L-Acoustics KARA-SB18 Sound Package Used, Second hand

12pcs KARA modular WST line sources new colour code from 2015-2017 in triple flight cases
  8pcs SB18 subwoofers colour code 2 from 2015-2017 with dollies and covers
  3pcs LA8/AES/EBU/R3 power amplifiers
  2pcs M-Bumps with 2pcs M-Bars in flight case
10pcs SP25 25m cables
  8pcs SP.7 0.7m cables
  6pcs SP-Y1 Y split speaker cable: 2 x 2.5mm² NL4 1m.

Photos on request.

More details

1.01.320
Used

64,500.00 €

64,500.00 € per Set

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About this product

KARA

Modular WST Line Source
  • Compact and lightweight design, compliant with rigging and sightline constraints
  • Extended LF resources for contour requirements from flat to medium
  • Clarity, intelligibility and precision for vocal, speech and lead instruments
  • 110° horizontal directivity for distributed applications, fills and central clusters
  • LA-RAK (LA8) advanced system drive and protection
  • State-of-the-art rigging system for high accuracy and quick set-up
  • White and architectural RAL color available (KARAi)
KARA SMOOTH AND FLEXIBLE

The Kara modular line source delivers ultimate flexibility to any sound design, with its optional low frequency extension. This active, two-way compact enclosure boasts exceptional throw as well as smooth and wide horizontal directivity
Deployed alone, Kara is ideal for enhanced speech and vocal programs. With the SB18 subwoofer, Kara delivers a full range performance, capable of reproducing high impact low frequency for the most energetic music concerts.
An install version with streamlined rigging and a custom color palette allows Kara to adapt to any install which calls for architectural discretion.

SB18

The SB18 is the universal subwoofer designed for modular WST line sources and coaxial systems, lowering the combined system operating range down to 32 Hz. Its compact size and integrated rigging make it extremely well suited for coupled configurations with KARA. The association of a specifically designed 18’’ transducer with a dual bass-reflex tuned enclosure provides exceptional impact and high sensitivity, low thermal compression and reduced distortion. The vents feature a progressive profile allowing laminar airflow and reduced turbulence noise even at the very highest operating levels. These combined properties contribute to the sonic qualities of the SB18 in terms of precision and musicality. The control and amplification of the SB18 managed by either the LA4 or LA8 (LA-RAK) platform. The onboard DSP filtering encompasses advanced crossover functions, system EQ, and dual thermal and over-excursion protection of the transducer. The L-ACOUSTICS amplified controllers offer the following drive modes:

  • The ‘‘standard’’ mode using SB18 as a companion to KUDO, KARA, KIVA-KILO, ARCS and featuring a low-pass filter at 60 Hz ([SB18_60] or closely coupled to KARA, ARCS and XT with a low-pass filter at 100 Hz ([SB18_100] preset).
  • The ‘‘cardioid’’ mode using SB18 as a companion to KUDO, KARA, KIVA-KILO, ARCS and featuring a low-pass filter at 60 Hz ([SB18_60_C] or closely coupled to KARA, ARCS and XT with a low-pass filter at 100 Hz ([SB18_100_C] preset).

The performance of the SB18 enclosure depends upon the choice of preset and physical system configuration. Made of Baltic birch plywood, the cabinet also features a pole mount socket for use with one XT or two KIVA enclosures.

Used L-Acoustics

L-Acoustics is a French manufacturer of loudspeakers, and signal processing devices for rental and installed sound markets. Headquartered in Marcoussis, just south of Paris, the company has satellite operations in the United States, United and Germany, as well as a global Rental Network of production companies deploying and cross-renting its products.

Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both. Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it's in phase with the input and negative when it's out of phase. Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details). Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level. Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.Gain: Increase in level or amplitude.Gooseneck: This refers to amicrophone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies; lowering sliders cuts (attenuates) the affected frequencies.High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.KHz: Kilohertz or one thousand Hz.Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.Line Array: A group of speakers that have been arrayed or “built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies. Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range. Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers. Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.Phase: Time relationship between signals; it's all relative.Power Output: A measure, usually in watts, of how much energy is modulated by a component.Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.surround processor portion of the receiver and the input of the amplifier portion of the receiver.Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television's tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal. RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square's set of values. A reasonably accurate method of describing an amplifier's power output. Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better. Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language. Sound field: The total acoustical characteristics of a space, such as ambience; number, timing, and relative level of reflections; ratio of direct to reflected sound; RT-60 time; etc. Speaker: A component that converts electrical energy into acoustical energy. SPL: Sound-Pressure Level. Measured in dB. Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX Select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman's eXperiment, after the engineer who drafted the original standard, or is named after the company's founder George Lucas' first movie, THX 1138. Nobody agrees on which.

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