1 00:00:01,639 --> 00:00:15,760 Speaker 1: iHeart three D Audio. This episode was brought to you 2 00:00:15,800 --> 00:00:19,800 Speaker 1: in iHeart three D Audio. To experience more podcasts like this, 3 00:00:20,120 --> 00:00:23,680 Speaker 1: search for iHeart three D Audio in the iHeartRadio app. 4 00:00:24,480 --> 00:00:28,200 Speaker 1: This special three D episode is sponsored by Audible, The Conjuring, 5 00:00:28,320 --> 00:00:31,280 Speaker 1: The Devil Made Me Do It, Rated R, and World 6 00:00:31,280 --> 00:00:40,720 Speaker 1: of Warcraft. For maximum effect, headphones are recommended. Welcome to 7 00:00:40,760 --> 00:00:48,640 Speaker 1: Tech Stuff, a production from iHeartRadio. Hey there, and Welcome 8 00:00:48,680 --> 00:00:51,320 Speaker 1: to tech Stuff. I'm your host, Jonathan Strickland. I'm an 9 00:00:51,320 --> 00:00:54,640 Speaker 1: executive producer with iHeart Podcasts and How the tech are you? 10 00:00:55,000 --> 00:00:55,080 Speaker 2: So? 11 00:00:55,240 --> 00:00:58,680 Speaker 1: I am currently on a short little out of town vacation. 12 00:00:58,840 --> 00:01:02,520 Speaker 1: I'll be back on Friday, but I wanted to have 13 00:01:02,760 --> 00:01:05,759 Speaker 1: an episode for y'all while I was gone. This one 14 00:01:06,000 --> 00:01:09,880 Speaker 1: originally aired on May tenth, twenty twenty one. It is 15 00:01:09,920 --> 00:01:13,440 Speaker 1: called how three D Audio Works. So at the time, 16 00:01:14,040 --> 00:01:16,640 Speaker 1: we at the company were kind of playing around with 17 00:01:16,720 --> 00:01:20,280 Speaker 1: three D audio sound and three D audio technology and 18 00:01:20,400 --> 00:01:23,319 Speaker 1: just kind of experimenting with it, and it was a 19 00:01:23,319 --> 00:01:25,399 Speaker 1: lot of fun to do that. I only got to 20 00:01:25,440 --> 00:01:27,680 Speaker 1: play with it a little bit. I didn't trust it 21 00:01:27,760 --> 00:01:30,520 Speaker 1: in my hands, but it did inspire me to do 22 00:01:30,600 --> 00:01:33,480 Speaker 1: an episode to really talk about three D audio and 23 00:01:33,560 --> 00:01:36,640 Speaker 1: binaral audio and that sort of thing. So I hope 24 00:01:36,680 --> 00:01:39,560 Speaker 1: you enjoy and I'll talk to you again when the 25 00:01:39,840 --> 00:01:46,320 Speaker 1: episode is concluded. Let me tell you a story about 26 00:01:46,319 --> 00:01:51,200 Speaker 1: my childhood. My family are all really big Disney theme 27 00:01:51,280 --> 00:01:55,040 Speaker 1: park fans, and growing up in Georgia meant we were 28 00:01:55,240 --> 00:01:58,760 Speaker 1: just a short eight to ten hour drive from Walt 29 00:01:58,840 --> 00:02:02,800 Speaker 1: Disney World in Florida. Both of my parents were teachers, 30 00:02:03,200 --> 00:02:05,720 Speaker 1: and they would save up money so that every two 31 00:02:05,800 --> 00:02:08,760 Speaker 1: or three years or so we'd make the trip down. 32 00:02:09,120 --> 00:02:12,600 Speaker 1: Disney World was always where my sister and I wanted 33 00:02:12,639 --> 00:02:15,760 Speaker 1: to go, even when my parents gently tried to suggest 34 00:02:16,000 --> 00:02:21,639 Speaker 1: other places like Washington, DC or New York City. Nope, 35 00:02:22,320 --> 00:02:27,119 Speaker 1: we wanted Disney World also quick aside, these days, we 36 00:02:27,280 --> 00:02:30,919 Speaker 1: still will take family trips to Disney World, my parents included, 37 00:02:31,120 --> 00:02:34,280 Speaker 1: and now with my nieces we get to experience seeing 38 00:02:34,320 --> 00:02:38,240 Speaker 1: Disney through fresh eyes, which is pretty great. But anyway, 39 00:02:38,440 --> 00:02:42,080 Speaker 1: back to my story. Back in nineteen eighty nine, the 40 00:02:42,200 --> 00:02:45,799 Speaker 1: Disney Hollywood Studios park opened for the first time. Back 41 00:02:45,840 --> 00:02:49,880 Speaker 1: then it was Disney MGM Studios, and the studios were 42 00:02:49,960 --> 00:02:53,520 Speaker 1: a working studio with films and TV shows shot on 43 00:02:53,600 --> 00:02:56,840 Speaker 1: the premises. A lot of attractions related to film and 44 00:02:56,919 --> 00:03:00,880 Speaker 1: TV production. There was the Great Movie Ride, which closed 45 00:03:00,919 --> 00:03:03,800 Speaker 1: in twenty seventeen. There was a Behind the Scenes Tour 46 00:03:04,360 --> 00:03:08,840 Speaker 1: which closed in twenty fourteen, and there were various experiences 47 00:03:09,000 --> 00:03:12,600 Speaker 1: that taught audiences about stuff like special effects, all of 48 00:03:12,639 --> 00:03:16,600 Speaker 1: which have closed. Almost leads you to the conclusion that 49 00:03:16,680 --> 00:03:19,960 Speaker 1: the Hollywood Studios aren't so much the Hollywood Studios anymore, 50 00:03:20,000 --> 00:03:24,480 Speaker 1: but I'm off track again. One of those experiences was 51 00:03:24,520 --> 00:03:28,000 Speaker 1: all about sound effects, and it was called the Monster 52 00:03:28,200 --> 00:03:32,200 Speaker 1: Sound Show. I remember that the attraction featured a clip 53 00:03:32,280 --> 00:03:35,600 Speaker 1: of a film starring Martin Short and Chevy Chase, and 54 00:03:35,640 --> 00:03:37,880 Speaker 1: it had a lot of sound effects that played in 55 00:03:37,920 --> 00:03:41,880 Speaker 1: that movie. Then the attraction host would bring up some 56 00:03:42,040 --> 00:03:44,960 Speaker 1: audience members to try and create sound effects live on 57 00:03:45,080 --> 00:03:48,960 Speaker 1: stage using various props while a silent version of the 58 00:03:49,000 --> 00:03:51,920 Speaker 1: film played, and then they would play the film back 59 00:03:51,960 --> 00:03:57,040 Speaker 1: again with the new audience supplied folly sound effects in 60 00:03:57,160 --> 00:04:02,080 Speaker 1: place to great comedic effect that presentation. However, you could 61 00:04:02,080 --> 00:04:05,000 Speaker 1: wander through the rest of the attraction and tucked off 62 00:04:05,040 --> 00:04:07,960 Speaker 1: to the side were a couple of rooms large enough 63 00:04:07,960 --> 00:04:09,960 Speaker 1: to hold a few people at a time, and they 64 00:04:09,960 --> 00:04:15,320 Speaker 1: were called Sound stations. Inside those rooms were benches attached 65 00:04:15,320 --> 00:04:18,479 Speaker 1: to the walls, and there were hooks holding headphones every 66 00:04:18,520 --> 00:04:21,800 Speaker 1: couple of feet you would go in, you would sit down, 67 00:04:22,040 --> 00:04:24,200 Speaker 1: you would put on the headphones, making sure that the 68 00:04:24,200 --> 00:04:27,359 Speaker 1: headphone with the yellow pad went over your right ear. 69 00:04:27,880 --> 00:04:34,080 Speaker 1: And then something extraordinary happened. As the lights went down, 70 00:04:34,640 --> 00:04:38,400 Speaker 1: you were presented with a scenario. You were playing the 71 00:04:38,440 --> 00:04:42,159 Speaker 1: part of a new executive at the Walt Disney Studios 72 00:04:42,480 --> 00:04:43,400 Speaker 1: named R. J. 73 00:04:43,920 --> 00:04:44,440 Speaker 3: McBean. 74 00:04:45,080 --> 00:04:49,440 Speaker 1: You're told you're sitting behind your executive desk waiting for 75 00:04:49,520 --> 00:04:52,800 Speaker 1: your assistant Hampton to come in and start off your day, 76 00:04:53,600 --> 00:04:57,880 Speaker 1: and the sound orbited you. You'd hear the narrator set 77 00:04:57,920 --> 00:05:01,320 Speaker 1: up the scenario and her voice drift from one ear 78 00:05:03,080 --> 00:05:07,359 Speaker 1: to the other as if she were actually walking around 79 00:05:07,480 --> 00:05:11,800 Speaker 1: you while you sat at this fictional desk. And then 80 00:05:11,880 --> 00:05:15,679 Speaker 1: the scenario would really begin and things got really wild. 81 00:05:16,200 --> 00:05:19,760 Speaker 1: A little tinker bell jingling would represent the true beginning, 82 00:05:20,200 --> 00:05:23,479 Speaker 1: and you would hear Hampton come in. He would walk 83 00:05:23,520 --> 00:05:29,599 Speaker 1: through on a door to your right, and then you'd 84 00:05:29,640 --> 00:05:32,839 Speaker 1: hear him pontificate as he walks through your office. He 85 00:05:32,839 --> 00:05:35,679 Speaker 1: would pour a fuzzy drink into a glass of ice 86 00:05:36,680 --> 00:05:41,279 Speaker 1: and he introduced you to your secretary surely, Oh and 87 00:05:41,400 --> 00:05:46,840 Speaker 1: also said you would get a haircut from a stylist 88 00:05:47,360 --> 00:05:51,359 Speaker 1: named Ken, because of course the big Cheese is on 89 00:05:51,480 --> 00:05:55,400 Speaker 1: his way to meet you. And the haircut sounds in 90 00:05:55,480 --> 00:05:59,960 Speaker 1: particular were really compelling. You could almost feel the since 91 00:06:01,000 --> 00:06:03,680 Speaker 1: of someone cutting your hair. And I say this as 92 00:06:03,720 --> 00:06:06,080 Speaker 1: a bald man who hasn't had hair in more than 93 00:06:06,120 --> 00:06:11,200 Speaker 1: twenty years. Meanwhile, as the hair goes flying, a director 94 00:06:11,279 --> 00:06:14,680 Speaker 1: called Flavio shows up and pitches a new film to you, 95 00:06:14,760 --> 00:06:18,919 Speaker 1: complete with using a hairdryer to simulate desert winds. There 96 00:06:18,960 --> 00:06:21,159 Speaker 1: are a lot of other cute sound effects that follow, 97 00:06:21,279 --> 00:06:29,400 Speaker 1: like a paper being placed over your head to represent 98 00:06:29,440 --> 00:06:33,800 Speaker 1: a turbin and you can actually find recordings of this 99 00:06:33,920 --> 00:06:37,359 Speaker 1: piece online, though I will warn you the effects aren't 100 00:06:37,480 --> 00:06:40,640 Speaker 1: quite up to the quality of the original attraction, which 101 00:06:40,640 --> 00:06:44,880 Speaker 1: also incorporated stuff like actual blowers to blow warm air 102 00:06:45,040 --> 00:06:48,320 Speaker 1: on you. Oh and that big cheese who comes in 103 00:06:48,360 --> 00:06:52,039 Speaker 1: at the end, well that's Mickey Mouse. Of course. He 104 00:06:52,160 --> 00:06:55,839 Speaker 1: comes into place a pair of mouse ears on top 105 00:06:55,880 --> 00:06:59,120 Speaker 1: of your head. The whole thing lasted about five minutes 106 00:06:59,640 --> 00:07:02,560 Speaker 1: and I loved it. And at the end you were 107 00:07:02,560 --> 00:07:06,119 Speaker 1: instructed to remove your headphones, hang them back on the wall, 108 00:07:06,640 --> 00:07:10,120 Speaker 1: and exit the room, whereupon you'd head outside to the 109 00:07:10,160 --> 00:07:15,080 Speaker 1: blazing Florida sun and the wild audio of the real outdoors. 110 00:07:16,080 --> 00:07:20,880 Speaker 1: That was how I first experienced three D audio. At 111 00:07:20,880 --> 00:07:24,080 Speaker 1: that time, it was based off a technology that had 112 00:07:24,120 --> 00:07:28,280 Speaker 1: a brand name of Holophonics. These days, we'd more likely 113 00:07:28,320 --> 00:07:32,520 Speaker 1: call it binarl audio or maybe just three D audio. 114 00:07:32,920 --> 00:07:35,240 Speaker 1: And there are a lot of different ways to create 115 00:07:35,320 --> 00:07:39,280 Speaker 1: the experience, some of which requires special equipment, others that 116 00:07:39,320 --> 00:07:43,080 Speaker 1: require special software. You can find examples of three D 117 00:07:43,240 --> 00:07:48,080 Speaker 1: audio in music recordings, amusement park attractions, and stuff like 118 00:07:48,240 --> 00:07:53,200 Speaker 1: ASMR videos. It can be a really compelling experience, and 119 00:07:53,280 --> 00:07:56,480 Speaker 1: I remember getting goosebumps the first time I encountered it, 120 00:07:56,680 --> 00:07:59,960 Speaker 1: and depending on who's doing the recording and the effect 121 00:08:00,200 --> 00:08:03,600 Speaker 1: that they're creating, I can still get goosebumps from it today. 122 00:08:04,320 --> 00:08:07,800 Speaker 1: Longtime listeners might remember that. A few years back, I 123 00:08:07,960 --> 00:08:12,320 Speaker 1: interviewed an ASMR artist named Heather Feather, who was one 124 00:08:12,360 --> 00:08:16,160 Speaker 1: of a handful of creators who are really making ASMR 125 00:08:16,240 --> 00:08:21,040 Speaker 1: a phenomenon. Now we have thousands of creators. If you 126 00:08:21,080 --> 00:08:23,920 Speaker 1: do a search on YouTube for ASMR, you will see 127 00:08:24,120 --> 00:08:28,280 Speaker 1: countless videos in the category, but the technology and psychology 128 00:08:28,360 --> 00:08:32,920 Speaker 1: behind this experience goes back quite a ways. So I 129 00:08:32,960 --> 00:08:37,760 Speaker 1: want to explore the evolution and technology behind making three 130 00:08:37,880 --> 00:08:43,240 Speaker 1: D audio. Now, in the beginning, there was mono, that 131 00:08:43,360 --> 00:08:48,200 Speaker 1: is monaural or monophonic sound. This sound can come from 132 00:08:48,320 --> 00:08:51,760 Speaker 1: a single loud speaker, or it could be channeled to 133 00:08:51,840 --> 00:08:55,400 Speaker 1: multiple loudspeakers, but the signal going to each loudspeaker is 134 00:08:55,480 --> 00:09:00,480 Speaker 1: exactly the same as every other loudspeaker. It's effective a 135 00:09:00,720 --> 00:09:04,800 Speaker 1: single channel of sound. It's how we do podcasts typically, 136 00:09:05,160 --> 00:09:08,360 Speaker 1: where you usually will hear the same level of volume 137 00:09:08,640 --> 00:09:12,360 Speaker 1: in each ear. For shows with multiple hosts, it means 138 00:09:12,360 --> 00:09:15,600 Speaker 1: that you hear all the hosts in both ears equally. 139 00:09:16,280 --> 00:09:19,319 Speaker 1: Most listeners tend to prefer that, but very early on 140 00:09:19,559 --> 00:09:22,679 Speaker 1: people started to experiment with ways to provide more than 141 00:09:22,720 --> 00:09:26,560 Speaker 1: one channel of sound simultaneously to a listener to create 142 00:09:26,960 --> 00:09:31,880 Speaker 1: a different kind of experience. Way back in eighteen eighty one, 143 00:09:32,280 --> 00:09:35,840 Speaker 1: when the loud speaker itself was just a few years old, 144 00:09:36,080 --> 00:09:40,120 Speaker 1: Alexander Graham Bell had patent it in eighteen seventy six 145 00:09:40,160 --> 00:09:43,160 Speaker 1: as part of his telephone invention. Well that's when a 146 00:09:43,200 --> 00:09:46,600 Speaker 1: man named Clement Adder came up with a clever idea. 147 00:09:47,080 --> 00:09:50,600 Speaker 1: One of the downsides of live theater is that it 148 00:09:50,679 --> 00:09:54,280 Speaker 1: is a scarce resource. Only so many people can fit 149 00:09:54,400 --> 00:09:58,080 Speaker 1: into a theater for a performance, and once that performance 150 00:09:58,160 --> 00:10:01,480 Speaker 1: is over, it's all done. So there is an element 151 00:10:01,640 --> 00:10:04,920 Speaker 1: of exclusivity when it comes to live theater, something that 152 00:10:05,040 --> 00:10:07,840 Speaker 1: remains true because I mean, it's just the limitations of 153 00:10:07,920 --> 00:10:10,760 Speaker 1: the art. But Adder thought of a way that would 154 00:10:10,840 --> 00:10:14,800 Speaker 1: help people listen in to say, a performance of an opera, 155 00:10:15,240 --> 00:10:19,400 Speaker 1: without having to actually go to the opera house. His 156 00:10:19,440 --> 00:10:23,800 Speaker 1: demonstration involved installing telephone receivers in a few rooms at 157 00:10:23,800 --> 00:10:28,240 Speaker 1: the Palais de Lindistri. The microphones he installed near the 158 00:10:28,280 --> 00:10:32,120 Speaker 1: footlights at the Grand Opera in Paris, so they were 159 00:10:32,400 --> 00:10:35,640 Speaker 1: across town. People could come into these rooms at the 160 00:10:35,640 --> 00:10:39,520 Speaker 1: Palais in small groups and they would hold two receivers, 161 00:10:39,600 --> 00:10:44,640 Speaker 1: one to each ear. Each receiver connected to a different microphone, 162 00:10:44,760 --> 00:10:48,040 Speaker 1: which meant the sound they were hearing was actually coming 163 00:10:48,040 --> 00:10:52,280 Speaker 1: from two different locations. In an article in Scientific American, 164 00:10:52,520 --> 00:10:57,480 Speaker 1: a Monsieur Hospitalier is quoted as saying, quote, everyone who 165 00:10:57,520 --> 00:11:00,200 Speaker 1: has been fortunate enough to hear the telephones at the 166 00:11:00,200 --> 00:11:04,040 Speaker 1: Palais de Lindiestri has remarked that in listening with both 167 00:11:04,120 --> 00:11:07,600 Speaker 1: ears at the two telephones, the sound takes a special 168 00:11:07,720 --> 00:11:12,880 Speaker 1: character of relief and localization which a single receiver cannot produce. 169 00:11:13,600 --> 00:11:18,440 Speaker 1: End quote. This was a very early and primitive version 170 00:11:18,559 --> 00:11:22,240 Speaker 1: of stereophonic sound. For those of us who have hearing 171 00:11:22,280 --> 00:11:26,080 Speaker 1: in both of our ears, we experience the world in stereo. 172 00:11:26,840 --> 00:11:30,240 Speaker 1: Sound travels at a certain speed. It's three hundred and 173 00:11:30,280 --> 00:11:33,040 Speaker 1: forty three meters per second if you have an air 174 00:11:33,080 --> 00:11:37,000 Speaker 1: temperature of around twenty degrees celsius or sixty eight degrees fahrenheit. 175 00:11:37,200 --> 00:11:41,200 Speaker 1: And yes, the temperature affects how quickly sound will move 176 00:11:41,320 --> 00:11:45,439 Speaker 1: through the air. And our ears are located upon opposite 177 00:11:45,480 --> 00:11:48,760 Speaker 1: sides of our noggins. That means that sound hits our 178 00:11:48,880 --> 00:11:52,440 Speaker 1: two ear drums at slightly different times, depending upon where 179 00:11:52,440 --> 00:11:56,480 Speaker 1: it's coming from, and we will perceive sound coming from 180 00:11:56,520 --> 00:12:00,200 Speaker 1: one side of us as being louder in that ear 181 00:12:00,520 --> 00:12:03,679 Speaker 1: than in our opposite ear, and so on. So mono 182 00:12:03,880 --> 00:12:07,360 Speaker 1: sound shoves all of those sound waves through one channel. 183 00:12:07,559 --> 00:12:11,880 Speaker 1: Everything is coming out equally through each loud speaker. Stereo sound, however, 184 00:12:12,240 --> 00:12:16,280 Speaker 1: changes this up, varying the amplitude or volume of sound 185 00:12:16,360 --> 00:12:21,000 Speaker 1: in each channel and creating a different effect. While adders 186 00:12:21,200 --> 00:12:25,680 Speaker 1: demonstration indicated that there was something interesting with producing sound 187 00:12:25,760 --> 00:12:30,000 Speaker 1: using different channels directed at different loudspeakers, that was just 188 00:12:30,080 --> 00:12:33,760 Speaker 1: the tip of the iceberg. Alan Dower Blumline would advance 189 00:12:33,800 --> 00:12:38,280 Speaker 1: the art considerably in the nineteen thirties. Blumline was born 190 00:12:38,320 --> 00:12:42,160 Speaker 1: in nineteen oh three. He became an electronics engineer and 191 00:12:42,200 --> 00:12:46,040 Speaker 1: he worked for the famous Abbey Road Studios where he 192 00:12:46,120 --> 00:12:50,960 Speaker 1: pioneered advancements in stereophonic recording. According to an anecdote told 193 00:12:51,000 --> 00:12:54,920 Speaker 1: by Alan Blumline's son, Simon, Blumline was at the movies 194 00:12:54,960 --> 00:12:57,560 Speaker 1: with his wife watching a film and he remarked that 195 00:12:58,000 --> 00:13:00,880 Speaker 1: we're a blind person to go to the movie, they 196 00:13:00,960 --> 00:13:03,800 Speaker 1: might struggle to follow what was going on because the 197 00:13:03,880 --> 00:13:07,480 Speaker 1: sound was all coming from loud speakers in mono. There 198 00:13:07,559 --> 00:13:11,160 Speaker 1: was no way to detect through hearing where people were 199 00:13:11,200 --> 00:13:13,760 Speaker 1: within a scene. Everyone would sound like they were in 200 00:13:13,800 --> 00:13:15,760 Speaker 1: the same spot. You would only be able to hear 201 00:13:15,800 --> 00:13:19,160 Speaker 1: if someone was further or closer to a microphone, but 202 00:13:19,440 --> 00:13:22,720 Speaker 1: otherwise spatially you would have no idea what was going on. 203 00:13:23,200 --> 00:13:25,720 Speaker 1: And that got him into thinking about developing a system 204 00:13:25,840 --> 00:13:29,199 Speaker 1: that would allow sound engineers to record and reproduce sound 205 00:13:29,600 --> 00:13:33,720 Speaker 1: so that had a more localized effect. Action happening on 206 00:13:33,760 --> 00:13:36,520 Speaker 1: the left side of the screen would be represented by 207 00:13:36,559 --> 00:13:40,880 Speaker 1: sounds emanating from loudspeakers on the left side of the theater. Likewise, 208 00:13:41,080 --> 00:13:43,240 Speaker 1: action on the right side would be paired with an 209 00:13:43,280 --> 00:13:47,000 Speaker 1: appropriate amount of sound coming from the right. Each speaker 210 00:13:47,080 --> 00:13:50,840 Speaker 1: might produce some of the sound, but at different amplitudes, 211 00:13:51,040 --> 00:13:52,880 Speaker 1: so that while you might get a little bit of 212 00:13:52,920 --> 00:13:57,319 Speaker 1: the right hand sound from left hand speakers, the levels 213 00:13:57,320 --> 00:14:00,240 Speaker 1: would be lower, and the overall feeling would be that 214 00:14:00,280 --> 00:14:02,680 Speaker 1: you're in the middle of that sound, and it would 215 00:14:02,800 --> 00:14:05,800 Speaker 1: enhance the experience of seeing a movie and as well 216 00:14:05,840 --> 00:14:08,200 Speaker 1: as help out those who are visually impaired follow what 217 00:14:08,400 --> 00:14:12,280 Speaker 1: was going on. According to that anecdote, Blumline called it 218 00:14:12,520 --> 00:14:16,080 Speaker 1: binaral sound, which of course we'll come back to a 219 00:14:16,080 --> 00:14:19,760 Speaker 1: bit later in this episode. I just find it interesting 220 00:14:19,960 --> 00:14:23,240 Speaker 1: that the original term for stereo is one we now 221 00:14:23,240 --> 00:14:27,160 Speaker 1: associate with a more specific approach to audio recording and production. 222 00:14:28,480 --> 00:14:31,600 Speaker 1: He would receive more than seventy patents for his various 223 00:14:31,600 --> 00:14:36,880 Speaker 1: inventions related to stereo sound. He created technology to record, process, 224 00:14:37,000 --> 00:14:40,960 Speaker 1: and reproduce audio in stereo. In nineteen thirty four, he 225 00:14:41,080 --> 00:14:45,000 Speaker 1: oversaw a stereo recording of the London Philharmonic Orchestra at 226 00:14:45,000 --> 00:14:49,800 Speaker 1: the Abbey Road Studios. Blomline also pioneered the Blumline method, 227 00:14:50,160 --> 00:14:54,320 Speaker 1: which would use two microphones mounted at a ninety degree 228 00:14:54,400 --> 00:14:57,359 Speaker 1: angle with regard to one another, to pick up directional 229 00:14:57,440 --> 00:15:00,960 Speaker 1: sounds in a recording environment. So words, if you think 230 00:15:01,000 --> 00:15:03,600 Speaker 1: of a room as a square, one mic is picking 231 00:15:03,640 --> 00:15:07,080 Speaker 1: up sounds primarily along the X axis, and the other 232 00:15:07,200 --> 00:15:11,640 Speaker 1: is picking up sound along the y axis. Blumline also 233 00:15:11,720 --> 00:15:14,400 Speaker 1: figured out how to create a stereo groove in a 234 00:15:14,480 --> 00:15:18,080 Speaker 1: record album. Back in those days, these were made from shellac, 235 00:15:18,160 --> 00:15:21,200 Speaker 1: but they would later be made from vinyl. And when 236 00:15:21,240 --> 00:15:24,720 Speaker 1: I think about that, I'm astonished. I mean, the way 237 00:15:24,880 --> 00:15:28,720 Speaker 1: a record player works is that a stylus or needle 238 00:15:28,960 --> 00:15:32,520 Speaker 1: fits into the groove of a record. That groove causes 239 00:15:32,560 --> 00:15:37,040 Speaker 1: the stylus to vibrate, and those vibrations transmit to a transducer, 240 00:15:37,360 --> 00:15:40,640 Speaker 1: which turns the vibrations into an electrical signal thanks to 241 00:15:40,800 --> 00:15:44,560 Speaker 1: a little electro magnet magic, and that signal then goes 242 00:15:44,600 --> 00:15:48,200 Speaker 1: to an amplifier, which boosts the signal strength, which then 243 00:15:48,240 --> 00:15:51,080 Speaker 1: goes on to loud speakers and powers them so that 244 00:15:51,200 --> 00:15:54,680 Speaker 1: they can reproduce the original recorded sound that created the 245 00:15:54,680 --> 00:15:58,120 Speaker 1: groove in the first place. It's the edges of these 246 00:15:58,200 --> 00:16:02,120 Speaker 1: grooves that cause the vibration or the wiggle of the stilus. 247 00:16:02,920 --> 00:16:06,640 Speaker 1: So how does one record stereo sound to a physical 248 00:16:06,680 --> 00:16:10,520 Speaker 1: disc with a groove. Well, imagine a groove that slaloms 249 00:16:10,600 --> 00:16:13,920 Speaker 1: back and forth in a nice even path, So the 250 00:16:13,960 --> 00:16:16,800 Speaker 1: waves along either side of the groove are a physical 251 00:16:16,840 --> 00:16:21,000 Speaker 1: representation of the original sound waves that were recorded. Now, 252 00:16:22,160 --> 00:16:25,080 Speaker 1: usually in a mono record, you would just see that 253 00:16:25,200 --> 00:16:29,720 Speaker 1: these waves are evenly distributed on the left and right side. 254 00:16:29,760 --> 00:16:31,920 Speaker 1: It's like they're in sync with one another. It's just 255 00:16:31,960 --> 00:16:37,480 Speaker 1: a nice smooth curve. But what if you wanted to 256 00:16:37,680 --> 00:16:40,480 Speaker 1: record stereo, Well, you could have it where the left 257 00:16:40,520 --> 00:16:42,440 Speaker 1: side of the groove and the right side of the 258 00:16:42,440 --> 00:16:45,600 Speaker 1: groove are actually different. The wall on one side would 259 00:16:45,640 --> 00:16:49,440 Speaker 1: represent the audio recorded in one channel, and the wall 260 00:16:49,640 --> 00:16:51,920 Speaker 1: on the other side of the groove was for the 261 00:16:51,960 --> 00:16:55,320 Speaker 1: second channel. So, with the proper equipment, you could play 262 00:16:55,360 --> 00:16:57,640 Speaker 1: this record back and the stylus would vibrate in a 263 00:16:57,720 --> 00:17:01,760 Speaker 1: very specific way. It would be detected by two sensors 264 00:17:01,800 --> 00:17:06,920 Speaker 1: connected to the stylus, So essentially two transducers, and these 265 00:17:06,960 --> 00:17:10,560 Speaker 1: two channels of sound could again go to specific loudspeakers 266 00:17:10,600 --> 00:17:13,840 Speaker 1: a left and a right, and then you get stereo playback. 267 00:17:13,880 --> 00:17:18,480 Speaker 1: It's pretty incredible. Listening back to properly recorded and processed 268 00:17:18,520 --> 00:17:21,520 Speaker 1: audio would give the listener the sensation that they were 269 00:17:21,560 --> 00:17:25,720 Speaker 1: actually in an acoustic space. It would feel as though 270 00:17:25,880 --> 00:17:28,640 Speaker 1: you were standing at the spot where the microphone had 271 00:17:28,680 --> 00:17:32,159 Speaker 1: been mounted, and that the sound you encounter is just 272 00:17:32,200 --> 00:17:35,480 Speaker 1: as if you were present at the recording session. That 273 00:17:35,640 --> 00:17:38,639 Speaker 1: was the intent, anyway, but the actual process of getting 274 00:17:38,640 --> 00:17:41,600 Speaker 1: there is a lot more complicated than setting up just 275 00:17:41,720 --> 00:17:45,000 Speaker 1: a pair of microphones. When we come back, we'll learn 276 00:17:45,040 --> 00:17:48,920 Speaker 1: a bit more about stereo recording and editing, and we'll 277 00:17:48,920 --> 00:17:53,240 Speaker 1: also learn why the Beatles, who also made famous recordings 278 00:17:53,280 --> 00:17:57,920 Speaker 1: at Abbey Road Studios, concentrated on creating mono records for 279 00:17:57,960 --> 00:18:01,160 Speaker 1: a long time, even though stereo had been around for decades. 280 00:18:01,600 --> 00:18:12,760 Speaker 1: But first, let's take a quick break. Now. I've done 281 00:18:12,840 --> 00:18:16,639 Speaker 1: episodes about sound to film in the past, and also 282 00:18:16,760 --> 00:18:20,000 Speaker 1: sound on television, so I'm going to skip over all 283 00:18:20,040 --> 00:18:24,400 Speaker 1: of that, Otherwise this episode would be for five hours long. Instead, 284 00:18:24,880 --> 00:18:27,760 Speaker 1: I want to talk a bit more about stereo recordings 285 00:18:27,800 --> 00:18:31,120 Speaker 1: and why bands like the Beatles were slow to adopt them. 286 00:18:31,720 --> 00:18:34,879 Speaker 1: To listen to a stereo recording properly, you need a 287 00:18:34,920 --> 00:18:37,760 Speaker 1: stereo system. That is, you need a sound system that 288 00:18:37,840 --> 00:18:40,720 Speaker 1: has at least two loud speakers and a way to 289 00:18:40,760 --> 00:18:44,080 Speaker 1: send the different channels of sound to both the left 290 00:18:44,119 --> 00:18:46,800 Speaker 1: and the right speakers or independently to the left and 291 00:18:46,920 --> 00:18:50,600 Speaker 1: right speakers. Otherwise, the playback would be in mono even 292 00:18:50,600 --> 00:18:53,280 Speaker 1: if the recording were in stereo, and what you would 293 00:18:53,280 --> 00:18:55,840 Speaker 1: get is a weird case where some elements of the 294 00:18:55,880 --> 00:18:58,679 Speaker 1: recording would be really quiet, as those would be the 295 00:18:58,680 --> 00:19:01,280 Speaker 1: sounds recorded to a channel that wasn't getting picked up 296 00:19:01,280 --> 00:19:04,200 Speaker 1: by the mono playback system. Now, if you've ever listened 297 00:19:04,240 --> 00:19:07,520 Speaker 1: to a recording where some of the voices or instruments 298 00:19:07,560 --> 00:19:11,520 Speaker 1: sound unusually quiet, and that it doesn't sound like this 299 00:19:11,680 --> 00:19:15,600 Speaker 1: was done on purpose, it's likely because either someone mixed 300 00:19:15,640 --> 00:19:19,080 Speaker 1: the audio improperly, or it's a stereo recording that at 301 00:19:19,080 --> 00:19:22,720 Speaker 1: some point got converted over into mono and you're losing 302 00:19:22,760 --> 00:19:26,320 Speaker 1: some of the audio as a result. Stereo systems were 303 00:19:26,840 --> 00:19:30,320 Speaker 1: really expensive when they first came out. I'm talking about 304 00:19:30,320 --> 00:19:33,080 Speaker 1: like stereo systems that you would purchase for your home, 305 00:19:33,359 --> 00:19:37,240 Speaker 1: and a lot of people, particularly young people, had really 306 00:19:37,280 --> 00:19:41,119 Speaker 1: purchased record players that had a single speaker incorporated into 307 00:19:41,119 --> 00:19:45,359 Speaker 1: the player itself, so these were mono playback devices as 308 00:19:45,400 --> 00:19:49,280 Speaker 1: there was only one speaker for sound to go. The Beatles, 309 00:19:49,359 --> 00:19:53,240 Speaker 1: being a band whose music was disproportionately favored by the young, 310 00:19:53,880 --> 00:19:57,280 Speaker 1: had their audience in mind as they mixed their albums. 311 00:19:58,080 --> 00:20:01,520 Speaker 1: It said that for many the albums from the early 312 00:20:01,640 --> 00:20:04,840 Speaker 1: to mid period of the Beatles as a band, the 313 00:20:04,880 --> 00:20:07,960 Speaker 1: group would spend hours in the mixing studio to get 314 00:20:07,960 --> 00:20:11,120 Speaker 1: the mono mix just right, but when it came time 315 00:20:11,200 --> 00:20:14,200 Speaker 1: to do the stereo mixes, they left that to the 316 00:20:14,280 --> 00:20:17,560 Speaker 1: audio engineers at Abbey Road and were never around. So 317 00:20:17,640 --> 00:20:21,280 Speaker 1: why is that, Well, because to them, the mono recordings 318 00:20:21,280 --> 00:20:24,520 Speaker 1: were more important. That was what their fan base could enjoy. 319 00:20:24,880 --> 00:20:27,960 Speaker 1: For that reason, a lot of Beatles fans or purists 320 00:20:28,200 --> 00:20:32,919 Speaker 1: favor the mono recordings of early Beatles work. They eschew 321 00:20:33,200 --> 00:20:36,479 Speaker 1: the stereo recordings as failing to represent what it was 322 00:20:36,600 --> 00:20:39,520 Speaker 1: the Beatles were trying to achieve. And if you listen 323 00:20:39,600 --> 00:20:42,560 Speaker 1: to the mono versus stereo recordings of some of those 324 00:20:42,600 --> 00:20:47,479 Speaker 1: early songs like Paperback writer or eleanor Rigby, you really 325 00:20:47,520 --> 00:20:51,320 Speaker 1: can tell there is a major difference, and this leads 326 00:20:51,400 --> 00:20:54,480 Speaker 1: into one way to create a stereo or three D 327 00:20:54,640 --> 00:20:57,920 Speaker 1: audio sound. You can take a recording and you can 328 00:20:58,080 --> 00:21:00,840 Speaker 1: change how much of the signal gets sent to a 329 00:21:00,840 --> 00:21:04,959 Speaker 1: particular channel. That determines which loud speaker or set of 330 00:21:05,000 --> 00:21:08,480 Speaker 1: loud speakers will play back the audio, or more likely, 331 00:21:08,680 --> 00:21:12,400 Speaker 1: how much volume that particular sound will have in each 332 00:21:12,520 --> 00:21:16,480 Speaker 1: loud speaker. This is both a science and an art. 333 00:21:16,880 --> 00:21:18,880 Speaker 1: A lot of the work in this field was centered 334 00:21:18,960 --> 00:21:23,119 Speaker 1: around music, and music can contain a wide range of 335 00:21:23,160 --> 00:21:28,080 Speaker 1: frequencies and tones. Imagine an orchestra. You have instruments that 336 00:21:28,280 --> 00:21:33,200 Speaker 1: primarily create lower frequencies, like lower pitches. You've got tubas 337 00:21:33,280 --> 00:21:37,240 Speaker 1: and basses and cellos. Each of those instruments, while creating 338 00:21:37,280 --> 00:21:40,199 Speaker 1: notes that might be in the same general range, have 339 00:21:40,320 --> 00:21:44,480 Speaker 1: distinct sounds. A tuba and an upright bass do not 340 00:21:44,760 --> 00:21:48,959 Speaker 1: sound the same. In other words, then you've got instruments 341 00:21:49,000 --> 00:21:52,400 Speaker 1: that center on some of the higher frequencies, like flutes 342 00:21:52,480 --> 00:21:57,560 Speaker 1: and piccolos and violins. These also sound different from one another, 343 00:21:57,960 --> 00:22:00,080 Speaker 1: and so it became important to figure out how to 344 00:22:00,160 --> 00:22:04,080 Speaker 1: not just capture a recording and divide it into channels 345 00:22:04,119 --> 00:22:08,680 Speaker 1: to create spatial landscapes, but also how to balance out 346 00:22:08,840 --> 00:22:12,160 Speaker 1: the tones so that you don't lose anything in the process. 347 00:22:12,720 --> 00:22:16,040 Speaker 1: With the wrong mix, one instrument or group of instruments 348 00:22:16,119 --> 00:22:19,400 Speaker 1: might totally overpower another, and it's almost as if those 349 00:22:19,440 --> 00:22:22,760 Speaker 1: other instruments were never even present at the original recording, 350 00:22:23,160 --> 00:22:26,000 Speaker 1: and so processing recordings and getting the mix just right 351 00:22:26,359 --> 00:22:30,760 Speaker 1: became critical. One part of this is called panning, and 352 00:22:30,800 --> 00:22:34,520 Speaker 1: it relies on a pan control. In the old days, 353 00:22:34,680 --> 00:22:37,560 Speaker 1: you would use a mixing board with physical controls on 354 00:22:37,600 --> 00:22:40,960 Speaker 1: it to control the pan. The pan determines how much 355 00:22:41,119 --> 00:22:46,040 Speaker 1: signal from each input is sent to each channel. These days, 356 00:22:46,320 --> 00:22:50,600 Speaker 1: many audio producers work with digital audio workstations or DAWs, 357 00:22:51,200 --> 00:22:55,200 Speaker 1: and with a DAW you also control panning. You can 358 00:22:55,280 --> 00:22:59,520 Speaker 1: pan either mono or stereo tracks. Most DAWs will let 359 00:22:59,560 --> 00:23:02,800 Speaker 1: you convert one type of track into another, splitting a 360 00:23:02,840 --> 00:23:07,359 Speaker 1: mono into stereo or a combining stereo into mono. For 361 00:23:07,480 --> 00:23:11,560 Speaker 1: certain types of audio, like mini podcasts, the default is 362 00:23:11,560 --> 00:23:14,480 Speaker 1: to go to mono. It can be a little disconcerting 363 00:23:14,760 --> 00:23:18,200 Speaker 1: if you record and publish a podcast in stereo. Many 364 00:23:18,280 --> 00:23:21,960 Speaker 1: years ago, when I first started recording large nerdron collider 365 00:23:22,160 --> 00:23:26,200 Speaker 1: with my friend Ariel. I accidentally recorded and published several 366 00:23:26,200 --> 00:23:30,520 Speaker 1: episodes in stereo, which meant all of my audio was 367 00:23:30,520 --> 00:23:33,399 Speaker 1: in one channel, like the left channel, and all of 368 00:23:33,440 --> 00:23:36,159 Speaker 1: Ariel's audio was in the other channel, the right channel. 369 00:23:36,400 --> 00:23:38,720 Speaker 1: So it's like I was talking into your left ear 370 00:23:38,960 --> 00:23:41,520 Speaker 1: and Ariel was talking into your right ear, which was 371 00:23:42,040 --> 00:23:45,480 Speaker 1: very unsettling. I eventually figured out what I was doing, 372 00:23:45,560 --> 00:23:48,760 Speaker 1: and I began mixing our recordings into a mono track 373 00:23:49,080 --> 00:23:53,800 Speaker 1: to avoid that problem. And with some early stereo recordings 374 00:23:54,160 --> 00:23:59,240 Speaker 1: you can hear examples of problems like this. It's frequently disconcerting. 375 00:23:59,280 --> 00:24:02,800 Speaker 1: There are records of songs in which all the instrumentation 376 00:24:03,359 --> 00:24:06,080 Speaker 1: is on one side and all the vocals are on 377 00:24:06,240 --> 00:24:09,520 Speaker 1: the other side. Now, that might have been done purposefully, 378 00:24:09,760 --> 00:24:13,120 Speaker 1: but it was often a sort of heavy handed approach 379 00:24:13,160 --> 00:24:16,640 Speaker 1: to stereo. There are times an artist might desire that 380 00:24:16,680 --> 00:24:19,480 Speaker 1: specific effect, but other times the desire was to be 381 00:24:19,520 --> 00:24:22,119 Speaker 1: a bit more creative with stereo, and you might have 382 00:24:22,119 --> 00:24:24,920 Speaker 1: a track in which the vocalist is on the extreme 383 00:24:25,040 --> 00:24:27,920 Speaker 1: right of part of the recording than on the extreme left. 384 00:24:28,000 --> 00:24:31,040 Speaker 1: Later on, the Beatles A Day in the Life actually 385 00:24:31,040 --> 00:24:33,800 Speaker 1: falls into that category. Or you might want to create 386 00:24:33,880 --> 00:24:36,159 Speaker 1: a rich soundscape in which there is a sense of 387 00:24:36,200 --> 00:24:40,200 Speaker 1: location for all the sound maybe not something that is 388 00:24:40,400 --> 00:24:44,600 Speaker 1: explicitly communicated to the listener, but is an important representation 389 00:24:44,640 --> 00:24:48,879 Speaker 1: of the performance. So how about we play around with 390 00:24:48,920 --> 00:24:53,399 Speaker 1: some post processing panning to create a three dimensional experience. 391 00:24:54,280 --> 00:24:58,480 Speaker 1: My producer, Tari, who is a superstar here at iHeart, 392 00:24:58,840 --> 00:25:02,560 Speaker 1: is always to the success of this show. But in 393 00:25:02,600 --> 00:25:05,520 Speaker 1: a moment, she's going to take over the experience of 394 00:25:05,560 --> 00:25:08,760 Speaker 1: what this show sounds like to you, the audience. And 395 00:25:08,840 --> 00:25:11,560 Speaker 1: I'm going to do something I've always wanted to do 396 00:25:11,720 --> 00:25:14,720 Speaker 1: in three D audio. I'm going to give you a 397 00:25:14,720 --> 00:25:19,200 Speaker 1: little Shakespeare. This piece is the prologue to Henry the Fifth, 398 00:25:19,640 --> 00:25:24,040 Speaker 1: one of Shakespeare's company Designated the chorus implores the audience 399 00:25:24,160 --> 00:25:27,359 Speaker 1: to use their imaginations to augment the production of the 400 00:25:27,359 --> 00:25:31,080 Speaker 1: play itself. And so as you listen to this piece, 401 00:25:31,520 --> 00:25:35,600 Speaker 1: imagine you are seated on a stage with the chorus 402 00:25:35,800 --> 00:25:42,120 Speaker 1: walking around you, explaining your role in creating the theatrical experience. Now, 403 00:25:42,160 --> 00:25:45,720 Speaker 1: I admit I'm cheating a little bit here, because the 404 00:25:45,720 --> 00:25:48,960 Speaker 1: whole point of this passage is to say that theater 405 00:25:49,200 --> 00:25:52,760 Speaker 1: is incapable of creating an exact copy of the story 406 00:25:52,800 --> 00:25:56,439 Speaker 1: of Henry the Fifth and England's battles with France. But 407 00:25:56,640 --> 00:26:00,399 Speaker 1: you also have to remember I'm a former English literature major, 408 00:26:00,680 --> 00:26:04,760 Speaker 1: and I never get to do Shakespeare. So here we go, 409 00:26:05,240 --> 00:26:10,080 Speaker 1: headphones on, Oh, for a muse of fire that would 410 00:26:10,119 --> 00:26:16,040 Speaker 1: ascend the brightest heaven of invention, a kingdom, for a stage, 411 00:26:16,480 --> 00:26:21,560 Speaker 1: princes to act, and monarchs to behold the swelling scene. 412 00:26:21,720 --> 00:26:25,240 Speaker 1: Then should the warlike Harry, like himself, assume the port 413 00:26:25,280 --> 00:26:29,200 Speaker 1: of Mars, and at his heels leashed in like hounds, 414 00:26:29,359 --> 00:26:36,960 Speaker 1: should famine sword and fire, crouch for employment. But pardon, gentles, 415 00:26:36,960 --> 00:26:41,640 Speaker 1: all the flat, unraised spirits that have dared on this 416 00:26:42,520 --> 00:26:48,360 Speaker 1: unworthy scaffold to bring forth so great an object. Can 417 00:26:48,400 --> 00:26:52,960 Speaker 1: this cockpit hold the vasty fields of France? Or may 418 00:26:53,000 --> 00:26:56,800 Speaker 1: we cram within this wooden o the very casks that 419 00:26:56,880 --> 00:27:03,080 Speaker 1: did affright the air at agincour pardon, since a crooked 420 00:27:03,119 --> 00:27:07,720 Speaker 1: figure may attest in little place a million, let us 421 00:27:07,880 --> 00:27:13,720 Speaker 1: ciphers to this great accompt on your imaginary forces work. 422 00:27:14,920 --> 00:27:20,080 Speaker 1: Suppose within the girdle of these walls are now confined 423 00:27:20,720 --> 00:27:26,640 Speaker 1: two mighty monarchies, whose high upreared and abutting fronts, the 424 00:27:26,680 --> 00:27:32,600 Speaker 1: perilous narrow ocean parts asunder, peace out our imperfections with 425 00:27:32,720 --> 00:27:37,280 Speaker 1: your thoughts into a thousand parts, divide one man and 426 00:27:37,440 --> 00:27:42,359 Speaker 1: make imaginary puissance. Think when we talk of horses, that 427 00:27:42,480 --> 00:27:47,320 Speaker 1: you see them printing their proud hoofs in the receiving earth. 428 00:27:47,760 --> 00:27:52,760 Speaker 1: Fortis your thoughts that now must deck our kings, carry 429 00:27:52,760 --> 00:27:57,159 Speaker 1: them here and there, jumping over times, turning the accomplishment 430 00:27:57,480 --> 00:28:02,440 Speaker 1: of many years into an hour for the which supply 431 00:28:02,840 --> 00:28:09,200 Speaker 1: admit me chorus to this history. Who prologue like your 432 00:28:09,280 --> 00:28:15,560 Speaker 1: humble patients, prey gently to hear, kindly to judge our play. 433 00:28:16,880 --> 00:28:20,800 Speaker 1: So for that recording, I went into our studio at iHeart, 434 00:28:20,960 --> 00:28:25,080 Speaker 1: and I spoke into a normal studio microphone. All the 435 00:28:25,119 --> 00:28:28,359 Speaker 1: manipulation had been done in post production, which is an 436 00:28:28,400 --> 00:28:31,639 Speaker 1: effective way to achieve that three D audio sound, but 437 00:28:31,680 --> 00:28:33,880 Speaker 1: it does require a lot of work on the part 438 00:28:33,960 --> 00:28:37,120 Speaker 1: of the producer. But the three D audio I did 439 00:28:37,200 --> 00:28:39,880 Speaker 1: at the top of this episode was done in a 440 00:28:39,920 --> 00:28:43,720 Speaker 1: different way. I used a special microphone. When we come back, 441 00:28:44,000 --> 00:28:47,280 Speaker 1: i'll talk a bit about that technology, and we'll learn 442 00:28:47,480 --> 00:28:50,760 Speaker 1: about some companies that have produced specialized equipment for the 443 00:28:50,760 --> 00:28:55,120 Speaker 1: purposes of three D audio. But first, let's take another 444 00:28:55,200 --> 00:29:07,920 Speaker 1: quick break. While some engineers and artists experimented with binaural 445 00:29:08,040 --> 00:29:11,760 Speaker 1: recordings for a while, it wasn't until nineteen seventy eight 446 00:29:11,800 --> 00:29:15,719 Speaker 1: that the first pop record using binaural recordings came out. 447 00:29:15,840 --> 00:29:19,520 Speaker 1: It was Lou Reed's Street Hassle. Listening to that album 448 00:29:19,520 --> 00:29:23,200 Speaker 1: with headphones on is pretty cool. To achieve the effect, 449 00:29:23,520 --> 00:29:27,160 Speaker 1: studio engineers took a mannequin head and installed a microphone 450 00:29:27,240 --> 00:29:30,720 Speaker 1: at each ear and use that to record sessions. A 451 00:29:30,760 --> 00:29:35,240 Speaker 1: company called Delta Acoustics put the system together with Manfred 452 00:29:35,360 --> 00:29:39,400 Speaker 1: Schunck supervising. Reed made a couple of other albums in 453 00:29:39,520 --> 00:29:44,600 Speaker 1: binarural audio. One was the Live Take No Prisoners album 454 00:29:44,880 --> 00:29:48,360 Speaker 1: and the other was The Bells. Other bands would experiment 455 00:29:48,400 --> 00:29:51,320 Speaker 1: and recorded binarl as well. The Rolling Stones did it 456 00:29:51,360 --> 00:29:54,640 Speaker 1: for their album Flashpoint, which was a concert recording of 457 00:29:54,680 --> 00:29:57,760 Speaker 1: some of their big hits and rarities. Pearl Jam record 458 00:29:57,800 --> 00:30:03,680 Speaker 1: a studio album called Binaral, recorded fittingly in Binarl. The 459 00:30:04,000 --> 00:30:07,120 Speaker 1: tech used to record these albums changed slightly, but it 460 00:30:07,200 --> 00:30:10,760 Speaker 1: was still based on the same underlying principles. I think 461 00:30:10,760 --> 00:30:13,960 Speaker 1: it's pretty widely understood that our ears receive sound in 462 00:30:13,960 --> 00:30:17,000 Speaker 1: the form of vibrations through a medium such as the air, 463 00:30:17,560 --> 00:30:20,360 Speaker 1: and then through interactions with the ear drum and the 464 00:30:20,440 --> 00:30:24,520 Speaker 1: cochlea and special nerves sending information to the brain. We 465 00:30:24,640 --> 00:30:28,320 Speaker 1: interpret those vibrations as sound in a very simple way 466 00:30:28,360 --> 00:30:32,040 Speaker 1: of looking at it. Sound comes into our ears. But 467 00:30:32,120 --> 00:30:36,800 Speaker 1: did you know our ears also generate sound, Because they 468 00:30:36,840 --> 00:30:43,640 Speaker 1: totally do. It's called autoacoustic emission ORAE. Now. To get 469 00:30:43,640 --> 00:30:47,719 Speaker 1: into OAEs, how they work and their role in stuff 470 00:30:47,800 --> 00:30:51,240 Speaker 1: like medicine is beyond the scope of this podcast, and 471 00:30:51,560 --> 00:30:56,640 Speaker 1: more importantly, way outside my general expertise. But it is 472 00:30:56,760 --> 00:31:00,480 Speaker 1: true that a very sensitive microphone inserted into the ear 473 00:31:00,520 --> 00:31:04,560 Speaker 1: canal of a person with hearing will pick up spontaneous 474 00:31:04,680 --> 00:31:12,720 Speaker 1: autoacoustic emissions or soaes. Now, most folks can't detect these sounds. 475 00:31:12,840 --> 00:31:15,760 Speaker 1: They tend to be at very low frequencies that dip 476 00:31:15,840 --> 00:31:20,360 Speaker 1: below human perception, and they are usually at very low amplitudes, 477 00:31:20,520 --> 00:31:24,440 Speaker 1: so they're pretty quiet. But in some cases people might 478 00:31:24,480 --> 00:31:30,560 Speaker 1: actually hear the sounds generated within their own inner ears 479 00:31:31,200 --> 00:31:35,240 Speaker 1: and experience it as tenetists. I'm one of those people, 480 00:31:36,320 --> 00:31:41,240 Speaker 1: yay me. Now, The reason I bring up that fact 481 00:31:41,560 --> 00:31:45,160 Speaker 1: that the inner ear can be not just a receptacle 482 00:31:45,320 --> 00:31:48,920 Speaker 1: for sound, but also a generator of sound. Is because 483 00:31:48,960 --> 00:31:52,920 Speaker 1: an inventor named Hugo Zucarelli used that as the basis 484 00:31:52,960 --> 00:31:57,280 Speaker 1: for a system he called holophonics. His idea was that 485 00:31:57,360 --> 00:32:01,240 Speaker 1: our hearing isn't a passive thing. That the inner ear 486 00:32:01,320 --> 00:32:06,719 Speaker 1: generates signals that interfere with the incoming audio signals, and 487 00:32:06,760 --> 00:32:10,479 Speaker 1: the resulting interaction between the sounds made by our ears 488 00:32:10,760 --> 00:32:13,960 Speaker 1: and the sounds coming into our ears plays a part 489 00:32:14,200 --> 00:32:20,240 Speaker 1: in sound localization. Now, long story short, Zucarelli's hypothesis doesn't 490 00:32:20,280 --> 00:32:23,920 Speaker 1: have a lot of support in the broader scientific community. However, 491 00:32:24,440 --> 00:32:28,680 Speaker 1: Zucarelli's equipment could record and reproduce sound in a really 492 00:32:28,800 --> 00:32:33,360 Speaker 1: interesting way. It's just the whole interference angle of what 493 00:32:33,560 --> 00:32:38,920 Speaker 1: was going on seemed inconsequential. Zucarelli used microphones to stand 494 00:32:38,960 --> 00:32:42,040 Speaker 1: in for human ears, spaced apart so that a sound 495 00:32:42,120 --> 00:32:45,320 Speaker 1: from any given direction would reach one microphone before the other, 496 00:32:45,760 --> 00:32:48,320 Speaker 1: and the amplitude of the signal would depend upon things 497 00:32:48,320 --> 00:32:51,320 Speaker 1: such as the distance between the microphone and the origin 498 00:32:51,400 --> 00:32:53,920 Speaker 1: of the sound, as well as the angle at which 499 00:32:54,000 --> 00:32:57,600 Speaker 1: the sound waves would reach the microphone. Zucarelli made a 500 00:32:57,680 --> 00:33:02,240 Speaker 1: bunch of different recordings to demonstrate this technology, something called 501 00:33:02,600 --> 00:33:06,400 Speaker 1: the Shaking Matchbox recordings, because that was one of the 502 00:33:06,440 --> 00:33:10,880 Speaker 1: sounds he actually recorded using this system. Whether his underlying 503 00:33:10,920 --> 00:33:15,120 Speaker 1: hypothesis was correct or not, the recordings were effective, and 504 00:33:15,280 --> 00:33:20,360 Speaker 1: Zucarelli's approach created a way to make really localized audio effects. 505 00:33:20,760 --> 00:33:24,360 Speaker 1: That's essentially what was going on with the Disney sound stations. 506 00:33:24,880 --> 00:33:28,080 Speaker 1: Some of the microphones used by recording studios even resembled 507 00:33:28,120 --> 00:33:32,040 Speaker 1: a human head, with microphones literally placed where the ears 508 00:33:32,120 --> 00:33:35,000 Speaker 1: should be, and that also plays a part in recording 509 00:33:35,000 --> 00:33:38,320 Speaker 1: a sound accurately so that the playback will seem as 510 00:33:38,400 --> 00:33:40,800 Speaker 1: though you are really there as you listen to it. 511 00:33:41,360 --> 00:33:44,200 Speaker 1: Beyond just the fact that our ears are on opposite 512 00:33:44,240 --> 00:33:46,680 Speaker 1: sides of our heads and the sound will reach each 513 00:33:46,720 --> 00:33:50,040 Speaker 1: ear at different times and amplitudes, other factors also shape 514 00:33:50,200 --> 00:33:53,040 Speaker 1: the nature of the sound. We perceive the shape of 515 00:33:53,080 --> 00:33:57,640 Speaker 1: our heads, the density of our noggins, our sinuses. All 516 00:33:57,680 --> 00:34:02,720 Speaker 1: of that affects our perception of sound. Collectively, we call 517 00:34:02,840 --> 00:34:08,759 Speaker 1: all of this head related transfer functions or HRTF. The 518 00:34:08,840 --> 00:34:14,000 Speaker 1: technology of holophonics systems and later binural microphones attempts to 519 00:34:14,160 --> 00:34:18,960 Speaker 1: replicate the experience of hearing hyperlocalized sounds through the application 520 00:34:19,040 --> 00:34:27,240 Speaker 1: of HRTF. But this process is incredibly complicated and it's mathy, 521 00:34:28,160 --> 00:34:30,120 Speaker 1: so I'm not going to go into deep detail, which 522 00:34:30,160 --> 00:34:33,560 Speaker 1: is good because I would likely mess up the explanation. Also, 523 00:34:33,680 --> 00:34:37,319 Speaker 1: it's important to acknowledge that every person is different, which 524 00:34:37,360 --> 00:34:41,480 Speaker 1: means there is no universal solution toward creating the perfect 525 00:34:41,600 --> 00:34:45,680 Speaker 1: binaural recording that will convince every listener that they are 526 00:34:45,719 --> 00:34:49,960 Speaker 1: hearing sounds coming from ultraspecific directions. You kind of have 527 00:34:50,040 --> 00:34:53,520 Speaker 1: to go more general to get a good response, but 528 00:34:53,600 --> 00:34:55,960 Speaker 1: the more precise you try to get, the more the 529 00:34:56,040 --> 00:34:59,360 Speaker 1: results will only work super well for a specific person 530 00:34:59,520 --> 00:35:02,759 Speaker 1: you know who whatever it was modeled for, and not 531 00:35:02,920 --> 00:35:07,440 Speaker 1: working quite as well for anyone else. For many years, 532 00:35:07,600 --> 00:35:11,560 Speaker 1: the microphones used to create binaural recordings in studio were 533 00:35:11,640 --> 00:35:16,719 Speaker 1: prohibitively expensive and far too complicated for the average consumer. 534 00:35:17,120 --> 00:35:20,399 Speaker 1: You would occasionally find binural recordings, such as the one 535 00:35:20,400 --> 00:35:24,800 Speaker 1: at Disney World, but these were pretty rare and very specialized, 536 00:35:24,880 --> 00:35:29,040 Speaker 1: and only big companies like Disney could afford to do them. However, 537 00:35:29,440 --> 00:35:33,759 Speaker 1: over time, companies began to develop microphones that fell more 538 00:35:33,840 --> 00:35:37,799 Speaker 1: into the range of the prosumer, with some consumer level 539 00:35:37,840 --> 00:35:42,040 Speaker 1: solutions thrown in there as well. Today there is a 540 00:35:42,160 --> 00:35:46,040 Speaker 1: range of microphones one can use to create three D audio. 541 00:35:46,640 --> 00:35:49,839 Speaker 1: The microphone I used earlier in this episode is a 542 00:35:49,880 --> 00:35:54,080 Speaker 1: three deo binural mic or a three D if you prefer. 543 00:35:54,680 --> 00:35:56,680 Speaker 1: You may have seen one of these if you watch 544 00:35:56,760 --> 00:36:00,160 Speaker 1: a lot of ASMR videos. They are very popular. The 545 00:36:00,200 --> 00:36:04,560 Speaker 1: microphone looks like a horizontal bar with two silicone ears 546 00:36:04,600 --> 00:36:08,400 Speaker 1: attached to either end of that bar. The ears are 547 00:36:08,400 --> 00:36:12,680 Speaker 1: spaced apart to mimic a typical human heads width. The 548 00:36:12,800 --> 00:36:16,680 Speaker 1: three D doesn't have the mass of a head, it's 549 00:36:17,040 --> 00:36:19,440 Speaker 1: just that bar in the ears. It doesn't have the 550 00:36:19,480 --> 00:36:22,799 Speaker 1: sinus cavities or anything like that. So it is not 551 00:36:22,920 --> 00:36:27,640 Speaker 1: a perfect simulacrum of a person's auditory system, but it 552 00:36:27,719 --> 00:36:31,759 Speaker 1: gets the job done. That style of microphone typically retails 553 00:36:31,840 --> 00:36:34,920 Speaker 1: are around four hundred dollars, so it's a little bit 554 00:36:34,920 --> 00:36:37,920 Speaker 1: on the pricey side, but it kind of falls between 555 00:36:38,040 --> 00:36:42,760 Speaker 1: consumer and prosumer. However, you can achieve similar results using 556 00:36:42,960 --> 00:36:48,080 Speaker 1: totally different microphone setups. They typically require XLR microphones that 557 00:36:48,120 --> 00:36:51,520 Speaker 1: connect to a recording device that can accept multiple inputs 558 00:36:52,000 --> 00:36:56,200 Speaker 1: recording each microphone to its own audio channel. It's possible 559 00:36:56,360 --> 00:36:59,560 Speaker 1: to use two normal microphones and space them apart from 560 00:36:59,600 --> 00:37:03,120 Speaker 1: each other and create a binaural experience, though it might 561 00:37:03,160 --> 00:37:06,560 Speaker 1: take some experimentation to get the spacing and gain levels 562 00:37:06,719 --> 00:37:11,520 Speaker 1: just right so that it all feels natural. Or of course, 563 00:37:12,080 --> 00:37:15,200 Speaker 1: you could just do it in post, but like I said, 564 00:37:15,280 --> 00:37:17,400 Speaker 1: that relies heavily on a ton of work on the 565 00:37:17,440 --> 00:37:21,120 Speaker 1: back end of things, and ASMR artists are not the 566 00:37:21,160 --> 00:37:25,360 Speaker 1: only ones using binaral audio. It's also useful for stuff 567 00:37:25,440 --> 00:37:29,880 Speaker 1: like virtual reality experiences and video games. Sound is a 568 00:37:30,000 --> 00:37:33,160 Speaker 1: powerful element that contributes to a sense of immersion, and 569 00:37:33,239 --> 00:37:37,600 Speaker 1: in some games it's critically important. For example, you might 570 00:37:37,680 --> 00:37:41,960 Speaker 1: play a first person shooter game like Player Unknowns Battlegrounds, 571 00:37:42,080 --> 00:37:44,800 Speaker 1: and you really need to use your ears to figure 572 00:37:44,800 --> 00:37:47,719 Speaker 1: out where other players are in relation to where you are. 573 00:37:48,360 --> 00:37:51,840 Speaker 1: Not doing so severely reduces your chances of making it 574 00:37:51,920 --> 00:37:55,000 Speaker 1: through the game. If you'd like to learn more, I 575 00:37:55,040 --> 00:37:59,280 Speaker 1: would recommend seeking out Old Tech Stuff episodes about surround sound, 576 00:37:59,400 --> 00:38:02,919 Speaker 1: which relates to this topic quite a bit, and also 577 00:38:03,080 --> 00:38:07,000 Speaker 1: our episodes about audio compression, as the process is designed 578 00:38:07,000 --> 00:38:10,720 Speaker 1: to compress audio. Tried to take the psychology of perception 579 00:38:10,880 --> 00:38:15,960 Speaker 1: into account. It's all fascinating stuff. As for three D audio, 580 00:38:16,160 --> 00:38:18,080 Speaker 1: I figure i'd leave you all with a little bit 581 00:38:18,120 --> 00:38:22,520 Speaker 1: of horror because three D audio works really well to 582 00:38:22,600 --> 00:38:26,160 Speaker 1: immerse a listener into a world, and it is particularly 583 00:38:26,280 --> 00:38:30,239 Speaker 1: well suited for tales of terror. Some of my coworkers 584 00:38:30,520 --> 00:38:33,480 Speaker 1: used it to great effect in a series called Thirteen 585 00:38:33,600 --> 00:38:38,040 Speaker 1: Days of Halloween, which we published last October, and so 586 00:38:38,560 --> 00:38:42,160 Speaker 1: here is a little excerpt from the show they produced. 587 00:38:43,440 --> 00:38:46,360 Speaker 4: Ah, look at all the fun we're having in here. 588 00:38:48,160 --> 00:38:52,480 Speaker 4: I just knew you two would get along swimmingly. Oh no, 589 00:38:53,200 --> 00:38:55,280 Speaker 4: come with me, Surin. 590 00:38:55,680 --> 00:39:00,880 Speaker 2: We'll catch up with you later. Dearhart is a truly 591 00:39:00,960 --> 00:39:04,239 Speaker 2: sweet young man. I've been attempting to persuade him to 592 00:39:04,280 --> 00:39:07,719 Speaker 2: see the good doctor about his cough, but he'll have 593 00:39:07,840 --> 00:39:10,840 Speaker 2: none of it. Maybe you could be of service in 594 00:39:10,880 --> 00:39:16,759 Speaker 2: that department. He really seemed to like you. Now, there 595 00:39:16,760 --> 00:39:19,799 Speaker 2: are hundreds of rooms here of the Hawthorne, but this 596 00:39:20,560 --> 00:39:25,000 Speaker 2: is perhaps the very finest, and it just so happens 597 00:39:25,120 --> 00:39:30,000 Speaker 2: to be your waters. Was it luck or. 598 00:39:29,960 --> 00:39:34,319 Speaker 3: Fate that placed you here? We'll never know. 599 00:39:36,680 --> 00:39:39,400 Speaker 5: I trust that you'll find everything to your liking. And 600 00:39:39,480 --> 00:39:42,480 Speaker 5: if you don't notify me and I will make sure 601 00:39:42,480 --> 00:39:45,960 Speaker 5: it is rectified. It's all part of my role here 602 00:39:46,440 --> 00:39:51,919 Speaker 5: as the caretaker. You know, your lack of verbal reciprocation 603 00:39:52,239 --> 00:39:56,279 Speaker 5: is really breaking down my sense of boundaries. I can 604 00:39:56,320 --> 00:39:59,799 Speaker 5: trust you, right of course I care. 605 00:40:02,440 --> 00:40:05,520 Speaker 3: In these coming days, you may notice that Hawthorne manner 606 00:40:05,560 --> 00:40:12,960 Speaker 3: has no shortage of oddities. I've witnessed things myself that 607 00:40:13,160 --> 00:40:18,160 Speaker 3: strain the belief. But there is one strange legend that 608 00:40:18,239 --> 00:40:24,520 Speaker 3: has truly become something of an obsession. Supposedly, somewhere within 609 00:40:24,640 --> 00:40:29,400 Speaker 3: these halls there is a hidden doorway. If the tale 610 00:40:29,480 --> 00:40:32,719 Speaker 3: of what lurks on the other side is to be believed, 611 00:40:33,520 --> 00:40:37,400 Speaker 3: then gaining access would mean a sort of ascension beyond 612 00:40:37,600 --> 00:40:44,480 Speaker 3: human imagination, true immortality. I have come to understand that 613 00:40:44,560 --> 00:40:47,960 Speaker 3: one of our guests knows how to locate and open 614 00:40:48,320 --> 00:40:53,279 Speaker 3: this door. Perhaps what they cannot say to me, they 615 00:40:53,320 --> 00:40:58,399 Speaker 3: will happily divulge to you. I have a feeling your 616 00:40:58,520 --> 00:41:04,320 Speaker 3: quiet fortitude will lure them into a sense of intimacy. 617 00:41:04,800 --> 00:41:06,000 Speaker 2: It certainly works on me. 618 00:41:08,080 --> 00:41:12,600 Speaker 3: Please make yourself at home. After all, this is it. 619 00:41:14,840 --> 00:41:19,839 Speaker 3: There are so many others I cannot wait for you 620 00:41:19,880 --> 00:41:20,319 Speaker 3: to meet. 621 00:41:22,600 --> 00:41:26,520 Speaker 1: Well. That wraps up this special episode of tech Stuff. 622 00:41:26,960 --> 00:41:31,840 Speaker 1: Several of the iHeart shows are including some binaral audio segments, 623 00:41:32,320 --> 00:41:35,120 Speaker 1: and we've got a lot planned into three D audio 624 00:41:35,200 --> 00:41:38,239 Speaker 1: space in the days up ahead. I really recommend you 625 00:41:38,400 --> 00:41:40,840 Speaker 1: check it out and explore some of the three D 626 00:41:41,080 --> 00:41:45,000 Speaker 1: audio recordings that are available online. You know that Disney 627 00:41:45,000 --> 00:41:48,160 Speaker 1: one I mentioned, There are actually versions of that up 628 00:41:48,200 --> 00:41:51,440 Speaker 1: on YouTube. People have the recordings up. I will say 629 00:41:51,719 --> 00:41:54,640 Speaker 1: that when I was listening back, it sounded like the 630 00:41:54,760 --> 00:41:58,640 Speaker 1: channels had been swapped. Everything that was supposed to be 631 00:41:58,760 --> 00:42:00,600 Speaker 1: in my right ear seemed to be coming through the 632 00:42:00,640 --> 00:42:02,520 Speaker 1: left ear. And I made sure that I was wearing 633 00:42:02,560 --> 00:42:04,759 Speaker 1: the headphones correctly. That's an important point, by the way. 634 00:42:05,200 --> 00:42:08,760 Speaker 1: If you're not wearing your headphones with the proper phone 635 00:42:08,800 --> 00:42:12,640 Speaker 1: over the proper ear, it's very disconcerting. I double checked 636 00:42:12,760 --> 00:42:15,520 Speaker 1: I was doing it correctly. Everything still seemed flipped and 637 00:42:16,000 --> 00:42:19,319 Speaker 1: the effect was not nearly as impressive as it was 638 00:42:19,400 --> 00:42:22,200 Speaker 1: when I went back to Disney. But I should also 639 00:42:22,239 --> 00:42:26,360 Speaker 1: add the Disney version incorporated some stuff that headphones just 640 00:42:26,400 --> 00:42:30,919 Speaker 1: can't do, stuff like a blower behind each person's back, 641 00:42:31,000 --> 00:42:34,480 Speaker 1: so that when you're getting a haircut in that sequence, 642 00:42:35,000 --> 00:42:38,680 Speaker 1: the hair dryer would actually blow air on you, so 643 00:42:38,760 --> 00:42:41,960 Speaker 1: that would add to your sense of immersion as it stands. 644 00:42:42,080 --> 00:42:45,400 Speaker 1: For me, if I'm listening to a very well recorded 645 00:42:45,600 --> 00:42:51,360 Speaker 1: three D audio setup, then if someone speaking quietly into 646 00:42:51,400 --> 00:42:53,799 Speaker 1: my ear, it's as if I can feel it, because 647 00:42:53,800 --> 00:42:57,480 Speaker 1: we have to remember sound when it gets down to it, Really, 648 00:42:57,800 --> 00:43:02,280 Speaker 1: that's just vibration. Those vibrations include fluctuations and air pressure. 649 00:43:02,719 --> 00:43:06,560 Speaker 1: So if you are listening to someone talk into your 650 00:43:06,640 --> 00:43:10,480 Speaker 1: ear through a speaker, you will feel it because those 651 00:43:10,520 --> 00:43:14,520 Speaker 1: are fluctuations in air pressure. It's not something you're imagining. 652 00:43:14,600 --> 00:43:17,480 Speaker 1: You are feeling it. It might be heightened because of 653 00:43:17,520 --> 00:43:20,480 Speaker 1: the way the audio is recorded, but it's actually happening 654 00:43:20,520 --> 00:43:26,319 Speaker 1: to you. I think three D audio is an incredible technology. 655 00:43:26,320 --> 00:43:29,120 Speaker 1: There's a lot more we could say about it, and 656 00:43:29,320 --> 00:43:32,880 Speaker 1: not just from the technological side, but the psychological side 657 00:43:32,880 --> 00:43:36,000 Speaker 1: and the biological side. So maybe I will do future 658 00:43:36,040 --> 00:43:40,400 Speaker 1: episodes that will focus on this more. I hope I 659 00:43:40,440 --> 00:43:42,520 Speaker 1: get a chance to play with the three D audio 660 00:43:42,600 --> 00:43:45,719 Speaker 1: microphone more. That was a lot of fun. I really 661 00:43:45,800 --> 00:43:48,719 Speaker 1: enjoyed doing that. I hope that I get to participate 662 00:43:48,800 --> 00:43:51,680 Speaker 1: in some of the three D audio recordings that we 663 00:43:51,760 --> 00:43:55,719 Speaker 1: have planned coming up, including some that are delving into 664 00:43:55,800 --> 00:43:59,000 Speaker 1: different areas of fiction. I would love to do that. Honestly, 665 00:43:59,280 --> 00:44:01,520 Speaker 1: I would love to do a full three D audio 666 00:44:01,719 --> 00:44:06,000 Speaker 1: version of a Shakespearean play. It is something I have 667 00:44:06,719 --> 00:44:09,040 Speaker 1: really wanted to do for a long time. I'm not 668 00:44:09,080 --> 00:44:11,279 Speaker 1: even talking about necessarily being in it, although it would 669 00:44:11,360 --> 00:44:14,120 Speaker 1: kill me not to be, but to be able to 670 00:44:14,160 --> 00:44:18,800 Speaker 1: experience a three D audio version of one of Shakespeare's plays, 671 00:44:19,360 --> 00:44:25,200 Speaker 1: to me, would be unbelievably amazing. So if you think 672 00:44:25,239 --> 00:44:28,640 Speaker 1: that's interesting, you should write to iHeart and let them know, 673 00:44:29,400 --> 00:44:32,480 Speaker 1: because I think it would be great. I wouldn't mind 674 00:44:32,520 --> 00:44:35,000 Speaker 1: working on something like that and let me know what 675 00:44:35,040 --> 00:44:37,680 Speaker 1: play you think we should do. Honestly, I'm thinking like 676 00:44:38,280 --> 00:44:42,600 Speaker 1: much ado about nothing. I think a comedy might be fun. Well, 677 00:44:42,640 --> 00:44:45,160 Speaker 1: I hope you enjoyed that episode from twenty twenty one 678 00:44:45,400 --> 00:44:49,520 Speaker 1: how three D audio works. I think three D audio 679 00:44:49,640 --> 00:44:53,560 Speaker 1: can really be fascinating and really immersive. Like I still 680 00:44:54,160 --> 00:44:57,799 Speaker 1: really love ASMR videos that do the ear to ear 681 00:44:57,840 --> 00:45:00,439 Speaker 1: stuff and use a lot of spatial audio. Well, it's 682 00:45:00,480 --> 00:45:03,520 Speaker 1: not as common now like that was like a big 683 00:45:03,600 --> 00:45:08,160 Speaker 1: thing many years ago when ASMR was first really starting 684 00:45:08,200 --> 00:45:11,839 Speaker 1: to take off. But these days I seem to see 685 00:45:11,880 --> 00:45:14,359 Speaker 1: a lot more things that are based off specific what 686 00:45:14,400 --> 00:45:18,760 Speaker 1: they call triggers, specific sounds, or specific effects, but less 687 00:45:18,920 --> 00:45:22,000 Speaker 1: the ear to ear stuff, which is the evolution of 688 00:45:22,040 --> 00:45:24,680 Speaker 1: the field. But it makes me miss the really cool 689 00:45:24,840 --> 00:45:27,160 Speaker 1: three D audio things that make you feel like you're 690 00:45:27,200 --> 00:45:30,680 Speaker 1: in an actual space with people really moving around you. 691 00:45:30,840 --> 00:45:33,040 Speaker 1: To me like, that's just an effect that I can't 692 00:45:33,040 --> 00:45:35,800 Speaker 1: get enough of. So that's kind of why I wanted 693 00:45:35,800 --> 00:45:38,799 Speaker 1: to go back and revisit this episode. I'll be back 694 00:45:38,840 --> 00:45:41,640 Speaker 1: on Friday with a new episode about tech news. We'll 695 00:45:41,680 --> 00:45:43,799 Speaker 1: find out what the heck happened on the week of 696 00:45:43,840 --> 00:45:47,120 Speaker 1: Memorial Day. I'm recording this the week before, so I 697 00:45:47,160 --> 00:45:51,560 Speaker 1: don't have any clue. As we've established many times, I 698 00:45:51,640 --> 00:45:54,919 Speaker 1: am not good at predicting the future, so I'll find 699 00:45:54,920 --> 00:45:57,480 Speaker 1: out when you all do. So I hope you are 700 00:45:57,520 --> 00:45:59,920 Speaker 1: having a great week, and I'll talk to you again 701 00:46:00,520 --> 00:46:10,600 Speaker 1: really soon. Tex Stuff is an iHeartRadio production. For more 702 00:46:10,640 --> 00:46:15,360 Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app Apple Podcasts for 703 00:46:15,400 --> 00:46:22,160 Speaker 1: wherever you listen to your favorite shows. This episode was 704 00:46:22,200 --> 00:46:25,400 Speaker 1: brought to you in iHeart three D Audio. To experience 705 00:46:25,440 --> 00:46:29,040 Speaker 1: more podcasts like this, search for iHeart three D audio 706 00:46:29,200 --> 00:46:33,400 Speaker 1: in the iHeartRadio app. Thank you to our sponsors, Audible, 707 00:46:33,840 --> 00:46:36,640 Speaker 1: The Conjuring, The Devil Made Me do It, Rated R, 708 00:46:37,080 --> 00:46:38,239 Speaker 1: and World of Warcraft.