read the jaw dropping demo narrative

JAWDROP DEMO PHOTOS

OPEN AIR RESONONANCE EMBODIMENT


Colors changed
during enhancement attempts
last fall trying to re-create the original
colors of the livingroom, unsuccessfully. The original
print of this next firstshown, is the same color tone and blurred
image quality as are the other photos that follow from a
different roll of film taken several days earlier.





A 10 inch heavy
woofer, and 8 inch oval car
stereo speaker the oval hooked to a
set of leads from a mid range tweeter one of
three in this original Realistic Studio Monitor before
it was stripped apart and opened up for a
number of open air resonance
experiments.


The only photo
of 'The Jaw Dropping Demo'.
A roll of 24 110 mm were handed to the
new Loblaws Super Warehouse super grocery store,
brand new and the largest in the Ottawa region, nearby to
the 50 year old brick house in South Ottawa the current digs.
Loblaws featuring a major photo lab as one of its expanded service
attractions. One photo was handed back from the roll of 24.
It seems the new photo lab equipment wasn't working
to perfection yet. Wish there was some way
that intuition could also work with a
boxing glove. Intuitional hunches
are ok, but, haste to see the
prints stored for a month
and cheap, I could afford,
made me hand the roll over
the counter to the clerk at Loblaw's
and ouch what I got back. Aw too bad at the
time I did not see it as a fast food service photo
lab's problem but other rolls handed over as money allowed
came back blue, blurred, grainy, or completely dark not a single
good print all originally in Kodak's finest most expensive
film. It is possible that some of the negatives
have better images but working through
600 of those is a project
for another day.

SPEAKER LEADS

One thin speaker lead
runs from the back of the getto
blaster consul into the back of the Realistic
Studio Monitor Box. This is the thinnest grade of speaker
lead wire used in the industry, used intentionally to push the creation
of stereophonic sound from a Mono source using the worst rather
than the best hardware embodiments in the industry,
in demonstration that full stereophonic
information is in a signal and
can be rejuvinated in full
recreated as sonic resonances
in an environment after the fact by
conducively encouraging the re-enforcment of
fractal geometry sonic patterns rather than using control
of foreward and backward propigating longitudinal sound waves and
half waves. No half waves were known to be occuring
during the Jaw Dropping Demo tests. The purity
of signal carried by leads (no electronic
noise) also seems not of main import
the thinnest leads (as used here)
the noisest of carriers of the
electronic signals. And yet
the jawdrop demo occurred.



STEEL NEEDLE NOISE DISSOLVED
~^~~^~^~^~^~^~^~^~^~^~^~^
SEE 'NEEDLE NOTE' AT END OF FILE
^^~^~^~^~^~^~^~^~^~^~

REOSTATS





The large
power cord for the
blaster consul snakes left.
The lead connects to a small panel
at the back of the box in which were reostats
for High and Base. The High was turned down a bit to about
80 % of full gain. The base gain was cranked
to full. These reostat settings in the
back of the Realistic, aided in
producing best sound.

THE REALISTIC STUDIO MONITOR





Originally the Studio Monitor
was completely sealed, no port or air
entry of any kind entered the box and all of
its original intended sound output was by half waves. It's
wooden cabinate had good resonance which is why it was tried in a
lengthy difficult test. Plus the fact that reostats for high and low gain
were on the back, this gave an opportunity to try a test for the
first time trying such main reostating beyond the equalizers
of the getto blaster, never used, the blaster's toggles
were all left flat out at maximum gain during
the 5 year course of the experiments.
At this moment (of the photo)
the sound is not very
good, particularly
the high end it
is shrill and
spits. The
low end
base
is
loose
and wobbly
and not very deep.
In these photos the first
used 8 incher on the floor was an
old real cheap from upstairs that had been
used in many prior sonic and open air resonance tests.


Now a gutted shell
this Realistic Studio Monitor
was originally packed with loose fibreglass
stuffing which has been removed. Three mid-range tweeters
in plastic cups have been pulled and the leads of one dangling out
clipped to alligator clips leading to a 8 inch oval propped up at a 30 degree
angle on the floor by a plumber's large brass hexagon nut supporting
the magnet. The 10 inch woofer (main driver) was removed then
two of its four screws re-inserted and cinched down just
enough to have grip, left as far out and loose as
possible, the heavy driver propped out on a
long thin nail. This photo is at the
start of a round of Stereo from
Mono tests leading to the
Jaw Dropping Demo. A
Glen Millar tape
of recordings
from the late 30's
and early forties was used
most, for tests, plus a Benny Goodman
tape of classics all recorded in Mono during the swing
area and landing on a pirate factory tape exactly as originally recorded.
At this moment, the studio monitor box is propped on a sturdy
cardboard carton for tomatos from the supermarket.
Two six sided dinner table vinegar jars
are being used to tilt back the
monitor box.

Another view of the
same setup as further above.
The 8 inch speaker's magnet can
be seen propped on a large hexagon nut.


In these photos the first
used 8 incher on the floor was an
old real cheap from upstairs that had been
used in many prior sonic and open air resonance tests.
The later car stereo speaker pulled from the trunk of the Buick
Skyhawk out front in the driveway was similar in design but more well made,
more expensive new, its cone not fragile paper, more fibreous. You
can't tell the difference between the two different oval
speakers in these photos. For instance this next
photo has the cheapie oval hooked up. The
starting photo at the top of this
file has the expensive oval
speaker from the trunk
of the Buick.



LOOKING THE OTHER WAY
TO SEE THE RAISED SLINKY ARRAY







A final view
of the initial setup.
with color altered 2nd copy.

The Monitor and tomato
carton are now sitting atop a
coffee table book featuring photos of
Canada and won as first prize in a raffle, two
tickets for a buck for a sports team. The smooth cover
of the coffee table book made it effortless to glide the heavy
Monitor around on the carpet even adjusts as small as a fraction of an
inch done with ease in focusing the Monitor into the main direction
into the raised slinky array for best sonics, the final twists and
turns of the Monitor ultimately leading to major gains
in overall deeply reverberating low end and bottom
base puslations. The problem of strident and
spitting high end was solved by stomping
out fast to that old Buick Skyhawk
parked in the driveway, yanking
open the trunk and hauling
one of its twin stereo
system speakers it
clipped right out
and the moment
it was hooked up
in replacement of the
older cheaper quality 8 inch
oval in use for four years since being
handed over by a helpful neighbor back in the condo
days, ALL of the high end problems vanished. Pure sweet tones
at last, entered the sound stream. A final few hours of round robin room
tuning and environmentals throughout the whole main floor area of the
house, led to the setup which was perfectly in motion in which I was
dancing and boogying to the music of Glen Miller in stereo in
the kitchen when thereupon, while I had taken a moment
to drop a bananna peel in the compost box at the
side of the house, arrived the credible
witness that led immediately after
to the Jaw Dropping Experiment.


read the jaw dropping demo narrative

INITIAL IDEAS TRIED

Fractal
geometry
templates placed
over the woofer helped to
produce some preliminary sonics but
no fidelity, no stereo except
for a large sound balloon
well up in the air.





At first
the woofer was
just hanging loose. Later
a long thin nail was found that could
prop it out at a suitable fractal angle of roughly
15 degrees guaged by a large protractor held up to the woofer.

The ends of
two six sided vinegar jars
are seen proping up the enclosure at
a changeable angle, sliding the bottles in and
out changed the angle of the enclosure. A saucer on the floor
holds the screws from the 3 mid-range tweeters
one of which is dangling to the floor
where it could be partially
positioned against
the enclosure.


At this stage there
was no sound to speak of.
It seemed the idea was going to be
a bust. First one, then a second, and finally
a third mid range tweeter were pulled from the enclosure
and gingerly removed, gingerly because I was in fact not used at all
in working with enclosures and had no idea what would happen
when a mid range tweeter was unclippped from its
leads while the sound system was working.
Nothing happened, except the sound
got slightly better, less
shrill. A final first
stage has one of
the tweeters
dangling
from
leads.
The first
dangle tried
was from an upper
port but the tweeter
hanging against the box could
not be controlled in any set position
and only one position had a workable sound.
Dangling from the bottom prooved slightly more workable.
The original platform for the enclosure was on a spice wrack, the
enclosure easy to slide around but the wrack an impossibility binding
against the carpet yet its pointed direction critical in
getting any workable sound out of this system.


There was no midrange. The
high end shrieked, spit, and crackled.
There was no base except an occasional loose wooobly
low volume pump that came and went on its own with no tone, no
fidelity, something like the base of a cord tied to a
baseball bat propped on a galvanized wash
tub from an Ozarks jug band.





One arm of
the fractal template
seems missing. It's there. The
camera angle and the arm's angle happen
to exactly co-incide making the arm seem missing.

A tripod
placed carefully
in a sonic hot spot on top
of the fractal matrix helped a bit but
it was quickly learned that sound from this
setup could not be developed beyond a certain poor
basic fidelity. This setup was dissolved and another quickly
put together in which sonic tuning was extended beyond the immediate
range of the enclosure to the rest of the living room and
finally beyond to the rest of the house, leading
finally one afternoon a few days later to
the Jaw Dropping Demo, the last test
done in that house. A couple of
days after the demo the
enclosure was knocked
askew by a knee and
toppled, then a foot
caught a stretched hexagon
slinky and the whole array twanged
to the floor, meanwhile the second tape cassestte's
second channel on the getto blaster had just demised leaving no
other sound source but the FM radio, or the second cassette with both
channels set to mid even though only one channel was supplying a
lead (Mono) to the enclosure, this produced at most about
half the sound of prior and jaw dropping demos were
no more possible. A few days later everything
came apart and went into boxes for the
move. The enclosure sits in the
garage where it has been
for 13 months, circ.
May, 1997.


QUICK NOTES


A long thin nail
props out the driver at
approximately a 30 degree angle.


A faceplate (template)
was tried. At first it improved the
sound when there practically was none as open air
experiments first got under way but as the environment was
gradually room tuned the faceplate became a spoiler and was removed.
Instead, ultra discrete positioning of the box, and its angle
of focus relative to the center node of the raised hexagon
slinkies, and other variables, took precidence in
controlling and improving the sound.


In particular,
the exact facing
direction of the box,
and its tilt angle were major
concerns improving things by a leap when
the right angles and focus direction were found by
discrete test after subtle test lasting through two days none stop.


Propping the driver
with a nail also proved a boon.
Of all of the nails collected through the
years in the nail jar only a few worked and this one
is the only one that worked well, since it's (the nail's) topography
also has an effect on the sound stream, particularly critical
since it is so close to the sound source. The nail had
a twist along its length. It was not roundly
smooth it was a long thin ornate nail.

NEEDLE NOTE

One very important
feature of sonics is as follows:
Two of the cuts on the pirate factory
tape had Glen Miller tunes lifted from original
78 RPM platters, the needle noise, pops, crackles, piss,
very evident on the tape cassette. When the jawdrop demo was going
at full rev the needle noise from the original 78's was diminished to the
point of almost not being heard at all, you had to listen for it. As
genuine signal from the original play in the studio was being
systematically re-enforced as more and more sonics were
being progressed in the experiment, irrational and
non original signals were being diminished by
sonic patterns holding destructive elements
more and more mutually cancelling each
other out of the sound stream, in the
result that most all of the needle
noise interferences dominating
the cuts in the tape played
through normal sources
vanished in the sonic
recreation of the
original 3-D.
So there
was no
needle
noise to
speak of just
tiny almost unheard
little tics and nicks on occasion
amongst the constant glorious chords of sound.
Quite an illuminating turn-around because the source
78's were so badly worn they really popped and crackled loudly
even popped painfully plus the whole sound scratching
with the volume cranked, before sonics took
over to cancel this out to negligiable.


SONIC RESURRECTION


Ergo,
sonics can
be used to restore
or re-create old music worth
while resurrecting. Play and re-record
through a sonic system, you will get both stereo,
and no needle noise in the result, the needle noise self filtered
by positive cross harmonic re-enforcements that recognize
only the original signals buried deep in
the original recording media
nonetheless there.

In the
same manner
that bum photographs
too dark or colorless to be
concidered useful can be coaxed with
contrast, brightness, and jolts of color to
reveal details, old recorded sound can be re-spruced
in analogous ways. In the case of photos what lurks is a range
of contrasts and brightness in the dark media too dark to be discerned
by human eye but the range a dark band wide enough to hold some if not
all of an original scene, something analogous to a red shifted
spectrum, the information not seen until the viewing means
shifted and tuned into the information range.


The reverse is
at hand in boosting
dark photos, more color and
brightness brings out the hidden range.
Sound also, more rejuvinating positive cross
harmonic re-enforcement and cancellation of destructive
standing waves regardless of end environment and end sound
generating sources brings out the hidden that was captured in
original recording regardless of original recording means and
is stored in latent cross harmonic frequencies that usually
do not appear because of traditional replay systems in
which mutual interference and destructive standing
waves are built right in to the traditional
replay system. Open air resonances by
passes completely the input of
artificial destructive
elements in
allowing
a pure
sonic
sound stream.






This
last photo
above shows the
other corner of the
living room opposite the
TV and slinky array in face
the Getto Blaster driving the
speaker box was under this white
table, on top of which an array of
handmade sonic devices including the
FERRIS WHEEL plus giant starflakes
and snowflakes raised in the air to
critical heights on stands made
of stiff copper wire



^~^~^~^~^~^~^~^~^~^~^~^~^

ABSTRACT
~^~^~^~^~^~^~^~^~^~^~^~^~

END OF JAWDROP PHOTO STORY




DONE

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