Event
Welcome to the Integrated Systems Europe 2012
ISE 2012 will be the largest professional AV and systems integration trade show ever held in Europe, bringing together manufacturers, distributors, integrators, specifiers and technology managers from over 100 countries worldwide.
The ISE Show is taking place at the Amsterdam RAI, NL. The Exhibition is from January 31st to 02nd February 2012.
The key words for this year’s ISE 2012:
See, hear, and touch thousands of innovations from over 750 exhibitors
Meet, greet, and network with new contacts from every link in the industry value chain.
Listen, learn, and share in class-leading conferences and education sessions
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 installed sound and commercial audio solutions from RCF.
Come and visit us on Booth 7M180 in HALL 7
See more about the trade show at: www.iseurope.org
Corporate
Through the decades, RCF helped to shape the development of professional speaker and with product lines such as: Art, 4Pro, Acustica, NX, TT + is one of the major players in the audio industry and very popular amongst end users.
RCF is one of the few loudspeakers manufacturers worldwide who has the ability to completely design and manufacture transducers, speaker systems, and amplification, cabinets and control electronics. Three engineering departments – acoustic, electronic and mechanical – work closely together to offer innovative projects with complete control of each detail.
Thanks to the well-known transducers technology RCF has an enormous advantage in developing a complete speaker systems achieving the perfect match between transducers and electronics.
The Art 4 series has taken a step forward with new improved features. The MK II is an improved version of the current Art 4 and features brand new designed ceramic transducers (to replace the neodymium) providing even better punch in the sound and upgraded EQ.
In developing the new drivers we have re-engineered and improved the SPL and dynamics, and reduced the harmonic distortion. The only difference you will notice with the ART4 series is the physics — while the dimensions remain the same, the weight of the enclosures has increased.
With the new Art 4 MK II series we continue our commitment to our customers to constantly improve our product series and always providing the best solution through focus on technology and innovation. This is our trademark and dates back to 1949.
See the Art 4 Series MKII at the NAMM SHOW 2012 at the RCF Booth 6563 - HALL A
Event
The Namm Show will take place in the Anaheim Convention Center, Los Angeles from the 19th until the 22nd January.
Being one of the first trade show of the year 2012 it is a good opportunity for manufacturer to show the latest products range and trends that are going to have an impact on the music and on the audio industry in the coming year.
You will be able to meet the RCF Team to get the chance to discover the new products, learn more about our innovative technologies and solutions we can provide.
Come and visit us on Booth 6563 HALL A
Event
InterBEE in Tokyo, Japan
Recently the InterBEE 2011 was held at Makuhari Messe's International Exhibition Center in Tokyo, Japan. The InterBEE exhibition is recognized as a professional show for audio, video and communications. InterBEE has established itself as an international exhibition showcasing top-level domestic and overseas broadcast, video, audio and lighting equipment as well as peripheral applications and solutions all under one roof.
Inter BEE has developed from a broadcasting equipment show into a comprehensive media exhibition of world-class technology.
The Japanese distributor Ballad exhibited a large selection or RCF products from the broad range of the complete catalogue.
It was a busy show and both staff from Ballad and RCF people had many hands-on demos and talked with many people about the latest product news and RCF technology.
"It was the first time for RCF being at the InterBEE show with so many products like our conference systems, monitor speakers, line array and our very compact near field speakers. Many interested customers came to see us that give me great confidence that also Japan will be a fast growing market for RCF in 2012. The presence of RCF in East Asia is getting better from day to day and the investment into InterBEE of our distributor Ballad was the right decision. We already got many new contacts from the installation market and from rental companies. That's why we will definitely show up at next year's InterBEE”, says Lars Yoshiyama – Sales Manager RCF.
Installation
RCF takes a cosmic ride into Wonderland
No Saints launches new club brand in South London. No Saints, the leisure group set up by former Luminar Leisure boss Stephen Thomas, has added the Wonder brand to its growing portfolio, after acquiring four new sites in the south-east.
Known respectively as Wonder Lounge, Wonder Land and Wonder Years, the first fully-fledged nightclub (Wonder Land) opened recently in Sutton, Surrey.
Back in charge of the 900-capacity venue he once operated as Liquid, Thomas brought in Dakota House of Design (to work the Alice in Wonderland theme into an escapist nightclub interior), while Mark Damon of Cosmic Electronics renewed his company’s long relationship with RCF to provide an end-to-end sound reinforcement solution.
“We have a long and successful track record working with RCF,” he said, “and so we were 110% behind the idea of working with them on this project because we know their products are of high quality and reliable.”
Mark Damon provided RCF UK with a demanding specification, which was to provide optimum coverage of two Wonder Lounge bars, at balcony level, and the large bowl underneath (known as ‘The Bizarre’).
The sound also needed to be hybrid, and sufficiently versatile to produce not only a high impact on the dance floor but also have the ability to operate in live mode, with good speech and vocal clarity for acts ranging from burlesque and comedy, performing on the curtained stage.
The manufacturers responded by recommending the components best fit for purpose, with EQ curves relevant to each eventuality stored in the three dedicated DX4008 4-in/8-out loudspeaker management processors.
Mark Damon’s installation team was also confronted with the challenge of retrofitting the system into a surreal interior that that had already been fabricated by Dakota interior designer, Terri Naylor, who had followed a brief to dwell on the darker side of Alice in Wonderland, with large mushrooms, twisted clocks and top hats.
Impressively free of any visible wiring, one of Cosmic’s more remarkable feats has been to recess four S8028 twin 18” RCF Acustica bass reflex subwoofers into pre-existing floor furnishing, creating a cardioid array behind six mesh grilles.
Above, at balcony level, four of RCF’s corner clusters of paired RCF Acustica C5212L 2-way, 60° x 40° narrow dispersion 500W enclosures, are angled down onto the dance floor, while, strategically placed around the periphery of the venue, are 14 Acustica C3110 10” 2-way speakers and an S8015 sub provide infill sound, ensuring even coverage without hotspotting.
Eight RCF DPS 3000 Class HD amplifiers (2 x 1700W RMS / 2 ohms) have been assigned, four each to the mid-high clusters and the S8028 subs, while five RCF HPS 2500 Class H power amps (2 x 1400W RMS / 2 ohms) drive the C3110 infill speakers, with one channel powering the venue’s pre-existing ceiling speakers.
Finally, a pair of active RCF NX M10-A active mid high monitors and an ART 905-AS active sub, providing the DJ with high-class reference sound, tops off the highly specified DJ booth.
“Considering the budget spent on technology the sound is absolutely superb,” reasons Wonderland’s general manager, Jay Davidson. “It is far superior to systems I have experienced at other clubs I have worked in.” He also commended the overall standard and neatness of Cosmic Electronics’ installation.
“This integrated technology is capable of delivering a unique sound and lighting experience to what is now a new generation of clubbers, who have never been exposed to this kind of dynamic.”
And Stephen Thomas added, “No Saints is on a journey, and having talented people who understand the nightclub market makes that journey more interesting and fun. Wonderland is about pure escapism — and the versatility of the sound system has enabled us to achieve all we would have hoped for and more.”
Event
The Triad Music Festival powered by RCF TT+
The 1st Annual Triad Music Festival was held on the 3rd of September 2011 at the NewBridge Bank Park aka Greensboro Grasshopper Stadium. The "For the Love of Music" Festival was a one-day event; the grand finale of Summer 2011, with a goal of being the largest annual, outdoor music concert of its kind in North Carolina.
With a focus on music, culture, and community, the Triad Music Fest showcased some of the best of Pop, Rock, Hip Hop, Indie and much more offering Greensboro and the state of NC a new experience in diversity.
The unique festival featured a well rounded line-up including artists such as well-known rapper “Lupe Fiasco”, rock band “Fuel”, country star “Lee Brice”, the Young Teens of Hip Hop “New Boyz”, “Carolina Chocolate Drops”, singer/songwriter “Hope”, indie rockers “Outasight”, and guitar driven rock-n-roll from “The Stone Chiefs”.
The sound system, supplied by Rock Quarry Production of Raleigh, NC was composed of a cutting edge new RCF TT+ line-up including 16) TTL55-A large format line array elements along with 12) TTS56-A Ultra high-end dual 21”Subwoofers.
“Everyone is always amazed by the RCF TT system’s capabilities” says Jay Holem from Rock Quarry Productions.
Rock Quarry Productions offers equipment and services for large-format concerts, theatre, corporate, worship, media, and sporting events. Their professional staff of production designers, site managers, engineers, and technicians insures that your event is spectacular. Rock Quarry Productions has used large RCF TT+ systems for many applications.
See more at: www.rockquarryproductions.com
Event
TT+ delivers sound to the Platinum Legends Hip-Hop and R&B at the RBC Center
On December 2nd 2011 the RBC Center, home of the NHL Carolina Hurricanes, NC State Wolfpack Men’s Basketball and host of the 2011 NHL Allstar Game and numerous large events in Raleigh was transformed into the world of legendary Hip-Hop and R&B music and grooves. The concert “The Platinum Legends of Hip Hop and R&B” featured the top original pioneers of Hip Hop including: The Fat Boys, Kurtis Blow, Kool Moe Dee, Christopher Williams, Al B. Sure, Aaron Hall, Doug E. Fresh and more.
The cutting edge RCF TT+ sound system, supplied by Rock Quarry Productions of Raleigh NC, included 32) TTL55-A, 8) TTL33-A and 18) TTS56-A Subwoofers all software controlled by The RDNet management software.
“RCF TT55 never fails to deliver the power and performance we need to cover even the largest of rooms. The RDNet system allows us amazing detailed control of all aspects of the system in real-time.” says Jay Holem from Rock Quarry Productions.
Rock Quarry Productions offers equipment and services for large-format concerts, theatre, corporate, worship, media, and sporting events. Their professional staff of production designers, site managers, engineers, and technicians insures that your event is spectacular. Rock Quarry Productions has used large RCF TT+ systems for many applications.
See more at: www.rockquarryproductions.com
Event
RCF shines among the stars of Russian jazz.
ARIS (RCF distributor, Russia) has presented TTL11A in Moscow famous "Teatr Estrady".
On October, 21-23 ARIS invited all its friends and partners to become a part of two unique events – a demo and a workshop of the TT+ family newcomers active column speaker array system RCF TTL11A, and the extremely compact active loudspeaker TT052-A. The event was held at the VIII International Moscow Festival of Jazz.
During all three days of festival all guests had an opportunity to enjoy the performance of different jazz-bands and well-known artists.
The performance of TTL11A was brilliant as well; both guests and professionals noted it’s authentic, balanced and clear sound.
Event
RCF audio systems solution at the Niebla Flamenco Festival.
The village of Niebla is located roughly 30km of the southeast of Huelva city and 60km from Seville on the shores of the Río Tinto. Niebla literally means "fog" in Spanish, a name that might relate to its relative proximity to the Atlantic coast. It is a town that begs to be explored by foot. Niebla is famous for its beauty and archaeological heritage that can be found within its ancient walls and buildings of the town and the castle.
Niebla has been a pivotal enclave in the history of Southern Spain, and the castle bears eloquent witness of this. It's so well preserved that in summer times it forms the backdrop for theatre, music, and performance and dance festivals. All year round, its rooms, chambers and dungeons, whose interior design is perfectly in keeping with the era, are a veritable mediaeval museum.
At this year “Festival Flamenco Condado de Niebla” the company dB Sound supplied a RCF audio system, to arrange the sound and the acoustic adaptation in the courtyard of the Niebla Castle.
Several flamenco artists performed at the festival and furthermore the pop artist Kiko Gavin that performed an awesome concert in these beautiful surroundings.
The main stage was inside the walled enclosure with a capacity of about a thousand people. To ensure the correct acoustic sound and coverage, the system were settled with 2 Clusters in "Grand Support", composed by 6 pcs RCF TTL 33-A, and 6 pcs RCF TTS 28-A distributed to the front of stage every 1.5m.
To ensure sound coverage at the front rows, some RCF TT08-A speakers were installed as front fill.
The monitoring consisted of: RCF TT25-A, RCF TT22-A, and RCF 4PRO4003 as Side Fill, and ART905-AS as Subwoofers.
For many artists it was their first experience with RCF audio equipment and the feedback was very positive:
"Has been one of the best sound systems I have ever heard", says Kiko Gavin
Thanks to this event the company dB Sound showed their high professional attitude towards offering the best quality, their technical and material services – all based on a complete RCF audio solution
Corporate
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.
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