)
In 2004, while he was a parent here, Pete Townshend helped us set up the Rock Show and the Rock Studio with advice, contacts and support. Twenty one years later, our Rock Studio is in need of an upgrade, and thanks to the generosity of our donors and the Bedales community, construction is now well underway, under the guidance of acoustician Chris Walls.
A few minutes before we speak with Chris for this interview, the school falls silent for Remembrance Day. The haunting notes of 'The Last Post', played outside The Memorial Library - opposite the site of the new studio - are an emotional reminder of the power of music. It’s this profound human connection to sound that Chris brings to life in his work, and we are delighted to see his vision take shape here at the school, bringing world-class sound and creativity to our students.
Could you tell us a bit about your background, Chris?
I’m a failed musician, really! I started off with the bass guitar, but discovered I was better at maths and physics than I was at music. A careers counsellor at school mentioned the Music, Acoustics and Recording degree at the University of Salford which was the perfect marriage of my interests, and I went on to do a Master's in Audio Acoustics too.
I then wrote old-fashioned letters to studio design firms asking if I could hang around and learn. One of them, Munro Acoustics, happened to need someone, so I started as the tea boy and ended up staying for ten years, eventually with shares in the company. Then in 2014, I set up Level Acoustic Design to take things in my own direction. So I’m still involved in music, but in a 9-5, maths-based way.
What kind of clients do you work with?
A real mix, from artists such as Fred again.., Calvin Harris, Dua Lipa, Mark Ronson, Nile Rogers, The Edge and Noel Gallagher, to Abbey Road Studios, Spotify, Apple, Lucasfilm and Netflix.
What makes a really good studio?
The best ones have a clear, singular vision; whether that’s an incredibly comfortable and creative space, or the most sterile and technical studio. You can be anywhere on that spectrum, you just need that strong vision and for someone to see it through to the end.
At Bedales we’re aiming for a technically excellent space that is welcoming and creative. Everyone involved, from Richard Lushington the Bursar through to the external building contractors, is aligned to that, as we try to deliver the best thing that we possibly can for the students
What has been the main challenge in doing that?
The only real challenge has been the building itself! The old squash court where we’re building didn’t have the best foundations, which has meant we’ve had to divert funds to make it structurally sound.
There’s also the size of the studio. The smaller the room, the harder it is to make it sound good. For example, the lowest note you can hear is 20 Hertz and the wavelength at 20 Hertz is about 18 metres. So unless we have a space that's 18 metres long, you can't get a full cycle of 20 Hertz into the room. The control room in the new studio is only six metres by three and a half, so you can't actually fit a full wavelength of anything below about 50 Hertz in there, and 50 Hertz is something like a G Sharp on a bass.
So the sound in a small room at low frequencies gets very, very uneven. What you're looking for in a studio is a very even response and achieving that in a small room is really hard. You have to work so much harder in a small room than you do in a big one, so they tend to be proportionally more expensive.
That leads us nicely onto the next question!
What are the key cost drivers behind this project?
You’re essentially constructing three spaces in one. First, you need to block sound from getting in or out, which means building a fully isolated structure within the building. The studio you walk into isn’t attached to the building, it sits on springs, so sound vibrations don’t travel in or out.
Then you have to make it sound good inside: balanced, neutral, and accurate, which requires complex layers of materials to absorb and diffuse sound.
And because the room is sealed, it needs a specialised ventilation and cooling system that’s powerful yet silent. Studios always need cooling, even in very cold temperatures because all the equipment generates heat and the soundproofing traps it in.
You’ve also got to conceal all of this behind the scenes stuff, so that you have a calm and creative environment. Each step makes the next more challenging, so it’s a highly engineered, labour-intensive process.
Is there anything particularly unusual about this project?
It's unusual to have a studio of this quality in a school – or in industry, to be honest. We’re trying to achieve real elegance in the design. There is all this incredible technical stuff happening in the background, but it should look quite graceful and slick. It’s going to be a belter!
Why is this kind of project important for students?
Because it makes the science of sound real. Acoustics is full of equations, but when you can hear what they mean, that’s when the learning sticks. Being in the studio, experimenting, and listening critically, that’s how students start to understand both the art and the physics of sound.
What skills or mindset help young people who want to work in music or sound?
Don’t be too narrow. Be a chameleon. These days, one person might be the producer, engineer, and performer all at once. The more you understand every part of the process, from performing to mixing to acoustics, the more valuable you are. And listen critically. Think about what you’re hearing and why it sounds that way. Get as much practical experience of sound as you can - spend as much time as possible in your new rock studio!
Finally, what do you love most about your work?
Seeing the creativity that happens in the studios we’ve designed. I’ve got walls covered with albums that were recorded in our spaces. Hearing that sonic imprint on the album that we were in part responsible for, that's the bit I absolutely love.
If you share our passion for giving young people the best possible space to make music, we’d love your support. Click here to donate today, or contact Tanya Darlow, Director of Development, to discuss making a transformative gift.
)
)
)
)
)