Who uses digital drugs? An international survey of ‘binaural beat’ consumers

Introduction: Digital drugs, or binaural beats claimed to elicit specific cognitive or emotional states, are a phenomenon about which little is known. In this brief report, we describe demographic and drug use correlates of binaural beat use, patterns of use, reasons for use and methods of access. Methods: The Global Drug Survey 2021 was translated into 11 languages; 30 896 responses were gathered from 22 countries. Results: The use of binaural beats to experience altered states was reported by 5.3% of the sample (median age 27; 60.5% male), with the highest rates from the United States, Mexico, Brazil, Poland, Romania and the United Kingdom. Controlling for all variables, age and non-male gender predicted binaural beat use, as did the recent use of cannabis, psychedelics and novel/new drugs. Respondents most commonly used binaural beats ‘to relax or fall asleep’ (72.2%) and ‘to change my mood’ (34.7%), while 11.7% reported trying ‘to get a similar effect to that of other drugs’. This latter motivation was more commonly reported among those who used classic psychedelics (16.5% vs. 7.9%; P < 0.001). The majority sought to connect with themselves (53.1%) or ‘something bigger than themselves’ (22.5%) through the experience. Binaural beats were accessed primarily through video streaming sites via mobile phones. Discussion and Conclusions: This paper establishes the existence of the phenomenon of listening to binaural beats to elicit changes in embodied and psychological states. Future research directions include the cultural context for consumption and proximate experiences, including co-use with ingestible drugs and other auditory phenomena. © 2022 The Authors. Drug and Alcohol Review published by John Wiley & Sons Australia, Ltd on behalf of Australasian Professional Society on Alcohol and other Drugs

Space, time, creativity, and the changing character of the recording studio: Spatiotemporal attitudes toward 'DIY' recording

This thesis investigates new spatial relationships in music production triggered by the proliferation of low-cost digital music production tools and how they have changed factors of time and creativity for the record producer and recording artist. Research methods combine creative practice with participant observation through a comparative set of music production projects that compare recordings done in large-format recording studios with those done in DIY contexts, and with a hybrid approach combining both. The findings indicate a new recording paradigm in which DIY spaces have become a domesticated form of a once industrialised production process

The Uncertain Future of the Large-Format Recording Studio

This paper investigates new spatial relationships in music production triggeredby the proliferation of low-cost digital music production tools and howthey have changed factors of time and creativity for the record producer. Weaddress the problem through a focused set of production projects and the peerreview of those projects by seven well regarded commercial producers. Putsimply, we are asking whether those producers can determine whether the recordingswere made in large-format or DIY “home” studio environments inblind listening tests

Indie 100 International - Chennai

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists. This new addition to the IMP project identifies an emerging independent music scene in India. New partners, Earthsync are a hub of over 900 independent Indian artists and the directors have recognised that these artists have few opportunities to engage in education or pathways to commercial activity in the creative industries. The Indian independent music scene is seen by many to be the most promising emerging market in the region (Palling, 2014). The CEO of industry partner and local peak independent music body QMusic, Joel Edmondson, believes that the fostering of reciprocal relationships with the Indian music market can open up vital new economic and cultural exchanges between India and Australia

Indie 100 2015

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists