L acoustics

Formula 1 Racing kicked off its 75th year with a massive event at London’s O2 Arena. Photo: Britannia Row. London, UK (May 22, 2025)—Formula 1 Racing is celebrating its 75th anniversary and marked the occasion with a special live event, F1 75 Live, at London’s O2 Arena. Racing fans snatched up tickets for the confab, selling it out in less than an hour, and the event’s highlight was the reveal of this year’s cars from all 10 F1 racing teams, including Ferrari, Aston Martin, Red Bull and McLaren. Revving up the audio for the big production was Clair Global’s UK-based Britannia Row, which handled audio duties, blending hi-end corporate and musical expertise. Also on-hand from Clair’s brands was broadcast specialists, Plus 4 Audio, which supported Sky Sports, which televised the event. There were plenty of audio sources to work with, too—the evening was introduced by comedian Jack Whitehall, and there were also performances from Clair Global clients Take That (Skan PA Hire), and Kane Brown, Machine Gun Kelly and Tems (Clair Global). Britannia Row Productions account executive Tom Brown, noted, “For this project, our aim was to adequately cover the room given the extreme weight limitations in the roof—the set design was centered around a 360-degree wall. Our P.A. had to fit within the given restrictions, keeping every member of the live audience in mind whilst flying equipment within the specified weights.” Turning Up the Volume for ‘Black Sabbath – The Ballet’ With those restrictions in mind, Josh Lloyd, Britannia Row’s head of Engineering, designed a sound system based around an L-Acoustics rig with K2 main hangs, KARA II enclosures, KS28 subwoofers, and A10 Focus enclosures for front fill. Yamaha Rivage PM Series control surfaces were used for mixing spoken word and presenter speches, while musical portions were mixed on DiGiCo Quantum 338 control surfaces. Wireless RF systems onsite were a mix of Shure AD Axient Digital handhelds and Sennheiser 6000/9000 handhelds, with Shure PSM 1000 in-ear monitoring used throughout. F1 75 live production manager, Chris Vaughan, shared, “This was quite a unique experience, not only for us, but for the F1 teams. We had to produce a show that consisted of 10 bespoke car launches and make a night of memorable entertainment. It’s a very similar event style to the BRIT Awards, which Britannia Row works across every year, the main difference being that the ‘star’ of each segment was a car and its drivers.”

Marcoussis, France (May 13, 2025)—L-Acoustics has launched the LA1.16i, an ultra-compact, 16-channel amplified controller specifically engineered for the installation market. Purpose-built for near-field and short-throw applications where higher sound pressure levels aren’t the priority, the LA1.16i is ideal for hospitality venues, retail environments, cultural spaces and residential installations. Its high channel count enables the deployment of large quantities of speakers—for example, up to 48 x4i compact enclosures—while its space-efficient, 1U design maximizes rackspace utilization and cuts costs. The LA1.16i is described as ideal for front-fill and delay systems in theaters and performing arts centers, distributed background music systems in restaurants, hotels, and retail spaces, L-ISA spatial audio and Ambiance active acoustics installations, and home cinema and yacht entertainment systems. “Following the success of our LA7.16i amplified controller, we identified a clear need for a complementary solution for small to medium installations,” says Genio Kronauer, executive director of R&D, Technologies and Platforms at L-Acoustics. “The LA1.16i applies the same innovative approach to these applications, significantly reducing the cost-per-channel of amplification while maintaining the sonic signature and reliability that L-Acoustics is known for.” Like its predecessor, the LA1.16i incorporates L-SMART, L-Acoustics’ patented power management technology that intelligently matches real-time power delivery to the needs of the loudspeaker system. This innovation optimizes efficiency and is said to ensure reliable performance while reducing energy consumption compared to traditional amplifier designs. For network integration, the Milan-certified LA1.16i supports Milan-AVB and AES67 audio network protocols with seamless redundancy, alongside AES/EBU and analog inputs. Installation-friendly features include terminal block connectors for all audio outputs, GPIOs for third-party control system integration, and a 24V DC backup power input for the DSP card. The LA1.16i is remotely configurable, monitored using L-Acoustics LA Network Manager software, and offers integration with popular media control systems through Q-SYS plugins, Crestron modules, and HTTP API. The L-Acoustics LA1.16i will ship in summer 2025.

Max Cooper performed at the L-Acoustics Keynote 2025 using L-Acoustics DJ, a solution intended to transform stereo into a true spatial audio experience. Photo: Maria Zhytnikova. London, U.K. (May 8, 2025)—At its London keynote yesterday, L-Acoustics introduced a number of solutions, launching the LA1.16i installation amplifier and Soundvision Connect cloud-based 3D sound modeling software, but the highlight for many attendees was the debut of L-Acoustics DJ, a new offering intended to turn traditional stereo DJ setups into immersive spatial audio experiences. Key to the solution is the company’s proprietary Source Separate technology, a low-latency, machine learning-powered technology for separating stereo music into multiple discrete stems, live. The resulting multi-channel stems are routed directly into a spatial mix engine, enabling immediate positioning and movement throughout the venue. The technology works with both digital and analog DJ systems, so DJs can use their existing equipment and do not have to change their workflows or mixing techniques. Instead, DJs can control the immersive experience themselves or work with a dedicated spatial audio engineer. L-Acoustics, d&b Launch Milan Manager V2, Website As might be expected, L-Acoustics DJ ties into other offerings from the company, including L-Acoustics loudspeakers, amplified controllers, L-ISA Processor II and the P1 networked audio processor. L-Acoustics DJ, however, makes use of purpose-built software featuring an updated L-ISA Controller with the L-Acoustics DJ App, LA Network Manager and Soundvision. The DJ App was reportedly designed to be intuitive for novice users who may not have extensive technical backgrounds, allowing them to position elements and stems within and around a physical space to build sonic landscapes of beats, instruments, vocals and more. But while the system may appeal to a DJ’s artistic sensibilities, it is also meant to help venues differentiate themselves in the ever-crowded nightlife milieu. Underlining the technology’s possibilities, DJ Max Cooper performed using the solution at the Keynote. No pricing was announced, but L-Acoustics DJ is expected to ship in Fall, 2025.

In a significant achievement for both consumer safety and intellectual property rights, L-Acoustics has successfully won legal judgments against two European counterfeiters of its professional audio equipment. These legal actions underscore the company’s unwavering commitment to ensuring audience safety and protecting the market for legitimate partners. Working through its dedicated Anti-Counterfeiting Task Force, L-Acoustics pursued legal action in both Germany and Norway against companies that were acquiring and renting fake L-Acoustics products, including loudspeakers and electronics. Initial analysis of the seized counterfeit products revealed alarming safety concerns, including metal components only half the required strength of authentic L-Acoustics specifications—resulting in a 48% decrease in safety factor. Seized counterfeit L-Acoustics products ready for environmentally responsible recycling In Germany, the court ruled against a rental company utilizing counterfeit Kara loudspeakers, rejecting their defense that they were not liable as they were only renting the equipment rather than selling it. The tribunal recognized the products as counterfeit, prohibiting the company from using other fake products. Critically, the court also mandated the disclosure of information regarding the origin of the counterfeit products, enabling L-Acoustics to investigate potential larger distribution networks. “L-Acoustics extends its appreciation to the German court for this significant ruling,” expresses Laurent Ostojski, Senior Legal Counsel at L-Acoustics. “This judgement not only protects our intellectual property but also helps maintain the integrity of the professional audio market.” Sorting materials from counterfeit products to maximize recycling efficiency In Norway, L-Acoustics acted against a local rental company offering counterfeit products at significantly reduced rental prices. The intervention was motivated primarily by serious safety concerns, as the fake speakers and amplifiers were being deployed in confined spaces with high occupancy at “russ bus” end-of-year student celebrations—creating a potentially dangerous situation. When faced with legal proceedings, the counterfeiter admitted wrongdoing, paid damages, and halted pending orders of additional counterfeit products from China. Sorting counterfeit cables for environmentally responsible recycling “These cases highlight our dual commitment to safety and market integrity,” says Ostojski. “The counterfeit products not only infringe on our intellectual property but present a real danger to unsuspecting audiences and venue operators. Our priority will always be protecting the public from substandard products that fail to meet proper safety standards.” All seized counterfeit products are being transported to L-Acoustics headquarters in Marcoussis, France for comprehensive analysis before being properly destroyed and recycled in line with the company’s Corporate Social Responsibility strategy. L-Acoustics is working with certified European WEEE (Waste Electrical and Electronic Equipment) organizations to ensure environmentally responsible disposal and maximum material recovery. The eco-organization eCologic, a member of WEEE in France, handled the entire destruction and recycling process, which was overseen by a bailiff to ensure compliance. Seized counterfeit L-Acoustics products being prepared for recycling at eCologic, a member of WEEE in France “In addition to identifying the rigging dangers of these fake products with half the amount of metal required for our rigorous safety standards, our investigation also revealed that some of the counterfeit amplifiers had already failed before seizure,” explains Ostojski. “This underscores the risk these products pose. By ensuring proper recycling of these materials, we’re removing dangerous products from the market while minimizing environmental impact.” Certified WEEE organization eCologic handling the waste from counterfeit products, ensuring safe disposal L-Acoustics manufactures all products in Europe under strict quality control and safety standards. More information about the L-Acoustics Anti-Counterfeiting Task Force can be found at l-acoustics.com, where users can also report any suspected counterfeit L-Acoustics products.

The two pro-audio manufacturers behind Milan Manager have launched a website for the network management solution. New York, NY (March 18, 2025)—At InfoComm 2024, d&b audiotechnik and L-Acoustics unveiled Milan Manager, the network management solution for Milan-AVB technology that they created in collaboration. With the arrival of Milan Manager V2.0, the software is also getting its own unique website, milanmanager.com, which will be a centralized, manufacturer-neutral resource for those looking to implement Milan-AVB networks. There, users can download Milan Manager software free of charge. The new website helps usher in a new upgrade to the software with likewise new features, the most significant being the addition of an advanced offline mode that enables pre-configuration of Milan-AVB networks using an embedded library of certified products. Designs can then be saved as a file for future use or directly applied to the devices once they are connected to the network. L-Acoustics and d&b Team to Develop Software Platform “The launch of milanmanager.com represents a milestone in simplified network management,” said Genio Kronauer, Executive Director of R&D, Technologies and Platforms at L-Acoustics. “This dedicated platform demonstrates our commitment to making Milan-AVB technology accessible to the entire professional audio community.” “By providing a neutral, centralized resource for Milan Manager, we’re fostering broader adoption of Milan-AVB networks across the industry,” said Matthias Christner, Head of R&D Systems & Technologies at d&b audiotechnik. “This platform will serve as a foundation for continued collaboration and innovation.” Milan Manager continues to be free to use and provides numerous features, including automatic device discovery, streamlined network configuration, and real-time status monitoring.

L-R: Kirk Powell (Engineer-in-Charge for ATK/Clair Global), Luis Montes (Clair Global Patch Master) and Dave Caldwell (Clair Global Network Manager), with a Focusrite rack of RedNet components, at the site of Super Bowl LIX. Photo credit: Bill Brungard. New Orleans, LA (February 10, 2025)—This year’s Super Bowl had it all, from a much-anticipated rematch between the Eagles and Chiefs, to halftime headliner Kendrick Lamar, fresh off multiple Grammy Award wins last week. While 113 million people at home tuned in to see Philadelphia rout Kansas City inside New Orleans’ Caesars Superdome, those in attendance heard all the action thanks to ATK Audiotek, a Clair Global company, which has been the live-sound provider for the Super Bowl for nearly 30 years. ATK is responsible for all “in-bowl audio,” including pre-game, halftime and in-game sound. Its work also extends to distributing signals for key partners such as NFL Films, NFL Network, and Westwood One Radio. To accomplish that, ATK utilized a digital audio signal path that used a Dante networked audio infrastructure featuring 96 components from Focusrite’s RedNet range of Dante-networked audio converters and interfaces—one of the most complex and expansive audio distributions ATK had ever undertaken. “The Super Bowl presents a massive logistical challenge every year, requiring the coordination of a vast number of diverse audio sources and ensuring they are routed accurately to their respective destinations,” said Kirk Powell, engineer-in-charge for ATK/Clair Global. “Managing this complex network of audio signals demands reliable and flexible technology, which is why Focusrite RedNet components are a crucial part of our operations. We’ve thrown in all our spare equipment to meet the demands of this event, and the result is an incredibly sophisticated and reliable system. RedNet’s seamless connectivity and adaptability allow us to efficiently handle the intricate demands of the event, ensuring everything runs smoothly and meets the high standards expected for such a large-scale production.” Delivering the Super Bowl Experience ATK used RedNet units variously for PA distribution, field audio, production trucks, and front-of-house and monitor positions. More than a half-dozen D64R 64-channel MADI bridges were used between entities to ensure clock synchronization and inter-system audio transfer and sharing without relying on a common master reference clock. Meanwhile, 20 D16R MkII 16-channel AES3 I/O units managed digital signal transport with AES for smaller channel counts and 32 A16R MkII analogue I/O interfaces provided analog backup for the P.A. system, which ran AVB (Audio Video Bridging) instead of Dante. A dozen MP8R 8-channel remote-controlled mic pres helped capture audience reaction and Atmos microphones for Apple Music’s Atmos halftime mix, and six AM2 stereo audio monitoring units were used to further support audio signal distribution. ATK’s audio team for the event, both at its Valencia, California facilities and on-site in New Orleans at the Super Bowl included mixers Dave Natale and Alex Guessard (front of house for entertainment), Jack Bowling (front of house for the game), Tom Pesa and Chris Daniels (monitor engineers for entertainment), and Cameron Stuckey from Professional Wireless handling wireless audio. P.A. design and implementation for the game’s L-Acoustics system were overseen by system tech Johnny Keirle from Clair Global. As in previous years, ATK prepped the system in the home office in Valencia, testing the system before shipment. However, due to tight scheduling constraints following a Beyoncé show in Houston, the team had just five days in the shop before heading to New Orleans for the Super Bowl.

Britannia Row fielded an L-Acoustics P.A. for the Offspring’s homecoming show in Anaheim, Calif. Photo: Ashley Osborn. Anaheim, CA (August 21, 2024)—Pop-punk pioneers The Offspring have been playing festivals around the globe this year, hitting the likes of Download, Hell Fest and BottleRock, but likely the group’s coolest gig of 2024 was its homecoming headline show in Anaheim, California’s Honda Center, marking the 30th anniversary of the group’s breakthrough album, Smash. On hand to help keep the pedal to the metal throughout the night—and the entire global run in different capacities—has been audio provider Britannia Row Productions. For the Anaheim show, Brit Row fielded an L-Acoustics K1/K2 system. Out at the FOH position, engineer Greg Bess kept tabs on the mix with a Cadac J-Type analog console and a Cadac CDC Four compact digital mixer, while monitor engineer Jesse Cantrell opted for an SSL 550 Plus to handle the band’s monitoring. While monitors for The Offspring have long been mixed on a vintage Midas Heritage 3000, Cantrell opted for an SSL L550 for certain shows—including the Anaheim event. “Their show is growing,” Cantrell explained. “Dexter [Holland, frontman] and the band have some cool ideas to take this show to a new level and we needed more flexibility at monitor world to allow that to happen.” He chose the SSL, noting that its sound was “as close to analogue as it can get,” adding, “I’ve mixed on almost every console out there and for what this band is used to hearing, it was the right choice.” While all of the band sports Ultimate Ears in-ear monitors that get signal from Shure PSM 1000 wireless, the stage is also typically covered with d&b audiotechnik M2 wedges, bolstered by sidefill hangs of two L-Acoustics A15 over one KS28 sub on each side of the stage. Cantrell is supported by monitor tech Emily Adams, credits her expertise with helping to enable a stress-free show: “With Emily on stage, I can trust that everything is patched and mic’d up correctly. She takes care of everything so I can focus on mixing.” The Offspring heard itself via Ultimate Ears IEMs on Shure PSM 1000 wireless, supplemented by d&b M2 wedges. Photo: Ashley Osborn. Meanwhile, out in the crowd was the band’s longtime FOH Engineer, Greg Bess. For the Anaheim show, he noted, “We did slight modifications from our standard K1 over K2 configuration. We carefully matched the angles of the hangs to keep phase alignment as close as possible. For side coverage we had K1SB over K2 and kept our two center hangs of Kara to fill the elusive center coverage, which can be missed by stacked front fills. For ground subs, we used KS28, one high across the entire width of the stage in a sub-arc set-up. This prevents annihilating the first few rows of the audience with inordinate amounts of low end. Overall, our coverage and punch were fantastic!” Along with his standard Cadac consoles at FOH, Bess uses outboard units such as a Lexicon 960L, Gentner Audio Prism, Universal Audio Little Labs IBP, SPL Stereo Vitalizer Mk2-T 9739, and a Valley People PR-10 Rack with Kepex II to name but a few. Blink-182 Hits The Road ‘One More Time’ Joining Bess at the Offspring FOH position this year is audio tech Jess Loma, who not only checks coverage and balance in every venue, but also works on the multitracking/streaming feeds. “[That] allows Greg to focus on getting his mix levels for the show while I get the levels for any streams and multitracking,” she said. “For outboard feeds, we work on the same desk and so at the same time during soundcheck, we need to make sure that we tell each other if any adjustments are needed that could affect each other’s feed.” For the festival control package, Loma has an ATI Paragon II P2P desk modified with a reduced frame size, and custom-built API group/matrix outputs. She explained, “The channel direct outputs are fed to 2-24 channel BBR1-B recorders for tracking as well as a Sennheiser AMBEO VR mic for audience pickup through a Black Lion Auteur Quad Mic pre. For streaming and media feeds, we use multiple matrix mixes to change the balance of the signal to suit the difference between the main mix and a more appropriate balance sent to two track feeds. Additionally, we have another mix sent to a Tascam Portacapture X8 for quick transfer to social media shots.”

The Outsiders musical is based on the classic YA novel. New York, NY (June 6, 2024)—S.E. Hinton’s coming-of-age novel, The Outsiders, has been reimagined as a Broadway musical, delivered via L-ISA technology and the first L-Acoustics L Series loudspeaker deployment on the Great White Way. “People’s expectations of the aural experience in a performance have changed, and I think it’s up to theater artists to stay in front of that,” contends David Strang, vice president, audio sales for PRG, which supplied the L-Acoustics systems for the new production playing at the Bernard B. Jacobs Theatre in Times Square. “This isn’t a movie that you’ll get to watch at home later—it’s live theater—and this new production of The Outsiders truly draws you into the story.” The new show is nominated for 12 Tony Awards including best musical and best sound design of a musical for sound designer Cody Spencer. Like many Broadway houses, the Jacobs Theatre was once a vaudeville venue, designed to project unamplified speech and music. “Acoustics are always a big issue when it comes to Broadway houses, just by their nature, so it definitely was something we spent a lot of time figuring out how to deal with,” says Cody Spencer. L-Acoustics Soundvision design and prediction software was critical in defining the boundaries of coverage, keeping energy away from reflective surfaces and on the audience in every seating area. The show uses an L-Acoustics L-ISA system. Spencer and his team, including L-ISA programmer Stephen Jensen, production audio lead Mike Tracy and front-of-house engineer Heather Augustine, went all-in on immersive sound and L-ISA technology. “The reason that I chose to use L-ISA is because early on, in communication with my director, music department and choreography team, we wanted the audience to be encompassed by the sound. With much of the show, the audience is ‘inside’ the actors’ heads—it’s a play in which much of the action is being recalled by characters instead of happening in the moment. Using L-ISA, we’re able to get people feeling the sound from all around them at all times. Early on in the show, for instance, our lead character gets kicked in the face, and you can hear the kick, but then you also hear his ears ringing—not just in front of you but all around you. Those kinds of effects help to make you feel like you’re actually part of his world.” The Simmering Sounds of Alicia Keys’ “Hell’s Kitchen” Two centrally flown sub arrays of three KS21 each are bolstered by two more KS21 positioned left and right, under the stage. The balcony delay system features five Scene arrays of two A15 Focus flanking Extension arrays of two A15 Wide. Seven spatialized X8 mounted across the face of the stage serve as front-fills for main-floor seats, and various combinations of X12, X8, and 5XT are deployed as other fills, as needed. A combination of LA7.16, LA12X, and LA4X amplified controllers drive the system. “We also have a row of compact 5XT speakers for the middle of the orchestra that helps get the high end to the very front of the overhang,” Spencer says, “and then another row of X8 as spatial fills to fill in the back of the orchestra underneath the overhang.” The main system’s surround arrays utilize a combination of X8 and A10 enclosures, while the balcony surrounds are four Syva, deployed two per side, he adds.

New York, NY (December 21, 2023)—Join us as we look back at our most popular articles of 2023, according to Google Analytics. The Mix Top 20 of 2023 lists our most-read news stories, reviews, blog posts, profiles and interviews of the year, so this Top 20 was chosen by YOU, our readers (Don’t miss Part 1, Part 2 and Part 3)! We’ll see you tomorrow with the conclusion — Mix’s Top 20 Articles of 2023, Part 5!   8. Legendary Punk Producer Glen “SPOT” Lockett, Dead at 71 (03/06/2023) By Clive Young. Glen “SPOT” Lockett produced many of the earliest releases by essential punk acts Black Flag, Hüsker Dü, Misfits, Minutemen and others. 7. The Epic Effort to Save a Rare Focusrite Studio Console (03/22/2023) By Mix Staff. Only 10 Focusrite Studio Consoles were ever built, and only four remain. Now one has been brought to the U.S. from a shuttered studio in Africa and painstakingly restored. 6. Robert Plant & Alison Krauss Raise the Roof on the Road (08/16/2023) By Clive Young. How the audio team on Robert Plant and Alison Krauss’ “Raise The Roof” tour brought the chemistry on stage to the crowds nightly. 5. Counterfeit Speakers Seized; Sound Co. Slammed with $5m Judgment (09/27/2023) By Clive Young. 136 fake L-Acoustics products were seized from Tampa-based rental company Se7ven Sounds Music, Inc. and will be destroyed. It’s the latest incident in a slow-but-steady rise in counterfeiting that is seeing the pro-audio industry get invaded by fraudulent equipment.   COME BACK TOMORROW FOR THE CONCLUSION – THE TOP 4 PRO-AUDIO STORIES OF 2023!