ENO and Depth perseptive music ON LAND


as a type of environment with the sounds placed in relations to a pfysical environment with special sounds that are abstract types of events or object in that space….How this is done , is by the usage of vibratory references of the types of overlayers in the field itself not as a variance of the left and right headphone environment…

But as the usage of real sound events placed at certain parameters with their related to placements of the recording source…

Doing this with a analogue computer language by mono and visual aproximations of the audio types in their variances of audio value

by using one point sound references only and fragmenting the sounds into a multiple convergance of the audial field into one area where the relative sound occilation occurs by a mono repeatable single sound value

.This sound singularity alters with depth or as in a recording of such sound from various positions by a minimal frequency occilation that can be accellerated or decellerated…

My guess is that there is a lot more to Enos world..

.when the recording devices start to be placed at specific lengths from the source and their recordive run is played back with reference to this single sound value..

amonst other sound recorders so that the total sound is a interweave of all the recording devices..

there is a lot of speculative arguments for the types of abstract sound that can make it into a general tuning fork of the same basis where a sound receiver goes through the different frequency bands of its receptive localisations of specific sounds seperated by 1 Hz

Most of the data is based on the missconceptions of the SOUND MASHINE present in the Milky way so that a greater and more concise model for sound can be presented with the ANDROMEDA GALAXY





on the scale up from the laowest value the modulation on subsequent replay and recording could easily be modulated into the depth by gradual left and right focality of each frequency level increase up the scale….as actually connectable by the distance and the monotonic sound instruments with a 1 value frequency change for every bit value seperated  further into the soundscape so that modulation or alterations of the recording device by minimal right shifts into the left  hemisphere would still be in the right as well as connecteedd to the right hemisphere by the 1 bit values on their way into the staged instruments on the 1 bit increase of the right side = the gradual right sided environment

This can also be done by folding the left and right sound scapes and using modulations to locate the sound sources by gradual amplifications that reach into the environement of similar or directly opposed sound values in a ressonance with each other..






Stereophonic sound, commonly called stereo, is the reproduction of sound using two or more independent audio channels through a symmetrical configuration of loudspeakers in such a way as to create the impression of sound heard from various directions, as in natural hearing. It is often contrasted with monophonic, or “mono” sound, where audio is in the form of one channel, often centered in the sound field (analogous to a visual field).

Stereo recordings are used in FM broadcasting and Digital Audio Broadcasting (DAB) and in several television systems. To record in stereo, sound engineers use various methods, including using two directional microphones, two parallel omnidirectional microphones, or more complex techniques. Several monophonic records, such as the original Broadway cast recordings of Oklahoma! (1943),Carousel (1945), and South Pacific (1949), were once reissued in “fake” stereo to create the impression that the sound was originally recorded in that medium.

The first stereo transmission was made telephonically by Clément Ader in 1881. The BBC made radio’s first stereo broadcast in December 1925. In the 1930s, Alan Blumlein of EMI patented stereo records, stereo films, and also surround sound.[1] Harvey Fletcher of Bell Laboratories investigated techniques for stereophonic recording and reproduction. The first commercial motion picture to be exhibited with stereophonic sound was Walt Disney‘s Fantasia (1940). By the mid-1950s, multichannel sound was common for big-budget Hollywood motion pictures.[2] In 1953, Remington Recordsbegan taping some of its sessions in stereo, with the first stereophonic phonograph discs available to the general public in 1958. The U.S. Federal Communications Commission announced stereophonicFM broadcasting technical standards in April 1961, and licensed regular stereophonic FM radio broadcasting, to commence that same year. In 1984, multichannel television sound was adopted by theFCC as the United States standard for stereo television transmission.


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