Dubstepforum.com

SunkLo wrote:Why would you want to make your audience feel sick and stressed though?

-Agu- wrote: Since this is dubstepforum and dubstep is all about the bass, along with percussion and atmosphere (let's not involve commercial side of the genre to this), my real question is that would it be possible to mix even lower sub bass underneath the basic sine wave sub. Of course this eats some of your headroom and take away some loudness, but who gives a shit because there wouldn't be any point playing this kind of track in a club with basic soundsystem or from headphones sticked to your iPod.

Any thoughts about this idea?

alphacat wrote:You would literally need a speaker that's several feet across in order to generate a pure 20Hz wave - this website says 56 feet wide, in fact, but I'm not sure about that...

http://www.sengpielaudio.com/calculator-wavelength.htm

Every frequency has a wavelength; if the speaker isn't at least as big as this wavelength, it physically cannot produce it.

That being said...

You can also generate this frequency through phase cancellation, where you position two sound sources to intersect at a 45* angle or so; one plays a frequency of (just for an example) 400 Hz, the other plays, say, 380 Hz. Where the two sounds intersect they cancel out everything but the difference, i.e. 400 minus 380 = 20.

the coolest frequencies are from 1 Hz -30 Hz when played between ears.. out of phase sign waves on each ear causing euphoria, deep thought, relaxation, excitement etc depending on the frequency

This is known as binaural signal generation - a variant on the phase cancellation described above, where one wave acts as carrier and is modulated by another wave frequency to produce a third perceived frequency, except that the phasic offset doesn't occur acoustically - it occurs in your brain.

Now, as for the infamous Brown Note: it's not a myth, but it's very difficult to produce correctly, and even more difficult to control. Not something your average garage tinkerer will likely be able to do easily. The specific frequency is around 7 Hz, some say 6.71 or 7.8 something. Look up Schumann Resonance: this is the electromagnetic resonant frequency of the earth and our ionosphere itself...

There's an old story that I've never corroborated about the Germans in WWII developing a sound cannon that could kill men at 70+ meters and even disable aircraft, but the energy required to produce a single blast was so ridiculous it was scrapped.

I could blather on and on about this. It's something I used to read a lot about. Do a google search for "Infrasound" to learn more.

SunkLo wrote:Why would you want to make your audience feel sick and stressed though? I think it would only serve to negatively impact the enjoyment of the music. It would definitely eat a very large portion of your headroom as well.

SunkLo wrote:Yeah but there's still some enjoyment coming out of resonance with the mood of the track. It's not like people are deliberately listening to music they don't like to make themselves feel sad. It's like if you go see a horror movie you wanna be freaked out but you don't actually want to get clubbed with a dull hatchet. There needs to still be a degree of separation.

Wikipedia article on Danger Music wrote:
Danger music is an experimental form of avant-garde 20th and 21st century music. It is based on the concept that some pieces of music can or will harm either the listener or the performer. Since the performances must nearly always be canceled before they can be performed, danger music can also be thought of more as a form of noise music. For example Takehisa Kosugi’s composition Music for a Revolution[1] directs the performer to gouge out one of his or her eyes five years from now. Works such as this are also sometimes referred to as anti-music because they seem to rebel against the concept of music itself. Danger music is often closely associated with the Fluxus school of composition, especially the work of Dick Higgins who composed a series of works entitled Danger Music.[1][/url]


Danger music in performance
As with many forms of concept music and performance art, the lines between "music", "art", "theater", and "social protest" are not always clear or apparent. Danger Music consequently has some things in common with the performance art of artists such as Mark Pauline and Chris Burden. For instance, some extreme examples of danger music direct performers to use sounds so loud that they will deafen the participants, or ask performers to throw antipersonnel bombs into the audience. Japanese noise band Hanatarash were notable for their dangerous live shows, the most famous instance being when vocalist Yamantaka Eye drove a bulldozer through the venue at the back of the stage. (Alphacat's note: HOLY FUCK! ) There were also reports of audience members being required to fill out waivers before shows to prevent the band or the venue being sued in case of any potential danger caused to them. Other pieces involve more symbolic forms of "danger", such as Nam June Paik's "Danger Music for Dick Higgins," which directs the performer to "creep into the vagina of a living whale."Or a piece may direct that the volume of the music steadily increases causing the audience to fear that it will make them defecate (see Brown note), although it might never reach that point.

"For example Takehisa Kosugi’s composition Music for a Revolution[1] directs the performer to gouge out one of his or her eyes five years from now."

"the most famous instance being when vocalist Yamantaka Eye drove a bulldozer through the venue at the back of the stage."

Other pieces involve more symbolic forms of "danger", such as Nam June Paik's "Danger Music for Dick Higgins," which directs the performer to "creep into the vagina of a living whale."

alphacat wrote:You would literally need a speaker that's several feet across in order to generate a pure 20Hz wave - this website says 56 feet wide, in fact, but I'm not sure about that...

http://www.sengpielaudio.com/calculator-wavelength.htm

Every frequency has a wavelength; if the speaker isn't at least as big as this wavelength, it physically cannot produce it.

That being said...

You can also generate this frequency through phase cancellation, where you position two sound sources to intersect at a 45* angle or so; one plays a frequency of (just for an example) 400 Hz, the other plays, say, 380 Hz. Where the two sounds intersect they cancel out everything but the difference, i.e. 400 minus 380 = 20.

the coolest frequencies are from 1 Hz -30 Hz when played between ears.. out of phase sign waves on each ear causing euphoria, deep thought, relaxation, excitement etc depending on the frequency

This is known as binaural signal generation - a variant on the phase cancellation described above, where one wave acts as carrier and is modulated by another wave frequency to produce a third perceived frequency, except that the phasic offset doesn't occur acoustically - it occurs in your brain.

Now, as for the infamous Brown Note: it's not a myth, but it's very difficult to produce correctly, and even more difficult to control. Not something your average garage tinkerer will likely be able to do easily. The specific frequency is around 7 Hz, some say 6.71 or 7.8 something. Look up Schumann Resonance: this is the electromagnetic resonant frequency of the earth and our ionosphere itself...

There's an old story that I've never corroborated about the Germans in WWII developing a sound cannon that could kill men at 70+ meters and even disable aircraft, but the energy required to produce a single blast was so ridiculous it was scrapped.

I could blather on and on about this. It's something I used to read a lot about. Do a google search for "Infrasound" to learn more.

sine143 wrote:In fact there are many products (Danley DTS10 for instance) that are capable of producing SIGNIFICANT output down to 10/15 hz with nothing but a pair of 12" speakers in a single enclosure. (horns for ya).