Unreal-Systems Deploys L-Acoustics L Series Concert Sound System for John Summit’s Three-Night, Sold-Out Run at L.A.’s Kia Forum Unreal-Systems Deploys L-Acoustics L Series Concert Sound System for John Summit...
Substantial yet svelte rig utilizes 28 L2 and six L2D to fill entire arena with hi-fi coverage
INGLEWOOD, California – January 2025 – In mid-November, John Summit, one of the hottest talents in house music today, completely sold out three consecutive nights of shows at Inglewood, California’s 17,500-capacity Kia Forum as part of his ongoing Comfort In Chaos tour. For Summit, the concert sound system choice was personal: “We really wanted a speaker system that could show the full range in my tracks while also giving it the oomph that you need to get people dancing,” he says. “I’m a huge believer that I don’t need production, visuals, and lighting if the sound is good – everything else is just bells and whistles. The sound is the main core of the show.”
For these demanding Electronic performances, Summit’s production team turned to L-Acoustics Certified Provider Unreal-Systems/AgorÀ USA, the company of choice since the start of the project, which specified the new L Series concert sound system. While the system’s compact form factor might seem deceptively small, its performance proved revolutionary. One L2 or L2D element delivers the same contour as four K2 elements in a package that’s 46% smaller and 40% lighter, while maintaining industry-leading SPL.
For Summit’s shows, just 28 L2 and six L2D enclosures easily filled the massive arena. The system’s supercardioid capabilities also delivered unprecedented stage noise rejection. “If I turn the booth monitors off, I borderline hear nothing – in a great way – because then I have full reference in the booth,” Summit declares. Tour Director Jordan Vogel echoes his point: “This is the quietest I’ve ever heard it on stage. Ever.”
“I’ve been told there’s not a bad spot in the house,” Summit shares, “and that’s what I want to hear. This system helps me connect to the audience because it really brings my music to life. It gives almost like a fourth dimension to it.” Unreal-Systems Audio Engineer Joe Williams confirms: “Whatever seat in the house you’re at, you actually hear a stereo image,” he says. “And I can walk the whole length of the venue and feel like I’m listening to the same exact box following me.”
Unreal-Systems deployed left and right main hangs of three L-Acoustics L2 above one L2D blanketing the arena floor, flanked by four L2 per side as out-fills addressing the side bowl seats. With the popular DJ playing to the full venue, four more arrays of two L2 over one L2D supplied the 270- and 360-degree fill coverages. Three additional arrays of two L2 each were flown out in the house as delays for the far bowl seats, and all L Series enclosures were driven by high-resolution LA7.16 amplified controllers housed in LA-RAK III touring racks.
For earth-shaking low end, a dozen KS28 subs were flown in a cardioid hang next to each main L2/L2D array, bolstered by 12 more KS28 per side, horizontally end-stacked in a line below the flown subs – plus two sets of two KS28 along the stage thrust – all in a cardioid configuration. Unreal-Systems also deployed two pairs of Kara II per side as front-fills, with four more Kara II spaced out across the stage. All KS28 and Kara II were LA12X-driven and processed.
The compact size and sleek format of the L2 and L2D proved especially valuable for Summit’s visually ambitious production. “It allowed us to get wild with the stage’s design, the pyro, the effects, the lasers, and everything, so it really complements our production,” Summit notes. Vogel adds: “We walked the entire upper bowl and lower bowl. I was even in the seats all the way in the back, and it’s just incredible how symmetrical it is throughout the entire place.”
For Unreal-Systems’ Luca Sabatini, the choice of L Series also presented logistical benefits. Deployment is streamlined with a smaller, lighter footprint reducing truck space and requiring fewer elements, cutting the number of actions needed to load in and out. “From a production manager standpoint, I need to worry about getting the show up quickly. With L Series, audio now flies in. But it also has this new hi-fi sound and coherency that I’d never heard before. It’s absolutely been a game-changer. John cares very much about the audience experience, and we really feel that the only tool that does that justice is an L-Acoustics box.”
FOH Engineer Will Nance concurs. “L2 is amazingly impressive,” he says. “Just the sonic clarity of it, and how well it disperses in the room. I was looking for that huge low bump that L-Acoustics is known for, hearing it on the L Series. High frequency was there, low frequency was nice and balanced, and then you add the ground subs, and it just brought it all together.”
Publication We Rave You states, “The legendary venue, with its soaring ceilings and state-of-the-art L-Acoustics L Series concert sound system, was the perfect setting for this milestone event.” Accompanied by a live orchestra for several numbers, as well as a lineup of guest vocalists – including Paige Cavell, Julia Church, Hayla, and Koates – each of the two-hour performances served as a triumphant non-stop romp through Summit’s infectious signature hits, like “Resonate” and “Sweet Disposition,” peppered with a choice mix of high-octane deep cuts.
For more information on John Summit, visit www.johnsummitmusic.com. Unreal-Systems/AgorÀ USA can be found online at www.unreal-systems.com.
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