The polyphonic me | Beardyman

1,662,992 views ใƒป 2013-08-02

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: benyamin zinshtein ืžื‘ืงืจ: Ido Dekkers
00:13
I'd like you all
0
13530
1509
ืื ื™ ืจื•ืฆื” ืฉื›ืœ ืื—ื“ ืžื›ื
00:15
to ask yourselves a question
1
15063
2644
ื™ืฉืืœ ืืช ืขืฆืžื• ืฉืืœื”
00:17
which you may never have asked yourselves before:
2
17731
3543
ืฉืื•ืœื™ ืืฃ ืคืขื ืœื ืฉืืœืชื ืืช ืขืฆืžื›ื ื‘ืขื‘ืจ:
00:21
What is possible with the human voice?
3
21298
4339
ืžื” ืืคืฉืจื™ ืขื‘ื•ืจ ื”ืงื•ืœ ื”ืื ื•ืฉื™?
00:25
What is possible with the human voice?
4
25661
8224
ืžื” ืืคืฉืจื™ ืขื‘ื•ืจ ื”ืงื•ืœ ื”ืื ื•ืฉื™?
00:33
(Beatboxing)
5
33909
9552
(ื‘ื™ื˜ื‘ื•ืงืก)
00:57
โ™ช Ooh baby โ™ช
6
57208
3630
(ืžื•ื–ื™ืงื”) ืื•ื• ื‘ื™ื™ื‘ื™
01:00
โ™ช baby โ™ช
7
60862
2295
(ืžื•ื–ื™ืงื”) ื‘ื™ื™ื‘ื™
01:03
โ™ช baby โ™ช
8
63181
2131
(ืžื•ื–ื™ืงื”) ื‘ื™ื™ื‘ื™
01:05
โ™ช baby โ™ช (Baby crying)
9
65336
2546
(ืžื•ื–ื™ืงื”) ื‘ื™ื™ื‘ื™(ืชื™ื ื•ืง ื‘ื•ื›ื”)
01:07
โ™ช baby โ™ช (Baby crying)
10
67906
2288
(ืžื•ื–ื™ืงื”) ื‘ื™ื™ื‘ื™ (ืชื™ื ื•ืง ื‘ื•ื›ื”)
01:10
โ™ช baby โ™ช (Cat meowing)
11
70218
5642
(ืžื•ื–ื™ืงื”) ื‘ื™ื™ื‘ื™(ื—ืชื•ืœ ืžื™ื™ืœืœ)
01:15
(Dog barking)
12
75884
5377
(ื›ืœื‘ ื ื•ื‘ื—)
01:22
Yeah.
13
82799
1257
ื›ืŸ.
01:24
(Applause)
14
84080
7839
(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
01:31
(Boomerang noises)
15
91943
7376
(ืงื•ืœื•ืช ืฉืœ ื‘ื•ืžืจื ื’)
01:39
It was coming straight for me. I had to. It was, yeah.
16
99343
3849
ื–ื” ืขืฃ ื™ืฉืจ ืœื›ื™ื•ื•ื ื™. ื”ื™ื™ืชื™ ื—ื™ื™ื‘. ื›ืŸ.
01:43
As you can probably well imagine,
17
103216
3088
ื›ืžื• ืฉืืชื ื›ื ืจืื” ื™ื›ื•ืœื™ื ืœื“ืžื™ื™ืŸ,
01:46
I was a strange child.
18
106328
2575
ื”ื™ื™ืชื™ ื™ืœื“ ืžื•ื–ืจ.
01:48
(Laughter)
19
108927
6467
(ืฆื—ื•ืง)
01:55
Because the thing is, I was constantly trying
20
115418
2887
ื”ืขื ื™ื™ืŸ ื”ื•ื ืฉ..., ื›ืœ ื”ื–ืžืŸ ื ื™ืกื™ืชื™
01:58
to extend my repertoire of noises to be
21
118329
4110
ืœื”ื’ื“ื™ืœ ืืช ืื•ืกืฃ ื”ืงื•ืœื•ืช ืœื”ื•ืฆื™ื
02:02
the very maximum that it could be.
22
122463
2536
ืžื”ื ืืช ื”ืžืงืกื™ืžื•ื ื”ืืคืฉืจื™.
02:05
I was constantly experimenting with these noises.
23
125023
2334
ื›ืœ ื”ื–ืžืŸ ืขืฉื™ืชื™ ื ื™ืกื•ื™ื™ื ืขื ื”ืงื•ืœื•ืช ื”ืืœื”.
02:07
And I'm still on that mission.
24
127381
1954
ื•ืื ื™ ืขื“ื™ื™ืŸ ื‘ืžืฉื™ืžื” ื”ื–ืืช.
02:09
I'm still trying to find every noise
25
129359
1782
ืื ื™ ืขื“ื™ื™ืŸ ืžื ืกื” ืœืžืฆื•ื ื›ืœ ืฆืœื™ืœ
02:11
that I can possibly make.
26
131165
2275
ืฉืื ื™ ืžืกื•ื’ืœ ืœื”ื•ืฆื™ื.
02:13
And the thing is, I'm a bit older and wiser now,
27
133464
2240
ื•ื”ืขื ื™ื™ืŸ ื”ื•ื ืฉืื ื™ ืงืฆืช ื™ื•ืชืจ ืžื‘ื•ื’ืจ ื•ื—ื›ื ืขื›ืฉื™ื•,
02:15
and I know that there's some noises
28
135728
1667
ื•ืื ื™ ื™ื•ื“ืข ืฉื™ืฉ ืงื•ืœื•ืช
02:17
I'll never be able to make because I'm hemmed in
29
137419
2286
ืฉืื ื™ ืืฃ ืคืขื ืœื ืื•ื›ืœ ืœืขืฉื•ืช ื›ื™ื•ื•ืŸ ืฉืื ื™ ื›ืœื•ื
02:19
by my physical body, and there's things it can't do.
30
139729
3374
ื‘ืชื•ืš ื”ื’ื•ืฃ ื”ืื ื•ืฉื™ ืฉืœื™, ื•ืฉื™ืฉ ื“ื‘ืจื™ื ืฉืืฃ ืคืขื ืœื ืื•ื›ืœ ืœืขืฉื•ืช.
02:23
And there's things that no one's voice can do.
31
143127
2191
ื•ืฉื™ืฉ ื“ื‘ืจื™ื ืฉืงื•ืœ ืฉืœ ืืฃ ืื“ื ืœื ื™ื•ื›ืœ ืœืขืฉื•ืช.
ืœืžืฉืœ, ืืฃ ืื—ื“ ืœื ื™ื›ื•ืœ ืœืขืฉื•ืช ืฉื ื™ ืชื•ื•ื™ื ื‘ื• ื–ืžื ื™ืช.
02:25
For example, no one can do two notes at the same time.
32
145342
3410
02:28
You can do two-tone singing,
33
148776
1641
ืืชื” ื›ืŸ ื™ื›ื•ืœ ืœืขืฉื•ืช ืฉื™ืจื” ื‘ืฉื ื™ ื˜ื•ื ื™ื,
02:30
which monks can do, which is like...
34
150441
3525
ืฉื ื–ื™ืจื™ื ื™ื›ื•ืœื™ื ืœืขืฉื•ืช, ืฉื–ื” ื ืฉืžืข ื›ืš...
02:33
(Two-tone singing)
35
153990
9869
(ืฉื™ืจื” ื‘ืฉื ื™ ื˜ื•ื ื™ื)
02:43
But that's cheating.
36
163883
2582
ืื‘ืœ ื–ื” ืจืžืื•ืช.
02:46
And it hurts your throat.
37
166489
1842
ื•ื–ื” ื›ื•ืื‘ ื‘ื’ืจื•ืŸ.
02:48
So there's things you can't do, and these limitations
38
168355
3187
ืื– ื™ืฉ ื“ื‘ืจื™ื ืฉืื™ื ืš ื™ื›ื•ืœ ืœืขืฉื•ืช, ื•ื”ื”ื’ื‘ืœื•ืช ื”ืืœื•
02:51
on the human voice have always really annoyed me,
39
171566
3274
ืขืœ ื”ืงื•ืœ ื”ืื ื•ืฉื™ ืชืžื™ื“ ืžืžืฉ ืขืฆื‘ื ื• ืื•ืชื™,
02:54
because beatbox is the best way of getting
40
174864
3240
ื‘ื’ืœืœ ืฉื‘ื™ื˜ื‘ื•ืงืก ื–ื” ื”ื“ืจืš ื”ื˜ื•ื‘ื” ื‘ื™ื•ืชืจ ืœื”ื•ืฆื™ื
02:58
musical ideas out of your head and into the world,
41
178128
3398
ืจืขื™ื•ื ื•ืช ืžื•ื–ื™ืงืœื™ื™ื ืžืชื•ืš ื”ืจืืฉ ืฉืœืš ื•ืืœ ื”ืขื•ืœื,
03:01
but they're sketches at best,
42
181550
1868
ืื‘ืœ ื”ื ืกืงื™ืฆื•ืช ื‘ืžืงืจื” ื”ื˜ื•ื‘,
03:03
which is what's annoyed me.
43
183442
1718
ื•ื–ื” ืžื” ืฉืžืขืฆื‘ืŸ ืื•ืชื™.
03:05
If only, if only there was a way
44
185184
2404
ืื ืจืง, ืื ืจืง ื”ื™ื™ืชื” ื“ืจืš
03:07
for these ideas to come out unimpeded
45
187612
2777
ืœืจืขื™ื•ื ื•ืช ื”ืืœื” ืœืฆืืช ืœืœื ื”ืคืจืขื”
03:10
by the restrictions which my body gives it.
46
190413
4662
ืข"ื™ ื”ื”ื’ื‘ืœื•ืช ืฉื”ื’ื•ืฃ ืฉืœื™ ืฉื ืœื”ื.
03:15
So I've been working with these guys,
47
195099
2365
ืื– ืขื‘ื“ืชื™ ืขื ื”ื—ื‘ืจ'ื” ื”ืืœื”,
03:17
and we've made a machine.
48
197488
3761
ื•ื‘ื ื™ื ื• ืžื›ื•ื ื”.
03:21
We've made a system which is basically
49
201273
2323
ื‘ื ื™ื ื• ืžืขืจื›ืช ืฉื”ื™ื ื‘ืขืฆื
03:23
a live production machine,
50
203620
3302
ืžืขืจื›ืช ืขืจื™ื›ื” ื‘ื–ืžืŸ ืืžืช,
03:26
a real-time music production machine,
51
206946
3693
ืžืขืจื›ืช ืขืจื™ื›ืช ืžื•ื–ื™ืงื” ื‘ื–ืžืŸ ืืžืช,
03:30
and it enables me to, using nothing but my voice,
52
210663
3911
ื•ื–ื” ืžืืคืฉืจ ืœื™, ืœื”ืฉืชืžืฉ ืจืง ื‘ืงื•ืœ ืฉืœื™,
03:34
create music in real time as I hear it in my head
53
214598
4278
ืœื™ืฆื•ืจ ืžื•ื–ื™ืงื” ื‘ื–ืžืŸ ืืžืช ื›ืžื• ืฉืื ื™ ืฉื•ืžืข ืื•ืชื” ื‘ืจืืฉ ืฉืœื™
03:38
unimpeded by any physical restrictions
54
218900
2494
ืœืœื ื”ืคืจืขื” ืžืฉื•ื ืžื’ื‘ืœื” ืคื™ื–ื™ืช
03:41
that my body might place on me.
55
221418
2082
ืฉื”ื’ื•ืฃ ืฉืœื™ ืื•ืœื™ ื™ื•ืฆืจ ืœื™
03:43
And I'm going to show you what it can do.
56
223524
3849
ื•ืื ื™ ื”ื•ืœืš ืœื”ื“ื’ื™ื ืœื›ื ืžื” ืื ื™ ื™ื›ื•ืœ ืœืขืฉื•ืช.
03:47
And before I start making noises with it,
57
227397
3862
ื•ืœืคื ื™ ืฉืื ื™ ืžืชื—ื™ืœ ืœื™ืฆื•ืจ ืงื•ืœื•ืช ืขื ื–ื”,
03:51
and using it to manipulate my voice,
58
231283
2394
ื•ืœื”ืฉืชืžืฉ ื‘ื–ื” ืขืœ ืžื ืช ืœืฉื ื•ืช ืืช ื”ืงื•ืœ ืฉืœื™,
03:53
I want to reiterate that everything that you're about to hear
59
233701
2905
ืื ื™ ืจื•ืฆื” ืœื—ื–ื•ืจ ื•ืœื”ื“ื’ื™ืฉ ืฉื›ืœ ืžื” ืฉืืชื ืขื•ืžื“ื™ื ืœืฉืžื•ืข
03:56
is being made by my voice.
60
236630
3582
ืžื™ื•ืฆืจ ืข"ื™ ื”ืงื•ืœ ืฉืœื™.
04:00
This system has --
61
240236
2933
ืœืžืขืจื›ืช ื”ื–ืืช ื™ืฉ -
04:03
thank you, beautiful assistant --
62
243193
2382
ืชื•ื“ื” ืจื‘ื”, ืขื•ื–ืจ ื™ืคื”ืคื”
04:05
this system has no sounds in it itself
63
245599
5136
ืœืžืขืจื›ืช ื”ื–ืืช ืื™ืŸ ืฆืœื™ืœื™ื ืžืขืฆืžื”
04:10
until I start putting sounds in it,
64
250759
1800
ืขื“ ืฉืื ื™ ืžืชื—ื™ืœ ืœืฉื™ื ืฆืœื™ืœื™ื ื‘ืชื•ื›ื”,
04:12
so there's no prerecorded samples of any kind.
65
252583
3832
ืื– ืื™ืŸ ื“ื’ื™ืžื•ืช ืžื•ืงืœื˜ื•ืช ืžืจืืฉ ืžืฉื•ื ืกื•ื’.
04:16
So once this thing really gets going,
66
256439
2277
ืื– ื‘ืจื’ืข ืฉื–ื” ืžืชื—ื™ืœ ืœืขื‘ื•ื“,
04:18
and it really starts to mangle the audio I'm putting into it,
67
258740
2905
ื•ื–ื” ืžืžืฉ ืžืชื—ื™ืœ ืœืขื•ื•ืช ืืช ื”ืฆืœื™ืœ ืฉืื ื™ ืฉื ื‘ืชื•ื›ื”
04:21
it becomes not obvious that it is the human voice,
68
261669
2930
ื–ื” ื ื”ื™ื” ืœื ื‘ืจื•ืจ ืฉื–ื” ื”ืงื•ืœ ื”ืื ื•ืฉื™
04:24
but it is, so I'm going to take you through it bit by bit
69
264623
2715
ืื‘ืœ ื–ื” ื›ืŸ, ืื– ืื ื™ ื”ื•ืœืš ืœื”ืจืื•ืช ืœื›ื ื˜ื™ืคื” ื˜ื™ืคื”
04:27
and start nice and simple.
70
267362
1703
ื•ื ืชื—ื™ืœ ืขื ื™ืคื” ื•ืคืฉื•ื˜
04:29
So the polyphony problem: I've only got one voice.
71
269089
2399
ืื– ื‘ืขื™ื™ืช ื”ื—ื“-ืงื•ืœื™ื•ืช: ื™ืฉ ืœื™ ืจืง ืงื•ืœ ืื—ื“.
04:31
How do I get around the problem
72
271512
2140
ืื™ืš ืื ื™ ืขื•ืงืฃ ืืช ื”ื‘ืขื™ื”
04:33
of really wanting to have as many different voices
73
273676
2250
ืฉืื ื™ ืจื•ืฆื” ืฉื™ื”ื™ื” ื›ืžื” ืฉื™ื•ืชืจ ืงื•ืœื•ืช ืฉื•ื ื™ื
04:35
going on at the same time.
74
275950
1239
ืฉืžื•ืฉืžืขื™ื ื‘ื• ื–ืžื ื™ืช
04:37
The simplest way to do it is something like this.
75
277213
2334
ื”ื“ืจืš ื”ืคืฉื•ื˜ื” ื‘ื™ื•ืชืจ ืœืขืฉื•ืช ืืช ื–ื” ื–ื” ืžืฉื”ื• ื›ื–ื”.
04:39
(Beatboxing)
76
279571
5780
(ื‘ื™ื˜ื‘ื•ืงืก)
04:45
By dancing. It's like this.
77
285375
1951
ืข"ื™ ืจื™ืงื•ื“. ื–ื” ื”ื•ืœืš ื›ื›ื”.
04:47
(Music)
78
287350
4615
(ืžื•ื–ื™ืงื”)
05:19
Thanks.
79
319186
1405
ืชื•ื“ื”
05:20
(Applause)
80
320615
2329
(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
05:22
So that's probably the easiest way.
81
322968
3222
ืื– ื–ื• ื›ื ืจืื” ื”ื“ืจืš ื”ืงืœื” ื‘ื™ื•ืชืจ.
05:26
But if you want to do something a little bit more immediate,
82
326214
3342
ืื‘ืœ ืื ืืชื ืจื•ืฆื ืœืขืฉื•ืช ืžืฉื”ื• ื™ื•ืชืจ ืžื™ื™ื“ื™,
05:29
something that you can't achieve with live looping,
83
329580
1636
ืžืฉื”ื• ืฉืืชื ืœื ื™ื›ื•ืœื™ื ืœื”ืฉื™ื’ ืขื ืžื—ื–ื•ืจื™ื•ืช,
05:31
there's other ways to layer your voice up.
84
331240
2000
ื™ืฉ ื“ืจื›ื™ื ื ื•ืกืคื•ืช ืขืœ ืžื ืช ืœื”ื•ืกื™ืฃ ืฉื›ื‘ื” ืœืงื•ืœ ืฉืœืš.
05:33
There's things like pitch-shifting,
85
333264
1920
ื™ืฉ ื“ื‘ืจื™ื ื›ืžื• ืฉื™ื ื•ื™-ืคืกื™ืขื”,
05:35
which are awesome,
86
335208
1655
ืฉื”ื ื ื”ื“ืจื™ื,
05:36
and I'm going to show you now what that sounds like.
87
336887
1864
ื•ืื ื™ ื”ื•ืœืš ืœื”ืจืื•ืช ืœื›ื ืื™ืš ื–ื” ื ืฉืžืข.
05:38
So I'm going to start another beat for you, like this.
88
338775
2585
ืื– ืื ื™ ื”ื•ืœืš ืœื”ืชื—ื™ืœ ืขื ืฆืœื™ืœ ื ื•ืกืฃ ืขื‘ื•ืจื›ื, ื›ืžื• ื›ื–ื”.
05:41
(Beatboxing)
89
341384
7676
(ื‘ื™ื˜ื‘ื•ืงืก)
05:49
There's always got to be a bit of a dance at the start,
90
349084
1641
ืชืžื™ื“ ืฆืจื™ืš ืœื”ื™ื•ืช ืงืฆืช ืจื™ืงื•ื“ ื‘ื”ืชื—ืœื”,
05:50
because it's just fun, so
91
350749
1609
ื‘ื’ืœืœ ืฉื–ื” ืคืฉื•ื˜ ื›ื™ืฃ, ืื–
05:52
you can clap along if you want.
92
352382
2506
ืืชื ื™ื›ื•ืœื™ื ืœื”ืฆืชืจืฃ ืื ืืชื ืจื•ืฆื™ื
05:54
You don't have to. It's fine. Check it out.
93
354912
2519
ืืชื ืœื ื—ื™ื™ื‘ื™ื. ื–ื” ื‘ืกื“ืจ. ืงื‘ืœื• ืืช ื–ื”.
05:57
I'm going to lay down a bass sound now.
94
357455
4256
ืื ื™ ื”ื•ืœืš ืœื”ื•ืกื™ืฃ ืฉื›ื‘ืช ื‘ืก ืขื›ืฉื™ื•.
06:01
(Music)
95
361735
6575
(ืžื•ื–ื™ืงื”)
06:11
And now, a rockabilly guitar.
96
371543
4108
ื•ืขื›ืฉื™ื•, ื’ื™ื˜ืจื”.
06:27
Which is nice. But what if I want to make, say, a -- (Applause) --
97
387127
4007
ืฉื–ื” ื ื—ืžื“. ืื‘ืœ ืžื” ืื ืื ื™ ืจื•ืฆื”, ื ื’ื™ื“, (ื›ืคื™ื™ื)
06:31
Thanks. What if I want to make, say, a rock organ?
98
391158
2639
ืชื•ื“ื”. ืžื” ืื ืื ื™ ืจื•ืฆื”, ื ื’ื™ื“, ืื•ืจื’ืŸ ืจื•ืง?
06:33
Is that possible? Yes, it is,
99
393821
2890
ื–ื” ืืคืฉืจื™? ื›ืŸ, ื–ื” ื›ืŸ.
06:36
by recording myself like this.
100
396735
2160
ืข"ื™ ื”ืงืœื˜ื” ืขืฆืžื™ืช ื›ื–ื•.
06:38
(Organ sound)
101
398919
2944
(ืื•ืจื’ืŸ ืจื•ืง)
06:41
And now I have that, I have that recorded.
102
401887
4532
ื•ืขื›ืฉื™ื• ื™ืฉ ืœื™, ื™ืฉ ืœื™ ืืช ื”ื”ืงืœื˜ื”.
06:46
Assign it to a keyboard.
103
406443
1500
ื ืงืฆื” ืื•ืชื” ืœืžืงืœื“ืช
06:47
(Music)
104
407967
3606
(ืžื•ื–ื™ืงื”)
06:51
So that's cool.
105
411597
1745
ืื– ื–ื” ืžื’ื ื™ื‘.
06:53
(Applause)
106
413366
1964
(ื›ืคื™ื™ื)
06:55
But what if I wanted to sound like the whole of Pink Floyd?
107
415354
5852
ืื‘ืœ ืžื” ืื ืื ื™ ืจื•ืฆื” ืœื”ื™ืฉืžืข ื›ืžื• ื›ืœ ืคื™ื ืง ืคืœื•ื™ื“?
07:01
Impossible, you say. No.
108
421230
2745
ื‘ืœืชื™ ืืคืฉืจื™ ืืชื ืื•ืžืจื™ื. ืœื.
07:03
It is possible, and you can do it very simply
109
423999
2815
ื–ื” ืืคืฉืจื™, ื•ืืชื ื™ื›ื•ืœื™ื ืœืขืฉื•ืช ืืช ื–ื” ื‘ืื•ืคืŸ ืคืฉื•ื˜ ืžืื•ื“
07:06
using this machine. It's really fantastic. Check it out.
110
426838
3944
ืข"ื™ ืฉื™ืžื•ืฉ ื‘ืžื›ื•ื ื” ื”ื–ืืช. ื–ื” ื‘ืืžืช ื ืคืœื. ืงืœื˜ื• ืืช ื–ื”.
07:10
(Music)
111
430806
16973
(ืžื•ื–ื™ืงื”)
07:44
So every noise you can hear there is my voice.
112
464609
3340
ืื– ื›ืœ ืฆืœื™ืœ ืฉืืชื ื™ื›ื•ืœื™ื ืœืฉืžื•ืข ื›ืืŸ ื”ื•ื ื”ืงื•ืœ ืฉืœื™.
07:47
I didn't just trigger something which sounds like that.
113
467973
4148
ืœื ืจืง ื”ืคืขืœืชื™ ืžืฉื”ื• ืฉื ืฉืžืข ื›ืžื• ื–ื”.
07:52
There's no samples. There's no synthesizers.
114
472145
2096
ืื™ืŸ ื“ื•ื’ืžืื•ืช. ืื™ืŸ ืกื™ื ืชื™ืกื™ื™ื–ืจื™ื.
ื–ื” ืœื’ืžืจื™, ื”ื›ืœ ื”ืงื•ืœ ืฉืœื™ ืžืขื•ื•ืช,
07:54
That is literally all my voice being manipulated,
115
474265
2900
07:57
and when you get to that point, you have to ask, don't you,
116
477189
3875
ื•ื›ืฉืืชื ืžื’ื™ืขื™ื ืœื ืงื•ื“ื”, ืฉืืชื ืฆืจื™ื›ื™ื ืœืฉืื•ืœ, ืœื?,
08:01
what's the point?
117
481088
1764
ืžื” ื”ื ืงื•ื“ื”?
08:02
Why do this? (Laughter)
118
482876
4097
ืœืžื” ืœืขืฉื•ืช ืืช ื–ื”? (ืฆื—ื•ืง)
08:06
Because it's cheaper than hiring the whole of Pink Floyd,
119
486997
2715
ื‘ื’ืœืœ ืฉื–ื” ื™ื•ืชืจ ื–ื•ืœ ืžืœืฉื›ื•ืจ ืืช ื›ืœ ืคื™ื ืง ืคืœื•ื™ื“,
08:09
I suppose, is the easy answer.
120
489736
1692
ืœื“ืขืชื™, ื–ื” ื”ืชืฉื•ื‘ื” ื”ืงืœื”.
08:11
But in actual fact, I haven't made this machine
121
491452
3632
ืื‘ืœ ื‘ืขืฆื, ืœื ื‘ื ื™ืชื™ ืืช ื”ืžื›ื•ื ื” ื”ื–ืืช
08:15
so that I can emulate things that already exist.
122
495108
2792
ื›ื“ื™ ืฉืื ื™ ืื•ื›ืœ ืœื—ืงื•ืช ื“ื‘ืจื™ื ืฉื›ื‘ืจ ืงื™ื™ืžื™ื.
08:17
I've made this so that I can make
123
497924
2237
ื‘ื ื™ืชื™ ืื•ืชื” ื›ื“ื™ ืฉืื•ื›ืœ ืœืขืฉื•ืช
08:20
any noise that I can imagine.
124
500185
1381
ื›ืœ ืฆืœื™ืœ ืฉืื ื™ ื™ื›ื•ืœ ืœื—ืœื•ื ืขืœื™ื•.
08:21
So with your permission, I'm going to do
125
501590
2956
ืื– ื‘ืจืฉื•ืชื›ื, ืื ื™ ื”ื•ืœืš ืœืขืฉื•ืช
08:24
some things that are in my mind,
126
504570
2257
ื›ืžื” ื“ื‘ืจื™ื ืžื”ืจืืฉ ืฉืœื™,
08:26
and I hope you enjoy them,
127
506851
1555
ื•ืื ื™ ืžืงื•ื•ื” ืฉืืชื ืชื”ื ื• ืžื”ื,
08:28
because they're rather unusual,
128
508430
2146
ื‘ื’ืœืœ ืฉื”ื ื“ื™ ื™ื•ืฆืื™ ื“ื•ืคืŸ,
08:30
especially when you're doing things which are
129
510600
2949
ื‘ืžื™ื•ื—ื“ ื›ืฉืืชื ืขื•ืฉื™ื ื“ื‘ืจื™ื ืฉื”ื
08:33
as unusual as this, it can be hard to believe
130
513573
3492
ื™ื•ืฆืื™ ื“ื•ืคืŸ ื›ืžื• ื–ื”, ื–ื” ื™ื›ื•ืœ ืœื”ื™ื•ืช ืงืฉื” ืœื”ืืžื™ืŸ
08:37
that it is all my voice, you see.
131
517089
1855
ืฉื–ื” ืจืง ื”ืงื•ืœ ืฉืœื™, ืืชื ืชืจืื•.
08:38
(Voice effects)
132
518968
8917
(ืืคืงื˜ื™ ืกืื•ื ื“)
08:52
(Music)
133
532177
11212
(ืžื•ื–ื™ืงื”)
09:13
Like this.
134
553331
2064
ื›ืžื• ื–ื”.
09:15
(Music)
135
555419
5557
(ืžื•ื–ื™ืงื”)
10:46
So, loosely defined,
136
646572
4077
ืื–, ื‘ื”ื’ื“ืจื” ืจื•ืคืคืช,
10:50
that is what's possible with the human voice.
137
650673
3826
ื–ื” ืžื” ืฉืืคืฉืจื™ ืขื ื”ืงื•ืœ ื”ืื ื•ืฉื™.
10:54
Thank you very much, ladies and gentlemen.
138
654523
2000
ืชื•ื“ื” ืจื‘ื” ืœื›ื, ื’ื‘ื™ืจื•ืชื™ื™ ื•ืจื‘ื•ืชื™ื™.
10:56
(Applause)
139
656547
5400
(ื›ืคื™ื™ื)

Original video on YouTube.com
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

https://forms.gle/WvT1wiN1qDtmnspy7