![]() We began with the key of the music, and assessed the major tones in that particular piece, and the desired brainwave band. The SongRest algorithm, developed for SongRests research into music for chronic pain, helped us to tune brainwave frequencies exactly to the key and notes in the music. Where we find the experimental standard is based on its own internal logic, and doesnt translate to music in a practical way, we have replaced it with our own music-based standards. SongRests approach differs from some experimental standards in significant ways. The isochronic tone gets louder and softer at the same frequency as the binaural beats interference pulses. The number of wave peaks per second is the frequency the height of the waves is the loudness. At left is an example of an isochronic tone. Isochronic tones, shown at left, are pure tones that pulse in volume, growing louder and softer in a consistent tempo. For this collection, to design a consistent experience, we arbitrarily chose to serve the carrier tone to the left ear and the interference tone to the right ear. Since the tones will be perceived in a music bed, the key of the music will take precedence over any theoretical middle tone. Instead, the carrier tone is normally equivalent to the key or the perfect fifth of the key of the music. The perceived middle tone is anecdotal at best, and the perception of it is not consistent, since it depends on the relative pitches and the distances between them.įor SongRests purposes, we discard the idea of a carrier tone being theoretically anywhere. For instance, if one uses 100Hz and 90Hz to create a 10Hz binaural beat, the theoretical carrier is 95Hz, or halfway between them. Normally, when creating binaural beats, the carrier tone is considered a tone between the higher and lower of the two constituent tones. In these recordings, the tone that matches the key of the music plays in the left ear, and the interference tone plays in the right ear. This shows the nature of a binaural beat, and how the tones alternately reinforce each other (louder, near the ends) and cancel each other out (softer, in the middle). ![]() ![]() The difference in the frequency of the two tones is the frequency of the beat. Where thought patterns are widely structured and static (in a rut), gamma disrupts the coordination between brain areas, allowing new thinking and creativity.īinaural beats, at left, are the audio illusion created by the brain when two tones, close in pitch but different, are played, at the same volume, one in each ear. ![]() Theta 4Hz to 7.5Hz, the frequencies of relaxation, meditation, drowsinessĪlpha 7.5Hz to 12Hz, alert without executive or analytic thinkingīeta 12Hz to 38Hz, alert and focused, attentive, active analytical and executive thinking 5Hz to 4Hz, the frequencies of deep sleep These evoked potentials, repeated in rhythm, create what we know as brainwaves.ĭelta. When we follow a musical rhythm or a beat with our attentions, our brain creates whats called an auditory evoked potential, which can be measured over most of the brain. We use Hz to stand for one vibration or cycle per second. The beats and tones are designed to match different brainwave bands for different potential effects for the listener, depending on the nature of the music and the brainwave frequencies involved. The goal of this project was to incorporate binaural beats and tones with music tracks created by David & Steve Gordon's Binaural Beats Research. The Science Behind David & Steve Gordons New Brainwave Music Series By Richard Merrill, Applying Binaural Beats and Tones to the Music
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