1 00:00:01,600 --> 00:00:15,560 Speaker 1: I Heeart three D Audio. This episode was brought to 2 00:00:15,600 --> 00:00:18,680 Speaker 1: you in I Heeart three D Audio. To experience more 3 00:00:18,720 --> 00:00:22,040 Speaker 1: podcasts like this, search for I Heart three D Audio 4 00:00:22,239 --> 00:00:25,439 Speaker 1: in the I Heart Radio app. This special three D 5 00:00:25,520 --> 00:00:28,960 Speaker 1: episode is sponsored by Audible, The Conjuring, The Devil Made 6 00:00:29,000 --> 00:00:32,440 Speaker 1: Me Do It, Radar R, and World of Warcraft. For 7 00:00:32,600 --> 00:00:41,559 Speaker 1: maximum effect, headphones are recommended. Welcome to Tech Stuff, a 8 00:00:41,600 --> 00:00:49,360 Speaker 1: production from I Heart Radio. Hey there, and welcome to 9 00:00:49,640 --> 00:00:52,800 Speaker 1: tech Stuff. I'm your host, jon Vin Strickland. I'm an 10 00:00:52,800 --> 00:00:56,040 Speaker 1: executive producer with I Heart Radio and I love all 11 00:00:56,080 --> 00:00:59,280 Speaker 1: things tech. And let me tell you a story about 12 00:00:59,360 --> 00:01:03,920 Speaker 1: my child hood. My family are all really big Disney 13 00:01:04,000 --> 00:01:07,880 Speaker 1: theme park fans, and growing up in Georgia meant we 14 00:01:07,880 --> 00:01:11,560 Speaker 1: were just a short eight to ten hour drive from 15 00:01:11,560 --> 00:01:15,840 Speaker 1: Walt Disney World in Florida. Both of my parents were teachers, 16 00:01:16,240 --> 00:01:18,720 Speaker 1: and they would save up money so that every two 17 00:01:18,840 --> 00:01:21,560 Speaker 1: or three years or so we'd make the trip down. 18 00:01:22,160 --> 00:01:25,600 Speaker 1: Disney World was always where my sister and I wanted 19 00:01:25,640 --> 00:01:28,760 Speaker 1: to go, even when my parents gently tried to suggest 20 00:01:29,000 --> 00:01:34,679 Speaker 1: other places like Washington, d C. Or New York City. Nope, 21 00:01:35,360 --> 00:01:39,319 Speaker 1: we want a Disney World also. Quick aside, these days 22 00:01:40,000 --> 00:01:43,039 Speaker 1: we still will take family trips to Disney World, my 23 00:01:43,080 --> 00:01:46,440 Speaker 1: parents included, and now with my nieces we get to 24 00:01:46,480 --> 00:01:50,240 Speaker 1: experience seeing Disney through fresh eyes, which is pretty great. 25 00:01:50,680 --> 00:01:54,559 Speaker 1: But anyway, back to my story. Back in nineteen nine, 26 00:01:55,000 --> 00:01:58,320 Speaker 1: the Disney Hollywood Studios Park opened for the first time. 27 00:01:58,600 --> 00:02:02,600 Speaker 1: Back then it was the MGM Studios, and the studios 28 00:02:02,680 --> 00:02:06,320 Speaker 1: were a working studio with films and TV shows shot 29 00:02:06,400 --> 00:02:09,800 Speaker 1: on the premises. A lot of attractions related to film 30 00:02:09,800 --> 00:02:13,239 Speaker 1: and TV production. There was the Great Movie Ride, which 31 00:02:13,560 --> 00:02:17,760 Speaker 1: closed in. There was a behind the Scenes tour which 32 00:02:18,200 --> 00:02:23,160 Speaker 1: closed in, and there were various experiences that taught audiences 33 00:02:23,200 --> 00:02:27,480 Speaker 1: about stuff like special effects, all of which have closed. 34 00:02:28,040 --> 00:02:31,120 Speaker 1: Almost leads you to the conclusion that the Hollywood Studios 35 00:02:31,120 --> 00:02:34,160 Speaker 1: aren't so much the Hollywood Studios anymore. But I'm off 36 00:02:34,200 --> 00:02:38,760 Speaker 1: track again. One of those experiences was all about sound 37 00:02:38,800 --> 00:02:42,480 Speaker 1: effects and it was called the Monster Sound Show. I 38 00:02:42,520 --> 00:02:45,840 Speaker 1: remember that the attraction featured a clip of a film 39 00:02:45,919 --> 00:02:49,000 Speaker 1: starring Martin Short and Chevy Chase, and I had a 40 00:02:49,000 --> 00:02:52,119 Speaker 1: lot of sound effects that played in that movie. Then 41 00:02:52,560 --> 00:02:56,000 Speaker 1: the attraction host would bring up some audience members to 42 00:02:56,040 --> 00:02:59,680 Speaker 1: try and create sound effects live on stage using various 43 00:02:59,720 --> 00:03:02,640 Speaker 1: pro ups while a silent version of the film plate 44 00:03:03,120 --> 00:03:05,840 Speaker 1: and then they would play the film back again with 45 00:03:06,000 --> 00:03:10,880 Speaker 1: the new audience supplied fully sound effects in place to 46 00:03:11,040 --> 00:03:15,440 Speaker 1: great comedic effect. After that presentation, however, you could wander 47 00:03:15,520 --> 00:03:18,160 Speaker 1: through the rest of the attraction and tucked off to 48 00:03:18,200 --> 00:03:21,040 Speaker 1: the side were a couple of rooms large enough to 49 00:03:21,080 --> 00:03:23,160 Speaker 1: hold a few people at a time, and they were 50 00:03:23,160 --> 00:03:28,440 Speaker 1: called sound stations. Inside those rooms were benches attached to 51 00:03:28,480 --> 00:03:31,840 Speaker 1: the walls, and there were hooks holding headphones every couple 52 00:03:31,840 --> 00:03:34,800 Speaker 1: of feet you would go in, you would sit down, 53 00:03:35,080 --> 00:03:37,240 Speaker 1: you would put on the headphones, making sure that the 54 00:03:37,240 --> 00:03:40,400 Speaker 1: headphone with the yellow pad went over your right ear. 55 00:03:40,920 --> 00:03:47,080 Speaker 1: And then something extraordinary happened. As the lights went down. 56 00:03:47,640 --> 00:03:51,760 Speaker 1: You were presented with a scenario. You're playing the part 57 00:03:52,080 --> 00:03:57,440 Speaker 1: of a new executive at the Walt Disney Studios named R. J. McBean. 58 00:03:58,120 --> 00:04:02,200 Speaker 1: You're told you're sitting behind into your executive desk waiting 59 00:04:02,360 --> 00:04:05,400 Speaker 1: for your assistant Hampton to come in and start off 60 00:04:05,440 --> 00:04:10,080 Speaker 1: your day, and the sound orbited you. You'd hear the 61 00:04:10,200 --> 00:04:13,720 Speaker 1: narrator set up the scenario, and her voice drifted from 62 00:04:13,800 --> 00:04:19,000 Speaker 1: one ear to the other as if she were actually 63 00:04:19,240 --> 00:04:23,719 Speaker 1: walking around you. While you sat at this fictional desk, 64 00:04:24,480 --> 00:04:27,599 Speaker 1: and then the scenario would really begin and things got 65 00:04:27,680 --> 00:04:31,960 Speaker 1: really wild. A little tinker bell jingling would represent the 66 00:04:32,000 --> 00:04:35,880 Speaker 1: true beginning, and you would hear Hampton come in. He 67 00:04:35,920 --> 00:04:41,840 Speaker 1: would walk through on a door to your right, and 68 00:04:41,880 --> 00:04:45,520 Speaker 1: then you'd hear him pontificate as he walks through your office. 69 00:04:45,800 --> 00:04:48,680 Speaker 1: You would pour a busy drink into a glass of ice, 70 00:04:49,680 --> 00:04:54,360 Speaker 1: and he introduced you to your secretary. Surely, Oh, and 71 00:04:54,440 --> 00:04:59,839 Speaker 1: also said you would get a haircut from a stylist 72 00:05:00,400 --> 00:05:04,480 Speaker 1: named Ken, because of course the big Cheese is on 73 00:05:04,520 --> 00:05:09,040 Speaker 1: his way to meet you. And the haircut sounds, in particular, 74 00:05:09,080 --> 00:05:14,160 Speaker 1: we're really compelling. You could almost feel the sensation of 75 00:05:14,240 --> 00:05:16,800 Speaker 1: someone cutting your hair, and I say this as a 76 00:05:16,839 --> 00:05:21,840 Speaker 1: bald man who hasn't had hair in more than twenty years. Meanwhile, 77 00:05:22,120 --> 00:05:25,679 Speaker 1: as the hair goes flying, a director called Flavio shows 78 00:05:25,760 --> 00:05:28,440 Speaker 1: up and pitches a new film to you, complete with 79 00:05:28,560 --> 00:05:32,039 Speaker 1: using a hair dryer to simulate desert winds. There are 80 00:05:32,040 --> 00:05:34,359 Speaker 1: a lot of other cute sound effects that follow, like 81 00:05:34,440 --> 00:05:42,560 Speaker 1: a paper being placed over your head to represent a 82 00:05:42,600 --> 00:05:47,719 Speaker 1: turban and you can actually find recordings of this piece online, 83 00:05:47,760 --> 00:05:51,000 Speaker 1: though I will warn you the effects aren't quite up 84 00:05:51,000 --> 00:05:54,560 Speaker 1: to the quality of the original attraction, which also incorporated 85 00:05:54,560 --> 00:05:59,440 Speaker 1: stuff like actual blowers to blow warm air on you. Oh, 86 00:05:59,480 --> 00:06:01,840 Speaker 1: and a big cheese who comes in at the end. 87 00:06:02,440 --> 00:06:06,159 Speaker 1: Well that's Mickey Mouse, of course. He comes into place 88 00:06:06,360 --> 00:06:09,480 Speaker 1: a pair of mouse ears on top of your head. 89 00:06:10,080 --> 00:06:13,520 Speaker 1: The whole thing lasted about five minutes and I loved it. 90 00:06:14,120 --> 00:06:17,360 Speaker 1: And at the end you were instructed to remove your headphones, 91 00:06:17,800 --> 00:06:21,120 Speaker 1: hang them back on the wall, and exit the room, 92 00:06:21,160 --> 00:06:25,279 Speaker 1: whereupon you'd head outside to the blazing Florida sun and 93 00:06:25,360 --> 00:06:30,000 Speaker 1: the wild audio of the real outdoors. That was how 94 00:06:30,120 --> 00:06:34,680 Speaker 1: I first experienced three D audio. At that time, it 95 00:06:34,720 --> 00:06:37,880 Speaker 1: was based off a technology that had a brand name 96 00:06:37,960 --> 00:06:42,360 Speaker 1: of Holophonics. These days, we'd more likely call it binaural 97 00:06:42,560 --> 00:06:46,440 Speaker 1: audio or maybe just three D audio. And there are 98 00:06:46,480 --> 00:06:49,560 Speaker 1: a lot of different ways to create the experience, some 99 00:06:49,680 --> 00:06:53,960 Speaker 1: of which requires special equipment, others that require special software. 100 00:06:54,400 --> 00:06:58,039 Speaker 1: You can find examples of three D audio in music recordings, 101 00:06:58,240 --> 00:07:02,480 Speaker 1: amusement park attractions, and stuff like a s MR videos. 102 00:07:02,920 --> 00:07:06,839 Speaker 1: It can be a really compelling experience and I remember 103 00:07:06,920 --> 00:07:09,880 Speaker 1: getting goose bumps the first time I encountered it. And 104 00:07:09,960 --> 00:07:13,280 Speaker 1: depending on who's doing the recording and the effects that 105 00:07:13,320 --> 00:07:17,080 Speaker 1: they're creating. I can still get goose bumps from it today. 106 00:07:17,320 --> 00:07:20,560 Speaker 1: Long time listeners might remember that a few years back, 107 00:07:20,760 --> 00:07:24,080 Speaker 1: I interviewed an a s m R artist named Heather Feather, 108 00:07:24,480 --> 00:07:27,400 Speaker 1: who was one of a handful of creators who were 109 00:07:27,480 --> 00:07:31,560 Speaker 1: really making a s m R a phenomenon. Now we 110 00:07:31,680 --> 00:07:34,800 Speaker 1: have thousands of creators. If you do a search on 111 00:07:34,840 --> 00:07:37,720 Speaker 1: YouTube for a s m R you will see countless 112 00:07:37,840 --> 00:07:41,760 Speaker 1: videos in the category. But the technology and psychology behind 113 00:07:42,360 --> 00:07:46,120 Speaker 1: this experience goes back quite a ways. So I want 114 00:07:46,200 --> 00:07:52,560 Speaker 1: to explore the evolution and technology behind making three D audio. Now, 115 00:07:52,600 --> 00:07:57,720 Speaker 1: in the beginning, there was mono, that is monaural or 116 00:07:57,840 --> 00:08:03,000 Speaker 1: monophonic sound. This sound can come from a single loud speaker, 117 00:08:03,440 --> 00:08:06,120 Speaker 1: or it could be channeled to multiple loud speakers, but 118 00:08:06,200 --> 00:08:09,640 Speaker 1: the signal going to each loudspeaker is exactly the same 119 00:08:10,080 --> 00:08:14,679 Speaker 1: as every other loud speaker. It's effectively a single channel 120 00:08:14,800 --> 00:08:18,760 Speaker 1: of sound. It's how we do podcasts typically, where you 121 00:08:18,960 --> 00:08:22,560 Speaker 1: usually will hear the same level of volume in each ear. 122 00:08:23,200 --> 00:08:26,240 Speaker 1: For shows with multiple hosts, it means that you hear 123 00:08:26,320 --> 00:08:30,320 Speaker 1: all the hosts in both ears equally. Most listeners tend 124 00:08:30,360 --> 00:08:33,360 Speaker 1: to prefer that, but very early on, people started to 125 00:08:33,400 --> 00:08:36,440 Speaker 1: experiment with ways to provide more than one channel of 126 00:08:36,520 --> 00:08:41,079 Speaker 1: sounds simultaneously to a listener to create a different kind 127 00:08:41,200 --> 00:08:45,600 Speaker 1: of experience. Way back in eighteen eighty one, when the 128 00:08:45,679 --> 00:08:49,720 Speaker 1: loud speaker itself was just a few years old, Alexander 129 00:08:49,840 --> 00:08:53,320 Speaker 1: Graham Bell had patented it in eighteen seventy six. As 130 00:08:53,320 --> 00:08:56,360 Speaker 1: part of this telephone invention. Well, that's when a man 131 00:08:56,480 --> 00:09:00,280 Speaker 1: named Clement Adder came up with a clever idea. One 132 00:09:00,320 --> 00:09:03,840 Speaker 1: of the downsides of live theater is that it is 133 00:09:03,960 --> 00:09:07,720 Speaker 1: a scarce resource. Only so many people can fit into 134 00:09:07,760 --> 00:09:11,520 Speaker 1: a theater for a performance, and once that performance is over, 135 00:09:12,040 --> 00:09:15,760 Speaker 1: it's all done. So there is an element of exclusivity 136 00:09:15,840 --> 00:09:18,720 Speaker 1: when it comes to live theater, something that remains true 137 00:09:18,760 --> 00:09:21,440 Speaker 1: because I mean, it's just the limitations of the art. 138 00:09:22,000 --> 00:09:24,560 Speaker 1: But Adder thought of a way that would help people 139 00:09:24,679 --> 00:09:28,600 Speaker 1: listen in to say, a performance of an opera, without 140 00:09:28,679 --> 00:09:33,200 Speaker 1: having to actually go to the opera house. His demonstration 141 00:09:33,280 --> 00:09:37,160 Speaker 1: involved installing telephone receivers in a few rooms at the 142 00:09:37,200 --> 00:09:41,280 Speaker 1: Palais de l Industry. The microphones he installed near the 143 00:09:41,320 --> 00:09:45,400 Speaker 1: footlights at the Grand Opera in Paris, so they were 144 00:09:45,440 --> 00:09:48,640 Speaker 1: across town. People could come into these rooms at the 145 00:09:48,679 --> 00:09:52,480 Speaker 1: Palais in small groups, and they would hold two receivers, 146 00:09:52,600 --> 00:09:57,640 Speaker 1: one to each ear. Each receiver connected to a different microphone, 147 00:09:57,800 --> 00:10:01,040 Speaker 1: which meant the sound they were hearing was actually coming 148 00:10:01,080 --> 00:10:05,320 Speaker 1: from two different locations. In an article and Scientific American 149 00:10:05,800 --> 00:10:10,719 Speaker 1: Monsieur Hospitalier is quoted as saying, quote, everyone who has 150 00:10:10,720 --> 00:10:13,680 Speaker 1: been fortunate enough to hear the telephones at the Palais 151 00:10:13,679 --> 00:10:17,600 Speaker 1: de Industry has remarked that in listening with both ears 152 00:10:17,720 --> 00:10:21,120 Speaker 1: at the two telephones, the sound takes a special character 153 00:10:21,280 --> 00:10:25,920 Speaker 1: of relief and localization which a single receiver cannot produce. 154 00:10:26,600 --> 00:10:31,480 Speaker 1: End quote. This was a very early and primitive version 155 00:10:31,559 --> 00:10:35,280 Speaker 1: of stereophonic sound. For those of us who have hearing 156 00:10:35,320 --> 00:10:39,520 Speaker 1: in both of our ears, we experience the world in stereo. 157 00:10:39,840 --> 00:10:44,400 Speaker 1: Sound travels at a certain speed. It's three ms per 158 00:10:44,440 --> 00:10:47,440 Speaker 1: second if you have an air temperature of around twenty 159 00:10:47,440 --> 00:10:51,400 Speaker 1: degrees celsius or sixty eight degrees fahrenheit. And yes, the 160 00:10:51,440 --> 00:10:55,040 Speaker 1: temperature affects how quickly sound will move through the air. 161 00:10:55,720 --> 00:10:59,600 Speaker 1: And our ears are located upon opposite sides of our noggins, 162 00:11:00,040 --> 00:11:03,040 Speaker 1: that means that sound hits our two ear drums at 163 00:11:03,080 --> 00:11:07,160 Speaker 1: slightly different times, depending upon where it's coming from, and 164 00:11:07,200 --> 00:11:10,760 Speaker 1: we will perceive sound coming from one side of us 165 00:11:11,040 --> 00:11:15,120 Speaker 1: as being louder in that year than in our opposite ear, 166 00:11:15,200 --> 00:11:18,760 Speaker 1: and so on. So mono sound shoves all of those 167 00:11:18,800 --> 00:11:21,959 Speaker 1: sound waves through one channel. Everything is coming out equally 168 00:11:22,040 --> 00:11:26,680 Speaker 1: through each loudspeaker. Stereo sound, however, changes this up, varying 169 00:11:26,720 --> 00:11:30,760 Speaker 1: the amplitude or volume of sound in each channel and 170 00:11:30,800 --> 00:11:36,400 Speaker 1: creating a different effect. While adders demonstration indicated that there 171 00:11:36,480 --> 00:11:40,560 Speaker 1: was something interesting with producing sound using different channels directed 172 00:11:40,600 --> 00:11:44,199 Speaker 1: at different loudspeakers, that was just the tip of the iceberg. 173 00:11:44,760 --> 00:11:48,400 Speaker 1: Alan Dower bloom Line would advance the art considerably in 174 00:11:48,440 --> 00:11:53,280 Speaker 1: the nineteen thirties. Bloomline was born in three He became 175 00:11:53,320 --> 00:11:57,160 Speaker 1: an electronics engineer and he worked for the famous Abbey 176 00:11:57,280 --> 00:12:01,840 Speaker 1: Road Studios where he pioneered advance spens in stereophonic recording. 177 00:12:02,320 --> 00:12:06,080 Speaker 1: According to an anecdote told by Alan Blumline's son, Simon, 178 00:12:06,559 --> 00:12:09,120 Speaker 1: Bloomline was at the movies with his wife watching a 179 00:12:09,200 --> 00:12:12,480 Speaker 1: film and he remarked that were a blind person to 180 00:12:12,559 --> 00:12:15,440 Speaker 1: go to the movies, they might struggle to follow what 181 00:12:15,600 --> 00:12:19,359 Speaker 1: was going on because the sound was all coming from loudspeakers. 182 00:12:19,400 --> 00:12:22,520 Speaker 1: In mono there was no way to detect through hearing 183 00:12:23,040 --> 00:12:26,360 Speaker 1: where people were within a scene. Everyone would sound like 184 00:12:26,400 --> 00:12:28,360 Speaker 1: they were in the same spot. You would only be 185 00:12:28,400 --> 00:12:30,880 Speaker 1: able to hear if someone was further or closer to 186 00:12:30,920 --> 00:12:35,000 Speaker 1: a microphone, but otherwise spatially you would have no idea 187 00:12:35,040 --> 00:12:37,440 Speaker 1: what was going on, and that got him into thinking 188 00:12:37,480 --> 00:12:40,480 Speaker 1: about developing a system that would allow sound engineers to 189 00:12:40,520 --> 00:12:45,160 Speaker 1: record and reproduce sound so that had a more localized effect. 190 00:12:45,920 --> 00:12:48,480 Speaker 1: Action happening on the left side of the screen would 191 00:12:48,520 --> 00:12:52,160 Speaker 1: be represented by sounds emanating from loudspeakers on the left 192 00:12:52,160 --> 00:12:55,280 Speaker 1: side of the theater. Likewise, action on the right side 193 00:12:55,320 --> 00:12:58,079 Speaker 1: would be paired with an appropriate amount of sound coming 194 00:12:58,120 --> 00:13:02,319 Speaker 1: from the right. Each speaker might produce some of the sound, 195 00:13:02,600 --> 00:13:05,160 Speaker 1: but at different amplitudes, so that while you might get 196 00:13:05,200 --> 00:13:08,480 Speaker 1: a little bit of the right hand sound from left 197 00:13:08,480 --> 00:13:12,120 Speaker 1: hand speakers, the levels would be lower, and the overall 198 00:13:12,160 --> 00:13:15,240 Speaker 1: feeling would be that you're in the middle of that sound, 199 00:13:15,320 --> 00:13:18,160 Speaker 1: and it would enhance the experience of seeing a movie 200 00:13:18,360 --> 00:13:20,319 Speaker 1: and as well as help out those who are visually 201 00:13:20,360 --> 00:13:24,199 Speaker 1: impaired follow what was going on. According to that anecdote, 202 00:13:24,320 --> 00:13:28,320 Speaker 1: Blumline called it binaural sound, which of course will come 203 00:13:28,360 --> 00:13:31,679 Speaker 1: back to a bit later in this episode. I just 204 00:13:31,760 --> 00:13:35,640 Speaker 1: find it interesting that the original term for stereo is 205 00:13:35,679 --> 00:13:38,400 Speaker 1: one we now associate with a more specific approach to 206 00:13:38,480 --> 00:13:43,240 Speaker 1: audio recording and production. He would receive more than seventy 207 00:13:43,320 --> 00:13:47,199 Speaker 1: patents for his various inventions related to stereo sound. He 208 00:13:47,280 --> 00:13:51,880 Speaker 1: created technology to record, process, and reproduce audio and stereo. 209 00:13:52,320 --> 00:13:55,880 Speaker 1: In nine four, he oversaw a stereo recording of the 210 00:13:55,960 --> 00:14:00,880 Speaker 1: London Philharmonic Orchestra at the Abbey Road Studios. Bloomline also 211 00:14:00,920 --> 00:14:06,000 Speaker 1: pioneered the Bloomline method, which would use two microphones mounted 212 00:14:06,120 --> 00:14:09,040 Speaker 1: at a nine d degree angle with regard to one another, 213 00:14:09,280 --> 00:14:12,680 Speaker 1: to pick up directional sounds in a recording environment. So, 214 00:14:12,720 --> 00:14:14,600 Speaker 1: in other words, if you think of a room as 215 00:14:14,600 --> 00:14:18,040 Speaker 1: a square, one mic is picking up sounds primarily along 216 00:14:18,240 --> 00:14:21,080 Speaker 1: the X axis, and the other is picking up sound 217 00:14:21,120 --> 00:14:25,640 Speaker 1: along the y axis. Bloomline also figured out how to 218 00:14:25,720 --> 00:14:28,880 Speaker 1: create a stereo groove in a record album. Back in 219 00:14:28,920 --> 00:14:31,480 Speaker 1: those days, these were made from shell act but they 220 00:14:31,520 --> 00:14:34,520 Speaker 1: would later be made from vinyl. And when I think 221 00:14:34,520 --> 00:14:38,320 Speaker 1: about that, I'm astonished. I mean, the way a record 222 00:14:38,400 --> 00:14:42,560 Speaker 1: player works is that a stylists or needle fits into 223 00:14:42,600 --> 00:14:46,160 Speaker 1: the groove of a record. That groove causes the stylist 224 00:14:46,200 --> 00:14:50,640 Speaker 1: to vibrate, and those vibrations transmit to a transducer, which 225 00:14:50,680 --> 00:14:53,920 Speaker 1: turns the vibrations into an electrical signal thanks to a 226 00:14:53,920 --> 00:14:57,720 Speaker 1: little electro magnet magic, and that signal then goes to 227 00:14:57,760 --> 00:15:01,480 Speaker 1: an amplifier which boosts the signal strength, which then goes 228 00:15:01,520 --> 00:15:04,520 Speaker 1: on to loudspeakers and powers them so that they can 229 00:15:04,600 --> 00:15:08,040 Speaker 1: reproduce the original recorded sound that created the groove in 230 00:15:08,080 --> 00:15:11,800 Speaker 1: the first place. It's the edges of these grooves that 231 00:15:11,880 --> 00:15:16,080 Speaker 1: cause the vibration or the wiggle of the silas. So 232 00:15:16,120 --> 00:15:19,960 Speaker 1: how does one record stereo sound to a physical disc 233 00:15:20,000 --> 00:15:23,840 Speaker 1: with a groove, Well, imagine a groove that slaloms back 234 00:15:23,880 --> 00:15:27,400 Speaker 1: and forth in a nice even path, So the waves 235 00:15:27,480 --> 00:15:30,560 Speaker 1: along either side of the groove are a physical representation 236 00:15:30,640 --> 00:15:35,600 Speaker 1: of the original sound waves that were recorded. Now, usually 237 00:15:35,800 --> 00:15:38,640 Speaker 1: in a mono record, you would just see that these 238 00:15:38,800 --> 00:15:42,760 Speaker 1: waves are evenly distributed on the left and right side. 239 00:15:42,760 --> 00:15:44,920 Speaker 1: It's like they're in sync with one another. It's just 240 00:15:45,000 --> 00:15:50,440 Speaker 1: a nice smooth curve. But what if you wanted to 241 00:15:50,680 --> 00:15:53,520 Speaker 1: record stereo, Well, you could have it where the left 242 00:15:53,520 --> 00:15:55,440 Speaker 1: side of the groove and the right side of the 243 00:15:55,480 --> 00:15:58,640 Speaker 1: groove are actually different. The wall on one side would 244 00:15:58,680 --> 00:16:02,600 Speaker 1: represent the audio recorded in one channel, and the wall 245 00:16:02,640 --> 00:16:04,960 Speaker 1: on the other side of the groove was for the 246 00:16:05,000 --> 00:16:08,360 Speaker 1: second channel. So with the proper equipment, you could play 247 00:16:08,400 --> 00:16:10,680 Speaker 1: this record back and the stylists would vibrate in a 248 00:16:10,760 --> 00:16:14,840 Speaker 1: very specific way. It would be detected by two sensors 249 00:16:14,840 --> 00:16:19,960 Speaker 1: connected to the stylus, so essentially to transducers, and these 250 00:16:20,000 --> 00:16:23,160 Speaker 1: two channels of sound could again go to specific loud 251 00:16:23,160 --> 00:16:25,760 Speaker 1: speakers a left and a right, and then you get 252 00:16:25,880 --> 00:16:30,760 Speaker 1: stereo playback. It's pretty incredible. Listening back to properly recorded 253 00:16:30,800 --> 00:16:34,200 Speaker 1: and processed audio would give the listener the sensation that 254 00:16:34,240 --> 00:16:38,280 Speaker 1: they were actually in an acoustic space. It would feel 255 00:16:38,320 --> 00:16:40,760 Speaker 1: as though you were standing at the spot where the 256 00:16:40,840 --> 00:16:44,800 Speaker 1: microphone had been mounted, and that the sound you encounter 257 00:16:44,920 --> 00:16:47,800 Speaker 1: is just as if you were present at the recording session. 258 00:16:48,440 --> 00:16:51,320 Speaker 1: That was the intent, anyway, but the actual process of 259 00:16:51,360 --> 00:16:54,480 Speaker 1: getting there is a lot more complicated than setting up 260 00:16:54,560 --> 00:16:57,760 Speaker 1: just a pair of microphones. When we come back, we'll 261 00:16:57,840 --> 00:17:01,720 Speaker 1: learn a bit more about stereo recording and editing, and 262 00:17:01,760 --> 00:17:05,560 Speaker 1: we'll also learn why the Beatles, who also made famous 263 00:17:05,600 --> 00:17:10,720 Speaker 1: recordings at Abbey Road Studios, concentrated on creating mono records 264 00:17:10,800 --> 00:17:13,480 Speaker 1: for a long time, even though stereo had been around 265 00:17:13,520 --> 00:17:25,280 Speaker 1: for decades. But first, let's take a quick break. Now. 266 00:17:25,359 --> 00:17:28,639 Speaker 1: I've done episodes about sound to film in the past, 267 00:17:29,080 --> 00:17:32,200 Speaker 1: and also sound on television, so I'm going to skip 268 00:17:32,320 --> 00:17:35,600 Speaker 1: over all of that. Otherwise this episode would be for 269 00:17:35,680 --> 00:17:39,000 Speaker 1: five hours long. Instead, I want to talk a bit 270 00:17:39,040 --> 00:17:42,360 Speaker 1: more about stereo recordings and why bands like the Beatles 271 00:17:42,720 --> 00:17:46,040 Speaker 1: were slow to adopt them. To listen to a stereo 272 00:17:46,119 --> 00:17:49,600 Speaker 1: recording properly, you need a stereo system. That is, you 273 00:17:49,680 --> 00:17:52,240 Speaker 1: need a sound system that has at least two loud 274 00:17:52,320 --> 00:17:55,320 Speaker 1: speakers and a way to send the different channels of 275 00:17:55,359 --> 00:17:58,360 Speaker 1: sound to both the left and the right speakers or 276 00:17:58,480 --> 00:18:02,200 Speaker 1: independently to the left and right speakers. Otherwise the playback 277 00:18:02,240 --> 00:18:05,480 Speaker 1: would be in mono even if the recording were in stereo, 278 00:18:05,560 --> 00:18:07,959 Speaker 1: and what you would get is a weird case where 279 00:18:08,000 --> 00:18:11,040 Speaker 1: some elements of the recording would be really quiet, as 280 00:18:11,080 --> 00:18:13,159 Speaker 1: those would be the sounds recorded to a channel that 281 00:18:13,400 --> 00:18:16,439 Speaker 1: wasn't getting picked up by the mono playback system. Now, 282 00:18:16,480 --> 00:18:18,760 Speaker 1: if you've ever listened to a recording where some of 283 00:18:18,760 --> 00:18:23,520 Speaker 1: the voices or instruments sound unusually quiet, and that it 284 00:18:23,560 --> 00:18:26,639 Speaker 1: doesn't sound like this was done on purpose. It's likely 285 00:18:26,680 --> 00:18:30,679 Speaker 1: because either someone mixed the audio improperly, or it's a 286 00:18:30,720 --> 00:18:33,960 Speaker 1: stereo recording that at some point got converted over into 287 00:18:34,040 --> 00:18:37,440 Speaker 1: mono and you're losing some of the audio as a result. 288 00:18:38,280 --> 00:18:42,600 Speaker 1: Stereo systems were really expensive when they first came out. 289 00:18:42,680 --> 00:18:45,479 Speaker 1: I'm talking about like stereo systems that you would purchase 290 00:18:45,520 --> 00:18:49,000 Speaker 1: for your home, and a lot of people, particularly young people, 291 00:18:49,560 --> 00:18:52,960 Speaker 1: had really purchased record players that had a single speaker 292 00:18:53,040 --> 00:18:57,440 Speaker 1: incorporated into the player itself. So these were mono playback 293 00:18:57,520 --> 00:19:00,959 Speaker 1: devices as there was only one speaker for sound to go. 294 00:19:01,680 --> 00:19:05,560 Speaker 1: The Beatles, being a band whose music was disproportionately favored 295 00:19:05,600 --> 00:19:09,160 Speaker 1: by the young, had their audience in mind as they 296 00:19:09,200 --> 00:19:13,199 Speaker 1: mixed their albums. It said that for many of the 297 00:19:13,280 --> 00:19:16,520 Speaker 1: albums from the early two mid period of the Beatles 298 00:19:16,560 --> 00:19:19,879 Speaker 1: as a band, the group would spend hours in the 299 00:19:19,920 --> 00:19:23,199 Speaker 1: mixing studio to get the mono mix just right, but 300 00:19:23,240 --> 00:19:26,640 Speaker 1: when it came time to do the stereo mixes, they 301 00:19:26,720 --> 00:19:29,040 Speaker 1: left that to the audio engineers at Abbey Road and 302 00:19:29,119 --> 00:19:33,119 Speaker 1: were never around. So why is that, Well, because to them, 303 00:19:33,160 --> 00:19:36,160 Speaker 1: the mono recordings were more important. That was what their 304 00:19:36,200 --> 00:19:39,240 Speaker 1: fan base could enjoy. For that reason, a lot of 305 00:19:39,280 --> 00:19:43,520 Speaker 1: Beatles fans or purists favor the mono recordings of early 306 00:19:43,640 --> 00:19:48,159 Speaker 1: Beatles work. They essue the stereo recordings as failing to 307 00:19:48,200 --> 00:19:51,360 Speaker 1: represent what it was the Beatles were trying to achieve. 308 00:19:51,840 --> 00:19:54,879 Speaker 1: And if you listen to the mono versus stereo recordings 309 00:19:54,880 --> 00:19:58,360 Speaker 1: of some of those early songs like Paperback Writer or 310 00:19:58,400 --> 00:20:03,000 Speaker 1: eleanor Rigby, you really can tell there is a major difference. 311 00:20:03,560 --> 00:20:06,840 Speaker 1: And this leads into one way to create a stereo 312 00:20:07,000 --> 00:20:10,159 Speaker 1: or three D audio sound. You can take a recording 313 00:20:10,520 --> 00:20:13,320 Speaker 1: and you can change how much of the signal gets 314 00:20:13,359 --> 00:20:17,359 Speaker 1: sent to a particular channel. That determines which loudspeaker or 315 00:20:17,480 --> 00:20:21,480 Speaker 1: set of loudspeakers will play back the audio, or more likely, 316 00:20:21,680 --> 00:20:26,240 Speaker 1: how much volume that particular sound will have in each loudspeaker. 317 00:20:26,800 --> 00:20:30,160 Speaker 1: This is both a science and an art. A lot 318 00:20:30,200 --> 00:20:32,800 Speaker 1: of the work in this field was centered around music, 319 00:20:33,200 --> 00:20:37,720 Speaker 1: and music can contain a wide range of frequencies and tones. 320 00:20:38,280 --> 00:20:43,480 Speaker 1: Imagine an orchestra. You have instruments that primarily create lower frequencies, 321 00:20:43,520 --> 00:20:48,399 Speaker 1: like lower pitches. You've got tubas and basses and cellos. 322 00:20:48,440 --> 00:20:51,280 Speaker 1: Each of those instruments while creating notes that might be 323 00:20:51,320 --> 00:20:55,640 Speaker 1: in the same general range have distinct sounds. A tuba 324 00:20:55,720 --> 00:20:58,879 Speaker 1: and an upright bass do not sound the same. In 325 00:20:58,960 --> 00:21:03,119 Speaker 1: other words, then you've got instruments that center on some 326 00:21:03,240 --> 00:21:07,680 Speaker 1: of the higher frequencies, like flutes and piccolos and violins. 327 00:21:07,720 --> 00:21:11,439 Speaker 1: These also sound different from one another, and so it 328 00:21:11,480 --> 00:21:14,160 Speaker 1: became important to figure out how to not just capture 329 00:21:14,200 --> 00:21:19,080 Speaker 1: a recording and divide it into channels to create spatial landscapes, 330 00:21:19,480 --> 00:21:23,280 Speaker 1: but also how to balance out the tones so that 331 00:21:23,320 --> 00:21:26,720 Speaker 1: you don't lose anything in the process. With the wrong mix, 332 00:21:27,080 --> 00:21:30,840 Speaker 1: one instrument or group of instruments might totally overpower another, 333 00:21:31,000 --> 00:21:33,760 Speaker 1: and it's almost as if those other instruments were never 334 00:21:33,840 --> 00:21:37,600 Speaker 1: even present at the original recording, and so processing recordings 335 00:21:37,640 --> 00:21:41,720 Speaker 1: and getting the mix just right became critical. One part 336 00:21:41,800 --> 00:21:45,000 Speaker 1: of this is called panning, and it relies on a 337 00:21:45,080 --> 00:21:48,320 Speaker 1: pan control. In the old days, you would use a 338 00:21:48,359 --> 00:21:51,720 Speaker 1: mixing board with physical controls on it to control the pan. 339 00:21:52,240 --> 00:21:56,240 Speaker 1: The pan determines how much signal from each input is 340 00:21:56,440 --> 00:22:00,800 Speaker 1: sent to each channel. These days, many audio producers work 341 00:22:00,880 --> 00:22:05,280 Speaker 1: with digital audio workstations or DAWs, and with a DAW 342 00:22:05,800 --> 00:22:09,800 Speaker 1: you also control panning. You can pan either mono or 343 00:22:09,960 --> 00:22:13,760 Speaker 1: stereo tracks. Most DAWs will let you convert one type 344 00:22:13,760 --> 00:22:17,639 Speaker 1: of track into another, splitting a mono into stereo, or 345 00:22:17,800 --> 00:22:22,000 Speaker 1: combining stereo into mono. For certain types of audio, like 346 00:22:22,240 --> 00:22:25,840 Speaker 1: mini podcasts, the default is to go to mono. It 347 00:22:25,880 --> 00:22:29,080 Speaker 1: can be a little disconcerting if you record and publish 348 00:22:29,119 --> 00:22:32,680 Speaker 1: a podcast in stereo. Many years ago, when I first 349 00:22:32,720 --> 00:22:36,879 Speaker 1: started recording large Nerdron Collider with my friend Ariel, I 350 00:22:37,000 --> 00:22:41,639 Speaker 1: accidentally recorded and published several episodes in stereo, which meant 351 00:22:41,920 --> 00:22:44,840 Speaker 1: all of my audio was in one channel, like the 352 00:22:45,000 --> 00:22:47,760 Speaker 1: left channel, and all of Ariel's audio was in the 353 00:22:47,800 --> 00:22:50,439 Speaker 1: other channel, the right channel. So it's like I was 354 00:22:50,480 --> 00:22:53,160 Speaker 1: talking into your left ear and Ariel was talking into 355 00:22:53,160 --> 00:22:57,639 Speaker 1: your right ear, which was very unsettling. I eventually figured 356 00:22:57,640 --> 00:22:59,720 Speaker 1: out what I was doing, and I began mixing our 357 00:22:59,760 --> 00:23:03,800 Speaker 1: re wardings into a mono track to avoid that problem. 358 00:23:03,840 --> 00:23:08,400 Speaker 1: And with some early stereo recordings you can hear examples 359 00:23:08,640 --> 00:23:13,320 Speaker 1: of problems like this. It's frequently disconcerting. There are recordings 360 00:23:13,320 --> 00:23:17,160 Speaker 1: of songs in which all the instrumentation is on one 361 00:23:17,240 --> 00:23:20,080 Speaker 1: side and all the vocals are on the other side. 362 00:23:20,440 --> 00:23:23,679 Speaker 1: Now that might have been done purposefully, but it was 363 00:23:23,800 --> 00:23:27,520 Speaker 1: often a sort of heavy handed approach to stereo. There 364 00:23:27,520 --> 00:23:30,960 Speaker 1: are times an artist might desire that specific effect, but 365 00:23:31,000 --> 00:23:33,159 Speaker 1: other times the desire was to be a bit more 366 00:23:33,200 --> 00:23:35,639 Speaker 1: creative with stereo, and you might have a track in 367 00:23:35,680 --> 00:23:38,640 Speaker 1: which the vocalist is on the extreme right of part 368 00:23:38,640 --> 00:23:41,600 Speaker 1: of the recording than on the extreme left later on. 369 00:23:42,200 --> 00:23:44,560 Speaker 1: The Beatles A Day in the Life actually falls into 370 00:23:44,600 --> 00:23:47,280 Speaker 1: that category. Or you might want to create a rich 371 00:23:47,440 --> 00:23:50,000 Speaker 1: soundscape in which there is a sense of location for 372 00:23:50,080 --> 00:23:55,240 Speaker 1: all the sound. Maybe not something that's explicitly communicated to 373 00:23:55,320 --> 00:23:58,520 Speaker 1: the listener, but is an important representation of the performance. 374 00:23:59,000 --> 00:24:03,360 Speaker 1: So how about we play around with some post processing 375 00:24:03,440 --> 00:24:08,359 Speaker 1: panning to create a three dimensional experience. My producer, Torri, 376 00:24:08,800 --> 00:24:13,200 Speaker 1: who is a superstar here at iHeart, is always critical 377 00:24:13,359 --> 00:24:16,119 Speaker 1: to the success of this show. But in a moment, 378 00:24:16,680 --> 00:24:18,879 Speaker 1: she's going to take over the experience of what this 379 00:24:18,920 --> 00:24:22,200 Speaker 1: show sounds like to you, the audience, And I'm going 380 00:24:22,240 --> 00:24:25,120 Speaker 1: to do something I've always wanted to do in three 381 00:24:25,200 --> 00:24:28,720 Speaker 1: D audio. I'm going to give you a little Shakespeare. 382 00:24:29,280 --> 00:24:32,840 Speaker 1: This piece is the prologue to Henry the Five, one 383 00:24:32,840 --> 00:24:37,240 Speaker 1: of Shakespeare's company designated the chorus implores the audience to 384 00:24:37,359 --> 00:24:41,120 Speaker 1: use their imaginations to augment the production of the play itself. 385 00:24:41,600 --> 00:24:45,359 Speaker 1: And so as you listen to this piece, imagine you 386 00:24:45,400 --> 00:24:49,959 Speaker 1: are seated on a stage with the chorus walking around you, 387 00:24:50,119 --> 00:24:55,280 Speaker 1: explaining your role in creating the theatrical experience. Now, I 388 00:24:55,320 --> 00:24:59,000 Speaker 1: admit I'm cheating a little bit here, because the whole 389 00:24:59,000 --> 00:25:02,000 Speaker 1: point of this path message is to say that theater 390 00:25:02,240 --> 00:25:05,800 Speaker 1: is incapable of creating an exact copy of the story 391 00:25:05,800 --> 00:25:09,520 Speaker 1: of Henry the Fifth and England's battles with France. But 392 00:25:09,680 --> 00:25:13,040 Speaker 1: you also have to remember, I'm a former English literature 393 00:25:13,080 --> 00:25:17,440 Speaker 1: major and I never get to do Shakespeare. So here 394 00:25:17,440 --> 00:25:22,600 Speaker 1: we go, headphones on, Oh, for a muse of fire 395 00:25:22,760 --> 00:25:28,119 Speaker 1: that would ascend the brightest heaven of invention, a kingdom, 396 00:25:28,200 --> 00:25:32,680 Speaker 1: for a stage, princes to act, and monarchs to behold 397 00:25:32,760 --> 00:25:37,320 Speaker 1: the swelling scenes. Then should the warlike Harry, like himself, 398 00:25:37,320 --> 00:25:41,000 Speaker 1: assume the ports of Mars, and at his heels, leashed 399 00:25:41,160 --> 00:25:46,440 Speaker 1: in like hounds, should famine sword and fire crouch for employment. 400 00:25:47,480 --> 00:25:53,600 Speaker 1: But pardon, gentles, all the flat, unraised spirits that have 401 00:25:53,840 --> 00:25:58,919 Speaker 1: dared on this unworthy scaffold to bring forth so great 402 00:25:59,359 --> 00:26:04,640 Speaker 1: an object. Can this cockpit hold the vasty fields of France? 403 00:26:05,280 --> 00:26:09,040 Speaker 1: Or may we cram within this wooden Oh, the very 404 00:26:09,200 --> 00:26:14,080 Speaker 1: casks that did affright the air at agincourts, Oh, pardon, 405 00:26:14,920 --> 00:26:19,440 Speaker 1: since a crooked figure may attest in little place a million, 406 00:26:20,280 --> 00:26:25,080 Speaker 1: let us ciphers to this great accoumpt on your imaginary 407 00:26:25,160 --> 00:26:32,160 Speaker 1: forces work. Suppose within the girdle of these walls are 408 00:26:32,200 --> 00:26:38,800 Speaker 1: now confined two mighty monarchies whose high, upreared and abudding 409 00:26:38,840 --> 00:26:44,360 Speaker 1: fronts the perilous narrow ocean parts. Asunder, piece out our 410 00:26:44,480 --> 00:26:49,320 Speaker 1: imperfections with your thoughts into a thousand parts, divide one 411 00:26:49,400 --> 00:26:54,879 Speaker 1: man and make imaginary poissance. Think when we talk of horses, 412 00:26:55,320 --> 00:26:59,320 Speaker 1: that you see them printing their proud hoofs in the 413 00:26:59,400 --> 00:27:04,119 Speaker 1: receiving earth. Or tis your thoughts that now must deck 414 00:27:04,240 --> 00:27:08,440 Speaker 1: our kinks carry them here, and they're jumping over times, 415 00:27:08,760 --> 00:27:13,600 Speaker 1: turning the accomplishment of many years into an hour glass 416 00:27:14,480 --> 00:27:19,840 Speaker 1: for the which supply admit me chorus to this history. 417 00:27:20,000 --> 00:27:25,200 Speaker 1: Who prologue like your humble patients, prey gently to hear, 418 00:27:26,000 --> 00:27:31,800 Speaker 1: kindly to judge our play. So for that recording, I 419 00:27:31,840 --> 00:27:34,680 Speaker 1: went into our studio at I heart, and I spoken 420 00:27:34,720 --> 00:27:39,479 Speaker 1: to a normal studio microphone. All the manipulation had been 421 00:27:39,520 --> 00:27:42,199 Speaker 1: done in post production, which is an effective way to 422 00:27:42,240 --> 00:27:45,440 Speaker 1: achieve that three D audio sound, but it does require 423 00:27:45,480 --> 00:27:48,040 Speaker 1: a lot of work on the part of the producer. 424 00:27:48,640 --> 00:27:51,000 Speaker 1: But the three D audio I did at the top 425 00:27:51,160 --> 00:27:53,840 Speaker 1: of this episode was done in a different way. I 426 00:27:54,000 --> 00:27:57,400 Speaker 1: used a special microphone. When we come back, i'll talk 427 00:27:57,440 --> 00:28:01,120 Speaker 1: a bit about that technology and we'll learn about some 428 00:28:01,160 --> 00:28:04,439 Speaker 1: companies that have produced specialized equipment for the purposes of 429 00:28:04,520 --> 00:28:08,919 Speaker 1: three D audio. But first let's take another quick break. 430 00:28:16,800 --> 00:28:21,679 Speaker 1: While some engineers and artists experimented with binaral recordings for 431 00:28:21,720 --> 00:28:25,080 Speaker 1: a while, it wasn't until nineteen seventy eight that the 432 00:28:25,160 --> 00:28:29,119 Speaker 1: first pop record using binaural recordings came out. It was 433 00:28:29,240 --> 00:28:33,160 Speaker 1: lou Reid's Street Hassle. Listening to that album with headphones 434 00:28:33,240 --> 00:28:37,440 Speaker 1: on is pretty cool. To achieve the effect, studio engineers 435 00:28:37,480 --> 00:28:40,760 Speaker 1: took a mannequin head and installed a microphone at each 436 00:28:40,800 --> 00:28:44,440 Speaker 1: ear and used that to record sessions. A company called 437 00:28:44,720 --> 00:28:49,960 Speaker 1: Delta Acoustics put the system together with Manfred Schunk supervising. 438 00:28:50,720 --> 00:28:53,440 Speaker 1: Read made a couple of other albums in binaral audio. 439 00:28:54,320 --> 00:28:58,160 Speaker 1: One was the Live Take No Prisoners album and the 440 00:28:58,200 --> 00:29:01,880 Speaker 1: other was The Bells. Other bands would experiment and record 441 00:29:01,920 --> 00:29:04,520 Speaker 1: in binaral as well, The Rolling Stones did it for 442 00:29:04,560 --> 00:29:07,800 Speaker 1: their album Flashpoint, which was a concert recording of some 443 00:29:07,840 --> 00:29:10,920 Speaker 1: of their big hits and rarities. Pearl Jam recorded a 444 00:29:10,960 --> 00:29:17,240 Speaker 1: studio album called Binaral, recorded fittingly in Binaral. The tech 445 00:29:17,360 --> 00:29:20,280 Speaker 1: used to record these albums changed slightly, but it was 446 00:29:20,320 --> 00:29:23,960 Speaker 1: still based on the same underlying principles. I think it's 447 00:29:23,960 --> 00:29:27,080 Speaker 1: pretty widely understood that our ears received sound in the 448 00:29:27,120 --> 00:29:30,040 Speaker 1: form of vibrations through a medium such as the air, 449 00:29:30,600 --> 00:29:33,400 Speaker 1: and then through interactions with the ear drum and the 450 00:29:33,480 --> 00:29:37,560 Speaker 1: cochlea and special nerves sending information to the brain. We 451 00:29:37,640 --> 00:29:41,360 Speaker 1: interpret those vibrations as sound in a very simple way 452 00:29:41,360 --> 00:29:45,080 Speaker 1: of looking at it. Sound comes into our ears. But 453 00:29:45,120 --> 00:29:49,800 Speaker 1: did you know our ears also generate sound, Because they 454 00:29:49,840 --> 00:29:56,240 Speaker 1: totally do. It's called auto acoustic emission or o a E. Now, 455 00:29:56,280 --> 00:29:59,520 Speaker 1: to get into o a es, how they work and 456 00:29:59,520 --> 00:30:02,880 Speaker 1: their role ole and stuff like medicine is beyond the 457 00:30:02,920 --> 00:30:07,160 Speaker 1: scope of this podcast, and more importantly, way outside my 458 00:30:07,320 --> 00:30:11,400 Speaker 1: general expertise. But it is true that a very sensitive 459 00:30:11,400 --> 00:30:14,800 Speaker 1: microphone inserted into the ear canal of a person with 460 00:30:14,880 --> 00:30:20,320 Speaker 1: hearing will pick up spontaneous auto acoustic emissions or s 461 00:30:20,360 --> 00:30:25,720 Speaker 1: o a ease. Now, most folks can't detect these sounds. 462 00:30:25,840 --> 00:30:28,760 Speaker 1: They tend to be at very low frequencies that dip 463 00:30:28,880 --> 00:30:33,360 Speaker 1: below human perception, and they are usually at very low amplitudes, 464 00:30:33,520 --> 00:30:37,440 Speaker 1: so they're pretty quiet. But in some cases people might 465 00:30:37,480 --> 00:30:43,520 Speaker 1: actually hear the sounds generated within their own inner ears 466 00:30:44,200 --> 00:30:48,240 Speaker 1: and experience it as tenatus. I'm one of those people, 467 00:30:49,360 --> 00:30:54,280 Speaker 1: ya me. Now. The reason I bring up that fact 468 00:30:54,600 --> 00:30:58,280 Speaker 1: that the inner ear can be not just a receptacle 469 00:30:58,360 --> 00:31:01,560 Speaker 1: for sound, but also a general eader of sound is 470 00:31:01,600 --> 00:31:05,400 Speaker 1: because an inventor named Hugo Zuka Relli used that as 471 00:31:05,440 --> 00:31:09,880 Speaker 1: the basis for a system he called holophonics. His idea 472 00:31:10,040 --> 00:31:13,719 Speaker 1: was that our hearing isn't a passive thing. That the 473 00:31:13,760 --> 00:31:19,600 Speaker 1: inner ear generates signals that interfere with the incoming audio signals, 474 00:31:19,640 --> 00:31:23,080 Speaker 1: and the resulting interaction between the sounds made by our 475 00:31:23,120 --> 00:31:26,680 Speaker 1: ears and the sounds coming into our ears plays a 476 00:31:26,760 --> 00:31:32,120 Speaker 1: part in sound localization. Now, long story short, Zuka Relli's 477 00:31:32,200 --> 00:31:34,959 Speaker 1: hypothesis doesn't have a lot of support in the broader 478 00:31:35,000 --> 00:31:40,440 Speaker 1: scientific community. However, Zuka Relli's equipment could record and reproduce 479 00:31:40,600 --> 00:31:44,360 Speaker 1: sound in a really interesting way. It's just the whole 480 00:31:44,640 --> 00:31:50,000 Speaker 1: interference angle of what was going on seemed inconsequential. Zuka 481 00:31:50,000 --> 00:31:54,240 Speaker 1: Relli used microphones to stand in for human ears, spaced apart, 482 00:31:54,320 --> 00:31:56,680 Speaker 1: so that a sound from any given direction would reach 483 00:31:56,760 --> 00:31:59,720 Speaker 1: one microphone before the other, and the amplitude of the 484 00:31:59,720 --> 00:32:02,760 Speaker 1: signal would depend upon things such as the distance between 485 00:32:02,800 --> 00:32:05,400 Speaker 1: the microphone and the origin of the sound, as well 486 00:32:05,440 --> 00:32:08,280 Speaker 1: as the angle at which the sound waves would reach 487 00:32:08,400 --> 00:32:12,520 Speaker 1: the microphone. Zuka Relli made a bunch of different recordings 488 00:32:12,520 --> 00:32:18,200 Speaker 1: to demonstrate this technology, something called the Shaking Matchbox recordings, 489 00:32:18,200 --> 00:32:20,920 Speaker 1: because that was one of the sounds he actually recorded 490 00:32:21,120 --> 00:32:25,520 Speaker 1: using this system. Whether his underlying hypothesis was correct or not, 491 00:32:25,960 --> 00:32:30,280 Speaker 1: the recordings were effective, and Zucarelli's approach created a way 492 00:32:30,320 --> 00:32:34,880 Speaker 1: to make really localized audio effects. That's essentially what was 493 00:32:34,920 --> 00:32:38,240 Speaker 1: going on with the Disney sound stations. Some of the 494 00:32:38,280 --> 00:32:42,240 Speaker 1: microphones used by recording studios even resembled a human head, 495 00:32:42,280 --> 00:32:46,280 Speaker 1: with microphones literally placed where the ears should be, and 496 00:32:46,280 --> 00:32:49,200 Speaker 1: that also plays a part in recording a sound accurately, 497 00:32:49,360 --> 00:32:52,080 Speaker 1: so that the playback will seem as though you are 498 00:32:52,160 --> 00:32:55,040 Speaker 1: really there as you listen to it, beyond just the 499 00:32:55,080 --> 00:32:57,760 Speaker 1: fact that our ears are on opposite sides of our 500 00:32:57,800 --> 00:33:00,720 Speaker 1: heads and the sound will reach each ear different times 501 00:33:00,720 --> 00:33:04,440 Speaker 1: and amplitudes. Other factors also shape the nature of the sound. 502 00:33:04,480 --> 00:33:08,239 Speaker 1: We perceive the shape of our heads, the density of 503 00:33:08,280 --> 00:33:12,880 Speaker 1: our noggains are sinuses. All of that affects our perception 504 00:33:13,000 --> 00:33:17,560 Speaker 1: of sound. Collectively, we call all of this head related 505 00:33:17,720 --> 00:33:23,840 Speaker 1: transfer functions or hr TF. The technology of holophonics systems 506 00:33:23,880 --> 00:33:28,600 Speaker 1: and later binaral microphones attempts to replicate the experience of 507 00:33:28,680 --> 00:33:33,920 Speaker 1: hearing hyperlocalized sounds through the application of HRTF. But this 508 00:33:34,040 --> 00:33:41,640 Speaker 1: process is incredibly complicated, and um it's Matthew, So I'm 509 00:33:41,640 --> 00:33:43,480 Speaker 1: not going to go into deep detail, which is good 510 00:33:43,520 --> 00:33:46,920 Speaker 1: because I would likely mess up the explanation. Also, it's 511 00:33:46,920 --> 00:33:50,640 Speaker 1: important to acknowledge that every person is different, which means 512 00:33:50,760 --> 00:33:55,120 Speaker 1: there is no universal solution towards creating the perfect binaral 513 00:33:55,280 --> 00:33:59,080 Speaker 1: recording that will convince every listener that they are hearing 514 00:33:59,120 --> 00:34:02,959 Speaker 1: sounds coming from ultra specific directions. You kind of have 515 00:34:03,040 --> 00:34:06,560 Speaker 1: to go more general to get a good response, but 516 00:34:06,600 --> 00:34:09,000 Speaker 1: the more precise you try to get, the more the 517 00:34:09,040 --> 00:34:12,400 Speaker 1: results will only work super well for a specific person, 518 00:34:12,600 --> 00:34:16,720 Speaker 1: you know, whomever was modeled for, and not working quite 519 00:34:16,760 --> 00:34:21,400 Speaker 1: as well for anyone else. For many years, the microphones 520 00:34:21,560 --> 00:34:26,319 Speaker 1: used to create binaural recordings in studio were prohibitively expensive 521 00:34:26,680 --> 00:34:30,439 Speaker 1: and far too complicated for the average consumer. You would 522 00:34:30,440 --> 00:34:34,320 Speaker 1: occasionally find binaural recordings, such as the one at Disney World, 523 00:34:34,840 --> 00:34:38,760 Speaker 1: but these were pretty rare and very specialized, and only 524 00:34:38,840 --> 00:34:42,040 Speaker 1: big companies like Disney could afford to do them. However, 525 00:34:42,480 --> 00:34:46,719 Speaker 1: over time, companies began to develop microphones that fell more 526 00:34:46,840 --> 00:34:50,520 Speaker 1: into the range of the pro sumer, with some consumer 527 00:34:50,600 --> 00:34:54,960 Speaker 1: level solutions thrown in there as well. Today there is 528 00:34:55,000 --> 00:34:58,200 Speaker 1: a range of microphones one can use to create three 529 00:34:58,320 --> 00:35:01,600 Speaker 1: D audio. The my herophone I used earlier in this 530 00:35:01,680 --> 00:35:05,799 Speaker 1: episode is a three D io binaural mic or three 531 00:35:05,880 --> 00:35:08,759 Speaker 1: d OH if you prefer. You may have seen one 532 00:35:08,760 --> 00:35:10,520 Speaker 1: of these if you watch a lot of a s 533 00:35:10,640 --> 00:35:14,200 Speaker 1: MR videos. They are very popular. The microphone looks like 534 00:35:14,239 --> 00:35:18,720 Speaker 1: a horizontal bar with two silicone ears attached to either 535 00:35:19,080 --> 00:35:22,200 Speaker 1: end of that bar. The ears are spaced apart to 536 00:35:22,360 --> 00:35:26,319 Speaker 1: mimic a typical human heads width. The three d OH 537 00:35:26,640 --> 00:35:30,399 Speaker 1: doesn't have the mass of a head, it's just that 538 00:35:30,440 --> 00:35:33,520 Speaker 1: bar in the ears. It doesn't have the sinus cavities 539 00:35:33,760 --> 00:35:36,640 Speaker 1: or anything like that, so it is not a perfect 540 00:35:36,800 --> 00:35:41,120 Speaker 1: simulacrum of a person's auditory system, but it gets the 541 00:35:41,200 --> 00:35:45,400 Speaker 1: job done. That style of microphone typically retails for around 542 00:35:45,440 --> 00:35:48,200 Speaker 1: four hundred dollars, so it's a little bit on the 543 00:35:48,239 --> 00:35:51,600 Speaker 1: price e side, but it kind of falls between consumer 544 00:35:51,760 --> 00:35:55,760 Speaker 1: and pro sumer. However, you can achieve similar results using 545 00:35:55,960 --> 00:36:01,000 Speaker 1: totally different microphone setups. They typically require XL are microphones 546 00:36:01,040 --> 00:36:04,560 Speaker 1: that connect to a recording device that can accept multiple inputs, 547 00:36:05,000 --> 00:36:09,279 Speaker 1: recording each microphone to its own audio channel. It's possible 548 00:36:09,360 --> 00:36:12,680 Speaker 1: to use two normal microphones and space them apart from 549 00:36:12,680 --> 00:36:16,160 Speaker 1: each other and create a binaural experience, though they might 550 00:36:16,160 --> 00:36:19,600 Speaker 1: take some experimentation to get the spacing and gain levels 551 00:36:19,640 --> 00:36:24,520 Speaker 1: just right so that it all feels natural. Or of course, 552 00:36:25,120 --> 00:36:28,279 Speaker 1: you could just do it in post. But like I said, 553 00:36:28,320 --> 00:36:30,440 Speaker 1: that relies heavily on a ton of work on the 554 00:36:30,440 --> 00:36:33,600 Speaker 1: back end of things, and a s MR artists are 555 00:36:33,640 --> 00:36:37,880 Speaker 1: not the only ones using binaural audio. It's also useful 556 00:36:37,920 --> 00:36:42,320 Speaker 1: for stuff like virtual reality experiences and video games. Sound 557 00:36:42,680 --> 00:36:45,800 Speaker 1: is a powerful element that contributes to a sense of immersion, 558 00:36:46,080 --> 00:36:50,319 Speaker 1: and in some games it's critically important. For example, you 559 00:36:50,440 --> 00:36:54,120 Speaker 1: might play a first person shooter game like Player Unknowns 560 00:36:54,160 --> 00:36:57,360 Speaker 1: battle Grounds and you really need to use your ears 561 00:36:57,400 --> 00:36:59,920 Speaker 1: to figure out where other players are in relation to 562 00:37:00,040 --> 00:37:04,280 Speaker 1: where you are. Not doing so severely reduces your chances 563 00:37:04,320 --> 00:37:07,080 Speaker 1: of making it through the game. If you'd like to 564 00:37:07,160 --> 00:37:10,400 Speaker 1: learn more, I would recommend seeking out old tech stuff 565 00:37:10,440 --> 00:37:14,720 Speaker 1: episodes about surround sound, which relates to this topic quite 566 00:37:14,760 --> 00:37:18,719 Speaker 1: a bit, and also our episodes about audio compression, as 567 00:37:18,760 --> 00:37:22,040 Speaker 1: the process is designed to compress audio trying to take 568 00:37:22,040 --> 00:37:26,920 Speaker 1: the psychology of perception into account. It's all fascinating stuff. 569 00:37:27,560 --> 00:37:30,120 Speaker 1: As for three D audio, I figure i'd leave you 570 00:37:30,200 --> 00:37:33,160 Speaker 1: all with a little bit of horror because three D 571 00:37:33,280 --> 00:37:37,440 Speaker 1: audio works really well to immerse a listener into a world, 572 00:37:37,640 --> 00:37:41,680 Speaker 1: and it is particularly well suited for tales of terror. 573 00:37:42,120 --> 00:37:45,040 Speaker 1: Some of my coworkers used it to great effect in 574 00:37:45,080 --> 00:37:49,080 Speaker 1: a series called Thirteen Days of Halloween, which we published 575 00:37:49,200 --> 00:37:53,879 Speaker 1: last October. And so here is a little excerpt from 576 00:37:53,960 --> 00:37:59,399 Speaker 1: the show they produced. Oh look at all then here 577 00:38:01,160 --> 00:38:05,520 Speaker 1: I just knew you do would get along swimmingly. Oh no, 578 00:38:06,239 --> 00:38:09,919 Speaker 1: come with me, sar In. We'll catch up with you later. 579 00:38:09,960 --> 00:38:15,719 Speaker 1: Dear heart, he is a truly sweet young man. I've 580 00:38:15,719 --> 00:38:18,240 Speaker 1: been attempting to persuade him to see the good doctor 581 00:38:18,239 --> 00:38:22,840 Speaker 1: about his cough, but he'll have none of it. Maybe 582 00:38:22,880 --> 00:38:25,760 Speaker 1: you could be of service in that department. He really 583 00:38:25,840 --> 00:38:30,960 Speaker 1: seemed to like you. Now, there are hundreds of rooms 584 00:38:31,040 --> 00:38:36,120 Speaker 1: here at the Hawthorne, but this is perhaps the very finest, 585 00:38:36,719 --> 00:38:41,680 Speaker 1: and it just so happens to be your waters. Was 586 00:38:41,719 --> 00:38:47,319 Speaker 1: it luck or fate that placed you here? We'll never know. 587 00:38:49,680 --> 00:38:52,400 Speaker 1: I trust that you'll find everything to your liking, and 588 00:38:52,480 --> 00:38:55,480 Speaker 1: if you don't, notify me and I will make sure 589 00:38:55,520 --> 00:38:58,959 Speaker 1: it is rectified. It's all part of my role here 590 00:38:59,440 --> 00:39:05,000 Speaker 1: as the taker. You know, your lack of verbal reciprocation 591 00:39:05,280 --> 00:39:09,319 Speaker 1: is really breaking down my sense of boundaries. I can 592 00:39:09,320 --> 00:39:16,600 Speaker 1: trust you, right, of course I can. In these coming days, 593 00:39:16,680 --> 00:39:22,440 Speaker 1: you may notice that Hawthorne manner has no shortage of oddities. 594 00:39:24,120 --> 00:39:28,799 Speaker 1: I've witnessed things myself that strain the belief. But there 595 00:39:28,920 --> 00:39:33,000 Speaker 1: is one strange legend that has truly become something of 596 00:39:33,040 --> 00:39:39,000 Speaker 1: an accession. Supposedly that somewhere within these halls there is 597 00:39:39,040 --> 00:39:43,839 Speaker 1: a hidden doorway. If the tale of what looks on 598 00:39:43,880 --> 00:39:47,920 Speaker 1: the other side is to be believed, then gaining access 599 00:39:47,960 --> 00:39:54,640 Speaker 1: would mean a sort of ascension beyond human imagination, true immortality. 600 00:39:56,080 --> 00:39:58,600 Speaker 1: I have come to understand that one of our guests 601 00:39:59,040 --> 00:40:03,560 Speaker 1: knows how to low eat and open this door. Perhaps 602 00:40:03,760 --> 00:40:07,719 Speaker 1: what they cannot say to me, they will happily divulge 603 00:40:07,880 --> 00:40:13,200 Speaker 1: to you. I have a feeling your quiet fortitude will 604 00:40:13,280 --> 00:40:18,760 Speaker 1: lure them into a sense of intimacy. It certainly worked 605 00:40:18,760 --> 00:40:25,120 Speaker 1: on me. Please make yourself at home. After all, this 606 00:40:25,360 --> 00:40:31,800 Speaker 1: is it. There are so many others I cannot wait 607 00:40:32,480 --> 00:40:37,800 Speaker 1: for you to meet. Well. That wraps up this special 608 00:40:37,920 --> 00:40:42,160 Speaker 1: episode of tech stuff. Several of the I Heart shows 609 00:40:42,239 --> 00:40:46,080 Speaker 1: are including some binaural audio segments, and we've got a 610 00:40:46,120 --> 00:40:48,719 Speaker 1: lot planned in the three D audio space in the 611 00:40:48,840 --> 00:40:52,120 Speaker 1: days up ahead. I really recommend you check it out 612 00:40:52,200 --> 00:40:55,759 Speaker 1: and explore some of the three D audio recordings that 613 00:40:55,800 --> 00:40:58,760 Speaker 1: are available online. You know that Disney one I mentioned, 614 00:40:58,960 --> 00:41:02,200 Speaker 1: There are actually versions of that up on YouTube. People 615 00:41:02,280 --> 00:41:05,200 Speaker 1: have the recordings up. I will say that when I 616 00:41:05,239 --> 00:41:10,280 Speaker 1: was listening back, it sounded like the channels had been swapped. Uh. 617 00:41:10,400 --> 00:41:12,560 Speaker 1: Everything that was supposed to be in my right ear 618 00:41:12,600 --> 00:41:14,200 Speaker 1: seemed to be coming through the left ear. And I 619 00:41:14,520 --> 00:41:16,600 Speaker 1: made sure that I was wearing the headphones correctly. That's 620 00:41:16,600 --> 00:41:19,040 Speaker 1: an important point, by the way, if you're not wearing 621 00:41:19,440 --> 00:41:22,680 Speaker 1: your headphones with the proper phone over the proper ear, 622 00:41:23,040 --> 00:41:26,840 Speaker 1: it's very disconcerting. I double checked I was doing it correctly, 623 00:41:27,120 --> 00:41:30,800 Speaker 1: everything still seemed flipped, and the effect was not nearly 624 00:41:31,080 --> 00:41:34,240 Speaker 1: as impressive as it was when I went back to Disney. 625 00:41:34,440 --> 00:41:38,000 Speaker 1: But I should also add the Disney version incorporated some 626 00:41:38,040 --> 00:41:42,240 Speaker 1: stuff that headphones just can't do, stuff like a blower 627 00:41:42,440 --> 00:41:45,600 Speaker 1: behind each person's back, so that when you're getting a 628 00:41:45,640 --> 00:41:49,640 Speaker 1: hair cut in that sequence, the hair dryer would actually 629 00:41:49,920 --> 00:41:52,759 Speaker 1: blow air on you. So that would add to your 630 00:41:52,760 --> 00:41:56,239 Speaker 1: sense of immersion. As it stands. For me, if I'm 631 00:41:56,280 --> 00:42:00,640 Speaker 1: listening to a very well recorded three D audio set up, 632 00:42:01,400 --> 00:42:05,719 Speaker 1: then if someone speaking quietly into my ear, it's as 633 00:42:05,760 --> 00:42:07,600 Speaker 1: if I can feel it, because we have to remember 634 00:42:08,080 --> 00:42:11,080 Speaker 1: sound when it gets down to it really are that's 635 00:42:11,080 --> 00:42:16,000 Speaker 1: just vibration. Those vibrations include fluctuations and air pressure. So 636 00:42:16,400 --> 00:42:19,960 Speaker 1: if you are listening to someone talk into your ear 637 00:42:20,280 --> 00:42:23,680 Speaker 1: through a speaker, you will feel it because those are 638 00:42:23,760 --> 00:42:27,759 Speaker 1: fluctuations in air pressure. It's not something you're imagining. You 639 00:42:27,840 --> 00:42:30,600 Speaker 1: are feeling it. It might be heightened because of the 640 00:42:30,640 --> 00:42:33,960 Speaker 1: way the audio was recorded, but it's actually happening to you. 641 00:42:35,920 --> 00:42:39,560 Speaker 1: I think three D audio is an incredible technology. There's 642 00:42:39,600 --> 00:42:42,520 Speaker 1: a lot more we could say about it and not 643 00:42:42,640 --> 00:42:46,000 Speaker 1: just from the technological side, but the psychological side and 644 00:42:46,000 --> 00:42:49,640 Speaker 1: the biological side. So maybe I will do future episodes 645 00:42:50,000 --> 00:42:53,600 Speaker 1: that will focus on this more. I hope I get 646 00:42:53,640 --> 00:42:56,319 Speaker 1: a chance to play with the three D audio microphone more. 647 00:42:56,440 --> 00:42:59,680 Speaker 1: That was a lot of fun. I really enjoyed doing that. 648 00:43:00,040 --> 00:43:02,279 Speaker 1: I hope that I get to participate in some of 649 00:43:02,320 --> 00:43:06,080 Speaker 1: the three D audio recordings that we have planned coming up, 650 00:43:06,520 --> 00:43:09,920 Speaker 1: including some that are delving into different areas of fiction. 651 00:43:10,000 --> 00:43:12,799 Speaker 1: I would love to do that, Honestly, I would love 652 00:43:12,840 --> 00:43:15,680 Speaker 1: to do a full three D audio version of a 653 00:43:15,719 --> 00:43:20,440 Speaker 1: Shakespearean play. It is something I have really wanted to 654 00:43:20,480 --> 00:43:22,800 Speaker 1: do for a long time. I'm not even talking about 655 00:43:22,800 --> 00:43:24,920 Speaker 1: necessarily being in it, although it would kill me not 656 00:43:25,000 --> 00:43:29,000 Speaker 1: to be, but to be able to experience a three 657 00:43:29,120 --> 00:43:32,600 Speaker 1: D audio version of one of Shakespeare's plays, to me, 658 00:43:32,719 --> 00:43:38,960 Speaker 1: would be unbelievably amazing. So if you think that's interesting, 659 00:43:39,160 --> 00:43:41,680 Speaker 1: you should write to my heart and let them know, 660 00:43:42,440 --> 00:43:45,520 Speaker 1: because I think it would be great. I wouldn't mind 661 00:43:45,520 --> 00:43:48,000 Speaker 1: working on something like that, and let me know what 662 00:43:48,080 --> 00:43:50,719 Speaker 1: play you think we should do. Honestly, I'm thinking like 663 00:43:51,320 --> 00:43:54,120 Speaker 1: much ado about nothing. I think a comedy might be fun, 664 00:43:55,120 --> 00:43:58,319 Speaker 1: but that wraps up this episode. If you have suggestions 665 00:43:58,480 --> 00:44:02,160 Speaker 1: for future topics, or maybe you have thoughts about three 666 00:44:02,239 --> 00:44:04,400 Speaker 1: D audio you would like to share, reach out to me. 667 00:44:04,719 --> 00:44:07,279 Speaker 1: The best way to do that is on Twitter. My 668 00:44:07,360 --> 00:44:10,880 Speaker 1: handle is text stuff hs W and I'll talk to 669 00:44:10,880 --> 00:44:19,800 Speaker 1: you again really soon. Text Stuff is an I Heart 670 00:44:19,880 --> 00:44:23,640 Speaker 1: Radio production. For more podcasts from my Heart Radio, visit 671 00:44:23,640 --> 00:44:26,759 Speaker 1: the I Heart Radio app, Apple Podcasts, or wherever you 672 00:44:26,800 --> 00:44:33,799 Speaker 1: listen to your favorite shows. This episode was brought to 673 00:44:33,840 --> 00:44:36,919 Speaker 1: you an i Heeart three D Audio. To experience more 674 00:44:36,960 --> 00:44:40,280 Speaker 1: podcasts like this, search for i Heeart three D audio 675 00:44:40,480 --> 00:44:44,640 Speaker 1: in the I Heart Radio app. Thank you to our sponsors, Audible, 676 00:44:45,120 --> 00:44:47,880 Speaker 1: The Conjuring, The Devil Made Me Do It, Rated R, 677 00:44:48,320 --> 00:44:49,520 Speaker 1: and World of Warcraft