QUESTIONS.
ANSWERED.

Channel format follows room size and viewing distance. As a guide: rooms up to 4 m viewing distance typically suit 5.1.2 systems, 4–6 m rooms suit 7.2.4, and larger rooms of 6–8 m and beyond can support 9.4.6 and higher. Share your room dimensions and ATS will recommend a layout with predicted coverage.

Budget depends on room size, channel format, equipment level and interior scope. A compact 5.1.2 room and a reference 9.4.6 cinema differ significantly in equipment and engineering. Tell us your room size and performance target — we prepare an itemized proposal before any commitment.

Yes. Most projects start from an existing room. Send us the dimensions, photos and any drawings — we plan speaker positions, screen size, seating and acoustic treatment around the space you already have, and flag any structural changes worth making.

Room length × width × height, door and window positions, seating goals, viewing distance and your performance expectations. Photos or a floor plan help. With these we produce a speaker layout, screen recommendation and equipment list.

One capable subwoofer such as the SX-218 covers most compact single-row rooms. Two or more subwoofers are recommended for multi-row rooms — they smooth seat-to-seat bass response rather than simply adding output. Final count depends on room volume and target SPL.

The CX-415 is the three-way flagship for larger rooms and longer viewing distances; the CX-315 suits compact to mid-size rooms with shorter throw. Both share the same voicing, so they can be combined in one system. We match the model to your room volume and screen width.

The AX-4800 is a four-channel cinema amplifier typically assigned to surround or height channels, or bridged in pairs for higher output. Screen channels and subwoofers are powered according to the system design — the channel plan in your proposal lists exactly what each amplifier drives.

Yes. The SR-8 compact enclosure and controlled dispersion work for side, rear and height positions. For Atmos layouts we specify mounting height and angle in the installation drawings so the height layer stays coherent with the bed channels.

16:9 suits mixed TV, sports and gaming content; 2.35:1 delivers the full cinematic widescreen experience for movie-focused rooms. The choice affects projector lens, masking and seating geometry — we confirm it together with you during screen configuration.

A woven or micro-perforated screen that lets sound pass through, so the front LCR speakers sit behind the image at the correct height — exactly like a commercial cinema. It slightly reduces brightness, which we compensate for during projector matching.

Yes — the room shapes what you hear as much as the speakers do. Absorption, diffusion and isolation control reflections, reverberation and bass build-up so the system performs as designed. Treatment is planned together with speaker placement, not added afterwards.

Soundproofing (isolation) keeps cinema sound from leaving the room and outside noise from entering — it is structural. Acoustic treatment shapes the sound inside the room. Most projects need both; we assess your walls, floor and ceiling before recommending the mix.

Yes. Interior design covers style direction, materials, lighting, star ceilings and seating integration, with 3D renderings before construction. Acoustic performance is engineered into the interior rather than compromised by it.

Every interior project includes realistic 3D visualization — layout, materials, lighting and screen wall — so you approve the exact look and geometry before any building work starts.

Yes. We provide complete installation drawings, wiring diagrams and step-by-step guidance, plus video-call support during installation. For larger projects, on-site commissioning can be arranged. Final calibration is verified with measurements.

We measure the room response at the listening positions, then set levels, delays, crossovers and EQ per channel. Target curves follow cinema reference practice, and we verify the result with before/after measurements you can keep.

Each speaker runs a dedicated cable back to the equipment rack — typically 14–16 AWG depending on run length, in conduit where required. Our drawings mark every cable route, terminal and label so your installer works without guesswork.

MOQ depends on the model and customization level — finishes and logo start lower, fully custom tooling higher. Tell us your target model and quantity and we will confirm MOQ, unit pricing and lead time.

Yes — private label, custom finishes, grille fabrics, packaging and documentation are standard OEM options. We confirm artwork and samples before mass production.

A custom platform typically moves through concept, engineering, prototyping and validation over several months, depending on complexity. You receive a milestone schedule after the requirement review, with samples before production commitment.

Yes. Driver, amplifier, enclosure tuning and finish can all be adapted to your market positioning. Existing platforms reduce development time; ground-up designs are also possible under ODM.

Standard platforms ship on regular production cycles; custom finishes or ODM variants add engineering and sample time. We confirm the exact schedule together with your quotation.

Speakers, subwoofers and electronics can all be developed or adapted — from cosmetic differentiation to fully custom acoustic platforms. We start from your target market, price point and performance goals.

We work with standard international payment terms — typically T/T with deposit and balance before shipment. Exact terms are confirmed in the proforma invoice for your order.

Export-grade cartons or flight-case style packing with palletizing for sea and air freight. We arrange shipment to your port or door and provide tracking and documents for customs clearance.

Products carry a multi-year warranty against manufacturing defects, with remote technical support for the life of the system. Spare parts and replacement drivers remain available for OEM customers.

Cinema amplifiers draw high dynamic current; conditioners stabilize voltage, filter noise and protect the chain. For systems with multiple high-power amplifiers and a projector, we consider conditioned, sequenced power part of the baseline design.

Switching amplifiers on before sources settle can send thumps through the speakers. Sequenced power starts sources first and amplifiers last — and reverses on shutdown — protecting drivers and extending equipment life.