Mahgister
Do you listen to Scriabin?
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
When i go to a live concert the last thing i look for is a precise location of the instrument in the sound space.. BUT When i listen a recorded album this location in 3-D sound space comes like something very important ... I dont want my music to be sounds confined between speakers...
When i go to a lived concert i generally closed my eyes to be no more distracted by people or each instruments positions and gesture and i FOCUS my attention to the playing notes instrument TIMBRE microdynamic BODY, i look for the LUMINOSITY and colors of the timbre and also for his TEXTURE, his delicacy or roughness and all in between the relief of the surface, and very important i look also for the evanescent flowing GEOMETRIES of the timbre formations spread out in space... When i listen to a recorded album if the location in space sound is already rightfully relatively there because the audio system is good , i then iimediately FOCUS my attention no more on the relatively precise spot of each instrument but i focus on the playing notes TIMBRE microdynamical BODY of one or more interacting instruments....
Then in playback listening yes, PURE LOCATION in space of the instruments is important, but way less than the TIMBRE inner life.... This polary between point-like location of instruments and the surfaces flowing of TIMBRE in 3-D space sound is for me music and sound seeing...
With my mechanical equalizer i lived through an experience with the best location i ever have and the best timbre perception qualities...But my acoustic system so good it is cannot do what the Bacch processor can do .... But for sure the best would be a processor that will at the source be also a speakers and room corrector and a crosstalk control, and also a processor adapted to our precise hearing, it seems the Bacch processor of Edgar Choueiri is this one ... It is a pity i will be dead before listening to one...I would have been delighted to see how my timbre perception would have been increased and in what way... https://www.princeton.edu/3D3A/Publications/Pure_Stereo.pdf
The more important information in sound is "TIMBRE" not location first, because timbre contains information about location anyway and the reverse is not true, ask to a blind person... «Space come from sound not only in the Bible or in Indian metaphysics but in music for sure»-Anonymus Smith |
Yes and people dont recognized generally their own synesthesia... All of our senses intersect at their roots and separate at some level but encounter each other anew at the level of the canopy... LIstening music and seeing music make ourselves very conscious of that.... Anyway any word is a dead metaphor coming into being from an old crystallized synesthesia... Music is at the origin of language, music as body language gesture and a motivated meaning in ONE, and not only as a separate sound related externally by scripture code to a "separated" meaning , then even before "language" separately exist in the actual written sense of the word, "language" was a synchronized action......A collective music even without sounds ...
Scriabin wanted to save humanity through a ceremony where we may all ground ourself anew in our body and in the cosmos alike in only one creative gesture orchestrated by him ...It was a truly great artist, a Christlike figure and a Faustian magus at the same time...A cross between Christ and Simon the magus... In Russia no pianist is ever worth the name if he cannot play Scirabin in this right miraculously redemptive way...Like in Poland Chopin or in Hungary Liszt....Bach for the German and Mozart or Beethoven ... |
- 56 posts total