Bentley and its audio partner Naim have partnered with a titan of the Hollywood music industry to produce a soundtrack like no other, developed specifically to showcase the exceptional abilities of Bentley’s pinnacle in-car sound system.
Composer and producer Steve Mazzaro, whose recent film score credits include No Time to Die and Dune, was commissioned by Bentley to craft a piece of music that would demonstrate the power, clarity and richness of the Naim system while also reflecting a musical interpretation of Bentley’s design philosophy – being inspiring, harmonious and potent.
The Flying Spur is the perfect concert hall for Mazzaro’s work, which is a showcase for Bentley’s astonishing Naim audio system. With a 2,200 watt amplifier driving a total of 19 speakers around the cabin and two kinaesthetic shakers in the front seats, the system has both the power and the frequency range to make any music sound exceptional. When the track has been designed specifically to match the system, the result is truly extraordinary.
Alain Favey, Bentley’s Member of the Board for Sales, Marketing and Aftersales, comments:
“We know that music is a passion of many of our customers – indeed, the Bentley x Naim sound system is specified on almost 40 per cent of customer orders. It’s been a great pleasure to work with Steve Mazzaro to craft a piece of music to really demonstrate the prowess of the system. His talent, experience and incredible artistry have been inspirational to us. While the finished piece sounds amazing however you hear it, to truly appreciate every element of it you have to hear it in a Naim-equipped Bentley, where it’s unlike any in-car music experience I’ve ever had.”
Steve Mazzaro comments:
“To me, Bentley represents elegance and class but also power, speed and mechanical complexity. So for this piece I used guitars, plus powerful, heavy low synths and very technical drums combined with intricate hand percussion. As with the workings of a car, you don’t see them, but you know they’re there, working in the background. I wanted to take the listener on a journey, with the essence of a film to be in a listener’s subconscious mind, so there’s flow to this piece – starting a specific way and then leading the person somewhere.
“For the opening, I wanted everything to be done with smaller instruments, but be powerful, organic and kinetic. I then introduce this big, cinematic orchestra, before ending with an orchestral, electronic, explosive culmination. I really wanted to push the power of the Naim audio system and see what it was capable of, so this also became more of a technical endeavour. There are so many speakers, I wanted to try lots of panning effects, bouncing the sound from left to right. This is a score for the driver’s seat.”
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