Italy-based RCF has a long history of providing solid, dependable gear used in the most critical applications. So when they debuted their new M18 digital mixer and EVOX series of compact column-array speakers, we were interested in checking these out. While not specifically offered as a package, we took both the M18 and an EVOX 8 system out for a real-world test drive, as the combination of the two creates a powerful, compact and easy to use system for portable grab-and-go gigs.
Enter the M18
With an affordable $899 street pricing, the RCF M18 is a one-piece package that’s in a ready to rock package. There is no physical control surface — you’ll have to run its free MixRemote iOS app on your iPad. The mixer has a built-in Wi-Fi access point with integrated antenna that enables all functions to be controlled wirelessly. It’s a dual-band design, operating at 2.4 GHz and 5 GHz via an internal or (included) external antenna, with the latter improving communications when the mixer is rack mounted or used in a difficult RF environment.
As its name implies, the M18 has 18 input channels — eight with mic preamps (and switchable phantom power) and 10 line input channels., There are also two additional “bonus” inputs, if you count stereo music playback from the USB port, which is ideal for “break” or “walk” music, without having to tie up a channel input pair. All 18 inputs include gate, dynamic compressor (both with full parameter control and dozens of useful factory presets) and 4-band EQ, with HPF and parametric mid bands. Three different modes of EQ are provided — Standard, Vintage and Smooth — offering a wide palette of EQ flavors.
Also standard is an onboard suite of plug-ins and reverb/delay/modulation effects, including several equalizer types and classic guitar and bass amp emulations, developed by plug-in specialists Overloud. Up to 16 simultaneous effects can be inserted on the inputs without the need for additional equipment. The output stage also touts a virtual rack of useful effects, including a Valve Warmer, Xciter, Maximizer and 32-band stereo graphic EQ on the main mix.
The front panel is about as Spartan as possible, having only an embossed logo and a power/status LED. The rear panel has with eight mic inputs (on six XLRs and two Combo connectors), 10 TRS line inputs, six TRS aux outs, headphone out and two XLR main outs. Two of the 10 line inputs can be switched to a Hi-Z mode, particularly effective for direct input of guitars and basses.
Also on the back panel is a two-way TRS footswitch jack allowing simple internal FX mute or program changes, while MIDI in/out jacks (for effects automation, etc.) complement the control options. A USB port provides access to external storage for the internal two-track player and recorder, while an Ethernet port is provided for computer connection when required. An IEC socket accepts a power cord for the internal power supply. Thankfully, there are no wall warts here — an appreciated touch.
From a construction standpoint, the M18 seems well built, but the combination of the compact 13 x 3.5 x 7.1-inch, molded ABS outer chassis and its 5.5-pound overall weight left me somewhat concerned. I definitely appreciate the unit’s light weight, but there were a few occasions when the simple weight an 8-channel analog snake and other cabling almost pulled the unit off the table. With this in mind, RCF offers optional protective edge bumpers and a rack-ear kit; either would be a smart investment to any M18 owner.
Features & Functions, Galore
Each input channel (line or mic) has six aux sends for stage monitors or external effects and three auxiliary sends dedicated to feeding the three internal effects processors. The latter include the FX1 reverb/room simulator; FX2 a delay with a tap time up to 2,500 ms and dedicated filters on the feedback signal; and FX3 an assignable multi-effect with several choices: chorus, flanger and pitch shifter, among others. And each of the physical output buses has the same 4-band (parametric mid) equalizers as the input channels.
The M18 has an onboard stereo audio play and record function, storing to/playing from an external USB drive in WAV, AIFF and compressed audio file formats with playlist management provided from the MixRemote app.
Parameters (on many levels) can be stored and saved for immediate recall, ranging from Global configurations, to Show storage (all mix parameters but not global setups), Snapshots (like Show storage but minus any output-related parameters) may also include saved Patches (DSP multi-effects parameters). If the M18 is used as a submixer (actually another great use of the M18) it’s possible to also store input channel level settings while saving.
Musical Performance Tweaks
There are two line inputs (channels #9 and #10) that also accept 1/4-inch Hi-Z instrument sources. On other mixers, these are typically shared with mic inputs, so if you’re doing a band-type gig, you will have eight mic channels plus the Hi-Z inputs for say, guitar and bass and still have another eight line inputs left over for other sources such as keyboards, etc. Also, the six aux outs can be re-assigned as headphone outputs for those doing direct in-ear monitoring.
Guitar and bass players don’t have to accept a dry, sterile sound — the M18 offers a wide array of amp simulations and pedal-style effects (Delay, Chorus/Flanger, Pitch Shifter, Overdrive). A MultiFX function allows inserting as many as five effects (in any order) into inputs 9/10 and up to three into channels 5/6 or 7/8, so if you want to add a little distortion bite or tremolo to that kick, snare or tuba, the M18 opens up another avenue of creativity.
Diving In
The M18 seemed easy enough, so after I downloaded the free MixRemote app, I skipped the manual, the quick start guide and plunged right in. The Wi-Fi connect was simple and fast. The GUI on the app was roughly similar to a dozen other I’ve used, with the usual touch faders, mute and PFL switches, and the quick finger swiping across the fader landscape. I did need to take a quick look at the manual to reveal the tiny gear-shaped icon (Edit Button) that takes you to the channel settings page, where you have access to any channel’s preamp trim, phantom in/out, polarity invert, HPF, gate compressor and EQ. Yet even while in here, you still have access to the individual channel fader and the master fader — just in case.
Most of the settings on the virtual DSP racks are via rotary onscreen controls, which are somewhat clumsy and are not as fast as slider type encoders. The 4-band EQs all use sliders for individual parameters yet the resulting curves are not tweakable by finger drag-and-pull on the graphic display. Perhaps this could come in the next edition of MixRemote.
A couple things really impressed me here. The first was the large number of presets (up to 100) provided for each effect or processor. These were well selected, musically useful and easy to audition and find. The second was the quality of the effects, which ranged from very good to truly stunning and is a major plus for any M18 user.
The mic preamps are a discrete design and their 60 dB gain range is digitally (and remotely) controlled by the MixRemote app. This is a real convenience while setting up and sound checking, so you don’t have to go back and forth between the mixer and the mics while setting trims.
Speaking of dynamics, the preamps have a surprising amount of headroom and with 114 dB of dynamic range, are clean and punchy. The ADCs and DACs are 48 kHz, but operate with 32-bit floating bit precision — no problem there. In operation, the unit remained cool although the vent fan is a bit noisy and might be noticeable in a small church or very quiet venue. Speaking of audio, the headphone amp is quite loud — a real plus, especially while mixing live and trying to sort out any onstage issues using the PFLs during a rocking performance.
M18: The Final Countdown
Besides the bit of fan noise, the M18 has only a few drawbacks — mainly being the clunky rotary controls on the effects and the lack of finger shaping on the EQ screens. Support for a non-Mac tablet would also be nice. However, none of these are overly serious and could be easily remedied in the next revision of the MixRemote app.
Overall, I liked the M18. It has a fast and logical GUI. The onboard Wi-Fi never hiccupped. The audio is clean. Both effects and EQ’s are versatile, musical and highly useful. The I/O configuration is flexible and ideally suited for smaller gigs. At a street price of $899, this is a strong contender in the compact iPad mixer market — definitely.
At a Glance
Digital Compact Console
RCF’s debut in the digital console market is an 18-input, iPad-controlled system that combines a wealth of useable onboard DSP in a compact chassis.
RCF M18
PROS
• Versatile Effects and DSP palette
• Logical GUI for fast control
• Flexible I/O configuration
CONS
• Rotary onscreen controls hard to adjust
• Noticeable fan noise in quiet venues
• Only offered for iOS platform
STATS
Configuration: 18-input (8 mic/10 line)
Sampling Rate: 48 kHz
Signal to Noise: 114 dB
Street Price: $899
Manufacturer: RCF
More Info: www.rcf.it
RCF EVOX 8
EVOX is RCF’s entry in the combination compact column array/subwoofer genre of portable speakers and is currently offered in three flavors — the EVOX 5, the EVOX 8 and the EVOX 12. All are self-powered, self-contained systems and designed so that the satellite speaker fits into the subwoofer cabinet for easy transport.
The name may be somewhat misleading, as the 5, 8 or 12 numeral following the word “EVOX” might make one think it perhaps refers to the woofer diameter, but this is not so. In fact, the numerical designation spells out the number of full range transducers within the satellite enclosure of each system. So the EVOX 5 has five 2-inch drivers, paired with a 10-inch woofer and 800 watts of bi-amplification. The EVOX 8 we tested has eight 2-inch MF/HF drivers, a 12-inch sub and 1,400 (400 + 1,000) watts. The EVOX 12 steps up the package considerably with 8 neodymium 4-inch drivers and a 15-inch sub, also with 1,400 watts of power.
The models in the EVOX line are intended to provide a high-output solution for live music, and DJ’s, but EVOX is equally well suited in all kinds of portable sound applications. These range from smaller church services to the bread-and-butter industrial, wedding, small corporate, house of worship and everyday gigs such as the typical conference and “city council meeting”-style gigs that rental companies do on a daily basis.
Inside the EVOX 8
The self-contained EVOX 8 package ($1,799 street) is designed so the satellite cabinet fits securely into the subwoofer for portability and an included tough black nylon cover has room for the two-piece pole mount, speaker connection cord and power cable. With the satellite inserted, the subwoofer is 21 x 13.6 x 18 inches (HxWxD) and the entire system with poles and cabling weighs approximately 60 pounds. A flap in the top of the nylon case opens to expose the subwoofer’s top-mounted handle, which cleverly also incorporates the threaded insert for securing the pole. The two-section pole offers a wide range of possible heights.
All amplification, I/O connections and processing is built into the subwoofer enclosure. A single Speakon cable (included) from the sub to the satellite can be secured via clips on the backside of the pole for a neat appearance.
The eight full range 2-inch drivers have 1-inch voice coils for high power handling and is matched to the long-excursion 12-inch (2.5-inch voice coil) woofer in a bass-reflex enclosure. The entire system has an impressive 128 dB SPL rating with a 40 Hz to 20 kHz response.
The EVOX 8’s array design features a constant 120-degree horizontal directivity with a 30-degree vertical response from its shaped front baffle that creates a correct listening environment, avoids any high-frequency beaming typical of a straight array, while covering the audience in the front rows.
System performance is optimized by internal DSP offering driver optimization and an active crossover fed by the Class-D amplification. The rear of the subwoofer has a large, effective heat sink providing silent convection cooling for the amplifiers. AC is connected via a standard IEC connector with a power switch and a connection panel near the top of the heat sink has inputs on XLR and TRS jacks, a male XLR out for daisy chaining to a second system, a volume pot, a mic/line input sensitivity switch, a flat/bass boost (loudness) switch, and three LEDs to indicate signal presence, thermal protection and the onboard limiter to prevent clipping.
On the Road
The EVOX 8 design creates a slick, easy to use, transport and setup package. There is only a single handle, so the package is a 50-pound lift — not formidable, but a lot when you are trying to pull it out of a car trunk — which BTW, it easily fits inside. RCF is far from being first with its SOS (satellite on stick) design, but this system is well-designed, solid, roadworthy and great sounding.
At first I wasn’t expecting too much from a rig with eight 2-inch top-end drivers, but the EVOX 8 was impressive in this regard. The dispersion was smooth, even out to its 120-degree limits, transient material was crisply handled and the crossover point was undetectable. But the real surprise came from the “size” of the system, which provided a punch that was much larger than I might have imagined — much more like a traditional 2-way 15-inch cabinet with a 1.4-inch compression driver than a compact satellite system. Yeah!
At a Glance
Small Box, Big Sound
RCF’s EVOX 8 combines an ergonomic design for fast setups and easy transport in a compact satellite/subwoofer system with a surprisingly big sound.
RCF EVOX 8
PROS
• High output in a small system
• Clever satellite-into-sub storage
• Wide, even 120-degree dispersion
CONS
• Single carry handle
STATS
Configuration: Satellite/subwoofer format
Drivers: (8) 2-inch full range; 12-inch woofer
Power: Onboard 1,400 (400 + 1,000) watts, Class-D
Weight: About 60 pounds
Dimensions: 21 x 13.6 x 18” (HxWxD)
Street Price: $1,799
Manufacturer: RCF
More Info: www.rcf.it