The Braaam™

An episode about the type of sound The Inception Sound is, the controversy surrounding that sound’s authorship, and how its effectiveness is deeply rooted in a millennia plus of human culture.

Double extra super THANKS to all of Reasonably Sound’s Patrons, who help keep the show afloat. Special shoutout to Allie, Andy McMillan, Autumn, Brandon, Camilla Greer, Chelsea Herrington, Coral Kennelty-Cohen, Elliott, Hans Buetow, Jesse Gamble, Joachim, Joe Krushinsky, John Cifuentes, Kyle Adkins, Susan Rugnetta, Talia F E, Tim, Tod Kurt, Xander C

This episode was ORIGINALLY PERFORMED lived for XOXO Fest in Portland during September of 2016. Thanks to Andy Baio and Andy McMillan for making it possible and for supporting the return of Reasonably Sound. Stephen Bruckert compiled and edited the Gravitas of Braaams supercut in this episode. Bailey Math of Bailey Math Sound made this episode’s custom braaams.

Reasonably Sound’s theme music is by Will Stratton
Its visual design is by Tida Tep


  • Evan B

    I had no idea typical air raid sirens were minor 3rds. Despite my music background, I could never tell you intervals or any of the pitch perfect prowess.

    Regardless, the minor 3rd is understandable in a design explanation but lately, air raid sirens make me cry within seconds. I can’t help it. That low wind to a high pitch, just hanging in the air. It’s like a ghost.

    It began after experiencing Israel’s Yom HaShoah’s (Holocaust Remembrance Day) sirens in person.

    It is not just the audio but the visual of everyone around you stopping, the thoughts that jump to your head in realizing, ‘this is for the victims.’ People don’t just stop walking but stop driving. Please watch some of the video if you haven’t already. There’s more videos of them if your melancholy heart desires.

    Anyway, my reaction is strange to me. While raised Jewish is NYC, my family is half Jewish. The Jewish half were blessed not to be in Europe during the rise of Nazism, nor did we have close friends who were Holocaust survivors. Intellectually, I have no living connection to these horrors except through mediums of film, audio, pictures, and text.

    So why my tears? Why that burst of emotion since hearing that siren?

    Clearly I’m more emotional in general, but it is also the association of horrors of the Holocaust, especially as a Jew in NY. The experience of people in Israel stopping upon hearing the siren… But also it’s simplicity. A siren. A minor third to warn you, humanity, of danger. The gut sounds which music can pull from you is amazing even when heartbreaking.

    Thanks for the podcast.

  • Maxx B

    You mention the 2005 War of the Worlds, Braaam, but do you not think that the first reply from the spaceship in 1977’s Close Encounters of the Third Kind qualifies as a Braaam?

    • mikerugnetta

      Yes! Someone else mentioned this to me as well. I’m gonna mention it in the next episode. I think there’s a really great progression to be found in Ora Nichol’s braaam, the Close Encounters braaam and the WotW05 braaam. Thanks for reminding me to talk about this!

  • NameIsPete

    Decidedly Braam™-ie Hellraiser 2 when Kirstie meets Leviathan — two sources: – Soundtrack – Graphic and gratuitous carnage – probably not suitable for anyone…

  • Pingback: Podcast First Impressions: Rabbits – Podcast Problems()

  • Anton Telle

    I always thought Britney Spears invented the Braaam, in her song “Stronger” from 2000 (in the beginning, and a good one at the end of the song):

    The sounds from the Orson Wells radio show War of the Worlds do not really sound to me like a Braaam. That was a little far-fetched, but a nice addition.

  • Nicolas Garcia

    Simon & Braaamfunkel?

    The context and goal are of course decidedly unbraaamlike, and the percussive strike comes a bit late, but I dunno. I want it to count. 🙂