Built in 1975 as Les Arènes de l’Agora, a €35m renovation has made the Arènes de Grand Paris Sud a cultural and sporting destination in the South of Paris capable of being configured as a seated theatre, a standing concert hall, sports venue or central-stage e-sports arena – the first arena in Europe to serve as an official home to an eSports team.
Part of the Grand Paris project – aimed at injecting new employment and cultural opportunities into the suburbs surrounding Paris – the 3,000-capacity arena has quickly established itself as a groundbreaking multipurpose space. Now the official home of France’s leading eSports team, Karmine Corp, the diversity of the venue’s programme demanded a professional sound system capable of adapting instantly to every configuration.
Management turned to A/V consultant Concept K to ensure seamless design and delivery of the audio system. In turn, Concept K engaged trusted collaborator Fleik, specialists in audiovisual integration consulting and Monitoring Potar Hurlant for system integration.
‘Versatility and modularity were the guiding principles from the start,’ says Fleik co-founder, Jérémie Kokot. ‘The venue needed an audio solution capable of delivering consistent, high-quality sound across very different configurations, whether for a symphony, a rock concert, a basketball game, or a high-energy eSports match.’
The main challenge was ensuring coverage in a space designed to be reconfigured at speed. The arena’s modular architecture required an installation that was powerful yet discreet, high-performance but without compromising sightlines. Mounting constraints meant the system had to integrate harmoniously with the building’s geometry while offering rapid adaptability for multiple stage setups.
To meet these requirements, Fleik and Concept K specified a system centred on L-Acoustics’ L2 line source boxes. ‘L-Acoustics systems offer powerful tools such as Dmin/Dmax which allow the gauge to be precisely adjusted according to the event configuration,’ says Kokot. ‘This provided us with great flexibility with perfectly controlled sound coverage. The compactness of L2 was also a determining factor in the final choice. The roof structure and bleacher positions demanded a system that could be flown relatively low without obstructing views. L2’s form factor and sonic power made it ideal.’
The team used L-Acoustics Soundvision software to optimise performance long before the system was installed. Audience areas were first defined in Vectorworks before being exported to Soundvision, where multiple scenarios were simulated. ‘Soundvision allowed us to anticipate acoustic challenges and fine-tune coverage,’ says Kokot. ‘This streamlined calibration and reduced risks, making deployment far more efficient.’
The final design employs two L2 modules to cover the upper seating tiers, complemented by two L2D modules to ensure even coverage across the lower levels. Four KS28 subwoofers flown in a cardioid configuration adjacent to the L2 to deliver controlled low end. A central cluster of two A15 Focus provides additional energy for the front rows, while an A15 paired with an X12 per side provides out fill.
For the very first rows, eight X8 front fill modules bring clarity and balance, seamlessly blending with the larger system. Monitoring is managed by six X12 loudspeakers. System management is anchored by an L-Acoustics P1 processor, which guarantees flexible connectivity with the venue’s Yamaha DM7 mixing console or any visiting desk, while ensuring reliability and simplified workflow. Processing is managed by four LA7.16i, two LA12X and five LA4X.
Another key design choice was full integration into a unified A/V network. Concept K recommended a Luminex based infrastructure, supporting Milan-AVB implemented with redundancy across primary and secondary networks. This links audio, lighting, video, and intercom systems, delivering low-latency synchronisation across all technologies while ensuring cost efficiency and scalability for future needs. All L-Acoustics electronics usze Milan-AVB technology, ensuring integration across the entire system.
Throughout the design process, Fleik maintained close communication with the L-Acoustics applications team: ‘Their support was invaluable in defining the best possible deployment,’ Kokot notes. ‘It was a genuine partnership that ensured the system delivered exactly what the venue required.’
Given the venue’s reliance on freelance professionals already well-versed in L-Acoustics workflows, adoption was swift. Operators quickly adapted to the new system, leveraging LA Network Manager and associated tools for daily use.
Early reactions from productions and artists have been overwhelmingly positive. Venue Director Lucas Paez expressed his satisfaction with the installation: ‘The system delivers exceptional clarity and consistency. Whether hosting eSports tournaments with Valorant RIOT Games, a Karmine Corp match, or a touring concert, the sound has been universally praised. It adapts seamlessly to every configuration.’
The agility of the L2-based solution has already improved the arena’s operational efficiency. By minimising setup and calibration time between productions, the system enables faster turnover and greater scheduling flexibility. This translates to time savings for technical teams and smoother transitions for incoming shows.
Most importantly, the installation positions the Arènes de Grand Paris Sud as a future-ready venue. ‘This audio system ensures the arena can accommodate the most demanding productions while remaining adaptable to evolving audiovisual standards,’ says Kokot. ‘It secures the venue’s reputation as a leading destination for culture, sport, and digital entertainment in the Paris region.’
More: www.l-acoustics.com