.....................

INTRODUCTION

FIDELIC SOUND FROM
SPEAKERS HANGING IN THE OPEN AIR


Begun in August 1991
off and on for 3 and 1/2 years
through to 1996 began with an aweful
sounding getto blaster and concluded with a one
channel one speaker lead Mono source reproduction of
Glen Miller in full pulsating resonating stereo. The full sound
included deep expanded base and long distance carrying of the fidelity
of the sound, in actions which came to be called and researched as
'sonics' based on an emerged understanding that all sound
manifests and propigates in the form of 6 and 12
sided fundamental geometric matrixes that
are fractals of both 6 sided hexagrams
and 6 sided Stars of David which fill
space in your environment and are
completely interractive with all
forms of environmental media
including solids, liquids, and
gas (air) in all three dimensions
in the form of steady state patterns
that build up and oscillate in standing forms
with super high frequency harmonics inherent in the
patterns cascading down into audible frequencies to produce
stereophonic information even from Mono sound generating sources and
original Mono recordings, in that even original Mono recordings have stereo
information inherent in the high frequency cross harmonic that were
originally captured by microphone and typically too high
frquency to be heard by human ears without being
coaxed into reappearing through environmental
ajdustments which positively re-enforced
original information, thus cancelling
destructive elements, including the
formation of destructive standing
waves and eliminated the use of
half or creation of half waves
in the reproduced sound, all
of these virtures occurred
by sound source devices
that work in the open
air and sonic tuning
devices that refract
and rejuvinate inherent
sonic fractal geometry patterns
in the sound. That lengthy paragraph
merely states that the Newsound Narratives
are unlike anything you have ever read, or have ever
hear about sound, about stereo, and about high fidelity systems.


Literally hundred of
different tests were done
leading through a gradually
unfolding illumination as to how
to operate sound generators in the open
air. Many aspects of foundamental sonic principles
were recognized step by step along the way. The Newsound
Narratives are a description of the many tests both successful and
unsuccessful, including chronicals of difficulties overcome and how the
experiments were completed in home environments on a budget that
was nearly non-existent the whole experimental enterprise
for 5 years coming in at a cost less than 1000 dollars.


Effectively as
the sonic experiments
evolved from control of the
getto blaster's aweful sound to open
air resonances with speakers hanging around
on elastic bands, the total environment was inexorably
tuned and modified by sonic interacting devices into one which
became itself the loudspeaker enclosure with you walking around inside
it, artificial limitations of small rooms and narrow confines were
overcome by larger and larger sonic images which grew at times
to become as large as original scenes in which music was
originally recorded irrespective of whether a music
was originally recorded as Stereophonic or in
Mono. Sound pulsations and sonic booms
arge enough to cause heavy objects to
move or even launch through the air
occurred from time to time during
the experiments. All successful
experiments and tests had one
common feature, the best results
occurred when the loudspeaker source
for instance a 12 inch woofer hanging in
the open air suspended from a laboratory stand
by a sturdy elastic band, had cones that were motionless
to the eye, that is, that all piston action seemed to have ceased
the only way to know that the cone was pistoning was to drop dust on the
cone and see dust particles dance in the air. This phenomena
came to be called 'impact vibrations' and were essential
to successful tests in that it meant the speaker was
working at its most efficient performance with
least amount of chaos when no motion
in the cone could be detected by
the human eye. In this phase
the speaker became just a
sound generating source
even a two inch thin
wafer tweeter could
do the job to make
a reasonably successful
stereo and volume, the generator
re-enforcing and expanding vibrations
occurring naturally through all medias of the
environment including air (gas) and solids (walls) and
any liquids (water) that happened to be around, each kind had
its own vibratory contribution back into the sound stream and it was
the net effect of everything feeding back into the resulting sound stream
that became the success in the experiments. The sustained impression
is that the fractal geometry matrix built up and seen by testing
its behavior in a room was a super gigantic magnification
of patterns inherent in atomic electron lattices
- the basic crystals at the atomic level - in
other words such sonics could be used
to magnify an atom to macrocosmic
scale, but this an impression
unconfirmed.






DONE


Greydon Moore

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