how to seeme in 3-D

THE NEWSONIC PHOTO STORY

There were hundreds
of experiments done both
small and major over 3 and 1/2
years during a five year period, 1990
to 1996. All of the experiments were done at home
using cheap tools and materials along with inexpensive hardware
most bought at yard sales and junk yard. Only a couple of experiments
were briefly conducted outside of the home. One is described
without photos involving a brand new SHARP stereo TV
which had a wretched stereo sound and worse
was sitting against the wall of a long
concrete corridor. Otherwise every
experiment was done in the home.
Only a few 'enclosed' in this
photo story, the few being
each of particular kind,
interest, and result.
Every experiment is
described in the
text narrative
portion of
'Newsound'.

THE WORLD'S FIRST 3-D BOOK
A STORY OF RESEARCH TOLD IN 3-D PICTURES

INTRODUCTION


All of these
photos were taken with a
110 mm camera of the 29 $ price range
at K-Mart, except a few taken with a $16 K-Mart 110 mm camera
and a few with a 3-D camera, as noted


In the
photos no
attempt has been
made to advance any to
best 'Virtual Stereo' images.


STEALTH

A number of (most)
photos from the earlier
experiments are missing. Yes, the
experiments were interesting enough that the
photo collection was stealthed by industrial espianage.
All of the photos showing any kind of hand made device, and of speaker
box settups dangling in the open air to swivel like a construction
crane, and a round of experiments classified as 'Flow Tube'
tests, are all missing, selectively picked from the
collection by an industrial stealth of unknown
source and character, vanished at a time
unknown, one day it was noticed
the photos were not there.


THE 'ROSETTE'
DISCOVERY

The original breakthrough
that started a long standing round of
experiments which eventually led to reproducing
a mono one-track one-speaker-lead Glen Miller tape of originals
in full throbbing pulsating breathing reverberating 3-D stereo is seen
in this picture, as the rosette against the left edge of the table by
the patio door in a low rental condo. A few beads were first
laid as the start of a six sided hexagram, and the sound
of the cheap getto blaster screetching away in a very
unfidelic way, slightly improved. As more beads were
laid in to complete the hexagram, then expanded to
a six sided Star of David, the sound continued to
improve ever so slightly as each new bead become
placed. Ergo the discovery that major sound
control was embodied in six sided fractal
geometric harmonic patterns.














A water glass
was tried off and on
during this period with water
to various heights seeing if such a variable
could substantiate sound. It did but didn't. The final
outcome was that the weight of the glass itself (a solid object)
was snuffing higher frequency cross harmonics that were
contributing in downward cascading resonances to
boost open air resonance sounds. Experiments
with water glasses did not last long. At
the time, the nature of higher
frequency cascading
cross harmonics
were not known,
just that the water
glass turned out to be
snuffing more subtle regions of sound.


On top of the vibrating
speaker cabinate in the first
photo are plumber's large hexagon (six)
sided nuts two of brass used starting around this
time and continued in use in various ways, mainly as supports
to prop up objects and hand made sonic devices at various desired angles
right through to the end of the experiments, which lasted five
years. The very last experiment, in fact, used the brass
plumber's nut to prop a 8 inch oval speaker ripped
from the trunk in a buick compact's stereo
to acquire the Glen Miller experiment
summarized in the narrative 'The
Jaw Dropping Experiment'
which can be linked in
the Main index.


Regards the above
photo, it was soon learned
that at first such a heavy object as
the plummer's brass hexagon nut seemed to add
improvement to the sound stream, however as fidelity
was inexorably improved during further tests and ideas the weight
actually hardened the sound by eliminating more open air resonances that
are the final contributing factor to re-creation of authentic
original sound in stereo, even when recorded in mono.


FESTOONS


This view
has been brightened
to the detriment of surroundings
to better show the speaker box and its festoons.












One of the
many embodiments
of a festooned speaker box.
As sonic controls got better in the
experiments, it was learned that anything in the
immediate vacinity of a sound generating source was a spoiler
in spite of any immediate initial positive effects it might seem to have.
Festooning of sound source generators came to an end.


The other speaker
box festooned. Even the antenna
of the consul has something dangling from it.
Anything was tried in an ad hoc manner, in the first 3
month of sound experiments. Rubic's Cubes, oddball shaped, were as
good as anything to try, in those days. The tiny white dot
on the front of the speaker box over at left is a
geometrically shaped earring picked up for
a buck at the dollar store. The other
is in a similar spot on the other
speaker box. Like I say any
thing was tried, if it
worked it was tried
again if it did
not work it
was put
away.











This photo
unfortunately did
not translate well into
digital via scanning. What it
shows are geometry templates drawn with
protractor and straight edge, taped to the table surface
and hand filed six sided cartwheel snowflakes plus smaller round
UFO shaped beads laid along key intersect points of
the six sided (hexagram) and Star of
David geometry matrixes.


























In the above
it can be percieved
that some of the cartwheel
snowflakes are lying flat and others
stood on end. Those lying flat have a smaller
snowflake and a UFO sitting in each, during this particular
experimental round of sonic harmonic resonating experiments.





This picture
is a little bit wacky
and slightly hard to focus. It
was taken with a 3-D camera held vertically
so its two vertically stacked photos are cut and trimmed
to best approximate equal match. The result works resonably well as
a 'Virtual Stereo' psuedo cum 'genuine' stereo 3-D image.


Let your eyes go gently cross-eyed
to see the stereo in full.








Genuine stereoscopic picture
taken with a 3-D camera.









Like the photograph
showing the rays that transformed
lead into gold (nothing could be seen) in a
crank's experiment that no one could reproduce, the beads
in this magnification cannot be seen realistically. They are six sided
plastic beads sold as bags of 'cartwheels' in hobby stores and
each is hand filed in over 30 different facets, since
the six leaves of the beads are round, the filing
converted each leaf to fractal faceted faces
and chisles of 30 and 60 degree angles.
Two sizes of cartwheels were used.












For some reason
the flat table surface
seems slightly warped in this
'Virtual Stereo' 3-D image, the 3-D very poor.


Another
geometry made of
beads in the same area on the table.










Soon after this phase
a way was found to stand the
snowflakes up (that's what I called
the filed cartwheel beads), by dabs of honey
because without the dabs the snwoflakes vibrated even
skooted around in sound texts voiding their purpose. In this photo
small beads can be seen atop larger, and for a brief period
constructions called 'pineapples' or 'towers' were
tried, up to a dozen filed cartwheels stacked.
In this photo, one pineapple can be see
in midpicture. Standing upright on
edge the 'snowflakes' worked
far better and laying
them flat was
never used
again.


At
one point
nearly 500 filed
beads were in use, an awesome
project to keep under control since even
a heavy footstep on the slightly springy hardwood floor
could cause beads to suffle destroying current sound. The beads,
each placed in a strategic 'hot spot' located by crucial listening,
improved sound issuing from a god aweful sounding getto
blaster, enough improvement just using the beads
that the blaster could be cranked to high
volume without shattering light bulbs,
so to speak. Gradual understanding
of the nature of cascading high
frquency cross harmonics into
lower range sounds came to
be learned during this
phase working with
the beads.


The beads are
all in storage. They
fill a large Glad bag. Each was
hand filled over 30 different ways to produce
facets, the angles as best that could be gained by eyeballing.
A seige of work producing a new round of beads could be 3 or 4 days, just
sitting in an easy chair all day, all night, filing. One seige of over
140 new beads was a bust, a different angle in filing just two
facets was tried. When the pile was ready, as each new
bead was put in place in some hot spot, the sound
stream inexorably diminished until finally it
collapsed in a tight squeeze of compression
with no sonics whatsoever. The new set of beads
turned out (by the single change in a chisle facet)
to cancel room resonating sound waves into half waves
being generated in the room itself outside of the speaker
box enclosures, which were not in fact producing half waves of
standing nature since the boxes had open ports letting air deep into
each enclosure by oriental high tech design.

BOTTOM BASE

Barely
recognizable
the right hand speaker
box does not have a transparent
top the film did not do justice to its structure.












This simple array
to the right of the speaker
led to the discovery that a whole lower
octave in the base range could be gained by sonically
tuning the environment. It came about in Ginger Baker's drums in
a Fresh Cream casette tape, the drums were beating away and as beads were
moved by tiny discrete iotos around the six focal nodes of the
geometry all of a sudden new volume appeared on its
own and a whole new sound started to open up
reverberating on its own in the sound
stream, a much lower base. It was
Ginger Baker's second base
drum beating away on
its own entirely
separate from
the first.
Surpsised !







Control of
bottom base proved
illusive, at times hours would
pass just to get a few minutes of it then
vibrations would cause beads to move off point and
the bottom base would fade away. But, knowing it was there
in the sound stream entirely beyond the technical specks or design
of the getto blaster forced a whole new opinion about
environmental control of a sound stream. It was
at this point that the high end also
became differentiated, sound
separation occurring between
high hat and cymbol, prior, the
cymbols were just one blended sound of high
frequency without higher/lower characteristics, produced
by the getto blaster's 1 inch metal coned tweeters, one in each speaker
box, heavily circuted with electronic parts to
control its one note samba output.


SPINNERS AND TURBO ROAR

I don't have
remaining photos of
standup star arrays made of beads.
A new experimental phase began one day with the
gluing of beads into Starflakes a basic size a six sided
star using 13 beads. These starflakes were tried in a number of
different ways, including spinning on vertical axis stood
up on drivers stripped from walkmans and driven by
a single AA battery. Other spinners were tried
with larger or smaller starflakes pinioned
to the shaft of small motors used to
power model race cars. The concept
worked, but not well. No means
was ever found to turn the
starflakes slowly, only
one or two revs per
second, a speed
range intuited to
be ideal. A junction point
between this phase and the first
breakthrough in hearing stereo from a single
mono sound source (only one speaker box working) went through
an interesting phase, the era of 'turbo roar'. Every so often the sound
stream at high volume would suddenly completely collapse into a
roaring chaos called 'turbo roar' and a speaker box could
scoot backwards across the table, occasionally
forward onto the floor in the turbo roar.
A cassete tape of James Bond Theme
musics from Bond movies was
the worst for turbo roar,
one challenge in particular
was to get 'Diamonds Are Forever'
to play without cascading into turnbo roar
half way through. Photos showing the first of the
mono in stereo tests are missing, ripped off by invisible
stealth, since these included photos of the spinners and rotating stars.


EXCEPT FOR ONE


That
blurry
thing sitting
on the front edge of
the table is a giant starflake
being spun by a small motor from a model car.
All this photo pretends is that spinning starflakes existed.







Missed in the
grab by the stealth
this photo shows a spinning
starflake on the table. On the floor
a reostat from an HO guage model railway used
to power the spinner. Unfortunately this magnificently
zoomed blowup in blurr is the only photo record of spinners.
For instance many spinning as upright supported starflakes slowly
rotating on turntables made from the tape deck drivers of
stripped down walkmans are all gone in the stealth
but some tests had 3 or 4 upright starflakes
slowly rotating around and around like
dancers in the atmosphere.


Visions of the future
in the form of new sonic speaker
designs incorporating such dancers inside filled
the mind as these experiments were being done and aspects of
spin in the sound stream and flow of sonically projecting waves were
everywhere. I cannot show you a single clue, thanks to
the stealth. You will just have to do
your best and imagine.


One aspect of
experiments at this time
was they were almost completely
unstable, hours could be spent setting up
a test and getting things to work in the production
of temporarily useable sound but always it came back to the
same problem, the slightest disturbance in the environment, the placing
of a pencil or a cup of coffee, could destroy the effect which
had taken hours to set up. This problem of instability
was finally solved 4 1/2 years later in the
errection of an array of stretched
hexagon plastic slinkies across
the livingroom floor in a
raised Star of David
pattern. That era
is summarized in
PHOTO3.HTM.


see photo 3 narrative


THE FERRIS WHEEL


The ferris wheel
does not seem to add much
in a sonic experiment except (as was
later learned) getting point source stereo separation
in mono tests could not happen easily or even not at all without
a Ferris Wheel in precise focused duty in a key hot spot
somewhere in the environment. Focused means which
way it is turned, and hot spot means where
in the environment it is most effective.
Point source means a trumpet here to
the left, a sax there to the right
and white stereo space between
for instance also singers
spread across a sound
image instead of
all in one
clump or
smear.
There is
no clear photo
of it in this set of
early experiments, the photos
were grabbed by the industrial stealth.







That is a
device called a
'Bird Cage' sitting on
the computer. There were two made.
A hexagon frame inside another with 6 small hand
filed cartwheel beads on the inner and 6 larger 'snowflakes'
around the rim on the outer. This was designed upon a geometric matrix
which came straight from snowflakes. In 1981 a study was done
by a'moi projecting slides of snowflakes on a wall and
analyzing their main outlines and dominant features.
It turned out that all five snowflakes studied
shared an identical underlying fundamental
structure which is now deemed more or
or less fundamental understructure
in many realms of thermodynamic
behavior in Creation. Of
several geometry matrixes
tried, that which came straight
from the snowflake blueprint was most
responsive in boosting positive re-enforcements
in sonic resonances. The same matrix was later used for many
geometric cutouts made from stiff art paper, a few of which are shown
in glimpse in the above photo, since it is a cut from a photo
taken 4 1/2 years after the initial plastic bead and
snowflake tests in a low rental condo. History
can be interesting in a casual way. The
inner hexagon ring of the Bird
Cage is rotated 60 degrees
relative to the outer.


see snowflake matrix


Later
master templates
were made from the snowflake
matrix and used to make 'cubic mobiles,
'tympani resonators', and art paper geometric cutouts.

see master templates



BIRD CAGE FROM ANOTHER PHOTO







BEYOND TURBO ROAR
A SUDDEN GANGUP OF FORCES
LAUNCHES A SPEAKER BOX THROUGH THE AIR







Now, there is
one other aspect of
this simple seeming layout
to report. In the background off
camera to the right against the rear wall
of the dining room, a giant starflake was spinning
pinnioned to the shaft of a model car motor controlled by an
8 ohm direct current reostat and powered by an
ordinary flashlight battery, power leads
taped to each end of the battery.
The problem in controlling
the speed of the motor
slow enough to start
engaging in vibronnic resonnance
responses instead of just kicking the sound
stream with higher speed disruption. The real problem was
that the model car motor wanted to kick in at a minimum of about six
or seven revolutions per second whereas sonic interface gains
were expected to enter in at around 1/2 to 1 revolution
per second. Fuss was going on with the motor and
turning starflake adjusting its position. A
shirt sleeve brushing against slowed
the spin momentarily and the
speaker you see parked on
the stand took off and
sailed through the
air, hitting the
floor. What had
happened is a pirate
factory tape of golden oldies
from the 50's was on, it had mono recordings
originally sold as 78's, and a standard rock and roll was
playing with hard swap on the snare drum and big standup base boogie
notes. All of a sudden the sound started to swell and grow in
volume to a huge power it opened right up into a kind of
stereo as if you were standing in the middle of the
band playing live in the dining room, the sound
was immense, the other thing was that the
whole thing dropped in frequency by at
least two whole octaves, and just as
the awe was striking what? WHAT?
and turning around, it was just
in time to see the speaker
box clatter over the edge the
table onto the floor. That was the first
experience ever with sudden gangup of power that
began to produce true live sonic recreation, lasting only for
a few bars of the music but holy smoke! what a boost. And, of course,
no reasoning on Earth could recreate that moment in time with
that experimental settup, it was a chance occcurrence
coming when everything was on the very verge of
chaos for instance the speaker box was not
planted firmly on the stand it was eased
to the edge, on the verge of chaos it
had better respondent resonances
almost but not quite tettering
until gang up of mighty impact
vibrations coming from the suddenly
rejuvinated original rock and roll band took
it over the edge. If you read between the lines of this
last long paragraph there is a whole book of sonic lore that you
will see re-emphased and amplified as you read on
in the NEWSONIC photo story.







There were two of us in the dining room at that time, both leaned
over fussing with the spinning snow flake trying to get it to go
slower when the sound suddenly began to amplify (roar
to new loud volume) everything began to vibrate
in the bass drum's pounding including the
floor and the entire feel in the room
changed. Startled, we both looked
up shouting to hear over the
loud volume 'hey what's
going on! It was an immense
sound - actually I lied it wasn't a few
bars it was about half a minute of 50's style rock and
roll. I realized it was the spinning starflake which had suddenly
caused the change and was trying to figure out why it had slowed when the
music suddenly changed, the other person turning, launched toward the
speaker but was not able to get to it as it sailed off the stand,
bounced off the table, and landed on the floor. That is
probably about an 80% recreation of the scene. I
have done my best to try and recall, but
not having a photographic memory
there is no total recall.
Salient facts are the
speaker box
sailed
it did not
tumble, the other
person launched forward
across the room to try and grab
it but missed it in the nick of time. I
had no time to respond to try and grab the box,
my first reaction was real dismay thinking the box may
have been trashed when it hit the floor (it was unharmed), and
then both of us spending some useless time trying to get the motor to
spin the starflake slowly again because I was of the firm opinion
that that was the cause of the sudden mighty resonating room
filling power of sound, the other person of the opinion
the spinning starflake had little to do with it and
something else was causative, but did not know
what, knowing it wasn't that the speaker
box had been poorly perched on the
small pedistal stand since the
other person had securely
positioned it there
moving it out
toward the
edge from
where I had had
it center placed. These
are recalled details reliable
enough never to be discussed again, ahem.
Oh, one other salient overlooked in the above,
in the soar there were no starflakes at the
front of the table the sonic setup was
slightly different, those photos
gone with the sleuth.


Older model big cars
before the era of electronnic
ignition and fuel injection had an interesting
characteristic they could wear out the wires to the plugs getting
weak and sparking the whole engine sluggish and running
slow with little fast power but could go to 60
or more miles per gallon running on the
edge of chaos and could torque in
3rd gear slowly up the side
of a mountain one thud
turn of the engine
after another
in slow
motion.
Sonic resonance
experiments have shown a
similar characteristic, the more tightly
controlled, the more securely locked in place a device
or embodiment, the more sonic resonances and vibrations do not appear.
Loose, almost tipping over, extremely delicately balances on
a pin point of support, taped together just so it holds
together but could not hold its shape in a hurricane,
these elements on the edge of chaos always produced
best sound, best effect, best resounding long
distance echoes rebounding and kabooming
to the ends of their time even seconds
to fade not the clipped half second
end to loud sounds in typical
modern day stereo sets and
TV stereo. Always, on the
edge of chaos, bordering
on the edge of disaster, these
made standout moments in the history
of these tests. The down side was collapse into
chaos, sudden aprupt eruptions of nothing but raw naked loud
noise, at times enough to drive a speaker box backward or forward
skittering across the table, and also compression collapse
the whole sound stream folding up like an accordian
and all accoustic noticables disappearing into
a sound something like a portable AM radio
working at getto blaster volume, seeming
as if your ears were being twisted
sideways is one way of describing
some of these collapsed compression
effects that occurred during sonic tests
over the 5 years, sometimes just moving a piece
of paper on a desk chair was enough to cause sudden collapse
the sound you were listening to literally creep away around the
corner to be replaced by a squeezed tight sound that was
slightly painful depending on which direction you
turned your ears, eerie because it was at
low volume when the sound was at
most compression unpleasant.
But, I digress, as they
say. On with the show.
Not exactly.
The digression is stating
that sonics can be used also to control
sound waves of many characters, creating half waves only,
even waves phase turned sideways, by environmental re-enforcement
means entirely independent of the sound generating source.

THE FIRST STEREO IN A MONO SOURCE

First
look at how
two projects were
superimposed over each other,
the sound experiments, and the computers
being used to develope saleable software programs and editors.


The 2nd and 3rd images
are genuine stereo from a 3-D camera.
Let the eyes go gently cross-eyed to see the best 3-D.
The second shows a bit of the kitchen.

















Because of the missing
photos taken in the stealth
these genuine stereo 3-D photos
are as close as I can get you to an
illustration of the initial mono in stereo
sound experiments. The computer against the dining room
window was taken out, one of the getto blaster boxes was tucked into
the corner, the second was sitting out in prominence on the
forward edge of the table adjacent the living room
area. I was in the kitchen putting beads
around the stove and on the counters.
The thought occurred for the first
time to try the settup in mono
just for the heck of it to
see what a mono sound was
like compared to the
boosted stereo hey
I was now getting.


I turned off one of the
channels and swoop the whole of the
'sonic balloon' filling the room with stereo
echoes vanished into the front of one of the stereo boxes.
I tried the other channel and to my amazement all that happened
is that the 'sound balloon' shifted in the air over toward the
box still working, filling the corner with stereo sound,
not as vigored as just prior when both boxes worked
but nevertheless the whole of the sound was
still up in the air! A few tests and
adjustments and now it was the
other box out on the end of
the table that held the
'sound balloon'. Walking into
the kitchen, to my amazement I heard
kettle drums from George Girshwin's American
In Paris rebounding from around the door into the other
room from somewhere out in the living room area, while a trumpet
was playing weakly immediately straight ahead through the
kitchen doorway, by its self, disembodied, by the
dining room wall. I moved about half a foot
from where I was standing and all stereo
effects vanished except for the main
'sound balloon' issuing from the
left in the dining room. Again
a move back to prior position
and back came stereo, all of
this being produced by a single
speaker box working off one channel
of the getto blaster. This was near the
end of January 1990. From that point on I was up
and running, all tests thereafter pursued the mono in stereo effect.





A lot of photos
are missing. No photo exists
showing the use of all of the kitchen
cubboard doors and drawers as baffles to explore
characterists in a mono produced stereo sound and resonance.
Nothing exists in photos of the initial long distance
carrying effects in which sound transported into
other areas of the condo, upstairs then into a
back bedroom, even recurring as a separate
sound image in the main floor bathroom.
This next photo is the only one from
that period. It shows the corridor
outside the front door during a
late night test in which the
sound volume in the dining
room stayed the same all
the way out the door up
the corridor to the
door at the end,
in the middle
of the night
which is
why
low
volume.







It seems
ridiculous to
show an empty corridor
as an important step in a sound
experiment, doesn't it. Use your imagination
to fill in the details, me briskly walking up and down
the corridor in the middle of the night to the distant door
listening to how much the volume suddenly drops, and
how far up the corridor, test after test, the
volume of the getto blaster in the dining
room at low volume turned up just enough
not to wake the neighbors. It was
an interesting night with stuff
learned about ingredients in
the sound stream and sonic
environment tuning setups
leading to long distance
carrry, the fact of it
being the result, the
fact that by next day
there was no long distance
carrying at all and none could be
had for a awhile. That which carried up the
hall to the distant door never came back in the condo.


THE ORIGINAL






This photo is so
bad the first time it was
scanned the scanner interpreted it
as a monochrome and produced a black and white.


And now we will
gripe about photo finish
quality at cheap fast food outlets
er photo labs. Here is the original corridor photo.
How a lab can produce a rag like this and charge money is mystifying.
It has entirely to do with who runs the machines and how they
tweek the knobs, also how closely they watch and time,
and also, how often the outfit cleans their
equipment and replaces spent fluids.
Look at this picture. How can
they charge money for a
rag like this, but
they do, and us
poor people
are victim
because we can't
afford more expensive high
quality film processing. So, you as much
as me are victimized by Ayne Rand's noted mediocrity.


Ayne Rand wrote a
novel called Atlas Shrugged
in which such mediocrity was taken for
granted as normal except for a few who pulled out and
started their own mini society based on creative and valid talents.


WOE ALAS THOSE MISSING PHOTOS


The missing photo
I miss the most was the first
flow tube test, which was combined with the
first test using a wafer thin tweeter pulled from a Sony
Walkman circ. 1982 and got from Neightborhood House for $2. The
wafer thin tweeter was experimentally hustled with a small brass hexagon
lock nut from the back of a defunct stereo unit, and a cat whisker
fashioned from a very thin piece of brass jeweller's wire.
The cat whisker stuck straight out in the air behind
the tiny round magnet of the wafer thin tweeter
and could be sonically tuned by moving it
through the air. In association was
a 5$ second hand pink getto
blaster got at a
yard sale.


By the front corner
of the table against the living
room area the pink walkman and wafer thin tweeter
were both suspended supported on small homemade mike stands.
Along the table toward the rear corner of the dining room an array of
starflakes on bent copper stands was assembled with the starflakes
in order of ascending height going rearward. The same settup
produced two experiments. The first was that the wafer
thin tweeter, by itself, produced a sound that was
projected entirely from source into the rear
corner of the dining room, up in the
window area in a sound balloon
of about 6 feet across,
all from the wafer
tweeter when
critically tuned
via the cat whispker.


The same setup
also used the pink getto
blaster, a unit that originally sold
as a toy for about 35 dollars. In stereo, with an
extra set of leads from one channel attached to the wafer thin
tweeter, in conjunction with the flow tube, produced a stereo sound that
went all the way from perfectly audible high hat to bottom base
on the base drum, the base drum echoed a full octave
deeper than dull thuds. On its own the pink
getto blaster produced no base at all.
This I felt at the time was a
particularly impressive
experiment. I wanted
the photos to see
how I had attached
the cat whisker and how
I had assembled the settup in case
I wanted to do it again. No luck no photos.
The photos went missing due to espianage. I don't
know exactly how that experiment was constructed in its
actual settup all I remember is the how of it and the result.


This took place
in the last month just before
leaving the condo for a move that ended
up in a rented 3 bedroom new house on the far East
side of town, during which the middle photo story round of
experiments began within a couple of days of moving into the house.
At the time of leaving the condo, for nearly a month, the
getto blasters two speaker boxes had been strung
suspended from either end of a pipe dangling
from a mike stand that could be swung
to focus both stereo and mono cominations
in any direction in the room. Walking around the
stand and the sound balloon followed the walk on the opposite
side of the room like a partner Earth on the other side of the sun. This
phenomena deeply impressed visiting friends but I took it for
granted because it was nothing else but a sound image
built up as a recurring image in the room at a
long distance from the sound generating
sources so was not locked to any
fixed point source location
like a pair of standard
speaker enclosures.
The assembly
looked so bizarro
dominating the center of the
room by the patio doors that I have also
wished for the photos of it just to remind myself of
research unconducted. The intent of this swivel array was to
prototype the beginning of a form of harmonic speaker system in which
sound was generated and amplified by resonances along the
lateral axis of a crystal-like array pointed at both
ends and full stereo and range from a single
small sound generating source inside.
I had the idea of what it might
look like and how it might
work but suddenly it was
time to move. And then,
later, it was discovered
that all those photos were missing.



FIRST PART FINISHED



see photo 2 pictures

see the miscellaneous photos collection




DONE



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