The Art of Making People Go Away

The Art of Making People Go Away

January 6th, 2015

You probably don’t think much about “Do Not Disturb” signs at hotels, unless the maid rudely barges in as you sleep. Then you think, “Hey, didn’t you see the door hanger? What happened to that?” But when you look through Edoardo Flores’ collection of just over 8,700 Do Not Disturb signs from 190 countries around the world—which he documents on Flickr—you’ll find they can be quite beautiful and revelatory. So-called “DND signs” tell you a lot about the character and mores of the places you find them.

Images of sleeping, snoring “Zs,” and shushing (“shush” is spelled “chut” in France) appear all over the world. Images indicating “stop” or slashes over maid figures are quite common. In places where the labor for handicrafts is cheap, resorts often feature individual handmade wood or metalwork pieces for their Do Not Disturb signs. Other hotels revel in the fantasy that brought the tourists in the first place—dreams of an exotic world or animals that populate it. The door hangers for hotels in English-speaking countries tend to be made of paper and feature cheeky slogans and phrases instead of plain ol’ “Do Not Disturb.” In certain cities, like Las Vegas, it seems more acceptable to make it explicit that sex—and possibly paid sex—is a reason for keeping the door closed.

Top: A bellhop shushes passers-by on a vintage Do Not Disturb door hanger from the William Sloane House YMCA in New York City. Above: A leopard sleeps on a door hanger from the Samburu Game Lodge in the Isiolo District of Kenya. (Courtesy of Edoardo Flores)

A retired training specialist with the International Labor Organization of the United Nations, Flores, who lives in Italy, had the good fortune to spend his 32-year career traveling to places like Bhutan, Iraq, Burma, Pakistan, and Fiji. However, it wasn’t until 1991, when he was nearly 50 years old, that he started keeping the Do Not Disturb signs he encountered on his stays.

“Do Not Disturb signs have been known for covering up crimes, or at least, delaying the discovery.”

“I think most collections start by chance,” Flores tells me over email. “I happened to travel quite a lot for work and stayed in many differenthotels. I picked up a first door hanger from a hotel in Islamabad, Pakistan, as a souvenir. Someone back at the office saw it and suggested it would make a nice collection, so I started picking up more on my other trips.

“Before that, I had started keeping spoons with airline logos/names from some of my flights, and although I have several hundred, it never took off as a collection,” he continues. “I also have hundreds of toilet seat bands from hotels. Some of them are quite interesting, but these, too, are not a formal collection. Finally, I more recently started collecting hotel key cards (the magnetic ones), and I already have several thousands.”

The DND sign for Puri Kamandalu Resort & Spa in Bali, Indonesia, is a hand-carved and hand-painted deity. (Courtesy of Edoardo Flores)

At this point, Flores is only one of a handful of serious Do Not Disturb collectors—including three adults in Germany, Switzerland, and Thailand, and a 13-year-old Canadian girl in Hong Kong—and he ranks himself No. 3 among them. They’ve all become friends and make a point to meet from time to time. The “Hotel ‘Do Not Disturb’ Sign Collectors” Facebook group currently has 107 members, but Flores says most of them are not serious collectors.

Even though he has traveled extensively, Flores hasn’t been to all of the countries he gathered DND signs from. “I have bought some on eBay, but not many,” he says. “I have often searched flea markets but found nothing. I receive many donations from friends, colleagues, and even complete strangers who travel for business or pleasure, but most of my signs come from exchanges with other collectors. I have also contacted hotels directly, but the response has not been encouraging.”

The Austrotel in Ljubljana, Slovenia, is one of many hotels with door hangers depicting maids crossed out with big Xs or slashes. (Courtesy of Edoardo Flores)

Hotel chains like Hilton, Sheraton, Radisson, and Holiday Inn often use variations of the same door hangers all over the world. While they do change their signs occasionally, Flores says the difference is often subtle. When he travels now, Flores tries to stay in a place he suspects will have something special, “but it’s always a gamble.”

However, he doesn’t necessarily have to check in to the ritziest joints to find amazing signs. “Strangely, many of the most expensive and exclusive hotels sometimes use very plain and unattractive signs,” Flores says. “On some occasions the price of the room correlates with how elaborate the sign is, mostly in Asian countries like Thailand, Indonesia, Laos, Cambodia, and Myanmar.”

And before Flores puts the Do Not Disturb sign in his bag, he considers how valuable it is. “Some of the more common paper ones are no loss to the hotels, so I just take them,” he says. “Other more elaborate or special ones like the wooden ones, I ask to buy them from the hotels. These are all individual, handcrafted pieces. Even though they’re usually found in countries where handicrafts are common and cheap, when hotels agree to sell these signs, they ask for quite a lot of money.”

Prior to Do Not Disturb signs, hotel staff just followed the clock, and maids knocked and walked in on people sleeping, showering, or engaging in other private bedroom activities. While they’ve done extensive research, Flores and his DND collector friends haven’t been able to nail down how or when the sign-hanging tradition began.

This vintage Do Not Disturb sign from Hotel Kirkwood in Des Moines, Iowa, came with a little ditty you could sing your "go away" message to. (Courtesy of Edoardo Flores)

“The first widespread use was probably in the beginning of the 20th century, mostly in the U.S., in some of the more prestigious hotels where discretion was the better part of valor,” he says. “DND signs have also been known for covering up crimes, or at least, delaying the discovery.”

Do Not Disturb signs are most commonly made out of paper or card stock—they either hang on the door knob or insert into the electric lock. Some are die-cut into shapes like locks, keys, animals, or seashells. In places where the door opens to the outside, the Do Not Disturb sign may be a small sand bag that hangs on the door knob by a rope. While many DND signs have a “make-up room” message on the back, not all do. Signs that have “Do Not Disturb” messaging in multiple languages can have hilarious errors.

Paper signs can feature gorgeous designs or silly comics. In the United Kingdom and the United States, the focus seems to be on wordplay or witty text, using phrases like “My bed is so comfortable that I’m still in it,” “Beauty sleep in progress,” “Leave me alone,” “Taking a post-lobster buffet nap,” “Constructing a pillow fort,” or “Go away.” For example, a door hanger for Clarion Hotels, part of the Choice Hotels group in the U.S., gives a checklist of reasons “Why I Can’t Be Disturbed.” The list includes being tired from food, exercise, and business, but the option that’s already checked is “I’m trying to call myself on the two-line phone while surfing the Internet in my underwear.”

The boldest DND signs simply say, “Don’t” or “No.” More polite signs say things like “Privacy Please.” “Quite a number of hotels seem to pay a lot of attention to these humble accessories,” Flores says, “much to the collector’s delight.”

Fans of Rufus the Do Not Disturb teddy bear from Rufflets Country House Hotel in St. Andrews, Scotland, saved him from extinction. (Courtesy of Edoardo Flores)

Since 1997, the Rufflets Country House Hotel in St. Andrews, Scotland, has been using a teddy bearnamed Rufus as a Do Not Disturb sign. If the maids are given the signal to clean the room, Rufus is placed among the guest’s things, like sitting at a laptop. The hotel considered getting rid of this tradition in 2008, but in an online poll, guests voted overwhelmingly in favor of keeping the bears.

In Asia and parts of Central America, Do Not Disturb signs can be individual works of art, and these are among Flores’ favorites. Wood is hand-carved into monkeys, elephants, deities, or shushing humans, and sometimes even hand-painted. Pillows may be hand-embroidered. Metal is forged into faces with eyelid flaps that latch down to indicate sleeping, while other signs are woven by hand. One painted wood block from Thailand shows a surprisingly intimate scene of a young woman sleeping, her bare breasts popping out of a sash tied around her torso.

A woman sleeps on a hand-painted Do Not Disturb sign for Chaweng Resort in Koh Samui, Thailand. (Courtesy of Edoardo Flores)

“For me, the country of origin is important,” Flores says. “I have a very unique piece from the Vatican City from the Domus Sanctae Marthae, which is the hotel where the current Pope lives. I also love some very simple handmade pieces from Pacific Island states such as Kiribati. I’m desperately looking for pieces from non-tourist countries such as Somalia and North Korea.

“Quite a number of hotels seem to pay a lot of attention to these humble accessories—much to the collector’s delight.”

“I also collect DND signs from cruise ships, which I consider floating hotels, and the adhesive-label type found in airline amenity kits, mostly in business class—I consider these seats flying hotel rooms.”

Some Do Not Disturb signs serve a double-duty, advertising credit cards, rental cars, theater shows, restaurants, tourist attractions, or even perfume, like Chanel No. 5. A door hanger for a hotel in Kenya, for example, promotes Safari boots, which you’d obviously need if you planned to go stomping around with lions.

Aside from the hand-painted signs, Flores enjoys the cartoons on older signs from countries like the U.S., Italy, Spain, and Portugal. “A very nice piece I got recently from the InterContinental Westminster in London shows a caricature of the former Prime Minister Margaret Thatcher cleaning the room.”

If Margaret Thatcher were cleaning the room, I’d say that would be a sight worth the intrusion. But while she’s stacking fresh towels don’t forget to slip that Do Not Disturb hanger into your suitcase.

Podcasts are back — and making money

I love podcasts, and I thought they were fading away.  It’s good to hear news like this from the Washington Post.

http://img.washingtonpost.com/rf/image_1484w/2010-2019/WashingtonPost/2014/09/12/Others/Images/2014-09-11/PODCASTS_Paskova_0031410482106.jpg?uuid=qN0OWjoUEeSgIx1h9_MaBQ

They were too clunky to download. The topics were sometimes a little too obscure. And they didn’t really make any money.

Podcasts, the short-form audio files that entered the mainstream with the original Apple iPod, have been around for more than a decade. But while Apple this year discontinued the classic version of its iconic device, the podcast is resurgent, drawing hard-core fans who want to listen to other people talk about, well, pretty much everything.

An average of 1.5 million listeners a month download “99% Invisible,” a program produced on a shoestring on the theme of design. Sports are such a popular topic that when ESPN suspended Bill Simmons for his podcast tirade against NFL Commissioner Roger Goodell, fans of his “B.S. Report” helped make #FreeSimmons a top trending term on Twitter. A new series from “This American Life” producer Alex Blumberg — about starting a podcast business — has quickly become one of the top 10 most-downloaded programs in the country.

And, importantly, podcasts are finally profitable.

“It’s sort of a renaissance. Podcasts are in vogue,” said Todd Cochrane, chief executive of RawVoice, a podcast data research firm.

Maybe it’s the intimacy of hearing soothing voices piped into your ears through a pair of headphones — or maybe it’s just how much time people need to kill listening to something. Americans spend more than three hours a day commuting, working out and doing household chores that can be accompanied by audio entertainment, according to census data studied by Matt Lieber, a former public radio producer who co-founded the podcast company with Blumberg.
Smartphones and Bluetooth-enabled cars have made it easier than ever for listeners — who are still mostly men — to load up their favorite programs. And instead of the old way of downloading them from iTunes onto a computer and syncing with an iPod, listeners can grab shows straight from the Internet onto their smartphones.

Last year, Apple said downloads of podcasts through iTunes reached 1 billion. RawVoice, which tracks 20,000 shows, said the number of unique monthly podcast listeners has tripled to 75 million from 25 million five years ago.

And the connection that people can feel toward their favorite podcasts is exactly the sort of relationship that many media companies are trying to build with their users. At a time when people can easily skip TV ads, messages from sponsors on podcasts have a way of sinking in, especially when they’re read by the hosts of the show themselves, analysts say. As a result, this second wave of podcasts — unlike the first go-round — is promising to make more money.

“Five years ago, podcasting was very much a hobbyist’s activity and many people weren’t making them to make money,” said Tom Webster, a vice president of strategy at polling firm Edison Research. “But audience sizes have grown consistently, and each listener is listening to more shows as part of their weekly habit. That’s brought major producers to embrace podcasting.”

When Roman Mars began his quirky public radio show on the topic of design, he never expected it to amount to much.

The show “99% Invisible” was small in every way. Each episode ran for just 4 minutes 30 seconds, short enough to wedge between segments of big shows like NPR’s “Morning Edition.” It was esoteric, with back stories on the way the periodic table and parking meters were designed. Mars had a tiny budget of $5,000 and wrote, narrated and produced the show from the bedroom of his Oakland, Calif., home.
The show was warmly received when it started airing four years ago on San Francisco’s KALW. But off the airwaves — in the world of podcasts — the show was a blockbuster. It is now consistently in the 20 most-downloaded podcasts on iTunes.

Mars quit his old public radio job and now works full time on “99% Invisible,” funded entirely by the show’s fans and a handful of sponsors. The show is still broadcast on a few public radio stations, but that “distribution means less and less over time,” Mars said in a recent phone interview from Dublin, where he was putting on a live show for European fans. “They have a great reach and I’m a huge fan of NPR, but right now, if I’m able to reach my audience directly through podcasts, the writing is on the wall.”

Despite some early enthusiasm, podcasts faded in popularity in the early 2000s, partly because of the many steps required to download them and play them in a vehicle. The introduction of the iPhone in 2007 changed that, making podcasts as convenient to access as a Netflix show. It’s easier to play them in cars, too, as automakers build wireless media functions into more and more models. And faster WiFi and mobile data speeds have made podcasts a snap to stream.

Radio is still far more popular and lucrative than the fledgling world of podcasts. The industry has withstood the disruption that the Internet wrought on newspapers and TV, partly thanks to an enormous audience of commuters trapped in cars. But podcast enthusiasts believe preferences are beginning to change.
“This is where radio syndication was 30 years ago, and this is just the beginning,” said industry veteran Norm Pattiz, chief executive of celebrity podcast channel PodcastOne. “What Netflix did for video is what podcasts are doing for radio today.”

Podcasters also like the personal connection they have with fans who listen through ear buds or headphones, which can make shows feel more intimate than other forms of media.

Mars said he keeps that in mind and mikes himself more closely than he used to. This allows him to use a quieter voice, which he calls a “head voice,” in the hopes of more closely connecting with listeners.

“My connection to the audience is something I completely cherish and is part of that medium that is really unique,” he said.

The flexibility of podcasts appeals to radio industry veterans whose shows have been dictated by rigid time blocks and long-held industry rules. Mars’s shows are now 20 minutes in length, allowing for deeper reporting and developed story lines. “Longform,” a podcast that interviews authors and magazine writers, runs much longer — too long to get picked up by any radio stations.

Even with the rise of six-
second Vine videos and viral listicles on the Web, Mars believes there is a strong appetite for long-form audio storytelling. It’s what keeps listeners committed for 20 minutes to stories about, for instance, Ikea hackers — people who mix and match Ikea furniture as a hobby.

Fans are so devoted that they have helped to raise nearly $600,000 in the past three years — money that has allowed Mars to hire three reporters and producers.
The money for podcasts is coming from not just fans but advertisers, too.

Pattiz at PodcastOne, a company that hosts and distributes podcasts, says his company sells millions of dollars of ads for popular podcasts by pro wrestler “Stone Cold” Steve Austin, talk host Adam Carolla and sportscaster Dan Patrick.

A new podcast launched in June starring Nicole “Snooki” Polizzi from the reality show “Jersey Shore” averages 1.5 million downloads per episode. Pattiz is scouting for more stars to launch podcasts. He has signed former CNN host Larry King and his wife, Shawn, and “Pawn Stars” host Rick Harrison.

The new podcast audiences inspired Blumberg, a former producer for NPR’s “Planet Money” program, to create a for-profit podcast company with narrative storytelling on a range of topics.

And he’s starting by reporting on himself and his new venture.

In the first three episodes of the series called “Startup,” Blumberg goes to Silicon Valley to meet with one of Twitter’s original investors, Chris Sacca, to pitch his idea. Blumberg invites listeners to eavesdrop on the investment conversations, where he initially falls flat explaining how the idea will become as successful as Twitter.

Blumberg and Lieber launched the show three weeks ago, and the first three episodes have jumped to the top five podcasts of the iTunes chart.

They are operating out of a shared office space in Brooklyn but have plans to build a production space.

“It was just so straightforward and totally not about begging to please buy this or that to keep the lights on,” Blumberg said. “It was pure excitement to realize if you have something people want, they are willing to buy it. That’s what these podcasts will generate.”

The Project to Let Anyone Download and Print Their Own House

via Gizmodo

The Project to Let Anyone Download and Print Their Own House

The Project to Let Anyone Download and Print Their Own House

If you could go online, select a home, print the plans for free, and build it yourself for less than $80,000 in a few days, would you? That’s the dream behind WikiHouse, an open source home design project that just finished construction of its fourth prototype, a two-storey home that snaps together in just a few days.

Architects have struggled to find a viable model for building cheap, fast, single-family homes since the earliest experiments with pre-fab in the 1900s. It’s an idea we still grapple with today, and WikiHouse is its direct descendent: A project to publish open source building plans online for anyone to download, designed to require only the most basic knowledge of construction to create. The average cost of buying a home in America hovers around $300,000—WikiHouse 4.0 can be built from scratch for less than a third of that.

The Project to Let Anyone Download and Print Their Own HouseEXPAND

“Since the industrial revolution the dominant idea from industry has been the assumption that if we want to produce homes they have to be provided by really large organizations who build them on our behalf,” said Alastair Parvin, the co-designer of WikiHouse, to The Independent. WikiHouse wants to cut out any and all middlemen, and the 4.0 house is its most advanced and realistic prototype to date.

So how do a bunch of unskilled n00bs put together a house that doesn’t fall apart when you open the front door? Think of it like putting together a model plane from a punch-out cardboard sheet. 350 panels of a product called SmartPly—essentially, a humidity-resistant particle board—are cut into numbered pieces using a CNC mill:

The Project to Let Anyone Download and Print Their Own HouseEXPAND

The Project to Let Anyone Download and Print Their Own House

These pieces are then assembled using the number-specific map, requiring no bolts of any kind, a bit like lincoln logs. When pieced together, they form a sturdy skeleton for the rest of the house.

The Project to Let Anyone Download and Print Their Own House

The rest of the home is made from super-efficient, inexpensive off-the-shelf parts. And inside, the structure is “smart” in the sense that you can control every bit of its wiring—from heat to lighting—with your phone. But it doesn’t use HomeKit or Nest or any proprietary connected home we’ve heard so much about. Rather, it uses a Linux computer and OpenHAB, an open source home automation software.

It’s not a “3D-printed house.” It’s actually way cooler than that, because it uses existing rapid prototyping tech that’s widely available for not much money. In that sense, it’s far, far more realistic than the multi-million dollar efforts to “print” whole buildings. In reality, 3D printing as we currently understand it doesn’t make much sense as a building technology.

Given the choice between a one-size-fits-all plastic bunker that costs millions to print and a cheap, light home you can cut out and put together for less than $100k, most of us will choose the latter.You can check out WikiHouse 4.0 at the Building Centre in London until September 26.

Image by Margaux Carron, courtesy of The Building Centre.

The Walking Tour – The Speed of Inspiration

The Walking Tour 
The Speed of Inspiration
In need of a burst of creativity? Go for a walk.



Why is Dickens’ chair empty?
Maybe he went for a walk.
Creative people walk. The philosopher and compulsive stroller Friedrich Nietzsche left little room for debate when he claimed 125 years ago, “All truly great thoughts are conceived by walking.” 

And he had a lot of company in this belief, especially among the pantheon of the early big heads: Tchaikovsky, Rousseau, Dickens, Mahler, Thoreau, Kant — all were habitual walkers, some to the point of obsession. Thoreau, for instance, adhered to a simple calculus — he could write for an hour only if he offset that with an hour of walking. Tchaikovsky walked precisely two hours every day to remain creative. Rousseau believed he could conceive thoughts worthy of committing to paper only if he walked. Rousseau further claimed that just looking at a desk left him dissipated and vaguely nauseous, foreshadowing the affliction of modern cubicle dwellers everywhere.

Dickens may have been the most obsessive. He’d often suggest to guests “Let’s have a walk before dinner,” and then lead them off on a march of a dozen miles or more, returning with the host invigorated and guests on the point of debilitation and collapse. Along his route he’d let his imagination run wild, and would at times claim to see characters from his earlier books walking along the streets. “My walking is of two kinds,” Dickens wrote, “one straight on end to a definite goal at a round pace; one, objectless, loitering, and purely vagabond.” He boasted that “no gypsy on earth is a greater vagabond than myself.”

And it’s that vagabond state among walkers — moving aimlessly, not on a mission, drifting here and there, letting thoughts change with the passing view — that appears to best enliven fallow synapses, open the mind to new avenues, and fuel creativity. The prose for which Dickens was famed could only be “gained by walking dreamily in a place, it cannot be gained by walking observantly,” G.K. Chesterton noted of the author.

Recent science has been strengthening the links between walking and creativity.

A study published earlier this year in the Journal of Experimental Psychology by Stanford University professors Marily Oppezzo and Daniel L. Schwartz delved into the links between physical activity and cognitive abilities, specifically, the effect of walking on creativity.

This project encompassed a series of four experiments. Each involved 40 to 50 students, with those students tested on their creativity under varied circumstances. (How do you test creativity? By asking the students to verbally list things that they might do or construct with random objects, say, a button, or a tire. Scores were based on both the sheer volume of ideas, as well as on novelty, with extra points for coming up with unique ideas.)

In one test, a group was given the test while seated, and then again while walking on a treadmill. The treadmill group had more creative ideas. One might reasonably conclude that this showed that test-taking ability improved on the second round. So the procedure was reversed; still the scores were higher walking than when sitting. (What’s more, the authors note, “walking left a residue that produced strong performance when participants were subsequently sitting.”)

Another test pitted those walking outdoors against those sitting indoors. Walkers again did better. Could this have been the result of visual and auditory stimulus of being outside in a more interesting environment? To control for this, seated students were also tested on the same outdoor route, but while being rolled in a wheelchair. Walkers still did better. “While research indicates that being outdoors has many cognitive benefits,” the authors wrote, “walking has a very specific benefit — the improvement of creativity.”

The end result from all tests: “Four studies demonstrate that walking increases creative ideation. The effect is not simply due to the increased perceptual stimulation of moving through an environment, but rather it is due to walking.”

It’s rewarding, of course, when 18th and 19th century thinkers and 21st century social scientists arrive at the same conclusion by very different routes. But we’re a long, long way from the 19th century these days, and I’d argue that it’s even more essential for creative types to be out walking more often today. Not only because that gets the creative thoughts flowing, but because it serves as a moat that create a temporary lull against the ghastly information onslaught of our era, and provides a vantage point to see how better to variously dodge and link the dross that surrounds us.

It’s no secret: we’re ceaselessly bombarded by information from every direction, from sun-up to sleep. Noise has always been present in human lives, and we’ve always worked to discern a signal within it. But the volume of noise has grown to death metal levels in recent years. Just the past century we’ve gone from magazines to radio to television to social media, each piling on information both useful and not. And it’s not as if one medium has replaced the other — it simply builds atop one another, like a massive algal bloom. The information mongers have lately even violated the portcullis of our smartphone lock screens, and now nattering at us with emails and texts and Twitter updates, like a gossipy pocket troll.

One recent study found that the amount of information we receive daily has increased fivefold in the last three decades, but that strikes me as conservative. In any event, we’re processing information constantly in a way that 19th centurions couldn’t fathom. Many of us like to think of ourselves as able to sift and sort on the fly, like human colanders. But it’s not that easy. All that information, ceaselessly deployed, create frustrating blockages in our minds and limits the flexibility that allows creativity.

To be creative, to restore flow, we need at a minimum more downtime, a shelter away from ceaselessly incoming rounds of dirt and dope and scoop and poop. And this is not just a Cape Cod for the mind, a time to relax before wading back into the sifting and processing. Daydreaming, it turns out, is part and parcel of how the mind works, of how it locates and makes sense of the data we’ve already accreted and the links between them.

“You might be going for a walk or grocery shopping or doing something that doesn’t require sustained attention and suddenly — boom — the answer to a problem that had been vexing you suddenly appears,” wrote Daniel J. Levitin, author of The Organized Mind: Thinking Straight in the Age of Information Overload, in a recent New York Timesarticle.

Walking with a touch of agreeable languor is an underappreciated gift — it endows us with the time to disentangle that logjam in our head and let the flow start to move again, then to build unexpected bridges between notions and ideas. A walk among trees and meadows is always welcome — merely being amid nature is a proven salve for mind and body. But even walking in a densely urban environment where you’re still under siege from Lilliputian mercenaries in the information army — armed with messages in store windows, ads plastered on passing buses, dudes dressed like fruits trying to entice you into a smoothie shop — you can still feel at a remove from The Information, as if viewing it from the far side of a wide moat. Walking creates a mobile oasis as it primes the well of creativity. It’s more essential to visit now that even in Wordsworth’s days of endless rambling.

I’ve got no truck against the information age. In fact, new tools make it easier than ever to compose on the fly — I use my iPhone in voice memo mode, and walk along the street dictating ideas and descriptions and sometimes whole paragraphs and once in a while the outline of a complete story. People I pass pay no attention, assuming I’m just another asshole on a cellphone.

I get plenty done on a walk — including much of this column, as it happens. I walk through woods and town, and then return home and head upstairs to my office, where I catch sight of my desk.

Long ago, it felt like my friend. But now tends to feel more like an ingot of dull iron, a dispiriting anchor of the soul. Indeed, the sight of it sometimes makes me a little nauseous. • 21 August 2014

 

Perfectly Roasted Chicken Thighs

Prep Time: 5 minutes

Cook Time: 38 minutes

Yield: 8-10 chicken thighs

Crispy and flavourful these simple chicken thighs will be a weeknight staple.

Ingredients

  • 8-10 bone-in, skin-on chicken thighs
  • 2 tbsp olive oil
  • 2 tsp dried oregano
  • 1 tsp onion powder
  • 1 tsp garlic powder
  • 1/2 tsp black pepper
  • 1/2 tsp salt
  • 1/2 tsp dried basil

Instructions

  1. Preheat the oven to 475.
  2. Brush both sides of chicken with olive oil.
  3. Sprinkle both sides of chicken evenly with spices and herbs.
  4. Roast, skin side down, for 18 minutes.
  5. Flip chicken over and roast for another 20 minutes.

 

Frequency Chart

FREQUENCY: USES: 
50Hz 
1. Increase to add more fullness to lowest frequency instruments like foot, floor tom, and the bass. 
2. Reduce to decrease the “boom” of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on loud bass lines like rock. 

100Hz 
1. Increase to add a harder bass sound to lowest frequency instruments. 
2. Increase to add fullness to guitars, snare. 
3. Increase to add warmth to piano and horns. 
4. Reduce to remove boom on guitars & increase clarity. 

200Hz 
1. Increase to add fullness to vocals. 
2. Increase to add fullness to snare and guitar ( harder sound ). 
3. Reduce to decrease muddiness of vocals or mid-range instruments. 
4. Reduce to decrease gong sound of cymbals. 

400Hz 
1. Increase to add clarity to bass lines especially when speakers are at low volume. 
2. Reduce to decrease “cardboard” sound of lower drums (foot and toms). 
3. Reduce to decrease ambiance on cymbals. 

800Hz 
1. Increase for clarity and “punch” of bass. 
2. Reduce to remove “cheap” sound of guitars. 

1.5KHz 
1. Increase for “clarity” and “pluck” of bass. 
2. Reduce to remove dullness of guitars. 

3KHz 
1. Increase for more “pluck” of bass. 
2. Increase for more attack of electric / acoustic guitar. 
3. Increase for more attack on low piano parts. 
4. Increase for more clarity / hardness on voice. 
5. Reduce to increase breathy, soft sound on background vocals. 
6. Reduce to disguise out-of-tune vocals / guitars. 

5KHz 
1. Increase for vocal presence. 
2. Increase low frequency drum attack ( foot / toms). 
3. Increase for more “finger sound” on bass. 
4. Increase attack of piano, acoustic guitar and brightness on guitars (especially rock guitars). 
5. Reduce to make background parts more distant. 
6. Reduce to soften “thin” guitar. 

7KHz 
1. Increase to add attack on low frequency drums ( more metallic sound ). 
2. Increase to add attack to percussion instruments. 
3. Increase on dull singer. 
4. Increase for more “finger sound” on acoustic bass. 
5. Reduce to decrease “s” sound on singers. 
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano. 

10KHz 
1. Increase to brighten vocals. 
2. Increase for “light brightness” in acoustic guitar and piano. 
3. Increase for hardness on cymbals. 
4. Reduce to decrease “s” sound on singers. 

15KHz 
1. Increase to brighten vocals (breath sound). 
2. Increase to brighten cymbals, string instruments and flutes. 
3. Increase to make sampled synthesizer sound more real. 


KICK DRUM:
A common solution is to cut out the muddy frequencies: Solo the kick track, set the EQ’s Q to 1 and the frequency to about 250 Hz, and cut about 6-8 dB. Then move the frequency knob until the kick has a tighter sound. 










Sound boxy?? Look to see if you have a a ton of 325 – 500Hz.. 

Hurting your ears? Check the 4K to 10K range. Sound really muddy?? Check the low stuff… 

The analyzer will help you “see” what you can’t hear. 

In a VERY GENERAL sense – a pleasing final mix spectrum will be shaped a bit like a roller coaster. Small at the REALLY low end…then up the hill to the prominent bass frequencies…70 to 100 Hz then a gradual decline to the really high stuff over 16000Hz. This is of course a very simplistic explanation not a technical one.