Category: music

The researchers tested the $129 AirPods 2 and $249 AirPods Pro paired with iPhone XS Max smartphones running iOS 13. They compared these against the $10,000 OTICON Opn 1 behind-the-ear hearing aids and a more affordable alternative, the $1,500 Bernafon MD1. The four options were tested with 21 participants dealing with mild to moderate hearing loss, who were asked to repeat short sentences read to them by the researchers in varying environments. In a quiet setting, the AirPods Pro were found to perform as well as the cheaper hearing aids and almost as good as the premium model, while the Air Pods 2 performed the worst of all four tested devices but still helped participants hear what was being read to them more clearly than not using a sound-enhancing device at all. In a noisy environment, the AirPods Pro performed even closer to the premium hearing aid model, thanks to their built-in noise cancellation, but only when the distracting noises were coming from the sides of the participant. When the noise was coming from the front, alongside the sample sentences being read by the researchers, both wireless earbud products failed to help improve what was being heard. “Hearing aids remain the best option for those dealing with hearing loss, but for those who don’t have access to them for whatever reason, a cheaper product like Apple’s AirPods Pro could provide noticeable improvements in hearing and clarity for those dealing with mild-to-moderate hearing loss and could serve as a useful alternative until over-the-counter solutions are more readily available and affordable,” concludes the report.

Earlier this year, the Food and Drug Administration decided to allow hearing aids to be sold over the counter and without a prescription to adults, a decision that “could fundamentally change technology,” said Nicholas Reed, an audiologist at the Department of Epidemiology at Johns Hopkins Bloomberg School of Public Health. Sony’s first OTC hearing aids were announced last month.

Meta describes its method as a three-part system trained to compress audio to a desired target size. First, the encoder transforms uncompressed data into a lower frame rate “latent space” representation. The “quantizer” then compresses the representation to the target size while keeping track of the most important information that will later be used to rebuild the original signal. (This compressed signal is what gets sent through a network or saved to disk.) Finally, the decoder turns the compressed data back into audio in real time using a neural network on a single CPU.

Meta’s use of discriminators proves key to creating a method for compressing the audio as much as possible without losing key elements of a signal that make it distinctive and recognizable: “The key to lossy compression is to identify changes that will not be perceivable by humans, as perfect reconstruction is impossible at low bit rates. To do so, we use discriminators to improve the perceptual quality of the generated samples. This creates a cat-and-mouse game where the discriminator’s job is to differentiate between real samples and reconstructed samples. The compression model attempts to generate samples to fool the discriminators by pushing the reconstructed samples to be more perceptually similar to the original samples.”

A typical loudspeaker found in headphones or an audio system uses electric current inputs that pass through a coil of wire that generates a magnetic field, which moves a speaker membrane, that moves the air above it, that makes the sound we hear. By contrast, the new loudspeaker simplifies the speaker design by using a thin film of a shaped piezoelectric material that moves when voltage is applied over it, which moves the air above it and generates sound. […]

They tested their thin-film loudspeaker by mounting it to a wall 30 centimeters from a microphone to measure the sound pressure level, recorded in decibels. When 25 volts of electricity were passed through the device at 1 kilohertz (a rate of 1,000 cycles per second), the speaker produced high-quality sound at conversational levels of 66 decibels. At 10 kilohertz, the sound pressure level increased to 86 decibels, about the same volume level as city traffic. The energy-efficient device only requires about 100 milliwatts of power per square meter of speaker area. By contrast, an average home speaker might consume more than 1 watt of power to generate similar sound pressure at a comparable distance. The researchers showed the speaker in action, playing “We Are the Champions” by Queen. You can listen to it here.

In 2002, Bowie talked about his new album, distribution deal with Sony, and how he’s “fully confident that copyright, for instance, will no longer exist in 10 years, and authorship and intellectual property is in for such a bashing.”

In the late 90s, Bowie advocated for MP3s, telling The Guardian that they “could change the entire idea of what music is — and that isn’t so bad.” Years later, he seemed to agree that concert ticket prices needed to increase to offset the rise in P2P file sharing and illegal downloads.

The team scoured academic papers on using AI to separate audio sources but realised that none of the previous research would work for a music documentary. They consulted with Paris Smaragdis at the University of Chicago and started to create a neural network called MAL (machine assisted learning) and a set of training data that was higher quality than datasets used in academic experiments.
The Washington Post describes it as “a sort of sonic forensics,” adding that the name MAL was a deliberate homage to the HAL computer in 2001: a Space Odyssey — and to the Beatles’ beloved road manager and principal assistant, Mal Evans.
Using MAL, Jackson and his colleagues were able to painstakingly and precisely isolate each and every audio track — be it musical instrumentation, singing or studio chatter — from the original mono recordings made for most of “Let It Be.”

“What we’ve managed to do is split it all apart in a way that is utterly clean and sounds much better,” Jackson said.

Other interesting observations from the Post:

“Get Back” tapped nearly 120 hours of previously unheard audio recordings. Jackson and his team started work in 2017.
Jackson’s team also “carefully restored, upgraded and enlarged the grainy original 16-millimeter” footage from the 1969 documentary Let It Be “so that it now pops with vibrant color.”
Jackson’s documentary “was originally set to open in theaters last year as a two-and-a-half hour feature film, but was pushed back by the pandemic. With more time unexpectedly on his hands, Jackson transformed his feature film into the six-hour epic….”
Jackson would also like to release an expanded director’s cut sometime in the future, “but there are no current plans to do so.”
“At one point, Jackson’s favorite version of his Get Back film clocked in at 18 hours…”