Rather, it’s a controlled and inventive one that can allow you to access creative head spaces you’re not easily privy to in everyday life. Other binaural beat users have also compared the experience to microdosing on shrooms-albeit, it’s not a talk-to-Smurfs-in-the-woods kind of shroom high. You have to be in the right state of mind in order to believe that this stuff actually does its job, but I believe that it will be taking over medications.”Īlthough Griffiths has been sober for 14 years, he has used psychedelic mushrooms in the past, and is adamant that binaural beats are a similar form of natural high. “When you binaural beats, you can immediately feel it,” Griffiths added. With continuous practice of it too.” In fact, he uses binaural beats every night before going to sleep. “I believe you can reach a high consciousness that feels like something drug related,” Griffiths told The Daily Beast. Since then, in order to achieve an altered state of higher consciousness and explore the spiritual world, Griffiths started meditating and turned to YouTube and Spotify to listen to “binaural beats”-a term used to describe auditory illusions that occur when you play two different tones in each ear. (1997) Any Sound You Can Imagine : Making Music/Consuming Technology, Hanover, NH, Published by University Press of New England Wesleyan University Press.Ian Griffiths, a 36-year-old school custodian in Massachusetts, said he started warming to spirituality when his dad had a near-death experience and was saved by what he can only describe as fate. (2001) Strange Sounds : Music, Technology & Culture, New York, Routledge. (2003) The Audible Past: Cultural Origins of Sound Reproduction, Durham, Duke University Press. (2005) Deep Listening : A Composer's Sound Practice, New York Lincoln, NE, iUniverse, Inc. (1999) Experimental Music : Cage and Beyond, Cambridge, U.K. (2010) Capturing Sound : How Technology Has Changed Music, Berkeley, University of California Press. (1999) Noise, Water, Meat: A History of Sound in the Arts, Cambridge, MIT Press. (2010) An Introduction to Music Technology, Routledge. (2008) Electronic and Experimental Music: Technology, Music, and Culture, Routledge. (2010) Listening through the Noise : The Aesthetics of Experimental Electronic Music, Oxford New York, Oxford University Press. (2004) Audio Culture : Readings in Modern Music, New York, Continuum.ĭemers, J.
(1995) Repeated Takes: A Short History of Recording and Its Effects on Music, Verso.Ĭox, C. (1997) Electric Sound: The Past and Promise of Electronic Music, Upper Saddle River, Prentice Hall.Ĭhanan, M. (1961) Silence: Lectures and Writings, Middletown, Wesleyan University Press.Ĭhadabe, J. (2002) Music and Technology in the Twentieth Century, Baltimore, John Hopkins University Press.Ĭage, J. & International Committee for the History of Technology. (2008) Practical Recording Techniques, Boston, Elsevier/Focal Press.īraun, H.-J. (2006) Sonic Experience : A Guide to Everyday Sounds, Montreal Ithaca, McGill-Queen's University Press.īartlett, B.
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Logic express - apple software - more advanced workstationĪ/v equipment available from the library:Īugoyard, J. Garageband - apple software - part of iLife Some interesting software: (the first four are available in the music department computer lab)Īudacity - simple recording / editing software Max/msp/jitter - not free.but decent student discounts + 10 copies in the lab Pure data (pd) freeware cousin to max/msp
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Soundhack - freeware, mac only, upper right side of web page
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