Most psychoacoustically-designed production creates the music first and then inserts sub-audio frequencies underneath. However, as Richard & I became aware of Anna's highly intricate frequency work, we realized that we had to compose a score -- similar to film cues -- to match Anna's distinct progression of brainwave states. At this point, we realized we were breaking ground. As far as we know, brainwave states have never been orchestrated as a symphony!
For the first step in this process, Anna created a ten-foot long scroll. In a symbolic language all her own, she designed an intricate blueprint which changed in its matrix every 15 seconds. After learning how to decipher this intricate schematic of brainwave-inducing frequencies, Richard and I were left bewildered as to how we could possibly write musical cues to enhance this work. Even with knowledge of specific timbres, tempos, meters, harmonic structures, and various psychoacoustic techniques, neither of us was sure how to proceed. Our challenge became: How to we create the loveliest of sounds, designed to safely escort the listener into deep sub-conscious regions of the brain, yet keep it simple and unobtrusive? Even more puzzling was how to sonically integrate the sound of Anna's electronic binaural frequencies with acoustic violins, clarinets, and French horns. Our goal became the balance between these different elements.
We decided to find classical themes that matched the four different brainwave states. After an exhaustive search, Anna, Richard, and I selected Mozart for beta, Mahler for Alpha, Bach for theta/delta and Brahms for the Awakened Mind. ... Our choices were based on .... Once our themes were selected ... In essence, Richard and I were constructing a soundtrack to Anna's blueprint.
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