It is known that different brain rhythms correspond to different human states and vice versa: with a clearly pronounced predominance of a certain frequency of the brain, a certain mind-conditions takes place. In this article we will talk about the use of beats and the right pulsations in the bass range in modern electronic music, in particular, dance music, namely, we will talk about Techno.
I must say right away that this material is only my point of view, which has developed as a result of experiments in the field of the influence of sound on a person, which he devoted a long time of my life. These techniques are not new, known and this information is available on the Internet.
So: in itself, Techno as a style of music, in my opinion, is similar to shamanistic rhythms and carries a certain key to certain states of being. In addition to a strict and even rhythm, which undoubtedly introduces into trance states, one way or another we deal with sounds that at first glance may seem insignificant or even be completely lost in the musical composition. But these sounds are and the brain perceives them, and it doesn’t matter whether our ear distinguishes them or not.
Thus, we can permeate the track with the main ripple, which will be unchanged and will transmit a musician’s message for the listener, and define his psy state. In this case, you need to know those brain rhythms are divided into ranges. These ranges are constantly present in a living person and are fixed on the brain electroencephalogram, but at certain periods some waves have a much larger amplitude than others, which determines the state of a person.
How to put it into practice?
The idea is to use two basses (about 100Hz) waves, which differ in the frequency of several hertz. The resonance phenomenon of two different frequencies will create ripples or, if you like, beats (see picture).
What effect do we want to achieve?
We need to use the right pulsation frequency of one of the ranges of the brain. The choice of frequency depends on the “message” that needs to be embedded in the musical composition. And this is a short description of the main rhythms:
- Delta – 2-3Hz – Deep sleep, very deep states
- Theta – 3-7Hz – Falling asleep, sleep + active memory (!)
- Alpha – 8-13Hz – Relaxed wakefulness, calm attention
- Beta – 13-30Hz – Activity, Attention, Nervousness
- Determine the desired range and select the frequency;
- Calculate the beat frequency based on the BPM of the track: Fb = k * BPM / 60, where Fb is the ripple frequency, k is the multiplier for multiplicity, which allows us to obtain the desired ripple frequency. For simplicity, I’ll take BPM equal to 120 beats per minute. Total: Fb = 2 * 120/60 = 4Hz;
- Create two waves with a frequency difference equal to Fb and mix them into a common channel. For example, I took 106 and 102Hz, the difference was 4Hz (Theta), which corresponds to the beating frequency. We do not confuse it with binaural beating, the frequencies of which are panned into the different sides, we do not need this, since the effect of binaural beats cannot be recreated on the bass range. Although you, of course, can experiment and add on top of everything a binaural beating at frequencies higher. This moment of creativity is yours …
- We mix brown (white or pink) noise with a small amplitude with a resulting material so that it is barely audible but noticeable. Noise in itself has an incredible property: it allows the brain to hear something in it. You can check it yourself – turn on white noise and spend some time in it … Also, noise softens some artificiality of the dry signal and gives “liveness” and “air movement”.
- Filtering. We use an analog low-pass filter (LPF) to cut off the excess spectrum and adjust the tone. It is an analog filter that will add true non-linear distortion and the timbre that everyone likes so much in analog sound. Interesting artifacts can give the use of resonance of the filter. Moreover, depending on the type of filter (transistor, diode, Steiner …), the artifacts can be very different and quite interesting!…
- Well, of course, remember the frequency conflicts in the “Beat-Bass” party and reduce the frequency in the region of 100 Hz to free up space in the frequency range for the created pulsating track.
And here’s what I ended up with:
What can I add?
First of all, to create the correct beat, you need to understand the structure of the beat-bass line of the track, its frequency range and the features of creation. One of the examples I have already described in the article How the Rhythm Was Born. You can use other methods to create the basis of the track, but you should always remember the frequency characteristics and structure in order to avoid frequency and rhythmic conflicts.
Music becomes more sophisticated every year, sounds acquire tremendous complexity and layering. The musical technique does not stand still and develops in huge steps, but one thing remains the constant – the analog sound is still relevant, analog processing still makes great creations from usual compositions, and tube compressors continue to sound in popular hits.
And despite all this, it is important to remember that, in addition to technical aspects, music is primarily a work of art and must be beautiful, and sound engineering was created to emphasize the very secret that the author wanted to convey in his creation!…
Comment, your opinion and your experience are very interesting! See you in the following articles …