Mirror Sound/Sound Mirroring 3

Posted in Sound Art, Theory, Transmedia Research by tpdr on December 26, 2009

‘Transparent Sound’

As I said before it still seems that ‘transparent sound’ would be ‘silence’. The volume in dB would then be the indicator for the degree of ‘transparency’. Nevertheless this seems a bit too simple?

If we see noise(containing all frequencies) as the most physical sound, containing the most matter, the most filtered noise would be ‘transparent sound’. If compared to a ‘normal physical transparent object’, we say that there is matter present but in a way/material that allows us to see thru it. If a material is completely transparent, like lets say a normal clean glass window without any scratches, there is matter, we know there is glass but we could as well ignore it as we can look thru as if it were not there. Glass, in itself, can be so transparent that we don’t see it anymore (if for example the borders are hidden in a way that they don’t disrupt/interrupt the illusion). Taking this into account and talking about what could be ‘transparent sound’, we would have to say that there should be a source of sound waves but that the sound waves should be (almost) imperceptible. this leads us then to the ultrasonic and infrasound sounds. Transparent sounds would therefore be sounds/frequencies above 20 000 Hz(as we get older this barrier might drop to 15 000 Hz and 10 000 Hz) and below 20 Hz.

Note: Dogs and bats can hear well over 20000 Hz. This range is referred to as ultrasonic. In contrast to this is the infrasound range, which is lower than the bottom of the audible threshold – i.e., between 0 and 20 Hz. This range is perceived by us as rhythm. The infrasound therefore could be more interesting as there is still something perceived even though we don’t define it as sound but rhythm. An interesting thing to think a bit more about.

‘Mirror Sound’

When thinking about ‘mirror sound’, two aspects should be taken into consideration.

1) A reverb could be seen as reflected sound. When talking into a microphone and getting this sound back through monitors (maybe with an almost imperceptible delay) could feel like a ‘mirror’. Working with the panning of the sound this could add to the effect.

2) Simply mirroring a sound sample, inverting it/playing a sound back in reverse, could also be a ‘mirror sound’.

Because if we analyse what happens when looking into a mirror, we see a reflection of our image but this image is also ‘mirrored’/reversed. Therefore the combination of reflecting sound and reversing it at the same time would be ‘mirror sound’.

When taking this further one could add a few parameters such as distance and the shape of the ‘mirror’. For example hollow mirrors enlarge the image you see while rounded mirrors make the reflected image smaller and enlarge the visual range (show more of the environment). Again adding some variety in volume, band width, using low-cut filters, etc. could make this experiment/thinking more interesting.

Hopefully I can do some experiments soon to try out both ways of looking at it, first separately and then try to combine them and afterwards start experimenting with some additional parameters, filters, etc.

Mirror sound/sound Mirroring

Posted in Transmedia Research by tpdr on December 24, 2009

Just a first quick thought. When talking about mirroring sound or a sound mirror, one could say the most basic idea could be to have a room where somebody walks along one wall while on the floor there are some microphones and each of those is connected to a speaker (maybe at some distance) that replay the sound of e.g. the footsteps immediately back to the person walking along the wall.

reflexion of sound, such as in echos or just in different rooms takes us to acoustics. In fact, contrary to creating a visual reflexion, one doesn’t need a material that has mirror-like qualities (really shiny glass with the right amount of light under the right angle…or a mirror) to reflect sounds. Especially low sounds are reflected back at its source by almost any flat, opposite surface (I know I put it really simple here).

Another question I am asking myself is concerning ‘transparency’. When can one say that a sound is ‘transparent’? Does silence equal transparency? The tricky thing is that when something is transparent, there is actually something there, we just don’t notice/see it, or maybe just a little…same principle should be then applied to sound. This would mean that transparency of sound is flirting with the limits of hearing.

To be continued….

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