L-ISA, Immersive Sound Art is Christian Heil’s latest sonic undertaking, with which he intends to restore the nobility of audio, the link between the artist and sound reinforcement. In this three-part report, we discover the innovation of L-ISA and its great potential.
Verdi’s Requiem, Jean-Claude Casadesus and the Orchestre National de Lille (ONL), and Lille’s Mauroy Stadium served as a showcase for L-ISA, the new multichannel system driven by the L-ISA Controller.
We had the pleasure of exploring this system during a long day of listening, interviews and informal exchanges – each of them fascinating – with ONL management and sound and the L-ISA team, including an appearance – rare enough to be worth the trip – by Christian Heil.
We’ll be presenting the story in three installments:
- The first, here below, deals with the specific implementation of L-ISA for this event, talking with the users Frédéric Blanc-Garin and François Gabert, sound technicians for ONL, as well as William Duvet, who served as the facilitator between L-Acoustics and ONL.
- The second part features Guillaume le Nost, head of R&D at L-ISA, a person whose talent and skills shine like a well-lit disco ball.
- Finally, the third part is dedicated to Christian Heil’s interview and our conclusions.
Three installments to help you know everything about sonic hyperrealism technology that could put a nail in the coffin of good old left/right.
