Advertising, having devoted decades to building elaborate fantasies, now has a new problem: making things seem real and believable. But that’s nothing new to people doing sound design: tiny details of sync, spatialization, and content can trick the mind into different perceptions of what they’re seeing and hearing. The release of a TV ad showing a music ensemble made from Ford parts triggered waves of skepticism online, partly because the ad’s producers and director wanted the composer and instrument builders to make a car part ensemble that sounded quasi-Classical — rather than pushing its “car-partiness.” Singapore-based blog fanatic fandom has some great musings on the irony of the whole situation, with various coverage around the Web (including CDM’s). Note that composer Craig Richey was even concerned about subtle issues of sync impacting the perceived reality of the ad. It’s a great lesson in editing and design.

Of course, the ensemble is real, and we’ve talked a bit to sound designer Bill Milbrodt about the details. Now, it seems Ford and the ad makers have finally released a video interview with Bill. There’s something about talking to people on camera that helps — and Bill has great stuff to say.

Personally, I think the confusion about what people were watching may be more interesting than the car itself. It shows just how much editing and design choices can impact perception — something to keep in mind whether your aspirations tend toward Madison Avenue or the underground.

Previously:

Interview: Building a Musical Ensemble Out of Ford Focus Car Parts

Yes, Virginia, There Really is a Ford Car Part Musical Ensemble

It’s always fascinating to me how people hear, what they thing of as “real” or “authentic,” and what meaning they find in the things they listen to.

Yesterday, we got a glimpse of a new car advertisement for Ford in the UK featuring instruments constructed from automobile components:

Interview: Building a Musical Ensemble Out of Ford Focus Car Parts

What you see on the screen, of course, is not literally what you hear — the TV ad and soundtrack are edited together, and this is a car ad, not a documentary. But quite a few readers (and even blogs elsewhere) wondered if they were actually hearing instruments constructed from the Ford Focus — or if there was some audio fakery going on, as well.

Following up on our interview (which was evidently an exclusive for CDM, whatever that’s worth), sound designer Bill Milbrodt actually called me last night and we got to have a long chat about the whole process.

Here’s the short answer:

Yes, the instruments are really made from a Ford Focus. (The strings are conventional strings, which has a huge impact on timbre, but until Ford starts putting something that can substitute for strings into their cars, you’ll have to live with that.) Yes, musicians really did play them. Yes, you really do hear that recording (edited) in the ad. Bill points out that they could have saved a lot of money by just creating props. This is, indeed, the real thing.

And yes, the musical effect is awfully close to classical music played on conventional instruments. That was apparently the requirement of the agency and director. The sound of the Car Music Project is very different — and I suspect a little closer to the tastes of the readers here. Here’s what the ensemble sounds like live, at least until we get live footage of the Ford Focus ensemble (got my fingers crossed for that):

I just find it really interesting that people reacted the way they did — and to the whole issue of authenticity and recordings. We’re both immediately suspicious of anything recorded, yet cling to the idea of a recording as a “factual record” — despite the fact that sound depends entirely on your point of view. Even with live sound, you might experience a different concert in a different part of the hall. With recordings, mic choice, mic placement, and other factors impact the sound even before someone’s had a shot at digital “manipulation.” You know that, I know that — but still, we have some sort of deeply-ingrained expectations about what a recording is, or what we want it to be, that go beyond even the technical knowledge of a group of practictioners.

Of course, it’s curiosity about how things are actually done that drives some of this site, so I say, keep asking questions and questioning your ears.

But, for the record, this ensemble is, for all practicality, real. And there’s really not a cello on that recording, I swear.

Here are the full technical details from Bill, with links to still more information — and this answer actually winds up going into more of the nuts and bolts (sorry) of how these instruments were used musically:

We’ve seen basses and turntables made from motorcycles, and bicycle parts turned into DJ setups, ensembles, and The Nutcracker. But The Car Music Project has gone further, building two entire ensembles out a single car, first a sound designer’s old Honda Accord and, more recently, deconstructing a brand-new Ford Focus into a full instrumental ensemble in just five weeks.

In other words, before — a five-door 2008 Ford Focus hatchback as built for the UK market looks like this:

… and after the Car Music Project gets to it, 21 parts from that car become 31 individual instruments:

The ad campaign premiered yesterday in England. Above: the extended, three-minute version.

More: More cowbell! Ford turns Focus into musical instruments [Autoblog]

I got to talk to New York-based sound designer Bill Milbrodt, who led a 22-person team to build the instruments, with Ray Faunce III managing fabrication. Composer Craig Richey, who scored The King of Kong, Friends With Money, and Lovely & Amazing (among others), wrote the music for the ensemble.

Bill describes to CDM the daunting task of going from Ford hatchback to chamber ensemble. It’s an incredible insight into instrument design and construction, whether your DIY instrument tastes tend in the acoustic or digital realms.

PS, to the Crave blog and other doubters: the music is real. They actually made some fantastic-sounding instruments out of that Ford Focus. I certainly know when I buy an automobile, I like the peace of mind that comes from buying one I could later deconstruct with 22 skilled metalworkers and play original scores on.

The “Heartbeat of America, Today’s Chevrolet” takes on new meaning. The Heartbeat Bass Booster project by Takehito Etani and David Tinapple involves one seriously pimped out Chevy Cavalier. Driving the project is a heart-shaped pendant with a heart sensor that clips to your finger or earlobe. Plug that into a PowerBook running Max/MSP, and your beating heart pumps out bass through the car’s subwoofer, while controlling the bpm rate of heart-themed music and driving an LCD, projector, and under-the-car LCDs, all integrated into the automobile. Good old-fashioned audio signal works the magic (since your heart is a kind of percussion instrument), but the effect of your heart controlling the speed of the music and translated into ghetto-thumping bass is . . . unusual.

The Chevrolet made an appearance and “performance” at Carnegie Mellon’s Miller gallery with the help of a motorsports company, which apparently was experimenting with avant-garde installations on a break from their usual racing and bikini contests. (Takehito is a CMU student.) The work also comes complete with a wicked-looking installation version involving a flaming hubcap on a wall, just in case you need this in your living room.

Check out the project site for details and videos, including a Max/MSP interface that looks and sounds like the heart monitors on Star Trek, and a music video demonstration of how to use this technology to pick up girls.

Courtesy musician and developer Dan Nigrin, who notes, “Now if *this* isn’t CDM material, I don’t know what is!” Well, Dan, I was hoping for a heart monitor plugged into a hovercraft, but I guess I’ll settle.

Looks like this was originally on We Make Money Not Art. Budding interactive artists, feel free to pimp your creations here, too.

Two things most people don’t care to understand: physics and how the heck your car works. But you’re different. Why, you probably already know that phase cancellation occurs when a sound source is delayed slightly (by a real-world reflection, or in recording and mixing), so that two coherent waveforms of opposite phase are superimposes and cancel each other out. (Er, in plain english: one wave’s crests cancel out the other’s troughs and vice versa.)

Now, did you know this principle is what keeps your car’s exhaust from making a racket?

How Mufflers Work [Howstuffworks]

Basically, the muffler is a chamber designed to create lots of echoes, and thus lots of destructive interference.

See an extended discussion above, plus some variations on the design used in luxury automobiles (think active cancellation, as in noise-reducing headphones). And, of course, this is exactly what doesn’t happen when your remove a muffler and get that ear-splitting noise.

Got other candidates for acoustic science in the real world? Let me know!