We have collated the questions submitted to the Scapa Flow Museum audio tender – and their responses – here.
Is there a duration in mind for each of the 50 full length online podcasts?
This is totally flexible and would depend on the content of each one. Some may be really quite short, others longer – this is something that could be discussed as the project develops. There is no set episode length. This can be shaped creatively in response to the material gathered and the needs of the project.
How many podcast episodes are you expecting to be produced within the budget? The RFP document suggests 40-50 stories for the museum, are you looking for these to be revisioned into podcasts?
The figure of 40–50 stories in the RFP is an aspiration rather than a fixed requirement, and part of the project’s development will involve determining the most effective way to deliver that content within the available budget. The deliverables listed in the RFP are intended to give a sense of scale rather than prescribe exact quantities. The final mix of museum clips, podcast episodes, and scheduled releases will be shaped collaboratively once the project begins, ensuring the outputs are achievable within the budget and aligned with the museum’s own goals.
Where appropriate, some of the museum stories may be adapted into longer podcast episodes, but we also anticipate that additional, related stories may emerge that complement the museum content rather than directly repeat it. The intention is that the podcasts and the museum clips work in harmony, not necessarily as one‑to‑one revisions of each other.
Podcast episodes do not all need to be long pieces; some may be quite short depending on the material. The final number and length of episodes will depend on how the successful applicant interprets the brief and how they feel the aims of the project are best met.
For the existing archive and new recordings – is that to be researched by the supplier? Is this largely being done by museum staff?
The existing archive and new recordings would be researched by the supplier, but with input where necessary from museum staff.
What role you envisage the museum staff will be taking? The document mentions finding local voices and introducing podcasts, will they also be finding and researching relevant content from the archive?
Museum staff will support the project by advising on themes, suggesting relevant local voices and helping to set up that community participation. We know our community well and can guide you toward contributors who would be a strong fit.
The responsibility for researching, shaping, and producing the content sits with the appointed team, with the museum providing guidance to ensure alignment with our aims and interpretive framework. Archive research will be led by the client, with our support where needed.
Will we have access to the museum’s archives? What exactly will we have access to?
The archives are a separate department and not part of the museum’s day‑to‑day operations. Any material needed from the archives would require liaison with the archivists, who are aware of the project. They hold paper records, photographs and sound collections. Material with existing permissions will be prioritised; anything requiring new permissions may be considered on a case‑by‑case basis.
Are they Primarily focused on WWI and WWII stories? Or can it take a wider focus on the Orkney Islands?
The museum’s focus is wartime Orkney, and the audio should support the stories connected to the objects on display. There is limited scope to explore wider Orkney themes where they have a clear wartime connection (e.g. salvage, naval infrastructure, local industries linked to the base).
Should the stories for the museum exhibits differ from those in the podcasts?
The in‑gallery audio will be short and designed for quick listening. Podcasts can draw from the same interviews or stories but may explore them in more depth. We also expect there will be additional podcast stories that complement, rather than duplicate, the themes represented in the museum.
Re the local voices – are those people to be connected to the stories and do you have those people in mind? If voiced by local people, does the museum have people in mind to read?
The local voices would ideally be people connected to the stories but we appreciate that not all family members would want the responsibility of this or have the confidence to do it. In those instances, we’d be looking for Orcadian voices to “act” (for example, the reading of letters or diary entries)
For training in audio recording – does the museum have equipment?
Yes
Are you looking to suppliers to provide BOTH audio content AND the physical audio listening stations from within the £13k budget?
Yes, both the content and the physical stations need to be funded from the project budget. If it became clear during development that a different allocation of the budget would deliver a significantly better outcome, we would be open to discussing that. The brief sets out what we hope to achieve, but we recognise that designers may propose alternative approaches that maximise the content without requiring the same number of units. Due to the layout of the museum, we expect to have at least three stations. The stories explored in the galleries are strengthened by the audio interpretation, and having too few stations would leave the experience feeling sparse.
The hardware allocation of £4,000 – is this intended to cover the Blackbox AV audio frames (point 2.11)? Or is it to cover the podcast platform and any hardware needed for recording and editing?
It’s to cover the Blackbox AV audio frames.
Hardware and software requirements – how long would you like the playout hardware to remain in situ, could we look at hired versus bought technology for the duration of the project? Is this an investment the museum would like to make in perpetuity for use in future projects?
The audio installation is intended to stay in the gallery for as long as the supporting technology remains in place. While the content could be updated over time, it is planned as a permanent interactive. As there is no gallery budget, this project is the only opportunity to purchase the required equipment, and we would not be able to sustain any future rental costs.
With regards the hardware setup, do you have any preferences to the format for this i.e. handset vs headphones? And where will the units be housed i.e. on a plinth or wall. If a plinth do you need this supplied too?
The price that was put into the brief was based on units that we have researched and felt were the most appropriate for our gallery spaces. Understanding the challenges of our historic building means that not every piece of equipment will work.
The community element – is that for a content creation event/s or is it for a celebration or launch event?
We are open to ideas, but mainly for the content creation and to try and tease out new stories and information to capture for archiving (before it’s too late!) – but how the community participate is open to creativity.
Could the job be undertaken remotely?
The successful applicant would need to spend time on the islands because the archival material is only available locally and must be consulted in person, with permissions requested for use. Creating the project’s new soundbites also requires on‑island work, as they depend on recording local voices reflecting on the islands’ wartime history.
What is the expectation for our team to be on-site for interviews? Would fully remote interviews suffice?
Accessing the archives requires on‑site work, as the collections are physical. Remote interviews may be possible in some cases, but many community contributors may not have the technology or confidence to participate remotely, so in‑person interviewing is likely to be more effective.
Would it be envisaged that staff will record people in situ, say their homes, or mainly at museum premises?
It will entirely depend on each local individual that collaborates with the project. For many of the key voices, they may not be near a museum premises, in which case it might be expected that you’d visit them for the recordings, whereas others will be absolutely fine and even prefer coming to the museum. We will need to be flexible in the name of getting the best material.
In terms of the content being delivered for the walk through, would they like us to manufacture stories that are historical fiction, can we dramatise the stories?
The project should remain grounded in fact. There may be occasions where small narrative gaps can be sensitively interpreted, depending on the quality and completeness of the source material, but the overall approach should lean strongly toward factual storytelling.
I am currently based in overseas, but I come back to Scotland and other parts of the UK on a regular basis. Am I still eligible to apply or does my business need to be registered in the UK?
There is no requirement for the production partner to be a UK resident/registered company. It would be useful if you could indicate in your application how you would handle the practical requirements of delivering the project effectively from your base, particularly the need to visit Orkney for the community elements and installation at the museum. Any travel and associated costs for these site visits should be included within your budget.
When delivery of the project is complete, will staff continue recording local stores in the future?
The aspiration is that this project would act as a catalyst for future work with audio and perhaps encourage more people to come forward with stories and accounts, and that this would be something we’d be able to continue with digitally.
Once the podcast format is established, (and we understand how it works!) we hope to continue to use it for this purpose and even spread it across the whole museum service, focussing on different periods of Orkney’s history in different ways.
Is there any scope for an extension to the submission deadline?
No, in the interest of fairness to the other applicants.
The RFP mentions the requirement for ‘appropriate insurance cover’ – could you confirm which insurance policies (and cover limits) suppliers are expected to hold?
Could an individual apply who isn’t already part of an existing collaborative team?
Yes, but only if you are able to source the collaborator as we wouldn’t be able to match you to one.
Please could you expand upon the ‘approach to rural project management’ evaluation criteria?
We want to ensure that applicants understood that developing projects on small islands has its challenges, and that managing these challenges is part of creating a successful project.
Can we discuss the brief in general with you?
The brief is very clear on what we’re hoping to achieve, the rest is down to creative interpretation. Specific questions can be addressed however.
To apply, please submit your RFP in accordance with the brief by emailing [email protected] with the subject line “RFP: Voices From Scapa Flow” by Wednesday 4 March, 5pm
Scapa Flow tender