RCF Audiosystemlösung beim Niebla Flamenco Festival.
Das Dörfchen Niebla befindet sich etwa 30 km südöstlich der Stadt Huelva und 60 km von Sevilla entfernt am Ufer des Río Tinto. Niebla bedeutet im Spanischen wörtlich “Nebel”, ein Name, der von der Nähe zum Atlantik herrühren könnte. Es ist ein Ort, den man am besten zu Fuß erkundet. Niebla ist berühmt für seine Schönheit und sein archäologisches Erbe, das in den altertümlichen Mauern und Gebäuden der Stadt ebenso wie in der Burg zu finden ist.
Niebla ist eine Enklave von hoher Bedeutung in der Geschichte Südspaniens und ihr größter Zeuge, die Burg, spricht davon Bände. Die Burg ist so gut erhalten, dass sie in den Sommermonaten als Kulisse für Theater, Musik- und Tanzfestivals dient. Das ganze Jahr hindurch sind ihre Räume, Kammern und Verliese ein veritables mittelalterliches Museum mit einer stilechten Inneneinrichtung passend zur Epoche.
Beim diesjährigen Festival „Flamenco Condado de Niebla” lieferte die Firma dB Sound ein RCF-Audiosystem, das für den guten Ton und die akustische Anbindung an den Innenhof der Burg Niebla sorgte.
Neben einer Reihe von Flamenco-Künstlern trat auch der Popmusiker Kiko Gavin auf, der in diesem wunderschönen Ambiente ein beeindruckendes Konzert spielte.
Die Hauptbühne befand sich innerhalb des ummauerten Geländes mit Platz für etwa 1.000 Leute. Um eine korrekte Akustik und klangliche Abdeckung zu erzielen, wurde das System als Cluster, bestehend aus sechs RCF TTL 33-A, an einer Traverse platziert. Sechs RCF TTS 28-A wurden vor der Bühne mit einem Abstand von jeweils 1,5 Metern aufgestellt.
Für die Beschallung der ersten Reihen wurden RCF TT08-A Lautsprecher als Frontfills aufgestellt.
Die Monitoranlage bestand aus den Modellen RCF TT25-A, TT22-A und 4PRO4003 als Sidefills sowie den ART905-AS als Subwoofer.
Für viele Künstler war es die erste Begegnung mit RCF-Audioequipment und die Reaktionen waren durchweg positiv.
Für Kiko Gavin war dies „eines der besten Soundsysteme, das ich je gehört habe”.
Diese Veranstaltung stellte die hochprofessionelle Einstellung der Firma dB Sound unter Beweis. Bei ihrem Bestreben nach bester Qualität, technischer Dienstleistung und bestem Equipment setzten sie komplett auf die RCF-Lösung.
Ketch Kelly to receive the first ever "RCF USA Special Recognition Award" for 2011
Long time RCF user Eric “Ketch” Kelly from Christopher Newport University’s Ferguson Center for the Art is the recipient of the "RCF USA Special Recognition Award" for 2011.
“Ketch Kelly has done a lot of efforts to promote the RCF brand in US and especially the TT+ range. With a lot of experience and always interested in trying out new stuff he is always giving us very valuable feedback on our products and he has been very active in creating new references for RCF and are a respected source to advise which system to work with. We really appreciate his efforts and we would like to honour Ketch for his job by awarding him with the RCF USA Special Recognition Award for 2011”, says John Krupa – Sales Director RCF USA
RCF talks with Ketch Kelly about his entrance into the audio world and he shares some inside experiences.
How did you start to get involved with the audio engineering and sound?
Well, if not trying to blow up stereos as a teenager it would have been after I was drafted and was serving on an Aircraft Carrier then a Nuclear Submarine. The large distributed systems were fascinating. Just after getting out a good friend started touring with Bob Marley and Peter Tosh as a musician. I started as a Roadie and paid attention to the systems we used and to how they worked. Coming from the nuclear Submarine system I liked well-built systems that showed care in construction attention to detail.
What is your main audio background?
As a sound engineer mixing F O H I worked at The Ritz in NYC toured with bands in the 70’s and 80’s Bob Marley, Peter Tosh, Jimmy Cliff in a variety of positions I worked for a Hotel developer and did distributed systems and Large Club systems for both Live and Program music all over the U.S. Here at CNU I am the Audio Engineer and have designed several of our Audio and Video systems in venues across campus. Ferguson Center, Music & Theater Hall, Studio Theater and the Gaines Theater as well as A Student lounge The Crows Nest.
When did you discover the RCF products and what was your first experience with these?
The drivers used in a variety of cabinets and their reputation to perform under demanding use.
Are there any particular things you like about the RCF products and what is your personal experience with these?
Well I often say that we are sound engineers first so how does it sound, today everyone can find measurements that say how great their equipment is. How does it sound! I have headphones that are very accurate but do not sound great for listening they are for reference! The First time we hung the TT31’s was for a show that afternoon, so we really were just taking them as is. The tours engineer looked at me and said, “Buy them”. I had a group of working sound engineers over to take a listen and they all were amazed as we played music we all know well, that we use to check systems out. The depth is what struck me, the images in each of the tracks and the detail sold me! We are a concert hall that sees hundreds of shows with every major speaker line come through our doors. I do not talk down equipment that does not appeal to me because frankly almost all modern speakers are remarkable, so it comes down to how the make you feel! The TT series makes me smile from ear to ear every time I hear them!
As been working with sound and installations for many years, what are your key rules when you are choosing a system to work with?
“There is the new and the known” do not put it in just because it’s the vogue product, balance where you’re dollars are allocated. That said stay current look at new products with an open mind and attention to the fit and finish. Will the company and products be around in the future? Give the best fit for the budget and level of skill the everyday operator will bring to the installation. Make it sound great
You have done several church installations. What do you see as the main challenge when deciding on what types of speakers and systems to use to these kinds of installations?
Not really I installed Pipe organs when I was 17 this let me appreciate the acoustic environment of the spaces. I am working on a Chapel project here on the Campus so it brings its own demands that although common to theater are new. The space needs to be clean with no apparent technologies, but the space will be used by all types of events from acoustic, spoken word to electric so the Steerable arrays seem to be the best for now.
When you do installations in venues, concert halls etc. how do you manage to secure that the systems will exceed a performance that match perfectly to the room?
Well I think headroom first when the budget allows, then I think of what the venue is going to be used for. I also try and think what it will be used for in the possible future. Then it is time to look at what science will tell us of the space. The final thou is let’s say intuition I think often if we listen to ourselves, experience tells you what will work
The RCF TT+ products are having a lot of DSP onboard. What is your experience with DSP in general for these big systems, do you feel that it is a good help to create a perfect listening result?
I like DSP in general but feel there are some parameters that should not be changed such as Cross over points. I like to be able to monitor levels and the condition of the amplifiers and power consumption etc.…. I like to be able to gain shade sometimes remotely
What do you see as the big difference for the audio systems today compared to what you were working with 5 years back?
The quality of horns for smooth reproduction and control, also the power amplifier sections on self-power speakers. I think the TT45 is a great example of these properties it’s on stage and in your face. They display great clarity and control but sound wonderful not a statement I would associate with stage monitors in general loud comes to mind. I remember in the late 70’s a band member wanting more Kick and there was nothing left I mean it was all the way up! So looking at the monitor you could watch it hop with each kick beat so I told him when it hopes that’s the kick. That would not happen with the speakers we use today.
The technology is constantly being improved, what do you see as the next big thing for speaker design or features that could make it easier to be an installer and a sound engineer?
More steerable control digitally to deal with where we do not want power and where we do. Better rigging hardware so that there is less chance of accidents assembling rigs. Perhaps a scanning laser showing the area of coverage not just the point.
When you work with bands, do you experience that they are getting more involved in the actual stage sound and they want to secure that they are sounding close to their sound on their music releases?
Being a house engineer I find that often they are focused on their monitor mix and pay less attention to the house mix. They expect you to get the house right and sometimes you have to push to get the time you need to dial it in.
Today there are a lot of online resources to get new information about gear, installations, new technology etc. What online resources do you use to maintain your knowledge and are you contributing with your own experience to other sound engineers etc.?
I use FOH and SPL websites they are open to a very lively they tend to be good clearing houses of experience with gear and application of knowledge.
Today many people are talking about the challenges in secure that your sound level at concerts and public places are in control and stays at a maximum or average level that is set by the authorities. Do you have any experience with this, and what do you feel about having to work to a set of rules?
I do not think with modern PA’s that you do not need to be as loud as we once did because we can put the power in the seats now with Arrays, DSP and cabinet design and choice. There is a local amphitheatre that you get warned for being too loud and then arrested if you ignore the warning. I have run into engineers that treat contract SPL levels as an excuse to be abusive even push a desk harder and harder when the processing is trying to keep the lid on it. I have been on both sides but come down on the side of common sense if you are driving people out just because you can be that loud clearly your ego is righting the checks. Make it sound great, encompassing and powerful
All sound engineers have their favourite test songs, to mention one could be Donald Fagen´s I.G.Y., what songs are on your test CD?
One Voice - the Wailin’ Jennys The Hounds of Winter – Sting Seven Bridges Road (live)- Eagles Lisztomania – Phoenix In the Darkest Place – Burt Bacharach& Elvis Costello Maria Rita 1st album Jamie Cullum Jeff Beck Live at Ronnie Scotts
These are a few - I have others Donald Fagen / Steely Dan etc.
When RCF introduced the TT+ system to the market, the product line was designed with many inputs from FOH engineers etc. With your work with TT+ can you recognize things in the products that make it easier to set up and in general to work with compared to other systems?
Yes the recessed switch and connector positions are well thought out. The rigging is pretty good I would like a way to hold the bracket tongues with your fingers clear. They are very easy to find handholds on and the power to weight ratio out of this world
In your perspective what do you think that is important for speaker manufacturer to keep alive and never compromise on?
Musicality if that’s a word, we can make very precise systems but the need soul, heartfelt. There is a point that we must remember we may be technicians but we are also artists in our own right. I have disagreed with some engineers that say we are there only to reproduce exactly what is on stage. I would argue we are to remain true to what is on stage but we must bring all of our selves to each show or just have a computer balance the input gains and send that.
What projects are you working on right now?
The Chapel here at CNU and an upgrade to the Concert Hall system here at Ferguson Center
We just finished our fourth Theater on Campus (with TT25’s and TT45’s) the school has spent $700,000,000 on new facilities in the last 12 years and is working on another $500,000,000 over the coming years. The school is public and only around 5,000 students
What is your “dream band” to be FOH for, and why?
Well I worked with great bands and they all bring something Bob Marley and Peter Tosh were in the dream category and being House engineer Here has allowed be to work with a huge number of artists and engineers. That said I think all sound engineers think their Mix is the best not that we are known to have opinions, no never!
What has been your absolute biggest concert experience as being part of the audience?
I am working most of the shows I see so it would have been a long time ago for big shows in the Woodstock / Watkins Glenn era.
See more about the Ferguson Center of Art here.
RCF beschallung im neuen Ilie Oană Stadion, Rumänien
Das Ilie Oană Stadion ist ein Fußballstadion in Ploieşti, Rumänien und beherbergt derzeit den Fußballclub FC Petrolul Ploieşti. Das Stadion wurde im September 2011 eröffnet und verfügt über 15.000 Sitzplätze.
Der Bau wurde an der Stelle des alten Ilie Oană Stadions errichtet, das 1937 fertig gestellt wurde. Das alte Stadion wurde abgerissen und durch ein völlig neues ersetzt, das eine topmoderne Ausstattung bietet und von der UEFA bereits für Gruppen- und Halbfinalspiele der Champions League bestellt wurde.
Das neue Stadion wurde nach Ilie Oană, einem berühmten Spieler und Trainer, benannt. Das Ilie Oană Stadion wird zusammen mit dem Nationalstadion das modernste Stadion Rumäniens sein und markiert gleichzeitig einen Wendepunkt im Stadionbau des Landes. Es erfüllt alle Anforderungen an die UEFA-Standards und bietet auch im Medien- und Pressenbereich mit zwei TV-Studios, neun Sendeplattformen und vielem mehr eine Topausstattung.
Ein RCF-Audiosystem auf dem Stand der Technik wurde installiert, um alle Bereiche des Stadions abzudecken. Die rumänische RCF-Vertriebsfirma FBS Lines beliefert das Audioprojekt.
Das System für das Ilie Oană Stadion wurde in Zusammenarbeit mit der RCF-Projektabteilung entwickelt, die eine komplette Systemlösung inklusive Dokumentation, Akustiksimulationen, Messungen und mehr definiert hat.
“Diese Installation ist ein Meilenstein. Alle Arbeiten wurden planmäßig ausgeführt. Wir haben am Ende eine ausgezeichnete Lösung für das Ilie Oană Stadion erarbeitet und bekommen dafür viele positive Reaktionen. Es ist großartig zu sehen, dass die Investition in ein modernes Audiosystem auf dem gleichen hohen Niveau ist wie alle anderen Gewerke des Stadions. Uns war wichtig, von Anfang an Teil dieses Projektes zu sein. Dadurch konnten wir unter anderem sicherstellen, dass wir die optimale Lösung liefern. Ich bin mir sicher, dass diese Installation zukünftig ein weiteres RCF-Vorzeigeobjekt in unserem Land werden wird“, sagt Kalman von FBS Lines.
Die Tribüne des Stadions wird von 24 RCF P6215 und 28 RCF P4228 Lautsprechern beschallt.
Der P6215 ist ein wetterfester koaxialer, breit abstrahlender Fullrange-Zweiwegelautsprecher, der für sehr hohe Pegel und lange Distanzen ausgelegt ist. Der Hochtontreiber besteht aus einem Constant-Directivity-CMD-Horn, das von einem 1,3” RCF Precision-Neodym-Kompressionstreiber mit einer 2,5” Schwingspule angetrieben wird. Der Basslautsprecher ist ein 15”-Woofer mit einer 3” großen Schwingspule. Das Gehäuse ist mit 12 M10-Flugpunkten ausgestattet, einem rostfreien U-Bügel und Distanzstücken für die 90°-Montage. Die P6215 erfüllt den IP 55 Standard (internationale Schutzklasse).
Der RCF P4228 ist ein wetterfester, breit abstrahlender Zweiwegelautsprecher, der eine beachtliche Leistung und Effizienz für eine Vielzahl von professionellen Innen- und Außenanwendungen bietet; er erfüllt die Anforderungen der IP 55 Standards (internationale Schutzklasse). Der Hochtontreiber besteht aus einem Constant-Directivity CMD-Horn, das von einem 1,4” Precision-Neodym-Kompressionstreiber mit 2,5” Schwingspule angetrieben wird. Der Basslautsprecher ist ein 8”-Woofer mit einer 2,5” großen Schwingspule.
Die Verstärkung des Soundsystems erfolgt durch sechs RCF DPS 3000 Zweikanalendstufen, die eine hohe Leistung in einem kompakten 2-HE-Gehäuse zur Verfügung stellen sowie acht RCF HPS 2500 Zweikanalendstufen, die bis zu 2 x 1400 Watt RMS an 2 Ω (2800 W RMS gebrückt an 4 Ω) liefern.
Das System wird von zwei digitalen Lautsprechercontrollern des Typs RCF DX 4008 gesteuert. Alles ist in zwei Racks mit 26 HE (Höheneinheiten) untergebracht und mit zusätzlichen RCF-Komponenten versehen, wie z. B. dem RCF M1033 CD-USB MP3 FM-Tuner.
Mit mehreren Kilometern 4x4-adriger Kabel, die im Ilie Oană Stadion verlegt wurden, ist das RCF-System nun in Betrieb gegangen. Genau wie bei der letzten RCF-Audioinstallation im Juventus-Stadion werden die Fans des FC Petrolul Ploieşti einen vollkommen ausgewogenen Klang erleben, wenn sie die Spiele ihres Teams verfolgen.
Zum Video der Installation geht es hier.
Mehr Information zum FC Petrolul gibt es hier: www.fcpetrolul.ro
RCF TT+ auf dem Sweden Rock Festival
Das Sweden Rock Festival ist ein Rock/Metal-Festival, das seit dem 6. Juni 1992 alljährlich stattfindet. Während der Schwerpunkt klar im Bereich Rock bzw. Metal liegt, findet das Festival hohe Beachtung für seine Vielseitigkeit über das gesamte Genre von Southern Rock Bands wie z. B. Molly Hatchet bis hin zu den Metallegenden von Obituary.
Die erste Ausgabe des Festivals wurde in Olofström ausgerichtet, auf dem neun Bands spielten. In den folgenden fünf Jahren fand es in Karlshamn statt. Seit 1998 wird das Festival in Norje abgehalten, außerhalb von Sölvesborg (Kreisstadt der Region Blekinge, Schweden mit etwa 8000 Einwohnern).
Als das Festival 1992 zum ersten Mal mit neun relativ unbekannten Bands stattfand, war es eine eintägige Veranstaltung. Im Jahr darauf kamen weitere Bands hinzu und das Festival wurde auf zwei Tage ausgedehnt, was von 1993 bis 2002 so beibehalten wurde. Während dieser Zeitspanne standen auch schon größere Namen und bekanntere Künstler auf der Bühne.
Von 2003 bis 2006 kam ein dritter Festivaltag hinzu. Bis dahin bot das Line-up bereits einige der größten Metal- und Rock-Acts auf. 2007 wurde das Festival um einen weiteren Tag verlängert und weist inzwischen rund 120 verschiedene Bands und Künstler aus.
Einige erwähnenswerte Auftritte in der Vergangenheit waren die von Aerosmith, Judas Priest, Mötley Crüe, Dio, Bruce Dickinson, Yngwie Malmsteen, Twisted Sister, Whitesnake, Uriah Heep, Europe, Deep Purple, Accept, Motörhead, Saxon, Nazareth, Poison, Status Quo, Lynyrd Skynyrd, Scorpions, Porcupine Tree, Kamelot, Def Leppard, Alice Cooper, Testament, W.A.S.P., ZZ Top, The Orchestra, Thin Lizzy und Guns N' Roses
. Das Festival fungierte zudem als Comeback-Szene für Bands wie Triumph und Riot in der Thundersteel-Besetzung. Bachman and Turner begannen hier im Juni 2010 ihre Wiedervereinigungstournee.
Beim Sweden Rock Festival gab es fünf Bühnen: die Festivalbühne als Hauptbühne, Rock, Rockklassiker, Zeppelin und die Sweden Stage. Die Rockklassiker-Bühne war mit einem RCF TT+ Soundsystem mit folgenden Komponenten bestückt:
12 x RCF TTL55-A (Hochleistungs-Dreiwege-Line-Array Module)
6 x RCF TTS56-A (aktiver Hochleistungs-High-Output Subwoofer)
Weiterhin wurden mehrere RCF 4PRO 3002-SMA als Bühnenmonitore auf der Bühne eingesetzt. Die Sidefills an den Bühnenseiten bestanden aus RCF 4PRO 6001-A (Dreiwege-Hochleistungslautsprecher für mittlere Reichweiten) und 4PRO 8001-A (Hochleistungs-Bassreflex-Subwoofer).
“Sweden Rock ist ein Meilenstein der europäischen Festivals und wahrscheinlich eines der größten Metal Festivals der Welt. Die lange Liste der Bands ist beeindruckend und alljährlich verwandelt sich Anfang Juni die Kleinstadt Solvesborg in Südschweden zum Mekka der Metal-Musikszene. In diesem Jahr wurde erstmals ein RCF TT+ System für eine der Bühnen eingesetzt – und das mit einem erstaunlichen Ergebnis – FOH-Techniker und Künstler waren extrem glücklich mit dem System. Also wir sind bereit, 2012 wieder zu rocken“, sagt Anders Scharer von Luthman TTS, Schweden.
Die Beschallungsfimra Fegge & Mattes Sound – Light & Event aus Vadstena lieferte das Audiosystem für die Rockklassiker-Bühne. Die Verleihfirma setzt schon seit langer Zeit auf RCF-Equipment und hatte beim Sweden Rock Festival ihr Debut mit dem RCF TT+ System – und lieferte einen Sound ab, wie er bei Heavy Metal gefragt ist: laut und klar.
Mehr zu Sweden Rock siehe hier: www.swedenrock.com
Künstler-Line-up 2011: 8. bis 11. Juni, Norje Havsbad Absorbing the Pain, Accept, Agent Steel, Alien, Angel Witch, Black Label Society, Black Veil Brides, Bob Log III, Buckcherry, Chips & Kent From Sator, Claes Yngström, Clutch, Crashdïet, Dan Reed Band, Dawn Of Silence, Destruction, Doc Holliday, Down, Duff Mckagan's Loaded, Electric Wizard, Evergrey, Five Horse Johnson, Fläsket Brinner, Fm, Frantic Amber, Ghost, Goda Grannar, Groundhogs, Gwar, Hardcore Superstar, Hawkwind, Helloween, Houston, Iced Earth, Jason & The Scorchers, Joan Jett And The Blackhearts, Judas Priest, Kansas, Lee Aaron, Mason Ruffner, Mats Ronander, Mean Streak, Molly Hatchet, Moonspell, Morbid Angel, Mr Big, Mustasch, Necronaut, Nicke Borg Homeland, Nifelheim, Ninnuam, Overkill, Oz, Ozzy Osbourne, Perry & The Travellers, Queensryche, Rage, Raubtier, Rhapsody Of Fire, Rhino Bucket, Rob Zombie, Roffe Wikström, Saxon, Seventribe, Slidin' Slim, Spitchic, Spock's Beard, Steelheart, Stryper, Styx, Summoned Tide, The Brew, The Cult, The Damned, The Dead And Living, The Haunted, The Hooters, Thin Lizzy, Walter Trout & Whitesnake.
QI Clubbing installiert RCF-System
Mit einem atemberaubenden Ambiente und einer stylischen Dekoration ist QI Clubbing in Erbusco, Brescia auf jeden Fall einen Besuch wert. Mehrmals bereits wurde der Club als einer der besten Nachtclubs Italiens ausgezeichnet. Im Oktober 2011 wird QI Clubbing ein neues Restaurant und Clubräume für Privatpartys eröffnen.
Mit dem neu eröffneten Bereich bietet QI eine Rundumlösung im Bereich Unterhaltung, Restaurant und Nachtclub; Tanz und Nachtleben werden unter einem Dach vereint.
Der Schlüssel zum Erfolg des QI Clubbings ist die beständige Investition in die Schaffung von guter Atmosphäre und Ambiente. Im QI erlebt man hochgradige Unterhaltung und Darbietungen – in der sagenhaften Diskothek man kann zum Sound der besten italienischen DJs die Nacht durchtanzen, nachdem man zum Auftakt des Abends im exklusiven Restaurant entspannt gespeist hat.
Um als einer der besten Clubs in Italien Schritt zu halten, erneuert QI Clubbing fortwährend seine Einrichtung. So wurde erst kürzlich ein neues, erweitertes RCF Soundsystem im Restaurant sowie im privaten Partyraum installiert.
Insgesamt 20 RCF MONITOR 88 decken den Restaurantbereich ab und versorgen den Raum mit Hintergrundmusik in bester Klangqualität.
Die Performance-Bühne in der Livemusik-Zone ist mit acht RCF H 1312 Dreiwegelautsprechern ausgestattet.
Zur Verstärkung des Soundsystems wurden vier professionelle Endstufen des Typs RCF DPS 3000 und acht RCF HPS 1500 sowie jeweils ein digitales Lautsprechermanagementsystem RCF DX 4008 bzw. RCF DX 2006 installiert.
Auf diese Weise wird das neue RCF Soundsystem mit dafür sorgen, dass QI Clubbing erneut für den Titel „Bester Club mit Restaurant in Italien“ antreten wird.
Mehr Information zu QI Clubbing lesen Sie hier: www.qiclubbing.com
Randy Jackson – Live on Stage with RCF
Randy Jackson, lead singer and guitarist of the legendary band “Zebra” has been touring with RCF speakers systems for years. Since the mid-70’s Randy Jackson has been a major player on the American music scene. Today, he can be found performing with major symphony orchestras and as a solo acoustic artist while still maintaining a high profile with Zebra.
Randy Jackson takes us down memory lane and also updates us on what is currently going on with his musical career.
Zebra started out of New Orleans in the mid-70s, a rock trio with Randy Jackson as the lead singer and guitarist, Guy Gelso on drums and vocals and bassist/keyboardist/vocalist Felix Hanemann. The band became “local heroes” with a huge fan-base built by extensive touring in the region. In 1982 Atlantic Records signed Zebra. Their first album, "Zebra" was produced by Jack Douglas (Aerosmith, John Lennon) and released in 1983.
With their huge fan base built from 8 years of touring in Louisiana and New York the album sold 75,000 copies the first 2 weeks and overnight Zebra became one of Atlantic Records most valuable bands, and had the fastest selling debut album in Atlantic Records history.
Strong melodic songs such as: “Who's Behind The Door" and "Tell Me What You Want", written by Jackson, received serious notice in the press, and helped to form legions of new Zebra fans.
RJ: “When I look back at my career with Zebra it has been quite a journey. I feel that we are really fortunate to have had a career spanning over 35 years. It is a great feeling to know that people still want to see us live and are still so interested in hearing new music from the band”.
The debut album went gold and certified Zebra’s great success.
RJ: “It was an amazing trip, going from performing on smaller local stages to suddenly sharing stages with groups like Aerosmith, Kiss, Queensrÿche, and Dream Theater and playing large arenas and stadiums”.
In 1984 Atlantic Records released the second album, “No Tellin´ Lies”. The album was well received in the press but never got the same attention at radio as the previously one. The third album, “3.V”, was released in 1986.
RJ: “We did three albums in less than 3 years and at the same time we were constantly touring, doing videos, promotional appearances, TV shows etc. I put a massive amount of time and efforts into recording the 3rd album "3.V". It was our most ambitious production ever, and we were confident that the album would do well. We used the album to experiment with new instruments such as the Synclavier and the Fairlight. We also did a lot of midi "keyboard" sequencing with the Linn 9000”.
Unfortunately the “3.V” album didn’t get the reception the band had hoped for and Atlantic Records soon dropped Zebra.
RJ: “3.V” contains some of our best songs. As an "album", it might be our best. It just seemed that we were always falling short on airplay. Bon Jovi had just released "Slippery When Wet" and I think our album just got lost at radio.”
Zebra scaled down and the individual band members started to focus on outside music projects.
RJ: “It was a big let down for the band, but our music and our fans kept us positive. I developed a huge interest for computers and started building my own recording studio at home. I was called to do several session recordings on guitar and met a lot of great people along the way. In 1989 I got a call to tour as keyboardist, guitarist and backing vocalist with the original Jefferson Airplane for their last tour together. It was an awesome experience!!”
In 1989 Randy Jackson was signed to Atlantic Records again to do a solo record, which was eventually called "China Rain”. This time his direction was aimed more at harder metal. During the production of the album Nirvana released their album, "Never Mind", and Atlantic decided that "China Rain" had become unmarketable. In 1990 Zebra released a live album on Atlantic and the band received great reviews on the record. Soon afterward he started working on a live solo show incorporating a Macintosh computer to run the sound and lights. A year of programming resulted in a show that people still talk about today, which featured the best of Zebra along with many other classic rock favorites.
RJ: “Those were some very busy years and I started to developed some skills in computer programming while working with all kinds of music software. My interest and passion actually led to an offer to develop instruments and software for Lonestar Technologies in 1992”.
Lonestar Technologies was based in Hicksville, New York. The company was developing a new instrument called “The Key”, a guitar-like synthesizer that was ground breaking in its diversity.
RJ: “What an amazing project. It was a big change for me, going from being a full time musician to doing development for such an innovative company. “The Key" had a very futuristic design and by itself is a guitar-like synthesizer, where the "frets" are like keys on a keyboard and the "strings" are made up of synthetic "veins" attached to the body. “The Key” could be used as a stand-alone MIDI controller and had it's own internal sound engine. Chords are formed by pressing different combinations of keys while strumming the "veins". "The Key" could also be used as a video "reader" that would allow the user to play along with music videos on encoded video tapes. We also developed cartridges called "Song Pacs" that could be plugged into a slot in the instrument and used to accompany the player. The "Song Pac" cartridges included midi versions of licensed songs and allowed the user to play an album’s worth of songs on each cartridge. I liked to describe "The Key" as an electronic Autoharp. We got Jon Anderson from Yes to try out the instrument and he ended up writing a bunch of songs using "The Key". "The Key" was pretty expensive when it was released and only a few could afford it. "The Key" was a very ambitious project and may have been a little ahead of its time”.
In 1996 Randy got an offer to sing the music of Led Zeppelin at a show with the Virginia Symphony.
RJ: “I did that first show with Brent Havens (Windborne Symphony) conducting and we have been doing them ever since. It is a full rock band performing the music of Led Zeppelin with a full symphony orchestra. It is a really big production and we have played all over the U.S. with a few shows in Canada as well. We have added some different shows over the years (music of The Doors, Pink Floyd and The Eagles) which helps keep me busy year round. It is such a great thrill to perform the music of my youth with such high caliber musicians in a symphonic environment”.
To round out his schedule Randy started to work on a solo acoustic show.
RJ: “I met a musical instrument distributor who highly recommended RCF and said he would help me check out what speaker systems that would be good for me to use for my solo acoustic shows. My main specification was that the system be portable but very powerful the system by myself. I wanted to be able to get it all into my Ford Expedition. I knew I had to be my own tour manager, stage crew and sound engineer for most of my shows. I invested in two systems, one for New York shows and one system to use in Louisiana for my gigs there. My audio system is based on the 4Pro Series using a combination of 6001 model speakers and a mix of 8001 and 8002 subwoofers”.
So with two new speaker systems Randy Jackson started to promote his “Solo Acoustic” shows.
RJ: “It was amazing to see how huge an interest there was for booking my new acoustic shows. One of my first gigs with my new RCF system was actually at the Canadian Formula One Grand Prix. At first I thought it would be a real challenge to perform at this type of event since the room was large with a lot of people but I was blown away by the performance I got out of my RCF system. The sound coming from the speakers is truly amazing, whether it is acoustic music or hard rock, you immediately hear the incredible quality, the sound is clear, each instrument is perfectly defined and the vocal clarity is second to none”.
In 2003, Zebra made a deal with the Italian label, Frontiers Records, to release their new album, “Zebra IV”. RJ: “We worked on the new CD until we felt it was really ready for release. The album did really well for us and helped us cultivate a new generation of fans. We will be working on a new studio album for next year. With more and more Zebra gigs in the works I am simply doubling my RCF system to give us the headroom to do larger venues. I just added 4 NX series wedges to my system and I'm looking into the TT+ touring products for the larger shows I do with Zebra or the Windborne Symphony. The support I have gotten from RCF U.S. is just awesome. I couldn't ask for more from a company or their product”
And the reaction to RCF from his fans?
RJ: "The compliments I get on my live sound just keep on coming. I get inquiries about my RCF system at just about every gig I do and a lot of people have said it is the best they have ever heard!”
1983 Zebra 1984 No Tellin´ Lies 1986 3 V 1990 Live 1998 The Best of Zebra in Black and White 1999 King Bisquit Live 2001 No Tellin´Lies/3 V 2003 Zebra IV 2004 Slow Down
2007 Zebra - The DVD
More information about Randy Jackson and Zebra at:
Welcome to the xSolutions
The xSolutions show is taking place at the Excel, London. The trade show is from October 19th to 20th 2011.
xSolutions is for professionals who sell, install, purchase or have responsibility for the day-to-day running of audio and video communication technologies within commercial facilities.
It will provide the opportunity for you to immerse yourself in the latest AV technology and solutions based offerings - as a specific product, part of an individual system or as part of a complete building systems solution.
xSolutions will provide an unprecedented focus on business communication technology within UK and Ireland.
Meet and greet with RCF Team at the show and get a chance to hear and see more about the new products, about our innovative technologies and to learn more about the large selection of product ranges and solutions from RCF.
See more about the show at: www.xsolutionsonthenet.net
Come and visit us on booth D14
The Ayra Series is a family of three models of active studio monitors to match the required performance level. With the addition of the dedicated Ayra subwoofer you can seamlessly add more punch and weight to your monitoring setup a mix.
The near field active monitor in the Series is Ayra 5, Ayra 6 and Ayra 8 – they all come with a high quality soft dome tweeter and a 5”, 6” or 8” composite fibreglass woofer. The Ayra Sub 10 is the perfect match to the individual models in the Ayra Series and extends the frequency response of your system, still maintaining the perfect balance in your mix.
Read more here.
At the RCF Marketing´s Channel at YouTube you can see the latest videos with product news, technical videos, references, interviews, trade show videos and much more.
Check it out here:
Interview with Fausto Incerti - RCF General Manager at the Event Elevator media site.
See the interview here.
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