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Hello welcome to Bang and Monday morning rush hour at St Pancras | :00:13. | :00:18. | |
International in Central London and it is noisy. It's a bit noisy. Love | :00:18. | :00:23. | |
St Pancras, but it's noupbs, station announcements, trains | :00:23. | :00:27. | |
coming in. From the moment you're wrenched from your sleep by a | :00:27. | :00:31. | |
beeping alarm clock, it's a barrage of noise. There's radio, traffic, | :00:31. | :00:35. | |
police sirens, dodgy ringtones. Until eventually you fall asleep to | :00:35. | :00:39. | |
the gentle lull of traffic on the street and people having a Barney | :00:39. | :00:44. | |
outside your binnedo. So this week, we are asking the question: Is | :00:45. | :00:50. | |
modern life too loud? Tonight, Jem takes us beyond human hearing to | :00:50. | :00:54. | |
listen in on the quietest of the quiet. | :00:54. | :00:59. | |
You can actually hear it eating! Liz looks into the way that sounds | :00:59. | :01:07. | |
can affect your mood. I'm going to be showing how a single sound can | :01:07. | :01:11. | |
give away your age. If this has gone according to plan, we should | :01:11. | :01:15. | |
have the older person at this end, down to the youngest at this end. | :01:15. | :01:19. | |
First do we need to worry about all the background noise that we're | :01:19. | :01:23. | |
constantly bombarded with? I've been on a mission to find out with | :01:23. | :01:29. | |
my new favourite gadget, the sound metre. Let's have a listen to St | :01:29. | :01:35. | |
Pancras station. Can you see that, it is about 81 decibels something | :01:35. | :01:42. | |
like that. What exactly does that mean? My life seems to be filled | :01:42. | :01:48. | |
with noises as bad as that train. Let's see what the background noise | :01:48. | :01:58. | |
:01:58. | :02:00. | ||
level is. Round about 71, going up to 80 there. It's pretty loud. It's | :02:00. | :02:04. | |
quiet confusing the scale, double the number of decibels doesn't mean | :02:04. | :02:10. | |
double the volume. For example 80 decibels isn't twice as loud as 40. | :02:10. | :02:18. | |
90 is actually twice as loud as 80. The nice peaceful canal, what's | :02:18. | :02:27. | |
that? About 55. My rather loud high advise jacket may be affecting it - | :02:27. | :02:31. | |
- high Vis jacket may be affecting it. I've noticed as I've got older | :02:31. | :02:35. | |
my hearing has changed. Is that normal. Is there anything I need to | :02:35. | :02:39. | |
worry about? This is a good place to startment Can we have a look at | :02:39. | :02:45. | |
the ear. Last time I looked at the model of an ear was many years ago | :02:45. | :02:50. | |
in O-level biology. You have three main parts, the outer ear. Then the | :02:50. | :02:55. | |
ear drum, this bit here. Separates the outer ear from the inner ear. | :02:55. | :02:59. | |
So the vibrations against transmitted through the bones. It | :02:59. | :03:05. | |
starts a chain of events which carries the sound through to the | :03:05. | :03:10. | |
stapes. Once the stirrup starts to move, behind the oval window is | :03:10. | :03:16. | |
fluid. The fluid goes all the way up to the cochlear. So simple and | :03:16. | :03:21. | |
yet complicated. It's a big chain of events. Hearing, I think, maybe | :03:21. | :03:26. | |
I'm a bit biased... You can be biased. Is probably one of the most | :03:26. | :03:30. | |
complex of our senses. There's this mechanical bit going on and before | :03:30. | :03:35. | |
it becomes electrical impulses to the brain, so it's a complex system. | :03:35. | :03:40. | |
We live in a noisy world. I've had my decibel reading for a few days. | :03:40. | :03:45. | |
Normal traffic in London is between 80 and 90 decibels. Road works with | :03:45. | :03:52. | |
a guy with a big hammer, 100. Police sirens and ambulance sirens, | :03:52. | :03:57. | |
110 decibels. It is all very loud. But the impact that it actually has | :03:57. | :04:02. | |
on us will depend on how long you're hearing that loud 110 | :04:02. | :04:07. | |
decibel siren for. I've noticed as I've got older, occasionally I get | :04:07. | :04:16. | |
really loud buzzing in my ears. I suffer from a mild tinnitus, | :04:16. | :04:20. | |
there's a mildly permanent ringing. I'm wondering how that happens. To | :04:20. | :04:24. | |
find out whether my world of noise has affected my hearing, first we | :04:24. | :04:28. | |
needed to check for signs of physical damage. Shall we look in | :04:28. | :04:32. | |
your ear. I apologise if they're not that clean. We'll have a look. | :04:32. | :04:37. | |
You're going to be able to see on the television screen. Oh, no! | :04:37. | :04:43. | |
there is wax, you're going to see it. Of course, I was right to be | :04:43. | :04:50. | |
apologetic. The full horror of my ear canal was about to be revealed. | :04:51. | :04:56. | |
It's horrible. I don't want to look. You have very small ear canals. Do | :04:56. | :05:02. | |
you see like a blob of something there, that Brownie bit. That's wax. | :05:02. | :05:07. | |
It's really an unpleasant view. I apologise if you're having supper. | :05:07. | :05:12. | |
My ear canal was so cloged we could hardly see the ear drum. Can you | :05:12. | :05:16. | |
see something that's pearly grey like a window almost. Yes. That's | :05:16. | :05:22. | |
your ear drum. Wow. The amount of wax you have in your ear is | :05:22. | :05:25. | |
perfectly normal. Wax is there to protect the ear canal. I couldn't | :05:25. | :05:30. | |
really see, it was like the lost world in there! To me that looks | :05:30. | :05:36. | |
hideous. Not at all. How are your ears? My ears are pretty clear. | :05:36. | :05:44. | |
I look in your ear.? Why not. way of comparison. Pull back of my | :05:44. | :05:49. | |
ear to straighten the canal. Look at that. Oh, see now you haven't | :05:49. | :05:55. | |
got any wax and I can see your ear drum perfectly. That's amazing. | :05:55. | :06:02. | |
Your ears are officially a lot nicer than mine. My ear drum looked | :06:02. | :06:08. | |
OK, but how well was everything else working? To find out, I was | :06:08. | :06:12. | |
played a series of tones at different frequencies and volumes. | :06:12. | :06:15. | |
All I had to do was press a button if I could hear them and then wait | :06:16. | :06:20. | |
for the results. Break it to me. Give me the bad news, give me the | :06:20. | :06:24. | |
good news. Good news actually. So here's your hearing, what we're | :06:24. | :06:30. | |
plotting is the softest, you're able to hear, you sort of averaged | :06:30. | :06:33. | |
at about five to ten decibels, which is actually pretty good for | :06:33. | :06:38. | |
someone your age. We looked at the snail shell which had the hair | :06:38. | :06:42. | |
cells in it. If you can imagine the hair cells as almost a field of | :06:42. | :06:49. | |
wheat OK. Over time, noise exposure can cause the cells to swell. After | :06:49. | :06:52. | |
prolonged swelling, sometimes they can even rupture and then those | :06:52. | :06:56. | |
cells die. Imagine them sort of falling over like somebody had | :06:56. | :07:00. | |
driven over a field of wheat. Once you've actually damaged them, they | :07:00. | :07:05. | |
can't regrow or repair. You would expect that the high frequencies | :07:05. | :07:08. | |
start to deteriorate first. At this point in time, I wouldn't expect | :07:08. | :07:13. | |
you to have any concerns. Your hearing looks to be well within | :07:13. | :07:17. | |
normal limits. As I've got older there's natural hearing loss, but | :07:17. | :07:21. | |
it's like tough, live with it really, this is not unusual. That's | :07:21. | :07:26. | |
correct. We listen to a lot of music through head phones. How | :07:26. | :07:30. | |
careful do people have to be? Are they setting themselves up for a | :07:30. | :07:35. | |
fall later in life? It is a concern. People tend to be in a noisy | :07:35. | :07:38. | |
environment in London so we crank up the volume. When you turn it up, | :07:39. | :07:41. | |
what you're doing is making yourself a bit more vulnerable | :07:41. | :07:49. | |
because the sound pressure level, is a lot higher in the ear canal. | :07:49. | :07:53. | |
One of my biggest bug bears on the train trying to relax, somebody | :07:53. | :07:56. | |
else's head phones, you can hear the lyrics and everything. It must | :07:56. | :08:02. | |
be really loud. I bet if we tested anybody walking through here it | :08:02. | :08:06. | |
would be too loud. As luck would have it, two people behind us are | :08:06. | :08:11. | |
listening to music. Can I borrow this. I'm delightly in love with my | :08:11. | :08:15. | |
gadget. Put the ear phone over the end and have a listen. Excuse me, | :08:15. | :08:19. | |
we are doing a scientific test to see how loud people's music is in | :08:19. | :08:25. | |
their head phones. Would you mind if I tested yours? Yours first. | :08:25. | :08:35. | |
Thank you very much. 85, not too bad though. What about you? 80 to | :08:35. | :08:40. | |
83. Thank you very much. We hit 85 with the gentleman and 83 with the | :08:40. | :08:46. | |
young lady. Do you remember when that train went by up there that | :08:46. | :08:52. | |
was about 83, 84, it sounds like a the turbo charger on a train. | :08:52. | :08:58. | |
your point, yeah. For a generation today, overexposure to loud head | :08:58. | :09:02. | |
phones hasn't been an issue, but that doesn't escape the fact that | :09:02. | :09:05. | |
as you get older high pitched sounds get harder to hear. Look at | :09:06. | :09:12. | |
this: Trying to get people to do things at a station is always | :09:12. | :09:14. | |
difficult. They're trying to get somewhere. We're going to round up | :09:14. | :09:19. | |
a few people. We want to see how good people's hearing is. Welcome | :09:19. | :09:23. | |
to London. It's all about hearing. Nice to meet you. Welcome to Bang | :09:23. | :09:28. | |
Goes The Theory. Do we have enough people? I've got a random group | :09:28. | :09:32. | |
assembled. They stand in a line and raise their hands. I'm going to | :09:32. | :09:35. | |
play them a sound which will increase in pitch. When it's too | :09:35. | :09:39. | |
high for them to hear, I want them to drop their hands. You can do | :09:39. | :09:45. | |
this at home too. We will play the note now, here we go. | :09:45. | :09:55. | |
:09:55. | :09:55. | ||
After a while it's too high for some people to hear. That's number | :09:55. | :10:00. | |
one, number two. If you're listening at home, it is still | :10:00. | :10:10. | |
:10:10. | :10:12. | ||
going, can you still hear it? You won. What I would like you to do is | :10:12. | :10:16. | |
write your age on the back of your piece of paper. Can you rearrange | :10:16. | :10:25. | |
yourself in numerical order? Don't reveal your age. Perfect. This is | :10:25. | :10:28. | |
the order in which you put your hands down. Now if this has gone | :10:28. | :10:32. | |
according to plan we should have the oldest person at this end going | :10:32. | :10:37. | |
down to the youngest at that end. If you could now turn over your | :10:37. | :10:47. | |
:10:47. | :10:50. | ||
sign. 71. 68. 59. 45. 42. This is interesting, 16, 20, nearly. 19, 18, | :10:50. | :10:56. | |
19, and eight. It kind of worked. We have the oldest person at this | :10:56. | :11:00. | |
end, all the way down to the youngest person at this end. | :11:00. | :11:05. | |
Between the 18, 19, 20s, there's a bit of difference. But there's | :11:05. | :11:08. | |
obviously other things to do with that as well, how loud you have | :11:08. | :11:13. | |
listened to muse nick the past. Genetics will affect it as well. | :11:13. | :11:16. | |
It's an interesting correlation between age and how our hearing | :11:16. | :11:20. | |
changes especially the upper frequencies. Thank you very much. | :11:20. | :11:24. | |
Has been missed their train? I'm sorry. It's not just your hearing | :11:25. | :11:29. | |
that can be damaged. Pedestrians getting hit by cars because they | :11:29. | :11:33. | |
don't hear traffic coming with the head phones on. In America it's | :11:33. | :11:37. | |
trebled in six years those incidents. The other thing that | :11:37. | :11:41. | |
really interests me is that our ears are the most astonishingly | :11:41. | :11:45. | |
sensitive organs and I kind of get to wondering, if we were to get rid | :11:45. | :11:49. | |
of all this background din, what are the tiniest, most delightful | :11:49. | :11:59. | |
:11:59. | :12:01. | ||
noises we could hear? This is an anechoic chamber. It's a room, | :12:01. | :12:07. | |
suspended within a room suspended in another room. Not only is this | :12:07. | :12:11. | |
room absolutely insulated from any noise from the outside world, it's | :12:11. | :12:16. | |
also made with wall that's produce no echo whatsoever. This is | :12:16. | :12:21. | |
actually a research facility at the University of Salford. We want to | :12:21. | :12:25. | |
do some research of our in -- own in here. We can answer questions | :12:25. | :12:30. | |
that you couldn't answer anywhere else like how loud is a shrithering | :12:30. | :12:37. | |
snail? Or maybe, what is the footfall of a centipede. These are | :12:37. | :12:41. | |
sounds that may never have been heard by the human ear. I needed | :12:41. | :12:46. | |
some help. When it comes to extreme recording in the natural world, | :12:46. | :12:52. | |
Chris Watson has near legendary status. Do you think a chamber like | :12:52. | :12:55. | |
this would be the best chance we've got of hearing them? Absolutely. It | :12:55. | :13:00. | |
doesn't get any better than this. The natural world is not as quiet | :13:00. | :13:07. | |
as this. What kind of kit do you use to capture the sound of the | :13:07. | :13:10. | |
practically inaudible? There's two techniques. The simplest one I use, | :13:10. | :13:14. | |
most of the time in the natural world is simply to get the | :13:14. | :13:18. | |
microphone as close as I can to the source of the sound, because what | :13:18. | :13:23. | |
we want to do generally is get the very best signal, which is the | :13:23. | :13:28. | |
sound the animal's making to ambient noise ratio. | :13:28. | :13:31. | |
Even in these perfect conditions, standard microphones won't be | :13:31. | :13:38. | |
enough. The other piece, instrument I've brought is not something that | :13:38. | :13:42. | |
works with changing air pressure. It work was vibration. This is a | :13:42. | :13:47. | |
contact microphone. What we can do in this case is actual lay tach the | :13:47. | :13:52. | |
contact microphone to the surface on which your animals are going to | :13:52. | :13:56. | |
be placed. With both microphones rigged, Chris chose what he hoped | :13:56. | :14:01. | |
would be the simplest challenge. Let's try the maggot. | :14:02. | :14:06. | |
Imagine how it is for the animals inside. | :14:06. | :14:16. | |
:14:16. | :14:27. | ||
Just tip a few out. Stop breathing. That's working. Yeah. We'll do a | :14:27. | :14:37. | |
:14:37. | :14:39. | ||
bit more with this. That's so clear. That's astonishing. You think that | :14:39. | :14:43. | |
they're completely silent. You think that a creature like that | :14:43. | :14:49. | |
with no legs at all would be utterly silent. They sound lick a | :14:49. | :14:54. | |
little crisp pact rustling their way around the world. Even more | :14:54. | :14:58. | |
amazingly, it allowed us to hear the maggots without the use of | :14:58. | :15:05. | |
microphones at all. It's like snap, crackle and pop. | :15:05. | :15:14. | |
It's like a bowl of rice Chris piz. Oh, yeah, yeah. Next up the | :15:14. | :15:23. | |
centipede. Here it comes. I might have to be quick with these | :15:23. | :15:29. | |
subjects. What we're hearing now is via the contact mic. Fantastic. | :15:29. | :15:39. | |
:15:39. | :15:51. | ||
Amazingly, we have actually heard the footsteps of a centipede and | :15:51. | :15:56. | |
they are tiny beyond belief. Now I don't feel so bad for never having | :15:57. | :16:03. | |
heard it before, because even with all this equipment and the most | :16:03. | :16:07. | |
precise recording environment available, it's still only just | :16:07. | :16:10. | |
audible. They are the tiniest foot steps. | :16:10. | :16:15. | |
Two down, now just one more animal to go, the snail. | :16:15. | :16:19. | |
This one's moving, like this one is looking quite dynamic. So I'm going | :16:19. | :16:28. | |
to move it in. He's on his lettuce. to move it in. He's on his lettuce. | :16:28. | :16:38. | |
:16:38. | :16:48. | ||
You can actually hear it eating. That is fantastic. That's the best | :16:48. | :16:52. | |
thing I've ever heard. I still wanted to find out what a snail | :16:52. | :17:02. | |
:17:02. | :17:05. | ||
sounds like on the move. Well done, mate. But we soon found | :17:05. | :17:13. | |
out there was nothing to hear at all. That's pretty quiet. Yeah. | :17:13. | :17:17. | |
actually can't hear it, but that gliding movement appears to be | :17:17. | :17:26. | |
silent, inaudible. So the headline news here - sliding snail in the | :17:26. | :17:30. | |
quietest room in the world with the best sound equipment in the world | :17:30. | :17:35. | |
is actually silent. I love the sound of the maggot wriggling | :17:35. | :17:40. | |
around, very cute. I can imagine the crunch of a snail in your ear | :17:40. | :17:44. | |
drum getting on some people's nerves. Did you find it grim? | :17:44. | :17:48. | |
no, it was all right. It wasn't my favourite sound in the world. | :17:48. | :17:51. | |
amazing how certain sounds can evoke a gut reaction. Others make | :17:51. | :17:56. | |
you smile. Some sounds make you cry. Exactly, which is why I've put it | :17:56. | :18:00. | |
to the test. I've gathered a collection of different sounds | :18:00. | :18:03. | |
which I'm going to play to the commuters here and see how they | :18:03. | :18:06. | |
react. Can we have a quick word with you, | :18:06. | :18:11. | |
are you in a hurry. I have a bunch of different noises, some of them | :18:11. | :18:16. | |
are nice sounds. Some of them are... Horrible. Your words. I'm | :18:16. | :18:19. | |
interested in your kind of, with your face, I'm interested in seeing | :18:19. | :18:29. | |
:18:29. | :18:33. | ||
how you feel. OK. WATER NOISE SHEEP BLEETING | :18:33. | :18:42. | |
BABY GURGLING GUNSHOT | :18:42. | :18:52. | |
:18:52. | :19:04. | ||
BURPING Excuse me vicar. SCREAMING Very scary. Farting Any particular | :19:04. | :19:08. | |
ones that you really didn't like? The woman screaming. The woman | :19:08. | :19:13. | |
screaming; I hated the screaming. It made me jump, the screaming. | :19:13. | :19:18. | |
gunshot was the only one that stands out. The screaming. | :19:18. | :19:22. | |
Interesting reactions going on there. But is this just a | :19:22. | :19:25. | |
conditioned response, a reaction to the things we associate with a | :19:25. | :19:31. | |
particular noise or do we actually have a deeper psychological or even | :19:31. | :19:38. | |
psychological relationship with sound? I'm going to listen to those | :19:38. | :19:42. | |
same sounds that Dallas has been played back, but to explore the | :19:42. | :19:48. | |
depth of my emotional responses, Dr Harry Witchell set out to record my | :19:48. | :19:52. | |
tiniest and most revealing facial expressions, which involved an | :19:52. | :20:02. | |
:20:02. | :20:29. | ||
That's hilarious. So I think we'll be able to have measured some of | :20:29. | :20:33. | |
those responses clearly, particularly some of your disturbed | :20:33. | :20:37. | |
responses. What can we tell from this. This graph is the brow height, | :20:37. | :20:41. | |
this goes down when you are in difficulty, so that can be | :20:41. | :20:45. | |
confusion or anger, fear etc. What's this first one there then? | :20:45. | :20:50. | |
That very brief one is a burp. You That very brief one is a burp. You | :20:50. | :20:54. | |
can see that the depth of it is not that deep. It doesn't last very | :20:54. | :20:57. | |
long. By contrast the huge one is just lasts about three times as | :20:58. | :21:02. | |
long as the others, is vomiting. Throughout the entire time you must | :21:02. | :21:06. | |
have been thinking this is horrible. Of all the sounds that was the | :21:06. | :21:13. | |
worst for me. Is this reaction to these sounds mostly emotional or is | :21:13. | :21:16. | |
it evolutionary, bit of both? of both. Some of the surprise | :21:16. | :21:21. | |
reactions that you're getting, that's going to have to do with | :21:21. | :21:25. | |
shock, like to the gunshot. That's going to be something that's | :21:25. | :21:28. | |
vaguely evolutionary. It's definitely hard wired into us from | :21:28. | :21:34. | |
the start. What else can we see my reactions to the sounds? The other | :21:34. | :21:38. | |
thing was mouth width, representative of a smile. | :21:38. | :21:42. | |
interestingly my biggest smile was to the scream. Did you not take it | :21:42. | :21:46. | |
seriously? No, I figure today was a comedy scream from a bad horror | :21:46. | :21:50. | |
movie. Individual differences come into play as well, depending on | :21:50. | :21:54. | |
what you associate things with. It can be a comedy movie instead. | :21:54. | :21:58. | |
Exactly. So the difference between nature and nurture, what you've | :21:58. | :22:01. | |
learned is fundamental to how people respond. Something as strong | :22:01. | :22:05. | |
as the sound of vomiting for example, surely that can't be | :22:05. | :22:08. | |
changed. I'm sure that most people associate it with something very | :22:08. | :22:13. | |
unpleasant from their childhood. But I think you can learn | :22:13. | :22:18. | |
deliberately to like almost any sound. You probably could even like | :22:18. | :22:25. | |
to sound the vomit. I don't believe you for one second. It would be an | :22:25. | :22:28. | |
aenquired taste. Raids I'm not convinced that you can learn to | :22:28. | :22:33. | |
love that. For me, there's loads of unnatural noises, like drills, | :22:33. | :22:37. | |
lathes whatever, they remind me of lathes whatever, they remind me of | :22:37. | :22:41. | |
happy times in the work shop. true.. What is the most unpleasant | :22:41. | :22:49. | |
sound? Dr Yan might have theance. The sound is just astonishing! | :22:49. | :22:54. | |
All sorts of noises make people cringe. But there's one that a lot | :22:54. | :22:59. | |
of people just find unbearable. Can you guess what it is and why it | :22:59. | :23:05. | |
makes people's skin crawl so much? It's awful. If your ear drums are | :23:05. | :23:10. | |
up for the challenge, find the answer at/bang. While you're there | :23:10. | :23:13. | |
follow the links to the Open University for more information | :23:13. | :23:19. | |
about noise, from combating pollution to laser enhanced hearing. | :23:19. | :23:24. | |
Noise can be deeply disturbing, that's why so much effort has been | :23:24. | :23:29. | |
put into reducing noise from planes, from trains and especially cars, | :23:29. | :23:33. | |
but is that always such a good thing? The modern world has got a | :23:33. | :23:38. | |
lot noisier, but really that's just because there's more planes, cars. | :23:38. | :23:41. | |
The actual machines themselves, that make the noise, have got | :23:41. | :23:47. | |
quieter. I think about my dad's old car when I was a kid, you used to | :23:47. | :23:52. | |
have to shout to make yourself heard. The interior of a modern car | :23:52. | :24:02. | |
:24:02. | :24:04. | ||
Maybe car designers have just got too good at keeping the noise out. | :24:04. | :24:09. | |
After all, the sound of your car is a very emotional experience. If you | :24:09. | :24:13. | |
can't hear the engine or the accelerator or the sound of | :24:13. | :24:18. | |
changing gears, then you're sort of disconnected from the entire | :24:18. | :24:21. | |
driving experience. There's no audio feed back. So how does that | :24:21. | :24:25. | |
affect your ability to drive? Here at the University of Warwick, I'm | :24:25. | :24:30. | |
not quite in control of a very special driving simulator. | :24:30. | :24:34. | |
Remarkably the aim here is to put the noise back into driving to find | :24:34. | :24:39. | |
out how much noise we need to drive properly. The sound of the car is | :24:39. | :24:41. | |
built up of all the different components of the vehicle making | :24:41. | :24:48. | |
their own sounds. So this is the structure borne road noise. If I | :24:48. | :24:55. | |
add in the wind noise. Then finally, we can turn on the engine. There we | :24:55. | :25:01. | |
go, giving it a bit of gas and I can hear the engine now. It's all | :25:01. | :25:06. | |
about getting that blend in the right balance. There's like a | :25:06. | :25:12. | |
symphony. The whole driving simulator is needed to understand | :25:13. | :25:16. | |
how sound affects my driving because the way I hear is affected | :25:16. | :25:22. | |
by what I'm doing and what I can see at the time. The sound of the | :25:22. | :25:27. | |
car reacts and changes with the way that you drive it and the way that | :25:27. | :25:32. | |
you drive is influenced by the sound of the vehicle. As car sounds | :25:32. | :25:37. | |
have changed over time, has that actually affected our driving? Have | :25:37. | :25:42. | |
we become worse drivers or better drivers? It has been an influencing | :25:42. | :25:46. | |
factor. If you remove a lot of the wind noise and the tyre noise, | :25:46. | :25:50. | |
people drive it a lot faster than they would normally drive a vehicle. | :25:50. | :25:55. | |
And sometimes that's not desirable. No, so it really does have a | :25:55. | :26:00. | |
psychological effect on us? It does absolutely. There we go, that | :26:00. | :26:07. | |
sounds much more like a kind of sporty engine. Instead of -- the | :26:07. | :26:13. | |
sound of me hurtling towards my mid-life crisis. That's a sporty | :26:13. | :26:17. | |
car, Ferrari that kind of thing. Let's go for a modern electric car. | :26:17. | :26:21. | |
This is the sound of the future. Which to me sounds a little, it's | :26:22. | :26:25. | |
so odd having no engine noise at all. I just feel you're | :26:25. | :26:28. | |
disconnected from the whole experience. I prefer to have a bit | :26:28. | :26:35. | |
of engine noise. I prefer to hear it and feel it. There is a case for | :26:35. | :26:39. | |
manufactures adding artificial engine sound to make people feel | :26:39. | :26:43. | |
comfortable with the vehicle that they're driving. Drivers aren't the | :26:43. | :26:50. | |
only ones who benefit from a decent sounding car. Recent statipltics | :26:50. | :26:53. | |
suggest at low speeds pedestrians and cyclists are twice as likely to | :26:53. | :26:57. | |
be hit by a hybrid electric vehicle than a normal car, simply because | :26:57. | :27:02. | |
they're so quiet. So the researchers at Warwick have been | :27:02. | :27:06. | |
testing how electric cars could sound to help pedestrians hear them | :27:07. | :27:11. | |
coming. I couldn't resist this. The guys at the university have come up | :27:11. | :27:15. | |
with this, this is elvin, and the clever thing is you can programme a | :27:15. | :27:19. | |
different noise that it will emitt as it drivers along. You can choose | :27:19. | :27:23. | |
whatever you want. For example you could make it sound like, I don't | :27:23. | :27:33. | |
:27:33. | :27:45. | ||
I felt a little self-conscious. I managed to not kill anyone. I got | :27:45. | :27:50. | |
strange looks. You think about it, it's not a bad idea. We have all | :27:50. | :27:53. | |
this emotional attachment to different sounds, but can you | :27:53. | :27:56. | |
imagine in the future we'll be able to choose what sounds we have for | :27:56. | :28:01. | |
our own cars, maybe you'll be able to download them a bit like a | :28:02. | :28:06. | |
ringtone. Good idea? Or could be absolutely hideous. | :28:06. | :28:12. | |
I definitely want a car that sounds like the millennium falcon. Or a | :28:12. | :28:16. | |
snail or your maggot. That would be good. As a cyclist a loud car is a | :28:16. | :28:22. | |
good car. Exactly. That is your lot this week. Nex week, it's all about | :28:22. | :28:31. | |
securing your digital technology. Maggie Philbin is back asking how | :28:31. | :28:36. | |
safe is your phone. Liz has her head in cloud storage and Jem helps | :28:36. | :28:41. | |
me erase digital files for g. That's the sort of thing. Yeah I | :28:41. | :28:45. |