Category: Martin Audio

AUS – The Caterpillar Club, Sydney’s latest underground music venue, boasts one of the world’s largest vinyl collections.

Drawing inspiration from the 70s, and the vibrant clubs of New York, bands also play five nights a week, and according to general manager, Emma Franceschini “any time there’s not a band on there’s a DJ spinning vinyl.” This includes the secret Bamboo Room Tiki bar where DJs can also be found at the weekend.

Tasked with turning the vision of operators Stefan & Anton Forte (from Swillhouse Group) into reality, was renowned sound engineer Anthony Russo from Technical Audio Group (TAG). And he instinctively turned to Martin Audio’s premium CDD loudspeaker system to meet all eventualities.

IT’S THE PREMIUM SOLUTION FOR A LOT OF TOP VENUES AROUND AUSTRALIA

As he emphasises, this needed to be a statement of uncompromising quality “where every seat needs to be the best seat.” His design, therefore, was built to handle everything from the warm sound of vinyl to the crisp clarity of digital recordings through to the huge demands of the club’s live acts.

There is little Anthony Russo doesn’t know about the characteristics of Martin Audio’s coaxial differential dispersion technology, having specified CDD many times. “It’s the premium solution for a lot of top venues around Australia,” he acknowledges. “In every room [at the Caterpillar] you’ll see CDD8s and 6s and concealed SX110 subs in the ceiling and under the banquette seating right through to the FOH system which is a powerful CDD12 system—with a delay system, complete with LE100 foldback wedges.”

In total, he has equipped the venue with over 60 speakers, 30 amplifier channels, and a staggering 40k watts of available amplifier power, ensuring that each patron is treated to unprecedented even coverage over eight zones.Even the Bamboo Room indulges patrons with a powerful Martin Audio system that would be more at home on a large dance floor.

To ensure the detail of vinyl can be heard with absolute hi-fi clarity, while enabling easy conversation to take place at the tables, the large complement of speakers delivers a range from lounge low-volume chill levels to a live performance experience of a concert without needing to be overdriven.

Explaining the rationale, he says, “It is also designed to provide consistent coverage of the whole room while permitting everyone to have what I call a ‘headphone experience’. There’s always a speaker nearby, not too loud, just at the right level. It’s something people haven’t been used to, a real HiFi experience in a live venue environment and that’s why we’re infinitely proud.”

This focus on precision extends to cutting-edge digital audio processing, networking, mixing and amplification, while to do justice to the vast vinyl library, Caterpillar invested in a handmade Australian custom-made rotary DJ console from Condesa.

The final confirmation comes from Emma Franceschini: “The thing about the Martin Audio system is you have that extra clarity in the room. And since we’re a vinyl bar, and you want to be able to hear the nuances, a world class sound system like Martin Audio lets you do that.”

US – Under his company ear NETWORKS, NYC-based Kurt Schlossberg has been specifying exclusively Martin Audio sound systems in Time Out Markets around the world for a number of years.

But recently he undertook his first project for Chilean-born restaurateur Juan Santa Cruz, as Obvio joined the operator’s other upmarket establishments, including two in Central London’s trendy Mayfair and Notting Hill areas.

His latest modern supper club and cocktail bar — named Obvio — is right on his own Manhattan doorstep, and again it is an exclusive Martin Audio house, taking advantage of the CDD series’ unique coaxial differential dispersion technology.

MARTIN AUDIO IS THE ONLY HIGH-END BRAND I USE

“Juan only does super exclusive places, and over Zoom he told me about this little jewel box that he was creating in New York,” said Schlossberg. “He wanted the most discreet high performing system that could be colour matched, and which could double as triple A background as well as triple A foreground. I said there’s really only one product I would put in there!”

Once again the installer recommended CDD as he has for many venues since first discovering them on a visit to the ISE Show in Amsterdam, soon after the series was launched in 2015. “I walked into the [Martin Audio] demo room,” he said, “and I was immediately blown away. Although I have the pick of the litter when it comes to commercial audio, Martin Audio is the only high-end brand I use — it is literally the best of the best of what it is and is my ‘go to’ for all critical path foreground music.”

Explaining further, he said, “When you can take CDD6 and CDD8 and mix them with the punchy subs they are matched to, you get an experience that makes you prouder in a commercial environment than you would be in your own listening room. And that’s something I’ve not been able to replicate from any other manufacturer.”

And Kurt Schlossberg should know, with four decades in audio (analogue-into-digital), architecture, planning and playlist curating under his belt — skills that were brought to bear at Obvio. “Because a lot of the walls and panelling are rounded it has a very cocoon like feeling and so I worked closely with the architects … and felt good to be part of the architectural process again.”

Matching the speakers to the lighter tone of the wall paneling, four CDD6s are wall-mounted towards the front of the building, with eight CDD8 at the front, where punchier sound is focused over the dance area. Softer background music during the daytime trading is followed by a substantial hike in SPL after dark, when DJs take to the Pioneer CDJs. This is enhanced by a single SXC115 “which lives above the amoebic shape over the bar, and completely out of sight,” as he puts it.

The quality of the sound system has generally received favourable reviews. “In fact it’s proven to be quite a hit,” Kurt Schlossberg exclaims in conclusion.

US – The most famous roots festival on the Northwest Pacific Coast, Pickathon 2025 celebrated its 25th anniversary by adopting a premium Martin Audio Wavefront Precision system for its main Paddock Stage — set on the picturesque Pendarvis Farm, in the Happy Valley district of Portland, Oregon.

When word reached Martin Audio’s Simon Honywill from long-time friend Graeme Harrison that festival chief, ZaleSchoenborn, was looking to upgrade the main stage sound, a meeting was soon brokered with local AVL rental house Cascade Sound, who immediately invested in 20 WPC and 10 SXC118 cardioid subs, along with THS, FP12 and XE wedges. As their VP Engineering and System Designer, Sean Rathbun — who was project lead at Pickathon — points out, “While this was our second year at the event, we have staff that have been supporting it for a number of years.”

Simon Honywill, meanwhile, set to work on the design. Describing the site as “wooded and scenic”, he said, “It’s a very cool and crafted festival, and the aesthetic changes every year. Sustainability is a core value here and pretty much everything gets re-purposed in some way. This festival is deeply connected to the lifestyle of Portland”.At the heart of this year’s scenic expanse was a series of rhythmic timber cylinders, forming a dynamic backdrop to the Paddock Stage highlighted with some excellent lighting.

However, in recent years, housing has been developed close to the site, and with no apparent noise control or monitoring, complaints started to appear. Honywill, with the aid of Martin Audio Product & Application Support Manager, Joe Lima, knew that Martin Audio’s advanced control could mitigate this, and the deployment of cardioid subs would create the necessary rear rejection.

THE MARTIN AUDIO PA WORKED WONDERFULLY FOR THIS FESTIVAL

“We measured the SPL at the boundary, and it tied in with what DISPLAY [software] had predicted, with 35dB reduction at the boundary,” continued Honywill. On the stage itself, the site topography dictated that the left and right stage wings should be optimised differently. Hangs of nine WPC per side were complemented by 10 SXC115 in a broadside formation across the front — a set-up which was also expected to meet the aesthetic.

“We had to explain why, from an audio perspective, it was good to have the PA on show … and agreeing that such a great sounding PA should not be compromised, they went with it,” he said. And it certainly paid dividends. In addition, the Martin Audio speaker complement included eight FlexPoint FP12, (for frontfill and outfill), two THS with two SXC115 for sidefill and a combination of XE300/XE500 for artist reference monitoring. The set-up was driven from iKON iK42 DSP amplifiers in 1-box resolution.

Described as “a summer camp for the soul” and “an immersive, nature-based music festival” this four-day honky-tonk — spread over nine stages with 55 different acts — was another resounding success which again brought the nearby city of Portland to life.

It was an enjoyable excursion for Simon Honywill, and one where he got to also work with the talented house engineers, Anya Gearhart at FOH and Mai Lon Brosseau on monitors.

Summing up, Sean Rathbun added, “The Martin Audio PA worked wonderfully for this festival — the rear rejection, the articulation of the high end and the overall clarity of the PA were exceptional.

“The engineers I spoke to enjoyed mixing on the system; Joe Lima spent time with each engineer to ensure their experiences were seamless and the system performed phenomenally well.”

As the latest addition to the Martin Audio network, Rathbun promises, “I am now planning to replace an ageing fleet of speakers and amplifiers with the current generation of Martin Audio equipment.”

USA – Based outside Dallas-Fort Worth, TX, the rapidly expanding Stonegate Church moved from its earlier conference centre home to a brand-new building in 2018 — to continue its mission of ‘church planting’, encouraging its congregants to “enjoy Jesus and make disciples”.

The eclectic content of its services — ranging from gospel music to new composition — required a studio- and tour-sound quality sound reproduction, as did the intelligibility of its worship leaders. In this respect the church’s existing sound system was found wanting.

Stonegate was recommended to local AV integration company, Epic Resource Group, whose own mission is to create a direct connection between the stage and each member of the congregation. Although Epic are brand agnostic, in this instance they specified a Martin Audio WPS line array as best fit for purpose, with low end extension provided by SXH218 subwoofers.

Matt Wheeler, himself a former senior audio engineer at a very large Texas church, oversaw Epic’s tech team and undertook the design and system tuning in what was a full AV integration. “This was our first WPS installation, and we were pretty ecstatic with the result,” he exclaimed.

Wheeler has a long association with Epic Resource, which, along with full scope AVL integration, specialises in acoustics excellence largely within the upper end of the worship market.

Company founder (and former worship leader) Brandon Chynoweth advances the company’s ‘every seat matters’ philosophy. “When we sign up with someone, we are entering a long-term, collaborative relationship which our business model supports. It can be really hard to nail it for a client if it doesn’t feel like a completely cohesive effort.

IT WAS THE FIRST COMPACT LINE ARRAY THAT SOUNDED THAT BIG.

“In the instance of Stonegate, we did a deep dive on what their priorities were. It was clear they had a high value for the music experience, because they have a really excellent music department.” Equally, they valued a “personal experience of speech.” Each one of the 1200 or so seats has to feel like the individual is being spoken to directly, he says — values shared by Martin Audio.

The space itself measures around 100ft x 120ft, with a stage thrust. An entire reconstruction took place behind the wall of the stage without any service disruption. “The place became substantially deeper and virtually doubled in size … once we knocked the wall down.”

Brandon Chynoweth has long had a soft spot for Martin Audio since discovering “the best sounding dual 15in sub we could find”, some 15 years ago. Epic have embraced the brand more recently with a clutch of WPM installations (using the smallest Wavefront Precision footprint). “They just sounded great,” he says. “They were lightweight and really great value, delivering a very high quality. It was the first compact line array that sounded that big. Small format speakers with both finesse and power had been hard to find, and we just felt like WPM was a special thing.”

However, for some applications WPM was too small, while WPC remained too big. “There was just nothing in the middle until WPS came along.” The form factor immediately impressed the Epic team.

“WPS picks up where WPM left off,” says Wheeler. “We now have it spec’d on other projects. It punches above its weight and is world-class; it’s been a go-to for us when we really needed it.”

The Stonegate configuration is an alternating left-right system comprising four clusters of WPS — the centre two with eight elements, the outer two with seven — run in stereo. “A lot of us are from a studio background, so with stereo you can pan and be able to get some spatial things going on,” he says. A Martin Audio CDD15 provides centre fill and nine CDD8s, infill at the front.

Three of the SXH218 subs are flown in cardioid — two forward facing, one rear — driven by a combination of Martin Audio iKON iK42 process controlled amplifiers in bridge mode. Elsewhere iK81s are deployed, with the entire set-up powered in optimum single box resolution. “One box resolution is such a difference maker — it’s much more linear and the consistency of volume is much better,” reasons Chynoweth. “In the early projects we did, we just couldn’t believe how much value you get by just spending a little bit more money on amp channels.”

The array processing was modelled in Martin Audio’s DISPLAY 2 and control is under the command of a dedicated DX4.0 processor. A further refinement is the application of ‘Hard Avoid’ to the stage.

The entire signal transmission runs over two Dante networks — one of which the church has access to for patching audio sources around, while the second is a dedicated ‘hidden’ network for the PA. “We don’t want someone patching in a Dante keyboard rig in and accidentally unpatching the bottom box of the right cluster,” smiles Wheeler.

Summing up, Brandon Chynoweth says the church is delighted with the clarity and transparency of the new system. “Their front of house guy is a very accomplished studio engineer and knows what things should to sound like. To say he was impressed is an understatement. Their music minister is a touring artist and is used to high-end sound. Even before [Matt] tuned it, he was stunned.”

“And once we had the array processing and tuning dialled in, he was ecstatic,” concluded Wheeler.

Tokyo, Japan – Giants Town Stadium, which opened in Inagi, Tokyo, in March this year, is the home of the Yomiuri Giants’ ‘farm team’ (nursery club) and will also host women’s and amateur men’s baseball games — as well as being a multi-use facility.

Designed to bring fans closer to the action, the 2,900-seat, three-story stadium has been equipped with a Martin Audio-based weatherized (WR) sound system, to create a listening environment that offers presence and warmth.

With acoustic planning, construction and sales handled by Denon Engineering Co. Ltd, these comprise CDD10-WR (as the main speakers), CDD6TX-WR (100V/70V line speakers for ‘Excite’ premium seats, first base infield, third base infield rooftop garden, and standing room in the right field); CDD8-WR (for outfield grass area, and as temporary, portable speakers), and ADORN A40 (for the Umpire area inside the field).

Transmission is over Dante, with Symetrix processing/distribution and Netgear network switching. The acoustic simulation and tuning were performed by Audiobrains.

The Martin Audio solution, tailored to the space, was proposed in order to achieve an immersive atmosphere and high clarity and intelligibility for each area — as befitting professional sports. In particular, the speaker design needed to be close to the audience.

Stated the Denon Engineering designing team, “At G-Town, the emphasis is not simply on ‘producing sound,’ but on providing the optimal acoustic environment for each area and purpose. The type and placement of speakers are carefully adjusted based on how the sound reaches and is heard. Martin Audio CDD10-WR speakers, which deliver clear sound over a wide area, were used as the main speakers. These cabinets are weather-resistant and dust-proof, preventing deterioration and breakdown due to wind, rain and humidity.”

The ability to mitigate sound leakage outside the stadium was another key issue. In outdoor venues, in particular, there is a risk of sound traveling in unexpected directions. At this stadium, the speakers are housed in dedicated boxes and their directionality is controlled, ensuring accurate sound transmission within the stands themselves, while minimizing sound escape beyond the stadium.

High-quality CDD6TX-WR support the immersive experience of the Excite VIP seats — located closest to the ground. This is a special viewing area offering the ultimate in immersive experience unique to G-Town. To maximize the seating’s features, these speakers, which combine high-quality sound and output, are designed to deliver clearer and more dynamic sound including announcements and background music. This integration is purpose designed to create a more memorable experience for spectators.

In the vast space of a stadium, there is a time lag in the sound from the speakers. For example, the 122m distance from home base to center field is calculated to result in a delay of approximately 0.36 seconds—which can have a major impact on how announcements and background music are heard. Delay correction has ensured that sound can be heard naturally from any seat, creating a comfortable acoustic space. The speakers on the first floor also serve as emergency speakers.

There were further challenges. The G-Town stadium sound control room is located on the third floor, and there were concerns that this would make communication between the referee and the public address announcer difficult during games. To address this issue, mics were installed on the field to allow communication between the referee and the PA announcer, and sound equipment was improved to ensure smooth communication between the two parties. Martin Audio’s ADORN A40, renowned for its clear sound quality, was used for this communication.

The central control system emphasizes intuitive operability, and uses tablet devices in the Symetrix control environment. In addition to intuitive operation of mics, background music and other controls, the screen is customizable to suit the user’s proficiency level.

A patch panel for maintenance services is also provided within the ground, allowing the system to be monitored from the ground side, ensuring ease of maintenance.

In a space where sports and entertainment combine, sound is one of the keys to creating emotion. The project team are satisfied that the Giants Town Stadium maximizes the power of sound to enhance the spectator experience, embracing the cutting edge of sound engineering required for professional sports facilities such as this.

USA – Situated in Ann Arbor, Michigan, Christ the King was initiated in 1981 as a Catholic ‘Charismatic Renewal’ church. Its current church building was dedicated in 2001 — and although it may be fairly new by church standards, the church was still operating off its original sound system, which was struggling to provide even coverage across three naves, fanning out from a central space.

“While they had some good seats, some were not so good in terms of coverage, and that was their main impetus for the upgrade,” stated Steve Newby, founder of family-owned AV systems integrator Annunciation Audio-Visual Services, who won a three-way competitive bid.

“While we’ve replaced the electronics a couple of times, and the operators were doing a fantastic job making it sound as good as possible, there was no getting away from the fact that an upgrade was necessary,” he said. This would require addressing the three spaces individually.

Considering all the coverage parameters, and the fact that houses of worship are inherently reverberant spaces, it was deemed necessary that a system with a higher degree of control was essential. As a result, Martin Audio’s smallest Wavefront Precision footprint, WPM, was installed in three L/C/R clusters of six elements in each, along with three SXC118 cardioid subwoofers. To safeguard against any holes in the frontfill coverage Annunciation specified four CDD10s and a pair of CDD8, and to complete the Martin Audio deployment have provided 24x C6.8T powerful ceiling speakers to “a funky underhung area” — essentially extensions of the left and right naves.

THE FEEDBACK HAS BEEN 100% POSITIVE, BOTH SOUND WISE AND AESTHETICALLY

Steve Newby’s confidence in specifying different Martin Audio series is based on his experience supplying largely Catholic churches with different solutions — including O-Line and CDD — in the 18 months since he first started using the brand. “Last year we got a trio of jobs which was perfect … and all three have been met with universal praise and satisfaction from the clients,” he said.

“I had experienced pattern consistency with all Martin Audio products,” he continued. “The lack of beaming was one thing, but also the way it actually sounded off axis. We care about that because off axis response will colour the room if it’s not relatively smooth. [With Martin Audio] you can be 90° off axis and know there’s nothing bouncing off the wall that’s likely to destroy the coverage area.

“We’re also very comfortable with DSP optimisation and what it can and can’t do. The fact that both O-Line and WPM integrate this control with the digital steering was very appealing conceptually to me — in my opinion, having the best of both worlds is fantastic.”

Once again, the systems have blended well at Ann Arbor he said. “The voicing between these three different series in the Martin catalogue was all very consistent and we achieved seat to seat consistency very well.”

Newby rationalised that foremost in a reverberant space was “control and granularity.” Explaining the choice of the smaller WPM over a larger format, he said, “Better to have the less expensive box, and use more of them, to focus on control. Having individual amplifier and processing per speaker within a 6-box array made more sense as it was more efficient. We wanted to maximise that, as there were surfaces we needed to avoid.”

The choice of the SXC118 cardioid subs was also axiomatic. These are attached to the ceiling structure, 40ft in the air, and like all enclosures, are finished in white.

The design of the arrays was carried out in Martin Audio’s DISPLAY software. The 3D visualisation model translated exactly into real life, “and we quickly noticed that the sanctuary was the same volume as halfway back in the church.”

Assistant Director of Worship, Adam Plomaritas, who had originally introduced Annunciation AV to the project, stated in summary, “I’ve been a part of several sound changes over the years, and this is the first time the feedback has been 100% positive, both sound wise and aesthetically. There hasn’t been a single negative response.”

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.

Rhode Island, USA – October, 2025

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.”