L-Acoustics deployed an L-ISA Live sound system during a performance of Verdi’s Requiem by the Orchestre National de Lille (ONL) and the Choeur Régional Hauts-de-France at Lille’s Stade Pierre-Mauroy.
The 30,000-capacity stadium, home to Lille’s football club, was the venue for a performance that intended to bring classical music to the widest possible audience. Founded by Jean-Claude Casadesus and the Nord-Pas de Calais region in 1976, the ONL has resolutely focused on ‘bringing music wherever it will be heard’ ever since, performing in over 30 countries around the world. After spending 40 years as the head of the ONL, Conductor Casadesus lead the three series each season, while forging a stellar international career. François Bou, Managing Director of the ONL consulted L-Acoustics founder Christian Heil. The L-Acoustics team custom-designed an L-ISA immersive sound system to face the hurdle of delivering the power of a world-renowned orchestra to the entire audience.
“Our challenge was to put on a classical music performance for 13,000 people in a football stadium but make it sound like an acoustical performance in an intimate venue”, explains ONL Front of House Engineer François Gabert, who worked with Frédéric Blanc-Garin, Sound Engineer of the project. “When L-Acoustics told us that they had a product that could dramatically improve the experience for the audience, Fred and I were intrigued,” Gabert added.
L-ISA, which stands for Immersive Sound Art, is a breakthrough in immersive audio technology, combining L-Acoustics’ industry-leading sound design and world-class loudspeaker systems with sophisticated processing tools to create a hyperrealistic soundscape at live shows.
Sherif El Barbari, L-ISA Head of Applications, studied the Stade Pierre Mauroy closely, modelling it in L-Acoustics’ Soundvision software before proposing an L-ISA system comprising seven hangs of 9 Kara stretched across the stage, to deliver hyper-localised sound. A mirror system of seven ground stacks of 2 Kiva II’s, each across the stage lip providing a front fill. Two hangs of 8 K2’s served as outfill and two central hangs of 4 KS28 subwoofers provided low end. The entire system was driven by LA8 and LA12X amplified controllers. An L-ISA Controller provided an advanced object-based multichannel environment for the event. “We found the L-ISA controller very simple to use. The interface is intuitive and very functional. Once the sources are placed in their space, the mixing is fairly conventional and any adjustments within the software during the concert were quick and easy. “I look forward to working with L-ISA again and deepening this experience. L-ISA has a bright future ahead,” Gabert concluded.
