The blog post explores the physics behind the distinctive "whoosh" sound created by passing objects like airplanes. It explains how this sound isn't simply the object's engine noise, but rather the Doppler-shifted frequencies of ambient noise—like wind, traffic, or conversations—being compressed as the object approaches and stretched as it recedes. This effect, similar to how a siren's pitch changes as it passes by, is most noticeable with fast-moving objects in relatively quiet environments. The post further delves into how our brains perceive these shifting frequencies, potentially misinterpreting them as the sound of the object itself and sometimes even creating phantom whooshing sensations when no physical source exists.
The blog post details a meticulous recreation of Daft Punk's "Something About Us," focusing on achieving the song's signature vocal effect. The author breaks down the process, experimenting with various vocoders, synthesizers (including the Talkbox used in the original), and effects like chorus, phaser, and EQ. Through trial and error, they analyze the song's layered vocal harmonies, robotic textures, and underlying chord progressions, ultimately creating a close approximation of the original track and sharing their insights into the techniques likely employed by Daft Punk.
HN users discuss the impressive technical breakdown of Daft Punk's "Something About Us," praising the author's detailed analysis of the song's layered composition and vocal processing. Several commenters express appreciation for learning about the nuanced use of vocoders, EQ, and compression, and the insights into Daft Punk's production techniques. Some highlight the value of understanding how iconic sounds are created, inspiring experimentation and deeper appreciation for the artistry involved. A few mention other similar analytical breakdowns of music they enjoy, and some express a renewed desire to listen to the original track after reading the article.
Audiocube is a 3D digital audio workstation (DAW) designed specifically for spatial audio creation. It offers a visual, interactive environment where users can place and manipulate audio sources within a 3D space, enabling intuitive control over sound positioning, movement, and spatial effects. This approach simplifies complex spatial audio workflows, making it easier to design immersive soundscapes for games, VR/AR experiences, and other interactive media. The software also integrates traditional DAW features like mixing, effects processing, and automation within this 3D environment.
HN commenters generally expressed interest in AudioCube, praising its novel approach to spatial audio workflow and the intuitive visual interface. Several questioned the practicality for complex projects, citing potential performance issues with many sound sources and the learning curve associated with a new paradigm. Some desired more information about the underlying technology and integration with existing DAWs. The use of WebGPU also sparked discussion, with some excited about its potential and others concerned about browser compatibility and performance. A few users requested features like VST support and ambisonics export. While intrigued by the concept, many adopted a wait-and-see approach pending further development and user feedback.
Ribbon microphones are a type of velocity microphone that use a thin, corrugated metal ribbon suspended in a magnetic field to generate audio signals. The ribbon vibrates with air movement, inducing a current proportional to the velocity of that movement. This design results in a naturally warm, smooth sound with a pronounced figure-8 polar pattern, meaning they are sensitive to sound from the front and back but reject sound from the sides. While delicate and susceptible to damage from wind or phantom power, ribbon mics excel at capturing the nuances of instruments and vocals, often adding a vintage, classic character to recordings. Modern ribbon microphone designs have addressed some of the fragility concerns of earlier models, making them increasingly versatile tools for capturing high-quality audio.
Hacker News users discuss the practicality and sonic characteristics of ribbon microphones. Several commenters highlight the extreme sensitivity of ribbons to wind and plosives, making them less versatile than condensers for general use. Others note their fragility and susceptibility to damage from phantom power. However, many appreciate the smooth, warm sound of ribbons, particularly for instruments like electric guitar and brass, where they excel at capturing detail without harshness. The discussion also touches upon figure-8 polar patterns, their usefulness in certain recording situations, and the challenges of positioning them correctly. Some users share personal experiences with specific ribbon mic models and DIY builds, contributing to a practical understanding of their strengths and weaknesses. A few commenters even lament the relative scarcity of affordable, high-quality ribbon mics compared to other types.
Summary of Comments ( 32 )
https://news.ycombinator.com/item?id=43713524
Hacker News users discuss various aspects of the "whoosh" sound phenomenon. Several commenters offer additional examples of sounds exhibiting similar characteristics, such as the Doppler shift observed with passing cars or the sound of a large truck passing a house. Some discuss the physics behind the phenomenon, including the role of air pressure changes and the shape of the object creating the sound. Others delve into the subjective experience of these sounds, noting how perception can be influenced by factors like background noise and individual sensitivity. One compelling comment highlights the prevalence of this effect in movies and its potential exaggeration for dramatic effect. Another interesting observation is the comparison to the "sonic boom" of a supersonic aircraft, contrasting the continuous whoosh with the sharp crack of the boom. Finally, a few commenters mention the psychological impact of these sounds, including their potential to be unsettling or even anxiety-inducing.
The Hacker News post titled "Passing planes and other whoosh sounds," linking to an article on windytan.com about the physics of whooshing sounds, has generated a modest discussion with several interesting comments.
One commenter shares a personal anecdote about experiencing the Doppler effect with the sound of a passing plane, noting the distinct drop in pitch as the plane moves away. They also connect this experience to the sound of cars passing by, highlighting the commonality of the phenomenon in everyday life.
Another commenter delves into the specifics of the Doppler effect, explaining how the frequency shift is dependent on the relative velocity between the source and the observer. They then raise the question of why the sound of a passing plane seems to "whoosh" down rather than up, even though both rising and falling frequencies are involved. They hypothesize that this perceived downward shift is due to the greater change in frequency occurring as the plane moves away, alongside the general decrease in loudness as the source recedes.
A subsequent comment builds on this hypothesis, suggesting that the human ear is more sensitive to downward frequency changes and that the decreasing volume of the receding sound source might contribute to the perception of a downward whoosh.
Another commenter links to a Wikipedia page about the sonic boom, a different phenomenon associated with supersonic aircraft, distinguishing it from the Doppler effect discussed in the original article. This comment helps clarify the different types of sounds generated by moving aircraft and their underlying physical principles.
One user mentions their experience with sailplanes, explaining how the quiet nature of these aircraft allows for a clearer perception of the Doppler shift and a more pronounced "whoosh." This adds another real-world example to the discussion and highlights how the surrounding environment can influence the perception of these sounds.
Finally, a commenter with a background in audio engineering provides a more technical explanation, mentioning how the perceived pitch of complex sounds like those produced by aircraft engines is not solely determined by the fundamental frequency but also influenced by overtones and harmonics. They suggest that the Doppler effect's influence on these different frequency components might contribute to the complex nature of the perceived "whoosh."
In summary, the comments on the Hacker News post provide a range of perspectives on the physics and perception of whooshing sounds, from personal anecdotes to detailed explanations and related phenomena, demonstrating a shared curiosity about the acoustic world around us.