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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

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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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(Kitchen gloves shake)

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The burning of a cigarette up close --

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(Cigarette burns)

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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 releases)]

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Punches?

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(Punch)

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Oops, let me play that again.

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(Punch)

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That's often done by sticking
a knife in vegetables,

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usually cabbage.

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[(Punch: cabbage stabbed with a knife)]

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The next one --

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it's breaking bones.

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(Bones break)

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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 breaks)

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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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[(Cannonball splash)]

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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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[(Cannonball splash: lower octave)]

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And then they removed
a lot of the high frequencies.

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[(Cannonball splash
without high frequency)]

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And pitched it down another octave.

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(Cannonball splash: lower octave)

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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 splash: overhead microphone)]

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And by looping and repeating that sound,

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they got this:

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[(Submarine propeller)]

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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

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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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(Gunshot)

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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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(Gunshot in a bathroom)

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Or like it was recorded
inside a chapel or a church.

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(Gunshot in a church)

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Or in a canyon.

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(Gunshot 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 a sound
with a lot less reverberation

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than the on-screen action

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is going to immediately signify to us

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that we're listening to a commentator,

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to an objective narrator that's not
participating in the on-screen 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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On the completely other side,

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adding a lot of reverb to a voice


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is going to make us think
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 ...

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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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But I want to make it clear:

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there is 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,

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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: voices, music)

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And here's a recording
of Times Square in New York.

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(Times Square: 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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(Ambience: Brooklyn apartment)

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(Ambience ends)

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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


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may indicate normality,

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00:10:51,312 --> 00:10:53,890
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 chirp)

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00:11:05,957 --> 00:11:07,024
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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00:11:46,463 --> 00:11:49,428
(Thunder)

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00:11:52,248 --> 00:11:56,110
Church bells can remind us
of the passing of time,

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or perhaps our own mortality.

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(Bells ring)

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00:12:07,952 --> 00:12:12,361
And breaking of glass can
indicate the end of a relationship

237
00:12:12,361 --> 00:12:13,801
or a friendship.

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(Glass breaks)

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00:12:17,163 --> 00:12:20,531
Scientists believe that dissonant sounds,

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00:12:20,531 --> 00:12:26,655
for example brass or wind
instruments played very loud,

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00:12:26,655 --> 00:12:31,036
may remind us of animal howls in nature,

242
00:12:31,036 --> 00:12:34,264
and therefore create a sense
of irritation or fear.

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00:12:34,747 --> 00:12:38,277
(Brass and wind instruments play)

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00:12:40,860 --> 00:12:44,349
So now we've spoken
about on-screen 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,

247
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or "acousmatic."

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00:12:53,779 --> 00:12:56,195
Acousmatic sounds --

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well, the term acousmatic comes from
Pythagoras in Ancient Greece,

250
00:13:01,108 --> 00:13:04,823
who used to teach behind
a veil or curtain for years,

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00:13:04,823 --> 00:13:07,920
not revealing himself to his disciples.

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00:13:08,228 --> 00:13:10,549
I think the mathematician
and philosopher thought

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00:13:10,549 --> 00:13:13,860
that in that way,

254
00:13:13,860 --> 00:13:18,020
his students might focus
more on the voice,

255
00:13:18,020 --> 00:13:20,008
and his words and its meaning,

256
00:13:20,008 --> 00:13:23,043
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,

259
00:13:30,563 --> 00:13:34,053
separating the voice from its source,

260
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separating cause and effect

261
00:13:36,913 --> 00:13:38,863
sort of creates a sense of ubiquity

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or [Panopticism],

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and therefore authority.

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00:13:43,404 --> 00:13:46,331
There's a strong tradition
of acousmatic sound.

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00:13:47,504 --> 00:13:51,623
Nuns in monasteries in Rome and Venice

266
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used to sing in rooms
up in galleries close to the ceiling,

267
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creating the illusion that we're 
listening to angels up in the sky.

268
00:14:02,765 --> 00:14:06,258
Richard Wagner famously
created the hidden orchestra

269
00:14:06,258 --> 00:14:09,836
that was placed in a pit between
the stage and the audience.

270
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And one of my heroes,

271
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Aphex Twin,

272
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famously hid in dark corners of clubs.

273
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So I think what all these masters knew

274
00:14:17,990 --> 00:14:20,443
is that by hiding the source,

275
00:14:20,443 --> 00:14:21,984
you create a sense of mystery.

276
00:14:22,250 --> 00:14:24,342
This has been seen
in cinema over and over,

277
00:14:24,342 --> 00:14:25,337
with Hitchcock,

278
00:14:25,337 --> 00:14:26,911
and Ridley Scott in "Alien."

279
00:14:27,446 --> 00:14:32,562
Hearing a sound without knowing its source
is going to create some sort of tension.

280
00:14:34,732 --> 00:14:40,179
Also it can minimize certain visual
restrictions that directors have,

281
00:14:40,179 --> 00:14:43,810
and can show something
that wasn't there during filming.

282
00:14:43,997 --> 00:14:46,327
And if all of this sounds
a little theoretical,

283
00:14:46,327 --> 00:14:48,733
I wanted to play a little video.

284
00:14:49,545 --> 00:14:52,072
(Toy squeaks)

285
00:14:52,506 --> 00:14:55,409
(Typewriter)

286
00:14:55,897 --> 00:14:58,642
(Drums)

287
00:14:59,332 --> 00:15:01,860
[(Ping-Pong)]

288
00:15:02,634 --> 00:15:05,757
[(Knives sharpen)]

289
00:15:06,018 --> 00:15:09,207
(Record scratches)

290
00:15:09,569 --> 00:15:10,989
(Horror sounds)

291
00:15:10,989 --> 00:15:12,446
(Woman screams)

292
00:15:13,038 --> 00:15:18,091
What I'm sort of trying
to demonstrate with these tools ...

293
00:15:18,091 --> 00:15:20,145
is that sound is a language.

294
00:15:20,684 --> 00:15:24,763
It can trick us by transporting
us geographically,

295
00:15:24,763 --> 00:15:26,723
it can change the mood,

296
00:15:26,723 --> 00:15:29,725
it can set the pace ...

297
00:15:29,725 --> 00:15:33,175
it can make us laugh
or it can make us scared.

298
00:15:34,960 --> 00:15:36,415
And on a personal level,

299
00:15:36,415 --> 00:15:39,668
I fell in love with that
language a few years ago,

300
00:15:39,668 --> 00:15:41,809
and somehow managed

301
00:15:41,809 --> 00:15:44,549
to make it into some
sort of profession.

302
00:15:45,499 --> 00:15:48,899
And I think with our work
through the sound library,

303
00:15:48,899 --> 00:15:54,051
we're trying to kind of expand
the vocabulary of that language.

304
00:15:55,858 --> 00:15:57,327
And in that way,

305
00:15:57,327 --> 00:16:01,201
we want to offer the right tools
to sound designers,

306
00:16:01,201 --> 00:16:02,572
filmmakers,

307
00:16:02,572 --> 00:16:05,010
video game and app designers

308
00:16:05,010 --> 00:16:08,680
to keep telling even better stories,

309
00:16:08,680 --> 00:16:11,109
and creating even more beautiful lies.

310
00:16:11,339 --> 00:16:12,797
So thanks for listening.

311
00:16:13,204 --> 00:16:15,665
(Applause)