Despacito star Luis Fonsi uses RCF TT+ line on world tour

Puerto Rican pop artist Luis Fonsi’s Love + Dance world tour wraps up this December, after a successful 80-show run in 2017
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Puerto Rican pop artist Luis Fonsi’s Love + Dance world tour wraps up this December, after a successful 80-show run in 2017
Screen Shot 2017-11-24 at 9.43.30 AM

Puerto Rican pop artist Luis Fonsi’s Love + Dance world tour wraps up this December after 80 shows in 2017, using RCF kit throughout.

The songwriter, most famous for his hit Despacito, toured with a band of four, with inputs running through 56 channels of a Digico SD10, upgraded with Waves SoundGrid and UAD plugins, as well as a Korg Kaoss Pad for additional live FX.

Fonsi’s show also featured a full flown rig of RCF TT+, comprising TTL55-A / TTL33-A upgraded with the new firmware which includes FiRPHASE processing and RDNet 3.0 compatibility, tuned by Oscar Mora, RCF’s touring sound specialist.

As the sound system varied from show to show, FOH engineer Yamil Martínez listed five fundamental components of his preferred audio touring system: element coupling (no comb filtering), extended frequency response, transient response accuracy, extended headroom and management software with real control of the system.

“If those things are present, then it is just a matter of tuning the system correctly,” he continued. “I would prefer to have a beast to control than a pet that behaves nicely but doesn't have the balls to deliver when is needed,” he said.

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Well-executed tuning is essential because “transducers are the weakest links in a sound system,” he said. “Having good mics, converters and speakers are crucial for overall performance. If I have to choose between sound-checking or tuning, I choose to tune! If the system is well-tuned, mixing is quicker, whereas mixing through an unoptimised PA works against the mix and, most importantly, against the music. By the way, Oscar Mora’s set-up and assistance were great. Without him, it wouldn't have been the same.”

Each musician uses IEM monitoring, but the stage is not entirely silent subs are available for the musicians’ reference sound and side-fills for dancers.

Martínez concluded: “I’ve used the TTL55-A in both versions. I wish I had the opportunity to do an A/B test. I was impressed by the FiRPHASE version — the hi-end is remarkably sweet."

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