September 6, 2022 • 20 mins
Can you change the molecular structure of a Cheez-It through music and does it actually change the flavor?
Here are some great reference links in regards to Steve Keller and I's Aged By Audio conversation:
https://spoonuniversity.com/lifestyle/cheez-it-pandora-aged-by-audio
https://www.sxmmedia.com/insights/why-emotionally-driven-audio-works
https://blog.siriusxm.com/cheez-it-aged-by-audio/
https://www.linkedin.com/pulse/cheez-it-x-pandora-aged-audio-inside-alchemy-steve-keller/
---
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For further inquiries, email Jeanna at mailto:jeanna@dreamrproductions.com
The Sound In Marketing Podcast is produced by Dreamr Productions and hosted, written, and edited by Jeanna Isham. It is available on all the major podcast channels here https://pod.link/1467112373.
Let’s make this world of sound more intriguing, more unique, and more on brand.
https://www.linkedin.com/in/jeannaisham/
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:04):
Welcometo the Sound In Marketing podcast.
I'm your host, Jeanna Isham.
Owner and founder of Dreamr Productionsand Sound in Marketing Learning.
I create, consult and educate brandsand individuals
on the power of sound in marketing.
Now back to the show.
We pick up where we left off, talkingwith Steve Keller from Pandora Studio
(00:27):
Resonate about his recent projectwith Cheez-It, Aged by Audio.
We left off with him explaining the setupof the six and a half month long process.
To get to the answer to the question,
can you changethe molecular structure of cheese?
And does it actually change the flavor?
So the next step for us
(00:48):
was after the cheese finished aging,
we wanted to do some kind of randomized
blind taste test to see if it worked.
You know, if we noticed similar resultsfrom the original study,
(01:10):
and if we could tell that there were,there was an impact.
We work with the researchand innovation lab
at Kellogg's facilitythere in Battle Creek, Michigan.
We had a small panel of tasters.
We did a randomized taste test,where we tasted
(01:32):
the cheese that had been aged
to hip hop and a control batch of the cheese.
I had, the plant set aside for us.
Cheese from the same
batch of cheese as the cheesethat we used in the experiment.
This cheese was at another pointin the warehouse where it wasn't exposed,
(01:55):
to thesoundtrack or the or the vibrations.
So that gave us a control.
So we wanted to do this test
with the cheese itself,
and then they took the cheeseand turned it into Cheez-It.
So we could taste Cheez-It crackers
(02:15):
and see if we noticed,
any difference there after itwas, was processed.
So we went into the facilitythat was locked down.
We had to get special permissionto actually even talk about the results,
but we did find thatthere was a difference.
(02:37):
There was a unanimous judgmenton the part of the panel
that we could tastedifference in the flavor.
There was a difference in the aroma.
And we also noticed a differencein the finish, not necessarily
the texture of the cheese,but the flavor profile of the cheese
(02:58):
over a little extended period of timeafter you had had eaten it.
And this held truefor both the cheese itself
and the cheese after it was processed,became a form of of the cracker.
So that was good news.
We were we were happy with that.
(03:19):
Gave us one more
point, to talk aboutfrom the from the science standpoint.
So from there, the cheese that had beensonically aged was processed
into Cheez-It crackers,put into special limited edition boxes.
And it was jointly branded by Cheez-Itand Pandora.
(03:41):
There was a QR code where you could go
listen to the playlist of tracksthat we had prepared.
Sway appeared as part of the promotion.
There were some promotional videosthat were released.
There was a lot of earned mediathat came out of this.
There were news organizations,a lot of the major
(04:05):
and local networkspicking up on the story.
I even saw some folksthat were doing their own
randomized taste tests as a result
of being kind of intrigued.
Folks, notice the difference.
It's exciting to have done something
(04:26):
that is interesting and fun,
and at first glanceit might seem laughable.
But digging into it,it was really wonderful that,
in our partnership with Leoand with Kellogg, they were as committed
to some of the scientificrigor as as we were.
(04:49):
And I think that just builds, buildsinto the to the story.
Let me ask you this.
Going back to the tests,the things that you've done before
you worked with Propel Waterto change the,
the taste, the electrolytes and doingsalty or unsalted because of taste tests.
(05:10):
I also heard,I think it was like two years ago.
Michelob, did something for Cannes,and it was, making their beer
more or less sour.
Depending on, like,listening to music while drinking it.
So my question is with these two studiesand then this study with the cheese,
how come the experience was
(05:31):
immediatewith the ingestion of these drinks?
But with the cheese, it wentfrom the other direction where it was
six and a half monthssitting to create a different taste.
My question is like,I guess my question would be,
would this have workedif you had had a certain kind of music
while people were justeating the regular Cheez-Its?
(05:52):
Do you have thoughts on that? Sure.
As I alluded to before,
the difference between
this particular experimentand some of the other things
that I've done, in playing around
with the perception of flavor,it's a difference
between changing the molecular structure,
(06:17):
of something that you're eating versus
applying a sensory hack.
Where one sense
may have an effect on another.
For example, in
the propel case we looked
at the flavor profile of propel.
(06:40):
So we had the electrolytes whichas you said really tapped into saltiness.
It’s minerals.
But the other part of the flavorprofile in propel is the fruit
that they use to add more flavor.
And that's sweetness.
So we had salty and we had sweet.
(07:01):
And we know from Cross-modal research
that we can use musicand what we call sonic seasonings,
elements of soundthat can prime your brain
to pick up on certain flavors,
because your brain's always, you know,trying to make sense of the world.
(07:22):
And we tend to gravitate towardsthings that are congruent.
So something that tastes sweet.
The sonic components that tap into thatsweetness are higher pitch,
usually faster tempos,usually staccato and rhythm.
If we wanted to tap into bitterness,
(07:46):
that would be lower pitch, more legato.
The notes connected a little bit slower.
And we find these cross-modal associationsnot just with taste, but with color.
So the same way, what I just describedas something that adds to sounding sweet
would be somethingthat we would also apply to.
(08:08):
Brighter colors.
Brighter colors tend to be associated withsounds that, like sweetness,
are higher in pitch and major in modality,
whereas tonesthat are more muted and darker.
We would tend to associate with tonesthat are lower in pitch.
Maybe a little more resonant,maybe a little slower.
(08:30):
So our brain just naturally kindof gravitates to these things.
So if I prime your brainwith a particular sonic seasoning,
then more than likelyyou are going to perceive
more of that flavor when you pop whateverit is you're tasting into your mouth.
(08:51):
So with Propel, we did research into whatwere the sonic seasonings for saltiness?
We pretty much already knewwhat Sonic Seasonings were for sweetness,
and the two soundscapes that we createdwere designed to tap into
saltiness or sweetness.
So if you were listening to a more saltysoundscape, if you were a super taster,
you might actually perceivewhat you're tasting as tasting more salty.
(09:16):
For most folks,it probably just cut the sweetness.
So listening to the salty soundtrack,actually,
you know, the perception wasit tasted less sweet.
Whereas with the sweet soundtrack that
augmented your perception of sweetness.
(09:37):
So your brain is saying, oh, you know,this should tastes sweet.
And indeed it does.
So I don't want to get into,you know, the weeds
on all the cross-modal researchbecause that's really, really fascinating.
But essentially what we're doing,
as I said,is, is we're playing with sensory hacks.
(09:58):
We're changing your perception
of flavor, not by changing
what we're putting in your mouthand the the molecular structure of that,
but changing itby what we're putting into your ears.
And that's the same way,the same application with Becks,
(10:18):
which was actually the beer thatyou talked about that that was at Cannes..
Stella Artois has donesome things that are similar to this.
We did some workwith Cadbury, around the flavor profiles,
and actually,
Charles andI, along with a couple of other researcher
(10:39):
friends, did a study that was releasedlast year that goes in depth
into Sonic Seasonings and all the brandsthat we've we've worked with.
And I'll put a link in the show notesfor that because it's super interesting.
Yeah, so,so folks want to geek out on the science.
Yeah, they can do that.
So when we get towhat we did with Cheez-It,
(11:04):
that's totally different.
We weren't trying to playwith your perception
of flavor with a sonic hack.
We were actually tryingto change the flavor
of the food itself.
And that's what you do all the time
(11:26):
with, ingredientsand seasonings, temperatures.
You know how long you cook something,what temperature you cook it at
and how it affects them,and the molecular structure of the food
as you're preparing it in this case,
we were messing with the microorganisms
(11:46):
because that in the aging process is
what has an impact on the flavor.
So by using the vibrational,
qualities of sound
to impact the developmentof the microorganisms,
we literally had, an impact on the flavor.
(12:10):
So this wasn't just a perceptionof a different taste
because we had some kind of sonic hackgoing on.
It was in the absence of that.
You could taste the differencebecause there was
a difference in the aroma, in the flavor,in the finish.
Now, to answer the other partof your question,
(12:33):
could we have done something similar
with Sonic Seasonings and Cheez it?
And the answer would becertainly we could.
Cheez-It has a lot of different flavors.
Some are spicier than others.
Sometimes they use different cheese.
Sometimes it might be,you know, a little more sharp,
(12:55):
in the cheese, a little more mellow.
Could we use Sonic seasoningsso that when you're eating Cheez it,
we could kind of changeyour flavor perception?
Yes. Most definitely.
It's just a matter of figuring outwhat are the flavor profiles
(13:15):
and how are you being congruent
or incongruent in your use of sound.
And, you know, then you can combine thatwith other senses too,
because psychophysics and cross-modalscience
isn't just about soundand taste, it's about everything.
So by changing the color of the cracker,
(13:38):
changing the color of the box
that it'sin, changing the color of the plate
on which it's served can have an impact,which does bring us back
to our randomized taste test
in these kind of randomized taste tests.
You have to make sure that
(14:00):
not only do the panelists who are tasting,
not only dothey not know what cheese it is,
but everything elseneeds to be consistently the same.
You have to use the same,
plates, the same colors.
(14:21):
Even adjustingsomething like the weight of a cup
can have an impact on flavor.
So everything in the taste testhas to be equal.
The researchers conducting the test know
which samples are the experimental sample.
(14:42):
Which sample is the control sample.
But the tasters do not know.
And also it's randomized for the order
that panelists are tasting in.
As well.
So you're you're attempting to,through your experimental design,
make sure that any differencesthat are noticed
(15:04):
are about the stimulus that you'remeasuring and not an intervening variable.
Rounding it all out, let's go back towhat you alluded to at the beginning.
You said that you found more things thanjust, you know, a fun research project.
There was there's somethingthat you were alluding to
that actually was helpful, potentiallyto the world in one way or another.
(15:26):
Sound healing.
Well, whatwhat was it that you were talking about?
I think the the immediate application
is thinking about health and wellness.
So obviously,if you can see from this experiment
that the vibrations had an impact
on the developmentof these living micro organisms,
(15:50):
hence resulting in a change
in the flavor of the cheese,
you can imagine that vibrationwould have a similar effect
on any living organism.
I think we're seeing moreand more research that's being done
in ways that sound vibrations
(16:10):
can be used, for health and wellness.
I mean, a sonogram isis essentially sound
vibrationused to translate into a picture.
It's ultrasonicsound that that you can't hear.
But certainlyyou can think of applications
(16:31):
for sound, and vibrationas part of a treatment modality.
Could be used, for massage
and could be used to mitigate
pain in certain situations.
And also thinking about negative impacts
(16:51):
of sound and vibration.
So if you're in an environment,
where
maybe there's vibrationthat's coming from a sound source
somewherethat can actually have an impact on
you feeling uneasy or queasy or sick.
(17:12):
We can get off into tangents.
I think that happens very often.
When we start talking about vibration
and certain frequencies, things
that may be grounded in some science
but kind of veer off into,
more anecdotal observation.
(17:35):
I really try and ground the workthat I'm doing more in
practical experimental sciencethat has some scientific rigor to it.
But that's that's whereI think we can think about
the impact of sound,
noise, vibration
on our health and well-beingbecause it does have an impact.
(18:01):
Nothing less.
We can see it on aon a level of microorganisms.
Well, and I, I think I read somewhereit's been a while,
so I might be slightly off on it,
but it was somethingabout like the Earth's rotation.
The there's,there's a beat that comes from the Earth
that our heart mimics in some way.
(18:22):
I don't know, maybe I'mI'm too far gone on that. But,
I mean,
certainly,you know, we can look at rhythms,
we can look at entrainment,you know, the way
our bodies will adjust to rhythms.
You know, we we do that as people
when we go to shows,when we go to concerts, you know, our
(18:43):
our brain will hear a piece of musicand we'll see something.
And it's like,
how did all that work out to get in time?
You know, and part of that is a phenomenonthat's happening
because our brains are kind of workingto give us that perception
that it's moving in, a similar rhythm.
Because, again,we like things that are congruent,
(19:06):
and moving together feels good.
It produces oxytocin.
There's research that shows that,you know, if we move in time to music
or sing together,that increases prosocial behavior.
You know, so, so maybe we
could solve the world's problemswith throwing a giant dance party.
(19:27):
I would love that.
I think that sounds like a great idea.
I would go I would go to a dance clubif it if it would solve world peace.
That's a good reason to go to a dance.
Yeah, definitely.
Well, Steve, as usual, thank you so much.
I've learned so much from you.
I loved kind of the juxtapositionbetween perspective in sensory
(19:50):
and actually offsettingand transposing things
into something molecularlychanging things.
It's it's mind boggling to methat we can do those sorts of things.
But thank you againfor being such a wealth of knowledge.
Well, thank you for, giving me some time
to throw some stuff out thereand have, these kinds of conversations.
(20:12):
I absolutely love it.
Anytime, anytime.
I hope you're enjoying the show.
Don't forget to subscribeon all the major podcast channels, share
with friends, follow and rate.
Spread the word because, well,more people should know about this stuff.
I know you know that.
Now for any other inquiries you can findme on LinkedIn, Twitter and Facebook.
(20:32):
You can also email me at Jeanna@DreamrProductions.com
All links will be provided in the show.Notes.
Let's make this world of soundmore intriguing, more unique, and more
and more on brand.
Welcometo the Sound In Marketing podcast.
I'm your host, Jeanna Isham.
Owner and founder of Dreamr Productionsand Sound in Marketing Learning.
I create, consult and educate brandsand individuals
on the power of sound in marketing.
Now back to the show.
We pick up where we left off, talkingwith Steve Keller from Pandora Studio
(00:27):
Resonate about his recent projectwith Cheez-It, Aged by Audio.
We left off with him explaining the setupof the six and a half month long process.
To get to the answer to the question,
can you changethe molecular structure of cheese?
And does it actually change the flavor?
So the next step for us
(00:48):
was after the cheese finished aging,
we wanted to do some kind of randomized
blind taste test to see if it worked.
You know, if we noticed similar resultsfrom the original study,
(01:10):
and if we could tell that there were,there was an impact.
We work with the researchand innovation lab
at Kellogg's facilitythere in Battle Creek, Michigan.
We had a small panel of tasters.
We did a randomized taste test,where we tasted
(01:32):
the cheese that had been aged
to hip hop and a control batch of the cheese.
I had, the plant set aside for us.
Cheese from the same
batch of cheese as the cheesethat we used in the experiment.
This cheese was at another pointin the warehouse where it wasn't exposed,
(01:55):
to thesoundtrack or the or the vibrations.
So that gave us a control.
So we wanted to do this test
with the cheese itself,
and then they took the cheeseand turned it into Cheez-It.
So we could taste Cheez-It crackers
(02:15):
and see if we noticed,
any difference there after itwas, was processed.
So we went into the facilitythat was locked down.
We had to get special permissionto actually even talk about the results,
but we did find thatthere was a difference.
(02:37):
There was a unanimous judgmenton the part of the panel
that we could tastedifference in the flavor.
There was a difference in the aroma.
And we also noticed a differencein the finish, not necessarily
the texture of the cheese,but the flavor profile of the cheese
(02:58):
over a little extended period of timeafter you had had eaten it.
And this held truefor both the cheese itself
and the cheese after it was processed,became a form of of the cracker.
So that was good news.
We were we were happy with that.
(03:19):
Gave us one more
point, to talk aboutfrom the from the science standpoint.
So from there, the cheese that had beensonically aged was processed
into Cheez-It crackers,put into special limited edition boxes.
And it was jointly branded by Cheez-Itand Pandora.
(03:41):
There was a QR code where you could go
listen to the playlist of tracksthat we had prepared.
Sway appeared as part of the promotion.
There were some promotional videosthat were released.
There was a lot of earned mediathat came out of this.
There were news organizations,a lot of the major
(04:05):
and local networkspicking up on the story.
I even saw some folksthat were doing their own
randomized taste tests as a result
of being kind of intrigued.
Folks, notice the difference.
It's exciting to have done something
(04:26):
that is interesting and fun,
and at first glanceit might seem laughable.
But digging into it,it was really wonderful that,
in our partnership with Leoand with Kellogg, they were as committed
to some of the scientificrigor as as we were.
(04:49):
And I think that just builds, buildsinto the to the story.
Let me ask you this.
Going back to the tests,the things that you've done before
you worked with Propel Waterto change the,
the taste, the electrolytes and doingsalty or unsalted because of taste tests.
(05:10):
I also heard,I think it was like two years ago.
Michelob, did something for Cannes,and it was, making their beer
more or less sour.
Depending on, like,listening to music while drinking it.
So my question is with these two studiesand then this study with the cheese,
how come the experience was
(05:31):
immediatewith the ingestion of these drinks?
But with the cheese, it wentfrom the other direction where it was
six and a half monthssitting to create a different taste.
My question is like,I guess my question would be,
would this have workedif you had had a certain kind of music
while people were justeating the regular Cheez-Its?
(05:52):
Do you have thoughts on that? Sure.
As I alluded to before,
the difference between
this particular experimentand some of the other things
that I've done, in playing around
with the perception of flavor,it's a difference
between changing the molecular structure,
(06:17):
of something that you're eating versus
applying a sensory hack.
Where one sense
may have an effect on another.
For example, in
the propel case we looked
at the flavor profile of propel.
(06:40):
So we had the electrolytes whichas you said really tapped into saltiness.
It’s minerals.
But the other part of the flavorprofile in propel is the fruit
that they use to add more flavor.
And that's sweetness.
So we had salty and we had sweet.
(07:01):
And we know from Cross-modal research
that we can use musicand what we call sonic seasonings,
elements of soundthat can prime your brain
to pick up on certain flavors,
because your brain's always, you know,trying to make sense of the world.
(07:22):
And we tend to gravitate towardsthings that are congruent.
So something that tastes sweet.
The sonic components that tap into thatsweetness are higher pitch,
usually faster tempos,usually staccato and rhythm.
If we wanted to tap into bitterness,
(07:46):
that would be lower pitch, more legato.
The notes connected a little bit slower.
And we find these cross-modal associationsnot just with taste, but with color.
So the same way, what I just describedas something that adds to sounding sweet
would be somethingthat we would also apply to.
(08:08):
Brighter colors.
Brighter colors tend to be associated withsounds that, like sweetness,
are higher in pitch and major in modality,
whereas tonesthat are more muted and darker.
We would tend to associate with tonesthat are lower in pitch.
Maybe a little more resonant,maybe a little slower.
(08:30):
So our brain just naturally kindof gravitates to these things.
So if I prime your brainwith a particular sonic seasoning,
then more than likelyyou are going to perceive
more of that flavor when you pop whateverit is you're tasting into your mouth.
(08:51):
So with Propel, we did research into whatwere the sonic seasonings for saltiness?
We pretty much already knewwhat Sonic Seasonings were for sweetness,
and the two soundscapes that we createdwere designed to tap into
saltiness or sweetness.
So if you were listening to a more saltysoundscape, if you were a super taster,
you might actually perceivewhat you're tasting as tasting more salty.
(09:16):
For most folks,it probably just cut the sweetness.
So listening to the salty soundtrack,actually,
you know, the perception wasit tasted less sweet.
Whereas with the sweet soundtrack that
augmented your perception of sweetness.
(09:37):
So your brain is saying, oh, you know,this should tastes sweet.
And indeed it does.
So I don't want to get into,you know, the weeds
on all the cross-modal researchbecause that's really, really fascinating.
But essentially what we're doing,
as I said,is, is we're playing with sensory hacks.
(09:58):
We're changing your perception
of flavor, not by changing
what we're putting in your mouthand the the molecular structure of that,
but changing itby what we're putting into your ears.
And that's the same way,the same application with Becks,
(10:18):
which was actually the beer thatyou talked about that that was at Cannes..
Stella Artois has donesome things that are similar to this.
We did some workwith Cadbury, around the flavor profiles,
and actually,
Charles andI, along with a couple of other researcher
(10:39):
friends, did a study that was releasedlast year that goes in depth
into Sonic Seasonings and all the brandsthat we've we've worked with.
And I'll put a link in the show notesfor that because it's super interesting.
Yeah, so,so folks want to geek out on the science.
Yeah, they can do that.
So when we get towhat we did with Cheez-It,
(11:04):
that's totally different.
We weren't trying to playwith your perception
of flavor with a sonic hack.
We were actually tryingto change the flavor
of the food itself.
And that's what you do all the time
(11:26):
with, ingredientsand seasonings, temperatures.
You know how long you cook something,what temperature you cook it at
and how it affects them,and the molecular structure of the food
as you're preparing it in this case,
we were messing with the microorganisms
(11:46):
because that in the aging process is
what has an impact on the flavor.
So by using the vibrational,
qualities of sound
to impact the developmentof the microorganisms,
we literally had, an impact on the flavor.
(12:10):
So this wasn't just a perceptionof a different taste
because we had some kind of sonic hackgoing on.
It was in the absence of that.
You could taste the differencebecause there was
a difference in the aroma, in the flavor,in the finish.
Now, to answer the other partof your question,
(12:33):
could we have done something similar
with Sonic Seasonings and Cheez it?
And the answer would becertainly we could.
Cheez-It has a lot of different flavors.
Some are spicier than others.
Sometimes they use different cheese.
Sometimes it might be,you know, a little more sharp,
(12:55):
in the cheese, a little more mellow.
Could we use Sonic seasoningsso that when you're eating Cheez it,
we could kind of changeyour flavor perception?
Yes. Most definitely.
It's just a matter of figuring outwhat are the flavor profiles
(13:15):
and how are you being congruent
or incongruent in your use of sound.
And, you know, then you can combine thatwith other senses too,
because psychophysics and cross-modalscience
isn't just about soundand taste, it's about everything.
So by changing the color of the cracker,
(13:38):
changing the color of the box
that it'sin, changing the color of the plate
on which it's served can have an impact,which does bring us back
to our randomized taste test
in these kind of randomized taste tests.
You have to make sure that
(14:00):
not only do the panelists who are tasting,
not only dothey not know what cheese it is,
but everything elseneeds to be consistently the same.
You have to use the same,
plates, the same colors.
(14:21):
Even adjustingsomething like the weight of a cup
can have an impact on flavor.
So everything in the taste testhas to be equal.
The researchers conducting the test know
which samples are the experimental sample.
(14:42):
Which sample is the control sample.
But the tasters do not know.
And also it's randomized for the order
that panelists are tasting in.
As well.
So you're you're attempting to,through your experimental design,
make sure that any differencesthat are noticed
(15:04):
are about the stimulus that you'remeasuring and not an intervening variable.
Rounding it all out, let's go back towhat you alluded to at the beginning.
You said that you found more things thanjust, you know, a fun research project.
There was there's somethingthat you were alluding to
that actually was helpful, potentiallyto the world in one way or another.
(15:26):
Sound healing.
Well, whatwhat was it that you were talking about?
I think the the immediate application
is thinking about health and wellness.
So obviously,if you can see from this experiment
that the vibrations had an impact
on the developmentof these living micro organisms,
(15:50):
hence resulting in a change
in the flavor of the cheese,
you can imagine that vibrationwould have a similar effect
on any living organism.
I think we're seeing moreand more research that's being done
in ways that sound vibrations
(16:10):
can be used, for health and wellness.
I mean, a sonogram isis essentially sound
vibrationused to translate into a picture.
It's ultrasonicsound that that you can't hear.
But certainlyyou can think of applications
(16:31):
for sound, and vibrationas part of a treatment modality.
Could be used, for massage
and could be used to mitigate
pain in certain situations.
And also thinking about negative impacts
(16:51):
of sound and vibration.
So if you're in an environment,
where
maybe there's vibrationthat's coming from a sound source
somewherethat can actually have an impact on
you feeling uneasy or queasy or sick.
(17:12):
We can get off into tangents.
I think that happens very often.
When we start talking about vibration
and certain frequencies, things
that may be grounded in some science
but kind of veer off into,
more anecdotal observation.
(17:35):
I really try and ground the workthat I'm doing more in
practical experimental sciencethat has some scientific rigor to it.
But that's that's whereI think we can think about
the impact of sound,
noise, vibration
on our health and well-beingbecause it does have an impact.
(18:01):
Nothing less.
We can see it on aon a level of microorganisms.
Well, and I, I think I read somewhereit's been a while,
so I might be slightly off on it,
but it was somethingabout like the Earth's rotation.
The there's,there's a beat that comes from the Earth
that our heart mimics in some way.
(18:22):
I don't know, maybe I'mI'm too far gone on that. But,
I mean,
certainly,you know, we can look at rhythms,
we can look at entrainment,you know, the way
our bodies will adjust to rhythms.
You know, we we do that as people
when we go to shows,when we go to concerts, you know, our
(18:43):
our brain will hear a piece of musicand we'll see something.
And it's like,
how did all that work out to get in time?
You know, and part of that is a phenomenonthat's happening
because our brains are kind of workingto give us that perception
that it's moving in, a similar rhythm.
Because, again,we like things that are congruent,
(19:06):
and moving together feels good.
It produces oxytocin.
There's research that shows that,you know, if we move in time to music
or sing together,that increases prosocial behavior.
You know, so, so maybe we
could solve the world's problemswith throwing a giant dance party.
(19:27):
I would love that.
I think that sounds like a great idea.
I would go I would go to a dance clubif it if it would solve world peace.
That's a good reason to go to a dance.
Yeah, definitely.
Well, Steve, as usual, thank you so much.
I've learned so much from you.
I loved kind of the juxtapositionbetween perspective in sensory
(19:50):
and actually offsettingand transposing things
into something molecularlychanging things.
It's it's mind boggling to methat we can do those sorts of things.
But thank you againfor being such a wealth of knowledge.
Well, thank you for, giving me some time
to throw some stuff out thereand have, these kinds of conversations.
(20:12):
I absolutely love it.
Anytime, anytime.
I hope you're enjoying the show.
Don't forget to subscribeon all the major podcast channels, share
with friends, follow and rate.
Spread the word because, well,more people should know about this stuff.
I know you know that.
Now for any other inquiries you can findme on LinkedIn, Twitter and Facebook.
(20:32):
You can also email me at Jeanna@DreamrProductions.com
All links will be provided in the show.Notes.
Let's make this world of soundmore intriguing, more unique, and more
and more on brand.
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