MusicLab

What is MusicLab?

"MusicLab is a new mobile interactive digital installation. Housed in a 13.5m purpose-built trailer, the Philharmonia Orchestra is developing a flexible, pop-up orchestral experience that can reach targeted communities in Plymouth, Torbay and Cornwall. Using cutting-edge digital technology and innovative interactive design, MusicLab will offer a series of hands-on musical experiences and interactions, designed to put you in the shoes of a composer, performer, producer and conductor" - MusicLab, 2014

During the first four months of 2014, I am proud to say that I played a part in the development of this project. This was a critical part of the project as various features of the design were starting to be implemented.  I managed to see the early stages of the refurbishment process in Leicestershire and was also present during the the final days in Kent.

N.B. There are a many aspects - such as funding, planning, and other critical requirements - that I am skipping over due to their complex nature (and relevance to this and future posts). 

Over the course of the next few posts I will go into more detail about some work that I was personally responsible for, but for now I shall outline my basic involvement.

So, to work...

Refurbishment

Before the trailer reached its current state the cabling needed to be run. This was particularly important, however it wasn't an easy task given the design of trailer, the route they had to follow, and the number of cables involved. While I was assisting in Leicestershire, the majority of the cables were VGA or XLR and these would run between the digital nerve centre and the various screen situated throughout the installation. 

To aid your understanding of how this task was 'easier-said-than-done', have a look at this photo of the trailer's interior during the re-fit: 

The cables had to run underneath the floor - as can be seen in the previous image - and this meant threading them through gaps or cavities that would allow them to run without damage. Unfortunately, this became tougher as more and more cables fought for the limited space, although it should be said that this hinderance was mainly down to the square shape of the connecter heads.

Main Console

One aspect that will remain constant for all of the following sections was my involvement with the development of the concept. On a basic level this meant that I was someone to bounce ideas off, a different perspective, or a critical mind to assist in the process. This development would range from the technological elements to the visual design and layout, but ultimately the Production Manager would have the final say.

In terms of the main console, I was responsible for: 

• Software upgrades and installations on the iPads
• Sourcing a flexible iPad stand that would allow universal access regardless of age and ability
• Sourcing 10inch LED monitors to accompany the iPads

On a more creative note, I was tasked with editing and exporting footage from a previous installation - Universe of Sound - so that it could be used as one of the modes in this section. As there are eight iPads to the main console this meant editing different sections of the orchestra into one video and they were grouped based on the section of the orchestra they represent and the whether they represented a high or low pitched instrument. This went according to the following example: 1st Violins, 2nd Violins and Violas would be grouped into 'High Strings', whereas Cellos and the Double Bass section formed the 'Low Strings'. 

As there are seven movements to 'The Planets' suite by Holst this meant 56 different video edits were required prior to export using the Apple Pro Res 422 compression. However, there was an additional eight edits required due to the inclusion of Joby Talbot's 'Worlds, Stars, Systems, Infinity' as a direct follow-on to the final movement of 'The Planets' suite. 

The edits included synchronisation to an adapted audio track that comprised of the instruments featured in that video. As a result, the final video edits were organised as follows:

• High Strings
• 1st Violin, 2nd Violin and Viola
• Low Strings
• Cello and Double Bass
• High Brass
• Trumpet and French Horn
• Low Brass
• Trombone, Euphonium and Tuba
• High Woodwind
• Flute and Oboe
• Low Woodwind
• Clarinet (a compromise had to be met), Bassoon and Contra Bassoon
• Percussion 
• Percussion (various) and Timpani
• Extra
• Harp, Celeste, Organ and Choir (no visual edit)

During the final few weeks in Kent, I assisted with the testing of the Main Console providing myself as a willing 'would-be' member of the public.

The Instruments

This is by far the most interactive of all the sections given it requires the participant to use a modified instrument to control the gameplay. There were many challenges that had to be tackled in order to successfully achieve the desired end result and these ranged from sourcing instruments to coding the gameplay. 

Initially I was supporting the search for instruments that would then be sent away to be fitted with the appropriate sensors thus enabling the instruments to interact with the game. However, I became more involved with the filming of the instrument tutorials that would form the backbone of the entire experience. The four instruments chosen were:

• Cello
• Clarinet
• French Horn
• Timpani

The tutorials for each respective instrument were shot at Waterloo Film Studios in London and it was my responsibility to capture the audio. This required two different sources that would then be synchronised and mixed, although the two would never be heard simultaneously:

1. Dialogue (Røde NTG-1)
2. Instrument audio (XY-Stereo pair: AKG C391 B)

The Røde NTG-1 went straight into one of the two HD cameras whilst the stereo audio was captured on a portable recorder (Marantz).

Video Bench

As with the Main Console, a solution was required. The same flexible iPad stand provided by Bouncepad was also used for the Video Bench. For this section of the trailer the participants would be seated and this was another area that I assisted in the development of: researching the layout and the cushions that would be used.

Chorus Booth

I used my knowledge of audio equipment and classical music to help the progression of this concept. The choice of microphone was important as its properties would be crucial to capturing clear and crisp sound. As it happens, Chorus Booth incorporates a broadcast standard dynamic microphone from Electro Voice with a Cardioid polar pattern. 

The choice of music and the structure of the interface were all debated and reasoned to allow the participant the best possible experience. This choice of music had to pass through various criteria such as: 

• How melodic is it?
• What is the level of complexity?
• Is it memorable?
• Is it of a sufficient duration? (neither too long or too short).  

Of course, there were other questions, but those listed above are there to outline the type of questions relevant to the conceptual development.

Hi5!

I dedicated most of my time into this section of the trailer and as such I feel I must dedicate further posts to cover it in more detail. I will discuss the nature of Hi5! and how I went about taking it from its original concept and resulting with the finished article.

In future posts I shall provide an overview of Hi5!, a technical insight into the way it functions and all the factors that influenced the final design.