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華匯音響顧問有限公司, 南京東路六段459號, Neihu District (2026)

05/06/2026

為什麼露天音樂節可以嗨翻天，隔壁鄰居卻能安然入睡？｜L-Acoustics 如何以非對稱架設化解近鄰噪音僵局

上一篇文章我們談了 L-Acoustics 環境降噪系統設計服務（ESD）如何從設計端走向合規落地。本篇以法國 Rio Loco 音樂節為例，看這套方法論在真實場景中如何化解一場延續四年的近鄰噪音僵局。

Rio Loco 音樂節在法國 Toulouse 的 Prairie des Filtres 場地舉辦，緊鄰 Garonne 河岸，主舞臺每日吸引 6,000 名觀眾，但場地周邊 50 公尺內即為住宅區。傳統音響系統的低頻噪音令鄰近居民不堪其擾，主辦方決定引入 L-Acoustics 環境降噪系統設計服務（ESD），尋求根本解決方案。

JMSon 技術總監 Michael Bufi 表示：「我們需要控制聲音方向性，將其引導至河岸一側，同時避開市中心的住宅區，但必須維持藝術家和觀眾所期待的高品質聲音。」L-Acoustics 設計團隊透過 Soundvision 軟體分析舞臺朝向與歷年噪音數據後，提出一套創新的非對稱架設策略：將喇叭在舞臺兩側以不對稱方式排列，在住宅方向產生聲波抵消效果，顯著降低聲音外溢，同時保持聽眾區的完整能量。

最終設計採用左右各 12 隻 K1 搭配 3 隻 Kara 下方補聲、各 6 隻 K1-SB 超低音，舞臺前方以 15 隻 KS28 採心形弧型陣列架設，使用專門為抵消效果優化的預設參數。現場實測結果顯示：住宅區 60-100Hz 頻段降低 18dB ，120Hz 處約降低 10dB。L-Acoustics 巡演應用工程師 Jean Charles Schmidt 確認：「住宅側的抵消效果在頻譜上高達 180Hz 都清晰可見。」

更關鍵的是，主辦方邀請居民協會代表親臨試音環節，讓他們直接見證噪音控制的顯著改善，而現場觀眾與混音工程師均表示音質未受任何影響。連續兩年採用相同配置並持續驗證成功後，此案例已成為城市音樂節噪音管理的重要參考。L-Acoustics 技術產品管理主管 Yann Gael Gicquel 總結道：「這不僅是一項技術成就，更證明創新可以凝聚社區而非使其對立。」

How L-Acoustics Resolved a Four-Year Noise Standoff at Rio Loco with Asymmetrical Application

In our last piece, we explored how the L-Acoustics Environmental System Design (ESD) service moves from design to compliance. In our last piece, we explored how the L-Acoustics Environmental System Design (ESD) service moves from design to compliance. This time, we turn to the Rio Loco Festival in Toulouse, France, where this methodology helped resolve a four-year neighbourhood noise standoff in a real-world setting.

Rio Loco takes place at Prairie des Filtres along the Garonne River, drawing 6,000 daily attendees to its main stage — with residential buildings just 50 metres away. Low-frequency spill from traditional sound systems had become a persistent issue for nearby residents., prompting festival organisers to engage the L-Acoustics Environmental System Design (ESD) service for a fundamental solution.

Michael Bufi, Technical Sound Director at JMSon, said: "We needed to manage sound directivity, steering it towards the river side and away from residential areas in the city centre. At the same time, it was essential to maintain the premium sound quality our artists and audiences expect." Using Soundvision software to analyse stage orientation and noise data from previous years, the L-Acoustics design team proposed an innovative asymmetrical application: positioning loudspeakers unevenly on either side of the stage to create a cancellation effect toward the residential buildings, significantly reducing sound spillage while maintaining full impact for the audience.

The final design featured L/R hangs of 12 K1 speakers with three Kara down per side, complemented L/R hangs of six K1-SB subwoofers per side. Fifteen KS28 subwoofers were deployed in a cardioid arc formation at the front of the stage, using a special preset optimised specifically for the cancellation effect. On-site measurements showed an 18 dB reduction between 60-100 Hz and approximately 10 dB at 120 Hz in the residential area. "The cancellation on the residential side was unequivocal and clearly visible on the spectrum up to 180 Hz," confirmed Jean Charles Schmidt, Touring Application Engineer at L-Acoustics.

Importantly, festival organisers invited representatives from the residents' association to attend sound checks, allowing them to witness the improvement firsthand. Meanwhile, audience members and mixing engineers reported no loss in sound quality. After two consecutive years of successful implementation with the same configuration, Rio Loco now serves as a key reference for urban festivals facing similar noise challenges. As Yann Gael Gicquel, Head of Technical Product Management, Software at L-Acoustics, concluded: "This isn't just a technical achievement; it's proof that innovation can bring communities together rather than drive them apart."

「圖片與部分文字來源於L-Acoustics官網」
Partial text and images sourced from the L-Acoustics official website.

官方LINE@： https://lin.ee/St6LhOH

04/06/2026

從設計到符合規範：L-Acoustics ESD 如何實現負責任的聲音管理

前一篇文章我們談了露天音樂節音響面臨的各種變數——風、氣候、多舞臺干擾，以及物理定律的無情挑戰。當設計端完成了音場規劃，下一個問題是：如何確保這些設計在現實中依據設計執行？答案就是 L-Acoustics 環境降噪系統設計服務（ESD）。

ESD 是 L-Acoustics 針對戶外演出推出的一套包括設計、建模、優化到監管的服務，由經驗豐富的全球應用工程師團隊針對活動的具體噪音挑戰進行評估與系統建議，在兼顧環境同時確保聲音表現達到最佳狀態。作為HELA（聆聽無憂，擾民有度）全球倡議的創始合作夥伴，L-Acoustics 將「負責任的聲音設計」轉化為可預測、可驗證、可落實的噪音防治方案。

精準降噪的關鍵在於解決數據互通難題。L-Acoustics 與 d&b audiotechnik 及 SoundPLAN 聯合推出系統設計交換（SDE）標準—一個用於跨多品牌音響系統進行噪音預測的中立標準。工程師在Soundvision中完成喇叭佈局後，將方案導出為標準的 SDE 檔，再導入 SoundPLAN 等環境噪音模擬軟體中。

SDE 可對每隻喇叭單獨模擬並納入相位資訊，在近場和遠場均獲得高度可靠的預測結果。優化環節提供精確的系統配置建議，例如採用整合心形指向配置的L2及多種超低音方案，實現高效指向性控制。

L-Acoustics 應用運營總監 Vikram Kirby 表示：「L-Acoustics 在全頻指向性系統創新領域始終引領行業，ESD 進一步彰顯了我們卓越的系統設計能力。」該服務推出以來，已成功協助眾多大型戶外活動實現「場內盡興，場外無憂」的平衡。

下一篇文章，我們將走進法國 Rio Loco 音樂節的現場，看 ESD 如何以創新的非對稱架設，化解一場延續四年的近鄰噪音僵局。

From Design to Compliance: How L-Acoustics ESD Enables Responsible Sound Management

In our previous piece, we explored the many variables working against outdoor festival sound — wind, weather, multi-stage interference, and the relentless challenges of physics. Once the soundfield design is complete, the next question is: how do you ensure that design translates into real-world ex*****on? The answer is the L-Acoustics Environmental System Design (ESD) service.

ESD is an end-to-end service for outdoor events, spanning design, modelling, optimization, and regulatory approval. L-Acoustics' global team of highly experienced Application Engineers conducts a thorough evaluation of each event's specific noise challenges, delivering system recommendations that ensure optimal sound performance while balancing environmental responsibility. As a founding partner of HELA (Healthy Ears, Limited Annoyance), L-Acoustics transforms "responsible sound design" into a predictable, verifiable, and actionable noise mitigation solution.

The key to precise noise control lies in solving data interoperability. L-Acoustics, d&b audiotechnik, and SoundPLAN jointly developed the System Design Exchange (SDE) standard — a neutral standard for noise prediction across multiple sound systems. Engineers complete their loudspeaker design in Soundvision, then export it as a standardized SDE file, which can be imported into environmental noise software such as SoundPLAN.

SDE simulates each loudspeaker individually while incorporating phase information, delivering highly reliable predictions in both near and far fields. During optimization, the team provides precise system configuration recommendations — such as deploying L2 loudspeakers with integrated cardioid patterns and various subwoofer solutions — to achieve effective directivity control.

"L-Acoustics has consistently led the industry in directional full-range system innovation, This service now boldly displays our superior design capabilities." said Vikram Kirby, Director of Application Operations at L-Acoustics. Since its launch, the service has helped numerous major outdoor events strike the balance of "full impact inside, peace and quiet outside."

In our next piece, we look at how ESD resolved a four-year neighbourhood noise standoff at the Rio Loco Festival in France through an innovative asymmetrical deployment.

「圖片與部分文字來源於L-Acoustics官網」
Partial text and images sourced from the L-Acoustics official website.
官方LINE@： https://lin.ee/St6LhOH

21/05/2026

L-Acoustics 發佈L1與CS1：定義大型現場音響的未來

L1和CS1已應用於 Bruno Mars、薛之謙的巡迴演出以及各大音樂節的主舞臺系統。L1和CS1的推出，進一步擴展了 L-Acoustics L系列，為大型線陣列系統設定了新的性能標準——更出色的全頻一致性、更集中的控制能力。

加州洛杉磯，2026年5月 - L-Acoustics今日正式發佈L1，即L系列的旗艦型號，以及與之搭配的心形指向超低揚聲器CS1。L1是基於L-Acoustics 專利的漸進式超高密度線聲源（Progressive Ultra-Dense Line Source, PULS）技術打造，為體育場等級的音響系統樹立了全新標桿，並已應用於全球最頂級的舞臺。

L1已應用於Bruno Mars的北美巡演（由Clair Global提供技術支援）、Harry Styles的"Together"巡演（由Solotech支援）以及薛之謙的世界巡演（由MRT支援）。同時，L1也在倫敦的全英音樂獎上亮相，由Clair Global旗下的Britannia Row提供技術支援。CS1也登上了Coachella音樂節的主舞臺（由RAT Sound提供技術支援）和超時代音樂節（由 Unreal Systems/Agora 提供技術支援），為這兩個頂級音樂節提供了澎湃的低頻能量。

L1和CS1的首個固定安裝專案也落戶於好萊塢露天劇場，採用定制白色箱體。正是在這座場館，L-Acoustics在此舉辦了2026年主題發表會，發表會上正式向全球揭曉了這項新技術。一同亮相的，還有全新的Source Intelligence™音頻處理平臺。The War on Drugs作為表演嘉賓，為發表會帶來了精彩的現場演出。

L1打破了線陣列系統的每一項性能標準
以往的大型系統只能帶來小幅度的性能提升，而L1實現了在高效形態下的跨代式高密度設計。每隻箱體整合了：兩個側裝的18英寸低頻心形指向（low-cardioid, LC）單體，用於增強正面能量並抑制後方輻射；四個前裝的15英寸低頻單體；八個8英寸中頻單體；以及六個同軸結構的4英寸+2.5 英寸高頻壓縮單體。這種同軸高頻配置在L系列中尚屬首次，顯著提升了音壓和遠距離投射能力。

由此，每只箱體在全頻段（35 Hz至20 kHz）內可達到160 dB的最大音壓。在單位尺寸、單位重量、單位可視面積下，均達到了同類型喇叭最佳的音壓表現。與之搭配的寬垂直覆蓋喇叭L1D，採用了相同的單體架構，並提供漸進式的60度垂直覆蓋模式，專為近場區域設計，可達到155 dB的音壓。

L-Acoustics揚聲器產品管理總監Germain Simon表示：“L1代表了線陣列有史以來在功率、頻寬和指向性控制上的最高性能。隨著PULS技術達到了其終極形態，我們打破了自己為大型線聲源設定的每一項性能標準。L1是業界真正的轉捩點。”

L1與CS1整合式心形指向技術，重塑雜訊管理
在城市環境的大型演出、多舞臺佈局的音樂節以及對雜訊敏感的場地中，低頻干擾一直是最嚴峻的工程挑戰之一。L1系統從設計層面解決了這一問題。

側裝的18英寸LC單體實現了L-Acoustics專利的心形低頻架構，在20至250 Hz頻率範圍內可達到高達18 dB的後方抵銷，在80 Hz以下頻段抵銷更可超過26 dB。低頻能量被精准集中於觀眾區域，線陣列後方的串擾從源頭即被最小化。聲音設計師可以根據需求選擇：心形模式以最大化後方聲音抑制，或超心形模式以進一步增強側向聲音抑制。

CS1將同一原理延伸至超低音頻段。憑藉四只21英寸單體組成的心形拓撲結構，CS1的峰值音壓高達150 dB，頻響可下潛至25 Hz。在Coachella音樂節和超時代音樂節上，相鄰舞臺的干擾問題一直是工程師們在製作中持續面對的壓力。而CS1不僅提供了這些大型演出所需的超低能量與衝擊力，同時保證了整個場地的聲學清晰度。

新一代Autofilter演算法將這種控制能力擴展至三度空間。在L-Acoustics Soundvision軟體中運行，它可以塑造L1陣列的低頻波束，使得L1的低頻控制能力，足以媲美甚至超越那些同等功率、但陣列更長的傳統音響系統。並且，頻率可以低至 20 Hz，還不增加任何延遲。你只需在標準工作流程中點一下滑鼠，就能顯著提升場地內各區域的音色平衡度，從前至後的低頻擴散也明顯減少。

每個箱體中的兩個Panflex模組，負責控制水準指向性。它們提供70度、90度兩種對稱模式，以及80度非對稱模式。L1D則為近場覆蓋增加了更多選擇：110度、70度對稱模式，以及90度非對稱模式。L1的漸進式幾何結構，直接決定了它的垂直控制能力。箱體間耦合角度可選為0.8度，適合音樂節的遠距離投射；或5度，適合圓形競技場及複雜的觀眾席形態。

L1系統：安裝速度提高3倍
對於巡演製作來說，安裝成本和聲學性能同樣重要。一套由2只CS1、4只L1和1只L1D組成的系統，其聲學表現相當於21只K1的標準配置。但吊掛操作減少66%，吊裝操作更少，線纜更少，占地面積也更小，與舞臺和視頻結構互不干擾並能融入一體。重量方面的優勢同樣顯著。一組由4只L1和1只L1D組成的主陣列喇叭，總重量為1263公斤。而要達到同樣的性能，一套K1系統需要15隻箱體，吊掛重量高達1590公斤。5隻L1箱體即完成了15只K1箱體的工作，吊掛後總重量減低了20%。

自動鎖定的吊掛系統無需任何外部插銷。每只箱體只需一根SC32線纜連接功率放大器。每隻L1箱體由一臺專用的LA7.16功率放大器驅動，它擁有16個獨立的DSP和功率輸出，每個聲學單元各占一個。這讓Autofilter和心形指向管理能夠在整個吊掛陣列中，對每一個單元進行獨立控制。LA7.16安裝於LA-RAK III機櫃中：9U高度可容納48個功放通道，支援Milan-AVB協議，每個機櫃總輸出功率超過60,000瓦。

現場調音師的實際評價
在試點應用的過程中，現場混音師的回饋高度一致。Bruno Mars的混音師Sean "Sully" Sullivan 表示：“這套系統讓體育場聽起來比實際小得多——你感覺不到自己在一個巨大的空間裏。帶有全心形指向的主喇叭系統把低頻收得很乾淨，基本消除了大型場地中常見的低頻堆疊。中高頻也是我聽過最棒的，基本感受不到自己身處這麼大的場地裏。”

薛之謙的混音師張軍軍說：“在L1系統上混音，就像在開一輛頂級超跑。它的回應和功率都強大得令人難以置信，讓我的混音有了前所未有的發揮空間。即使我推到極限，人聲依然絲滑清晰，沒有其他系統那種刺耳感。這讓我對自己的混音更有信心了。”

L1和CS1目前正處於試點階段，僅限部分L-Acoustics認證合作夥伴參與。2027年初，將面向其他授權合作夥伴正式供貨。

更多關於L1 and CS1的相關信息，請前往 https://l-acoustics.com/products/l1-system/ and https://l-acoustics.com/products/cs1/

L-Acoustics Introduces L1 and CS1: The Future of Large-Scale Live Sound

Already on tour with Bruno Mars and Joker Xue, and on the stages of major music festivals, L1 and CS1 expand L-Acoustics L Series to set a new performance record for large-format line array systems with enhanced full-band coherence and integrated control.

LOS ANGELES, CA, May 2026 -- L-Acoustics today unveiled L1, the flagship of the L Series, and its companion cardioid subwoofer CS1. Built on L-Acoustics patented Progressive Ultra-Dense Line Source (PULS) technology, L1 sets a new absolute reference for stadium sound systems that has already been entrusted to the world's biggest stages.

L1 has been deployed on Bruno Mars’ North American tour with Clair Global, for Harry Styles’ Together tour with Solotech, and on Joker Xue’s world tour with MRT, as well as a debut at the Brit Awards in London with Britannia Row, a Clair Global company. CS1 delivered the low end on the main stages of Coachella Valley Music and Arts Festival with RAT Sound, and Ultra Music Festival with Unreal Systems/AgorA.

L1 and CS1 also mark their first permanent installation at the Hollywood Bowl, deployed in a white architectural finish, and the venue where L-Acoustics officially unveils the new technology at Keynote 2026, alongside the new L-Acoustics Source Intelligence™ audio processing platform at Keynote 2026. The event featured a performance by The War on Drugs.

L1 Breaks Every Performance Benchmark for Line Array Systems
Where previous large-format systems made incremental gains, L1 achieves a categorically higher concentration of transducers in an efficient form factor. Each enclosure integrates two 18" low-cardioid (LC) transducers side-mounted for frontal energy and rear rejection, four 15" low-frequency drivers front-facing, eight 8" mid-frequency drivers, and six coaxial 4"+2.5" HF compression drivers, this HF coaxial configuration, new to the L Series, increases SPL and long-throw capabilities.

The result is a maximum SPL of 160 dB per enclosure, across a full bandwidth of 35 Hz to 20 kHz. Best-in-class SPL per size, per kilogram, and per square meter. The companion wide vertical coverage element L1D matches this transducer architecture with a progressive 60 degree vertical coverage pattern for nearfield zones, achieving 155 dB SPL.

"L1 represents the highest expression of power, bandwidth, and pattern control ever achieved in line array," said 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."

L1 and CS1 Integrated Cardioid Technology Transforms Noise Management
For large productions in urban environments, multi-stage festivals, and noise-sensitive venues, low-frequency spill is one of the most persistent engineering challenges. The L1 system addresses it at the design level.

The side-mounted 18" LC transducers enable L-Acoustics patented cardioid low-frequency architecture, delivering up to 18 dB of rear rejection between 20 and 250 Hz, and more than 26 dB of rejection below 80 Hz. Low-frequency energy is concentrated on the audience; spill behind the array is minimized at source. Sound designers choose between cardioid mode for maximum rear rejection, or supercardioid for extended rejection to the sides.

CS1 extends the same principle to the sub-bass range. With four 21" transducers in a cardioid topology, CS1 delivers peak SPL up to 150 dB and extends bandwidth down to 25 Hz. At Coachella and Ultra Music Festival, where neighboring stage interference is a constant pressure on production engineers, CS1 delivered the sub-bass power and impact those shows demand while preserving acoustic integrity across the site.

The new-generation Autofilter algorithm extends this control into three dimensions. Working within L-Acoustics Soundvision software, it shapes the low-frequency beam of an L1 array to rival -- and in many configurations surpass -- the low-frequency control of a much longer conventional professional sound system of equivalent power, down to 20 Hz, with no added latency. A single click within the standard workflow applies it. The result is greater tonal balance stability across the venue and noticeably less low-frequency spread from front to back.

Horizontal directivity is managed by two Panflex modules per enclosure, offering 70 and 90 degree symmetrical patterns plus an 80 degree asymmetrical mode. L1D extends options to 110 degree or 70 degree symmetrical and 90 degree asymmetrical for nearfield coverage. Vertical control is built into L1 pre-shaped progressive geometry, with 0.8 degree inter-element coupling for long-throw festival formats and 5 degrees for arenas and complex audience profiles.

L1 System: 3x faster to deploy
For touring productions, the economics of deployment carry as much weight as acoustic performance. A configuration of two CS1, four L1, and one L1D delivers the acoustic performance of a 21-element K1 standard rig, with 66% fewer rigging actions, fewer lifts, fewer cables, and a smaller physical footprint that integrates cleanly with stage and video structures. The weight savings are equally significant. Five enclosures do the work of fifteen, and weigh 20% less when rigged. A main hang of four L1 and one L1D weighs 1,263 kg, where a comparable K1 system would require 15 boxes at 1,590 kg overhead to match the same performance.

The auto-locking rigging system requires no external pins. A single SC32 cable connects the amplified controller to each enclosure. Each L1 enclosure is driven by a dedicated LA7.16 amplified controller with 16 discrete channels of DSP and amplification -- one per acoustic element -- enabling Autofilter and cardioid management to operate at individual element resolution across the entire hang. The LA7.16 mounts in the LA-RAK III touring rack: 48 channels of amplification in 9U, Milan-AVB-ready, delivering more than 60,000 watts per rack.

The Verdict from the Engineers Running the Shows
Across pilot deployments, the response from FOH engineers has been consistent. "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," said Sean “Sully” Sullivan, sound engineer for Bruno Mars.

“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,” said Jun Zhang, sound 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.”

L1 and CS1 are currently in a pilot phase with a select group of L-Acoustics certified partners. Availability for qualified partners is planned for early 2027.

For more information on L1 and CS1, visit https://l-acoustics.com/products/l1-system/ and https://l-acoustics.com/products/cs1/

15/05/2026

一場露天音樂節，有多少變數在挑戰聲音？｜L-Acoustics 的音場設計哲學

音樂節與演唱會不同：一般場館的聲音受四周牆面限制，音樂節的開闊場地上卻往往有多個舞臺同時運行，缺乏物理屏障，還得面對風、氣候變化及對周邊社區的噪音影響。L-Acoustics K系列——特別是K1與K2——是大型音樂節主舞臺的常見選擇。K1能將聲音投射到超遠距離，K2則以水平指向性控制避開玻璃幕牆等反射表面。

聲學設計的核心工具是Soundvision 3D 聲學模擬軟體，讓工程師在佈線前就預測聲音覆蓋。針對音樂節特有的噪音法規挑戰，團隊還導入環境降噪系統設計服務（ESD），有效管理聲音溢出，確保觀眾沉浸的同時符合當地規範。在Rio Loco或Tomorrowland等多舞臺近距離運行的活動中，Soundvision與ESD共同創建精準覆蓋區域，確保各舞臺之間的聲音互不干擾。

「物理定律不戴腕帶。」安檢或許能守住圍欄，聲波才是唯一真正擁有全場通行證的參與者。L-Acoustics至今仍是全球技術需求清單上最常被指定的品牌之一。下一篇文章，我們將從設計端走向應用端，帶你瞭解ESD與Soundvision在實際活動中的運作方式。

How Many Variables Are Working Against Sound at an Outdoor Festival? | L-Acoustics's Soundfield Design Philosophy

In a typical venue, the walls keep the sound contained, but at a festival, you're working in wide-open spaces - often with multiple stages running simultaneously. Creating a high-quality, isolated sonic experience without any physical barriers is a huge challenge. Add in wind, shifting weather, and noise bleed into the surrounding community, and things get even tougher.

The L-Acoustics K Series - especially K1 and K2 – is a go-to choice for main stages at large festivals. The K1 can project sound over extreme distances, while the K2's horizontal directional control helps avoid reflections off surfaces like glass facades.

At the heart of the acoustic design is Soundvision, a 3D acoustic simulation software that allows engineers to predict coverage before setup begins. For festival-specific noise compliance challenges, the team also deploys the Environmental System Design (ESD) service to manage sound spill and keep the audience immersed without running afoul of local rules. At multi-stage events like Rio Loco and Tomorrowland, where stages are packed close together, Soundvision and ESD work together to create precise coverage zones and prevent bleed between stages.

Physics don't wear wristbands. Security can hold the gates, but sound is the only one with a real all-access pass. L-Acoustics remains one of the most requested names on technical riders worldwide. Coming up next: from design to deployment. We'll show you how ESD and Soundvision work in action.

「圖片與部分文字來源於L-Acoustics官網」
Partial text and images sourced from the L-Acoustics official website.

官方LINE@： https://lin.ee/St6LhOH

04/05/2026

奧斯卡四冠之作《Sinners》的聲音幕後：Sound Devices 如何完成 IMAX 現場收音挑戰

由Ryan Coogler執導的《Sinners》在今年奧斯卡金像獎一舉斬獲四座小金人，影片將動作、懸疑與南方gothic horror恐怖元素精妙融合，以IMAX膠片攝影機拍攝，透過高度自然化的聲效將觀眾拉入詭異氛圍之中。

採用IMAX拍攝帶來的最大挑戰，在於應對攝影機運轉時巨大的機械噪音。艾美獎得主、Catgut Sound公司音效混音師Chris Welcker為此採用純聲音錄製模式，在不啟動攝影機的情況下讓演員表演，以收錄最清晰純粹的對白。主演Michael B. Jordan一人分飾兩角，同一場景需針對不同角色反覆拍攝，團隊為此建立了一套靈活的協作機制來捕捉每一絲對白與環境音。

核心錄音設備為Sound Devices Scorpio錄音機，同時配備了以833錄音機與SL-2無線模組為核心打造的迷你移動錄音車用於外景拍攝，以及一套通過Dante傳輸無線信號的Astral A10機架系統。Welcker表示：「Sound Devices設備強大的音頻路由功能在拍攝中尤為重要，能將聲音精準地分配到不同的混音輸出，讓我們能隨心所欲地控制類比或Dante信號的傳輸路徑。」

音樂場景全部採用現場實況收音，從藍調吉他即興到爵士酒吧的歌舞表演，團隊經常將主系統與MixPre 6錄音機搭配使用，專門收錄全景及空間聲效，為後期杜比全景聲混音提供豐富素材。

「這無疑是我參與過最嚴苛的製作之一，但同時也是最具創造性、最令人驕傲的項目。」Welcker總結道，「Sound Devices設備為我們攻克諸多難題提供了最完美的全套工具。」

The Sound Behind the Four-Time Oscar Winner Sinners: How Sound Devices Tackled Live IMAX Recording

Ryan Coogler's Sinners took home four Oscars at this year's Academy Awards. The film masterfully blends action, suspense, and Southern gothic horror, shot on film for IMAX, drawing viewers into its eerie atmosphere through a heightened naturalism in sound.

The biggest challenge of shooting for IMAX was navigating the massive mechanical noise of the cameras. Emmy Award-winning production sound mixer Chris Welcker of Catgut Sound employed a sound-only recording approach — having actors perform without the camera running to capture the cleanest possible dialogue. With star Michael B. Jordan playing dual roles, scenes had to be re-shot for each character, requiring the team to build a uniquely collaborative workflow to capture every nuance of dialogue and ambient sound.

The core recording setup was the Sound Devices Scorpio, alongside a mini-cart built around an 833 recorder and SL-2 Wireless Module for exterior work, plus an Astral A10 Rack system transmitting wireless audio via Dante. "A major factor in Sound Devices recorders that was extremely helpful on Sinners was the ability to route audio to different bus mixes and have so much control over what we could send, be it Analog or Dante," Welcker said.

All musical performances were captured live, from impromptu blues guitar to lively song-and-dance numbers at the juke joint. The team often paired the main system with the MixPre 6 to capture ambisonics and sound effects, providing rich material for the final Dolby Atmos mix.

"Ultimately this was one of the most exacting productions I’ve ever worked on in terms of what was required technically, but at the same time, one of the most creative," Welcker concluded. "The Sound Devices gear gave us everything we needed to solve some very unique challenges."

「圖片與部分文字來源於Sound Devices官網」
Partial text and images sourced from the Sound Devices official website.

01/05/2026

蔡依林“PLEASURE”巡演廈門站邂逅L-Acoustics與DiGiCo｜以極致音場構築人間樂園

2026年3月14日至15日，蔡依林“PLEASURE”世界巡迴演唱會在廈門白鷺大型體育館開唱。此次巡演以專輯中探討的“愉悅”為核心概念，打造主題為“人間樂園”的奇幻大秀，斥資高達9億新台幣，刷新華語演唱會製作成本紀錄。

針對露天大型體育館的聲學環境與複雜多元的音樂編排，全場採用L-Acoustics音響系統。

考量到廈門白鷺大型體育館開闊的場地特性，主擴以K1、K2與K1-SB組合構成，每組採用10隻K1、4隻K2與4隻K1-SB。這一組合在搭配使用時，可提供前所未有的指向性控制，使其成為戶外環境中解決噪音污染和投射問題的首選方案之一。

超低部分以地面KS28配合吊掛K1-SB形成均勻的低頻陣列，這種堅實且分佈均勻的低頻，讓《怪美的》《Play我呸》等節奏強勁的歌曲更加具有震撼力。

側補聲與延時喇叭採用L2與L2D組合，前區補聲則打破常規對稱佈局，以不規則方式架設Kara II，利用其Panflex技術實現舞臺前區的精準覆蓋。

籌備前期，團隊藉助Soundvision進行音場模擬，從源頭減少反射干擾。DiGiCo Quantum 5數位混音臺負責監聽混音，以強大的場景管理能力確保高強度演出的穩定運行。

這場歷時一年半準備的音樂大秀，從電影配樂、古典、搖滾到舞曲等多元音樂形態交織其中，對音響系統的清晰度與穩定性有極高要求。L-Acoustics精準的音場覆蓋與DiGiCo高效的聲音處理能力，協助完成了這場媲美國際頂尖巡演視效水準的演出。正如蔡依林所言：“希望每一位參與的人，都能在這場演唱會上找到屬於自己的樂園。”

Jolin Tsai's "PLEASURE" Tour Lands in Xiamen with L-Acoustics & DiGiCo | Crafting the Ultimate Soundfield for a "Paradise on Earth"

On March 14 and 15, 2026, Jolin Tsai's "PLEASURE" World Tour made its stop at the Xiamen Egret Grand Stadium. Centered around the concept of "pleasure" explored in the album, the tour presented a fantastical spectacle themed "Paradise on Earth," with an investment of up to 900 million NTD, setting a new record for Mandopop concert production costs.

Faced with the acoustic environment of an open-air grand stadium and the complex, multi-genre musical arrangements, an L-Acoustics sound system was deployed throughout the venue.

In response to the expansive nature of the Xiamen Egret Grand Stadium, the main PA was built with a combination of K1, K2, and K1-SB, with each hang consisting of 10 K1, 4 K2, and 4 K1-SB. When used together, this combination provides unprecedented directivity control, making it one of the premier solutions for tackling noise pollution and long-throw projection challenges in outdoor environments.

For the low end, ground-stacked KS28 subwoofers were paired with flown K1-SB arrays to form an even low-frequency field. This solid and evenly distributed low end gave rhythmically powerful tracks like "Ugly Beauty" and "Play" even greater impact.

Side fill and delay speakers used a combination of L2 and L2D, while front fills broke away from conventional symmetrical deployment by positioning Kara II in an irregular pattern, leveraging their Panflex technology to achieve precise coverage across the stage front.
During the preparation phase, the team utilized Soundvision for soundfield modeling, reducing reflections at the source. A DiGiCo Quantum 5 digital mixing console handled monitor mixing, ensuring the stable operation of this high-intensity show with its powerful scene management capabilities.

This year-and-a-half-long production weaved together diverse musical styles, from cinematic scores and classical to rock and dance, placing extremely high demands on the clarity and stability of the sound system. The precise soundfield coverage of L-Acoustics and the efficient processing power of DiGiCo helped deliver a show with visual and auditory standards on par with top-tier international tours. As Jolin Tsai said: "I hope everyone who participates can find their own paradise within this concert."

Read More: https://racpro.net/zlyc/566.html?l=cht

#蔡依林

24/04/2026

「復刻世界級巡演現場——調音實戰大師班」從香港出發，經北京，最終於臺灣圓滿完成。

活動邀請資深調音師 Kevin "Tater" McCarthy 與 Pasi Hara 擔任主講，從系統演進、情境意識、IEM 混音哲學、點對點延遲管理、系統備援設計及逆向工程等角度，深入拆解國際巡演的實戰方法。

現場亦設有產品體驗區，展示 DiGiCo Quantum 852 及 112 等混音臺、L-Acoustics L2 揚聲器、KLANG:1 pro 沉浸式監聽平臺、Fourier Audio 等設備，以及 transform.go 便攜式效果軟體處理器，供來賓試聽與技術交流。

感謝三地業界朋友的積極參與，本次系列交流得以順利完成。期望未來有更多機會與大家探討現場音響的實務經驗。

The three-stop DiGiCo "Recreating the World-Class Touring Experience - Live Sound Practical Masterclass" series has now wrapped up.

The series began in Hong Kong, continued in Beijing, and wrapped up in Taiwan. We invited veteran sound engineers Kevin “Tater” McCarthy and Pasi Hara to serve as lead instructors. Their sessions covered real-world touring practices—covering system evolution, Situational Awareness, IEM mixing philosophy, end-to-end latency management, system redundancy design, and reverse engineering.

On-site demo areas were set up alongside the sessions, featuring a selection of DiGiCo Quantum Series consoles, L-Acoustics L2 loudspeakers, the new KLANG:1 pro, and the new Fourier Audio transform.go processor. Attendees had the opportunity to experience the systems firsthand and engage in technical discussions.

We would like to thank the industry professionals who joined us across Hong Kong, Beijing, and Taiwan. Your participation made this series possible. We look forward to more opportunities to connect and explore hands-on live sound experiences together in the future.

官方LINE@： https://lin.ee/St6LhOH

21/04/2026

感謝每一位參與2026劇場技術展的朋友。

這場活動的順利舉行，來自許多人的共同努力。特別感謝主辦單位的用心籌劃，讓我們有機會在臺北表演藝術中心，與來自全臺各地的劇場工作者、技術人員與業界夥伴交流分享。

也由衷感謝每一位幕後工作人員——從展區佈置到現場解說，你們的專業與耐心，讓每個環節得以順利進行。

當然，最重要的，還是感謝您——親自蒞臨華匯展區的業界朋友。您的參與、提問與經驗分享，是我們持續前進的最大動力。

我們一直希望能為大家提供更全面的服務，也期待未來有更多機會與各位交流、合作。若有任何需要協助的地方，歡迎隨時聯絡我們。

期待很快與你再次相見。

A big thanks to everyone who joined us at the 2026 Taipei Theater Tech Expo.

This event wouldn't have been the same without all the people who helped make it happen. Special thanks to the organizers for putting everything together so thoughtfully - it gave us a great chance to connect with theater pros, technicians, and industry partners from all over Taiwan at the Taipei Performing Arts Center.

A huge thank you to our whole team - from setting up to running the demos. Your professionalism and patience made sure everything went smoothly.

And most importantly, thank you - to everyone who came by our booth. Seeing your involvement and hearing your experiences - that means everything.

We've always wanted to provide the best support we can for everyone in the community, and we hope to have many more chances to connect and work with you in the future. If there's anything we can help with, please feel free to reach out anytime.

Looking forward to seeing you again soon.

官方LINE@： https://lin.ee/St6LhOH

#2026劇場技術展 #劇場音響 #舞台技術 #沉浸式音效 #即時追蹤

20/04/2026

華匯LINE官方帳號已正式開通。
誠摯歡迎您追蹤關注，我們將不定期發布動態與服務資訊，感謝您的支持。

官方LINE@： https://lin.ee/St6LhOH

31/03/2026

DiGiCo推出Quantum225 DS混音台

Quantum225推出的全新雙螢幕版本，同時可作為現有Quantum225用戶的升級選項

英國，CHESSINGTON – 2026年3月31日 – 過去五年間， DiGiCo Quantum225以強大性能、靈活多變和高性價比著稱，已廣泛應用於現場音樂場所、巡迴、音樂節、劇院、宗教場所等眾多場景。如今，這款小型高效混音台煥新升級，Quantum225 DS應運而生。該型號配備雙內建螢幕，為用戶帶來更強大的操作能力，成為Quantum系列中堅固耐用、適合音樂節使用且定價極具競爭力的新成員。

標準版Quantum225在左側面板設有支架，可安裝軌道螢幕或總覽螢幕、KLANG:kontroller或筆記型電腦，而Quantum225 DS則配備兩塊17吋全彩、日間可視的TFT多點觸控螢幕，提供更高效的工作流程與操控體驗。

選配DiGiCo的Pulse軟體後，全新Quantum225 DS的性能與靈活性進一步提升：輸入通道數量由72軌增至96軌，混音輸出數量由36軌增至48軌，Mustard處理器與Nodal處理器數量分別由24個和32個提升至36個和48個。Pulse功能套件中還包含Mix Minus功能。此外，該混音台還可選配廠商的Theatre軟體，為劇院等場景提供客製化的專屬功能。

現有Quantum225用戶也有相應的升級途徑，提升其設備的功能與性能。

DiGiCo總經理Austin Freshwater表示，“我們一直遵循‘給用戶想要的’這一理念，如今終於回應了眾多用戶的呼聲——推出 Quantum225的雙螢幕版本，並以極致性能呈現。對於已經擁有Q225的用戶，我們還提供硬體升級方案，讓他們將現有設備提升至Quantum225 DS規格，進一步擴展功能並提升現有庫存的投資報酬率。一如既往，DiGiCo用實力證明，這筆投資，明智之選。”

Quantum225 DS專為音樂節及快速現場製作環境而設，面板上配備了41個迷你TFT顯示幕，提供業界頂尖的用戶回饋與互動體驗。此外，該型號還配備12x12矩陣、四個MADI介面和兩個DMI介面以增強連接性；內建輸入/輸出包括8x8類比通道和四個AES通道；內建UB MADI；可選配光纖介面、Fourier Audio及Waves SoundGrid整合；同時配備雙電源。

更多關於Quantum225 DS的相關信息，請前往www.DiGiCo.biz。

DiGiCo Introduces Quantum225 DS Mixing Console

New dual-screen version is also available as an upgrade option for existing Quantum225 owners

CHESSINGTON, UK – March 31, 2026 – Over the past five years, DiGiCo’s Quantum225 has successfully proven itself as a powerful, versatile, and cost-conscious workhorse for live music venues, tours, festivals, theatres, houses of worship, and many other uses. Now, the compact mixing console has evolved with the introduction of the Quantum225 DS. Featuring dual integral screens giving users expanded capabilities, this latest addition to the Quantum lineup represents a robust, festival-ready, and competitively-priced console.

Whereas the standard Quantum225 features a left-panel bracket to accommodate a channel or overview screen, KLANG:kontroller, or laptop, the Quantum225 DS is equipped with two 17-inch, full-color, daylight-bright TFT multitouch screens for enhanced workflow functionality and control.

The inclusion of DiGiCo’s optional Pulse software package bumps up the power and versatility of the new Quantum225 DS, raising its input channel count to 96 (from 72), buss count to 48 (from 36), and Mustard and Nodal Processor tallies to 36 and 48, respectively (from 24 and 32). Mix Minus is also included in the console’s Pulse feature set, and the desk may be further enhanced with the manufacturer’s optional T software package for bespoke theatre-centric amenities.

An upgrade path is additionally available for existing Quantum225 consoles, for those wanting to increase their functionality and performance.

“Paying heed to the adage ‘give the people what they want,’ we’re now honoring the many requests we’ve heard to offer a dual-screen version of our compact Quantum225—and we have evolved it for maximum performance,” says DiGiCo Managing Director Austin Freshwater. “For our customers who already own a Q225, we’re also offering a hardware upgrade solution that will allow them to bring their desks up to the Quantum225 DS spec, extending the capabilities and ROI of their existing inventories. As always, purchasing a DiGiCo once again proves to be a smart investment indeed.”

Ideal for festivals and fast-paced live environments, the Quantum225 DS features 41 mini TFTs located across the surface to provide unrivaled user feedback and interaction. Also included are a 12x12 Matrix, four MADI ports and dual DMI ports for added connectivity, 8x8 analog and four AES channels for local I/O, built-in UB MADI, optional optics, Fourier Audio, and Waves SoundGrid integration, plus dual PSU.

For details on the new Quantum225 DS, visit www.DiGiCo.biz.

#混音台

華匯音響顧問有限公司

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