With the installation of the MLA system from Martin-Audiosound engineering RG Jones has been deployed in O2 Arena (English) audio technology for concerts and clubs thirty years of the company Ministry of Sound.

with a concert in O2 Arena (UK), a London-based nightclub and multimedia entertainment company Ministry of Sound has celebrated thirty years of dance music, where London Symphony Orchestrawith their musicians accompanied by Paul Oakenfold and other guest DJs, have performed their songs.

Event Ministry of Sound classic presents three decades of dance offers his followers a tour through the dance songs of the past. Distinctive voice of Martin-Audiopresent in the company’s worldwide clubs, provided by sound engineering RG Jones and mixed by Phil Wright.

Coalition Prizea company that produces the event in collaboration with a music entrepreneur Raymond GubbayRG Jones featured eighteen MLA systemMartin Audio’s flagship, on each side of the stage.

With a configuration similar to that used for musicals World War (World War), presented at the same venue, RG Jones used twelve MLA Compact hangers for fulfil for each side of the stage.

Added to this is sixteen subscribe MLX in a wide cardioid configuration, with 2 m of space for a protruding stage platform, surrounded by a circular screen where the DJs perform. Eight units placed as front fill DD12along with some attachments MLA Mini.

Components selected by Jack Bowcherby RG Jones, dan Sam Millen take care of preparation, rack assembly, network deployment (under structure Dante you AES), beside Doug Huntas a direct engineer.

“We have collaborated to create a great-sounding PA system,” explains Millen, “using Merlins (Martin Audio digital speaker management system) to have more outputs which allows us to have control over the system. Then we set up the PA and changed the whole system.” All of this provided the perfect environment for Phil Wright to mix sound on a 96-channel console.

Among other challenges and the first time a sound engineer worked at the O2 Arena, and in front of 18,000 people, “even if it was a very high-level sound performance, with four DJs, we had to make sure that the orchestra continued to be the main element -remember-. The local promoters were concerned that we had reached the maximum level, as Paul Oakenfold arrived relatively early, but production increased when the orchestra came in.

Regarding the use of the MLA system, “we set it to avoid too much slap use function Hard to Avoidpresent at software displayand the direct sound/reverb ratio is amazing”, he added.

Orchestra showing monitoring in the earand most instruments are taken with a microphone Core 4099 from DPA. “The combination of this and PA is fantastic,” he said. Despite being close to a PA system, we got excellent rejection at the back of the MLA, which meant I could comfortably mix it up to 105dB without any feedback. The crowd was screaming at 102dB so I had to put the show above that.”

For this sound engineer, the power offered by the MLA/MLX combination means that “I have another 15dB (in the chamber) if I need it; crazy. By attaching a very large system and using it under its power, we get a truly immersive response, capable of hitting you in the center of the chest.

also represented focus, parent company Martin Audio, with solutions RedNet Audio-over-IPanalog interface A6R MkII for Dante sending signals to in-ear headphones Shure PSM1000.