Issue link: https://digital.copcomm.com/i/1500716
C A S Q U A R T E R L Y I S U M M E R 2 0 2 3 79 Frequency. DB: Yes. But frequency, these are... It is an interesting thing. If we think about frequency from an auditory perspective, let's say melody and harmony, for example ... the classic duality, the skin perceives frequency differently. It's more related to texture. Frequency is an overlapping area between amplitude and texture. Because frequency changes the way you feel, it changes the spreading area. It also changes the roughness because of the speed. You don't need to be tied to the specific pitch of the sound. So, you can really celebrate what the skin does best. PH: Daniel woke me up to the texture element. It's like it creates space within the environment you are experiencing. It adds a slight surround 3D-type layer. That's very interesting. Do you have to approach vibrations differently for different body parts based on the variations of sensation? about it is like music and movies. You can have music without movies and movies without music, but the combination is very powerful, right? You can have—and I have proven this over and over again—an exciting experience just with vibrations; you don't need sound. And you can hear everything. But when you sum them up and you stop trying to emulate music to the skin, and you start thinking how I can be the most musical I can [by] applying to a different sense, then, the door is open. So, you see this not necessarily as something serving specifically the deaf community, but as something that could serve the entire populace as an enhanced experience. It could even bring both the deaf community and the hearing community together. DB: That's exactly the point. And we have a public commitment of never charging tickets from the deaf [and hard of hearing]... To give back to the community for all the support, feedback, and help. Contributor's note: Paddy Hanlon CAS is a production mixer and sound artist. He currently generously volunteers as the CAS Content Committee Chair and spearheads the production of our "In Conversation" podcast, focused on the legacy of sound mixing for picture. Paddy is also a talent host, sound editor, and contributor of the podcast, which are available here: https://cinemaaudiosociety.org/podcasts/. DB: For example, we have actuators on the ribcage. The ribcage is extremely sensitive to amplitude. So, applying the same frequency and amplitude as the shoulders, for example, becomes almost painful here. So, it's very interesting how different areas compensate differently. It's like having different ears you spread across your body—we have 23 points and a subwoofer in the back. So, it's not technically a subwoofer, but we call it a subwoofer just because it deals with oomph factor vibrations. You have a completely new palette to work with once you start thinking about it. So, the way I started thinking Expanding the cinematic experience from visual and auditory to include sensory information is an exciting concept. Paddy Hanlon CAS summarizes: "Just like in the movie industry … and the impact of 'talkies'; this is a whole other dimension to open up … a whole new art form for creators and audiences … it can be anything imaginable."