The surround sound recording fills the senses and places you in the drama, amidst the characters, to the point that you feel Glamis Castle Security might escort you out the Royal Chambers. Director Carl Prekopp had the cast up on their feet, delivering the speech in context, as sound designers David Chilton and Lucinda Mason Brown positioned the microphones at the centre of the action. This perspective of distance is what binaural recording is famous for creating. We feel as though we are tucked into in a pub corner, listening to Ross (Peter Gardiner) deliver Macbeth the promotion, as in the background, the cast sing and dance to the fiddle (Alexander Ingram). The witches’ prophesy that Macbeth will be Thane of Cawdor, and eventually King of Scotland, initially comes as improbable news until, at a raucous tavern, he learns of his new title. “So foul and fair a day I have not seen,” says Macbeth, as unbeknown to him, he forecasts his own grim fate. Then, suddenly, a rustle of chainmail as two victorious generals, Macbeth (James Robinson) and Banquo (Tom Vanson), approach the witches on horseback. Tuning in to Part 1, we hear the three weird sisters utter their malevolent rhymes and chant haunting folk songs in chorus. Recorded at Glamis Castle where Shakespeare set his play, the podcast transports us to a bleak Scottish moorland a rich soundscape of shrieking crows and rumbling thunder. Tangible describes itself as producing audio you feel and its production of Shakespeare’s iconic tale of ambition and betrayal certainly stimulates the senses. When Producer Charlotte Melén founded the company in 2018 she named it just that - Almost Tangible, in an effort to describe the visceral way of experiencing 3D binaural technology. An immersive 3D audio company has brought the Scottish Play to our ears and the result makes listening to William Shakespeare’s bloody tragedy feel almost tangible.
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