RCF makes the EVOX V15 official, a new pinnacle in its range of portable active columns. The innovation can be summed up in one phrase: three-way. Where the EVOX 8 and 12 are based on a two-way architecture, the V15 separates lows, mids and highs, a configuration still rare in this “sub + column” format that you can carry with two hands and assemble in under a minute. Shown at InfoComm, it targets hire companies, self-contained bands and small to mid-sized venues that want serious output without moving to a flown system.
A three-way architecture in a column format
The heart of the V15 is how it splits the spectrum. The sub houses a 15-inch RCF Precision woofer, the column stacks ten 4-inch neodymium transducers for the midrange, and a 1.75-inch compression driver handles the highs on a 120° × 40° True Resistive Waveguide. Crossover points are set at 160 Hz and 1.6 kHz. The benefit of a true third way is not cosmetic: it clears congestion in the upper midrange and treble, relieves the small column drivers of the lower vocal range, and allows higher overall levels without harshness. On paper as well as by ear, that’s what separates a system that simply “throws” sound from one that actually maintains dynamics.
The amplification tells a similar story: 3,500 W peak Class-D in two channels (2,000 W + 1,500 W), with built-in DSP, for a stated maximum of 133 dB SPL and a response extending down to 35 Hz. It’s the same power stage already used in the recent J11 series — RCF is clearly capitalising on its new amplification platform. The low end also benefits from a deliberate construction choice: a birch plywood sub, where the EVOX 8 and 12 make do with polypropylene composite. Heavier, stiffer, and more conducive to tight bass — a clear statement for events with a strong electronic music component.
What the DSP actually brings
RCF hasn’t just stacked watts. The onboard processing includes FiRPHASE, a linear-phase correction aiming for phase-coherent response across the whole band — particularly useful on a column, where time alignment between sources determines off-axis clarity. Added to this is Bass Motion Control, an algorithm that pushes the sub’s efficiency while monitoring excursion to avoid distortion. Four voicing presets round it off: Linear (neutral), Live (on-stage instruments), Club (DJ) and Voice (speech intelligibility). There’s nothing gimmicky here: these are the four use cases that cover the bulk of mobile sound reinforcement.
On the connectivity side you get a balanced XLR/jack combo input, an XLR output for daisy-chaining, and crucially powerCON True1 TOP connectors for power in and through. A detail that matters in the field: you can daisy-chain mains neatly from one speaker to the next without multiplying trailing sockets. The column fits into a supplied padded bag, and a four-wheel dolly board is available as an option.
The spec sheet in brief
| Feature | RCF EVOX V15 |
|---|---|
| Architecture | Active three-way (sub + column) |
| Transducers | 15″ low · 10 × 4″ mid · 1.75″ high-frequency driver |
| Amplification | 3,500 W peak Class-D (2,000 + 1,500 W) |
| Max SPL | 133 dB |
| Frequency response | 35 Hz – 20 kHz |
| Crossover points | 160 Hz / 1.6 kHz |
| Dispersion | 120° × 40° (True Resistive Waveguide) |
| DSP presets | Linear · Live · Club · Voice |
| Sub enclosure | Birch plywood |
| Weight | ≈ 44 kg |
| Connectivity | XLR/jack combo, XLR out, powerCON True1 TOP in/out |
| Indicative price | €2,598 / $2,499 |
Where it sits in the market
The EVOX range has been around for ten years and has played a major role in making the portable column format a credible alternative to the classic two-speakers-on-stands setup. With the V15, RCF moves a step upmarket and goes head-to-head, from above, with established references in the segment — high-end column systems from the likes of LD Systems, Electro-Voice and Bose. The shift to three-way and the 15-inch sub clearly place it above the EVOX 8 and 12, without encroaching on the territory of modular line arrays such as the recent J series. At this price point, the argument is straightforward: a single system per side to properly cover an audience size that used to call for a sub plus two tops.
If you’re deploying this kind of system on your own, two questions are worth settling beforehand: how you’ll handle monitoring, and which mixer will run the whole rig. On stage, the choice between active and passive wedges remains a key structural decision, and mixing a band’s monitors properly is not something you improvise. For a compact front-of-house setup, a mixer like the Soundcraft Ui24R pairs very logically with a set of columns of this calibre.
My take
I’ve spent enough years at front of house, on gigs and festivals, to be wary of flattering spec sheets. But the logic behind the V15 resonates with me. In mobile sound, the real issue has never been the advertised SPL peak: it’s sustained performance over time, smooth coverage across a standing audience, and quick setup when you’re doing two shows in a day. A genuine third way and linear-phase correction address exactly those points, not the dB arms race. RCF isn’t a hype-driven brand; it’s an engineering-led manufacturer that brings out well-thought-out products at fair prices — exactly the kind of gear I’m happy to stand behind. The remaining test is to hear it on a real audience size: that’s where, and only where, the true gap against an already very convincing EVOX 12 will be judged.
The RCF EVOX V15 is announced in black and white finishes, at around €2,598. To see it in context, the video below gives a first look at the format and deployment.
