Guests can only look in one direction. They can hear in every direction.

Visuals naturally compete for a guest’s attention. They’re only experienced when someone is looking in the right place at the right time. Sound is different. It surrounds guests from the moment they arrive. It guides attention, creates anticipation, hints at worlds beyond the scenery and quietly shapes how a place feels, often before anyone has consciously noticed it.

Most attractions don’t take full advantage of that.

The audio fills the space and does its job, but some quiet part of the guest still understands they’re listening to a soundtrack rather than standing somewhere. We think sound should do far more than accompany an experience. We think it should help create it.

Every speaker tells part of the story.

We don’t reserve spatial audio for the headline attraction. We design every speaker system we install as part of a three-dimensional soundscape, whether it’s in a queue line, a pre-show, a themed plaza, a walkthrough or a flagship dark ride.

Because the experience doesn’t begin when guests board the ride. It begins the moment they arrive.

A queue should already feel like part of the world they’re about to enter. A plaza shouldn’t simply have background music. It should feel alive. A pre-show shouldn’t just deliver information. It should build anticipation before a single scene has begun.

Every loudspeaker is another opportunity to strengthen the story. Individually they might seem insignificant. Together they shape how an attraction feels.

Scenery has edges. Sound doesn’t.

One of the greatest strengths of spatial audio is that it allows us to create worlds that extend beyond the physical scenery.

A distant train can pass behind a building that doesn’t exist. Voices can drift through a doorway before guests reach it. Machinery can rumble beneath their feet. A creature can circle overhead. None of those things need to be visible for guests to believe they’re there.

That’s what makes sound such a powerful storytelling tool. It encourages guests to imagine the world beyond what they’ve been shown, making environments feel larger, richer and more believable than their physical footprint alone could ever achieve.

We design the experience first.

Every project starts with the same question.

What should the guest hear?

Before we think about loudspeaker layouts, manufacturers or audio channels, we think about the experience we’re trying to create.

Where should sounds come from? How should they behave as guests move through the space? What should naturally draw attention? What should sit quietly in the background? How can sound support the story without competing with it?

Once we’ve answered those questions, we design the system to deliver them. Sometimes that’s a straightforward installation. Sometimes it’s a highly complex spatial audio network with hundreds of individually controlled loudspeakers.

The technology is never the starting point. It’s the tool that allows the creative vision to become reality.

Where we’ve already done it.

At Gardaland, Animal Treasure Island runs on more than 250 individually addressed speakers, a fully spatial mix that moves with the boat through nineteen scenes. It became the park’s highest rated guest experience in more than ten years.

At Alton Towers, Bluey the Ride is surrounded by its soundtrack rather than carried by speakers on the train, with music and effects recombining so that no two cycles are quite the same, and synchronised to every dispatch. At Madame Tussauds New York, we wrote and mixed a bespoke 360 degree soundscape in our own studio for a room that has to feel electric every day of the year.

Built around a passion for sound.

Spatial audio isn’t just another service we offer. It’s something we’ve invested in because we believe it’s one of the most powerful and underused storytelling tools in our industry.

We’ve built dedicated spatial audio studios, developed our own workflows and hardware, and delivered everything from intimate installations to attractions with hundreds of individually controlled audio channels. We continue to experiment, refine and push what’s possible because every project teaches us something new.

For us, spatial audio isn’t about creating impressive technical systems. It’s about creating places that feel real.

All of which is far easier to hear than to read. Put headphones on and step through the portal.

Talk to us about your audio