Following the launch of the new TT+ AUDIO brand, the Division put the fully integrated systems through their paces in front of UK rental companies, tour managers, sound engineers and system designers.
Two open days at the Gateshead Glasshouse for northern professionals, followed by the Millennium Studios, Bedfordshire for those in the south saw a number of rental companies in attendance.
Dean Davoile, head of RCF UK, noted: “Aside from its remarkable sonic qualities, it was the high-speed deployment, enabled by the complementary accessory package, with easy transportation, handling, and cabling that really stood out”, he noted.
Both the GTX10 and GTX 12 large format line array were demonstrated, both in the air and on the ground, enabling visitors to hear the systems with and without the matched GTS 29 subwoofer. The GTX 12 three-way system itself is geared to high-demand touring and large-scale installation applications, both indoors and out, equipped with eight purpose-designed transducers. The smaller GTX 10 two-way line array module, for medium applications, is equipped with three transducers, while the new GTS 29 is a dual 19” subwoofer that can be either ground-stacked or flown.
FEA (Finite Element Analysis) designed, GTX’s core technology utilised FiRPHASE processing, RCF’s proprietary RDNet network management and control platform, whilst Bass Motion Control (BMC) gives further boost to the low end. A key part of the new design philosophy is the touring racks, each of which is designed to house three XPS 16K 4-channel DSP amplifiers, conceived to drive the system.
The pre-recorded Open Day demonstrations were followed by a live multitrack recording of a German reggae band.
The demos had been programmed by TT+ AUDIO business development manager Andy Magee, who also provided tech support throughout Europe, and he explained his rationale. “I didn’t want to showcase the typical tracks that manufacturers tend to use. We created a video presentation and played some different stereo content followed by a live multitrack … this was a proper transient recording enabling visitors to see how the system genuinely performed. We focused on the LF—kick drum, bass guitar etc—without them being processed to hell. It’s when you put live mics through systems that the shortcomings become obvious.”
Hence both launch environments delivered that concert realism, and in that respect the TT+ team were indebted to Mark Parker of AV Matrix for providing integration of all screens, video and lighting, working with the rich array of grids in both the imposing spaces.
Davoile commented: “We were able to get some valuable one-on-one time with visitors and although the top end rental providers are largely catered for [with premium PA’s] several companies expressed that they are clearly looking to purchase auxiliary systems for a variety of deployments which are not necessarily brand or rider driven. The takeaway is that if TT+ was an object of curiosity and casual interest before the presentation, that quickly converted to it being serious consideration by the end.”
He continued: “There is no question that the sonic performance is two or three notches up on expectation and our marketing approach will be to look initially at the smaller festivals, larger corporate projects and installation sectors with the GTX 10, and work up from there. In fact because it is a passive system we have already been asked to quote on several installations.”
Magee agreed: “I was genuinely surprised how long people stayed behind — some up to an hour and a half — asking really serious questions about the system which underlined their level of interest.”
