L-Acoustics has unveiled a new flagship large-format Line Source system, comprising two elements: the L1 line array and the CS1 cardioid subwoofer. Already deployed on tours for Bruno Mars, Harry Styles and Joker Xue, L-Acoustics says the L1 and CS1 have broken “every performance benchmark” for large-format Line Sources.
Now a permanent fixture at the iconic Hollywood Bowl, L1 and CS1 are built around the French manufacturer’s Progressive Ultra-Dense Line Source (PULS) technology, establishing new standards for large-scale sound reinforcement, including unmatched output levels, extended bandwidth and an extremely efficient deployment system.
At the core of the L1 is an exceptionally dense transducer configuration. Each enclosure features two side-mounted 18-inch low-cardioid (LC) transducers that maximise forward energy while significantly reducing rear spill. These are complemented by 4 x front-facing 15-inch low-frequency drivers, eight 8-inch mid-frequency drivers, and six coaxial high-frequency drivers comprising 4-inch and 2.5-inch elements.
The result is a single enclosure capable of delivering a maximum SPL of 160dB across a frequency range of 35Hz to 20kHz. Paired with the CS1 cardioid subwoofer, system frequency response extends to 25Hz while providing a peak output of 150dB. According to L-Acoustics, these performance figures place the system at the forefront of its class in terms of output relative to size, weight and footprint.
“L1 represents the highest expression of power, bandwidth, and pattern control ever achieved in line array technology,” explains Germain Simon, Director of Product Management, Loudspeakers at L-Acoustics. “With PULS taken to its ultimate expression, we have broken every performance benchmark we set for large-format line source. L1 is a genuine turning point for the industry.”
L-Acoustics have noted that low-frequency directivity was also a major focus during the system’s development, making the L1 and CS1 highly beneficial for outdoor festivals and noise-sensitive venues where sound containment is a priority. Side-mounted transducers reduce rearward energy by up to 18dB between 20Hz – 250Hz, and by up to 26dB below 80Hz, helping minimise low-frequency spill beyond the audience area.
“This system makes a stadium sound a lot smaller than it is. Controlling the low end with a full cardioid PA pretty much eliminates the usual stuff rolling around these giant spaces. Once you add the finest mids and highs I’ve ever heard, the room just disappears,” notes Sean ‘Sully’ Sullivan, audio engineer for Bruno Mars.
Further control is available through L-Acoustics Soundvision software, allowing system designers to model and optimise array configurations for individual venues. The software supports prediction of low-frequency beam steering and horizontal directivity, enabling engineers to better manage coverage and minimise unwanted energy outside the listening area. L-Acoustics has also streamlined the system’s logistics. Thanks to the increased output of each enclosure, fewer L1 loudspeakers are required to achieve the performance of previous-generation systems. The result is fewer arrays to fly, fewer amplifiers and cables, reduced truck space, and faster load-in and load-out times.
“Mixing on L1 feels like driving a top-tier supercar. It’s unbelievably responsive and powerful, giving me the freedom to push the mix further than ever,” says Jun Zhang, audio engineer for Joker Xue. “Even when I pushed it to the limit, the vocals stayed silky and clear, with none of the harshness I’ve heard with other systems. And that gives me so much more confidence in my mix.”
See more about the L1 & CS1 on the official L-Acoustics website.
