Those who acknowledge existence, distinguish themselves and act accordingly to the whole perpetually hone the skill of their means. Arriving at a point of gratification once emergent problems of their distinct moments are resolved, a point of divergence can also occur through a path disguised as an escape. One such occurrence is comparison through narrow observation. Viz., once having acted in accordance with the before mentioned whole, visibly shaken by the unforeseen comets, their spiritual connection has become mangled which they once had been working for, likely unknowingly (since real timeless benefits outweigh partial temporary extremes rendering such decision irrational). Doing so leads to observing similar works in an endeavor in a way that does not encompass oneself as a whole which would otherwise achieve an intermixture of physical and the nonphysical i.e. percept, concept and intercept. The contrary is a limited lens, doing so excludes meaningful discovery; it is very much like looking at a novel piece but only recognizing a partial of its information potential. Those who are concerned with truly expressing themselves in a physical arrangement of their own; these are the individuals that will find Syncerity useful.
Happy healing! ~ Drew
We draw inspiration from Monroe Institute’s techniques employed with Hemi-Sync technology in their binaural beats. They offer an interesting clue as to how to synchronize two aspects of consciousness through external influence of sound. It is based on a principle that upon hearing frequencies that mimic certain EEG patterns (brainwave frequencies) with whom the brain tends to synchronize, inducing altered state of consciousness. But of course, the measurement of brainwave patterns far exceeds human hearing range, yet to use the audible range raises questions. The key is, not in the measured frequencies of the audio itself but rather in the difference in the frequencies that stereo audio is capable of outputting. This means that upon hearing frequencies that differ slightly in each ear, instead of simultaneously perceiving two different pitches, in agreement with each side of brain hemispheres they produce a pulsation equating to that of the difference in each directional (stereo) “half” of the audio.
To start off, the purest form of sine wave is placed onto a channel with a pan that is maximized towards one side (in this case starting with the right side). Another sine wave is then placed onto a second channel with a pan maximized towards the other side. Now, doing this makes no difference yet, given that there is no external parametric variation for the either. A simple adjustment is made which drastically transforms how the master track will sound. The aforementioned variation in frequency on one side will create an “illusory” effect that is generated by the brain itself. The resulting single internal signal generated by two external outputs is equivalent to the difference between these sound waves.
Now we have in hand the basic method of engaging both sides of the information receivers of the human body in parallel. Here we add a sort of a garnish, or in dessert terms the “crunch”. Say a simple sine wave is incorporated, and the listener, being aware of this, the entire binaural beat becomes quite predictable. When such knowledge about the nature of sine waves is present in the observer, the audio itself has not much in discovery to offer on its own aside from emergent quantum information in audible scales introducing themselves into the physical environment, and it is possible to add a sort of a “seamless transition” as an outermost layer to the audio itself. Doing this is simple, as it takes mixing in with a reasonable proportion of pure noise. So long the noise output obscures intrinsic mechanisms, preferably having been time-based (taking in real-time information to generate these wave values), it should qualify as a proper noise. In doing so we have added a variant property to the binaural beat containing a residue open to various degrees of subjective interpretation.
Let us not neglect the emotional element! While at its simplest form it is certainly open to further development as long as its basic structure remains unbothered. Quite amazing thing about the resonating frequency (the filtered difference) is that it can certainly act as a root note. Starting from the resonating frequency, no matter in what manner the following chords are played they are fated to resolve back into its origin – the root note. A complimentary set of chord progressions in the key of the resonating frequency is mixed into the track. Even whilst the emotional waves direct the reticle of conception, there is one, unchanging anchor that holds this “pendulumic” (an interesting one that is) movement of emotion, giving rise to temperance whence we obtain ever-appreciating peace of mind.
Sure, the “emotional” elements are “there”, and while what is electronic is electronic, can we do better? Not only maintaining the seamless transition from the audio to the external invariant (outside noise), how do we seamlessly transition the observer (the listener) into the audio itself? It is to not only add a transition from the audio to the outside environment but also having a transition from the listener to the audio. This is where nature becomes handy. And perhaps one of the most calming sounds, that of the ocean, comes useful in doing this. After all, water is the source of life. If the rigid aspect of life is to be seen as ice solid, then ephemeral is to be vaporous, and with both, rises the temperate, serene aspect of life which is fluid; and water of all the visible matter, is the most human and universal to all of earthly life imaginable.
In finality, we have two pulsating or resonating sine waves, two noise elements playing in simultaneity and lastly progressions of chords played by soft, chime-like sine waves with gradual lifts and rests plus the recordings of ocean waves. It is recommended that the resulting track be used with headphones at moderate amplitude or volume.
Happy healing! ~ Drew