AUSTRALIA: After more than 15 years of reliable service from its original L-Acoustics V-DOSC PA, the Adelaide Entertainment Centre (AEC) Theatre has entered a new sonic era with the deployment of a powerful new L-Acoustics L2 system; designed and delivered by Adelaide-based integrator Novatech in collaboration with Group Technologies.

Built around flexibility, the Theatre can operate in traditional seated mode, host 1,000 guests for cocktail events, accommodate 700 banquet guests, or be divided into two separate spaces. Its original V-DOSC system was designed with an ingenious movable PA concept, physically shifting up and down the venue depending on format to create a more intimate experience with varying seating configurations. That system delivered exceptional return on investment, but with over a decade and a half of constant use, it was time for a replacement that could meet the demands of modern touring productions while preserving the venue’s operational flexibility.

Novatech secured the contract with a design centred around L-Acoustics’ relatively new L2 “Progressive Ultra-Dense Line Source” line array; a system that breaks away from traditional multi-box array architecture. Rather than large hangs of numerous individual elements, the L2 platform consists of just two models: the L2 and the L2D, with a maximum configuration of two L2s and one L2D. The L2 functions as the upper, flatter portion of a conventional J-curve array, while the L2D provides the wider lower coverage and effective downfill.

“We designed the L2 system ourselves and bounced ideas back and forth with L-Acoustics,” explains Novatech’s Managing Director, Leko Novakovic. “One of the key differentiators in our design is flown as well as ground-stacked subwoofers. It’s a room that does everything from heavy EDM through to a stand-up comedian. For all the shows that don’t need the floor subs, when you roll the L2 forward, the four-a-side flown L-Acoustics KS28 subs roll with it, and with L-Acoustics Network Manager you can easily adjust the coverage to suit, not like a traditional array where you’d have to fly it in and re-pin it.”

Extensive modelling in L-Acoustics’ SoundVision software by both Novatech and L-Acoustics initially indicated that one L2 and one L2D per side would be sufficient. However, the final system was expanded to provide additional power and visual presence.

“The science is that one L2 is the equivalent to four L-Acoustics K2 line array elements,” explains Leko. “We had used a K2 system in the Theatre, with eight elements in total, and already knew that performed well. The venue really wanted the extra power and the aesthetics of having a longer, more powerful looking array to overcome any visiting engineer’s apprehensions. They stretched the capex, because you can never have too much PA!”

Declan Smith, Venue Project Manager for Novatech, details the final deployment: “The design brief was simple. The system needed to perform across every room configuration without altering array geometry between formats. All up, it comprises two L2 and one L2D per side, with six KS28 subwoofers flown behind each array in a cardioid configuration. Six L-Acoustics X8 provide front-fill coverage in a compact and unobtrusive form factor. For very high SPL shows, an additional twelve floor-deployed KS28 can be rolled in, with L-Acoustics Kara II front-fills pre-attached, providing additional low-frequency extension and output when required.”

As part of the installation, Novatech also created a custom drive rack built around the L-Acoustics P1 system processor. The system runs on fibre-based AVB, supported by Cat5 AVB and analogue redundancy paths, while also incorporating an XTA MX36 console switcher, SSL interface, and a Stream Deck Studio with custom-programmed controls.

“We tuned the system using the M1 measurement and optimisation workflow built into the P1 processor,” continues Declan. “This methodology provides spatially aware feedback across the room, allowing confident decisions around timing, phase alignment, and EQ.”

With the efficiency of the L2 installation process, Novatech was able to dedicate significant time to fine-tuning the system across every venue configuration. “We were careful to tune it in all of its different modes and positions, pushing it up and down the room,” adds Leko. “We made absolutely sure it’s fit for purpose. The feedback from our crew as we put it in was, ‘How good’s this?! Can’t wait to get it into our hire stock!’ So, now we have our own L2 system on the way.”

For touring applications, Leko sees major logistical advantages. “Going in and out of a gig easily is what L2 is actually designed for; efficient truck space and ease of use. You get four L2 wide in a truck. That’s equivalent to 16 K2 elements, making it one of the most powerful PAs for its truck pack size. And you only clip two or three connections together, not 16.”

“The L-Acoustics L2 system was a real pleasure to install and commission for the AEC Theatre,” agrees Declan. “The unique challenge of this venue is its flexible configuration; the stage position, and therefore the PA coverage requirements, change depending on the size and type of show. The motorised bleacher seating can be deployed for seated events or retracted entirely for standing shows. L2 provided an effective solution due to its high degree of control across the array, with full DSP control of each element. This allowed us to maintain consistent coverage and tonal balance across multiple room layouts.”

With several productions already completed on the new system, the response has been overwhelmingly positive from both audiences and engineers alike. “The new system is getting rave reviews from punters, which is an excellent thing to hear,” says Leko. “We’ve had nothing but praise from visiting touring engineers as well. I think that sonically, it has an edge over other systems. Its performance is on par with other L-Acoustics arrays, but because of the advanced DSP and control, you notice more detail. The impact of the cardioid control is huge, both in the subwoofers and the performance of the L2s.”

“The L2 system delivers substantial headroom across all genres, with particularly strong high-frequency clarity and coherence compared to other current line array systems,” concludes Declan. “Shows have been met with consistently positive feedback, and we look forward to continuing to put the system through its paces across a wide range of productions.”