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Jazzellerault Festival embraces immersive audio as visiting engineers master L-ISA technology

The 32nd edition of Jazzellerault Festival has taken an innovative approach to immersive audio technology, combining L-Acoustics’ L-ISA deployment with comprehensive education for visiting engineers. As acts like Imagination featuring Leee John, Avishai Cohen Trio, and Richard Galliano performed at the L’Angelarde venue in Châtellerault, France, their FOH engineers were learning the nuances of spatial sound mixing with L-ISA Immersive Hyperreal Sound technology.

The collaboration between Scène de Nuit - NT Event, L-Acoustics Certified Provider, and the festival’s diverse roster of international sound engineers transformed the technical implementation into a learning experience. Each of the six visiting engineers - many encountering L-ISA for the first time - received personalized guidance in spatial mixing techniques.

“We realised we had an incredible opportunity”, explains Lucas Vaillant of Scène de Nuit. “These FOH engineers are working with internationals artists, but most had never mixed in immersive audio. Jazzellerault offered a learning environment where they could explore spatial mixing with the sophistication that jazz, funk, and soul demand.” The festival’s unique format - featuring one artist per day across six days - provided ample time for system calibration and engineer consultation.

Despite its intimacy, the L’Angelarde venue posed several technical challenges. A low central catwalk and a front truss height limited to 6.8 meters required inventive system engineering. “The most significant constraint was the clearance under the front truss”, says Vaillant. “To maintain optimal sightlines and ensure safe rigging loads, we limited the main arrays to five speakers per hang.” Using L-Acoustics Soundvision software, Vaillant mapped out the space, accounting for the venue’s structural elements while predicting audience coverage and visual impact.

Scène de Nuit deployed a frontal L-ISA configuration comprising five flown arrays of five Kara II per hang. Two centrally flown sub arrays each featured three KS21 subwoofers in cardioid mode. Front-fill coverage was handled by six A10 Wide speakers in downmix mono. The digital audio architecture integrated a Dante-based FOH mix with MADI input to the L-ISA Processor II via Auvitran Audio ToolBox conversion. The processor then distributed Milan-AVB to ten LA12X and one LA4X amplified controllers for full-system power and control.

Early collaboration between Scène de Nuit and the lighting team ensured the L-ISA configuration could be integrated without compromising other production elements. The presence of a centrally rigged video projector, for instance, influenced subwoofer placement. “As soon as we proposed L-ISA, I contacted the lighting designer to coordinate rigging and sightline requirements”, says Vaillant. “This kind of teamwork was key to ensuring the whole system came together harmoniously.”

Scène de Nuit also consulted L-Acoustics touring application engineers during design, particularly around sub placement and preset configuration to maximise cardioid performance and reduce stage spill.

(Photos: L-Acoustics/Jazzellerault Festival)

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