L-ISA sound for Christine and the Queens
Tuesday, 28 May 2019
christine-and-the-queens3Christine and the Queens has been touring her studio album, Chris
Europe - French singer, songwriter and producer Christine and the Queens has been touring her studio album Chris, bringing a blend of theatrical set, contemporary dance, and her own 'freakpop' to the stage. For the French leg of her international tour, systems engineer Vladimir Coulibre brought in L-Acoustics L-ISA Hyperreal Sound technology.
"Christine's show is a whole - a complete universe," he explains. "It has lots of machinery, lots of lighting, and lots of sonic details, as well as the amazing physical performances. We have to be able to create a strong interpretation for every song: to make sure the audience completely understands the sense and the story. Also, because the show is so theatrical, Christine didn't want technical equipment to be a distraction - she wanted it to be invisible.
“With L-ISA we get both - we can take a cinematic approach to the sound and use multiple shorter hangs that don't obstruct the set."
Coulibre’s approach to implementing the technology on the tour combines equal parts enthusiasm and method. "I had to think of the new system from three angles: creative for FOH, technical for production, and financial for the commercial side,” he recalls. “I had to learn as much as possible about this technology to satisfy those three aspects."
A primary requirement was to make sure the system was easy to load in and out. The solution was to create a double truss arrangement with the motors on the front truss and the system rig, including the speaker cable, on the rear truss. "It didn't cost any more than rigging for a left-right system," says Coulibre. "In the 12 shows we did on that tour we didn't have any problems rigging L-ISA, which is a very important point.
"The technical approach that L-Acoustics has taken with L-ISA is perfect. Taking a new approach to sound is the greatest leap, but if you embrace that by putting your previous experience to one side and fully engaging with this technology and what it can offer, it becomes a real pleasure to work with."
To model and fine tune system design for the various tour venues, Coulibre employed Soundvision 3D acoustical simulation and coverage/delay mapping software. He specified a 9.1 L-ISA Frontal system including three central hangs of K2 flanked by two hangs of Kara, two side-hangs of K2 and an extension of two hangs of Kara, with the actual number of deployed cabinets dependant on the venue size.
The largest configuration - at the AccorHotels Arena in Paris - used three central-hangs of 16 K2 each, two outer-hangs of 22 Kara, side hangs of 14 K2 and an extension system of two hangs of a further 16 Kara each. Two hangs of 10 KS28 subwoofers were flown behind the central hangs. Lip-fills comprise five ground stacks of three Kiva II.
Coulibre is certain that L-ISA not only helps the FOH engineer fulfil the potential of the performance, but also changes the approach to sound reinforcement into something more collaborative and more creative. "It requires a new relationship between the product, the production, and the artist," he says. "And this was the first time I've seen all three engage like that. It was impressive. For me, L-ISA is a new vision of sound."
(Jim Evans)

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