Corporate
RCF has created a new PR & Strategic Marketing job function within the company and has appointed Kenneth Bremer to fulfil this role, starting from January 2011.
Kenneth Bremer will work closely with the marketing team, to keep brand ing RCF internationally, developing marketing strategies and to keep relationship with all relevant medias and to support customers providing them fast product information, and suggestions to invest in professional audio equipment. Furthermore Kenneth Bremer will define the company PR strategy and work closely with our branches .
The Strategic Marketing role will also support the Sales Division and Research & Development department. Marketing has become more and more strategically important and it is essential to supply all our distributors with the right marketing and sales tools to be competitive in their local market segments. Hence Kenneth Bremer will work closely within the different team members to help improving our communication.
RCF will benefit from this new role, because the company will always be up to date with the fast moving market trends having the right information about what products are most needed in the market, how to address the distribution network, and it will develop an even stronger business relation with our customers .
Kenneth Bremer has a strong business experience and a huge network in the professional audio industry he has been working in this sector for more than 25 years, from retail, distribution and international work. He has implemented some strong sales and marketing efforts, and always delivers a professional job. Kenneth Bremer is a very dedicated and respected person; he is always full of ideas and solutions and forward driven We are very pleased to welcome him in our team.
Kenneth will be mainly based in RCF headquarters in Italy, you can reach him on this email address: kenneth.bremer@rcf.it
Installation
The William Street Bird Bar opened its doors recently in Perth's bustling Northbridge. The venue is a modest size and is run alongside a recording studio by owner Mike O'Hanlon. With a genuine passion for audio and music, Mike decided the venue required the attention of an expert who could get the best result out of it. George Nikoloudis was hired to analyse and implement suitable gear into the Bird. As Mike notes, "George was the key guy in selecting and installing gear. George is a local legend, live/studio engineer. He's got a real feel for the strengths and weaknesses of the analogue and digital realms and it's obvious that his main agenda lies in the venue sounding good."
RCF found its way into the Bird with some products of the professional range. "For fold back, we use ART powered wedges hung up high, basically hanging off the back of the FOH speakers as well as two 'floaters' that we place around the stage as they are needed." Overall Mike is very happy with George’s work and the outcome, "it’s worth spending that bit of time/money on audio gear, people notice good sound, even if it’s subliminal.”
Installation
Tonic Bar & Restaurant is one of the places that sports fan from all over the world are visiting.
With the location at the Times Square, the most commercial intersection in the world, you are at the best spot in the world.
The impression you get of this multilevel bar is unbelievable. At the first floor there is 25 large Plasma & LCD TV’s and a large marble top bar. The second floor is a restaurant with a full international menu. At the Tonic Bar facility there are also private bars to special events. The Tonic Bar complex is where “evening & nightlife” is happening at the Times Square.
Recently the Tonic Bar installed new sound systems and the company Foundation Audio did the installation with several RCF products.
Justin Shafran from Foundation Audio tells about the speaker installation: At the second floor we flew the 4 H1315 in the four corners of the room. 30 degree tilt down to optimize the throw distance of the speakers with the length of the room. We added 2 S8028 side by side to one side of the room dedicated to the dance area and 1 S8028 to the other to add some extra low frequencies to the bar area. 

At the first we flew 2 C5215L at each sides of the room for side fill and the last 5 C5215 on U Brackets on the wall facing the bar at a 45 degree down angle. The Wall speakers are 8.5' off the floor and the 2 flown C5215 are 9.5 feet from the floor. The ART 410A is being used as a DJ monitor.

Where audio and video excellence is second to none is the “motto” of Foundation Audio, and if you visit the Tonic Bar at Times Square, and listening to the RCF speakers in action, you will experience this.
Installation
Impianti professionali, cachet concordati, programmazione artistica di qualità: così il Live Forum di Assago è diventato un esempio per chi fa musica dal vivo.
Non si può steccare in un locale che propone musica dal vivo. Sarebbe paradossale. Alcuni elementi, artistici e tecnici, possono trasformare una serata anonima in una notte da applausi. Volete qualche esempio? Un palco resistente all’onda d’urto degli artisti e del pubblico; un impianto audio a prova di effetto Larsen (quei fastidiosissimi “fischi”); un sistema di luci che illumini bene la scena, ma che al contempo non surriscaldi i musicisti; una selezione artistica accurata. Ne parliamo con Paolo Marrone, direttore artistico del Live Forum, locale all’interno del Mediolanum Forum di Assago, luogo che da vent’anni è una delle tappe obbligate dei grandi tour musicali in Italia. Il locale, aperto da un anno, si sviluppa su uno spazio di 600 mq di cui cinquanta occupati dal palco, con una capienza di circa 450 persone. Parafrasando lo slogan del suo sponsor, quello del Live Forum è uno spazio costruito intorno al suo direttore artistico. «Da anni suono e conosco i problemi. Spie che strillano, palchi con assi traballanti, illuminazione inadeguata, mancanza di camerini, tecnici del suono dilettanti. Tutti fattori che incidono sia sulla performance sia sulla soddisfazione del pubblico. Quando i “suoni” sono sbagliati, i cachet inadeguati e non c’è un minimo di backline (la strumentazione base del locale), ne risentono sia gli artisti sia l’immagine stessa del locale».
In un Paese in cui i locali con musica live sono ormai mosche bianche, le parole di Marrone sono da sottoscrivere. Molti locali di musica dal vivo andrebbero ripensati. A cominciare dalla parte tecnica. Nel locale di Assago, alle porte di Milano, si sono affidati a tecnici del suono che hanno curato vari dettagli. Dallo studio e montaggio delle apparecchiature per la riproduzione del suono (microfoni, amplificatori, equalizzatori, diffusori) alla collocazione di microfoni e altoparlanti. Il sistema audio principale, a marchio Rcf, è composto da due sistemi da tre amplificatori ciascuno, quattro subwoofer, sei casse spia per il monitoraggio di palco. In pratica una potenza di fuoco da 7.000 watt gestita, per mezzo di un mixer digitale da live, da un tecnico del suono professionista. Per le luci la scelta è ricaduta sui fari a led, che garantiscono almeno tre vantaggi. Intanto, il risparmio energetico, poi un tipo d’illuminazione bivalente (convenzionale e decorativa) e, da ultimo ma non per importanza, non fanno sudare chi sta sul palco. Per surriscaldare l’atmosfera ci sono altri congegni: macchine del fumo, teste mobili e laser. Il palco, oltre ad essere robusto come la norma prevede, è rivestito da una bella moquette, nera e ignifuga. Una soluzione per evitare incendi, scivoloni e batterie che scappano da sotto il batterista. «Sono convinto che per dare il massimo l’artista debba sentirsi al sicuro in ogni momento. Per esempio non ritenevo decoroso, come succede altrove, il fatto di costringere i musicisti a cambiarsi in bagno. Dietro le quinte abbiamo un doppio camerino dove gli artisti possano rilassarsi e studiare gli ultimi dettagli, prima dello spettacolo. Lo stesso vale per il backline. Mettiamo a disposizione, oltre a microfoni di qualità, una batteria e vari amplificatori per chitarra». Dalla parte tecnica, passiamo a un altro fattore determinante: la selezione dei performer. Dal Live Forum passano soprattutto artisti della scena indie rock. Un’idea strategica. «C’era una forte domanda del pubblico, ma non c’erano i locali per ospitare questo genere. Abbiamo preferito evitare le scelte comode. Tribute e cover band sono scorciatoie troppo facili. Non vogliamo gruppi juke-box, che propongono scalette da karaoke». Quella di Marrone è una scelta di campo che ha portato buoni frutti. In un anno d’attività ha messo in piedi 200 eventi con 65 serate di musica live, in cartellone dal giovedì al sabato. Sul palco si sono alternati artisti di grande valore della scena indipendente, dai The Fire alla Bud Spencer Blues Explosion, passando da personaggi unici come Bob Log III, un “one man band” che si esibisce con un casco integrale in testa e canta attraverso una cornetta del telefono. Ovviamente non tutte le serate riescono col buco. Ci sono notti in cui la pista sembra una landa desolata. Ma è un prezzo che si paga quando si vuole proporre qualità. «Di volta in volta cerchiamo di prendere accordi economici con gli artisti, o con le agenzie che li rappresentano. In alcuni casi prevediamo un cachet fisso, e se la serata va bene, aggiungiamo un bonus. In altri casi concordiamo un compenso definito.
Dipende dalla situazione. Gli accordi si prendono sempre prima del concerto. Per questo preferisco incontrare gli artisti di persona». E giura di non aver mai chiesto “quanta gente mi portate?”, perché la considera una pratica avvilente, quanto troppo diffusa. Lo dice, prima che da direttore artistico, da musicista. Adotta la stessa filosofia anche nei rapporti con pittori, fotografi e scultori. Perché il locale di Assago si propone anche come spazio per l’arte, ospitando in una zona, collegata ma separata dalla zona palco, nuovi talenti. Come in occasione del Think Tank, music & art festival. Cinque giornate, in programma tra ottobre e dicembre, in cui si sono esibiti e si esibiranno oltre un centinaio di virtuosi di chitarre e pennelli.
Installation
Eyewear giant OPSM (Luxottica overseas) recently opened the first of a series of concept stores in Melbourne's Hawthorn. The venue, shaped like a giant eyeball is laden with cameras and touch screens allowing customers to try on sunglasses and take photos of themselves.
Prolight and Sound fitted the venue and lead designer Jonathan Sinclair decided that using RCF speakers was a winning solution.
RCF MQ 50 and RCF PL60 ceiling speakers were mounted throughout the store and the main body of the retainer space was fitted with suspended RCF MQ 60 speakers.
OPSM were delighted with the results as the venue sound great and the speakers are not intrusive to the architecture of the space.
This is the first of several OPSM concept stores to be rolled out throughout Australia.
Installation
When it came to equipping the new building for the Ministry of Higher Education (MOHE) in Riyadh City, the winning combination was RCF, with over 60 years’ experience in audio systems design, and KHALDI EST, who themselves boast 40 years of operation in the field of auditorium AV and low-current systems. The two leading companies have been working together for the past seven years in many successful projects.
The MOHE building is considered to be one of the major projects in the new era development in Saudi Arabia. KHALDI EST specialises in delivering turnkey projects and, as the new MOHE building requirements called for cutting edge technology, the latest products from RCF were specified. The Ministry auditorium was designed to seat 850 people, and, part of the A/V system design, was to link the main auditorium with the Ministerial office (and other meeting rooms) within the building facility via LAN — plus the possibility to communicate via internet broadband with other remote locations.
The acoustic sound calculation and measurements were based on the latest RCF L2406 full range, highly intelligible, compact two-way speaker column arrays, with vertical controlled directivity. Designed for speech and music reproduction, L 2406 is suited for a variety of fixed applications where the critical acoustical environment or architectural constraints requires controlling the vertical acoustic dispersion.
Handling the low end extension is a S4012 subwoofer, with system optimization provided by an RCF DX4008 4-in/8 out digital loudspeaker management system. Supplying the power are RCF’s HC2000 2x 1000W Class H amplifier and HC1600 2 x 800W Class H amplifiers.
KHALDI EST also installed the latest RCF FORUM 2000 simultaneous translation system, with four-language set up and 200 delegate units. Included in this system were the STU2200 digital radio transmitting unit, FMU 9100 central unit conferencing system, SIS2411X interpreter console, SHI2612 interpreter headphones, SDR2599 100-channel simultaneous translation pocket receiver, SRH2601 stethoscope headphones and other accessories.
“We have been specifying RCF components from the moment we started our business co-operation, and for this installation, which required high speech intelligibility and simultaneous translation, RCF had perfectly matched components,” stated installation project team leader (and executive manager), Engr. Amer Alkhaldi, who was assisted by project manager, Dr. Engr. Mohammad Fouad. “We highly recommend RCF components to clients on all applications, whether small, medium or large.” In fact the latest project to adopt RCF is the newly-approved King Abdullah Financial District (KAFD) in Riyadh.
Corporate
5000 units of TTL33-A line arrayWhen RCF revealed the news of the TTL33-A compact 3 way line array model from RCF, it was extremely well accepted from the industry. It quickly became the “mini array that sounds bigger - even in a compact design”
Since the introduction the TTL33-A has been used in lots of applications from local live events to touring and several fixed installations. Professional users, such as rental companies have several times mentioned the TTL33-A as a very powerful tool and highlighting features, such as: Superb compact size, the sound quality, the weight and the ease of configuration and setting up a system.
With the technical features, the design and flexibility of the product, the TTL33-A is popular and has a demand from the end-users, and this has given the product its own award, namely the unit No 5000 is supplied, and this is a milestone for this model.
“With 5000 units working in professional applications world wide is a great step for our TT+ segment. We have been listening a lot to the market segment when we designed the “mini array”, and it looks like the we have targeted the TTL33-A at the right position, when we look at how popular it is, and to see that it still is gaining its position in the market”, says Alessandro Manini - Director of Research and Development
The TTL33-A model comes from the series of Touring and Theatre product segment from RCF designed to match the needs for audio professionals. In this segment RCF are one of the major players worldwide with a range of speaker systems combined with dedicated processing and amplification technologies that are superior in acoustic performance and control technology.
Event
The Night Of The Prog Festival took place in early September for the fifth time at Loreley, Germany’s most beautiful open-air festival venue. For the fifth edition of this well-established prog festival, the keyword was the birth of neo prog. That is the reason why the festival scheduled six British bands representing this music style, including Pallas, Twelfth Night, Galahad, Solstice, and Marillion. For the F.O.H setup, the event’s organizers used RCF TTL55-A and TTS56-A systems from Session Veranstaltungstechnik.
Event
The 2010 edition of the famous Deichbrand festival took place near Bremen in Germany from the 16th to the 18th of July. A great cast of international acts, headlined by US band Papa Roach, attracted thousands of people from all over the Country.
Thanks to their power and reliability, RCF TT+ active systems have been choose for the fourth time to amplify this huge event.
In the 2010 edition, adding to the TTL33-A and TTS28-A, the new large venues TTL55-A line array and TTS56-A high power subwoofers have been used.
Stage monitors TT25-SMA and TT45-SMA have been used on stage, 4PRO 7001 A-MH and 4PRO 7001 A-BA systems have been deployed as side fills.TTL31-A and TTL33-A in stacking configuration have been used as front fill.
Corporate
The quality and reliability of RCF transducers is legendary. The 4 new coaxial designs that are now available make no exception: state of the art engineering and manufacturing, high quality and innovative materials ensure the best performance for a wide range of applications.
The new coaxial transducers feature a lightweight neodymium magnetic structure, excellent linearity and high efficiency. The design is powered from a large sized single neodymium ring magnet that provides an extremely high flux density and BL factor. The new hyper-vented aluminium basket and magnetic assembly design provide an excellent heat dissipation and lower power compression. Special air-forced ventilations are provided for voice coil, magnet assembly and basket.
All the models, except the CX12N351, feature a 2.5" voice coil combined with a strength fibreglass former and aluminium wire that drives the mid-bass cone with high efficiency and a good extension. The 1.75" dome compression driver loaded to a conical waveguide, provides a clear vocal output and a perfect high frequency extension.
The mid-bass section of the CX12N351 features a 3.5" inside/outside voice coil design that provides a very high power handling. Thanks to an integrated demodulation ring, the mid bass section gets a fastest time response and lower distortion. The compression driver uses a 2.5" diaphragm with a 1.4" throat. The diaphragm and suspension are formed from a 0.05 mm pure titanium. provides an excellent frequency response linearity with very low distortion. It is powered from an integrated high power neodymium magnetic structure that guarantees high dynamic and sensitivity for both components.
The new coaxial transducers are the perfect lightweight solution for vocal applications, stage monitoring, compact 2-way reflex enclosures and designs where a constant radial directivity pattern is a requirement.
CX15N251 15", 2.5", 1.0", 1.75", 600/100 W program, 300/50 W RMS, COAXIAL TRANSDUCER CX12N351 12", 3.5", 1.4", 2.5", 900/180 W program, 450/90 W RMS, COAXIAL TRANSDUCER CX12N251 12", 2.5", 1.0", 1.75", 600/100 W program, 300/50 W RMS, COAXIAL TRANSDUCER CX10N251 10", 2.5", 1.0", 1.75", 600/100 W program, 300/50 W RMS, COAXIAL TRANSDUCER
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