how to seeme in 3-D

YOU'RE IN LUCK
MAY 16, 1997

Lo a bonanza!
Several rolls of 110
film left in status at the Loblaw
Photo Lab on October 03, 1996, were picked up
today and had nice clean shots, sort of blue and not true
to color but bright clear images. A candid technican (today May 16,
1997) explained that for several months the photo lab equipment
was be-deviled by the fact that the channel selector kept
going off register resulting in 2 color stripes not
being printed, a problem now corrected. And
that, ladies and gentlemen, is the first
officially correct excuse I can offer
for the color and image quality of
many of the photos in this photo
story, which I had to use for
reference in describing the
details. Here now are new
photos from the delayed
batch. No attempt has
been made to render
any in better 3-D
their purpose
simply to
fill
photo
gaps from
prior descriptions.

CRASH

SEE FULL SIZED

What happens
when the raised
slinky array collapses.
Most often collapse occurred
when trying to adjust the height of
one end or both of a rod, the solution to
end common crashing was in finding that lining
up two of each tripod's 3 legs along the axis of the
wooden rod it supported gave the best stable support, the
tip of a tripod could be picked up and moved a few inches or
even a few feet when rotating the whole array, the success being
in getting one end to rotate without the other end moving off its
center of gravity and collapsing, either just itself or taking
out one or both other rods, some very fast reaction times
grabbing a tripod starting to collapse just in time
sometimes then another rod slowly starting to
keel over anyway and then a real tangle
with you in the middle wishing to
heck you hadn't tried to change
the height of one rod end by
one half inch but knowing
you were going to have
to try again anyway.
Ah yes, those were
the days, and
the weeks.


The rods were
easily raised and
lowered in slings made of
lightweight thin brass jewellry wire
with control by just a couple of winds of the
wire ends making a secure attachment the wire ends
then tucked in when in fact if out in the air like cat
whiskers a much better sonic result but cat whisker sonics
is about the hardest of all to control, the slightest alteration
in the enviroment required the cat whiskers to also be adjusted and the
chore became just to tedious, but on occasion a cat whisker or
two brisked out in the open via wire ends could give you
something you wanted to hear, something you wanted
to know if it was in the sound stream and there
it was and so other means could be found to
develope it and so the cat whiskers
were tucked away again. Popeye
the Sailer talk is coming
from late night writing
fatigue.

THE 'INDIAN ROPE TRICKS'

SEE FULL SIZED


You had
better see these
full sized, you can hardly
see anything in stereo detail at this
near thumbnail size.

Here they are
self evident. It
happened that others
were set up in other rooms
and on tables and each was measured
as to what height was most efficacious in
kicking the sound stream. It turned out that a number
of these 'Rope Tricks' arrived at a height of roughly 15 inches,
a big mystery 'how come'? The eyeball while pondering the mystery in the
background of the mind for a couple of days, happened to fall upon
the round glass top table on which was sitting the RCA 28 inch
stereo TV. Hmmm went the due processes. Out came the yard
stick. Hmmm twice as loud, the table top was exactly
15 1/4 inches high. So that puzzle was solved in
its place a bigger mystery how come the height
carried throughout the house. Numerous tests
including testing fresh-air sound coming
through closed doors in a narrow band
at 15 inches above the floor, led to
news that a horizontally ecliptic
axis was pervading the entire
sound stream wherever the
stream was heard, and it
recurred in elevations
for instance 15 1/4
inches above the
top of a work
table, or
shelf,
even
up
the
stairs
and in a
back room on
the second floor.


The
point
of all of
the above info
being that the ecliptic
axis was discovered while setting
up the 'Indian Rope Tricks' to maximum
efficient heights. The ropes were made from thick
sheathed copper wire for 550 volt installations in a new library
building going up a few blocks away from the house. The 'Rope Trick' tests
were abandoned because sound could not be coaxed beyond a certain
mediocre point. These 'Rope Tricks' were tried in raising
the stretched hexagram slinkies, and only melted,
slowly morphed over and folded to the floor
within minutes of being erected. Leading
to the use of solid steel tripods
made for wreaths. A small one
is seen in the photo (left
bottom) pulled from the
back garden where it
was supporting a
nightshade
bush.
No more
short ones
were used. When going
back to buy
more the
stash
of
bigger
ones was
discovered
in the nursury
nearby right across
the intersection so close
I could hit it with a tennis ball
(figurative) brand new and at the time
the biggest commercial nursury and craft store
in the Ottawa area. Neat. I could walk in two minutes
to get any more slinkies and tripods as needed.

FLOW TUBE EXPERIMENT

SEE FULL SIZED


A flow tube
experiment definately
worth doing again, this time
with proper designed geometry cutouts,
tripods or stands, and pure designed hollow tube
core. This experiment was very crude but worked. Many sonic
ingredients in the sound stream could be controlled at will - more base,
less base, more high end, less high end, more stereo, less stereo
(including mono recording on single channel playback), more
mid range, or less, just about everything could be
controlled, except fidelity. The experimental
design as shown above was not able to make
anything sound really good, its results
had spits, spats, smoke, crackle,
it fractured, hissed, pissed,
broke up, and squeezed,
all as ongoings in
moments of real
goodstuff kept
happening. The
main difficulty was
in controlling the standups
in both position and height, the position
of each critical to better sound but when in better
sound position not in an even gradient line smaller to larger,
and so torqued, a torque built right in that caused the whole thing to
twist out of alignment suddenly due to the weight of the cardboard
core. The largest standup cutout at the back did not work when
brought in closer to be included in the cardboard core's
flow tube the largest cutout had to be moved further
back to prevent it from being a major spoiler. A
longer cardboard core might have worked but
where do you get one you don't just go
to the corner store and buy one. So
the experiment after a few days
was achnowledged and put away
on the back shelf under the
green light. It is worth
doing again under the
right circumstances
with the right
designs. It
is one of
the few
experiments
that looked like it
could lead straight to a saleable
product for super sprucing sound in any poor
environment or from any poor output sound generating source
such as stereo TV sets or modern day hi fi and home entertainment systems.

How come I can say that? 2 days before christmas 1995 a friend
had myself and a handful of others over for one of those spur
of the moment christmas dinners and after party most of
it spent late into the wee hours there downstairs in
place in awe in front of a $15,000 dollar home
entertainment system with 60 inch projection
TV quite the setup, $7,000 spent for the
speakers, boasted my friend, yeah but,
they are hardly producing any sound,
boasted I the 5th or 6th drink in
hand and thereupon while every
one was upstairs for a moment
went around room tuning the
environment until friends
arrived back downstairs I
showed off the kabooming
rooming thundering resonanating
base with sonic booms echoing that hung
around for a long time plus high end that was
completely sweetened up no more high pitch clipping in
fact it was the increase in volume that suddenly welled up the
stairs into the kitchen and main family room that had brought the others
back down to see what was going on. I did not touch the volume, just
did some room tuning, see, here, this ashtray for instance, I
just moved it a tiny fraction (I moved it, hardly enough
that you could even see it move) and a whole bunch of
the base just folded up and vanished. I moved the
ashtray again back to better place an iota and
back came the base, why I could do this is I
already knew the result beforehand that big
ashtray - six sided - was the single most
sensitive object in the entirety of the
room tuning, which included a stick
and pencil on a coffee table, a
chair shifted about a foot,
the chesterfield about
2 feet, 2 or 3 small
flow tubes made by
rolling tinfoil from
cigarette packs around the
pencil and the rest just minor shifts
in object position where they sat, for instance
on 2 of the many small and medium speaker enlosures
behind the projection TV, the enclosures themselves, all
of this taking about one half an hour. What do you think was my
reward for all of this. Smoke, from my friend. No great exclaims, no
intense wish to learn how I had done it, just intense smoke, he
did not speak to me for the rest of the evening and then
we all went home. Smiles from his wife, she thought it
was far out but he thought I was upstaging him,
with all of his boasts and his spending of
money, with a bit of room tuning I
turned it into an entirely
different quality of
sound, the kind
everyone liked and
accepted without question,
making the original seem ridiculous
in comparison and THAT he DID NOT LIKE.


I may have
said the wrong
thing. You don't need
a lot of money to have good
sound, is what I said, before proceding
to go around and room tune the environment. The
fact of how much had been spent listening and comparing
for hours and weeks before selecting each new pair of speakers
to add to the system had something to do with the smoke,
since I trashed the original in slightly under
half an hour. My friend really did not
ever perk up back to par after
that, after that day the
friendship was very
guarded, and then
obliqued into
history.

THE PROSONIC TESTS

AS THE WORLD TURNS
PROGRESSION IS SEEN


SEE FULL SIZED


Starting with
just an array of
stretched slinkies, by
this time a second PROSONIC
unit had been bought for the same $59.00
from the nearby Giant Tiger Discount Dept. Store and now
sits the two getto blasters at play in the living room causing a whole
host of problems in that sonics quickly evolved into far better sound
than either or both units working on their own but whoah what a time
was had trying to get the sound past certain obvious faults.
Wooden 4 foot rods with laboratory stands were tried
to raise the speaker boxes in the air what do
you think was wrong with that the rods
sagged and twisted like telephone
wires under the weight of the
boxes the only place a box
stayed put was right on
top of the nubs where
the rods cross the
lab stands.


A cross beam
from a piece of
wall sized modern art
provides support for one to
all four of the boxes spread its length
or close together. The final outcome was the best
sound came from the boxes on the floor, the towers sitting
upside down as the outer pair, right next only inches away the squared
sitting perched on six sided ice cream soda dishes, the problem
there being the squared (smooth bottom) slid on the six
top flukes of the soda dishes and toppled at the
very moment when real major sonics started to
kick ass the sound stream. Frustration
caused the will and desire to
come to an end, with
the tests on the
back shelf
under a
green
light,
the two
speaker sets
so tiny, set close
together in pair about
eight feet apart, produced
volume and powerhouse resonances
you wouldn't believe, control of the
fidelity factor just starting to enter the
domain by use of 2 soda dishes as raisers when
the whole thing had to be packed away because the
gall darn things wouldn't stay on one dishe, turbo
power and impact vibrations of their own making
impacted them off just when the going got
good, every time, hour after hour,
until, the only time in the
5 year course of the
experiments,
stomach
distress
from turmoil
started evolving
into nausea, that sick
sinking ill feeling can happen
and did once to me you are looking
at one of the photos.

A pulsed sonic
disrupter is up under
the center node of the Star
of David criss cross array the disrupter
sitting on a temporary support made from an ice cream
soda dish (six sided) on top of a
six sided vinegar jar.

RECIFIERS

Better have
a look at this full
sized it is nearly impossible
to eyefocus and I have had nearly
seven months practice.


SEE FULL SIZED


Rectifiers
were used throughout
the experiments right from the
first weeks to help produce a quick got
better sound in a new experiment, but soon enough
would have to be pulled when the new sound got built up to
the point of better sonics and the rectifiers inevitably became spoilers.
Rectifiers were also always a problem in that it was very hard to
find a good hot spot to put them, a lot of seeking around a
room or environment would pass before hot spots good
enough to leave them were located. Then, also,
the moment any chance disturbance changed
the sound stream ruining some good
stuff, the rectifiers would
have to be retuned as
part of the sonic
recovery.


The short story
on the rectifiers is they
came into the picture as chance room
orniment decorations with a high tech flavor. An
aquaintance had bought a cargo of odds and ends from a core
dump auction at Bell Northern Research Labs, including in one of the
full boxes a plastic bag (so says the acquaintance) full of
brass colored chip pins, soldered one by one on proto
type chips in research projects at Bell Northern,
the extraordinary weight of the full plastic
clear bag prompting the acquaintance to
jog at high speed behind the wheel
of a Trans Am to the nearest
jeweller, where, sure
enough, he left
with a very
lopsided pocket
bulging with dough,
the pins were pure gold
electronics grade. So, the rag
a tag remains of this auction cargo now
reposed on a dirt floor in a wooden lean-to garage
behind a small house just to the west over the train tracks
from Ottawa's downtown core, the lean-to built as a joint for two
horses back in 1925 and the only thing praising it was the
roof didn't leak, I was told to rummage through the
boxes and take whatever I wanted or could use,
so I did, including four rectifiers, 2 of
them (red and blue) seen in the photos
two others grey-green and green not
seen both smaller. Tests using the
rectifiers have left the opinion
that rectifiers have a place in
sonic experiments, but not the
kind seen in these photos. The
right kind would be twelve or
six sided (not square) and
would be adjustable, they
would be able to move on
on a hex sided shaft or
hollow flow tube core.
Such a device could
be used to pin down
a certain quality of
sound so that it doesn't
change while other things are
going on. That was one of the features
learned in using the rectifiers you see above,
that they could be used to pin down one particular
ingredient or another for awhile during ongoing permutative
tests, until, inevitably, any rectifier present would become a
spoiler and have to be pulled, not only pulled, but put
away somewhere out of contact with the sound stream
for instance in a closed box or cupboard, if left
exposed to the open air so making contact with
the sound stream even at long distance in
another room, once a rectifier became
a spoiler it would stay a spoiler
during that sonic experiment
and no hot spot anywhere
could be found for it.









DONE


FOURTH PART FINISHED




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MAIN INDEX
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I HAD TO SAY IT


While early
sonic experiments
were going on circ, 1990,
1991, the ultimate in international
sonic research was taking place in Europe in
a new facility costing millions, a dentist chair was
stationed in the middle of an anechoic chamber, on a piston
driven post that rose the chair 15 feet into the air, speakers hanging
around on all sides and angles on cords that could be raised and
lowered by computer all the way from the ceiling to the
floor to less than an inch in guage, curtains, walls,
venetian blinds, livingroom furnature, all in
place with servo motors so that each could
be raised, lowered, opened, closed, and
moved around to within parts of an
inch to point marks coming from
equations that took hours to
perform on giant computers
and weeks to work out on
flow charts beforehand,
a listener when all
was ready, strapped
in so he or she wouldn't
fall out of the chair and raised
on the piston in the center of the chamber
up to the max if needed to a height of 15 feet, with
blinders on no experiment could occur unless blind folded,
then had a job of work to do, the chair person listened, yes Yess
YESss I can hear the piccollo now, removing the curtains completely
and completely rearranging the furnature has improved the output of
that new tweeter by a little bit, just as the computer program
predicted, in fact I can hear that the piccolo player just
farted. That wasn't the piccolo player you idiot that
was me, says an annoyed engineer, yanking off the
ear phones, in fact there isn't even a piccolo
player. Why didn't you yell to tell me oh oh
sniff get me down out of this chair fast
sniff sniff for god's sake unstrap me
from the chair sniff sniff sniff.
And that was the height of the
theoretical accoustic industry
circ 1991, a fact, the lab as
described actually existed. Meanwhile
home grown horn blower me is making a shrieking
getto blaster sound (for brief moments) like a medium range
high fidelity sound system, and later speakers hanging from elastic
bands sound like full blown orchestras using sound sources that were both
mono in original recording and played back through single mono one
channel embodiments, while the reports coming out of the big
lab in Europe were that success had been achieved in how
to get a bit more stereo out of your expensive speaker
system, that was one of the lab's intents, very big
very expensive speaker systems for home audiophile
buyers were producing less than predicted stereo
in fact the best word many critics used was
'dismal'.


Meanwhile, here
at home simple me, using
ingredients in costs that came in
under a thousand bucks over a five year
period, was able to ... well .... what's the point of
comparing, a 15 million dollar research lab in Europe should be
expected to get 15 million dollar results but, not one single equation
that went into the gists of that lab could produce stereo from
100 percent Mono sources in fact many equations that went
in, processed that stereo from mono was impossible. So,
why do you think full disclosure on the Internet
for the impossible. Fact is, I can't compete
against an industry whose most basic lab
cost 15 million just to set it up who
knows what it cost to run the thing
just for an hour. There is that
much money weighing down hard
on the facts of Reality the
facts being that the only
real source for discovering
the true nature of sound and how
to control it for positive creative and
constructive purposes, is through sonics. Enough said.
Have a good day, one and all. Hints from
Reality are forever free.

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