FULL RIGHT ANGLE PROJECTIONS OF A SONIC IMAGE ----------------------------------------------------------------- Update cont. August 26, 1992, 10:30 PM. Which brings us to today. And to where I first mentioned at the start of this Update that two demonstrations are now in place in the upstairs room. They are as follows: We come back to the little 1 1/2 inch Sony square wafer-thin tweeter made of thin transparent plastic mylar which I have discussed at length in many previous experiments through last winter up to the end of April, and further above in these updates. As of yesterday afternoon it was officially retired, but not for long. Whereas in previous experiments, with very tedious fiddling and nicky dork dexterities it was possible to use the wafer to induce more sonic presence into Mono in Stereo tests, now it was clear that the little thing was a distinct spoiler no matter how I used it, in light of the new setup with the equalateral triangle configuration, and four speakers all hooked up in series to the Left hand channel of the getto blaster. And then yesterday and last night I had 24 hours to myself, with twin brother gone out of town on our software business, so took the opportunity to go on a round-the-clock marathon starting from twelve noon till 6:30 AM the next day (this morning), non-stop, the first time in over four months that I had opportunity for a marathon with everything I needed to work with right at hand and not in storage. Out of this marathon session came the two hanging open air getto blaster speakers, the boxes discarded, the faceplates dangling from pieces of thin and springy wooden garden stakes bent slightly under the weight of the faceplates dangled from them, the faceplates focused to the apex of the equalateral triangle. An ornimental mobile about 6 inches across consisting of three hexagram rings which open up into a mobile with a snowflake-like fourth piece in the middle, stamped from a sheet of holographic shimmering cardboard and sold for $7.00 in the local supermall as a supposed christmas orniment, is more than enough to demonstrate my earlier remarks from a month or so ago that a simple hexagram based mobile should be more than enough to sonically boost any room or sound source. Sure enough, this crude mobile very handily boosts the overall pure high fidelity of the sound stream when placed in a suitable hot spot. The mobile is currently mounted on a home made extendable microphone stand, with stiff copper wire wrapped around the top of the stand's shaft and an alligator clip shafted onto the top of the wire so that it is holding the mobile in an upright position and the whole thing is raised so that the mobile is up in the air to about shoulder height at 4 1/2 feet and at the moment is sitting back about 4 feet behind the apex of the equalateral triangle which itself is a configuartion about 6 feet to a side. The reason why the mobile is sitting back there is because in this position it is also interacting with three sonic devices at the back of the room on a temporary small table consisting of a fragment piece of mahogany panelling supported by two tomato boxes from the local supermarket to create a small table, with the three devices set in a straight line along an axis pointing straight through the apex of the triangle to the center between the two dangling faceplates up front on the big table. The three devices in a straight line at the back of the room are a flow tube, two paper Stars of David held upright by alligator clips in an electronnic stand (the kind you get at Radio Shack which has two adjustable alligator clips on a bar), and behind that the 'ferris wheel', (which consists of six giant snowflakes arrayed around a hexagonal wire frame with thin jewellry grade brass wire wrapped around the outer circumpherence through the centers of the snowflakes so that there are six wires strung around in hexagonal loops, creating a device which in fact looks a lot like a ferris wheel. At this point the 'ferris wheel' has been found to work better when focused face-on rather than edge-on, toward the direction of the sound source. It turns out, as mentioned in prior Updates, that this device (called 'the ferris wheel') when properly placed in a hot spot (node) in a room, enhances the air frame, or open air quality of the sound stream. To finish off the current array upstairs in the room, two of the flow tubes are positioned behind each of the dangling faceplates, positioned more to run in a straight line targeting the flow tube, the faceplate, and the raised mobile on a stand, but also twist tuned to end up turned to focus more directly to the apex of the equalateral triangle (closest point), in experimental variations. A remark my brother made the day before yesterday, to the effect that getting ANY bass response from an essentially open air configuration with (at that time) only the oval cheap car radio speaker patched in as a bass booster for the two getto blaster speaker boxes with all three sound sources coupled in series off the Left hand speaker lead from the getto blaster, was an interesting effect due to the fact of the industry's tendency to think in terms of bigger, or more powerful, drivers in much more high tech modern enclosure devices with electronnic engineering to get more bass, whereas I was getting much more bass simply by hooking up this simple oval car radio speaker into a MONO setup and placing it at the apex of an equalateral triangle. With this in mind I started thinking of the 1 1/2 inch wafer-thin tweeter now lying discarded in a tray of clutter somewhere in the upstairs room. At this point it was about 2 AM last night. I found the wafer and started to play around with it. By six AM I was starting to think I may as well go the distance and stay up till seven AM to catch the morning news at 7 AM on hurricane Andrew bearing in on the Louisianna coast. But by 6:30 AM I was done in and had finished setting up a demo which has so far had the following effect: but first, a last minute update on the array as it currently exists in the room. The 1 1/2 inch wafer tweeter is being held vertically upright in the air by an alligator clip shafted on the end of a piece of stiff copper wire which is being held by a small vice sitting on top of the 3-step kitchen utility ladder and centered right at the apex of the equalateral triangle relative to the two faceplates which are now dangling in free spring-like suspension from the 15 inch thin round garden stakes, the backsides of the faceplates facing out and focused to the apex of the equalateral triangle. The 12 inch woofer is sitting on the floor in front of the ladder, tilted forward at rouphly 30 degrees and set to face straight ahead to focus midway between the two dangling faceplates. At about the same distance behind the stepladder and also on the floor is the cheap oval car stereo speaker, also tilted up at a 30 degree angle and also facing foward. The consul for the getto blaster itself is between the dangling faceplates, in the middle of the table and sitting back against the wall on a small shelf. And on top of it, sitting on top of the cover for the CD player, is a flow tube placed lengthwise running parallel in a line between the two dangling faceplates. Centered on the table in front of the consul is a hexagram and Star Of David figure which was the original paper template used to form the hexagonal frame for the 'ferris wheel', and which was then cut out with an Exacto knife to yield a hexagram prototype for a mobile. An intrinsic Star of David was cut from the center portion and is one of the paper Stars being used (as already described) on the makeshift table at the back of the room. And so, I crashed, at 6:30 AM, couldn't hang tough for another half hour to hear the morning news about the hurricane. I woke at eleven-thirty AM with the phone ringing. It was a telephone lineman cluing up to come in in a half hour to hook up a business phone, now that we have progressed past the cornflake sandwiches no-budget stage in our antivirus software business. In came the lineman at noon, did the thing, drilling the appropriate hole in the baseboard for a telephone extension line, etc., then mentioned that he had done three years in electronics and sound featuring quite a bit of research in using devices to locate 'nodes' ie. hot spots in a room, and trying to single down sound to one point in a room, and trying to single down sound to a single frequency, just about the entire opposite directions of my sound tests. But that is beside the point. The point is that up the stairs went we me saying that despite the weak weedy sound he would hear he would have to appreciate the kind of experiment he would be hearing, and that the sound source was a pirate factory version of Glen Miller circa 1938-42 with some of the cuts literally lifted from scratchy old 78's. With these restrictions in mind, the intent of the test was for him to tell where the sound source in the room was coming from. First stage of the demo was for him to stand at the doorway listening. After about half a minute he said it seems to be coming from over there, pointing to the 'left' to a faceplate dangling from its stake on the table. I said okay, go further into the room. Again he stopped and listened for about a minute and then said something to the effect that obviously it was coming from over 'there' pointing in the oposite direction to the rear wall at the back of the room, and over to the far corner. Ahah thought I, the demo is working, right on schedule. What in fact could be heard was explicit pure and perfect LATERAL sound projection, in the first instance (at the door) the sound seeming to come from roughly the dangling speaker to the left against the North wall, and then a few steps further into the room sound could also be heard coming from entirely the opposite direction also, from the area back against the wall to the South, with also sound seeming to come from the far rear corner. This explicitely demonstrates long distance sonic projections, in this case to more than one giant sound image area at the same time, the two main images separated wide apart by nearly 20 feet, with nothing in between. Then he walked into the room first over to the dangling faceplates then over toward the south end of the room and finally sniffed his way gradually back to end up standing right over the little 1 1/2 inch wafer sitting upright in an alligator clip on top of the ladder. And looking right down at it finally he said, well, this must be it. So then I let on the secret that yes that tiny little thing was producing everything he could hear, and to make the point, went over and clipped in the Left hand dangling faceplate. There was an enormous jump in the sound volume and a big range appeared, including strong base and stereo presence. Then I clipped in the Right hand dangling faceplate, and the sound volume more than doubled, and then the 12 inch woofer on the floor, and finally the oval car speaker also on the floor. Whereupon the room was of course now filled with a very loud body of sound comprising the Glen Miller orchestra resonating away, all 100% mono in siound source since the tape was mono as was the single channel input via wires hooked in series for all of the speakers from only the left channel of the getto blaster. Whereupon the fello commented to the effect that it was a very impressive stereo demonstration, to which I asked was he satisfied that it was in fact stereo and yes, there was no question about the fact that it was stereo. The fact that it was not a modern stereo band playing Glen Miller music was not in his mind. He was firmly assertive that it was stereo. So I filled him in on the secret of the second part of the demo, that it was in fact 100% MONO, making the point by going over and holding up the right hand speaker leads from the consul and then dropping them again to let them hang over the edge of the table, the useless ends trailing onto the carpet floor. In the meantime my twin brother had just arrived home from the overnight business trip, so after an hour had passed, with he and the telelphone lineman first discussing the last of the telephone business who then departed, and my brother completing his collection of phone messages and calls, I coaxed him upstairs to run the same demo as which had just been done an hour earlier with the telephone lineman. My twin brother handled it a slightly different way. Pausing at the door, he first muttered that it was actually not a very impressive sound demonstration per se in that the sound was very thin and weedy. But said I, wait till you find out what is actually going on. He then sniffed his way slowly into the room, looking to the left, to the right, back to the front of the room, to the rear of the room, came to a stop in the vacinity of the apex of the equalateral triangle, and after about 30 seconds of careful listening announced in a loud voice that obviously 'THIS' is one of them (pointing to the oval car radio speaker on the floor, and then pointing to the 12 inch woofer said 'this too I guess', still sniffing around carefully. I said no the entirety is coming from the little 1 1/2 inch wafer. It was sticking up in the air in the little vice on top of the ladder, right under his nose and he couldn't tell. The first pursuent remark of my brother was that the thing was producing at least three times its range and volume. Actually it was a lot more than three times, because held in the air entirely on its own in a normal room the thing produces only a pissing weak hiss, with the mechanics of any music's structure just barely discernable as tiny ticks, at a barely discernable volume even with the gain cranked up high. In the demo up in the room at this moment you can hear everything in the music, including the words of a vocalist, and drum set cymbols, and in certain places in the room you can hear the bass patterns at work even though they are so weak as to be at times sublimal and of course at this point there is no possibility of bottom bass with the thin little wafer working just by itself. The thing is it took nearly three hours (from the moment I got the idea for a demo) to overcome a problem that almost crippled the whole idea. And that was that sitting upright working on its own the little wafer cracked and popped in total fracturing instead of responding to strong sound strikes in any music when playing at any volume loud enough to cause sonic projection to take place in the room. It was finally found that not on the floor was a partial answer, the thing mounted upright in the vice was origanlly set on the floor behind the kitchen ladder. The first solution in getting stability into its sound stream was to set the thing on top of the ladder, and then fuss and fume with the thin speaker lead wires from it attached to alligator clips from the main speaker leads until they ended up spread as wide apart as possible coming off the 1 inch wafer and dangling over the sides of the vice and the ladder, and that all wires lying around the room (or dangling) needed very discrete adjustments (in fact just a nudge with the big toe usually sufficed) to get rid of more of the pops and fracturing, and at times constant rattling, sounding like it had been blown. And finally some very discrete adjustments of the various sonic devices in the room eventually stablized the wafer's open air resonances to such an extent that it fooled the telephone lineman at first, who finally closed in on the sound source, (a fellow who had never played with open air resonating speakers before), and my brother (who has played with open air resonances before), such that (if not concidering the sonic projection aspects) the kind of sound my twin brother was hearing was just about exactly like what a 12 inch woofer would sound like attached to a stereo set and held up in the hand in the open air in a room, weak, weak, but definately discernable, which is why he assumed in thinking that I had at least two speakers going (the 12 inch woofer, and the oval car stereo speaker). The point being that the actual source of the sonics in the room was like silly putty. Even standing close to the wafer you could not tell if it was the source, because sonically the sound could shift position, for instance to the front, or back, or both sides of the room or into a corner, or all three at once, just by moving the body a bit. Which indicated to my twin brother the greater possibility of several sound stream generator sources, an easier to handle idea than the single little wafer doing ALL of the work, aided by my sonic devices acting as sonic projectors causing long distance resurrancings of the sound image. Like I said, at times two main similar sound images could be heard simultaneously but separated at both ends of the long part of the L-shaped room, a distance of almost 20 feet. After remarks quickly passed back and forth in typical twin brother language, I hooked up the four speakers as before when the lineman was listening, and let my brother hear the full stereophonic demo with the system as before playing in 100% Mono. This time there was no trouble in my twin brother's mind as to the fuller integrety of the sound quality, especially since he was well aware of the fierce fidelity problems with the Glen Miller Mono tape otherwise, which were now not apparent, a whole range of inferior qualities in the music having been filtered out or cancelled by the sonically inducing environment of the room, etc., etc., with a wide spread East/West sound image obviously present, enough that for the first time my twin brother never remarked on any missing wide spread image in the stereo sound picture being created up there from 100% mono sources. Like I have been saying, given time, I think it is possible to reproduce the Glen Miller orchestra and other major earlier bands in full stereo presence as if performing live in a concert hall, the rejuvination of such orchestras originally recorded only in Mono, replayed anew taking place in a concert hall, using (fractal) sonic hexagonal geometric matrix techniques. In the last day, last night, at times, in hooking in the Right hand faceplate in full stereo to hear the difference, the ahem stereo would actually COLLAPSE into a more traditional sounding stereo sound system. In plain fact the MONO in STEREO sounded better. This was true in any of my tapes plus the AM or FM radio, at times any such source sounding better stereophonically via a 100% Mono sound source. Now this is getting interesting. One of the things is that I can now freely play with the transient cross harmonic reflections for sound sources originally recorded in full stereo, at times separating this part of the music into a separate background sound playing by itself completely out of synch with the main foreground sound authentically comprising for instance the Left hand channel. I can tell the difference, because the weaker sound cross-over from the authentic Right hand channel as picked up by the mikes of the other channel has a weak almost warbling tin-flute-like reedy sonics to it, until I play a bit with focusing and tuning a bit more and suddenly get the two sound streams to gell again and get better stereo from the 100% mono source, for instance entirely from the Left hand channel. In a last comment, is some philosophy to consider. For instance, what could I expect if I set up such a demo (as the one in the upstairs room), in, for instance, a court room, to claim principle. Well, perhaps, not very much, as pointed out by my twin brother, concidering the types who could be in a courtroom, judging. To their eyes and ears nothing special might be in fact ocurring. They could in fact easily think that the tiny 1 1/2 inch wafer tweeter resonating in such a sonically incredible way is not a miracle, to them it might just be another new high tech device designed to power a getto blaster at a rock concert, they would have no way of knowing. The only way they could know anything definative is by extensive forensic laboratory testing reports with this specialist and that famous authority saying yes and no, to my benefit, or detriment, depending entirely on their preconcieved beliefs, levels of inherent intelligence, and favor or disfavor toward bribes paid by the greatest convincing liers, which leaves me out of the arguement since I cannot, by fundamental most heart felt conscience, lie. You can see the picture of the courtroom circus, me giving the best demo ever yet achieved, and the authorities in the court not having the slightest idea of what has happened, and liers and specialists getting into the fray taking over the whole consiouness of the picture from that point onward and me being on the dangerous borderline of being branded a hysteric or paranoic or worse needing immediate pychiatric attention, until I can do what it takes to prove myself innocent, with my own battery of specialists and authorities producing the other side to the picture, yes, new theories in accoustics in this stuff for sure, certainly new concepts in stereophonic sound no one has ever thought of before. But what's the point of me going through all of that - a kind of meat grinder just to think about it. I have no intention of having to beat the drum vigorously in a court room to prove my right to creative intelligence. And figure that by the time it might ever come to a court case by rascally claim jumpers I will likely be well involved in some other new and different project. Such is life. Peace, Joy, and Happiness. In Divine Order. R. S. Livinstone. Orleans, Ottawa, Ont. August 27, 1992.