Physioacoustics, Psychoacoustic Aural Illusions and Your Apple IIgs
               Virtual Audio - Unleashed via Noise Tracker GS, VAMPS/NTV 
     (Vortex Audio Mastered Psychoacoustic Sound/Noise Tracker GS, VAMPS)

By:  Charles T. Turley 

SOUND GS - Part 3

If you've read Part 1 and 2 of this article, then you have a general
understanding of the conception of VAMPS, how to construct them and the basics
of their special effects.  If you haven't read Part 1 and 2, then you should.

You can find them in the file 'SOUND.GS', in the TNT folder on MegaMODS Vol. 3
disk.  If you can't find this disk on your local BBS, 'THE NET' or a major
on-line service, then you can send me a 3.5 disk, with your request and a
self-addressed, stamped return envelope or disk mailer and I'll send it to you.

Many aspects of the Noise Tracker GS 'VAMPS' music modules, their special
effects and sound scape designs will be covered in this part of the article.

(Many more specific details, some very thought provoking and informative
instructions will be given in the next series of this continuing article; PART
4).

Three different sound wave forms are used in VAMPS sample construction; Square,
Sine and Sawtooth.  I prefer using the square wave, as often as possible,
because a square wave can deliver more information to biological media, both;
psychologically and physiologically than any other wave form can.

The illusions of 3-D sound scapes and their perceived spacial location points
are not entirely dependent on the wave form used.   However, these three basic
wave forms, when used in combination with each other, via multiple samples can
create many new and complex wave forms, that will play a major part in
delivering the illusion of specifically located spacial sound scape points, in
vertical and horizontal sound plains.

I could write an entire book on the combinations of wave forms and the
theoretical predictions they might have, with respect to presenting spacial
sound scape localization points.  But, I'm not about to, because it would be
useless theoretical speculation.

These three basic wave forms can be used together to produce any others
possible.  Just like the three basic colors; Red, Green and Blue can be combined
in different ratios to produce any color shade and hue, the same is true with
these three basic sound wave forms.

Each sample and each note of each music score, also plays an important roll in
the design of the sound scape.  Each volume increase or decrease, how many
tracks are used for each sound sample and how they all interact with one
another, as well as changes in tempo are all factors, you must consider, when
designing 3-D sound scapes in the music modules you are creating with Noise
Tracker GS.

The design of each VAMPS music module is a trial and error process.  I try to
create each one as if it were a graphic art work, (using sound instead of paint)
with the over-all objective of presenting a vivid 3-D sound scape, with multiple
points of specific sound localization, in a contripital convolution or global
360 degree design, covering as many points as possible in the vertical and
horizontal sound plains.

Then, I add the effects of both binaural and bineural beat frequencies, via
either; looped paired samples within the NT music module, that heterodyne to the
desired frequency, within and loaded by the basic jukebox program, or using a
complex of frequency math calculations to predict harmonics between certain
samples used in the music module or acting upon them via commands in the basic
jukebox program.

Localization shifts, samples phased and inverted, modulated and pulsed swept and
echoed, delayed and layered, pitchbended and mirrored vertically and
horizontally, converting mono samples to mux. stereo forms, combined with the
effects of specific frequencies heterodyned, can cause valid psychological and
physiological events, interpretations and reactions to the combined sounds
perceived, in endless and unique variations.

My mood, emotions and frames of mind, all play an important roll in the final
mastered release with each VAMPS music module presented.

We're all unique and individual and so is the way each of us perceives sound. 
Some people have a better ability than others, to perceive the 3-D sound scapes,
with their illusionary localization points.

Some people will perceive the sound scapes in a different location and with
different degrees of dimensionality due to the range of frequencies they can
hear, which frequency bands they are sensitive to and which ones they are not.

The point I am trying to make clear is, that no two people will hear the VAMPS
music module exactly the same.  Therefore, what I create and release may impress
me but, may or may not impress you.  I may hear sound scapes and localization
points in areas that you do not.  I may hear frequencies that you do not hear.

Additionally, the type of headphones or earphones used, the type of stereo card
used and the type of amplifier all have an effect on the quality of what you may
or may not perceive with the VAMPS music, it 3-D sound scapes, its effects, etc.

You really do have to experiment with each sound event and interaction to
develop and create the VAMPS music module that has that special something, that
suits your own individual auditory needs and desires.

The best method is to teach yourself by careful study of each track, each
sample, each block and each effect, with each VAMPS music module you have, to
gain an understanding of what causes what to occur, with respect to your own
individual auditory perceptions.

Try loading the VAMPS music into Noise Tracker GS v1.40, then set the tempo as
slow as possible, to allow you to view it and study what each track, each block
and each position are presenting, via the 'Scrolly Player' option.

I will discuss most of the effects that I use, why they are used and try to give
an explanation of how and why they are interpreted by our ears and our brain, as
they are.  I can not possibly cover them all in this part 3.  Thus, I will
present continuations of this report/article by part, until I do cover each
aspect of everything that I know.

There are certain auditory aspects that everybody is subject to.  Rules and laws
are just as valid, for the standards of human sound perception effects, as they
are with any other effects of energy distribution.  Sound is not simply a wave. 
It's also an energy !

These are effects of energy distribution.  They follow the same principals and
can cause reactions all the way down to the individual atoms, in the movements
of electrons, in the flow and motions of liquid and in the cellular aggregate of
living beings.  A general review of these follow.

In reality an influence is exerted on the frequency structure of the sound by
the duration limitations of sound - sound onset, sound change (modulation) and
sound stop; thus, the sound quality as a certain relationship of partial
vibrations will be changed.

This reality is very noticeable, when studying the sound structural variations
and abilities of Noise Tracker GS and its various methods of music score design.

Many people think that the more tracks used, the better the dimensionality might
be.  That can be an applicable aspect of the 3-D sound scape effects. But, is
not always necessary.  Some NT VAMPS music modules might have up to 15 tracks
active with a variety of samples assigned to each track.  The samples, score
design, effects, etc., can be used in either; RAM based sound bank, ensoniq RAM
bank or both.  Others can have as few as only 4 RAM based tracks and deliver
vivid sound scapes and 3-D dimensionality effects.

Each individual music score and its samples with their track, position, note and
octave placements, work together as a unique inter-active sound scape continuum.

You must not think of music as a series of single emitted tones, but as a
combined and inter-active continuum.  In the flow of musical events energies are
released which penetrate into the perception centers of the listener, by means
of the brains psychoacoustic transformation via both direct energy induction and
the normal audio hearing mechanism.

These sound events of energy distribution began as pressure differences in the
air, then mechanical vibrations to the cellular structure and collectively also,
in the middle ear, next as liquid vibrations in the inner ear and finally as
electrical impulses in the nerves leading to the brain.

The exact process that our consciousness and subconsciousness uses to intrepid
the sound events within the brain, is still speculation at present.  They are
energy distribution events, relayed from one brain cell to the next.

Most likely, the process of sound interpretation at this level (within the
brain), consist of a multiple of energy transfer methods such as; direct
electrical impulses, electromagnetic resonant induction  via cellular
information transfer, electrochemical exchanges, memory triggers (for both
location and emotional responses) and a vast complex of interpretive relay
mechanics, all complementing each others effects, operating in much the same way
as our computers do.

TO BE CONTINUED... see SOUND GS - PART 4 THRU 6 in html document format.