How SSOUNDS Speakers Are Used in Live Productions

SSOUNDS designs its loudspeakers as complete system solutions, meaning every component — from line array elements to amplifiers and DSP — is engineered to work together seamlessly. This allows production teams to scale from a small point-source setup for a corporate keynote to a large line array system for a festival main stage, all with predictable coverage and consistent tonal balance.

The key to this scalability is the SSOUNDS DSP and amplifier platform. Each amplifier channel stores factory-optimised presets for every SSOUNDS enclosure, including crossover, EQ, limiting, and delay. When a system is configured in the SSOUNDS software, the DSP automatically calculates array compensation, ensuring that flown line arrays and ground-stacked subs sum coherently. This reduces setup time and minimises the risk of human error during rigging.

For front-of-house (FOH) sound, SSOUNDS line arrays are the backbone of large-scale productions. The arrays are designed with a consistent horizontal coverage pattern (typically 90° or 120°) and vertical curvature that can be adjusted via rigging hardware to match venue geometry. This allows engineers to achieve even coverage from the front row to the back of the audience, with minimal variation in frequency response.

Subwoofer deployment is equally critical. SSOUNDS offers both cardioid and omnidirectional subwoofer configurations. In festival settings, cardioid arrays are often used to reduce low-frequency energy on stage, improving monitor clarity and reducing feedback. For corporate events, ground-stacked subwoofers with end-fire or gradient configurations provide tight, punchy bass without overwhelming the room. The SSOUNDS DSP includes presets for common subwoofer array geometries, making it straightforward to achieve consistent low-end coverage.

SSOUNDS stage monitors are designed for high SPL with smooth, controlled dispersion to minimise bleed into open microphones. Wedge monitors are available in coaxial and dual-driver configurations, each with dedicated DSP presets for vocal or instrument monitoring. The coaxial design ensures a coherent point-source image, which is especially useful for vocalists who move around the stage.

For larger stages, SSOUNDS side-fill and drum-fill enclosures can be deployed. These are typically flown or stacked to provide coverage for side-stage areas and drum risers. The DSP allows for individual EQ and delay adjustments per monitor mix, ensuring that each performer receives a clear, tailored monitor feed. Integration with digital consoles (e.g., via Dante or AES67) is straightforward, as SSOUNDS amplifiers support standard audio networking protocols.

In large venues or outdoor festivals, delay rings are essential to maintain intelligibility at distant listening positions. SSOUNDS point-source loudspeakers or compact line array elements are commonly used for delay towers. The DSP's delay function aligns the arrival time of the delay speakers with the main array, preventing comb filtering and ensuring a coherent wavefront.

For corporate events or houses of worship with distributed audio needs, SSOUNDS offers installation-optimised point-source enclosures. These can be ceiling-mounted or wall-mounted, with DSP presets that compensate for boundary loading. The same amplifier platform used for touring can drive these install speakers, simplifying inventory and training for production companies that serve both markets.

SSOUNDS systems are designed to integrate seamlessly with third-party equipment. The amplifiers accept analog, AES3, Dante, and AES67 inputs, making them compatible with most digital mixing consoles and audio networks. For lighting and video synchronization, SSOUNDS amplifiers can be controlled via Ethernet and support timecode-based show control (e.g., via MIDI or SMPTE).

In large festivals, multiple SSOUNDS amplifier racks can be daisy-chained over a single network cable, carrying both audio and control data. This reduces cable weight and setup time. The system software also provides remote monitoring of amplifier status (temperature, load, signal levels), allowing engineers to troubleshoot from FOH or monitor world.

While SSOUNDS does not disclose specific client names without permission, the systems have been deployed in a variety of real-world scenarios. For example, a touring festival might use 24 SSOUNDS line array elements per side with 16 dual-18” subwoofers in a cardioid array, achieving 140 dB peak SPL with uniform coverage over 50,000 people. A house of worship might use a compact line array of 8 elements per side with two subwoofers, providing clear speech intelligibility and musical warmth for a congregation of 1,000.

In corporate productions, a typical setup might include 4 point-source speakers per side for main PA, with 2 subwoofers and 4 stage monitors. The DSP presets are adjusted for the room's acoustics using the SSOUNDS prediction software, which models coverage before the system is flown. This level of preparation ensures that the system meets the production's requirements on the first day of setup.