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Seeing sounds and music.....

Seeing music and sounds ...

Listening music and sound organized waves in your room may be translated in perceived geometrical and topological, fractal flowing of animated forms embodied in each microdynamic flowing note....In attentive focus but relax listening...Like a psycho- acoustical imaginary geometry....Like a " cartoon story" in your head....

Music here is no more only melody, rythm, harmonies, but also a potential "story" displayed in visible forms...It is the interface emerging/vanishing imaginary world between a sound and a musical note...

Synesthesia between sound and colors exist but also synesthesia could be between sound and forms...This specific synesthesia is probably more common and could be a great help in fine tuning a room with our ears....

Each series of notes is an history and a " being" with an expressive figure flowing, walking or swimming or flying in pure POTENTIAL meaning...

Pure POTENTIAL meaning being the dynamical interconnectedness of all the musical notes and the forms phenomena appearing to our eyes with it....

The sound not only convey POTENTIAL meaning though, but reflect also the way this meaning is communicated by pure acoustical 3-d incarnations of each sound reflecting itself the acoustical properties of your Speakers/room/ears...

POTENTIAL Meaning experienced is then perceived in a specific acoustical PERSPECTIVE and takes, related to your room geometry, topology, acoustical content, in furnitures and material treatment surfaces, but also experienced in the limits and the controlled way your system/speakers are WED to a room specifically designed for them by possible Helmholtz controls devices in my case or other possible acoustic devices....

Sound could be "seen" and must not be a surface ever, always a 3-d individualized body in space...It is the goal....

Anyway no sound comes from the speakers, save in a bad room... Sound is an expanding and rythmic sphere of living dynamic whose 2 centers are the speakers at one focus and yourself at the other focus....The 2 foci are interpenetrated rythmic beating hearts.... Because what belong to the specific characteristics of your speakers/system and what belong to your ears are coupled together.... This is my experience....

In this breathing ellipse, there, float like mobile islands on a sea, many pressures zones expressing and surging themselves in the encounter between speakers and ears/ room content and form....


This is my experience listening and seeing music....

How others perceive sound and music experience ?

This is why it is important to control in a relative way the acoustic of the room because the POTENTIAL meaning of the sound and music wedding, are often only a surface, or a distorted fraction of the potential acoustic perceived sphere in non controlled and non treated room INSTEAD of being a 3-D BEING....

Acoustic is the sleeping princess and all the pieces of gear are the 7 working dwarves... Be the prince and awake the princess...

I begin this thread for helping people to "IMAGINE" what could be musical/acoustic "ectasy" or "seeing"....




We always listen WITH our system THROUGH the controlled room/speakers the "recreated acoustic translation" of a past lived event which becme an ACTUAL different acoustical event ...


Most people think the opposite:

They think they listen WITH their uncontrolled room/speakers ,THROUGH their system the electronical "reproduction" of a lived PAST event....

Anyway there is no PERFECT FIDELITY between a lived event and a recorded one....The other complementary act of FIDELITY is in the way your speakers/room will translate and recreated some or all the choices which had taken place at the moment of the recorded event.... The recording information which is a surgical 2-d surface extract of the 3-d lived original lived event and the translation and recreation of it in your room in a 3-d Spheroid, is greatly determined by the relation between speakers/ears/room.... On par and sometimes more than by the choice of the gear itself...

Ok i am not a scientist at all....All my post is only " subjective impressions in me" linked to my material acoustical experiments journey...

I try to conveyed here my experience of the last 2 years in words....

You can speak to me about your experience and what you think...

Those whose brain cannot fathom " meaning" and are ideologically deaf could remain silent....


128x128mahgister

Showing 2 responses by oregonpapa

oregonpapa's avatar
oregonpapa
4,867 posts
 
mahgister ...

Everything counts, as I'm sure you are aware.

The three big areas to pay attention to are 1. Room acoustics. 2. Controlling micro-vibrations. 3. Cleaning up the AC power coming into the system. All three areas reduce extraneous noise that veils the sound.

Those who haven't solved these three problem areas in their systems have no idea of what you and I speak. One thing I know for sure is that you and I are not alone here. We and others like us have learned what to listen FOR. Others are still struggling with their prejudices and their ignorance.

Those who have not attained this level of sound reproduction have no clue, therefore, their conclusion is that it must all be "snake oil." They repeat it over and over, again and again, as though repetition deems truth. 

I always enjoy your enlightened posts ...

Frank
oregonpapa's avatar
oregonpapa
4,867 posts
 
"Music here is no more only melody, rythm, harmonies, but also a potential "story" displayed in visible forms."
The late Harry Person of TAS fame called it "The Holy Grail." It has to do with recreating the actual event either recorded live or in the studio.

I first heard the phenomenon years ago at an audio show while visiting Randy Cooley’s "Optimal Enchantment" room. It was a Ravel trio recording, simply played, all laid out in three-dimensional relief. It was as though the performers were actually there with no speakers or electronics involved. I set that sound as the goal for my system.

Fast forward to today ... On the best recordings, I’ve actually surpassed the sound I heard in Randy’s room. On a good night, with a great recording, the performance just unfolds before the listener with all veils having fallen away.

Once this level of resolving sound reproduction has been attained, the hobby can be enjoyed on a completely different level. It is no longer about "sound," and becomes all about the event.

Some of you may have Herbie Mann’s "Live At The Village Gate" recording. Or perhaps Cannonball Adderley’s "Know What I Mean." These recordings place you "right there."

Good vocal recordings are the same way, placing the vocalist in front of you with such tactile presence, that it is as though you can reach out and touch them. They not only give sound, but they present the performer’s personality and dare I say it ... facial expressions. 

Good choral recordings have each voice delineated into individual performers. Instrumentals have each instrument separate from one another, and tonally correct.

It has taken me years to develop a system that does all of the above, involving much trial and error. Most of the improvement has been through tweaking and NOT through upgrading speakers and/or electronics.

Snake-oil, my ass.

Frank
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