Evolution of Accents: From Shakespeare to Valley Girl

This episode was written and produced by Kevin Edds.

When you describe yourself to others you might mention your height, hairstyle, or maybe your build. But one of the most telling things about you is something you can’t even see, yet it defines you more than you realize. Your accent tells others where you’re from, who you identify with, and maybe even where you’re going. How did accents evolve and why are American accents so different from British accents? Featuring Hollywood Dialect Coach Erik Singer and Linguistics Professor Dr. Walt Wolfram.

Music featured in this episode

Norwich by Steven Gutheinz
Figma by Steven Gutheinz
Erste by Steven Gutheinz
Moments by Steven Gutheinz
Lives Are Threads by Salomon Ligthelm
What We Used to Be by Matthew D. Morgan
We As One by Phillip Cuccias
Chateau by Steven Gutheinz
Redrawn by Steven Gutheinz
Heo by Kino

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View Transcript ▶︎

[Music start]

From Defacto Sound, you're listening to Twenty Thousand Hertz... The stories behind the world's most recognizable and interesting sounds. I'm Dallas Taylor. This is the story… of accents.

[Montage of various accents in movies]

I love accents. Every time I hear someone who sounds different from the way I speak [Borat clip] I take notice and wonder where they were born, who influenced their upbringing, and sometimes whether or not I could speak like that.

Quick note: any accents you hear in this episode are not necessarily “the best.” I know that people are fiercely proud of their accents and have strong opinions about what constitutes an accurate depiction. So for better… *[Capote Clip] or worse… [Austin Powers Clip] w*e’re just gonna have fun with this.

[Dallas starts off in British accent] **For all English-speaking people, our language started somewhere—ok that’s terrible, but it’s the best I can do. While the evolution of our language took many centuries, Early Modern English, the version used by Shakespeare, dates from around 1500. And modern English, pretty close to how we speak now, came along about a hundred years later, right about the time the British began colonizing North America.

So I’m curious, did the American colonists from England originally have a British accent? But first, I wanted to speak with someone who’s an expert on accents.

Erik: I'm Erik Singer and I'm a dialect coach.

An accent is just the sounds of a particular variety of speech. The sound system, the pattern, the pronunciation. A dialect is the larger category. A dialect basically includes things like syntax and word order and even lexis, kind of those individual items, different ways of saying things, different ways of referring to something whether you call it pop or soda or coke, that's a dialect feature.

Simply put, dialect is more what you say, accent is how you say it. Erik has worked with some of the biggest names in Hollywood. He helps them fine tune the speaking portion of their performances when they take on the role of either a real-life or fictional character with an accent. He’s studied and trained for years to be able to both do accents, and also teach them. I asked him what some of his favorite accents are to perform.

Erik: Depends on the day, depends on when I'm coaching how I feel because there's a big part of that. Let's see, just to sort of pick a few that I definitely have an affinity for. My mother is Swedish. [in Swedish accent] One of things I love about Sweden is the food and the culture, it's something I have a great affinity for. So I make my own herring and aquavit. [in a Southeast London accent] I have great affinity for southeast London. [in a Xhosa accent] I like doing Xhosa even if you can't get the clicks in there when you're just speaking English.

[in a Xhosa accent] Xhosa is an indigenous language to South Africa. Nelson Mandela was a Xhosa speaker and South Africa has 11 official languages and Xhosa is one of the biggest.

[in a French accent] If you think of very stereotypically French accent, the lip corners tend to be sort of pulling in towards the teeth, they're advancing a little bit. [in a 1950s RAF colonel accent] If you think of a sort of very stereotypical 1950s kind of RAF colonel sort of thing, it's the opposite. The jaw is very high and the lip corners tend to spread a bit.

Erik is pretty talented, but everyone has their kryptonite right? I wondered which accents are harder for him to perform.

Erik: Welsh accents tend to be tricky for American actors. We generally haven't heard a lot of Welsh. I just never had the opportunity to work on a Geordie accent, which is Newcastle.

[Billy Elliot clip]

The other thing that can make an accent difficult to acquire is just kind of psychological and identity stuff. It's an act of the imagination taking on an accent.

So there are these very, very technical aspects to what an accent is, how those sounds are formed. But you can't do it if you can't imagine yourself as somebody who speaks that way. It's your mind, it's your imagination, it's your heart. And so, if it's hard to imagine yourself as someone who speaks with a given accent, it's going to be a lot harder to get there.

Ok, so back to my initial question, what did British colonists sound like when settling in North America in the 1600s up to say 1776?

Erik: There wasn't only one English accent, there were many. There were three other big waves of migration. This is a little bit simplified, but we all think of the pilgrims landing at Plymouth Rock, and so, whatever that accent was then, was surely what sort of predominated in those kind of Massachusetts colonies. Virginia, sort of Tidewater, Virginia was settled to a large extent by sons of well-off families and their servants. Then, there was the Quakers who came over into kind of Delaware, Maryland area and sort of spread west into Southern Pennsylvania, so there were lots and lots of accents.

I realized that it might be hard to pin Erik down on answer here, but in the most general terms I asked him what would most of those accents sound like in the colonies at that time?

Erik: It would have sounded quite strange to our ears but I would say definitely American just because this pronunciation or non-pronunciation of R sounds after vowels is such a major feature, it's a huge divide [The Patriot clip]. The different vowel sounds between things like hat and half, where for us, hat and half it's the same [The Patriot clip]. Those two huge things I think would probably give us the impression that all English speakers in England and in the States or the colonies sounded more like Americans do now than like Brits do now.

If many of these colonists more or less sounded American, then how did the accents back in Britain change to what we now know them as today?

Walt: We have a sort of preconceived notion of what British dialect should sound like, and it's typically without its Rs. You know, so it's not rhotic.

That’s Walt Wolfram. He’s a sociolinguist at North Carolina State University, specializing in social and ethnic dialects of American English. In a 50 year career he’s written 20 books and over 300 articles on variation in American English.

Walt: The accents of American English pretty much reflected areas of England. For example, you get people who settled on the coast of Virginia and islands, for example, and in North Carolina on the islands there, and they were very rhotic. That is, they pronounce their Rs in "four," and in "war," and so forth. They were very rhotic, because they came from southwest England where people still pronounce their Rs. On the other hand, there were some areas of England which were becoming quite R-less, because that was becoming the standard in London in the 1600s and 1700s and so they were more R-less.

This new accent that today is called “Received Pronunction” or RP for short may have begun in the 1600s but it would take a while before it became so synonymous with Brits.

[Downton Abbey clip]

Walt: But basically, it's simply the standard of London, of southern England, because of the prestige and because of the social class. That became the acceptable sort of norm.

[Downton Abbey clip]

Basically, prestige in accents is in the ear of the beholder. So, speaking of prestige, with all of this r-full and r-less business, did Shakespeare’s plays around 1600 sound the way we imagine them today?

Walt: If you look at Shakespeare's background, to the extent that we know about him, he actually used Rs. He wouldn't sound like we imagine a British person to sound like at that time.

Erik: You go back to Shakespeare and the Rs were really hard. So this idea that some Americans have I think that a Shakespeare should always be pronounced in an RP accent is fine if that's your taste [Shakespeare excerpt] but it sounds absolutely nothing like what Shakespeare's actors would have sounded like. [Shakespeare excerpt], somthhing like that.

It was very R-full, really hard Rs, kind of almost a little bit piratical, sort of stereotypically piratical and it was very fluid and efficient. They left out a lot of sounds.

As accents in England began to change over the next few centuries so did American accents. But early in the 20th century an interesting phenomenon occurred as they came crashing back together in a brand new accent that didn’t evolve—it was created. We’ll get to that in just a minute.

[music out]

MIDROLL

[music in]

From colonial times to the early 1900s - accents continued to slowly evolve in America. But around the 1920s and 30s a new accent popped up… almost out of nowhere.

Erik: Well, it's got lots of names. Popularly known certainly as transatlantic, sometimes, Mid-Atlantic, which is weird. But either way, sort of like you were born on an island in the middle of the ocean between England and the US. It used to be called Good American Speech and before that it was called World English. It is, for the most part, kind of a hybrid accent.

Walt: For FDR, it was his natural dialect [FDR clip]. In a sense, while it had some characteristics that people think of as transatlantic, they were natural to him, which is quite different from an actor, for example, like Audrey Hepburn, who might want to appear to be transatlantic, and therefore be R-less, and pronounce her Ts as in "better,"[Audrey Hepburn clip] or "bettah," and so forth. They choose R-lessness. They choose a few vowels, like "bad" as "bad," and "ban" versus "ban,". They choose a half a dozen features and promote those, and they become sort of associated with this sort of transatlantic, which to a Britisher sounds, "Oh my gosh. That's a bad British accent." And to an American, they may not know the difference, and so it all sounds sophisticated to them.

[Friends clip]

Erik: Yeah, it conferred prestige. This is an idea that I think is not with the times now because this kind of idea of picking a certain group of people or way of speaking and saying everybody else speaks wrong or badly, we’re then telling people who speak non-standard dialect or a lower prestige dialect, you're bad and wrong or sloppy and that's just absurd on its face.

I assumed that the Transatlantic Accent was just a fad and died out completely. But then there was that little show on NBC called Frasier…

Erik: Yes, Niles Crane. So, David Hyde Pierce trained at Yale, and Yale Drama School, like pretty much every American Drama school of the time when he was training, that was sort of the bible. So this good American speech pattern was universally taught in actor training programs long after nobody spoke it naturally anymore, it still is taught in a lot of places.

It's still useful for period stuff certainly. If you're going to set a movie in the 1950s and the characters are actors, well, go for your good American speech absolutely.

[Aviator clip]

Speaking of Good American Speech, there’s a perception in America that some accents are less becoming or desirable to have than others. So a sort of “General American” accent has taken hold.

Erik: There's this mythical beast called general American, put the general in quotes. It's not one accent, it's more sort of the absence of certain things, which is it's the absence of particularly regionally identifiable features. So if I say Tom or coffee or hat, those are things that are going to stand out to anybody and kind of make them say, "Oh, I know where you're from." So if you don't have any of those, then, people might say you sound kind of general American. Of course, there's lots of variations still in there. Half of Americans rhyme the words COT and the words CAUGHT, right? So cot and caught, "I caught a on a cot." Canadians pretty much all do that.

This “lack of an accent” as you might describe it can be a bit… boring. I asked Erik if he could give me one of my favorites… an accent from Fargo.

Erik: So Minnesota, so that's very different and I know a lot of people from there are quite sensitive about kind of stereotypical or exaggerated version of that, and it's not to say that everyone from Minnesota might talk like that but there are people who do for sure.

[Fargo clip]

There are a whole range of regional American accents that have been around for hundreds of years. From New York, to Boston, to Chicago, to Cajun, to a whole variety of Southern accents. But what about newer ones like Valley Girl? Or the Kardashian-esque Vocal Fry?

Erik: I think it's a little hard to define. I think people mean different things by Valley Girl, although there are probably some common features like uptalk [SNL Californians clip] and definitely, like vocal fry is a part of that. That's when your vocal folds start kind of vibrating a little slower than they would for like all your voice [The Kardashians clip]. But both of those features actually are really widespread in American speech. Australian accents and Northern Irish accents and Scottish accents very often have a rise at the end of a phrase or a sentence.

[Braveheart clip]

Walt: So what you have today are you have new dialect areas in northern California, in the northwest, so for example in Seattle and Portland, areas like this, are creating dialects that are regionally distinctive. The point is this: Everybody wants to be from somewhere. And our dialect indicates where we're from.

Isolation is one reason some accents have lasted for as long as they have. One popular theory is that Appalachian English is a preserved remnant of 16th century Elizabethan English.

[Inglorious Bastards clip]

Walt: Well, it's true and not true, okay? The true aspect of it is that there are certainly older retentions of the English language. For example, in Appalachian English, the prefix like, "He's a'huntin' and a'fishin'." That certainly is an older English phenomenon that has been preserved, as are pronunciations like, "twiced" and "onced" for "once" and "twice." There are certainly older pronunciations.

The problem is that at the same time, Appalachian English is changing and becoming a dialect unto itself, and so there are lots of things that are actually new in Appalachian English. It's sort of like, "Something old, something new, something borrowed, you know, something blue." A few years ago a crew from BBC came to visit the island of Ocracoke...

Ocracoke is an island off the coast of North Carolina.

Walt: Someone had said, "Well, that's where the really Elizabethan, Shakespearean English is found." It's true that they do have some older features that were around at the time of Shakespeare. They say "thar" for "there" and they also say for "high tide," they say "hoi toide," which is a little more British and older. They have some traits that certainly are remnants of former days.

Many people throughout their lives supposedly “lose their accents” or have them transform into a different one. When a southerner moves north they often start to lose that classic southern drawl. Could some accents be dying out?

Erik: there are some sounds and languages generally that are a little unstable, that are a little more likely to be changed or dropped into something else as language change goes on. And we have two of them in English, it's the two different TH sounds like in this and thin, one is a voiced, one is unvoiced, right? And every time we see those in languages, they eventually morph or change or get dropped over time. You can definitely hear that in what's called multicultural London English, which I love, kind of a V or an F sound instead.

A good example of this is the way some Londoners say Mother and Brother as muvah and bruvah.

Erik: I think I've come across predictions that by 2150, English won't have those sounds at all. So, that's always ongoing. New accents are always coming and going and merging and splitting and distinguishing themselves from each other.

Every time I hear someone who sounds different from the way I speak it reminds me that the world is vast and diverse. It’s a collection of people with different ideas, different cultures, and different identities. These identities began thousands of years ago, and they’re still with us.

Erik: Because we evolved in this social, communal small groups and so, you have to be able to recognize and distinguish your people from the other people. We've grown very, very attuned to these minute differences, even if we can't say technically what they are, we're like, "Oh, you're not one of me," or "You're my kind of guy."

Just coming back to the idea that accent is identity, it's a way of encoding and signaling almost completely at an unconscious level for most people, who they feel like they are, who they want to be seen as, what group they feel like they belong to. It's the richness and the variety that is so fascinating and so deeply human.

Walt: Dialects are identity. They index where we come from, who we are, where we're going, and so in a sense, to be without a dialect is to lose something of your personal character, your regional identity, and your sense of who you are, and the communities that you come from. They're about as critical as any other aspect of diversity. This would be a much less interesting place if everybody spoke the same way.

Twenty Thousand Hertz is presented by Defacto Sound. A sound design team working with production companies, advertising agencies, filmmakers, and game developers to make their projects sound incredible. Find out more and get in touch at defactosound.com.

This episode was produced and edited by Kevin Edds… and me, Dallas Taylor… with help from Sam Schneble. It was mixed by Jai Berger.

Many thanks to dialect coach Erik Singer for joining us. You can learn more about Erik’s accent coaching at ErikSinger.com -- that's Erik with a 'K"... If you search for him on youtube, you can find an incredible breakdown he did of 32 actors accents. Also, thanks to Linguistics Professor Dr. Walt Wolfram. You can check out his latest work in the new documentary, Talking Black in America: The Story of African-American Language. And thanks to youtube.com/socratic for use of their Shakespeare sonnet #94.

The music in this episode is from Musicbed. They represent more than 650 great artists ranging from indie rock and hip hop to classical and electronic. Head over to music.20k.org to hear our exclusive playlist

I’d love to hear your accent. Open up your voice memos app on your phone and record your thoughts about the show, your show ideas, or anything else you want to share. We might just post your thoughts to our social accounts which you can find on facebook and twitter at 20korg. You can send your voice memo to hi at 20k.org.

If you’re a little shy about recording your voice, don’t be. BUT if you’d rather pass and still have something you’d like to tell us - reach out through our website at 20k.org. One thing that would be really helpful is to let your friends in the press know about the show. It’s our mission to elevate the amazing sense of hearing through these little stories, and I’d love for more people to hear them. You can get in touch with me directly through our website or at hi at 20k.org.

You can find all of these links on our website or in the show description.

Thanks for listening.

Recent Episodes

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Forensic Audio: How sound solves crimes

This episode was written & produced by Miellyn Fitzwater Barrows.

You might not realize it, but audio can be just as crucial to solving a case than video or eyewitness testimony. But understanding how to interpret audio evidence, or having the ability to enhance it to a point of intelligibility, requires highly-specialized training and expensive software. Meet Kent Gibson, one of the country's leading forensic audio experts, who's done audio analysis for the FBI, the Secret Service, and the Department of Homeland Security, among many others, and get his take on audio evidence from the missing Malaysian Airlines flight, the Trayvon Martin case, and Mel Gibson's infamous domestic dispute.

Music featured in this episode

We All Speak in Poems by Alaskan Tapes
Washedway by Evolv
In Which Way by Aeuria
Light + Breath by Dustin Lau
Where I Last Saw You by Dustin Lau
Timeline by Blake Ewing
Carved In Mayhem by Luke Atencio
Islands by Blake Ewing
Brilliant by One Hundred Years

Twenty Thousand Hertz is produced out of the studios of Defacto Sound and hosted by Dallas Taylor.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

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View Transcript ▶︎

[Music start]

From Defacto Sound, you're listening to Twenty Thousand Hertz... The stories behind the world's most recognizable and interesting sounds. I'm Dallas Taylor. This is the story of how audio can be a key to solving a crime.

[Malaysia Airlines Flight 370 clip]

Forensic audio is the use of audio evidence in the investigation of a crime or for use in a court of law...and the clip you just heard was from Malaysia Airlines Flight 370. The one that went missing in March 2014 somewhere near the southern Indian Ocean.

Investigators found some debris in January 2017 that they have identified as being part of the plane, but to this day, no one really knows what happened.

When these final recording between the pilots of the missing Malaysian jet and their air traffic controllers were released, and appeared to have been edited, NBC news turned to Kent Gibson for analysis.

Kent: I'm a forensic audio and video examiner. I’ve been in the business about 30 years. I do authentication, which is, is this recording edited or inauthentic in any way?

He determined that the audio had been edited in at least three places. Listen carefully to the following clips for words that have been cut off.

[Malaysia Airlines Flight 370 clip]

He was also convinced that this section has been recorded through a speaker or microphone.

[Malaysia Airlines Flight 370 clip]

The tape may have come from multiple sources. Listen to it back to back with another section of the tape…

[Malaysia Airlines Flight 370 clip]

And now the part that sounds like it was recorded through a speaker...

[Malaysia Airlines Flight 370 clip]

It’s entirely possible that this is either a case of the Malaysian authorities editing the tape because parts of it contained information that the government didn’t want shared with the world, or that the tape was poorly put together from multiple recordings of the same thing.

Regardless, maybe this evidence, along with other findings, will someday help add to the bigger picture of the case.

Kent does a lot of authentication cases like this one. Some of this work relies on tech and some on good old-fashioned listening.

Kent: There are ways to find out and there are a lot of software ways, there are a lot of critical listening for non sequiturs and split words.

There is some new issues with authentication in that there are some techniques and some editing systems where you can't really detect an edit. These days you can't really say, "I guarantee you there are no edits here." All you can say is, "I don't hear any edits there." If you can say, "There is an edit right here," then it's not authentic. Then you're clear on that issue. The opposite is not the case.

If you ever hear a half of word, it's pretty clear that's an edit because it's really hard for a human voice to make half a word.

Another important service Kent provides is enhancement.

Kent: Enhancement is probably 50% of what most forensic audio people do. Making things understandable, that are not understandable.

Like this recording of a bribery sting with a television blaring in the background.

[bribery clip]

He managed to get a copy of the television broadcast on its own and using that clean audio, he could then eliminate it from the recording.

[bribery clip cleaned up]

How exactly does he do that?

Kent: By now I have a whole array of software that treats, it filters, it's limiters, it's different kinds of filters that are very specific, and that try to remove background noise. You sample a recording and it learns the background noise and then you output it at the end and the output is theoretically the voice without the background noise.

Here are two of those clips back to back…

[bribery clips]

But this doesn’t work for everything so sometimes Kent and others who do this kind of work have to manage expectations.

Kent: Especially with digital distortion and digital corruption, my famous line is not every file can be enhanced.

But plenty of recordings can be enhanced...or with a little bit of pre-planning, investigators can set up their own recordings to catch conversations between people they’re holding in jail.

Kent: Well sometimes the CI, who's the confidential informant wears a wire, but in this case there was a grate, an air conditioning grate, in the cell. They put the recorder behind the grate and then put the two guys in there.

They talked to each other, and basically they were claiming they didn't even know each other and we got them saying, "Where'd you hide the gun?" Basically it was clear that they were both in cahoots.

A quick aside here about recording conversations, in California it’s legal to record someone without their knowledge it if could provide evidence of a crime.

Unless they are somewhere where it’s posted that they are being recorded, like in a jail or a prison. This law varies from state to state.

Back to Kent.

Kent: I've done a lot of those, basically you can whisper for only about 20 minutes. Then after you're whispering for 20 minutes, you start talking with tonality in it. No matter how hard you try, you start speaking in something that can be understandable.

Kent worked with one local jurisdiction to take this idea a step further in their holding room.

Kent: Every jail has a room where people are admitted. They're arrested and they're put in this holding room while other things happen. I had them install this fan in that room, which was very noisy but only in the low frequencies. It was like a rumble, rumble, rumble. So we could record people in there, and they hear this noise in the air, so they don't think they can be heard, but we would record the noise then take out the rumble and hear exactly what they were saying.

That take preparation, sometimes you can do that when there's a fan in there anyway, but we were pretty sharp and thought to install things to make it easier for me to do my work.

We don’t have the exact same hear that Kent does, but we are able to reduce a consistent noise, so we tried this in the studio.

Person 1 Exmaple: Here I am talking with a loud fan in the background. As you can tell, it’s a little hard to hear, but when we process out the sound of the fan you can now hear me a little better.

Now, let’s hear that again, with the sound of the fan reduced.

Person 1 Example: Here I am talking with a loud fan in the background. As you can tell, it’s a little hard to hear, but when we process out the sound of the fan you can now hear me a little better.

This can be done fairly easily if the sound is consistent because the software can identify just those frequencies and reduce them. It’s much more difficult to reduce sounds that change frequency like a car engine [car engine SFX] or other people talking [people talking SFX].

Part of what makes it difficult to remove voices, the individual and unpredictable movement of the sound, is what makes it possible to identify them. Everyone uses their voices in different ways and that, coupled with the actual vibrations of their vocal cords, can be really unique.

Kent: I do a lot of voice identification, which is this voice is the same as that voice. The person on this recording is the same as the one over there.

Kent used this analysis during the Trayvon Martin case in 2012.

Kent: I wasn't the head guy but I was one of them. It was voice identification and basically my findings were different from the one that they had.

Find out how and go behind the scenes of another famous case...next.

[music out]

MIDROLL

[music in]

Kent Gibson analyzes audio for criminal and civil cases and when he was consulted by the media about a 911 call in the Trayvon Martin case, his opinion was different than the one presented by another expert in court.

And, a quick warning here. We’ll be playing a portion of that 911 call in a moment. It could be disturbing to some listeners. There’s not any gunshots, but there is a lot of yelling in the background. If you might be sensitive or triggered in any way, I suggest skipping ahead to the fifteen minute mark in the show.

Kent: I get a lot of calls from news and news will come in and say, "Well there's this case and is that true?" I will often give them an opinion, but it's not necessarily for the legal counsel for that particular person.

The man charged with Martin’s murder, George Zimmerman, claimed self defense and one piece of evidence was a 911 call placed by a concerned neighbor.

There was shouting in the background, but there was a debate over whether it was Martin or Zimmerman.

Kent: It used to be that it was done by spectrograms and formants. Basically if you record a voice and look at it on a spectrogram they're these bars, horizontal bars, in the spectrogram and they're called formants, and they represent the vocal folds, your voice will have a specific characteristic of its formants that no other voice will have in theory.

It used to be we had to have the exemplars, which is a recording of the person in question saying the same words. If the guy said a certain thing, you had to get a recording of the exemplar saying the exact same words, but now software's able to separate the vowels so we can do it with any words just using vowels.

That means that now they can use any sample of the suspect’s voice to see if it’s a match. This new technology is pretty amazing, but it still isn’t perfect.

Kent: You have to have 11 seconds at least of the test and then you get an exemplar, which is a recording of the person in question, and then you run it through this very expensive and highfalutin software that gives you a return on whether or not the program thinks it's the same person, and it's always in a percentage. In forensics and most things like that, it's never 100%.

It's often a much lower percentage and you have to know what the benchmarks are to be able to say, "This is this, or this is not that." It was a news source who wanted me to opine about whether or not the voice that was recorded was Trayvon's voice.

Kent: Some other forensic person had opined that it was his voice and my opinion was that there wasn't enough of the recording to make that determination. It wasn't that it was contrary, it was just it's not enough information.

Who was telling paints dramatically different pictures of what happened. If it was Zimmerman yelling, was it because he was in fear for his life? Or was it Martin yelling because he was being threatened by the strange man who had been following him with a gun?

All we know for sure is that Trayvon Martin was shot dead by George Zimmerman and Zimmerman was acquitted of the murder after he claimed self defense.

Sometimes it’s more difficult to get at the truth...and others it’s a little easier.

Kent: I end up doing one that was for Osanka Grigorieva, who was the girlfriend of Mel Gibson.

As we've heard about Mr. Gibson, he was not good at controlling his anger. He was calling her to tell her to watch out that he was going to do her in. He would call and threaten her with a lot of different things.

She had recorded some of these phone calls and presented them along with voice messages as evidence of Mel Gibson’s physical and verbal abuse in criminal court.

Kent: I was hired on that case to show that A, it was Mel Gibson's voice and B, it was not edited. So that they did not make an inauthentic file putting together the threats.

I can’t play this example for you, even if it weren’t exclusively owned by Radar Online, the language is very offensive.

Kent: If we prove that it was him, and that it was not edited, then clearly he did it.

Once my testimony came out, he gave up. He said, "Okay. You can’t refute that."

Mel Gibson plead guilty to misdemeanor battery. He didn’t serve any jail time.

Kent: I get a lot of cases from famous celebrities and famous politicians where it's very classified and you can't tell who it was. The first time you leak something like that is going to be your last job. It's like being an accountant, you can't mess up.

Forensic audio is an imperfect science, but a necessary one. And people like Kent take that job very seriously as they lend their expertise and software to court cases around the world.

Twenty Thousand Hertz is presented by Defacto Sound, a sound team dedicated to making the world sound better. Whether it’s a commercial, television show, web video, trailer, video game, documentary, VR, or even physical products, Defacto makes it sound insanely cool. Check out prior work and get in touch at Defacto Sound dot com.

This episode was produced by Miellyn Fitzwater Barrows. ..and me, Dallas Taylor. With help from Sam Schneble. It was mixed by Jai Berger.

Thanks to Kent Gibson. Check out his website at forensicaudio dot org to find more incredible examples.

Our soundtrack is from our friends at Musicbed. Who offer a highly curated catalog from great indie artists and composers. Like what you hear? Listen to all of the songs from our show and even license them for your own projects at music.20k.org.

As soon as this podcast is over, go connect with us on Twitter or Facebook! If you have a few minutes, say hello. Also, while you’re at it, tell a friend about the show!

If you have any show suggestions, partnership opportunities, or if you’d like to advertise on the show, reach out through our website at 20k.org.

You can find all of these links on our website or in the show description.

Thanks for listening.

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The Wilhelm Scream: Hollywood’s most iconic sound effect

This episode was written & produced by Kevin Edds.

When it comes to movie screams, what’s the first one you think of? Is it a scream that evokes a sense of fear, pain, or maybe even… humor? Perhaps you immediately think about a famous “Scream Queen” or a specific scene from a movie. But you may not realize that the most famous scream in Hollywood has a name—and it’s been used over and over and over in countless films, television shows, and commercials. What makes it so good? And how did it become a filmmaker favorite? Featuring Steve Lee, sound designer, film historian, and creator of the Hollywood Sound Museum.

MUSIC FEATURED IN THIS EPISODE

Saloma - Steven Gutheinz
Everest - Steven Gutheinz
Desert - Blake Ewing
Battle of Gaines’ Mill - Bradford Nyght
Traversing - Steven Gutheinz
Atlas - Steven Gutheinz
Pool - Steven Gutheinz
Now You Know - The TVC
Orange - Airplanes
Hail the Underdog - UTAH
Washedway - evolv

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View Transcript ▶︎

[Music start]

From Defacto Sound, you're listening to Twenty Thousand Hertz... The stories behind the world's most recognizable and interesting sounds. I'm Dallas Taylor. This is the story of the Wilhelm Scream.

[scream montage]

The two screams you just heard were from Will Farrell in Anchorman and Mark Hamill as Luke Skywalker in The Empire Strikes Back. Movie screams seem like easy work, but they’re not. That’s why some of the best are so iconic.

You’ve got scary ones like Captain Quint from Jaws… [Captain Quint scream SFX] Janet Leigh from Psycho… [Janet Leigh scream SFX] and the original Scream Queen, Fay Wray, from King Kong way back in 1933… [Fay Wray scream SFX].

Then you’ve got non-horror screams, like Kevin from Home Alone feeling the burn of after shave… [Kevin scream SFX] and Marv the burglar from the same film when Kevin puts a tarantula on his face… [Marv SFX] .

But the most famous scream is one you’ve heard, but maybe… never heard of, the Wilhelm Scream.

Steve: Hi I'm Steve Lee, I'm a sound effects wrangler, a film historian, and I'm forming the Hollywood Sound Museum.

It's interesting how Wilhelm has sort of become this sort of, you know, go to sound effect that sort of represents a lot more than just the one sound. It's fascinating how many of these sounds are actually reused over and over and over.

You may be thinking, What’s the Wilhelm Scream? If you think you’ve never heard it, it’s been used in movies such as Batman... [Wilhelm scream] Star Wars... [Wilhelm scream] Toy Story... [Wilhelm scream] Lord Of The Rings... [Wilhelm scream] Tropic Thunder... [Wilhelm scream] Beauty And The Beast... [Wilhelm scream] Team America... [Wilhelm scream] Spaceballs... [Wilhelm scream] Jurassic World... [Wilhelm scream] 300... [Wilhelm scream] Cars… [Wilhelm scream] Fight Club… [Wilhelm scream] Indiana Jones… [Wilhelm scream] and hundreds of other films. This barely scratches the surface.

Steve: When I was a kid growing up, I went to Disneyland. I lived in LA and I went to Disneyland, and I watched movies, and I recorded movies off the TV, and you know, studied the soundtrack. And I started to hear sound effects over and over. Wilhelm was one of them. But there are many other, too.

There was a dog bark, that is in The Pirates of the Caribbean ride in Disneyland...and, I remember hearing it again in Mary Poppins when I was watching that on TV once. And I'm going, "somebody must reuse these sound effects."

And that sort of was a very early realization. And that sort of lead the way for my research and fascination with how these sounds are collected, and reused, and cataloged.

The Wilhelm Scream has been used in tons of movies, but where did it come from?—what movie was it first heard in?

Steve: We've done some sort of back-tracking. Most of this done by Ben Burtt himself, who is the Star Wars sound effects designer who started using this as sort of a personal sound signature.

The name actually comes from what is probably the second film it was used in, which was Charge at Feather River, which was 1953 at Warner Brothers. Poor Private Wilhelm is at the end of this party going by on horses, and the leader yells back to him, to, you know, "Pick up your pace", and he says, "Oh I'm just filling my pipe" and in that moment he gets an arrow in the leg and lets out the scream.

[Charge at Feather River Clip]

They must have liked the Wilhelm Scream a lot because they ended up using it two more times in the film, once when a soldier is killed… [example] and another for an American Indian warrior in battle… [example].

The Charge at Feather River was the film that gave Wilhelm it’s name, but it was the second film it was used in, what was the first?

Steve: It started at Warner Brothers, and the first film it was in was a western called "Distant Drums," a Gary Cooper western.

Distant Drums was released two years before The Charge At Feather River, in 1951.

Steve: And it had a scene where a man is walking across the Florida Everglades with other soldiers, and he's bitten and dragged underwater by an alligator. And they needed a scream for that [movie scene clip]. Ben found a memo in the Warner Brothers archives that said that several people came in to do, sort of post vocals for the film. And we're pretty sure that the scream was recorded in that session.

And one of the gentlemen on the list of people, was a guy named Sheb Wooley, [Purple People Easter song] who is most famous for his pop song "Purple People Eater." But he was a character actor, and he was in a lot of these old westerns. We're pretty sure that he's responsible for the scream.

And many years later, I was able to put Ben Burtt in touch with Sheb's widow. And she was delighted. And she actually remembered that Sheb used to talk about going in to do sessions like that, and screams, and things like that.

So we're like, 99% sure it's Sheb Wooley.

Sheb Wooley sounds like a fascinating guy: a singer, and on-screen actor, and a voice actor. How was the Wilhelm Scream actually captured on tape.

Well, thanks to Steve, we’ve acquired the full length original recording of the session. It was recorded from a Warner Brothers soundstage in 1951 on the set of Distant Drums. Remember, Sheb is not actually in a river surrounded by alligators, he’s trying to create the sound of tremendous pain, agony, and fear, from the safe surroundings of a film lot. Steve Lee will talk us through this…

Steve: The session starts out, you hear several people on a stage, we believe it was actually recorded on a filming sound stage, and not a recording stage, because you hear several people milling about.

[recording playing in background]

And then you hear someone slate through, and he says, [example from recording] "Man getting bit by an alligator, and then he screams." And you hear a director like, shutting everyone up, and then he tells the guy, "Okay."

And he asks for the first scream [scream from recording]. And it's pretty good, it's like a quick scream, and he does another one… [scream from recording]. And then he asks for a little direction [example from recording]. You know, I share the frustration with the director, and say "No that's not what I want, I want a real scream." [scream from recording]

And he’s getting closer and it’s still not quite, and then the director gives him something that motivates him to do the classic scream that we all recognize [clip from recording]. And then the next two are very similar to that [screams from recording], and we've actually used these, all three of these last ones, as sort of the official Wilhelm.

If this obscure scream was first used back in 1951 how did it get so popular that it’s been used in so many movies since then? We’ll find out in a minute.

[music out]

MIDROLL

[music in]

We’re now pretty sure that Sheb Wooley was the voice behind the Wilhelm Scream and know how it was recorded… but how did it spread like wildfire and become the most iconic movie scream in history?

Steve: Ben Burtt went to college with two guys, Rick Mitchell, and Richard Anderson, Richard and Ben won an Oscar for Raiders of the Lost Ark together, for sound effects.

[Raiders of the Lost Ark clip]

Yep, that was our friend Wilhem in Raiders.

Steve: And they were sort of doing this as a little joke in film school, at USC, using this scream, that they remembered from all these old westerns. And they started using it in their short films at USC, and when they went to pro, they started sneaking it into the films that they did for real. Real, feature films.

For decades, this was a below the radar thing that only sound designers knew about. Maybe someone in the industry who used the Wilhelm Scream themselves might recognize it in another film, but it wasn’t really a thing.

Steve: Warner Brothers used it quite a bit. It was in their library. And sound editors could just pull it and use it! Up until the early seventies it was still getting used out of Warner Brothers exclusively. And Ben tracked it down when he was doing research for Star Wars. He said, "Oh I gotta use this. This is a favorite of mine." He tracked down the master, and he started using it in all the Star Wars films, all the Indiana Jones films.

And that's when I started to really take notice and started maintaining a list of all, as best I could, I mean there are hundreds of films.

And like many things, when the internet came along, everything changed.

Steve: I started sort of pushing Wilhelm, and we used it in quite a few films. And, I think I sort of overdid it. Because, it really got noticed by a lot of people. And then when I published the list online, on a movie history website I run, I published this list and sort of the definitive history of Wilhelm. And that's pretty much when the dam broke.

Ben Burtt started this and Steve kind of took the baton and ran with it. I asked Steve, what are some of the best uses of the Wilhelm Scream? Or at least the most memorable?

Steve: He was doing it as a little in joke and then I sort of pushed the envelope a little in the late eighties and early nineties. We used it in everything. I even got it in a Goofy movie. I was the sound designer of a Goofy movie, and it has absolutely no business being in a Goofy movie.

[Goofy Movie use of Wilhelm Scream]

While Ben introduced the Wilhelm Scream to guys like George Lucas it sounds like Steve has done his fair share. I wondered if there’s a good story about any directors he brought into the Wilhelm Club.

Steve: We were very lucky at our sound shop. We worked with a lot of directors over and over, who kept coming back, and some first timers that went on to be really great and do some amazing things.

One of them is a guy, I'm sure you've heard of, named Quentin Tarantino. We did his first film, Reservoir Dogs, and there are a couple Wilhelms in that one.

[clip from Reservoir Dogs]

And I will never forget. We cut it in, and then when we were dubbing the film, we pointed it out to him and told him the history. We actually schooled him on it. And he loved it. Quentin's a huge movie fan, and just eats that stuff up.

And I had a little tiny black and white TV in my office, and I turned it on, and lo and behold Distant Drums is on the Saturday afternoon film…

So I ducked my head into the dub stage and said, "Hey guys, you remember I told you about that scream, well the movie's on right now, that it was recorded!" And Quentin went nuts. "Oh my God, really? Really? Do you know when it's coming up? Can you tell us when it's coming up?" …”Yeah, I could probably give you five minutes notice.”

..."Okay, do that, and we'll take a break!"

…and sure enough, I did, and I called them in, and there was like, ten guys in my little office. And as soon as it came on, Quentin was screaming, "That's in my movie!"

That’s pretty good. It’s gotta be hard to top Quentin Tarantino.

Steve: Peter Jackson was another one. When it was in The Two Towers, he apparently told the mixers to turn it up, make it louder!

Like many movie styles or special effects, they eventually fade out. Has interest in using the Wilhelm Scream started to die down?

Steve: It's still used all the time. It's in commercials. I'll turn on the TV and I'll hear it in an Exxon commercial or something, it's pretty crazy.

And you know, kids coming out of film school are eager to use it too, there's a scene in the Judy Garland "A Star is Born" where it's actually completely in the clear and you can notch out the classic, take number four, Wilhelm. And people are stealing it out of that to use in their student films, and things like that. It's pretty crazy.

So why does the movie industry continue to use the Wilhelm Scream? Is it cliché? Or cache?

Maybe it's a connector, a through-line, a way to be a link in the chain of movie history, from 1951 to today—to share a common bond with directors like George Lucas, Steven Spielberg, Peter Jackson, and Quentin Tarrantino.

Steve: A week does not go by where I don't get an email, or a message from someone saying, "I heard it in such and such," or "Hey we're on a dub stage in Australia putting it in some little movie" or you know "Hey, it's gonna be in a Twix commercial! It's gonna start airing in December!" You know, that kind of thing! Ben accused me of starting a cult, and I'd have to agree with him.

It's sort of a way of communicating with others in our craft, also. It's like a way of saying hi. One of my dear friends, another Oscar winner, Dave Stone, he equated it to dogs on a fire hydrant. And other dogs would come by and "Oh yeah, Sam's been here."

We put it in there to see if others of our kind get noticed. I for sure, if I hear it in a movie that I wasn't aware it was in, I'll wait and look at the credits more closely, and say, "Oh yeah, so and so did this!" Yeah, that dirty dog, he snuck it in!

Twenty Thousand Hertz is presented by Defacto Sound, a sound team dedicated to making the world sound better. Whether it’s a commercial, television show, web video, trailer, video game, documentary, VR, or even physical products, Defacto makes it sound insanely cool. Get in touch at Defacto Sound dot com.

This episode was written and produced by Kevin Edds...and me, Dallas Taylor. With help from Sam Schneble. It was sound designed and mixed by Nick Spradlin.

Huge thanks to film historian & sound effects archivist Steve Lee who is heading up the Hollywood Sound Museum project. The museum will be a destination for fans, students, scholars, and professionals - where you’ll be able to discover the art of creating sound for film, TV, and other media through exhibits and educational programs. Please help get this great cause off the ground by visiting hollywoodsoundmuseum.org. Let’s locate and preserve the rich history of sound design in Hollywood to share with future generations. Again, visit hollywoodsoundmuseum.org.

The music in this episode is from Musicbed. And we have an exclusive playlist you can check out at music.20k.org.

Have you connected with us on social? If so, thank you! If not, do it! Just spell out Twenty Thousand Hertz in Facebook and Twitter. When you connect, be sure to say hello. While you’re at it, tell a friend about the show!

If you have any show suggestions, partnership opportunities, or if you’d like to advertise on the show, reach out through our website at 20k.org.

You’ll find all of the links I mentioned in the show description.

Thanks for listening.

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The voices behind Dragon Ball Z & Firewatch

This episode was written & produced by Miellyn Fitzwater Barrows.

We hear disembodied voices all the time, in everything from cartoons and anime to commercials and trailers. It seems easy, but it's actually an intricate craft involving a great amount of training. What does it take to create multiple, unique personalities using only a voice? Featuring voice actors Christopher Sabat (Dragonball Z, One Piece) and Cissy Jones (Firewatch, The Walking Dead).

MUSIC FEATURED IN THIS EPISODE

Coding - Steven Gutheinz
Crutch - Instrumental - John Steen
Blame The Weather - Instrumental - Clubhouse
Better and Better Instrumental - Andrew Judah
Japan (no-oohs-ahhs) - Watermark High
Washedway by Evolv


20K is hosted by Dallas Taylor and made out of the studios of Defacto Sound.

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View Transcript ▶︎

[Music start]

From Defacto Sound, you’re listening to Twenty Thousand Hertz. The stories behind the world’s most recognizable and interesting sounds. I’m Dallas Taylor.

This is a little glimpse of what it’s like to be a voice actor.

[Mickey Mouse clip]

Ever since Mickey Mouse whistled those first notes while steering this boat in Walt Disney’s 1928 short film Steamboat Willie, the public has been fascinated with animated characters who have funny voices.

Just two years later in 1930, Warner Brothers launches Looney Tunes to compete with Disney’s Mickey Mouse shorts. Originally designed to promote Warner Brothers’ music catalog, these cartoons became more famous for their characters. A majority of which were voiced by one man: Mel Blanc.

Mel Blanc brought to life enduring favorites; Bugs Bunny [Bug Bunny clip], Daffy Duck [Daffy Duck clip] and Porky Pig [Porky Pig clip]. Along with 397 more characters in his lifetime.

Christopher: He is the iconic voice guy. Anyone who grew up on any of the Bugs Bunny cartoons or anything like that, his voices just part of your subconscious. I am Christopher Sabat. I am a Voice Actor.

Even to this day anyone from any age you can use, "Yeah, can you make this sound a little bit more Yosemite Sam?" Everybody knows what you're talking about. He's just such an iconic voice.

Mel Blanc was soon followed by other iconic Voice Actors. There was also June Foray, best known as Rocky from Rocky and Bullwinkle [Rocky and Bullwinkle clip] , Don Messick, the original Scooby Doo [Scooby Doo clip], and Daws Butler, AKA Yogi Bear [Yogi bear clip].

These actors paved the way for contemporary favorites like Christopher Sabat of Dragon Ball Z Fame [Dragon Ball z clip] and Cissy Jones, the voice behind award-winning video games including The Walking Dead and Firewatch [Firewatch clip].

When asked to describe their own voices they has this to say:

Christopher: Man, what does my voice sound like?

Cissy: How would I describe my voice personally?

Christopher: My voice would be like if Don LaFontaine, the famous trailer guy was just your bro and you guys were totally tight.

Cissy: Maybe, if Charlize Theron were maybe an overtired mom?

Christopher: My voice is like a muscle car that has really nice interior. Now, that doesn't work either.

Cissy: Your best mom friend who changes your kid's diaper so you can have a margarita.

Christopher: My voice is like Nutella if you put on really good bread but it's also really warm too like you toasted the bread first. I don't know.

Cissy: Yeah, that about sums it up.

Both Christopher and Cissy have incredible ranges and I wanted to know what it takes to create so many different kinds of characters.

Christopher: I think it's different for each person. What I do think is very similar between a lot of different voice actors is that we become voice actors because we have an ability to quickly look at something and decide what kind of voice that thing needs. I look at people’s teeth and I look at their eyes. Does that person look up tight?"

The person has a really tight face [voice example] and so you kind of scrunch your face up a little bit. Does that person look really formal? They look [voice example] real loose, real jowely.

You have to imagine or ask where the person is from or what life they've had. There's just all these subtle factors that go into finding a voice. Then a lot of times you just look at that person, you go, "Oh, that looks like my uncle Johnny." You know what I mean? Sometimes you just draw voices from things in your life.

For Cissy Jones, character development starts with finding the answers for lots of questions.

Cissy: "Who is this person? What are their dreams? What are their fears? What is the first thing they think of in the morning, and the last thing they think of as they're going into sleep? What excites them? What terrifies them? In terms of scenes, who are they talking to? What are they talking about? Where are they? Is this a very intimate scene [voice example], or are they shouting across a field to one another [voice example]? Is this a battle scene, and I'm going to start screaming, and throwing blows?"

Really understanding who the person is in terms of what has gotten them to this scene, and then what the scene is. A lot of it is made up in my head. A lot of times, we don't get what the scene is. Sometimes we don't even get the actual name of the game, if it is a video game. We just have to make up whatever came before this line that I'm supposed to say, that makes absolutely no sense, but I have to make it make sense.

If I don't believe it, why should anybody else? You know, when I was working on "The Walking Dead," I used to come home and have nightmares about the zombie apocalypse.

I remember the last scene I did for Katjaa, and I had my, spoiler alert, death scene. I'm sitting in a booth in LA, and the directors are in San Francisco, and I gave my big emotional moving thing, and I just hear, [crying voice example] "Um, yeah, that was great. I think we can move on." I was like, "Okay, my job here is done."

Cissy actually played nine different characters in the video game series - The Walking Dead.

Cissy: I played Katjaa, Jolene, Brie, Dee, Shel, some randos, a couple guards, and most recently for "Michonne," I played the main bad guy, Norma, and another woman in a dream sequence named Vanessa.

[voice example] Jolene was just crazy. She was in the woods, and she'd been alone for a while. She was a crazy, you know. [voice example] And Brie was, she was suffering from cancer, and she was real angry about a lot of things. [voice example] Norma was just angry. She was running stuff, and she didn't like what she saw going on.

[voice example] Katjaa, she was a Belgian immigrant; she had been living in the United States for 14 years, but she was very sweet and matronly, and Katjaa gets very upset when she is panicked, and she cries a little bit, but she's not too crazy because her husband is usually the one who goes crazy. But she maintains decorum to a degree, unless she's getting run down by zombies, and then it hits the fan.

I developed the accent by following around a Belgian friend of mine with a tape recorder, for far too long, until it became awkward. Just played it back and listened to him before every time I had to record, before every session, before the auditions. I believe I had a weekend; I got the audition on a Friday, and it was due on a Monday, and I just followed him around like, "Talk more, talk more." He was like, "You're really getting on my nerves." But he loved the final performance.

It comes down to understanding who the characters are, and what makes them different, before picking a voice, if that makes sense. And that is true for any character in voice over; you never want to go for the voice first, because it's not believable.

Find out how Christopher keeps it believable, even with unbelievable characters and learn an industry secret about trailers from Cissy, next.

[music out]

MIDROLL

[music in]

It’s crucial to focus on believability, even when working with larger than life characters like Christopher does in anime, because if the audience doesn’t buy it, it can pull them right out of the story.

When he does the English versions for shows and films originally made in Japanese, he can look at the characters’ facial expressions and adjust his voice accordingly.

Christopher: I do a lot of voices for a show called Dragon Ball Z. Okay, so to go through, [Piccolo's voice] alright ah, we’ll start at the bottom. The lowest character I play is this guy named Piccolo. Piccolo has two emotions. He's either just cool and calm or he's like yawn at Gohan or something like that. On the other end of the spectrum, it's almost the same voice except where Piccolo is very low in my voice. Vegeta is very high [Vegeta voice], comes out of the nose and has this weird like British thing but if I take the scratch out of it and then make it not as British then I've got this guy named Yamcha [Yamcha's voice] who's like this totally dorky guy. Then if I put the scratch back into it and then I make it go like this I become this character named Burter [Burter's voice]. He's got this lispy weird thing going on. Then if I go back down to Piccolo again [Piccolo's voice], I then can open up the back of my throat and I can do this guy named Recoome [Recoome's voice] and believe it or not of all the voices I've ever done, that's the one that hurts the most because I have to tense up these muscles in the back of my throat and it hurts real bad sometimes.

Yeah, a lot of voices are just so close to one another but yet you can add like an accent or a lisp or that Burter voice [Burter's voice] have this lisp in it. Recoome, [Recoome's voice] I do this thing on my throat, with my mouth too.

And then right in the middle it's closer to my voice his name is Zarbon [Zarbon's voice]. He's just like a normal guy, he's close to my voice except with a slight British accent to him as well. There's where we're at, sometimes when I'm choosing a voice I do pick whether this is in my upper range and my lower range or I just try and find somewhere along my vocal chords to make a sound then I just try and keep it there.

But voice acting isn’t just about being able to do different character voices. Most voice actors, including Christopher and Cissy, do a lot of commercial work, too.

Cissy: Commercial is what you're going to book most often. Commercial is where you will make money.

Christopher: When you start getting into modern commercials where they are wanting really natural sounding voices. And that's where you're almost having to take out as much support of your voice as possible.

It's the sound you make when just like you're laying down next to somebody and you don't necessarily want to wake him up but you're having a conversation with them at the same time. When I'm having to read something realistic, sometimes the lower end of my voice sort of goes away and that just becomes really subtle because that’s what they’re looking for.

They are like, "Oh man, I want that everyday sounding guy” This is a true story too, "Could you say fresh pappardelle pasta like maybe ten times and we'll just pick the one we like?" Fresh pappardelle pasta. Fresh pappardelle pasta. Fresh pappardelle pasta. Fresh pappardelle pasta. I mean, it's over and over and over again and that's when being able to really play into your voice random generator that exist in any voice actor's head really comes in handy.

Cissy: I do ads for a grocery store in town every week, I do their weekly specials... you know, [voice example] "Stop by Ralph's this week for broccoli at $2 for whatever." You kind of have this range of emotion that you portray in your commercial reads.

You know, [voice example] bright and perky, and authoritative, and like a little bit sexy, and a little bit wry.

It’s her wry voice that’s really put Cissy on the map. She used it as the basis for her award-winning portrayal of Delilah in Firewatch, a first person mystery video game set in the Wyoming wilderness. As the player, you go to work as a Firespotter and Delilah is your boss. You never see her, so your entire relationship is over a two way radio.

Cissy: Well, Delilah's pretty much me. She's a little more flirty, she loves her puns, but you know, she's just kind of a wild card. You just never know what she's going to say.

She's funny, she's witty, she doesn't care what people think about her, which is what I loved about her so much. My favorite thing about the game is that you had to decide as a player how to feel about her, just based on her personality.

I also did a game right after "Firewatch" called "Adrift," so in "Firewatch," you pretty much have me talking non-stop for six hours, and in "Adrift," I'm an astronaut who wakes up in a space station that is destroyed, and I have to figure out what's happening and how to get home. It's basically me mouth breathing for six hours.

[Breathes] Yeah. I almost passed out during that session.

The amount of control a voice actor has to have over their face and body is pretty surprising. And doing what it takes to get the performance right can be...interesting.

Christopher: Some people will go, "I need that, I need a trailer voice done," a voice over thing, I have to go, let's see, [voice example] “Coming this Friday”, whenever I do the trailer voice type voice I always add a lot like this weird growl to my voice because one thing I noticed about the Don LaFontaine's voice.

Don LaFontaine is possibly the most famous voice in movie trailers. He’s the one known for the phrase...

[Don LaFontaine clip]

Christopher: It's not that it was like the deepest voice in the world. It's just he had this ability to send sound through his nose no matter what he was saying, [voice example] if it was a vowel or a consonant he always had something going through his nose. That was his signature, that's what made it so cool.

But the “voice of God” narration, as it’s referred to in the industry, isn’t the only thing voice actors get hired to do in trailers. There might be a line or two in a trailer that sounds like the star of the film, but it isn’t always that person.

Cissy: A lot of times when they’re writing a trailer, they need a single line of dialogue to make the trailer cohesive, but to bring in the celebrity is crazy expensive so they bring me in or someone like me. So I do [voice example] Penelope Cruz. I also do [voice example] Charlize Theron. When she's not available, I come in and do her; as a very British kind of sound. Or [voice example] Rebel Wilson. You know, it's just kind of all over the board. It's like whatever you can match, you get paid to do.

Most of us don’t think about our voices on a daily basis. What they can do and what we can do with them, but for some it’s their livelihood and they educate, inspire, and entertain us every day.

Twenty Thousand Hertz is presented by Defacto Sound a sound design team that makes sounds like this [sci-fi shooting SFX], this, [boxing SFX] and this [mnemonic SFX] for advertisements, trailers, TV Shows, games and tons of other things. Check out more and the videos associated with those sounds at defactosound.com. This episode was produced by Miellyn Fitzwater Barrows and me. With help from Sam Schneble. It was mixed by Jai Berger.

The music in this episode is from Musicbed. They represent more than 650 great artists ranging from indie rock and hip hop to classical and electronic. Head over to music.20k.org to hear our exclusive playlist.

If you have not connected with us on Facebook or Twitter, go do it! I love hearing feedback and chatting about the show. Also, while you’re at it, please tell your friends. The only way someone will know about the show is if you tell them. We go to great lengths to keep this show clean, so feel free to tell your parents or people you’d like to introduce to podcasting. We’ve also made a little donation link at donate dot 20k dot org, if you’d like to contribute to the production costs of the show.

I'll put these links plus everything else in the show description. Which, if you're not in the habit of looking at, I highly recommend. We put tons of relevant and follow up information in there. Check it out. Thanks for listening.

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Hearing Loss: What causes it and how to prevent it

This episode was written & produced by Miellyn Fitzwater Barrows.

Our ears are sensitive, but we often don’t treat them that way. We are born with the ability to hear up to 20,000 Hz. As we age, our hearing range diminishes. On top of that, the more exposure we have to loud sounds, the greater the impact it has on our ability to hear. Find out what happens once we start to lose our hearing. Featuring Lindsay Prusick and Shaheem Sanchez (Instagram).

MUSIC FEATURED IN THIS EPISODE

On the Mountain by The Sea by Utah
In Slow Motion by Utah
SFSG by Utah
0212 by Utah
One Million by Utah
Breaking the Bank Instrumental by Reagan James
Washedway by Evolv

Twenty Thousand Hertz is hosted by Dallas Taylor and produced out of the studios of Defacto Sound.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

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View Transcript ▶︎

[Music start]

From Defacto Sound, you’re listening to Twenty Thousand Hertz. The stories behind the world’s most recognizable and interesting sounds. I’m Dallas Taylor.

This is the story behind our hearing and what happens when it goes away.

[club music fading to silence]

Even a small amount of hearing loss can significantly impact a person. Almost forty million American adults, that’s fifteen percent, have difficulty hearing. And it gets worse the older you get. And right now, the world is louder than it’s ever been before.

Lindsay: Hearing loss for the most part tends to be a gradual thing for people as they age.

That’s Audiologist, Lindsay Prusick.

Lindsay: When people have hearing loss, largely, it's an invisible thing. You don't see it, but it has such a profound impact on people's ability to connect, communicate, even ultimately their quality of life. There are a lot of people who are born with hearing loss and it can be as a result of genetics, syndromes, things acquired through when a mother gives birth to a baby, various viruses, that type of thing.

Because it is so invisible, many people don’t think about hearing loss very much at all.

Lindsay: Really, in general, for the majority of people with hearing loss, it's a very gradual thing. People start to notice over time, "Oh gosh, it's hard to understand speech. Things sound muffled. People sound like they're mumbling," or just the quality of sound begins to decrease. [music decrease SFX]

This is a good thing to remember when you’re talking to older people...or really anyone who asks you to repeat yourself. You yourself can work to prevent hearing loss or additional hearing loss. But, it’s harder today than ever before.

Lindsay: We're constantly putting things in our ears and listening to sound. We're walking around with our smart phones that have now become basically our television [HBO SFX], our podcast source…[20K theme song, record scratch]

Hey, don’t blame me, I’m not controlling your volume!

Lindsay: Our music source, [music start] and we're placing ear buds into our ears and maybe you're getting on the subway [subway SFX] or you're on an airplane [airplane cabin SFX] or you're just in a noisy environment. So what do you do? You crank up that volume. That can be a very dangerous thing.

A great rule of thumb is if somebody is three feet away from you, and they're talking to you, and you can't hear them, the sound is too loud. And you should turn the volume down.

There are all sorts of things in our environment that can threaten our ears.

Lindsay: Try to think about the last time you were in a noisy situation, so a concert [concert SFX], maybe you mowed your lawn [lawn mower SFX], maybe you even just blow dried your hair [hair dryer SFX]. It seemed really loud at first and it's not as loud and that's because people experience a temporary shift in their hearing. They’re not nearly as sensitive to those sounds anymore. Let's say you're at a concert and you run to the concession stands. [begin muffling Lindsey] The cashier begins to talk to you and you realize they sound muffled.

Then maybe you hear a slight buzz or hum [buzz SFX] in your ears. These are all things you can notice when you're in the moment, but most people notice it the next day. I always refer to it as a noise hangover. It's typically your hearing is muffled or it's not as sensitive. You could even feel fatigued. Literally, just more tired than usual and you could have a headache. And these symptoms can last a day, they can last a couple days depending on how often you’ve exposed yourself to extreme levels of noise, you can even find that some of the symptoms go away, but others persist.

Over time the ears can take a beating and they may go back to normal, but the reality of it is anytime you exposure yourself to dangerous levels of sound, it does do damage to the hearing system.

One clear symptom of hearing damage is a ringing in the ears called tinnitus.

Lindsay: Tinnitus is the perception of sound either in one ear, both ears, or just in your head, without an actual sound occurring in the environment. It can be described in many ways. I'd say one of the most common is people will say, "I have a high pitched ringing" [high pitched ringing SFX]. They can express it as sounding like crickets [crickets SFX], buzzing [buzzing SFX], a tea kettle going off [tea kettle SFX]. There's all sorts of descriptions for it. It can be intermittent, meaning it happens at different times of the day, or it can be constant [tea kettle and ringing SFX], it is literally always there. A majority of the population when they experience Tinnitus, they find that they'll hear it and it'll go away. There are a lot of people that are highly, highly impacted.

Do you have tinnitus or other signs of hearing damage? Even if you don’t, I want you to try something with me.

For this part of the show, if you can, find a quiet space where you can concentrate for a few minutes. If you’re driving or something, just carry on. You can come back to this later.

Okay, welcome back.

Now set the volume at a comfortable level [mic check]. All set? Okay. The healthy hearing critical range is between 500 Hertz and 4,000 Hertz.

A Hertz is a measure of frequency and vibration. Imagine a speaker cone: It starts in the resting position, pushes outward, pulls back inward and then goes back to the resting position. One Hertz means this cycle would happen over the course of exactly one second. But we as humans can’t start to detect that sound until the speak is going through that cycle around 20 times a second.

That’s 20 Hertz, and it’s extremely low...at a high volume you’d be more likely to feel it rather than hear it, but that’s the threshold of where hearing begins. As we speed that speaker up, the pitch raises. Humans can theoretically hear all the way up to around 20,000 Hertz, but, you probably haven’t hear that sound since you were a kid. More on that shortly.

Now I’m going to play sounds in the critical range.

Here’s 500Hz [example]

Here’s 1,000Hz [example]

Here’s 2,000 Hz [example]

And this is 4,000Hz [example]

Now, this is in no way scientific. Your results will vary based on what type of headphones or speakers you’re using, where you’re listening, and any EQ settings you might have changed on your device. Still for most devices in most places all of those tones should have been clearly audible. So, if you struggled to hear any of those tones or couldn’t hear them at all, please go to a professional to get your hearing checked.

Now, just for fun, we’re going to go a little further. Everyone with average hearing should be able to hear 8,000 Hertz.

[example]

But, as we get older, our hearing range naturally diminishes to where we lose sounds in the top of our range. There are particular ranges that people over a certain age are not likely to hear. We’re going to play some of those now.

The first one, 12,000 Hz, is usually only audible to people under the age of 50.

[example]

And here’s 15,000 Hz, for people under 30…

[example]

And then 17,000 Hz, which only people under 18 should be able to hear.

[example]

Then there’s 20,000 Hz, here this show gets its name, it’s the highest possible sound that any human can hear.

Check it out...if you can hear it.

[example]

And finally, we’ll play a full sweep of the entire range of human hearing which is 20 Hertz all the way up to 20,000 Hertz.

Again, take all of this with a grain a salt because all listening devices vary. For example, if you’re listening in earbuds, you’re not going to hear anything in the low frequency ranges, but if you have a subwoofer in your car you might.

Now...

This is 20 Hertz [example] ...here’s 100 [example] ...200… [example]

this is 500 [example] ...1,000 [example] ...2,000 [example] ...4,000 [example] ...8,000 [example] ...12,000 [example] ...15,000 [example]. ..18,000… [example]

[example] and that was 20,000.

Based on your age, it may have sounded like we just stopped the test at some point. We all hear differently, and in a minute I’ll explain how some businesses have taken advantage of this as well as speak with someone who has experienced extreme hearing loss.

[music out]

MIDROLL

[music in]

As you now know, young people can typically hear higher frequencies than older people...and businesses have actually taken advantage of this. For instance, it’s been reported that businesses have blasted 17,000 Hertz tones in front of stores to keep kids from loitering. Most adults can’t hear it, but kids, are repelled by it.

Then, of course, kids figured out a way to use this tone to their advantage and started setting it as a text notification on their phones. This way they can get messages in class without the teacher catching on.

Just because you can’t hear something doesn’t mean it isn’t there. And nobody knows that better than Shaheem Sanchez.

Shaheem: I wasn’t born deaf. I lost my hearing when I was four.

Because of a bad nerve in his inner ears, now one ear is completely deaf. In the other, he uses a hearing aid.

Since he lost his hearing at age four, he has some foundation for hearing speech. This is part of why he’s able to speak as well as he can. The other part is that he can still hear some things.

Shaheem: I can hear with a hearing aid but not everything. I can hear a dog barking [dog bark]. A car sound [car SFX]. I can hear people talk [people talking SFX] but I don’t know what they’re saying. All I hear is mumbling like bu-bu-bu-bu-bu. That’s all I hear.

He can read lips, but he didn’t learn sign language until high school.

Shaheem: I grew up speaking. That’s why now, I speak clear.

But even though Shaheem’s able to voice for himself, he still endured bullying growing up.

Shaheem: People always used to judge me. Why you talk like that? You can’t hear yourself. They call me all kinds of names. But I feel comfortable now. I’m more comfortable.

But dancing was something that he always felt comfortable with.

Shaheem: I started dancing when I was 11. It’s what I love to do. I started dancing because my dad he also a dancer. He was killed before I was born so I never met him. So my family told me about him. I started to feel inspired. And then I started teaching myself how to dance.

But I didn’t hear so I only watched body language. Sign language is like body language, so that’s how I’m so good at that.

About ten years ago, when he was in high school, Shaheem was dancing on the street when he was approached by a dance instructor. That’s when he started taking formal lessons.

Shaheem: I have my own style but I’m learning different styles. Like ballet, jazz, hip hop, breakdancing, salsa, a lot of different styles.

But his favorite style?

Shaheem: I’m really into, like, R&B songs. I like dubstep. I also like hip hop, too. I feel the beat. The vibration. Most of the time.

He listens to songs by putting his hand on the speaker and feeling the beat. He also watches music videos with the captions on. It’s a painstaking process...

Shaheem: Study. Memorize. Listen to it over, over, over, and over. So I’m memorizing it. It’s not easy. Normally takes me, like, three weeks. I know a lot of songs. It’s crazy.

Shaheem’s the only one in his immediate family who’s deaf, but he isn’t the only dancer.

Shaheem: My brother, he looks up to me. I taught him how to dance. He picked up fast. I don’t know how he do it. He got better and better and better and better. Now, he better than me.

Shaheem’s brother, who goes by the name Lil Kida, got so good, he actually won a season of the TV show “So You Think You Can Dance.”

But Shaheem didn’t just teach his brother to dance…he taught him his drive too.

Shaheem: If you love to do it, put your heart into it. Never give up. No matter what. Deaf or not, you still can do it. Anything is possible.

A lot of hearing people just don’t know enough about what it’s like to be deaf. He knows visibility is crucial to understanding and has taken on raising awareness about the deaf community like it’s his job.

Shaheem: I want to show the world that deaf people can do anything equal to everyone. I want people to know that we may be different, but we do the things you can do. We can drive. We can read. We can learn. We can listen to music. We can do anything.

Our society is based around having all of your senses. And hearing is something a lot of us take for granted even though we shouldn't.

Hearing is fragile. Fleeting, even.

If you have it, protect it. And if you don’t, don’t apologize for it.

Whatever your situation, try to keep in mind that you’ll never know what other people’s experiences are unless you put in the work to find out.

Twenty Thousand Hertz is presented by Defacto Sound a sound design team dedicated to making television, film and games sound insanely cool. Find out more at defactosound.com.This episode was produced by Miellyn Fitzwater Barrows and me. With help from Sam Schneble. It was sound designed and mixed by Nick Spradlin.

Thanks to audiologist Lindsay Prusick and to Shaheem Sanchez. You can see videos of Shaheem’s dancing on his instagram page at instagram.com/shaaheem. We will have a link to this and his Youtube page in the show notes.

We’d also like to thank Malonda Hutson and Susan Thompson-Gaines for their advice on the topic.

The music you’ve hearing is from Musicbed. They represent more than 650 great artists ranging from indie rock and hip hop to classical and electronic. Head over to music.20k.org to hear our exclusive playlist.

Finally, please tell your friends about the show, and connect with us on social!

You’ll find all of the links I’ve mentioned in the show description.

Thanks for listening.

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From Screams to Serenity: How sound shapes us

This episode was written & produced by Jocelyn Frank.

Some sounds are like rug burn for your ears, while others are pleasant and soothing. We explore these sounds and get to the bottom of why we might interpret them as “good” or “bad”. Featuring Tommy Edison and David Poeppel. 

MUSIC FEATURED IN THIS EPISODE

Gimme that Good Stuff by Kaleigh Baker
Far by Steven Gutheinz
Eroica Symphony by Beethoven
Directions by Steven Gutheinz
Purple7 by Tangerine
Ineffable Act IV by Dexter Britain
Hello Honey by Ivory Hours
Washedway by evlov (Theme Music)

20K is made out of the studios of Defacto Sound and hosted by Dallas Taylor.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Head over to Musicbed to find your perfect track. Be sure to use the promo code “20K” for 20% off any one purchase.

Consider supporting the show at donate.20k.org.

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View Transcript ▶︎

[Music start]

From Defacto Sound, you're listening to Twenty Thousand Hertz... The stories behind the world's most recognizable and interesting sounds. I'm Dallas Taylor. This is the story of how our bodies and minds are actually shaped by sound.

[traffic, car crash, monkey montage SFX]

Sounds can startle us, make our hearts race... Sounds can cause us to cry, to laugh or bring us into a deep meditative state.

There are so many sounds that impact our bodies on a daily basis.

I mean to start, just think about the sounds that might interrupt an otherwise peaceful day. For example… A police siren [siren SFX]. blaring by as we commute to work.

And what about the cries of an unhappy baby...

[baby crying SFX]

Or a vacuum cleaner, waking you up from your Saturday nap...

[snoring and vacuum SFX]

Whatever the sounds-- good or bad-- we want to get to the bottom of what leads us to make judgements about those sounds. What is going on in our brains that makes us evaluate sounds in the ways that we do? And is there any truth to that lurking feeling that for some sounds, we ALL kind of hold a similar judgement? ....I mean, is there a person out there who LIKES the sound of fingernails on a chalkboard?

[nails on a chalkboard SFX]

And, a tiny aside here: I want to pledge to you right here and now, that this WON’T be an episode of completely cringe-inducing sounds...but... there may be two or three more... stick with us. We’ll make it worth your while…

[dentist drill SFX]

Ok, Maybe that was a cheap shot….but there are certain sounds that really work to grab people’s attention. Sounds of all types can trigger a wide variety of reactions in our human minds. There are those, like screams, that are uncomfortable [scream SFX] (and we’ll come back to that idea later) but there are other sounds that can also put us at ease.

Think about the cooing of a newborn child [baby cooing SFX], or the sound of a golf ball dropping right [golf ball drop SFX], into the hole. To get things started I want to bring back a friend of the show, film critic Tommy Edison.

Tommy: My name is Tommy Edison, I’m known on YouTube as the Blind Film Critic.

Tommy is also an exceptional listener. As someone who is blind, listening is even more critical to the way he moves through the world.

Tommy: I love audio man, I love it so much. It’s a sense I think I use more than anything else. Probably neck n’ neck with touch.

It is often noted that when people have one sense inhibited, other senses are strengthened, Maybe that’s part of the reason why Tommy is such a good listener.

Tommy: I like a nice ... a well-tuned piano [piano music track], a piano that's perfectly in tune and a nice rich sound, like a Steinway or something like that. Children laughing is a wonderful little sound, right? [children laughing SFX] It's a great sound. The symphony is breath-taking, because it's all live in front of you, there's no amplification whatsoever and it’s incredible. [Symphony clip]

And Tommy points out, beautiful, breath-taking sounds don’t require a fancy music hall- they can be found, in high fidelity, all around us.

Tommy: There's so many things in nature that sound that good, like the ocean [ocean waves SFX]. You stand right at the ocean, and it's beautiful because it's in big natural stereo, there are things happening on both sides of you, as well as happening directly in front of you. It's wonderful! I love that sound. [continue ocean SFX]

So much can be noticed, just by standing still and ... listening.

[continue ocean SFX]

Tommy: The birds first thing in the morning [bird chirrping SFX]. You wake up a summer day and you hear them all tweeting ... it's breathtaking. You go outside and again, huge, wide stereo, like nothing you could ever hear from anything you could ever buy, it's wonderful. I just love those thing. The birds especially it's just one of the greatest sounds ever. [continue bird chirrping SFX]

And what about sounds that are a nuisance?

Tommy: The sounds that bug me, the one that makes me crazy more than anything else is a constant whir. Like the fan above the stove for example [exhuast fan SFX]... That's in your kitchen, the exhaust fan [continue exhuast fan SFX], or the one in the bathroom that comes on when you flip on the bathroom light [bathroom fan SFX]. I hate those sounds so much. I never understood in libraries why the buzz of the fluorescent was so loud. [flourescent light SFX]

So what is the deal with sounds like that? Are parts of our brains actually getting rewired when a hum, or some other sound, just won’t quit?

David: It’s not a one size fits all question.

That’s David Poeppel. He’s a professor of auditory psychology at New York University. He runs a research lab that focuses on questions like these.

David: My lab's quite fun, actually. A lot of it is super nerdy and it’s actually very quantitative and geeky. It’s kind of fun.

Before we dive deep into the “geekiest” part of Dr. Poeppel’s lab research- let’s start off with some basics. When we hear that “fingernails on the chalkboard sound,” [fingernails on a chalkboard SFX] or any sound, pleasant or unpleasant. What is actually happening in our bodies?

David: First of all, of course, the ear part of your body does the first part of the work. So whether it's something scratching on a blackboard or a very nice sound, or a speech, sounds, basically mechanical waves, enter your ear canal. You basically vibrate the ears.

Our ears have fluid inside them [underwater SFX] and that fluid vibrates when the sound waves move in. That vibration then triggers neural codes…*[electricity SFX}*

David: The information gets shuttled along a series of stations in the auditory brain stem and up to the outer layers of the brain, the cortex, as we call it and it goes through different stations and different sorts of information are extracted.

Even as you listen right now, your ears and brain are going through this process. So, in essence, you’re currently comprehending the information about the process of comprehension… That’s pretty meta.

But, let’s get back to that “fingernails on the chalkboard sound.” Did you tense up a little just from me mentioning it? Don’t worry, I’m not going to play it. Our bodies can determine a lot, really quickly, when we hear a noise like that.

David: First of all, just the location of the sound, where is it coming from [radar SFX]. In this case you use timing information about the sound, vis-a-vis your head position and your body position, where it's coming from. You figure out, for instance, the loudness, its pitch. Like in the case of the fingernails, it's pretty high-pitched. It's a screechy, annoying thing. Then, you want to figure out its timbre, which gives it its identity. Location, loudness, pitch, and timbre are qualities that you extract, from every sound.

So SINCE our bodies and minds have these standard processes we follow regardless of the sound, does that mean, at some level, that all sounds are basically equal? It turns out that depending on whether the sound is nice or not, different nuclei do different things.

David: Different different parts of the brain, feed the information forwards that you interpret. Let's say this is a very obnoxious sound, like the one you’re mentioning, it also gets a kind of affective stamp.

So your brain kind of says, “hold up,” [car breaking SFX] pay attention to this one.

David: This sound has certain properties that actually also activate those parts of my brain that tell me something is annoying or dangerous.

Dallas track: And all this happens, thankfully, really fast.

David: Because you want to be immediately alarmed and say, "Holy cow, I have to turn away and run," or something like that. You don't want to have a kind of deliberation, like, "Is this a good idea? Probably not."

David Poeppel’s lab has looked even more closely at this concept of reactions to alarming sounds. They wanted to know if certain characteristics of a sound cause these reactions, so they started a research project on an alarming sound that we’re all familiar with. We’ll get to that, in just a minute.

[music out]

MIDROLL

[music in]

David Poeppel’s lab has looked at the unique ways our brain reacts to alarming sounds. They wanted to know if there were certain properties within the sound that correlated to that, as he says, “holy cow, I have to turn away and run” response. So, They launched a research project focused entirely on…screams.

David: Screams that are alarming. Those, of course, are designed to be extremely effective at making you pay attention at being ready to fight or flight, basically. They have to be super, super effective.

And when David says alarming screams, he’s not talking about screams because your favorite team just scored the winning point [crowd cheering SFX]. We’re talking about the kind of screams people make because they suddenly realize a hungry lion just snuck up behind them! [terrifying scream SFX]

David: Those kind of screams have a acoustic property called "roughness.”Roughness, has, it's a little bit weird to explain, but it's basically the rate at which the loudness of the sound changes. When we're speaking, you and I are having a conversation, the loudness of the signal, goes up and down about four to five times a second.

When you make it, let's say, 30 times or 50 times or a hundred times a second, the sound gets a quality called "roughness." This roughness, actually correlates very precisely with interpreting a sound as alarming or scary.

So let's hear that; we reproduced an experiment, like one done in David’s lab. Here is the first option...

[whimpy scream SFX]

Ok, so that was kind of wimpy. Let's hear what it sounds like when we add more roughness.

[rough scream SFX]

David: You have to learn to think like uh, like you’re sitting on a wave form, going forward, right? Imagine speech as an oscillating waveform and imagine yourself sitting on that and just going up and down.

That rollercoaster of waveforms that you're sitting on is actually what gets interpreted by the mind and the brain. It's the specifics of how that rollercoaster of the wave is organized that actually is at the basis of how you how you interpret sound.

Independent from the emotional memories that we might connect to a particular sound, there are straight-up acoustic of certain sounds that impact how we evaluate the pleasantness or unpleasantness of that sound.

David: So there's a very direct correlation between this acoustic property of roughness and the extent to which, as a listener, you interpret the sound as frightening or alarming. Turns out that alarm signals more generally have that property…car alarms [car alarm SFX], police sirens [police siren SFX], they all share that roughness property.

If alarm sounds have specific qualities that yield specific, measurable responses in us as listeners, what about the other side of the coin?

[nightime rain and crickets SFX]

What about beautiful, peaceful and positive sounds?

David: Why things become pleasant is an extremely interesting and growing research area why do we like certain things. It turns out that we don't know that much about it.

But research is getting underway.

David: Nature sounds, animal sounds, positive vocalizations things like laughter [laughing SFX]. Seems obvious that they should have some properties that make us want to listen. Whether they share something, seems to me, kind of unlikely. If you think about it acoustically, if you record those sounds and look at them in a quantitative way they have vastly different properties.

So I guess want to raise is that the case of alarms or dangerous things, you want to be very specific in an evolutionary sense. Because you want it to be like a hammer [hammer SFX]. When you hit that thing, it always works the same way. Positive things are a little bit more open to interpretation/ It doesn't matter that you have it the same way always. I think there's maybe a difference between positive affect and negative affect signals, because they serve a very different function.

Beyond good sounds and bad sounds, alarm sounds and positive sounds, there’s another angle into all this that I wanted to ask Dr. Poeppel about.

Sounds seem to have this ability to impact us in groups. Think about the sounds of a traffic jam.

[traffic jam SFX]

They are clashy and angry. The more honking there is, the more the moods of those few honkers seems to spread out across all the drivers... people seem to treat each other differently because of the dissonant experience.

And sounds can bond people-- bring us together-- in spiritual ways. They can help focus thousands of people... into the same mindset.

What it is about our bodies and minds that allows us to connect this way? Is there a way to measure something so abstract?

There are some common properties about those collective and sometimes spiritual sound moments….the chanting, the singing... but... it’s not about the sounds themselves.

David: The first thing is you're in a group. The second thing is you're trying to actually synchronize. And it's the latter that's very compelling and that we can now measure, that hasn’t been done, this is just at the beginning of research these days but is to try and figure out how, not just pairs of people but entire groups actually become synchronized.

That's why, for instance, an orchestra can work or a choir. But in the chanting case, one very compelling experience is this feeling, the feeling of groupiness.

That “groupiness” is something that scientists can actually measure.

David: You can measure that neurophysiologically, because if I have a group of people chanting and I wire them all up with EEG, recording equipment, we can show that actually the extent to which they're really synchronized with each other and attending to the particular chant is reflected in their neurophysiological activity very directly.

So there is something that is a universal feature, if you're doing something in a group, insofar as you're really engaged with it, jointly attending to it, that, in turn, actually correlates with the extent to which you like the experience or find it engaging.

Think of the best concert you’ve ever been to. I bet when you told your friends about it your story ended with, “...ya’ just had to be there”. Well, it looks like there might be something to that, scientifically. The delight of listening can transcend the sounds themselves - when we listen with other people.

Twenty Thousand Hertz is presented by Defacto Sound a sound design team dedicated to making television, film and games sound insanely cool. Find out more at defactosound.com.

This episode was produced by Jocelyn Frank and me. With help from Sam Schneble. It was sound designed and mixed by Nick Spradlin and Kenneth Gilbert. We’d like to thank Tommy Edison who you can find on youtube as the blind film critic and NYU professor David Poeppel for speaking with us. We also have a link to learn more about Dr. Poepple’s scream study on our website 20k.org.

Our soundtrack is from our friends at Musicbed who offer a highly curated catalog from great indie artists and composers. Like what you hear? Listen to all of the songs from our show and even license them for your own projects at music.20k.org. If you or someone you know is interested in sponsoring the show. Reach out through our website or drop us a note at hi@20k.org.

Finally, we’d really love to hear from you. What are your favorite sounds? ...and what sounds make you absolutely cringe? Tell us on Facebook or Twitter. Also, don’t forget to tell a friend to check out the show and give us a review in itunes.

You’ll find all of the links I mentioned in the show description.

Thanks for listening.

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Foley: Hollywood’s hidden sound heroes

This episode was written & produced by Abigail Tannebaum Sharon.

When you listen to a movie, everything the actor touches sounds crisp and clean. However, none of it was recorded on the movie set. Go behind the scenes with some of the unsung heroes of our movie experience. Featuring Fred Newman and Skywalker Sound’s Foley Team, John Roesch, Shelley Roden, and Scott Curtis.

MUSIC FEATURED IN THIS EPISODE

A Great Mess by Watermark High
This Place by Watermark High
Brighter by Roary
A Fresh Start by Wildwood
Something Beautiful by Tim Halperin
Merry Folk by Generdyn
Flower Upon Dirt by Wilhelm
Washedway by Evlov (Theme Music)

Twenty Thousand Hertz is produced out of the studios of Defacto Sound and hosted by Dallas Taylor.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Head over to Musicbed to find your perfect track. Be sure to use the promo code “20K” for 20% off any one purchase.

Consider supporting the show at donate.20k.org.

To get your 20K referral link and earn rewards, visit 20k.org/refer.

Sign up for Blue Apron and get your first 3 meals free at www.blueapron.com/20k.

View Transcript ▶︎

[Music start]

From Defacto Sound, you're listening to Twenty Thousand Hertz... The stories behind the world's most recognizable and interesting sounds. I'm Dallas Taylor. This is the story behind foley.

[movie foley clip]

Take a moment to really listen to a movie scene. Anything an actor touches, moves and walks on, it’s clean and super detailed. But what you think you’re hearing, isn’t always what it seems. And none of it was recorded on the movie set.

Foley is the live performance of custom-made sounds set against picture. These everyday sounds brought old-time radio to life [old radio show clip], and are the heartbeat of today’s movies.

Foley artists create these sounds out of everyday objects to make them feel real.

Fred: Foley came from this guy, Jack Foley, really invented it. They were going to Showboat and needed some sound effects and they used radio sound effects. The way they would do clomping shoes [clomping SFX] and water paddle wheels [water paddle SFX] and things like that. That was really invented then for the talkies.

That’s Fred Newman, and even he has a hard time describing what he does.

Fred: I don’t really have a title. I think scam artist is the best I’m just doing what I used to do as a kid. That’s what I do. I honk for a living, that’s what I do... I honk for a living.

Fred’s techniques offer a rare glimpse into the artform that inspires today’s foley artists. It’s really a hybrid of old radio and acting.

Fred: What I really do jumps over foley…

Making sounds are all in a day’s work for Fred. He performs sound effects live on the radio variety show “A Prairie Home Companion.”

[A Prairie Home Companion clip]

Fred: As I do so much of the sound effetcs live with an audience, but I always think must be discombobulating, but It works.

I asked Fred, what’s the best, most versatile tool he uses to make sounds on the fly?

Fred: The mouth ends up being the best soundmaker that I can come up with [mouth SFX]. Hearing is feeling and you’ve gotta give the feeling of it. That goes to the heart of acting and storytelling. You don’t want real, you want what works in the service of the story.

Fred’s a trailblazer when it comes to telling stories through sound. So I wanted to know what’s his most memorable moment on A Prairie Home Companion?

Fred: Just before we went out on stage, Garrison said, I think I’ll have Guy Noir go to a chiropractor, he says to me. I’m thinking “ok, undoubtedly we’re thinking spinal adjustment, ok what do I do?” So I’m walking out on stage and I grab one of those ribbed water bottles and a terry cloth towel, grabbed that and some tape that I put around it. And I walked out there, the bottles half full of water, “I’m going to take your left arm and put it over your head here,” and he grimaces a little bit, “I’m going to put my right arm over your chest, and I’m just gonna twist your back…” I didn’t know what it was going to sound like, but I put that water bottle up to the microphone and I just twisted it, but it had enough muffle of the terry cloth that it sounded internal and you hear [crunch] and the audience goes “Oh!” And they all turned in their seats, yeah, you nailed that sound! It was a roll of the dice.

We’ve got so many technological advancements today, yet at the very core of this experience is still just good ‘ol fashioned storytelling.

Fred: I jump back certainly to the older radio, but go back even further to just sitting around a fire telling stories [camp fire SFX], and all around the world most of these stories in most cultures were told with sound. We got to get back to where people just sit and listen. That’s in our DNA. It’s in our culture, that’s what bound us together.

As a master storyteller, Fred’s work is timeless. So when Hollywood needs an obscure, random, tailormade sound effect for a movie, Fred gets the call.

Fred: “We have got this film, do you do a frog?”... I said yeah I do a frog. “Can you do a frog throwing up a wedding ring?”...yeah ok [frog sound effect]. He goes, “ok you got the job, can you be here by 9:30?”

So I asked Fred, what does it take to be a foley artist?

Fred: They’re a curious mix of science and emotion. They have to be actors. They’re moving with the person they mimic that energy whether it’s footsteps or animal growls. But, it’s something in between music and acting. It’s this lovely not quite understood even by the people who do it.

From the golden age of radio, to the modern motion pictures, it’s foley sounds that immerse us in the story. To find foley artists on the cutting-edge of big time movie making, I reached out to these folks…

Shelley: I’m Shelley Roden, Foley Artist.

Scott: Scott Curtis, Foley Mixer.

John: John Roesch, Foley Artist and we’re all at Skywalker Sound.

Skywalker is one of the most well known audio facilities in the world.

John: There’s no limit to one's imagination and that’s very true with foley, also.

At Skywalker Sound, this team is responsible for supporting some of the greatest film stories of all time.

John: Star Wars was a watershed moment where you had combinations of sounds that were never even seen or heard before.

[Star Wars clip]

Shelley: Foley has evolved so much because the modern films are very loud and there’s a lot of music so, we have to think in terms of what we’re playing against and how much sonic real estate we have. So, we usually listen to the track and see what effects is done, what music is doing and what can we do to make this moment shine.

While these artists do improvise, and use their gut to guide them, there’s also a ton of planning and rehearsing that goes into their performances.

John: We are customized so what you’re seeing on screen at that moment, is indeed, hopefully the best possible sound that can be created. Just by the virtue of that live process.

Shelley: We work in a roomful of junk that we treasure. We pick up from the roadside or we’ve collected over the years. Or things that have been handed down to us from earlier foley artists we create sounds with them. And we also create sounds using our feet and our body and we play in the dirt and we play in water. It’s a very fun project.

To create these sounds, Foley artists need a very special space. John, Shelly, and Scott will tell us about their space after the break.

[music out]

MID ROLL

[music in]

To get a sense of how the foley artists create, you need to get a picture of the space.

Shelley: When you first walk into the Skywalker archives Foley Stage, Curtis’ wonderful face greeting you, and his giant board, he can see through the pane of glass, he can see us if he wants to, and then open the sound proof heavy, heavy, heavy door and you behold a gigantic room and a screen in front of you, you see a giant dirt pit and then something that looks like a tub on the right. And all these props, so that’s what our environment looks like.

I asked how they typically start a project...

Scott: We’re given a roadmap of what it is that we’re tasked to do for the day.

John: If it’s at the beginning of the film, basically we’ll establish the characterizations of the footsteps. Just for the record, probably the hardest thing to do correctly are footsteps.

Shelley: Yeah, especially because there are so many variables. The grit and how it interacts with the shoe [footstep SFX]. There’s the room mic and how much balance of the room mic Scott wants to use. [footstep with different mic SFX]

Scott: So we’re both doing two independent performances that have to sync up to picture…

Shelley: Perfectly.

John: There is no right or wrong, it’s just what our ears collectively go “that’s correct, that’s great” and that’s the beauty of working as a team.

To construct a place out-of-this-world, it takes painstaking attention to detail. On Finding Dory, Shelley tell us how she made the water-sound just right.

Shelley: We were tasked to determine how to manipulate water in many different ways because there’s a lot of water, there’s a lot of different fish so, we want to figure out how to make them all sound different.

I just went to the 99 Cent Store and I spent fifty dollars buying, for example, one of those old fashion juicers that you just put on top of an orange and push down. That was little baby Dory’s up and down movements because it allowed for the water to just escape in a certain way through the holes and it sounded really cute.

[baby Dory's swimming movements]

When we’re telling the story with our sound, then we can have a connection with the actor that helps us perform it appropiately.

Scott: Whatever the circumstances are that this particular character has, John and Shelley will essentially get in his head and take that character over and perform whatever is necessary as would that character.

John: And again through all the help, with Scott and then Shelley because she’ll do her characters the same way so we help support each other to where hopefully, you the audience, believe what are you seeing.

We want whatever you’re seeing on that screen be totally real and to that end you have to give it some soul. Certainly in the feet and then even in the props, we want to get the detail there. We want to create a world that works within itself and do it in such a way that you, the audience, don’t know we’ve done it. In fact, that’s the actual key rule of Foley, being that there is really no rules of Foley expect for this one, whatever we do has to be done believable in a way that you don’t know that we’ve done it.

Scott: Working with Shelley and John is so much fun it’s fantastic that we’re as collaborative as we are. I truly believe that that’s a main component as to why the material that we do generate is so, so good.

Part performance art, part storyteller, part science. You could say that these foley artists, mixer and editors are some of the unsung heroes of our cinematic experiences.

They carry on their craft with a quiet pride, and impact us in ways we’ll never see. Foley is subtle and often unconsciously noticed, however these tiny details can create a long and lasting impression on our stories.

Twenty Thousand Hertz is presented by Defacto Sound, a sound design team dedicated to making television, film, and games sound insanely cool. Find out more at defactosound.com.

This episode was produced and edited by Abigail Tannebaum Sharon and me. With help from Sam Schneble. It was sound designed and mixed by Jai Berger.

We’d like to thank Fred Newman and Skywalker Sound’s Foley team; John Roesch, Shelley Roden and Scott Curtis.

All of the music in the episode is from our friends at Musicbed. They do a lot more than license great indie music. Their website in loaded with awesome content like in depth interviews with creative minds, award winning short films and live sessions with their incredible musicians. Dive in at blog.musicbed.com.

We recently collaborated with Seeker on an animated version of our Space episode, and it's pretty awesome. Seeker celebrates science, technology and the future with amazing short docs, explainers and of course, animation. They tell all kinds of stories from around the world through the lens of science. They've got new videos every day, so go check them out at Seeker dot com, on twitter, facebook and at youtube dot com slash seeker. We’ll also be blasting this video on our social channels, so be sure to like Twenty Thousand Hertz. You can find us on Facebook and Twitter under 20korg.

If you or someone you know would like to advertise on the show, reach out through our website or at hi@20k.org. Finally, no matter what --- we couldn’t produce this show without you, and we need your help. So please, take a moment to share this show with your friends and rate us in iTunes. For those who want to help a little more, we’ve set up a donation page at donate.20k.org.

You’ll find all of these links in the show description.

Thanks for listening.

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What do other planets sound like?

Photo credit: garysan97 via Foter.com / CC BY-SA

This episode was written & produced by Kevin Edds.

When we think about sound, our only reference is what it’s like here on Earth. What happens when we leave this thin blanket of atmosphere, and what do other planets sound like? Featuring Dr. Lori Glaze, Dr. Keith Noll, Dr. Scott Guzewich from NASA’s Goddard Space Flight Center.

MUSIC FEATURED IN THIS EPISODE

The Way Home by Tony Anderson
Unseen Entity by Convolv
Sirens by Jordan Critz
Our Sky by One Hundred Years
Survive by Watermark High
The Traveller by Matthew D Morgan
Washedway by Evlov (Theme Music)

Check out Defacto Sound, the studios that produced Twenty Thousand Hertz, hosted by Dallas Taylor.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Head over to Musicbed to find your perfect track. Be sure to use the promo code “20K” for 20% off any one purchase.

Consider supporting the show at donate.20k.org.

To get your 20K referral link and earn rewards, visit 20k.org/refer.
 

View Transcript ▶︎

From Defacto Sound, you're listening to Twenty Thousand Hertz... The stories behind the world's most recognizable and interesting sounds. I'm Dallas Taylor. This is the story behind sound in our solar system.

[Star Trek SFX]

When you think about sound in space, classic films and television, like Star Trek, immediately come to mind.

[Star Trek theme]

From the ambient drones in Alien… [Alien drone SFX] to the galactic battle scenes in Star Wars… [Star Wars battle scene SFX] space truly is the final frontier in the study of sound.

Perhaps the best marketing tagline in movie history came from the Ridley Scott film, Alien: "In Space, no one can hear you scream." That phrase is true and not only because of the distance from Earth. It has to do with how sound travels.

Lori: I'm Dr. Lori Glaze. I'm the deputy director of the solar system exploration division at NASA's Goddard Space Flight Center.

Lori oversees about 300 scientists that study all the planets and small bodies of our solar system.

Lori: You don't have sound in space because sound requires molecules. You have to be able to move the molecules with the sound waves, and without the molecules there, the sound just doesn't move. You can try and use your lungs to push the sound out of your mouth but it won't travel anywhere.

That tagline from Alien I mentioned earlier, no one actually heard that either... as it was never read as voiceover in the trailer. It was just text, silent text, perhaps meant to imitate the specific science that explains how sound travels… or doesn’t.

Keith: My name is Keith Noll. I am the chief of the planetary systems lab at Goddard Space Flight Center. I think I've studied almost every planet or satellite in the solar system that has an atmosphere.

Keith knows his stuff about planets, and how sound might actually be possible on them.

Keith: What is sound? It's the vibrations of molecules in the air. It's a pressure wave [pressure wave SFX]. Of course sound can be transmitted through any kind of physical medium. If you are in a swimming pool [diving/swimming SFX] you can still hear sound. That's being transmitted through water. Earthquakes [earthquake SFX] are essentially sound waves being transmitted through the solid earth.

Sound takes on many forms but the kind we're most familiar with is pressure waves moving through gas.

The most common example of how different gasses affect your vocal cords is the old party trick of breathing in a helium balloon.

[balloon inflate SFX]

As the gasses, you're pushing it back out of your lungs over your vocal cords, [voice on helium example] because the density is lower, the vibration frequencies end up being higher and that's why you sound like Mickey Mouse.

Let’s go from planet to planet in our solar system, starting closest to the sun, what would it sound like on their surface to our ears?

Lori: Places like… Mercury and these rocky bodies with no atmospheres would be similar to being in space. There would not be much sound if any.

Keith: Mercury is an airless body, so we're back to listening for Mercury quakes [quake SFX], essentially. That would be really the only source of sound.

And you could only hear these Mercury quakes [quake SFX] if your head was pressed up against the rock, because there’s no atmosphere for sound to travel through.

Next up, Venus.

Lori: In my mind, what sound would be like on the surface, because you have this really dense atmosphere, much denser than Earth's, the sound would be more like or tend toward what things sound like when you're under water [underwater SFX].

If you could imagine something in between air and water, that kind of density, you're running your hand through that and you would feel that.

[continue underwater SFX]

If you were to just materialize on the surface in that environment of 900 degrees Fahrenheit and a hundred times our atmospheric pressure, you would first be crushed [crushing SFX] and then you would probably just burn up completely [burning SFX].

Keith: One thing we do know about Venus is that is has lightning, so you might hear thunder [thunder SFX].

I wonder what other things, like my voice, might sound like. [watery SFX on Dallas' voice] I’m on Venus in this ethereal world that’s a mix between a gas-like atmosphere and water. I’m almost floating, but yet it’s not as restrictive as being submerged in water.

My voice… The thunder… It’s all slightly muffled and distorted as it travels through the thick atmosphere.

[Earth SFX]

Now we’re home: Earth. We’re not going to stay here for long, but it’s worth mentioning the amazing diversity of sound on our planet. The sandy deserts… [sand and wind SFX] lush forests… [trees rustling and bird SFX] the sound of the ocean [ocean waves SFX], both on the surface… and below [underwater SFX]. It’s a rich soundscape, because our ears are perfectly in tune with it… More on that later.

Now Mars. And here’s where it gets interesting since Mars has been the subject of so much fascination for thousands of years. It’s one of the best places where life might have, or could exist.

Lori: Sound on Mars is going to be the opposite direction of Venus because the atmosphere on Mars is very, very thin compared to Earth's so there's just not very many molecules and sound requires molecules.

Countless movies have been made about Mars, including the Hollywood mega-hit The Martian, starring a stranded astronaut portrayed by Matt Damon.

Keith: Loved the movie. It was fun to watch, but it's not the Mars we know, it's a very different Mars.

[The Martian clip]

So the real Mars isn't anything like that, but Mars does have an atmosphere, albeit a thin one.

So that storm scene wasn’t quite accurate.

Keith: You wouldn’t necessarily hear the wind itself… You would hear the dust that's being picked up [dust SFX] and it would be banging against the faceplate of your spacesuit.

We also reached out to Scott Guzewich, a Research Astrophysicist at NASA.

Scott: So I enjoyed that movie a lot, but the atmosphere as it was shown was not scientifically right.

Basically, the problem with what you saw in the movie there where the atmosphere is so thick that it's picking up boulders and knocking things over [storm SFX]. It's just not possible. I mean the wind speed can get very high, as high as hurricane force at the surface sometimes.

So imagine a hundred mile per hour wind on Earth, if you're standing in a hurricane, obviously you'd be almost blown off your feet.

If you were standing on the surface there in Mars and you put your hand out in that hundred mile per hour wind, you would feel it, but it would feel like a gentle breeze [breeze SFX] here on the surface of Earth.

That sounds pretty cool. Standing in a hurricane but it only feels like a soft wind. But you’d die pretty quickly right?

Scott: You wouldn't die instantaneously but you'd want to be getting into shelter as fast as possible. First, the atmospheric pressure is dramatically lower than it is here on the surface of Earth. So, all the water in your body would attempt to boil, basically, instantaneously [water SFX]. The water covering your eye, the water in your mouth, and even the water in your cells and your blood. That wouldn't kill you right away but it would be very uncomfortable immediately. You could probably survive for a few tens of seconds, maybe a minute. You could potentially get a very rapid dose to frostbite on your entire body. Again, you wouldn't necessarily die right away, but it'd be quick.

And how about sound. What could we expect to hear?

Scott: Our ears aren't really designed to work in that sort of very near vacuum sort of atmosphere. So we wouldn't hear too much, maybe if you were scuffling along on the surface [gentle scuffling SFX], you could maybe very faintly hear that sound as you were clawing at the ground and gasping for air [gasping for air SFX].

The temperature obviously is colder in general, so that drives a slower speed of sound, and it seems that a lower speed of sound would tend to lower the pitch, [lowering pitch on Scott's voice] make your voice sound deeper… but then the atmospheric density would kind of go to raise your pitch [raising pitch on Scott's voice], so it seems like the pitch probably balances out.

If voices won’t carry far, how about a piano?

[piano music]

Scott: The very high-pitched, high frequency noise at the far right end of the piano, you probably wouldn't hear that at all, but maybe the deepest bass sounds that the piano makes, you might be able to just pick those up with a microphone if it was sensitive enough.

We’ve explored the first four planets of our solar system, and learned some of the ways their unique atmospheres and conditions shape their soundscape, or lack thereof. We’ll continue our exploration of sound to the outer reaches of our solar system, after the break.

[music out]

MIDROLL

[music in]

On to Jupiter, the King of Planets.

What’s interesting is that Jupiter doesn’t have a solid surface. Hard to imagine but the whole planet is made up of gas that just keeps getting denser and denser—eventually becoming a liquid the closer you get to its core. The pressure and temperature variations are what cause those beautiful swirling bands.

Keith: So the interesting thing on Jupiter is that the pressure and the temperatures where the cloud decks are, are actually not so inhospitable.

Cloud decks?

Keith: So you've got these very distinct cloud layers in Jupiter's atmosphere. So y’know, it's just fun to imagine. What would it sound like? Would you get these echos?... because you have these super powerful lightning bolts, more powerful than anything on the Earth, so you'd have really, really loud thunder [thunder SFX]. You'd hear echoes of echoes of echoes [thunder echoes] just back and forth. It's fun to think about.

How about the rest of the outer planets?

Keith: Jupiter and Saturn, I think you could consider to be pretty similar. Uranus and Neptune are pretty similar to each other. So all four atmospheres are primarily hydrogen and helium.

So if you tried to speak on any of them your voice would be higher?

Keith: I think so, cause the atmosphere is 75% hydrogen which is even less dense than helium and the rest is helium. I think we'd all be Mickey Mouse on Jupiter and Saturn.

And how about our old friend Pluto? Anything different?

Keith: It is probably the thinnest bound atmosphere that we know. But, it also looks really complex. It's got layers. It's pretty different. Mainly because the temperature is so low. Nitrogen there is an ice. Carbon monoxide is mostly an ice. That's probably the weirdest, most different kind of place in terms of thinking about how composition, temperature, pressure would affect the sound.

We’ve covered the planets and acknowledged our old friend Pluto, and it’s becoming clear that detecting sounds throughout our solar system is pretty difficult. So I’m curious, why is it so easy for us here on Earth?

Keith: Our ears are good for a very specific environment. They've evolved. Once you take them out of that they're probably not exactly the tool you would want. If you built an audio receiver and sent it to all these places… What could you hear that the human ear could hear, and more interestingly, what could you hear that the human ear would never be able to hear?

That's what I want to know.

Surprisingly, we have never recorded another planetary body with a traditional microphone.

So what does the future hold for us to truly be able to test our sound theories on other planets?

Scott: There is going to be a microphone on the next Mars Rover. The rover launched in 2020, it's supposed to have a microphone on it. We expect that it'll hear a few different things. The sound as the rover drives across the surface for example, will be transmitted both through the atmosphere and through the body of the rover itself. You should be able to hear the wheels kind of crunch along on the sand and on the rocks.

We’re so accustomed on Earth to hearing sound associated with what we see. But in true outer space no one can hear a titanic supernova explosion, or a hurtling asteroid smash into the moon, or even… hear you scream.

Lori: How rare is sound in the known universe? It's pretty rare. Even just in our known solar system, places like the moon and Mercury and these rocky bodies with no atmospheres would be similar to being in space. There would not be much sound, if any.

When we think of Earth as special in terms of being able to even support life, it goes much further than that. It’s one of the true places in the universe where sound is abundant and has impacted that life on an evolutionary level.

Scott: If you look at life on Earth, being able to hear something seems to be a very big advantage biologically. From very simple animal species [forest animal SFX], there is a benefit to being able to hear sound. Because you can become aware of either predators [growl SFX], or prey [squeal SFX], or food sources. So if I were to really get out my speculation hat, y’know alien life in the universe would probably have an advantage to hear things also... in whatever planet or ocean or atmosphere they lived in.

However, these aliens might perceive sound in a completely different way, a way that’s in tune with their own environment, and perhaps hear completely different frequencies.

When you think of space, it’s mostly… space. Where no medium exists to transport sound. Yet, it’s perfect for… light. Light fills the universe, but sound does not.

Keith: The whole universe is connected by light. Light anywhere in the universe can travel to anywhere else in the universe, but with sound you really are truly in different islands of sound and they're all isolated because they're all stuck in this space that doesn't transmit sound. It transmits light perfectly well but not sound.

Sound as we perceive and understand it, is so unbelievably rare, but it’s abundant right here, where we are, within this thin blanket of atmosphere. But if we travel straight up, it goes away very quickly. It gets quieter, and quieter… until it’s gone.

Twenty Thousand Hertz is presented by Defacto Sound, a sound design team dedicated to making television, film, and games sound insanely cool. Find out more at defactosound.com

This episode was produced and edited by Kevin Edds and me. With help from Sam Schneble. It was sound designed and mixed by Colin DeVarney.

We’d like to thank Dr. Lori Glaze, Dr. Keith Noll, and Dr. Scott Guzewich for speaking with us.

We’d also like to thank Elizabeth Zubritsky, Aries Keck, Nancy Jones, Richard Melnick, and Kevin Hartnett at NASA’s Goddard Space Flight Center.

The music you’ve been hearing is from our friends at Musicbed. They license music from great indie rock and pop artists, as well as classics like Johnny Cash and Jerry Lee Lewis. Head over to Musicbed dot com to find your perfect track.

If you or someone you know would like to advertise on the show, please reach out, and we’d be happy to give you more information. You can contact us at hi at 20k dot org or through the website.

Finally, no matter what --- we couldn’t produce this show without you, our listeners, and we need your help. So please, take a moment to share this show with your friends on Facebook, Twitter, in-person, or wherever. For those who want to help a little more, we’ve set up a donation page. Every bit helps us bring these amazing stories to our listeners, so if you love the show and have the means, please consider visiting donate.20k.org.

You’ll find all of these links in the show description. Thanks for listening.

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