Always enjoy the OP's posts.
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....
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....
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- 56 posts total
I guess that I always thought everyone had this ability if they could only stop long enough to listen. Clearly a lot of people are unable to sit still long enough to have music become something other than background noise. Yes; I see shapes and forms, colors, strobes, pulses. Often I "see" the emotion as a shape and color; often these emotions at war with each other. I've often wondered if it was due to a higher degree of imagination. I have whole visual stories unfold before me taking me away to worlds unseen and unknown. One album that takes me on a fantastic journey is side two of Rush' Caress of Steel, one of their most underrated albums. In one passage I can almost feel the salt spray from waves as the ship is tossed about. Music! |
I guess that I always thought everyone had this ability if they could only stop long enough to listen. Clearly a lot of people are unable to sit still long enough to have music become something other than background noise.You describe perfectly my own experience also... Thanks for your illuminating post... The only difference is i use this "imaginative visual ability" or "illusion for some" to acoustically design my room.... Acoustic could be "seen", not only music could be seen....And when you "see" acoustic you learn that musical acoustic is not merely about 2 channel localisation of sound sources POINTS in the room merely, but essentially also "timbre" VOLUMES dynamical localisation in your head/room... A violin "object" is an abstraction, an imaginary POINT, localized in the acoustical space of the room it is an abstraction of the concrete "timbre" perceived VOLUME phenomenon ... The sounding object at the origin of the playing note is 3 dimensional concrete vibrating body , not a point waiting to be localized anymore, but a VOLUME ,"étalé" in french, or spread out dynamically like a fractal in musical space... This conflict and harmony between these point/volume localization is an aspect of acoustic and musical experience... An acoustic tone is not a musical note, and a timbre cannot be reduced to his spectrum....Anymore than a volume could be reduce to a point....But like in projective geometry there exist a correspondance between a point and a surface, each volume being the results of this interaction, "timbre" acoustical information volume contain also room acoustical information or environmental objects information and not only the playing note reduced to his own spectrum... By the way i speak about my living experience here, and nothing i say is science or scientific , they are only my way to convey in words and concepts my experience... Science ask for very precise psycho-acoustic experiments, some of which inspire me a lot....But what is "seen" by me is created by my own imagination and work only like a tool... Is it a deception ? I dont care because my seeing is an evolutive process in my own life history and give me ecstasy and a firm grip on my room acoustic .... My deepest respects.... |
This video about "cymatic" describe exactly some aspects of what i spoke about... Hans Jenny the cymatic creator was a disciple of the Goethe phenomenological approach in science and pupil of Rudolf Steiner... https://www.youtube.com/watch?v=Q3oItpVa9fs No need to have "sands" or water....Timbre perception play the role of sand.... The rythmic changes in the controlled pressure zones of a room using Helmholtz method to do it mechanically induce in my listening experiments the visualization of the TRADE-OFF between localisation and width of a "point-like" object or of the sounding resonant body of the violin for example and the spreaded out dynamical localisation of the "timbre" microdynamic related to this resonant body which is also a sound source with a variable dimension and location in the room which we can modify at will with the right acoustic control... Using material passive treatment in acoustic and active mechanical control will optimize this TRADE-OFF, between source width (ASW) and listener envelopment ( LEV) which is for me at the heart of small room acousttic... Yes it is a bit more complicated than looking only for a "stereo" image and localization left/right .... Most people dont understand acoustic....I struggle with it myself but i become able to know what it is about even if i dont undertand it all... By the way understanding for me is " seeing" first not applying a mathenatical formula only.... And even some educated one confuse timbre and spectrum..... We must meditate about this fact: no recording is able record the perfect original playing musical event, and no small room is able to reproduct it but only to recreate it in his own acoustic translation satisfyingly or less than so, depending of the mastery of room passive treatment and active mechanical control.... The acoustic of small room is NOT the acoustic of big hall or theater.... The goal and tools here are different.... To this day all audio business and hobby completely underestimated acoustic in favor of progress in electronical design... Audiophiles then instead of focusing on acoustic spend their money in an empty chase of their tail very costly sometimes... No electronical design progress in gear can replace acoustic....The reverse also is true for sure...But the audio engineering field was already mature decades ago.... Acoustic of small room is not a mature enterprise in the audio world...Only a dedicated business of those few who knows it ... I never read an article about what interested me in acoustic mechanical control of small room in ANY audio review...NONE... The reason is simple, most people dont understand Helmholtz mechanical method... Acoustic sellers sell costly Helmholtz generator to replace bass traps for example...It is a very limited way to understand Helmholtz generator and use them like i use my grid of more than 40 like a "silent orchstra" or like the silent big pipes linked to an organ in a chuch...To absorb some sounds and diffuse others... And any way the subject matter cannot interest someone who dont own a dedicated room.... A grid of Helmholtz genrators cannot be used in a small living room... |
- 56 posts total