REVENUE

Stamps were
in the picture for a
year, an attempt (unsuccessful)
to earn extra revenue sorting stamps for a
stamp dealer. Stamp sorting was superimposed right over
the top of Virus Alert packaging - packages of Virus Alert made
up for stores, assembled right there in that chair, by the hundreds at
a time. A Black and Decker heat gun rests in the chair, used to
shrink the plastic wrap to finish the packages. The whole
of the sonic research was done in spare time and
quick moments dovetailed completely with
the developement and expansion of
Virus Alert, which began in
the low rental condo,
moved to the new
3 bedroom
house rented
on the East side
of Ottawa, then moved
into a 12,000 square foot empty
shell two story location, 2 employees
the sum of Virus Alert in the house, 4 in the
new location with threadbare use of hardly any of the
space, now, two years later 18 fulltime and 6 associate employees
and tight for space the 12,000 square used up. I left the loop as programer
and menu designer in the move to the new location. C++ and Windows
programers were brought on line to take Virus Alert into the
Windows regime I was burned out and was glad to get
out of the grind where do you want your office
no way said I not a chance I was out of
the loop now semi-retired still on
low income circ. 1997 with just
enough to get by daily but
enough to allow the creation
of this project, thank you. The
stamps have all been packed away in
boxes for 3 years and who knows if any way
ever will be found to recover value from them. The
chair, in constant use for 3 years, is on its last legs in
the above photo and went to sofa heaven shortly after.







A plug for
the animal kingdom.
The little dog not careless, not once
knocked anything over or stirred anything when
the livingroom was like this. The dog picked a careful
path whereever this dog walked. It was a kind of marvel to
watch the care the dog took doing it right especially
if the dog needed to weave a thread through tight
quarters getting somewhere in the room and had
to navigate not only this, the stamp project
and a Virus Alert packaging saga, but the
sound experiment with devices and sonic
delicates including the fragile plastic
beads-glued-together starflakes
everywhere on the floor and
end tables. His tail once
swacked a particularly
delicate giant starflake
by accident and both he and I
were in the same space at the same
time as I picked it up so intent was the dog
homed right in to inspect that there was no damage.


HEAT SHRINK WRAPPER IN THE FRONT OFFICE, PHOTO
TAKEN IN THE FIRST MONTHS WHEN THE OFFICE
WAS BARE, LATER THE WALLS WERE
COVERED WITH SHELVES.







Just thought you might
be interested in knowing some of
the circumstances under which the sonic open
air resonances project was conducted from start to finish.
Don't forget, everything about the project was brand new. First,
everyone believed the orginal getto blaster I got stuck with was a firm
stick, that nothing could be done to ever improve its sound,
but then when demonstrating twice the base and
announcing that I think I could clear
up and expand the high end too
one of the watchers went
ballistic actually
did some foam
at the mouth
so hostile that
I would think such a
thing thought I had completely
lost it because there was NO way to improve
high end without changing tweeters but a couple of weeks
later when I demonstrated violins and cymbols out of a previous single
note high screetch the watcher softened the stance and put the
bunched fists away then brought them out again when 1
reported that I had heard Stereo from a single
speaker box then put the fists away when I
put on the Dick Tracy Sound Track tape
and for an hour we played with sonic
effects moving point source sound
images around at will in a giant
sound balloon that continued
out the dining room window of
the condo into the compound
beyond the fence. Street scenes,
sirens, disembodied voices, here, there, all
with one speaker box connected one lead to the getto blaster
cranked hard over to one channel. Such are the moments in time when
progress is delayed by loud shouts and flabbergasted astonishment that I
would even THINK such things contrary to world-established dogma
and then go right ahead and demonstrate that which engendered
the most hostile reaction in prior claim, you see I never
claimed anything before I knew I could already do it
just a question of time my intuitive senses are
very informative in reliable ways. There
were photos taken, by the way, of the
Dick Tracy Sound Track experience they
are all missing gone with the invisible sleuth
who took nearly every early picture in industrial espionage.
I can't image who wanted them the pictures revealed practically nothing
without explicit interpretation as to what was going on and
how it was achieved. The photos themselves tell
nothing about how to do it.







A polaroid film
from 15 years ago, showing
an original resonator design, twin
4 inch tweeters mounted in a fixed frame
and coupled to the sound of an expensive pair of studio
monitors nearly doubled the sound of the monitors. The original belief
was mistaken, that these at the back of the room or at the side
were power amplifying the longtitudinally propigating sound
waves coming straight from the monitors and impacting
back on the monitor's cones in synched resonance
pumping. The original idea and discovery was
mine the resonators in the photo built and
designed by another using their view to
embody the idea. The understanding
now in the NEWSONIC Photos
is that such open air resonators
are pumping amplification by positive
re-enforcement of all sonic vibrations saturating
an entire environment along axis that expand and extend in
all three dimensions simultaneously. For instance these original
resonators (I still have them in a box) produced no sound on their own
your ear right up to the front could hear a faint high frequency
product of sound and that was it, but coupled to a pair of
stereo drivers (loudspeakers) and your ear right close
to the resonators could almost be deafened because
they (the two 4 inch tweeters) were producing
almost as much volume and range (including
deep base) as were the giant expensive
studio monitors. A very capturing
effect. I thought about it for
years. Then one day when the
dismal sounding getto blaster
first arrived home, immediately
started putting to work ideas I had
been thinking about for years, and within
days, was in whole new turf. That was a guick
history of the start of things, the kind of quick
history baby boomers use to get jobs at universities.
I can't even get five bucks with a resume like that.
Thing is, my resume discusses things that
aren't suppose to exist, so who
will pay for that kind of
knowledge. Tell your
friends you down
loaded the
package.


In contrary in
all open air resonance
experiements comprising the gist of
this photo story (open air for instance dangling
from an elastic band) a big or even giant sonic picture
would collapse and become a weak spew, so to speak, when the ear was
cocked close to any working speaker regardless of kind
or size, the exception being speakers within an
enclosure for instance a clock radio you
would not want to be stupid enough
to cock your ear against one
of these in any of my
experiments going
full blast with
a clock radio but
the 12 inch woofer which
produced a whole wall of stereo
sound along and behind the long length of
the living room wall had no sound at all when you
put your ear to it except a weak pok pok pok and when you
got that close sometimes its cone (for instance the 12 inch woofer)
would start moving in a vague rubbery way in and out otherwise it was
entirely motionless to the eye you could not even see a vibration
the only way you knew the 12 inch woofer was horking away
producing resonated sound in the open air was to drop
some dust on the cone and see the dust dance in
the air. Such maximized performance was
called 'impact vibrations', impact
meaning so strong your finger
would cause a mighty whap
just touching the cone
as lightly as possible
whereas in normal speaker
enlosures you can press your
finger against the cone and apply
some definate pressure that serves to slow
the cone's piston action down to a sluggish level
and with increased finger pressure cause the pistoning
to finally stop in a buzz of chaos but in open air embodiments
the speaker cone regardless of size produced a mighty
roar when touched with a fingertip the touch
so light it would not disturb a
sleeping butterfly.


P.S. forgot
to mention that
at one point stereo
sound plus extra power and
volume, was produced from two mono
clock radios tuned to the same AM station
and also two real cheap getto blasters of the 60
dollar class at Radio Shack also produced stereo from both
tuned to the same AM station in Ottawa the getto blasters producing a
reasonable fidelity the clock radios experiment not. The coupled
pair when successfully sonically 'tuned' produced about twice
the volume then when no sonics had yet entered the sound
stream all experiments being done with both sources
cranked to full volume and left there. You could
hear more volume click in in jumps as sonic
tuning progressed step by careful step.




DONE


Miscellaneous Photos collection 1
Miscellaneous Photos collection 2
Miscellaneous Photos collection 3


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