'NEWSOUND' EXPERIMENTS IN RECOVERING FULL STEREO FROM MONO SOUND SOURCES JAWDROP description of a jaw dropping experiment ABSTRACT Sound is contained in an environment-saturating-matrix of hexagon formations which are both chrystaline and fractal, that once set up in the presence of a sound stream, become steady state, both tranferring vibrations to far distances, and exciting sympathetic vibrations in all matter in contact. All matter includes solids, liquids, and gases reached by the sound stream. All material resonately vibrates in a net sum of harmonics that gells to become the final sound you hear, for instance when an orchestra is playing. When the sound stream is being generated from two stereo speakers the resulting sound is a stereo effect in emulation of the input of two human ears. When only one speaker is working to produce a sound stream, the music of an orchestra is flat, dull, and usually not very fidelic, and all of the sound seems issued from a small area centered around the front of the single speaker as opposed to a wide across wall of sound that comes from a stereo pair. In contrast, it happened that every microphone recording the original music was 'hearing' sounds from all parts of the orchestra, and rebounding and echoing from all parts of the environment in which the music was recorded, but usually only that sound which was projecting closest to a given mike is recorded by that mike, the rest is too weak to hear clearly in reproduction. The reason is that subtle, small, cross harmonic and sympathetic vibrations, are being destructively cancelled by after-the-fact equipments you buy or build engineered for producing longtidudinal wave products, which all seek to control the nature of the waves themselves, for instance by 'equalization', and 'half wave' reproductions. The longtitudinal wave forms crash into the new enviroment willy nilly (by reproduction equipment) where they seek to find haven in an environment totally false and artificial against the environment in which the music was originally performed and recorded. The result is great difficulty (and cost) in achieving fidelity with such clashing long waves. The net effect is stereo which is essentially flat, even though spread east to west, the stereo sound characteristically lacks depth, you cannot hear long distances behind the up front sound wall. Handclaps of an audience are in synch with the beat of the music. Any performer knows that audience handclaps are a full half beat behind the beat of the band, because the sound has to leave stage, enter the audience provoking audience response, then arrive back at the bandstand, the delay due to travel time reaching a happy accord where all parts of the audience (also listening to each other) settle into a final repeat clap response that falls a full half beat behind the band. A good sound reproducing system is not working well, unless it reproduces the true half-beat delayed handclaps in a local environmnet where the music plays through speakers. (A kink is that the handclapping audience will be behind the band in the stereo you hear at home, in opposition to a live setting in which the audience is in front of the band. This is because the mikes that recorded the handclaps are typically in front of the band and facing the audience, so in true sonic reproduction of that setting the band will he behind the mikes, or, rather, more factually, the audience will be behind the band. This setting is not heard in modern day stereo systems. But can be made to occur in experiments you can do yourself. GEOMETRY OF SOUND Enter the hexagram, or, rather, steady state harmonics at all levels of the sound, highest to lowest frquencies, through all matters the sound encounters solid, liquid, and gas. WATCH WHAT HAPPENS TO THE NEXT 2 PARAGRAPHS. ONE (THE 1ST) IS VERY CLUTTERED AND CROWDED, THE SECOND MORE OPEN, LOOSENED UP, EASIER TO READ. THE SECOND WAS IMPROVED BY THE SINGLE INSERTION OF 1 LINE BREAK CODE IN A STRATEGIC PLACE IN THE PARAGRAPH. THE SAME IN PRINCIPLE IS TRUE FOR SOUND. PARAGRAPH 1 The secret is to break up destructive sound waves. When enough destructives are broken up, the full range harmonics of the original music begins to respond with greater energy strengths, until some, to very good exactness, reproduction of the sound wells up to fill the new artificial environment with full bodied, powerfully vibrating, energetically resonant, sound! PARAGRAPH 2 The secret is to break up destructive sound waves. When enough destructives are broken up, the full range harmonics of the original music begins to respond with greater energy strengths, until some, to very good exactness, reproduction of the sound wells up to fill the new artificial environment with full bodied, powerfully vibrating, energetically resonant, sound! How to break up interference (destructive sound waves) was done in one particular way (in the NEWSONIC sound experiments), by a myriad of different hand-made six sided devices, some mobile (had movement) which when set up in precise ways in strategic locations within local environments, including living rooms of houses, resulted in gradual re-awakening over a 5 year period with intense experiments underway nonstop for 3 1/2 years through that period, of a resurrection of sound back to original tones, power, energy, presence, impact. The Glen Millar orchestra played so well it could be heard out in the front street as if a super powerful stereo set was horking full volume, but the sound delivery was coming from a cheap getto blaster at normal volume, from only one 10 inch woofer and a 6 inch oval speaker linked in series, both taking signal from a single mono channel, in recordings made in 1940 and 1938 long before stereo was invented. Out in the front street, and in the house, the sound was not made loud to carry that far, rather, it carried by resonances that continued to effect matter in sympathetic harmonics far from source. The results of these experiments changed COMPLETELY any previous understanding of sound, and how sound reproduces through artificial means such as loudspeakers. Most importantly, the experiments revealed that mono sources when properly environed, contain purer clearer more stereophonic music in reproduction than does technical stereo from two or more channels running two or more loudpeakers. Descriptions of the experiments were maintained right from the start, nothing was left out nothing passed by unwritten. Both experimental successes and failures (some amusing) were written with the same purpose of clarity and attention to detail. The narrative comrpises a long accord, too long to be presented here. Instead, the last entry written describing the last experiement to take place, (the Jaw Dropping demo) is presented. The whole experiment (five years) can be read online a section at a time. These new fundamental discoveries in sound can put you not in the front seat of the audience, but in the orchestra itself.

See MASTER images.
Geometric templates made from snowflake
understructure were used to fashion
6 sided objects and mobiles
in Newsonic experiments

QUICK SELF-HELP DESCRIPTION

Breaking up destructive standing waves in an artificial environment (your living room for instance) results in enlargment and rejuvination of super high frequency cross-harmonic sound signals recorded in the original sound when it was being performed or recorded, the rejuvinated sonic inputs powerful re-enforcers like marchers crossing a bridge in step-resonance with the bridge's natural harmonics, sufficient to cause the bridge to start vibrating dangerously. In your living room, the re-juvinated vibrations are able to respond with all aspects of the artificial invironment including solids, liquids, and gases.

When a sonic rejuvinating device is put in a strategic location somewhere in the artificial environment (on a coffee table in your living room for instance) it takes about 3 or 4 full seconds for the new resulting sound to consolidate into a steady state resonance pattern based on vibrating 6 sided hexagram and fractal geometry matrixes that contain the sound patterns. Longitudinal waves are only those carrying the foremost amplitudes (volume) in a vector direction but when the environment is principally excited by fractal properties volume becomes less longitudinal and all parts of the environment fill with sound closing in on approximation of environment saturating sound that occurred when the music was originally being played.


See EXPERIEMENT text
See EXPERIEMENT photos

Another aspect of such 'SONICS' may be in an old black and white movie from the early 30's on late night TV where we might see an actress crossing a marble floored vestibule in high heels and due to original mono recording and single speaker TV set you will hear a weak click click click coming straight from the TV's small speaker as she walks. When the environment is suitably turned into one single giant large loudspeaker with you inside, by setting up sonic disrupter devices in conjunct with sonic rejuvinators throughout the environment, when the lady walks you will hear resounding echoes of her stilettos striking the hard floor, the sound increasing toward you as she approaches the camera, and in the background, out of sight around a corner, a gramaphone playing a Benny Goodman recording, totally unheard in the original sound from the TV before experiment.

The point is a single microphone can hear what the ears hear, since sound is coming into the mike from both sides plus behind as well as in front. The sound carries super high frequency subliminal harmonics in the cross hatch of criss crossing waves saturating the environment before ultimately rebounding in the direction of the mike. A 3-dimensional 'sonic hologram' is thus inherently intrinsic in all sound. Bi-polar speaker reproduction is not necessary to bring the sonic hologram back to life in another environment (your living room). All that is needed is to cancel standing destructive standing waves, and de-emphase longtitudinal wave projection as the principle carrier of sound to any distance.

The 'cancellation' can be achieved by any 6-sided object that moves, for instance any object or geometric shape containing 30 and 60 and 120 degree angles. The de-emphasis of longtitudinal standing waves is by setting up objects in arrays in such a way that principle sound is refracted and reflect through facets, propigating into a room from sound source, in fact linking to intrinsic vibrational patterns inherent in atomic structures via chrystal lattice arrays of molecules, and electron density and steady state point source distributions. An object that moves can be made for instance by taping a small stick-out 6 or 3 sided object to the second hand of a battery operated clock motor that pulses (moves) once each second.

If means can be found to stand the clock motor on edge, so that the second hand moves vertically through the air, a quick way of testing is at hand, the device placed on the floor to the side or toward the rear behind a TV set, the device placed between the TV set and the wall, can noticably improve the overall sound quality of the TV even a large project TV's stereo sound, by dint of virtue in breaking up particularly destructive standing waves that can gang up unseen in tight quarters near the sound source ie TV. It gives room for more intrinsic true sound vibrations to spread out in more ways correct to original harmonic patterns.

So intrinsic are natural harmonics in any sound, such as Benny Goodman recorded in mono in the 1930's, that the best sound sources are speakers resonating in the open air, a single loudspeaker hanging by itself by an elastic band from a laboratory stand can produce both stereo and fidelity plus volume and full range high frequencies to lower bass, when the environment (your living room) is suitably prepared.

Such sound is rejuvinated entirely from chaotics, that is, that the more a conducive sonic environment is set up around you by artificial means using hexagram based devices, the more subject to chaos the sound pattern becomes. A mighty orchestra playing with over 100 musicians behind Elvis Presly in 1950's era recordings, a powerful sound play that comes across as just a strong chord background to Elvis in mono recordings and ordinary playback systems, can fill a room in fact the whole main floor of a house with philharmonic symphony effects which sound like you are in the giant orchestra when you listen with your eyes closed.

If you move just one object, say, something as small as a piece of paper or coffee cup, by just a small degree, say, less than 1 cm, the whole effect can suddenly collapse, snuff up, disappear, and all you hear is a small weak respond of chords weakly saturating the background with 'fill' behind Elvis, issuing from the immediate vacinity of the sound source or louspeaker. Move the coffee cup again by a mere fraction of an inch and back can come the whole of the sonic booming sound, lifting up, swelling into place up in the air, gelling into view in the space of 3 to 4 seconds. Like the elephant and butterfly's wing in theories of chaos, the flap of a butterfly's wing in Florida can eventually lead to monsoon floods in France (by cascades in chaos triggering increasingly expanding modifications in change in the weather's original stability system).

5 sided geometry also plays a role in full bodied full frequency sound reproduction by open air resonance principles. The 5 sided objects (or any object matrixed upon 36, 54, 72 degree angles and sympathetic angles larger and smaller) have to be well back from the sound generating source, in another room, at the opposite end of a house to your living room, for instance, and V E R R R Y carefully placed in strategic hot spots and even more C A R E F U L L Y focused, to work at best. When they do work at best, they boost both fidelity and stereo reality presence in the sound stream, in particular in sound which can be heard for instance coming around a corner and up a long hallway in your house. 5 sided objects work best when intruded into a sonic settup after the settup has been first initially made operational by use of 6 sided matrixes, and echoes and rebounds have started to fill the sound stream with more realistic presence.


Read the JAW DROPPING DEMO for more information

Web site/display/designs/image enhancements - Greydon Moore World's largest cosmic teaching site - Ottawa 2001/2004         form   A & O 3 3

                  Click google logo for site search

For the world's most comprehensive searches use