{"id":1261002,"date":"2026-06-29T11:54:47","date_gmt":"2026-06-29T09:54:47","guid":{"rendered":"https:\/\/www.l-acoustics.com\/?post_type=press-release&p=1261002"},"modified":"2026-06-30T12:45:36","modified_gmt":"2026-06-30T10:45:36","slug":"lordes-ultrasound-tour-brings-intimate-presence-to-massive-arenas-with-l-acoustics-l-isa","status":"publish","type":"press-release","link":"https:\/\/www.l-acoustics.com\/fr\/press-releases\/lordes-ultrasound-tour-brings-intimate-presence-to-massive-arenas-with-l-acoustics-l-isa\/","title":{"rendered":"Lorde\u2019s Ultrasound Tour Brings Intimate Presence to Massive Arenas with L-Acoustics L-ISA"},"content":{"rendered":"\n

Clair Global deployed L-ISA Hyperreal Sound technology<\/em> paired with an L Series concert sound system across North America<\/em><\/p>\n\n\n\n

\n\n\n\n

WESTLAKE VILLAGE, California \u2013 June 2026 \u2013<\/strong> In 2018, Lorde made history by becoming the first artist to take out a full arena deployment of L-Acoustics L-ISA, utilizing K2 arrays, on her acclaimed Melodrama<\/em> tour. Following her Solar Power<\/em> tour four years later, the New Zealand-based artist has more recently returned to arenas with the Ultrasound World Tour<\/em>\u2014supporting her fourth studio album, Virgin<\/em>\u2014with a fresh complement of L-Acoustics L Series loudspeakers supplied by Clair Global, which also deployed an L-ISA Hyperreal Sound system on the campaign\u2019s North American dates.<\/p>\n\n\n\n

FOH engineer Philip J Harvey, an L-Acoustics Artisan of Sound, has worked with Lorde on all of her tours since the beginning in 2014. \u201cWith Virgin<\/em>, the sonics are more of a hard-driving electronic vision; very dynamic, but still retain an intimacy and vulnerability. This approach was incorporated into Ultrasound<\/em>. Much of the material from her past albums was reimagined and revamped to fit this tour\u2019s aesthetic. With L-ISA, we wanted this driving force to wash over the audience like a spacious tidal wave at high points and then collapse down into soft, more mono, raw vocal moments. This dynamic contrast really makes a powerful impact on the audience.\u201d<\/p>\n\n\n\n

\n
\"FOH
FOH Engineer Philip J Harvey mixing the North American leg of Lorde\u2019s Ultrasound World Tour<\/em> on a Solid State Logic L550 Plus console paired with L-Acoustics L-ISA<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

That dynamic interplay between scale and intimacy is made possible in part by the compact form factor of L Series itself. The shorter hangs of L Series, with each L2<\/a> or L2D<\/a> element covering the same contour as four conventional K2<\/a> elements in a form factor 46% smaller and 40% lighter, meant the rigging above the stage stayed visually clean, leaving the full impact of that striking set design unmarred, and giving every audience member an unobstructed view of the artist and the performance.<\/p>\n\n\n\n

The Ultrasound World Tour<\/em> has taken Lorde to sold-out arenas across North America, Europe, the UK, New Zealand, Australia, and Mexico. Crucially, the L-ISA Hyperreal<\/a> Sound deployment on the North American leg proved that scale and intimacy need not be in conflict; even in the biggest rooms, every audience member could feel Lorde\u2019s presence as though she were performing for them alone. She returns to close out her final festival dates later in August and September into October.<\/p>\n\n\n\n

\n
\"Systems
Systems Engineer Chris Demonbreun (left) and FOH Engineer Philip J Harvey at the tour\u2019s FOH mix position<\/figcaption><\/figure>\n\n\n\n
\"The
The L-Acoustics L Series loudspeakers for Lorde\u2019s Ultrasound World Tour<\/em> were supplied by Clair Global, which also deployed an L-ISA Hyperreal Sound system on the campaign\u2019s North American dates.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Lorde\u2019s North American L-ISA Deployment<\/strong><\/p>\n\n\n\n

For the world tour\u2019s North American leg, Clair Global\u2019s standard arena deployment featured an L-Acoustics Scene system comprising five arrays of three L2 over one L2D, paired with two identical L Series out-fill arrays, plus left and right hangs of 12 Kara II<\/a> for 220\u00b0-fill. Sixteen KS28<\/a> subs flown in two central hangs of eight delivered the show\u2019s low-end reinforcement, complemented by four KS21<\/a> mounted into the stage face as front-fill subs.<\/p>\n\n\n\n

A dozen L-Acoustics A10 Wide<\/a> enclosures spread out across the front of the stage lip supplied spatial front-fill. Two more A10 were placed in front of the stage thrust, while one A10 Focus<\/a> and one A10 Wide atop two KS21 to the far left and right of the stage provided ground out-fill coverage. At NYC\u2019s Madison Square Garden show, the main system was supplemented by three L2 flown in an LCR arrangement over the rear section of the main floor to compensate for the venue\u2019s large central video display.<\/p>\n\n\n\n

For power, 24 L-Acoustics LA7.16<\/a> amplified controllers drove the L Series enclosures, while 18 LA12X<\/a> handled everything else. Two L-ISA Processor II<\/a> units, one used as a redundant backup, facilitated the tour\u2019s object-based mix, with processing and control achieved via two P1<\/a> processors, feeding the system over Milan-AVB, and LA Network Manager<\/a>.<\/p>\n\n\n\n

According to Chris Demonbreun, who served as the North American leg\u2019s systems engineer, the initial Soundvision model started with a general design from Josh Lloyd at Britannia Row Productions, a Clair Global brand. \u201cI made a few modifications to make the system fit within the other elements of the show and relied heavily on Soundvision\u2019s Autosolvers,\u201d Demonbreun shares. \u201cThey\u2019re really handy tools when deploying L Series, and L-Acoustics has done a strong job with the algorithms they use, especially with the Autofilters. Every venue requires minor tweaks to the system, but we were able to deploy a consistent sounding system every night, and the Soundvision predictions did a great job of matching the real-world results. Philip is, of course, a skilled mix engineer and it was great being able to deliver his mix to every single person that bought a ticket for the show, no matter where their seat was.\u201d<\/p>\n\n\n\n

\n
\"The
The North American tour\u2019s L-Acoustics L2\/L2D arrays were complemented by Kara II enclosures and KS28 sub hangs<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

A Fully Spatialized Mix From Front to Back<\/strong><\/p>\n\n\n\n

For those audience members up front, the tour\u2019s use of spatialized front-fills ensured that they also enjoyed a panoramic audio experience. \u201cThe coverage on the floor in the spatialized zone that L-ISA provides was exceptional,\u201d says Harvey, who has also worked with Keane, My Bloody Valentine, Mumford & Sons, and The White Stripes, among many others over his 30-years-plus career. \u201cChris made the daily critical listening arena trek to make sure everywhere in the house sounded consistent, and the spatialized front-fills really drew the audience in the front rows into the immersive experience.\u201d<\/p>\n\n\n\n

Demonbreun agrees: \u201cWith all of the great tools L-Acoustics provides, L-ISA performs very well in arena settings, and I could make sure that Ella\u2019s performance got delivered to everyone in the audience: 75 percent were in the L-ISA immersive zone, while the rest were hearing fill systems,\u201d he says. \u201cThe spatialization from the front-fills is a really cool thing. The L-ISA Processor took all the information from the main Scene and, using L-ISA\u2019s Sound Spaces feature, rendered a tailored immersive environment specifically for the front-fill zone, delivering a well-defined, spatially-coherent experience to those closest to the stage, and it worked really well. One other advantage we had was no stage volume to interfere with the front-fills.\u201d<\/p>\n\n\n\n

\n
\"The
The crew preparing to fly Ultrasound<\/em>\u2019s L Series Scene and out-fill arrays<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

A Successful Maiden Voyage with L-Acoustics L Series<\/strong><\/p>\n\n\n\n

Although Harvey was intimately familiar with L-ISA, Lorde\u2019s Ultrasound World Tour<\/em> marks his first opportunity to tour with L-Acoustics L Series loudspeakers. \u201cI am so impressed with the clarity and detail of L2 and L2D,\u201d he says. \u201cTo me, they sound like giant studio monitors, and their directionality really cleans up much of the sound that used to roll around behind the speakers in the low to low-mid frequencies in previous systems. L-ISA is incredibly powerful for the ability to take advantage of hyper-dynamics between a mono, soft, intimate setting in one moment, then crescendoing into a massive wide-panned, loud explosion in the next\u2014and L Series delivered this perfectly with precision and clarity.\u201d<\/p>\n\n\n\n

From a systems engineering and deployment perspective, L2 and L2D are equally popular with Demonbreun. \u201cI previously used an L Series system for delay hangs on Lana Del Rey\u2019s 2025 UK stadium tour and they\u2019re such impressive boxes. They travel really well and are very quick to deploy and then strike at the end of the night. We utilized the L-Acoustics Clamp 1000 for deploying the main Scene system from truss. The Clamp 1000 is a game-changer\u2014it\u2019s a panning rigging system rated to 1,000 kg that allows you to rotate the entire flown array from the ground, which dramatically reduces the number of motors needed and cuts load-in time. It also means you can fine-tune the azimuth angle of each hang at ground level rather than working at height, which is critical for L-ISA, where consistent array orientation from venue to venue is essential to the immersive image.\u201d<\/p>\n\n\n\n

\n
\"Fourteen
Fourteen L-Acoustics A10 Wide spread out across the front of the stage lip and thrust supplied spatial front-fill<\/figcaption><\/figure>\n\n\n\n
\"\u201cI
\u201cI am so impressed with the clarity and detail of L2 and L2D,\u201d says Lorde\u2019s FOH engineer, Philip J Harvey<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

L-ISA: Connecting Artists and Audiences<\/strong><\/p>\n\n\n\n

\u201cWe employed the Follow-Me tracking system with Ella\u2019s vocal to really take advantage of L-ISA\u2019s immersive panorama,\u201d Harvey says. \u201cAs she walked around the stage, her voice in the speakers followed her physical presence.\u201d<\/p>\n\n\n\n

Harvey notes that he particularly appreciates the inherent nature of the L-ISA system being able to translate the mix as intended across the entire floor and into the arena seats, \u201cversus a left-right system, which only offers the full mix to audience members situated directly down the middle ribbon of the arena floor,\u201d he says. \u201cMy other standout aspect of L-ISA is the center-hung, end-fire KS28 sub configuration, which was flown above the center L2 array. The low end was clear, clean, and pronounced in a way that\u2019s rare in a large system. The fact that all the sub frequencies were emanating from the same single vertical point means there was no comb filtering from multiple low-end sources in different positions in the room where their interactions end up not aligning in phase.\u201d<\/p>\n\n\n\n

From initially setting the bar high on Lorde\u2019s Melodrama<\/em> tour by incorporating L-ISA, the addition of L2 on the Ultrasound<\/em> tour has further refined the audience\u2019s experience\u2014and there has been no shortage of compliments on the mix and sound quality from everyone in Lorde\u2019s camp from the top down. \u201cOn social media, the reviews from audience members have all been very positive,\u201d Harvey adds. \u201cBy and large, it seems they know something is different in the sound design of our show. It definitely reinforces the choices we\u2019ve all made to go with L-Acoustics L Series and L-ISA.\u201d<\/p>\n\n\n\n

For details on Lorde\u2019s upcoming shows, visit www.lorde.co.nz<\/a>. Clair Global can be found online at www.clairglobal.com<\/a>.<\/p>\n\n\n\n

Press release assets are found by clicking here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Clair Global deployed L-ISA Hyperreal Sound technology paired with an L Series concert sound system across North America WESTLAKE VILLAGE, California \u2013 June 2026 \u2013 In 2018, Lorde made history by becoming the first artist to take out a full arena deployment of L-Acoustics L-ISA, utilizing K2 arrays, on her acclaimed Melodrama tour. Following her […]<\/p>\n","protected":false},"author":56,"featured_media":1261004,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"news_tags":"","tags_api":"","footnotes":""},"news-tag":[],"class_list":["post-1261002","press-release","type-press-release","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nLorde\u2019s Ultrasound Tour Brings Intimate Presence to Massive Arenas with L-ISA- L-Acoustics<\/title>\n<meta name=\"description\" content=\"Clair Global deployed L-ISA Hyperreal Sound technology paired with an L Series concert sound system across North America\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.l-acoustics.com\/press-releases\/lordes-ultrasound-tour-brings-intimate-presence-to-massive-arenas-with-l-acoustics-l-isa\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta 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