Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Robert Van Zandt Presson]

Perception is in the ear of the beholder..
Interesting effect that I had not heard of previously.   Over the years I have found myself closing my eyes or looking at the soundboard when I concentrate..

http://www.youtube.com/watch?v=ypd5txtGdGw&feature=related

The brain is a powerful thing..  I have run into this before where I could perceive things as being different than they are, like a ceiling fan rotating backwards on command.   I figured sharing the idea may make you think twice about trusting your eyes over ears.

 I ran a search here and the old forum and didn't find the link or McGurk effect..

-Rob

[Scott Raymond]

Perception is in the ear of the beholder..
Interesting effect that I had not heard of previously.   Over the years I have found myself closing my eyes or looking at the soundboard when I concentrate..

http://www.youtube.com/watch?v=ypd5txtGdGw&feature=related

The brain is a powerful thing..  I have run into this before where I could perceive things as being different than they are, like a ceiling fan rotating backwards on command.   I figured sharing the idea may make you think twice about trusting your eyes over ears.

 I ran a search here and the old forum and didn't find the link or McGurk effect..

-Rob

Ran into this years ago when eating at a pizza place with a large group.  A couple of girls came up with the statement that they couldn't hear as well because they didn't have their contacts in.  Everyone thought that was just ridiculous.  Later we figured out that they were probably relying on lip reading in the noisy place and without their contacts they were having trouble picking up on lip movements.  At the time they kept insisting it made a difference but couldn't come up with a reason for it.

Scott

[Gustav Hedelund]

Really interesting! I often have my eyes on the stage first songs, then when I now nothing needs to be changed for monitors etc, i often close my eyes or sit head down with the fingers on the faders. Can't help it, it often sounds better and finer adjustments are made by closing my eyes.

The same if a rig needs more tuning than regular, closing the eyes and then look at the -9dB change somewhere makes you wonder if that is really right. Zero, adjusting again with closed eyes, -9dB. Ok, the rig is this wrong then

[Cameron Stuckey]

I can't find the video at the moment, but there was a 2009 AES panel about psycho acoustics and Poppy Crum had a brilliant section about the McGurk effect. Absolutely worth checking out for both her sections, and all the the other panelists.

Side story: This concept happens to my dad all. the. time. He is fluent in Tai-Kadai(Thai) and whenever he introduces himself and asks for classic dishes off menu, the waitor literally can't compute that this 6ft tall blonde American is speaking his language without an accent. Their eyes and their ears are fighting with each other over which one to believe.

[Robert Van Zandt Presson]

Side story: This concept happens to my dad all. the. time. He is fluent in Tai-Kadai(Thai) and whenever he introduces himself and asks for classic dishes off menu, the waitor literally can't compute that this 6ft tall blonde American is speaking his language without an accent. Their eyes and their ears are fighting with each other over which one to believe.

wow, how cool is that?   

One of the most interesting things about this career is it is a blending of science/technology, art, and interpretation/psychoacoustics. 

I too have developed a pattern of watching the stage for the first song to look for requests, and the next song I spend checking all my gear's displays - which also pulls my eyes away from the sound source.     Do others do this as well?

[Scott Raymond]

I can't find the video at the moment, but there was a 2009 AES panel about psycho acoustics and Poppy Crum had a brilliant section about the McGurk effect. Absolutely worth checking out for both her sections, and all the the other panelists.

Side story: This concept happens to my dad all. the. time. He is fluent in Tai-Kadai(Thai) and whenever he introduces himself and asks for classic dishes off menu, the waitor literally can't compute that this 6ft tall blonde American is speaking his language without an accent. Their eyes and their ears are fighting with each other over which one to believe.

Cameron,

This what you're looking for?

http://www.youtube.com/watch?v=BYTlN6wjcvQ

Scott

[Cameron Stuckey]

http://www.youtube.com/watch?v=BYTlN6wjcvQ

Yes! Thank you, Scott.

A lot of great material is packed into this one hour of talking and I learned a lot about how our brains process sound. Highly recommended viewing.

[Robert Van Zandt Presson]

loved the video, thanks for sharing!

[Karl Winkler]

Yes! Thank you, Scott.

A lot of great material is packed into this one hour of talking and I learned a lot about how our brains process sound. Highly recommended viewing.

That video should be required viewing for everyone in our industry.

[Robert Van Zandt Presson]

i couldn't agree more Karl

[Per Sovik]

I sometimes tell vocalists and parts of a choir to replace consonants, like singing a "b" instead of a "p" or an "f" instead of an "s" because it sounds better and makes no difference to how the audience interprets the words

[Tim Mitchell]

Running and listening to sound is so abstract. You can ask 10 audience members "How does it sound?" and get 10 different answers like: It sounds like an AM radio, or I can't understand the vocals, and even That's the best band I have ever seen.

Operating a sound console can be very abstract too. You can push up the volume slider for the guitar but what you really get depends on the settings of the Tone, Effects sends, the effects in the rack, the output EQs and the equipment in the Amp racks.

If you listen to music a lot then you know what you like and why. When you mix sound you should try to recreate the qualities that you hear in the music that you like. Make things clear and natural and use effects that compliment the music. Effects should sound naturally acoustic and don't over use them.

My favorite advice to give newbies in sound is to Listen carefully and don't use your eyes to adjust the controls. If you think the keyboard needs more highs and look at the control and it's already turned up, don't stop your self from adding the highs, and do not look at the controls when you adjust them. Listen carefully while you are turning the knobs and look at the musician while making the adjustments.

And lastly, when you close your eyes while you are mixing, you should be able to see the instruments. If everything is sounding clear and natural like it should be, then you should be able to easily visualize the instruments with your eyes closed.

You can't learn to run sound from a Manual or a Forum, you have to get out there and twist some knobs and listen to the results. I will be giving a Sound training class to the members of our theater and union later this month. I will have a system set up and we will twist and listen to every knob that I can reach.

[ProSoundWeb Community]