聆听方式 6 – 噪音

您正在收听Radiotopia出品，由PRX的Radiotopia呈现。

You're listening to Radiotopia presents from PRX's Radiotopia.

您是否正经历一场存在主义和伦理上的危机？

Are you feeling a crisis of an existential and ethical nature?

另一位Radiotopia的创作者凯特琳·普雷斯特也是如此。

So is fellow Radiotopian Caitlin Prest.

凯特琳以她对音频的艺术化处理而闻名，创作出具有电影感和丰富音效的故事。

Caitlin is known for her artistic approach to audio, creating cinematic and lushly sound design stories.

她最感兴趣的主题是爱情——无论是宏大还是细微，所有关于生命中神奇、痛苦与美好的部分。

Her favorite topic is love, big and small, all that is magic, painful, and beautiful about being alive.

在她的播客《The Heart》中，她推出了一档新系列，名为《郊区天堂》。

On her podcast, The Heart, she has a new series called Suburban Paradise.

凯特琳说，这是一个矛盾修辞的标题，描述的是一种在全球伦理危机时代创作出的迷人而琐碎的创意作品。

Caitlin says it's an oxymoronic title for a charming and inconsequential creative work made during an era of global ethical crisis.

您将听到一些短小、安静且富有沉思的剧集，它们是在购物中心的早餐店或家具店内的咖啡馆写成，并在她父亲的车库里制作完成的。

You'll find short, quiet, and reflective episodes written in a strip mall breakfast joint or the cafe inside the furniture store and produced in her dad's garage.

这些节目是对真实广播作品的呼应，包含短小的写作片段、声音剧作以及日常生活的录音，旨在像老式广播节目或周日晚上的聚餐一样转瞬即逝。

A callback to works made for real radio, these episodes feature mini segments of writing, sound play, and recordings of daily life, all meant to be as ephemeral as an old school radio program or a Sunday night dinner party.

请收听《郊区天堂》，每月一期，每期十五分钟，登陆《The Heart》所有播客平台。

Check out suburban paradise, fifteen minute episodes dropped once a month on the heart, everywhere you get your podcasts.

我们先从音调开始。

And we will start with the tones.

我尽量定期进行听力检查。

I try and have my hearing tested regularly.

成年人耳道的管壁更僵硬，因此高频声音效果不佳。

The higher pitches don't work as well in an adult ear canal because the sides are more rigid.

我把这看作是一种职业风险。

I think of it as dealing with an occupational hazard.

我职业生涯初期是做鼓手的，而鼓声非常响亮。

I started my career as a musician behind the drums, and drums are loud.

音箱也很响，因为它们要盖过鼓声，而监听音箱则需要比音箱更响。

So are amps, which wanna be heard over the drums, and monitors, which need to be louder than the amps.

舞台上的音量形成了一个恶性循环。

It's a vicious circle of volume on stage.

正如深紫乐队的伊恩·吉兰在他们的现场专辑《日本制造》中所说。

As Deep Purple's Ian Gillen put it on their live album Made in Japan.

是的。

Yeah.

我能把所有声音都调得比其他一切更大吗？

Can I have everything louder than everything else?

没错。

Right.

我能把所有声音都调得比其他一切更大吗？

Can I have everything louder than everything else?

但如今，无论从事何种职业，我们都面临听力受损的风险。

But these days, we're all at risk of hearing loss regardless of occupation.

我们随身携带微型功放——智能手机，并将微型扬声器塞进耳朵里。

We're carrying mini amps around with us in our smartphones and sticking tiny monitors in our ears.

就好像每个人整天都在舞台上一样。

It's like everyone's on stage all day long.

世界卫生组织今年发布了一份报告，警告称有11亿年轻人因使用个人音频设备和所谓的不安全听音习惯而面临听力损失的风险。

The World Health Organization issued a report this year warning that 1,100,000,000 young people are now at risk of hearing loss from personal audio devices and what they called unsafe listening practices.

你准备好了就可以坐下。

You can have a seat when you're ready.

谢谢。

Thank you.

我们大约一年前见过你。

So we saw you about a year ago.

你觉得自那以后你的听力有变化吗？

Do you feel like your hearing has changed since then?

没有。

No.

我没有，但他们是在对风大喊。

I don't But they're shouting in the wind.

数字技术不仅让音频更便携、更普及，还让它变得更响亮。

Not only has digital made audio more portable and more prevalent, it's made it louder.

在CD问世后的头二十年里，平均音乐录音的音量增长了十倍。

In the first twenty years after the introduction of the CD, the average music recording grew louder by factor of 10.

这些被称为音量战争的现象，如今已趋于缓和，并略微稳定下来。

These loudness wars, as they've come to be known, have settled into a kind of detente now and somewhat leveled off.

但没有人再回到模拟时代的音量水平了。

But no one has gone back to the levels we used in analog days.

原因是数字技术可以在不增加噪音的情况下提升信号。

The reason is that digital allows the boosting of signal without the boosting of noise.

在模拟世界中，信号和噪音总是相伴而生。

Signal and noise are always joined together in the analog world.

想想黑胶唱片的表面噪音。

Think of an LP with its surface noise.

如果你调高音量，噪音也会随之增大。

If you turn up the volume, you turn up the noise too.

现在想想一个数字信号，比如这个播客。

Now consider a digital signal, like this podcast.

它没有来自介质的噪音。

There's no noise on it from the medium.

没有像黑胶唱片那样的表面噪音。

No surface noise like an LP.

没有像磁带那样的磁带嘶嘶声。

No tape hiss like a cassette.

没有像收音机那样的静电噪音。

No static like on the radio.

所以如果你调高音量，你就能得到更大的音量。

So if you turn up the volume, you get more volume.

在数字音频世界里，所有东西都可以比其他东西更响亮。

In the digital audio world, everything can be louder than everything else.

没有噪音来限制信号。

There's no noise to restrain signal.

但如果一切都很大声，还有什么是真正听得清的呢？

But if everything is loud, is anything really audible?

噪音不仅仅是指老黑胶唱片的沙沙声。

There's more to noise than the scratch of an old LP.

这是《聆听的方式》，由Radiotopia推出的六集播客系列，探索数字时代中聆听的本质。

This is Ways of Hearing, a six part podcast from Radiotopia's showcase, exploring the nature of listening in our digital world.

我是达蒙·克鲁科夫斯基，一名音乐人和作家。

I'm Damon Krukowski, a musician and a writer.

在每一集中，我们将探讨模拟音频向数字音频转变如何改变我们对时间、空间、爱情、金钱和权力的感知。

In each episode, we'll look at a different way that the switch from analog to digital audio is changing our perceptions of time, of space, of love, money, and power.

这关乎声音，也就是我们此刻正在共享的媒介。

This is about sound, the medium we're sharing together now.

但我担心这种共享的质量，因为如今在世界上，我们似乎并没有很好地彼此倾听。

But I'm worried about the quality of that sharing because we don't seem to be listening to each other very well right now in the world.

多亏了数字媒体，我们的声音比以往任何时候都传播得更远。

Our voices carry further than they ever did before, thanks to digital media.

但当时他们是被如何听到的呢？

But how were they being heard?

第六集：信号与噪音。

Episode six, signal and noise.

嗨。

Hi.

医生。

Doctor.

克鲁科夫斯基。

Krukowski.

你怎么样？

How are you?

很高兴见到你。

Nice to see you.

再次见到你真好。

Good to see you again.

我在录音棚里学会了用信号和噪声来思考声音，但后来发现医生也使用同样的术语。

I learned to think about sound in terms of signal and noise in the recording studio, but it turns out doctors use the same terminology.

我认为，如果你想想噪声意味着什么，大概就是你并不感兴趣的那些信号。

I think, you know, if you just if if you think about what noise means, think that's probably the signal that you're not interested in.

因此，作为耳科医生，我们所做的很多工作就是试图放大信号、降低噪声。

And so a lot of what we do as ear surgeons is to try to amplify the signal and decrease the noise.

这是哈佛医学院的艾莉西亚·凯斯内尔，麻省眼耳医院的耳科医生，也是我的听力医生。

That's Alicia Quesnel of Harvard Medical School, otologist and surgeon at the Massachusetts Eye and Ear Infirmary, and my hearing doctor.

但你知道，耳朵本身就是一个精妙设计的天然仪器，它依赖于你与生俱来的三万个神经元所带来的丰富性，这些神经元与你的外耳协同工作，帮助你的大脑分辨出什么是信号、什么值得倾听，并在噪声中清晰地听到它。

But the, you know, the ear is just a beautifully designed instrument naturally where it relies on the, you know, the richness that you get from having 30,000 neurons that people are born with, which allows your brain then in combination with your actual peripheral ear to be able to sort out what the signal is and what's important to listen to and to be able to hear that above the noise.

对医生。

To Doctor.

凯斯内尔医生，信号就是我们试图关注的任何声音。

Quesnel, signal is whatever sound we are trying to pay attention to.

这是一个不断变化的目标。

That's a constantly shifting target.

想象一下你身处一家拥挤的餐厅。

Picture yourself in a crowded restaurant.

你的晚餐伙伴正坐在桌子对面跟你说话，你希望听清他说的话。

Your dinner partner is saying something across the table that you want to hear.

那就是信号。

That's signal.

而餐厅里其他所有声音都是噪音。

And everything else in the restaurant is noise.

但这时，另一张桌子的人说了些引起你兴趣的话。

But then someone at another table says something of interest to you.

当你偷听时，那个声音就变成了信号，而你桌上正在说的话则变成了噪音。

As you eavesdrop, that voice becomes signal, and whatever is being said at your table is now the noise.

我们非常擅长在不同的信号之间切换注意力，聚焦并重新聚焦于环境中的不同声音，同时屏蔽其他声音。

We're very skilled at shifting our attention from signal to signal, focusing and refocusing on different sounds in the environment and shutting out others.

作为医生。

As Doctor.

凯斯内尔说，我们拥有一个丰富的声音场，至少有三万个神经元的容量作为起点。

Quesnel says, we have a rich field of sound to work with, 30,000 neurons worth, at least to start.

在我们决定什么是信号之前，所有这些都只是噪音。

And all of that is noise until we decide what is signal.

你知道，噪音的丰富性包括你所听到的一切。

You know, richness of noise includes everything that you're hearing.

它就是你所听到的一切，那些你可能没有注意的背景噪音。

It's everything that you're hearing, the background noise, which you may not be paying attention to.

显然，你的大脑会试图关注信号，但还有很多其他声音一直在被你的耳朵记录或感知。

Obviously your brain tries to pay attention to the signal, but there's a lot of other sounds that are going on that are constantly being recorded essentially or sensed by your ears.

所以所有东西都包含在内，

So everything's in there in

噪音里，所有正确的声音都在那里。

the noise, all the Right, sounds in the right.

听力损失发生时，我们会失去这种噪音的丰富性，随之丧失区分其中差异并从中提取我们感兴趣信号的能力。

What happens with hearing loss is we lose some of the richness of that noise and with it, our ability to distinguish differences in it and pull whatever signal we're interested in away from the rest.

只要有和年长者一同外出就餐经历的人都深有体会，那种人满为患的餐厅里，所有声音都会混作一团，根本无法分辨。

That crowded restaurant, as anyone who's dined with someone older knows well, becomes a mass of indistinguishable sounds.

而助听器并不能改善这种状况。

And hearing aids don't help that situation.

助听器只会把所有声音通通放大，声音是变大了，彼此之间还是没法区分开。

They just amplify all the same sounds, making them louder, but no more distinguishable from one another.

这和响度战争的问题如出一辙。

It's the same problem as the loudness wars.

光靠音量无法帮我们从噪音中找出有效信号。

Volume alone can't help us find the signal in the noise.

在录音室里，麦克风会收录一片丰富的声音场域，就像那位医生所说的那样。

In a recording studio, microphones open up a rich field of sound, just as Doctor.

凯内尔描述的人耳的工作机制。

Quesnel describes for our ears.

只不过这套场景里不靠人脑处理，而是得由音频工程师来界定哪些是信号、哪些是噪音，再把前者放大、后者压低。

But instead of our brain, it's then up to an audio engineer to decide what in that is signal and what is noise, maximizing one and minimizing the other.

这个决定可能与我们通常所说的‘噪音’毫无关系。

That decision might not have anything to do with what we typically call noisy.

比如失真的电吉他通过音箱播放时的声音。

Of a distorted electric guitar playing through an amp.

吉他手可能在有意识地利用这些嘈杂的声音。

The guitarist might be making very deliberate use of noisy sounds.

我主要接触的是朋克摇滚乐手和使用廉价设备的人，所以噪音是不可避免的，你知道的。

I deal mostly with punk rockers and people who have cheap equipment, so the noise is just comes along, you know.

这是史蒂夫·阿尔比尼，一位以录制Pixies、Nirvana、PJ Harvey等众多乐队以及他自己的嘈杂音乐而闻名的细致入微的工程师。

That's Steve Albini, the meticulous engineer well known for recording bands like the Pixies, Nirvana, PJ Harvey, and many, many others, as well as his own noisy music.

但即使在朋克摇滚中，工程师们也想突出某些噪音，同时抑制另一些噪音。

But even in punk rock, there are noises an engineer wants to highlight and ones they don't.

优秀的音频工程师对那些别人只听作‘噪音’的声音差异非常敏感。

Good audio engineers are very attuned to distinctions in what others might hear as simply noise.

好的。

Okay.

这是一种执念。

It's an obsession.

好的。

Alright.

史蒂夫经营着一家名为Electrical Audio的录音室，这是他和乐队队友兼同行工程师韦斯顿一起建造的。

Steve runs Electrical Audio, a recording studio he built together with his bandmate and fellow engineer, Weston.

他们俩给我讲了一个关于难以消除的不必要噪音的故事。

Together, they told me a story about an unwanted noise that proved particularly hard to minimize.

我们是在他们家乡芝加哥的观众面前进行对话的。

We spoke in front of an audience in their hometown of Chicago.

我们确实经历了一次令人愤怒的事件。

We did have a kind of a rage inducing episode.

有一种咔嗒咔嗒的噪音。

There was a this ratcheting noise.

就像吉他音箱一样。

It's like guitar amplifiers.

吉他音箱。

Guitar amplifiers.

我们请了一位电磁干扰专家从加拿大飞过来。

We had an electromagnetic interference specialist fly in from Canada.

这太疯狂了。

It was nuts.

我们的一位工程师，叫格雷格·诺曼，他做了一个类似方向探测器的东西？

One of our engineers, a guy named Greg Norman is one of our engineers, he built a thing to Like a direction range finder?

是的。

Yeah.

嗯，其实有两件事。

Well, were two things.

不过我最喜欢的是，他做了一个装置，把一个芬达吉他拾音器装在钓鱼竿上，配上一个电池供电的放大器，然后他拿着这个装置在街区里四处走动，像嗅探一样，我们还做了一张详细的地图，标出了录音室和一圈圈的同心圆，显示嗡嗡声的强度。

My favorite one though is he built a thing that was a Fender guitar pickup on a fishing pole and a battery powered amplifier and he walked around the neighborhood with this thing sniffing in the air and made we made an elaborate map that had this studio and then concentric rings showing how loud the buzzing was.

结果发现，问题出在一个家伙办公室里的复印机，而且还不是他们主要的那台复印机。

And it turned out that there was a photocopier that was in this guy's office and it wasn't even their main photocopier.

就是他偶尔需要复印史努比贴在门上之类的那种。

It was just the one that he, like when he needed to photocopy Snoopy to put on his door or whatever, you know.

所以我们后来形成了一种惯例：只要噪音一出现，我们就打电话给隔壁印刷公司的前台，说：‘我是隔壁录音棚的，能麻烦你去问问鲍勃，让他关一下复印机吗？’

And so then we had this routine, like if the noise ever showed up, we had, we called the receptionist at the printing company next door and said, hey, this is the studio next door, could you go ask Bob to shut off his photocopier for us?

电气音频公司的工程师们需要追踪这些不需要的噪音，以便更好地录制他们想要的信号。

The engineers at Electrical Audio needed to trace that unwanted noise so they could better record the signal they were after.

而在录音棚里，这种抉择是不断在进行的。

And that's a decision constantly being made in the recording studio.

从麦克风的摆放、不同声音的平衡与混音，一直到最终的母带处理，音频工程师们都在不断选择哪些作为信号突出呈现，哪些作为噪音尽量抑制。

From the placement of mics, through the balance of different sounds and mixing, all the way to the final stage of mastering, audio engineers are choosing what to highlight for listeners as signal and what to minimize as noise.

但是

But

我喜欢模拟录音的原因之一，就是你永远无法完全消除噪音。

one of the reasons I love analog recording is that you can never completely eliminate the noise.

即使你用拾音器在街区里四处搜寻，最终录下来的也总会有一些超出你目标信号的东西。

Even after fishing for it with a pickup all around the neighborhood, there's gonna be something in there more than just the signal you were after.

这是媒介本身的特性。

It's in the nature of the medium.

把模拟录音的典范作品，比如披头士的《佩珀军士》或海滩男孩的专辑《宠物之声》音量调大，你会发现许多声音与被置于前景的信号共存。

Turn up the volume on the paragons of analog recording, like the Beatles, Sgt.

这些录音充满了丰富的噪音。

Peppers or the Beach Boys album, Pet Sounds, and you'll find all kinds of sounds alongside the signal that has been put in the foreground.

这些录音充满了丰富的噪音。

Those recordings are rich with noise.

如果在三到四首歌里，鼓点、吉他和钢琴的混音如此融合，你根本分不清彼此。

Wouldn't it be nice in three or four The tracks, the drums, and the the way the guitars and pianos were mixed together, you couldn't tell.

它就是一种整体的声音，你知道的。

It's just one big sound, you know.

那是布莱恩·威尔逊，海滩男孩最复杂作品背后的创作与制作天才。

That's Brian Wilson, the songwriting and production Wunderkind behind the Beach Boys' most elaborate recordings.

他的录音技术受到各类音乐人和音频工程师的钦佩，因为他能够编织出非凡的声音质感。

His studio techniques are admired by musicians and audio engineers of all stripes because of the remarkable sound textures he was able to weave together.

他的这套创作方法是以他的偶像菲尔·斯佩克特的“音墙”理念为基础的。

He based that approach on his hero, Phil Spector's idea of a wall of sound.

在《宠物之声》里，我们运用了所谓的菲尔·斯佩克特技术，在二十世纪，这项技术堪称音乐与声音领域的一项突破性科学进展。

In pet sounds, we utilize what we call the Phil Spector technique, which in the twentieth century, it's quite a scientific advancement in music and sound.

简单来说就是把不同乐器融合在一起，形成一种全新的声音。

Namely that it's taking instruments and combining them to form them into a new sound.

换句话说，如果你把一架钢琴和一把吉他的声音合理融合，将两股声音混在一起，就能创造出一种全新的乐器效果或是全新的声音。

In other words, if you took a piano and a guitar and combined them properly sound wise, mixed the two sounds together, you come up with a new instrument or a new sound.

布莱恩·威尔逊热衷于将不同声音融合在一起，去聆听它们相互碰撞时产生的效果，而非把这些声音彼此隔离开来。

Brian Wilson was interested in the combination of sounds, hearing what happens when they rub together, not in isolating them one from the other.

我们这边出了点小状况，鼓声的效果似乎有点不太稳定。

We're having a little the the drum thing seems to be a little inconsistent.

这就意味着，尽管他作为制作人一向一丝不苟、要求严苛，他其实并不怎么在意自己的录音作品里夹杂的杂音。

Which means as meticulous and demanding a producer as he was, he wasn't particularly concerned about noises on his recordings.

长号的滑音奏出了非常低沉的降B音。

Very low b when the trombone slide.

你能靠近一点录那个b音吗？

Can you move in for that b?

好的。

Okay.

在今天这首《Pet Sounds》的器乐段落中，你甚至能听到录音棚里一段随意的对话，被麦克风意外录了进去。

In an instrumental break to the pet sounds track here today, you can even hear a casual conversation taking place in the studio that was accidentally picked up by the mics.

任何现场录音中，噪音都是不可避免的，因为麦克风就像我们的耳朵。

Noise is unavoidable in any live recording because mics are like our ears.

它们能听到一切。

They hear everything.

它们捕捉到的信号总是被噪音包围。

The signal they pick up is always surrounded by noise.

或者说，它们捕捉到的一切都是噪音。

Or you might say, everything they pick up is noise.

制作人和工程师只是引导我们的注意力，去关注他们想突出的信号部分。

Producers and engineers simply direct our attention toward what they want to highlight as signal.

今天，数字录音在处理信号和噪音方面有着完全不同的方式。

Today, digital recording has a very different way of working with signal and noise.

以数字音乐的一个极端例子为例，这种音乐完全在电脑中制作，没有任何实体乐器或麦克风。

Take an extreme example of digital music, one made entirely in a computer without any physical instruments or microphones.

你现在甚至可以用智能手机，通过GarageBand或其他带有虚拟乐器的程序来制作这样的音乐。

You can now make music like that even on your smartphone using GarageBand or another program with virtual instruments.

但如果你开始将许多虚拟乐器叠加在一起，可能会发现你得不到像菲尔·斯佩克特或布莱恩·威尔逊那样的声音墙。

But if you start to combine many virtual instruments together, you may notice you don't get a wall of sound like Phil Spector's or Brian Wilson's.

相反，你得到的是音量大战。

Instead, you get a loudness war.

原因是虚拟乐器全是信号。

The reason is that virtual instruments are all signal.

它们除了所要传达的前景声音外，别无他物。

There's nothing else to them but the foreground sound they're meant to convey.

当你将它们叠加时，不会获得噪音的丰富性。

As you pile them up, you don't get a richness of noise.

你会得到一堆相互竞争的信号。

You get a bunch of competing signals.

这种缺乏噪音的情况在数字媒介的现场录音中也同样存在，即使使用的是传统的物理乐器和麦克风。

That lack of noise can extend a live recording in the digital medium too, even a recording that uses traditional physical instruments and microphones.

在这种情况下，进入系统的噪音可能与模拟录音几乎相同。

In that case, the noise that enters the system may be pretty much the same as an analog recording.

但一旦这些声音被数字化，就更容易将其分离和操控。

But once those sounds are digitized, it's much easier to isolate and manipulate them.

无论我们用什么数字工具，都对这个过程非常熟悉。

We're all familiar with that process from our digital tools, whatever we use them for.

从文字处理到图像编辑再到音频录制，这些命令都差不多。

From word processing to image manipulation to audio recording, the commands are pretty much the same.

高亮、选择并删除。

Highlight, select, and delete.

在数字媒体中，只要你能指向某物，通常就能将其消除。

In digital media, if you can point to something, you can usually eliminate it.

就连《宠物之声》也发生过这种情况。

It's even happened to Pet Sounds.

1996年，在专辑首发三十年后，首都唱片公司委托制作了这张专辑的数字重混版。

In 1996, thirty years after its original release, Capital Records commissioned a digital remix of the album.

这一次，由于原始磁带全部已传输到电脑中，背景中今天这里的对话就能被单独分离出来。

This time, with the original tapes all transferred to a computer, that conversation in the background of here today could be isolated.

你把那个连到闪存上了吗？

Do you have that attached to the flash?

有吗

Do have

已经连接好了

it rigged up

连接好了？

rigged up?

是的。

Yeah.

我有。

I do.

然后

And then

我有。

I do.

它可能会被删除。

It could be deleted.

这是1996年对该段器乐片段的数字重混版。

Here's the 1996 digital remix of that same instrumental break.

把音量开到最大吧。

Turn it up as loud as you want.

你再也听不到背景中的那些意外噪音了。

You won't hear those unintended noises in the background any longer.

当你作为听众，选择关注录音中深层被埋藏的内容，而不是那些被刻意放在前方吸引你注意的部分时，你就改变了什么是信号、什么是噪音。

When you choose, as a listener, to focus on what's buried deep in the layers of a recording instead of what's been placed up front to catch your attention, then you've changed what is signal and what is noise.

但如果噪声被消除，就像数字媒体能够并且经常做的那样，那么这种选择也就消失了。

But if the noise has been eliminated, as digital media can and so often do, then that choice is eliminated as well.

如果你一直在收听这个播客，我们会发现每个 episode 都有这种例子。

If you've been following this podcast, we've seen examples of this in every episode.

在第一集中，我们听到了真实时间——人类音乐家所体验和表达的灵活时间——与机器时间（计算机使用的时间）之间的差异。

In episode one, we heard the difference between real time, the flexible time experienced and expressed by human musicians, and machine time, which is used by computers.

机器时间全是信号。

Machine time is all signal.

但人类鼓手的演奏方式中，拍子之间的空隙和击打一样被感受到。

But the way a human drummer plays, the spaces between beats are felt as much as the hits.

每一个音符都从这种背景中浮现出来。

Each emerges out of that background.

在第二集中，我们探讨了噪声在城市空间中的作用，以及数字音频如今如何让我们控制在公共场合听到的信号。

In episode two, we considered the role of noise in urban space and the way that digital audio is now allowing us to control the signals we hear in public.

无论我们通过耳机听到什么，都会占据我们的注意力，不管周围是谁或什么，让我们每个人都被信号包裹，即使我们身处共享的空间中。

Whatever we hear through headphones commands our attention regardless of who or what is around us, cocooning each of us in signal even as we occupy shared space.

在第三集中，我们比较了用我们声音中所有噪音表达的品质，与手机仅隔离我们话语信号的方式。

And in episode three, we compared the quality of expression using all the noise in our voices against the way cell phones isolate the signal of our words alone.

如果没有我们话语周围的其他声音——我们的呼吸、距离、语调——我们就失去了其意义的完整性。

Without all the other sounds around our words, our breath, our proximity, our tone, we lose the fullness of their meaning.

第四集探讨了互联网如何改变了音乐的交换方式。

Episode four looked at the way that the Internet has altered the terms of exchange for music.

但这也同样可以被视为信号与噪音的问题。

But that too can be seen as a question of signal and noise.

流媒体服务将录音从其物理格式中剥离，仅保留音乐的信号，删除了其背景的噪音。

Streaming services strip recorded sound away from its physical format, isolating the signal of music and deleting the noise of its context.

不仅是物质包装，还包括所有伴随它的信息。

Not only the material package, but all the information that went along with it.

词曲作者、制作人，甚至许多音乐家自己的名字。

The songwriters, producers, even the names of many musicians themselves.

最后，在第五集中，我们探讨了这些孤立的数字信号如何被在线公司操控。

Finally, in episode five, we took up the issue of how these isolated digital signals are being manipulated by online corporations.

或者你甚至可以说，我们每个人正被转化为这些企业用于盈利的信号。

Or you might even say, how we're each being transformed into signal for profitable use by those businesses.

换句话说，信号与噪音的这个问题，远不止于你更喜欢哪种声音的组合。

In other words, this question of signal and noise is about more than which mix of pet sounds you prefer.

它的意义远远超出了音乐爱好者们彼此争论的那些话题。

It has significance far beyond the kinds of arguments music fanatics love to have with each other.

因为真正的区别在于，一个是被噪音丰富了的世界，另一个是只追求纯粹信号的世界。

Because the real difference is between a world enriched by noise and a world that strives towards signal only.

对我来说，这正是我们在从模拟向数字通信转变过程中所经历的根本性变化。

To me, that is the essential change we've been experiencing in this shift from analog to digital communications.

我在这里通过声音来探讨这个问题，因为作为音乐人，这是我最熟悉的领域，但也因为这是我们当前在这档播客中所使用的媒介。

I've addressed it here through sound because that's what I know best as a musician, but also because it's the medium we're sharing now in this podcast.

在整个系列中，我的目标一直是引起人们对声音中那些我们常常忽略的方面的注意。

Throughout the series, my aim has been to call attention to aspects of sound we may not always think about.

你可以说，我一直在试图凸显我们周围各种不同的噪音元素。

You might say, I've been trying to highlight different parts of the noise around us.

而这是因为我希望，通过聆听更广泛的噪音，我们能更深入地发现什么才是对我们每个人而言有意义的信号，以及我们如何最好地彼此分享这些信号。

And that's because it's my hope that by listening to a wider swath of noise, we might discover more about what is meaningful signal for each of us and how we might best share those signals with one another.

这就是《聆听的方式》。

This has been Ways of Hearing.

感谢您的收听。

Thank you for listening.

《聆听的方式》由Radiotopia和PRX旗下的Showcase制作，由我、达蒙·克鲁科夫斯基、马克斯·拉金和伊恩·科斯共同制作，音效设计由伊恩·科斯完成。

Ways of Hearing is a production of Showcase from Radiotopia and PRX, produced by me, Damon Krukowski, Max Larkin, and Ian Coss, with sound design by Ian Coss.

我们的执行制片人是朱莉·夏皮罗。

Our executive producer is Julie Shapiro.

感谢亚历克斯·布罗恩斯坦和PRX播客工坊。

Thanks to Alex Bronstein and the PRX Podcast Garage.

我们的主题曲是罗伯特·惠特克的《涓滴而下》。

Our theme song is Trickle Down by Robert Wyatt.

了解更多关于《聆听的方式》的信息，请访问radiotopia.fm/showcase。

Find out more about ways of hearing at radiotopia.fm/showcase.

PRX旗下的Radiotopia。

Radiotopia from PRX.