Laurence Cliffe writes about how the design of analogue music equipment influenced the online interactive experiments in our Sonic Futures project.
Caro C writes about the development of a new online exhibit, Photophonic, and how the BBC Radiophonic Workshop provided inspiration.
Lucy Rose Cunningham writes about her experience of working on the Sound Postcards project.
Shi Blank explains the difference between reverb and echo, and how the latter is used in trip hop music to help create a hypnotic effect.
An exploration of the links between pop music, art and musician Nina Richards’ Echo Machine project, which is now available to everyone as an interactive online experiment.
What do Queen, Depeche Mode and The Police have in common with Miles Davis and the soundtrack of The Terminator? The answer is in this playlist dedicated to one of the most iconic objects in our Sound Technologies collection: the Oberheim synthesizer.
A collaborative sound map, launched during the #SonicFriday project, collects lockdown sounds from the UK and beyond and shows how people have reacted to them. And it’s still open to new contributions—read on and discover how to join in!
An example of the Fairlight CMI, a groundbreaking synthesizer, is part of our Sound Technologies collection. Discover its history and influence on pop music through this video playlist.
Join the #SonicFriday campaign! Every Friday we will be collecting memories and stories related to music, sound and sound technologies—from your favourite soundscape to your first CD!
Following our Gallery Listening Sessions, Dr Jonathan Stafford writes about some different approaches to mapping sound.
Claire writes about stepping into antiquity via Professor Rupert Till’s sound archaeology presentation as part of Widescreen Weekend.
How do museums share sound technologies with their visitors? Edward Wilson-Stephens talks about creating a unique DJ set.