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Re: Why it has to be played loud

Dear All,

Indeed, vestibular response to loud-music is a fascinating topic. I
include the reference to the original article for those interested.

It is interesting to notice that, on top of the mentioned modern
genres of rock&roll and techno ; ritual tribal drumming also exhibits
the ideal characteristics for vestibular stimulation (repetitive bass
frequencies, over 90 dB(A) SPL). I wonder to what extent this can be
related to rhytmic entrainment and the vestibular theory of trance
induction ? I'd be happy to know about any further investigation along
those lines.



ps : Todd, N. P., & Cody, F. W. (2000). Vestibular responses to loud
dance music: a physiological basis of the "rock and roll threshold"?
The Journal of the Acoustical Society of America, 107(1), 496-500.

On Fri, Sep 24, 2010 at 1:25 PM, James Johnston <James.Johnston@xxxxxxx> wrote:
> There seem to be a number of factors at work.
> First is the heavy intermod/distortion of some equipment that is used in a
> euphonic sense (perhaps not all people appreciate the euphony, I will
> note).
> Second is the “rock and roll high”, which seems, if I am to accept what some
> of the folks at the House Ear Institute and others have said, to be
> partially a product of stimulation of the semicircular canals by low
> frequency leakage from the cochlea. This is reputed to happen at the 90dB
> SPL level at low frequencies, give or take, and is reputed to create a
> sensation of “being high”.
> This could account for some measure of “loud”. I suspect that the body
> stimulation from intense (not really loud, rather it’s intense, really)
> signals also has something to do with it.
> Having said all of that, not everyone (hello!) shares the desire to have
> their outer hair cells shredded.
> __________________________
> James D. Johnston  (jj@xxxxxxx)
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> From: AUDITORY - Research in Auditory Perception
> [mailto:AUDITORY@xxxxxxxxxxxxxxx] On Behalf Of Brian Gygi
> Sent: Friday, September 24, 2010 9:53 AM
> To: AUDITORY@xxxxxxxxxxxxxxx
> Subject: [AUDITORY] Why it has to be played loud
> Lazlo,
> I know from my experience as a "rock" musician that there are certain
> amplifiers (Mesa Boogie, Gallien-Kruger and Marshall seem to be the best
> examples) which sound their best when the gain is nearly at full.  The
> harmonics are richer, and there is an edge to the sound that is just not
> present at lower settings.  In fact, one G-K amp I had sounded fabulous
> right before it caught on fire (really).  I don't know if this is a
> conscious engineering design (I suspect so) but I have found it's pretty
> reliable.  That's why the joke about "turning the amp to 11" in Spinal Tap
> had such resonance.
> Brian Gygi, Ph.D.
> Speech and Hearing Research
> Veterans Affairs Northern California Health Care System
> 150 Muir Road
> Martinez, CA 94553
> (925) 372-2000 x5653
> -----Original Message-----
> From: Laszlo Toth [mailto:tothl@xxxxxxxxxxxxxxx]
> Sent: Friday, September 24, 2010 12:28 AM
> To: AUDITORY@xxxxxxxxxxxxxxx
> Subject: Re: Hearing Loss "False Positives"
> On Thu, 23 Sep 2010, reinifrosch@xxxxxxxxxx wrote: > Old guys with undamaged
> hair cells have the advantage that they can fully > enjoy classical tonal
> music with its change from dissonant to consonant > chords and back.
> According to the Helmholtz consonance theory that > change is due to the
> presence or absence of beats generated by pairs of > partial tones of almost
> equal frequencies. These partials tend to be > soft, and their frequencies
> tend to be high. Do you know the answer to the opposite: why is rock music
> more enjoyable loud? I think that it would be important to understand.
> Laszlo Toth Hungarian Academy of Sciences * Research Group on Artificial
> Intelligence * "Failure only begins e-mail: tothl@xxxxxxxxxxxxxxx * when you
> stop trying" http://www.inf.u-szeged.hu/~tothl *
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