Concrete Voids

Concrete Voids at London’s Southbank Centre is a bold exploration of sound in its most unconventional form. The venue’s senior sound engineer, Tony Birch transformed hidden concrete spaces around the Queen Elizabeth Hall auditorium into an organic acoustic playground, that challenges traditional soundscapes to highlight immersion through the deconstructed audio system.

To harness the natural acoustics of fourteen vent voids above the audience and six full-length voids beneath the seats, Birch meticulously positioned over 80 hidden, repurposed and custom-built speakers to create a diffused sound environment where “not a single loudspeaker addresses you directly.” This transformed the venue’s inherent acoustic quirks into a dynamic audio experience.

Of the many challenges this project posed, control was a final deciding factor to how it could proceed. The breakthrough moment came when Birch discovered that TiMax panLab’s spatial audio visualisation software could interface directly with live mixing consoles, and the path to real-time control was illuminated.

The software’s flexibility – operating effortlessly with existing audio setups, including QLab and Yamaha QL5 consoles – enabled complex spatial audio to be managed with unprecedented simplicity using equipment already in the venue and therefore not adding a premium cost to the project.
As Birch notes, the ability to control sound in three dimensions “is so clever, yet unbelievably simple.”

For an experimental project like Concrete Voids, the ease of use is paramount. TiMax panLab connects via OSC, MIDI, and Timecode, providing a fluid interface for artists. Birch’s integration of custom MIDI commands allows performers to interact with the space, intuitively moving sound elements freely and transforming their creative vision into reality without impeding their workflow.

The partnership between Birch and Higgott has been symbiotic. Birch’s demand for a true 3D visualisation of sound paths directly spurred the evolution of TiMax panLab from 2D to a fully immersive 3D environment. This upgrade has not only enhanced the project’s artistic dimension but also set a new benchmark for spatial audio control. As Birch candidly explains, even his nine-year-old son can now sketch what he hears – testament to the software’s intuitive design.

Concrete Voids with TiMax panLab is a masterclass in transforming challenging, unorthodox spaces into vibrant canvases of sound. It seamlessly merges innovation with simplicity, empowering artists and technicians alike to explore spatial audio in a way that is both technically robust and creatively liberating.

This project redefines how we perceive and interact with sound, making it a pioneer in the field of immersive audio design.
The use of space is inspired in its investigation and transformation of the usually overlooked architectural voids into active, dynamic components of the sound experience. By reimagining, repurposing and repositioning elements of the sound projection, the installation harnesses the natural acoustic properties of Queen Elizabeth Hall’s hidden spaces to create a fully diffused, three-dimensional sonic landscape that forces the listener to examine ‘what is immersive?’

The integration of TiMax panLab with live mixing consoles helped the project to achieve simple but powerful real-time, spatial audio control. The symbiotic partnership of Tony Birch and Dan Higgott exemplifies successful convergence of artistic vision and technological development. The requirements of the project propel the evolution of the product towards its 3D interface This precise manipulation of sound in 3D across multiple zones, by users of any capability, proved that complex audio environments can be managed intuitively and effectively.

The simplicity of panLab, which can be set up within five minutes and be controlled via OSC, MIDI, and Timecode, enables artists to interact directly with the spatial audio environment of ‘Concrete Voids’, offering unprecedented freedom to shape their soundscapes live as part of their performance.

The success of the collaborative project is directly linked to TiMax panLab working with pre-existing audio systems like the Yamaha QL5 console. Proof that cutting-edge immersive experiences can be achieved in many cases without overhauling legacy setups. This adaptability demonstrates a sustainable, practical model for future installations.
Concrete Voids pushes the boundaries of what immersive audio can achieve by reimagining space, leveraging advanced technology, and placing creative control in the hands of artists. It’s a visionary project that not only redefines acoustic potential but also sets a new standard for interactive sound design.