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Misophonia: Why we can't stand certain sounds

Misophonia.png

This episode was written & produced by Carolyn McCulley.

The way our brains process sound affects the way we respond to sound. This episode is about why that happens in those who suffer from misophonia, the hatred of certain sounds. Featuring researcher Dr. Phillip Gander, psychologist Dr. Ali Mattu, and misophonics Meredith Rosol and Josh Furnas.

MUSIC IN THIS EPISODE

Traction by Meaning Machine
Hold on Me (instrumental) by Lael
Fury (instrumental) by Prague
Wait for It by Dustin Lau
Wake Up by Lael (Instrumental)
Every Season by Hidden Tapes
Red Dot by Watermark High

20K is hosted by Dallas Taylor and made out of the studios of Defacto Sound.

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View Transcript ▶︎

[music in]

You’re listening to Twenty Thousand Hertz. I’m Dallas Taylor.

This is an episode may never be heard by one of the guests we tried to record an audio interview with. Josh Furnas can’t tolerate the sound of someone speaking into a studio microphone. He feels threatened, like someone is literally talking right next to his ear. Even normal mouth noises can trigger a traumatic reaction.

Josh has a condition called misophonia, which means the hatred of sound. Not all sound, though--just certain sounds that trigger a sense of alarm. What does it feel like? And how is it that two people’s brains can have such a drastically different response to the same sound? In order to figure this out we'll be using sound examples throughout this episode. This may cause discomfort for someone with triggers, but I think it’s important to attempt to recreate the sensation for those without misophonia. I’m hoping that those who don’t suffer from it to have more sympathy for those who do.

So, If you have Misophonia, proceed with caution. We’ll be playing possible trigger sounds for the rest of the episode.

[music out]

Meredith: It feels like a bear is chasing you [SFX: Bear chase]. You freeze. Whatever you're doing, you're not able to focus on anymore. Your heart races, [SFX: heartbeat] you feel tense, you feel irritable, I just freeze and close my eyes or cover my ears until it stops.

That’s Meredith Rosol. Her misophonia started at age six.

Meredith: I was sitting on the couch in the living room with my mom, and I could see and hear her shaking her foot. It gave me this feeling of panic.

[SFX: foot shaking]

Meredith: The hardest part was listening to my parents chew, [SFX: food chewing] so at the dinner table I would cry, and my mom would not know what was wrong. I remember she would teach my sister and I table manners, so she said, "You have to keep your hands in your lap," but I would just want to cover my ear with it. That would frustrate her, so at dinner time was the hardest.

[music in]

It might be hard to understand the distress of listening to someone chew. But Dr. Ali Mattu, a clinical psychologist at Columbia University, describes it this way.

Ali: you're experiencing it as if someone is chewing [SFX: loud chewing] right in your face to the point where maybe there's spit or some of their food are just flying all over you. So maybe it is tapping into this basic aversion that we all have.

As a cognitive behavioral therapist, Dr. Mattu says misophonia is a new term, one without a clear psychiatric definition.

[music out]

Ali: It's a part of a set of sensory experiences we're beginning to better understand like ASMR, like synesthesia. We're beginning to understand that our senses are more complicated and there's more diversity to how we experience our senses than we knew before. And I think part of the reason we're beginning to understand this is the Internet. We've heard from communities that weren't really formed before about how people were sharing a similar type of experience and now researchers are beginning to catch up and we're seeing this more in clinical environments

Meredith: My triggers are eating [sfx], gum popping [sfx], slurping [sfx], feet shuffling [sfx], the sight of leg shaking and also the sound if it makes a sound [sfx], bass coming from cars and apartments [sfx], keyboard typing [sfx]. Newer ones are whistling [sfx], and humming [sfx].

Ali: There's a lot of unique ones that people have. One of my roommates in grad school hated it when I was eating ice cream and I would get to the very bottom of my bowl and try to scrape [SFX: spoon scraping] the last little bits of melted ice cream out of my bowl using my spoon. Just that scraping sound of the spoon on the bowl infuriated him. Did he have misophonia? I don't know but that was a really unique sound that bothered him and doesn't bother me.

Over email Josh Furnas said that he’s tried a bunch of different things to try and reduce his reaction to triggers. A newly sick or allergic [SFX: coughing] colleague can flatline him. And anyone eating in a meeting can render him useless. And even Mac laptop keyboards [SFX: keyboard typing] are unbearable.

Ali: Some of the things that people tend to share with me are anger at hearing everyday sounds. Sometimes anxiety related to those sounds, and sometimes disgust. But it sometimes can be heightened with close loved ones.

[music in]

Phil: We think that what's going on, is that the brain is monitoring these sounds, or having a disorder in the way that it's monitoring these sounds, and interpreting them.

That’s Phillip Gander, an assistant research scientist from the University of Iowa.

Phil: I work in the departments of neurosurgery and otolaryngology and I work as an auditory neuroscientist researching questions on auditory cognition, on how we interpret and understand sound.

Normally what we do is we study perception; our experience of the external world, but interoception is just the opposite, it's our experience of our internal world. There are increasing number of studies in which people are pointing out that we can modulate our cognitive responses, or performance on tasks, based on our heartbeat [SFX: heartbeat], and our heartbeat based on our breathing pattern [SFX: heart beating and breathing].

[music out]

Phil: In the case of misophonia, what we think is going on is this is a disorder that really gets at people’s experiences of their internal world are severely disturbed, When they hear a regular sound, like someone eating some food, then they have an interpretation of that sound that leads them to have a really extreme response. Either they need to get out of the space where that sound is occurring, or they need to stop that sound from occurring.

Phillip was part of an international team of researchers that studied misophonia. Using MRI scans and physiological measurements, they showed that misophonic subjects legitimately have a strong reaction in both the brain and body.

Phil: we found evidence for changes in the brain response. in the group suffering from misophonia, to the misophonic sound, or trigger sounds specifically. Not to the control sounds, and not to other unpleasant sounds. What we found was an overreaction, in areas of the brain that are involved in interpreting sound.

Phillip Gander’s study shows that there is clear evidence that the brains of misophonia sufferers respond very differently to certain sounds.

Phil: That's extremely clear in the case of misophonia, in which we have people who hear the exact same sound, and have a regular, what we'll call, a regular response. In which, it doesn't bother them, it doesn't make them want to get away from that sound, and stop it. Whereas other people are having an extreme reaction, [SFX: water dripping] in which they want to do exactly that. This clearly has to do with something related to their response to the sound, their reaction to the sound. That's information that's being fed up from the auditory system, to our perceptual systems, and our emotional systems that are interpreting and putting meaning to the sound.

[music in]

But for those who suffer from misophonia, identifying the cause is not as important as finding a treatment. Navigating a world where ordinary sounds can be distressing is exhausting and sometimes isolating. It also has an impact on close relationships. While the research is developing, is there anything that can be done now? More on that in a moment.

[music out]

[MID ROLL]

[music in]

Over email, Josh Furnas said that he’s tried a bunch of different things to try and reduce his reaction to triggers. One study he participated in was a disaster. He said it was so traumatic that it made a few of his triggers even worse. However, another technique--called mindfulness based stress reduction--seems to reduce the effect of his triggers by about 20 percent.

Meredith Rosol has her own techniques as well.

[music out]

Meredith: I've seen a psychologist for cognitive behavioral therapy for certain situational anxiety, like medical situation anxiety separate from this, so I think I unknowingly adopted the CBT techniques towards misophonia. I wasn't very cognizant of it, but if I'm sitting there experiencing a trigger, I'll know that that person's not doing it to harm me. They're not doing it deliberately. If it's a friend that I told to stop and they're doing it again, they simply forgot. I know that, okay I have options I can get out of this.

[SFX: bus breaking, foot taping]

Meredith: If I'm sitting on the bus and someone is tapping their foot next I'm sitting on the bus and someone is tapping their foot next to me. When I was younger I'd be nervous to move because I was paranoid of what people would think of me. But now that I'm an adult, I don't care. I could move to three different seats on the bus as long as I'm comfortable. No one's watching me. No one cares.

Dr. Ali Mattu says a lot of people who experience misophonia don’t always have other types of impairments, so they’ll still go through their day like everyone else.

Ali: They might still go to school. They might still go to work, but they all tend to have a high degree of distress. Inside they are so strongly reacting to these sounds. I'm looking at those two things, how impairing is it? And how distressing is it? That's where I usually find people who are really having a hard time is internally it is so turbulent. It is so difficult. [SFX: Storm] It is like a storm inside that no one on the outside can see. So the first thing I tell people is it's okay to avoid sounds that trigger you and that might not be a message they've received before.

[music in]

Meredith: I usually get myself out of the situation or mask it. No, there's probably been two times I've asked somebody to stop, which sounds terrible because you think I would be so, "Oh, I'm going to advocate for myself," but I always think, "Well, what if that person has to do it to focus?" It's very difficult to ask a stranger.

It’s funny, I'll meet up with a friend who also has misophonia and we'll go to a bar [SFX: restaurant ambience] or a restaurant. Before we sit down, we say, "Okay, wait. Where do you want to sit? Okay, wait. Is there any leg-shaking over there? No. Okay. What do you want to eat? No don't ... No one will get the chips." It's so funny to talk to someone and negotiate, and make sure we don't trigger each other. Also some people are triggered by silverware too, so in that case you're like, "Okay, I'm going to ...Now, wait. Cover your ears. I'm going to cut this. Okay, I'm done."

[music out]

[music in]

Ali: The main thing I want to help people to do is learn how to tolerate that distress. How to manage that emotion in a better way.

Finding activities that distract you from sounds. Contributing to other people to distract. Contributing to other people to get you focused on someone else instead of what's going on in your mind. Making a comparison to a different time. Making a comparison to yourself in a different time when you were coping better with the situation or comparing yourself to someone else who might be struggling more. Creating emotions that undo anger. Temporarily pushing yourself away from the situation that is difficult for you.

Meredith is grateful that her reactions are more moderate.

Meredith: A lot of people have aggressive reactions, so their gut instinct will be to punch the wall or break something. It puts a lot of strain on relationships. Plenty of people have had divorces. I never want it to prohibit me from doing what I like to do in my life I'll just try to set myself up for success, and do what I can.

It’s mind blowing how little we know about how our brains interpret sound, and misophonia yet another example of how the same sounds can produce totally different results in people. Sound can soothe us or sound can disturb us… and there’s an infinite number of possibilities in between Eventually we will gain a greater scientific understanding. but, for now, the current research validates that those with misophonia. They truly do respond differently and that alone is a relief to those who suffer from it. For the rest of us, it’s important to be empathetic and patient. All in all this is yet another reason why it’s so important to make our world a better sounding place.

[music out]

[music in]

Twenty Thousand Hertz is lovingly crafted out of the studios at Defacto Sound, a sound team that supports advertising agencies, television networks, filmmakers, and really, anyone who needs amazing sound design for anything visual. Check out our recent work at defactosound dot com.

This episode was written and produced by Carolyn McCulley. And me, Dallas Taylor. With help from Sam Schneble. It was edited, sound designed and mixed by Jai Berger. Thanks to our guests–Dr. Phillip Gander, Dr. Ali Mattu, Meredith Rosol and Josh Furnas.

You can read more about Dr. Gander’s research by searching online for The Brain Basis for Misophonia. You check out Dr. Ali Mattu’s YouTube channel, The Psych Show. ...and you can tweet at Josh Furnas @j-o-s-h-f-u-r-n-a-s.

The music in this episode is from our friends at Musicbed. Musicbed wants to make sure you find the perfect song for your project. Not only do they have incredible browse and search tools, but they also have people on staff who are dedicated to helping you find the perfect song. At no extra charge they’ll send you suggestions based on what you’re looking for. Consider them another member of your team. Find them at musicbed.com.

Visit our website to read transcripts, buy a sticker, see my face… whatever. You can find all of that at twenty kay dot org. You can also send us feedback or let us know about a topic we should cover. You can do that through facebook, twitter, or at hi at twenty kay dot org.

Finally, I was looking through the podcast charts and it’s legitimately shocking how few totally independent podcasts exist at the top of the charts. Now, we’re nowhere near the top, but it’s impressive how far we are. Especially with absolutely no network support. If you want to support independent podcasting, I seriously need your help. There’s no way I can do it on my own. I need you to text your friends and family. And remember, our show is totally clean. Tell parents they can listen with their kids. I also need for you to tell your social groups, and tell people in real life. If you have to borrow someone’s phone to show them how to listen to a podcast, then do that. The bottom line is that there is no way we’ll survive for the long haul without your support and help.

Thanks for listening.

[Music out]

Recent Episodes

THX Deep Note Part 2: How a lost file shaped movie history

THX Part 2.png

This episode was written & produced by Kevin Edds.

Whether you're 6 years old, or 96 years old, one of the most memorable parts of going to the movies for the last three decades has been the THX "Deep Note" trailer. Unfortunately, they lost the original sound file. What happened? Also, what do sound designers & musicians think about it? Featuring Andy Moorer, creator of “The Deep Note” and global director of marketing for THX, Rob Cowles. The episode also features Musician, Producer and Professor Thomas Dolby, and Scott  Simonelli, the founder of Veritonic.

MUSIC IN THIS EPISODE

Red Dot - Watermark High
INY (instrumental) - Night Fevers
Poetics - Steven Gutheinz
Fear (instrumental) - Andrew Judah
Test Flight - Blake Ewing
Open Eyes (instrumental) - Cello
Across the Sea - Blake Ewing
Glory - Chris Coleman
Pure Air - Dexter Britain
Paper Planes - Steven Gutheinz
Steady - Roary
You Will Find Me (instrumental) - CHPTRS
Keep (instrumental) - Night Fevers

Twenty Thousand Hertz is hosted by Dallas Taylor and produced out of the studios of Defacto Sound.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Consider supporting the show at donate.20k.org.

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View Transcript ▶︎

[SFX: THE THX DEEP NOTE]

You're listening to Twenty Thousand Hertz... The stories behind the world's most recognizable and interesting sounds. I'm Dallas Taylor. This is the story… of the THX Deep Note… Part Two.

[music in]

That somewhat ominous sound you just heard is the THX audio logo known as The Deep Note. At first it seems to go everywhere, and nowhere, and then comes together at the end for a larger-than-life resolution. The Deep Note is an announcement that’s been played during the trailers in movie theaters for decades. It started way back in 1983. It let audiences know they were in a THX-certified theater and that their audio experience would be phenomenal. THX certification was pioneered by George Lucas. It made sure that Return of the Jedi would be experienced with the best sound theaters could provide.

In the last episode we explored how Andy Moorer used cutting edge computer technology to make it. We also found out that everyone at Lucas Film loved it… but, before it could be used in theaters, they lost the only recording of it. We’ll get to that in a moment, but first let’s hear what sound people think when they hear the THX Deep Note. Our producer Kevin Edds took a stroll around our studios here at Defacto Sound to hear what our staff thinks.

[music out]

Jai: I think at some point in my life it did feel uncomfortable. And actually like, the thing it reminds me the most of is [SFX 2001 a Space Odyssey crossfade to THX slowly underneath this section] at the very, very beginning of the 2001 Space Odyssey where it's just black and there's just this very dissonant, creeping score. And there's just no visual with it at all. And it kind of reminds me of that. That it's interesting feeling, why does this make me uncomfortable and then so quickly it changes from that to just feeling like this big, epic thing.

Nick: It's awesome. It makes me really excited for the movies...and just gives you chills...and, it's a sound I always have a physical reaction to. The hair on my arm always raises up. It sounds like some chord, it sounds like some alien thing...something like an orchestra tuning up but like so other-worldly, and so out-there. I guess whenever I hear that and I feel the power of the system - because they only play that on systems that are rated for it - you know the power of that system, you know you're in for something good.

Colin: I can imagine seeing this for the first time and you hear these weird sounds. You're like, "What in the world is happening?" This THX logo comes on and you're like “huhh”, there it is, this full frequency range spectrum, like, ta da moment comes in. Yeah, I can imagine at first it definitely is really funky and weird, you know. It's not like if I was designing a sound like this and trying to show off my sound, I wouldn't necessarily go for creepy. But now it's so iconic and the way it comes altogether is really impactful, I think.

Sam: Oh I loved it. It's more of just this, Dah sound effect and you're like, oh my God, this is so cool. This is about to happen. Man, it sounds so 80s.

[music in]

While our staff has a keen an ear for sound, what do musicians think?

Thomas: It emerges from the ether, you know? It starts off almost in a sort of distant white noise and then has some actual note content to it. Those elements slew around and come together.

That’s Thomas Dolby. No relation to Dolby Labs. He’s an electronic music pioneer, early MTV icon, and acclaimed music producer. He also wrote this song:

[music out]

[Play “She Blinded Me With Science!”]

Thomas: It's sort of like a sound emerging from the primordial soup of molecules of carbon and water vapor and ether. By alchemy, these are brought together into this sort of pillar of the final chord. It's like building structure from chaos.

A big part of the Deep Note’s allure is the different reactions you get from listeners. Some people absolutely love it, others dislike it, and some even have a case of “THX Phobia”—a true fear of the Deep Note. A YouTuber named Sean Leary put it this way:

[Sean Leary Clip “The THX logo is the single-most terrifying thing, ever. Like it just starts up like, waaaaaaa-aaaaaaaa. The THX logo makes me so, like, uneasy. I’m like ugh, no, I don’t want this…THX scarred me, for life. And that’s real. It scares me. It really does.”]

[music in]

Andy Moorer, the sound designer who made the Deep Note, even has his own personal opinion.

Andy: Well, in the beginning, the cluster is very, very thick. I find it reminiscent of a piece by Olivier Messiaen, where he has the entire orchestra do bird calls. But not one at a time, all at once, and of course the thing is just mess. It's just a cacophony, you can't hear anything.

It sounds a bit like that to me, and what I like to do during that part is listen to the various voices as they rise up and just see how long I can grab hold of one of the voices and hear it fade into the cluster. And then of course as soon as everything starts rising up, you get this feeling of anticipation. Something changed. Something is going to happen. Something's happening. And it gets bigger and bigger and bigger and louder and louder and louder and then finally clicks into focus when that last tone reaches its target.

[music out]

The Deep Note elicits many different emotions. But the emotion George Lucas felt when he first heard it was positive. He wanted it to play in theaters right away to announce that his movies required a great sound system. But there was only one issue.

[music in]

Andy: The problem was, about a week later they came back to me and said that they had lost the master, and could I please make another one.

When Andy submitted the original Deep Note track, that was the only copy. There were no backups.

Andy: So I said, "Okay, that's fine." So I go up and I hit return. And they say, "Well that one's nice, but it's not like the original."

I said, "Um, okay. What's different?" He said, "Well the original one had this big tone, really loud tone, that goes right down to the bass note." And, you know, I groaned and thought to myself, "Well, gee. Well that's pure randomness, right? That the tone that went down, happened to be the one that was louder than all the others."

So I had to run off several different ones until I got one that the kind of thick, mysterious texture [SFX: Bass tone] at the beginning that I liked.

So we sat there for about ten minutes, running off different versions of it until we got one that they liked, that sounded sort of like the original that had that big tone going straight down [SFX: Big tone], and didn't do anything screwy during the beginning, or the cluster. And so the one you hear of the original, was a re-take of it.

[music out]

Imagine if the Mona Lisa was actually Da Vinci’s seventh attempt. How much different would versions one through six have been? Was Mona Lisa smiling too much in #2? Or frowning too much in #4? Was she wearing a pink dress in #5?

Thomas: The extraordinary thing is that faced with so much choice you could ever make a single selection of something and you say, "This is it. This is going to be our audio logo." That's a tremendous responsibility.

Of all of the thousands of possibilities they get gradually eradicated one by one until you end up with the solution.

Until you hit on the single one that just pops a light bulb with a flash of inspiration.

I always worry with those things that years later Moorer will look back and go, "It sort of haunts me that number 143 was really the one and we went with number 283." You know? Because it's just very hard to stay objective when you're so deeply entrenched in possibilities.

At the time, for Andy, this was just another work project. Something he was asked to do by his employers. He had developed sound effects for movies for years, but with little fanfare. However, the Deep Note was something very different.

[music in]

Andy: It was the staff screening of Return of the Jedi. George Lucas would take over a big downtown movie theater and the entire staff would go to it. And they were dead quiet for not only the logo theme, but for the entire movie, because the whole staff wanted to hear every word and every shuffle and every squeak. And then they went crazy over the credits of course. Everyone seeing their name up there.

The first couple of times I tried to hear it in a movie theater, the audience was clapping so much at the opening of Return of the Jedi that you couldn't hear it. I mean, the audience was going crazy, it was going absolutely nuts over the release of the final piece of the trilogy. So I actually didn't hear it until somewhat later.

[music out]

I've enjoyed it thoroughly and I've also enjoyed the send offs on it, of which I think The Simpson's one is the best. [SFX: Simpson’s clip] But the Tiny Toon's one was good, too. [SFX: Tiny Tune’s clip start at :15]. The Wayne's World version of it was entertaining as well. [SFX: Wayne’s World example]. In fact, I will make a boast that it’s the most widely recognized piece of purely computer composed synthesized music ever.

After a few years THX decided to make alternative versions of the Deep Note [SFX: THX Cimarron version] [SFX: Grand version] However, these versions didn’t seem to have any staying power.

[music in]

Andy: The other versions got panned apparently. Nobody liked them, nobody remembered them. And everybody remembers the THX logo theme.

In 2015 THX decided to remake the Deep Note using modern technology and updated surround sound capabilities. We’ll hear how they did it. After the break.

[music out]

[MIDROLL]

[music in]

In 2015 THX decided to remake it’s iconic Deep Note. ...and, they brought in Andy Moorer to do it.

[music out]

Andy: Since I didn't have the audio signal processor, that was long gone, I had to reprogram it entirely in C to run on a desktop machine.

I don’t want you to miss that. Andy reprogrammed the entire Deep Note software from the ground up.

Andy: That took one week to get an audio synthesizer working that was capable of synthesizing it. And then one more week to put it together, musically, and tune it.

Between 1983 and 2015, computer technology advanced so much that Andy was able to use a home computer to create the new Deep Note. Thanks to these advances, Andy had many more voices to work with. Voices are basically how many things can play at once. So this time around, the challenges were more creative than technical.

Andy: I found that if you use too many of them, it made it very muddled and you couldn't hear the individual voices, so I ended up making a different one for each format. The stereo one is the original 30 voices. Then when we go to five-one, it's more like 40 voices. And the seven-one is more like 60 and then the nine-one is more like 80. So I used different number of voices for different formats.

The people at THX also wanted more radical spatial effects. In the original Deep Note there's very little. [SFX: Original Deep Note] The sound comes up in one speaker and then slowly spreads to the others. But this time they wanted the sound to move all over the room, [SFX: binaural mix of New Deep Note with nine channels]

Andy: Gary Rydstrom was in when we recorded the new one and he loved it. And Ben Burtt just happened to be there so we heard it in the mixing theater at Skywalker Sound, and he loved it. I think people really liked it.

[music in]

It's really challenging to gauge the Deep Note's impact on the movie industry. But, it's something Rob Cowles thinks about a lot.

Rob: Since 1983 we have actually certified over 5000 cinemas and studios.

Rob is the Global Director of Marketing for THX. He’s in charge of how consumers are embracing the THX brand.

Rob: And so if you imagine the average cinema probably has three or four shows a day... probably has ten theaters, that trailer was being played, in just one cinema, at least 30 times a day. So then do the math and say there's 5000 worldwide, you can sort of get to a number. What's really interesting, particularly now after the company's been around for 35 years…

When I took this job telling people "Hey I work for THX," all I would have to do is go to YouTube and play the deep note trailer and immediately everyone recognized it. So I think we were just really fortunate that Andy Moorer created a sound that is completely associated with cinematic experiences.

[music out]

Thomas Dolby: I think that when you sit in a comfortable cinema seat and the lights go down and the commercials are over and you know that you're about to be hit with the main feature, it's like a focusing of the brain. It's like a sort of collective experience of an om chant, [SFX: om chant played under dialog] you know, to get us all focused on the immersive environment that we're now sitting in for the next couple of hours. And it's sort of a collective agreement to surrender our senses to the immersion of the movie we're about to see, and I think that's really why it's so powerful.

[music in]

In marketing terms the THX “Deep Note” is what you’d call an “Audio Logo.” It’s a sound mnemonic that’s played in conjunction with the visual logo of the brand.

Scott: A great audio logo isn't just memorable, it's really good at evoking a certain emotion, or kind of creating an instant paradigm in three seconds, and the best ones do that.

That’s Scott Simonelli, the founder of Veritonic, a marketing intelligence platform for sound. Veritonic is used by brands, agencies and publishers to to measure audio effectiveness in their marketing.

Scott: Clearly, there's a dramatic nature to the THX one I think that is really unique, because it kind of created that experience of theater, and drama, and "I'm at the movies," and to do that with just that noise, is amazing.

You know you'd hear that and it would kind of go around the speakers, and there was surround sound, and there was this immersive experience, and it just, you know, it upped the game.

It kind of just sets the tone that, "Get ready, because there's gonna be sound all around you." It's a very dramatic moment, for sure. It speaks to the power of audio, but it also speaks to how potentially strong that is as an audio logo.

[music out]

But, unlike a lot of audio logos, which only appear at the end of the advertisement, THX Deep Note, it's also the message itself. It's different than say, a McDonald's commercial, where you're seeing people eating, and having a good time, and then at the end you hear [SFX: Ba-da, ba-pa, da!] With THX, the Deep Note is not only the logo, it’s the message. It’s almost as if it’s challenging the audio capabilities of the theater it’s playing in.

[music in]

Marketing is very audience-focused. The goal is to match your product or service to the exact demographic who needs it. But some of the most effective brands can target everyone, of every age.

Scott: I put it on, on my laptop just to refresh my memory, and my 11-year-old son whose maybe been to the movies twice, because different generation, immediately goes, "I know that sound! That's from the movies." I was stunned that he had the recall on that. I can't think he's been to the movies more than two or three times in his entire life, and he knew it instantly. I was floored, really, it was amazing, and granted, that's an anecdote of one, but it's a very ... very good example of somebody whose maybe heard it once or twice, and knew instantly, and associated it.

[music out]

Some people have a sense of fear when they hear the THX Deep Note. Some feel like the beginning sounds like a plane in a nosedive. [SFX: plane diving] Or a siren alerting [SFX: siren wailing] people of danger.

Scott: That's one of the things we analyze, so my curiosity. Now that I'm hearing more, and learning more about the details, I'm getting more, and more curious. So, yeah, I think fear could be the kind of thing, and we see it with certain clients, especially, pharmaceutical clients, where they want to create tension early in a spot, and then resolve that tension later. Like, you've got this probably, or this pain point, and we're gonna help you feel better about it. Also, it does you know, fear, and kind of just like a general call to be alert, maybe in a more benign way you kind of want that, you want to grab people's attention.

[music in]

Andy Moorer created one of the world’s most recognizable and interesting sounds. But why was the creation of the THX company so important to the movie industry? Andy explains.

Andy: Well, George Lucas said that sound is half the movie. Now, having said that, it doesn't get near as much money as the picture does of course. The one data point I have is Empire Strikes Back where the movie itself cost $34 million and the sound budget was $2 million and that's a pretty common ratio, that 16:1 or so.

But the thing about sound ... look, you carry a device in your pocket every day, most of whose purpose is to convey sound. If you get on a subway or a bus, everybody is plugged in. They're not all listening to music, they're maybe listening to NPR, or to a podcast or some such. But sound is considered so important that we want to carry it with us everywhere and we want to carry our favorite sounds with us everywhere. And we want to be able to listen to them anytime, or something like them.

Sound is just such an integral part to our being and to our way of life.

[music out]

So, my feeling is that the picture is nice and all that, but what really moves us to our core is the sound. And the sound has ways of influencing us. That is, making us cry or making us rejoice. That's hard to do just using the image.

[music in]

The THX Deep Note is a fascinating piece of music. Or should I say technology? Or marketing element? In fact, it’s all three. Maybe that’s why we are so subconsciously fascinated by it.

Thomas: It arrived at a time where movies like Close Encounters of the Third Kind and Star Wars and so on had really captured the public's imagination, and the fact that THX came out of Lucas Film, it came from one of the premier filmmakers of the day rather than from a random engineer, I think had a lot of significance for the audience.

Rob: I'd actually like to do some research, where you literally have two side by side theaters and people go in and watch the exact same movie and the only variable is that one group actually hears the deep note and one group does not, because I really think that subconsciously people got more excited about movies when they heard the deep note.

Scott: What’s cool about I think the THX logo with an anecdote from my son, is it's not a generational thing if you've been exposed to it. It has the same effect on somebody who has a whole different set of experiences, and is obviously a lot younger than me. Does that translate to an 11-year-old child? Sound design is a very interesting and complex art.

[music out]

[music in]

There are so many ways to dissect the THX Deep Note, to unwrap it layer by layer. But the truth is, no one had ever heard anything like it before. Andy Moorer may have been inspired by Bach… or maybe the Beatles. But he looked at music in a way that a few pioneering artists did at that time. Not bound by the limits of acoustic instruments, or analog recording systems. He created a sound that the world will always remember. Whether you’re 85 years old or 6 years old.

Andy: The way I look at it is that a piece of music is a story. Tell me a story. As long as there's been people, there have been stories.

Stories have form. That is, they have a beginning, a middle, and an end. Pieces of music are stories, too. That is, if you hear a Mozart Sonata, you hear the theme at the beginning, the development, and the recapitulation of the theme. It comes back.

Storytelling is so deeply ingrained in human beings that it becomes the most important thing in the world.

THX logo theme is a story It has a beginning, which is unsettling. Then it has an anticipation, a sudden reversal - a change - an evolution. You could make a relation between the THX logo theme and the Hero's Journey. Joseph Campbell's Hero's Journey. That is, the hero starts out an unformed being, or starts out with a conflict, goes on a journey, and then achieves the godhead. That is, either meets a god or undergoes some mystical experience and then comes back from that transformed, never to be the same again.

Well, the THX logo theme is a microcosm of that whole experience.That was deliberate on my part. I wanted to give it a story arc. I wanted to tell a story starting from nothing and then building up to some big shining bold conclusion.

[music out]

[music in]

CREDITS

Twenty Thousand Hertz is produced out of the studios of Defacto Sound. A sound design team dedicated to making television, film, and games sound incredible. Find out more at defactosound.com.

This episode was written and produced by Kevin Edds… and me, Dallas Taylor… with help from Sam Schneble. It was sound designed and mixed by Nick Spradlin.

Many thanks to Andy Moorer, a software engineer, musician, and sound designer of the THX Deep Note. ...and thanks to acclaimed musician and producer, Thomas Dolby. Thomas is currently professor of a brand new degree course called “Music for the New Media” at the Peabody Institute at Johns Hopkins University. And thank you to Scott Simonelli from Veritonic. Learn more at veritonic.com. Finally, a special thanks to Rob Cowles, Global Director of marketing for THX. To learn more visit THX.com.

The music in this episode is courtesy of our friends at Musicbed. Having great music should be an asset to your project, not a roadblock. Musicbed is dedicated to making that a reality. That’s why they’ve completely rebuilt their platform of world-class artists and composers with brand-new features and advanced filters to make finding the perfect song easier and faster. Learn more at musicbed.com/new.

And if you like the show, please help us to make it grow. Tell your friends, family, and colleagues about us so they can hear what they’re missing.

Thanks for listening.

[music out]

Recent Episodes

The THX Deep Note: From chaos to cinematic legend

THX.jpg

This episode was written & produced by Kevin Edds.

Since 1983 one of the most memorable parts of going to the movies has been the THX certification played during the previews. The accompanying sound logo called “The Deep Note” has fascinated, terrified, and mystified audiences for over three decades. What is THX really?  How was “The Deep Note” created?  And why does it elicit such a reaction from those who hear it?  Featuring Andy Moorer, creator of “The Deep Note” and global director of marketing for THX, Rob Cowles. 
 

MUSIC IN THIS EPISODE

Time (Instrumental) - Joy Like
Flicker (No Oohs & Ahhs) - Airplanes
Drift - Tony Anderson
Southern Queen (Instrumental) - Lost Terra
Light Bridges - Dexter Britain
Wide Eyed Wonder - Dustin Lau
Hydrogen Sulfide - Steven Gutheinz
The Weight of it All (Instrumental) - Kaleigh Baker
Nothing Ever Happens - Lost Terra

20K is made out of the studios of Defacto Sound and hosted by Dallas Taylor.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Consider supporting the show at donate.20k.org.

To get your 20K referral link and earn rewards, visit 20k.org/refer.

Check out wetransfer.com for all of your file sending needs!

Go to forhims.com/20k for your $5 trial month.

DeD9P3aVQAMSIF2.jpg

View Transcript ▶︎

[SFX: Popcorn popping, little chatter]

Imagine yourself in a movie theater. You’re settling into your seat - it's one of the nice ones with a headrest, and it leans back - you’ve managed to balance your popcorn on the arm rest.

[SFX - fade in subtle atmosphere and context]

The lights dim. [SFX: Movie Previews] Soon the previews are over, and the lights fade out completely.

[SFX: THX Deep Note]

You’re listening to Twenty Thousand Hertz. The stories behind the world’s most recognizable and interesting sounds. I’m Dallas Taylor. This is the story...of the THX Deep Note.

[SFX: Deep Note finishes and rings out]

[music in]

If you’ve been to the movies any time since 1983 it’s likely that you’ve encountered the announcement that your theater is THX certified. The visual is mainly a three-letter logo. But the sound is unforgettable.

Still, before we dive into what’s behind that sound, let’s imagine what movies might sound like without THX...

[music out]

Darth Vader:[in static and muffled Vader speak] If you only knew the power of the dark side. Obi-Wan never told you what happened to your father.

Luke:[in static and muffled speak] He told me you killed him.

Darth Vader: [in static and muffled Vader speak] No, I am your father.

In 1980, that type of bad theater sound might have been what you experienced as Darth Vader revealed that he was Luke Skywalker’s father. If It wasn’t for George Lucas.

[Continue Star Wars clip]

[music in]

Andy: For Empire Strikes Back, George Lucas also hired an audio engineer, besides myself, Tom Holman. They were scouting theaters in San Francisco for the debut of Empire Strikes Back and they went to a well-known theater, one of the old majestic theaters, to make sure that the sound system was okay.

That’s Andy Moorer. In the early 80s he was the head of the Digital Audio Department in the Lucasfilm Computer Division.

Andy: When they got there, they were a bit horrified. The sound systems of the day consisted of left, center, right and surround. So there should be three speakers behind the big screen. Of the three speakers he found, one was disconnected, [SFX: wire short circuiting] one had fallen over [SFX: speaker falling thump], and the other one was turned around backwards [SFX: speaker turning around and changing tone]. They were completely horrified by that.

[music out]

So, Tom Holman said, "Heck with this. Look, let's invent something, or let's come up with a system ... A standard, by which we can measure the theaters and we can assure that the sound sounds the same in the theater as it does in the mixing theater when the artists were mixing it.

But this wasn’t the first time George Lucas had used his influence to change the cinematic experience. Before the release of the original Star Wars, it was still common for a lot of movie theaters to have a basic mono sound system. So he knew something had to change.

Andy: George Lucas liked to use his muscle if you will, when bringing out a new film.

That’s how Dolby Stereo came to be. George Lucas insisted that if you wanted the 70 millimeter first run of Star Wars, you had to put Dolby Stereo in your theater.

Andy: And that was exactly what happened. The first 160 or so theaters that played Star Wars, did so on Dolby Stereo.

By the time Return of the Jedi was in production, Star Wars was a cultural phenomenon and George Lucas was a filmmaking rock star. [SFX: Opening of John Williams’ Star Wars score] Because of this rock star status, Lucas was able to use his weight and influence again. This time insisting that, to be able to show his new film, theaters would have to go a step further - and become THX certified.

[SFX: Star Wars theme]

Andy: And that's where THX came from. The name was just made up. Taken loosely from George Lucas' student film, THX 1–138, [SFX: clip of THX 1-138] sometimes called, at least in house, it was called Tom Holman's experiment.

Tom Holman was the engineer in charge of research for this new endeavor. ...and to be clear THX is not a system for encoding or decoding audio. It has nothing to do with how sound is recorded. It’s all about how a movie is played back to an audience.

It encompases everything from the quality of the speakers, to the quality of the acoustics, to the quality of the picture - almost everything about the movie going experience.

George Lucas funded this research to guarantee that what you experience in your theater - is the exactly what the filmmakers intended.

Rob: Cinema technology has changed dramatically over the past 35 years.

That’s Rob Cowles, from THX.

Rob: Originally some of the challenges with cinemas were they weren't properly insulated, so the acoustic ability of the room was poor at best. A lot of times the acoustics of two theaters would actually compete with each other, [SFX: two movie tracks playing simultaneously] so you'd be sitting in one cinema and you could hear what was going on in the one next to you. And then there were a lot of other design elements, like doors to the theater used to let in the light, so that you'd be watching a movie and every time someone came in and out, [SFX: doors opening] it would be kind of washed out. Simple things like that. Also, a lot of cinemas didn't really have properly in store HVAC systems. [SFX: air conditioner turns on] So you'd have this kind of ambient noise in the background you wouldn't really understand, but it was actually inhibiting you from having a really good cinematic experience.

So LucasFilm’s new invention would be installed at a handful of theaters across the country. But this wasn’t a solo effort on the part of George Lucas, he hired a team of engineers to work out all of the details.

Andy: The story forms long before THX was a company. George Lucas decided to start a research institute. He really wanted to advance the state of the art in cinema, and entertainment in general.

[music in]

George didn't want to do the production, the post-production, in Hollywood anymore. So he built this building in San Rafael, California. And coincidentally it housed the computer division as well.

Today this building is known as Skywalker Sound. At the time Andy was working alongside legendary sound designers like Ben Burtt.

Andy: I asked them what they needed and he gave me a laundry list of things he needed. I had put together an audio processing system, that we call the ASP, audio signal processor, that Ben had been using.

He would come in in the mornings and he would use it up to noon. He used it on Indiana Jones. One of his requests, initially, was one for extending sounds. Like he had a sound of an arrow being shot.

[SFX: arrow shot]

It goes, "Shoop!" I mean it's gone instantly, and he wanted something that persisted. He wanted something the sound of an arrow that went on over 15, 20, 30 seconds.

[music out]

So he asked me if I could do that and I said, "Yeah, I know a way of doing that." [SFX: long arrow shoop] I gave him two minutes.

The Audio Signal Processor that Andy had invented made completely new sounds possible. From extending the sound of an arrow, or airplane in freefall [SFX: long airplane dive] to spatialization that made sounds in a theater progress from one side of the room to the other, [SFX: lightsaber from Ch. 1 to Ch. 2 in a crossfade] These tools have shaped the way movies are produced to this day. That’s part of why the THX Deep Note sounds so unique - no one else on the planet had technology like that in 1983.

Andy: George wanted some kind of video or some kind of logo that plays before the feature comes on, that says, "This is a THX certified movie theater.

[music in]

My suspicion, and I don't know that this is true, but my suspicion is that he spent all the money on the visuals and didn't have any money left for the audio, so he picked someone who was on salary, on staff and said, "Look we need some sound for the animation. It's 35 seconds long, and I want something that comes out of nowhere and gets really really big."

And I said, "Well, I think I know how to do that."

To create the soundtrack, Andy went to the Audio Signal Processor.

Andy: As soon as he mentioned it I knew exactly what I wanted to do. That is I wanted to start with something that would thoroughly bewilder everyone, they wouldn't even be sure that the sound was being played properly. That is to start with chaos and then evolve into the big chord, like a great organ chord.

[music out]

[SFX: big organ chord]

I had always been impressed by the big pipe organs and the sounds they could produce, so that was sort of the idea I had in the back of my mind.

The producer gave Andy the timing of the animation.

Andy: So I got a road map up of the intent of the animation. Of course when it showed up, all the timing was wrong.

Of course it was.

Andy: So this was one of those cases. I'm sitting in the mixing theater and they play the animation, and I sit there with my stop watch [SFX: of stop watch] and I notice that all the timing is wrong.

So while I'm sitting there, I typed in the new times [SFX: typing] into the computer and ran off a new copy of the logo theme [SFX: Long Deep Note, but fade it down after a few seconds] right then in there and we synced it up recorded it onto six track, and that was that.

That sounds straightforward, but it had taken Andy four days of work leading up to this session. Two days to get the basic sounds imported and modified, and another two days to tune it exactly how he wanted it. And remember, Andy had literally invented the technology that made this possible in the first place.

So how did he come up with this idea?

Andy: What do you say, "Steal from the best"? I remember the end of A Day in the Life from The Beatles, right, [SFX: a few seconds of “A Day in the Life”: ] with the big sweep and remember how much I liked that, and I remember [SFX: a few seconds of “D Minor Fugue”:] Bach's Fugue after noodling around a little builds this huge chord that resolves in just this massive, massive chord. So I combined those two ideas.

And then the cluster at the beginning. This is similar to stuff we did while I was at Stanford. We had done a lot of experimentation in music and one of the things that we fiddled with were clusters, because with a computer we could get immensely thick textures that would have been very, very difficult to do any other way. I mean, you couldn't buy enough synthesizers to make a sound that big or that massive, [SFX: beginning of deep note] but with a couple hours of computer time we could build sounds that had that kind of thickness or that kind of texture to it.

That was the idea for the cluster was just a dense cluster of instrumental tones that would rise and fall for which you wouldn't be able to track any one for any length of time. It would just sound like a mess, like chaos.

I had the idea for synthetic sound. I didn't envision flutes and oboes playing in it. I envisioned a completely synthetic sound because I don't know how you would do what I wanted to do with regular instruments.

I had some recordings of cello tones. I pulled one out that sounded rich and all 30 oscillators are using the same tone. It is a cello but you would never know it because one of the distinguishing things of a cello is the sound it makes when the bow hits the string. Since I eliminated that, it's a little hard to tell what's going on there. And that was the idea, except that I wanted it to be rich and natural sounding.

[music in]

With the advent of computer technology in the 70s and 80s, sound designers were able to create sounds that just weren’t possible a few decades earlier. Andy Moorer’s invention changed cinema sound forever. We’ll discover how Andy dreamed up this technology, after the break.

[music out]

MIDROLL

[music in]

In the early 80’s, there was no standard way of making any kind of sound on a computer. In fact you couldn’t even buy a computer built for audio - if you needed one, you had to build it yourself.

[music out]

Andy: Yeah, well see the big problem in computers at that time is that they weren't designed to do ... audio. Most of the audio like Apple IIe were squeaks and pops [sfx: Apple IIe squeaks and pops] and sort of Atari kinds of sounds, [sfx: Atari sounds] they weren't rich, and they weren't life-like, and they weren't natural sounding.

I knew that we could do all this on the computer, except that computers were just horribly, horribly slow in doing basic arithmetic. What we needed was a machine that doesn't do much else, but does basic arithmetic really, really fast.

[music in]

The machine I put together does arithmetic, it's called a DSP, a digital signal processor. There were a couple of other examples of this, special purpose devices that were built for the military. But for the most part they were designed to process images. They didn't have the full 24 bit sound that we like to hear in modern audio.

So I designed it from the scratch, starting from the converters and working back through the processing chain, to the point that I had a device. It was capable of 20 million computations per second, just raw arithmetic, multiply and add, to do audio at that kind of speed.

Even then at 20 million per second it was limited to 30 voices, that was as much as I could get out of the machine at that time.

[music out]

Building that computer took 2 years, and something like 200,000 lines of computer code. The Audio Signal Processor was used on many films produced at Skywalker Sound. So even though it was ground breaking, the technology was familiar to the mixers and sound designers there. So when the producer gave Andy the job of making the THX logo theme, it was almost a routine operation in their studio.

Andy: He said, "Andy we have to record it on Friday." So I said okay let’s do it. I came in, punched a button. He wasn't even there. Gary Rydstrom was, however.

Gary is an Oscar-winning sound designer.

Andy: He was there that day, almost coincidentally. I don't think anyone had told him to go in and QA it or listen to it or tell me if they had to hire somebody else real quick. But he just happened to be there and we were chatting. Well I ran the thing off, [sfx: 9-second Deep Note] and it was funny. He didn't say anything for quite a long time, except then finally said, "Can I hear that again?" and I said, "Sure."

So I punched the button, they recorded it, 15 minutes later I walked out.

[music in]

In 1983, THX was a brand new company and they had never done any marketing. Today most marketing campaigns go through a rigorous internal process. Ad agencies are brought in, different concepts are developed and pitched, focus group testing is commonplace, and many levels of management weigh in on the pros and cons of the advertising. The Deepnote had a much less formal process - The producer assigned to the job pretty much gave Andy free reign.

Andy: Subsequently I got a lot of questions about how it was done. But no, there was no ... I didn't pitch anything. But to tell you the truth, there wasn't really much quality control in the process. He literally gave me the task and then four days later I walked into the theater and mashed the button and that's what came out.

So, maybe that's good. If anyone had heard it, they might not have gone for it. I remember Tom Holman quipping that the part of the sound system that he was really the proudest of were the tinkly, crisp highs, but that's okay, this'll do.

[music out]

The reactions of Gary Rydstrom, Ben Burtt, and Tom Holman were positive, but the Deep Note had not yet been played for the big man… the head honcho… George Lucas himself.

Andy: I wasn't there when the VIPs were brought in, but what I do know is he started inviting people down to my studio. So, I played it for a number of people.

I played it right off the synthesizer, [sfx: 9-second Deep Note] just synthesize in real time right then and there, just mostly for effect, to show them what the capabilities of digital audio were.

I played it for Ray Dolby one time. I played it for ... actually, I played it for Michael Jackson. Oh, Michael Jackson enjoyed it, but when I played the Star Wars theme, he enjoyed that better. So yeah, I played the THX logo theme for a number of people. So I guess George liked it, because he was constantly bringing people down there to hear it.

I don't think they expected what I ended up with there. They kept bringing people. "Come in, come here, listen to this, listen to this!"

[music in]

Creating a score within a computer program today can look a lot like a conventional musical score. However Andy had programmed the Deep Note to playback randomly each time - so every guest heard a completely new Deep Note.

Andy: In the first couple of days I put the cello tone in and I wrote the program for generating the score. And the score was generated from a random number, since I didn't really care where the notes went in the cluster, as long as they were in a certain range. So I just wrote a program that went around all the instruments once a second and gave each one a new pitch. Each oscillator, or each cello, would receive a new pitch, it would slowly start winding towards the new pitch.

[music out]

That's what gives it that feeling of voices going up and going down. Once a second, each voice gets a new pitch.

Andy: And then I assign them the final pitches, which was the final chord. Now that one I did compose of the 30 voices. I said, "You know, we'll do three voices on this tone and two voices on that tone, and one voice on that tone, and so on." I gave them discreet pitches.

One of the first, "Oh, gee" or "Duh" moments was when I had collapsed all the oscillators to be exactly on the target pitch to three decimal places. [SFX : pitch examples softly underneath] Well then it collapsed into an electronic chord. It sounded, not like an organ, but like an electric organ. So I had to de-tune them slightly. And that's what makes the final chord shimmer, too, because they're still getting new pitches every second, they're just within a very tight range, going up and down within maybe 100 cents or so on each pitch.

What makes the Deep Note even more complex has to do with something called temperament. Most instruments today are tuned in what is known as “equal temperament”. The most basic way to think about it, is this [SFX : chromatic scale, played underneath VO]- we have 12 musical notes, and all of them are the same distance apart.

For the Deep Note Andy changed the tuning system so the ratios are actually perfect harmony, using a system known as “Pythagorean Tuning”.

Andy: This hasn't been used routinely since the middle ages, because it doesn't allow you to change keys.

Like when barber shop quartets sang, [sfx: Barber Shop quartet] they typically sang in a kind of a floating just temperament. That's what makes those chords so sharp and so crisp. They don't use vibrato and they sing in these exact pitches ... These are called Pythagorean relations.

And it's these crisp relations that make the sound of that chord sort of bigger than you would expect. It's actually bigger than an organ chord. Bigger than the [sfx: repeat Bach D-Minor chord softly under explanation] Bach chord, because he's playing it on an organ that's in equal temperament. So the pitches can't fuse as tightly.

So with Pythagorean Tuning, in very simple terms - those same 12 notes, might be tuned slightly differently depending on the key it’s in. It’s more of an absolute perfect tuning.

The truth is it’s very subtle and a lot of people can’t hear the difference. However, when you stack up almost 10 octaves of notes, the effect becomes MUCH more obvious. That’s another way Andy was able to give the THX Deep Note such a big sound.

Andy: I knew that that's what I wanted for the big chord because I knew what it was gonna sound like and that would be the formulation with the most impact. It would sound bigger than an organ chord or bigger than an orchestra chord.

[music in]

The computer program allowed Andy to create something he could never have done with a live orchestra, but there was also a problem. Since the program was random there was no real way to recreate the sound over again. He had to record the output from the computer and that would be the only record of it from that point forward. Even if he used the same program again the output would sound just slightly different than before because it was coded to be random. It wasn’t like a guitar lick that that a human performer could replicate, it was a computer that was programed to be different each and every time. He only had one recording of it.

So when Andy submitted the original Deep Note track, that was it. There were no backups. George Lucas and the team loved The Deep Note, but then something horrible happened—they lost it. Andy Moorer’s masterpiece was gone. [music out] And he wasn’t sure if he could get it back.

So how does the story end? We’ll find out, in our next episode.

[music in]

CREDITS

20K Hz is produced out of the studios of DeFacto Sound. A sound design team dedicated to making television, film, and games sound incredible. Find out more at DeFactoSound.com.

This episode was written and produced by Kevin Edds… and me, Dallas Taylor with help from Sam Schneble. It was sound designed and mixed by Nick Spradlin.

Many thanks to Andy Moorer, who is a software engineer, musician, and sound designer of the THX Deep Note. And thanks also to Rob Cowles, Global Director of marketing for THX. To learn more about THX certification visit THX.com.

The music in this episode is courtesy of our friends at Musicbed. Having great music should be an asset to your project, not a roadblock. Musicbed is dedicated to making that a reality. That’s why they’ve completely rebuilt their platform of world-class artists and composers with brand-new features and advanced filters to make finding the perfect song easier and faster. Learn more at musicbed.com/new.

To see Andy Moorer’s sheet music for the deep note, visit our website, 20 k dot org. You can also catch up on past episodes, read transcripts, and buy a t-shirt!

If you’re on Facebook or Twitter, be sure to follow us at the username 20k org. I love hearing from you, and I read each and every comment.

Finally, I need your help. Seriously, don’t zone out right now. What I need for you to do is go to your phone and tell everyone you know to subscribe to twenty thousand hertz. This show cannot grow without you doing that. Text them, call them, write on Facebook, Twitter, Reddit or wherever. Use the link 20k.org/subscribe. There it will give you a bunch of options of where to find the show.

Thanks for listening.

[music out]

Recent Episodes

Amen Break: The world’s most sampled drum beat

Amen Break.png

This show was written and produced by James Introcaso.

There’s a sample of music that’s been heard around the world in over 2,000 songs. Odds are you’ve heard it many times and didn’t even realize you were listening to the same breakbeat. The amen break might be the most sampled piece of music in history. Where did it come from? This episode features interviews with artist Nate Harrison and Grammy-winner Richard Louis Spencer.

MUSIC IN THIS EPISODE

Umber - Aether
All I Know - Stray Theories
Tell Me A Story - Chad Lawson
Smooth Talk - Phillip Cuccias

AMEN BREAK EXAMPLES

Straight Outta Compton - N.W.A.
I Desire - Salt-N-Pepa
Futurama Theme - Christopher Tyng
Can't Knock The Hustle (Desired State Remix) - Jay-Z feat. Mary J Blige
Eyeless - Slipknot
In for the Kill (Skream's Let's Get Ravey Remix) - La Roux
Pigs - Tyler, The Creator
King of the Beats - Mantronix
Tundra - Squarepusher
Fear - Amen Andrews
Feel Alright Y'all - 2 Live Crew
Compton - The Game feat. Will.i.am
Red Eye - Big K.R.I.T.

Twenty Thousand Hertz is produced out of the studios of Defacto Sound and hosted by Dallas Taylor.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Consider supporting the show at donate.20k.org.

To get your 20K referral link and earn rewards, visit 20k.org/refer.

Check out wetransfer.com for all of your file sending needs!

Donate to  Richard Louis Spencer at amen.20k.org.

View Transcript ▶︎

[SFX: Amen break at normal speed]

You’re listening to Twenty Thousand Hertz, the stories behind the world’s most recognizable and interesting sounds. I’m Dallas Taylor.

[SFX: End Amen break]

What you just heard is called the amen break, or ah-men break depending on how you say it. Anyway, It’s likely the most sampled piece of music in the world. You’ve definitely heard it a million times, but you might have a hard time remembering from where. So, let’s hear those six-second again. This time, see if you can remember where you’ve heard it.

[SFX: Amen break at normal speed]

[SFX: Straight Outta Compton (radio edit)]

[SFX: I Desire]

[SFX: Streets on Fire]

[SFX: Futurama Theme]

The amen break has also been sped up.

[SFX: Can’t Knock the Hustle]

[SFX: Eyeless]

[SFX: Scary Monsters and Nice Sprites]

And it’s been slowed down.

[SFX: Minefiles]

[SFX: Pigs]

[SFX: King of Beats]

It’s been used in commercials.

[SFX: Jeep Commercial]

The amen break is sampled in over 2,000 songs and counting. If you search Amen Break you’ll find examples and curated playlists everywhere. But, where did this beat come from?

[Music in]

Nate: It is a about five or six second passage in the middle of a song called “Amen Brother” that was recorded by a band in the late 1960s called The Winstons.

That’s Nate Harrison, an artist and professor from Tufts University. Nate did extensive research on the break for an audio art project called, “Can I Get An Amen?”

Nate: In the middle of the song, there's a drum breakdown where all the other instruments drop out.

[Music drops out to amen break]

The drummer, GC Coleman, does his thing for like five or six seconds.

[Music out]

He syncopates them in this interesting, weird way.

Imagine like a… four to floor standard beat, like a one, two, three, four.

[SFX: Standard Beat]

A breakbeat, has a little bit more syncopation on it the down beats would happen on maybe in between sort of beats, and what not. It gives it a little bit of a funkier vibe to it.

A break is just short for a breakbeat. There's the tighten up break...

[SFX: Tighten up break]

… and there's the funky drummer break...

[SFX: Funky drummer break]

… and there's the apache break.

[SFX: Apache break]

All of these breaks were taken from old records, just like the amen break.

[SFX: bump out Apache break]

More than a decade passed after The Winston’s recorded “Amen Brother” before the break began to show up in hip hop tracks. That’s mainly because sampling music didn’t really come into vogue until the 80s.

Nate: Samplers were actual, physical boxes, machines. They were about the size of a DVD player. Nowadays It's all software on a computer.

Think of the golden era of hip hop music in the mid to late 80s and early 90s, that whole 10, 12 year period is predominantly a period in which hip hop music, particularly, is lifting samples, drum samples (SFX), guitar riffs (SFX), center horns (SFX), all that kind of stuff, from older records.

Samplers became popular around the same time musicians were starting to use drum machines and synthesizers. At first, it was kind of a novelty.

Nate: Sampling was new and interesting. It produced sounds again in contrast to the kind of synthesized, artificial sounds (SFX). Early electro music, early breakdance music, had a very robot kind of sound, futuristic kind of sound to it. To introduce sampling into it was to sort of recover the aesthetics of an earlier moment.

Sampling also had one other powerful element that made it desirable - nostalgia.

[Music in]

Nate: When producers get their hands on samplers they realize they can start borrowing the sounds of records that they had grown up listening to.

A record company called Street Beat Records put out a series of albums called Ultimate Beats and Breaks. These compilations included songs perfect for sampling.

Nate: That included a bunch of different breaks, including the amen.

[Music out]

The amen wasn’t the only breakbeat feature, but it did become the most sampled. In the US, it was big in hip hop, while in the UK it was used for jungle and drum and bass. But, of all the breakbeats to choose from, why did the amen become the most popular?

Nate: The first thing with that break is that it's really long. It's like a six second sample, so there's a lot of material to play with.

Six seconds might not seem like much, but in the early days of sampling, it was a ton of time.

Nate: People digging through the crates of vinyl records at used record stores looking for samples. If they come across one clean bar of a drum sample, they're happy. That's why the amen break is such a treasure.

In addition to its length, the amen break has variety.

Nate: In the course of those five or six seconds, there are a few different snare drum hits. Each one of those snare drum hits is slightly different than the others, because GC Coleman hit the drum a certain way, and slightly differently than he did the second before he did the previous hit.

You can choose between snares. You can start chopping up the amen break and rearranging the individual beats into other configurations. Pretty soon, you start getting into some really interesting patterns and textures.

[SFX: Cymbal crash from the amen break]

In addition to rearranging the break, a musician sampling it can speed it up...

[SFX: Fast amen break]

Slow it down…

[SFX: Slow amen break]

Or even play it backwards.

[SFX: Backwards amen break]

The amen break’s length and versatility made it so prolific among electronic musicians in the UK that finding new ways to use it became an intellectual pursuit.

Nate: It branched out even farther into so called IDM music, or intelligent dance music, which was kind of the response to the rave and dance culture in the UK. They would call it like electronic music dance music that you can't dance to a lot of that music also used the amen break. Tom Jenkinson, also known as Squarepusher, used it thoroughly, thoroughly, thoroughly.

Squarepusher’s indulgent use of the amen break can be heard in his track “Tundra.”

[SFX: Tundra from 6:00 to about 6:10]

Nate: Luke Vibert was one of the first people to do really beyond weird things with it. He recorded under the name Amen Andrews.

[SFX: Fear from 3:30 to about 3:40]

Obviously, this intellectual use of the amen isn’t limited to the UK. Tons of American artists have used it too.

[SFX: Feel Alright Y'all - 2 Live Crew]

[SFX: Compton - The Game feat. Will.i.am]

[SFX: Red Eye - Big K.R.I.T.]

When it comes to the amen break, and sampling in general, there’s a lot of legal and moral questions.

Nate: The entire aesthetic of the 'Amen Break,' and I would say breakbeat culture generally is an aesthetic of copying.

In some respects that goes against current copyright laws. It's kind of legally contentious practice.

That's definitely a strange, bittersweet part of sample-based music is on the one hand, it's kind of revivifying old forms and maybe generates some interest in those older forms. But, it's also a taking, too.

GC Coleman, the drummer, didn't make any money certainly not any royalties, or any residuals, or anything from all that sampling.

GC Coleman passed away in 2006, but a surviving member of The Winstons named Richard Louis Spencer wrote “Amen, Brother.” He still holds the copyright to the song. Like GC, Richard was never paid royalties from the massive sampling of the song. We’ll hear from him after this.

[Music out]

MIDROLL

[Music in]

“Amen, Brother,” the song from which the amen break is sampled, was recorded by The Winstons in 1969. They had no idea their song would make such a cultural impact.

Richard: It was just a throwaway piece.

[Music out]

That’s Richard Louis Spencer, a Grammy-winner and former member of the Winstons. He’s the one who wrote “Amen, Brother.”

Richard: We were a group of young men in Washington, D.C., during the club scene in the '60s.

We were a bar band. We played in places and played all the hits, and we were very good at it.

I was the tenor saxophone player in the group. I ended up writing and singing the song that became a hit for us, but I was a tenor player.

The Winstons performed as the backup band for Curtis Mayfield and the Impressions.

[Music in]

Richard: We played with them for about six or seven months, and Curtis and I became very good friends. He was a very nice guy. He's probably one of the pure people I met.

He was a very, very straight up guy.

It was he who encouraged me to write, cause he always said oh, you got some good ideas.

[Music out]

After some encouragement and advice from Curtis, Richard composed a song that won him the Grammy Award for R&B Songwriter of the Year in the late 60’s. It wasn’t “Amen, Brother.” It was a song called “Color Him Father.”

[Music in]

Richard: When I wrote the words for “Color Him Father”. I tried to call my dad, my dad left us in 1958, my mom was having children, and I ran up on him in New York.

We began talking and stuff over the years and so then one morning, I tried to call him and his phone was disconnected and the first thing came to my mind, wow, this guy is gone again. I wrote this song, kind of this letter to him.

So I took it to rehearsal and recorded it and it became a hit.

[Music out]

When the Winstons recorded the single for “Color Him Father,” they needed a B side. As a band that played mostly covers and back up, they didn’t have a lot of options.

The only other original the Winstons had was a chaser - filler music that engages a live audience as the announcer introduces the band. You still hear chasers today, mostly in late night talk shows whenever a new guest is introduced.

Richard: You have some music to bring them on. It was very short and when they went off, [SFX: sings the instrumental] amen, brother.

The Winstons made their instrumental chaser their B side and called it, “Amen, Brother.”

[Music in]

Richard: During that time everybody had drum breaks and we had been doing songs where Greg would play these drum beats.

Richard asked his drummer, GC or Greg, to play a breakbeat during “Amen, Brother.”

Richard: I said that just sounds too much like so and so, so and so, because I was kind of the leader of the band at that time. I said why don't you take the piece from blah, blah, blah. Anyway, I told him two or three pieces he was going to put them together, and he did.

It was just another drum break, only this one was a composite of a couple that Greg played.

That became the Amen break.

It was a filler. A throwaway as they call.

[SFX: Amen Break]

[Music out]

With a hit single and a Grammy-winning frontman, the Winstons were about to make it big time.

[Music in]

Richard: The Winstons were flown in to New York, our manager had signed us and they had set up this big 38-week tour opening for Credence Clearwater, and it was just like the answer of prayer. We were going to make pretty big money.

Then we had this big meeting, I call a signing party, on the 126th floor over on Avenue of the Americas. It was a beautiful thing.

[Music out]

But what Richard didn’t know was that the rest of the Winstons weren’t in it for the long haul. They were planning on quitting the band.

Richard: They brought the contract around for us to sign and they took that contract and said well, we have to take them to our lawyers. I said well no, this is not a negotiation. And it was pretty obvious right then that they had intended to quit.

The guys said well, you can bring them back in the morning. These New Yorkers, they've been through this before. They knew the group was finished.

[Music in]

After the Winston’s broke up, Richard left the music industry and had an eclectic career.

Richard: I sat around for about two and a half years feeling sorry for myself.

I got a job working at a liquor store, delivering liquor in Georgetown. The same clubs I used to hang out and spend $200 and $300 a night on booze, here I was pushing liquor up in there.

Then I got the job at the transit system driving a bus, and I absolutely loved it.

It was such a great thing for me because it's a people thing. Then I went back and enrolled in a university, and so I was working and attended university at the same time.

I worked in the transit system for 28 years. I had done my BA and my master's and I came back and I was in town here where I am now, I was only 58 years old.

I wasn't ready to call it quits. Plus I had a son. I had an 11-year-old son I brought home with me, so I went to teaching. I taught from 2000 to 2008 and I loved it.

[Music out]

Richard was busy. He was working, going to college, and taking care of his son. This was all in the 80’s and 90’s before the internet. He had no idea that “Amen, Brother” was being sampled in all of these songs.

Richard: I had no idea about the whole Amen break thing until almost the early 2000s. I realized after I learned how to use the computer, it was one of the most sampled pieces of music in history.

I was just amazed NWA had used it...

[SFX: Straight Outta Compton (radio edit)]

and Futurama...

[SFX: Futurama Theme]

I just looked at the list, and it was just kind of heartbreaking because I realized my publisher had just really just robbed me. I spoke to it about a lawyer and he said well, it's been 10 years, and this, that, and another.

There's a wine in Australia called the Amen break, and here I was sitting around eating sardines and drinking sodas and feeling sorry for myself and somebody was getting paid.

Richard tried moved on with his life, but people kept bringing up the amen break.

[SFX: Phone vibrating]

Richard: I started getting calls from these young men from Great Britain and they almost worshiping that thing over there and it was into that whole jungle and drum and bass thing.

[SFX: Doorbell]

Some guy showed up with television cameras and they did an interview, they said it was for the BBC or something.

They start saying to me, man you should be worth about $30 million.

Nate agrees with that estimate.

Nate: He'd be certainly a millionaire if he would have gotten just a few pennies from every time somebody used the 'Amen Break.

But Richard wasn’t a millionaire. He hadn’t collected anything from the thousands of songs that sampled “Amen, Brother.” For years he was asked to speak about his influential break and acknowledge he was never paid. Then a few years ago, he got an email from a UK-based DJ named Martyn Webster.

Richard: It was seemed like he was suggesting that some of these people felt badly and they wanted to take up some money for me. I had never heard of a GoFund, to tell you the truth.

Martyn asked Richard if he could set up a GoFundMe page. The page allowed musicians around the world who sampled “Amen, Brother” to donate money as a thank you to Richard.

Richard: I said well fine, I had no idea what that meant. They started sending money around.

To date, the GoFundMe efforts have raised over thirty thousand dollars for Richard.

Richard: It was very nice of them, too, because these are young people who probably weren't even alive when “Color Him Father” and amen break and stuff came about.

[Music in]

Richard has never officially been paid royalties for the over two-thousand known samples of the amen break, but when he looks back on his dynamic life, he’s also got a lot to be proud of.

Richard: It was amazing even when I retired, there were people at Metro who never knew that I had a record out. Not that I was trying to hide it but it wasn't anything to talk about. It was great, I enjoyed it, move on.

I've been inducted into the North Carolina Music Hall of Fame and I'm also in the D.C. Legendary Musicians Hall of Fame

I published two books.

Mostly proud because I raised a young black down south by myself. He graduated from Pfeiffer University. I’m very proud of him and now he's coaching soccer at Georgetown Visitation in D.C., and he works with kids with special needs. And he also is the head coach varsity girls at Langley High School. Very proud of that.

I'm proud of that than anything.

It's been a good, good life, man.

CREDITS

Twenty Thousand Hertz is produced out of the studios of Defacto Sound. If you do anything creative that also uses sound, go check out defactosound dot com. And don’t forget to reach out. We’d love to know who you are.

This episode was written and produced by James Introcaso… and me, Dallas Taylor. With help from Sam Schneble. It was edited, sound designed and mixed by Colin Devarney.

Thanks to our guest, Nate Harrison. You can checkout Nate’s project, “Can I Get An Amen?” and all his other work at nkhstudio.com.

Thanks also to Richard Louis Spencer. Please consider showing him some monetary love for his contributions to the music industry. You can do that at amen dot 20 kay dot org. That’s amen dot 20 kat dot org. We also put this link in the show description. Also, I hear there’s a few celebrities in the music business that listen to the show. If that’s you, show your respects by sending some money Richard’s way.

The music in this episode is from of our friends at Musicbed. Having great music should be an asset to your project, not a roadblock. Musicbed is dedicated to making that a reality. That’s why they’ve completely rebuilt their platform of world-class artists and composers with brand-new features and advanced filters to make finding the perfect song easier and faster. Learn more at musicbed.com/new.

You can say hello, submit a show idea, give general feedback, read transcripts, or buy a t-shirt at 20k.org. We’re also on Facebook and Twitter. You can also sign up for our superfan newsletter at newsletter dot twenty-kay dot org. Hearing from listeners is the most fun thing about making this podcast, so please don’t hesitate to drop us a note.

Finally, be sure to tell all your friends about the show.

Thanks for listening.

[Music out]

Recent Episodes

Ultrasonic Tracking: Are our phones really listening to us?

Ultrasonic Pic.png

This show was written and produced by Leigh McDonald.

Did you know your phone is a really good listener? Apps on your phone might be sending and receiving data over ultrasound. Ultrasonic communication is used for everything from tracking your daily habits to enabling light shows at music festivals. We hear from Yale Privacy Lab's Sean O’Brien and Michael Kwet, and privacy and technology counsel Katie McInnis. We also discuss the more positive uses of data over sound with LISNR CEO and co-founder Rodney Williams.

MUSIC IN THIS EPISODE

Autumn Eyes by The light The Heat
The Fairest Things by Chad Lawson
Fore by Steven Gutheinz
We Need Each Other by Dexter Britain
Gentle Without by Steven Gutheinz
Chasing Time by David A Molina
Butterflies (Night Hawk Remix) by Tony Anderson
Miles (instrumental) by Sonjo
Finding Glass by Steven Gutheinz

Check out Defacto Sound, the studios that produced Twenty Thousand Hertz, hosted by Dallas Taylor.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Consider supporting the show at donate.20k.org.

To get your 20K referral link and earn rewards, visit 20k.org/refer.

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Go to forhims.com/20k for your $5 trial month.

View Transcript ▶︎

[Mall ambience at SFX]

You're listening to Twenty Thousand Hertz, the stories behind the world's most recognizable and interesting sounds. I'm Dallas Taylor.

[Music Start]

Put yourself in a shopping mall. What do you hear? Maybe the sound of clothes hangers sliding across a rack…

[Clothes hangers SFX]

… or a cash register ringing up a purchase…

[Cash register SFX]

...maybe it’s rustling shopping bags?

[Shopping bags SFX]

What you probably don’t hear is this?

[Macy’s signal SFX]

Just on the edge of human hearing, at around 18 thousand to 20 thousand hertz, data is being transmitted over sound. It’s called ultrasonic communication, even though it might be audible to a child or someone with excellent hearing. The sample you just heard has been pitched down so the rest of us can hear it.

[ Continue Macy’s single SFX]

<span data-preserve-html-node="true" style=“color:rgb(127,44,202)"> Sean: Ultrasonic tracking if sci-fi, right? It's the kind of thing that seems like it comes out of a comic book or a movie. And I think that gets under people's skin.

That’s Sean O’Brien, from Yale University’s Privacy Lab..

Sean: We do privacy and security work and we look at advertising trackers inside of mobile apps, such as the ultrasonic trackers.

Ultrasonic tracking is tracking that's done through your microphone.

<span data-preserve-html-node="true" style=“color:rgb(127,44,202)"> Sean: If you have an app on your phone that allows microphone permissions, permissions to record onto your device, it can eavesdrop on you in the room and light up that microphone when you don't know.

Providers can embed their ultrasonic tones, or beacons, as they call them, into television shows and advertisements.

Sean: Let's say for example you're playing a game...

[Tiny Wings SFX]

...and you have the television on…

[Jessica Jones SFX]

Sean: There could be a signal coming through that television that's ultrasonic or near ultrasonic in most cases, that you can't hear. That sound can be picked up by your microphone, processed by the app, and then communicate with a server on the internet so that advertisers can gain data about what you're watching and potentially where you are.

If you’re listening to this, you’re probably using your phone at this exact moment. You carry that little device with you everywhere. And it might be spying on you. It can listen to what’s around you, and give that information to advertisers so they can get you to buy stuff.

[Music Start]

Sean: Hopefully at this point people have at least heard of binary and understand that there is zeros and ones inside computers. Which still sounds pretty mystical. The ability to discern between different tones can be correlated to zeros and ones. Or to use a simplified example, which we wouldn't see in the wild, 26 letters of the alphabet. You could have 26 different ultrasonic frequencies that are slightly different, so we call it frequency shift keying, because there's shifts in the frequency, and they could do A through Z with these tones.

You can look at the wave form, so a microphone and devices that are specifically designed to look at sound, can look at these waveforms and get data from them in this way.

[Music out]

This technology is also being used outside the home. You can find it at sporting events, music festivals, and yes, even the mall.

Sean: They take a look at people in retail outlets and they try to do things like, for example if you're walking by a rack of clothing, they might send you an advertisement for some clothing on that rack. It might be a 50% off coupon, it might be some other kind of promotion, that's going to try to motivate you to buy that piece of clothing.

Remember that sound at the top of the show?

[Macy’s Signal SFX]

[Music start]

That was found at a Macy’s department store nearby. The provider responsible for the ultrasonic beacon is ShopKick. They’re exclusively in retail stores. Shopkick has an app that lets you earn points and gift cards for walking into stores like Lord & Taylor, Yankee Candle and American Eagle. When you walk in, your phone picks up this ultrasonic beacon from the store speakers, and let’s the app know that you’re there.

The thing is, Macy’s doesn’t advertise integration with the Shopkick app. Shoppers can’t earn points for visiting. So it’s unclear how they’re using Shopkick’s technology. We reached out to Macy’s and Shopkick for interviews, but they declined.

[Music out]

While earning points and gift cards for simply walking around the mall is enticing, there’s a bigger picture here. And in this case, the bigger picture is big data.

Michael: There is an incredible amount of things that can be learned about an individual based on a small amount of data.

That’s Michael Kwet. He works with Sean at Yale Privacy Lab.

Michael: Companies can infer quite a bit about you. They can infer what your sexuality is, what your politics are, and we're learning that they're able to infer things about potentially your mental health based on the frequency of words you use, how often you swear.

And it’s not just ultrasonic tracking. Yale Privacy Lab found that over 75% of Android apps have some kind of tracker. Apps can use WiFi, Bluetooth and GPS to track your behaviors. And these trackers can work together to collect even more data from you. Here’s Sean again.

Sean: The message we're trying to bring is that this tracking is layer after layer after layer, really interwoven, very difficult to untangle the business relationships between these different trackers.

It's not just that when I go get an Android device or get an Apple device that Google or Apple are looking at me. It's that there's this entire ecosystem of trackers that are doing all kinds of nuanced things to track me, sharing data with each other, building profiles of us that, can usually be used to identify us backwards because it is unique to us.

Sean and Michael are confident that these trackers are in iOS apps, too. But Apple has more restrictions on their devices and software, so it’s harder to research.

Sean: We know that these trackers are also in iOS apps. We want to be very careful, at Yale Privacy Lab we want to always say that this is not a Google versus Apple thing. There are very strict laws in the United States specifically about circumventing DRM. That's digital restrictions management, or digital rights management as they like to call it. Not being able to get around pieces of software that lock down an iPhone because you could go to a federal prison, is a big barrier for us as researchers.

[Music start]

While there are strict laws protecting proprietary information, there isn’t much protection for the consumer.

Katie: So to some extent, this is a little of a wild west, right? Like, this is kind of brand new technology.

That’s Katie McInnis. She’s a privacy and technology attorney. With Katie’s help, the Federal Trade Commission issued warnings to apps using ultrasonic trackers. The FTC is the government agency that protects consumers.

Katie: We wrote comments to the FTC about how users are tracked, and one of these methods was ultrasonic beacons, which we were highly concerned about, because it was really unclear to the user that their activities across devices were being correlated using an ultrasonic audio beacon. And we felt like, unlike other methods of tracking, this one had the least amount of consumer exposure.

[Music out]

The FTC warned apps against SilverPush, which provides ultrasonic tracking in retail stores. And, when they got the warning, SilverPush said they’d end their tracking program. But because of how the FTC works, they couldn’t have prevented SilverPush from the start.

Katie: Unfortunately, in the U.S., we have a very fragmented system of privacy enforcement. The FTC, doesn't really have rule-making authority, unlike most of their agencies. And so they can't create prospective rules, then regulate future actions. They can only look at something, let's say, retroactively that was unfair and deceptive to user.

[Music start]

The researchers at Yale Privacy Lab found eight android apps that still use SilverPush. Most of them are international, though, and outside the scope of US law.

One of the few laws that does protect consumers in the US is the FTC act, which established the Federal Trade Commission. This act protects consumers against “unfair or deceptive acts or practices in or affecting commerce.” Basically, it protects consumers against the shady stuff business sometimes try to pull. This act was signed into law by President Wilson way back in 1914, so it’s pretty crazy it’s being used to regulate technology they never even dreamt of in the early 20th century.

[Music out]

In recent lawsuits against ultrasonic tracking providers, the Wiretap Act has been referenced.

[Music start]

This act not only protects our private conversations over the phone, but It also makes it illegal to spy on any kind of communication through a device. So it’s no surprise that this act has been brought up in lawsuits against ultrasonic communication providers.

We’ll hear from one of those providers after the break.

[Music out]

MIDROLL

[Music in]

Lawsuits against ultrasonic communication companies have been popping up lately. These apps use your phone’s microphone so it’s easy to see that this could be compared to wiretapping. But, not all ultrasonic communication companies are in the advertising or tracking business. There are genuinely useful ways to use this new technology to make people's lives easier - just like Wifi and Bluetooth has.

A company called LISNR describes their technology as “data-over-audio.”And like most of the providers in this field, they use these near-ultrasonic tones to transmit information.

[Music out]

Rodney: It's really a modulation across a frequency range.

That’s LISTNR’s CEO and Co-founder Rodney Williams.

Rodney: And we can push that frequency range up or we can push that frequency range down depending on the environment to ensure that it's gonna be reliable, but our core infrastructure is built between 18,000 and 20,000 kilohertz.

So, that frequency range is important, here’s why….

Rodney: the FCC says that all audio up to 21,000 kilohertz is safe audio - safe as in health, it’s not affecting your ear drum - We have competitors that actually use audio above 21,000 kilohertz. Technically that's not in the bandwidth of safe audio, and that's why really high frequency ranges outside of that bandwidth are regulated.

LISNR got their start as a marketing technology company, and they worked with some pretty big names.

For example, for Discovery Communication, as you watch MythBusters, little quiz overlays about the myth. Did they use water? And it would count down, and then your phone would start counting down, and vibrating, and then you had nine seconds to hurry up and answer it. One of my favorite, Budweiser Made in America music festival, What I loved was at the end of the night, if it recognized that you walked past a gate, it actually sent you a message to get a Uber, and it gave you a coupon offer on an Uber.

I thought it was perfect, right? I mean, it's a bunch of kids obviously at a festival. Obviously they just need a ride home, and I mean, I just think that's the power of understanding when a consumer's inside of an experience, and being able to help it.

In order for this experience to work, you had to download the festival’s app so it could listen for the ultrasonic signals.

[Play clip: Crazy in Love by Beyonce (Live at Made in America)]



Here’s an example of how it might work. But, in this example we’ve lowered the frequency of the signal by four octaves, to a range where you can hear it.

Rodney: Yeah, so it would be in the Budweiser Made in America app. What would technically be happening is that we would actually be playing our tones throughout the venue, and tones basically would have different location data so that if it heard a certain tone that mean you were in a certain area, and then it could understanding how long you were in that area, and if you went from area 45 to area 46, and then to 47, obviously you're walking, and then we just basically could trigger different messages based on where you are in relation to these tones.

[Music out]

Rodney: The magic behind it, which drove a lot of the engagement, is that this wasn't the battery drainage. It didn't use your cellular data, wifi data or GPS data to trigger you the message.

*[Music start]

Despite all their success, LISNR decided to end their marketing program and focus on other uses for the technology.

Rodney: All transparency, it was mainly because of a lawsuit that we got - that's actually just got dismissed, by the way, because our technology is fantastic and it does what we say it does - but it was a lawsuit that basically said that we were recording consumers' conversations for purpose of advertising, I can't say too much because I don't know what else has been released publicly, but I what I can say is our technology just doesn't do that, right? It doesn't interpret sound. It can't hear a voice. It's not voice recognition. It's true data over audio.

[Music out]

One of the concerns with ultrasonic communication today is that you have to let apps use your microphone. Sean from Yale Privacy Lab says it’s hard to know exactly what they are doing with your microphone, and it might be possible to collect more data than intended, like human voices, for example.

Sean: the processing is happening on a server somewhere. The app is not going to spend a lot of processing power or use the capabilities of your phone to make that waveform more privacy-respecting before it sends that audio to whatever server it's talking to.

But LISNR says they took their technology offline once they stopped using it to track.

Rodney: The moment we went offline, locally encoding and locally decoding, Lisnr has the inability to track. It’s a completely offline method of wireless transmission, so it does not connect to a wireless server. It does not connect to a cloud.

This is a complicated problem - “the cloud” wherever that may be, is actually the vulnerable part of the system. Ultrasonic communication is just a tool to collect information, which could be sent to “the cloud”.

If someone is going to try and steal information from you, they will most likely target a cloud server because they hold such massive amounts of information.

Back to Rodney.

Rodney: You can't hack the data transmission from a cloud server because we are no longer connected to a cloud, so the cloud does not initiate a transfer or decode the transfer, it's locally. Then you have to be locally there. You have to know the algorithm, you have to know the encryption, and you have to be able to understand the time token. And if you was to get all of that, then good for you. I think it should be that hard.



When this technology is offline and more secure, it’s better suited for things like authentication and payment purposes.

[Music Start]

Rodney: There's some unique advantages by using this as a authentication method, and that's probably the biggest area of interest and growth for us. Earlier last year we landed Ticketmaster, a consumer's mobile phone would actually broadcast real-time ticketing data, the same ticketing data that would be sitting in a barcode, and instead of walking up, and getting your screen brightness correct, and then getting the right angle, you would literally just have to place your phone within 12 inches of a scanning device, and your phone would immediately authenticate and turn green, and you are allowed in.

We want our data to be with the individuals that it's supposed to be with, not anyone else. In a perfect world, consumers locally have data, and when they want to transmit it, they control the transmission and they control who it's delivered to, it's not tracked by a third party like Amazon, Apple, anywhere, it's literally tracked by you.

When it comes to ultrasonic datate transmission, it’s up to each company to use their technology is ethical ways. For ultrasonic tracking companies like Silverpush or ShopKick, or really any company that tracks and collects data for advertising, transparency is especially important. And like everything else, transparency is on a spectrum, with open source code on one end, and a black box on the other.

[Music out]

Sean: A lot of this is black box, so we're making guesses from the outside, which is sort of the thing that's so scary. Inside the advertising industry, this kind of tracking is no secret to anyone. What the actual business practice are inside a specific business is the kind of thing that's hard for us to say.

We don’t really know what data ultrasonic tracking companies are collecting, or what they’re doing with it. And that means it’s hard to hold them responsible if they go too far.

Michael: What these advertisers want in this situation is of course to get people to buy their products.

But the degree of manipulation is pretty extensive and so I think as time marches on, the kinds of information and practices that we're seeing in the advertising industry are cause for alarm because nobody really wants to be manipulated in this way and a lot of this is being packaged into video games or into chat apps so in order for us just to carry out our day-to-day lives, we're all being subjected to a lot of surveillance that is very concerning for our rights and liberties.

And remember, 75% of android apps have some kind of tracker, whether it’s ultrasonic, Bluetooth, WiFi or GPS. And these apps are built around the trackers so that the apps won’t even function without them. And even if they could, the companies make it really hard to opt out.

Michael: it's extremely hard to opt out. For Tinder, if you want to use the app, you have to turn on the location tracking.

[Music start]

But, if you turn location tracking off, then you can't use your map service. So, the problem is these companies understand that instead of giving you a straightforward option to opt into these kinds of things, they construct their apps and their privacy policies to make it onerous and difficult for users to opt out, and when you have maybe 40 apps in your phone, the opt out process becomes overwhelming for an individual and their tactic in the industry is to overwhelm individuals so that they just throw in the towel and say, "I want to play games. I want to talk to my friends. I'm just going to install it and click-through."

What we need is stronger transparency from the industry and greater awareness from consumers. It’s easy to forget, but our phones are right there with us during the most intimate part of our lives. It’s worth keeping safe and trustworthy. So, if an app requests access to your microphone, but has no reason to do so - you should probably reconsider installing that app.

CREDITS

Twenty Thousand Hertz is produced out of the studios of Defacto Sound, a sound design team dedicated to making television, film, and games sound incredible. Find out more at defacto sound dot com.

This episode was written and produced by Leigh McDonald...and me, Dallas Taylor. With help from Sam Schneble. It was sound designed and mixed by Nick Spradlin.

Thanks to Sean O’Brien and Michael Kwet from Yale Privacy Lab. Also thanks to privacy and technology counsel Katie McInnis and LISNR CEO and co-founder Rodney Williams.

The music in this episode is from of our friends at Musicbed. Having great music should be an asset to your project, not a roadblock. Musicbed is dedicated to making that a reality. That’s why they’ve completely rebuilt their platform of world-class artists and composers with brand-new features and advanced filters to make finding the perfect song easier and faster. Learn more at musicbed.com/new.

Did this episode change the way you think about your phone? Let us know on Twitter at 20k org. You can also give us feedback, submit a show idea, read episode transcripts, or buy a super cool 20k t-shirt through our website at 20k dot org.

Finally the first person to decode the ultrasonic message we embedded at the top of the show will win a t-shirt. Just hit us up through our website, twitter or facebook with the message. Thanks for listening.

[Music out]

Recent Episodes

ASMR: Why certain sounds give you tingles

ASMR.png

This show was written and produced by Carolyn McCulley.

Do certain sounds give you the head tingles? If yes, this episode is full of ear candy for you! In this episode, we learn all about the phenomenon called autonomous sensory meridian response—or ASMR for short. This soothing episode features researchers Giulia Poerio (University of Sheffield), Craig Richard (ASMRuniversity.com), and ASMR artists Gentle Whispering, Jellybean Green, and Somni Rosae - as well as the team at Defacto Sound!

MUSIC IN THIS EPISODE

Love is the Flower of Life - Chad Lawson
I Should Be Sleeping - Chad Lawson
All is Truth - Chad Lawson
D's Travels - Uncle Skeleton
Blackout - Stray Theories
Shoreline (No Drums) - Dario Lupo
Timeless - Dario Lupo

20K is hosted by Dallas Taylor and made out of the studios of Defacto Sound.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Consider supporting the show at donate.20k.org.

To get your 20K referral link and earn rewards, visit 20k.org/refer.

Check out wetransfer.com for all of your file sending needs!

View Transcript ▶︎

A couple of quick notes before we start the show. First, this episode is best experienced in a quiet place using good headphones. But, if you can’t do that, I won’t judge, the show still stands on its own. You just might not get the physical reaction. ..and that brings me to point number two: We’re talking about a subject that could possibly give you a physical reaction. Don’t worry, it’s perfectly safe, and can happen without anyone around you knowing, but you’ll need to be really relaxed in order for it to happen. We’ve put lots of opportunities in this episode to trigger it, and I encourage you to actively think about it and try to experience it. ok, here we go.

[Play “What is ASMR video?”]

Maria: Hello, my name is Maria. And I’m here to tell you about ASMR.

You're listening to Twenty Thousand Hertz. I'm Dallas Taylor.

Maria: Autonomous Sensory Meridian Response. It’s a pleasant tingling feeling you experience when you hear unique soft voices. Or hear certain soothing sounds, such as tapping. Or both. Like sounds of me whispering or brushing your hair.

[music in]

Depending on your age and internet consumption, you either already know exactly what ASMR is or you have absolutely no idea what’s happening right now.

Jai: ASMR is basically... sounds that trigger almost a tingling sensation for people.

That’s Jai Berger. A Sound Designer here at Defacto Sound.

Jai: Sometimes it’s on the top of their head or on the back of their neck. But it can also be used for as a relaxation tool. And certain sounds are different triggers for different people.

Colin: And honestly, it feels pleasurable. Which, I feel uncomfortable saying that, but it does.

That’s Colin DeVarney. Also a sound designer here at Defacto.

Colin: the things that trigger it are so random and it’s weird to say that I get pleasure from somebody unwrapping a gift or listening to them do a task quietly.

Nick: I don’t partake in the watching of the ASMR videos.

This is Nick Spradlin. Also, a sound designer here at Defacto.

Nick: The virtual haircut or watching any of the ASMR videos, like just everyday sounds, I have no reaction to. Since I was a musician for so long a lot of the stuff I listen to I’ll get chills with certain music, and I never really knew what that was called. And I think that’s ASMR,That’s my knowledge of it now, “Oh I guess that’s what that is”.

Sam, what do you think about this whole thing?

[music out]

Sam: Honestly, it really creeps me out.

For me, it kinda feels like a tingle or a chill that goes up the back of my spine and into my brain.

To get everyone on the same page, we listened to some popular ASMR tracks all together.

[Play ASMR clip]

This one’s close for me, it’s close. Ok Sam, it sounds like you have something to say.

Sam: I really don’t like it.

[Play ASMR clip]

Colin: I actually kinda like this one.

Nick: This is enjoyable.

[Play ASMR clip]

Nick: As weird as this is, I like it for being this weird.

Colin: So this might of triggered my ASMR, but once that guys voice I think is now ruined for me. It just gets me out of it.

[Play ASMR clip]

Oh I like that.

Colin: Me too.

Ok any thoughts?

Colin: I like that one more than most we’ve listened too.

I would just like to point out that Sam looks like she’s about to puke.

Sam: Oh my god, my ear. I don’t like it, it makes me so uncomfortable. Ugh.

Nick: I also disliked that one.

So you disliked it, Sam hated it, Colin and I got the little response, Jai?

Jai: I didn’t get a response, but I found it relaxing.

[Play ASMR clip]

Sam, can you describe what’s happening on screen right now?

Sam: Well, she has these fluffy windscreens on each of the mics and she is caressing them, gently.

Can you describe her facial expression?

Sam: She’s really into it.

[music in]

That last ASMR clip we heard was from one of the top ASMR artists on YouTube. Her name is Maria, and her Youtube moniker is “Gentle Whispering”. In that clip she was whispering, but she also used tapping, brushing, exhaling and even role-playing to make these ASMR triggering sounds. In all, her videos have been viewed and listened to over 438 million times.

Giulia: Maria is an ASMR artist who has one of the highest number of subscribers.

That’s Giulia Poerio, a psychology researcher studying ASMR at the University of Sheffield.

Giulia: I find her personally very relaxing. she has this sort of Russia/American accent. She has amazing hand movements that are incredibly relaxing. She speaks in a very calming way and she's really good at explaining things.

[music out]

[Play clip of Gentle Whispering]

Giulia: It's sort of a tingling sensation that starts at the top of my head and spreads down to my through my limbs, as well. So one way that I really like to think about it is as if somebody has opened a can of fizzy drink under my skin, [SFX: fizzy drink bubbling up] so it's kind of bubbling and it's kind of warm and relaxing.

[SFX out]

Imagine one of those scalp massagers you see in Skymall. You know the one - it looks like an open-ended whisk with thin metal spindles and tiny metal nubs on the ends.

Giulia: You put them down at your head and they're metal little spikes and they move into your scalp, and that's kind of what ASMR feels like. It's very, very relaxing.

[music in]

What's interesting about ASMR is that it's a stimulus in one modality, like sound, that is producing a tactile sensation. So you are experiencing being touched through sound.

People generally fall into one of two categories—they either think that ASMR is something that everybody has and, "Oh, of course everybody experiences this sort of tingling feeling when they hear soft speaking." Or they think that they're the only person that's had it and they don't realize that it's something that other people experience.

[music out]

ASMR became popular with the rise of YouTube. Some credit a thread on Reddit around 2007 where people first started talking about “head tingles” in response to sound. But it really took off when a woman in the U.K. posted the first whispering video on YouTube in 2009. That was under the moniker, “WhisperingLife.”

[Play Whispering Life clip - “Hello, I thought I would make some videos of me whispering. I absolutely love listening to people whisper, which is really, really weird.”]

Guilia: a lot of people when they find out about the ASMR experience and they find out that they can watch these videos on YouTube they're like, "Wow, this is amazing, because this is something that I've experienced all my life and I didn't know that I could go and intentionally experience it."

By 2010, a cybersecurity professional named Jennifer Allen decided this experience needed a more scientific-sounding name. So she coined the ASMR label and created a Facebook group for fans to discuss the experience.

Giulia: I used to go and seek out ASMR experiences before I knew about the ASMR community, so I used to go and seek them out in my everyday life. Once I signed up to a credit card because the woman in the bank [SFX: background chatting] was really relaxing and was going through a form and all these sorts of things [SFX: Paper turning, marker circling] and it was amazing and I found it so relaxing.

I know, it's really odd but the woman was so relaxing. And she was form filling [SFX: pen scratches], and that's one of the triggers, somebody filling out a form. Hotel check in, I love checking into hotels or places. Or I love somebody taking information [SFX: keyboard typing] and typing things in. Yea, It's really relaxing.

I've canceled the credit card so I was aware that it was literally only because I wanted her to carry on talking so much.

Even the advertising world has caught on to the allure of ASMR. Popular brands such as Ikea, KFC and Dove have created advertising produced with intentional ASMR triggers. In this ad for Dove Chocolate in China, a woman crinkles a chocolate wrapper, unwraps it and then pops a piece into her mouth.

[Play Dove Chocolate clip]

[music in]

If companies are using ASMR to sell their products, this must be a credible phenomenon, right? What is the science behind ASMR? Is there any? More on that in a moment.

[music out]

[MID-ROLL ADS]

[music in]

ASMR or autonomous sensory meridian response is a physical response to certain sounds. People who have this response often call them head tingles or sparkles.

Craig: I think the biggest term that best describes ASMR is relaxing.

That’s Dr. Craig Richard. He is a professor at Shenandoah University and founder of ASMRuniversity.com.

Craig: Some also will use terms like, it's comforting, and it's soothing. Then, usually associated with that, are head tingles. They're sometimes described as sparkly, and staticky, and for the most part enjoyable. Overall, that just leads to this relaxing, tingly sensation, that for some people it's great for dealing with stress. For other people, they use it to help them fall asleep.

[music out]

Like many people, Craig didn’t immediately connect with the concept when he first heard about it.

Craig: I'm a physiologist. So when I heard this term, I knew that was not a physiological term. I didn't really believe what they were saying, it just sounded like some woo-woo, or made up. Then, they gave an example of something that people who have ASMR find relaxing. They brought up Bob Ross.

[Play Bob Ross clip]

[music in]

Craig: That was when I made the connection for myself. Because I remember being a kid and I would come home from school, flip the channels, come across Bob Ross. I didn't have any interest in painting. I still have never painted. I don't, it's not the painting. It was him. It was his demeanor and disposition. I found it's super relaxing. I would put down a floor pillow, and I would watch him, and I never really saw him complete a painting, because I would end up falling asleep.

I didn't think much of that, until I heard … "Not everyone reacts to Bob Ross like that." I said, "Wow."

It’s still a mystery exactly why anyone experiences ASMR to begin with. But, there are a lot of theories.

Craig: One thing I wonder about is, by looking at a lot of the triggers, and what's common to all these triggers, that do stimulate ASMR in some individuals, is they tend to be a lot of the same kind of triggers that you would use to soothe the baby. So it's whispering, it's talking softly, it's personal attention, it's light touching. All that is very important, from the day we’re born that we have to have some kind of innate response to be soothed by people who care for us.

[music out]

Back when Craig first discovered ASMR, there wasn’t much research. So he decided to do something about that.

Craig: That's when I started the website, ASMRuniversity.com, to kind of put forth some large theories, based upon my understanding of physiology.

We launched the survey a couple years ago and we've had over 23,000 responses. the top responses are they feel relaxed, they feel calmed, they feel soothed, they feel sleepy. We ask them about, what are the physical sensations you feel? Sure enough, tingles is number one and it's occurring in the head. So this is important, because it's confirming what a lot of ASMR artists, and a lot of ASMR consumers are saying. That's important.

[Play ASMR clip - Somni Rosae, ASMR inaudible“Hello, welcome back to the spa. It’s very nice to see you again. It’s been a very long time since you visited the spa”.]

[music in]

Somni: After five years of creating content myself, I've learned that our audience is not just made up of people who have ASMR. It is also people who are sleep-deprived.

That’s Somni Rosae [pronunciation at the front of her video S-ohm-ni Ross-ay.], an ASMR artist who does a lot of role-playing videos. Mostly recreating a spa experience.

Somni: They are suffering, for example, from insomnia. They are currently experiencing a lot of stress or they have depression and as the number of views continues to grow, to me it shows that there is a need for quiet entertainment.

[music out]

We are providing quiet entertainment for individuals who are looking for something that helps them relax. Something like white noise [SFX: White noise] or pink noise [SFX: Pink noise] but instead there is more substance to it. The viewers enjoyed the sound combination of a human voice and the rain and on top of that the role play is about skin care. So they liked the pampering and the one-on-one attention that a character provided.

[play clip of the skin care role play]

Another ASMR artist, who goes by Jellybean Green, says her earliest memories of experiencing ASMR were in grade school. So once she became an established artist, she went back to something she remembered as very satisfying—peeling glue from her hands.

[Play ASMR clip - “Alright, so the glue has mostly dried on my hand. I’m not sure if I made it thick enough to get a good peel, but we’ll see.]

Jellybean Green: YouTube video comment sections aren't always the most eloquent places, but in the ASMR community, I've really noticed, in my videos, there are a lot of people for whom ASMR has been life changer. Relief from insomnia, anxiety, depression, PTSD, and even if that relief is brief and temporary, anyone who's suffered from those things knows that a little bit of relief can go a long way.

[music in]

ASMR videos have helped me. There are some really difficult times. I have a long history of mental illness myself, anxiety, depression, OCD, and it's something I've been in and out of treatment for since I was very young. My favorite ASMR videos, and my favorite ASMR content creators mean so much to me. When people take the time to let me know that my videos have helped them, it makes me feel like I've been able to pay that forward. Pay, what I received, forward in some small way, and it's amazing. It's really, really gratifying.

We live in a noisy, stressful and distracting world...and ASMR offers us the chance to slow down and be in the moment. To be present with our bodies and mind. There’s something really cool about hearing a simple, pure, and gentle sound… and having that jump from our sense of hearing to our sense of touch. It really speaks to the power of sound. It also reminds us that, as much as we know about sound and the human body, there’s still a lot to find out. Maybe one day researchers will tell us all about it - but - for now, go find a quiet place, a few youtube videos, and try it out for yourself.

[music out]

[music in]

Twenty Thousand Hertz is produced out of the studios of Defacto Sound, a sound team that supports ad agencies, filmmakers, and video game developers. Check out recent work at defactosound dot com.

This episode was written and produced by Carolyn McCulley. And me, Dallas Taylor. With help from Sam Schneble, Nick Spradlin and Colin DeVarney. It was edited, sound designed and mixed by Jai Berger. Thanks to our guests – researchers Giulia Poerio and Craig Richard, and ASMR artists Somni Rosae and Jellybean Green.

You can listen to the ASMR artistry of Somni Rosae, Jellybean Green, Whispering Life, Gentle Whispering, ASMR Basic, The ASMR Nerd, and The Tingle Twins on YouTube. Craig Richard maintains the website ASMRuniversity.com. You can find links to the Youtube videos in this show on our website - twenty kay dot org.

The music in this episode is courtesy of our friends at Musicbed. and they’ve completely rebuilt their platform with brand-new features and advanced filters to make finding the perfect song easier and faster. Learn more at musicbed.com/new.

Finally, tell your friends about this episode. I’ll be eternally grateful.

Thanks for listening.

[music out]

Recent Episodes

Broadway to Cirque du Soleil: Sound design for the stage

Live Theater Pic.png

This episode was written & produced by James Introcaso.

Amazing concerts, Broadway musicals, Cirque du Soleil performances, and other live shows live and die on their sound design. This is the story of how sound design for live performances went from zero to speakers in the seats and where the industry might go next. This episode features interviews with sound design legends Abe Jacob and Jonathan Deans.


MUSIC IN THIS EPISODE

Home - Chris Coleman
Gentle Without - Steven Gutheinz
Cedar - Blake Ewing
Iris - Steven Gutheinz
Desert Crossing - The Radial Conservatory
Feels Like Magic (Instrumental) - Sports
Messages - Steven Gutheinz


Twenty Thousand Hertz is hosted by Dallas Taylor and produced out of the studios of Defacto Sound.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Consider supporting the show at donate.20k.org.

To get your 20K referral link and earn rewards, visit 20k.org/refer.

Get a 4 week trial plus a digital scale at Stamps.com. Type in "20K". 

Get a 1 month trial for $5 at forhims.com/20k.

Check out Business Wars here.

View Transcript ▶︎

SFX: Beyonce sing the National Anthem

You’re listening to Twenty Thousand Hertz. I’m Dallas Taylor.

Back at the 2013 presidential inauguration superstar Beyonce sang the Star Spangled Banner… but she didn’t do it live. Beyonce admitted to lip syncing.

SFX: Beyonce press conference clip

“...Due to no proper sound check, I did not feel comfortable taking a risk. It was about the president and the inauguration, and I wanted to make him and my country proud, so I decided to sing along with my pre-recorded track.”

Beyonce’s decision to lip sync acknowledges the importance of taking sound very seriously. Especially during a live performance. Big events rely on great designers, mixers, microphones, speakers, and a whole host of other things in order to sound effortless to an audience. At least, that’s true today...but, it wasn’t always that way.

Abe: For generations there was no sound system in the theater. Everybody strained to listen in those days. Today, audiences are inundated with ear buds and other forms of mechanical reproduction so they no longer strain to listen in the theater.

That’s Abe Jacob, a sound design legend. Early in his career, Abe mixed concerts for musicians like The Mamas & the Papas, Peter, Paul, and Mary, and Jimi Hendrix.

Abe: In those days with Jimi, all of the band gear, all of the musical instruments, the little bit of lighting and the sound equipment, all fit in one 19 foot truck.

He even worked on the Beatles’ final touring concert in Candlestick Park.

[SFX: Begging of “Yesterday” by the Beatles]

But Abe didn’t just do rock concerts. In 1968, he went to Broadway, where he was asked to do the impossible.

[SFX Opening Notes of “Superstar” from Jesus Christ Superstar play]

Abe: Coming in to do Jesus Christ Superstar in two days was a high point because the previews had been canceled because of wireless microphone problems

[SFX microphone feedback causes the music to end]

Before Abe, there weren’t any credited sound designers on Broadway, probably because there wasn’t much of a sound design.

Abe: We didn't do a great, great job in the very beginning.

It was basically area mic-ing that picked up the sound of voices. It was very simple audio mixers, rather than audio consoles.

It was a struggle for the audience to hear with such little thought put into the sound system. And things didn’t get much better when the first wireless microphones were introduced.

Abe: In early theater in the 60s, there was always one wireless microphone that was usually on the star, Carol Channing in Hello Dolly.

[SFX: Carol Channing begins to sing the title song in Hello Dolly]

It was a very large device. It looked almost like a small carrot that was hung around their neck underneath the costume. That led to the fact that the microphone was underneath the costume, so you got considerable cloth noise on the microphone [SFX cloth noise], which tended to cause attention to itself.

As Abe’s career grew, so did the technology available. As equipment became more complex, Abe needed more people to help him create live soundscapes. He started to take aspiring theatrical sound designers under his wing.

Jonathan: Abe is my mentor.

That’s Jonathan Deans, a four-time Tony-nominated sound designer. In addition to his many Broadway credits, Jonathan works on shows all over the world including Cirque du Soleil.

Jonathan: When I started my career there were no schools that were teaching the subject. Sound was still very in its early stages for live musicals.

There wasn't really any technology, there wasn't anything to teach. I learned from actually doing things and just trying it. Everybody knew you were trying something and you're just putting something out there.

His first project with Abe was A Chorus Line at the Drury Lane Theater.

[SFX: Opening notes of “One” from A Chorus Line]

Jonathan: That was very interesting when Abe turns up with his show, Chorus Line, they're going to put delays in the theater, delay speakers. It's like, "What is that?"

Audio delay systems are something Abe introduced to Broadway that helped every seat in the house have the same audio experience.

Abe: Today, you can put loudspeakers at almost every place in the theater. Before, it was two boxes hung on either side of the proscenium that were of sufficient volume to reach the last row of the house, but a little discourteous to the folks in the front row.

Put speakers further back in the theater so that the front systems didn't have to be quite as loud.

The idea is simple, put speakers all over the room so you don’t have to blast a single set of them up at the front. But doing this presents a new challenge.

[music in]

Sound is actually pretty slow. Imagine if you’re sitting near the back of the theater. The sound from the speakers at the front of the room will hit you later than the speakers at the back of the room, creating a very mushy sound.

If one speaker has its timing off from the rest by even a fraction of a second, even the most beautiful music becomes messy. Take for example, the music we’re hearing right now.

[SFX: Music boosted for a moment]

It sounds great because the music in both your speakers or headphoneis in sync. Now we’re going to play one of your speakers just a fraction of a second behind the other.

[SFX: Music delayed]

The delay system syncs up all the speakers so all of the sound reaches everyone in the theater equally and at the same time.

[music out]

As sound technology improved so did other theatrical effects. Moving lights, projectors, and moving pieces of scenery gave the sound design a new job.

Abe: One of the other functions of the sound system today is to overcome the inherent noise floor of a lot of theatrical productions. The sound of moving lights [SFX: Moving light], of television video projectors [SFX: Projector added to the noise of moving lights], of scenery [SFX scenery moving added in to the cacophony], has all contributed to a higher level of background noise that the sound system has to overcome.

By introducing new technology into live theater, Abe changed more than just the sonic experience. His advancements allowed actors to change their performances from big to subtle.

Abe: Actors' voices need to rescale to reach the house at a proper level. They must be amplified. So what I ask myself is, "How much and by whom?" If all the gain comes from the actor, the price is unnatural diction, inappropriate tonal, emotional cues and stiff posture. But if the gain can come from a properly balanced acoustical system, then the actors can relax more, the speech becomes more natural, and the emotions meet the spoken word.

[SFX: Beginning of All that Jazz from Chicago]

Abe’s work didn’t just allow for intimate storytelling in large theaters, it also gave costume designers more freedom.

Abe: In Chicago in 1975, Gwen Verdon, the star, was going to wear a wireless microphone. She had on a very skimpy costume, and there was no place to hide the microphone or the transmitter. We came up with the idea of putting the transmitter and microphone in her wig. That was, I think, the first instance of the microphone being placed on the forehead of a performer.

The new mic placement was designed for the performer’s comfort, but it had an unintended bonus.

Abe: We discovered that the microphone on the forehead or above the ear was a much better placement for sound quality than being on the chest. It gave us a greater freedom of being able to mix the sound of that particular microphone and that performer.

As Abe brought live theater into the modern world and upgraded the sound systems of different productions, sound design became about more than just amplifying the sound of the show. It became about creating a soundscape that that helped tell the story along with performances, costumes, lighting, and all the other creative elements of theater.

[SFX: Begin “Don’t Cry for Me Argentina” from Evita]

Abe: Evita, at that time, had six wireless microphones in use. That was a big step forward trying to get all six to work at once.

The thundering voice of Eva Peron on the balcony of the Casa Rosada, certainly wasn't natural. But it was the reality of that situation, where she was addressing 1,000s of people and telling about her struggles to get where the Perons were. It was just the effect onstage that made you feel that you were part of that inauguration scene.

[SFX: continue song “Don’t cry for me Argentina….”]

[music in]

The best sound system and the best sound design is one that's basically invisible now we have the equipment with which we are able to do that much easier. Modern microphones and loudspeaker systems are extremely linear and are capable of providing reinforcement with minimal detection. That's a goal.

Abe didn’t just increase the number of mics and speakers on Broadway, he also created jobs.

Abe: When I started out, it was basically just me and the sound operator.

There are now a lot of bodies involved.

Before I came to New York, the sound operator operated the sound from a console or from a mixer located backstage where he just turned the knobs up to a preset mark and that was it.

We were able to talk producers into giving up some seats and putting the sound equipment out in the house where the operator could hear.

They are the fifth member of the quartet.

Abe’s influence in live audio design was huge. He showed an entire industry that creating a soundscape is about more than just hanging speakers. He also trained so many amazing designers who took their talents all over the world. They changed every element of theater through sonic enhancement.

Abe: Sound reinforcement is not required for every production. Then again, neither are makeup, costumes, lighting, and staging.

Sound is as vital a creative element in the theater as any of the other design elements are.

The history of modern live event sound design began less than a-hundred years ago. In that time technology and methods have improved leaps and bounds. How we’re doing things now and where we might go in the future are truly mind blowing. We’ll hear all about it in a minute.

[music out]

MIDROLL

[music in]

In a few short decades sound design for live events went from almost no microphones or speakers to a critical part of every production. So what is modern sound design for live performances like today? Here’s Jonathan Deans again.

Jonathan: Sound has become very complicated due to the equipment that is available. As equipment becomes more complicated, there's less imagination therefore less creativity.

Every live event audio designer puts in tons of hours just to get a sound system up and running. Once it’s working, that’s just the beginning of the creative process.

Jonathan: If you're doing a Cirque du Soleil show, you're going to be involved in it for two to three years with big chunks of time away from the home. I'm talking weeks and sometimes months. I've actually done a production we were in tech for 15 months.

Jonathan doesn’t have a single sound setup that works for every show. He picks equipment based on the show’s story and the size and shape of the venue.

Jonathan: As sound designers we're confined to cabinets and speakers as we know it but beyond that there's nothing intentionally similar from one production to another. It's not cookie cutting and that excites me.

[music out]

Sound design in theater can be never-ending. Especially for an enormous show like Cirque du Soleil. Jonathan recently went back to tweak the sound for Love, a show that uses Beatles music and premiered a decade ago.

Jonathan: There was a refresh done of the production there were new songs put in and there were different acts that were put in.

I went to see the show with Giles Martin and Paul Hicks and Leon Rothenberg, those are the four of us involved in the music "this needs a refresh," because it’s been running for ten years and the technology has evolved so much that the expectations are completely different.

That refresh turned into a total overhaul.

Jonathan: We ended up remixing the entire show just staying up all night when everyone had gone.

That’s because sound technology constantly evolves thanks to innovative ideas from designers like Jonathan.

Jonathan: What if? What if I could put speakers into the seats? What would that be like?"What would the person look like when they're hearing it? What would they be feeling it from? Would they be hearing it from behind? Is that weird?

After sketching out his ideas, Jonathan then puts those ideas into action to see if they work.

[SFX: music from Ka]

Jonathan: I did a show called KA and KA was the first time I had put speakers in the seats there was two speakers in every seat in the theater which is just under 2,000 seats. You could watch people walk in and sit down and we were playing sounds.

I watched a couple coming and the lady sat down. She heard the sounds coming out the speakers in the seats and I could see her point and say, “Look at this sound coming out of the seat, the back of the seat." The guy then leaned down and listened to his seat and put his ear and could hear the sounds coming out of his seat went, “Oh wow.”

He took his jacket off and then hung it on the back of the seat and cover the speakers.

[SFX: Music gets muffled from jacket]

He sat there for the entire show having heard the speakers before knew that they were there making the sound and covered, put his jacket, the shoulder part of it as it hugs the seat, went over the speakers and watched the whole show.

[SFX: Ka music out]

Not every new idea works, but sometimes the only way to know is to experiment with a live audience. That trial and error leads to some pretty awesome innovations, like new ways to track the movements of the actors on stage.

Jonathan: You put the device on the actor that is like an RFID tag, it transmits so you know where their standing, you know where their location is within a parameter which is in this case setup to be the stage, could be in a bigger spaces if you like. And so you know that that person is standing there.

Jonathan is using a modern version of Abe’s delay system to perform an amazing feat of technical sound.

Jonathan: The time delay within that actor's voice going out of certain speakers or all speakers, the delay is changing as it goes upstage downstage like it would if I was to go further away from you or closer to you there is a time difference that happens to when you receive me.

When you do that, when you track the actors nobody notices because it’s just natural.

That same technology isn’t just for tracking actors on stage.

Jonathan: You can put it onto a person like Peter Pan, flying around the room. It could be a sound like maybe it’s tinkerbell following. A sound follows them so you can put a sound effect that follows them so as the person’s moving around, going around the surround system [SFX: Move Tinkerbell sounds around the speakers] and you’re doing it because it’s not something that’s fixed. It has to be done live so you can track that person and or the sound effect that belongs to that person or an instrument.

When it comes to the future of sound for Broadway, it turns out that not only is creative thinking encouraged. It’s required. Here’s Abe again.

Abe: Unfortunately, I think the future of Broadway theater sound may tend to shy away from so many wireless microphones. The radio frequency spectrum is getting very crowded.

Broadway theaters back to back are anywhere from 40 to 60 transmission frequencies between wireless microphones, communications, walkie talkies, and things of that sort.

Broadway has many theaters in a close proximity. That means each device in each theater needs to have its own frequency to work properly. Otherwise you might be in the audience for Wicked…

[SFX: MUSIC: Defying Gravity from Wicked]

… and suddenly hear “Hakuna Matata” from the Lion King.

[SFX: Defying Gravity song mixed with Hakuna Matata]

[music in]

Abe: Maybe we go back to some kind of wired microphone that can be utilized in some form. There will always be wireless microphones, just not in the quantity that there are today.

The future of sound design is full of challenges, but it also has enormous potential.

Jonathan: What I enjoy most about my job is enjoying the audience, being part of that journey that hopefully can add something to their life even if it’s only for those three hours.

Abe: Theater in itself is important. It's an explanation of the life and the times that we are living in, or the lives and times of heroic events in the past. You can't take away the impact of drama to the world. And if what sound can help create and contribute to that impact, then what we do is vital.

CREDITS

Twenty Thousand Hertz is made by the sound design team at Defacto Sound. If you’re interested in hearing what Defacto does, visit defactosound dot com. And if you work in the same industry. Drop a quick hello.

This episode was written and produced by James Introcaso… and me, Dallas Taylor. With help from Sam Schneble. It was edited, sound designed and mixed by Jai Berger.

Thanks to our guests, sound design legends Abe Jacob and Jonathan Deans. Abe’s retired now, but you can checkout more of Jonathan’s work at Designing Sound dot com.

The music in this episode is courtesy of our friends at Musicbed. Having great music should be an asset to your project, not a roadblock. Musicbed is dedicated to making that a reality. That’s why they’ve completely rebuilt their platform of world-class artists and composers with brand-new features and advanced filters to make finding the perfect song easier and faster. Learn more at musicbed.com/new.

Finally, go check out our website. There you can say hello, submit a show idea, give general feedback, read transcripts, or buy a t-shirt. That’s all at 20k.org. We’re also on Facebook and Twitter and I love hearing from listeners! So, reach out however you like.

Thanks for listening.

[music out]

Recent Episodes

Hidden Melodies: Discovering the music in our speech

Music of Speech Pic.png

This episode was written & produced by Katy Daily.

The way you speak has rhythm, timbre, and pitch. It’s more like music than you might think. We chat with The Allusionist host Helen Zaltzman, Martin Zaltz Austwick from Song by Song, Music Psychologist Dr. Ani Patel of Tufts University, and Drum Composer David Dockery on how musical our speech really is.

MUSIC IN THIS EPISODE

Weightless (instrumental) - Prague
Home - Blake Ewing
Le 15 Decembre - Brique a Braq
Everything is Moving, but not the Sky - Dario Lupo
Lights Out - Utah
No Sun - Steven Gutheinz
Years - Steven Gutheinz

20K is made out of the studios of Defacto Sound and hosted by Dallas Taylor.

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View Transcript ▶︎

You’re listening to Twenty Thousand Hertz. I’m Dallas Taylor.

The way we talk is really interesting… and lately, it’s something I’ve been thinking about a lot. See, apparently, when you start a podcast, you suddenly find out about every weird little quirk in your voice. Anyway, what makes someone’s voice interesting to listen to?

Well, recently, I came across a video on YouTube that completely changed the way I think about speech. Basically, it’s a drummer and a bassist playing along to one of the most famous scenes in Willy Wonka.

[David Dockery Drumming clip]

After hearing this, my mind tuned in on just how musical speech really is. Our voice isn’t an instrument only when we’re singing, it’s an instrument all the time.

[music in]

Everyday speech has a rhythm, a timbre, and tonality. ...and without even thinking about, your speech patterns are communicating a lot of underlying meaning.

I talked with a few other podcasting friends about this. I wondered if they think about these things when they’re tracking? Here’s Helen Zaltzman from “The Allusionist”.

[music out]

Helen: I have to think about it consciously, I consider that a big part of my job, because I want to convey some emotion, and some mood, and some tone, all in a couple of sentences.

...and this is Martin Zaltz Austwick from “Song by Song”.

Martin: I think everyone has to think about it. So I think it's happening intuitively, rather than in a more, you're thinking consciously about pitch and tone, and rhythm in the way that you would a musical composition.

Just like different instruments, every voice is unique. Helen and Martin told me what other podcast hosts they love listening to.

Helen: I love hearing Phoebe Judge's voice. That, to me, is like hearing a really low woodwind instrument or something.

[Phoebe Judge clip with woodwind underneath]

She sounds like her thought processes are very clear, and she enunciates things in such a way…

Martin: She's not working stuff out in public.

Helen: Generally not, no. And maybe again, it's that kind of idea that a low voice and a slow voice is confident, and therefore something you can trust, and you should listen to.

[music in]

By that analogy, what would Helen’s voice be if it was an instrument.

Helen: Synthesizer.

Here’s a clip from Helen’s show.

[Helen Zaltzman clip]

How about the host of 99% Invisible, Roman Mars?

Martin: He’s like a kind of John Carpenter, Moog synth.

[clip from 99% Invisible with Moog synth underneath]

Ira Glass, host of This American Life?

Martin: Viola? I think a stringed instrument.

Helen: Yeah I think stringed.

[clip from This American Life with viola underneath]

What about host of The Memory Palace, Nate DiMeo?

Helen: I think Nate DiMeo might be a violin… Like a slow, mournful violin.

[clip from The Memory Palace with violin underneath. violin ends with verb out, brief pause to end segment, start narration]

Any time we speak, we’re singing. We unconsciously vary our rhythm and tonality to create our own unique songs. And with enough practice – you can tune this performance to have more meaning.

[music in]

Dr. Ani Patel: Music and speech are two primary forms of communicating with each other in kind of rich and nuanced and complex ways.

That’s Dr. Ani patel, a music psychologist at Tufts University. He’s been studying how music and human speech overlap in our brains.

Dr. Ani Patel: One of the interesting things is that they sound very different. No one would ever confuse the sound of a cello playing a solo with the sound of a person talking. [Chell morphing into talking voices SFX.] Yet, what an increasing amount of research is showing is that within our brains and our minds, there's more overlap than you might think in how we process those two types of signals; whether it's the rhythm, or the melody, or the structure.

Take for example this next clip. It’s a famous speech that’s been turned into musical data and played by a piano. [music out] See if you can guess the speech.

[play clip: Kennedy piano example]

Here it is again, with a hint.

[play clip: Kennedy piano + original speech example]

...and here’s that same clip played through a digital whistle...and to be clear, the original speech file is not playing along with this. This is all data.

[play clip: Kennedy whistle example]

[music in]

Dr. Ani Patel: That's the power of our internal models. When we have an expectation of what we're hearing and a pattern somewhat resembles that expectation, you can then perceive that thing.

When we speak with each other, we're using a very complicated sound that has many frequencies. Even a single vowel has a whole bunch of different frequencies in it. They have certain patterns where certain frequencies are emphasized more than others.

What that piano piece was doing was it's essentially re-creating that sort of palette of frequencies and energies through piano sounds. It can't capture the way exactly a human voice does, because a piano works in a very different way. It's using the pitches and frequencies that a piano can produce to try and recreate this energy shape of a speech sound.

You program like a player piano to go through these frequency shapes in a really rapid succession in the way that a voice does. Especially if you know what words to listen for, it's amazing how you can pick them out of this sound that sounds nothing like a human voice.

[music out]

It’s still not fully understood why our brains blur the line of music and speech, but there are lots of ways to trick our minds. Take, for instance, the speech-to-song illusion. Psychologist Diana Deutsch found that certain phrases, when taken out of a passage and played in a loop, begin to sound like they’re being sung.

Dr. Ani Patel: It's such a powerful illusion that if you began to hear a phrase as sung, and then you go back and listen to the passage from which that phrase was excerpted, the rest of it will sound like speech. When you come to that phrase, it will just sound like that one phrase is sung [repeated phrase to create a musical pattern]. When you come to that phrase, it will just sound like that one phrase is sung and then it goes back to speech again. It's really wild.

[music in]

Dr. Ani Patel: What makes it interesting is that this doesn't happen for any phrase. You can also find phrases that if you take them out of context and loop them, they don't sound sung at all.

So something about certain sequences of words leads them to transform in this way.

How we choose to sing our words is powerful. It adds a whole new level of human connection. The majority of the time, this is a totally subconscious act, but there are some professions where it can’t be… it has to be thought about and practiced. We’ll hear more about that, in a moment.

[music out]

MIDROLL

[music in]

Recording your voice for a podcast, a radio show, or really anything very much feels like a performance. There’s this unconscious grey area between speech and music. I asked Helen and Martin how their hosting voices are different from their everyday voices.

Helen: I think conversational voice is higher, and you are also inviting a particular response from the other person.

Martin: Reading off a script is completely different and hard skill from, extemporizing, which is also difficult and hard skill. It’s like, to bring a script to life is hard. I can’t read, I can’t sight read, for example. I just have to say something, like five times, until it’s like, “Okay, that’s sort of what the words should be.”

Helen: I think it’s common, because often you’re trying to find these cadences, and sometimes it’s almost like scoring your spoken script. And sometimes there’s an unexpected cadence that you don’t work out until you’ve been through it a few times.

[music out]

Of course, podcast hosts aren’t the only ones who need to think about this stuff. Politicians, actors, and especially comedians have to master rhythm. Take for example this clip from King of the Hill.

[King of the Hill clip]

David: My name is David Dockery and I compose drum scores to famous TV and movie scenes on YouTube where I synchronize the drum beats with the actor's words.

I started it more or less just to kind of push myself to work on my timing, work on my musical phrasing and approach. I just saw it as a challenge more than anything else because it was bound to be timing-wise really complex because there's no meter to it. There's no pulse. So, I said if I could do that, it'll surely be good for my tempo and timing.

But what he discovered is that was there was tempo and timing in a lot of these scenes. It’s just not as obvious. Once this rhythm was uncovered, it really highlighted the talent of these actors.

I was thinking of kind of iconic scenes that I’d seen.

[play clip: Willy Wonka scene with drumming]

When people get more emotional, the rhythm becomes so much more pronounced. You can actually measure it right here, because that is the point in the scene where I, as a drummer, start having more fun, I suppose.

[play clip: Willy Wonka scene with drumming]

I have so much more to work with in terms of Gene Wilder's delivery, those lines.

It's just perfectly in rhythm, I didn't have to do much with that at all. I just played a drum beat along with it.

[play clip: Willy Wonka scene with drumming]

I think the reason that those scenes work, where people are kind of at their most heated is just because they raise their voices and that always means it suits drums more because they are just by nature a really loud, obnoxious instrument. When people get really heated up about stuff I think they tend to employ more rhythm in their voice.

[music in]

Dr. Ani Patel: Excited speech is faster. It's more variable in its timing ... and dynamics.

Again, that’s Dr. Ani Patel.

Dr. Ani Patel: Sad speech is quiet. It's slow. It's got less pitch variation.

When we talk about rhythm in speech, one thing that's important to realize is that we're not talking about a steady beat you could tap your foot to. That's kind of obvious in some sense, right? We don't dance to ordinary speech.

But linguists will tell you that speech has rhythm. The way that the syllables are patterned in time, the way accents are put on words, the way phrases are created, all have a characteristic pattern in a given language. That's rhythm.

Same with melody. Where we put the pitch accent, how many words tend to get emphasized using pitch. When you put those two together, you end up with a very characteristic sound.

[music out]

The starkest contrast is between a happy voice and a sad voice.

[Parks and rec clip]

You can hear it in their voice. It's fast. It's a lot of pitch variability. The voice has a bright kind of timbre to it.

[Parks and rec clip]

What are you hearing that that lets you read that emotion? Well, their voice is quieter. It's slower. There's much less pitch variation. It has a darker kind of timbre to it.

[music in]

The music of our speech works in tandem with our words. Together, they raise communication to another level, and arguably a more natural level. But, lately, our world has been moving away from this. We now tend to text, email, or comment on social media largely without our voices...and sometimes it actually feels kinda weird to just call someone. What are we losing when we don’t communicate with our voice?

Helen: What is the best way to convey how we speak, but in a readable form? I really don't know. You almost need the words, and then like a little graph of emotion to overlay it, so with the intonation.

Martin: I just think there's so much in the English language, where you can completely change the meaning of a sentence, just by the way that you say it.

Dr. Ani Patel: We have to remember that humans, over many hundreds of thousands of years of evolution have become extremely attuned to the sounds of each others' voices. And pulling out nuances, and reading these kinds of signals that we give each other through our voices. And when we communicate through texts or through email, we're just not using that. And so, cutting off that rich part of how we read each other's emotions, feelings, intentions, thoughts, moods, and so on.

I think part of that is this emotional connection that happens when you hear a voice, as opposed to just reading a silent message.

CREDITS

Twenty Thousand Hertz is produced out of the studios of Defacto Sound, a sound design and mix team that supports ad agencies, filmmakers, television networks and video game publishers. If you work in these fields, be sure to drop us a note at hi@defactosound.com.

This episode was written and produced by Katy Daily...and me, Dallas Taylor. With help from Sam Schneble. It was sound designed, edited, and mixed by Colin DeVarney.

Thanks to Helen Zaltzman from the Allusionist, and Martin Zaltz Austwick from Song by Song. You should immediately go subscribe to both of those podcasts! Martin also makes music under the name Pale Bird. Check out his music on Bandcamp or at martinzaltzaustwick.com. Also thanks to Dr. Ani Patel of Tufts University and David Dockery. You can find more videos of David drumming to film and TV scenes by searching “David Dockery” on YouTube. The clip of the drumming and bass guitar you heard at the top of the episode was from Fabiano Mexicano’s youtube channel.

The music in this episode is from our friends at Musicbed. They represent more than 650 great artists, ranging from indie rock and hip-hop, to classical and electronic. Head over to music.20k.org to hear our exclusive playlist.

You can find us all over the internet by searching Twenty Thousand Hertz. That’s Twenty Thousand Hertz all spelled out.

We’d also love to hear from you! Especially your actual voice! If you want to tell us something record it as a voice memo and email it to hi@20k.org.

Thanks for listening.

[music out]

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