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
FREEWARE - Copyright (c) 1994-96 by Charles T. Turley
and OmniSoft Research LAB -(OSRL)
Updated - 5/19/99
GS Sound - Part 5
(Binaural, Bineural Technology)
Part 5 of this six part article, covers the basic concepts for some
aspects of
psychoacoustics, using binaural, bineural, physioacoustic sound
effects and it
concludes with a review on the application of a very unique and
little known audio
technique, which I've term as 'Audio Plexing'.
ABOUT BINAURAL (VIRTUAL AUDIO) SOUND EFFECTS - You've heard
"mono" and "stereo." You've probably heard "quad" and "surround
sound."
But what about "binaural"?
Over the years, a variety of methods have been used to record and
reproduce
music. In the beginning, a single microphone was placed before a
group of
musicians to record or to broadcast over radio. This type of sound
system was
known as monophonic because it featured a single source.
When stereo (two sound sources) was invented, two microphones were
placed before
a band and each was recorded on a separate track. The microphones
were usually
placed six to eight feet apart to give the listener a more distinct
sense of left
and right.
Now, close miking setups are in vogue - using numerous microphones
fed to either
left, right or both channels. The sound fed to both left and right
channells
ends up sounding as though the instruments are halfway between the
left and right
speakers. The result sounds like a live performance in the listerners
home.
Far from being the latest in a string of foar-out audio
breakthroughs, binaural
sound has been around since 1881, when it was sent from the Paris
Opera House to
subscribers via telephone lines. And, unlike the rash of complex
multi-channel
techniques, including qudraphonic (four-channel) sound, surround
sound and
Ambisonic sound, binaural recordings do not require high tech
equipment. All a
listener needs to enjoy the experience is a pair of headphones,
normal stereo
gear and a tape or CD recorded using binaural techniques.
Binaural recordings are made in an amazingly simple way. A life-size
model of a
human head is constructed with microphones implanted where a human's
ears are
found. Then the dummy head and torso are placed in the audience of a
musical
performance. The sounds heard by the right and left "ears" are stored
on a
normal stereo recorder. The results are striking. The 360-degree
sound of
binaural recordings place a listener right there at the performance -
front row
center. The music and its live ambience are retained because the
acoustics of
the room or hall are reproduced precisely as a spectator would hear
them.
The easiest way to enjoy this technology is with a portable player
and a pair of
stereo headphones. While binaural recordings can be played through
stereo
loudspeakers, the single listerner must sit exactly between left and
right
speakers that have been turned to face each other, in order to
experience the
full effect.
In fact, because of the superior reproduction quality of most new
loudspeakers,
many audiophiles prefer this listening venue. Binaural addicts say
that only
dramatic productions suffer from playback over speakers.
I personally consider the use of headphones to be the only logical
device for use
when listening to any binaural recording. I advise the use of
good-quality, full
(frequency) range, high-intensity, amplified, full-sized
(over-the-ear) KOSS or
Sennheiser (electrostatic) headphones, for the best possible audio
rendering of
the binaural recordings, to allow you to hear the 360-degree vertical
and
horizontal sound scapes, they present.
You can make your own recordings using special binaural mikes. One
model, which
I use with many of my NTGS, (IIgs) binaural recordings and recommend,
is the
Sennheiser MKE 2002 binaural mike system. It's designed to be worn by
the person
(and/or reference dummy head), that makes the binaural master
recording.
My own binaural recording steps use the latest Neumann KU-100 dummy
head model,
using signals sent directly to a hard drive, using a 20-bit digital
signal from
Sonic Solutions and then final-loop I/O digital sample recording,
monitoring and
processing to and from the MAC to the IIGS.
The final-loop I/O digital sample remastering uses the following
software and
hardware; DigitalSessions, the Sound Meister Digitizer Card and I/O
loop
processed with the Hughes Model A-500 High Definition 3-D Audio Sound
Retrieval
System, then saved as mastered digital ASIF files via NTGS v2.0.x for
use with
scoring, sound scape dimensional designs, modifications and
enhancements.
Again, I'll point out, you should only use headphones to listen to
binaural
and/or bineural recordings, that I make and release, for use with the
IIGS. You
must have a stereo card connected to your stereo amplifier system and
have your
headphones connected toyour stereo systems headphone output jack.
If you use this proceedure for listening to the VAMPS, NTV, MegaMOD
and MegaVAMPS
releases, via a IIGS as outlined above, you will lose yourself in
both binaural
and bineural, 360-degree virtual audio and time becomes totally
relative, almost
non-moving in mental concept. The illusions of time speeding up
and/or slowing
down can also be observed, with such audio minulations. Time is
considered as the
4th dimension and this is where the claim of 4D audio comes into
play. Any audio
output signal that causes the above outlined effects, can be
considered and
defined as 4D Audio.
ABOUT AUDIO PLEXING TECHNIQUES - To obtain the physioacoustic event
of 'Audio
Plexing' (to promote the production of natural pleasure inducing
endorphins in
the brains left and right hemispheres), use pulsed audio signal
interupts of 90
times per minute. The audio signals should be; digital, square-wave,
ASIF, stereo
and looped, also being overlayed/layered, with very low volumes
(ranging from 9
to 27) for each.
Using extreamly low intensity phasing for each, pairings of these
looped, stereo,
audio signals, designed in a score pattern, that renders them in
polyrhythm and
styled in portato (a manner of audio score performance halfway
between legato and
staccato), is essential! You must also assign them dual(R & L)
channels within
NTGS v2.0; RAM and/or Ensoniq Sound banks (one selective pair for
each tracks
stereo channel assignment).
They respectively, should be a selection of i.e.; Left - 7000/7007,
70/77,
700/707 Hz and Right - 4000/4004, 40/44, 400/404 Hz. Left and right,
may also
be positionally reversed respectively, if so desired. Intergrating
and applying
such audio designs into any of your music compositions with either
Noise Tracker
GS modules (type 1 or 2), it's possible to generate subtle audio
stimulation of a
cluster of nerves, located behind the area of each ear, to promote
the production
of natural pleasure inducing endorphins in the brains left and right
hemispheres.
Finally, I've decided, with the ways, means and assets having been
made
available to me for their production, I'll be working on production
of a series
of digitally remastered, binaural 'MASTER' recordings, for release on
both audio
cassette and CD, featuring my entire collections of VAMPS, NTV's,
MegaMODS and
MegaVAMPS. They should be available for ordering by late July or
early August of
1996. I plan to make them available for mail-ordering, from a company
called "The
Binaural Source". They have the most extensive collection of binaural
recordings
available anywhere!
You can contact them via mail at: Box 1727, Ross, CA., 94957 or give
them a
tool-free call, at 1-800-934-0442, for a free catalog of the many
master binaural
recordings they currently offer, on cassette and/or compact disc
(CD), from
around the world. The Binaural Source catalog listings range in
prices of from $5
to $39. The catalog listings are drawn from all over the globe,
including rare,
hard-to-find, gold masters, made in Austria, England, France,
Germany, Ghana and
Poland.
Charles T. (Dr. Tom) Turley
115 Santa Clara St.
Brisbane, CA., 94005, USA
Voice Tel. (415) 468-1609
email: cturley@grin.net
IIgs Forever!
Thanks and References; Harry Somerfield - (Home Entertainment)
Cronicle Features,
CA., The Binaural Source, Ross, CA. - John Sunier, Discovery MAG.
(Sound &
Audio), Fields, Within Fields, within Fields - (Sound & Audio) -
(Issues
1978-81), Electromagnetic Fields & Life - (Sound & Audio) -
Prof. S. Pressman,
The Harvard Brief Dictionary of Music - Prof. Ralph T. Danial. My
special thanks
to; Durand R. Begault, Ph.D. - Aerospace Human Factors Research
division of
NASA-Ames Research Center, Moffett Field, CA., for his many
informative
contributions and technical advise, Hugo Zuccarelli - Holophonics
recording
process and especially Tom Erbe, for his amazing MAC sound
enhancement
application - SoundHack.
Read SOUND GS Part
6
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