"Objective music is not self-expression but a descending form of higher communication." -E.J. Gold
1. The essential aim of High Velocity Sound Engineering is clear aesthetic communication. The information communicated is music. Music is taken to be a high order language containing the possibility of evolutionary change. The structure of the communication is designed and engineered around the creative framework of the artist.
2. High velocity refers to the speed and direction of the brain and nervous system. The nervous system receives all the relevant information pertaining to the task at hand, evaluates and integrates this information, then initiates a technical/artistic approach that will successfully realize the aim. Current scientific theories hold that the nervous system functions in an electrical manner. The speed of electricity is measured at 186,000 miles per second which is also the speed of light. The direction is outlined below in paragraphs 3 and 8.
3. The method of High Velocity Sound Engineering is the exacting analysis and synergistic comprehension of all the physical and metaphysical factors that determine the architecture of the sound field. The sound field is postulated as an informational cyberspace matrix existing in various forms as an electrical/acoustic pattern.
4. The physical factors include:
A) An in-depth familiarity with all of the technology available for use. B) All of the various combinations of interfacing and operating the technology. C) The total acoustical behavior characteristics of the audio environment.
5. The metaphysical factors include:
A) The conceptual approach(es) to the construction of the sound field. B) The effective interpretation of the artist's vision. C) Consideration of the psychoacoustic effects produced upon the listeners.
6. High Velocity Sound Engineering defines the sound system as all of the factors that influence the propagation of the unique sound waves that one wishes to record or to distribute live over a particular area.
The sound system breaks down as:
A) The source, i.e. the musicians and their instruments. B) All of the technology involved and its assembly into a working whole. C) The acoustic reverberation/absorption effects of the environment and anything in it including the popula- tion of it at any particular time. D) The producer(s) and engineers(s).
7. The recording studio is viewed as a subatomic particle/wave accelerator. High Velocity utilizes the latest theories and practical applications of quantum and relativistic physics to record the pattern integrity that is music. High velocity is aware of the impingement of the electromagnetic fields generated by the nervous systems of the artists, producers and engineers. Neurosomatic, neuro- electic, neurogenetic and neuro- atomic techniques are practiced both to combat fatigue brought about by constant attention and electro- magnetic field anomalies, as well as to metaprogram High Velocity. The most complex system of technology in the recording studio is the human nervous system.
8. The approach taken towards the construction of the audio mix is based upon the realization and the application of generalized patterns found in nature. These patterns are elucidated in the disciplines of physics, chemistry, biology, electronics, mathematics, geometry, philosophy and depth psychology. The system of geometry employed is the multidimensional "Synergetics" energy-geometry formulated by R. Buckminster Fuller.
9. The mix is viewed as a space/time event to be architecturally crafted in accordance with the above.
10. Each moment of the mix is unique and may be compared to the separate frames of a film. Each moment is given individual consideration while always maintaining an awareness of its relation to the whole.
11. High Velocity Sound Engineering is innovative and evolutionarily expanding.It may be used in any situation that requires clear aesthetic communication.
