A room does not sound good because the loudspeakers are expensive. It sounds good because the coverage was designed for that geometry, the gain structure is right, the processing is tuned on site and the microphones were chosen for how people actually use the room. We design, install, commission and tune complete audio systems, then leave behind a system your staff can run without a technician in the room.
Systems we deliver
Ballroom and function rooms
Main reinforcement for speech and music, with zoning that follows the movable partitions so each configuration has its own preset and its own volume control.
Boardrooms and meeting rooms
Ceiling or table microphones, DSP with echo cancellation and noise reduction, and loudspeaker coverage that keeps every seat at the same level.
Auditoriums and lecture halls
Directional coverage for long rooms, delay-aligned fills, assistive listening provision and a clean feed for recording or streaming.
Background music and paging
Multi-zone distributed audio for lobbies, corridors, restaurants and back of house, with scheduled sources and per-zone level limits.
Conferencing audio
Microphone pickup and processing built for hybrid meetings, so the far end hears the room properly instead of a table full of laptop microphones.
Networked audio
Audio over IP across a building on managed switches and its own VLAN, so zones, sources and racks are not limited by cable runs.
Coverage is designed as overlapping patterns, not as a count of loudspeakers. Where the circles meet is where the level stays even, which is why the back row is intelligible without the front row being uncomfortable.
What decides the design
| Decision | How it is actually decided |
|---|---|
| Coverage | By ceiling height, room shape and seating, not by counting loudspeakers. The aim is an even level across the audience area, so the back is intelligible without the front being uncomfortable. |
| Speech or music | A room that only needs clear speech and a room that has to carry a live band are two different systems. Telling us which it is, and how often, changes the loudspeaker and amplifier selection more than any other single answer. |
| Acoustics | Glass, stone and hard ceilings lengthen reverberation and destroy intelligibility, and no amount of amplifier power fixes it. We flag where treatment or a more directional loudspeaker is the honest answer. |
| Microphones | By use, not preference. Handheld, lapel, headworn, gooseneck, table and ceiling arrays each have a place, and wireless channel count and frequency coordination have to be planned for the venue as a whole. |
| Operation | By who touches it. If a duty manager runs the room, the interface is a few large buttons and a volume control, and everything else is locked inside the DSP. |
Each zone gets its own source, its own preset and its own ceiling. Setting the maximum per zone is what stops a lobby being turned up to a level that drives guests out of it.
Commissioning is the part that matters
Installation ends when the equipment is in the rack. Commissioning is where the system becomes usable, and it is done in the room with the room finished:
- Gain structure set through the whole chain so the system has headroom instead of noise.
- Equalisation and delay set by measurement, aligning fills with the mains so the room sounds like one source.
- Feedback margin checked at working level with the actual microphones in their actual positions.
- Zone levels and limits set per area, so background music cannot be pushed to a level that drives guests out of a lobby.
- Presets built for each room configuration and each mode of use, then locked.
- Documentation and training: signal flow, rack elevation, DSP file, and a short operating guide written for staff rather than engineers.
How the project runs
- Site surveyRoom geometry, finishes, ceiling void, existing cabling, power, and how the space is really used.
- Design and drawingsCoverage plan, signal flow, rack elevation and a specified equipment list you can tender against.
- Install and commissionRack build, cabling, loudspeaker install, DSP configuration, then measurement and tuning on site.
- Handover and supportStaff training, as-built documentation, and a maintenance agreement with defined response times.
What to send us for a quotation
- Floor plan and ceiling height, and whether the room can be divided.
- What happens in the room: speech, presentations, live music, or all three.
- Seating or standing capacity per configuration.
- How many people speak at once, and whether they are seated, at a lectern or moving.
- Whether the room needs to join online meetings, be recorded, or be streamed.
- Who will operate it day to day, and whether a technician is on site.