I dont come here to speak only about audio only , my system is finished and i dont need to upgrade anyway, i come to speak with friends and to speak about the music i listen to...
I also tried to create this thread about "seeing sound and music" which would be my thinking about acoustic in the philosophical sense, not tweaks about audio so much, but ideas and perceptions linked to sound and music vision...About acoustic feelings and acoustic perception...
I discovered why i was a bad musician , i lived all my life more used to perceive rythm and harmony than melody, with not much melodical memory but an increase power to perceive forms and dynamical shapes linked to block of chords more than to melodical line... My attention to music is related to spatialization by timing of some chords which appear isolated in my attention window like a geometrical form moving, a surface speaking to me like a human face...This explain why while many listened to beatles in 1964 i was myself immersed in ancient choral music to perceive these moving forms and speaking faces...
That explain my difficulty to sing correctly...No musical "ears"...No melody memory so much but a way to make sound visible to my internal "eye"...Probably it is the reason i dreamed to own a high end audio system for all my life...I succeed only very recently with no money invested...
My goal now is to create a philosophical adventure on this acoustical road and reformulate all philosophical history through multiple "tags" which punctuated our notion of what a sound and what a musical sound means in the last 2 millenia...and why?
Each tag would be also a revelation of the conscious soul history through the way evolve his sound attention and perception....
Sound is feeling and meaning in one.....
Meaning is too vast notion to be only a sign, the new philosophy is related to the POLARITY of meaning and sign...Meaning generate sign and die in sign...
The new phisosophy will be a Goethean semiotic not a Peircean one...
Peirce war ferociously against nominalism all his life without knowing that his conception reducing meaning to sign was an ultimate nominalist residual attempt and stance ...Goethe semiotic by contrast is non nominalist...
Because the morphogenesis of sound event is related to a perceived polarity and a genetical insecable polarity which resonate with our internal polarities ...Object and subject BECOME and DIE together... the environment is part of your body and your body part of the environment... There is no way to STAY external observer....
Friston called these polarities "Markov maps" using the theory of a great Russian mathematician...
Karl Friston is my new mentor toward a complete new revolution in science...
https://www.youtube.com/watch?v=NIu_dJGyIQI&list=PLnQJF3Qi_4_CGFyisehOpLvbpDhdIe_ld&index=169&t=95s
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I attended a performance of Prometheus in Hill Auditorium (Ann Arbor) with full light effects. It was groovy.
I am envious here... lucky you are....😊
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I attended a performance of Prometheus in Hill Auditorium (Ann Arbor) with full light effects. It was groovy.
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Synesthesia. Scriabin was into it, big time
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 ...
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Synesthesia. Scriabin was into it, big time
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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
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Mahgister
Do you listen to Scriabin?
Scriabin is one of my god with Bach...
He changed the way my consciousness related to tonal musical sound...
Why do you ask?
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Mahgister
Do you listen to Scriabin?
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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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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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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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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.... |
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=Q3oItpVa9fsNo 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... |
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! 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.... |
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! |
Always enjoy the OP's posts.
+2 |
Always enjoy the OP's posts. |
«Most of the possible are also a probable disposed all along in a perspective, the more meaningful probable though is the near impossible or the unexpected, the outcast from our own perspective»-Anomymus Smith
Miracles and mysteries are everywhere to be seen like in acoustic and music , like in a garden or in a jungle, but man perceive only his own predictable circle of habits and call it "the world"....
«Any natural law is the passive side of love»-an undiscovered teaching of an unknown disciple of Rumi
«Miracles are nature habits not snake oil»-Groucho Marx 🤓
«Miracles are cheap medecine»-Harpo Marx
«Did you not just sell us snake oil here?»-Gummo Marx
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The senses all interact in one’s brain where nobody can say for sure what all might be possible. |
Thanks for your beautifully written moving post artemus_5
By the way all of us are able to train our attention neuronal mechanism...We are all "golden ears" some had teach themselves a bit more, like Steve Kisch, thats all....
And listening is not about acuity or accuracy first and only , it is first about coordinating the 2 ears together and coordinating the visual and hearing system of the body /brain moving eyes or ears or his members body....Hearing become listening a conscious/subsoncious "yogic" activity of the focal and peripheral attention like in subtle breathing ....
Acoustic complement music like the 2 brains hemispheres complement each other....
my deepest respects.... |
@mahgister
I have never been exposed to ideas put forth by you and others. So I thanks you for making me aware of these things, even though I have never had such things
For me, music has filled many needs over my lifetime. It has been a life long friend. it helped me in the lonely times when growing up as an only child. It helped me forget the weight of the problems I faced and still do face at times. It is one of the few places which I leave the cares of the world behind. I most often think about the beauty of the system. Not the stereo system but the system which holds everything together and how, despite overwhelming odds at times, I have always had everything I needed. I'm often reminded of how God Himself must love music. I say that because The Book of Psalms is the longest in the Bible and perhaps the easiest to find. It is right there in the middle of the Book.
I've laughed at some of the lyrics in blues songs which convey terrible situations in such amusing light. Blues says, " life often sucks but we will go on". It’s the message of life itself. I've cried. at Mozart's Clarinet Concerto at my mother's death. I cried as much at the beauty of the music and an afterlife that she now enjoys as much as I cried at my loss. This is just a few examples of my emotion and the beauty which music brings and life situations it highlights.
Music takes me away from a world which is often highlighted by man's cruel & inhumane treatment of his fellow man. A world which has lost its ability to live & let live & to agree to disagree. A world where you are seemingly forced to take a side because walking independently with your own thought gets you mocked and ridiculed by both sides
As to colors and flowery psychedelic images have never seen this from music alone.
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If you want to test your system....
The most spectacular and difficult piece of recording i have to test all aspects of sound including hearing from speakers a recording where the sound COME AROUND the listener and often BEHIND HIS BACK all that with a stereo system...Believe me or not...😁😊
Philip Glass : AKHNATON
Here the great variety of sound timbres and frequencies, solo and choral voices with Wagnerian tuba and percussions...
A great part of the sound fill my room with often voices not only BESIDE me at left or right, but voices and instruments behind my listening position at the direct opposite of the 2 speakers...
A well done acoustical stereo room is almost quadraphonic in effects with some well recording piece in my experience....
This cd is impossible to beat for testing the presence of individual instruments and voices perfectly distinguished by their timbre in this enormous mass of musicians....The test for bass will be astoundingly good because of the timbre variety of the different instruments in the bass register...
The best test for any system is timbre voice, because each human voice own an individuality unique to living system and gives a set of acoustical subtle acoustical cues impossible to hear with any instrument ...
And a big mass of instruments or enormous chorals are very difficult to be and stay musically detailled and not mainly indistinct noises on less good system and no controlled room...
This works is also an astounding piece of musical genius which i will resume in this description, which is exactly only that, a description in my words, the way the composer summarize all the history of music in his own way:
You will "see" around you and not only hear, a huge cosmical and tellurically grounded Wagnerian and Scriabinian opera, transforming itself sometimes in a big orchestral Brucknerian symphony which at times become a beautiful complex Monteverdian madrigals set which hide the germs of sublime but ONLY emerging simple masterful counterpoints mantras like in Bach or Bruckner, that ends often in a powerful chord or a ceremony of drum rolls or an incantatory recitative like in shamanic ritual of the past mixed with pre-gregorian influences....Astoundingly deep, efficient, and beautiful musically...
All musical genres fusionned here in a minimalist style in plain control, inspired by one of the master of the young Glass, the blind street musician classically educated Moon Dog, the so called Viking of the 50 th street at N.Y. friend of the young Glass and one of the creator of this "minimalist" style or at least a mentor of the young Glass....
No doubt here, Philip Glass is a great composer who will stay for the future history....
His Akhenaton is hypnotic at the highest level..... |
Fantasia - Toccata and Fugue in D minor segment |
Or you can just enjoy a good bottle of wine and never know whether you actually heard/saw it or just dreamed it... |
While I have experienced visual synesthesia from music, for me it is more often physical sensations, experienced as though in the body. Not movement per se, but physical sensation with emotional content attached. Not easy to describe.
Great thread. |
I am lucky then.... No need of psilocybin...
😁😊 |
I was seeing sounds and music one time in Bellingham. Turned out it was the tea. Exceptionally good psilocybin up there. |
At its best, music is a language.
Proper reproduction of it makes it easier to understand & enjoy.
Synesthesia has been described by both John McLaughlin and Robert Fripp, and experienced by composers Messiaen, Skryabin, and Liszt, along with others.
Some say it is related to perfect pitch:
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3596158/
Your point about music being a language itself is deep and the fact that language is music itself go even deeper.... Thanks very much for this paper which confirm my experience and intuition.... Me deepest respect.... |
Truly inspirational thread, Thank You!
I've never expressed these experiences to my friends, I'm not sure they experience music on this level. I have never heard or read in this case, of people enjoying what is for me, the ultimate endpoint of musical enjoyment/interaction.
For me, I feel this deeper, as someone above described, "visceral" experiencing of music, is a reconnecting to something we as a modern society seem to have lost; a connection to something ancient, from a time when the human race was not fixated on superficiality, and more the pursuit of inner enlightenment, and knowledge. To a time when, to quote a book, can't even remember what book it was, but this line has stuck in my head; "When we all lived in the forest, and nobody lived anywhere else...."
Thanks again, this has made my day.
Respect!
Thanks it is a great joy to be the origin of a small joy indeed.... |
At its best, music is a language. Proper reproduction of it makes it easier to understand & enjoy. Synesthesia has been described by both John McLaughlin and Robert Fripp, and experienced by composers Messiaen, Skryabin, and Liszt, along with others. Some say it is related to perfect pitch: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3596158/ |
Truly inspirational thread, Thank You!
I've never expressed these experiences to my friends, I'm not sure they experience music on this level. I have never heard or read in this case, of people enjoying what is for me, the ultimate endpoint of musical enjoyment/interaction.
For me, I feel this deeper, as someone above described, "visceral" experiencing of music, is a reconnecting to something we as a modern society seem to have lost; a connection to something ancient, from a time when the human race was not fixated on superficiality, and more the pursuit of inner enlightenment, and knowledge. To a time when, to quote a book, can't even remember what book it was, but this line has stuck in my head; "When we all lived in the forest, and nobody lived anywhere else...."
Thanks again, this has made my day.
Respect!
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Thanks.....
Your post say it all...... |
Synesthesia. Absolutely. With a heaping side of joy or unleashed tears or both. Music is transformative.
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That was a mouth full, I guess I'll have it all read by end of weekend... |
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Put that in your vaporizer and torch it. |
True music is visceral in nature. It is a breathing living experience that is brought to life through the performers emotions. It has a structure and form that can be felt and seen. |
Great thread Mahgister!!! |
I just think that a better or a clearer or more explicit title for my thread would have been:
Listening music and seeing sounds /
\ Listening sound and seeing musics |
Well done. Thanks for sharing. |
I seldom imagine colors when listening. Instead I feel emotions. I feel adrenalin or soporifics... We all feel emotions with sound and music but we can also perceive specific acoustic information with sound and music... The well known case of echolocalisation by blind people for example...Daniel Kisch on youtube is an example... And the relation between emotions and information can be subjective or objective, objective like in the case of perfect pitch evaluation , or completely subjective like the associated specific colors attached to sound in synesthesia... And all the variation scale between these two.... The female violonist i speak about above with the youtube link about synesthesia own perfect pitch and "suffer" or "enjoy" synesthesia at the same time... |
I seldom imagine colors when listening. Instead I feel emotions. I feel adrenalin or soporifics...soporifics that can engender either balm or boredom. I fall in love. I shake in hate. I wallow in nostalgia. I re-live the past, whether that past be my own past or the historical past. I look forward to the future. I chuckle at idiocy, whether the idiocy stems from me or someone else. I get up and dance. |
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.... |
Thanks for these 2 excellent posts above which are exactly about what i want to speak about.... |
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. |
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. |
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 |
Thanks for your experience.... Great post!
I must add that my audio system/room does not gives me the best possible acoustical and musical performance possible for sure...And my system/room dont mimic and reproduce the original musical performance which has been recorded so much than it translate it in something that is not too far from the lived event but anyway which is different... I never listened anyway to a "perfect" reproduction of a lived event through the audio system/room i experienced in the past...
Many if not most people here own a potential better system than mine ....But acoustic treatment and control could help a lot of us to be "satisfied" by our musical listening in spite of the limitations of our system.... It is my case.... |
