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Electric Zoo Goes Wild For L-Acoustics KS28
Clearwing deploys KS28 subwoofers and LA12X amplified controllers for multiple stages at huge NYC EDM festival featuring Ti?sto, Hardwell, Bassnectar, Steve Aoki and others
NEW YORK, New York - November 2016 -- The eighth annual attracted a reported 83,000 EDM fans to Randall&s Island Park in New York City over Labor Day weekend with a lineup that featured many of the genre&s finest, including , , , , ,
and many others. According to festival organizers, this year&s event marked the highest attendance since 2013, included a fully sold-out Sunday crowd of 33,000, and drew ticket holders from 90 countries and all 50 US states.
Working closely with , the technical producer for this year&s festival, Milwaukee-based
provided sound reinforcement and lighting for the entire event, supplying the Main and Riverside Stages and the Hilltop Arena and Sunday School Grove tents with L-Acoustics , and PA systems. Of particular note, the two largest stages&Main and Riverside&benefitted from the deployment of L-Acoustics& new reference subwoofers powered by the company&s equally new amplified controllers housed in
touring racks.
&EDM festivals like Electric Zoo demand accurate, even, and powerful LF throughout the entire audience area, and the new LA12X-powered KS28s paired with our LA8-powered K1-SB arrays accomplished this task with ease, delivering extremely smooth frequency response and truly impressive SPL levels,& points out Clearwing&s Joe Spitzer, who served as the Main Stage tech, along with Phil Reynolds.
&As DJs and producers create more and more complex electronic music, the sonic accuracy and deployment of sound reinforcement systems is extremely vital,& he adds. &The previous SB28 subs were great, but the KS28s have the definition that they were missing. Even the most familiar songs and tracks now have a new life, as there are notes rarely heard reproduced so accurately. And the LF coverage is very even&something that is not always achieved when dealing with low frequencies. As expected, the headroom of the entire PA was significantly increased in comparison to using SB28s and LA8 amplifiers, which was greatly received for this event by audiences and artists alike.&
Robert Hegge, who served as Riverside Stage&s tech, along with Jeff Mayer, was equally impressed with the new subs. &Every time I take out the KS28s, I&m more impressed with them,& he says. &I still find myself being caught off guard by the extended low frequency response, which is a lot of fun. They have much better transient response compared to the SB28, and they get much louder while still maintaining a tight, clean sound. Even when ground stacking, the integrated rigging allows you to securely lock blocks of subs together, which saves a lot of time compared to messing with ratchet straps.&
According to Bryan Baumgardner, head of audio operations and logistics for Clearwing Productions, the choice of L-Acoustics was very much dictated by the artists,. &When you have Ti&sto and acts like that, they all pretty much demand L-Acoustics. So that&s the number one reason: rider acceptability,& he says.
Baumgardner reports that this was Clearwing&s debut at Electric Zoo, which was first held in 2009. But a long working relationship with festival organizers &and
ensured that everything went very smoothly, he says. &Our client had a ton of drawings of every stage and every coverage area. With L-Acoustics& Soundvision modeling software and Network Manager control and processing we were able to plan ahead. So we knew exactly what we were walking into, which helped us onsite.&
This year, Electric Zoo adopted a &Wild Island& theme. The outdoor Main Stage, constructed in the shape of a giant cobra rearing back to strike, featured two main PA hangs, each comprising 12 L-Acoustics K1 plus two K2 down fills, backed by separate arrays of eight
LF extension cabinets, all powered by
amplified controllers. Down below, a dozen KS28 subs per side were grouped in fours, flipped upright with 1.5-foot spacing between them&with eight more located in the center, configured as an end-fire array&all powered by LA12X amplified controllers. Six groundstacked K2s per side plus a dozen
provided additional fill.
On the outdoor Riverside Stage, which was encircled by an enormous, writhing octopus, the setup included eight K1 plus four K2 down fills flown per side, together with 16 KS28 subs. Two stacks of three Kara provided front-fill, while a pair of ARCS II per side handled out-fill. Power for the rig was generated from seven amplifier racks, along with two LA-RAK II containing the new LA12X amplified controllers.
The Hilltop Arena tent, made over to look like an arctic icescape, featured six K2 per side with 12 SB28 subs, together with four ARCS II for fill, with five LA-RAKs driving the system. For the tented Sunday School Grove, decorated like a tropical jungle canopy, Clearwing supplied a main system of six Kara per side plus eight SB28 subs, with fill provided by two , and with four
delays. Three LA-RAKs.
L-Acoustics speakers, which have become the monitors of choice for many of the world&s EDM artists, featured on all four stages at Electric Zoo. The Main Stage DJ fill included four Kara enclosures stacked over two SB18 subs on each side of the DJ position, plus four X15 HiQ wedges out on the stage, while the Riverside Stage was equipped with three Kara over two
per side, plus eight X15 HiQs. The Hilltop Arena monitor rig was identical to the Riverside Stage but included an additional SB18 complementing the wedge monitors for the musicians. DJ foldback at the Sunday School Grove tent comprised two X15 HiQs and a pair of SB18 subs.
Clearwing crew at the festival included account executive Steve Harvey and production manager Charly Brems. Clearwing&s support for the L-Acoustics systems was provided by Phil Reynolds and Joe Spitzer (Main Stage); Robert Hegge and Jeff Mayer (Riverside Stage); Chris Bloch and Nik Votichenko (Hilltop Arena); and Harrison Ruhl (Sunday School Grove).
Baumgardner points out that the entire event was virtually trouble-free, in part due to Clearwing being the sole vendor for both sound and lighting, ensuring an extremely smooth collaboration between the crews. &By us having control of the lighting as well, it made things that much easier. With everyone coming out of the same shop, our sound and lighting teams work together very symbiotically&everyone knows each other and knows what&s going on&which really helped create an outstanding experience for all.&
For details on this year&s Electric Zoo, visit . Backbone International and Clearwing Productions can both also be found online at
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鲁ICP备号-1【L-Acoustics推出新超低KS28以及功放LA12X】PjTime.COM 新品快讯 L-ACOUSTICS
L-Acoustics推出新超低KS28以及功放LA12X
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&&& 法国顶级扬声器品牌L-Acoustics总代理——华汇音响顾问有限公司于日下午在北京东升汇文化园林酒店举办“L-Acoustics、DiGiCo新品发布•鉴赏盛宴”。会上发布了L-Acoustics最新超低KS28以及功放LA12X。
&&& L-Acoustics KS28将低音性能提升到了一个全新的层次，紧凑的设计为之提供低于25Hz的扩展频带，并带有出众的低频分辨率和出色的最大声压级。KS28重量只有79公斤（174磅），并且由于所有的悬挂工具都集中在箱体里，可以快速省时地进行吊挂，恰恰反映了L-Acoustics音箱的标志：易用性。就像它的前身（SB28)一样, KS28适用于古典或现代的音乐表演，覆盖范围之广，从EDM电子音乐到绿地音乐节都可使用。
&&& 另外一个新产品：LA12X——拥有12000瓦功率的功放。得益于它带有功率因素校正并且由智能DSP控制的开关电源（SMPS)，使得LA12X拥有如此大的功率性能。在以往产品的记录保持下，LA12X的每条通道拥有多达3300瓦的功率，同时在不稳定电源的情况下，它依然能在100-240伏特下运行并提供其最大的耐受性。普遍的SMPS技术保证了LA12X可以在全球通用。当带有AVB技术的DSP资源面世的时候，就意味着这台功放已经可以面向世界，面向未来。4进4出结构的LA12X使得它成为目前最强大的功放，并且为租赁和固定安装项目提供了一个强大而有经济效益的选择。
&&& 据投影时代网了解，L-Acoustics最新推出的超低音KS28以及功放LA12X即将登陆于日至4日在北京中国国际展览中心（老国展馆）举办的第二十五届中国国际专业音响·灯光·乐器及技术展览会（PALM EXPO），感兴趣的朋友可以到2号馆2207 华汇音响展台进行详细了解。
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