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Speaker 1: I Heart three D Audio. This episode was brought to

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Speaker 1: you in I Heeart three D Audio. To experience more

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Speaker 1: podcasts like this, search for I Heeart three D Audio

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Speaker 1: in the I Heart Radio app. This special three D

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Speaker 1: episode is sponsored by Audible, The Conjuring, The Devil Made

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Speaker 1: Me Do It, raded R, and World of Warcraft. For

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Speaker 1: maximum effect, headphones are recommended. Welcome to Tech Stuff a

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Speaker 1: production from I Heart Radio. Hey there, and welcome to

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Speaker 1: tech Stuff. I'm your host, Jonathan Strickland. I'm an executive

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Speaker 1: producer with I Heeart Radio and how the tech are you?

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Speaker 1: So it is President's Day here in the United States

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Speaker 1: as a holiday for us here at my Heart and

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Speaker 1: as such, instead of working, I am vacating or holidaying

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Speaker 1: or something. So we're bringing to you an episode that

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Speaker 1: originally published on May twenty one. It is titled how

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Speaker 1: three D Audio Works. And there is some three D

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Speaker 1: audio shenanigans in this, So if you get creeped out

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Speaker 1: by that kind of stuff, it's good to know going

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Speaker 1: into this. Best listen with headphones on if you're not

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Speaker 1: creeped up by that kind of stuff, and you can

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Speaker 1: enjoy a little bit of the effects as well as

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Speaker 1: learn about the technology I hope you enjoy. Let me

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Speaker 1: tell you a story about my childhood. My family are

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Speaker 1: all really big Disney theme park fans, and growing up

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Speaker 1: in Georgia meant we were just a short eight to

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Speaker 1: ten hour drive from Walt Disney World in Florida. Both

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Speaker 1: of my parents were teachers, and they would save up

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Speaker 1: money so that every two or three years or so

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Speaker 1: we'd make the trip down. Disney World was always where

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Speaker 1: my sister and I wanted to go, even when my

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Speaker 1: parents gently tried to suggest other places like Washington, d C.

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Speaker 1: Or New York City. Nope, we want a Disney World

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Speaker 1: also quick aside, these days, we still will take family

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Speaker 1: trips to Disney World, my parents included, and now with

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Speaker 1: my nieces we get to experience seeing Disney through fresh eyes,

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Speaker 1: which is pretty great. But anyway, back to my story.

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Speaker 1: Back in nine, the Disney Hollywood Studios Park opened for

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Speaker 1: the first time. Back then it was Disney MGM Studios,

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Speaker 1: and the studios were a working studio with films and

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Speaker 1: TV shows shot on the premises. A lot of attractions

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Speaker 1: related to film and TV production. There was the Great

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Speaker 1: Movie Ride, which closed in There was a behind the

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Speaker 1: scenes tour which close in and there were various experiences

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Speaker 1: that taught audiences about stuff like special effects, all of

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Speaker 1: which have closed. Almost leads you to the conclusion that

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Speaker 1: the Hollywood Studios aren't so much the Hollywood Studios anymore.

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Speaker 1: But I'm off track again. One of those experiences was

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Speaker 1: all about sound effects, and it was called the Monster

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Speaker 1: Sound Show. I remember that the attraction featured a clip

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Speaker 1: of a film starring Martin Short and Chevy Chase, and

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Speaker 1: I had a lot of sound effects that played in

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Speaker 1: that movie. Then the attraction host would bring up some

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Speaker 1: audience members to try and create sound effects live on

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Speaker 1: stage using various props while a silent version of the

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Speaker 1: film played, and then they would play the film back

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Speaker 1: again with the new audience supplied fully sound effects in

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Speaker 1: place to great comedic effect. After that presentation, however, you

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Speaker 1: could wander through the rest of the attraction and tucked

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Speaker 1: off to the side were a couple of rooms large

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Speaker 1: enough to hold a few people at a time, and

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Speaker 1: they were called sound stations. Inside those rooms were benches

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Speaker 1: attached to the walls and there were hooks holding headphones.

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Speaker 1: Every couple of feet you would go in, you would

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Speaker 1: sit down, you would put on the headphones, making sure

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Speaker 1: that the headphone with the yellow pad went over your

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Speaker 1: right ear. And then something extraordinary happened. As the lights

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Speaker 1: went down, you were presented with a scenario. You're playing

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Speaker 1: the part of a new executive at the Walt Disney

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Speaker 1: Studios named r. J. McBean. You're told you're sitting behind

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Speaker 1: your executive desk waiting for your assistant Hampton to come

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Speaker 1: in and start off your day, and the sound orbited you.

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Speaker 1: You'd hear the narrator set up the scenario, and her

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Speaker 1: voice drifted from one ear to the other, as if

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Speaker 1: she were actually walking around you while you sat at

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Speaker 1: this fictional desk. And then the scenario would really begin

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Speaker 1: and things got really wild. A little tinker bell jingling

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Speaker 1: would represent the true beginning, and you would hear Hampton

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Speaker 1: come in. He would walk through on a door to

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Speaker 1: your right, and then you'd hear him pontificate as he

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Speaker 1: walks through your office. You would pour a busy drink

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Speaker 1: into a glass of ice, and he introduced you to

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Speaker 1: your secretary. Surely, Oh, and also said you would get

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Speaker 1: a haircut from a stylist named Ken because of course,

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Speaker 1: the big cheese is on his way to meet you,

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Speaker 1: and the haircut sounds in particular were really compelling. You

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Speaker 1: could almost feel the sensation of someone cutting your hair.

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Speaker 1: And I say this as a bald man who hasn't

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Speaker 1: had hair in more than twenty years. Meanwhile, as the

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Speaker 1: hair goes flying, a director called Flavio shows up and

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Speaker 1: pitches a new film to you, complete with using a

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Speaker 1: hair dryer to simulate desert winds. There are a lot

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Speaker 1: of other cute sound effects that follow, like a paper

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Speaker 1: being placed over your head to represent a turban and

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Speaker 1: you can actually find recordings of this piece online, though

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Speaker 1: I will warn you the effects aren't quite up to

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Speaker 1: the quality of the original attraction, which also incorporated stuff

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Speaker 1: like actual blowers to blow warm air on you. Oh

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Speaker 1: and uh, that big cheese who comes in at the end,

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Speaker 1: Well that's Mickey Mouse, of course, he comes into place

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Speaker 1: a pair of mouse ears on top of your head.

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Speaker 1: The whole thing lasted about five minutes and I loved it.

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Speaker 1: And at the end you were instructed to remove your headphones,

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Speaker 1: hang them back on the wall, and exit the room,

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Speaker 1: whereupon you'd head outside to the blazing Florida sun and

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Speaker 1: the wild audio of the real outdoors. That was how

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Speaker 1: I first experienced three D audio. At that time, it

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Speaker 1: was based off a technology that had a brand name

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Speaker 1: of Holophonics. These days, we'd more likely call it binaural

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Speaker 1: audio or maybe just three D audio. And there are

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Speaker 1: a lot of different ways to create the experience, some

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Speaker 1: of which requires special equipment, others that require special software.

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Speaker 1: You can find examples of three D audio in music recordings,

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Speaker 1: amusement park attractions, and stuff like a s MR videos.

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Speaker 1: It can be a really compelling experience and I remember

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Speaker 1: getting goose bumps the first time I encountered it, and

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Speaker 1: depending on who's doing the recording and the effects that

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Speaker 1: they're creating, I can still get goose bumps from it today.

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Speaker 1: Long time listeners might remember that a few years back,

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Speaker 1: I interviewed an a s m R artist named Heather Feather,

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Speaker 1: who was one of a handful of creators who were

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Speaker 1: really making a SMR a phenomenon. Now we have thousands

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Speaker 1: of creators. If you do a search on YouTube for

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Speaker 1: a s m R you will see countless videos in

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Speaker 1: the category. But the technology and psychology behind this experience

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Speaker 1: goes back quite a ways. So I want to explore

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Speaker 1: the evolution and technology behind making three D audio. Now,

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Speaker 1: in the beginning, there was mono, that is monaural or

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Speaker 1: monophonic sound. This sound can come from a single loud speaker,

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Speaker 1: or it could be channeled to multiple loud speakers, but

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Speaker 1: the signal going to each loudspeaker is exactly the same

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Speaker 1: as every other loud speaker. It's effectively a single channel

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Speaker 1: of sound. It's how we do podcasts typically, where you

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Speaker 1: usually will hear the same level of volume in each year.

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Speaker 1: For shows with the multiple hosts, it means that you

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Speaker 1: hear all the hosts in both ears equally. Most listeners

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Speaker 1: tend to prefer that, but very early on people started

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Speaker 1: to experiment with ways to provide more than one channel

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Speaker 1: of sounds simultaneously to a listener to create a different

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Speaker 1: kind of experience. Way back in eight one, when the

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Speaker 1: loud speaker itself was just a few years old, Alexander

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Speaker 1: Graham Bell had patented it in eight seventy six as

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Speaker 1: part of this telephone invention. Well, that's when a man

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Speaker 1: named Clement Adder came up with a clever idea. One

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Speaker 1: of the downsides of live theater is that it is

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Speaker 1: a scarce resource. Only so many people can fit into

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Speaker 1: a theater for a performance, and once that performance is over,

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Speaker 1: it's all done. So there is an element of exclusivity

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Speaker 1: when it comes to live theater, something that remains true

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Speaker 1: because I mean, it's just the limitations of the art.

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Speaker 1: But Adder thought of a way that would help people

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Speaker 1: listen in to say, a performance of an opera, without

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Speaker 1: having to actually go to the opera house. His demonstration

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Speaker 1: involved installing telephone receivers in a few rooms at the

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Speaker 1: Palais de l Industry. The microphones he installed near the

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Speaker 1: footlights at the Grand Opera in Paris, so they were

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Speaker 1: across town. People could come into these rooms at the

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Speaker 1: Palais in small groups and they would hold two receivers,

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Speaker 1: one to each ear. Each receiver connected to a different microphone,

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Speaker 1: which meant the sound they were hearing was actually coming

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Speaker 1: from two different locations. In an article and Scientific American

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Speaker 1: Monsieur Hospitalier is quoted as saying, quote, everyone who has

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Speaker 1: been fortunate enough to hear the telephones at the Palais

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Speaker 1: de l Industry has remarked that in listening with both

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Speaker 1: ears at the two telephones, the sound takes a special

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Speaker 1: character of relief and localization which a single receiver cannot

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Speaker 1: produce end quote. This was a very early and primitive

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Speaker 1: version of stereophonic sound. For those of us who have

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Speaker 1: hearing in both of our ears, we experience the world

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Speaker 1: in stereo. Sound travels at a certain speed. It's three

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Speaker 1: per second if you have an air temperature of around

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Speaker 1: twenty degrees celsius or sixty eight degrees fahrenheit. And yes,

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Speaker 1: the temperature affects how quickly sound will move through the air.

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Speaker 1: And our ears are located upon opposite sides of our noggins.

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Speaker 1: That means that sound hits our two ear drums at

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Speaker 1: slightly different times, depending upon where it's coming from, and

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Speaker 1: we will perceive sound coming from one side of us

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Speaker 1: as being louder in that year than in our opposite ear,

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Speaker 1: and so on. So mono sound shoves all of those

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Speaker 1: sound waves through one channel. Everything is coming out equally

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Speaker 1: through each loudspeaker. Stereo sound, however, changes this up, varying

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Speaker 1: the amplitude or volume of sound in each channel and

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Speaker 1: creating a different effect. While adders demonstration indicated that there

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Speaker 1: was something interesting with producing sound using different channels directed

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Speaker 1: at different loud speakers, that was just the tip of

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Speaker 1: the Iceberg, Alan Dower Bloomline would advance the art considerably

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Speaker 1: in the nineteen thirties. Bloomline was born in three He

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Speaker 1: became an electronics engineer and he worked for the famous

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Speaker 1: Abbey Road Studios, where he pioneered advancements in stereophonic recording.

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Speaker 1: According to an anecdote told by Alan Blumline's son, Simon,

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Speaker 1: Bloomline was at the movies with his wife watching a

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Speaker 1: film and he remarked that were a blind person to

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Speaker 1: go to the movies, they might struggle to follow what

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Speaker 1: was going on because the sound was all coming from loudspeakers.

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Speaker 1: In mono. There was no way to detect through hearing

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Speaker 1: where people were within a scene. Everyone would sound like

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Speaker 1: they were in the same spot. You would only be

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Speaker 1: able to hear if someone was further or closer to

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Speaker 1: a microphone, but otherwise spatially you would have no idea

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Speaker 1: what was going on. And that got him into thinking

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Speaker 1: about developing a system that would allow sound engineers to

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Speaker 1: record and reproduce sound so that had a more localized effect.

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Speaker 1: Action happening on the left side of the screen would

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Speaker 1: be represented by sounds emanating from loudspeakers on the left

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Speaker 1: side of the theater. Likewise, action on the right side

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Speaker 1: would be paired with an appropriate amount of sound coming

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Speaker 1: from the right. Each speaker might produce some of the sound,

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Speaker 1: but at different amplitudes, so that while you might get

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Speaker 1: a little bit of the right hand sound from left

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Speaker 1: hand speakers, the levels would be lower, and the overall

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Speaker 1: feeling would be that you're in the middle of that sound,

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Speaker 1: and it would enhance it's the experience of seeing a

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Speaker 1: movie and as well as help out those who are

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Speaker 1: visually impaired follow what was going on. According to that anecdote,

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Speaker 1: Blumline called it binaural sound, which of course will come

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Speaker 1: back to a bit later in this episode. I just

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Speaker 1: find it interesting that the original term for stereo is

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Speaker 1: one we now associate with a more specific approach to

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Speaker 1: audio recording and production. He would receive more than seventy

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Speaker 1: patents for his various inventions related to stereo sound. He

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Speaker 1: created technology to record, process, and reproduce audio and stereo.

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Speaker 1: In n four, he oversaw a stereo recording of the

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Speaker 1: London Philharmonic Orchestra at the Abbey Road Studios. Blumline also

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Speaker 1: pioneered the Blomline method, which would use two microphones mounted

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Speaker 1: at a nine d degree angle with regard to one

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Speaker 1: another to pick up directional sounds in a recording environment. So,

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Speaker 1: in other words, if you think of a room as

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Speaker 1: a square, one might is picking up sounds primarily along

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Speaker 1: the X axis, and the other is picking up sound

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Speaker 1: along the y axis. Bloomline also figured out how to

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Speaker 1: create a stereo groove and a record album. Back in

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Speaker 1: those days, these were made from shell act but they

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Speaker 1: would later be made from vinyl. And when I think

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Speaker 1: about that, I'm astonished. I mean, the way a record

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Speaker 1: player works is that a stylists or needle fits into

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Speaker 1: the groove of a record. That groove causes the stylus

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Speaker 1: to vibrate, and those vibrations transmit to a transducer, which

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Speaker 1: turns the vibrations into an electrical signal thanks to a

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Speaker 1: little electro magnet magic, and that signal then goes to

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Speaker 1: an amplifier, which boosts the signal strength, which then goes

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Speaker 1: on to loudspeakers and powers them so that they can

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Speaker 1: reproduce the original recorded sound that created the groove in

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Speaker 1: the first place. It's the edges of these grooves that

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Speaker 1: caused the vibration or the wiggle of the stylus. So

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Speaker 1: how does one record stereo sound to a physical disc

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Speaker 1: with a groove. Well, imagine a groove that slalom's back

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Speaker 1: and forth in a nice even path. So the waves

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Speaker 1: along either side of the groove are a physical representation

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Speaker 1: of the original sound waves that were recorded. Now, usually

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Speaker 1: in a mono record, you would just see that these

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Speaker 1: waves are evenly distributed on the left and right side.

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Speaker 1: It's like they're in sync with one another. It's just

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Speaker 1: a nice smooth curve. But what if you wanted to

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Speaker 1: record stereo, Well, you could have it where the left

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Speaker 1: side of the groove and the right side of the

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Speaker 1: groove are actually different. The wall on one side would

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Speaker 1: represent the audio recorded in one channel and the wall

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Speaker 1: on the other side of the groove was for the

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Speaker 1: second channel. So, with the proper equipment, you could play

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Speaker 1: this record back and the stylist would vibrate in a

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Speaker 1: very specific way. It would be detected by two sensors

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Speaker 1: connected to the style of us so essentially to transducers,

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Speaker 1: and these two channels of sound could again go to

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Speaker 1: specific loud speakers and left and a right, and then

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Speaker 1: you get stereo playback. It's pretty incredible. Listening back to

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Speaker 1: properly recorded and processed audio would give the listener the

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Speaker 1: sensation that they were actually in an acoustic space. It

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Speaker 1: would feel as though you were standing at the spot

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Speaker 1: where the microphone had been mounted, and that the sound

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Speaker 1: you encounter is just as if you were present at

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Speaker 1: the recording session. That was the intent anyway, but the

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Speaker 1: actual process of getting there is a lot more complicated

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Speaker 1: than setting up just a pair of microphones. When we

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Speaker 1: come back, we'll learn a bit more about stereo recording

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Speaker 1: and editing, and we'll also learn why the Beatles, who

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Speaker 1: also made famous recordings at Abbey Road Studios, concentrated on

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Speaker 1: creating mono records for a long time, even though stereo

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Speaker 1: had been around for decades. But first, let's a quick break. Now.

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Speaker 1: I've done episodes about sound to film in the past,

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Speaker 1: and also sound on television, so I'm going to skip

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Speaker 1: over all of that, Otherwise this episode would be for

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Speaker 1: five hours long. Instead, I want to talk a bit

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Speaker 1: more about stereo recordings and why bands like the Beatles

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Speaker 1: were slow to adopt them. To listen to a stereo

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Speaker 1: recording properly, you need a stereo system. That is, you

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Speaker 1: need a sound system that has at least two loud

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Speaker 1: speakers and a way to send the different channels of

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Speaker 1: sound to both the left and the right speakers or

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Speaker 1: independently to the left and right speakers. Otherwise, the playback

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Speaker 1: would be in mono even if the recording were in stereo,

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Speaker 1: and what you would get is a weird case where

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Speaker 1: some elements of the recording would be really quiet, as

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Speaker 1: those would be the sounds recorded to a channel that

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Speaker 1: wasn't getting picked up by the mono playback system. Now,

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Speaker 1: if you've ever listened to a recording where some of

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Speaker 1: the voices or instruments sound unusually quiet, and that it

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Speaker 1: doesn't sound like this was done on purpose, it's likely

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Speaker 1: because either someone mixed the audio improperly, or it's a

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Speaker 1: stereo recording that at some point got converted over into

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Speaker 1: mono and you're losing some of the audio as a result.

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Speaker 1: Stereo systems were really expensive when they first came out.

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Speaker 1: I'm talking about like stereo systems that you would purchase

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Speaker 1: for your home, and a lot of people, particularly young people,

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Speaker 1: had really purchased record players that had a single speaker

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Speaker 1: incorporated into the player itself. So these were mono playback devices,

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Speaker 1: as there was only one speaker for sound to go.

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Speaker 1: The Beatles, being a band whose music was disproportionately favored

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Speaker 1: by the young, had their audience in mind as they

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Speaker 1: mixed their albums. It said that for many of the

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Speaker 1: albums from the early to mid period of the b

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Speaker 1: as a band, the group would spend hours in the

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Speaker 1: mixing studio to get the mono mix just right, but

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Speaker 1: when it came time to do the stereo mixes, they

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Speaker 1: left that to the audio engineers at Abbey Road and

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Speaker 1: we're never around. So why is that? Well, because to them,

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Speaker 1: the mono recordings were more important. That was what their

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Speaker 1: fan base could enjoy. For that reason, a lot of

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Speaker 1: Beatles fans or purists favor the mono recordings of early

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Speaker 1: Beatles work. They issue the stereo recordings as failing to

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Speaker 1: represent what it was the Beatles were trying to achieve.

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Speaker 1: And if you listen to the mono versus stereo recordings

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Speaker 1: of some of those early songs like Paperback Writer or

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Speaker 1: eleanor Rigby, you really can tell there is a major difference.

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Speaker 1: And this leads into one way to create a stereo

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Speaker 1: or three D audio sound. You can take a recording,

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Speaker 1: and you can change how much of the signal gets

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Speaker 1: sent to a particular channel. That determines which loudspeaker or

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Speaker 1: set of loudspeakers will play back the audio, or more likely,

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Speaker 1: how much volume that particular sound will have in each loudspeaker.

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Speaker 1: This is both a science and an art. A lot

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Speaker 1: of the work in this field was centered around music,

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Speaker 1: and music can contain a wide range of frequencies and tones.

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Speaker 1: Imagine an orchestra. You have instruments that primarily create lower frequencies,

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Speaker 1: like lower pitches. You've got tubas and basses and cellos.

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Speaker 1: Each of those instruments, while creating notes that might be

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Speaker 1: in the same general range, have distinct sounds. A tuba

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Speaker 1: and an upright bass do not sound the same. In

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Speaker 1: other words, then you've got instruments that center on some

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Speaker 1: of the higher frequencies, like flutes and piccolos and violins.

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Speaker 1: These also sound different from one another, and so it

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Speaker 1: became important to figure out how to not just capture

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Speaker 1: a recording and divided into channels to create spatial landscapes,

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Speaker 1: but also how to balance out the tones so that

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Speaker 1: you don't lose anything in the process with the wrong mix.

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Speaker 1: One instrument or group of instruments might totally overpower another,

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Speaker 1: and it's almost as if those other instruments were never

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Speaker 1: even present at the original recording, and so processing recordings

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Speaker 1: and getting the mix just right became critical. One part

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Speaker 1: of this is called panning, and it relies on a

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Speaker 1: pan control. In the old days, you would use a

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Speaker 1: mixing board with physical controls on it to control the pan.

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Speaker 1: The pan determines how much signal from each input is

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Speaker 1: sent to each channel. These days, many audio producers work

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Speaker 1: with digital audio workstations or DAWs, and with a DAW

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Speaker 1: you also control panning. You can pan either mono or

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Speaker 1: stereo tracks. Most DAWs will let you convert one type

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Speaker 1: of track into another, splitting a mono into stereo or

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Speaker 1: combining stereo into mono. For certain types of audio, like

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Speaker 1: MANI podcasts, the default is to go to mono. It

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Speaker 1: can be a little disconcerting if you record and publish

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Speaker 1: a podcast in stereo. Many years ago, when I first

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Speaker 1: started recording large Nerdroun Collider with my friend Ariel, I

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Speaker 1: accidentally recorded and published several episodes in stereo, which meant

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Speaker 1: all of my audio was in one channel, like the

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Speaker 1: left channel and all of Ariel's audio was in the

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Speaker 1: other channel, the right channel. So it's like I was

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Speaker 1: talking into your left ear and Ariel was talking into

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Speaker 1: your right ear, which was very unsettling. I eventually figured

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Speaker 1: out what I was doing, and I began mixing our

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Speaker 1: recordings into a mono track to avoid that problem. And

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Speaker 1: with some early stereo recordings you can hear examples of

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Speaker 1: problems like this. It's frequently disconcerting. There are recordings of

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Speaker 1: songs in which all the instrumentation is on one side

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Speaker 1: and all the vocals are on the other side. Now

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Speaker 1: that might have been done purposefully, but it was often

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Speaker 1: a sort of heavy handed approach to stereo. There are

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Speaker 1: times an artist might desire that specific effect, but other

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Speaker 1: times the desire was to be a bit more creative

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Speaker 1: with stereo, and you might have a track in which

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Speaker 1: the vocalist is on the extreme right of part of

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Speaker 1: the recording, then on the extreme left later on. The

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Speaker 1: beatles A Day in the Life actually falls into that category.

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Speaker 1: Or you might want to create a rich soundscape in

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Speaker 1: which there is a sense of location for all the sound,

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Speaker 1: maybe not something that's explicitly communicated to the listener, but

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Speaker 1: is an important representation of the performance. So how about

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Speaker 1: we play around with some post processing panning to create

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Speaker 1: a three dimensional experience. My producer, Tari, who is a

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Speaker 1: superstar here at iHeart, is always critical to the success

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Speaker 1: of this show. But in a moment, she's going to

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Speaker 1: take over the experience of what this show sounds like

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Speaker 1: to you, the audience. And I'm going to do something

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Speaker 1: I've always wanted to do in three D audio. I'm

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Speaker 1: going to give you a little Shakespeare. This piece is

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Speaker 1: the prologue to Henry the Five, one of Shakespeare's company

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Speaker 1: designated the chorus implores the audience to use their imaginations

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Speaker 1: to augment the production of the play itself. And so

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Speaker 1: as you listen to this piece, imagine you are seated

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Speaker 1: on a stage with the chorus walking around you, explaining

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Speaker 1: your role in creating the theatrical experience. Now, I admit

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Speaker 1: I'm cheating a little bit here, because the whole point

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Speaker 1: of this passage is to say that theater is incapable

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Speaker 1: of creating an exact copy of the story of Henry

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Speaker 1: the Fifth and England's battles with France. But you also

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Speaker 1: have to remember I'm a former English literature major and

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Speaker 1: I never get to do Shakespeare. So out here we

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Speaker 1: go headphones on, Oh, for a muse of fire that

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00:26:06,760 --> 00:26:12,159
Speaker 1: would ascend the brightest heaven of invention, a kingdom, for

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Speaker 1: a stage, princes to act, and monarchs to behold the

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Speaker 1: swelling scene. Then should the warlike harry, like himself, assume

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Speaker 1: the ports of Mars, and at his heels leashed in

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Speaker 1: like hounds, should famine sword and fire, crouch for employment.

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Speaker 1: But pardon, gentles, all the flat, unraised spirits that have

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Speaker 1: dared on this unworthy scaffold to bring forth so great

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Speaker 1: an object, Candice cockpit, hold the vasty fields of France.

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Speaker 1: Or may we cram within this wooden oh, the very

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Speaker 1: casks that did affright the air at Agincourt. Oh, pardon,

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Speaker 1: since a crooked figure may attest in little place a million,

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Speaker 1: let us ciphers to this great accompt on your imaginary

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Speaker 1: forces work. Suppose within the girdle of these walls are

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Speaker 1: now confined two mighty monarchies, whose high, upreared and abudding

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Speaker 1: fronts the perilous narrow ocean parts. Asunder, piece out our

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Speaker 1: imperfections with your thoughts into a thousand parts. Divide one

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00:27:33,280 --> 00:27:38,720
Speaker 1: man and make imaginary puissance. Think when we talk of horses,

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Speaker 1: that you see them printing their proud hoofs in the

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Speaker 1: receiving earth. For tis your thoughts that now must deck

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Speaker 1: our kings, carry them here and there, jumping over times,

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Speaker 1: turning the accomplishment of many years into an hour glass

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Speaker 1: for the which supply at it me chorus to this history,

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Speaker 1: who prologue like your humble patients, prey gently to hear,

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Speaker 1: kindly to judge. I'll play. So for that recording, I

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Speaker 1: went into our studio at I heart, and I spoken

432
00:28:18,560 --> 00:28:23,360
Speaker 1: to a normal studio microphone. All the manipulation had been

433
00:28:23,400 --> 00:28:26,040
Speaker 1: done in post production, which is an effective way to

434
00:28:26,080 --> 00:28:29,280
Speaker 1: achieve that three D audio sound, but it does require

435
00:28:29,359 --> 00:28:31,879
Speaker 1: a lot of work on the part of the producer.

436
00:28:32,480 --> 00:28:34,879
Speaker 1: But the three D audio I did at the top

437
00:28:35,040 --> 00:28:37,720
Speaker 1: of this episode was done in a different way. I

438
00:28:37,840 --> 00:28:41,280
Speaker 1: used a special microphone. When we come back, i'll talk

439
00:28:41,320 --> 00:28:45,000
Speaker 1: a bit about that technology, and we'll learn about some

440
00:28:45,040 --> 00:28:48,280
Speaker 1: companies that have produced specialized equipment for the purposes of

441
00:28:48,400 --> 00:28:52,760
Speaker 1: three D audio. But first let's take another quick break.

442
00:29:00,680 --> 00:29:05,520
Speaker 1: While some engineers and artists experimented with binaral recordings for

443
00:29:05,560 --> 00:29:08,960
Speaker 1: a while, it wasn't until nineteen seventy eight that the

444
00:29:09,000 --> 00:29:13,000
Speaker 1: first pop record using binaural recordings came out. It was

445
00:29:13,080 --> 00:29:17,040
Speaker 1: Lou Reid's Street Hassle. Listening to that album with headphones

446
00:29:17,080 --> 00:29:21,320
Speaker 1: on is pretty cool. To achieve the effect, studio engineers

447
00:29:21,320 --> 00:29:24,600
Speaker 1: took a mannequin head and installed a microphone at each

448
00:29:24,680 --> 00:29:28,280
Speaker 1: ear and used that to record sessions. A company called

449
00:29:28,560 --> 00:29:33,840
Speaker 1: Delta Acoustics put the system together with Manfred Schunk supervising.

450
00:29:34,600 --> 00:29:37,320
Speaker 1: Read made a couple of other albums in binaral audio.

451
00:29:38,160 --> 00:29:42,000
Speaker 1: One was the live Take No Prisoners album and the

452
00:29:42,040 --> 00:29:45,840
Speaker 1: other was The Bells. Other bands would experiment and recorded

453
00:29:45,880 --> 00:29:48,600
Speaker 1: binaral as well. The Rolling Stones did it for their

454
00:29:48,640 --> 00:29:51,800
Speaker 1: album Flashpoint, which was a concert recording of some of

455
00:29:51,800 --> 00:29:55,120
Speaker 1: their big hits and rarities. Pearl Jam recorded a studio

456
00:29:55,160 --> 00:30:01,440
Speaker 1: album called Binaral, recorded fittingly in binaral. The tech used

457
00:30:01,440 --> 00:30:04,440
Speaker 1: to record these albums changed slightly, but it was still

458
00:30:04,480 --> 00:30:08,160
Speaker 1: based on the same underlying principles. I think it's pretty

459
00:30:08,200 --> 00:30:11,160
Speaker 1: widely understood that our ears received sound in the form

460
00:30:11,200 --> 00:30:14,560
Speaker 1: of vibrations through a medium such as the air, and

461
00:30:14,600 --> 00:30:18,040
Speaker 1: then through interactions with the ear drum and the cochlea

462
00:30:18,080 --> 00:30:22,000
Speaker 1: and special nerves. Sending information to the brain. We interpret

463
00:30:22,040 --> 00:30:25,320
Speaker 1: those vibrations as sound in a very simple way of

464
00:30:25,360 --> 00:30:29,160
Speaker 1: looking at it. Sound comes into our ears. But did

465
00:30:29,200 --> 00:30:34,520
Speaker 1: you know our ears also generate sound, Because they totally do.

466
00:30:35,240 --> 00:30:40,080
Speaker 1: It's called auto acoustic emission or o a e. Now,

467
00:30:40,120 --> 00:30:43,400
Speaker 1: to get into o a es, how they work and

468
00:30:43,440 --> 00:30:47,120
Speaker 1: their role in stuff like medicine is beyond the scope

469
00:30:47,120 --> 00:30:52,320
Speaker 1: of this podcast, and more importantly, way outside my general expertise.

470
00:30:52,800 --> 00:30:56,520
Speaker 1: But it is true that a very sensitive microphone inserted

471
00:30:56,640 --> 00:30:59,720
Speaker 1: into the ear canal of a person with hearing will

472
00:30:59,720 --> 00:31:06,760
Speaker 1: pick up spontaneous auto acoustic emissions or s o a ease. Now,

473
00:31:07,480 --> 00:31:10,400
Speaker 1: most folks can't detect these sounds. They tend to be

474
00:31:10,440 --> 00:31:14,400
Speaker 1: at very low frequencies that dip below human perception, and

475
00:31:14,440 --> 00:31:18,840
Speaker 1: they are usually at very low amplitudes, so they're pretty quiet.

476
00:31:19,200 --> 00:31:23,320
Speaker 1: But in some cases people might actually hear the sounds

477
00:31:23,440 --> 00:31:30,000
Speaker 1: generated within their own inner ears and experience it as tenatus.

478
00:31:30,880 --> 00:31:36,520
Speaker 1: I'm one of those people, ya me. Now. The reason

479
00:31:36,720 --> 00:31:39,920
Speaker 1: I bring up that fact that the inner ear can

480
00:31:40,200 --> 00:31:43,320
Speaker 1: be not just a receptacle for sound but also a

481
00:31:43,400 --> 00:31:48,200
Speaker 1: generator of sound is because an inventor named Hugo Zucarelli

482
00:31:48,640 --> 00:31:52,040
Speaker 1: used that as the basis for a system he called holophonics.

483
00:31:52,920 --> 00:31:57,040
Speaker 1: His idea was that our hearing isn't a passive thing.

484
00:31:57,280 --> 00:32:00,680
Speaker 1: That the inner ear generates signals that in her fear

485
00:32:01,080 --> 00:32:05,520
Speaker 1: with the incoming audio signals, and the resulting interaction between

486
00:32:05,520 --> 00:32:08,680
Speaker 1: the sounds made by our ears and the sounds coming

487
00:32:08,760 --> 00:32:13,680
Speaker 1: into our ears plays a part in sound localization. Now,

488
00:32:13,800 --> 00:32:17,600
Speaker 1: long story short, Zuka Relli's hypothesis doesn't have a lot

489
00:32:17,600 --> 00:32:22,000
Speaker 1: of support in the broader scientific community. However, Zuka Relli's

490
00:32:22,040 --> 00:32:26,640
Speaker 1: equipment could record and reproduce sound in a really interesting way.

491
00:32:27,040 --> 00:32:30,720
Speaker 1: It's just the whole interference angle of what was going

492
00:32:30,800 --> 00:32:35,959
Speaker 1: on seemed inconsequential. Zuka Relli used microphones to stand in

493
00:32:36,080 --> 00:32:39,160
Speaker 1: for human ears, spaced apart so that a sound from

494
00:32:39,200 --> 00:32:42,240
Speaker 1: any given direction would reach one microphone before the other,

495
00:32:42,640 --> 00:32:45,160
Speaker 1: and the amplitude of the signal would depend upon things

496
00:32:45,240 --> 00:32:48,200
Speaker 1: such as the distance between the microphone and the origin

497
00:32:48,240 --> 00:32:50,800
Speaker 1: of the sound, as well as the angle at which

498
00:32:50,880 --> 00:32:54,320
Speaker 1: the sound waves would reach the microphone. Zoka Relli made

499
00:32:54,360 --> 00:32:58,760
Speaker 1: a bunch of different recordings to demonstrate this technology, something

500
00:32:58,840 --> 00:33:03,160
Speaker 1: called the shape Matchbox recordings because that was one of

501
00:33:03,200 --> 00:33:07,120
Speaker 1: the sounds he actually recorded using this system. Whether his

502
00:33:07,280 --> 00:33:11,600
Speaker 1: underlying hypothesis was correct or not, the recordings were effective,

503
00:33:11,920 --> 00:33:16,240
Speaker 1: and Zucarelli's approach created a way to make really localized

504
00:33:16,280 --> 00:33:19,640
Speaker 1: audio effects. That's essentially what was going on with the

505
00:33:19,800 --> 00:33:23,640
Speaker 1: Disney sound stations. Some of the microphones used by recording

506
00:33:23,680 --> 00:33:28,280
Speaker 1: studios even resembled a human head, with microphones literally placed

507
00:33:28,280 --> 00:33:30,960
Speaker 1: where the ears should be, and that also plays a

508
00:33:31,000 --> 00:33:34,320
Speaker 1: part in recording a sound accurately, so that the playback

509
00:33:34,440 --> 00:33:37,000
Speaker 1: will seem as though you are really there as you

510
00:33:37,080 --> 00:33:40,280
Speaker 1: listen to it. Beyond just the fact that our ears

511
00:33:40,280 --> 00:33:42,840
Speaker 1: are on opposite sides of our heads and the sound

512
00:33:42,840 --> 00:33:45,560
Speaker 1: will reach each ear at different times and amplitudes, other

513
00:33:45,640 --> 00:33:48,920
Speaker 1: factors also shape the nature of the sound We perceive,

514
00:33:49,440 --> 00:33:52,920
Speaker 1: the shape of our heads, the density of our noggins,

515
00:33:53,000 --> 00:33:58,560
Speaker 1: are sinuses. All of that affects our perception of sound. Collectively,

516
00:33:59,080 --> 00:34:03,280
Speaker 1: we call all of this head related transfer functions or

517
00:34:03,520 --> 00:34:08,520
Speaker 1: hr t F. The technology of holophonics systems and later

518
00:34:08,640 --> 00:34:14,120
Speaker 1: binaral microphones attempts to replicate the experience of hearing hyperlocalized

519
00:34:14,160 --> 00:34:19,000
Speaker 1: sounds through the application of HRTF. But this process is

520
00:34:19,040 --> 00:34:25,680
Speaker 1: incredibly complicated and um it's Matthew So I'm not going

521
00:34:25,719 --> 00:34:27,719
Speaker 1: to go into deep detail, which is good because I

522
00:34:27,719 --> 00:34:31,319
Speaker 1: would likely mess up the explanation. Also, it's important to

523
00:34:31,320 --> 00:34:35,080
Speaker 1: acknowledge that every person is different, which means there is

524
00:34:35,200 --> 00:34:39,759
Speaker 1: no universal solution towards creating the perfect binaral recording that

525
00:34:39,800 --> 00:34:43,600
Speaker 1: will convince every listener that they are hearing sounds coming

526
00:34:43,640 --> 00:34:47,120
Speaker 1: from ultra specific directions. You kind of have to go

527
00:34:47,400 --> 00:34:50,799
Speaker 1: more general to get a good response, but the more

528
00:34:50,840 --> 00:34:53,520
Speaker 1: precise you try to get, the more the results will

529
00:34:53,560 --> 00:34:56,600
Speaker 1: only work super well for a specific person, you know,

530
00:34:56,640 --> 00:35:00,759
Speaker 1: whomever was modeled for, and not we're can quite as

531
00:35:00,800 --> 00:35:05,680
Speaker 1: well for anyone else. For many years, the microphones used

532
00:35:05,680 --> 00:35:10,680
Speaker 1: to create binaral recordings in studio were prohibitively expensive and

533
00:35:10,840 --> 00:35:14,880
Speaker 1: far too complicated for the average consumer. You would occasionally

534
00:35:14,880 --> 00:35:18,160
Speaker 1: find binaral recordings, such as the one at Disney World,

535
00:35:18,680 --> 00:35:22,640
Speaker 1: but these were pretty rare and very specialized, and only

536
00:35:22,680 --> 00:35:25,880
Speaker 1: big companies like Disney could afford to do them. However,

537
00:35:26,360 --> 00:35:30,600
Speaker 1: over time, companies began to develop microphones that fell more

538
00:35:30,680 --> 00:35:34,360
Speaker 1: into the range of the pro sumer, with some consumer

539
00:35:34,440 --> 00:35:38,800
Speaker 1: level solutions thrown in there as well. Today, there is

540
00:35:38,840 --> 00:35:42,080
Speaker 1: a range of microphones one can use to create three

541
00:35:42,160 --> 00:35:46,080
Speaker 1: D audio. The microphone I used earlier in this episode

542
00:35:46,480 --> 00:35:49,640
Speaker 1: is a three D I O binaral mike or three

543
00:35:49,719 --> 00:35:52,560
Speaker 1: d OH if you prefer. You may have seen one

544
00:35:52,640 --> 00:35:54,400
Speaker 1: of these if you watch a lot of a s

545
00:35:54,480 --> 00:35:58,040
Speaker 1: MR videos. They are very popular. The microphone looks like

546
00:35:58,120 --> 00:36:02,600
Speaker 1: a horizontal bar with two silicone ears attached to either

547
00:36:02,960 --> 00:36:06,040
Speaker 1: end of that bar. The ears are spaced apart to

548
00:36:06,200 --> 00:36:10,200
Speaker 1: mimic a typical human heads width. The three d OH

549
00:36:10,480 --> 00:36:14,239
Speaker 1: doesn't have the mass of a head, it's just that

550
00:36:14,320 --> 00:36:17,360
Speaker 1: bar in the ears. It doesn't have the sinus cavities

551
00:36:17,600 --> 00:36:20,520
Speaker 1: or anything like that, so it is not a perfect

552
00:36:20,640 --> 00:36:24,960
Speaker 1: simulacrum of a person's auditory system, but it gets the

553
00:36:25,080 --> 00:36:29,280
Speaker 1: job done. That style of microphone typically retails for around

554
00:36:29,280 --> 00:36:32,960
Speaker 1: four dollars, so it's a little bit on the pricey side,

555
00:36:33,120 --> 00:36:37,480
Speaker 1: but it kind of falls between consumer and pro sumer. However,

556
00:36:37,640 --> 00:36:41,840
Speaker 1: you can achieve similar results using totally different microphone setups.

557
00:36:42,120 --> 00:36:45,680
Speaker 1: They typically require xl R microphones that connect to a

558
00:36:45,719 --> 00:36:50,200
Speaker 1: recording device that can accept multiple inputs, recording each microphone

559
00:36:50,239 --> 00:36:54,000
Speaker 1: to its own audio channel. It's possible to use two

560
00:36:54,040 --> 00:36:57,359
Speaker 1: normal microphones and space them apart from each other and

561
00:36:57,400 --> 00:37:01,200
Speaker 1: create a binaural experience, though it might take some experimentation

562
00:37:01,239 --> 00:37:04,600
Speaker 1: to get the spacing and gain levels just right so

563
00:37:04,640 --> 00:37:09,560
Speaker 1: that it all feels natural. Or of course, you could

564
00:37:09,640 --> 00:37:12,279
Speaker 1: just do it in post, but like I said, that

565
00:37:12,360 --> 00:37:14,520
Speaker 1: relies heavily on a ton of work on the back

566
00:37:14,680 --> 00:37:17,719
Speaker 1: end of things, and a s MR artists are not

567
00:37:17,840 --> 00:37:21,880
Speaker 1: the only ones using binaural audio. It's also useful for

568
00:37:21,920 --> 00:37:26,640
Speaker 1: stuff like virtual reality experiences and video games. Sound is

569
00:37:26,680 --> 00:37:29,680
Speaker 1: a powerful element that contributes to a sense of immersion,

570
00:37:29,960 --> 00:37:34,200
Speaker 1: and in some games it's critically important. For example, you

571
00:37:34,280 --> 00:37:38,000
Speaker 1: might play a first person shooter game like Player Unknowns

572
00:37:38,000 --> 00:37:41,240
Speaker 1: battle Grounds, and you really need to use your ears

573
00:37:41,280 --> 00:37:43,840
Speaker 1: to figure out where other players are in relation to

574
00:37:43,880 --> 00:37:48,160
Speaker 1: where you are. Not doing so severely reduces your chances

575
00:37:48,160 --> 00:37:50,960
Speaker 1: of making it through the game. If you'd like to

576
00:37:51,040 --> 00:37:54,280
Speaker 1: learn more, I would recommend seeking out Old Tech Stuff

577
00:37:54,320 --> 00:37:58,600
Speaker 1: episodes about surround sound, which relates to this topic quite

578
00:37:58,600 --> 00:38:02,560
Speaker 1: a bit, and also our episodes about audio compression, as

579
00:38:02,600 --> 00:38:05,879
Speaker 1: the process is designed to compress audio trying to take

580
00:38:05,920 --> 00:38:10,760
Speaker 1: the psychology of perception into account. It's all fascinating stuff.

581
00:38:11,400 --> 00:38:13,960
Speaker 1: As for three D audio, I figure i'd leave you

582
00:38:14,040 --> 00:38:17,040
Speaker 1: all with a little bit of horror because three D

583
00:38:17,160 --> 00:38:21,280
Speaker 1: audio works really well to immerse a listener into a world,

584
00:38:21,520 --> 00:38:25,480
Speaker 1: and it is particularly well suited for tales of terror.

585
00:38:26,000 --> 00:38:28,880
Speaker 1: Some of my coworkers used it to great effect in

586
00:38:28,920 --> 00:38:32,960
Speaker 1: a series called Thirteen Days of Halloween, which we published

587
00:38:33,080 --> 00:38:37,759
Speaker 1: last October. And so here is a little excerpt from

588
00:38:37,800 --> 00:38:42,200
Speaker 1: the show they produced. Oh look at all the fun

589
00:38:42,280 --> 00:38:46,480
Speaker 1: we're having in here. I just knew you do. We

590
00:38:46,560 --> 00:38:53,239
Speaker 1: get along swimmingly? Oh, come with me, we'll catch up

591
00:38:53,239 --> 00:38:58,640
Speaker 1: with you later. Diarhard. It is a truly sweet young man.

592
00:38:59,400 --> 00:39:01,480
Speaker 1: I've been a doing to persuade him to see the

593
00:39:01,480 --> 00:39:05,160
Speaker 1: good doctor about his cough, but he'll have none of it.

594
00:39:06,400 --> 00:39:09,000
Speaker 1: Maybe you could be of service in that department. He

595
00:39:09,200 --> 00:39:14,440
Speaker 1: really seemed to like you. Now, there are hundreds of

596
00:39:14,560 --> 00:39:18,440
Speaker 1: rooms here in the Hawthorne, but this is perhaps the

597
00:39:18,719 --> 00:39:23,600
Speaker 1: very finest, and it just so happens to be your waters.

598
00:39:25,480 --> 00:39:30,800
Speaker 1: Was it luck or fate that placed you here? We'll

599
00:39:30,800 --> 00:39:35,800
Speaker 1: never know. I trust that you'll find everything to your liking.

600
00:39:36,160 --> 00:39:39,120
Speaker 1: And if you don't, notify me and I will make

601
00:39:39,160 --> 00:39:42,480
Speaker 1: sure it is rectified. It's all part of my role

602
00:39:42,560 --> 00:39:47,640
Speaker 1: here as the care taker. You know, your lack of

603
00:39:47,719 --> 00:39:51,640
Speaker 1: verbal reciprocation is really breaking down my sense of boundaries.

604
00:39:52,920 --> 00:39:59,360
Speaker 1: I can trust you, right of course I can. In

605
00:39:59,480 --> 00:40:02,680
Speaker 1: He's coming days, you may notice that Hawthorne manner has

606
00:40:02,840 --> 00:40:10,440
Speaker 1: no shortage of oddities. I've witnessed things myself that strain

607
00:40:10,600 --> 00:40:15,279
Speaker 1: the belief. But there is one strange legend that has

608
00:40:15,320 --> 00:40:21,400
Speaker 1: truly become something of an obsession. Supposedly that somewhere within

609
00:40:21,560 --> 00:40:26,280
Speaker 1: these halls there is a hidden doorway. If the tale

610
00:40:26,360 --> 00:40:29,680
Speaker 1: of what looks on the other side is to be believed,

611
00:40:30,360 --> 00:40:34,240
Speaker 1: then gaining access would mean a sort of ascension beyond

612
00:40:34,480 --> 00:40:41,400
Speaker 1: human imagination, true immortality. I have come to understand that

613
00:40:41,440 --> 00:40:44,760
Speaker 1: one of our guests knows how to locate and open

614
00:40:45,239 --> 00:40:50,200
Speaker 1: this door. Perhaps what they cannot say to me, they

615
00:40:50,200 --> 00:40:55,279
Speaker 1: will happily divulge to you. I have a feeling your

616
00:40:55,400 --> 00:41:00,680
Speaker 1: quiet fortitude will lure them into a sense of intimacy.

617
00:41:01,680 --> 00:41:06,359
Speaker 1: It is certainly works on me. Please make yourself at home.

618
00:41:07,239 --> 00:41:13,880
Speaker 1: After all, this is it, There are so many others

619
00:41:14,160 --> 00:41:20,360
Speaker 1: I cannot wait for you to meet. Well. That wraps

620
00:41:20,480 --> 00:41:24,600
Speaker 1: up this special episode of tech Stuff. Several of the

621
00:41:24,800 --> 00:41:29,359
Speaker 1: I Heart shows are including some binaural audio segments, and

622
00:41:29,440 --> 00:41:32,000
Speaker 1: we've got a lot planned in the three D audio

623
00:41:32,080 --> 00:41:35,120
Speaker 1: space in the days up ahead. I really recommend you

624
00:41:35,239 --> 00:41:37,759
Speaker 1: check it out and explore some of the three D

625
00:41:37,920 --> 00:41:41,880
Speaker 1: audio recordings that are available online. You know that Disney

626
00:41:41,880 --> 00:41:45,080
Speaker 1: one I mentioned, There are actually versions of that up

627
00:41:45,080 --> 00:41:48,520
Speaker 1: on YouTube. People have the recordings up. I will say

628
00:41:48,600 --> 00:41:51,560
Speaker 1: that when I was listening back, it sounded like the

629
00:41:51,640 --> 00:41:55,560
Speaker 1: channels had been swapped. Everything that was supposed to be

630
00:41:55,640 --> 00:41:57,480
Speaker 1: in my right ear seemed to be coming through the

631
00:41:57,560 --> 00:41:59,440
Speaker 1: left ear. And I made sure that I was wearing

632
00:41:59,440 --> 00:42:01,960
Speaker 1: the headphones directly. That's an important point, by the way.

633
00:42:02,120 --> 00:42:05,640
Speaker 1: If you're not wearing your headphones with the proper phone

634
00:42:05,680 --> 00:42:09,600
Speaker 1: over the proper ear, it's very disconcerting. I double checked

635
00:42:09,640 --> 00:42:12,440
Speaker 1: I was doing it correctly. Everything still seemed flipped, and

636
00:42:12,880 --> 00:42:16,239
Speaker 1: the effect was not nearly as impressive as it was

637
00:42:16,280 --> 00:42:19,080
Speaker 1: when I went back to Disney. But I should also

638
00:42:19,120 --> 00:42:23,200
Speaker 1: add the Disney version incorporated some stuff that headphones just

639
00:42:23,320 --> 00:42:27,759
Speaker 1: can't do, stuff like a blower behind each person's back,

640
00:42:27,880 --> 00:42:31,400
Speaker 1: so that when you're getting a haircut in that sequence,

641
00:42:31,880 --> 00:42:35,560
Speaker 1: the hair dryer would actually blow air on you. So

642
00:42:35,640 --> 00:42:38,279
Speaker 1: that would add to your sense of immersion. As it

643
00:42:38,360 --> 00:42:41,680
Speaker 1: stands for me, if I'm listening to a very well

644
00:42:41,719 --> 00:42:47,160
Speaker 1: recorded three D audio set up. Then if someone speaking

645
00:42:47,280 --> 00:42:50,400
Speaker 1: quietly into my ear, it's as if I can feel it,

646
00:42:50,440 --> 00:42:53,640
Speaker 1: because we have to remember sound when it gets down

647
00:42:53,680 --> 00:42:57,120
Speaker 1: to it really are that's just vibration. Those vibrations include

648
00:42:57,360 --> 00:43:01,520
Speaker 1: fluctuations and air pressure. So if you are listening to

649
00:43:01,840 --> 00:43:05,839
Speaker 1: someone talk into your ear through a speaker, you will

650
00:43:05,960 --> 00:43:09,640
Speaker 1: feel it because those are fluctuations in air pressure. It's

651
00:43:10,120 --> 00:43:13,040
Speaker 1: not something you're imagining. You are feeling it. It might

652
00:43:13,080 --> 00:43:15,920
Speaker 1: be heightened because of the way the audio was recorded,

653
00:43:16,200 --> 00:43:20,520
Speaker 1: but it's actually happening to you. I think three D

654
00:43:20,640 --> 00:43:24,160
Speaker 1: audio is an incredible technology. There's a lot more we

655
00:43:24,200 --> 00:43:28,280
Speaker 1: could say about it, and not just from the technological side,

656
00:43:28,320 --> 00:43:31,960
Speaker 1: but the psychological side and the biological side. So maybe

657
00:43:32,000 --> 00:43:36,279
Speaker 1: I will do future episodes that will focus on this more.

658
00:43:36,840 --> 00:43:38,600
Speaker 1: I hope I get a chance to play with the

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00:43:38,600 --> 00:43:41,680
Speaker 1: three D audio microphone more. That was a lot of fun.

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00:43:42,200 --> 00:43:44,799
Speaker 1: I really enjoyed doing that. I hope that I get

661
00:43:44,840 --> 00:43:47,879
Speaker 1: to participate in some of the three D audio recordings

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00:43:47,880 --> 00:43:51,960
Speaker 1: that we have planned coming up, including some that are

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00:43:52,040 --> 00:43:54,600
Speaker 1: delving into different areas of fiction. I would love to

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00:43:54,640 --> 00:43:57,360
Speaker 1: do that, Honestly, I would love to do a full

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00:43:57,480 --> 00:44:00,840
Speaker 1: three D audio version of a Shakespeare are in play.

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00:44:00,920 --> 00:44:04,600
Speaker 1: It is something I have really wanted to do for

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00:44:04,640 --> 00:44:07,399
Speaker 1: a long time. I'm not even talking about necessarily being

668
00:44:07,400 --> 00:44:09,080
Speaker 1: in it, although it would kill me not to be,

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00:44:09,600 --> 00:44:13,560
Speaker 1: but to be able to experience a three D audio

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00:44:13,719 --> 00:44:17,000
Speaker 1: version of one of Shakespeare's plays, to me, would be

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00:44:18,640 --> 00:44:23,440
Speaker 1: unbelievably amazing. So if you think that's interesting, you should

672
00:44:23,440 --> 00:44:27,000
Speaker 1: write to my Heart and let them know, because I

673
00:44:27,000 --> 00:44:29,839
Speaker 1: think it would be great. I wouldn't mind working on

674
00:44:29,880 --> 00:44:32,799
Speaker 1: something like that, and let me know what play you

675
00:44:32,840 --> 00:44:35,600
Speaker 1: think we should do. Honestly, I'm thinking like much ado

676
00:44:35,640 --> 00:44:39,080
Speaker 1: about nothing. I think a comedy might be fun. But

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00:44:39,200 --> 00:44:42,440
Speaker 1: that wraps up this episode. If you have suggestions for

678
00:44:42,640 --> 00:44:46,279
Speaker 1: future topics, or maybe you have thoughts about three D

679
00:44:46,320 --> 00:44:48,279
Speaker 1: audio you would like to share, reach out to me.

680
00:44:48,560 --> 00:44:51,120
Speaker 1: The best way to do that is on Twitter. My

681
00:44:51,239 --> 00:44:54,719
Speaker 1: handle is text stuff hs W and I'll talk to

682
00:44:54,760 --> 00:45:03,640
Speaker 1: you again really soon. Text Stuff is an I Heart

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00:45:03,719 --> 00:45:07,479
Speaker 1: Radio production. For more podcasts from My Heart Radio, visit

684
00:45:07,520 --> 00:45:10,600
Speaker 1: the I Heart Radio app, Apple Podcasts, or wherever you

685
00:45:10,680 --> 00:45:17,640
Speaker 1: listen to your favorite shows. This episode was brought to

686
00:45:17,680 --> 00:45:20,759
Speaker 1: you in I Heeart three D Audio. To experience more

687
00:45:20,800 --> 00:45:24,120
Speaker 1: podcasts like this search for i Heeart three D audio

688
00:45:24,320 --> 00:45:28,520
Speaker 1: in the I Heart Radio app. Thank you to our sponsors, Audible,

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00:45:28,960 --> 00:45:31,759
Speaker 1: The Conjuring, The Devil Made Me do It, raded R

690
00:45:32,200 --> 00:45:33,400
Speaker 1: and World of Warcraft,