yep, that was it - Paul Gillieron. They acquired the Huron to furnish the 
National Car Park for Popular Music with a pre-decoded set of speaker feeds, so 
that any idiot could press "play". At the time, I couldn't understand why 
anyone would build a facility costing millions, then assume it would have no 
resident sound engineer capable of actually operating therein. Years later, I 
just sort of understand that that is what people do. Nevertheless, it still 
seems bonkers to me that anyone would assume that you can compose/produce in 
one space, and expect it to fit another.

Having said that, the NCPM had the most improbable acoustics (circular, dome 
ceiling, plenty of glass and stainless steel, no soft furnishings - no door, 
plenty of spill from various other areas containing plenty of speakers)...

The place was clearly specified and designed by deaf persons.

I'm sure with some time and ingenuity I could come up with a worse acoustic - 
but it would be a lot of work, and why bother?


There are plenty of people who don't understand spatial sound, even though they 
live in it every day. Fair enough. But the fact that they don't even know that 
there actually is something they don't understand - inexcusable. See: Dunning 
Kruger effect.


Dr. Peter Lennox
Senior Fellow of the Higher Education Academy
Senior Lecturer in Perception
College of Arts
University of Derby

Tel: 01332 593155
________________________________
From: Sursound <[email protected]> on behalf of Paul Hodges 
<[email protected]>
Sent: 15 December 2016 17:39:56
To: Surround Sound discussion group
Subject: Re: [Sursound] Sound Art gallery South London

--On 15 December 2016 17:01 +0000 Dave Malham <[email protected]>
wrote:

>  Although I visited the Brixton studio
> and can even picture the inside of it, I'm damned if I can remember
> the name of either the studio or the people concerned

Here's their brochure:
<http://www.surroundav.org/surround.AV.brochureMay2004.pdf>

Paul

--
Paul Hodges

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