05/07/2013 Installation
La Parrocchia del Sacro Cuore di Gesù di Baragalla nasce a Rivalta, nella prima periferia sud di Reggio Emilia negli anni ‘60, occupando la cappella di un ex convento di Gesuiti lasciato alla diocesi. Nel 2006 la CEI, Conferenza Episcopale Italiana indice un concorso nazionale per un progetto di ristrutturazione della chiesa, progetto che prevedeva la costruzione di un centro pastorale provvisto di una chiesa che potesse accogliere circa 400 persone. Finalmente dopo tre anni dalla posa della prima pietra, lo scorso marzo, la Chiesa è stata inaugurata. A garantire che l’edificio offrisse una copertura audio all’altezza delle aspettative è stata chiamata RCF. “Oggetto di intervento da parte nostra” racconta Daniele Romani di RCF “sono state la Chiesa con la relativa cappelletta e la sala polifunzionale. Per la chiesa la problematica principale era quella di portare il minimo impatto estetico e la massima semplicità installativa, in quanto la chiesa ha una estetica ricercata. Altra problematica: l’orientamento dei luoghi liturgici; l’ambone principale infatti si trova non a fianco dell’altare ma nell’ingresso della chiesa, e quindi il sistema di amplificazione doveva tenere conto di questa situazione, al fine di non avere una persona che parla al microfono dall’ingresso con la sua voce che arriva dal lato opposto. Stesso problema per il fonte battesimale."
Il progetto dell’impianto di amplificazione è stato elaborato dall’ufficio di progettazione sistemi di RCF su richiesta e in collaborazione con l’Ing. Claudio Villa dello studio di progettazione ETA Studio, di Reggio Emilia. L’impianto è stato realizzato partendo quindi dai diffusori amplificati a colonna con controllo digitale VSA 2050, in quanto unici in grado di coprire l’intera aula liturgica partendo con due soli diffusori a fianco dell’altare (circa 24 metri). In questo modo è stato minimizzato l’impatto estetico sulle pareti, in particolare quella destra dove si trova la via crucis. Una seconda coppia di diffusori VSA 2050 si trova invece installata a fianco dell’ingresso e si occupa dell’amplificazione nel senso opposto. In pratica ci sono due impianti audio, ognuno in grado di coprire l’intera assemblea ma opposti tra loro. Infine, una centrale di gestione con matrice audio digitale stabilisce quali microfoni debbano essere indirizzati ai diffusori a fianco dell’altare e quindi amplificati dall’altare verso l’ingresso, e quali a lato ingresso e quindi amplificati da questo verso l’altare. Sono inoltre presenti, nascosti dalla veletta che crea la croce in controluce che sovrasta l’altare, i due diffusori a uso monitoraggio per il celebrante MQ80P di colore bianco.
Altri diffusori (PL6X) sono inseriti nel controsoffitto della cappelletta, per permettere di seguire le funzioni anche da questo ambiente che è separato dalla chiesa principale solamente da due parti mobili in vetro. Il sistema a matrice digitale stabilisce anche per questi diffusori quali microfoni e con che livello, debbano essere amplificati di volta in volta. Oltre ai classici microfoni per altare, ambone e sede – MC4038, microfono per voce di elevata qualità a stelo flessibile –, sono presenti due radiomicrofoni UHF RCF TX4016 con i ricevitori nella centrale di amplificazione e le antenne remote collocate nell’aula liturgica. Completa la dotazione un mixer per i musicisti il cui segnale audio, composto dai vari strumenti e le voci del coro, vengono inviati alla matrice e a loro volta amplificati tramite gli stessi diffusori VSA 2050. Infatti ogni VSA 2050 incorpora 20 altoparlanti dotati ognuno di un amplificatore da 50 W, oltre che una completissima sezione di processazione audio, che permette di scegliere inclinazione del fascio sonoro e distanza di copertura, ma anche l’equalizzazione del diffusore tramite 6 filtri di equalizzazione parametrici. Questo lo rende un diffusore ideale per l’amplificazione di strumenti musicali, con la garanzia di dirigere il suono solo dove si trovano gli ascoltatori e di minimizzare quindi il riverbero sulle pareti di marmo. L’altro impianto installato, quello della sala polifunzionale, è di tipo più semplice ma si presta a molti usi come la sala stessa. Si compone di quattro diffusori acustici C3110 di colore bianco installati a soffitto e orientati verso il fondo della sala. Il tutto amplificato da una piccola centrale con amplificatore da 1100 W e un mixer audio predisposto per ingressi da microfoni conferenza, lettore DVD, microfoni panoramici per le recite teatrali e altri ingressi per mixer da DJ. Questo rende l’impianto fruibile sia per recite (è presente un palco di 30 mq) che per conferenze, proiezioni multimediali e feste con musica a livello elevato. A seguire il tutto con RCF, la ditta installatrice Elettrica Riese, il direttore dei lavori arch. Roberto Montanari, il consulente di acustica architettonica (per i materiali di rivestimento delle pareti e i test di acustica ambientale) Ing. Nicola Prodi dell’Università di Ferrara e il responsabile dei beni artistici e culturali della diocesi di Reggio Emilia Don Tiziano Ghirelli.
04/07/2013 Installation
The Word Of Faith Love Center, located in Atlanta, recently installed a new sound reinforcement system featuring RCF HDL line arrays.
The church leaders called upon Atlanta Audio Visual to design and install the new system.
"Their goal was a system that would cover every seat in the house while providing vocal intelligibility and enough volume to satisfy their contemporary praise band," explains Brad McWhorter, CEO of Atlanta Audio Visual. "The sanctuary is a long rectangular room with a back balcony and 30 foot ceilings. I immediately thought of the RCF HDL line array system."
A long-time RCF fan, McWhorter designed a powered left-right system with each array consisting of one HDL 18-AS sub followed by six HDL 20A line array modules.
The HDL 20-A features two 10-inch woofers and one 3-inch titanium compression driver, a 1400 Watt peak power two-way digital amplifier with switch mode power supply and DSP controlled input section. With a maximum delivery of 135 dB SPL, it would more than cover the church's requirements.
The HDL 18-AS is a flyable high power subwoofer designed to integrate in the HDL 20-A system. The bass reflex design guarantees a deep, linear power response while the 4-inch voice coil vented design woofer provides minimum power compression. The end result is the driving low end the music portion of the services demanded.
"We were originally called in for vocal intelligibility issues," adds McWhorter. "Their existing system wasn't meeting the needs of today's high energy, low bass driving, music oriented services. RCF fit the bill perfectly."
Not only did the line arrays meet the criteria of the growing church, but they also were lightweight enough to meet the installation requirements as well.
"The most logical location to hang the arrays were from beams that were constructed of laminated wood back in 1979," McWhorter explains. "It was going to be a challenge to hang 800 pounds from them. Size and weight were definitely a factor in the design process."
Because the beams would have to serve as the structural base to hang the arrays, Sykes Consulting was brought in to ensure the system was hung from a structurally sound location.
"Sykes designed a one-half inch thick steel U bracket to slip over the beam that could support 445 lbs per anchor," says McWhorter. "With two anchors per array, it was more than sufficient for the HDL arrays."
To further counter acoustic challenges, the team installed Auralex acoustical panels across the columns and the balcony face to quiet the room by an additional 10 dB.
"The church is extremely happy with the end results," concludes McWorter. "The 6-piece band, choir and vocalists sound outstanding and the members can still hear the spoken word clearly. It was the ideal solution all around."
11/03/2013 Installation
RCF loudspeakers dominate the five floor interior of the new Hard Rock Café in Nicosia.
S&V Megasound won a highly competitive bid, beating a large number of companies (mainly based in Cyprus). They were selected to develop the AV infrastructure for this new leisure project Cyprus’ capital city — chosen for their ability to provide reliable up-to-date technology and support, and based on their reputation of being able to deliver challenging projects such as this.
The RCF distributors were tasked with providing sound reinforcement for live and club performance down to low level, high reference background music across the three functional floors.
The ground floor, which contains the main restaurant, with a seating capacity of 250 people, also hosts the main stage area. On the weekly band nights the restaurant transforms into a huge rock concert with a standing capacity of around 500 people.
To provide potent, even coverage S&V Megasound have specified four flown RCF HDL 20-A, with a pair of RCF HDL 18-AS compact, high power subwoofers This composite active line array was the perfect choice, with its 1400W (peak) powered amplifier and fast, simple set-up procedure. The installers’ own FOH sound engineer ensures the sound is optimised from the fully-featured, iPad controlled mixing desk, while the bands themselves use MY MIX IEM’s.
Infilling around the periphery of the large restaurant are four RCF C3108 versatile, full range but low visibility two-way loudspeakers — alongside various flat screens distributed around the restaurant.
Outside the restaurant on the ground floor S&V Megasound have installed ten RCF MQ80P’s, since this is also an IP65-rated weatherproof speaker, giving a relaxing mood to the customers.
The first floor is for multipurpose use, such as dining, private parties and conferences, and the installers have specified four versatile RCF Acustica C3108 wide dispersion speakers and a powered RCF SUB705AS compact 15in subwoofer. with further RCF MQ80P’s out on the veranda area
Finally, up on the roof garden S&V Megasound have dipped further into RCF’s extensive catalogue, specifying six RCF P3108 weatherproof, wide dispersion speakers and three RCF S4012 passive 12" bandpass subwoofers. “This provides the ultimate for an open roof clubbing experience,” reasons S&V Megasound MD, Stelios Petrides.
The system offers a number of routing and processing options throughout the venue, with individual zone control — and all spaces iPad controlled. This gives each space its own local source, volume and preset control, depending on the mood and atmosphere.
Summing up, Mr. Petrides said, “The sound system has been a huge success ever since the first performance. This was one of our biggest projects in 2012 and certainly a very complex one. It gave us the chance to test our capabilities to a whole different level — and the end result is amazing!”
19/12/2012 Installation
RCF’s powerful Acustica series, especially tuned for nightclubs, has been specified throughout No Saints’ new flagship nightclub, Wonderland in Maidstone.
The former 1800-capacity Liquid has been reshaped, from a circular into square dancefloor in the vast main room (called ‘Tomorrow’) with four pairs of the new H1312 throwing tightly dispersed, directional energy onto the dancefloor from their position high up on the lighting rig.
Says the club’s head of promotions, Richie Carrera, “The sound system competes with anything you will find in a UK nightclub. It’s as close to a Ministry of Sound experience as you will get.”
The three way system, run in biamped mode, incorporate a 12” woofer, a 8” cone midrange and a 1” exit titanium compression driver for long throw applications, and is complemented by four floor-standing TTS28 subs — two in front of the stage and two in front of the DJ booth.
However, it’s not just dance music that these speakers are tasked with reinforcing but a range of events, including boxing matches, fashion shows and high profile artiste PA’s.
From the moment clubbers enter via the escalators, they are immersed in a world of advanced sound and lighting, specified and designed by Mark Damon of Essex-based Cosmic Electronics.
His company has a long trading history with RCF. “We have used RCF components throughout the club,” he confirmed. “Because No Saints wanted an open plan venueeverything had to be flown, with the bass bins on the floor; but everyone is delighted with the coverage, and the clarity of the system.”
The H series has a very narrow angle dispersion and can be focused accurately, enabling the sound to drop off dramatically away from the dancefloor. “As this is a multi-tasking cab it is perfect for the many different promotions planned by the club, including artiste PA’s,” says Damon.
The club’s experienced general manager John Barnes also describes the sound as being “phenomenal” — particularly in the upper frequencies — and says it has been wowing audiences at both the indie Propaganda Friday night promotions and their own regular Saturday nights.
Away from the dancefloor, Cosmic have turned to RCF’s C3110 wide dispersion/nearfield boxes for peripheral sound, with eight dispersed around the main club and a further eight in the reception and entrance areas.
Meanwhile, the venue’s subsidiary ‘retro’ club (called ‘Yesterday’) hosts four RCF C5212W 12in enclosures and two S8028 (2 x 18in) woofers with C3108’s, used both for peripheral sound here and as the main VIP Room system, where two S8015 (1 x 15in) woofers also provide LF extension.
Powering the rig are a combination of RCF’s HPS 1500, 2500 and 3000 and 1500, operating in standard or bridge configuration, while RCF AM2080 and AM2320 100V line mixer amps are assigned to running the exterior speakers on the smoking terrace. It is worth mentioning the amp rack — as it must be the only one in the country that is swathed in a constantly changing colour wash, initiated by LED tape!
In summary, Mark Damon says of the Acustica series, “We had not used the H series previously — we took it on recommendation and we are pleased that we did. Because it would be suspended so high we needed a long throw cab that was more high-powered than the C series" — and this really delivers.
“The entire RCF rig is reliable, dependable and we have had no issues. The back-up has been excellent and whether we are equipping small or large floors, RCF has a cabinet suitable for each scenario.”
And John Barnes is equally effusive. “Having worked here previously I wanted to make Wonderland an entirely different clubbing experience — designed more like a rock ‘n’ roll arena with a festival type atmosphere".
“The RCF sound system goes a long way to helping us achieve that, and so far we have had a brilliant reaction.”
26/11/2012 Installation
The Station is a new partnership project aimed at delivering a world-class, 32,000 sq ft facility for all young people in Bristol.
Fronted by Creative Youth Network, and based in a former city centre fire station — which at various times has functioned as a café bar and nightclub — the technical infrastructure was created by Stage Electrics, who leaned heavily towards RCF’s Acustica speaker series when specifying the multi-functional main performance space.
Anne Pengelly, Stage Electrics Business Development Manager (Technical), says that RCF is increasingly becoming her ‘go to’ brand when it comes to loudspeaker specification. “I am always keen to bring RCF to clients’ attention, particularly Acustica; once they have experienced a demo they are generally convinced.”
Realising that the main 500-capacity Multi Use Room needed to function variously as a live performance stage, a conference and presentation facility and a 7.1 surround cinema system, the RCF solution, she says, was staring her in the face.
“The biggest requirement was clearly flexibility,” said Pengelly. “We had provided a similar Acustica installation in a 200 seat theatre in a school in Cornwall. The result was spectacular — and the audio quality of the RCF PA exceeded all expectations so we didn't need to look beyond that.”
Under the direction of Stage Electrics project manager Richard Coombes, the ground floor Kitchen, Chill Out room, rehearsal/recording room and ballet / dance studio on the top floor were all sensitively equipped, with a close eye on the budget.
Again RCF ticked all the boxes. Four of the new RCF Acustica C5212-94 full range narrow dispersion enclosures are flown in pairs left and right above the Prolyte StageDex stage, with a pair of Acustica C3110 grid-mounted at the mid point and a further pair at the rear. These either form the surround when in 7.1 cinema mode or act as delays when the BSS London BLU DSP gain preset flips to conventional stage mode.
At the stage end a pair of Acustica S8018 subs are floor mounted left and right, and four RCF NX12SMA powered wedges provide artistes with their reference sound.
A perfect set-up then for Tinchy Stryder, who appeared to a packed audience on a gala opening weekend that was also attended by David Milliband.
Elsewhere a pair of powered RCF ART310-A form part of a portable kit on tripods, that is capable of moving around the three floors, while a further pair of ART310-A’s are fixed in the band practice room — and four passive ART 310’s are mounted on the four corners of the Dance Studio.
But RCF’s involvement doesn't end there. Stage Electrics designed the venue into five paging and show relay zones — three backstage areas and two at front of house. Showing the versatility of its portfolio, from its Commercial range RCF has also provided 12 tiny DM41 white background/paging speakers, which are distributed around the venue.
Richard Coombes has overseen a highly progressive install, with all projection (onto 6m electric dropdown screen) and digital audio run over CAT5 — with plenty of tie-lines and facility panels provided, so that live events can be recorded upstairs and on spec acoustic performances can take place in, for example, The Kitchen refectory area.
Sensitive to the budget they have also provided leading branded video projection, lanterns and moving lights from ex hire stock and provided a full day’s PASMA (access tower training) course as part of a package that includes comms, staging, curtain track, wireless mics, environmental and production lighting control and dimming.
All of which should be more than satisfactory for Creative Youth Network and its Chief Executive, Sandy Hore-Ruthven, who stated, “Stage Electrics have helped make The Station a first class venue for young people in Bristol. Their expertise, project management and support took Creative Youth Network from an idea with no knowledge to a fully functioning venue that is inspiring young people across the city.”
But the final word on the RCF sound system comes from Programme Director, James Hutchinson, who confirmed, “The [RCF] system will be suitable for all of the events taking place in this venue.”
Key partners of The Station include: Bristol City Council, Young Bristol, Business West, Brook, Basement Studios & Bristol YMCA. The Station is partly funded by the myplace scheme: a multi-million pound government programme to deliver world class places for young people to go.
More details available on www.thestationbristol.org.uk
23/10/2012 Installation
Fast growing leisure operators No Saints have converted a former nightclub in Milton Keynes, the centerpiece of the Xscape Entertainment hub, into the surreal environment known as Wonderworld.
This new 1800 capacity themed venue has been designed into a nightclub twin-scene, respectively named ‘Tomorrow’ and ‘Yesterday’ — set around a Secret Garden’ (set behind wrought iron gates) and a resplendent red VIP lounge.
Working with main contractor, Optik Leisure, installation company Nightlife Consultancy has equipped all these zones with RCF loudspeakers, part of a complete multimedia integration. They were selected for their high performance, evenness of coverage and unobtrusive footprint. Their product selection ranges from the strident TT+ subs, set on the truss over the main Tomorrow dancefloor to the stylish, powered Art enclosures, playing background music in the private boutique Mind, Soul & Body rooms. All passive elements of the system are powered by dedicated RCF amplification.
Having worked with the brand back in Monitor 5 days, system designer Mark Dorney was familiar with RCF’s pedigree and chose it primarily for the clarity it delivered from different sound sources; this includes live bands, hard dance tracks from the DJ’s brace of Pioneer CDJ 2000’s, and background music from MP3 players. He said he always knew RCF drivers sounded “fabulous” — and again it has lived up to expectations.
Working within an ‘enchanted’ environment sensitively conceived by Terri Naylor of Dakota Design, he designed a digital network architecture, based around a dbx SC-32 digital matrix.
For general purpose he chose RCF’s Acustica C3108 compact, wide-dispersion, low visibility speakers. Six of these distributed in the Secret Garden, accompanied by three complementary S4012 subs, set discreetly behind unobtrusive grilles, will take any of the above feeds — selected locally from the remote ZC-1 zone control wall panels.
The DSP itself contains several EQ scene presets including: Main club scene; Fire evacuation; Conference mode; DJ stage and live band mode.
Stroll through the labyrinth of corridors and walkways, past disorienting infinity mirrors, fibre glowing ‘oak’ trees and astroturfed walls, and into the toilets, and the aural experience will be forever delivered via large quantities of RCF’s PL60FD flush-mount 100V line ceiling speakers.
Three of the most coveted spaces are the themed private lounges, with Regency styled chairs, named Mind, Body & Soul, complete with their own 46” HD TVs, controllable from an Android tablet, and minibars. Customers can choose their own sound source and in these bijou spaces Nightlife has sited a pair of RCF ART 408-A MII enclosures, accompanied by Ayra 10 active subwoofer. “This is a lovely sounding box,” states Mark Dorney of the latter. “The 10in box remains discreet but has a lot more juice than the Ayra 8 — and this is vital if they want to hold a karaoke session.”
The journey through time continues into the large nightclub, named ‘Tomorrow’ (dubbed ‘The Playground of the Future’). Around the periphery of the dancefloor Dorney has chosen six of RCF’s C3110 full range speakers, with rotatable horns, set in portrait mode — and it was this flexibility of of orientation that drove his decision.
But his carefully worked system design came unstuck when he was prevented from floor standing the subs he had earmarked. “It was also impractical to put them in the bulkhead so we had to fly them from the circular Prolyte overhead truss,” he reports. Instead Dorney turned to RCF’s TT+ (Touring & Theatre) range — selecting six TTS28 direct radiating, large format subwoofers, using flyware from Rope Assemblies.
Interspersed between are six RCF Acustica H1312 three way horn loaded controlled dispersion enclosures — chosen for their combination of low weight and “punchy crispness.” Some near fills provide extra presence at the stage, where a stylish DJ workstation has been bespoke manufactured by Nightlife Consultancy to house all the CDJ’s, DJM-2000 mixer and Soundcraft MFX20 band mixer.
Concealed behind a faux bookcase is a door leading to the VIP Lounge, alive with LED and red furnishing, which contains six further RCF C3108s in landscape format and two S4012 subs in each corner.
Finally, upstairs in the monochromatic black, chrome and stainless steel world of ‘Yesterday’ six C3108’s take care of the peripheral sound, while on the high-energy dancefloor two RCF S8028 (2 x 18) subs provide LF extension to the six low profile C4128 (2 x 8) boxes — flown horizontally — a perfect footprint for the low-clad ceiling and for the directional punchiness required, according to Mark Dorney.
The entire assembly of passive speakers is driven by RCF matched amps, with Nightlife Consultancy designing plenty of headroom into the system.
Assigned to Tomorrow are eight RCF DPS 3000’s, run in bridge mode, with one amp per sub. For the full range enclosures, three RCF HPS 2500, bridged in 4-ohm pairs, run the 12in LF section while the mids and high end are assigned to two HPS 1500s. Adastra 1U mixer amps run the distributed PL60 ceiling speakers while for ‘Yesterday’ (and the remainder of the venue) a DPS 3000, three HPS 2500s and two HPS 1500s have been specified — with UPS provided as back-up power supply.
Wonderworld general manager Jay Davidson, says the venue’s technology is a vast improvement on its predecessor, and credits Nightlife for the immense amount of work conducted in a short space of time. “The sound system is now phenomenal,” he says “The atmosphere has been transformed.”
09/10/2012 Installation
Parken Stadium is Denmark’s national football stadium and the current home of FC Copenhagen. Built between 1990-1992 it currently has a capacity of 38,065 (for football matches) although for other events the stadium can hold as many as 50,000 people with an end-stage set-up and 55,000 with a centre-stage set-up.
In 2006–07 the club qualified for the UEFA Champions League for the first time in its history, and three years later became the first Danish club to ever reach the knockout stage of the Champions League.
Keeping pace with the club’s recent success, the Parken Stadium is equipped with a state of the art infrastructure, with a recently upgraded audio system. The Danish company Nordic Sales (part of the Matrix Group) delivered and installed a premium RCF loudspeaker system, working in close collaboration with the RCF project department, who specified the individual products, documentation, acoustic simulation, measurements and more.
”The new RCF speaker system at the Parken Stadium provides a perfect solution, and we have already received positive feedback from many people who say how impressed they are with the ‘new’ sound,” says Lars Bo Baadsgaard of Nordic Sales. “This is due to the close collaboration with RCF and their project team. With their knowledge of stadium installations, and particularly their recent experience with the new Juventus Stadium, we knew we could rely on their guidance when it came to designing the optimum speaker solution for the Parken Stadium.”
To cover the site, Nordic Sales specified 42 RCF Acustica H1315 WP, along with 18 RCF P4228 and 12 RCF H6045 fibreglass long-throw horns.
Each cluster contains three of the H1315 WP, a three-way full range loudspeaker system that incorporates a 15” LF transducer, a 10” cone MF transducer and a 1.4” exit titanium compression driver. It is especially designed to withstand exposure to weather without damage or loss of function to the speakers.
In addition, the RCF P4228 speakers have been installed to cover selected areas of the tribunes. This weatherproof, full range, wide-dispersion, two-way loudspeaker system offers substantial power and efficiency for a variety of professional indoor or outdoor applications. The HF section is a constant directivity CMD horn loaded with a 1.4” RCF Precision Neodymium compression driver with a 2.5” diaphragm assembly for smooth, wide dispersion. The low-frequency transducer is a double 8” woofer with a 2.5” voice coil.
Finally, the RCF H6045 fibreglass horns are equally designed to withstand all weathers and offer high sound reproduction quality and sound pressure levels. These horns are used as a separate evacuation set-up, which can be automatically activated if special alert messages are required, or as a safety back up for the bigger H1315 WP system
The total speaker set-up is controlled by a specially-designed system, where each section of the tribune (or groups of speakers) can be individually controlled, with its routing quickly reconfigured, and status of the separate audio lines monitored.
Another unique feature is that in the event of power failure the system can run in ‘battery mode’, so that alerts can still be flagged in the event of an evacuation procedure being required.
Besides being the home base for FC Copenhagen and the national soccer team, Parken Stadium is also used for hosting big events and concerts etc. In fact the new audio system has already proved its worth at several such events.
09/10/2012 Installation
Astana Hz. Sultan Mosque is one of the distinguished buildings in Astana, capital of Kazakhstan. It features an incredible worship area of over 60.000m2 to allow for 10.000 people to pray at the same time. The main hall has 1 main and 8 smaller cupolas, of which the main has a diameter of 28 metres and a height of 43 metres. All floors are covered with specially woven carpets, resulting in a fair absorption on the higher end. Most surfaces expect for the floors are covered with marbles and encaustic tiles from Iznik, Turkey. This unparalleled beauty has a price to pay acoustically, making the halls extremely reverberant especially on the lower end, thus making the electroacoustical design the ultimate challenge.
Complete structure was modelled in EASE4.3 and the exhaustive design process started, adding and removing lots of speakers so as to keep the intelligibility and sound pressure levels as high as possible, taking into consideration that even the simple breathing of 10.000 people is a significant noise. Since the construction schedule was very tight, time spent for design was of a big issue. After days of around the clock recalculations, Asimetrik (Turkish integrator company) engineers came up with the final design using RCF’s TT+ Touring and Theatre series speakers, which not only solved the reverberation issues but also the abundant amplifier power in these small-in-size cabinets provided the power needed for the over 120.000m3 halls. The state of the art TTL11A-H and TTL11A-B arrays were placed on two sides of the altar (mihrab) to provide for the main source with 6 delay lines of TT051A speakers in the main hall and another TTL11A-H and TTL11A-B array for the extended praying area with 2 more delay lines of TT051A speakers to fill in all the corners and also to maintain an even coverage of sound pressure and a flat response for the entire praying area.
The importance of discretion of sound systems in such venues with spectacular features cannot be overstated. Thus, all these speakers were customized to fit in the colours of marbles and tiles. Following the installation and completion of the venue, measurements proved the design to be right, with remarkable coherence to the computer model.
04/07/2012 Installation
New RCF sound system for Florence Airport
Several years ago, the Amerigo Vespucci Airport’s terminal building in Florence was equipped with an RCF sound system.
But by the time it came to equipping the new terminal earlier this year, new regulations for security and evacuation, coupled with an evolution in sound system technology, meant that while RCF was once again chosen as the preferred supplier, the company was now required to deliver a far superior solution, in keeping with the new regulations.
Work began on the project in mid-August 2011 under the supervision of RCF project manager, Aristodemo Preda, and the whole system became operational in mid-December.
At the submission stage, various acoustic simulations were carried out, necessary to determine the efficiency of the system and necessary compliances. For in addition to meeting the normal requirements of speech intelligibility (public messaging), background music and flight information in the form of automatic announcements, the system also needed to address security standards regarding emergency / evacuation procedures.
Thanks to the EASE 4.3, which is able to provide 3D modelling, it was possible to accurately reconstruct the architecture of the main rooms ‘virtually’, and set the ‘acoustic fingerprint’ of the speakers, simulating the behaviour and final result with great precision. In this way, the sound pressure levels and intelligibility (STI) could be measured, and compatibility with the parameters set in the reference standard determined.
The entire structure was divided into 14 distinct audio zones, to which mic and pre-recorded announcements, including emergency messages, and background music could be routed. Each zone is served by two or more lines of speakers, driven by the same number of amplifiers a best intelligibility. Thanks to the careful speaker placement this solution helps ensure a consistent and continuous announcement service in the event of one line failing.
The use of an RCF system ensured the total replacement of sound sources, including the connecting lines, already installed in the old terminal so that the digital network can be extended between this and the new building, currently under construction.
The system management is under the command of the RCF DXT 5000 digital matrix system which is EN 60849-compliant. This allows each component to be assigned its own physical address, designed to completely control and manage background music and paging, even for emergency and evacuation purposes.
Device monitoring and self checks can be carried out via the MU 5100, central management unit, with audio inputs and outputs, messaging, speaker circuits and digital connections verified in real time. The system is fully configurable from either the front panel of the MU 5100 or more easily from the GUI installed on a PC.
In addition to being interfaced to the fire detection system using programmable logic contacts, the system is connected to the automatic announcement system by transmitting digital audio and serial port for activation and routing of messages within all the designated areas.
Using the RCF solution, therefore, it has been possible to upgrade the audio system to the current legislation, in the interests of both security and flexibility, while at the same time expanding the network to accommodate the expansion of the Airport.
15/06/2012 Installation
One of London’s top rehearsal studios has upgraded its flagship Studio A with end-to-end RCF TT+ active loudspeakers.
Charlie Barrett, who has run Terminal Studios for the past 28 of its 33 years, has been heavily committed to providing leading edge PA systems for its premier clientele, since moving the business to Bermondsey in 1990. Last month he introduced line array technology, commissioning six RCF TTL33-A active enclosures — three elements a side — and two ground-stacked TTS28-A subs to maintain their competitive edge.
It was in the early 90’s that Barrett started to periodically renew the technical infrastructure but recognised recently that his trusty 12-year-old system had reached end of life.
“I have always been a bit of a gear nerd and having a good PA that would keep us ahead of the game has always been our USP.”
A couple of years ago he made his first investment in RCF in the form of 12 processor-controlled RCF TT22-A full range point source system and six TTS18-A subs as a dry hire rental system for Terminal’s corporate and small scale live work. At the same time he purchased six TT25SMA dedicated stage monitors.
“We liked the system a lot when we heard it,” he remarked. “It goes out regularly but has been absolutely reliable and not one component has ever broken down. On top of that a number of engineers have passed favourable comment.”
So when it came to upgrading the premier of Terminal’s five studios he was eager to revisit the brand — aware that although RCF has penetrated many market sectors it is still developing a touring pedigree. “This room is hugely influential and is used a lot for record company showcases. RCF may not have the brand visibility yet in the touring world but there were a number of positive reasons for choosing it,” he said.
The proven reliability of the earlier TT+ system had been a key driver. “We wanted to keep the amount of power we had from our previous system — but without the harshness.
“Because we had already tried the RCF TT+ range I knew it to be both powerful and sweet sounding and also that it had been built without compromise. The big turn on was that it is very tightly processor controlled — in fact it sounded so great straight out of the box we were able to run it flat. It also takes up less space because there is no amp rack and you don't need to put separate crossovers in.”
As for the stage, following their positive experience with the TTS25-SMA wedge monitors, Terminal Studios have added a further six — plus three of RCF’s TT45-SMA 2 x 12 biamped wedges and an RCF 4PRO 6001A and 4PRO 8003-AS 4-way active drum fill. Once again, he notes that self-powered floor wedges can be added and subtracted more easily.
The room has around a 50ft throw and so benefits from having more components operating at lower level, believes Barrett. “Although the TT+ system doesn't sound loud, the whole room is completely filled with sound, and the bottom end is also impressive. Using RCF’s proprietary flying frame we can rotate the speakers to point either at the listener or the band.”
In the short time since its installation The TT+ (Touring & Theatre) system has already proved itself with a wide variety of acts including Jessie J, Chase and Status, JLS, Ollie Murs, The Wanted, Dappy and Brian May.
The sight of the TTL33-A certainly brought back memories for Chase and Status’s experienced sound engineer, Rampton — prepping for the latest festival tour; he immediately recalled playing through the same system at Cologne Live Music Hall with the two men last year.
“The Cologne show was the last in the run and the tech advance had been a little sketchy. So when I walked into the venue and saw these small boxes flown left and right with just the four subs under the stage, I was a little intrigued as to what it was going to sound like. I was blown away immediately by the power and clarity this medium size array was producing. Furthermore, the four subs under stage were sending my kidneys through the back wall!! I was running the system flat at my end and was amazed to discover that there was no pre-EQ on the rig apart from a tiny little dip around 315 Hz and nothing else. I was amazed at the detail I was hearing and the two lads, Saul [Chase] and Will [Status] came out front and were knocked out by what they were hearing. It was awesome.
“I used the same show file that we had been using with more familiar PA systems, yet this was another level completely. The show was the best of the German run and I would certainly be more than happy to walk into any venue and find the TT+ hanging there.”
Pics: Charlie Barrett in Studio A at Terminal Studios, with the new RCF TT+ rig
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