Memory inheritor

Chapter 94 The Problem

Wei Hongsi opened the audio file that Shen Qing had sent him on his computer, listened for about ten seconds, and then closed it.

There's no way I can listen to it anymore. It feels like opening a book and seeing nothing but "%*￥#T@" and similar nonsense; it's pointless to listen to it.

I saw Feng Weixu speak very eloquently before, so perhaps if I let him listen, he might be able to offer some critique.

However, this song is a work in progress that Shen Qing is currently creating. It's fine to discuss "jazz-style pop music" with her fellow students, but she can't reveal the song's track.

That's really a difficult problem!

Wei Hongsi scratched his head, got up, and took a bottle of mineral water from the refrigerator. He returned, sat down, took a few sips, and, recalling his approach to interpreting Mu Jie's dream, an idea suddenly came to him.

He may not understand music, but if you translate the music into a way that he can understand, wouldn't the problem be solved?

Therefore, you might as well treat this audio file as a cognitive stimulus signal to the brain and ignore the song itself.

Thinking of this, he opened the "Wanliu" group chat and saw that everyone was talking about other topics, so he didn't join in. Instead, he sent a message to Feng Weixu privately: "Do you have any analysis scripts for the waveform and spectrum of audio signals?"

Judging from Feng Weixu's analysis of jazz, Wei Hongsi thinks he has most likely written such a script. If not, it doesn't matter; he could easily write one on the spot.

Feng Weixu quickly replied, "Yes." He then sent over the script.

Wei Hongsi copied it to his computer and familiarized himself with it.

I thought I'd need to modify the parameters and make some adjustments, but to my surprise, the script worked perfectly right away. Feng Weixu claims to be the most knowledgeable about jazz in the group, and he's not exaggerating; he really has studied it.

Then, Shen Qing's audio files were imported for feature extraction and quantitative analysis.

Not long afterward, the time-domain waveform of this audio was plotted.

The horizontal axis of this graph represents time, showing the duration of the audio; the vertical axis represents amplitude, that is, the instantaneous intensity of the sound at a certain moment. It reflects the direct change in sound intensity over time.

This graph allows you to visually see whether a signal is stable and periodic, or sudden and chaotic, but it cannot reflect the frequency composition and frequency domain energy distribution of the signal.

The program then generated the corresponding spectrum.

The horizontal axis of this graph represents sound frequency, the vertical axis represents sound intensity, and the brightness indicates the energy level of that frequency component. It is obtained by performing a Fourier transform on the waveform, converting the time-domain signal into a frequency-domain representation.

A spectrum diagram shows which frequencies make up the sound at each time point and which frequency is the most prominent.

Based on this graphical data, the script further calculated the autocorrelation coefficient and signal entropy. The former is used to assess the predictability of melody and rhythm, while the latter corresponds to the magnitude of cognitive load.

Simply put, it's about how "popular" or "jazz" the song is.

At this point, Shen Qing's song became something that Wei Hongsi could understand.

However, this was his first time "watching" a song, so he had no experience and couldn't say whether it was good or bad. But that's okay, good and bad are relative.

He searched online and found Shen Qing's three most popular songs, downloaded them, and put them into a script for analysis.

Comparing the data of these three songs with Shen Qing's new work, the conclusion becomes clear.

This new song is significantly less predictable, with a higher signal entropy value, a stark contrast to her three most popular songs.

In other words, this song has low pop appeal and is unlikely to suit the tastes of most of her fans.

Shen Qing's creation of this song or the series of songs on this album likely stems from her pursuit of music. This is not hard to understand; it's like how some big-name directors of commercial films also make some obscure and difficult-to-understand art films.

However, Shen Qing's team or the client certainly wouldn't want her to release such niche songs. If fans don't buy it, there's no revenue, and they certainly don't want to do something that doesn't generate revenue.

It's hard to say who's right and who's wrong in this kind of thing; at least outsiders aren't in a position to comment.

However, due to Shen Qing's involvement in the Paradise GG case, Wei Hongsi had gained some understanding of her and felt that it was a bit early for her to do this.

Those established directors who make art films have already made a fortune at the box office, so they can easily go on to make blockbusters. But Shen Qing is a newcomer who hasn't been in the industry for long. It's certainly brave of her to release a niche film during her rapid rise to fame, and the risk is extremely high.

After considering it, Wei Hongsi gave Shen Qing three suggestions.

First, the creative style of the new song deserves recognition. Knowing the difficulties involved, yet still persisting, is commendable and worthy of praise.

Then he expressed his hope that her new album would cater to the needs of fans with different tastes, and include one or two songs in this style. It seems she's almost stopped listening to the producers' opinions, so let's change our perspective – after all, she considers us fans now.

Finally, some suggestions for improvement were offered. If Shen Qing insists on releasing an album in this style, she could consider making some changes to gain wider acceptance from fans.

Based on the analyzed data, Wei Hongsi offered specific suggestions. For example, the melody could be made more stable for a few seconds, or the volume could be reduced at a certain moment, and so on.

This way of describing it is certainly unprofessional, but he believes Shen Qing can understand it. He doesn't know if these changes will alter the original song, but they can significantly reduce the cognitive load of the song, making it easier for most fans to accept.

After compiling all these opinions, I sent them to Shen Qing all at once. Whether she accepted them or not, at least I had some answers.

Despite all the effort, it wasn't without reward.

While conducting quantitative analysis on Shen Qing's songs, Wei Hongsi suddenly realized a problem.

Since music is essentially a quantifiable auditory cognitive signal, it can directly affect the brain's emotional center through the "spectral characteristics-neural activation-emotional regulation" link, integrating it into the "emotional reshaping method" to solve a problem that has been troubling him.

In fact, music has a very obvious effect on emotions, but Wei Hongsi is tone-deaf and therefore ignores this factor.

His viewing experience has always been worse than others because he is completely indifferent to the background music, which sometimes even disrupts his visual perception.

Although I've come up with this method, I need to think carefully about how to implement it.

He only knows signal extraction, quantitative analysis, and data modeling, but he doesn't understand the emotional semantics of music, so he needs someone who understands this to help him.

I don't know if the company has anyone with that kind of talent; I'll have to ask tomorrow.