Gear Heads: d&b audiotechnik KSL System

GEAR HEADS

d&b audiotechnik KSL SYSTEM

d&b audiotechnik’s Matthias Christner, Head of R&D Acoustics, talks to TPi’s Stew Hume about the company’s forthcoming KSL System.

When did development for the new KSL System begin? Was it always the goal to have a younger sibling to the larger GSL System? When we started the GSL project, we targeted applications that our large line array, the J-Series, would usually handle using a comprehensive system. The J-Series is used successfully in a wide range of applications from medium-to-large clubs all the way up to stadiums. The GSL had to deliver even more than the J-Series – it had to sound great and establish a more efficient workflow for these larger applications.

The work on KSL started when the GSL’s electroacoustic properties had been finalised and most of the mechanical and hardware details had been clarified. This is typically the start of the ‘industrialisation’ phase in product development. It was around the time of the GSL preview events, that we‘d mention – if asked – that we were investigating the possibilities of scaling down the GSL. The idea of making the SL-Series feature set available in a smaller system package for a broader range of applications was clearly in place from the very start. Our experience of working with GSL and its prototypes set up the necessary development tools to design

the system’s electroacoustic properties, so the knowledge was already there to understand how we might deliver these same properties in a smaller format. When we started to work with the GSL in the real world, we fully understood the practical value of its features for a huge range of applications.

One example of this was using a GSL test system in a large arena, in a mock situation that replicated a shareholder meeting running lots of table microphones. The full range directivity of the system enables a much higher gain before feedback in the low-mids, and the difference in vocal quality and intelligibility was really obvious. It gave a very clear indication of where to proceed: the features of the GSL in a smaller format.

Another example of the requirement for a little brother for the GSL was out-fill deployment: when there is a system in place that has well-defined directivity across its entire range, the out-fills need to work with that system, not against it. The KSL is great for out-fills. It became obvious that we could add an accompanying system that offers a larger splay range in order to cover an arena’s side seating efficiently. If the main system

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D&B AUDIOTECHNIK KSL SYSTEM

Matthias Christner, Head of R&D Acoustics.

intentionally keeps its LF energy well contained, the side system must also be full range and work autonomously without any LF support from other parts of the system.

Which elements have carried over from the GSL System? Will you still get the ‘quiet stage’ and control that the GSL has become known for? All the features that characterise the SL-Series have been transferred to the KSL – above all, the directivity behaviour that creates the ‘quiet stage’ experience and the massively reduced environmental impact to the side and behind the arrays. We also wanted to keep the impressive dynamic linearity of GSL down to the lowest frequencies, which allows engineers to run lower LEQ levels while the audience still has the full perception of a highly energetic performance. This implies that KSL offers a full-range performance, reducing the subs needed for many applications. Then there’s the transport and rigging system that, once experienced, nobody wants to give up…

In terms of specifics, how much smaller is the KSL to the GSL? The most striking difference is the perceived size of the box from the audience perspective. With a width of 100cm (vs.130cm for GSL) and a height of 33cm (vs. 39.1cm) the front-facing area of a KSL is just about twothirds of a GSL. There is only a small reduction in cabinet depth (59.7cm vs. 62.7cm): the physical loudspeaker arrangement is directly linked to directional behaviour and coherence, so it couldn’t be reduced much. It’s key to the targeted bandwidth of the whole SL-Series.

In terms of weight we could reach an attractive 58kg – even less than a J-TOP at 60kg. When it comes to maximum acoustic output, KSL is around 3dB-4dB below GSL in the frequency range above 150Hz, hence exactly in the J-Series range and exactly what we wanted to achieve. The difference between KSL and GSL in the lower frequencies is largely due to the overproportional reduction of cabinet volume, but KSL still clearly performs beyond a J-TOP. So every application achieved with a J can easily be done with KSL, plus you get the additional benefits of improved directivity, rigging efficiency, logistics and scale. These benefits are the key that opens up a wide application range for KSL, probably even wider than what we see today with the J-Series.

What new features does the KSL range bring to the market? Where do you see the system sitting, in terms of d&b’s offerings to the live events industry? The KSL is a member of the SL-Series family, so above all it has all the features that characterize the SL-Series. In addition, it offers a wider splay range – 0° to 10° – and for smaller applications that don’t need ArrayProcessing two cabinets linked in parallel can be driven by one D80 amplifier channel pair.

How long did the R&D process take? What were the biggest challenges in creating a smaller box? Work on KSL started at the beginning of 2017, just after the basic design of GSL had been finished. It progressed in parallel with the GSL

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industrialisation process and field tests. The advantage of that approach was that our experience with GSL – the purpose-built simulation tools and many of the basic feasibility studies made for GSL – could be transferred to KSL.

It’s trickier to design, test and build scaled-down speakers like the KSL –particularly if you have the aim of delivering the same driver excursion capability as a larger cabinet like the GSL: smaller drivers require more work on the suspension system to make them reliable. Also, a scaled-down cabinet like this one is inevitably more tightly packed, with the components and structures that deliver the performance, so the manufacturing process needs additional work.

Another interesting topic was the rigging system: with the larger splay range, the geometry of the smaller box and the dual rigging modes, you quickly run out of space for holes in certain components. A lot of work had to be done on material selection and manufacturing methods of high-grade steel.

Did you have any feedback from audio engineers during the R&D process? Following the excellent experience of our test strategy for GSL, we chose a similar process; whenever possible we used a venue or festival that had already been a GSL test site, which enabled data comparisons both onsite and offsite for noise ‘immission’ monitoring. For a system of the KSL’s scale, there are several adequate sites around Germany. We didn’t have to travel that much either, which made it less time consuming overall.

Feedback was entirely positive, both from regional engineers and rental houses who see the advantages the SL-Series would provide on a daily basis. Our international partners clearly recognise the benefits of a smallerbrother system; one of the first comments we heard was: “Oh, they did it again...”

The system is getting its official launch at NAMM, but has already been used in the field. What has been the feedback from the engineers who have already heard it in action? Following the field test period, some of the productions insisted on keeping it out on tour. The most frequent comments are about the lack of rearward emission and the great reduction of spill on to the stage. A stage’s sound environment is almost entirely in the hands of the monitor engineer. The SL Series gives them the opportunity to create the sound environment that’s actually needed, instead of trying to mix around the spill from the main system. The clarity and dynamic linearity over the entire bandwidth, paired with the drastically reduced room interaction due to the directivity, also caused some FOH engineers to make rapid adjustments to their existing mixes – especially in the low-mids. All for the better and ending in some big smiles, of course. TPi Photos: d&b audiotechnik www.SL-Series.com www.dbaudio.com

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