Sound systems that do the room justice.

Everything between the drawing and the day the room works: design review and value engineering, acoustic analysis and room modelling, speaker and system specification, programming of audio, video and control systems, custom operator interfaces, then verification, calibration, commissioning, training and documentation.

Yes, we absolutely can. For integration work we operate within Mosaic, so this is not a referral to somebody else: it is one contract and one accountable team taking a room from acoustic modelling through to installed, commissioned and signed off. Speakers, amplification, show control and playout included. If you would rather buy the kit through your own contractor, that works too. Either way we stay manufacturer-independent, so the specification answers to the room and the budget rather than to a distributor agreement.

The main ones. For object-based and immersive audio: Dolby Atmos, L-ISA and TiMax SoundHub. For DSP, control and playout: Q-SYS from QSC, alongside the show-control platforms that sit with it. Between our own studio, where we mix immersive as a matter of course (the HIPA Award film was a 7.2 immersive mix), and the AV and technical delivery specialists we work with through Mosaic, we can specify the platform, produce the content for it, install and commission it, and leave your team with a system they can actually run. We stay manufacturer-independent, so the platform is chosen for the room and the brief rather than because someone has stock to move.

Mosaic is a strategic framework of specialist companies working at the intersection of architecture and technology, covering spatial design, AV and control systems, lighting and acoustics, content production and technical delivery. WithFeeling is a member, the sound design and composition side of it, and the framework grows as new specialists join. When you engage us for an integration project you are engaging Mosaic, with our studio inside it: one point of contact, one contract and total accountability across the whole venue, instead of stitching separate suppliers together and hoping they talk to each other.

Yes. We come in as the audio side: reviewing the design, measuring the room, checking that what is specified will deliver what the creative needs, and commissioning it properly, while your integrator keeps the contract and the install. We work that way often. Equally, if you would rather one team carried the whole room, we can be the integrator ourselves through Mosaic.

Earlier than most people do. Once speakers are bought and ceilings are closed, the options narrow to expensive ones. At concept or schematic design we can influence room geometry, materials, speaker positions and budget. At handover we can only measure what you already have.

A simulation of how sound will behave in the room before it is built: coverage, reverberation, intelligibility. You need it wherever people must understand speech (auditoria, mosques, airports, museums, boardrooms) or where music has to hold up. It is far cheaper than fixing a finished room.

Among them, the Terra Auditorium at Expo City Dubai, the African Bird Show amphitheatre at Dubai Safari, the auditorium at ADNOC Ruwais in Abu Dhabi, and the reception at Premier Inn Dragon City. Alongside those, the immersive spaces we have scored: the City Living Museum in Madinah, the GCC Pavilion at Expo Doha, Foodsphere in Riyadh and the Zero Degrees Room in Abu Dhabi.

Yes. Multi-zone playout, scheduled and triggered content, show control, and the file structures those systems need. It is the same discipline as scoring a theme park: the music and the machine that plays it have to be designed together.

Always. End-user training and documentation are part of handover, because a system nobody on site understands quietly degrades within a season. You get method statements, as-builts, shop drawings and people who know how to run the room.