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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
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
ghdprentice
7,255 posts
 
First off, I have very similar musical experiences… I think. I usually close my eyes and get taken off in a musical geometric light show that I see in my mind’s eye. It ebbs and flows with the music. It becomes an all encompassing experience… no drugs required.

However, this is definitely not how everyone experiences music, at all. For instance, I have a very close friend of over fifty years… we experienced music together since we were 15. He thinks of himself as a musician… I am pretty sure he is imagining chord changes, wondering if it’s  Martin D36, and in the acts of creating it. I don’t actually think he gets it… high end audio… although he has spent well over $40K… his system system sounds terrible. Good individual choices without a clue about system synergy… but that is another store.

So, I believe there are lots of different modes of appreciation. But I like ours.
femoore12's avatar
femoore12
683 posts
 
I always thought seeing music was normal. To me music produces a field that I can “see” when I close my eyes. Different shapes, textures and colors. I know it sounds crazy and I don’t know how to explain it any better, but it’s been this way since I was a kid. My brother has synesthesia and sees color when he performs. 
mahgister's avatar
mahgister OP
13,195 posts
 
Thanks for these 2 excellent posts above which are exactly about what i want to speak about....
mahgister's avatar
mahgister OP
13,195 posts
 
However, this is definitely not how everyone experiences music, at all. For instance, I have a very close friend of over fifty years… we experienced music together since we were 15. He thinks of himself as a musician… I am pretty sure he is imagining chord changes, wondering if it’s Martin D36, and in the acts of creating it. I don’t actually think he gets it… high end audio… although he has spent well over $40K… his system system sounds terrible. Good individual choices without a clue about system synergy… but that is another store.
Very interesting...

The experience so different between you and your friend illustrate a distinction that i make :

Music embodied in sounds is not the same perspective than sound embodied in musics....( Check my use of the singular and plural grammatical mode here to convey what i want to speak about)



"Music embodied in sounds" is the way the notes of musical scores or of an improvisation are played and feeled and perceived to create a musical emotion in our soul/body....

"Sound embodied in the musics" is the acoustic information we can retrieve coming from the room/speakers and from the acoustic content of our room, through our perception of the playing orchestra or instruments sounds timbre and locations...Estimating for example what is left of the original lived event through the mixing and in spite of the recording choices, what is left to us in our listening room...




Some people are more conscious of one  over the other  and some other  of the 2 simulatenously...

Certainly a maestro for example must be conscious of these 2 way on the same level....
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