Why that drone sound in movies gives you anxiety

Why that drone sound in movies gives you anxiety


When you hear this sound something bad is probably about to
happen. This sound is what TV Tropes calls the Drone of Dread. No, not attack drones or those robots flying in the air, or a male honeybee, or that part of a
bagpipe. Drones. Like the sustained sound that can be a low or high frequency. How composers create the Drone of Dread can vary. But some version of it is used in almost every thriller, horror
movie, or suspenseful drama. New technology has made it possible to mix sounds in new ways, helping make drones more common. – It’s a sound of dread and that is something that I think triggers fear in all kinds of
creatures. And the dread that the drone
represents: our real life anxieties, rendered
through sound. I’m Adam Epstein. This is Quartz. Please subscribe to our channel. This might be the very first drone
sound created specifically for film. It’s part of what’s considered to be one of the very first horror film
scores. – It’s ‘Jekyll and Hyde’ that begins
this tradition of the horror film doing really unsettling effects with the sound and the music
together. And these sustained sort of
mysterious sounds that you can sort of identify, but can’t quite identify. It creates a really uncanny effect. Neil Lerner is a musicologist at
Davidson College in North Carolina. He’s studied music in film for
over 20 years. He even wrote a book on how sounds build fear in horror films. Neil says that films use the drone sound specifically to make viewers feel uncomfortable in their seats. – The way Drones often work is that
they just build up tension and in their unwavering qualities in
the way it just keeps on giving that same
sound. That reaction of feeling tension or
something. Some sort of unease over that is what
it’s there to do. One example is the iconic, disturbing
droning you hear several times throughout
‘2001: A Space Odyssey’. That music was just, you know,
listeners wouldn’t know what to make of that. It doesn’t have rhythm really, it doesn’t have melody. I mean it’s just sort of a mass of sound that might, it might start on this pitch and stuff might just start to build
on top of it. The drone tends to pop up most often
in films during moments of great global
anxiety and unrest. ‘Space Odyssey’, for instance, came out at the height of the space race, when the world was blanketed in anxiety about new technology that could take over—or destroy—civilization. Even at the time of ‘Dr. Jekyll & Mr. Hyde’ the world was facing a major depression. The worries and fear around the Cold War Brought out intense, foreboding drone sounds in films like ‘Eraserhead’ and ‘The Thing’. And more recently, the drone is getting at our deeper anxieties, in a society dominated by technology, and questions of loneliness and self worth. Take the social network. – And each of these have their own
relationship to the drone pitch. So he’s playing with mostly stable
harmonies in here. They’re all the other sounds that he
starts to put into the mix that make it sound more unstable and unsettling as it goes on. But to reach our deepest fears and
anxieties the drone must go beyond just a
film’s music score. – We would take these segments of his score and then start using them in other places where they weren’t originally
intended to. Because it was such a perfect element
of anxiety that we started building other scenes
and other areas where they didn’t originally discuss
to use it. Lewis Goldstein and Tom Ryan mixed
and edited the sound for the hit 2018 horror
film ‘Hereditary’. – So that you know,. that’s just the drone without
anything, this is our drone. It’s always there, subtly. Especially when the music goes away
you hear it much more. They worked closely with composer
Colin Stetson’s score to make the sounds that calibrate the tension and dread in the film. – Why is it, why do they work so
well? – The non-wavering, you know, and when I say wavering I mean if something that goes on for so long, it just affects you. The late Johann Johansson created
drone sounds so overwhelming, that they cause
rooms to shake. Like this one from ‘Arrival’. These low humming drones make us anxious. Playing directly into our
subconscious as humans. – It triggers something just hard
wired into us, as physical creatures that used to
run around in the forest and flee from predators, and of being able to detect just through these vibrations, as huge creatures from miles away are pounding towards us. That films have been so effective at connecting the drone to anxiety, may tell us something about our
modern world. – Tying it into the sort of zeitgeist, into the sort of just the general feeling of 2019 and apocalypticism, and climate change, and all this stuff, like, the world has a drone going on
right now. We can feel this unease in the ‘Dark Knight’, which opens with an obvious drone that then sets the mood for the rest
of the film. – Just complete psychological unease. I think it’s a great sonic symbol for it. There are problems that we’ve known about for a long time, that we’re just letting that drone on. – That’s terrifying. – It is really terrifying. The drone has found its way off the
screen and into real life too, in terrifying
ways. Thousands of people around the world have reported hearing a bizarre, low-frequency sound in a phenomenon known only as “the hum”. – The worldwide hum is usually
described as a low-pitched rumble. And scientists, still, aren’t totally
sure of the cause. Maybe it’s mass hysteria. Maybe it’s just tennitis. Or maybe it’s the Drone of Dread, ever present, a herald of our impending doom. Have you noticed the drone of dread
in movies? Or maybe in real life? Tell us about it in the comments and
follow us on Facebook. Next week Quartz takes a look at what could be the future of meat — real, lab-grown meat.

Funniest Auditions Ever On Got Talent Around The World | Vol. 1

Funniest Auditions Ever On Got Talent Around The World | Vol. 1


you Huh? Good evening. What’s your name? My name is Steven holl Steven home h a double L Thank you for clarifying that How old are you steven? I’m 53 and um what’s your job I would telecommunications engineer Do you think that what you’re gonna? Do for us is suitable for the royal variety I do indeed. Yes, okay? You’ve got two minutes to possibly change the rest of your life. Good luck Thank you Here we go You broke my heart Cuz I could dance You didn’t even want me around but now I’m back to Let you know that I can really shake him down I What is he gonna do? Hello Good evening. How are you good? Thank you good good right? Tell us a bit about yourself My name is Mark Matata come from Paris warm door. So what are you gonna? Do for us today? I have a special guest for you, okay. Can I invite sure yeah, just for you, miss Wendy Come on Sit down, okay. You’re come fall down. Don’t worry It is she lovely Hello. I am mark metal. I am a 61 and I’ve come from Paris Are you forget about today? Well? You know when you work with with a live dog It’s always anything can happen yeah flashing. I grew up in a little village in France and my parents was beach Farmers it’s a it was a hard life. If you’re like, bitch. I can bring your good one So we hurt okies one day. It’s a rottweiler. I Abyss dog since he has two months without air. I will be nothing you think about your audition Everything gonna be all right no vivian my wife she told me you are crazy to make a prudential talent Is to play in front of oil familiar for me? It’s like a dream. I’m always dreaming even at my age Whenever you’re ready Hey, you can say you good evening. You speak English? It’s my night come on. Hey say something no What what why not? It’s fantastic come on the presidency dirge. Yes, oh no, no listen in English see Spanish we can say okay? Hey, Wendy listen to me. You think I am stupid. Yes? So well you don’t want to speak anymore. No, okay, and now oh yes. I want You know you know how to sing know what yes yes, yes Well, we’ll listen to [you] Its bow wow and you understand? Music plays we’re going to sing something for you. All right. Okay. Don’t look at me look at me audience. Ten exact feelings come on Nothing more. I’ll see you know Trying to fucking or together okay? No, please come on. Eh pretty good talent, okay, [ought] to get that feeling me oh Oh, no God spice is awesome This is my good friend pissarro. It’s a Brazilian word It means bird bird Bird bird They call me bird Bird Bird mutant Look at her. Miss Miss French see the Vixen of diddly It’s actually vicar of Dibley you’d pray for what you want all three for what I want That’s funny who the hell is that? That’s Kyle? He’s ugly. That’s enough. [you] don’t sorry That was a matter of time You don’t tell him he’s ugly huh, you don’t do that Apologize tell him you’re sorry. I’m sorry. You’re ugly no I apologize kool. I’m sorry. I love you in this french Don’t say that I’ll answer talk to her properly engage her in conversation How old are you no? No no? You don’t ask a lady her age What you’re you don’t know I? Love [you]. I know you love us stop saying it I Love you Alright, that’s enough. That’s enough. I gonna sing to her There’s no song we’re not doing as long hit the music and I I will always love sure Always stay off we go With a fairy tale of love. Thank you This is the story about love when a guy eats a girl in a bar. He see the girl Only wants to say he’s a great big hello She looked lovely the dress that night. She was wearing boys She wasn’t looking at it. So he showed her his best dance mouse I am so feelin Hey, Wanna drink what you want? Why? fair enough Girl looks like I in says I’m sorry. I’ve got a little toilet don’t go he says please don’t go I love this act. Oh the girl comes back Hey, when I come back to my place with coffee the guy says hey, I got The guy got the girl and now they be together for 45 years Is it merry tale Mama? Thank you? What’s your name David? And what’s your right boot and dancing dude you aspire to be like in the world of dancing who are your heroes? One of my ears is Justin timberlake okay off you go ah I see you comb your hair and give me that Grin It’s making me Spin now spinning within before I melt like snow. I say hello How do you do? David look the truth. Is that you are completely and utterly useless right [beautiful]. No absolutely not What happened? what about To battle you, huh? Made a mockery of me who did Simon the judges and all the sign up mostly or Nia now I just feel stupid being there on that stage and from all those people telling them running off What would you regret swear at them now? regret running off Jonica back on and and speak to the judges in Apologize Mary and I Have a conversation with them. Yeah. Yeah, what’s this order ok goner? All right? stars I want to apologize to all of your audience for the losing it in front of you, but it was a try and as Well unfortunate I come here to apologize and to talk to them and all you can do is say that they come off it kicked off again ah Ok we didn’t actually say anything been waiting. So my mother’s getting a mockery from the audience now Do you know that feel stan yeah, but you don’t listen to me you you chose [to] come here today? You chose to show us [your] skills in front of this audience. What do you expect if it doesn’t go your way? It’s not always gonna. Go your ways. It’s in the boy David if Nobody’s Let’s not forget from an audience after trying to apologize they stand on the stage and do it I’m everybody like you have yeah, I’m just got to carry on what I want to do, right I gotta show that Simon cowell that who’s boss. See. That’s a better attitude. Yeah before running are a lot better Yes, so they can all go and beep What see it come on? Yeah? Go on tell him tell him they can oh I’m gonna when you answer okay also fiance Soldiers have done this one hope You want to do it? Yeah? Let’s get you home, and go make them. Love all yours. Good luck have fun Hello Hi, it was named got this candice were you from Latvia ok from Latvia? Why did you why’d you come here? I came came here to live my name is gud dis [candace] and I’m originally from Latvia But now I live in the west hendon near Sainsbury’s and I’m gonna be doing stand-up comedy and the gigs I’ve been doing people usually laugh, but then sometimes I get high cold and it’s painful and Sometimes they’re just quiet. Which is also in full well as the forward to seeing simon Then I found out Carmen Electra’s Gonna be there very excited to see her and desert of judges Oh David Walliams is obviously he’s a comedian all right, okay, I? Didn’t know the David’s Gonna be dead. Okay dealer. Who he is? Okay, good luck um okay Okay, I hello are there any guys with big muscles in the audience? No, good, then I’ll talk about them You know you know those big muscles make those guys so heavy that they cannot write a pony however They can break a fragile toilet seat. I mean, I mean do they work out to attract the ladies Well actually the ladies are attracted to what’s inside of a man Back me up ladies if you agree say year Rapidly moving on Public toilets can’t live without them can’t live in the meter because there is no fridge and microwave they’re Often when I use the male toilet some guys their part very loud, and I don’t like that So when possible I sneak into the ladies toilets instead because they’re much more discreet about it Well at least when they know that I am there A Seeing is believing and weighing is relieving Hey, the funniest quote we’ve had malice me more Re well now you never well you you’re a person What’s going on here? You are the funniest Unfunny asst comedian I have ever heard in my life. I mean Absolute Rubbish, but it actually really really made me laugh Now that that was my aim to make you like what you’ve certainly did that gatos it was so bad that it was actually brilliant Yeah, you mustn’t change you seriously must not change even the jumper keep the job [barotrauma] done is nothing wrong with it. It’s hilarious I’m gonna kick this off because you did actually make me laugh, and that’s what comedians are supposed to do so I’m gonna say yes I’m just say yes It’s a [note] from me today So it rests with me The way you must judge comedy is did it make you laugh? Made me laugh. I’m gonna say yeah Let’s see under all that facial fuzz our judges can find a whisker of talent is all but is all that real It’s real yet thought right he obviously brothers. We are we twins yeah What are your names the Nelson twins it nelson twins and have you been performing along? Well, I’ve been performing for about five years and know hopefully he starts [tonight] All right, well let’s have a look at what you got like. Oh, thank you Well, it’s great to be here. I’m not excited on beside myself Good evening. Everyone where the nelson twins my name’s Justin and this is my identical twin sister Sharon We should tell you a bit about ourselves We come from a small country town in new South Wales Corps ball Boundary and we used to be apprentice Baker’s Which is a coincidence cuz we’re inbred Wall Boundary was a small town it had one shot one pub in one prostitute Haha, mum, found a pretty tough working three jobs our mom didn’t [even] know she was having twins until she was six months pregnant and Our dad was even more surprised because he’d been in jail for three years Boom twins we can send each other telepathic messages, but telstra found out about it, [and] [it’s] now in [building] plan It’s really frustrating knowing what each other’s thinking we once played a game of rock-Paper-scissors that lasted three years I Really hate gone through airport security at the moment, but I love flying cuz every time we catch a flight somewhere I always sit at the front of the plane, and he sits at the red Then I’ll tell the gay flight attendant to meet me at the back in five minutes Sorry bit nervous Who are you? I’m phil w green and I’m 21, and I’m gonna be doing comedy impressions But let you do this full time No, I don’t know. What do you do? I work at body shop at the moment as a customer consultant, but your dream is to be a big Jess I’d love to be on stage Philip did you bring anyone with you, sir? Yeah, my friend Christy. She work a body shop She did, but she’s recently left why because she found a better job where and she now works and at Baratz so Hope is good after all of this, okay will Phillip. You’ve got roughly two minutes. Let’s do it. Okay Hello, I’m getting a better day I’d say we’re going to be health working out So everyone put your hands out in front of you spread [your] legs and do some squats Miami baby a Martin Fowler Sofa is there. I don’t quite a wimpy [Pal] winching oh It’s so nice to be here. I mean we sure and to just get is absolutely fantastic You know what I’m gonna meet her hello. Oh, thanks for having [a] child rang. Oh Juan de jongh recently oh my God. I mean. I saw this one’s that’s or even more one’s house. I won’t be secret away, oh My goodness. Have you seen [the] Bacteria in here it is awful. Isn’t that right kim? Oh? That stinks don’t it’s me And um I swear Thank you very much need how many of you here tonight all ready to enter the land of make-believe Looks like how he’s already in the land of make-believe Which makes you the perfect person to join me up here on stage would you mind let’s hear it for Howie Mandel everyone Yes, thank you in your own time Howie I understand your logic the longer the longer you take the shorter my act I quarless and have a seat there Howie tonight live from radio City you are going to become a human Ventriloquist Dummy Okay, now all you have to do [all] you have to do is keep looking out there all right Let me do all the talking okay, and I’ve got to say that’s a pretty good fit By the way, this is Charlie. Are you okay? Charlie? Yes? Thank you First of all we got to find you a voice. I mean it matches your physical appearance something butch something macho. Are you okay? Well, it shots me. It shocked me. I was only joking I’m going to change the voice no. No I like it Okay, I want to say hello to my fans you want to say hello to this lock yes [turn] the people on the right get My big wave say hello Hello Nicely done now the people on the left say hi to them Yeah And now that people write up a talking my big sexy. Hello Hello Did you see them waving back yeah idiots now stop touching me what get away? What [stop] touching me? What do you mean? I’m not touching get away, okay, all right. All right is that far enough? perfect Hi, how are you doing that? I’ve got a little controller in my hand here. Oh wow that’s amazing He’s got a controller. He can control me. Yes, that’s right. [oh] now. We can have some fun I don’t want to be a judge. No. I want to be an act You want to be an actress? You go and judge me you want me to judge you yes go and sit in my seat I can’t sit in your seat. No, no I insist well if you insist Hello fellow judges It’s great to be here [okay], so I can’t believe I’m the judge on America’s got talent. So what’s your name well? My name is um my name um sorry. I don’t get nervous. Don’t worry take your time My name is harry. Hello good evening how and what are you gonna? Do for us tonight tonight? I want to do my dancing Look you. You don’t have to know now. I really want to Okay, so do you have some moves you like to show us. Oh yes, let me stand up first of all Here I go Okay, first of all I’d like to stretch. I’m going to do some stretching. I’ll just stretch my arms like this and my legs like news Ok so now to business okay. What are you gonna? Do I’m gonna show you my twerking So I Turn around I turn around I Put my hands on the seat, and I wiggle my [back] Um is that it? Oh yes hang on let me turn around again. Yes. Ok so that was fantastic. Don’t make me laugh though I can’t make you talk and I love So what are you gonna? Do for your performance this evening tonight? I’m gonna do some Irish dancing really naked I I really don’t think this is the show for that, so well when you’re ready the stage is yours cue the music Is this working yet? I guess the ring near you tastic, okay mmM You’re playing we could go [on] all night like this. Yes, you want to yeah, I wouldn’t be great. Haha What is your name? My name is Ray? Jessel would you share with us your age is that really of meat? I’ve got plenty to share yeah 84 84 are you excited to be here. I’ve never performed before judges before I’ve appeared before judges Crane what will you be doing for us today a song I’ve written can’t wait to hear it alrighty. Thank you Thank you, sir. Very good. That’s wonderful Okay, and for my second song I’d like to I Met this girl She’s just great this girl. I just adore the problem is She has much more than I had bargained for She’s got that style She’s got that smile. She’s got the walk She’s got the talk. She’s got that zing. There’s just one thing She’s got a penis She’s got that flair that was what to wear? he’s got a nice that girlish great students got pizzazz too bad she has a penis There’s always some failure always some flaw ain’t that what they call Murphy’s law but male Genitalia, that’s where I draw the line Besides hers is bigger than mine Cuz under that dress she’s gotta be and is yes oh

How the Covox and Disney Sound Source Worked.

How the Covox and Disney Sound Source Worked.


Let’s imagine it is 1986 and you have a
PC. Now, we didn’t call them MS-DOS computers
back then, we called them IBM compatibles. Unless, of course, you had a real IBM, in
which case you just had an IBM. But anyway, what were your sound options back
then? 99% of PCs had only what we referred to as
the PC-Speaker. Yes, this is the speaker that could produce
square-wave tones that we’re all familiar with. So, how did that work? So, you had these various components like
the CPU, RAM, and video chips. And you had IO ports like the keyboard, serial,
and parallel ports. And you had the PC-speaker. Now, the CPU can read and write to the RAM,
and then send that information along to say the video, or one of the I/O controllers. Or it can send information to the PC-Speaker. Or, more accurately, to the system timer which
controls the speaker. Once the frequency of the tone has been set
in the timer, it will continue to make that tone without the CPU being involved. In many ways, you can think of the PC-speaker
as a one-voice synthesizer that can only produce square waves. Some programmers even made the speaker sound
pretty good by alternating the tones very quickly, giving the illusion of more than
one voice. And some games even managed to produce digital
samples using the PC-Speaker. But since it is a 1-bit sound device, it doesn’t
sound that great. But the real problem with producing digital
samples, is that the CPU has to read every byte from RAM and precisely control every
tick of the PC-speaker, thus hogging up almost all of the CPU time for producing this sound. A few years later with cards like the sound-blaster,
they had something called DMA, which meant that the CPU could simply give one instruction
to the sound card, telling it where the sample was in memory, and the sound card could handle
the task of reading that sample from memory and playing it on it’s own, while the CPU
could go back to it’s own tasks. But then this curious thing came out in 1986
called the Covox Speech Thing for the IBM PC. Of course, Covox was making sampling devices
for other computers back then, such as this Covox Voice Master for the Commodore 64. But, I’m going to tell you right now, I
don’t have the Covox device or the speech thing for the IBM PC. In fact, they’re virtually impossible to
find. They’re very rare. However, I recently received a donation of
a modern clone of the Covox, called the CVX4. And so I’ll be demonstrating this instead
of the original Covox. And since I’ll need a computer to demonstrate
it on, I thought this old 486 laptop would be perfect since it has no sound card built
in and there is virtually no other way to get a sound card in it, at least that will
work with DOS games. So I’ll connect my little Covox clone here
and I’ll need something to hear the sound with, so I’ll use my 1980s bombox. But since I want you guys to be able to hear
this clearly, I’ll pipe the sound through my Zoom H4N to record the audio for you guys. So, how does the Covox work? Well, the parallel port in an IBM compatible
has many pins, but 8 of these can be controlled at will by the CPU. These are essentially general purpose I/O
pins. But if you use them together you can create
an 8-bit value. And the Covox is nothing more than an 8-bit
digital to analog converter that takes these 8 lines and converts it to an analog voltage,
or essentially a line-level audio signal. So, in many ways it works pretty similar to
the PC-speaker, only its connected to the I/O chip and the CPU will still have to work
hard to move the information from RAM one byte at a time. But at least it is 8-bit instead of 1-bit
like the PC Speaker. So, how does it sound? Back in the DOS days there was kind of an
obsession with these Amiga MOD tracker files, and this program was one of many that could
play them on DOS machines. First I’ll configure it to use the PC-Speaker
and let you have an idea what this sounds like. Because it is so faint, I’ll have to put
my microphone right up to the speaker to capture it. You can cycle through different screens while
the music is playing. OK, now let’s configure the program to use
the Covox and try it again. Well, that sure sounds a lot better to me. Even kitty approves! So, considering that this thing relied entirely
on the CPU, and CPUs weren’t even all that fast in 1986, what was it really used for? Well, that’s a good question and I haven’t
been able to find a solid answer on that just yet. I did find a magazine article where somebody
was asking about a software program for digitized speech, and the magazine responded about the
Speech Thing being used for digitized words to be incorporated into BASIC programs. The earliest game I can find that uses the
device is 688 Attack Sub, but it didn’t come out until 1989. So, my guess is, just like the C64 version
of the Covox products, they probably had their own little suite of that came with the original
speech thing. But as time went on, more and more games started
to support the Covox as a sound device. And, one of the big advantages it had was
it’s price. In 1987, the Adlib Sound Synthesizer came
out at $195. The Sound Blaster came out a couple of years
later at $235. But you could buy a Covox Speech Thing for
$79. And while price was in its favor, the big
problem was the complexity of coding required in order to make it work. So, basically any game that were to use it
would require very precision timed software routines in order to be able to produce sound
and also run the game at the same time. Plus, the older machines weren’t all that
fast to begin with so they didn’t have a lot of extra CPU cycles to begin with. In fact, if you look at mobygames, you can
see that only 55 games were known to support the Covox Speech Thing. In 1991, a competing device came onto the
market known as the Disney Sound Source. This product works in a similar way, but sold
for a very aggressive $14 and was even bundled with different games, such as this game, The
Rocketeer. So let’s unbox this and see how it was all
packaged. This box, unfortunately, has seen better days. OK, so here’s the parallel port connector. And here’s the little speaker. And dang! The box almost looks empty. But they’ve hidden the floppy disks down
in this little pocket here. It also comes with some little wheel. My guess is that this is some sort of copy
protection device where it asks you to find some information to start the game. So let’s take a closer look at this thing. This is really where the action happens, this
contains the digital to analog converter and it has a passthrough connector so you could
connect your printer. That way you don’t completely give up your
parallel port to this thing. This part here is just essentially a little
amplifier with a built in speaker. You can sort of see a Mickey Mouse outline
in the speaker, which makes sense being a Disney product. It does run off of batteries, which is sort
of annoying. But it does automatically shut itself off
when not in use by any software. It also has a headphone jack. So, the question is, is the Disney Sound Source
any kind of improvement over the Covox? Well, the answer is yes and no. It has one big advantage and then one huge
disadvantage. Now, the big advantage is that contains a
small FiFo buffer. Let me explain how that works. With the Covox unit, the CPU has to time the
flow of bytes perfectly, thus chewing up a lot of the CPU’s time. With the sound-source, there is a buffer so
the CPU can send the same information but it can do it erratically at it’s leisure
and the buffer will output a steady stream of sound data to the DAC. And while not as good as the direct memory
access we talked about with a sound card, this buffer does remove a huge burden from
the CPU and the programmer because timing is no longer as important. This, combined with Disney’s better marketing
of the product, meant that the sound source got a lot more support from games. And you can see that Mobygames lists 131 games
that support the Sound Source. That’s still a small number compared to
something like the Ad-Lib which had over 1600 titles supporting it, but a lot better than
the Covox. So, what was that huge disadvantage I was
talking about? Well, with the Covox, the frequency can be
anything you desire because it’s entirely up to the CPU to handle timing. Thus, as you can see when playing this mod
file, it’s running at 44 Khz. However, with the Disney Sound Source, it’s
up to this buffer to determine the output frequency and it is fixed at a measly 7 Khz. So, let’s connect the sound source and have
a listen. I’ll have to use a different MOD player
that will support the sound source. But here we go. The bass isn’t bad. But the treble is terrible. Compare that with the Covox again. And now the sound source. Also, the little speaker isn’t great either. Compare with the sound from my boombox. So the Disney Sound Source was really meant
more for, you know, sound effects and a little extra speech and stuff like that to be integrated
into software and games more than it was meant for actual music. And it did pretty well for sound effects and
speech. But really, what good is one of these today
because anyone who has an old MS-DOS computer could probably easily afford, you know, and
actual sound blaster or compatible card to put into it. Well, the big advantage for me anyway is when
I’m wanting to use these old laptops like this one because it doesn’t have a sound
device of any kind and there’s no way to put one in there. Now, granted, only about 15% of the games
out there actually support one of these devices. So, the first thing I want to do is show you
some games that natively support either the cover or the Disney Sound Source. And, I’m going to be using this laptop. No emulator, I want you to actually see and
hear exactly what it sounds like. The first one I’m going to show you is one
of my all time favorites, Duke Nukem 3D. Now this game would have absolutely no sound
or music of any kind on this laptop normally. But it supports the Disney Sound Source for
sound effects only. So, while there is no music, the game is certainly
more enjoyable to play like this. The next game I’ll show you is Prince of
Persia. This game normally just has PC speaker sound
effects on this laptop, but with the Disney Sound Source it is also much more fun to play. Pinball Fantasies actually supports the Covox
and it actually sounds absolutely fantastic. OK, so those were some examples of games that
support one or the other. And that seems to be what I’m finding is
that games support one or the other but not generally both of these devices. But, now I want to show you a way to get even
more games to support the Covox. A few years ago, somebody wrote a Tandy 3-voice
sound emulator that works with the Covox. So once you load that into memory, then you
can start a game, such as Tetris Classic. So, I’ll pick VGA and when it asks what
kind of sound, you can see that number 9 here shows Tandy 3-voice sound. So I’ll pick that. The game complains that it can’t detect
it, but if you ignore the message it works anyway. So, the Tandy sound system is fairly primitive,
but that’s probably why it was chosen as it would be much less CPU intensive to emulate. And it seems to work well. This is much more fun to play than using the
PC-speaker sound. And here’s Populous using the Tandy sound. And here’s Ultima 6 using Tandy sound. Now, Ultima still always plays the sound effects
through the PC speaker, and it even does that with other sound cards too. It tends to only use the sound card for music. And since my recording is only catching the
music, you can’t hear the sound effects here. If you look at mobygames, there are 432 games
that supported Tandy sound, so that opens up a lot more games that can now have sound. OK, so I tried a lot of software using the
Tandy emulator and I found that about half of the software just flat out wouldn’t work,
mostly because it wouldn’t detect the presence of a Tandy sound card. Now, the reason for this is that a lot of
the older games, the way that they would detect for the Tandy was to check the computer’s
BIOS to see if the word Tandy was somewhere in the BIOS. That’s because Tandy computers were the
only ones that shipped with that hardware so it was an easy way to check for the device. And since this emulator only emulates the
hardware, it doesn’t change the code in the system BIOS, so many of the software simply
fail to detect that it’s there. And, there’s no easy fix for that. Still, between the natively supported games
and the games that will work with the Tandy emulator, that’s a pretty large selection
of games that can now have sound on this machine using a simply device like this. And, there’s one more thing I haven’t
shown you. Believe it or not, almost all of the Sierra
adventure games can be made to work. Somebody recently created a new driver that
you can copy into the folder of Sierra games and it supports a special 4 voice mode. Keep in mind these voices are essentially
created in realtime with software so they can’t be too fancy. Nevertheless, I can now play these games with
some music. Normally, a game like this has no music at
all, only some beep-like sound effects from the PC speaker. So, between the native support, the Tandy
emulator, and all of the Sierra games, there are now many hundreds of games that can have
sound on this 486 laptop, even though it doesn’t officially support any sort of sound card. So that’s cool, and if you’re into old
laptops like I am, then is definitely an inexpensive device that would definitely give some sound
to your old laptop. And I’ll put a link down in the description
field where you can buy one of these, and no I’m not making any money off of this. But, I think there’s a lot of other vintage
enthusiasts out there that would probably enjoy getting their hands on one of these. So, that’s it for this time, so thanks for
watching and stick around until next time!

Using Music With Story For Personal Inspiration kiwiconnexion practical theology

Using Music With Story For Personal Inspiration kiwiconnexion practical theology


Welcome everyone. I’m David Bell. A question on most people’s minds these days
is: how can we live well? Over the last three episodes we’ve looked at our personal memories as well as our common cultural memes; memory is key to our identity. We also considered the Danish way of cultivating an inner and
outer life, hygge, balancing hospitality with warmth and
contentment. And last episode we thought about having a purpose, being a purpose and living out a purpose: life design and design for life. This week we concentrate on music and story in a well-lived life. Why do music and story matter so much? Most of us have learnt in early childhood to sing simple songs around our parents and
siblings, and to skip and perform little dances. We enter the world of music from a very young
age, perhaps the outset of birth, it’s in the memes, the cultural memory. But today’s world is as equally cursed with noise as it is blessed with music. What’s missing, fundamentally and obviously, in our city environments, is silence. Silence is like the white space so necessary in typography. There it gives space for type to breathe. The well-designed page is a joy to the eye. Just so in music. And in story. There’s rhythm in speech as well as song. The well-told story is an aural experience in and of itself. We are our memories. We are our stories. We are the music we make and we are the silences we inhabit. You’ll have noticed how uncomfortable some people are with silence. They will go to great lengths to avoid it. That’s kind of understandable, but not always desirable. Speech and song are equal partners in the innate desire to communicate. We need to feel this as a two way event. We have to receive and we have to transmit. So how do speech and song really work? Yehudi Menhuin remarked, �Music creates order out of chaos; for rhythm imposes unanimity upon the divergent; melody imposes continuity upon the disjointed; and harmony imposes compatibility upon the
incongruous.� Because music and story are fundamental to self-expression we need to build some simple strategies to
help us. And the clue is in the timbre of the silences and white spaces, the rhythms, the melodies, the harmonies of existence itself. First strategy, let’s deal to the noise. Noise is an obvious irritant, the opposite of music. But noise is not just in music, it permeates the world of story. Every ad agency, media feed, tv channel, multi-national, swanky corporate, and government department insists on everyone being able to tell their
story. So many stories our own unique story is likely to get swamped. Who, we ask in a moment of self-doubt, is interested? If self-affirmation is measured in Facebook
likes the world really doesn’t care all that much about anyone. But the reverse is true: in the most profound way, the world does care. I would also want to say that God cares. As I said the clue is in the timbre of the silences. Our uniqueness, how we tell our story, how we shape it, who we tell it to, only becomes clear when we give it space to breathe. We intentionally and deliberately have to set our own lives into their unique space-time context. Only by creating surrounding silences will our story become our story in the universe of stories. The song we long to sing, the story we long to tell, can only be heard when we rid ourselves of the chaos of noise. Second strategy. When we attend to the timbre of the silences, we not only have space to begin to voice our music and story, we have space afterwards – when the final note has died away. It is in the silence after our song, our story, that we snatch fragments of other inner voices singing our song. The ancient memes, carrying the archetypal memories of who we are, why we are, what we are becoming
– these echo our story of personal identity. Third and final strategy. We have forgotten the art of story told in community. When church becomes the place of finding your voice, it thrives because you thrive. This episode wraps up the series. Members of kiwiconnexion.nz can also watch the special story created for each video, participate in the forums and more. Y ou can also learn more about all of this in the public video series C G Jung and the
Psyche: exploring the contours of a 21st century soul. To find it visit our website kiwiconnexion.nz Subscribe, like and share in YouTube, purple-yellow button below right and on Facebook. For YouTube subscribers a new volume of Far Country talltruetales begins tomorrow. See you same time, same channel, every Wednesday and Thursday. And thanks for watching.

How To Program a Music Box – Hole Punch Tutorial

How To Program a Music Box – Hole Punch Tutorial


Welcome to this music box programming tutorial. This is a 30-note music box set, and this is a 20-note music box set. And when you program longer songs on these music boxes, like this one, It is quite daunting sometimes. And I’ve been doing this for a lot of years now and developed some tricks that makes it less daunting and drives you less crazy. So in this video, I want to share my best tricks on how to program these music boxes with you! Normally they come in C major, the 20-note music boxes, but I have retuned my music boxes to different keys by adding some soldering on some notes. To join these two pieces, you will need tape, a ruler and a knife. (rip) So we start with securing one piece to the table. And on this second piece we’re going to cut a little curve, so we see all the lines, (whoosh) like that! So now we can pair this grid with this grid. That looks good! Put an extra tape straight over the seam like this! (rip) And here’s the magic. So now you take the ruler and you make a diagonal cut through both pieces at the same time. (cutting) (rip) (more cutting) Clean the surfaces of the joint. Good quality thin masking tape. (cutting) (peeling tape off) And there’s your perfect joint! When I started making these music box programming, I made the joint straight over the paper. And look at them now. When you do it right, the joint should disappear. (paper flipping) The next step is to record your song in MIDI. That will make everything so much easier at the later stage. (Metronome plays at around 110 bpm in 3/4) (Music starts) (Music ends) (spacebar) So before starting programming I always give myself some help by putting in these reference marks. So this song is in waltz tempo, 3/4 one, two, three, one, two, three and the dotted line will be the division and by adding these reference marks it will be much easier later when we start to punch the actual holes, to not get lost but we can make it even more clear by putting in the chords from the song (spacebar) so D minor starts (Music) do, do-do (spacebar) D minor Remember this part that we cut off in the beginning? So cut off a little piece like this and drag it with you when you draw your notes and then you have easy reference on the vertical lines. I always use the MIDI grid and I have it right in front of me here so I can see in the MIDI grid what notes are coming and I can playback and it helps a lot from to remember your arrangement. So, first bar do-do-do-do-do-do D minor (writes notes) Like that! (time lapse) And at this point it can actually be smart to try to cut these holes to try the tempo on the music box to see if you’ve been thinking correctly with the resolution of the timing, and that you’re heading in the right direction. Instead of making the whole song and then realize that you can’t crank fast enough or it’s way too fast or something. (Music Box hits the table) (pudoh) (wrrrp) (Music box plays) So now there’s no contact microphone recording the sound from the music box, so we will have a lot of sound from the gears (brrrrr) (Music box plays) So, the test told me that we are on our right way and we can move on. And in this next bar I already see a problem with the MIDI. This note, doesn’t exist on the music box. It’s too low. You can try to put it one octave higher. As you can see I drew some mistakes but then I just cross out those circles and then when I start punching the holes I know that I shouldn’t punch those. It’s good to keep this song in mind. Like here I know there’s two notes at the same time. I want the base note to be little earlier so I put the hole a little bit in this direction like a little bit before and this melody I put a little bit that direction to have that ‘g-dang’ nice music box feeling (click) (click) (continuous clicking) so, that was half the holes so here, where we are now I want the song to repeat itself I want to play what we have programmed so far, twice And the goodnews is that there’s a way of copying what we have just done If we take this note, where the song should repeat and we align it with the first note that we already cut, we can actually just use the holes that we cut and copy them onto the new paper, like this. But before I draw all these, I’m gonna check for mistakes on the first holes. And note now that we don’t have the real microphones in the music box now, so it’s going to be a lot of mechanical noise. Slower… What happened there? The highest note didn’t play. I didn’t hear any mistakes. So this time I was lucky enough because there was no mistakes in this programming so far. But I want to show you a trick on how to fix your mistakes. It’s actually no problem, because you will make a lot of mistakes. So I’m gonna show you just for an example. I put a hole here this one and I just realized that it should be on the line next to it. So what I do is that I turn it around and I tape that hole. I make sure the tape has very nice edges and then I re-punch the hole right next to it. So now the right note will be played. and the wrong note will be silent. So, that’s some comfort, in a way If you put a note a little bit too early, I think here, I put this note here you can just keep on making a hole until you want the note because the music box wont play until the hole ends. Now I have repeated the whole song twice but I want to end the song with repeating the first little part, also. So, take the beginning and you’re just gonna draw that little part in as well. Last hole! Riiiiight there. Okay. When you cut for a long time, the paper edge is tearing up your skin like this. I just put a piece of masking tape on my hand It works very good, actually. So, this song is done. I think if you were good with writing software you could write a software that takes MIDI and makes a laser cutting template and you can just put these papers into the laser cutter and have the laser cutter to cut perfect holes with perfect timing Annnnd . . . if someone is interested in doing something like that with me, please let me know because it would be quite cool, actually. I know for a 30 note music box, I have seen rolls long rolls with paper so you don’t have to join them. If someone has seen long rolls for the 20 note music box paper so you don’t have to join them I would be very interested for that link as well. This song is done. and, on the next video, I’m gonna put the song onto the music box and record it properly so you can hear the result. I hope you learned something today and maybe you want to try this yourself. I would love to see your version of a music box like this. It doesn’t have to be motorized, it can be hand cranked. That’s sometimes even cooler. And . . . You can subscribe to Wintergatan here, And . . . Thanks so much for watching. See you on the next video.

How sampling transformed music | Mark Ronson

How sampling transformed music | Mark Ronson


I’m assuming everyone here has watched a TED Talk online at one time or another, right? So what I’m going to do is play this. This is the song from the TED Talks online. (Music) And I’m going to slow it down because things sound cooler when they’re slower. (Music) Ken Robinson: Good morning. How are you? Mark Applebaum: I’m going to —
Kate Stone: — mix some music. MA: I’m going to do so in a way that tells a story. Tod Machover: Something nobody’s ever heard before. KS: I have a crossfader. Julian Treasure: I call this the mixer. KS: Two D.J. decks. Chris Anderson: You turn up the
dials, the wheel starts to turn. Dan Ellsey: I have always loved music. Michael Tilson Thomas: Is it a melody
or a rhythm or a mood or an attitude? Daniel Wolpert: Feeling everything
that’s going on inside my body. Adam Ockelford: In your brain is
this amazing musical computer. MTT: Using computers and synthesizers to create
works. It’s a language that’s still evolving. And the 21st century. KR: Turn on the radio. Pop into the discotheque. You will know what this person
is doing: moving to the music. Mark Ronson: This is my favorite part. MA: You gotta have doorstops. That’s important. TM: We all love music a great deal. MTT: Anthems, dance crazes, ballads and marches. Kirby Ferguson and JT: The remix: It
is new music created from old music. Ryan Holladay: Blend seamlessly. Kathryn Schulz: And that’s how it goes. MTT: What happens when the music stops? KS: Yay! (Applause) MR: Obviously, I’ve been watching a lot of TED Talks. When I was first asked to speak at TED, I wasn’t quite sure what my angle was, at first, so yeah, I immediately started
watching tons of TED Talks, which is pretty much absolutely the worst thing that you can do because you start to go into panic mode, thinking, I haven’t mounted a successful
expedition to the North Pole yet. Neither have I provided electricity to my village through sheer ingenuity. In fact, I’ve pretty much wasted most of my life DJing in night clubs and producing pop records. But I still kept watching the videos, because I’m a masochist, and eventually, things like Michael Tilson Thomas and Tod Machover, and seeing their visceral passion talking about music, it definitely stirred something in me, and I’m a sucker for anyone talking devotedly about the power of music. And I started to write down on these little note cards every time I heard something that struck a chord in me, pardon the pun, or something that I thought I could use, and pretty soon, my studio looked like this, kind of like a John Nash, “Beautiful Mind” vibe. The other good thing about watching TED Talks, when you see a really good one, you kind of all of a sudden wish the speaker was your best friend, don’t you? Like, just for a day. They seem like a nice person. You’d take a bike ride, maybe share an ice cream. You’d certainly learn a lot. And every now and then they’d chide you, when they got frustrated that you couldn’t really keep up with half of the technical things
they’re banging on about all the time. But then they’d remember that
you’re but a mere human of ordinary, mortal intelligence that didn’t finish university, and they’d kind of forgive you, and pet you like the dog. (Laughter) Man, yeah, back to the real world, probably Sir Ken Robinson and I are not going to end up being best of friends. He lives all the way in L.A.
and I imagine is quite busy, but through the tools available to me — technology and the innate way that I approach making music — I can sort of bully our existences into a shared event, which is sort of what you saw. I can hear something that I love in a piece of media and I can co-opt it and insert myself in that narrative, or alter it, even. In a nutshell, that’s what I was trying to do with these things, but more importantly, that’s what the past 30 years of music has been. That’s the major thread. See, 30 years ago, you had the first digital samplers, and they changed everything overnight. All of a sudden, artists could sample from anything and everything that came before them, from a snare drum from the Funky Meters, to a Ron Carter bassline, the theme to “The Price Is Right.” Albums like De La Soul’s “3 Feet High and Rising” and the Beastie Boys’ “Paul’s Boutique” looted from decades of recorded music to create these sonic, layered masterpieces that were basically the Sgt. Peppers of their day. And they weren’t sampling these records because they were too lazy to write their own music. They weren’t sampling these records to cash in on the familiarity of the original stuff. To be honest, it was all about sampling really obscure things, except for a few obvious exceptions like Vanilla Ice and “doo doo doo da da doo doo” that we know about. But the thing is, they were sampling those records because they heard something in that music that spoke to them that they instantly wanted to inject themselves into the narrative of that music. They heard it, they wanted to be a part of it, and all of a sudden they found themselves in possession of the technology to do so, not much unlike the way the Delta blues struck a chord with the Stones
and the Beatles and Clapton, and they felt the need to co-opt that music for the tools of their day. You know, in music we take something that we love and we build on it. I’d like to play a song for you. (Music: “La Di Da Di” by Doug E. Fresh & Slick Rick) That’s “La Di Da Di” and it’s the fifth-most sampled song of all time. It’s been sampled 547 times. It was made in 1984 by these two legends of hip-hop, Slick Rick and Doug E. Fresh, and the Ray-Ban and Jheri curl look is so strong. I do hope that comes back soon. Anyway, this predated the sampling era. There were no samples in this record, although I did look up on the Internet last night, I mean several months ago, that “La Di Da Di” means, it’s an old Cockney expression from the late 1800s in England, so maybe a remix with Mrs. Patmore from “Downton Abbey” coming soon, or that’s for another day. Doug E. Fresh was the human beat box. Slick Rick is the voice you hear on the record, and because of Slick Rick’s sing-songy, super-catchy vocals, it provides endless sound bites and samples for future pop records. That was 1984. This is me in 1984, in case you were wondering how I was doing, thank you for asking. It’s Throwback Thursday already. I was involved in a heavy love affair with the music of Duran Duran, as you can probably tell from my outfit. I was in the middle. And the simplest way that I knew how to co-opt myself into that experience of wanting to be in that song somehow was to just get a band together
of fellow nine-year-olds and play “Wild Boys” at the school talent show. So that’s what we did, and long story short, we were booed off the stage, and if you ever have a chance to live your life escaping hearing the sound of an auditorium full of second- and third-graders booing, I would highly recommend it. It’s not really fun. But it didn’t really matter, because what I wanted somehow was to just be in the history
of that song for a minute. I didn’t care who liked it. I just loved it, and I thought
I could put myself in there. Over the next 10 years, “La Di Da Di” continues to be sampled by countless records, ending up on massive hits like
“Here Comes the Hotstepper” and “I Wanna Sex You Up.” Snoop Doggy Dogg covers this song on his debut album “Doggystyle”
and calls it “Lodi Dodi.” Copyright lawyers are having
a field day at this point. And then you fast forward to 1997, and the Notorious B.I.G., or Biggie, reinterprets “La Di Da Di” on his number one hit called “Hypnotize,” which I will play a little bit of and I will play you a little bit of the Slick Rick to show you where they got it from. (Music: “Hypnotize” by The Notorious B.I.G.) So Biggie was killed weeks before that song made it to number one, in one of the great tragedies of the hip-hop era, but he would have been 13 years old and very much alive when
“La Di Da Di” first came out, and as a young boy growing up in Brooklyn, it’s hard not to think that that song probably held some fond memories for him. But the way he interpreted it, as you hear, is completely his own. He flips it, makes it, there’s nothing pastiche whatsoever about it. It’s thoroughly modern Biggie. I had to make that joke in this room, because you would be the only people
that I’d ever have a chance of getting it. And so, it’s a groaner. (Laughter) Elsewhere in the pop and rap world, we’re going a little bit sample-crazy. We’re getting away from the obscure
samples that we were doing, and all of a sudden everyone’s taking these massive ’80s tunes like Bowie, “Let’s Dance,” and all these disco records,
and just rapping on them. These records don’t really age that well. You don’t hear them now, because they borrowed from an era that was too steeped in its own connotation. You can’t just hijack nostalgia wholesale. It leaves the listener feeling sickly. You have to take an element of those things and then bring something fresh and new to it, which was something that I learned when I was working with the late, amazing Amy Winehouse on her album “Back to Black.” A lot of fuss was made about the sonic of the album that myself and Salaam Remi, the other producer, achieved, how we captured this long-lost sound, but without the very, very 21st-century personality and firebrand that was Amy Winehouse and her lyrics about rehab and Roger Moore and even a mention of Slick Rick, the whole thing would have run the risk of being very pastiche, to be honest. Imagine any other singer from that era over it singing the same old lyrics. It runs a risk of being completely bland. I mean, there was no doubt that Amy and I and Salaam all had this love for this gospel, soul and blues and jazz that was evident listening to
the musical arrangements. She brought the ingredients that made it urgent and of the time. So if we come all the way up to the present day now, the cultural tour de force that is Miley Cyrus, she reinterprets “La Di Da Di” completely for her generation, and we’ll take a listen to the Slick Rick part and then see how she sort of flipped it. (Music: “La Di Da Di” by Slick Rick & Doug E. Fresh) (Music: “We Can’t Stop” by Miley Cyrus) So Miley Cyrus, who wasn’t even born yet
when “La Di Da Di” was made, and neither were any of the co-writers on the song, has found this song that somehow etched its way into the collective
consciousness of pop music, and now, with its timeless playfulness of the original, has kind of translated to a whole new generation who will probably co-opt it as their own. Since the dawn of the sampling era, there’s been endless debate about the validity of music that contains samples. You know, the Grammy committee says that if your song contains some kind of pre-written or pre-existing music, you’re ineligible for song of the year. Rockists, who are racist but only about rock music, constantly use the argument to — That’s a real word. That is a real word. They constantly use the argument to devalue rap and modern pop, and these arguments completely miss the point, because the dam has burst. We live in the post-sampling era. We take the things that we love and we build on them. That’s just how it goes. And when we really add
something significant and original and we merge our musical journey with this, then we have a chance to be a part of the evolution of that music that we love and be linked with it once it
becomes something new again. So I would like to do one more piece that I put together for you tonight, and it takes place with two pretty inspiring TED performances that I’ve seen. One of them is the piano player Derek Paravicini, who happens to be a blind, autistic genius at the piano, and Emmanuel Jal, who is an ex-child soldier from the South Sudan, who is a spoken word poet and rapper. And once again I found a way to annoyingly me-me-me myself into the musical history of these songs, but I can’t help it, because they’re these things that I love, and I want to mess around with them. So I hope you enjoy this. Here we go. Let’s hear that TED sound again, right? (Music) Thank you very much. Thank you. (Applause)

Sound Production: Crash Course Film Production #5

Sound Production: Crash Course Film Production #5


You know what can make even the most entertaining
YouTube video really frustrating? Bad sound. That is, for audiences who don’t rely on closed captioning. Like, what if my voice was all garbled with
static, or if my words weren’t synced up to the video right now? Annoying, right? You might look away from a screen if the visuals
are jarring, but you pretty much always hear a film – whether it’s dialogue that was
recorded on set, or a sweeping score added in post-production. And the sad thing is: you don’t often notice
really good sound recording and design. Even though it takes just as much technical
know-how and artistry as visual storytelling does. When sound production is most successful,
you’re not thinking about the quality of the sound at all. You’re feeling it. You’re pulled into the story and living
in the world of the film. [Intro Music Plays] Let’s start with the basics: the audience
is gonna want to hear the characters they’re watching. And that all starts with the sound department
on set, which is usually a small crew of two to three people. Its head is the Sound Mixer, also known as
the Production Sound Mixer, Location Sound Recordist, Sound Engineer, or just the “sound
guy.” This person usually supplies all the sound
equipment for the production, and is responsible for recording all the sounds on set. Every space has unique acoustics, so a good
sound mixer will try to record as much as possible to make the world of the film feel
real. That includes the sounds actors make in the
scene being filmed – like dialogue… Batman: Where’s Dent?
Joker: Those mob fools want you gone so they can get back to the way things were. Joker: But I know the truth. There’s no going back. Joker: You’ve changed things… forever. …slurping their tea… [slurp] …or foot stomps as they jog down
a street. [footsteps as Marion chases Indy] Plus, it includes wild sound, which is any
extra lines that are said or noises that are intentionally created without the camera
rolling, to be added into the movie in post-production. And lastly there’s room tone, the atmospheric
sound in a space filled with silent actors, crew, and set dressing. Having room tone helps the sound editors make
the world feel authentic and consistent. The sound department’s second-in-command
on set is the boom operator, or boom op, for short. This is the person you’ll see holding a
microphone on a long boom pole out over the actors. Actors will often have small body mics, also known as lavalier mics, This is mine… it’s not hidden. But the boom op is working to capture sound
from everyone and everything in each scene. To do their job well, they have to really
know the script and the blocking, or how the actors will physically move through a scene. That way, they can position the boom in the
best place to pick up sound, while keeping the mic and its shadow out of the camera’s
view. On larger sets, there might be a third person
on the sound crew: the utility sound technician, also known as the second assistant sound. This person helps with a bunch of stuff, like:
equipment maintenance, mic placement, cable management, keeping everyone quiet while filming,
or even operating a second boom. Now, I already mentioned the two main mics
you’ll find on a film set: the boom mic and the body mic. But you have to think about a lot more than
just where you put a microphone. When you’re speaking, you’re pushing air
through your vocal folds out into the world. That vibrates other air molecules, making
sound waves. So, microphones nearly always have a windscreen
to help record clean sound, and not just loud, whooshing noises from the air. It muffles air being blown directly at it
without affecting the mic’s ability to pick up sound. A small windscreen is usually enough on an
enclosed set, or on a soundstage, like this one. Outdoors, you might need more intense windscreens. And here’s a perfect example of how great
film crews are at naming things: The big ones are called dead cats… because,
well, just look at them. The sound department not only has to make
sure they’re recording good sound, but they have to pay close attention to what they don’t
want to capture. And they can do that with microphone patterns. A microphone pattern is a shape around a mic
where it picks up sound best, and there are a few standard types. Just like the camera department has to change
lenses, the sound department might have to change mics from scene to scene. First, you have omni-directional mics, meaning
the mic is recording sound coming at it from every direction. There are a lot of situations where this is
ideal, like for recording a conversation where people are sitting and talking all around
a table. But on a set, you only want to hear the actors
on camera, and not all the crew behind the scenes. So this mic wouldn’t be the best choice. Bidirectional mics pick up sound directly
in front of and behind them, while rejecting sound coming from the sides. Their sensitivity pattern looks kind of like
a figure 8. These mics are useful for interviews or duets
– any time when two people are directly across from each other, with the mic in the
middle. Then, there are cardioid mics, named because
their pattern is kind of shaped like a heart. They pick up more sound in the direction you’re
pointing them, plus a little bit from behind and on the sides. A cardioid pattern is good for recording lines
from one person at a time, up close. So lavalier mics – the ones physically attached
to actors – are usually cardioid or omnidirectional. If you want something a little wider than
a typical cardioid, but not as wide as an omnidirectional, there are subcardioid mics. Or, say you’re trying to record a conversation
where a bunch of people are huddled together and talking. So you have several mics near each other,
and you want each one to only pick up one person. In this case, a supercardioid or hypercardioid
might be your best options, because they have even more directional pickup. But the downside is that they also have more
sensitivity directly behind them, so they can pick up things you don’t want to hear
in the final film, like chatter from the crew. If you need something even more directional,
like for the end of a boom pole, you can put something called an interference tube over
a supercardioid or a hypercardioid mic. This ideally makes unwanted sound waves from
the sides cancel out, and creates a lobar pattern: you can aim them more precisely,
and pick up sound from farther away. Because these mics are long and narrow, they’re
called shotgun mics. So on a typical set, there’s probably a
shotgun mic on the boom pole, and a handful of lavaliers on different actors or hosts. Each of those microphones is picking up part
of the overall sound in a scene, and each one feeds into its own track on the audio
recorder where the sound mixer is. There, the sound mixer can adjust the mic
sensitivity and the recording levels. So in the final film, the audience can hear
a soft whisper… Gandalf: Fly you fools. …and understand loud shouting. Stansfield: Benny? Bring me everyone. Benny: What do you mean, “everyone?” Stansfield: EVERYONE!!! And
all this is just production sound! We still have a whole world of post-production
to explore. Before editing anything, the very first thing
you need to do is sync the sound with the camera footage. And if you prepare during production, it’s
pretty easy to do. Remember the 2nd AC? They’re responsible for the slate, which
marks each take with both a visual and an audio cue. To help keep track of media, the scene, shot,
and take number are written on the slate for the camera to see, and are called out for
the microphone to hear. Nick: Scene 21 take 25! And then, the 2nd AC claps the slate shut. If you don’t have a slate, you can clap
your hands in front of the camera and the mic to get the same effect. [clap] The goal is to make the audio levels spike,
while the camera catches the exact moment the clapper and the board of the slate come
together. That way, in post-production, you can manually
match up that audio and visual cue and… voilà! Your sound is synced. If you want a faster way of syncing audio
and video, we’ve got you covered too. One way is through a timecode sync, if you’re
using a digital slate. The moment the clapper hits the board, a signal
is sent from the slate to the camera and the audio recorder. And the timecode of this exact moment is recorded
on both devices, which you can use to sync everything up. The second way is if your camera is recording
audio too, which won’t be used in the final mix, called a guide track. That way, in your editing software, you have
your video footage, camera sound, and sound from the audio recorder. And an audio waveform sync program can match
them all up. Typically, an assistant editor syncs up the
sound with the visuals, and then the editing team cuts together the film. Once the film editor and director agree on
a picture lock, meaning the visual and story edit of the film is finalized, it’s time
for the post-production sound team to get to work. Like the film editor, the sound editor makes
decisions based on things like story and the actor performances. The best takes for camera aren’t always
the best takes for sound, though, technically or artistically. And it’s up to the sound editor to make
sure the best sound takes for the film make it into the final mix. On a bigger film, some sound editors will
be dedicated dialogue editors. Like the name suggests, their job is to cut
for the best dialogue from production sound. Ideally, the audio and video from the same
take will both be great. That makes their job easy. Often though, the dialogue editor has to borrow
sound from other takes or wild sound, and sync the best takes for sound with the best
takes for camera. This only works if the audience can’t tell
it’s been done, like if the camera is on another character, so it takes a lot of skill
and creative editing. If there’s not a great sound take, the crew
will bring actors back into a studio and do some Automated Dialogue Replacement, or ADR. Some actors relish ADR. Meryl Streep famously loves it because mixing
separate visual and audio performances can add complexity to what her character is conveying. Of course, dialogue isn’t the only sound
in a film. Sound Designers work with sound mixers and
foley artists to create the sound effects that make the world of the film feel rich
and whole, from birds chirping to the *pew pew* of lasers. And music supervisors and composers work with
the director to either curate or create the music of the film. Adding music frequently comes at the end of
post-production. And when it’s done well, it’s the finishing
touch that solidifies the entire film and brings it to life. From an actor’s whispered lines to the final
score woven throughout a film, sound helps us go from watching a story with relatable
characters, to feeling what they feel and living in their world. Today we learned about all the artists involved
in production sound, and how different microphone patterns are best for different situations. We talked about the importance of post-production
sound and the role it plays in deepening our experience of a film, and making the movie
the best it can be. Next time, we’ll talk about the people who
see everything, from the bigger picture to tiny details that could get overlooked on
a film set: producers. Crash Course Film Production is produced in
association with PBS Digital Studios. You can head over to their channel to check
out a playlist of their latest amazing shows, like PBS Infinite Series, Physics Girl, and
Reactions. This episode of Crash Course was filmed in
the Doctor Cheryl C. Kinney Crash Course Studio with the help of these nice people and our
amazing graphics team is Thought Cafe.

DISNEY – ORIGINAL SINGING VOICE ACTORS..!

DISNEY – ORIGINAL SINGING VOICE ACTORS..!


♪ The Lion King – “Circle of Life” ♪ Nants ingonyama bagithi baba
Sithi uhhmm ingonyama
Ingonyama ♪ Auli’i Cravalho – “How Far I’ll Go” ♪ See the line where the sky meets the sea it calls me And no one knows, how far it goes If the wind in my sail on the sea stays behind me One day I’ll know, how far I’ll go ♪ Frozen – “Let It Go” ♪ I’m never going back, the past is in the past Let it go, let it go And I’ll rise like the break of dawn Let it go, let it go That perfect girl is gone Here I stand in the light of day ♪ Coco – Un Poco Loco ♪ What color’s the sky?
¡Ay mi amor, ay mi amor! Where should I put my shoes?
¡Ay mi amor, ay mi amor! You say, “put them on your head!”
¡Ay mi amor, ay mi amor! I’ll count it as a blessing
That I’m only un poco loco ♪ Moana – “You’re Welcome” ♪ When you’re staring at a demi-god What can I say except you’re welcome For the tides, the sun, the sky Hey, it’s okay, it’s okay
You’re welcome I’m just an ordinary demi-guy ♪ Frozen – “In Summer” ♪ And I can’t wait to see,
what my buddies all think of
me. Just imagine how much
cooler I’ll be
in summer. Dah dah, da doo,
uh bah bah bah bah bah boo The hot and the cold are both so intense,
Put ‘em together it just makes sense! Rrr Raht da daht dah dah dah
dah dah dah dah dah doo ♪ Frozen – “Love is an Open Door” ♪ A: And then suddenly I bump into you H: That’s crazy, I was feeling the same thing, because… H: I’ve been searching my whole life to find my own place
And maybe it’s the party talking or the chocolate fondue A: But with you
H: But with you
I found my place A: I see your face Both: And it’s nothing like I’ve ever known before
Love is an open door! Love is an open door! ♪ Alladin – “A Whole New World” ♪ A: I can show you the world
Shining, shimmering splendid Tell me, princess, now when did
You last let your heart decide? A whole new world
A dazzling place I never knew But when I’m way up here
It’s crystal clear
That now I’m in a whole new world with you Now I’m in a whole new… ♪ Tangled – “I see the light” ♪ I’m where I’m mean to go And at last I see the light
And it’s like the fog has lifted And at last I see the light ♪ Aladdin – “Prince Ali (Reprise)” ♪ Yes, meet a blast from your past Whose lies were too good to last
Say “hello” to your precious Prince Ali! ♪ The Little Mermaid – “Part Of Your World” ♪ ♪ The Lion King – “I Can’t Wait To Be King” ♪ I’m gonna be a mighty king
So enemies beware! Well, I’ve never seen a king of beasts
With quite so little hair I’m gonna be the mane event
Like no king was before
I’m brushing up on looking down
I’m working on… ♪ Lion King – “Circle Of Life” ♪ Till we find our place On the path unwinding In the circle ♪ Mulan – “Reflection” ♪ Look at me
I will never pass for a perfect bride Or a perfect daughter Can it be, I’m not meant to play this part ♪ Beauty And The Beast – “Belle” ♪ There goes the baker with his tray, like always
The same old bread and rolls to sell Every morning just the same
Since the morning that we came ♪ Frozen – “Do You Wanna Build A Snowman?” ♪ Do you want to build a snowman?
(It doesn’t have to be a snowman) Do you wanna build a snowman? Or ride our bike around the halls? I think some company is overdue
I’ve started talking to
The pictures on the walls! Please… I know you’re in there People are asking where you’ve been ♪ Pocahontas – “Colors of the Wind” ♪ You think you own whatever land you land on The earth is just a dead thing you can… ♪ Hercules – “Go The Distance” ♪ I can go the distance I don’t care how far Somewhere I will be strong I know every mile would be worth my while I will go must anywhere to find, where I belong Subtitles made by Fosfora

TOP 10 Kid Singers Of 2018 WORLDWIDE on Got Talent Global

TOP 10 Kid Singers Of 2018 WORLDWIDE on Got Talent Global


Like a small boat on the ocean sending big waves into motion like how a single word can Make a heart open. I Might only have one match, but I can make an explosion and all those things Cuz I’ve still got a lot of fight left in me Wow Losing friends and I’m chasing sleep everybody’s Worried about me into deep same into these. Oh, man. It’s gonna blow My home Yeah Like a small boat on the ocean sending big leaves It’s a motion like how a single Can make it harder. Oh I’m not only have one match but I can make an explosion. This is my fight song No, I’ve still got a lot of fight left in me Larry when travels come Let’s me I can be Me When you try your best, but you don’t succeed It’s a war but now it’s a need When you feel so tired, but you can’t sleep stuck in reverse I shall bow and To finish Ooh bones and I So fix you You Your head me Oh Oh Beatrice You perfectly imperfect just like you are meant to be and all through well, I’ll be See you Hey We’re the Oh Oh We lucky ones Tim Jack this isn’t old Today’s gonna be day nothing gonna throw it back to you By now, you should’ve somehow realized what you got it, too You know Physically, what’s a misfire Some Street Before what? Oh, hey harder to hide then my life did I hide? My memory anthea mercy given me you tell tragedy yet agreement in liar if you do or you defend nappa pero la de Papa Papa hi-yah, Dave your Papa, huh? Hurry, Papa. Hi-yah That’s enough we get fastest of all the way through Hey take that the hottie suppose this phone our word against Kahoot. So I’m Livia to Pereira tree going into that. So Do every customer who chooses. So now our babies the música MA not some de manera So if we can’t evolve aluminum of the Dalek, so it’s of which had to environment 608 a blossom Terrier taught us taste The fish Nia Wilson can be screamer. Sorry a mansion over at Jason’s on so who Also mean bokram the Nevada coast with yeah, you can scare Dooley a socket. We are appalled a Nicki Dahlia volley livid Machinery Java to Nina and remit live near the coast man was for a TD Omega medicine. Ohmic approval then Osmolarity fighter they are Berkeley Very good Yeah, they’re good running our nation twisting super Arkansas and Namib run a marathon fastest. Fantastic This come out tomorrow bet your bottom dollar Okay, so to anybody’s mother mom walk just thinking about tomorrow Clears away the cobwebs and the sorrow I’m stuck with a day. That’s good. I just might Tomorrow When I’m stuck with that Gosh mr. October Kalila Eileen Eileen. Yeah, I taught it at the hotel gamma not know She was more like a beauty queen from a movie scene I said don’t mind What do you mean? I am the one? Who danced on the floor in the round she Says I am the one who will dance on the floor in the round People always told me be careful, you know, don’t go making young girls arms Your mother always told me You know Be careful what you do? Cause the lie becomes the truth She’s just a cow But the kid is not my son Jesus I am but the kid is not my son My god you were the one And the kid could be your son So this camp I lied about oh My god Holy holy the commerciality at NASA for your own classy areas of the unit my log didn’t II again the PCs return vivia to Oliver North in a Michael Jackson Golota Was a throw laramidia where I have acidity He and Donna Torah or slipped and Harrogate this intelligent unit the glass drops Your Sierra him Akira hospital different ISO, wow they have a sewer Organelles that have a perfect hoon that have a ance your Valecia Wow It was so perfect everything that came out of your mouth was so beautiful Also secure as a Baba But I knew that at Valley at and Alex it corny ski artist and Melanie Cohen is qalaat the very enough Manga, may Michael Jackson Amida terror dance numerology and Madhu chameleon her death on our gamma. You’re a persisted set or they would Burger Rockingham set the most fortified listen up Redeemer her ability. No mommy. I’m this a music’s Kimura sericata distinct astronomer 8 O’clock lien to your knowledge on the road to power Your shell is a hard Do you mean from tilde eat? The one you’re coming minister for less than or mislead or a hapa? So toxic Miele? Pussy Pace pace pace pace Yeah, it’s pretty clear I ain’t no size two, but I can shake it shake it Account supposed to do put aside the thumb bone there. Although he said all – right – right Got it so my boy We Buggery Because not only by the face by the base don’t shower Hi, welcome to America’s Got Talent How are ya and they look fit nervous? That’s okay to be nervous It’s totally understandable. What’s your name Courtney? And how old you 13 13? What’s your favorite subject in school? Music what kind of music I don’t know You’re very sweet and I’m guessing you’re gonna be singing for us, yeah Listen, don’t be nervous. I know this is a big stage and there’s lots of people here But you’re here for a reason so go for it and good luck. Thank you 14 You know, I just shiny little thing when you first came out and then you sing and you’re like a lion I’ve been genuinely incredible Howie what did you think? Oh my god, you are not from this era. You’re from a whole different view A huge Janis Joplin fan and it’s a story if you ever watch the documentary Clive Davis He goes to the Monterey Pop Festival and he sees this young girl that nobody has ever seen before that. Nobody knows It was the first time Janis Joplin got signed and that would that changed her life. You know that story. Yeah I’m not Clive Davis. I’m Howie Mandel and I can’t sign you to a record deal The only thing I can do for you young lady You are going straight to the lodge Thank you, so we pretty soon though. Thank you so much You’re absolutely amazing, I’ve never seen anything like that can we give her some love?

I’m Gonna Kill Santa Claus – Official Music Video

I’m Gonna Kill Santa Claus – Official Music Video


Merry Christmas Greg Every Christmas, I’m a very good boy. I put out milk and cookies for this guy to enjoy. But Santa never brings the right toy. I felt like giving up on all this holiday joy. But if you’ve seen ‘The Santa Claus’ you know. (You know) You’ll become Santa if you put on Santa’s coat. You can kill him and leave him dead up in the snow. (Oh) The elves don’t even care about you murdering their bro! And so… This Christmas gon’ be special to me. I ain’t gonna ask for a car with a key. I ain’t gonna write to Santa and asking him please. Cause what I want for Christmas can’t fit under the tree! I wanna be Santa Claus! So I’m gonna kill Santa Claus! When I hear those reindeer paws, I’m gonna break the law! This Christmas, Don’t got a wishlist, I got a hit list! And at the top of it is Old Saint Nicholas, Nothing against him, It’s just business. I ain’t the Grinch but I’m gonna steal Christmas! I made a list and checked it twice, (Oh) For all the fucks I give about ending Santa’s life! And I found none. I’ll travel at the speed of light If I’m Santa now does that mean I sleep with Santa’s wife? Cause I’m down son. (Yeah) Fire in my fire place (Ooh), Not talking about his flying ship when I say imma slay. He gon die, son. Imma wake up Christmas day, With all the dopest presents that I force the elves to make. They’re my prisoners. I’ll never understand why this is, The way that they decide who the next Santa Claus is. How do people not believe that Santa exists? In this world aren’t adults concerned about all these gifts They didn’t buy…? I wanna be Santa Claus! So I’m gonna kill Santa Claus! When I hear those reindeer paws, I’m gonna break the law! This Christmas, Don’t got a wishlist, I got a hit list! And at the top of it is Old Saint Nicholas, Nothing against him, It’s just business. I ain’t the Grinch but I’m gonna steal Christmas! Available on Spotify, iTunes, Apple Music, and EVERYWHERE else. Link in Description! Make sure to sub and turn on notifs to join GREG. Hope you enjoyed, bye!