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L-Acoustics K2-KS28 Sound Package Used, Second hand

Ref. code: 1.01.385
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K2

The K2 is the full range element of a WST line source with variable curvature and adjustable horizontal directivity. The K2 loudspeaker enclosure is based on a 3-way active design. It comprises 4 input sections: 2 LF and 1 MF at a nominal impedance of 8 ohms, and 1 HF at a nominal impedance of 16 ohms. It features two 12'' speakers and four 6.5'', all direct-radiating neodymium speakers mounted in a bass-reflex enclosure, and two 3'' neodymium diaphragm compression drivers coupled to individual DOSC waveguides and adjustable directivity fins. The transducers are implemented in a K-shape configuration. The cabinet is made of machined first grade Baltic birch plywood combined to die cast aluminum side panels to ensure maximum acoustical and mechanical integrity while reducing weight to the minimum. A four-point rigging system is integrated into the cabinet.
The K2 enclosure operates over the nominal frequency range of 35 Hz to 20 kHz. Its LF resources can be reinforced with the dedicated K1-SB extension and its bandwidth can be extended down to 25 Hz with the SB28 subwoofer. In the horizontal plane, the directivity is adjustable down to 300 Hz, with two symmetric settings (70° or 110°) and two asymmetric settings (90° as 35°/55° or 55°/35°).
The K2 rigging system allows vertical assembly of enclosures with various inter-element angles (up to 10°), constituting a line array with variable curvature. The combination of the coplanar symmetry and the DOSC waveguide in the HF region ensure a perfect acoustic coupling between the elements of an array. The WST (Wavefront Sculpture Technology) criteria are fulfilled, so that such an array can be qualified as a true line source. Any WST line source provides a smooth tonal response and a coverage that is free of secondary lobes over the entire frequency range.
The K2 is driven and quad-amplified by the LA8 or LA4X controller with factory presets which ensure linearization, protection, and optimization for the loudspeaker system.

KS28

L-Acoustics subwoofers complement systems in applications where extended bandwidth is required. All subs incorporate high excursion drivers, ultra-low vibration walls and laminar airflow L-Vents with a flared profile, resulting in dramatic reduction of port noise, maximized dynamics and power handling and an exceptional level of performance.
L-Acoustics subwoofers can be deployed in diverse modes, making them versatile enough to address any rental or fixed installation application. Engineers and sound designers can choose from standard or cardioid configurations, creating a variety of symmetric and asymmetric directivity patterns adapted to each specific design.

Features
  • +3 dB SPL (vs. SB28)
  • 79 kg / 174 lbs
  • Fast and captive rigging
  • Exclusively driven by LA12X

LA12X

Power Supply

The LA12X relies on a proprietary switch mode power supply (SMPS) equipped with a DSP-controlled PFC, capable of delivering 12,000 W regardless of mains voltages (from 240 V down to 100 V.) The PFC offers high immunity to unstable mains and lowers typical power consumption by up to 40% for the same usage conditions i.e., more power is available to the output stages from a given circuit (16 A at 230 V mains, 30 A at 120 V mains).
In addition to the high raw RMS power rating, the ability to deliver energy (power x hold time) yields the best performance from loudspeaker systems, especially in LF reproduction.

I/O

The four LA12X inputs are available in analogue, AES and AVB. Four cascaded 24-bit and 96 kHz A/D converters at the front-end yield an impressive encoding dynamic of 130 dB. AES/EBU digital inputs operate with sample rate converters from 44.1 kHz to 192 kHz. Automatic fallback functions make the creation of redundant audio paths possible with constant delay and constant level.

DSP

Operating at 96 kHz with 32 bit float precision, the DSP combines IIR and FIR filters to generate perfectly linearized phase curves and significantly improved impulse responses for an even, more natural, transparent and realistic sound experience.

Engineer Workflow Tools

Positioned after the DSP block dedicated to gain, delay and polarity adjustment of the system, the advanced DSP tools can be used along the live engineering workflow, comprising three steps from overall system settings to specific adjustments:
First, setting the frequency response of the line source with Array Morphing: the System Engineer can easily achieve the same tonal balance for different geometry line source arrays and combine different line source speakers in the same installation while offering the same sonic signature.
Second, ensuring the linearization of HF using plateau FIR filters and the air absorption compensation filter. In long throw applications, high frequency propagation can be strongly affected by air absorption. Compensation of this phenomenon re-establishes the original frequency response of loudspeaker enclosures, up to a limit dictated by the need to preserve a maximum of the driver resources.
Third, tweaking the system response (EQ station features) using the pool of 8 IIR filters to fine tune the system within its environment and notch out frequencies.

System Protection

The latest L-DRIVE protection system carries out an advanced analysis of signal level. When transducers operate in the nonlinear domain, either at high excursion, high temperature or high voltage, L-DRIVE acts as a smart power regulator to extend the component durability, while maintaining the highest dynamic range. The L-DRIVE circuit has been designed to preserve the sonic transparency of the system.

Software and Network

The design of complex systems is made possible by the integration of the L-NET Ethernet-based network. Thanks to its high speed data transfer protocol of 1 Gbit/s, up to 253 units can be controlled and monitored in real-time by the LA Network Manager software. Multiple network topologies such as daisy-chain, star, and hybrid, are quickly and easily configurable for full flexibility in the required system architecture. The computer running LA Network Manager and the units are connected to each other by using industry standard CAT5e U/FTP fitted cables. Optimized for Mac, and Windows, platforms, LA Network Manager relies on a purely graphical approach and allows amplified controller units and groups to be dragged and dropped in a workspace that reflects their location in the field.
It is designed to quickly take the user through the workflow process of Setup, Tuning, and Live by implementing the tools required for each task into the dedicated page for each process. An advanced network engine allows automatic discovery of connected units. Multiple-group assignation capability, comprehensive real-time monitoring with event logging, as well as numerous productivity tools underpin the remarkably practical and application oriented network management software.
For third party management solutions, L-Acoustics provides SNMP support to facilitate the integration via third party control and monitoring systems. As a certified member of the CRESTRON, and EXTRON, partner programs, L-Acoustics also provides software modules allowing control integration into their automation systems, for ultimate convenience in cultural and event centers, universities, houses of worship, sport facilities, etc.

Features
  • 12,000 W with record hold times
  • Universal SMPS with Power Factor Correction
  • High tolerance to unstable mains (100-240V)
  • Boosted DSP resources
  • 4 x 4 architecture for passive systems
  • AVB/TSN-ready

L-Acoustics LA8

Amplified Controller

The LA8 amplified controller belongs to the new generation of high-end integrated controllers entirely dedicated to the comprehensive operation of L-ACOUSTICS loudspeaker systems. The LA8 combines in a 2U lightweight chassis the resources of a 2 x 4 DSP engine driving four channels of amplification delivering up to 1800 W each, a storage capacity of 99 presets, a user-friendly front panel interface, two I/O Ethernet connection ports for network remote control, a connection panel for audio inputs and speaker outputs, and a digital I/O audio network optional slot.

Features
  • Cutting edge loudspeaker amplification, DSP, network
  • High-grade 24 bit A/D converters, 130 dB dynamic range
  • 96 kHz/32 bit floating point SHARC DSP
  • 4 channel high efficiency amplifier section fed by 2 inputs
  • LA4: 4X1000W/4 Ohms, LA8 4X1800W/4 Ohms
  • Advanced dual IIR/FIR filter algorithms
  • Exclusive L-DRIVE system protection
  • Complete onboard L-ACOUSTICS preset library
  • LA NETWORK MANAGER 2.0 PC software for remote control & monitoring
  • AES/EBU Standard on LA8 and LA-RAK
Technology

DSP
Proprietary algorithms are processed in a 32-bit floating point DSP engine at a 96 kHz sampling rate. A dedicated engineering approach combining IR and FIR filters allows generating perfectly linearized phase curves and significantly improved impulse responses for an even more natural, transparent, and realistic sound experience. Two cascaded 24-bit A/D converters at the front-end yield a ground-breaking encoding dynamic of 130 dB. The L-DRIVE protection system carries out a dual analysis of signal level in real-time and RMS. Under extreme conditions when component membranes reach the over-excursion zone or if the coil ensemble temperature reaches a critical point, L-DRIVE acts as a power regulator. As a result the amount of power delivered at any channel is adjusted to the dynamic and thermal capacity of each individual transducer. This optimizes the power resources while preserving the highest dynamic range. With a complete preset library and the possibility of creating additional user presets, the engineer is offered fingertip access to all the usual L-ACOUSTICS loudspeaker system configurations.

Amplification
The four amplifier channels driven by two inputs provide optimum system flexibility. The LA4 and LA8 offer two specific power ranges (4 x 1000 watts into 4 ohms, and 4 x 1800 watts into 4 or 2.7 ohms, respectively) yielding perfect power matching to each individual L-ACOUSTICS loudspeaker system. The built-in technologies allow control of the very wide dynamic range found in live audio productions while the high-efficiency components offer superior reliability, all from a sleek ergonomic package with exceptional weight/size ratio.

User Interface
The front panel user interface features extremely fast access to edit the 2 input and 4 output settings. The encoder wheel gives instant access to the user menus and the LCD screen offers real time visualization of the system parameters. Command access includes mute, gain, preset selection, plus delay and polarity settings. Navigation through the menu pages is fast and intuitive. Beside the standard on-board preset library, the engineer can design and store his own settings (initialized from a standard preset template) in one of the 10 available user locations.
 

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Used L-Acoustics


L-Acoustics is a French manufacturer of loudspeakers, amplifiers and signal processing devices for rental and installed sound markets. Headquartered in Marcoussis, just south of Paris, the company has satellite operations in the United States, United Kingdom and Germany, as well as a global Rental Network of production companies deploying and cross-renting its products. The company is also known for providing music festivals with its loud, powerful sounding speakers.In September 1984, Dr. Christian Heil, a physicist in the field of elementary particles with a passion for sound, created an electro-acoustic engineering firm named C.HEIL.TEA, later to be renamed L-Acoustics. In 1989, the company launched its MTD115, a high-performance coaxial loudspeaker for sound reinforcement use.
In 1992, Heil and his team pioneered the field of modern line source array loudspeakers with their V-DOSC system, which benefitted from L-Acoustics’ new Wavefront Sculpture Technology (WST) theory. Based on principles developed by Heil and fellow physics colleague Professor Marcel Urban, WST defined five criteria for design and use of true line source arrays. At the heart of WST is the internationally-patented DOSC waveguide, which was the first high-frequency device capable of creating a rectangular, constant-phase planar output.
In combination with WST, coplanar symmetry - the equivalent of coaxial assembly for HF, MF and LF drivers in vertical arrays - provides a coherent wavefront over the entire horizontal coverage at all frequencies. This behaves as if the sound was radiated by a single, continuous and articulated ribbon, and allows a highly coherent sonic signature in long throw applications, beyond the limits of previously traditional clustered systems.
Although Heil did not invent the underlying theory of the line array, his research and design work that ultimately resulted in the V-DOSC system altered the landscape of loudspeaker design. Today, nearly every professional audio loudspeaker manufacturer has adopted the line array model for their premier touring systems, and Heil is generally recognized as the "father of the modern line array."
Over the years, L-Acoustics has gone on to introduce other products, including the ARCS Constant Curvature Array (1995), dV-DOSC modular line source (1999), Kudo with K-Louver variable directivity (2005), P Series self-powered coaxials (2006), SB28 subwoofer with laminar vents and LA4 and LA8 amplified controllers (2007). The debut of L-Acoustics’ Soundvision simulation software in 2004 enabled system designers to create accurate 3D acoustical models of potential systems using the company’s products.
In 2008, 15 years after the launch of V-DOSC, L-Acoustics introduced its newest flagship system known as K1, designed primarily for large festivals and stadium sound reinforcement applications. Distribution of the earliest K1 systems sold was extremely limited to a small number of touring sound companies that agreed to participate in the manufacturer’s K1/Kudo Pilot Program,[7] providing feedback to L-Acoustics’ R&D team on its field performance.
Since then, the manufacturer has established both its new Rental Network and System Integration Charter, as well as debuted other new products, including the Kara and Kara(i) WST line source enclosures and SB18 and SB18i subwoofers (2010).
The K1 stadium line array system was recognized with the top prize for "Indispensable Technology - Audio" at the 10th annual Parnelli Awards ceremony held at the Rio All Suites Hotel & Casino in Las Vegas on October 22, 2010.

 

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Active: Powered. An active crossover is electrically powered and divides the line-level signal prior to amplification. An active speaker includes an active crossover and built-in amplifier.

Actuality: Audio from an announcer speaking.

Amplifier: A component that increases the gain or level of an audio signal.

Balanced Input: A connection with three conductors: two identical signal conductors that are 180 degrees out of phase with each other, and one ground. This type of connection is very resistant to line noise.

Bandpass: A two-part filter that cuts both higher and lower frequencies around a center band. A bandpass enclosure cuts high frequencies by acoustic cancellation and low frequencies by natural physical limitations on bass response.

Bandwidth: In audio, the range of frequencies a device operates within. In video, the range of frequencies passed from the input to the output. Bandwidth can also refer to the transmission capacity of an electronic communications device or system the speed of data transfer,is very important when planning a meeting for the attendees to stay connected.

Bass: Low frequencies those below approximately 200 Hz.

Bi-Wiring: A method of connecting an amplifier or receiver to a speaker in which separate wires are run between the amp and the woofer and the amp and the tweeter.

Boost: To increase, make louder or brighter opposite of attenuate.

Bridging: Combining two channels of an amplifier to make one channel that more powerful. One channel amplifies the positive portion of an audio signal and the other channel amplifies the negative portion, which are then combined at the output.

CD: Compact Disc. Ubiquitous digital audio format. Uses 16-bit/44.1-kHz sampling rate PCM digital signal to encode roughly 74 or 80 minutes of two- channel, full-range audio onto a 5-inch disc.

CD-R: Recordable Compact Disc.

CD-RW: Rewritable Compact Disc.

Channel: In components and systems, a channel is a separate signal path. A four-channel amplifier has at least four separate inputs and four separate outputs.

Coloration: Any change in the character of sound (such as an overemphasis on certain tones) that reduces naturalness.

Crossover: A component that divides an audio signal into two or more ranges by frequency, sending, for example, low frequencies to one output and high frequencies to another. An active crossover is powered and divides the line-level audio signal prior to amplification. A passive crossover uses no external power supply and may be used either at line level or, more commonly, at speaker level to divide the signal after amplification and send the low frequencies to the woofer and the high frequencies to the tweeter.

Crossover Frequency: The frequency at which an audio signal is divided. 80 Hz is a typical subwoofer crossover point and is the recommended crossover point in theatrical and home THX systems. Frequencies below 80 Hz are sent to the subwoofer signals above 80 Hz are sent to the main speakers.

Cut: To reduce, lower opposite of boost.

Decibel (dB): A logarithmic measurement unit that describes a sound`s relative loudness, though it can also be used to describe the relative difference between two power levels. A decibel is one tenth of a Bel. In sound, decibels generally measure a scale from 0 (the threshold of hearing) to 120-140 dB (the threshold of pain). A 3dB difference equates to a doubling of power. A 10dB difference is required to double the subjective volume. A 1dB difference over a broad frequency range is noticeable to most people, while a 0.2dB difference can affect the subjective impression of a sound.

Delay: The time difference between a sonic event and its perception at the listening position (sound traveling through space is delayed according to the distance it travels). People perceive spaciousness by the delay between the arrival of direct and reflected sound (larger spaces cause longer delays.

Diaphragm: The part of a dynamic loudspeaker attached to the voice coil that produces sound. It usually has the shape of a cone or dome.

Diffusion: In audio, the scattering of sound waves, reducing the sense of localization. In video, the scattering of light waves, reducing hot spotting, as in a diffusion screen.

Digital Audio Server: Essentially a hard drive, a digital audio server stores compressed audio files (like MP3 or WMA). Most include the processing to make the files, and all have the ability to play them back.

Direct-Stream Digital: A format for encoding high-resolution audio signals. It uses a 1-bit encoder with a sampling rate of 2,822,400 samples per second (verses 44,100 for CD). Used to encode six high-resolution channels on SACD.

Dispersion: The spread of sound over a wide area.

Distortion: Any undesired change in an audio signal between input and the output.

DNR: Dynamic Noise Reduction. A signal-processing circuit that attempts to reduce the level of high-frequency noise. Unlike Dolby NR, DNR doesn't require preprocessing during recording.

Dolby B: A noise-reduction system that increases the level of high frequencies during recording and decreases them during playback.

Dolby C: An improvement on Dolby B that provides about twice as much noise reduction.

Dolby Digital: An encoding system that digitally compresses up to 5.1 discrete channels of audio (left front, center, right front, left surround, right surround, and LFE) into a single bitstream, which can be recorded onto a DVD, HDTV broadcast, or other form of digital media. When RF-modulated, it was included on some laser discs, which requires an RF-demodulator before the signal can be decoded. Five channels are full-range the .1 channel is a band-limited LFE track. A Dolby Digital processor (found in most new receivers, preamps, and some DVD players) can decode this signal back into the 5.1 separate channels. Most films since 1992`s Batman Returns have been recorded in a 5.1 digital format, though a number of films before that had 6-channel analog tracks that have been remastered into 5.1.

Dolby EX: An enhancement to Dolby Digital that adds a surround back channel to 5.1 soundtracks. The sixth channel is matrixed from the left and right surround channels. Often referred to as 6.1. Sometimes referred to as 7.1 if the system uses two surround back speakers, even though both speakers reproduce the same signal. Software is backwards-compatible with 5.1 systems, but requires an EX or 6.1 processor to obtain additional benefit.

Dolby Pro Logic: An enhancement of the Dolby Surround decoding process. Pro Logic decoders derive left, center, right, and a mono surround channel from two-channel Dolby Surround encoded material via matrix techniques.

Dolby Pro Logic II: An enhanced version of Pro Logic. Adds improved decoding for two-channel, non-encoded soundtracks and music.

Driver: A speaker without an enclosure also refers to the active element of a speaker system that creates compressions and rarefactions in the air.

DSP: Digital Signal Processing. Manipulating an audio signal digitally to create various possible effects at the output. Often refers to artificially generated surround effects derived from and applied to two-channel sources.

DTS: Digital Theater Systems. A digital sound recording format, originally developed for theatrical film soundtracks, starting with Jurassic Park. Records 5.1 discrete channels of audio onto a handful of laser discs, CDs, and DVDs. Requires a player with DTS output connected to a DTS processor.

DTS ES: An enhanced version of the 5.1 DTS system. Like Dolby's Surround EX, a sixth channel is added. In some cases (DTS ES Discrete), the sixth channel is discrete. Software is backwards-compatible with 5.1 systems, but requires an ES or 6.1 processor to obtain additional benefit. Neo: 6 is a subset of DTS ES that creates 6.1 from material with fewer original channels.

Dynamic Range: The difference between the lowest and the highest levels in audio, it&'s often expressed in decibels. In video, it's listed as the contrast ratio.


Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.

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