Posted 25 February 2014, 17:40
I am very happy to announce that my piece ~60 Hz has been released on CD by the Irritable Hedgehog label. It features liner notes by Marc Weidenbaum and a beautiful design by Scott Unrein. Many thanks to David D. McIntire, Michelle Allen McIntire, and Andy Lee of Irritable Hedgehog for publishing my music on their label. This is my first CD under my own name.
The release may be streamed and purchased (download or CD) at http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz.
Posted 27 February 2011, 18:09
Two previously unreleased tracks of binaural drone music, #12
in the Complex Silence series curated by Philip Wilkerson on the
Treetrunk netlabel. This music was made with Csound and blue. The artwork is by Philip Wilkerson.
From the liner notes: “These pieces both employ the technique of binaural beating, and are thus most effective if you listen with headphones. Gyre II is made with nothing but sine waves, and is dedicated to ELEH. It was premiered as part of the “Disruptive Stillness” exhibition that took place at Jean Paul Slusser Gallery of the University of Michigan School of Art & Design in Ann Arbor, January 2011. The concept behind Ylem is the emergence of sound from the creative void – starting simply, growing in complexity, and finally returning to the void from whence it came.”
Thanks to Phil Wilkerson for all of his work.
Posted 25 January 2010, 18:51
I’ve long been fascinated by the psychoacoustic phenomena known as binaural beats, and I have employed this effect in previous pieces, particularly The Gemini Nebula. I wanted to make another piece where binaural beats were integral to the music, and the result is Gyre.
Gyre consists of a single 14-note chord whose pitches are introduced in high-to-low order and eventually removed in the reverse order. I used La Monte Young’s Magic Opening Chord, which I have worked with previously. Each tone is produced using two sine waves: one tuned very slightly higher than the target pitch and the other tuned slightly lower, panned to opposite stereo channels. The difference in pitch between any given pair of tones ranges from a bit over 4 Hz to a bit over 11 Hz. These are all within the range that causes binaural beating to occur in the listener’s perception.
The trick here is that I made the beating proportional to the pitch. In other words, the highest note beats at the fastest rate, and the beating is slower with successively lower pitches. The chord is tuned in just intonation, meaning that each interval can be expressed as a rational number (e.g., 3/2, which a perfect fifth). Each tone beats at its own rate which is similarly related to the beats of the other pitches. Thus, as the chord is built, the listener perceives a progressively complex structure of interlocking rhythms. In fact there are two layers of rhythm: one from the binaural beating, and the other from the tonal relationships of the notes in the chord.
The piece is buiilt from nothing but sine waves, with no effects or additional processing. I made it with blue and Csound. You can get the blue project file here.
IMPORTANT: To get the full benefit of the binaural beating, listen to this with headphones. It will also work with speakers, but in that case do your best to place yourself as closely as possible to the center of the stereo field.
Gyre by Dave Seidel is licensed under a Creative Commons Attribution-Noncommercial 3.0 Unported License.