-------- TOPPLE 1 (Topple 2 is further below) -------- ----------------------------------------------------------------- Update cont. September 4, 1992 3:30 P.M. Which brings us right up to the moment of my last tests before writing this Upate. That was to take all three of my touph hardship case symphony orchestra tapes and work them through back and forth one after the other, listening to the sound stream and constantly adjusting the focusing of the various sonic devices. What has been learned is this. When the focusing settles in, you have something to talk about. Needless to say, those symphony orchestras are VERY POWERFUL MACHINES. Concider that they are contained of more than 100 instruments spread out in a sitting that fills a concert stage, and that they play at soft to loud volume, and when LOUD, it can include ALL of the instruments including a battery of grunting bass fiddles, ALL pouring forth at the same moment as hard as they can. Now I honestly can't say that I have ever heard that POWER ever reproduced in a stereo system, no matter its sophistication or cost. But I did hear glimpses of it today. It was at lower volume than (of course) the symphony playing in the flesh. But you have to understand that when resonances got so powerful that EVERY object in the room began to vibrate at rates that tingled the fingers, you know you are dealing with a potentially MIGHTY POWER of which just a glimpse of it was being heard, but it was already sounding MIGHTY, not ear deafening loud, but MIGHTY nonetheless. What I mean by not 'ear deafening loud' is that when the fine tuning became just RIGHT, off and on, as hours passed, you could hear the presence of the mighty orchestra gell and take shape in the room. The tympanis, for instance, would immediately attract your attention way off to the back and off to the side, since you could FEEL vibrations coming directly from them. A battery of violas had the same effect, grabbing your attention because you could FEEL their sonic vibrations coming toward you, moved well over from the tympanis. And so on. Like I say, this is interesting, because the only source of the sound stream doing all of this mighty resulting work is the two four inch tweeters from the getto blaster hanging in faceplates, the 8 by 5 inch oval car speaker, and the 12 inch woofer, all resonating openingly and unabashedly in the open air, a supposed theoretically impossible situation. I can disconnect the woofer and still get the sonics of the orchestra, but not the MIGHT in the strength of the deepest vibrating bass notes, this seems to be directly the input of the woofer kick assing the sound stream by pure open air resonances. The point is that in careful listening, there turns out to be another ingredient in the sound when reproduced entirely from a 100% monoral source (all of the above in this Update has been described according to all four speakers being wired in series to the Left hand channel, the Right hand channel for full official stereo has not been hooked up in any test, even for a few seconds, for two days). ----------------------------------------------------------------- Update cont. September 4, 1992 3:30 P.M. I can at this point reproduce the symphonies in stereo using a monoral only setup. However the effect of percieving the MIGHT of the symphony orchestra, as well as its size, at this moment is gained via hooking up the woofer in open air resonances into the sound stream. This does not mean to say that the MIGHT cannot be gained without a sonically responsive woofer added in. All it means to say is that at this moment, with what I have at hand in order to work with in terms of sonic enhancing and rejuvinating resonating devices, I can't seem to get the MIGHT without the 12 inch woofer. The next experiment is to try two (or more) larger six sided mobiles and see what these might do. I suspect they will do quite well. But won't know until I actually get around to making them and to try them out. To do this I will have to take the template for the existing mobiles to a Xerox to get it blown up to about twice the size, and to find some stiffer form of paper, or paper cardboard, or paper thin but stiff plastic which will be strong enough to be able to hold the larger mobile in an upright position gripped on a mike stand with an alligator clip. I think this (the grip) is the way to go since I have more exact control as to exactly where the mobile is located, as opposed to merely hanging it from a string somewhere where it is sonically hot in a room. Hanging a mobile from a string in a sonic hot spot in a room is the final target for design of sonically enhancing six sided (or twelve sided) mobiles, but this will come after the fact of using such mobiles locked in rigorous locations to test their sonic activities. The mobiles I've been discussing are rather simple; a Star of David surrounded by a hexagram frame. The two I have at the moment were hand made (as decribed prior above) by cutting three faces using a template, folding each face in half, and assembling it into a six sided figure. These have a paper band about 1/2 inch across forming the hexagram outer ring, and the arms of the Stars of David are all paper bands about 1/4 of an inch across. An earlier much smaller hexagonal mobile described in one of the recent previous Updates (got from a local shopping center with hologram carboard its design and intended to be sold as a quote 'christmas tree orniment' by the salesgirl), seems to work in a unlikely new place. I have simply dropped it onto the woofer and let it bounce around in the bass strike resonances of the woofer. At times you can hear it rattle a bit, bouncing around on the cone, and it does definately bounce into and out of hot spot resonance positions, but in the overall, for the moment, it is adding an improved albiet subtle sonic 'airframe' ingredient into the sound stream, something that is immediately missed if you take it away (lift the mobile away from the woofer cone). And so, that is it. The gist of the short story being that the MIGHT described above as being inherent in the reproduction of a symphony orchestra is coming only from and entirely from harmonically focused room resonances and echoes, (re-enforcing 'sense' within the chaos), not a twit or tat of it coming from anything remotely resembling a speaker box or enclosure. In fact, I am inclined to think it would be impossible to get the MIGHT into a sound stream from any enclosure, or speaker box devices, and in fact it might not be possible to get the MIGHT from any reproduction system other that one performing in 100% Mono. Wait, let me go upstairs and check that last remark. I'll simply hook the thing up in stereo, and try it with, then without, the two external resonating speakers (the woofer and 8 by 5 inch oval tweeter) hooked in, and see if I can or cannot get the sense of MIGHT using full official stereo. Here goes. Be back in a few minutes. I am back from upstairs. Well, it is pointless discussing the symphony in pure official stereo mode, with both Left and Right hand channels hooked up, only the the two faceplate speakers working. It was distorted and high pitched, and no bass. End of a 10 second experiment. With the two external resonators (12 inch woofer and 8 by 5 inch oval tweeter) also hooked up to the Left hand channel while playing the system in full stereo, there was more sonics in the stereophonics, and bass, but it was mainly all assuming from a sound image area re: the wall behind the hanging faceplates. Plus a crisp compression or squeezed ingredient most noticable in the sound. But in disconnecting the Right hand channel and hooking the Right faceplate speaker to the Left hand leads, a change immediately takes place. Sonic presense spreads out and takes hold of the room. I can feel a glimpse of the MIGHT of the orchestra again, for it turns out that my perception of such SOUND is coming from all around me including behind me, as well as dominantly in front of me from the direction of the main giant sound image area. So, it seems I was right, at least in the ambiguities of the experimental setup that I have on hand to play with in the upstairs room, that the MIGHT is a feature being generated only from a 100% Mono source at the moment, using generators that function entirely in the mode of open air resonanators which rather than pouring forth the sound, kick ass the sound stream echoing around in the room itself, to regenerate and rejuvinate original cross echo and cross harmonic reflections that comprised the original MIGHT of the orchestra before it was recorded to a media for later reproduction. Most importantly is the ambiant 'presence' of sound you can hear around you, beside you, and behind you, and mainly from up front, ambiant presences you simply cannot get with speaker boxes no matter how expensive the stereo set, presences you get in a concert hall or modern motion picture theatre showing a big budget thriller, but not there in the flat wall wide spread images produced by a big boxed pair of stereo speakers, including expensive studio monitors. At this moment, when hearing or sensing the MIGHT, I am in the position of the conductor (or more specifically the recording mike(s)), rather than in the position of a listener sitting a long distance back in a concert hall. The sonic rejuvination taking place upstairs in the room is hearing what the mike hears, rather than hearing what the stereo system is reproducing, or hearing what the sound engineers wanted you to hear when they mixed the tape. Now of course there are artificials in the sound stream, due to the mixing, and quality of recording devices including mikes and their placement and the media itself including the pirate factory quality of cassette tape mylar. But notwithstanding, there has been a major circumvention taking it well away from an inevitable final finished product, back toward a reproduction of the original product, in the form of the sonic experiments taking shape in the room upstairs. For instance, now I can hear MIGHT in a syphony orchestra, for the first time in my life outside of a concert hall. What I have in fact is unusually AMBIANT dispersion, something extremely hard to get in the design of ordinary stereo speakers for instance for the audiophile listener. This 'dispersion' fills out the whole of the environment with sound ambiance, but at the moment in its embodiement upstairs is still lacking the other main ingredient of a true stereo setup, and that is the distinct point source of all given instruments imaged most clearly within the background Left to Right spread of the dispersion, as well as well into foreground, and background, in deepspace. True enough I do have instruments sounding from the Left, with others sounding from the Right, but for the most part you have to kind of have to listen to determine exactly where precisely in the sound image that instrument is working. Certain instruments at this moment can be heard to be precisely located, but what you want ideally is to hear ALL instruments clearly and precisely located without effort. And this I do not yet have. In fact I might not be able to get it all the way correct, due to the fact of a mike placed too close to one or another instrument, that instrument hence dominating all nearby other sounds, and so on, in full stereo the problem of over anxious miking being solved by the mixing, etc., after the fact of the recording. These factors I do not know enough about yet, to comment on with definative confidence. In further keeping with thoughts for the future, the best thing to come up with next is an embodiment in genuine official stereo, where sonic tuning devices can be plopped in one or two hot spots in a room and result in immediate improvement in stereo imaging, dispersion, and/or fidelity of the existing sound system working in full stereo with for instance a pair of speaker enclosures comprising the sound generators as the source for the sound stream. Not forgetting to mention the same (or similar such) devices plopped down in the room to get an immediate kick into the sound of a TV, or clock radio, or anything the purchaser wants to hear sound better, including of course the dynamite of eardrums and sanity, the getto blasters. Doing the things as described above in 100% Mono is interesting because it speaks upon principles of sonic propigation, projection, resonances, and reccurances, which are obviously at this moment not concidered as valid or possible in the theoretical scopes of existing teachings of sonics in the labs or universities or for the home stereo buff. I can see much more. HOW CAN AN ARCHANGEL APPEAR IN FRONT OF YOU TO GIVE YOU A MESSAGE ----------------------------------------------------------------------- How can an archangel appear in a room. For instance how can an archangle, ahem, I mean archangel, appear in front of you to give you a message? It has to be by a form of projection from a higher plane of vibratory existence to a lower plane (the third dimension), and as far as I can tell, the mechanisms for such projection occur in similar mechanisms as are found for sound. There is a proviso to this; a projection of an archangel would also embody resonance and recurrant higher absolute properties of light, some of whose mechanisms are similar to those of sound but in which, when motion is involved in the source of the projection, also involves attributes of relativity theory at the third dimensional level. But not for archangels ... no special relativity theory in the principles of this higher dimensional energies in light. Never the less... Oh, one little sidebar I can tell you, a mini short story revealing how much effect the two new hand-made paper mobiles have on the sound stream. When first setting them up, and removing all of the paper cardboard tubes, in playing around with the two open air resonators in the vacinity of the apex of the equalateral triangle, I thought I had finally blown the 8 by 5 inch oval tweeter. I started with it sitting on top of the kitchen utility ladder, and the woofer on the floor behind the ladder. Then the positions of the two were reversed. Then finally the oval tweeter was on the floor directly under the ladder. Yet for over an hour, no matter what I did, the oval tweeter wouldn't perform. It would sit dormant, until I tapped its cone, then it would start to rattle and crackle producing no other sound, then quit again after a few seconds, whereupon I would tap its cone again and get some more feeble crackle and rattle for a few seconds. I thought for sure I had finally blown it. And was starting to think greviously of what I might do to get another one somewhere that might work as well, but for the heck of it left it hooked up as I continued to play around with other sonic devices working to get things tuned in a better way in the room now that I could hear more due to the input of the two new hexagram shaped paper mobiles. Then all of a sudden the oval speaker kicked in, entirely on its own, working as handily as ever to kick the sound stream with strong resonances, and there was no trace of rattle or crackle whatever. Apparently I had done something to dissolve a hidden form of chaos that was interfering with both the woofer's resonances, and the oval tweeter in particular. It is possible two exposed parts of line lead were crossed, short circuiting, and something I did unseen hustling around, dissolved the short. This time there was a new difference, however. In days past you could see their cones move when sonically responding. But as of now the oval tweeter's cone is so locked solidly in impact vibrations, to all extents and purposes it is immobile, not moving at all, until you touch the cone and can feel how powerfully it is vibrating. You can't even feel it operating when held in the hand, unlike two weeks or so ago when it vibrated so strongly when held in the hand that it could almost seem to torque, like a gyroscope, when brought into focus in a way that amplified the bass sonics. The same is now true for the woofer. You cannot see in anyway that its cone is active. Not even by putting your ear right to it can you hear anything significant coming from it. Even dust and lint settled to its cone is not bouncing around anymore. Only by touching the cone can you tell if it is working or not. Or by disconnecting it, then the ingredient it is imputting vanishes at once and you know for a fact that it was working with great input, even though you cannot hear anything whatever with your ear cocked right to the face of the woofer. At this point, with the current setup in the room upstairs, the setup is so fragile that occasionally I can hear the oval tweeter rattle for a few seconds as some hidden chaos temporarily enters or leaves the sound stream as I tap and adjust different tuning devices. But it doesn't worry me. It only serves to confirm the notion of the Elephant And Butterfly's Wings in modern day theories of chaos, where theoretically a commotion as small as the beat of a butterfly's wings can have a rippling effect, spreading out to effect something as major as the weather system itself. I can see this concept at work as plain as day in the sonic environment of the room upstairs. Particularly when it come to making the merest of slightest taps on an object, and hear a huge ingredient in the bass ranges of sound suddenly start to demuffle and come swelling out into the room, causing objects to start vibrating with a power of their own. Then with another mere tap to the aforesaid sonic device, that bass power abrupty diminishes or fades again, at times into only a weak almost unhearable muffle denoting where there are supposed to be bass notes. End of mini story. The three symphony tapes in question used for the above described experiments revealing the existence of MIGHT, are: Grieg - PEER GYNT SUITES, Opus 46, Opus 55, Bamberg Symphony Orchestra, Jonel Perlea conductor. Cassette tape by Allegrettto ACS 8030. George Gershwin - AN AMERICAN IN PARIS, American Radio Symphony Orchestra, M. Brown, conductor. Cassette tape by Allegretto ACS 8034. Rimskey-Korsakov - SCHEHERAZADE, Bamberg Symphony Orchestra, Jonel Perlea conductor. Cassette tape by Allegretto ACS 8003. -------- TOPPLE 2 -------- POWER IS MIGHTY WHEN IT CAN MOVE MOUNTAINS ----------------------------------------------------------------- Update September 7, 1992, 1:30 A.M. Only a few moments were spent in tests today. Specifically, a quick demo was made to a visitor demonstrating MIGHT in a symphony orchestra, with the 100% four speaker Mono setup, vrs ordinary normal two-speaker two-channel stereo, then the 100% four speaker Mono setup again. When hooking back up to 100% Mono to conclude the demo, some time was spent trying to discourage a rather unsettling high pitched distortion from the sound stream, which had actually been in there when the system was first turned on to start the demo, until after a few feeble moments had passed and the visitor decided it was time to leave. I kept muttering about how something must have gotten into the system overnight because I couldn't seem to get rid of the high pitched strange stuff, and had no really good bass to boast about. To no avail I fussed and fumed with sonic tuning devices, knowing this demo had not been a good one. Out by the car as the visitor was leaving, he mentioned something about perhaps the speakers not being wired up the right way. A light dawned, because in fact the wiring was not one of the things I had thought to check when trying to diddle and dork my way through attempts to get rid of the strange noise, even though the MIGHT was there to hear in the symphony and the presence of the orchestra nonetheless, not great might mind you, but enough MIGHT in the Mono sound stream to reveal such might's existence to the visitor. So upstairs raced I to double check the wires. Sure enough. The two remote speakers (12 inch woofer and 8 by 5 inch oval tweeter), were wired in reverse, the reverse seeming to have been the way things ended up hooked together sometime late yesterday evening just about the time I suddenly went limp deep weary and shut everything off to call it a day. With proper phase back in the hookup, plenty more in the way of MIGHT was soon back into the soundstream, new levels of the stuff in fact, more than enough to turn me on into trying a number of variables in the placings of some of the sonic devices. Two changes resulted right away; one of the paper mobiles on the home-made mike stand was moved into position to the exact center point of the equalateral triangle; and all of the flow tubes were twist tuned to be focused directly toward the triangle's center. Some more MIGHT began to be glimpsed in the background of the music. There, a larger and larger image of the orchestra was beginning to make sense (take shape), in fleeting glimpses and facets, stablizing then dissolving in the sound stream. There and then not there, like I was getting about half of it at any one time, for a few seconds getting THIS, a few seconds later getting THAT, in the orchestra, the rest of it not got producing distortions and muffles throughout the sound range and image picture. Nevertheless these partial glimpses got to be surprisingly revealing, it was more than I had ever been expecting in recreating a sound image with what I had to play with upstairs. In fact it almost got to be awesome. First of all the volume suddenly began to swell by noticable degrees even though the volume knob was never touched, until I eventually had to turn the gain down in two stages by 15%, and it was still louder than when I'd started. But there was more happening. I began to hear some awesome potentials in POWER in the mighty scene starting to take place in the backgrounds of the sound image, bearing in mind that we are talking symphony orchestra with over 100 instruments all horking away in loud play in crescendos in for instance SCHEHERAZADE by Rimskey-Korsakov. What I had was POWER that was about half there. The music was fracturing and flipping in and out, first you could hear a mighty tympany, then just muffled distortion, then a few bangs of tympany again. It came and went. The same for all parts of the orchestra throughout the sound range, including batteries of bass fiddles, and violas all working together in glimpses, then gone, as they kept flipping in and out of the sound image in fragments, This all happening in a monoral settup, one channel only feeding all of the speakers linked in series from one channel of the getto blaster. Yet in these glimpses you could easily begin to sense the 'real time' existence of the MIGHTY MACHINE called the symphony orchestra. The point is in being able to hear glimpses of this mighty device called symphony philharmonic orchestra in the first place. That alone demonstrated that the information is in the sound stream, even though ALL of the bass, and ALL of the stereoscopic imaging, is being generated by positive cross harmonic re-enforcements cascading downward from the higher frequencies being produced into the open air by the resonators (tweeters and open air woofer) to generate the sound stream. And then on went George Girshwin's 'American In Paris'. This took more work, because the dynamics of this recording seem to be poor to begin with, the tape always comes on weak sounding when first I play it in sound tests. But notwithstanding, this time when I put it on it was pretty good, quite strong, right from the start. There was lots of touching and tapping, and very light tapping, of the flow tubes and resonator speakers and every so often a lucky strike brought in MORE and gradually the POWER increased. Let me tell you about this. The POWER got so great, in fits and starts and few second glimpses in and around the loud racket, that nonetheless a crescendo passage was hit by the orchestra such a mighty KABOOMB, so mighty, that the Right hand faceplate suddenly took off abruptly and sailed right through the air, off the TABLE, landing on the floor with a CRASH and a tangle of speaker wires pulled from the tabletop, followed by utter complete silence. (Fortunately the floor is covered with beige carpet). Thus ended today's experiments, with a totally unexpected demonstration of potential POWER. The Right hand faceplate is still lying on the floor in the upstairs room. I feel simply just like leaving it there till tomorrow when the buzz hits again and I will head up the stairs and see if I can tease or coax more stability out of that POWER. I'm not sure. I may need to start thinking of some better technology to do this. The point is, I now know, I KNOW, the POWER IS THERE!. Well there are other reasons besides temporary laziness. A French translation version of our Virus Alert anti-virus package is now underway and in fact the 'visitor' mentioned immediately above actually came over with French Translated versions of some of the program's drivers for me to look over. And in the meantime it turns out something I did with a bit of help from friends last winter to be able to simultaneously Scan and Clean virus using McAfee's SCAN anti-virus software may have some small time market potential sold as a support utility for users of SCAN, since no one in the world apparently has been able to work around the problem of how to SCAN and CLEAN virus simultaneously using the McAfee stuff, except I did it in an attempt to improve our store sales of a menu driven adapt of McAfee's SCAN (called SCAN/START) sold at shareware prices before the advent of our VIRUS ALERT package. The visitor is encouraging me to get the thing out (the automatic scanner and cleaner for SCAN) since no one else has one, so this is taking some work by me to redo the thing to run as a stand alone utility. In today's hack session I got it swung around so that pressing one key engages a sequence of events where (for instance) a virus infected disk is scanned, any virus encountered is cleaned, the disk scanned again, and when no virus is found, it ends at a prompt flashing away saying 'NO VIRUS FOUND', all engaged with the press of one key. It takes the right frame of mind, and the right rational circuits at work in the brain pan, to plow around in fishy codes to get such things to work right, particularly since I am using syntax techniques developed from ordinary batch files and a special compiler to create this stuff and batch files can be notoriously kinky, as everyone in DOS knows. Today I was lucky, several hours were spent and I must say the time passed without making a single mistake in altering numerous code structures. Such luck is not always to be expected, in the computer universe. And then I went upstairs and discovered POWER. And started tooling around with it to such an extent that suddenly one of the open air resonating tweeter speakers (consider the physics for heaven's sake) suddenly took off and sailed through the air off the table, bringing the play to a halt with abruptly nothing but echos of CRASH fading along with the echos of the music. So, let's see what happens tomorrow. I already have a few ideas playing around in the subliminals in the background of the mind which might work to help stablize the POWER in a sympony orchestra when played through a mono stereoscopic system, such as is seemingly being evolved in inexorable steps in the room upstairs. P.S. Today, before the system blew apart, before I started tapping into some of the heavy duty POWER that sonic projection techniques now suddenly are offering, I double checked the 8 by 5 inch oval speaker to see if it was still functioning under the agility of 'impact vibrations' or was that a fool's notion that I had come to accept the day before, since the last time I saw any impact vibrations at work (no visible motion whatsoever in the cone of a speaker) was last spring. But yes, most certainly, there could not even be seen so much as a glimmer of a vibration effecting the cone of the 8 by 5 inch oval speaker, and yet as I slowly turned it this way and that faced into the sound stream I could feel strong vibrations come and go, but the strongest sounding bass sonics came into the sound picture when the hand-held oval speaker felt functionally vibrationless. Plus, touching the cone produced an immediate Whappppp ! This was interesting, because a couple of weeks earlier when first I set up the upstairs room and began experimenting, at the time I first tried the 8 by 5 inch oval tweeter as an open air resonator, it could vibrate so strongly in any bass notes that it could literally torgue your hand, resist change of direction like a gyroscope. Not only that, the thing could end up pumping away so vigorously that you could think it had suddenly become a loudspeaker because for sure you could hear strong bass coming directly from it with the ear. Now, with impact vibrations in effect due to better overall control of random sonics in the room, you can hardly hear the thing play at all, even though qualities in the sound stream sharply drop the momemt you disconnect this 8 by 5 inch oval tweeter, coupled long distance to the sound stream's main image by sonically resonating impact vibrations. As for the 12 inch woofer, sitting on its magnet, facing the ceiling in the open air on top of the kitchen utility ladder, at this moment you can scarcely feel anything at all, barely more than a slight tingle under your probing fingertip when touching the cone, when it is seemingly working at its best to kick ass the bottom bass of the sound stream. So impact virbations are definately involving the 12 inch woofer too. This woofer does not really give you more bass, or deeper bass. What it does at this moment is give you more TONE in the bass, more presence, in particular more open air sonics surrounding the bass tone sources in the sound stream, with more stereoscopic depth back toward the rear of the orchestra in the sound image, the depth leading to more MIGHT, and the MIGHT, inevitably, when stablized, to this new thing, called POWER. I haven't yet had a chance to check things over to see if I can get any of the POWER without the 12 inch woofer. I expect I can get some, but will find for the moment that the woofer is needed to make the POWER more obvious and easy to generate. An impression to correct. Actually the woofer at the moment is sitting propped by a brass hexagon nut about two inches across and a half inch thick from a pipe fitter's junk bin, so as to be titled forward by about 30 degrees. The 8 by 5 inch oval tweeter is below on the floor under the woofer, tilted forward by about 60 degrees, supported in place with its magnet propped by a roll of masking tape. It was within moments of setting up these two resonators in this fashion that the hanging Right hand speaker (faceplate) took off from the table and hit the ground when some REAL POWER suddenly loomed out into the open in super resonances during a crescendo in AMERICAN IN PARIS by George-Girshwin. - end of text -------- TOPPLE 3 - from 'Narratives' prior to the two passages above. -------- FULL RIGHT ANGLE PROJECTIONS OF A SONIC IMAGE ----------------------------------------------------------------- Update cont. August 26, 1992, 10:30 PM. Which brings us to today. And to where I first mentioned at the start of this Update that two demonstrations are now in place in the upstairs room. They are as follows: We come back to the little 1 1/2 inch Sony square wafer-thin tweeter made of thin transparent plastic mylar which is square shaped and perfectly flat with a tiny round slim voice coil magnet in the center on the back, which I have discussed at length in many previous experiments through last winter up to the end of April, and further above in these updates. As of yesterday afternoon it was officially retired, but not for long. Whereas in previous experiments, with very tedious fiddling and nicky dork dexterities it was possible to use the wafer to induce more sonic presence into Mono in Stereo tests, now it was clear that the little thing was a distinct spoiler no matter how I used it, in light of the new setup with the equalateral triangle configuration, and four speakers all hooked up in series to the Left hand channel of the getto blaster. And then yesterday and last night I had 24 hours to myself, with twin brother gone out of town on our software business, so took the opportunity to go on a round-the-clock marathon starting from twelve noon till 6:30 AM the next day (this morning), non-stop, the first time in over four months that I had opportunity for a marathon with everything I needed to work with right at hand and not in storage. Out of this marathon session came the two hanging open air getto blaster speakers, the boxes discarded, the faceplates dangling from pieces of thin and springy wooden garden stakes bent slightly under the weight of the faceplates dangled from them, the faceplates focused to the apex of the equalateral triangle experimental array of speakers set up in the middle of the left area in the large back room upstairs which I have been using since day 1 moving into the 3 bedroom two story rented new house a month ago. An ornimental mobile about 6 inches across consisting of three hexagram rings which open up into a mobile with a snowflake-like fourth piece in the middle, stamped from a sheet of holographic shimmering cardboard and sold for $7.00 in the local supermall as a supposed christmas orniment, is more than enough to demonstrate my earlier remarks from a month or so ago that a simple hexagram based mobile should be more than enough to sonically boost any room or sound source. Sure enough, this crude mobile very handily boosts the overall pure high fidelity of the sound stream when placed in a suitable hot spot. The mobile is currently mounted on a home made extendable microphone stand, with stiff copper wire wrapped around the top of the stand's shaft and an alligator clip shafted onto the top of the wire so that it is holding the mobile in an upright position and the whole thing is raised so that the mobile is up in the air to about shoulder height at 4 1/2 feet and at the moment is sitting back about 4 feet behind the apex of the equalateral triangle which itself is a configuartion about 6 feet to a side. The reason why the mobile is sitting back there is because in this position it is also interacting with three sonic devices at the back of the room on a temporary small table consisting of a fragment piece of mahogany panelling supported by two tomato boxes from the local supermarket to create a small table, with the three devices set in a straight line along an axis pointing straight through the apex of the triangle to the center between the two dangling faceplates up front on the big table. The three devices in a straight line at the back of the room are a 'flow tube', two paper Stars of David held upright by alligator clips by an electronic hobbist's stand (the kind you get at Radio Shack which has two adjustable alligator clips on a bar), and behind that the 'ferris wheel', (which consists of six giant snowflakes arrayed around a hexagonal wire frame with thin jewellry grade brass wire wrapped around the outer circumpherence through the centers of the snowflakes so that there are six wires strung around in hexagonal hoops, creating a device which in fact looks a lot like a ferris wheel. At this point the 'ferris wheel' has been found to work better when focused face-on rather than edge-on, toward the direction of the sound source, the wide face of the 'ferris wheel' at this moment is the device's main focal principle. It turns out, as mentioned in prior Updates, that this device (called 'the ferris wheel') when properly placed in a hot spot (node) in a room, enhances the air frame, or open air quality of the sound stream. To finish off the current array upstairs in the room, two of the flow tubes are positioned behind each of the dangling faceplates, positioned more to run in a straight line targeting the flow tube, the faceplate, and the raised mobile on a stand, but also twist tuned to end up turned to focus more directly to the apex of the equalateral triangle (closest point), in experimental variations. A remark my brother made the day before yesterday, to the effect that getting ANY bass response from an essentially open air configuration with (at that time) only the oval cheap car radio speaker patched in as a bass booster for the two getto blaster speaker boxes with all three sound sources coupled in series off the Left hand speaker lead from the getto blaster, was an interesting effect due to the fact of the industry's tendency to think in terms of bigger, or more powerful, drivers in much more high tech modern enclosure devices with electronnic engineering to get more bass, whereas I was getting much more bass simply by hooking up this simple oval car radio speaker into a MONO setup and placing it at the apex of an equalateral triangle device's setup. With this in mind I started thinking of the 1 1/2 inch wafer-thin tweeter now lying discarded in a tray of clutter somewhere in the upstairs room. At this point it was about 2 AM last night. I found the wafer and started to play around with it. By six AM I was starting to think I may as well go the distance and stay up till seven AM to catch the morning news at 7 AM on hurricane Andrew bearing in on the Louisianna coast. But by 6:30 AM I was done in and had finished setting up a demo which has so far had the following effect: but first, a last minute update on the array as it currently exists in the room. The 1 1/2 inch wafer tweeter is being held vertically upright in the air by an alligator clip shafted on the end of a piece of stiff copper wire which is being held by a small vice sitting on top of the 3-step kitchen utility ladder and centered right at the apex of the equalateral triangle relative to the two faceplates which are now dangling in free spring-like suspension from the 15 inch thin round garden stakes, the backsides of the faceplates facing out and focused to the apex of the equalateral triangle. The 12 inch woofer is sitting on the floor in front of the ladder, tilted forward at rouphly 30 degrees and set to face straight ahead to focus midway between the two dangling faceplates. At about the same distance behind the stepladder and also on the floor is the cheap oval car stereo speaker, also tilted up at a 30 degree angle and also facing foward. The consul for the getto blaster itself is between the dangling faceplates, in the middle of the table and sitting back against the wall on a small shelf. And on top of it, sitting on top of the cover for the CD player, is a flow tube placed lengthwise running parallel in a line between the two dangling faceplates. Centered on the table in front of the consul is a hexagram and Star Of David figure which was the original paper template used to form the hexagonal frame for the 'ferris wheel', and which was then cut out with an Exacto knife to yield a hexagram prototype for a mobile. An intrinsic Star of David was cut from the center portion and is one of the paper Stars being used (as already described) on the makeshift table at the back of the room. And so, I crashed, at 6:30 AM, couldn't hang tough for another half hour to hear the morning news about the hurricane. I woke at eleven-thirty AM with the phone ringing. It was a telephone lineman cluing up to come in in a half hour to hook up a business phone, now that we have progressed past the cornflake sandwiches no-budget stage in our antivirus software business. In came the lineman at noon, did the thing, drilling the appropriate hole in the baseboard for a telephone extension line, etc., then mentioned that he had done three years in electronics and sound, featuring quite a bit of research in using devices to locate 'nodes' ie. hot spots in a room, and trying to single down sound to one point in a room, and trying to single down sound to a single frequency, just about the entire opposite directions of my sound tests. But that is beside the point. The point is that up the stairs went we me saying that despite the weak weedy sound he would hear he would have to appreciate the kind of experiment he would be hearing, and that the sound source was a pirate factory version of Glen Miller circa 1938-42 with some of the cuts literally lifted from scratchy old 78's. With these restrictions in mind, the intent of the test was for him to tell where the sound source in the room was coming from. First stage of the demo was for him to stand at the doorway listening. After about half a minute he said it seems to be coming from over there, pointing to the 'left' to a faceplate dangling from its stake on the table. I said okay, go further into the room. Again he stopped and listened for about a minute and then said something to the effect that obviously it was coming from over 'there' pointing in the oposite direction to the rear wall at the back of the room, and over to the far corner. Ahah thought I, the demo is working, right on schedule. What in fact could be heard was explicit pure and perfect LATERAL sound projection, in the first instance (at the door) the sound seeming to come from roughly the dangling speaker to the left against the North wall, and then a few steps further into the room sound could also be heard coming from entirely the opposite direction also, from the area back against the wall to the South, with also sound seeming to come from the far rear corner. This explicitely demonstrates long distance sonic projections, in this case to more than one giant sound image area at the same time, the two main images separated wide apart by nearly 20 feet, with nothing in between. Then he walked into the room first over to the dangling faceplates then over toward the south end of the room and finally sniffed his way gradually back to end up standing right over the little 1 1/2 inch wafer sticking upright in an alligator clip on top of the ladder. And looking right down at it finally he said, well, this must be it. So then I let on the secret that yes that tiny little thing was producing everything he could hear, and to make the point, went over and clipped in the Left hand dangling faceplate. There was an enormous jump in the sound volume and a big range appeared, including strong base and stereo presence. Then I clipped in the Right hand dangling faceplate, and the sound volume more than doubled, and then the 12 inch woofer on the floor, and finally the oval car speaker also on the floor. Whereupon the room was of course now filled with a very loud body of sound comprising the Glen Miller orchestra resonating away, all 100% mono in sound source since the tape was mono as was the single channel input via wires hooked in series for all of the speakers from only the left channel of the getto blaster. To re-affirm the original, I then disconnected all of the new leads and everything we heard was restored back to the moment we had first entered the door, Whereupon the fellow commented to the effect that it was a very impressive stereo demonstration, to which I asked was he satisfied that it was in fact stereo and yes, there was no question about the fact that it was stereo. The fact that it was not a modern stereo band playing Glen Miller music was not in his mind. He was firmly assertive that it was stereo. So I filled him in on the secret of the second part of the demo, that it was in fact 100% MONO, making the point by going over and holding up the right hand speaker leads from the consul and then dropping them again to let them hang over the edge of the table, the useless ends trailing onto the carpet floor. In the meantime my twin brother had just arrived home from the overnight business trip, so after an hour had passed, with he and the telelphone lineman first discussing the last of the telephone business who then departed, and my brother completing his collection of phone messages and calls, I coaxed him upstairs to run the same demo as which had just been done an hour earlier with the telephone lineman. My twin brother handled it a slightly different way. Pausing at the door, he first muttered that it was actually not a very impressive sound demonstration per se in that the sound was very thin and weedy. But said I, wait till you find out what is actually going on. He then sniffed his way slowly into the room, looking to the left, to the right, back to the front of the room, to the rear of the room, came to a stop in the vacinity of the apex of the equalateral triangle, and after about 30 seconds of careful listening announced in a loud voice that obviously 'THIS' is one of them (pointing to the oval car radio speaker on the floor), and then pointing to the 12 inch woofer said 'this too I guess', still sniffing around carefully. I said no the entirety is coming from the little 1 1/2 inch wafer. It was sticking up in the air in the little vice on top of the ladder, right under his nose and he couldn't tell. The first pursuent remark of my brother was that the thing was producing at least many times its range and volume. Actually it was a lot more than many times, because held in the air entirely on its own in a normal room the thing produces only a pissing weak hiss, with the mechanics of any music's structure just barely discernable as tiny ticks, at a barely discernable volume even with the gain cranked up high. In the demo up in the room at this moment you can hear everything in the music, including the words of a vocalist, and drum set cymbols, and in certain places in the room you can hear the bass patterns at work even though they are so weak as to be at times sublimal and of course at this point there is no possibility of bottom bass with the thin little wafer working just by itself. No loud bass drum, in other words. The thing is it took nearly three hours (from the moment I got the idea for a demo) to overcome a problem that almost crippled the whole idea. And that was that sticking upright working on its own the little wafer cracked and popped in total fracturing instead of responding to strong sound strikes in any music when playing at any volume loud enough to cause sonic projection to take place in the room. It was finally found that not on the floor was a partial answer, the thing mounted upright in the vice was originally set on the floor behind the kitchen ladder. The first solution in getting stability into its sound stream was to set the thing on top of the ladder, and then fuss and fume with the thin speaker lead wires from it attached to alligator clips from the main speaker leads until they ended up spread as wide apart as possible coming off the 1 inch wafer and dangling over the sides of the vice and the ladder, and that all wires lying around the room (or dangling) needed very discrete adjustments (in fact just a nudge with the big toe usually sufficed) to get rid of more of the pops and fracturing, and at times constant rattling, sounding like it had been blown. And finally some very discrete adjustments of the various sonic devices in the room eventually stablized the wafer's open air resonances to such an extent that it fooled the telephone lineman at first, who finally closed in on the sound source, (a fellow who had never played with open air resonating speakers before), and my brother (who has played with open air resonances before), such that (if not concidering the sonic projection aspects) the kind of sound my twin brother was hearing was just about exactly like what a 12 inch woofer would sound like attached to a stereo set and held up in the hand in the open air in a room, weak, weak, but definately discernable, which is why he assumed in thinking that I had at least two speakers going (the 12 inch woofer, and the oval car stereo speaker). The point being that the actual source of the sonics in the room was like silly putty. Even standing close to the wafer you could not tell if it was the source, because sonically the sound could shift position, for instance to the front, or back, or both sides of the room or into a corner, or all three at once, just by moving the body a bit, a foot, or two. Which indicated to my twin brother the greater possibility of several sound stream generator sources, an easier to handle idea than the single little wafer doing ALL of the work, aided by my sonic devices acting as sonic projectors causing long distance resurrancings of the sound image. Like I said, at times two main similar sound images could be heard simultaneously but separated at both ends of the long part of the L-shaped room, a distance of almost 20 feet. After remarks quickly passed back and forth in typical twin brother language, I hooked up the four speakers as before when the lineman was listening, and let my brother hear the full stereophonic demo with the system as before playing in 100% Mono. This time there was no trouble in my twin brother's mind as to the fuller integrety of the sound quality, especially since he was well aware of the fierce fidelity problems with the Glen Miller Mono tape otherwise, which were now not apparent, a whole range of inferior qualities in the music having been filtered out or cancelled by the sonically inducing environment of the room, etc., etc., with a wide spread East/West sound image obviously present, enough that for the first time my twin brother never remarked on any missing wide spread image in the stereo sound picture being created up there from 100% mono sources. Like I have been saying, given time, I think it is possible to reproduce the Glen Miller orchestra and other major earlier bands in full stereo presence as if performing live in a concert hall, the rejuvination of such orchestras originally recorded only in Mono, replayed anew taking place in a concert hall, using (fractal) sonic hexagonal geometric matrix techniques. In the last day, last night, at times, in hooking in the Right hand faceplate in full stereo to hear the difference, the ahem stereo would actually COLLAPSE into a more traditional sounding stereo sound system. In plain fact the MONO in STEREO sounded better. This was true in any of my tapes plus the AM or FM radio, at times any such source sounding better stereophonically via a 100% Mono sound source. Now this is getting interesting. One of the things is that I can now freely play with the transient cross harmonic reflections for sound sources originally recorded in full stereo, at times separating this part of the music into a separate background sound playing by itself completely out of synch with the main foreground sound authentically comprising for instance the Left hand channel. I can tell the difference, because the weaker sound cross-over from the authentic Right hand channel as picked up by the mikes of the other channel has a weak almost warbling tin-flute-like reedy sonics to it, until I play a bit with focusing and tuning a bit more and suddenly get the two sound streams to gell again and get better stereo from the 100% mono source, for instance entirely from the Left hand channel. Sorry for the marble mouthing words. In a last comment, is some philosophy to consider. For instance, what could I expect if I set up such a demo (as the one in the upstairs room), in, for instance, a court room, to claim principle. Well, perhaps, not very much, as pointed out by my twin brother, concidering the types who could be in a courtroom, judging. To their eyes and ears nothing special might be in fact ocurring. They could in fact easily think that the tiny 1 1/2 inch wafer tweeter resonating in such a sonically incredible way is not a miracle, to them it might just be another new high tech device designed to power a getto blaster at a rock concert, they would have no way of knowing. The only way they could know anything definative is by extensive forensic laboratory testing reports with this specialist and that famous authority saying yes and no, to my benefit, or detriment, depending entirely on their preconcieved beliefs, levels of inherent intelligence, and favor or disfavor toward bribes paid by the greatest convincing liers, which leaves me out of the arguement since I cannot, by fundamental most heart felt conscience, lie. You can see the picture of the courtroom circus, me giving the best demo ever yet achieved, and the authorities in the court not having the slightest idea of what has happened, and liers and specialists getting into the fray taking over the whole consiouness of the picture from that point onward and me being on the dangerous borderline of being branded a hysteric or paranoic or worse needing immediate pychiatric attention, until I can do what it takes to prove myself innocent, with my own battery of specialists and authorities producing the other side to the picture, yes, new theories in accoustics in this stuff for sure, certainly new concepts in stereophonic sound no one has ever thought of before. But what's the point of me going through all of that - a kind of meat grinder just to think about it. I have no intention of having to beat the drum vigorously in a court room to prove my right to creative intelligence. And figure that by the time it might ever come to a court case by rascally claim jumpers I will likely be well involved in some other new and different project. Such is life. Peace, Joy, and Happiness.