Is Digital Music Affecting Your Health?
By: John Diamond, MD
HUMAN STRESS PROVOKED BY DIGITALIZED RECORDINGS:
JOHN DIAMOND, M.D.,
D.P.M., F.R.A.N.Z.C.P., M.R.C.Psych., F.I.A.P.M., D.I.B.A.K.
(First published 1980, modified and with a postscript, 2003)
Music is one of the great therapies. Throughout recorded history in all parts of the
world, music has been used as therapy. In fact, of all factors that have been
investigated, probably none enhances the Life Energy and reduces stress more
effectively than music.[1] Perhaps the most obvious example of this is the fact that
at the age of seventy, when some 50% of American males are already dead, some
80% of musical conductors are still alive, healthy, and productive. The tremendous
therapeutic power of music has always been recognized, and it has been the subject
of many discourses, from the time of Pythagoras to Moses Maimonides and
beyond.[2] To me, as to Pythagoras, music is not mere entertainment or amusement
(the absence of the muse), but therapy. It is one of the most potent modalities that
exists for actuating what the Greeks called thymos, what Hippocrates called the vis
medicatrix naturae, the healing power that exists within us all: Life Energy.
There are still many cultures in which there has been no divorce between music and
healing. For example, in many so‐called primitive societies, the healing shaman is
nearly always a musician, and music and incantation are as important as all the
other aspects of his profession. The only remnant we see of this in our society is the
use of music in religious ceremonies, a custom which dates back to a time before the
separation in our society of medicine and religion. And thus throughout the
centuries and today, over and above the usual satisfaction or the more physical
enjoyment we may derive from music, there is another quality, and it is this other
quality, this Life Energy enhancing quality to which I have devoted a major part of
my research over the years.
I have tested many thousands of phonograph recordings recorded over a period of
over eighty years, and it has been found that almost without exception this music
has been therapeutic,[3] often highly so. In fact, it has been used for stress
reduction, relaxation, general tonification, analgesia, as part of modified
acupuncture techniques, and as adjunctive therapy in drug withdrawal programs.
Music has also been used in programs to overcome fears and phobias, alleviate
insomnia, and even for the "tranquilization" of acutely disturbed psychotic patients.
In 1979 this changed. I suddenly found that I was not achieving the same
therapeutic results as before, that playing records of the same compositions to the
same patients was producing a completely contrary effect! Instead of their stress
being reduced and their Life Energy being actuated, the opposite was occurring.
Music examples that I had long used to promote sleep now seemed to be actually
aggravating the insomnia. And I found in one case that instead of the music helping a
patient withdraw from tranquilizers, it seemed to increase his need for them.
Special tapes for businessmen to use during their rest periods seemed suddenly to
increase rather than reduce their stress. These findings were very alarming.
When I investigated these paradoxical phenomena, I found that in all cases they
were related to the use of digital recordings. These were vinyl records made from
digital masters.[4] When I substituted analog versions of the same work, sometimes
even with the same performers, the positive therapeutic effects were again
obtained. There seemed to me little doubt that something was "wrong" with the
digital process. Apparently the digital recording technique not only did not enhance
Life Energy and reduce stress, but it was actually untherapeutic ‐ that is, it imposed
a stress and reduced Life Energy. Through some mechanism of which I am not
aware the digital process was somehow reversing the therapeutic effects of the
music!
In a number of instances I had analog and digital performances that we could easily
compare. One was of Zubin Mehta conducting Beethoven’s Emperor Concerto. The
digital performance (on London) had a stress‐inducing effect whereas the old analog
performance (on Vox) did not. Also the early LP transfers of Caruso and McCormack
were Life Energy enhancing whereas the Soundstreamed digital versions had the
opposite effect. Yet these were records of the same performance. The only
difference was the digitalization process. And this was apparent even though the
original recordings had been made nearly seventy years ago. Other examples were
the Japanese Denon PCM recordings of various Czech performers whose earlier
versions were on the Supraphon label. They were the same performers and the
same works. The only difference appeared to be the digital process.
As a part of my work and as one of my research tools, I employ muscle testing, in a
modification of the standard Applied Kinesiology testing. It is modified as I first
presented to an ICAK conference in 1977. See the description of my study with Dr.
Florence Kendall in my Kinesiology Report Number 10, December, 1977. At the
request of Dr. Goodheart, I demonstrated this again at the ICAK conference in Monte
Carlo in 1995.
If you play a digital recording, it will be found that the muscle that was previously
testing strong and could easily resist the pressure, will be unable to do so ‐ that the
digital effect has so stressed the subject that he cannot resist. Something has
happened. Some stress has been introduced which is now manifest in this negative
response. Perhaps even more striking are the differences in stress effects found
upon testing a recording session in which digital and analog recordings were made
simultaneously.[5] Similar effects are also apparent with the human speaking voice
using this newer digital recording process.[6]
This effect obviously is not due to the performer nor to the composer, since other
recordings, analog, of the same performer and the same composer do not have this
effect. In fact, they are therapeutic ‐ that is, they reduce stress and enhance Life
Energy on testing. There is a yet‐to‐be‐identified factor involved in the digital
technique which is causing this stress. At some level the ear is perceiving a signal
which it recognizes as being unnatural and alarming. This instantaneously causes a
stress reaction which is manifest in the loss of muscle response on test.
Many audiophiles and engineers state that they have noticed that they can discern
something vaguely "wrong" with the digital recording process but cannot quite
pinpoint the problem. Using the test, it can easily be shown that, using the same
playback system, the difference between analog and digital recording does exist.
While we certainly enjoy the benefits of this major technological breakthrough,
there are subtle physiological effects still to be considered.
It is important to emphasize that this is not a test of muscle strength. It is a test of
the integrity of the acupuncture system. Through it flows the electromagnetic
energy of the body. A heavy, powerful testing is a test of muscle strength, not of Life
Energy, and it is, in essence, a different test. When I demonstrated my findings at the
Audio Engineering Society conference in Los Angeles in May 1980, I was accused of
pushing too hard when the subjects were failing when the digital records were
being played. In point of fact, pushing "too hard" if anything will fail to demonstrate
the effect. It is not, I repeat NOT, a test of muscle strength. Hence the testing
requires considerable expertise. It is not for casual and amateurish usage. It is a
professional discipline.
This test has been performed both by myself and others under double blind test
situations on many occasions, and the results always tend to be about the same,
with many provisos. In particular, I wish to emphasize that for accurate testing
there are many variables that must be controlled, many more than I can elaborate
upon in this short presentation. Furthermore, as I have previously stated, for
accurate interpretation I test not just at the one superficial level of testing that I
have described above, but in at least twelve deeper levels as well. It is only when all
the variables are accurately controlled and testing is carried out at all levels and
parameters that the findings are meaningful.
I am more aware than any pro‐digital advocate of the shortcomings of the test. And I
would like nothing more than to be able to read a meter instead. However, although
many electronics experts have tried to help me to design such an instrument, they
have never been successful. They finally realize that perhaps the body itself may be
a better test device than any instrument that we can make. Will we ever measure the
difference between violins, or poems?
I personally believe that the proper research tool can be designed, but it will not
ultimately be related to any muscle test. It will involve measuring the change in
electromagnetic activity in that part of the body where is situated what we may call
the acupuncture central processor, because it is the electromagnetic disturbance
there which is manifested as a weakening of the test muscle. And it is there,
centrally, that the stressful effect of the digital recordings occurs, being then
reflected in a diminished acupuncture energy flow to the specific meridian feeding
the muscle being tested.
What if my findings and those of my colleagues are correct? For many years now,
nearly all recordings of otherwise therapeutic music have been made using the
digital process. The implications of this, both for today and for our future, are very
disturbing. If the major therapeutic recording artists of today are recorded for
posterity using the present digital technique their efforts will be valueless for us and
valueless for future generations. No more will we be able to call upon the
therapeutic powers, the true healing powers, of the musicians of our day as we have
called upon the musicians of the past. This will mark the end of the therapeutic era
of recorded music. The great technological advance of being able to bring the
greatest performers into our homes for true entertainment, and much more
importantly, to raise our Life Energy, will have been destroyed.
When a man comes home stressed after a day's work and puts on a record of a
Schubert piano sonata to help him re‐energize, the opposite will occur. He will
become more stressed. And he will learn over a period of time that music does not
help him to relax as he had expected. Or a person who as part of his religious pursuit
plays a record of the Bach B Minor Mass will perhaps recognize that he is further
removed from his goal ‐ that instead of serenity, instead of holiness, instead of a
feeling of life enhancement, the opposite has occurred. The music has become
untherapeutic, contrary to its true nature.
It is no longer Music!
We will then cease to regard music as being what it is: one of the great therapies.
Our recorded musical heritage will still satisfy the brain but will do nothing for the
rest of the listener. Our true recorded musical heritage will be at an end.
I have frequently been in the position where discoveries first made through
"unscientific" means have later been validated by what would be called the more
usual scientific methods, and I have no doubt that in the future it will be recognized
that the findings concerning digital recordings will be validated. But by that time, it
may be that many works of our great artists will have been preserved in an
unacceptable form.
By correcting the digital technique, we may actually now be able to make recordings
more therapeutic than they have ever been before, more so than analog. By
discovering the central problem in existing digital recording techniques, we may be
in a position then to so improve them that we ultimately have advanced the
therapeutic benefit to mankind.
Postscript, May 2003
Finally, about two years ago, I was contacted by several of the major recording and
electronic companies who said that they never forgot my address to the Audio
Engineering Society in 1980. They said they knew then that I was right with what I
had presented about the negative effects of the digital process, but unfortunately it
was released anyhow. They asked me to help in finding a solution to what they were
now calling “digital fatigue.” Over the years I have tried many methods but all
without success – until now.
Back then in 1980, I had only digitally recorded and/or mastered vinyl LPs to test.
The arrival of CDs a few years later increased the problem. As with LPs, but more so,
the stress leads after a certain time (different for each individual) to a reversal of
their usual ethical and medical standards of belief. The effects of this profound
change that I have now investigated for some twenty years are I believe a very
important etiological factor in the increase in childhood and adolescent
disturbances, (witness the soaring rate of Ritalin prescribing), and in the escalating
violence in our society.
Especially when we recall that the digital process is no longer confined to recorded
music but is now affecting us nearly all day: TV, radio, telephones etc. It is we who
have become digitalized!
With the advent of Direct Stream Digital (DSD) recording, it is now possible to
conclude that the negative effects I have stated above are due not to the digital
process per se but to the mode of achieving it, Pulse Code Modulation (PCM). For
DSD recordings do not have these negative effects.
Although it was suggested, unfortunately the record industry did not make analog
backups of their digital (PCM) sessions. So now there is a (very expensive) twenty
year hiatus. Hence some SACDs (the CD format for DSD) are being released which
have gone through the PCM process and are as negative as regular CDs.
Increasingly over the years, music lovers are turning against PCM – they are feeling
what I first demonstrated nearly a quarter‐century ago. And they are resisting –
proclaiming that it doesn’t sound like, feel like, analog. Cold, no heart. That is to say,
untherapeutic.
(We must remember that a generation has probably rarely heard non‐PCM music –
for it is now so pervasive in concerts halls as “digital reinforcement” as well.)
Perhaps now there will be a change. We all know something is wrong – and the
solution is available.
I write this not only as a music lover, and a believer in the therapeutic power of
music, but even more so as a doctor gravely concerned with the increasing
disturbance in our society, especially in the children. The very essence of Music is
the expression of peace, of comfort – of love. And this PCM has destroyed, even
reversed!
As a very experienced sound engineer and producer lamented, "Music has lost its
Spirit." That’s it – exactly! And a generation has grown up not knowing it any other
way: not knowing the higher dimension of music – the True Music.
And if their music has lost its spiritual dimension – then so have they!
We have lost our love of Music because we no longer feel loved by It. We must get it
back – and we can.
,
.
.
By Michael Snyder, on December 27th, 2015
