The Modular Café Aldershot is a vibrant community of people who share a common interest in all things to do with electronic and experimental music. With a focus on sharing knowledge and live performance, our monthly meetings have become a highly accessible and friendly environment in which to immerse oneself in creativity, music and technology.
Q121 is a wind tunnel, built in 1935 as part of the old Royal Aircraft Establishment site in Farnborough. The enormous 24' fan at the centre of the tunnel would draw air across its apertures at up to 112mph. It was in use up until 1996. One of the outstanding features of the Q121 building is a large sloping concrete box, some 180ft long and 30ft wide known as the 'return circuit'. This room has extraordinary acoustical characteristics and is the heart, the sound board, for our TESTCHAMBER project.
Twenty-four members of The Modular Café Aldershot community volunteered to compose a piece of music specifically designed to explore the unique space that is Q121. The pieces of music, played live through loud speakers in the return circuit, were recorded ambisonically, that is in 3D sound, so the acoustic effects of the space could be best captured and reproduced in these recordings.
The recording process was broken down into 3 separate stages:
Stage 1 included creating a video introduction to Q121 featuring interviews with museum members offering context and history of the space whilst also including a descriptive walk around and a visual record of initial acoustic testing. This acoustic testing generated 'impulse responses' for the return circuit, providing sound decay 'signatures' that could be shared with artists, enhancing their understanding of the space, enabling them to plan for the next stage. The impulse responses offer a detailed representation of the acoustic qualities of the return circuit and are availble to download for free on our website.
Stage 2 - Each artist was offered an opportunity to explore the space, play with ideas, speaker positioning, and recording positions. The artists came away from this stage with a firm idea of how they wanted to approach their composition and performance.
Stage 3 - The hard work and planning of the first two stages came to fruition as each artist had a one-hour slot to arrange speaker and microphone positions and perform their piece for the recording. The output of the artists' chosen equipment was fed into two loudspeaker arrays via a mixing desk. Speakers were placed within the space at points selected by the artist to capture a unique impression of the room with their music. A 3D (ambisonic) recording was then captured of the live sound using a multichannel 'soundfield' microphone, the position of which could be selected by the artist. Binaural decoding of the microphone output was offered for monitoring purposes and to assist artists in choosing microphone positions. Each artist had one hour to set up speakers and microphone positions and run as many takes as they wished, as long as it fit into the allotted time.
In the final step, only professional mastering was applied to the recordings, with no additional mixing. A curated set of tracks, selected by Adrian Utley, was chosen to represent the project on vinyl record, with 12 more tracks available on cassette tape. The complete set of recordings has been made digitally available for a wider release, and we highly recommend experiencing these in full by visiting our website.
www.modcaf.org.uk/testchamber/
released October 4, 2024