What you are seeing is the music sheet of a sound effect that you have heard a thousand times It's not a Tumblr meme, it's not a New Yorker comic, and it's actually something that can be played It sound like this... Today we are going to talk about three sound effects that you have heard a thousand times and that actually have much more complexity than it seems and that you may have never thought where they come from or how they are made or who has made them starting with the mythical THX logo, which is what we heard at the beginning Effect 1 This sound was made by James A. Moorer in 1982, you may have heard it a thousand times in movie theaters... But the first time it was heard was with the premiere of Return of the Jedi, and the thing is that it is a sound that can be described I mean, you have to describe them, I imagine that when he presented the recording they told him, "we have to register it, give us the music sheet '' and he was like ''what do you mean by music sheet? It's a sound effect. '' And of course he had to do it anyway he could the effect begins as a lot of chaotic voices, specifically he puts 30, with frequencies between 200 hertz and 400 hertz that move in a random manner and suddenly each one goes to a concrete note of a huge chord of D major and also James A. Moorer specifies that some voices are a little out of tune, that there is a crescendo, that is, it starts very weak and each time gets stronger, and he specifies the duration because he puts quarter note equals to 60, so what you will do now is try to recreate it Sure, when James A. Moorer composed it he had to program it sort of writing it in code. And I think that now we could take the 30 voices and say to them, more or less, what they have to do and to do it again. Let's try. Actually, although the music sheet says 30 voices, the final result is 11 notes, because some voices are duplicated. So we are going to do only 11 voices. They have to end making this cord. But they start like this random tangle of notes that are between a G and another G. Alright, I'm going to take this sound. We choose this sound of synth. Of the eleven voices that start sounding the highest note sound like this. And the lowest like this. And now we create the rest of the intermediate voices. What I'm going to do so that this is an authentic esthetic experience is a subtle color gradient according to the voices getting each time higher. OK, the beginning of the piece sounds like this. What you have just heard is sort of this first beat. What we are going to try is respect this mountain the voices make here and this valley the voices make here and then, in the next beat now they start to dissipate and then there's a beat in which they get to their destination and then they hold. Ok then, this beat is the intro. These others beats are inverted mountains, and then this beat is transition and then four beats that are now the final cord. Then what I'm going to do is to put a plug-in that changes their pitch. We're going to make the first voice that starts at G, it goes down more or less here, between halves, that would be like C and then goes up more or less until this A. Ok, I'm going to be changing it with the mouse and the computer will be saving my changes. At the end we have reproduced manually the same curve that this guy has made in the picture. Now we only have to do this ten times more. Actually it's going to sound very similar if the graph is curved or if the graph is approximated like this by straight lines, so we're going to do it with this method that is much easier. Ok, let's see. It's done, we have obtained it. So the lower notes, start low and then they go up and then they go all the way down and as they get higher each time the behavior is inverted and they start high, get down and then go all the way up. And the final result sounds like this. Ok. It sounds to random music, good. Now the transition starts. Here. And this is the cord. And that is how the THX sound effect was made. Then it is matter of finding uglier or nicer tones. In fact, there's people who imitates it with a 30 voices choir. But the piece in essence is the same. Actually, this kind of music is, up to certain point, more natural than the music that we play with the notes divided in 12. I on the piano can't do a continuous one. It is fragmented in pieces. But instead, with the voice the most natural thing is to do a continuous one. In fact, when you talk and when you laugh you re all the time doing continuous ones. Continuous Things that are not replicated with the piano. Although there's people who try to replicate it, and they do it very good. There what this God of life is doing is to imitate a continuos voice, like that of Cardi B, with a discrete instrument, but the reason that works so well is because Cardi B has a very singsong voice . And she can talk like that, she can talk making melodies, practically. I tried to the same one day with Ter and well it wasn't even half as good. But, do you know what other sound is as continuous as this and we have heard it a thousand times? The sound of an ambulance. Actually it does something like an octave. This is the most similar that I can do with the piano to an ambulance, but with the voice is much easier. There's another sound that the ambulances make that are jump of fourth. And there are times they put the same sound but at the same time sounding sort of out of tune so that it sound very strident and you get apart. And what happens to the ambulances, that is very idiosyncratic, is that you note very much the Doppler effect. The Doppler effect occurs when an object is approaching to you at high speed. And then you perceive that its sound waves are closer to each other and that the frequency gets higher and sound higher. And when it passes by and gets apart suddenly you perceive that its sound waves are moved away from each other and you start hearing it lower. Let's try recreate the Doppler effect. The piano is plugged in to this speaker. And I will put this speaker at the center of the room. And we're keep the piano playing one note. Now is playing a C flat. The sound source is here, then I'm get the phone (The phone will record the audio)
and I will pass it making (The phone will record the audio)
and arc very fast with the arm It is going to be the phone, that is our ears, the one that moves away. To see if with this we get to hear the Doppler effect. Do you hear it? Just at the moment in which the sound receptor crosses the speaker and starts getting away, the note get higher. What happens, of course, is that the ambulance gets closer from a greater distance and moves away a much greater distance, so you hear it more. But we have achieve replicating the effect is a small scale. Effect 3 The third effect I want to talk about is this: This, this sound effect that we're hearing right now. Ok, first we'll see what note is that. The note is between an A and an A flat. (The note would be there in the middle ) This A is at 440 (Hertz). This is the famous 440 Hertz A. So we are going to lower it until it gets to the note of the phone. There it is. More or less. 422 The A flat is 415 and the one of the phone is at 420 and a little more. That's why one could think that your phone company can put the tone they want but no. There are some laws about what tones have to sound when you make a call and at what frequency they have to be. The European telecommunication standard dictates a chart that is super exact. It's from 1994. And there it was decided that the ringing tone had to be at 425 Hertz with an allowance of 15 Hertz up or down, but no more. That is, you can go less than 15 Hertz up or down, but no more. In this case it was at 425, more or less. And there has to be a second of sound and 4 seconds of silence. Let's see if that is satisfied. Ok, yes, very exact. And in each area of the world the standard is distinct. In the United Staes is like this: In the United Kingdom and Ireland is like this: In Japan is like this: In Australia is like this: At the end they all are in a range very closed and similar of frequencies. The bandwidth in the phone calls is very little so that the voice has to be very compressed. Now you hear my voice very crisp, unless you are listening it with some shitty speakers, but if they call you on the phone it doesn't matter that you out it in the best speakers, you will hear the voice like this: Because all the high notes and the low notes disappear. The frequencies below 400 Hertz disappear at a phone call. And above some 3000 or 4000 Hertz also disappear, so you would hear the voice like this, as you are hearing it right now. So well, that limits the sound to be in this bar, but this also applies to what numbers are associated with what numbers. When my answering machine tells me "press 1 to hear it again", "press 2 to delete your message", how does my answering machine know what number I have pressed? Well, what happens is that through sound, I am sending it an audio of each number I press and depending of the sound that sounds it knows what number I have pressed, but you may have noticed that the sounds are very similar. That is, if I do this: It sounds: And if I press 4, 5 and 6: I also sounds similar but not exactly the same. The 1 and the 4 seem the same note but there is something different. What is happening is that each number is associated with two sounds that sound at the same time. One high and one low. And a crossed table is formed where there is a sound that represents the one, the four, and the seven; and there's another sound that represents the one, the two and the three; so that when this sounds sound together we know that it is a one. Likewise with the rest. You detect that it is a five when it sounds the sound of the five column with the sound of the five row. And these sounds start at 697 Hertz and end at 1477 which is in the bar at which the phone call transmits. The origin of these sound effects is fascinating to me and actually I had never stopped to think where they came from specifically until I got to investigate this video. You always learn incredible through internet, as when last year you saw that the broken bones sound of the movies are made by the foley artists crushing peppers. I hope everyone finds this as fascinating as I did. Today's video was made in collaboration with Canon, who proposed me to test the E0S M50 camera to film this video. As I told in the video of how to make youtube videos I film with the 80D. But the M50 has the advantage that is cheaper, but the image quality is also very good. And it is a good choice if you want to start making videos that have a profesional look. Now you have a nice offer in which buying some models they send you for free a pack which contains either tripod, light and micro; or tripod, light and SD card, depending on what Canon you buy. The great M50 has the basic things that I need to film these videos. The first screen turns around which is useful to see yourself when recording. If you're going to record yourself I recommend you pick the 15 to 45 mm lenses camera which is the one that has this zoom which is ok for some things. Maybe not for this one. And this zoom out, the one of the 15 mm. Now with the stretched arm the whole rooms fots and also, the quality is semi-professional, that is, it is very good. And it has autofocus, which is fundamental. This is the box it comes in, with its lenses that you put and done. Actually, the essential pieces to start to record yourself with this camera would be an SD card, which is the memory that comes in the pack; the tripod, which is a small tripod you can grab it with the hand or you can place it over a pile of books or a table. And then it comes with light you can illuminate you with. It illuminates your soul. It illuminates your future.. And it's really nice because it is light. And then the only thing that is missing is a micro, but everything else is included in the pack of the M50. And if I were to start making videos and I wanted a good quality for a reasonable price I would start here. This kits are a promotion that Canon is doing during Christmas and I leave the link in the description if you want to consult it. That is today's video. I hope you liked it. And I'll see the next week. See you soon. Credits
Script - Jaime Altozano
Camera - Isabel Sarmiento
Isabel Sarmiento
Video Editing - Jaime Altozano
Juan Escudero
Subtitles - Foregonbrake41
