Corporate
Rondinelli Audio, located in Dubuque, Iowa, has been providing guitars, drums and PA gear to the area since 1977. In 1986 they expanded the company with sound company services and have been a staple at local events ever since.
Last year, the owner of the company, George Rondinelli, added an RCF TT+ line array system to their inventory. He was so pleased with the TT+ system that he recently added a few more modules, bringing his total up to 12 and also purchased the NX line array for smaller events, making their inventory even more versatile.
Rondinelli Audio provides sound for anything from political rallies and graduations to regional fairs and national acts at the local casinos. "We needed something that would be extremely versatile," Rondinelli adds. "The RCF line is beautifully made and sounds terrific. The TT+ line array was exactly what we were looking for."
The TT+ line array replaced an array system that was sold to another organization. "It was a great provide a terrific system to another company while offering us the opportunity to check out the new line array systems and find something that fit our needs perfectly," he added.
The TTL33-A is a compact, wide dispersion, 3 way active line array module that offers high performance from a small size line array. High output, accuracy and high frequency extension plus the compact size makes it ideal for the variety of events Rondinelli Audio provides sound for.
Each cabinet is loaded with a two 8-inch neodymium woofers, one 8-inch horn loaded midrange neodymium woofer and three 1-inch neodymium compression drivers for excellent vocal presence and high SPL.
"The small footprint of the TT+ array was a huge plus," notes Rondinelli. "It's small and light weight which translates into less truck space and quicker load-in/load-out. And many of our clients like the system, when hung, to be as unobtrusive as possible – and this is."
Adding the NX line array added more flexibility to the services Rondinelli Audio provides the area.
Rondinelli continues, "The NX system will allow us to do two events at one time, neither system requires as much manpower to get up and running so I can literally do more with less."
Rondinelli Audio is the sound supplier to both the Diamond Jo Casino and Mystique Casino, which are also located in Dubuque. As a result the RCF TT+ line array has been the system of choice for the national acts that come through the area to perform including Brett Michaels, Davy Jones, Uncle Cracker, Air Supply and the Little River Band.
"There is no such thing as a good, cheap line array," Rondinelli continues. "So when you make the investment you are investing in a relationship with the company for the next couple of years. RCF has been great and I look forward to working with them more in the future."
RCF designs and manufactures high-quality professional audio sound system components including transducers, powered and self-powered loudspeakers and line arrays, power amplifiers, digital loudspeaker management systems, recording monitors, microphones and rack components. Headquartered in Reggio Emilia, Italy, RCF USA is a subsidiary of the RCF Group, which is comprised of RCF S.p.A and AEB Industriale s.r.l. (which owns dBTechnologies), and is listed on the Italian Stock Exchange.
More information is available at Tel: +1 (732) 901-6100, email: info@rcf-usa.com or by visiting www.rcf-usa.com
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.
Event
Il Big Beach Dance Festival giapponese, svoltosi recentemente al Makuhari Seaside Park di Chiba, si è nuovamente rivelato un gran successo, con circa 20.000 spettatori venuti qui per sentire e vedere grandi nomi della dance music, tra cui The Chemical Brothers (che si sono esibiti a una consolle da DJ), John Digweed, Beardyman, Timo Maas e molti altri. L’evento, promosso da alife Entertainment, ha esaltato al massimo l’atmosfera della mitica festa sulla spiaggia grazie anche alla presenza, in ciascuno dei tre palcoscenici, di attrezzatura RCF al gran completo. Lars Yoshiyama, direttore vendite dell’azienda per l’area, ha parlato di ‘importante successo’.
Per il suono è stata incaricata una rental company, Comestock, e tale era la mole delle richieste che è stato necessario acquistare un sistema completamente nuovo. Dopo un’attenta considerazione, la scelta è ricaduta su RCF. L’ordine è stato presentato presso il distributore Ballad Co.
Diretta da Norihiro Matsuyama, Comestock ha scelto il sistema TT+ per la chiarezza del suono e l’eccezionale gestibilità della potenza, oltre alla facilità di trasporto in aereo e la presenza dell’unità RDNet che offre il completo controllo e un monitoraggio del sistema. Durante l’evento è stato infatti possibile monitorare tutti i componenti attraverso l’apposito protocollo di rete RDNet.
Il palcoscenico principale è stato attrezzato con 14 elementi per lato del modulo line array TTL55-A RCF in configurazione a spirale, con 12 subwoofer TTS56-A e TTL36-AS disposti in linea lungo il centro del palco, dove la casse da 2 x 18” TTL36-AS erano posizionate sopra ai subwoofer 2 x 21” TTS56-A . La copertura nearfield è stata garantita da quattro line array compatti TTL31-A — tutti controllati da RDNet sia per il delay che per il monitoraggio. Come stage monitor sono stati impiegati sei TT25-SMA e due subwoofer TTS28-A , mentre la copertura dell’area VIP, vicina al palco, è stata garantita da una coppia di moduli TTL31-A.
Il secondo palcoscenico era dotato di quattro TTL33-A per lato, cui erano stati aggiunti due TTL31-A per la copertura nearfield e quattro TTL36-AS per l’estensione della bassa frequenza. Il monitoraggio per gli artisti era composto da due TT25-A, due ART722-A e quattro NX15-SMA.
Il supporto acustico nella tensostruttura, che fungeva da terzo palcoscenico, anch’esso di RCF, era composto questa volta da quattro casse attive TT22-A supportate da una coppia di SUB 718-AS.
L’evento è stato coadiuvato dal fonico venezuelano, esperto di prodotti RCF, Oscar Mora, che si è occupato dell’istruzione del personale all’uso dei sistemi e ha dato il proprio prezioso contributo nell’identificazione dei cross-points tra i subwoofer TTS56-A e TTL36-AS. Oscar si è inoltre dedicato alla regolazione di precisione del sistema, consigliando Comestock sull’uso più efficiente del dispositivo di controllo RDNet.
Era presente anche Lars Yoshiyama di RCF, coinvolto nella programmazione dell’evento e nell’organizzazione della disponibilità del sistema – due funzioni che rientrano nel suo ruolo di direttore della pianificazione strategica di RCF nel mercato giapponese.
Pur avvalendosi di tanta professionalità, la produzione ha presentato le sue difficoltà. Considerando la posizione sulla spiaggia, bisogna fare sempre i conti con la continua minaccia della sabbia alzata dal vento. A ciò si sono aggiunte le ulteriori complicazioni dovute all’abbondante pioggia del giorno precedente e alla vicinanza di abitazioni, con il potenziale rischio di lamentele per il rumore.
Il sistema TT+ è riuscito a superare egregiamente il problema del vento, grazie ad una copertura acustica costante e uniforme ed alla coerenza acustica dell’impianto. “La straordinaria potenza nell’ambito delle alte frequenze e l’alta definizione hanno contribuito non poco nell’affrontare con successo ogni tipo di problema dovuto al vento, mentre i cabinet sono completamente resistenti all’acqua e quindi impermeabili alla pioggia”, ha affermato Lars Yoshiyama. Per quanto riguarda invece il problema del rumore, i prodotti RCF – e la professionalità dei tecnici – hanno saputo prevenire ogni tipo di lamentela, e la copertura è rimasta equilibrata e diretta, pur mantenendo un livello emissivo di ben 122 dB max al FOH, a 52 m dal palco.
Il BBF è uno degli eventi più apprezzati del Giappone ed è stato votato miglior festival della musica dance degli ultimi tre anni. L’impiego di questo sound system ha rappresentato un bella sfida per RCF, superata egregiamente dai tecnici audio e i direttori dell’evento che hanno potuto sentire un suono di prossima generazione.
Uno dei produttori di una delle band ha semplicemente commentato: “Questo sistema è il numero uno”. I tecnici del suono, abituati a lavorare anche con line array di altre marche, hanno avuto solo reazioni positive.
Ma con tutta probabilità il commento migliore di tutti è stato quello di Alex Nightingale, manager dei Chemical Brothers, che ha detto: "Dal punto di vista acustico la produzione ha valorizzato il set per creare l’effetto del suono di una discoteca sulla spiaggia”.
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
Corporate
Apportando un cambiamento radicale al suo stile di marketing piuttosto convenzionale, RCF ha prodotto 5 nuovi cartelloni pubblicitari, destinati ad invertire la percezione comune e a presentare un'immagine dell'azienda completamente rivoluzionaria adottando personaggi rappresentati dalle silhouette di carta dei disegni animati, questi cartelloni si rivolgono a tutte le aree principali dell'azienda; “Recording”, “Professional Speaker Systems”, “Precision Transducers”, “TT+ High Definition Touring & Theatre” and “Installed Sound” ... che si raggruppano tutte sotto lo slogan di "Sound Culture".
Ogni concetto è stato creato e pensato appositamente per un uso specifico e tutte le illustrazioni hanno il medesimo impatto di una copertina del "Saturday Evening Post" di Norman Rockwell.
Gioia Molinari, Direttore del Marketing di RCF commenta: "... abbiamo deliberatamente introdotto uno stile grafico fresco ed innovativo, ideato proprio per catturare l'attenzione del lettore, esattamente come se egli avesse appena visto un cartellone pubblicitario, un banner o la copertina di una rivista. Tutti coloro che reputano RCF come un'azienda di casse e altoparlanti tradizionale si ricrederanno e ne saranno certamente colpiti ma sotto la patina umoristica superficiale, c'è il vero messaggio di un'azienda con 62 anni d'esperienza e un pedigree senza rivali."
La nuova campagna sarà rivolta al segmento di mercato di riferimento e sara' visibile gia' da giugno 2012. "L'azienda si è ora sbarazzata della sua vecchia immagine e ciò contribuirà a fornire una finestra sul futuro di RCF"
Event
When Pope Benedict XVI recently visited the Cuban capital of Havana, the government of Cuba chose RCF TT+ (Touring & Theatre) series to broadcast the Papal Mass.
Hundreds of thousands of Cubans from the capital and neighbouring provinces filled Havana’s José Martí Plaza de la Revolución — at 72,000 sq. metres one of the biggest squares in the world.
The system specified comprised 64 x TTL55-A (16 elements left and right of main stage and two 16-hang outfills) and 24 x TTS36-A subwoofers (12 per side). In addition, 27 xTT25-A’s were deployed as delays — in 12 towers (each containing two cabinets), and three towers with one cabinet in each.
Finally eight TT25-SMA and eight NX12-SMA wedges provided stage monitoring while system control was in the shape of two DX 4008 4-in/8-out digital loudspeaker management devices and RDNet Control8 control and monitoring network.
The system designers were both extremely impressed with the power and intelligibility of the TT+ series, which registered 106dB at the furthest point of the site (210 meters). In particular, they praised the coherent, constant coverage pattern and definition of the system — as well as its power.
In conclusion, RCF product specialist, Oscar Mora, stated: “The coverage was such that the mass of Benedict XVI could be heard clearly right across the Square, demonstrating the intelligibility of TT+. Those related to the event expressed their delight with the system and I received many plaudits and congratulations afterwards.”
Event
The first Red Bull Soundclash in Greece recently was supported by a TTL+ active line array system from RCF — provided as part of a complete sound, lighting and visual package across two identical stages by Greek production company, Kariotis Meletios Events Productions.
This unique band competition, famous throughout the world and held for the first time in Athens’ Building 56, saw a battle between Greek bands Vegas and Melisses.
With two identical stages installed opposite each other in the same venue the concept of the competition was that the audience would vote vocally for the best group after each of the songs (Melisses recording 124dBA on the decibel meter to emerge as victors).
Sound reinforcement for the event included four arrays of four TTL55-A active line arrays and a TTS36-A flown subwoofer, with four stacked arrays of two TTS-56A subs, divided equally cross the two stages. In fact the presence of the TT 55-A was its first official outing in the country.
With RCF TT+ product specialist, Emanuele Morlini, providing on-site support to help set up and optimise the system — controlled and monitored by RCF’s advanced remote control system, RD Net — the TTL solution offered an ultra dynamic and high energy live experience to the audience and delivered a continuous 120dB free of distortion over the entire period.
Kariotis Meletios had been awarded the contract by Red Bull’s American-based events company, Eleven Productions. Explaining the concept, Pandelis Kariotis said that the two famous bands participating on the two stages represented different genres. “A db meter mic was installed measuring the volume of the crowd screaming right after each performance and displaying the results on two big LED screens at the back of the two stages.”
The Greek production company had around 16 technicians working three days for the preparation of this project in order to manage the installation of the trussing and staging, the installation of the sound, light and LED displays, with soundchecks on the third day. MTV Greece, who hosted and broadcast the event, then moved in with a production crew, ten cameras and a OB van, while Eleven Productions managed all structures for Red Bull as well as crowd control.
The RCF system received a highly positive reaction all round. “The fact that the performance of TTL was state of the art was recognised immediately by the sound engineers of both groups,” confirmed Mr. Kariotis.
“The USA production company was also delighted with our standard of organisation, state of the art equipment and the expertise of our technicians.”
Installation
Dominated by its dramatic ceiling, featuring nearly 3,000 diamond-shaped pieces of LED-lit cut crystal, London West End membership nightclub Jalouse recently underwent a complete audio revamp as part of a general structural refurbishment, to prepare the award-winning luxury venue — owned by Moruf Yoozooph and Freddie Achom — for its next phase.
The three-year old club had never been entirely happy with its original sound system. Brought in with the task of upgrading the system and resiting the DJ console, Cosmic Electronics opted for an RCF dancefloor solution, redeploying the existing system to peripheral bar and lounge infill duties. At the same time they carried out some digital rewiring, and placed the crystal ceiling under computerised lighting control.
“We have worked a lot with RCF over the years and it was only when we became involved in another club project recently that we realised just how powerful and compact the new generation of products were,” stated Cosmic Electronics MD, Keith Damon, who managed the project.
Wrapping the clientele in an improved, and more potent dancefloor sound are two pairs of RCF C5215W's — containing15” high-output LF transducer with 3” voice coil — facing each other across the dancefloor. At the same time the existing subwoofers have received further LF extension with the addition of an RCF S8015 single 15” high output unit, which is sufficiently compact to recess neatly under the existing seating with 1mm tolerance. Capable of delivering 1kW of power (RMS) and maximum SPL in excess of 135 dB, this leaves plenty of headroom for the DJ (and trouser flapping for those seated above).
Finally, in order that the DJ can monitor his own output, a tiny powered RCF TT051A (with 5” woofer and 1” dome) has been flown above the console.
With an eye on the budget, Cosmic UK has continued its optimization programme by completely re-configuring the existing Crest amplifiers and reprogramming the gain structure of the BSS Soundweb DSP.
“The result,” says Keith Damon, “is a clean, warm sound, rich in bass, which envelops the entire club.”
The Mayfair club’s elegant interior, which originally cost £3.5m to build, was designed by Mark Humphrey London. And having been voted best new club at the London Bar and Club Awards in 2009 and Best Club at the same awards last year, Jalouse’s new RCF sound system is perfectly placed to keep its clientele on the dancefloor for the foreseeable future.
Installation
A Casteldelfino, piccolo borgo antico in Provincia di Cuneo, a 1.296 metri sul livello del mare, ogni giorno a mezzodì suonano 12 rintocchi ORIGINALI del Big Ben, il famoso campanile di Londra.
Forse ci dareste dei visionari, ma l’affermazione risponde alla pura verità. A Casteldelfino il Big Ben suona le ore di metà giornata, così come, alle otto del mattino, un allegro e squillante canto di gallo dà il buongiorno ai cittadini; e alle quattro del pomeriggio il cinguettio dell’uccellino della Rai e la marcia alpina dei Coscritti Piemontesi scandiscono “l’ora della memoria”, mentre alle otto di sera la buona notte viene augurata con il suono spiritoso e rasserenante dell’orologio a cucù, e con il coro della Madama Butterfly di Giacomo Puccini.
Al sindaco di Casteldelfino, Domenico Amorisco, va attribuita l’idea di questo interessante esperimento di diffusione sonora, che colloca il paese all’avanguardia in Italia. L’impianto, realizzato dalla ditta F.P. Impianti con apparecchiature targate RCF, coinvolge l’intero centro storico del paese: piazza Valentino, via Roma, via Pontechianale e piazza del Municipio. L’intento, secondo le parole del sindaco, era quello di offrire al visitatore “una giornata che si può vivere solo a Casteldelfino.”
L’impianto di diffusione sonora che copre l’intera area è composto da 21 diffusori RCF Monitor MQ 80P-B da 30W l’uno (per un totale di potenza dell’impianto di 500W) dislocati nel paese in due “dorsali” da 11 apparecchi, una per ogni metà del borgo. A servire gli altoparlanti, 730 metri di cavo. Il cuore pulsante dell’installazione è un rack che contiene tutte le apparecchiature necessarie a diffondere messaggi e musica, un lettore CD/MP3 e sintonizzatore radio FM, un amplificatore AM2320 da 320W, una unità di potenza UP 2321 da 320W per annunci e diffusione musicale. Insomma, un lavoro tutt’altro che banale, corredato poi da un’apparecchiatura Chorus Fulgor: solitamente installata nei campanili per automatizzare la diffusione di suoni o messaggi, in questo caso è stata utilizzata per gestire l’impianto di diffusione audio che copre capillarmente l’intero paese.
L’installazione ha avuto luogo nel corso del 2011, e ha richiesto una decina di giorni. Il 9 aprile 2012, lunedì dell’Angelo, l’impianto è stato inaugurato. Adesso funziona principalmente durante le manifestazioni o le feste di paese, per la diffusione di musica o messaggi, ma è in realtà attivo 24 ore su 24: i quattro “appuntamenti” con il Big Ben, il canto del gallo e l’orologio a cucù sono quotidiani e, dal 9 aprile di quest’anno, scandiscono la vita di Casteldelfino.
Corporate
Promising to standardise on RCF components after purchasing a major Theatre & Touring (TT+) system nine months ago, Yes Events Ltd this month remained true to their word when they added a second tranche of the Italian manufacturers’ products to their hire fleet from this increasingly-popular range.
This time they have bought an eight-enclosure TTL33-A compact, 3-way active line array system and two further TTS28-A subs to add to the four they already have. In addition, they have invested in six TT25-SMA touring 15in stage monitors and RCF’s proprietary RDNet system software, to integrate with the TTL33-A.
According to Yes Events director, Tom Chennells, the underlying reason for the latest round of spending was to service the assault on 30 shopping malls simultaneously by Rock Choir’s infamous Flash Mob on Sunday, March 25th.
Rock Choir is the biggest contemporary choir in Britain. With a burgeoning repertoire of rock, pop and gospel music, a soloist turned up at each of the selected destinations, armed with a radio mic and backing tracks, to kick start the ‘choir’ of shoppers in each location.
As a preferred supplier Yes Events were contracted to handle sound reinforcement at many of the sites — all with RCF components. Their new TTL33-A line array was immediately shipped down to Bristol’s new £500m Cabot Circus, operating two elements per side and showing all the benefits of their wide dispersion. Elsewhere, they fielded other RCF components, including their existing TT25-A active two-way monitors, compact ART 722-A active full range enclosure with ART 905-AS active 15in bass bins and the 4PRO series, with 4PRO 8003-AS active 18in sub.
Explained Tom Chennells, who runs the business with Nick Ratcliffe, “We are big fans of the Touring & Theatre range. We topped up our inventory with the Rock Choir event coming up but really purchased the new SMA stage monitors because we have won the contract to look after 25 outdoor community festivals this summer, generally featuring smaller acts and tribute bands.
“As the TTL33-A is compatible with the RDNet control and DSP input cards we can be specific about how it throws the sound — which is vital at sites where containment is an issue. This is a unique feature and one of the reasons why we chose the TTL33-A.”
As if that wasn’t enough Yes Events have also purchased their own stage roof, so can now provide a one-stop shop. And as for the foreseeable future, Tom predicts, “We will continue to expand with RCF.”
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