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Rob da Bank showed some of the classic examples such as the virtual haircut which can be quite spooky to listen to. So why aren't all BBC programmes available in binaural sound? These recording techniques can create great immersive effects when the right demonstrations are used.
Barbershop binaural sound simulator#
R&D's head and torso simulator microphone
The brilliantly imaginative interactive drama The Dark House, broadcast in 2002, used miniature microphones placed in the ears of the actors, so you could listen from each of their perspectives. In 2008 the Radio 4 documentary Bravo November, about a Chinook helicopter in the Falklands War, used dummy head recordings from inside the helicopter. Since then there have been occasional experiments with these techniques in BBC programmes. This programme is often played on BBC Radio 4 Extra, so look out for upcoming repeats. It was a 20 minute play written and performed by Andrew Sachs without a single word of dialogue. The BBC made several pioneering radio dramas using these microphones at the time. These are basically human manikins with microphones placed where the eardrums should be. In the early 1970s dummy head microphones, like Fritz and the one pictured below, became commercially available. This FAQ page from one of our previous experiments gives a bit more detail about binaural.īinaural sound itself is not a new idea, public performances were transmitted in some form of binaural stereo as far back at 1881. This is as opposed to listening to stereo sound on headphones, as we currently do, which leads to the impression that sounds are all inside your head. Briefly it is a sound production technique that mimics the natural hearing cues created by our head and ears to create the impression of 3D sound when listening on headphones. Obviously, this means that a few of the soundfiles contain no sound for the majority of their duration.So what is binaural sound? Those of you who read this blog regularly may already be familiar with the concept, as in the last couple of years we've discussed some binaural experiments we've done here. Each soundfile is the length of the whole piece, this way I didn't have to use delays. When Todd speaks, the sound can be in any speaker individually, or it can be in both front speakers (if Todd is directly in front of Jeffery) or in both rear speakers (if Todd is directly behind Jeffery). The audio is from Jeffery's point of view, so whenever Jeffery speaks, the audio is centered. As Todd cuts Jeffery's hair, the scissors bounce around the stereo just as a barber would move around his customer's head. This is a pretty morbid piece, but I thought it would be fun to use the idea of a barber shop to create the binaural effect. Thus, as Sweeny Todd does with many of his customers, he kills Jeffery by slitting his throat. When Todd learns that Jeffery's family has left him, he recognizes that Jeffery will not have anyone to miss him if he is dead. Jeffery's wife has just left him and taken his kids, so Jeffery wants to freshen up before looking for a new female partner. In this short skit, a man named Jeffery goes to get a shave and a haircut from the barber, Sweeny Todd (both characters are played by myself, attempting to do two separate british accents, although I'm certainly no theatric expert). Music 220a - Homework 2: Binaural Skit Chuck Files / Data Files
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