Philip Sherburne: The 28 Best Wired Headphones for Every Budget (Pitchfork)
Philip Sherburne asked for my opinion on headphones for this article, and here it is!
Portland, Oregon, web developer Matthew McVickar says, “I have yet to find a pair of over-ear headphones that don't feel uncomfortable with glasses after more than half an hour or so, but I love the Sony MDR 7506.”
Free download of samples made from a collection of broken instruments.
The Broken Instruments Sample Pack is a free download of Found Sound Nation's favorite sounds from the Symphony for a Broken Orchestra Project.
Zimoun is a Swiss artist, composer and musician who's most known for his sound sculptures, sound architectures and installation art that combine raw, industrial materials with mechanical elements.
Each national park has a unique soundscape. The natural and cultural sounds in parks awaken a sense of wonder that connects us to the qualities that define these special places. They are part of a web of resources that the National Park Service protects under the Organic Act. From the haunting calls of bugling elk in mountains to the patriotic calls of bugling horns across a historic battlefield, NPS invites you to experience our parks through this world of sound.
Illusory sound texture reveals multi-second statistical completion in auditory scene analysis
Demonstrations of ‘illusory sound texture’—basically, your brain continuing to ‘hear’ a sound texture that doesn't exist while it is interrupted by another sound.
From the paper abstract:
Sound sources in the world are experienced as stable even when intermittently obscured, implying perceptual completion mechanisms that “fill in” missing sensory information. We demonstrate a filling-in phenomenon in which the brain extrapolates the statistics of background sounds (textures) over periods of several seconds when they are interrupted by another sound, producing vivid percepts of illusory texture.
Natalie Angier: New Ways Into the Brain’s ‘Music Room’ (NYT)
Now researchers at the Massachusetts Institute of Technology have devised a radical new approach to brain imaging that reveals what past studies had missed. By mathematically analyzing scans of the auditory cortex and grouping clusters of brain cells with similar activation patterns, the scientists have identified neural pathways that react almost exclusively to the sound of music — any music. It may be Bach, bluegrass, hip-hop, big band, sitar or Julie Andrews. A listener may relish the sampled genre or revile it. No matter. When a musical passage is played, a distinct set of neurons tucked inside a furrow of a listener’s auditory cortex will fire in response.
Other sounds, by contrast — a dog barking, a car skidding, a toilet flushing — leave the musical circuits unmoved.
Listen to This: Jacques Dudon — Lumiéres Audibles, 1995
"In his 'photosonic' process, Dudon shines light through a series of semi-transparent, rotating discs that slow and modify the light waves’ frequencies; the resulting waveforms are picked up by photoelectric (solar-power) cells connected to standard analog amplifiers."
Robyn Flans: Classic Tracks: Phil Collins' "In the Air Tonight" (Mix Online)
“One day, Phil was playing the drums and I had the reverse talkback on because he was speaking, and then he started playing the drums. The most unbelievable sound came out because of the heavy compressor. I said, ‘My God, this is the most amazing sound! Steve, listen to this.’”
Eric Harvey: Paper Trail: ‘MP3: The Meaning of a Format’ (Pitchfork)
In his new book, Mp3: The Meaning of a Format, McGill University professor Jonathan Sterne exhaustively and eloquently traces the history of the mp3 from the initial hearing model developed in Bell Labs to the current debates about piracy. As the author argues, each time we rip a CD to our hard drives, we're not only saving space in our living rooms or ensuring we have the appropriate gym soundtrack, but also reaffirming a fundamental idea about the limits of human perception.
Eric Harvey: More from my interview with Jonathan Sterne.
I interviewed Jonathan Sterne for Pitchfork about his new book. While conducting the interview, I thought Pitchfork readers would like to know about how AT&T’s capitalistic policies in the 1910s and 1920s laid the groundwork for those compressed bits of data currently clogging their hard drives, and other gentle, science-laden facts about the mp3’s history. I was wrong. But not to worry! Here are the cut bits.
Jono Buchanan: Understanding Compression (Resident Advisor)
Great explanation.
I intend to use this bit:
By placing a compressor after the reverb and assigning the lead vocal sound as a side-chain trigger for the compressor, the reverb level will drop whenever the vocal part is performing but rise whenever a phrase finishes, providing long reverb times in gaps but apparently smaller levels when the vocal is in full flow.
‘So, you want to make a contact microphone? Whether you want create noise music by banging on scrap metal, cheaply and easily amplify your acoustic instrument, or just play with wires, you’re in the right place.’
The Hum.
‘For some time now there appears to be certain people who have sensitive hearing that can hear a low frequency humming noise late at night or in the early hours of the morning. The problem appears to be all over the North Shore of Auckland. We don't know the origin of the generic hum which appears to be world-wide.’
“The piece is by Mathias Delplanque. Titled ‘Call Center,’ it’s recent a stereo reduction of a sound installation of his from several years back. It was part of an exhibition titled ‘Bombay Maximum City.’ The sounds, he reports, were ‘recorded during the summer of 2006 in a call center in Gurgaon (suburbs of New Delhi).’ The result is a half hour of sound that flirts with narrative, but also manages to transform the everyday into something sonically complex. That the source of the audio is itself such a quintessential emblem of technology, of globalism, of communication services, and of interpersonal mis-communication only adds to its impact.”
This is absolutely beautiful. "Brilliant Noise takes us into the data vaults of solar astronomy. After sifting through hundreds of thousands of computer files, made accessible via open access archives, Semiconductor have brought together some of the sun's finest unseen moments. These images have been kept in their most raw form, revealing the energetic particles and solar wind as a rain of white noise. This grainy black and white quality is routinely cleaned up by NASA, hiding the processes and mechanics in action behind the capturing procedure. Most of the imagery has been collected as single snapshots containing additional information, by satellites orbiting the Earth. They are then reorganised into their spectral groups to create time-lapse sequences. The soundtrack highlights the hidden forces at play upon the solar surface, by directly translating areas of intensity within the image brightness into layers of audio manipulation and radio frequencies."