INDEX OF COMPOSERS

COMPOSERS TIMELINE

VIDEOS

TABLATURE SYSTEM

TABLATURE SAMPLES

MIDI HISTORY

SUBMIT

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ANCIENT GUITARS

virtual haircut youtube

Welcome to the fantastic world of classical guitar. In this site, you will find classical guitar pieces, in midi format, for one and more guitars: actually 5641 MIDI files from 96 composers. Information on how to create midi files and a tutorial on the tablature notation system is presented. Images of ancient guitars provided.

Version française  

virtual haircut youtube

New Sequences by François Faucher

Now working on: G.F. Carulli's Gran Sonata Op.25


New.gif (284 octets) G.F.Handel's Sonata 2. Allegro 3.Adagio HWV368New.gif (284 octets)


New.gif (284 octets) .J.S. Bach's  Sonata largo BWV1079 New.gif (284 octets)

New.gif (284 octets) F. Carulli's Two Russian Airs with variations Op.110New.gif (284 octets)

New.gif (284 octets) .W.A.Mozart's Symphony No.41 (Jupiter) KWV551

.New.gif (284 octets) J.S. Bach's .Sonata 2. Fugue  BWV964 New.gif (284 octets)

.New.gif (284 octets) W.A. Mozart's Theme and variations on: "La belle Françoise" K353 New.gif (284 octets)

New.gif (284 octets) W.A. Mozart's .Rondo K.511 New.gif (284 octets)


This paper asks: How does a simple audio file produce a compelling tactile and spatial illusion, and why did YouTube become the perfect medium for its virality? We argue that the Virtual Haircut succeeded because YouTube provided a low-friction, headphone-native platform that turned a private psychoacoustic test into a shared, comment-driven social event. The Virtual Haircut exploits the human auditory system’s built-in mechanisms for spatial localization. Unlike standard stereo music, which creates a "pan pot" effect (sound moving left/right), binaural recording uses two microphones placed inside a dummy head with ear canals.

[Your Name] Course: [e.g., Psychology of Sensory Perception / Digital Media Studies] Date: [Current Date] 1. Abstract The "Virtual Haircut" is a seminal binaural audio recording that creates a realistic illusion of a haircut scenario using only stereo headphones. Originally a demonstration of human sound localization, its proliferation via YouTube (circa 2007–2012) transformed it from a niche psychoacoustic test into a viral sensory phenomenon. This paper analyzes the psychoacoustic principles behind the illusion (Interaural Time Differences, Head-Related Transfer Functions), examines the role of YouTube as a distribution platform that enabled mass participation, and discusses the implications for ASMR (Autonomous Sensory Meridian Response) and spatial audio technologies like VR. The case of the Virtual Haircut illustrates how a technical demonstration became a cultural touchstone for embodied digital experience. 2. Introduction Imagine feeling scissors snip next to your ear, a comb run through your hair, and a barber whispering from your left—all while sitting alone in a room. This is the promise of the "Virtual Haircut." First created by QSound Labs in the 1990s as a demo for binaural recording technology, the track found a second life on YouTube. For millions of viewers, the experience was startling: despite knowing it was an illusion, listeners would instinctively duck, shiver, or turn their heads.

The illusion demonstrated that hearing is not a passive receiver but an active, constructive process. Listeners reported proprioceptive shifts (feeling hair move) and autonomic responses (increased heart rate when the barber leaned close).


Composers are grouped in 6 pages: A-B; C-F; G-L; M-O; P-R; S-Z . J.-S. Bach ,  A. Barrios Mangore , N. Coste , M. Giuliani , F. Sor and F. Tarrega are on their own page

Click here to listen to 20 great MIDI from the site


Composers in alphabetical order

Youtube - Virtual Haircut

This paper asks: How does a simple audio file produce a compelling tactile and spatial illusion, and why did YouTube become the perfect medium for its virality? We argue that the Virtual Haircut succeeded because YouTube provided a low-friction, headphone-native platform that turned a private psychoacoustic test into a shared, comment-driven social event. The Virtual Haircut exploits the human auditory system’s built-in mechanisms for spatial localization. Unlike standard stereo music, which creates a "pan pot" effect (sound moving left/right), binaural recording uses two microphones placed inside a dummy head with ear canals.

[Your Name] Course: [e.g., Psychology of Sensory Perception / Digital Media Studies] Date: [Current Date] 1. Abstract The "Virtual Haircut" is a seminal binaural audio recording that creates a realistic illusion of a haircut scenario using only stereo headphones. Originally a demonstration of human sound localization, its proliferation via YouTube (circa 2007–2012) transformed it from a niche psychoacoustic test into a viral sensory phenomenon. This paper analyzes the psychoacoustic principles behind the illusion (Interaural Time Differences, Head-Related Transfer Functions), examines the role of YouTube as a distribution platform that enabled mass participation, and discusses the implications for ASMR (Autonomous Sensory Meridian Response) and spatial audio technologies like VR. The case of the Virtual Haircut illustrates how a technical demonstration became a cultural touchstone for embodied digital experience. 2. Introduction Imagine feeling scissors snip next to your ear, a comb run through your hair, and a barber whispering from your left—all while sitting alone in a room. This is the promise of the "Virtual Haircut." First created by QSound Labs in the 1990s as a demo for binaural recording technology, the track found a second life on YouTube. For millions of viewers, the experience was startling: despite knowing it was an illusion, listeners would instinctively duck, shiver, or turn their heads. virtual haircut youtube

The illusion demonstrated that hearing is not a passive receiver but an active, constructive process. Listeners reported proprioceptive shifts (feeling hair move) and autonomic responses (increased heart rate when the barber leaned close). This paper asks: How does a simple audio

 

 

FLAMENCO

Paco de Lucia  ; Sabicas 

 


Note to MIDI sequence contributors

Your submissions are welcomed.  Please send them by e-mail (end of text). Pieces should bear the composer's name and be properly identified.(ex.: J.K. Mertz (1806-1856) Nocturne Op.4 No.2.). The submissions should bear information on the transcriber or arranger when available. The submitter's name will appear beside the accepted submission.   

This site exists primarily to showcase pieces written for the classical guitar. Established and recognized transcriptions and arrangements (e.g., Tarrega, Segovia,..) of pieces written by non-guitar composers will also be given high priority.  

New compositions for the classical guitar are also welcomed.  New compositions that meet quality guidelines will be added to the site. For new contributors, it would be appreciated if you would also submit several pieces by known composers in addition to your own compositions.  This will help to expand the repertoire of established works for the classical guitar in addition to expanding the repertoire of new music. 

 

Last update: March 8 2026

Copyright François Faucher 1998-2025

INDEX OF COMPOSERS

COMPOSERS TIMELINE

VIDEOS

TABLATURE SYSTEM

TABLATURE SAMPLES

MIDI HISTORY

SUBMIT

LINKS

ANCIENT GUITARS