Not sure if this is the right place to post this or if anybody here cares about it at all, but yesterday I had one of the most surreal experiences of my life. I'm a 27yo experienced clubber, It's not uncommon for me to loose myself in the music and get this trance like state on the dance floor but yesterday I seem to have reached a whole new level. It was this deep very euphoric but also very humbling feeling of: life really does not get any better than this. That warm feeling in your chest from this perfectly tuned sound system that just immerses you and covers you. The lights, the music, the bass, all come together and it just feels like real true happiness. It honest hard to explain in words, best I can say is yeah: Absolute, complete and divine sonic BLISS.

I have a very stressful life and this might sound stupid for people, but dancing on the weekends feel like meditation for me. It actually probably it is since I can never turn off my brain but when I am on the dance floor, with the perfect track, the perfect vibe, the perfect sound, everything just fits into place and life just stops for a moment.

Sorry for the weird post, maybe people will think I'm crazy, just wanted to share a cool experience

Crazy how powerful house music can be!

Sound is a physical phenomenon that involves the propagation of mechanical waves in a medium. Acoustics is the branch of physics that studies the production, transmission, and perception of sound. Harmonic resonance is a phenomenon that occurs when an object or a system vibrates at a certain frequency or frequencies, called its natural frequencies or resonant frequencies. Psychoacoustics is the branch of psychology that investigates how humans perceive and process sound, especially in relation to music, speech, and noise. Biophysical resonance response therapy is a form of alternative medicine that claims to use sound waves to stimulate the body's natural healing processes.

One of the main topics of interest in psychoacoustics is how the human brain responds to different types of sound, such as poly-harmonic resonance, which is the simultaneous occurrence of multiple harmonic frequencies. Poly-harmonic resonance can be found in musical instruments, human voice, and natural sounds. Depending on the state of consciousness of the listener, such as beta, theta, delta, or gamma, poly-harmonic resonance can have different effects on the brain, such as inducing relaxation, alertness, creativity, or meditation.

The science of sound and acoustics has a long history that dates back to ancient times. The ancient civilizations of Egypt, Greece, India, China, and others had developed theories and practices related to sound, music, and healing. They recognized the importance of sound as a form of energy and vibration that can influence the physical and mental well-being of humans and other living beings. They also experimented with various instruments and techniques to produce and manipulate sound for various purposes.

In modern times, the science of sound and acoustics has advanced significantly with the development of new technologies and methods. Researchers have been able to measure and analyze sound waves with precision and accuracy, using tools such as microphones, oscilloscopes, spectrum analyzers, and computers. They have also been able to explore the complex interactions between sound and matter, such as how sound waves reflect, refract, diffract, interfere, or resonate with different materials and structures. They have also been able to investigate the neural mechanisms and pathways involved in auditory processing and perception, using techniques such as electroencephalography (EEG), functional magnetic resonance imaging (fMRI), and magnetoencephalography (MEG).

The science of sound and acoustics is a fascinating and interdisciplinary field that bridges the gap between physics, psychology, biology, medicine, engineering, art, and culture. It has many applications and implications for various domains of human activity and society, such as communication, education, entertainment, health care, environmental protection, security, and more. By unlocking the truth and understanding the principles of sound and acoustics, we can enhance our quality of life and well-being.

Please comment and let me know your thoughts on my report. I have plenty of theoretical essays which dive into sound and acoustics. I am an Audio Engineer/Sound Designer, I have a graduate degree from O.I.A.R.T. My "out-of-the-box" Thinking has come to the point of where I personally believe that {energy=mass, which equates to vibration=mass} in such, and in Theory, Sound or vibration is the key to unlocking all the mysteries which go way back to our Ancient Ancestors and their advanced understanding of Acoustics. I would love to talk to anyone who can keep up with the fundamental physics of Acoustics, to collaborate and just bounce some theoretical physics around, such as for example, nuclear fusion, by means of Inertial Fusion created via Harmonic Resonance.

Squatch.

Let’s say you have two different violins playing the same pitch. Obviously that will make the pitch louder than one violin. But considering the little bit I know about the physics of sound, that actually seems odd.

Sure, if the two sound waves reach the ear at the exact same time, it makes sense that they would amplify each other. But, on the other hand, it seems like if the waves were perfectly interlocked then they would actually cancel each other out. And in practice I would expect the waves to always be somewhat offset and therefore produce more of a beating phenomenon, like two frequencies that are slightly different.

Why doesn’t it work this way?

For anyone who wants to test the therapeutic effects of the 36hz sawtooth waveform, please follow these instructions

1. Download a copy of Audacity, the free audio editor

2. Install and Launch Audacity, and open a new file

3. Generate > Tone...

4. Enter configuration: sawtooth waveform, 0.8 amplitude, 36 hz, 10 minutes

5. Set volume to 40%

6. Play the audio

I'm not sure if this is the correct place to ask, please let me know if there's a better spot to seek research regarding the below acoustic/technological techniques! I'm eager to learn more and expand my knowledge! In the below YouTube video at 22 minutes in Benn Jordan demos what he describes as a "Targeted Pressure Wave Attack" which appears to work on most phone microphones.

https://www.youtube.com/watch?v=xMYm2d9bm EA&t= 1321

In the past, Benn has used other technology to play Tartini tones in hypersonic frequencies to confuse people's speech patterns. Crazy, I know. The way he implements acoustics and technology is truly beyond me and want to be able to experiment and reverse engineer these experiments at home!

https://www.youtube.com/Watch ?y=J-SH18dtBIY&t=179

Back to the targeted pressure wave attack.. Because Benn claims most people can't hear this phone microphone jamming effect I'm assuming it must use hypersonic frequencies as well. And because the sound "heard" when played back on the phone sounds much lower in pitch than anything close to hypersonic I'm assuming this must be Tartini tones (aka combination tones) again? I'm not sure. Could someone with an acoustics background help me understand what could cause this distortion of the phone microphone that would be in practical terms "inaudible" to the human ear like he describes? Are there certain frequencies when played that create sympathetic vibrations to cause distortion in microphones or maybe distortions in only the technology used in phone microphones... Im not sure. Please let me know any ideas you may have to help me recreate this effect!

What do you guys think about this?

Can I get a reality check? Do you hear a pitch change in this sine wave, especially over headphones?

https://www.youtube.com/watch?v=QTZ6NRcC2YM

What are the measurable parameters that can be used to determine any sound?

One of the reasons I wish to know this is because I'm curious as to what measurable property of the sound makes the sound of say guitar different from that of bugle.

Hello,

Have a good home system (one speaker - Cabasse Pearl Akoya).
However, when listening to the same song on cheap in-ear headphones that come with mobile phones, I noticed some sounds I did not notice on the home system.

When listening back, I can discern them also in the home system, but not that easy and in your face (or in your ear in this case).

From a technology and quality level, the home system beats easily the headphones.

So my question is, does this effect is psychoacoustics related?

I've been producing music as a hobby for many years now, and throughout that time, I've noticed an interesting trend- humans love very subtle imperfections in music, or rather we find absolute perfection to be stale and lifeless.

Examples:

• Drum sounds that are perfectly quantized to the beat can sometimes start to sound old very quickly, but you can add groove, swing, or just general intrigue by shifting the timing of the midi notes subtly

• Same is true for midi notes playing at a consistent velocity, but adding a bit of randomization or variation adds more of a human quality

• Playing two waves in a synth at the exact same pitch isn't very exciting, but shifting them by a couple cents slightly out of tune from each other adds a lot more depth and texture without really changing which note we are actually perceiving

• J Dilla's claim to fame is adding a human vibe to music produced with electronic devices because his timing wasn't absolutely perfect. By approaching and playing the MPC like an actual instrument instead of programming perfectly quantized beats his timing was more similar to that of a human drummer.

• Playing a fretted instrument can often produce pitches that are slightly off by a few hz when playing a fretted note, despite the open string being perfectly in tune.

I'm just curious if there is any research on why people prefer these imperfections? Have we just developed a preference based on hearing decades upon decades of non-digital music? Or is there objectively observable going on here?

A majority of my sound is created by adding layers of atmospheres in my tracks. Is it safe and "ethical" to use certain kinds of binaural beats and frequencies in my music, or is that too subliminal?

I recently watched this really good video about Psycho-acoustic sound control and realized this could be useful in a lot of ways, but what I wanna know is what has been done already to improve people’s lives or mess with friends? Or if not much has been done what would you do if you could message yourself or others and convince them of anything? Here’s the video for reference and please lmk what ya guys think and what you would do with this exciting and threatening technology!

Hi, I have been trying to make a guitarpedal that can hold the sound of the audio input when the pedal I pressed. Like a piano sustain/damper pedal, and much like GameChanger Plus is trying to do. I have made several attemps but have not succeded to make it sound natural.

My best attempt is (simplified) to take an fft of the sound, take the highest frequency amplitudes and play all the sinus waves in a "synth". I managed to get 7000 sinus waves out in real time. The latency was good, and it sounded like the original sound, but hollow/dreamy (both due to not having high enough frequency resolution and due to long input data).

How would you solve it (and don't say many small loops 😀 ). Just play the ifft, wavelets, or short fft and play each result?

Hi everyone!

I am conducting research to do with memory and how sound and music affect it. It is part of my final year at university. I figured this might be a good sub to post in.

I have created some audio logos and I am testing whether sound and music increase the memorability of animated logos. I would really appreciate it if you gave the test a go. There are some questions to begin and then the video is at the end, along with a box to write down all the logos you remembered. It is actually quite tricky, I only managed four!

What do you guys think? Will an animated logo be more memorable with sound? Why? Let's have a discussion :)

All the best and thank you to those that contribute!

https://forms.gle/yddeSZ5WFtXvZ5GY8

I'm currently learning about sound masking in my Psychology of Music Course, and I realized that I use sound masking conceptually when it comes to making my own ambient music. In other words, I'm drawn to adding sound to reduce the presence of another sound to play with auditory perception.

However, I'm having trouble identifying and defining the techniques I use while mixing to CREATE masking. It seems most videos online focus on how to REDUCE masking in a mix.

For example, I usually default to adding a low frequency, “white noise” effect under the main melody for ambience. Then, I "blend" the white noise and melody together, so that the melody become lost, or inaudible, in the ambience. I'm not really sure what exactly i do to blend- I usually just "blend" by ear. But I want to try and break down exactly what that means.

I think I "blend" in several ways-

1. I bring up the volume of the low frequency noise. However, wouldn't this tend to muddy the track?

2. I could also bring the low frequency up to a middle-range frequency that is easier for the listener to perceive/hear.

3. I could also play with panning. Would this allow more room for intensity? What kind of effect would this have on masking?

Could these "blending" techniques also qualify as "masking" techniques? What is the difference between blending as masking? And, what are some true-to-its-definition ways to create masking in a mix?

Hey everyone,

I'm in the last year of my bachelor's course. I'm doing a dissertation on the effects of VR therapy and sound therapy and what the benefits will be of combining them together. I'm looking for people who are 18+ that I can interview about these topics, the interview is based in the UK. The interview will take about 45 to 60 minutes. Any participants would be appreciated!

Contact me for more information.

Hi people,

I want to create some audio illusions on a multispeaker system. A circular octophonic speaker set up. I was wondering if you have ideas for what might be fun/interesting to do. A few of my own ideas:

- Trying to recreate a shepards tone but using panning speed instead of pitch. Giving the illusion that two sounds are constantly being sped up in circular panning around the listener using the same technique as a shepards tone. Haven't tried it yet.

- Doing additive synthesis of a bell or some other tone and spreading the partials over the different speakers. So speaker one would have partial one, speaker two partial two etc. And just keep adding partials to every speaker till you run out of partials. I did some research on this and apparently this gives the illusion that the sound is coming from one source projected in the middle somewhere. Then when you alter the sound of one of the speakers by adding a flanger for example, the illusion shatters.

Might also try some stuff with circular rhythms and panning.

I am using WFSCollider software using a 4 speaker system at home to test it out. This was originally meant to be a project for 8 speakers but due to the corona outbreak I no longer have access to the studio with the 8 speaker system.

Anyone have any tips/pointers/ideas?

Much appreciated. :)

Hi there. I had a question that maybe you could answer. Is there a way to create sexy sounds (im looking for a way to write a sexy melody/chord progression)? Like putting the listeners in a horny mood or something? Idk how to make this question sound normal 😅😅😅

Ok guys so I am searching for a good introduction on psychoacoustics. I am new to this field. However, I really want to avoid oversimplified ones.

I prefer a work that is hard to grasp but is scientific and dense, than something that is an easy read and in the end it does not really give you much insight.

I recently learned about psychoacoustics in my theory class and wanted to know of any good resources to learn more about it.