How to Be a Better Human - The perks of listening to the sounds of the world (w/ Dallas Taylor)

Episode Date: October 23, 2023

Keyboard and mouse clicks, the song of an ice cream truck, a neighbor’s yapping dog – what kind of noises soundtrack your life? Today’s guest, Dallas Taylor, is the host and creator of the Twenty Thousand Hertz podcast, a show about the world's most recognizable and interesting sounds. In this episode, he shares why sounds can tell deeper stories – and how tuning IN to the noise of the world can help us tap into the wild depths of our imagination. For the full text transcript, visit go.ted.com/BHTranscripts Hosted on Acast. See acast.com/privacy for more information.

You're listening to How to Be a Better Human. I'm your host, Chris Duffy, and right now, I am walking into the little room that I use to record this podcast. So I'm recording this on my phone. But now, I'm on my regular podcast mic setup. It sounds pretty different, right? Pretty good.

You know, before I started working in audio, there were so many things that I never thought about when it came to sound. For example, I didn't know that whenever you say a word in English with a P in it, like pepper, a little gust of wind comes out of your mouth and that can often get picked up on a microphone. For example, listen to this. Pepper, pepper. Now, normally I have a little windscreen in front of my microphone that stops that P from getting popped. That's what they call that, popping your P's. And it's a big no-no in audio. Or another thing that happens sometimes is if I start typing

on my computer, you can hear that tapping from the keyboard get picked up a little bit. Now, those are a few of the sounds that we're trying to avoid when I'm making this podcast. But there's a whole host of other things that we're not trying to avoid, but that we're trying to make happen. Incredible, beautiful, amazing, fun things that audio can do that many of us never, ever notice. And today's guest, Dallas Taylor, is on a mission to make the world see and hear just how incredible sound can truly be. We have these five core senses, sight, smell, touch, taste, and hearing.

We don't need to be some sort of expert in color palettes or an expert sculptor in order to appreciate paint colors on wall or design or a beautiful car. We accept that culturally because humans are very, very visual creatures. Same thing goes with touch and smell. You don't need to be an expert in those in order to appreciate soft clothes or a comfy couch or have a stinky something that you want to mask with a candle or whatnot. But with sound and hearing, culturally, it's very immature where we are right now. We like this type of music, and that's awesome, and I love music.

But the impact of sound goes light years beyond music. The core here is to just try to elevate our sense of hearing to get to that level of appreciation and understanding. You're going to want to hear the sounds that Dallas has in store for us in this episode, so do not go anywhere. But first, we're going to take a quick break so you can listen to the sweet, sweet sounds of advertising. We'll be right back. We'll be right back. Today, we're talking sound with Dallas Taylor. Hey there.

So I'm Dallas Taylor and I am a podcast host and sound designer. First, for people who aren't already familiar with your work, what first opened your mind up to the world of sound? Was there a moment that you thought like, I have to talk about this with people. I have to start the show at 20,000 Hertz or where did it all come from? It was a long journey. I was a trumpet player for many years as a kid. I dove really deep into classical music and trumpet performance and jazz. And that's really what took me from a very small town in the Delta of Arkansas to college and then kind of sent me out into the world. But there was a moment in my schooling toward the end of my bachelor's degree where I started struggling really badly with panic attacks as I was performing. And it really took away the joy

and what I loved about music. But I still had all of that passion and intensity around sound and music. And it really shifted because it was also when computers were becoming very much a creative tool. And so that took me into this world of music recording. But very quickly, I discovered going down that path that I absolutely fell in love with the hidden aspect of post-production audio, how much it affects people in movies and in TV shows, but they have no idea that the effect that it has. I spent many years in LA working for Fox and G4 and NBC and freelancing and went to the East Coast to work for the Discovery Channel. And that was my last full-time job before starting my own sound design studio called DeFacto Sound. This was probably 14 years ago, roughly.

I started making movies and documentaries and big advertising spots, very sound design-y car spots. I think in this world, there's so many stories happening in post-production audio that we all know about in the post world. Like the Wilhelm Scream, it's like this inside audio joke. And I realized that the reason people don't appreciate sound is just they simply don't know the stories behind the brilliance about how things are created and how it intertwines with brain science, mood, and all kinds of stuff. You mentioned that your relationship to sound was also really tied to being on stage and struggling with panic attacks. You talk in your TED Talk about how what we think of as silence isn't actually silence and how sometimes when it's as quiet as possible, you actually are hearing what's

going on inside of your own body. And I think sometimes it for other people, it's really you get in this internal place where you can't process the outside sounds and it's just the inside noise happening. And I wonder if that resonates with your experience of what that felt like to have a panic attack. It's not actual noise, but for me, it's a detachment. I detach from reality and I start to hear kind of a cacophony of anxiety. We recently just did a show called The Voice Inside. It's not aural. It's not something that's out in the world. But we really, for the first time, went all the way into our minds and really thought about the sense of hearing as a perception inside our minds. And so for me, panic attacks, which is something that I still occasionally struggle with, it's something that I have to – that I've understood more and I can mitigate and I can understand the triggers that lead me there.

and I can mitigate and I can understand the triggers that lead me there. But for me, it was very much detachment and just an overwhelming sense of worry and thinking about too much at once. One of the things that I think is so great about your work and your podcast, 20,000 Hertz, is how you are able to take sounds, even really small, short ones and pull a really big story out of it and pull emotions out of it. And so I want to play a clip because first of all, it just makes me laugh so much. It just illustrates so well what I think is so incredible about your work. So this is from one of the most popular sounds that you've ever broken down, the bouge.

sounds that you've ever broken down, the bouj. As a sound designer, I work on tons of trailers. And trailers are especially hilarious to me because those sound effects are just so over the top. You've got the hits, the stings, the reverse sucks, the shimmers. And the slams. But when you need to turn it up to 11 and rip a hole in the space-time continuum, it's time to go all out and drive the Booge. Now we are cooking with gas. I mean, that is so spectacular.

I don't know if you are a human being who heard that and doesn't immediately want to listen to that podcast episode. I truly cannot relate to you in any way. But also, I think it's a great example to me of what is fun about learning about the world of sound design, which is now I will never hear that sound again without going, that's the booge. That's the booge. You know, like you hear it a lot in true crime podcasts too, which is a lot of fun. It's just like, Hey, wink, wink, nudge, nudge. Are you feeling this shimmer? My company does tons of trailers, um, thousands of trailers, like yearly, at least a thousand plus. And there's so much like hit and boom. We made that really just to entertain ourselves because the sounds are so hilarious to us already. And it also, it's reaching a point with trailer sounds that it's like, you can't get more epic. And I talk about this all the time with clients and collaborators and stuff.

And it's just like, if everything is all the way dialed up to 11 crunch hit, like constantly, it means nothing. Like there's no emotional dynamic range. And it's like, you got to build to it. You got to do something to get us there. But I just find superhero movie trailers in particular just hilarious as a sound designer. So how do you train yourself then consciously to be like to seek out slower, more subtle, quieter spaces so that you don't just have to be always at the very top end of the engagement spectrum? engagement spectrum? Well, essentially, in every aspect of how I work, whether it be with the podcast or as a sound designer, I'm always looking for moments of quiet for the, one, the actual dynamic range of volume, but two, the emotional dynamic range, even more importantly. Even in the way that we program episodes, I don't want every episode to feel give you that same emotion. Like here's a huge, you know, very famous sound followed by something that's a little like of a head scratcher, kind of like a voice inside thing followed by pure joy and comedy followed by the biggest emotional gut punch possible.

So with something like the bouge, what's the emotion that gets wrapped into that when we hear that? That one's pure hilarity because we find it hilarious. And so we're just like, what's hilarious is there was no term the bouge. It was completely made up by one of the guests in the episode from an incredible YouTube channel called Arlenauts. And they did this trailer that the entire episode was based off of. And so it's on YouTube and it's called like how to make a blockbuster movie trailer. And it is absolutely hilarious. And eventually we play that at the end, but we really like that was where we were going. And we just deconstructed all the way to the beginning to see like, how can we like get ourselves to this hilarious reveal?

But like, boosh is just a hilarious word. It was definitely Arlenauts who made up that word and me trying to like normalize that word. So this is a kind of more serious question and I'm just curious to your thoughts but since so much of sound design is making us feel things and it also is kind of invisible, is there an ethics to sound design then? So this was pre-podcast.

I was working on a documentary called Blood Brother. It eventually won Sundance in two of the categories and streamed, and it's maybe still out there. But it's about this person who went over to India to help orphans with AIDS and HIV. And it's an intense documentary. There's children passing away. It's absolutely heartbreaking, heavy, heavy experience. And so we spend months working on this, um, you know, me and my team, there's loads of music. And when the director, Steve Hoover came to listen for the very first time, he listened to the entire 90 minutes without saying a word. But at the end, he very kindly, he was like, okay, that's, that's sounding really

awesome. The first thing that I want to do is I want to remove everything sound wise when these kids pass away or when they're very sick. And he goes, okay, awesome. Let's move on. We'll leave the music off and we'll just keep going. And I remember it blowing my mind. Cause I was like, we removed the music and it just played. What I learned in that is when you give the audience nothing to grasp onto emotionally, there's no track with violins telling you how sad it is. That allows the audience to bring their personal experience to the film. It's not some hipster music that's time period based or based off of the unconscious biases of the director or the editor or all of these things of their experiences. By removing

music and just letting the natural world play, it was a huge release, one, where people could process it. But two, it just allowed people from all different walks of life in different countries to approach it and feel it in their own way. It gives the audience much more freedom to feel deeply in their own way, you know, without some track telling them how to do it. That's really interesting. And I think the idea of creating space for the audience or for the listener to bring themselves in, that makes a lot of sense to me. And also as a comedian, one thing that I always notice is if you don't create a space of silence, people don't laugh. If you don't pause after a punchline, you step on your own laughs. People won't laugh nearly as much. You have to give the space for it. You fill that with your own noise. You get,

there's a space for you to bring yourself into it. And it takes so much faith, especially if you're, you're making some sort of documentary or long form piece or even short form to be confident enough when you've heard it a thousand times in a row. I mean, I see this all the time where the more someone listens to the piece, the more they start creeping in those like sad violins, like earlier and earlier and earlier to the point where I'm like basically like signposting, like, hey, something's going to get real sad in 30 seconds. I'm like, you're softening the entire emotion getting to that point, like let the moment happen and it be a surprise because that's what it was in real life. We're going to take a quick

break, but we'll be right back with more from Dallas in just a moment. And we are back. So on this podcast and how to be a better human, I'm so lucky because we have this incredible team who produces it, who records it, who mixes it, who edits it. And as a result, if I say something foolish or incorrect, it gets cut out. And also if I make a weird noise with my mouth, they clean it up. No one ever hears that. That's great. But when I first started in podcasting for many years, I was editing all of my own. I was recording myself. Then I was editing all of my own tape. I was in Pro Tools doing it. And I found that it was impossible almost to stop tweaking things and to not keep finding a problem in a 30 minute episode and keep changing the volume

or actually like cutting that little sibilant out. And eventually I had to realize like, no one who's listening to this just one time is going to be able to tell the difference of that. So how does working in audio tie into this perfectionism No one who's listening to this just one time is going to be able to tell the difference of that. So how does working in audio tie into this perfectionism that I think a lot of people feel across the board, whether they're working in audio or not of like, I don't know when it's done. So how do you tell when something is good enough?

What does that mean in audio? Well, confident decision-making would be one. And yes, we, we struggle all the way down to the wire with little things here or there, and I'm trying to let go of certain aspects. But more than anything, especially with 20,000 hertz, I feel a strong desire to lead by example in that. You just never know it. When we do the interviews, you just never hear the interviewer. The way that we are mostly positioning the listener in this whole aspect is that we're talking to the listener. Sometimes we pull back and we talk to each other. It's for an effect. But because it's a show about sound from a sound

design team, it's just incredibly important that we set a bar. So how do you balance the setting of the bar versus the not endlessly tweaking once you've gotten into a certain place? Over the years, the team has just gotten better and better and better. It's, you know, early on, put a few episodes out and I still don't know if it was really kind of like selling. If I go back to those episodes, I'm like, oh, okay, a little cringy. But back then, Roman Mars, who's the host of 99% Invisible, I had known him and he was just like, hey, I get what you're doing. And I'd like to feature that on my show. And that was really this whole change where it's like it was featured there and then it just shot up.

And then from there, it's like, got its footing. The better we get, the more we just throw out like really wild ideas. And not only is it like wild ideas, but it's wild ideas with a group of people who are all trying to do something that's never been done before.

I think it's definitely working and you're making something really interesting. That sounds great and is really compelling. So congratulations for sure. I have a couple of rapid fire questions for you. What is your favorite sound? My children, my children's voice, singing and just conversation with my kids and my wife singing too.

The people who are the voices of the people who I love. voices of the people who I love. That would even extend a little bit further to say the best music that I know of in the world is music made or performed by my friends. And what about, what's the sound? I feel like everyone has a frequency that when you hear it, it just makes your stomach curl. I wouldn't say I have misophonia, which is like the hatred of sound. But I would say the, the sound that I dislike the most, at least that's coming to me as being in a, in a, in a, like a party situation, I'd say some sort of event, uh, where it's at a bar or it's those things. It's like where there's a lot of people and then it just gets progressively louder and louder and louder to the point where

I'm just like hurting my voice to even be heard. And there's no nuance to the voice. So I think that's, that's my least favorite because the voice itself, there's so many little tiny things I'm doing right now to perform and be in like, you know, really like get you to understand the way that I'm feeling. It's like singing, like everyone's a singer, but if you just use your voice, you're signaling what you feel in the way that you perform your words. But when we get into a very loud environment with a lot of people, I think my heart sinks a little bit when we lose our voices. We think we're using them, but all we're doing is we're just screaming on top of other people. And all of the subtlety from the voice goes away, all of that intimacy and all of that like depth. So I'd say that is, so I don't, I don't attend

things once it reaches a certain decibel level or like when my voice starts to hurt. Cause I just don't think anything meaningful happens past that point. So do you let, will you literally be at a party and be like, I am sorry, but the decibel level has reached my exit point and I got to go. You know, it's very, very on brand for me to say that, but that's exactly right. Like once it hits this point where I'm just like, Ooh, this is exhausting. But I think sensory wise, I get very overwhelmed quickly. And so there's only so much stimulus I can take visually and orally and like all simultaneously before I just get incredibly mentally exhausted. It's something that through panic attacks and mental health that I've started to realize where those triggers are. And that for

me is one of them. And you're absolutely right. It's basically like once it reaches a certain decibel level, I don't make a big deal about it. I just, just slowly move my way out. And no one even notices that I've got that I'm gone. On the flip side of that, is there a sound that is a particularly calming sound for you that like, if you're feeling stressed, you can tap into that sound? You know, it still goes back to the voices. Having a one-on-one conversation with someone that I care about or cares about me. And there's so much love and language and voices and how you perform it that it's either that, or if it's not another person, because obviously I keep leaning onto that, but things that make me calm, then I'm going into like music. I'm going into,

I love symphony pieces. I'm a huge fan of a very acoustic type of instrument pieces, or just like people who are like incredibly proficient, probably like classical music, probably like Chopin or something in that solo felted piano. Like I'll listen to anything that's a solo felt piano. I think anyone who works in podcasts gets this, but especially since you work in a podcast that's about sound design, you must have a lot of people commenting on your voice, which is a great voice. I never in my entire life have been complimented on my voice until I started a podcast. And it's, it is, it is very bizarre. It's still bizarre that even people know who I am beyond, I mean, I'm very just like in my own world, head down working, but the voice aspect, that is something that I've gotten better at.

I rerecorded like the first 15 episodes of 20,000 Hertz. Cause it was so bad. So you can actually hear a section where it like drops off. And that was never as bad as what it was. But I've gotten more comfortable with being more animated in my voice because when I listen to my voice back, I realize, wait a second, my feelings are way more intense than the way that I'm sounding to myself. So I always have to, it's kind of like if you're smiling in a picture, you got to go like 20% more to really notice. Same thing with performing with my voice. I have to go a little bit further than I feel comfortable with for it to even like get to the place where I'm actually hearing what I'm feeling. For people who are listening, who don't work in sound design and don't have a podcast or

don't get professionally recorded in any way, I think that there's still some really practical day-to-day tips that can improve their life with sound design. And I actually think that one of them is right now, many of us have to either have meetings that are remote or have to engage with people in a way where the way that you sound isn't necessarily the way you would sound in person because it's mediated through a computer or recording. And this, I think what you just said is like a huge one, which often people think that they're conveying the emotion

when they're actually not conveying it fully. And so what are some tips for how to do that? Gosh, that's a big question. Everyone is excited about a thing and there's an aspect of shame, I guess, in our culture where you kind of like shy away from the thing that you're really passionate about, worried that someone's going to like feel something or think something or whatever about you. But there's nothing like more attractive to me than someone being very passionate and animated, animated about what they like. Show your passion, like your thankful, for how much you love that. Or if you're into anime or something, and you're talking about a story or something like, I just, I just love hearing people being passionate. So it's, it's less about like, here are some tips and tricks. It's more so just like, let yourself be you. Cause that's who you are and it's okay. And you don't have to worry about what other people think. It doesn't matter. And we can so easily register. When we listen to someone's

voice, you can really tell. We are finely tuned to tell whether someone is being authentic or that they're holding back or whether there's some sort of shade of something else. So when you do let yourself be fully yourself, that comes across. That comes across in the physical quality of your voice. Comes across as confidence as well, because you don't need the other person to be justifying your excitement for your thing in order for you to be heard. It's just like, no, I am unashamed about how passionate I am about this thing. And I don't need your approval. Now you got to like read the room, you know, it's like if you're like boring people or whatnot, but I can have a conversation with anyone about anything, if they're excited about it. Like I could talk to my accountant about new tax codes. If my accountant is just like animated

and excited about it, it like gets me going. And I'm like, Oh, I never saw it that way. That's neat. What about this? Oh, you know, it's also an act of love to listen to people. I know this is kind of the flip side, but it's something that I think is important to mention because it goes on both sides, but letting someone nerd out or talk about their thing or just talk about their struggles or anything, it's an act of love to keep your mouth shut and let them communicate, like let people express and give them time to express and process. That's an act of love. And I think that that's something that we can all practice. I love that. And I also think that I'm so glad you brought it up because I want to talk about the listening piece of this, right? Not just the generating sound. So

I imagine as a result of your work and your podcast, you think a lot more about what it means to consciously listen to the world around you and to the people around you and to really take that in. How do you practice that? What does that look like in your day-to-day to actually hear the things that are happening? It looks a lot like if you're having a really fancy meal and you put your phone down and you focus on eating and you focus on the flavors and you focus on the notes of this and the notes of that. Or if you're in a coffee or something, it's like you're really putting all of this brain energy into taste. You can do that across the board with all of your senses.

Listening is no different. I can do it right now. Like everyone listening right now, just for the next three seconds, be aware of, like, listen to what's around you and be aware of it. And what it does is it's not only just being conscious of listening, it's also being human. It's being aware of where you are. It's being present, which is something that is incredibly important to me. I think anytime you're dealing with sensory type of aspects of being human, it really boils down to being present. Along those lines, why is quiet not turning off of our minds to sound?

Why is quiet not... Like experiencing quiet isn't the absence of sound necessarily then in that case, right? You're getting into my TED talk there. Yeah. Well, let's talk about it because your TED talk is built in many ways around one of my favorite pieces of art ever, which is John Cage's Four Minutes and 33 Seconds. And I know you're a huge fan of it as well, as you talk about. I wasn't for a long time. And so 433 by John Cage is a three movement piece. And so for those of you who are not in classical music, it means three distinct independent sections of music. Oftentimes in a symphony, the first will be kind of this, kicking off this kind of thing. The second might be really somber and then the third might be

really light and then it's bombastic. So that's where the concept of movements of pieces are. So when I was in college, I remember it was always a joke. This John Cage 433, you know, you're going to do a recital. You could always do 433, you know, because it's easy. I never thought a lot about it. I just thought it was kind of like, oh, it's some new agey composer doing something easy to get attention. And it took decades for me to understand what was happening. I was dismissive in music school. I never really understood it. But as I started to study, I realized this is the exact mission of 20,000 Hertz.

And so what John Cage is trying to communicate is that when you remove that sound or that piano or that symphony piece or whatever, and everyone is sitting there in quiet discomfort, someone's worried about coughing, you know, you hear someone yell out in the hallway, you hear a horn honk in the distance because there's nothing going on. Like you just, everyone becomes immediately present in their hearing without saying it. And what you discover is that there is no such thing as silence. You can turn off your entire home's power and you're still going to then hear the dogs down the street and the people outside. You could still be in the country and still hear birds. It's still going to, something's still going to be there. We're in this gaseous thing that's always pushing sounds

around. And even if you get to the point where you're in an anechoic chamber, which is where they really try to do a complete absence of sound, this is where they test devices and things to see if there's any vibrations or whatnot, or any sounds. Even if you go as far as being in an anechoic chamber, it starts to get to a point where you hear your blood pumping. You start to hear your like tinnitus start to come up because your brain is trying to like grab, it's not start to come up because your brain is trying to like grab, it's not used to not having any sound. So it's like trying to grasp anything to go like, well, is that sound? And it kind of turns into a little bit of a hiss, like a noise floor almost for anybody who's a musician or a guitar player.

All of that to say is like John Cage was really celebrating how important sound is, you know, he goes, here's a silent piece, but there's no such thing as silence. So now you're all present with your environment and we're all here right now. And four minutes and 33 seconds takes a long time to pass when no one's doing anything, but just listening to each other and sniffling. Along those lines, what's the most still quiet moment

that you can remember recently that you've been in? 10 years ago, I went to Kauai. I drove up to the very top of the mountain. So if anybody's ever been there, you drive up to the very top and then you look over into this incredible like mountainous Valley going right into this like turquoise blue water, great sounds, nature and birds and all kinds of stuff. But once I got there and I looked over and I was at the top, like all of the sound was below me. And it was just so surreal to have so much life down trees. It's just nonstop green. And then the ocean and, you know, all of this, the vibrancy of life on this Island, but being at the very top and it was just this light wisp

of air. And I remember, I remember thinking like, this is the greatest sound I've ever experienced and visually too natural, but it was like the sound coupled with the visuals. And it made me very introspective and thankful for that moment. For people who are listening. And for me, are there ways that we can enrich our listening experiences without equipment? We did this great show called, um, the handbook to sonic happiness, where we really discuss like very practically different things that you could do. And in one section, we were talking about playing the quiet game. And in your own home, you can turn off all your appliances. It's like whenever you have a power outage or something,

how everything gets really quiet and creaky. There's a lot of sounds that our brains just tune out. And it does it intentionally, but it doesn't mean it doesn't have an effect. So if you have this like very dissonant whine of a refrigerator compressor, you may not even know it's existing until you turn off the refrigerator and go, whoa, okay, something's broken here. Or like having squeaky doors. I cannot stand squeaky doors when you can take WD-40 and just, you know, squirt it on all the, like, hinges. So just getting rid of these just, like, little extraneous noises, I try to just eliminate all of them. And for me, I like also having a really kind of, like, convenient, good speaker system that then, you know, I can enjoy music with full bandwidth and great lows and highs. And if I can make

everything quiet enough, you know, I could be cooking dinner and have a really meaningful musical experience. In some of your professional sound design work, when you're just working for a company and they want to make a sound that is their sound, that's called the sonic logo. And can you explain to us why a sonic logo matters and what they really are yeah so a sonic logo is a moment it could be anywhere from a second up to maybe three seconds or more it can kind of teeter into jingle world eventually but it's a sound that's used as kind of a mnemonic a device that will always kind of bring you back to a certain feeling. So one of the Sonic logos that you dove into on 20,000 Hertz is the Netflix Sonic logo.

And you talked with one of the folks who was involved in designing it about what the pieces were that went into making it. It's a combination of music and of the sound effects of these knocks, which are my wedding ring that I'm wearing, knocking on the side of a cabinet in our bedroom. And in order to add different qualities to it, I sweetened it with other things, which is normal for us in the film sound industry. You know, any sound is made up of four sounds generally. There was a slowed anvil sound, which had a deeper tone. In addition to the ring and anvil, Lon also added a couple of muted hits to give it a little bit more oomph. Lon was happy with the two hits, at least this part of the sound. But by itself,

this percussive approach didn't seem like it was enough. As much as I like the sound effects idea, it was enough. As much as I like the sound effects idea, it had its place, but it didn't give me the aesthetic, lean-in kind of feel that I was hoping for. Lon needed a musical element that would help draw listeners in. The sound his team ultimately came up with was codenamed The Blossom. It's that tonal swell you hear in The Final Resolve. Just to finish that story was something that was decades ago. One of Lon's colleagues, Charlie Campagna, was messing around with just this guitar reverser sound, this thing that he could just hold chords and it would reverse it and then play it. And so they sent me the full track where you hear all of this meandering kind of guitar thing. You wouldn't even realize it's guitar.

I didn't know it was a guitar. And then just out of nowhere, you hear wong, and then it goes right back to meandering. And it's like, oh, there it is, that one blip out of all of this time. It's one of the most distinctive sounds in the world right now. Yeah, and it's like a jolt. It's like saying, okay, everything prior is now prior. Now we're being transported into a new world.

And that's tough to do in such a short amount of time. Like take someone out of this busy, busy, busy into, okay, focus here now. And that's what's so brilliant about that, in my opinion. For people now who

they're just learning about the idea of a Sonic logo and they're experiencing what it is like to break it down and to think about it in different pieces. What should they be listening for as they go around the world to hear more of these stories? Gosh, there's so many. I love the sound of transit voices behind the train announcers. Like, what's that about? We did a whole show on that between New York and London and the tube and just gorgeous stories.

I mean, there's real people behind these. Our first episode was about the original voice of Siri. These are like real people trying to solve a commercial goal or a creative goal. I've never been to Tokyo, unfortunately, but I heard that like every stop has its own jingle. Like if you're going the same route all the time, it just kind of wakes you up. So there's a lot of strategy and thought behind these sounds. And when my company does sonic branding, it's an exploration of what does the company mean? We have to get down to the values. What are you trying to communicate through your product or service? Because you can do the opposite. And if you have a negative experience with a product or service and have a sonic brand attached to that, like that will be detrimental to your company. So it has to be something that also enhances the Sonic logo in and of itself is not going to be the end all be all just like a visual logo. Like the Coca-Cola logo is nothing without all of the follow up from a from the company itself. And so that's same thing with with Sonic Branding. It's sound design,

but on a very corporate yet human level, it's very complex. I would say the most complex sound design that I know of is Sonic Branding. I just want to say that I cannot imagine how anyone who's listening to this is not going to leave this episode and listen to the world around them differently afterwards.

Dallas Taylor, thank you so much. It has been an absolute pleasure talking to you. Thank you. That is it for today's episode of How to Be a Better Human. Thank you so much to today's guest, Dallas Taylor. You can check out his podcast, 20,000 Hertz, wherever you are listening to this. I am your host, Chris Duffy, and you can find more from me, including my weekly newsletter and upcoming live shows at chrisduffycomedy.com. How to Be a Better Human is brought to you on the TED side by Daniela Balarezo, Chloe Shasha Brooks, and Joseph DeBrine, who always speak in complete and perfect harmony.

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