What are Binaural Beats ?

Brainwasher Sample Beat.
( Use Headphones for best results )

binaural, brain waves, frequency. theta, Binaural recording

Binaural Beats work by broadcasting two separate frequencies in each ear. For example, if you wanted to tune your brain to a 7 Hz frequency, you could play 200 Hz in your right ear, and 207 Hz in your left ear. The brain will compensate for the difference between the two and produce a third tone that will be exactly 7 Hz. This will result in your brain frequency being lowered and tuned to the desired 7 Hz operating stage.

The Difference Between Recordings

We often receive questions inquiring about the difference between recordings. Many of our descriptions sound alike and people may assume that the recordings are basically the same. This is not the case. Each recording is different, and each recording is tuned for a specific purpose. Example- 4.2 Hz and 6.3 Hz are both within the Theta Range, but exhibit totally different characteristics. The four main frequency classifications are large and vague ranges, and within these classifications are an array of frequency options which all produce different effects. Also, studies show that exact combination of frequencies cause many documented brain reactions. We can not publicly disclose the exact frequencies used in our recordings for product protection reasons, but you can be assured each and every recording is specifically tuned to stimulate certain abilities.


Subliminal recordings attempt to program the brain with the use of harmonic sounds and voices alone. Subliminal recordings usually have no immediate effects, and is doubted if they produce any effects at all. Binaural Beats work immediately, and can be felt upon first use. There is proven science behind these beats and the effects are real.These Beats successfully alter your brains frequencies. Once your brain is in the right state to absorb, subliminal programming is dramatically improved.

What To Expect

Simply stated, Expect Results, the beats directly stimulate the brain by altering the operating frequency. Some of the common physical effects are:

1. The body feeling heavy and the inability to move freely

2. Total relaxation of the entire body from head to toe

3. Vivid visualizations, colors, and patterns

4. Separation of the conscious and subconscious mind

5. Anxiety, Stress, and Tension Relieved

6. Feeling of sedation or not feeling the body at all

Every persons brain is different, and every recording we sell uses different frequencies. There is no exact answer to what you will experience. Some minds are more open to suggestion, and some are stubborn. Many people have absolutely "Wild Experiences", while others have more mild effects. Although each of our recordings is specifically designed for a purpose, experiences will differ person to person.


Binaural Beats Here at The Unexplainable Store

Binaural recording

Content Obtained From Wikipedia

Binaural recording is a method of recording audio which uses a special microphone arrangement intended for replay using headphones. Dummy head recording refers to a specific method of capturing the audio, generally using a bust including pinnae (outer ears). As one's pinnae are unique, and the filtering they impose on sound directionality is learned by individuals from early childhood, use during recording of pinnae that are not the same as the ultimate listener may lead to perceptual confusion.

The term "binaural" has frequently been confused as a synonym for the word "stereo", and this is partially due to a large amount of misuse in the mid-1950s by the recording industry, as a marketing buzzword. Conventional stereo recordings do not factor in natural ear spacing or "head-shadow" of the head and ears, since these things happen naturally as a person listens, generating their own ITDs (interaural time differences) and ILDs (interaural level differences). Because loudspeaker-crosstalk of conventional stereo interferes with binaural reproduction, either headphones are required, or crosstalk cancellation of signals intended for loudspeakers such as Ambiophonics. For listening using conventional speaker-stereo, or mp3 players, a pinna-less dummy head may be preferable for quasi-binaural recording, such as the sphere microphone or Ambiophone. As a general rule, for true results, an audio recording and reproduction system chain, from microphone to listener's brain, should contain one and only one set of pinnae (preferably the listener's own) and one head-shadow.


With a simple recording method, two microphones are placed seven inches (18cm) apart facing away from each other. This method will not create a real binaural recording. The distance and placement roughly approximates the position of an average human's ear canals, but that is not all that is needed. More elaborate techniques exist in pre-packaged forms. A typical binaural recording unit has two high-fidelity microphones mounted in a dummy head, inset in ear-shaped molds to fully capture all of the audio frequency adjustments (known as head-related transfer functions (HRTFs) in the psychoacoustic research community) that happen naturally as sound wraps around the human head and is "shaped" by the form of the outer and inner ear. The Neumann KU-81, and KU-100 are the most commonly used packages, especially by musicians. The KEMAR system is another alternative. It was presented already in 1972 as a research mannequin for in-situ testing of hearing aids. The HEAD acoustics aachenhead unit provides different equalization interfaces, either to make signals compatible with loudspeaker reproduction or to allow for comparison of signals with standard microphone recordings. Other alternatives are the B&K[1] and the 01dB-Metravib[2] mannequins. A simplified version of binaural recordings can be achieved using microphones with a separating element, like the Jecklin Disk. It used a 30 cm (11.81") acoustically-absorptive disk between the mics, spaced 18 centimeters. Now the new Disk is 35 cm in diameter and has a spacing of the microphones of 36 cm (double

head).[3]. Nevertheless, not all cues required for exact localization of the sound sources can be preserved this way, but it works also well for loudspeaker reproduction.

Binaural "in-ear" microphones can be linked to a portable Digital Audio Tape (DAT) or MiniDisc recorder, bypassing the need for a dummy head by using the recordist's own head.



Once recorded, the effect can be reproduced only using headphones. It does not work with mono playback; nor does it work while using loudspeaker units, as the acoustics of this arrangement distort the channel separation via natural crossfeed (an approximation can be obtained if the listening environment is carefully designed by employing expensive crossfeed cancellation equipment.)

The result is a listening experience that spatially transcends normally recorded stereo, since it accurately reproduces the effect of hearing a sound in person, given the 360° nature of how human ears pick up nuance in the sound waves. These recordings can very convincingly reproduce location of sound behind, ahead, above, or wherever else the sound actually came from during recording.

Any set of headphones that provide good right and left channel isolation are sufficient to hear the immersive effects of the recording, and anyone who has even a cheap set of headphones can enjoy the recordings. As with any playback, higher quality headphones will do a better job of creating the illusion. Several high-end head set manufacturers have created some units specifically for the playback of binaural. Etymotic Research's ER-4B canal phone actually sits inside the ear, much like a hearing aid. The B model is tuned and equalized to enhance binaural playback. In addition, a number of headphone amplifier companies have created hardware that takes advantage of these special recordings. However, these in-ear-canal phones tend to suffer from poor externalization i.e. inside-head localization. It is also found that even normal headphones suffer from poor externalization, especially if the headphone completely blocks the ear from outside. A better design for externalization found in experiments is the open-ear one, where the drivers are sitting in front of the pinnae with the ear canal connected to the air. The hypothesis is that when the ear canal is completely blocked, the radiation impedance seen from the eardrum to the outside has been altered, which negatively affects externalization.

There are some complications with the playback of binaural recordings through normal headphones. The sound that is picked up by a microphone placed in or at the entrance of the ear channel has a frequency spectrum that is very different from the one that would be picked up by a free-standing microphone. The diffuse-field head-transfer function, that is, the frequency response at the ear drum averaged for sounds coming from all possible directions, is quite grotesque, with peaks and dips of 10 dB. Frequencies around 5 kHz in particular are strongly attenuated as compared to side-presentation. If headphones were designed to have a flat response, then they would sound much too 'bright' when used to listen to stereo recordings and for this reason, most headphones are designed to have a notch around 5 kHz. This can only ever approximate to a particular listener's ears, meaning that there can be no such thing as a 'flat' pair of headphones - they have to match the listener's ears, unlike speakers which aim to produce a flat free field response. For binaural listening though, the headphones need to have a flat response to the ear-canal entrance (not the eardrum) since it is at the ear-canal entrance that the recording microphones are placed. While it is in theory possible to equalise any headphones for a flat response at the entrance, a better approach is to use headphones designed without the notch in the first place.

The fact that most headphones are actually designed to have a notch in the 5 kHz region is not widely understood, and this may have led to errors in the assessment of binaural recordings, since flat headphones are not normally available, and 'high quality' headphones incorporate the notch just like any others, though perhaps with a better approximation to that needed by the average ear. Male and female ears are of course different in size, and the outer ear gets bigger with increasing age, raising the possibility that most

headphones are only really suited to young men. If headphones were designed to be flat, with a choice of equalisations available in headphone amplifiers, then headphone listening could be a more controlled experience, whether in binaural or stereo mode.


The history of binaural recording goes back to 1881. The first binaural unit was an array of carbon telephone microphones installed along the front edge of the Opera Garnier. The signal was sent to subscribers through the telephone system, and required that they wear a special head set, which had a tiny speaker for each ear.

The novelty wore off, and there wasn't significant interest in the technology until around forty years later when a Connecticut radio station began to broadcast binaural shows.

Stereo radio had not yet been implemented, so the station actually broadcast the left channel on one frequency and the right channel on a second. Listeners would then have to own two radios, and plug the right and left ear pieces of their head sets into each radio. Naturally, the expense of owning two radios was, at the time, too much for a broad audience, and again binaural faded into obscurity.

Binaural stayed in the background due to the expensive, specialized equipment required for quality recordings, and the requirement of headphones for proper reproduction.

Particularly in pre-Walkman days, most consumers considered headphones an inconvenience, and were only interested in recordings that could be listened to on a home stereo system or in automobiles. Lastly, the types of things that can be recorded do not have a typically high market value. Recordings that are done in studios would have little to benefit from using a binaural set up, beyond natural cross-feed, as the spatial quality of the studio would not be very dynamic and interesting. Recordings that are of interest are live orchestral performances, and ambient "environmental" recordings of city sounds, nature, and other such subject matters.

The modern era has seen a resurgence of interest in binaural, specifically within the audiophile community, partially due to the widespread availability of headphones, and cheaper methods of recording. A small grassroots movement of people building their own recording sets and swapping them on the Internet has joined the very small collection of CDs that one can find available for purchase. In 2000, the American rock band Pearl Jam released an album titled Binaural, in which the binaural recording method was adopted for some tracks.

The additional content present on the DVD release of Monsters, Inc. includes a practical presentation of binaural recording, featuring a Pixar sound engineer and actors John Goodman and Billy Crystal.