Miles Ashton is Technical Manager for the legendary Ronnie Scott’s. As it hits 65 years old this week, we caught up with Miles to find out what’s changed…

Can you tell us about the PA history of Ronnie Scott’s?

When I first came to the club in the late ‘80s it was a – mostly – BOSE system which I think was fairly modern when installed but getting tired. That was then replaced with a system consisting of four very large Westlake studio monitors. Not an obvious choice for a live PA system but it worked pretty well for several years. That was replaced around 1996 with the club’s first d&b audiotehnik system  – which was one of the first installs for d&b in the UK. That lasted, with slight tweaks, until the summer of 2024.

Could you explain more about the new sub array, why it was chosen and how it works in a modern context?

We have a sub array consisting of six d&b E12X cabinets which are evenly spaced in custom-cast concrete chambers under the front lip of our new – slightly raised – stage. They are time aligned to create an arc which distributes the sub very evenly throughout the venue. We can achieve an SPL of 143dB at the back wall.

What are the sonic differences achieved by the new install vs 25 years ago, what tech developments have allowed you to upgrade?

We still have point-source PA. The major difference is the sub. Most of the technology in PA system design in the last few years has advanced the control of the sub with cardioid and distributed arrays which direct the sub where you need it and steer it away from where you don’t.

Has the seating configuration changed based on the new array?

We have slightly more space to the left and right of the stage where we no longer have big sub enclosures, but nothing else has changed in the seating.

How do you record performances?

We record directly from the DiGiCo console using MADI. We’ve used a rented JoeCo Black Box for many years although I’ve just taken delivery of a Tascam DA-6400 to check out.

Obviously, artists and guests have an appreciation for the current sound – how have you managed to keep the feel and what key areas would you say have been upgraded – soundstage, detail, low end etc?

All of the above have had a modern tweak, I would say.

How long to the install take from testing to actual install time?

We had approximately 24 hours from when the building contractor handed back the club!

There’s fewer independent venues in the UK now and even fewer that can afford a modern sound system. Ronnie Scott’s sits alongside the Royal Albert Hall and Spiritland as the best venues to hear live or pre-recorded music. How important is sound in the eyes (ears) of the general audience would you say and has this changed over the years? 

The sound is the single most important part of the presentation of the live music. It always has been, even back in Pete and Ronnie’s time. The d&b PA system was the only thing that re-entered the building after the 2006 refurb!

Can you give us an equipment run down from past to present? Inc any house backline and mics used.

Yes, I have a list actually! You can find it at www.milesashton.com/ronniestechstuff