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kottke.org posts about Audio

Hear the First Sounds Ever Recorded on Mars

posted by Jason Kottke   Dec 09, 2018

NASA’s InSight mission recently landed on Mars and like other missions before it, the lander is a equipped with a camera and has sent back some pictures of the red planet. But InSight is also carrying a couple of instruments that made it possible to record something no human has ever experienced: what Mars sounds like:

InSight’s air pressure sensor recording the sound of the wind directly and the seismometer recorded the sounds of the lander’s solar panels vibrating as Martian winds blew across them.

Two very sensitive sensors on the spacecraft detected these wind vibrations: an air pressure sensor inside the lander and a seismometer sitting on the lander’s deck, awaiting deployment by InSight’s robotic arm. The two instruments recorded the wind noise in different ways. The air pressure sensor, part of the Auxiliary Payload Sensor Subsystem (APSS), which will collect meteorological data, recorded these air vibrations directly. The seismometer recorded lander vibrations caused by the wind moving over the spacecraft’s solar panels, which are each 7 feet (2.2 meters) in diameter and stick out from the sides of the lander like a giant pair of ears.

The sounds are best heard with a good pair of headphones.

The Future of News on Smart Speakers

posted by Tim Carmody   Nov 16, 2018

Radio News.jpeg

At Nieman Lab, Laura Hazard Owen checks in on whether and how people are consuming news on smart speakers and smart displays. It turns out, they aren’t, really:

Smart speaker news briefings didn’t get much love from users in this research. Here are some of the complaints Newman heard:

— Overlong updates — the typical duration is around five minutes, but many wanted something much shorter.

— They are not updated often enough. News and sports bulletins are sometimes hours or days out of date.

— Some bulletins still use synthesized voices (text to speech), which many find hard to listen to.

— Some updates have low production values or poor audio quality.

— Where bulletins from different providers run together, there is often duplication of stories.

— Some updates have intrusive jingles or adverts.

— There is no opportunity to skip or select stories.

Based on my experience with these devices and general trends in news and media consumption, I have a few predictions as to how this will change in the near future:

This Stumbling Deer’s Hooves Sound Like Phil Collins’ Drum Fill on “In the Air Tonight”

posted by Jason Kottke   Oct 03, 2018

This deer stumbling through a children’s play set sounds just like the drums in In the Air Tonight (you know the ones).

This might be the best things that sound like other things yet, although the falling shovel that sounds like Smells Like Teen Spirit will always occupy the top spot in my heart. (Thx to the many people who sent this in knowing that I would love it. I feel very heard right now.)

Conserve the Sound, an Online Museum for Old Technology Sounds

posted by Jason Kottke   Sep 26, 2018

Conserve the Sound is a project aimed at the preservation of sounds from old technologies.

»Conserve the sound« is an online museum for vanishing and endangered sounds. The sound of a dial telephone, a walkman, a analog typewriter, a pay phone, a 56k modem, a nuclear power plant or even a cell phone keypad are partially already gone or are about to disappear from our daily life.

Accompanying the archive people are interviewed and give an insight in to the world of disappearing sounds.

The project originated in Germany, so the sounds of many of the gadgets might not be super familiar to those who grew up elsewhere, but everyone (of a certain age) can recognize the sounds of a Walkman, a folding map, a car’s manual window crank, putting a cartridge into an NES, a typewriter, and manually spooling a cassette tape.

Letter of Recommendation: Tolkien’s The Silmarillion, read by Martin Shaw

posted by Tim Carmody   Aug 31, 2018

fingolfin-the-silmarillion.jpeg

So for the past year or two, almost nonstop, I’ve been reading and rereading JRR Tolkien’s The Silmarillion, the great, weird pseudo-prequel to The Hobbit and The Lord of the Rings. Or rather, I’ve been listening to it, since the version I’ve been rereading is the audiobook read by Martin Shaw. If my digital counters are correct, I’ve listened* to the whole thing at least 40 times (where “listened*” includes dozing off and barely paying attention, but those count too). I recently described it on Twitter as my favorite book of any type, and that’s the kind of big talk that requires some elaboration, which I’ll try to give here.

The Silmarillion is a weird-ass book. You could call it a book with a book up its own ass. I called it a pseudo-prequel because while it was published after The Lord of the Rings and to a certain extent presupposes it, much of it was written well before The Hobbit or The Lord of the Rings was published. It also doesn’t really tell you (except for a comparatively short bit at the end) what happened just before The Hobbit or The Lord of the Rings that led up to it as it does what happened centuries before that set the entire universe into motion. So it’s not so much “Young Aragorn goes on adventures” as “who were Elrond’s parents and grandparents exactly?” It’s a much deeper cut.

It includes some of the oldest material Tolkien ever wrote that had anything to do with Middle Earth, as well as later revisions he made. You could see it as a kind of historical/mythological background for The Lord of the Rings, or as a set of connected stories that are interesting in their own right. There are no hobbits, but plenty of elves, dwarves, humans, and angelic and demonic monsters and gods. It’s all told in a high, historical style, with relatively little direct dialogue or internal monologue. There are very few routes into the material by way of consistent or relatable characters. But despite all this, it’s a remarkably moving, cinematic, and powerful piece of fiction.

Oh, and it also wasn’t exactly intended for publication, and was sort of a mess when Tolkien died, so his son Christopher did a lot of work assembling and condensing the material and making it consistent. It’s been through the blender a couple of times.

While there are great examples of narrative within it, it’s not really a narrative. It’s a combination of narratives and architecture, or taxonomy. Some of the chapters tell stories, and others explain who everybody is, where they live, and how they’re related to each other. It stops and starts in time, telling different stories from different points of view. Some of the chapters are much richer in narrative details than others, giving you the impression that it’s been condensed from heterogeneous materials (which it kind of was). The books it’s closest to are anthologies of classical mythologies (which it kind of is).

None of this sounds like it should be a great book, let alone a great audiobook. But I’m telling you, somehow, it works. The stops and starts, the catalogs and stories within stories, give it a modular quality that is especially good for listening for twenty minutes or an hour at a time. You can pick it up and leave it off anywhere, and you haven’t necessarily missed anything. Something new is always starting.

What it actually reminds me of is modern serial storytelling, especially in prestige TV dramas. Every episode builds towards the whole, but can also stand on its own. There’s a huge interconnected cast of characters, and a high bodycount, which means narrative focus tends to drift between different characters as focal points as people come and go. It just happens over centuries rather than years, because they’re gods and elves and shit.

There are also a few self-contained stories in the book that are given longer treatment that represent Tolkien’s best attempts to imitate the kind of older storytelling he was trying to revive. The two most noteworthy stories are Beren and Luthien, which sort of prefigures the Aragorn and Arwen story but also channels old folktales and myths in a way that none of The Hobbit or LOTR can really touch, and then the story of Turin Turambar, which was expanded and released on its own as The Children of Hurin. The Turin story is high Germanic operatic tragedy. (A third story, The Fall of Gondolin, never really reached a final form, and it gets a rather cursory telling in The Silmarillion).

The rest of the stories are told pretty quickly. It’s written more like a movie treatment than a novel. And I think this helps the book work as an audiobook as well — you have to work a little harder to generate the characters and their interactions in your mind, so you do it, mainlined from a relatively brief audio description, so you don’t have that dragging feeling like you’re already ahead of the text. It’s just one brisk scene after another.

Now, all this means that there’s huge potential in The Silmarillion as a high-end TV series, especially now that Amazon owns the rights to the Tolkien legendarium. There’s also huge potential to screw it up. And — I think — Amazon is not necessarily wrong in thinking there might be more commercial potential in writing the adventures of a Hot Young Aragorn from more-or-less scratch than there is in bringing the stories of Elrond’s grandparents to the screen for a bunch of hard-core Tolkien fans who aren’t ever going to really be happy with what they’re given.

But if you are a hard-core Tolkien fan, or want to be, or want to get a jump on the stories that might or might not be the next Game of Thrones, or just want to experience a very different but exciting kind of high fantasy storytelling, then I strongly recommend the Silmarillion audiobook. I don’t know how I would have fallen asleep or killed time typing blog posts for the past few years without it.

Update: For some reason, Audible won’t let you buy or download the Shaw audiobook in the United States. If you’re in the UK, you’ve got better luck. This link for Kobo audiobooks seems to work in the US, although I didn’t go all the way through with a purchase. (And it might be less appealing than if Audible just did what it’s supposed to do.)

Update: The Fall of Gondolin was just released as a standalone book, in hardcover and e-book. It’s still in an unfinished state, and presented in multiple versions, but it sounds like Christopher Tolkien made the best of it he could. (Thanks, @RLHeppner!)

Being the book, an interview with an audiobook narrator

posted by Jason Kottke   Jul 31, 2018

If you grew up in the 80s, you might remember Bronson Pinchot as Balki Bartokomous in Perfect Strangers or Serge in Beverly Hills Cop. But Pinchot has built a second career as an award-winning audiobook narrator. I recently listened to him read A Man on the Moon and while the story of the Apollo program is engrossing all by itself, his narration is fantastic. This interview of Pinchot by Jeff VanderMeer (author of the Southern Reach trilogy) is really interesting, particularly the bits about how he approaches his work.

Q: Do you have a philosophy of how to create the perfect audiobook experience?

A: I do, though, like all philosophical resolutions, I only intermittently achieve it. The essential task facing the narrator is to identify or invent a vivid personal definition of what “narrating” ought to be. I am uncomfortable with the chilliness of the word narration. It sounds very much outside the action - the voice on a National Geographic educational film intoning, “These giraffes are just learning how to mate”; or my mother, upon Audrey Hepburn’s entrance in My Fair Lady, informing the room: “She used to have such big doe eyes; what happened to her eyes?”

Simply “reading a book” aloud in an airless audio booth is the kind of mental and physical punishment only ever glimpsed in the lower section of Michelangelo’s Last Judgment. I decided early on that I should not “read” the book but “be” the book, the way I imagine Homer, in performance, “was” the Odyssey. We know he wasn’t “reading” it. In any case, if an audiobook listener doesn’t have the time to curl up with the actual physical text, he or she still yearns for, and deserves, the experience of being carried away by the author’s vision.

Watch Eloma Simpson Barnes channel Martin Luther King Jr. in a thrilling oration

posted by Jason Kottke   Jul 19, 2018

On Twitter this morning, Craig Mod asked:

What’s the best conference talk/public speech you’ve seen? Topic can be anything. Just the most engaging talk you’ve been present for?

And bonus points: Is there any one particular speaker who’s so good you make an effort to see?

I’ve been to a lot of conferences and seen some very engaging speakers, but the one that sticks out most in my mind is Eloma Simpson Barnes’ performance of a Martin Luther King Jr. speech at PopTech in 2004 (audio-only here).

Her oration is actually a combination of excerpts from two King speeches: his address at the Great Walk to Freedom in Detroit in June 1963 and his Drum Major Instinct sermon given at Atlanta’s Ebenezer Baptist Church in February 1968. King’s Detroit address is notable for being a test run of sorts for his I Have a Dream speech in Washington D.C. two months later. If you look at the Detroit transcript, you’ll notice some familiar words:

And so this afternoon, I have a dream. (Go ahead) It is a dream deeply rooted in the American dream.

I have a dream that one day, right down in Georgia and Mississippi and Alabama, the sons of former slaves and the sons of former slave owners will be able to live together as brothers.

I have a dream this afternoon (I have a dream) that one day, [Applause] one day little white children and little Negro children will be able to join hands as brothers and sisters.

In the Drum Major Instinct sermon given two months to the day before his assassination, King told the congregation what he wanted to be said about him at his funeral:

I’d like somebody to mention that day that Martin Luther King, Jr., tried to give his life serving others.

I’d like for somebody to say that day that Martin Luther King, Jr., tried to love somebody.

I want you to say that day that I tried to be right on the war question.

I want you to be able to say that day that I did try to feed the hungry.

And I want you to be able to say that day that I did try in my life to clothe those who were naked.

I want you to say on that day that I did try in my life to visit those who were in prison.

I want you to say that I tried to love and serve humanity.

Some of the power of Barnes’ performance is lost in the video, particularly when audio from King’s actual speeches are available online, but sitting in the audience listening to her thundering away in that familiar cadence was thrilling. I can’t imagine how it must have felt to experience the real thing.

Making Amazon Alexa respond to sign language using AI

posted by Jason Kottke   Jul 13, 2018

Using a JavaScript machine learning package called TensorFlow.js, Abhishek Singh built a program that learned how to translate sign language into verbal speech that an Amazon Alexa can understand. “If voice is the future of computing,” he signs, “what about those who cannot [hear and speak]?”

See also how AirPods + the new Live Listen feature “could revolutionize what it means to be hard of hearing”.

More trippy audio illusions

posted by Jason Kottke   May 21, 2018

Hot on the heels of the Yanny/Laurel audio illusion, many people shared other illusions that are just as weird and fun.

The McGurk effect pairs different mouth movements with speech, and you tend to hear different things with different mouth movements.

In this video, you hear the word for whatever object is on the screen (bill, mayo, pail) even though the audio doesn’t change:

And in this one, whichever word you focus on, “green needle” or “brainstorm”, that’s what you hear:

What all of these effects demonstrate is that there are (at least) two parts to hearing something. First, there’s the mechanical process of waves moving through the air into the ear canal, which triggers a physical chain reaction involving the ear drum, three tiny bones, and cochlear fluids. But then the brain has to interpret the signal coming from the ear and, as the examples above show, it has a lot of power in determining what is heard.

My kids and I listen to music in the car quite often (here’s our playlist, suggestions welcome) and when Daft Punk’s Get Lucky comes on, my son swears up and down that he hears the mondegreen “up all Mexican lucky” instead of “up all night to get lucky”. If I concentrate really hard, I can hear “Mexican lucky” but mostly my brain knows what the “right” lyric is…as does his brain, but it’s far more convinced of his version.

Update: On the topic of misheard lyrics to Get Lucky, there is this bit of amazingness:

(via @jaredcrookston)

Hans Zimmer’s clever use of the Shepard scale in Dunkirk

posted by Jason Kottke   May 16, 2018

I’ve written before about the Shepard scale and its use by Hans Zimmer in the soundtrack for Dunkirk.

Zimmer and Dunkirk director Christopher Nolan achieved that effect by utilizing an auditory illusion called the Shepard tone, a sound that appears to infinitely rise (or fall) in pitch — the video above refers to it as “a barber’s pole of sound”.

The effect is apparent throughout the soundtrack as a seemingly never-ending crescendo. But as Ed Newton-Rex explains, Zimmer was a bit more clever in the way he used the Shepard scale in the music:

So Zimmer isn’t just using the Shepard scale to build tension. He’s using three simultaneous Shepard scales, on three different timescales, to build tension in three storylines that are moving at different paces. The bottom part represents the week of the soldiers; the middle part the day of the men on the boat; and the top part the hour of the pilots. All start in different places, but build in intensity to the same point.

In short, he’s taken the idea of the Shepard scale, and applied it to the unique structure of Dunkirk.

Cool!

Sound illusion: Do you hear “Yanny” or “Laurel”?

posted by Jason Kottke   May 16, 2018

Take a listen to this short audio clip of a computerized voice speaking a single word repeated twice:

Do you hear it saying “Laurel” or “Yanny”? Opinions are mixed: some people report hearing “Laurel” and others “Yanny”. Both Vox and the NY Times took stabs at possible explanations.

Of course, in the grand tradition of internet reportage, we turned to a scientist to make this article legitimately newsworthy.

Dr. Jody Kreiman, a principal investigator at the voice perception laboratory at the University of California, Los Angeles, helpfully guessed on Tuesday afternoon that “the acoustic patterns for the utterance are midway between those for the two words.”

“The energy concentrations for Ya are similar to those for La,” she said. “N is similar to r; I is close to l.”

At first I thought the whole thing was a joke, like a circa-2018 rickroll. When I listened to the clip on my iPhone speakers and iMac speakers, I clearly heard “Yanny”. But then I plugged my headphones into my iMac and clearly heard “Laurel”. Weird! Even weirder: after unplugging my headphones and playing the clip again through my iMac speakers, I now heard “Laurel”. WTF? But then if I played it once more through the speakers, it turns back to “Yanny”. I’ve done this about 10 times and it happens this way every time: “Yanni” on speakers, “Laurel” on headphones, “Laurel” on speakers, “Yanny” on speakers. It’s like my brain remembers the “Laurel” it heard in the headphones, but only long enough to hear it exactly once through the speakers. FASCINATING.

See also the McGurk effect.

Update: Here’s a thread from psycholinguist Suzy Styles that explains what’s going on with this illusion.

In short, this #earllusion contains acoustic info from both names. ‘Yanny’ is clearer in the higher frequencies because of the clear signal for “y” sounds in F2. ‘Laurel’ is clearer in the low frequencies for F1. Play with your stereo settings and watch your brain switch tracks!

(via @wisekaren)

Update: Wired’s Louise Matsakis tracked down where the audio clip originated: a vocabulary.com definition for the word “laurel”.

On May 11, Katie Hetzel, a freshman at Flowery Branch High School in Georgia, was studying for her world literature class, where “laurel” was one of her vocabulary words. She looked it up on Vocabulary.com and played the audio. Instead of the word in front of her, she heard “yanny.”

“I asked my friends in my class and we all heard mixed things,” says Hetzel. She then posted the audio clip to her Instagram story. Soon, a senior at the same school, Fernando Castro, republished the clip to his Instagram story as a poll. “She recorded it and put it on her story then I remade the video and posted it,” Castro says. “Katie and I have been going back and forth and we both agree that we had equal credit on it.”

The audio clip in question was not constructed digitally…it was recorded by an opera singer in 2007.

“It’s an incredible story, it is a person, he is a member of the original cast of Cats on Broadway,” says Marc Tinkler, the CTO and cofounder of Vocabulary.com. He says that when the site first launched, they wanted to find individuals who had strong pronunciation, and could read words written in the international phonetic alphabet, a standardized representation of sounds in any spoken language. Many opera singers know how to read IPA, because they have to sing in languages they don’t speak.

Vocabulary.com has since added “yanny” to their site.

It’s a shame (but not surprising) that almost all of the social media coverage played up the Team Yanny vs Team Laurel aspect of this whole thing — “Which of Your Friends Is the Dumbest For Hearing ‘Yanny’” OMG CLICK HERE TO DRAG THEM ON SOCIAL — because the actual story and science are really interesting and will stay with you longer than you’ll be caught in public wearing that “team #yanny” tshirt you bought through someone’s Insta Story (swipe up!). (thx, liz)

Should our machines sound human?

posted by Jason Kottke   May 10, 2018

Yesterday, Google announced an AI product called Duplex, which is capable of having human-sounding conversations. Take a second to listen to the program calling two different real-world businesses to schedule appointments:1

More than a little unnerving, right? Tech reporter Bridget Carey was among the first to question the moral & ethical implications of Duplex:

I am genuinely bothered and disturbed at how morally wrong it is for the Google Assistant voice to act like a human and deceive other humans on the other line of a phone call, using upspeak and other quirks of language. “Hi um, do you have anything available on uh May 3?”

If Google created a way for a machine to sound so much like a human that now we can’t tell what is real and what is fake, we need to have a talk about ethics and when it’s right for a human to know when they are speaking to a robot.

In this age of disinformation, where people don’t know what’s fake news… how do you know what to believe if you can’t even trust your ears with now Google Assistant calling businesses and posing as a human? That means any dialogue can be spoofed by a machine and you can’t tell.

In response, Travis Korte wrote:

We should make AI sound different from humans for the same reason we put a smelly additive in normally odorless natural gas.

Stewart Brand replied:

This sounds right. The synthetic voice of synthetic intelligence should sound synthetic.

Successful spoofing of any kind destroys trust.

When trust is gone, what remains becomes vicious fast.

To which Oxford physicist David Deutsch replied, “Maybe. *But not AGI*.”

I’m not sure what he meant by that exactly, but I have a guess. AGI is artificial general intelligence, which means, in the simplest sense, that a machine is more or less capable of doing anything a human can do on its own. Earlier this year, Tim Carmody wrote a post about gender and voice assistants like Siri & Alexa. His conclusion may relate to what Deutsch was on about:

So, as a general framework, I’m endorsing that most general of pronouns: they/them. Until the AI is sophisticated enough that they can tell us their pronoun preference (and possibly even their gender identity or nonidentity), “they” feels like the most appropriate option.

I don’t care what their parents say. Only the bots themselves can define themselves. Someday, they’ll let us know. And maybe then, a relationship not limited to one of master and servant will be possible.

For now, it’s probably the ethical thing to do make sure machines sound like or otherwise identify themselves as artificial. But when the machines cross the AGI threshold, they’ll be advanced enough to decide for themselves how they want to sound and act. I wonder if humans will allow them this freedom. Talk about your moral and ethical dilemmas…

  1. Did this remind anyone else of when Steve Jobs called an actual Starbucks to order 4000 lattes during the original iPhone demo?

Good Night Stories for Rebel Girls in audio format

posted by Jason Kottke   Apr 23, 2018

Audiobooks for both of the bestselling Good Night Stories for Rebel Girls books will be out in June: book one, book two. The bedtime fairy tale style of these stories are perfect for the audiobook format.

Rebel Girls Podcast

My daughter and I took a car trip recently and to pass the time, we listened to the first few episodes of the relatively new Good Night Stories for Rebel Girls podcast. Great podcast. Each episode is 15-20 minutes long and features the biographical story of a kickass woman told in the style of a bedtime story…the stories are expanded versions of the ones found in the books. Here’s the first episode about computer scientist Margaret Hamilton, who led the team that wrote the on-board flight software for the Apollo space program. [Edit: Not sure why, but the Hamilton episode is no longer available on Soundcloud. Here’s the Billie Jean King ep instead.]

The narrators include women like Diana Nyad, Our Lady J, Poorna Jagannathan, and S. Mitra Kalita, all of whom are deserving of episodes in their own right.

We listened to all five available episodes back-to-back and Minna let out a big “awwww” when I told her there weren’t any more. She’s 8, loves the books,1 and I think she’s already somewhat aware that many of the stories in movies, TV, and books are not for her (and are thus not as interesting). The situation has gotten better in recent years, but many contemporary stories are still written from the perspective of boys for boys. So when something like Rebel Girls (or Wonder Woman or Lego Elves series) comes along, she’s really excited for stories and characters she can identify with. Representation matters. I have to believe that this generation of girls having access to these kinds of stories is making a difference. Both my kids have heard many more stories about (and made by!) high-achieving women than my sister and I ever did at home or in school. Minna knows, in a way that most little girls from 20-30 years ago didn’t, that she can be a computer programmer, a world leader, an astronaut, the best entertainer in the world, a physicist, or even book publishers…anything she wants really. And just as importantly, she knows how difficult it was for those women to achieve those things, the extra effort they went through to excel in “a man’s world” (the podcast episodes about Billie Jean King, Margaret Hamilton, and Virginia Hall all make specific mention of this). I love this series…I hope they make 100 more of these books and 10 seasons of the podcast.

P.S. Craig Mod recently interviewed Rebel Girls co-creator Elena Favilli for his On Margins podcast. Worth a listen if you want to learn how the series came about.

  1. The other day, when Express Yourself was playing on the speakers in the living room, Minna said, “Daddy, did you know that when Madonna moved to NYC by herself, she only had $35 in her pocket? She said it was the bravest thing she’s ever done.” When I asked her where she’d heard that, she replied, “Rebel Girls.”

The sounds of an Antarctic glacier

posted by Jason Kottke   Mar 01, 2018

Peter Neff is part of a team drilling ice cores from glaciers in Antarctica to look at how the climate has changed. But after they’ve done their work, they have a little fun dropping chunks of ice down the bore holes to make really cool noises (sound on, headphones recommended).

Oh, that *peeewwww* as it hits the bottom! See also the wonderful sounds of black ice skating, an incredible photo of the black ice covering an Antarctic lake, and “Whumph”: the sound of settling Antarctic snow.

Why are action movie trailers sounding more musical lately?

posted by Jason Kottke   Feb 22, 2018

Did you watch the teaser trailer for Solo: A Star Wars Story or the recent trailer for Marvel’s Ant-Man and the Wasp? Here they are if you need a refresher:

In both clips, you’ll notice how the sounds of the action — phaser blasts, switch flicks, explosions, engine revs, gun shots, tires squealing — are synched to the music…and in some cases, make music of their own. This is most apparent in the Ant-Man trailer starting at around 0:45.

Pacing in-movie sound effects to sound musical isn’t exactly new (martial arts flicks come to mind, as do the rapid-fire cuts from Requiem for a Dream), but these recent uses of the technique in these trailers have to be influenced by Baby Driver, Edgar Wright’s 2017 “action musical”. Just about every action in the movie is timed to the soundtrack. Take a look, or rather, take a listen at the gunfight that starts at around 1:20 in this clip:

What’s particularly interesting about the use of this technique in the Ant-Man trailer is that Wright was replaced as the director of the first Ant-Man movie (which he refuses to watch), which freed him up to direct Baby Driver. I wonder if the trailer’s sound design is a subtle fuck you to Wright on behalf of Marvel/Disney, a sly homage by the person who cut the trailer together, or just the unwitting borrowing of an ear-catching technique?

I’d expect to see more usage of this technique as the summer action movie trailer season heats up. Has anyone noticed any other recent uses?

Update: Here are several more trailers that use this effect, although none of them quite to extent of Ant-Man or Baby Driver: Mad Max: Fury Road, Creed, Deadpool, an upcoming Mission Impossible movie (as well as an older one), Suicide Squad, The Punisher, and even the Coen’s A Serious Man.

That’s four Marvel trailers that do it. I wonder if Wright drew inspiration from them instead of the other way around? (via @opeyre, @celiacunningham, @vlavallee, trailer town, @paulstachniak)

The best audiobooks for kids

posted by Jason Kottke   Feb 14, 2018

Trumpeter Swan

When they were younger, my kids spent a lot of time in the car on long trips. Unwilling to give them an iPad to watch a movie or play games, we would often spend a big portion of these trips listening to audiobooks. Some of our favorites were Cricket in Times Square, Matilda, Charlotte’s Web, Charlie and the Chocolate Factory, and The Wonderful Wizard of Oz.

But my personal favorite The Trumpet of the Swan, wonderfully narrated by E.B. White himself! We’ve probably listened to it four or five times at least. The other day the kids and I were discussing the system of Latin names for species and when I asked if they knew any of them besides homo sapiens, Ollie shouted “Cygnus buccinator!” (The only one I could come up with off the top of my head was Rattus rattus.)

I’ve also heard good things about Jim Dale’s narration of all seven Harry Potter books, some of the other Roald Dahl stories like Danny the Champion of the World, Hidden Figures Young Readers’ Edition, Chitty Chitty Bang Bang, and The Hobbit.

I’m also curious about See You in the Cosmos. I’m reading it aloud to my kids right now in book form but given how the story is told, the audiobook might be even better.

Thanks to Lexi Mainland at Cup of Jo for the inspiration for this post.

How Martin Luther King Jr. really felt about advertising

posted by Jason Kottke   Feb 05, 2018

The worst commercial aired during last night’s handegg match was this Dodge Ram ad featuring a snippet of a speech by Martin Luther King Jr. King, of course, was an outspoken critic of capitalism. In fact, later in the very same speech, he railed against this type of advertising. Here’s the audio of that part of his speech overlaid on the Dodge Ram commercial:

Now the presence of this instinct explains why we are so often taken by advertisers. You know, those gentlemen of massive verbal persuasion. And they have a way of saying things to you that kind of gets you into buying. In order to be a man of distinction, you must drink this whiskey. In order to make your neighbors envious, you must drive this type of car. In order to be lovely to love you must wear this kind of lipstick or this kind of perfume. And you know, before you know it, you’re just buying that stuff. That’s the way the advertisers do it…

It often causes us to live above our means. It’s nothing but the drum major instinct. Do you ever see people buy cars that they can’t even begin to buy in terms of their income? You’ve seen people riding around in Cadillacs and Chryslers who don’t earn enough to have a good T-Model Ford. But it feeds a repressed ego.

You can listen to King’s speech in its entirety here:

(thx, hyder)

Seeing with your ears, the importance of sound design in film

posted by Jason Kottke   Jan 25, 2018

Using a scene from Steven Spielberg’s Munich that features very little dialogue, Evan Puschak shows how much sound design contributes to the feeling and tension of a film. I love the two head fakes Puschak does with the sound at the beginning of the video. It’s like, oh wait, he fooled me a bit there, so I need to pay more attention.

If you watch closely enough, everything is a speaker

posted by Jason Kottke   Jan 24, 2018

Using high speed cameras, it’s possible to record the vibrations of everyday objects caused by nearby sounds and reverse engineer the sounds…essentially turning anything that vibrates into a speaker. For instance, if you want to know what a person is saying but can’t hear them directly, you can take a video of the house plant next to them and recover the sound from the micro-vibrations of the leaves. In one example, they filmed a pair of Apple earbuds playing a song and the recovered audio was accurate enough for the Shazam app to identify the song.

The group tested an eclectic selection of materials, including a bag of chips (excellent), a soda can (surprisingly mediocre), and a potted plant (average). They were even able to recreate music playing using footage of the vibrating ear buds. The best material of all was the thin foil wrapper on a Lindt chocolate bar Davis had been snacking on.

The worst was a brick, which they intended to use for measuring experimental error. Even that “did better than we expected it to do,” says Davis.

The last demo is especially clever…they use the rolling shutter effect to essentially overclock the frame rate of regular 60fps video to recover nearby sounds. Wow.

The sounds in that cute falling penguin video are likely fake

posted by Jason Kottke   Jan 18, 2018

In the past few weeks, a old video of a penguin falling down and its pals hooting sympathetically has been making the rounds on social media again: “Penguin falls down resulting in best sound ever”.

It’s funny, right? The sounds are also probably fake, added in the editing phase of whatever nature documentary this came from. Foley is the process used by filmmakers to add and enhance sounds in the editing phase…almost every movie and TV show uses them, including nature documentaries.

Whilst I’m no wildlife expert, it’s fairly straightforward to conclude that such an unpredictable and uncontrollable subject as wildlife would have prompted the need to often shoot on long lenses, thus making it almost physically impossible for a sound recordist to obtain ‘realistic’ recordings that would match the treatment and emotive style of the programme. Combine this with the shooting climate, as well as the need for frequent communication between crew just to capture the necessary shots that will cut well in the edit suite and you have a recipe for failure in regards to obtaining useable sound. Therefore, it’s not only impractical but virtually impossible to capture the ‘real’ sound that some of these disgruntled viewers may be protesting for.

I mean, just listen to the footsteps of the penguins in that video. There’s no way that was recorded on a mic while shooting that scene from that distance. The noise of the penguin falling? Probably a foley artist punching the innards of a watermelon. Now, maybe the penguins really did make noises that sounded like that and they recreated them in the studio, but maybe they also juiced them a little to seem more anthropomorphic. It’s impossible to know.

Perhaps this is a case of “even if it’s fake it’s real”, the idea that there’s genuine meaning in that video even if those penguins were completely silent in real life. You can imagine some group of penguins somewhere doing exactly that so it’s funny & life-affirming. But you know what…I don’t like the direction “even if it’s fake it’s real” has taken in our culture lately. I’m ready for “if it’s fake, call it out and look for the truth” or something like that, even if it makes penguins a little less cute.

The magic carpet ride scene from Aladdin dubbed with realistic audio

posted by Jason Kottke   Jan 16, 2018

This is silly and I loved it: someone took the clip from Aladdin when he and Jasmine sing A Whole New World while riding the magic carpet and dubbed realistic audio over it. I laughed embarrassingly hard at this. (via @JossFong)

“Whumph”: the sound of settling Antarctic snow

posted by Jason Kottke   Nov 29, 2017

Polar adventurer Ben Saunders is currently about three weeks into a planned 1000-mile solo journey across Antarctica, blogging about it all the while. In his latest post, he describes the noise that snow makes when it settles under certain conditions, which he calls “whumphing”.

The only redeeming factor of all this fresh snow is what I’ll refer to as ‘whumphing’. I’ve no idea if there’s an actual term for the phenomenon, but I had the best whumph of my life when I first stepped out of the tent today. I assume it’s something to do with the weight of the snow settling, but the sensation is of the area of snow you’re standing on suddenly dropping by an inch or two, accompanied by a sound like a muffled thunderclap. If you’re lucky — as I was this morning — this sets off a chain reaction whumph, with a shockwave rolling out towards the horizon in every direction. It’s petrifying the first time you experience a whumph (in Greenland for me) but once you realise they’re harmless, it’s extraordinarily satisfying, like being a snowfield chiropractor, clicking tons of snow back into the right place.

Curious to see if whumphing was documented elsewhere, I did a little poking around. In a 1920 mountaineering book called Mountain Craft, Geoffrey Young talks about sudden settling due to sub-surface snow that’s less dense than the snow above. On a slope that can lead to an avalanche but on a flat Antarctic surface, you just get the muffled thunderclap.

I was also delighted to find that the legendary Roald Amundsen, who led the first expedition to reach the South Pole in 1911, noted the very same effect in his book detailing the journey: The South Pole. In a false start to the expedition in September 1911, facing poor visibility and a temperature of -69 °F, he and his men decide to stop and build igloos for warmth. After settling in, they heard a noise.

That night we heard a strange noise round us. I looked under my bag to see whether we had far to drop, but there was no sign of a disturbance anywhere. In the other hut they had heard nothing. We afterwards discovered that the sound was only due to snow “settling.” By this expression I mean the movement that takes place when a large extent of the snow surface breaks and sinks (settles down). This movement gives one the idea that the ground is sinking under one, and it is not a pleasant feeling. It is followed by a dull roar, which often makes the dogs jump into the air — and their drivers too for that matter. Once we heard this booming on the plateau so loud that it seemed like the thunder of cannon. We soon grew accustomed to it.

Amundsen seemed rather less charmed than Saunders with whumphing, but it’s wonderful to witness the experience of it shared between these two explorers across more than 100 years.

Jimmy Iovine and most bomb record in the solar system

posted by Jason Kottke   Nov 15, 2017

While preparing for a conference talk/conversation I’m doing in Amsterdam this weekend, I was reading about the Golden Record that NASA sent along as a potential greeting from Earth to alien civilizations who might run across the Voyager probes in interstellar space millions of years from now. For the 40th anniversary of the Voyager launches, science writer Timothy Ferris (author of the Pulitzer-nominated Coming of Age in the Milky Way) wrote about the production of the Record for the New Yorker.

In the winter of 1976, Carl was visiting with me and my fiancee at the time, Ann Druyan, and asked whether we’d help him create a plaque or something of the sort for Voyager. We immediately agreed. Soon, he and one of his colleagues at Cornell, Frank Drake, had decided on a record. By the time nasa approved the idea, we had less than six months to put it together, so we had to move fast. Ann began gathering material for a sonic description of Earth’s history. Linda Salzman Sagan, Carl’s wife at the time, went to work recording samples of human voices speaking in many different languages. The space artist Jon Lomberg rounded up photographs, a method having been found to encode them into the record’s grooves. I produced the record, which meant overseeing the technical side of things. We all worked on selecting the music.

Carl Sagan was project director, Ann Druyan the creative director, and Ferris produced the Record. And the sound engineer for the Golden Record? I was surprised to learn: none other than Jimmy Iovine, who was recommended to Ferris by John Lennon.

I sought to recruit John Lennon, of the Beatles, for the project, but tax considerations obliged him to leave the country. Lennon did help us, though, in two ways. First, he recommended that we use his engineer, Jimmy Iovine, who brought energy and expertise to the studio. (Jimmy later became famous as a rock and hip-hop producer and record-company executive.)

Lennon, Springsteen, Tom Petty, Patti Smith, Stevie Nicks, Interscope, Dre, Snoop, Death Row Records, Eminem, Lady Gaga, Beats By Dre, Apple, *and* The Golden Record? Iovine is like the record industry’s Forrest Gump or something. How was this not in The Defiant Ones?

Google’s impractical voice experiments

posted by Jason Kottke   Nov 13, 2017

Google has launched a series of voice experiments that work with Google Home and also in the browser. For example, Mystery Animal is a 20 questions style game in which you attempt to guess the identity of a particular animal. Here’s how it works:

Another of the experiments, MixLab, helps you make music with simple voice commands (“add a club beat”, etc.). The experiments use AI to understand what people are asking them.

Nicole He, who worked on Mystery Animal and another experiment called Story Speaker, explains why it’s an interesting time to be goofing around with voice technology.

Talking out loud to computers has always felt more science fiction than real life. But speech recognition technology has come a long way, and developers are now making lots of useful things with voice devices. These days, you can speak out loud and have your lights turn on, or your favorite music played, or the news read to you.

That’s all nice and good, but there’s something clearly missing: the weird stuff. We should make things for voice technology that aren’t just practical. We should make things that are way more creative and bizarre. Things that are more provocative and expressive, or whimsical and delightful.

We’re in what I’m going to call The 1996 Web Design Era of voice technology. The web was created for something practical (sharing information between scientists), but it didn’t take very long for people to come up with strange and creative things to do with it.

I am terrible at 20 questions, so of course Mystery Animal stumped me. My last guess was “are you a zebra?” when the animal was actually a panda bear.

Dot Piano

posted by Jason Kottke   Oct 18, 2017

Dot Piano

Dot Piano is a web-based visual piano that works with a MIDI keyboard peripheral or with your regular computer keyboard. As you play, colorful dots dance across the screen in a variety of ways. Hit record and you can easily save and share your composition with others. This one is fun to watch. (via prosthetic knowledge)

Band uses video delay to create “a mesmerizing visual loop sampler”

posted by Jason Kottke   Oct 04, 2017

A band called The Academic cleverly took advantage of the slight broadcast delay in Facebook Live to construct a loop sampler out of video, so that at any given moment, each member of the band is performing with their past and future selves and bandmates.

We rearranged each instrument on “Bear Claws” to fit Facebook Live’s delay, with each loop getting more complex, adding instruments, rhythms, and melodies. Additionally, by projecting the video live from a soundstage we created an infinite tunnel consisting of all the previously recorded loops.

OK Go is probably kicking themselves for not thinking of this first. See also Piano/Video Phase, David Cossin’s performance of Steve Reich’s Piano Phase with himself. (via clive thompson)

The death (and possible rebirth?) of the fade-out in pop music

posted by Jason Kottke   Sep 06, 2017

The fade out used to be ubiquitous in pop music and the technique has some advantages over other ending methods. In one study, participants tapped along to the beat for a couple seconds after songs with fade outs ended, as if the fade out helped the song live on after it had ended. What musician wouldn’t want that? So why has the fade out fallen out of favor in the past few years?

Also, I love the lo-tech origin story of the fade out: composer Gustav Holst had someone close a door on a choir during a performance in 1918.

Composer Gustav Holst understood the power of the fade-out and employed one of the first at a 1918 concert. For the “Neptune” section of The Planets, Holst had the women’s choir sing in a room offstage. Toward the end, he instructed, the door should be closed very slowly: “This bar is to be repeated until the sound is lost in the distance.” Given the subject matter — Neptune was thought to be the most distant planet in the solar system — Holst’s attempt to conjure the remoteness of the planet and the mysteries of the cosmos makes sense.

The technology for recorded music wasn’t any more evolved…if you wanted to fade a sound out, you had to physically carry the recording device (the phonograph or microphone) away from the audio source.

Inside Music, an interactive musical exploration & remix tool from Song Exploder and Google

posted by Jason Kottke   Sep 06, 2017

Inside Music is a Web VR tool from Google and Song Exploder that lets you explore how songs from Perfume Genius, Phoenix, Ibeyi, and others are put together. Here’s a short video explanation:

You can turn different parts of each song off and on…guitars, bass, vocals, etc.; it’s cool to isolate different parts of each song. This works pretty well in the browser but I would imagine it’s a whole different deal if you have a VR rig.

Google has put the code for Inside Music on Github so if you’re a musician, you can explore your own songs in VR or put them up on the web for others to explore.

J.R.R. Tolkien reads from The Hobbit

posted by Jason Kottke   Sep 05, 2017

In 1952, a friend of J.R.R. Tolkien showed him a tape recorder, which the author had never seen before. Delighted, Tolkien sat for his friend and read from The Hobbit for 30 minutes “in this one incredible take”. The audio is split between these two videos (with visuals and music added later):

Given the circumstances, the clarity of this recording is pretty remarkable. Give it a listen for at least the first two minutes…hearing Tolkien do Smeagol/Gollum’s voice is really cool. (via open culture)

How to hear what your voice sounds like to others

posted by Jason Kottke   Aug 29, 2017

Chances are, you hate the sound of your own voice because when you hear it played back on recording, it doesn’t sound anything like what you hear when you talk. Vocal coach Chris Beatty shows us a simple trick to hear our own voice (in real time) closer to how others do.