L-Acoustics systems anchor live sound on three major Chinese music TV shows

Background and context

Live-vocal music formats remain a key driver of audio innovation in Chinese television, with productions expected to deliver concert-level sound for studio audiences and viewers at home. That expectation is shaping how broadcasters and rental partners specify PA systems, monitor setups, and immersive tools for complex, high-pressure broadcast environments.

Three prominent shows – Hunan TV’s long-running Singer, CCTV-6 and Zhejiang Satellite TV co-production Guo Yue Wu Shuang, and variety format The Treasured Voice – have all standardised on L-Acoustics systems for their latest seasons.

The projects are overseen by sound director and designer He Biao, working with Beijing Dadong Huahan Audio Visual Equipment, an L-Acoustics Certified Provider, and distributor Rightway Audio Consultants (Racpro). Together, they have been refining system designs as the shows evolve and audience expectations rise.

Key announcement

For the 2026 season of Singer, which is broadcast live and features established vocalists performing in real time, the production expanded its use of L-Acoustics L-ISA Immersive Hyperreal Sound. The aim was to extend the immersive field to more of the studio audience and support a wide range of musical styles on a single stage.

• The main L-ISA system consisted of five arrays, each with two L2 and one L2D enclosure, using Panflex directivity and cardioid low-frequency control to maintain level across the front seating while limiting spill onto the stage.
• Low frequencies were handled by four flown cardioid KS28 subwoofer arrays.
• Seven A10 loudspeakers provided spatial in-fill, with additional dV-DOSC arrays covering box seats.
• Six 115XT HiQ monitors served performers on stage.

On Guo Yue Wu Shuang, a format built around the idea of one song performed in both Mandarin and Cantonese, the focus was on clarity and articulation. The show combines contemporary and traditional instrumentation with extended reality (XR) visuals and holographic elements, requiring a system that can handle detailed vocal work and dense arrangements.

• Two arrays of ten K2 line source elements were deployed to cover the audience area, providing consistent intelligibility from quiet passages to full-scale arrangements.

The Treasured Voice, now in its seventh season, pairs established singers with younger artists for collaborative performances that shift style from segment to segment. The system design is intended to be adaptable yet repeatable from season to season.

• The main PA comprises two arrays of eight K2, supported by two arrays of four KS28 subwoofers for low-frequency reinforcement.
• Two groups of two Kara II loudspeakers were positioned across the front rows to maintain coverage and detail for listeners close to the stage.

According to He, this configuration for The Treasured Voice has been incrementally adjusted over several seasons rather than redesigned each year.

Industry impact

The decision by three high-profile Chinese music shows to centre their sound designs on L-Acoustics underlines a broader trend: broadcast productions are adopting concert-grade and immersive technologies that were once reserved mainly for touring and large-scale events.

In particular, the use of L-ISA on Singer shows how object-based mixing is moving into mainstream television. By placing voices and instruments as discrete objects in a three-dimensional field, engineers can maintain separation and localisation that traditional stereo PA systems struggle to offer in large studio spaces.

Meanwhile, the deployment of K2 and Kara II line arrays on Guo Yue Wu Shuang and The Treasured Voice demonstrates how touring PA platforms are being adopted in studios to meet expectations around dynamics, tonal consistency and vocal detail.

Why this matters

For the live and installed sound sector, these projects highlight several shifts in the Chinese market:

• Broadcasters are investing in immersive and high-resolution sound solutions to differentiate music formats and support live-only vocal performances.
• Hybrid workflows, where concert systems and broadcast requirements intersect, are becoming more common, placing additional emphasis on design tools, prediction software and experienced system engineers.
• Long-running shows are treating PA design as an evolving asset, refined season by season rather than rebuilt from scratch.

Manufacturers such as L-Acoustics, which details these systems and technologies at l-acoustics.com, are positioning their products not only for touring but also for broadcast and XR-enabled studio environments. As live-vocal music shows continue to set expectations for audio quality in China, the technical choices made on these flagship programmes are likely to influence future event and studio designs across the region.