Critical listening and altered states

@newton_john thanks for the book reference; my library has it and I’m going to take a look.

@stuartk I’m not talking about utilizing substances in precise doses, only trying small amounts to see if one’s perceptions alter and give them a new insight into how their system sounds. It’s not more complicated than that, but too many here have taken ASC and assumed that I mean becoming sh*t-faced. That’s not it at all. It’s about stirring things up a little bit and taking another look.

@sns "Our only reference for timbre is acoustic instruments played without sound reinforcement." Not sure I agree. I’ve heard Stratocasters played through amps, live; wouldn’t that be a timbre that could serve as a reinforcement? Indeed, any electrified instrument that is recorded via a mic would then be a reference for the later-amplified sound coming out of a stereo. But, perhaps, the change in timbre is just not as critical – perhaps that’s the point, namely that there would not be "gross timbre inaccuracies" which would induce stress. 

Regarding LSD and the visualization of space, this is an interesting example insofar as it indicates another possibility for my suggestion. Not so much that one alters perception while they’re listening to audio, but that they take note of how acoustic space sounds at another time while under an ASC. Then, as you did, they can consider that angle of view later on, when they are listening to music. We gain new perspectives with ASC’s and if they can be somehow incorporated into our way of understanding things, they become resources to break out of routine judgments.

One of the most impactful and deep effect of  THC in concentrated form on me the few times i tried it listening music, was not so much  on my acoustic perception , which seems increased, but on the visual perception of the musical content meaning not as merely purely musical and auditory but as fractals and as a movie given to be seen...

 Even without THC i "see" music way more than i am able to "hear" it, because i am not a musician anyway and not musically educated as a player like stuartk, i interpreted naturally music as a visual  abstract story... think about fractals and metamorphosis of forms..

In some case , Bruckner 5 th symphony for example, i see a continuous story about man death and the afterlife...the vast geometry of the last mvt tell the story taking one by one all the thema of the first three movement recapitulating them, the first time i heard it i was strucked by a revelation, the final very long fugue is almost vision..

I will add that music is naturally, never mind acoustic and audio, an altered states of consciousness and the most universally used.

Speech is a musical gesture socially and individually synchronized with Nature... Each perception  may become creative and a dual survival strategies of isolation from Nature (society) and also participation to Nature on a higher level than immediate by creativity.

Obviously every single instrument whether amplified or not, even synths have an inherent timbre. I'd posit the timbre inaccuracies we hear in playback as compared to the original timbre as captured in the studio or live concert are relatively minor for causing stress vs other aspects of sound. I suspect tonal anomalies or imbalances are a much greater cause of listener stress, tonality is a gross measure, more easily heard than the relatively small timbre anomalies we are likely to encounter. On the other hand, I can think of at least one pretty persistent irritant for what I believe to be timbre issue, and that is massed violins, I've yet to experience a fully natural presentation/timbre via digital, vinyl reproduction sounds more like the real thing although digital has continually evolved here.

@mahgister I've long known of your intense experiments with room treatments, interesting diy projects, no doubt you've visualized sound waves. I too have experimented with multiples of off the shelf devices and/or just plain furnishings in listening room. In my experience virtually everything has some effect, 1st reflection points while the most obvious are not close to the end of it. With experimentation I've learned to be far less invasive with 1st reflection points and treat many  other reflection points throughout room. Since I don't really have wall behind listening position around 15' into 30'L room opening into a kitchen I got far more immersion into sound field using 6 Synergistic HRT on side walls behind listening position. Having a wall close behind listening position changes the whole equation. I also used multiple Schumann resonators in the past, can also be very effective if used correctly. To reiterate, maximizing sound staging, imaging is extremely important for my ability to easily enter higher levels of ASC, immersion into the sound field meaning stimuli emanating from behind listening position is key.

I knew my acoustical optimization of my AKG K340 hibryd was done well when i cranked up the highs  with tone controls and equalization because the violin sound  was enebriating like an angelic silk thread...

 If a system dont gave enough bass or beautiful highs and medium  as natureal as possible the timbre of instrument, non amplified as amplified is distorted...

it is because of this acoustical stress that often people pick their gear piece upgrade to compensate, or some albums in spite of others less easy and natural to listen to...

The gear pieces design quality and synergy cannot be replaced  but only compensated by acoustics controls, mechanical one mainly in my case and also equalization and tone control.

But on the other hand no piece of gear can replace acoustic control impact to gain natural timbre and sound spatial characteristics...

On the other hand, I can think of at least one pretty persistent irritant for what I believe to be timbre issue, and that is massed violins, I’ve yet to experience a fully natural presentation/timbre via digital, vinyl reproduction sounds more like the real thing although digital has continually evolved here.