I sat next to a woman at an early-April New York performance of On the Twentieth Century who kept her (brightly lit) mobile on during the entire show – albeit with the sound switched off – and checked it repeatedly.
At the critical values of the parameters the regular edge tone and the irregular sound switched randomly with an average interval which was much greater than the period of the regular edge tone.
As good as that chilled glass of Pepsi or coke may sound, switch it to water.
The Sounds switched to a black, red, and white palate beginning in 1998 through 2014.
I try to avoid these habits that I question, and I like to go into meetings without my phone -- or at least with notification sounds switched off -- and remind myself that I can be present, or not, and that it's my choice every time.
For each scene, there were at least eight cameras and the amount of time I spent sitting around doing nothing while some bloke fiddled with a sound switch was literally unbelievable.
Generally, bass parts sound best centered, whereas rhythm guitar and percussion sound great switching off from side to side.
Elise Kermani's sound collage — switching between a crackling fire, drums, a marching band, chimes, ray guns — both exacerbates the fragmentation and corrals it.
It will double the technical limits of a jet engine, and allow the craft to reach, up to five times the speed of sound, before switching to a rocket engine to reach orbit.
It will double the technical limits of a jet engine and allow the plane to reach up to five times the speed of sound, before switching to Sabre when it leaves the Earth's atmosphere – so there will be no need for the external rockets that currently detach upon entering space.
