also had the distinction of hosting the first indoor concerts to be reinforced by Meyer Sound’s new system, the PANTHER large-format linear line array loudspeaker. PANTHER quickly earned praise for its inherent sonics as well as the way it paired with the impeccable acoustics of the hall.

“It was pure joy to mix on PANTHER,” said Festival Sound Coordinator Martin Reich of audioconsulting ag, who also served as FOH engineer for Westerman and Gregory Porter. “The system is extremely precise, consistent and coherent, especially in the upper midrange. It is also exceptionally linear, which is the best thing for me. It behaves exactly the same whether you are mixing loud or at a low level.”

“What an amazing system!” exclaimed Bob Coke, who mixed Jeff Beck. “With PANTHER, it’s like mixing on near-field monitors in the studio. I could hear everything on them, including all the corrective EQ saved on the console channels from my last gig. Kudos to Martin and José [Gaudin] for their extremely coherent install — front to back, top to bottom, and left to right, the venue sounded the same everywhere.”

Festival Production Manager Marco Güntensperger appreciated the upgrade even before the system was fired up. “What impressed me most at first sight were the ‘festival friendly’ cabinet dimensions. In a setting like the Auditorium Stravinski, this is key, and PANTHER is a great example of how to maximise main PA units these days.”

For Martin Reich, the reduced weight of PANTHER, when compared to prior systems, paid immediate dividends. “The weight reduction on the main arrays allowed us to increase the number of subs flown behind them, which helped us have even better control over the low frequencies,” he notes.

The two main front arrays at Auditorium Stravinksi each comprised 12 PANTHER loudspeakers, with eight of the “L” long-throw horn cabinets over four of the “W” wide-dispersion versions. Also deployed were 14 1100-LFC low-frequency control elements, six 900-LFC elements, four ULTRA-X40 and four ULTRA‑X20 compact loudspeakers, and eight LINA very compact linear line array loudspeakers.

Artists also featured at Auditorium Stravinski included A-ha, Nick Cave and the Bad Seeds, Bjork (with Sinfonetta de Lausanne), Diana Ross, Dutronc and Dutronc, Van Morrison, and Herbie Hancock.

Montreux Jazz Lab, the other paid-ticket venue, presented a diverse range of innovative and imaginative new artists, including Stormzy, Loyle Carner, Phoebe Bridgers, Girl in Red, and Mitski. The reinforcement system here was anchored by 20 LEOPARD compact linear line array loudspeakers.

The remaining 10 Meyer Sound systems were deployed at a variety of indoor and outdoor stages, clubs, and specialised event sites. The system configurations encompassed a total of 25 different Meyer Sound models, both current product and still in-demand legacy loudspeakers. The main stages offered artist foldback systems based around a total of 40 MJF series stage monitors, with the “MJF” designation reflecting Montreux Jazz Festival’s past consulting role in the loudspeaker’s development.

Most of the free venues presented live music or DJ sets using appropriately scaled line array or point source reinforcement systems, though other sites involved unique applications that highlight Meyer Sound’s cutting-edge audio technologies.

La Bibliothèque, for example, housed a special vinyl playback room equipped with Meyer Sound’s Bluehorn System studio monitors. Using advanced digital processing and proprietary algorithms, Bluehorn System is uniquely capable of flat, full bandwidth reproduction at high playback levels with absolute phase accuracy.

Le Cinema, which hosted screenings of past festival concerts as well as cinema tributes to David Bowie, Nick Cave, and festival founder Claude Nobs, employed an 11-loudspeaker system configured with ULTRA-X40 and ULTRA-X20 loudspeakers and 900-LFC low-frequency control elements. Meyer Sound’s Spacemap Go spatial sound design and mixing tool was implemented on a GALAXY 816 Network Platform for any needed dynamic spatial or immersive effects.

Principal audio supplier for the festival was Skynight SA, based near Geneva, with on-site project managers Goran Pajic and Yvan Baronne working under the overall direction of Nicolas Walser. Eddy Broquet of Meyer Sound’s Swiss distributor, Tonspur, coordinated distribution and technical support. Meyer Sound’s José Gaudin served as company liaison with the festival, and doubled as FOH mixer at Montreux Jazz Lab.

“Once again I would like to thank Meyer Sound for their many years of support,” says Martin Reich, “because that support makes Montreux one of the best-sounding festivals in the world.”

“We are all looking forward to working with Meyer Sound on the 2023 edition,” adds Marco Güntensperger.

 

Photo credit: Emilien Itim

Dead & Company is back on the road for their 2022 Summer Tour which kicked off in mid-June at Dodger Stadium in Los Angeles. As they carry on the Grateful Dead tradition of using the latest innovations in sound reinforcement, the tour is powered by a system featuring Meyer Sound’s new PANTHER large-format linear line array loudspeaker. The band further augmented its seemingly limitless repertoire of tunes while UltraSound — decades-long audio provider for the Grateful Dead and successor ensembles — assembled the largest system of Panther loudspeakers in North America, and the first to roll out on a USA tour.

To cover expansive audience areas in a mix of sports stadiums and larger sheds, UltraSound is carrying a Panther inventory that allows reconfiguration for venue size. For stadiums, a typical deployment is four identical arrays — two main front and two side — each comprising fourteen Panther loudspeakers, with four Panther-W wide coverage versions flown under 12 Panther-L long-throw versions.

Mixing the band for Panther’s North American touring debut is FOH Engineer Derek Featherstone, who also serves as tour director and UltraSound CEO. “Panther is a very responsive system and reacts quickly to change,” remarks Featherstone. “The vocals tend to lead nicely, staying up front in the mix better than with last year’s system. I’ve altered some vocal compression to take advantage of this. Also, the general consensus so far is that Panther needs less EQ, so optimising the system is quicker. We don’t need as much high frequency boost in stadiums, and the detail is more transparent.”

Weighing in at 150 lb (68 kg), the Panther loudspeaker nevertheless produces greater than 150 dB peak SPL. The compact size and reduced weight save on transportation costs while the new Class D amplifier dramatically reduces power consumption. Panther is the first line array system to offer AVB Milan protocol network connection directly to the loudspeaker cabinet.

As tour director, Featherstone appreciates the added flexibility afforded by Panther’s power-to-size/weight ratio. “We’re using the same count of Panther as we had for LEO last year, but the reduced size and weight allowed us to carry more subs and deploy them more effectively. Recovered truck space allowed us to bring the VLFCs, while Panther’s reduced weight makes it easier to do more end-fire sub arrays in stadiums within the same total weight limits.”

For larger venue deployments, Panther arrays are bolstered in the bass registers by 18 flown 1100-LFC low-frequency control elements plus 12 700-HP high-power subwoofers on the ground. Ten VLFC very low-frequency control elements extend response down to a subsonic 13 Hz. A dozen LEOPARD compact line array loudspeakers are deployed singly for front fill, and a total of eight GALAXY Network Platforms provide system drive and optimisation. The stage foldback system comprises 10 MJF-210 and two MJF-212A stage monitors along with two JM-1P loudspeakers for side fill and two 1100-LFC elements as drum subs.

“We invested in Panther for three reasons,” says Featherstone. “We needed additional inventory, we were confident that the fidelity would be as expected from Meyer Sound, and we would benefit from the added versatility. We are already getting a good deal of interest from other tours and events after Dead & Company wrap up next month.”

In addition to Featherstone, the Dead & Company tour is supported by Michał Kacunel (system engineer), Ross Harris (recording engineer and ground PA tech), Lonnie Quinn and Ian Dubois (monitor engineers), along with crew members Sean McAdam, Aaron Lauzier, and Reilly Williamson.

The band’s 2022 tour proceeds eastward with 20 shows scheduled in 16 cities, wrapping up at Citi Field in New York on July 16. Of the tour venues, four are Major League Baseball stadiums, one an NFL stadium, and one college football stadium, with the balance at larger sheds.

Dead & Company was formed in 2015 when the Grateful Dead’s Mickey Hart, Bill Kreutzmann, and Bob Weir joined forces with artist and musician John Mayer, Allman Brothers’ bassist Oteil Burbridge, and Fare Thee Well and RatDog keyboardist Jeff Chimenti, and has quickly become one of the most successful touring bands year over year. Since its formation, the band has completed six tours playing to millions of fans and became a record-breaking stadium act when it broke Wrigley Field’s all-time concert attendance record, which still holds to this day. Having toured consistently since its 2015 debut, the band has grossed $300 million and has sold more than three million tickets across 172 reported shows.

PHOTO CREDIT: Jay Blakesberg

Coldplay’s “Music of the Spheres” U.S. tour kicked off in North Texas at the Cotton Bowl followed by dates in Houston and Seattle, and continued through mid-June. The band’s sustainability initiative for this tour is adapting all tour operations to minimise CO2 emissions in line with the best science and practices from set build and travel to freight, power, and sound. The tour will plant one tree for every ticket sold with a portion of the proceeds earmarked for a variety of green initiatives around the world.

The Coldplay camp has required that the sound system be 50% more energy efficient than their previous tour in 2016-17. With that pre-requisite, Firehouse Productions (NY) who has supported Coldplay tours since 2016 has decided to deploy d&b audiotechnik GSL and KSL loudspeakers for their efficiency, paired with D80 amplifiers that demand less input power and enhanced energy saving features. “Firehouse supports the European Coldplay dates alongside Wigwam; while Firehouse is handling the PA in the states, Wigwam will be providing production later this year when the tour heads to Europe,” states Nick Bechard, Account Manager, Firehouse Productions. “It is a joint effort that has worked very well.”

d&b SL-Series was developed with efficiency in mind, reducing power requirements by up to 50% for equivalent sound pressure output levels compared to former systems. In addition, precise control of directivity continues to be one of the hallmark features of SL-Series, keeping sound where it is needed.

“99% of the venues will be outdoor, as in Stadiums with no roofs,” states Tony Smith, head of audio and sound designer for Coldplay. “As the sound limits within and outside the stadiums in Latin and North America are not monitored, use of NoizCalc has not been implemented yet. Once we get into Europe, sound emissions will be an issue and NoizCalc will be a useful tool, but with ArrayProcsessing more so, I can predict what will stay in the stadium and at what level. Also, with SL-Series and its full-bandwidth cardioid pattern, the lack of sound from the back of the array will also help for any upstage level monitoring where the sensitive areas usually are.”

d&b NoizCalc was developed in direct collaboration with SoundPlan for predicting environmental noise pollution into the surrounding areas of an outdoor performance. It can account for topography, buildings, wind speed, air temperature and humidity.

Using d&b ArrayProcessing, refined control of level distribution and tonal balance can easily be achieved. Smith added that ArrayProcessing has become a vital tool “as mentioned for regulating sound emissions, but also sound levels within the stadiums. There are some sites that the loudest area of the audience is monitored for audience protection against hearing damage. With J-Series the local authority was surprised with the uniform sound level across the audience area, and now with SL-Series I am happy to continue this consistency.”

Data is being sent to d&b audiotechnik R&D so that they can monitor the power usage. “This is very positive and forward thinking. I had a lot of data from Matthias Christner [Head of R&D Acoustics at d&b] leading up to the tour so I could pass on our power needs and details as well as to see what d&b was doing to reduce power consumption, which is up to 50% less from our last tour. Production is obviously very happy with our reduced power consumption as well as the improved truck space,” says Tony Smith.

The first leg of the tour was in Latin America. Due to weight issues and the environmental footprint of shipping tons of sound equipment, Firehouse helped arrange local suppliers and as much local equipment as possible using predominately J-Series with SL-SUB. “We had a great result and picked up where we left off in 2017 but we were looking forward to getting our hands on GSL; we have not been disappointed. It has been a lot of fun and it’s sounding great. The sound of the box as well as the extra low end has been amazing. Being able to take the pressure off the ground subs to do all the work has helped the band and the ability to shape the sound in troublesome venues with the various tools has been exceptional. The CPL (coupling) function has been great as well for shaping what we need. The low end in the upper seating tiers has also been greatly improved.”

“Many venues are already adopting sustainability strategies and artists have an increasingly strong desire to tour in an environmentally friendly way,” states Marc Lopez, Vice President of Marketing, d&b audiotechnik Americas. “d&b received a Green Guardian Award in recognition of the work being done to reduce the carbon footprint of the live entertainment business. We are privileged to aid Coldplay in their sustainability initiative.”

The Coldplay d&b system configuration consists of 16x GSL8 per side for main hangs, 16x GSL8 per side for side hangs, 6x SL-SUBs flown per side, 18x KSL8 per side for 270 Hangs, four delay towers with 16x KSL8 per hang, 18x SL-SUBs for ground subs, 6x Y7Ps, and 8 x Y10Ps for front fills.

There are 116x D80 amplifiers total: 40 per side of stage. 9 per delay tower. A Luminex Network backbone is used for amplifier control with an Optocore backbone for AES distribution of signal with an analogue backup. 8 x d&b M4 stage monitors handle the various acts popping in and out of the tour. 

As of press time, Smith said he received word the tour will be using the new D40 amplifiers on ring delays for Europe shows. “We have also added three hangs per side down each side, two at the rear hung off the roof of the venue in Berlin, Paris, and Warsaw. Each hang comprises of 8 x V8s, with V12s for the rear pair (provided by Wigwam). It helps in larger venues to get even coverage but also to control the coverage better, reducing sound spill for offsite SPL readings. It definitely gives the audience a better sound experience. I’ll be happy to see how they perform. Plus, less power!”

Firehouse is also providing a support control package including 2x DiGiCo SD10s; Wigwam is providing the Coldplay control system package. Coldplay control is based around DiGiCo SD7Q, SD10RE, SD Racks, Nano’s, Minis all with 32Bit Cards, utilising 2x loops. Optocore festival boxes, M12 with DD2’s to transport backline MADI lines onto the loop. DirectOut Prodigy’s both MC and MP are used for analogue I/O to MADI and system EQ & control. Other systems provided by Wigwam include Wysicom IEMs, 2x M2 stage monitors, 1x J-SUB for bass player Guy Berryman.

XSL tops will be used in Europe paired with KSL-SUBs for side fill. “Now we have no sound on stage,” says Smith. “We felt the need to fill the void a little or at least have that ability to give some clean audio rather than the mush given off other PA systems. Again, the SL-Series, even in the smaller format gives a great punch at half the size and power consumption.”

CEO of d&b audiotechnik Amnon Harman affirms the company’s long-term commitment to far-reaching principles of sustainability. Since 2013, the company has held an environmental certificate. Since 2018, d&b has committed itself voluntarily to meeting the requirements of effective sustainability by participating in several initiatives promoted by the state, the federal government, and following the international principles of the United Nations. “The declared aim is to integrate these principles firmly within the company in collaboration with its co-workers, in the present and in the future.”

Photo credit: Stevie Rae Gibbs