Audioscripts IELTS Practice 7 Listening Test 02

Part 1

You will hear a telephone conversation between a customer and a representative of an internet service provider.

First, you have some time to look at questions 1 to 5.

[Pause]

Now listen carefully and answer questions 1 to 5.

Agent: Good morning, Connect Broadband sales team. How can I help you today?

Customer: Oh, hi there. I'd like to ask about setting up a new internet connection for my house.

Agent: Yes, certainly. I can help you with that. I'll just take some personal details first. What's your name, please?

Customer: It's Thomas Green.

Agent: Thank you, Mr. Green. And what will be the installation address?

Customer: It's 14 Riverside Way.

Agent: 14 Riverside Way. Is Riverside written as one word or two?

Customer: It's just one word. R-I-V-E-R-S-I-D-E.

Agent: Excellent, got that. Is that in the city centre?

Customer: Yes, it is. I just moved in last month.

Agent: Welcome to the neighbourhood! And what's the best contact number for you?

Customer: My mobile number is 07788 932451.

Agent: Great. Now, just for our demographic records, could I ask what your profession is?

Customer: Well, I used to be a teacher, but I recently changed careers and now I work as a journalist.

Agent: A journalist, how interesting. OK. Now, a few details about your property. What type of building is it? An apartment?

Customer: No, it's a terraced house.

Agent: Thank you. And do you know if there is an existing line installed?

Customer: There is a socket in the wall. I believe it was a Virgin Media line previously.

Agent: Right. I assume you want to look at our unlimited data packages?

Customer: Yes, please. Capped data won't be enough.

Agent: To recommend the right speed, we need to know what you primarily use the connection for. Do you do a lot of online gaming?

Customer: No, I'm not really into gaming. It's mostly for streaming movies.

Agent: Perfect. And since you've just moved, have you experienced any connection issues at that address before with the previous setup?

Customer: Actually, yes. The previous tenants mentioned that the speed was fine in the mornings, but it dropped significantly in the evenings.

Agent: Oh, I see. And what did the previous provider say about that?

Customer: They claimed it was a network fault, rather than an issue with the equipment inside the house.

Agent: That's fine, Mr. Green. Our infrastructure in that area has recently been upgraded, so that shouldn't be an issue. That's all we need to know at this stage.

Before you hear the rest of the conversation, you have some time to look at questions 6 to 10.

[Pause]

Now listen and answer questions 6 to 10.

Agent: And will there be any other heavy users in the household?

Customer: Just my flatmate.

Agent: And his name?

Customer: Richard Fletcher.

Agent: Could you spell the surname, please?

Customer: Of course. It's F-L-E-T-C-H-E-R.

Agent: Okay, thank you. And what does he mostly use the internet for?

Customer: He's a graphic designer.

Agent: Oh, right. So will he be downloading large files regularly?

Customer: Well, he receives briefs via email, but it's mainly uploading actually, sending massive high-resolution files to his clients.

Agent: Uploading files. I'll note that down. And since he's doing that kind of work, will you be requiring a static IP address?

Customer: Yes, definitely. I need a static one for my home server. A dynamic one just won't work for me.

Agent: Static IP address added. Anything else?

Customer: No, I don't think so.

Agent: And finally, when would you like the engineer to visit to set everything up? We have slots available around the 10th of November.

Customer: I'll be travelling for work then. I'll need it connected by the 14th of November, if possible.

Agent: The 14th... Yes, we have an afternoon slot available. Right. Mr. Green, based on your requirements, I'm bringing up a couple of router options on the system now, and the best fit looks like being the Super Hub 4.

Customer: OK, and how much does that cost?

Agent: Well, the standard rate for that package is £45 a month, but we are running a special promotion at the moment, so that works out at £35 per month.

Customer: Oh, well, that seems very reasonable. It's quite a bit cheaper than my old contract.

Agent: Great. So, shall I proceed with the booking?

Customer: Yes, please go ahead.

Agent: How would you prefer to set up the direct debit?

That is the end of Part 1. You now have half a minute to check your answers.

Part 2

You will hear a recorded announcement giving festival-goers information about a large outdoor music event.

First, you have some time to look at questions 11 to 18.

[Pause]

Now listen carefully and answer questions 11 to 18.

Thank you for calling the festival hotline. There are numerous different zones to explore across the festival site, and we'd like to highlight some you definitely shouldn't miss.

If you want to save your legs, how about a journey through the site by our miniature railway? There are four main station stops running from north to south. These are Station 1, known as The Meadow; Station 2, River Valley; Station 3, The Woods; and finally Station 4, Sunset Hill. For those needing to sort out entry, you can find the primary ticket booth situated right at Station 1. The train services kick off bright and early at 9.00 am, but if you're planning a late night, be aware the final departure is at 11.30 pm, not midnight as it was last year.

There are also many activities you can enjoy near the stations. If you alight at Station 1, and you still have plenty of energy, you can visit the incredible vintage funfair we've set up for the weekend. It's located directly behind the ticket booth, offering all the thrills of classic carnival rides.Moving on to Station 2, why don't you head over to the Global Food Court? Rather than your standard burger vans, this area boasts a vast array of international street food, where you can relax and taste amazing flavours from over thirty different countries.

Station 3 drops you right in the middle of The Woods. Interestingly, back in the 1970s, this exact clearing is where the original founders held the very first concert. It was obviously much smaller than the current festival! Alongside the acoustic stage located here, you'll spot a small merchandise tent which carries a fantastic selection of vinyl records from independent bands.

At the highest point of the site, which is Station 4, the most popular place to visit is our brand-new electronic dance arena. It's a massive open-air club experience complete with state-of-the-art lasers, smoke machines, and a heavy-duty sound system.

Before you hear the rest of the announcement, you have some time to look at questions 19 and 20.

[Pause]

Now listen and answer questions 19 and 20.

Besides the miniature railway, there are shuttle buggies to help you navigate the grounds. Two different operators provide these transport services.

First, The Green Buggy Company runs all its vehicles using solar-powered engines. Their buggies depart regularly, leaving every 15 minutes starting from 10.00 am. They operate pick-up points from the Main Gate, Family Camping, and the VIP Lounge. It is a strictly point-to-point service. And unlike some transport that requires a daily ticket, your festival wristband is valid for unlimited travel for the whole weekend. For advance bookings, call Green Buggy on 01632 960 445.

Alternatively, the Fast Track transport service is available. Don't worry about driving the buggies yourselves; this service comes with a dedicated driver for private groups. Fast Track buggies depart from the VIP Lounge every ten to twelve minutes, beginning at about 11.00 am, and they cater to the late crowds, with the final buggy running until 2.00 am. Also, while Green Buggies are currently upgrading their fleet, please note that Fast Track services are already fully equipped with ramps for wheelchair users.

That is the end of Part 2. You now have half a minute to check your answers.

Part 3

You will hear an interview with Professor Sarah Jenkins of the Deep Sea Institute in Plymouth, UK.

First, you have some time to look at questions 21 to 28.

[Pause]

Now listen carefully and answer questions 21 to 28.

Host: We're delighted to welcome Professor Sarah Jenkins of the Deep Sea Institute in Plymouth, UK, who has joined us today to discuss the function of the Institute and the International Seabed Authority. Now, my initial question is regarding the selection of the site for the Institute. Why Plymouth? Was it due to the naval history?

Prof. Jenkins: Well, while the maritime heritage is a bonus, primarily it's because the city boasts a port with unrivalled natural depth, making it the perfect historical launching point for oceanographic surveys.

Host: I see, so it's a combination of our unique coastal geography alongside that heritage. So explain to us, what is the core objective of the institute?

Prof. Jenkins: Well, we serve two dual functions. One is as a logistical hub for marine vessels and robotics, and the other is as an educational resource.

Host: Tell us a bit about the function as a logistical hub.

Prof. Jenkins: We're equipped to offer guidance on what engineers should pack for abyssal zone dives. For instance, rather than just supplying standard scuba gear, the institute manages a massive equipment depot. This is where submersibles are fitted with specialised lighting, which is absolutely critical for navigating the pitch-black environment of the deep ocean.

Host: I imagine you require slightly more than standard survival suits down there! Right. And which nations are formally represented at the institute?

Prof. Jenkins: Well, the facility hosts collaborative marine projects for the UK, Japan, and France. In fact, to streamline equipment transfers, there's actually a dedicated French customs office located right at our European docking bay here.

Host: Really? That's incredibly convenient. And what does the Public Gallery provide for your average visitor?

Prof. Jenkins: Well, given that extremely few individuals will ever witness the ocean floor personally, the Public Gallery attempts to recreate the intense physical pressure of the abyss. There's a replica submarine where you can climb inside a titanium sphere and genuinely feel what it's like to dive there. It also serves as a testament to the remarkable cross-border collaboration which operates in oceanography today.

Host: What is it genuinely like in the Mariana Trench? I'm aware you've descended there on several missions.

Prof. Jenkins: Yes, I have, and every single time I'm overwhelmed by the absolute silence of the zone. It's breathtaking, but you can only safely conduct operations there in the calmer seasons.

Host: You mean between April and September?

Prof. Jenkins: Correct. Because the surface swells are too treacherous for the recovery ships for the other half of the year. Furthermore, it has to be the most pressurised environment on the planet.

Host: But more pressurised than standard deep trenches? Why is that?

Prof. Jenkins: Ah, well, unlike typical trenches, which are relatively wide canyons, the Mariana is a subduction zone shaped like a V. The consequence of this is that the water column pushes down the converging walls at pressures of over 1000 times atmospheric level. And that's what makes it so intense. And one other fascinating fact is that the trench is incredibly geologically active. Astonishingly so. Therefore, you have to monitor seismic readings constantly when you're down there to avoid sudden seabed shifts.

Host: How ancient is the trench?

Prof. Jenkins: We're fairly confident it was formed by tectonic plates colliding, but the main depression itself opened up from the Pacific plate roughly 50 million years ago.

Host: How can you be sure of this timeframe? Is it just guesswork?

Prof. Jenkins: Not at all. Because sediment cores and microbes have been extracted in the trench, which match the evolutionary timeline of those found in regions like the Philippine Sea and Japan.

Host: Incredible. To imagine that the geology is so connected.

Before you hear the rest of the interview, you have some time to look at questions 29 to 30.

[Pause]

Now listen and answer questions 29 to 30.

Host: Now, let's briefly examine the International Seabed Authority. How far back does the concept of a global ocean agreement stretch?

Prof. Jenkins: Well, the initial discussions started as early as the mid-20th century, but it really gained momentum when 40 countries finally convened an oceanic summit.

Host: When did that happen exactly? Was it in the late fifties?

Prof. Jenkins: Slightly later. It took place in 1960, and it was officially titled the Law of the Sea Conference. And then, a couple of decades after that, they established something termed the First Deep Sea Convention.

Host: And when did that occur, precisely?

Prof. Jenkins: Over a period of nine years, from 1973 to 1982. But it wasn't until the 1990s that the framework of a binding international treaty was ratified. And in 1994, the authority was officially created.

Host: What do you view as the primary triumphs of the authority?

Prof. Jenkins: Well, primarily, it dictates that the deep seabed is reserved for the common heritage of mankind.

Host: That's Part XI of the treaty, isn't it?

Prof. Jenkins: Yes.

Host: That's crucial, given that the mineral wealth belongs to no single nation.

Prof. Jenkins: Yes, but arguably less crucial than Article 145. That specific clause legally mandates that any commercial mining operations must protect the marine environment above all else.

Host: Which is absolutely essential. Well, I'm afraid we'll have to conclude the interview there, as we are completely out of schedule. Thank you for visiting us today and explaining the institute and its mission.

That is the end of Part 3. You now have half a minute to check your answers.

Part 4

You will hear a presentation given by an acoustics engineering student on his project concerning sound frequency and its effects on concentration.

First, you have some time to look at questions 31 to 40.

[Pause]

Now listen carefully and answer questions 31 to 40.

My topic is acoustic perception, specifically whether in different study environments it is better to have absolute silence, or whether a controlled level of background noise is more beneficial.

I'm highly sensitive to noise myself, and I actually didn't expect to find much useful data when I happened to start reviewing a paper by a cognitive psychologist called Dr. Sarah Lin. She spent the introductory chapter detailing how sound waves function within animal communication, rather than focusing on human environments. I have to admit, that initial biological focus almost discouraged me from reading further.

But what I soon became fascinated by was the rigorous methodology she applied to both the surveys and the neurological scans conducted across many different workplaces. Seeing how strictly she controlled her variables, I felt convinced that what she concluded would be of significant value.

I believe Lin's conclusions will be practical. Not necessarily in helping architects to design completely soundproof buildings from scratch, but more that they can help them select the optimal acoustic treatments to install in a given room. Although most office managers know exactly how distracting noise is, currently they are quite hesitant to invest financially in the structural solutions scientists like Lin can offer. I think this is quite counterproductive, because depending on staff to simply put on headphones is nothing but a temporary fix.

Anyway, returning to the paper. Lin analysed a Swedish experiment which investigated what she termed 'white noise'. That is, the presence of a steady, unobtrusive background hum. It measured concentration levels in 60 programmers working on a variety of coding tasks. Researchers monitored a range of factors—for instance, the complexity of code written, frequency of breaks taken, and speed of typing—and discovered the following.

It became apparent that junior developers needed a completely silent environment to concentrate, whereas senior programmers, like system architects, strongly preferred a low-level hum. Conversely, individuals who collaborated within larger teams demonstrated a much higher adaptability to background noise compared to those working solo.

Lin also references fascinating research into acoustic responses in marine life. Dolphins rely on a huge amount of echolocation to navigate by bouncing sound off reefs. The research indicates that dolphins, similar to humans, filter frequencies, though for them high and low frequencies are processed equally, whereas about 90% of human speech is concentrated in the mid-frequency range. Studies revealed that dolphins continuously exposed to a specific background tone actually captured 40% more fish compared to those swimming in completely quiet tanks.

Lin then began testing several different student study spaces and recorded distinct neurological responses to frequencies in each. Just to clarify, she uses the term 'acoustic profile' to describe the dominant frequency for background hum as well as sudden spikes. Regardless, her team monitored the brainwaves, heart rate, and stress levels of 1,500 students and concluded that there were essentially three main reactions to sound.

First is 'Neutral': you perform equally well in silence and noise, handling both complex and simple tasks. Then there is 'Sensitive': you tend to require quiet, and both your focus and your mood deteriorate rapidly in noisy settings. And finally, 'Adaptive-response': a student's focus and mood actually improve with steady noise, but they are easily distracted by sudden, sharp sounds.

Let's begin with open-plan libraries. Lin concluded that it was ideal to have a steady, low-frequency hum installed. This is because a library environment must essentially mask the irritating sounds of rustling paper or typing. It would be a massive disadvantage to have total silence where every single cough echoes across the room. A surprising discovery is that students working with white noise were noticeably more relaxed than their silence-seeking peers.

The situation is slightly altered in creative spaces like art studios. Here, the crucial factor is to have the dominant frequency and volume fluctuating slightly. This means that there is a stimulating environment on the side of the brain where most of the imagination occurs. If a student is in absolute silence, the brain is under-stimulated for much of the creative process. It means that they can only generate ideas much slower, and often the inspiration has faded by then.

And finally, shifting to a rather contrasting type of environment, which requires intense but logical thought processes: mathematics exams. It's been proven that consistent high-frequency blocking is optimal here. The primary justification for this is because it significantly reduces anxiety, a factor which is obviously absolutely critical to success in testing scenarios.

That is the end of Part 4. You now have half a minute to check your answers.