From UWE Digital Media Wiki
Silver Tongue Crew
Alexander Birchall Alexander Dawson Harry Gardiner
Immersive Audio cues Traffic light percussive noises Analogue/organic vs Digital Sound Sonic information available around the city Different frequencies of ambient noise A map of the city with sound? Transport audio Guidance Air conditioning units
Plan of Action/Approach
Listen and observe sounds around the city Critical listening of the sounds, identifying uniformity and dominance with particular frequencies Achieve recordings of city ambiance Vs nature ambiance Audio editing in a DAW List of all things we can hear in each setting and the priority of each\ Experiment on UWE group by playing different audio files (inspired from HK soundscape) and observe the reaction with the aim of identifying what creates a dominant sound
Took recordings from around the city, with particular focus on the MTR. Our main observation was surprisingly the lack of digital sound - whilst walking around the stations there were obvious sounds such as ticket barriers and train announcements, but most of the soundscape was occupied with background walla. What was particularly interesting about this was that the stations and trains themselves allow space in their soundscape to facilitate conversation. This made us wonder if this was a characteristic of the sound design that Dan had previously mentioned, if so, it wasn't what we initially expected.
It was also interesting to try and identify the characteristics of the digital sounds that cut through the background walla and air conditioning hum. Ticket barrier bleep Escalator clacking Train announcements Traffic light panning - gives stereo field positional data We also want to explore how these sounds could have been influenced by surrounding nature
Cockroach screams Are there any comparisons, comments we can make?
How do we create process for sound captures? 20 second recordings from different locations 6 locations - 3 above ground / 3 below ground above - traffic lights / bus stop / park below - MTR (on train) / MTR Lobby / MTR Platform
What are the characteristics of the sound that allow it to permiate through background wallah? Is the sound percussive or digital? Is the sound inspired by nature?
Aim: To observe and analyse the Hong Kong soundscape and interpret
Insights: - Traffic lights clicks work in tandem to create a stereo field that allows users to determine their position within the created space. - Uniformed rhythmic sounds stood out from the ununiformed background wallah - Percussive sounds are able to stand out better outside compared to pitched sounds that have the potential to get lost amongst the outdoor soundscape. Pitched sounds work better indoors as they have more surfaces to reflect off. - Traffic lights clicks are comprised of both tonal and percussive sounds. Combined with the broad frequency range and the aforementioned stereo field, this advanced sound reflects the dangerous nature of pedestrian crossings. - From our observations we noticed that there are as many sounds for verification as there are for safety alerts. This shows the importance that alerts sounds have in the transport infrastructure, as they allow commuters to maintain visual focus on where they’re going. - Both types of sounds need to be noticeable and cut through the background wallah, however, the former needs to be subtler (MTR ‘doots’) while the latter needs to be more prominent (Traffic lights) - It is also worth mentioning the correlation between BPM and urgency; whilst this may seem obvious, the observation highlights the contrast between audible notifications that commuters can digest passively, and audible warnings that require more attention. The melodic introduction to MTR announcements has a slower BPM and a memorable melody which promotes familiarity, meaning commuters can “opt in” depending on whether the information applies to them. In contrast, the higher BPM of the MTR doors demand immediate attention.
- If we were to repeat the process, we could analyse the effect of human traffic on the sounds by recording in both busy and quiet times of the same location. - Whilst we wanted to compare the audio characteristics against how attention grabbing the sound was, we did not devise an accurate method to measure this. If we were to repeat the process, we could