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I want to start by doing an experiment.
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I'm going to play three
videos of a rainy day,
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but I've replaced the audio
of one of the videos,
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and instead of the sound of rain,
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I've added the sound of bacon frying.
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So I want you think carefully which
one the clip with the bacon is.
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(Rain, or bacon fries)
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(Rain, or bacon fries)
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(Rain, or bacon fries)
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All right.
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So actually I lied.
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They're all bacon.
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(Bacon fries)
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(Applause)
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My point here isn't really
to make you hungry
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every time you see a rainy scene,
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but it's just to show
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that our brains are conditioned
to embrace the lies.
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We're not looking for accuracy.
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So on the subject of deception,
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I wanted to quote one
of my favorite authors.
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In "The Decay of the Art of Lying,"
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Oscar Wilde establishes the idea
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that all bad art comes from copying
nature and being realistic.
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And all great art comes
from lying and deceiving,
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and telling beautiful untrue things.
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So when you're watching a movie
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and a phone rings,
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it's not actually ringing.
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It's been added later
in postproduction in a studio.
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All of the sounds you hear are fake.
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Everything apart from
the dialogue is fake.
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When you watch a movie and you
see a bird flapping its wings --
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(Wings flap)
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They haven't really recorded the bird.
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It sounds a lot more realistic
if you record a sheet
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or shaking kitchen gloves.
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The burning of a cigarette up close --
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(Cigarette burning)
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It actually sounds a lot more authentic
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if you take a small saran wrap ball
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and release it.
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(Saran wrap being released)
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Punches?
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(Punching)
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Oops, let me play that again.
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(Punching)
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That's often done by sticking
a knife in vegetables,
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usually cabbage.
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(Punching cabbage)
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The next one --
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it's breaking bones.
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(Bones breaking)
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Well, no one was really harmed.
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It's actually ...
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breaking celery or frozen lettuce.
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(Celery breaking)
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(Laughter)
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Making the right sounds
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is not always as easy
as a trip to the supermarket
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and going to the vegetable section.
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But it's often a lot more
complicated than that.
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So let's reverse engineer together
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the creation of a sound effect.
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One of my favorite stories comes
from Frank Serafine.
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He's a contributor to our library,
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and a great sound designer for "Tron"
and "Star Trek" and others.
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He was part of the Paramount team
that one the Oscar for best sound
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for "The Hunt for Red October."
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So in this Cold War classic,
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in the '90s,
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they were asked to produce the sound
of the propeller of the submarine.
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So they had a small problem:
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they couldn't really find
a submarine in West Hollywood.
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So basically,
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what they did is they went
to a friend's swimming pool,
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and Frank performed a cannonball,
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or "Boba."
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They placed an underwater mic
and an overhead mic
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outside the swimming pool.
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So here's what the underwater
mic sounds like:
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(Underwater cannonball)
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Adding the overhead mic,
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it sounds a bit like this:
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(Underwater and overhead canonball)
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So now they took the sound
and pitched it one octave down.
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Sort of like slowing down a record.
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(Lower octave cannonball)
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And then they removed
a lot of the high frequencies.
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(Cannonball without high frequencies)
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And pitched it down another octave.
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(Lower octave cannonball
without high frequencies)
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And then they added
a little bit of the splash
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from the overhead microphone.
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(Cannonball with splash)
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And by looping and repeating that sound,
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they got this:
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(Looping cannonball sound)
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So you know --
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creativity and technology put together
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in order to create the illusion
that we're inside the submarine.
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But once you've created your sounds
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and you've synced them to the image,
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you want those sounds to live
in the world of the story.
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And one the best ways to do
that is to add reverb.
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So this is the first audio tool
I want to talk about.
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Reverberation,
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or "reverb,"
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is the persistence of the sound
after the original sound has ended.
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So it's sort of like the --
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all the reflections from the materials,
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the objects and the walls
around the sound.
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Take for example the sound of a gun shot,
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which the original sound is less
than half a second long.
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(Gun shot)
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By adding reverb,
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we can make it sound like it was
recorded inside a bathroom.
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(Gun shot in a bathroom)
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Or it was recorded inside
a chapel or a church.
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(Gun shot in a church)
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Or in a canyon.
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(Gun shot in a canyon)
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So reverb gives us a lot of information
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about the space between the listener
and the original sound source.
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If the sound is the taste,
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then reverb is sort of like
the smell of the sound.
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But reverb can do a lot more.
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Listening to sound
with a lot less reverberation
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than the onscreen action
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is going to immediately signify to us
that we're listening to a commentator,
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to an objective narrator that's not
participating in the onscreen action.
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Also, emotionally intimate
moments in cinema
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are often heard with zero reverb,
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because that's how it would sound
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if someone was speaking inside our ear.
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Or the completely other side,
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adding a lot of reverb to a voice
is going to make us think
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that we're listening to a flashback,
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or perhaps that we're inside
the head of a character,
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or that we're listening
to the voice of God,
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or even more powerful in film,
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Morgan Freeman.
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(Laughter)
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So --
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(Applause)
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But what are some other tools,
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or hacks,
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that sound designers use?
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Well here's a really big one.
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It's silence.
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A few moments of silence is going
to make us pay attention.
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And in the Western world,
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we're not really used to verbal silences.
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They're considered awkward or rude.
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So silence preceding verbal communication
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can create a lot of tension.
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But imagine a really big,
sort of Hollywood movie
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where it's full of explosions
and automatic guns.
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Loud stops being loud anymore,
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after a while.
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So in a yin yang way,
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silence needs loudness
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and loudness needs silence
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for either of them to have any effect.
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But what does silence mean?
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Well it depends how
it's used in each film.
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Silence can place us inside
the head of a character,
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or provoke thought.
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We often relate silences
with contemplation ...
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meditation ...
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being deep in thought.
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But apart from having one meaning,
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silence becomes a blank canvas
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upon which the viewer is invited
to the paint their own thoughts.
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I want to make it clear:
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there's no such thing as silence.
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And I know this sounds like the most
pretentious TED Talk statement ever,
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but even if you were to enter a room
with zero reverberation
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and zero external sounds,
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you would still be able to hear
the pumping of your own blood.
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And in cinema,
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traditionally,
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there was never a silent moment
because of the sound of the projector.
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And even in today's Dolby world,
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there's not really any moment of silence
if you listen around you.
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There's always some sort of noise.
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Now, since there's no
such thing as silence,
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what do filmmakers
and sound designers use?
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Well as a synonym,
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they often use ambiences.
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Ambiences are the unique
background sounds
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that are specific to each location.
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Each location has a unique sound,
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and each room has a unique sound,
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which is called room tone.
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So here's a recording
of a market in Morocco.
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(Moroccan market)
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(Voices)
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(Music)
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And here's a recording
of Times Square in New York.
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(Times Square)
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(Traffic, car horns, voices)
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Room tone is the addition of all
the noises inside the room:
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the ventilation, the heating, the fridge.
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So here's a recording of my
apartment in Brooklyn.
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(Brooklyn apartment ambience)
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Ambiences work in a most primal way.
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They can speak directly
to our brain subconsciously.
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So birds chirping outside your window
may indicate normality,
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perhaps because as a species,
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we've been used to
that sound every morning
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for millions of years.
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(Birds chirping)
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On the other hand,
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industrial sounds have been
introduced to us a little more recently.
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Even though I really like them personally,
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they have been used by one of my heroes,
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David Lynch,
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and his sound designer,
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Alan Splet,
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industrial sounds often carry
negative connotations.
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(Industrial noise)
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Sound effects can tap
into our emotional memory.
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Occasionally, they can be so significant
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that they become a character in a movie.
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The sound of thunder may indicate
divine intervention or anger.
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(Thunder)
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Church bells can remind us
of the passing of time,
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or perhaps our own mortality.
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(Church bells)
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And breaking of glass can indicate
the end of a relationship or a friendship.
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(Glass breaking)
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Scientists believe that dissonant sounds,
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for example brass or wind
instruments played very loud,
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may remind us of animal howls in nature,
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and therefore create a sense
of irritation or fear.
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(Brass and wind instruments)
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So now we've spoken about onscreen sounds,
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but occasionally the source
of a sound cannot be seen.
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That's what we call offscreen sounds,
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or "acousmatic."
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Acousmatic sounds --
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well, the term acousmatic comes from
Pythagoras in Ancient Greece,
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who used to teach behind
a veil or curtain for years,
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not revealing himself to his disciples.
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I think the mathematician and philosopher
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thought that that way his students
might focus more on the voice,
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and his words and its meaning,
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rather than the visual of him speaking.
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So sort of like the Wizard of Oz,
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or 1984's big brother,
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separating the voice from its source,
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separating cause and effect
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sort of creates a sense of ubiquity
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or [Panopticism],
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and therefore authority.
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There's a strong tradition
of acousmatic sound.
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Nuns in monasteries in Rome and Venice
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used to sing in rooms
up in galleries close to the ceiling,
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creating the illusion that we're
listening to angels up in the sky.
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Richard Wagner famously
created the hidden orchestra
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that was placed in a pit between
the stage and the audience.
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And one of my heroes,
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Aphex Twin,
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famously hid in dark corners of clubs.
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So I think what all these masters knew
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is that my hiding the source,
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you create a sense of mystery.
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This has been seen
in cinema over and over,
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with Hitchcock,
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and Ridley Scott in "Alien."
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Hearing a sound without knowing its source
is going to create some sort of tension.
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Also it can minimize certain visual
restrictions that directors have,
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and can show something
that wasn't there during filming.
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And if all of this sounds
a little theoretical,
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I wanted to play a little video.
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(Toy squeaking)
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(Typewriter)
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(Drums)
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[(Ping Pong)]
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(Knives sharpening)
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(Record scratching)
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(Horror sounds)
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(Woman screaming)
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What I'm sort of trying
to demonstrate with these tools
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is that sound is a language.
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It can trick us by transporting
us geographically,
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it can change the mood,
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it can set the pace ...
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it can make us laugh
or it can make us scared.
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And on a personal level,
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I fell in love with that
language a few years ago,
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and somehow managed to make it
into some sort of profession.
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And I think with our work
through the sound library,
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we're trying to kind of expand
the vocabulary of that language.
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And in that way,
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we want to offer the right tools
to sound designers,
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filmmakers,
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video game and app designers
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to keep telling even better stories,
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and creating even more beautiful lies.
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So thanks for listening.
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(Applause)