Welcome To The Black Lion(A Black Paladin Keith playlist) - By Seabreezy
Welcome To The Black Parade - My Chemical Romance || Battle Scars - Paradise || Little Lion Man - Mumford & Sons || Protectors Of The Earth - Two Steps From Hell || Bleeding Out - Imagine Dragons || Things We Lost In The Fire - Bastille || Immortals - Fall Out Boy || Coming Home - Skylar Grey || Stressed Out - Twenty One Pilots || The Promise - Emma Blackery || Warriors - Imagine Dragons || This Is Gospel - Panic! At The Disco || I Will Wait - Mumford & Sons || Take On The World - You Me At Six || I May Fall(ft. Casey Lee Williams) - Jeff Williams || High Hopes - Kodaline || A Little Too Much - Shawn Mendes || Counting Stars - OneRepublic || Hall Of Fame - The Script || Echo - Jason Walker || Rescue My Heart - Liz Longley || Run To You - Pentatonix || Waves (Acoustic) - Dean Lewis || Wild Things - Alessia Cara || Don’t Forget About Me - CLOVES || Afraid - The Neighborhood || Guillotine - Jon Bellion || Haunting - Halsey || It Has Begun - Starset || My Demons - Starset || Remember The Name (ft. Styles Of Beyond) - Fort Minor || Peace Sign - NateWantsToBattle || Unaligned - NateWantsToBattle || Glassy Sky - AmaLee || Here Comes A Thought - Estelle & AJ Michalka
Let’s hurt tonight - Michael lynch
Privet fears in public places-Front porch step
Waves (acoustic)- Dean Lewis
A beautiful mess- Jason Mraz
Crazy for you- hedley
Pull me down-Mikky ekko
Issues- Julia Michaels
In designing my lectures for the beginning of the semester, I realized it might not be clear to incoming students why they need to learn about wavelength and frequency and addition of waves to form complex waves. It’s not strictly necessary to study phonology, but without a basic background in the physics of sound, you end up being limited in your understanding of how the sounds are created (and which ones are even possible). Sure, there’s quite a lot of anatomy knowledge that contributes as well, but even with a fantastic understanding of the vocal tract’s shape and configuration, you’re still missing a major component.
So let’s back up a moment. The vocal tract.
Sound is generated by the vocal folds (marked with a black oval) when air pressure builds up underneath them and pushes against them so hard that they burst open. But since you’re pushing them together really hard, as soon as the pressure drops again, they snap back shut. This snapping action creates a noise, and when it happens very rapidly, it creates a buzzing sound.
Actually, this buzzing sound is very similar to the sound you make when you blow a raspberry. It’s the same mechanism, but with your lips pressed together instead of your vocal folds.
So where’s the physics? Well, we need to understand the shape of sound waves to understand why they sound the way they do. A simple wave (a sinusoidal wave) will sound like a simple, boring tone.
If you look at the wave created by blowing a raspberry, it looks really different.
The reason is that this buzz wave is composed of many, many sine waves, all overlapping and influencing each other. And it is physics that allows us to decompose the complex wave into something more interpretable.
I’m not going to go into what a Fast Fourier Transform (FFT) is here, but it is basically the technique that figures out what all the simple waves are that are added together to get a complex wave.
The next place physics plays a big role is in the transformation of this buzzy sound from the vocal folds into a speech sound. This transformation happens when the buzzy wave passes through the long, complex tube of your throat, mouth, and nose.
Some components of the complex wave (certain frequencies) are amplified when they pass through an area of your vocal tract that is just the right length. You can think about this like two people swinging a jump rope. When they’re rotating their arms at the same pace, the jump rope goes around in big circles, like it’s supposed to. But if they’re out of sync, the rope collapses and turns into a slithery worm and makes it a very boring game. When a component of the wave is “in sync” with an area of the vocal tract, it gets louder, like the jump rope making full, big circles. But when a component is “out of sync”, it gets quieter, and doesn’t do much. This is how the vocal tract shapes our voice into speech.
But the question here is which components are amplified and which are damped (made quieter)? That is answerable by measuring the wavelengths of the components of the source noise and comparing them to the physical sizes of the spaces in the vocal tract. When a component wave fits snugly in a space (i.e., a whole number of wavelengths fit in the distance from one wall of the vocal tract to another), that is when you get amplification. Several of the regions of amplification (resonances) are useful in determining what vowel is being produced, for instance. And that is one way in which physics is useful when you’re studying speech sounds and linguistics.
London four piece ISLAND is one of those bands I can never get enough of. Given the chance, I’d love to take them with me on a camping trip with my closest friends, so we could listen to them all night long besides a warm campfire while the milky way stretches out above us. Earlier this year, ISLAND released their gorgeous EP A Place You Like. Opening track Waves proved itself to be one of my favorites from the band, only topped off by debut single Stargazer. ISLAND has released a live acoustic recording of the raw soothing coastal blues cut as part of a new EP, and this stripped down, bare bones performance is just as entrancing if not even more powerful. It’s a stark reminder that I’ve yet to see ISLAND live, and I really hope I’ll get to do so someday soon. The band’s EP, A Place You Like, is available from iTunes, here. Their new Lie & Acoustic EP can be found, here.
Veritasium’s new video has an awesome demonstration featuring acoustics, standing waves, and combustion. It’s a two-dimensional take on the classic Rubens’ tube concept in which flammable gas is introduced into a chamber with a series of holes drilled across the top. Igniting the gas produces an array of flames, which is not especially interesting in itself, until a sound is added. When a note is played in the tube, the gas inside vibrates and, with the right geometry and frequency, can resonate, forming standing waves. The motion of the gas and the shape of the acoustic waves is visible in the flames. Extended into two-dimensions, this creates some very cool effects. (Video credit: Veritasium; via Ryan A.; submitted by jshoer)
CLOUD 69 by LOWELL
Heard when Tyler and Nina pull up to Nina’s house in his car. Tyler tries to talk to Nina, but she focuses on her phone. (S1E1)
STAR SPANGLED by REMMI
Heard when Nina gets into the hottub, texting “Tyler.” Tyler’s decapitated head is dropped into the hottub, Nina panics and calls the Pottery Barn. (S1E1)
HOLD ME DOWN by MANSIONAIR
Heard when Audrey is recording poolside at Brooke’s house. Emma joins her and asks her about the girl in the video (Rachel). They reminisce about the past. (S1E1)
ALL YOU WANT by INCAN ABRAHAM
Heard when Emma and Kieran share their first kiss in the greenhouse at Brooke’s party. (S1E1)
PAIN GOES AWAY by REFS
Heard when Kieran drops Emma off at her house after Brooke’s party. They see sherif Hudson leaving, and Kieran asks Emma why his dad is at her house. (S1E1)
SHARK by OH WONDER
Heard when Riley and Noah talk in the courtyard about a project. Riley asks Noah on a date, but Noah is oblivious. (S1E2)
MONSTERS by RUELLE
Heard when Rachel is reading comments about herself and Audrey online. She begins to self harm, when she gets a call from Audrey. (S1E2)
ALL WE DO by OH WONDER
Heard when Audrey leaves Rachel’s wake and heads to her room. Emma walks in on Audrey testing a makeshift noose on the ceiling fan, where Rachel’s body was found. (S1E3)
MINE by PHOEBE RYAN
Heard when Mr. Maddox tried to talk to Brooke, to give her a gift from her mother. He gets a disturbing message and walks off. (S1E4)
GONE GONE GONE by FRENCH FOR RABBITS
Heard when Will goes to The Grindhouse looking for Emma. Emma breaks down in his arms, until she gets a call from Brooke, asking for help with her grief shopping. (S1E4)
HOLD MY HOME by COLD WAR KIDS
Heard when Audrey arrives at the arcade, while Noah is working on his laptop. Noah tells Audrey about the malware he found attached to their language arts class, and they hypothesize about Seth and Nina. (S1E5)
TECHNICOLOUR BEAT by OH WONDER
Heard when Clarke and Maggie kiss, she stops and tells Clarke that she’s glad he finally kissed her. They resume kissing. (S1E5)
HURTS LIKE HELL by FLEURIE
Heard when people begin gathering for Riley’s candlelight vigil. Brooke and Emma comfort each other, and Raine asks for Clarke’s help on the Ghostface case. (S1E5)
PULL THE TRIGGER by APES
Heard when Will asks Piper for advice on getting back into Emma’s good graces at The Grindhouse. Piper offers to help him, if he comes on her podcast to talk about Nina. (S1E6)
SET THIS HEART ON FIRE by MACHINEHEART
Heard when Emma and Kieran arrive at school, and he pulls her back and kisses her. They discuss how to tell Clarke and Maggie about their relationship, when Will texts Emma. (S1E7)
LEAVING NOW by ROSE QUARTZ
Heard when Noah is putting away comics in the shelves. He and Audrey talk about their theory of Branson being the killer, why he would kill, and who would be next. (S1E8)
HOLD ME CLOSER by LANKS
Heard when Emma, Audrey, and Noah discuss Mr. Brandon and the possibility that he may be the son of Brandon James. (S1E9)
PROMISES by TEP NO
Heard when Brooke is looking for drinks at the liquor store, she calls Emma and tells her about the change of plans for the night. (S1E9)
DOWN IN FLAMES by DAUGHTER JACK
Heard when Emma and Kieran kiss at his house, she begins to panic and they lay down together. Emma looks at her scars in the bathroom mirror. (S2E1)
STILL WILD by LA MAR
Heard when Emma confronts her fears at the dock. Emma and Kieran hook up in his truck, and he tells her how her scar makes her more beautiful. (S2E2)
EXCUSES by MOUNT SAINT
Heard when Emma stops for coffee, and she runs into Eli, who is putting in a job application for The Grindhouse. (S2E4)
SPACE & TIME by FAMILYBND
Heard when Emma and Eli are setting up for Kieran’s birthday party. (S2E4)
UNDER RAGE by TEP NO
Heard when Stavo is helping Brooke with her Ayahuasca side effects, and Emma and Eli are helping Kieran. (S2E4)
AFTERNOON by TENDER
Heard when Audrey hallucinates Rachel at Kieran’s birthday party. Audrey then kisses Noah and Zoe. (S2E4)
DEAD SEA by LA MAR
Heard when Tina hits on Mayor Maddox. He tells her he has a job for her to do. (S2E6)
ANCHOR by NOVO AMOR
Heard when Audrey wonders about the reappearance of her cellphone, when Stavo drops his tablet into her lap, and tells her he’s making a comic book. (S2E6)
RIVER by BISHOP BRIGGS
Heard when Brooke meets Branson at their hotel room, when she blindfolds him and ties him up. Brooke removes his blindfold and threatens Seth with scissors. (S2E6)
HEY HI HELLO by CAPPA
Heard when Audrey tells Noah to bring protection to his study date with Zoe, because it’s more than just a study date. (S2E7)
MAKE THEM WHEELS ROLL by SAFIA
Heard when Brooke tells Audrey about what happened between her and Branson at the hotel. (S2E7)
IN THE ARMS OF A STRANGER by MIKE POSNER
Heard when Noah explains to Zoe that he isn’t skilled in sex, when Audrey bursts into the room. (S2E8)
SOMEONE WHO CAN DANCE by ICONA POP
Heard while Emma is questioning Audrey about the partner. The killer calls Haley, and Noah and Zoe cut the power. Kieran searches for Emma as the power goes out. (S2E9)
HOLD ON FOR YOUR LIFE (ACOUSTIC) by SAM TINNESZ
Heard when the police tend to Noah’s stab wound and take Zoe’s body away. Audrey and Emma watch from a nearby police car. (S2E10)
BECK AND CALL by JULY TALK
Heard when Eli turns on loud music to distract Quinn while he sneaks around the Maddox house, to Quinn’s office. (S2E11)
PRAY (EMPTY GUN) by BISHOP BRIGGS
Heard in one of the final scenes of the season two finale. Miguel arrives to arrest the killer, Emma comforts Audrey. (S2E12)
OVER YOU by SAFIA
Heard when Audrey tries to talk to Gina about coming to Shallow Groves. Audrey says she’ll stay, but Gina urges her to go. (S2E13)
STRANGERS (ACOUSTIC) by WAVE & ROME
Heard when everybody gathers for the cookout. Billie arrives with beer and asks for Stavo. Brooke points her in his direction, and the killer watches from afar. (S2E13)
WHERE’S MY LOVE by SYML
Heard when the group breaks off to prepare for the killer and Emma tells Alex about Kieran, Ghostface, and the murders. Alex compliments her on her ability to survive. (S2E13)
LIGHT by JON BRYANT
Heard when we see the aftermath of the trip to Shallow Groves. Audrey and Gina make up; Brooke tells Stavo she wants to move to New York with him; Noah checks on Emma. (S2E13)