India: The Festival of Sound & Dance 2025 at Pimple Saudagar, Pune, brought together devotion, music, and technology in a large-scale celebration. Over nine unforgettable nights, thousands of attendees came together to celebrate rhythm, culture, and community under a beautifully illuminated skyline. Madhav Stage Services, a trusted name in large-format live events, designed and executed a sound experience that perfectly matched the scale and emotion of the occasion. Every beat of the dhol and note of the vocals reached the audience with pristine clarity — transforming the open-air venue into a sea of synchronized energy and joy.
Behind the spectacle stood the power of Martin Audio, chosen for its precision, coverage, and warmth. The setup featured 16 WPC 2×10″ Bi-amp Three-way Line Array modules, 16 MLA Mini 2×6.5″ Powered Line Array elements, 12 SXH218 2×18″ Passive Hybrid® Horn/Reflex Subwoofers, and 4 LE200 15″ Passive Coaxial Stage Monitors. This configuration ensured a rich, immersive soundstage with deep, controlled bass and sparkling highs that filled every corner of the venue. The result was a sonic landscape where performance met perfection — reaffirming Madhav Stage Services’ reputation for delivering unforgettable experiences powered by Martin Audio.
Back in 2020, the iconicNewport Folk Festivalintroduced a bike powered stage, following the organisers’ desire to incorporate bicycles into the festival experience and provide an alternative power source for performances.
Masterminding this was Illiterate Light, a 2-piece rock band from Virginia who had first experimented with the idea of carrying a simple sound system powered by bike, after setting up in 2015. Eric Shy took over production manager duties as the tech scaled up, and the idea really took root after the band played the Quad Stage at the 2019 Newport Folk festival where 2000-plus bikes commuted to the festival. The festival loved the idea of bike-powered performance and invited Illiterate Light back in 2020 to become a full-blown stage at the festival (which has persisted to this day).
WE HAVE RECEIVED MUCH FEEDBACK STATING THAT WE HAD THE BEST SOUNDING STAGE
“A stage powered by bikes and solar was completely off the grid,” noted Shy — but the organisers loved it and the following year agreed to a dedicated stage.” As the concept evolved, so production scaled up and this year a full-blown Martin Audio PA rig, provided by the British manufacturer’s Virginia-based partner, Southard Audio, was on show.
Shy himself has a long relationship with Southard, having worked with Jason Misterka’s company as an audio engineer for over a decade.“He is my point person for all things Martin Audio, and I have been working with their products ever since they first came into the Southard warehouse. Jason has always been a mentor and huge supporter of Illiterate Light, providing wisdom and technical expertise as the band has grown. He has worked with us to meet our production goals and achieve a superior level of quality needed for an event likeNewport Folk Festival.”
CDD-LIVE 15 was the obvious option for the Bike Stage, he believes. “The dispersion pattern helps maximise the distance you can getout of a point source box. They sound fantastic and I am super familiar with them. Power consumption is a real concern on our stage since we are off the grid, so point source has been the solution for now.”
To implement this, he deployed a pair of CDD-LIVE 15 as main PA and a further pair of CDD-LIVE 12 as fills.
Sound containment was another primary concern, since the Bike Stage was adjacent to the Quad Stage. There could be no sound from the PA system during soundcheck since the Quad Stage had active performances taking place. “FOH uses nearfield monitors to combat this, so inputs can be cued to make sure they sound great before the PA system is opened up,” Shy explains. “This was a further reason why it was vital to use CDDs as I know how things translate to them. So when we launch into a performance, I am confident I can get the mix sounding great in the first 30 seconds, which is critical considering the short sets on the Bike Stage and the calibre of performers.”
How did the event work in practice? Some 2000 cyclists pedalled to the festival. Six cycled at a time for the duration of a song, before making way for six new cyclists “with bike coaches helping bikers saddle up and get thru the line,” according to Eric Shy. “Our system can buffer the power for roughly two minutes so performing artists could play without interruption.”
CDD had proved massively popular, he confirmed. “They were excellent,” he exclaimed. “We have received much feedback stating that we had the best sounding stage, and that the quality of sound was remarkable for the size of the system and the coverage we could achieve (75ft x 75ft-plus.”)
Birmingham, UK – Marquee AV is proud to announce the successful delivery of a custom-designed audio system for Society Birmingham, the latest venue from Society, following their successful debut in Manchester in 2021. Located in the heart of Birmingham’s business district at One Colmore Square, Society Birmingham is a 9,000 sq ft independent food hub that blends street food, craft drinks, and social vibes in a dynamic, open-plan space.
Society Birmingham required a high quality, reliable sound system to support its vibrant atmosphere while maintaining clarity and control across multiple zones and approached Marquee to deliver the project.
The venue features five independent kitchens, a craft beer bar, cocktail bar, coffee lounge, and outdoor terrace. The system was designed to deliver consistent sound quality across these varied spaces, with careful attention to existing acoustic treatment and architectural constraints.
The full installation included the following areas and equipment:
Ground Floor Bar:
4 × Martin Audio CDD6 compact coaxial speakers
1 × Martin Audio SX115 subwoofer for low-frequency reinforcement
Ground Floor Dining Area:
12 × Martin Audio CDD6 speakers for wide dispersion and even coverage
1 × Martin Audio SX115 subwoofer to maintain warmth and depth in ambient music
Coffee Lounge:
4 × Martin Audio CDD6 speakers for intimate, balanced sound
WCs:
5 × Martin Audio A40T wall mounted speakers for discreet background audio
THE AUDIO QUALITY IS FANTASTIC, ENHANCING THE ATMOSPHERE THROUGHOUT THE SPACE.
Martin Audio’s CDD Series was chosen for its coaxial differential dispersion technology, which ensures even coverage and clarity across the venue’s irregular layout. The SX115 subwoofers provide tight, controlled bass without overwhelming the space, crucial in a venue with acoustic treatments and proximity to office spaces above.
The A40T speakers were selected for their low impact design and consistent performance in smaller, enclosed areas like the bathrooms.
All zones are controlled via a centralised DSP-based audio management system, allowing staff to adjust levels and source inputs per zone. This ensures flexibility for different times of day and event types, from relaxed daytime dining to lively evening gatherings.
Marquee AV worked closely with the venue’s interior designers and acoustic consultants to ensure the system integrated seamlessly with the space. Mounting options were limited due to acoustic treatments, requiring a non-invasive installation approach. The compact form factor of the CDD6 speakers allowed for discreet placement without compromising performance.
The result is a strong, high-fidelity audio system that enhances the customer experience while respecting the venue’s acoustic and aesthetic requirements. The system delivers clear, balanced sound throughout the venue, with no audio spill into the office spaces above.
Systems designer at Marquee AV, commented: “With the incredible expertise of the Marquee AV team, combined with the top-notch support from Martin Audio, we were confident in delivering a sound system that not only sounds incredible but perfectly fits the venue’s unique acoustic and design challenges. Working closely with the client and the client’s design team throughout the process made it even more rewarding to see how everything came together so smoothly.”
Owner of Society, added: “We are thrilled with the new sound system installed by Marquee AV. The team brought real expertise and worked closely with us to overcome the venue’s unique challenges. The audio quality is fantastic, enhancing the atmosphere throughout the space. It’s been a game-changer for Society, and our guests have definitely noticed the difference.”
IRELAND: No Martin Audio dealer partnership has existed longer than that with Irish distributor Rea Sound, which dates back to 1982.
Fast forward 43 years and the system integrators continue to specify permanent Martin Audio solutions in a broad variety of facilities — most notably Houses of Worship.
Three churches in particular demonstrate how Rea Sound have adopted a different approach to suit the needs (and protect the heritage) of the respective buildings.
One of these is St. Finnian’s Church of Ireland in Castlereagh, outside Belfast. States the church’s Mike Johnson, “We’d had our audio system since around 2017-2018. But with Covid came a necessity to stream services, and the rector asked me to put together a package. So I spoke to Rea Sound and very quickly they proposed a system which we installed five or six weeks later.”
Rea Sound director Roger McMullan remembers that the church wanted a discreet sound system, with the speakers set quite high. “That would give us a nice overview of sound coming from both the front and above, which would also tie in with the audio visual system,” he said.
IT’S A BEAUTIFUL LISTED BUILDING, SO WE HAD TO BE SENSITIVE TO THE AESTHETICS… AND THE ACOUSTICS, WHICH ARE EXCEPTIONAL.”
It was also one of the first churches in which they had installed Martin Audio’s CDD series. “We used four CDD10s at the front of the church,” he said. “This gave us a nice even coverage of the spoken word throughout. It’s not a particularly long church, and the sound quality produced from CDD10 is exceptional.”
“Working with Rea Sound has been excellent,” concludes Mike Johnston. “We’ve always been able to ring up and get answers to questions. The technical help and the solutions are always good, and when we have problems they are always there to help us.”
Another prominent Rea Sound installation was carried out at St. Mark’s Church of Ireland, a Grade A listed parish church in Dundela. “We looked at a number of suppliers and asked them all to come in and look at the building and the acoustic, and make recommendations as to what would fit the bill,” says the church’s Michael Newman. Rea Sound were the successful bidders and their creative approach, specifying O-Line micro-array, surprised him. “With a traditional system you think of speakers placed around the building but that wasn’t the case. We were somewhat dubious about it at first but [Rea’s] faith has definitely been fulfilled. The sound quality is excellent.”
“We set four hangs of 12 O-Line, two in the centre and one at each side,” recalls Roger McMullan.” There are also CDD5 infills for the choir and CDD5 infill for the room. It’s a beautiful listed building so we not only have to be sensitive of the aesthetics, but also the acoustics, which are exceptional. The church didn’t want a distributed speaker system so O-Line fitted perfectly.
“We were able to fit four hangs at the front of the church above the eye-line and as that’s in stone colour it worked well with the church, while providing exceptional sound quality from front to back.”
At Ballynure Methodist Church the AV systems they have had over the years had varied in quality, and some were fairly primitive, according to the church’s Robert Stokes. “But Rea Sound have kept things moving along, as we had three churches installing at the same time.”
According to Roger McMullan, “Each church was very different but the brief was the same. The control aspect had to be similar in all three churches. The sound system is based on Martin Audio CDD10 at high level again, which takes them away from the congregation’s eyesight and provides even coverage of sound throughout the whole space.
“Since all three churches are limited in terms of technical support, they rely on volunteers to easily position themselves in any church.”
Take a look behind the scenes with Irish distributor Rea Sound at their house off worship installations here:
UK: Solotech have been servicing the South Facing Festival since the transformation of the dormant Crystal Palace Bowl in South London, back in 2021.
Promoted by Marcus Weedon, and with production duties back in the capable hands of Method Events (in the shape of Mia Barrett and Matt Hendry), Solotech again fielded Martin Audio’s WPL line array, which had last year replaced its long-serving forerunner, the MLA multicellular array. This combination made for an event in which the sound quality — to which daily audiences of up to 8,000 were treated — was generally considered the best yet.
Since this year’s programme leaned more heavily than previous years towards EDM and DJ-oriented acts — with Nile Rodgers & Chic, Basement Jaxx, Skepta and Busta Rhymes among the prominent acts (alongside Mogwai and Morcheeba) — Solotech account manager, David Preston, said that a diligent approach was required when it came to sound containment, in view of the dependence on sub bass. Thus production was fortunate to again have vastly experienced system tech Ryan Bass on their team.
The layout of South Facing is unusual in that the floating Orbit stage sits on a pontoon on the lake. Here Solotech rigged 15 WPL elements per side as main hangs, with four WPC per side acting as outfills and a further five WPS performing front fill duties — all driven in 1-box resolution from Martin Audio’s iKON iK42 process-controlled multi-channel amplifiers.
THE QUALITY OF SOUND IS ALWAYS EXCELLENT, WITH CONSISTENCY RIGHT ACROSS THE SITE.
But it was the low frequencies, and the design and placement of the 15 SXHF218 subwoofers that required an astute technical approach. Ryan Bass justified his preference for a castellated broadside array, by stating, “After utilising the sub array features within DISPLAY 3 [prediction software] I was able to design and tweak the array to ensure solid bass onsite whilst maintaining suitable levels offsite and on stage. In DISPLAY 3 I was able to adjust the sub spacing, arc delay and gain shading to achieve my desired results. This eliminated any guesswork and delivered a great result.”
The fact that the site is in a bowl naturally helps offsite containment. “Care was taken with the design to ensure I wasn’t overshooting, but still hitting all the way to the back of the arena,” he added. “Similarly with the WPC side hangs, one of which was pointed straight towards an offsite measuring point, flying them a little higher and down into the crowd helped to contain the spill.”
The Solotech team, under crew chief Oli Fallon, worked closely alongside noise management company, Vanguardia to ensure “everyone had a great time whilst keeping the local residents happy,” according to Bass. Following their offsite monitoring the PA company realised they had further headroom, and consequently ended up with a limit of over 100dBA at FOH … “which in a park in London is excellent!” he said.
Reflecting on the response to WPL, Bass said, “The reaction has been overwhelmingly positive. Every guest engineer had a good show, comments from production/promoter were positive and the crowds certainly seemed to enjoy it as well. Several engineers commented on just how good the coverage was and how consistent everything sounded across the site.”
Rigging WPL is always a breeze, he says. “Being able to preset angles on their carts means it takes no time at all to get the PA up in the air, a big improvement the 4-point rigging of MLA. Tuning WPL is always an easy task, I never feel like I’m taking too much out of the system or fighting it in order to end up with a great result.”
Working with Martin Audio products is always a joy, he concluded. “From designing a system, rigging and implementing it to hearing the show and end result … the quality of sound is always excellent, with consistency right across the site. Martin Audio products always outperform for their size, while having tools such as Hard Avoid can often be a game changer.”
This was confirmed by David Preston. “The WPL performed brilliantly again this year, and with the use of Martin Audio DISPLAY software and all the optimisation tools they provide for the system we achieved great levels across the site — and importantly also off site — always staying within the dB limits set by Vanguardia at the offsite measurement locations.”
US: The Columbus district of Indiana is known as the architectural capital of America’s Midwest, housing a clutch of unique and iconic modernist buildings.
A good example of this high art is St. Peter’s Lutheran Church, constructed in 1988, and described as “an architectural masterpiece”. But for all its aesthetic beauty, delivering an evenly-distributed sound through the sanctuary to the 750 congregants—sat in a series of rising levels of concentric, but irregular circles—had proved historically difficult before the adoption of a Martin Audio line array.
Tasked with masterminding a sustainable PA upgrade, Alex Moon, Director of Engineering at the locally-based Force Tech, undertook a site survey. He immediately noted the asymmetric and non-aligned interior, with the sanctuary set around a central section flanked by two raked seating wings. He recognised that finding the centre of the room with the PA would be difficult. ”It was a very interesting but difficult space, which required a complete rethink,” he rationalised.
The upgrade contract had originated from an acoustics consultant with whom Force Tech had worked previously. Sensing that the acoustic treatment required to preserve the integrity of the sound would be too cost-prohibitive, Moon drew on all his experience of specifying Martin Audio systems over a number of years, and his deep knowledge of the manufacturer’s proprietary DISPLAY3 acoustic prediction software.
THE DIFFERENCE WAS NIGHT AND DAY.
Historically, the church had been through several PA iterations, starting with a point source system. “This was then replaced by a column array when they were doing mostly speech and voice lift, and then a planar system,” he stated. But the PA never provided adequate coverage—particularly when the church’s needs developed from traditional choir-based service to a more contemporary Sunday worship, incorporating a full orchestra and band; at the same time it needed to meet the midweek needs of the private school to which it is attached.
The sound designer’s solution was to specify Martin Audio’s scalable Wavefront Precision Mini (WPM) line array—which proved to be hugely cost-effective and obviated the need for acoustic cladding. He knew instinctively that WPM would represent his best option, and the DISPLAY data confirmed that his decision for two optimised hangs of 10 elements each side of the stage—with a pair of SXCF115 subwoofers at the top of each hang in end-fire—would meet all requirements.
But prior to adoption, he first insisted on delivering full proof of concept to the client after their rocky SR journey to date. “We knew we could get them to a better place without all the acoustic treatment,” he said. Martin Audio’s North-eastern Regional Sales Manager, Martha Callaghan, organised a demo rig, and support engineer Will Harris set up and tuned the system on site. That was all that was required. “They loved it,” exclaimed Moon. “The difference was night and day.”
To complete the deployment, a further pair of SX218 subs have been ground-stacked either side of the stage and the entire rig is powered by an iK42 and three iKON iK81 DSP multi-channel amplifiers, assigned in 2-box resolution.
Mindful that the church is a thing of architectural beauty, Alex Moon ensured the speakers were finished in white to blend into the décor. “We had warned the client from the beginning that [the PA] would be a lot more visible than previously, and they were fine with that.”
It then came down to the tuning and the precise steering of the system. The designer used his programming skills to apply ‘Hard Avoid’ to relevant areas, while the cardioid subs ensured the necessary rear rejection—thus enabling consistent coverage without unwanted reflections.
Having designed, and commissioned the system, the Force Tech Engineering Director—along with colleagues, account manager Brian Eicher and project manager, Darren Strom are confident in knowing that this solution will meet St. Peter’s needs for the foreseeable future.
UK: Since relocating its hi-tech studio in Bath closer to Bristol, Distiller Music has taken the opportunity to develop a spatial environment, building on the legacy of its historic use of Martin Audio speakers.
As the former ‘Distillery I’ space has made way for the new upgraded ’Distillery II’—a fully-rigged, adaptive environment for rehearsal, recording, performance and production—it has added Martin Audio CDD-LIVE 8 to the pre-existing TORUS PA rig, processed through an Airsound spatial system.
In its latest incarnation, the studio has opted to make the facility commercially available for use by recording, film, music video and content producers, after previously being for private recording use only—with no live facility.
The men behind the specification are Sam Cunningham and Dave Roden, respectively also the Stereophonics’ long-time monitor and FOH engineer, and thus already heavily invested in Martin Audio technology. It was they who had originally specified TORUS several years ago—with four TORUS T1215 (15°) boxes for each stage wing—along with four SXC118 cardioid subs and four XE300 wedge monitors. A rack of iKON process control amps—three iK42 and an iK81—have recently been upgraded with Dante cards.
However, once in contact with Airsound, Cunningham set up a demo in the live room, using existing CDD10s that were incorporated in their breakout rooms, along with some CDD8—using Airsound Dipole technology at the back of the room, to assess the impact of an immersive objects-based environment.
IT PUTS US IN THE IMMERSIVE LISTENING SPACE AND IT’S INCREDIBLY IMPRESSIVE.
“We added these speakers around the room on high- and low-level trusses to create an immersive system that would still respect the main L/R nature of the existing larger TORUS house system,” Cunningham explained. “The Airsound software basically takes an Atmos mix and allows it to tell where the speakers are placed.”
Having been so impressed with the constant curvature technology and value engineering of TORUS, which Cunningham said was perfect for a room just shy of 20 metres deep, they knew that the CDD-LIVE 8 would be the ideal complement. The team already knew the qualities of CDD-LIVE 8, as Roden uses them as his nearfield monitors on live gigs.
Thus with proof of concept established, six of these self-powered speakers were purchased to create a system that runs entirely on the Dante network. “There’s network patch everywhere in the live room, so in my mind it became obvious that a Dante solution was the way to go,” said Cunningham.
A single CDD-LIVE 8 is mounted towards the front on each side of the room, alongside the main Left/Right TORUS system; at the rear of the room on the mid-high truss are three further CDD-LIVE 8—a central, and two sides—using the dipole to steer and create the rear image. The final overhead CDD-LIVE 8 handles the rear height element. “The way the software decoding works means you can position them anywhere,” notes Distillery II’s long-serving studio engineer, Phil Parsons.
Explaining the science, Sam Cunningham says, “The Airsound software basically takes an Atmos mix and allows it to tell where the speakers are placed, fooling you into thinking you are listening to an Atmos system. It takes a left/right system that already sounded incredible, into something completely different. In fact it all works shockingly well.”
Having specced all live system elements, Cunningham and Roden, working with Phil Parsons, put in a comprehensive backbone throughout of network, optical and power to make it a very diverse space, with a large live room. And in live mode, a modular 1.2m stage can be brought in, when the portable PA can be relocated from the back wall to 6m into the room.
“Because of their remote location I couldn’t get loudspeaker patch to them, but I do have network everywhere so for me it was a no brainer to use powered speakers that can easily be moved—and therefore be used for anything,” concluded Cunningham.
Summarising the set-up, Phil Parsons, added, “It’s exceeded expectations really. People who are used to mixing in the Atmos domain came in and they were blown away by it. It puts us in the immersive listening space and it’s incredibly impressive. There are few places around like this and definitely not one incorporating the Airsound, so to have it on a system this scale it’s quite unique.”
All Martin Audio products were supplied by dealers, Solotech.
US: The Martin Audio and TiMax series of roadshows moves to Massachusetts for its next US Open Day, which will take place on October 28th, with separate presentations and product demonstrations at 11am and 2pm. Hosting the event this time are Charles River Studios (Studio A), based at 495 Turnpike St. Canton, MA 02021.
The US team will be on hand to present and talk to attendees about upcoming projects and the attributes and potential applications. They will demonstrate Martin Audio FlexPoint, TORUS constant curvature and Wavefront Precision optimised line arrays, as well as TiMax immersive audio solutions … all of which will be featured.
THE CUSTOMER RESPONSE AND INTEREST HAVE BEEN IMMEDIATE AND OVERWHELMING.
But pride of place will go to Martin Audio’s new BlacklineQ. This series is a reimagining of the iconic Blackline range delivers improved passive two-way point source loudspeakers, all-new column speakers and a suite of subwoofers. The entire series features intelligent design details, making it equally at home in portable or install applications.
This will be matched by Martin Audio’s customary hospitality, and refreshments will be served throughout the day.
Commenting on the choice of venue, Lee Stein, VP North America, said it was time to return to the Northeast US, and Martin Audio colleague Martha Callaghan had suggested the venue as she was familiar with the facility. “We chose Boston as we hadn’t done an event of this scale there previously,” he said. “Martha thought it would be perfect, both functionally and locationally, for a Boston based Open Day.”
As for BlacklineQ, he added, “We’re very excited to debut this product. It expands what the previous BlacklineX offered by featuring different form factors, configurations, and dispersion horns. The customer response and interest have been immediate and overwhelming, and customers will be delighted to hear what these speakers can do.”
India: Drishti Events has taken its audio performance to the next level with the addition of the Martin Audio TORUS T1215 and T1230. In so doing the New Delhi-based production company has become the first in India to invest.
Built for short to-medium throw applications, the TORUS series offers crystal clear audio, smooth tonal consistency, and coverage patterns that adapt effortlessly to different event formats.
THIS MOVE REFLECTS DRISHTI EVENTS’ VISION AND LEADERSHIP IN THE INDUSTRY.
To match the clarity of the tops Drishti Events has also equipped the set-up withMartin Audio Blackline X218 dual 18in subwoofers. Powering it all are Linea Research 44M10 DSP amplifiers, providing advanced processing, precise system control and reliability.
This investment gives Drishti Events the versatility to excel across diverse venues and event types while enhancing their reputation as one of Delhi’s most capable and forward-thinking production companies.
Said Drishti Events director, Rajeev Bhatt, “This investment has been a defining step for our company. The clarity, consistency and adaptability TORUS brings allow us to take on a wider variety of events with complete confidence. It has enhanced our service quality, impressed our clients and strengthened our reputation as a premium event solutions provider.”
VMT director, Jeff Mandot, concluded, “This move reflects Drishti Events’ vision and leadership in the industry. It enhances their production capabilities, empowers them to deliver at the highest standard, and reinforces their standing as a leader in delivering premium event experiences.”
INDONESIA: Holywings is an Indonesian lifestyle and entertainment group with an eclectic selection of bars, clubs and live music venues, spread across the island’s key cities.
Many of the venues under the Holywings banner feature Martin Audio solutions, provided and installed by partner, GMT Group.
Their latest sound system upgrade – at the HW Superhouse Paskal Bandung live music bar – is no exception, although in this instance it is a new-generation Martin Audio WPC line array that provides the main stage hangs rather than the point source that populates many of the other venues. The system was conceived by the Marketing & Technical Director of GMT Group, Satrio Prisetya.
Superhouse Paskal Bandung itself is a large, near 400-capacity, open-plan venue with its stage set centrally. The venue offers combines live band performances with DJ sets, to create a true club atmosphere. Working with PT.GoshenSwara Indonesia, Martin Audio’s Indonesian distributor, GMT Group recommended this solution based on all performance requirements.
As a result, four WPC elements per side are paired with two SXH218 subwoofers per side in stereo stacks. These are supported by a pair of X15B outfills and four TORUS T1230 for delay, with a further pair each of SX218 and X118B subs for delay.
If this type of powerful, dynamic audio setup was required to support both DJ-based and live events, then this was matched by the dramatic lighting, stylish industrial interiors, and a spacious layout to deliver the full club experience.
The feedback from the customer could scarcely have been more positive. The HW Superhouse Paskal Bandung AVL team said, “We just wanted the sound to reach every corner evenly — and now it does.”
