“I can’t wait to work with them again. They really took our gallery to a new level with their high quality work”
Philip Clevberger, Digital Media Developer, IWM London
“they did a brilliant job with the soundscape. It works perfectly within the space and achieves everything we wanted it to in complimenting the exhibition content and enhancing the visitor experience”
Rawiya Jenkins, Exhibitions Manager, IWM London
With little to no audio available from the 1900s, we had do extensive research to emulate what it would have sounded like and for this. Thanks to The BFI who were a great resource in this process.
We found a lot of inspiration and even some source material from films such as ‘March To Aldermaston’ and ‘Carry Greenham Home’ which are both excellent documentaries, as well as revisiting the 2003 ‘Stop The War’ march via clips on Youtube and the subsequent 10 year protest staged by Brian Haw in Parliament Square; events we remember well.
The key challenge with a multi-channel / multi-zone soundscape of this kind is handling sound bleed and making the different zones work on their own and together”
Will Worsley, Acoustic Engineer Coda to Coda
There are no walls dividing the sections up, so it was really important that the sound for each zone doesn’t clash and be overpowering or intrusive to the visitor’s experience. We had to work out a way of balancing all the zones across the entire space, so that they stay distinct and work together seamlessly at the same time.
We tackled this two ways..
For each of the five eras or zones, we created a soundscape which evolves through three distinct states:
- Idle, murmuring / processional: the sense that you are in a crowd but without any specific chanting or agitation; indistinct voices, and footsteps surround you, the occasional isolated chant or whistle etc. in the distance. The soundscape imparts a sense of enthusiasm, growing consensus, momentum and solidarity.
- Agitated: giving the sense of animated protest all around you in the form of chanting, banging of drums/other items/stomping etc. These crescendos in the soundscape give a sense of the determination and power of protest.
- Speech/rally: the sense of being in a crowd listening to one speaker rousing the protest, the speaker is in the middle distance, they can be heard clearly, but we retain the sense of being some distance from them, the cheering and agreement etc. by the crowd surrounds us and engages the listener through this sense of immediacy. The aim of this episode in the soundscape is to reinforce for the listener the role oratory and manifesto in protest.
These modes have been programmed to alternate between spaces, forming subtle patterns which thread together to give the impression of one overall crowd across time, to create one cohesive balanced soundscape across the whole exhibition for the visitor.
The direction and placement of speakers within each zone had to be calibrated to ensure that the sound is correctly distributed in the space, that calculation is based on the specifications of the speakers and the acoustics of the space. We’re great believers in a good hand-drawn diagram, here’s a little sketch we gave to the Technical team at IWM:
It was great to work with the team at IWM London on this, they were involved and enthusiastic collaborators at every stage. The exhibition is on until 28 August at Imperial War Museum, London.