RG Jones Sound Engineering deployed for the second year running Martin Audio’s
Multi-Cellular Loudspeaker Array (MLA) system on Glastonbury Festival Pyramid
Stage, proving a palpable hit with FOH engineers.

MLA’s unique ability to control noise escape beyond the site perimeter while
maintaining pristine fidelity and high sound pressure levels for the audience meant
that FOH engineers could simply focus and enjoy mixing their artists to entertain
crowds of up to 120,000 people.

System tech, Andy Davies, explains, “We drove each acoustic cell in each MLA to
direct sound at the audience, and then cut it off sharply just beyond the perimeter
of the field to dramatically reduce noise pollution. As a result, acts including The
Who, Florence and the Machine, Kanye West, Paul Weller and Motorhead could
comfortably play at 104-105dBA. When a FOH engineer doesn’t have to constantly
worry about sound levels they focus on what they do best — mixing — and so they
enjoy the experience more and that translates to the audience experience too.’

FOH engineers completing their set left the control position with a smile on their
faces and many reported being delighted with the quality and power of the sound.
One of the many artists that packed the Pyramid field from front to back was James
Bay. His FOH engineer Rob Sadler commented, “I used the system during Rock in
Rio and it was great then and it was fantastic today. I barely had to touch anything
on the EQ and in very little time I got my show up and running – fantastic. Vocal
clarity is so important with James Bay, I can’t really hide the vocals in the mix and
with the MLA today it was clarity all the way. I can’t fault the system, no sound
check and yet everything I needed on that gig was pretty much there from the off …
brilliant.’

Christopher Lee, FOH engineer for Pharrell Williams, had to be his usual meticulous
self at Glastonbury and was pleased that the accompaniment of MLX subs was up to
the challenge. Mixing on the DiGiCo SD7 he said, “Pharrell likes the bass and mix to
be identical to the record so the subs were a real surprise to me — right up there
where I needed them every time. I was really impressed, not just with the
configuration but also with the excellent tuning of the system.’

System design was similar to last year, comprising 72 MLA for the main hangs,
eight MLA Compact for stereo infill at the pit barrier and a total of six delay
positions of both MLA and MLA Compact as required. One key change this year was
the addition of two extra delay systems. RG Jones’ Project Manager, Simon
Honywill, explains, “This was primarily because Glastonbury production decided to
split the FOH control platform from one to two platforms located left and right in
front of the stage. They also moved the platforms closer to the stage and along with
them the first set of delay towers.’ With the centre of the field opened up visually
the aim of the festival site was to increase the experience for the audience right at
the back of the field close to the camping area, a space previously regarded as out
of coverage for the Pyramid stage, These changes necessitated the extra MLA
Compact delays.

There was also a massive broadside array of 38 MLX stretched across the entire
width of the stage to provide sub-bass support to the entire system. “The system
has knitted together really well,’ continues Davies. “It has allowed us to put more
energy through the middle two delays and push a big thrust of power up the centre
of the site. We then use the outer delays to fill in and keep coverage going out to
the edge, which has worked really well.’

For John Carroll, Managing Director of RG Jones Sound Engineering, Glastonbury has
been the affirmation of what he’s known for some time: “There really isn’t anything
out there to match the clarity and warmth of the MLA system. Again the continued
support from Martin Audio has been second to none which makes it a robust
investment from all perspectives.’

Summing up, Honywill said, “We have had a remarkable festival with praise not just
from the engineers but from the audience too. It once again made me very proud of
MLA and what it can achieve for festivals worldwide, but also illustrated to FOH
engineers what a superb sounding box it can be for their touring needs too.’