In attempting to implement our aspirations for the acoustic 'scale' of each chamber, our main difficulty was in creating an autonomous, separate acoustic within each chamber. Due to limitations of scale, any attempt to do this might result in a claustrophobic 'bathroom-type' acoustic, which was far from our desired goal. After critiquing our proposals, we came to realise that the proposal would need to sit within a separate over-arching volume. By making use of a larger volume to house the chambers, we could effectively create greater variation in the scale of acoustic, which would otherwise only be possible by manipulating the digital recordings.
After reviewing the site options originally put to us by Aldeburgh Music, we decided the Jerwood Kiln Studio would particularly lend itself as a larger acoustic volume to test our ideas in. The roof profile would lend itself well to having a central acoustic focal-point analagous to that of the counterpoint chamber, and would help reflect sound from the solo-parts organised on the perimeter.
This move also allowed us to begin to explore ideas around formal and informal performance settings. We felt that having the opportunity to work with an existing, more traditional performance setting made for a richer project and dialogue with the proposed installation. We see the Kiln as the first in a series of surrogate host venues for the peripatetic proposal, each bringing something new to the project in terms of the spatial and acoustic experience of the audience. Consequently, we think the project will benefit from a more contingent relationship with each new setting it visits.