Spent all friday evening putting together my project summary (original idea and revised idea) for sending to Tobi for external review, and to update my WWHI proforma ready for iteration of question! Took absolutely ages but really worth it as I have a much clearer outline of my progress and feels really good including the external feedback comments to support the developments my project has been going through.
The following is taken from my project summary word documents:
The problem: Protection earplugs for use in a nightclub / loud music event (potentially 6-7 hour exposure to very damaging sound levels) are widely unfavoured with general public / clubbers due to reducing the audibility of the music and ultimately the experience…
There is also a varying level of opinion from people who work in the club/music industry, such as professional dancers, DJs etc. “With earplugs in, we tend to want to have the monitors louder in the DJ booth, which isn’t always good!”*.
*key feedback comments from Jono Grant, DJ (Above and Beyond)
“None of us use earplugs, not only are they pretty uncomfortable but it ruins the experience of the music that I really need to feel to dance to.”*
*key feedback comments from Svetlana Chebysheva, Professional Dancer.
The general public can’t justify the cost of professional/good quality earplugs, which are more comfortable and lose less audibility. This is what is generally used by professional DJs who are generally happy with their plugs.
The solution needed: Isn’t there a cost effective solution to a product for the public, that doesn’t reduce the quality and experience of the music, ideally offering something new and attractive while also providing a level of hearing protection?
May – July 2011
Original idea: Re-imagining protection earplugs for the entertainment industry, to give an intense physical experience of ‘feeling’ music when clubbing. Something to encourage the use of protection plugs for the modern day clubber. “A protection product, that actually offers something to the user. Not just taking something away”*
*key feedback comments from meeting with Liz Brueck, Senior Noise Scientist, Noise and Vibrations team, Health and Safety Laboratory.
(e.g. protection at the cost of enjoyment and experience, the reasons why we ultimately go to nightclubs in the first place.)
“Sometimes the music is just too good and I want to "feel" that loud.”**
**key feedback comments from Tobias Schuh, DJ (Cold Blue).
Method: Feeling music through the effect of bone conduction. Developing a new material for earplugs (research lead: Dow chemical company in USA
Reflection: Decided to move away from vibration and bone conduction effects of feeling music.
“Bass is a lot less easy to manipulate than treble, you need to focus on the treble which is much more directional.”*
*key feedback comments from meeting with Tom Gunston, Sound and Vibration Consultant, VJ Technology.
Re: reaction to the idea of bone conduction/vibration incorporated in to a concept protection plug? “I have to admit my initial reaction is sceptical, since it sounds like too niche a product, and I'm currently happy with the ear plugs I have.”*
*key feedback comments from Jono Grant, DJ (Above and Beyond).
“The ear plugs we use don't really reduce the bass that much, you feel it through your chest as much as anything!”*
*key feedback comments from Tony McGuinness, DJ (Above and Beyond).
August – current 2011
Revised idea: Re-imagining earplugs for the entertainment industry using active/powered materials (electronics) rather than passive. “In order to get the kind of effect you are after, the only way I think you can achieve this successfully is electronically.”*
*key feedback comments from meeting with Tom Gunston, Sound and Vibration Consultant, VJ Technology.
Incorporating the idea in to an already ubiquitous product, specifically smartphones (main target) and portable media players as a second possible option.
Objectives:
- Create a ‘soundtrip’ experience using binaural filtering. E.g. changing direction of the music, spinning 360 degrees, creating an almost drug-like effect from manipulation of music.
- Provide a level of hearing protection of 15-20 dB using greater methods of isolation (comply foam) and filtering of the extreme high and low frequencies that are actually outside audible range.
- Optional isolation frequency settings, focused specifically on speech range and filtering out all other frequencies. This is in order to allow clearer communication between people in loud music environments (e.g. ordering at the bar, dance floor to avoid close range shouting directly in to the ear etc)
- Accessory club-wear ‘clubpouch’. Slender / minimal but also modern and attractive (paint with UV rubber paint) to answer the problem specifically for female clubbers, of somewhere secure/on person to carry your phone / some money / house key. Without needing pockets or a bag, and still looks really good and doesn’t compromise the ‘clubbing image’. No matter how little clothing is worn (inspiration for teaser campaign / image for artefact and promotion).
Method: Smartphone accessory that incorporates sound isolation earplugs encapsulated with low sensitivity microphones for recording ambient sound of up to 140dB. Isolation of background noise by using comply memory foam (used in the military), also providing enhanced quality of playback due to comply foam providing perfect fit. The foam adjusts shape with body heat to minimise the air pocket inside the ear, removing the barrier between ear and speaker (the push in effect).
In parallel to this, develop a smart phone application which can process ambient input in the ways defined in the objectives and play it back through the earphones in real time (effects through binaural application and speech frequency isolation). I need to focus my research on latency filtering and minimalisation. Next step is to approach Reality Jockey in London
Reflection: Comments received so far from industry professionals:
“The problem for a lot of sound programmes, processing and playing back gets latency. Latency will be weird as the body relies on feeling the ‘thump’. If the sound is fractionally out, it will create a ‘copper-tube’ effect and it won’t be good.”*
“How long can the app run for without draining the phone battery? As people will likely be running it on their phone for 6 to 7 hours.”*
*key feedback comments from meeting/artefact testing at the Dairy Studio, with Chris Bailey, Producer / DJ.
“Hearing protection can be a hazard. Protection that doesn’t sacrifice audibility would be extremely valuable in industrial and the military, reducing accidents and fatalities.”**
“This is the best idea I’ve ever heard since slicing bread, and I think you have found the solution to exactly what the entertainment industry needs. As it reduces the risk without reducing the fun.”**
**key feedback comments from meeting with Liz Brueck, Senior Noise Scientist, Noise and Vibration Team, Health and Safety Laboratory.
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