And we’re here! The music train has arrived.
Nearly two months of composing, focus grouping, pestering and head-scratching are at an end (for now) as we’ve reached the last stop of the pilot stage for using music and sound to enhance the experience at the planned Camden Highline in London.
Many thanks to everyone who contributed - or even just viewed these posts - but a special thanks to my Focus Group team for their invaluable persona-led feedback during the process.
Below are all the pieces from the 4 main sections reworked and remodelled based on that same process.
Now, as a caveat, this was a pilot. A test. How would certain personas and interested parties react and feel about music and sound being used in an urban area. How would chosen creative and technical choices make them react for better or worse?
I’ve noted below under each section basic feedback which I acted on and the changes I made vs the original pieces, but what are my reflections based upon what I’ve been told and experienced during the process?
Initially, it was a cautious thumbs-up from people. Many felt that the use of sonics was a great idea, but it was all about the execution. Secondly, there was a feeling that the area would need to ‘breathe’ - so that there wasn’t music or sound at every point - and I agree with this: whilst the work completed so far is constant music for the sake of this process, I would argue there would need to be quiet points for people to sit and reflect. Thirdly, some choices have to be made on how it all sounds. For example, whilst I like a glitchy rhythm this did get a bit of pushback, and so in a real-world execution you would have to walk a fine line creatively - you’d want to do something new, interesting and groundbreaking and not water it down so it’s just vanilla ambient gloop, but you need to be aware of many different stakeholders and members of the public who will have genuine reasons why something makes them uncomfortable or unhappy.
There’s always a way through of course, but in reality, I think that would be one of the tough issues you’d have to face.
Interestingly, the feedback improved as the 4-week test process went along. This may have been because I got my eye/ear in on the production and I was tweaking new pieces based on feedback from previous weeks or the participants got more involved and understood the process, but by the end, the anecdotal evidence was hugely positive (I’ll add some quotes below) with Focus Groupers excited about the possibilities of this become a real-life project.
Which leads me to the future. What’s next for all this work? Well, it feeds into my Module 3 submission and it’s certainly ticked a box there, but importantly it’s a case study using real people on a real-world project and a calling card for how music and sonics can be brought into city spaces for the good of everyone.
If it ever makes it into reality is another matter, but it’s a great start.
Anyway, onto the remixes!
Section 1: Camden Gardens
Main Theme.
What’s changed?
I brought the ‘shuffling’ rhythm from Week 4 (at the other end of the Highline) in to open so it ‘closes the circuit’ creatively. It’s also much less ‘glitchy’ and softer than the previous heartbeat one.
I also slightly reduced the bpm to make it feel less rushed.
Finally, as a nod to the locality and heritage (not far from the musical centre of Camden), I switched out the more synth sounds to soft pianos echoed guitars, and hushed drums with a little bit of horns very low in the mix as a nod to Amy Winehouse and Madness!
All this leads it to be a much more ‘analogue’ introduction to the Highline.
Floating Gantry / Seated Area.
What’s changed?
I again slightly softened the synth sound (it was a little sharp before) as well as added a little more organic sound by making the melodic arch melody (around the -0:35 mark) a softer piano. There are also some of the echoed guitars from the Main Theme in the mix here too.
Wayfinding.
What’s changed?
I fully expected this to be the most controversial element of the entire pilot, but oddly enough this was seen as a huge plus and a real PR/talking point if installed, especially the concept of sound and wayfinding being triggered by gestures (e.g kids running a hand though flowers and tones popping up). You can hear that in the original Week 1 work.
Overall, I’ve only made a minor tweak here: the ‘Alert’ tone at -0:14 to -0:09 was a little too aggressive, so I’ve softened it a tad.
Focus Group Quotes:
“…I think the high line idea is brilliant and can really see how the sound element can enhance the experience. It would make it something really magical and excite people to visit more regularly and stay longer if you can get the mix right”
“I may be being too sensitive about the heartbeat but I think that might be something to consider.”
Section 2: Woodland Balcony and Catwalk.
Woodland Balcony Theme.
What’s changed?
This was a certain case of a bit more ‘humanfication’ (is that a word?). I softened the whole piece down as it was a little busy and whilst I didn’t want to lose the glitchiness which suggested the insects and wildlife it was a little bit too much. I also tweaked the drum sounds and timing to make it a bit more human.
Woodland Catwalk Theme.
What’s changed?
Again, this was a case of a bit of simplification and space, along with tweaking the choice of instrumentation and sound to be a little more natural and organic. I added an extra lightly played piano you can hear in the first minute - just something soft.
I also dropped the levels of the guitars in the mix - the focus group had conflicted views on the guitar here, but I’ve kept it in but lower (the ideal compromise?).
Focus Group Quotes:
“Listening to the music particularly the catwalk section created images in my head linked to nature and the site itself. I could picture people using the space and the music adding to that experience in a positive way.”
“Jarring sounds might be interesting in a musical/artistic sense but can be difficult to listen to, especially in commuter mode when you want to be soothed.”
Section 3: Railway Gardens.
Main Theme.
What’s changed?
By this point, the feedback had settled a little and I was reacting to the themes appearing on the fly so there’s not much changed here. I’ve tweaked the mix and pushed the flute textures up a little. Plus there was a bit of an instrument fix here and there to soften and make it more organic.
Log Yard Theme.
What’s changed?
Based upon a bit of feedback here, I did a bit of a tightrope walk. If you can remember previously, this theme covers a children’s area and there was a requirement to get a little bit of fun which was possibly underindexed in the original theme.
I’ve tweaked this one so background textures are a little more upfront and made everything a little more ‘random’ in timing. I’ve also maxed out the slightly ethereal ending section.
Focus Group Quotes:
“The pieces themselves, how it's clear how the fit the landscape, and the unique creativity of this being written for a new physical space. I genuinely can't wait to someday hopefully experience it”
“I expressed my concerns previously regarding certains rhythms that could trigger anxiety or nervosity. This is not the case for this new section.”“I’ve really enjoyed the work your produced so far. There is a variety of melodies, rhythms, and atmospheres created; whilst keeping a consistency throughout, which is essential in terms of wayfinding to remind oneself he/she is in the same place - the Highline.”
Section 4: The Wilds.
Main Theme.
What’s changed?
Again, little negative feedback from the wider Focus Group or wider on this piece (or indeed section), but there were a few little mix tweaks on levels and I added a few spatial and reverb adjustments.
York Way Theme.
What’s changed?
Remarkably little in this section. I did again tweak some levels and spatial adjustments.
As a side note, subjectively I think this is the best piece of the lot.
Focus Group Quotes:
“Oh my goodness, for any partially sighted or blind tourists / visitors you get such a good feel for what is around you from this composition. The changes especially are so clear, it's so thoughtfully conceived and would really enhance the experience for fully sighted visitors also. I will say it again, this should be released so people can relive their experience when they get home...”
“The complementary nature of the music and potential surroundings and the opportunity for the addition of this music to make the Highline a true destination for people visiting London, and a memory they take back with them.”“What an epic piece of work, very much hoping to hear it in situ at some point. Fingers crossed it gets to that point”
When’s the vinyl coming out ✌️