You know the sound. It's a plaintive wailing from afar, reminiscent of the air raid sirens of WWII. With it comes an adrenaline rush and instant anxiety. It's a warning to take cover as a dangerous storm approaches. You probably never give these warning systems a second thought – until you hear one.

Sirens of one type or another have been around since 1799, when Scotsman John Robison invented one to use as a musical instrument. His inspiration used a wheel to open and close a stopcock in organ pipes, effectively fluttering and creating a pitch. I'm not sure he ever dreamed his invention would someday warn the masses of incoming bombs, because bagpipes were probably sufficient to make people run and take cover.

The name "siren" was coined in 1819 by Baron Charles Cagniard de la Tour. His improved version used a rotating perforated disk that generated tones as air moved between it and a stationary disk. Because it worked under water, Cagniard apparently was inspired to name it after the sirens of Greek mythology. Or he was just thinking about women.

Since the late 1800s, most mechanical sirens have used a rotating cylinder instead of discs. A fan pushes air through an inner rotating cylinder with slots all around its edge (like open doorways). As it rotates, air is forced out through similar slots in a stationary external cylinder wall, creating sound. The first sirens were cranked by hand, but compressed air, and eventually electric motors turned the fan blades and cylinder.

Mechanical sirens give us that distinctive "wailing" sound, like sirens singing to Odysseus. As the cylinder spins up to speed, the pitch rises. When air flow is stopped it spins down, the pitch falling. This crying sound of mechanical technology has imprinted generations of people with the urgency of self preservation. Even animals react to sirens, triggering animal instincts.

Electronic sirens, at their core, are amplified speakers that employ an oscillator. The first "wailing" siren was invented in 1965 by Motorola. These are probably the most common type found today because they can also play voice announcements, different tones and warning signals, and can withstand extreme elements with very little maintenance.

Pneumatic sirens that use compressed air are still found today. They usually rely on tanks of compressed air and can conserve electricity, but require more maintenance.

So which system is the best? It all depends on local circumstances and guidelines. The electronic systems seem to be the most adaptable, as they don't rely on only one sound. They can also play voice announcements. In my community, the city has electronic sirens placed in large public places such as parks. The intent is to warn anybody that is outside, not someone that is in their home or car. With rapid warnings via phones, TV, and radio, most city dwellers will be aware of any emergency.

Although I can hear the warning system less than a mile away at my house, it's difficult to understand any voice announcements. Inside my house I can just make out the tones, which are similar to London's Big Ben clock. In weather emergencies, the incoming wind will usually carry away or mask the audio alerts. However, I've been within a city block of one and heard it quite clearly.

The mechanical and pneumatic sirens seem to have a higher output over electronic sirens, but not by much. My hunch is that the wailing and two-tone mechanical sirens would be best for long distance and penetrating structures. The pitch, especially as the wail is held briefly at the highest note, is right in the most sensitive part of our hearing. Before my city replaced the warning system, they used a wailing-type siren that I could hear clearly from my house. Not so much for the bell tones.

Want one for yourself? You can buy a hand-crank one for $30 that gets really loud, a 12V motor one for about $40, and one rated for outdoor spaces like schools and factories for $200. For communities, the cost is much higher. In addition to supplying utilities and communications to each warning site, factor in a tower or pole, multiple units for omnidirectional sound, and annual maintenance. Planning, zoning changes, and training also factor in. Sirens with a half-mile range start at $7-10K alone, and go right up from there.

Want to hear some scary tornado sirens? Watch on TikTok here.
And here.

Push the Right Buttons
A Practical Guide to Becoming and Succeeding as an Audio Engineer and Producer

Know someone that is looking to get into the audio industry? Are you curious about the magic that goes on behind the curtain? Then this book will push the right buttons.

The Journal of the Audio Engineering Society reviewed my book:

Push the Right Buttons is notable in that it covers not just the “what” and the “how” but also the “why” — exploring what the reader should think and feel about the work they do. This book will be of interest not just to students and others just starting out in professional audio, but it also contains valuable information for experienced people already working as engineers or producers who would like to advance their careers.
-Arthur Stoppe

Tape Op reviewed my book:

The next time someone asks me for advice on a career in pro audio I will immediately recommend this book, but with a few instructions: Do not skim read it. Read every one of its 585 pages and then read it again. Take notes. Take more notes. Follow every single suggestion about how to behave in professional situations. Learn how to dress properly for the job, and how to take care of your body when the long days occur (and they will). And do all of this with a smile on your face and a positive attitude.
-Larry Crane

Radio World reviewed it:

'If there was ever a single book that could give aspiring audio engineers an accurate look at the career, “Push the Right Buttons: A Practical Guide to Becoming and Succeeding as an Audio Engineer and Producer” is it."
-James Careless

Excerpt from the book:

"If you’re recording a voice-over, singer, player, or other single performer – and there is a director in the room (or on Skype, phone, etc.) – it’s vital to stay out of the way. This is more for the performer’s sake than the director’s. The expression “too many cooks in the kitchen” is apropos here because having more than one person giving directions can be confusing. I usually only chime in if I hear something technical that I need to correct, like having the performer move back to prevent popping Ps. Or I might insert a helpful hint if the talent is having trouble understanding what the director wants. I only do this after asking permission from the director. Your job is to capture the performance, and if you do something to impede the performer(s) then you’re not doing your job. If you have a suggestion on trying something different, discuss it with the director after they’ve captured what they want. Like I preached in the studio and film set etiquette chapter, the director knows the big picture and has an awesome responsibility to pull everything together into one cohesive production. Sometimes you’ll have to deal with a director’s ego or temper. Unfortunately, anyone up and down the production chain can have a big ego and a course temper. It’s best to keep everything professional and even keeled when confronted with these types of behavior. After all, who’s the client? The project. If I have to put up with an egotistical director that really knows their stuff, then that’s okay. At the end of the workday, I get to go home and get away from all the drama. I was on a set one time where the director, whom I had great respect for, was yelling at everyone, including me. I’m okay with high-intensity productions where it’s required – everybody’s on edge in those. And, like my college jazz band teacher yelling in my ear, I’m even okay with someone barking orders at me so that I will perform better. But this director was running on fumes from lack of sleep and was melting down in front of the clients. I was loudly called stupid for whatever I did or didn’t do. I feared that the clients would see this as a weakness of the crew and lose trust in us. I quietly pulled the director into a room just off the set, and in a calm and even tone I told him of my objections to his antics in front of the clients and how we could all appear as unprofessional. I asked him to tell me what he needs in a normal voice. I also said he could blow up at me all day if he wanted, just so long as it was out of earshot of the clients. He agreed, was apologetic (which wasn’t what I was seeking), and we got along famously after that."

•Paperback version, 585 pages •eBook version
•Audiobook version

More on our web site here.

Recent Notable Projects

Audiobooks:

• "The Wisdom of Sand" by Gene Ducette, narrated by Brad Wills
• "Gay Poems for Red States", written and narrated by the author, Willie Carver
• "Shield of Deception" by Jonathon Moeller, narrated by Brad Wills

Other projects of note were:

• UK HealthCare "I Shouldn't Be Here" radio campaign (Team Cornett, Lexington, KY)
• GE Café appliances, social media campaign (Team Cornett, Lexington, KY)
• Memorial Hospital Spring radio campaign (Mary Ware/HMH Cynthiana, KY)
• "Soul of an Angel" and "Eclipse Awards Winners" TV soundtracks (Studio 34, Lexington, KY)
• Peppa Pig Theme Park, Dallas radio/tv campaign (Team Cornett, Lexington, KY)
• Hall of Fame legacy videos, National Museum of Racing (Keeneland, Lexington, KY)
• Legoland California Spring Break radio campaign (Team Cornett, Lexington, KY)
• A&W Restaurants "Summer" TV/radio campaing (Team Cornett, Lexington, KY)

Tags: SIren, Warning , Emergency, Tornado, Weather, Alert