TED@Merck KGaA, Darmstadt, Germany
Renzo Vitale: What should electric cars sound like?
伦佐·维塔莱: 电动汽车的声音应该什么样？
Filmed:
Readability: 4.1
1,783,959 views
电动汽车非常安静，为我们的城市里提供了受人欢迎的安静。但它们也带来了新的危险，因为它们可以很容易地偷袭毫无戒心的行人。它们应该发出什么样的声音来保证人们的安全？让我们通过音响工程师和音乐家伦佐·维塔莱讲述如何为电动汽车作曲来了解一下我们的未来听起来会怎样。
Renzo Vitale - Sound geneticist, musician, acoustic engineer
Renzo Vitale explores the narrative between music, science and human perception -- envisioning sonic spaces for music to evolve, for cities to sing, for people to transcend. Full bio
Renzo Vitale explores the narrative between music, science and human perception -- envisioning sonic spaces for music to evolve, for cities to sing, for people to transcend. Full bio
Double-click the English transcript below to play the video.
00:13
Let's start with silence.
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让我们从安静开始。
00:23
Silence is one of the most
precious conditions for humans,
precious conditions for humans,
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安静是人类一种最珍贵的环境，
00:27
because it allows us to feel
the depth of our presence.
the depth of our presence.
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因为这会让我们感到我们存在的深度。
00:32
This is one of the reasons
why the advent of electric cars
why the advent of electric cars
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这也是电动车的出现
00:35
has generated lots
of enthusiasm among people.
of enthusiasm among people.
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在人们中间引起极大的
热情的一个原因。
热情的一个原因。
00:38
For the first time, we could associate
the concept of cars
the concept of cars
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第一次，我们可以
把汽车的概念
把汽车的概念
00:43
with the experience of silence.
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和安静的体验联系起来。
00:45
Cars can finally be quiet:
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汽车终于可以安静下来了。
00:48
peace in the streets,
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街道的安宁，
00:50
a silent revolution in the cities.
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一场城市的安静革命。
00:56
(Hum)
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（安静的发动机声音）
01:05
But silence can also be a problem.
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但安静也可能成为问题。
01:08
The absence of sound, in fact,
when it comes to cars,
when it comes to cars,
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事实上，当汽车没有声音后，
01:12
it can be quite dangerous.
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可能会非常危险。
01:14
Think of blind people,
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想想盲人，
01:16
who can't see a car which is approaching.
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当车开过来时看不见车。
01:20
And now, if it's electric,
they can't even hear it.
they can't even hear it.
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现在，如果是电动车，
他们连听都听不到。
他们连听都听不到。
01:24
Or think of every one of us
as we are walking around the city,
as we are walking around the city,
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或者想想我们每一个人，
当我们漫步在城市时，
当我们漫步在城市时，
01:27
we are absorbed in our thoughts,
and we detach from the surroundings.
and we detach from the surroundings.
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我们陷入在自己的思绪中，
没有注意到周遭的环境。
没有注意到周遭的环境。
01:32
In these situations, sound can become
our precious companion.
our precious companion.
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在这些场景中，声音可以
成为我们宝贵的伙伴。
成为我们宝贵的伙伴。
01:38
Sound is one of the most
wonderful gifts of our universe.
wonderful gifts of our universe.
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声音是我们宇宙中一件
最为神奇的礼物。
最为神奇的礼物。
01:43
Sound is emotion
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声音是情感，
01:45
and sound is sublime,
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声音是绝妙的，
01:48
and when it comes to cars,
sound is also information.
sound is also information.
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当涉及到车时，声音也是信息。
01:53
In order to protect pedestrians
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为了保护行人
01:55
and to give acoustic
feedback to the drivers,
feedback to the drivers,
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并给驾驶员提供声音反馈，
01:58
governments around the world
have introduced several regulations
have introduced several regulations
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世界各国的政府都
出台了一些规定，
出台了一些规定，
02:02
which prescribe the presence of a sound
for electric vehicles.
for electric vehicles.
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规定电动车必须有声音。
02:07
In particular, they require
minimum sound levels
minimum sound levels
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特别是，它们要求在特定频段
02:11
at specific frequency bands
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的最低声级达到
02:13
up to the speed of 30 kilometers per hour.
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汽车30公里时速时的声噪。
02:17
Besides this speed,
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超过这个速度，
02:19
the natural noise of the car
is considered as sufficient.
is considered as sufficient.
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汽车的自然噪声
被认为是足够的。
被认为是足够的。
02:24
These regulations
have generated different reactions
have generated different reactions
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这些规定引起了城市里
02:28
among those who favor sounds
and those who fear the presence
and those who fear the presence
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喜欢声音的人和害怕
有太多噪声的人
有太多噪声的人
02:32
of too much noise in the city.
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的不同反应。
02:35
However, I don't see it
as the noise of the car.
as the noise of the car.
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然而，我不认为这是汽车的噪音。
02:41
I rather see it as the voice of the car.
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我更愿意视其为汽车的声音。
02:46
And this is one of my biggest challenges,
and privileges, at the same time.
and privileges, at the same time.
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这是我最大的挑战之一，
同时也是我最大的特权。
同时也是我最大的特权。
02:50
I design the voice of electric cars.
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我设计电动车的声音。
02:55
We all know how a combustion
engine sounds like,
engine sounds like,
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我们都知道内燃机的声音，
02:59
and we do actually also know
how an electric engine sounds like.
how an electric engine sounds like.
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我们其实也知道
电动发动机的声音。
电动发动机的声音。
03:03
Think of the electric tramway.
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想想电车轨道。
03:05
As soon as it moves,
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它一移动，
03:06
it creates this ascending
high-frequency pitch sound,
high-frequency pitch sound,
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它产生这种上升的高频音高，
03:10
which we called "whistling" sound.
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我们称之为“口哨声”。
03:13
However, if we would
just amplify this sound,
just amplify this sound,
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然而，如果我们放大这个声音，
03:17
we would still not be able to fulfill
the legal requirements.
the legal requirements.
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我们仍然无法达到法规的要求。
03:21
That's also why we need
to compose new sound.
to compose new sound.
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所以我们需要创作新的声音。
03:25
So how do we go after it?
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那么我们该怎么做？
03:29
In many cities, the traffic
is already very chaotic,
is already very chaotic,
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在很多城市，交通
已经足够混乱了，
已经足够混乱了，
03:32
and we don't need more chaos.
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我们不需要更多的混乱。
03:35
But the streets of the 21st century
are a great case study
are a great case study
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但21世纪的街道是
一个很好的充满了
一个很好的充满了
03:40
teeming with transience,
cross purposes and disarray.
cross purposes and disarray.
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转瞬即逝，交叉目的
和混乱的研究案例。
和混乱的研究案例。
03:45
And this landscape
offers a great opportunity
offers a great opportunity
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并且这个场景提供了很好的机会
03:48
for developing new solutions
on how to reduce this chaos.
on how to reduce this chaos.
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去开发新的解决方案
来减少这种混乱。
来减少这种混乱。
03:54
I have conceived a new approach
that tries to reduce the chaos
that tries to reduce the chaos
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我构思了一个新的方法，
试图通过引入和谐
试图通过引入和谐
03:59
by introducing harmony.
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来减少混乱。
04:02
Since many people don't know
how an electric car could sound like,
how an electric car could sound like,
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因为很多人不知道
电动车听起来什么样，
电动车听起来什么样，
04:07
I have to define, first of all,
a new sound world,
a new sound world,
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首先，我得去定义
一个新的声音世界，
一个新的声音世界，
04:11
something that doesn't belong
to our previous experience
to our previous experience
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这种不属于我们先前的体验，
04:15
but creates a reference for the future.
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但为未来提供一个参考的东西。
04:19
Together with a small team,
we create lots of sonic textures
we create lots of sonic textures
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通过与一个小团队的合作，
我们创造了许多
我们创造了许多
04:23
that are able to transmit emotion.
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能够传递情感的声音纹理。
04:28
Just like a painter with colors,
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就像画家的色彩一样，
04:30
we are able to connect
feelings and frequencies
feelings and frequencies
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我们能够链接感觉和频率，
04:34
so that whenever one is approaching a car,
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这样当车驶近某个人时，
04:37
we can feel an emotion
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我们可以感到情感，
04:39
which, besides fulfilling
the legal requirements,
the legal requirements,
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这，除了满足法律要求外，
04:43
speaks also about the character
and the identity of the car.
and the identity of the car.
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也传达了这辆汽车的
性格和身份。
性格和身份。
04:49
I call this paradigm "sound genetics."
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我这个范式称为“声音基因”。
04:54
With sound genetics, I define,
first of all, an aesthetic space of sound,
first of all, an aesthetic space of sound,
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通过声音基因学，我首先
定义了声音的审美空间，
定义了声音的审美空间，
05:00
and at the same time,
I search for new, innovative methods
I search for new, innovative methods
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同时，我寻找新的，创新的方法
05:04
for generating soundscapes
that we don't know,
that we don't know,
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来生产我们不知道的声音场景，
05:08
soundscapes that allow us
to envision abstract worlds,
to envision abstract worlds,
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声音场景能让我们
抽象世界的音景，
抽象世界的音景，
05:14
to make them tangible and audible.
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让它们摸得着，看得见。
05:18
Sound genetics is based on three steps.
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声音基因基于三个步骤。
05:22
The first one is the definition
of a sonic organism,
of a sonic organism,
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第一个是声音有机体的定义，
05:27
the second one is a description
of sonic variations,
of sonic variations,
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第二个是声音变化的描述，
05:31
and the third one
is the composition of sound genes.
is the composition of sound genes.
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第三个是声音基因的组成。
05:38
The description of a sonic organism
is based on a cluster of properties
is based on a cluster of properties
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对声音有机体的描述
是基于我所创作的
是基于我所创作的
05:44
that every sound
that I compose should have.
that I compose should have.
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每一个声音都应该
具有的一组特性。
具有的一组特性。
05:50
[Sound is moving.]
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[移动的声音]
05:52
I transfer to a small sound entity,
such as the sound of a car,
such as the sound of a car,
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我把声音转换成一个小实体，
比如汽车的声音，
比如汽车的声音，
05:58
the power of the motion of music,
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音乐运动的力量，
06:01
so that sound can move so.
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所以声音可以这样移动。
06:04
[Sound is acting.]
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[声音是运动]
06:05
And just like a dancer on a stage,
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跟舞台上的舞者一样，
06:07
sound will project trajectories
of sound in the air.
of sound in the air.
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声音会在空气中
投射出声音的轨迹。
投射出声音的轨迹。
06:14
[Sound is memory.]
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[声音是记忆]
06:15
And it's not just about
the sound of a car.
the sound of a car.
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声音不仅是汽车的声音。
06:18
It's the memory of my father
coming back home.
coming back home.
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它也是我父亲到家的回忆。
06:23
[Sound is hypnotizing.]
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[声音是催眠]
06:25
And sound has the power to create
an unexpected sense of wonder,
an unexpected sense of wonder,
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声音能够创造意外的惊奇感，
06:30
which hypnotizes.
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使人昏昏欲睡。
06:34
And ultimately,
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并且最终，
06:35
[Sound is superhuman.]
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[声音是超人]
06:36
sound goes beyond the human condition,
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声音超越了人类状态，
06:38
because it allows us to transcend.
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因为它能让我们超越。
06:44
As a second step,
we define the sonic variations.
we define the sonic variations.
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第二步，我们定义了声音的变化。
06:49
[Identity prism]
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[身份棱镜]
06:50
Just like humans, where different bodies
generate different voices,
generate different voices,
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就跟人类一样，不同的身体
产生不同的声音，
产生不同的声音，
06:54
also different car shapes
have a different acoustic behavior
have a different acoustic behavior
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不同的汽车外形
也有不同的声学行为，
也有不同的声学行为，
06:59
which depends on
the geometry and the materials.
the geometry and the materials.
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这取决于几何和材料。
07:03
So we have to know, first of all,
how this car propagates the sound outside
how this car propagates the sound outside
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所以我们必须知道，首先，
这辆车是如何通过声学特性
这辆车是如何通过声学特性
07:10
by means of acoustic measurements.
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把声音传播出去的。
07:13
And just like a single voice is able
to produce different tones and timbres,
to produce different tones and timbres,
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就像一个单一的声音可以
产生不同的音调和音高，
产生不同的音调和音高，
07:19
at the same time, we produce
different sonic variations
different sonic variations
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同时，在我定义的8个空间内，
07:22
within a space
of eight words that I defined.
of eight words that I defined.
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我们制作了不同的声音变化。
07:28
And some of them are,
to me, really important,
to me, really important,
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其中有一些，对我而言，非常重要，
07:30
such as the concept of "visionary,"
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比如“远见”
07:33
of "elegance,"
of "dynamic," of "embracing."
of "dynamic," of "embracing."
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“优雅”、“动感”、“拥抱”的概念。
07:39
And once we have defined
these two aspects,
these two aspects,
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一旦我们定义了这两个方面，
07:42
we have what I call the identity prism,
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我们就有了我们所说的声音棱镜，
07:46
which is something like
the sonic identity card of a car.
the sonic identity card of a car.
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这有点像汽车的声波身份证。
07:53
And as a third step,
we enter the world of the sound design,
we enter the world of the sound design,
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作为第三步，我们进入了
声音设计的世界，
声音设计的世界，
07:59
where the sound genes are composed
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在这里，声音基因被合成，
08:01
and a new archetype is conceived.
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一个新的原型被制造出来。
08:05
Now let me show you another example
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现在让我给你们看另一个例子
08:08
of how I transform
a sound field into a melody.
a sound field into a melody.
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我是如何把声场转换成旋律的。
08:13
Think that I am a violin player on stage.
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把我想象成舞台上的小提琴手。
08:16
If I would start to play the violin,
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如果我开始拉小提琴，
08:18
I would generate a sound field
which would propagate in this hall,
which would propagate in this hall,
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我会产生一个声场，
在这个大厅里传播，
在这个大厅里传播，
08:22
and at some point, the sound field
would hit the side walls
would hit the side walls
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在某种程度上，
这个声场会撞到侧壁，
这个声场会撞到侧壁，
08:26
and would be scattered all over the place.
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散落到各处。
08:29
And this is how it looked like.
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这就是它的样子。
08:31
Some time ago, I captured
several ways of sound to hit side walls.
several ways of sound to hit side walls.
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前段时间，我捕捉到了几种声音
撞击侧壁的方式。
撞击侧壁的方式。
08:38
And last year, I was asked
by the Bavarian Radio Symphony Orchestra
by the Bavarian Radio Symphony Orchestra
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去年，我被巴伐利亚
广播交响乐团邀请
广播交响乐团邀请
08:42
to compose ringtones
that they were going to play.
that they were going to play.
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来创作他们要演奏的铃声。
08:46
So one of them, I had the idea
to start from this sound field.
to start from this sound field.
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其中一个，我有个想法
从这个声场开始。
从这个声场开始。
08:51
I took a section,
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我选取了一个部分，
08:53
I superimposed the section
over the distribution
over the distribution
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我把它叠加在舞台上
08:56
of the musicians onstage,
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音乐家的分布上，
08:58
and then I followed
the blooming of the sound field
the blooming of the sound field
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然后通过三个参数跟踪
09:01
by means of three parameters:
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声场的绽放：
09:04
time, intensity and frequency.
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时间，响度和频率。
09:06
Then I wrote down all the gradients
for each instrument,
for each instrument,
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然后我写下了每个声音的梯度，
09:11
and as you can see, for instance,
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你们可以看到，例如，
09:13
the piece will start with
the string section playing very softly,
the string section playing very softly,
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这首曲子将以弦乐部分的
轻柔演奏开始，
轻柔演奏开始，
09:17
and then it's going to have a crescendo
as the brasses, the woods will jump in,
as the brasses, the woods will jump in,
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然后随着铜管乐器的演奏，
木管乐器也会加入进来，
木管乐器也会加入进来，
09:23
and the melody will end
with a harp and a piano
with a harp and a piano
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然后旋律将以竖琴和钢琴
09:27
playing on the highest range.
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在最高音域演奏结束。
09:34
Let's listen how it sounded like.
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让我们听听这个声音的样子。
09:39
(Ethereal music)
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[纯音乐]
09:56
(Music ends)
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[音乐结束]
09:59
So this is the sound of my alarm clock,
actually, in the morning.
actually, in the morning.
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所以这其实是我
早晨闹钟的声音。
早晨闹钟的声音。
10:03
(Laughter)
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（笑声）
10:05
And now let's go back to electric cars.
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现在让我们回到电动汽车。
10:09
And let's listen to the first example
that I showed you.
that I showed you.
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让我们听听我为你们
展示的第一个例子。
展示的第一个例子。
10:20
(Hum)
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[引擎音]
10:28
And now I would like to show you
how a potential sound,
how a potential sound,
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现在我想向你们展示，
基于电动汽车
基于电动汽车
10:33
based on the sound genetics
for electric cars, could sound like.
for electric cars, could sound like.
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声音基因的的潜在
声音会是什么样。
声音会是什么样。
10:39
(Ethereal music)
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[纯音乐]
10:43
(Pitch rises with acceleration)
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[音调随加速度增加]
10:52
Cars are a metaphor of time,
distance and journey,
distance and journey,
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汽车象征着时间、距离和旅程，
10:59
of setting out and returning,
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象征着出发和归来，
11:02
of anticipation and adventure,
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充满期待和冒险。
11:05
but, at the same time,
of intelligence and complexity,
of intelligence and complexity,
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但同时，也是智力和复杂性，
11:10
of human intuition and accomplishment.
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是人类的直觉和成就。
11:13
And the sound has to glorify all that.
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声音必须颂扬这一切。
11:17
I see cars both as living creatures
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我把汽车看作活的生物
11:21
and as highly complex
performative art installations.
performative art installations.
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也是高度复杂的表演艺术装置。
11:27
The sounds that we envision
through sound genetics
through sound genetics
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我们通过声音基因学想象的声音
11:31
allow us not only
to celebrate this complexity
to celebrate this complexity
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让我们不仅可以庆祝这种复杂性
11:36
but also to make the world
a more elegant and safe space.
a more elegant and safe space.
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同时也让世界变得
更加优雅和安全。
更加优雅和安全。
11:42
Thank you.
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谢谢。
11:43
(Applause)
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（鼓掌）
ABOUT THE SPEAKER
Renzo Vitale - Sound geneticist, musician, acoustic engineerRenzo Vitale explores the narrative between music, science and human perception -- envisioning sonic spaces for music to evolve, for cities to sing, for people to transcend.
Why you should listen
Renzo Vitale is an Italian pianist, composer, sound designer, acoustic engineer and artist. His creative process involves an interrogation of the relation between music, science and human perception.
As a musician, Vitale has composed a wide spectrum of works ranging from dance theater to performative installation pieces and virtual reality experiences. His solo works focus on vulnerable states of human condition, such as the sublimity of emotional gravities and the irrational nature of disorders. As a scientist, his research encompasses architectural acoustics, psychoacoustics, vehicle acoustics and music communication.
Vitale holds a PhD in Acoustics from RWTH Aachen University, two master's degrees in electronic engineering and in piano performance as well as further studies in electronic music, composition and conducting. Previously he has been a research scholar at the Institute of Technical Acoustics in Aachen, Pratt Institute in New York and KTH in Stockholm.
In 2015, Vitale joined the Research and Innovation Center of BMW Group as a Noise, Vibration and Harshness (NVH) engineer. Since 2017 he designs the sounds of electric vehicles. He conceived a new generation of sounds through a novel approach that he calls "sound genetics," which defines the aesthetic space of sounds in order to generate soundscapes to enable us to envision abstract worlds and make them tangible and audible.
Renzo Vitale | Speaker | TED.com