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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
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mahgister OP
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Music is something happening when some sounds "speak" to you like if another human being was adressing you....

It is the reason why the sounds appear to me, like a tonal "vowellling" wed to a timbre " consonanting", creating perfectly clear syllables of meaning...

The miracle is this: these spoken flowing "meanings" are also a VISIBLE fluid geometries flowing sometimes like in fractal geometry and sometimes more like in a projective variety, than sometimes like  a river to sea or like flames to the stars....
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mahgister OP
13,194 posts
 

This is a very important writer about 3-D sound seeing...Professor Edgar Choueiri..His name was given in a post of cd318....Thanks to him...

It help me understand how my Helmhotz grid circling my room asymmetrically from one speaker to the other one help my ear to recreate a 3-D impression..

My mechanical equalizer adapt the room to the specific speakers and these speakers to my 2 ears by modifying the pressure zones near each one of them asymmetrically then giving to the first wave front for each ears a unique characteristic making them able to improve localization in all directions...

I am very proud of my rudimentary homemade equalizer...

For sure the sophisticated filters Professor Edgar Choueiri use are way better than my primitive equalizer which work with the large bandwidth of the human voice for feed back fine tuning ... But it is able to give me a "somewhat" 3-D sound... At no cost.... 😊

The key is my dissymmetrically way to locate different pressure zones with few Helmholtz resonators located near each speaker, some near tweeter of one , others nears bass driver of the other...

http://www.psaudio.com/copper/article/conversing-with-choueiri-part-1-its-not-rocket-science/

 

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mahgister OP
13,194 posts
 

 

mahgister's avatar
mahgister OP
13,194 posts
 

This guy article about " pure audio" make me understand ( i am a non scientist) why my mechanichal equalizer of Helmholtz resonators, (around my room and located near the tweeter of one speakers circling my room at 3 reflections spot and ending at the bass driver of the other speaker), why it work giving me a 3-d "timbre" surface-like location for each instrument in my room around me,but why the point-like precise location of each instruments is distorted also in some way because i cannot control the cross-talk, like it is the case with his computerized filters formulas separating each speakers from one another by feeding the right chanel data only inr the right speaker or left data for the left chanel only in the left speaker...

Alas! it is probably expansive and anyway not on the market because also of the dedicated measurements of head tracking needed...

It is a fascinating story....

I know understand at last WHY my Helmholtz grid is so interesting and for sure limited in his action and not without his limitations... I cannot eliminate crosstalk between speakers but my device ease the way each ears access the corresponding information in my treated and controlled room by improving the way my left speakers direct wave and the corresponding left one are treated by each ears...

But because of the uncontrolled crosstalk on my system, i cannot precisely locate the sounds source, and the original room acoustic data interfer with my own room acoustic data which never disapear completely like in the case of this "pure stereo" Bacch filters...

Anyway my experience trash my 7 headphones and put them at resat definitively...

Then in my experience i understand now after reading his article why i locate more than ever the timbre "surface"-like distribution of each instruments in space in my room like a fractals space, way more than the abstracted recorded sound source instrument "point" relative to other instruments precise "point"-like locationin the space volume from a precise perspective taken from the recording microphones in the original room acoustic...

 

I am not a scientist and this is only my interpretation and understanding...

One thing is certain, at no cost for me, my H. generators equalization of my room work well and i could never go back, in spite of his imperfection compared to this revolutionary new device for 3-D perfect localization...

This Bacch filter device is a revolution in audio....

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mahgister OP
13,194 posts
 

Sometimes in my room , it is relative to the original recording for sure, sometimes with some files i am immersed in the timbre surface microdynamic of an instrument and his precise spatial body location is replaced by a colored surface stretching and moving in a volume of space in my room ...

 

 

It is as if the body resonating point-like source of sound in space, the violin, is replaced by his timbre microdynamical surface in time....

For me the LOCATION point-like experience is a ThOUGHT experience in the brain, but the TIMBRE surface-like experience is more a FEELING experience of the body....I ask myself questions about this polarity and how this polarity in the body and in the soundspace play together...

 

 

Also i had often the impression of listening to music like from headphone BUT the sound being almost around my head and in some recording behind my back in the room BUT not in my head...

This describe my experience...

I apologize but it is difficult to translate in words....

 

 

 

In this bad drawing of mine i indicated in red the location of my 40 Helmholtz generators around the room and near the 2 speakers....I did not draw them all .. 😁😊

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