I will introduce some new "steampunk" or acoustic ITC methods in the next post.
But first I want to share with you some theories I have about audio ITC.
To me, reception of spirit / interdimensional signals has at least three components:
1) Sensitivity to the signal
2) Resonant modes of the detector
3) Driving energy
Sensitivity means that whatever spirits can use to communicate with us, like virtual photons, wavefunction selection, or whatever, our devices can pick up these changes/anomalies. The most traditional detectors people have used are microphones and scratchy diodes. Presumably, the microphone picks up small air pressure changes and or electromagnetic signals affecting its inductive coil. The diode could be picking up radio waves, scalar waves, thermal changes, etc.
In any case, every ITC detector has some sort of sensitivity. Detectors can be virtually anything, like water or even a hard rock. But as long as we can percieve (humanly or electronically) changes in that detector, then it should work. The question though, is how sensitive to spirit is that detector compared to others. That, I don't have an answer, but we can certainly select our favorites for experimentation based on perceived improvements or ease of use.
Resonant modes refers to the available states of the detector or broader physical ITC system. It can be thought of as the frequency spectrum of physical and non-physical signals emanating from a given device. For example, some devices have two states. They either have short "pops" or nothing at all. Some have pops of differing duration and amplitude. Some devices emit a constant white noises. Others could have certain dominant tones like wind chimes. Even others could have a dominant on/off buzzing sound like some of Andres' creations.
In each case, there's an "available" set of frequencies that can be produced. Obviously, if we wanted to hear a perfect human voice, the device would need to emit all of the frequencies between a range of approximately 100-8000 Hz. Devices that emit white noise, sound great for this challenge, but often suffer from overdoing it in the last factor...
Driving energy refers to how much our device is physically stimulated. A great example is the work of Anabela Cardoso. She finds that a microphone with noise playing in the background is much better than a microphone in a completely silent room. The added noise is "driving energy." It is both a source of energy for the spirits to manipulate and it ruffles up the air molecules in the room providing a "canvas" for spirit signal implantation.
But too much driving energy may not be such a good thing. If I play a super loud buzzing sound (to represent the human glottal voice pattern), we're not going to hear any variations in that buzz, unless we use some pretty serious noise cancellation software. Meanwhile, if I supply a light amount of buzz, the variations may begin to be noticeable to the human ear.
Here's another "overdrive" situation: radio static. Radio static when evaluated with a spectrogram looks as random as can be. You have to apply a lot of software noise removal to extract out anomalous signals. I would argue that too much noise makes the filtering process more difficult than it needs to be. One way people balance out the noise is by playing it over speaker to be picked up by second microphone.
Ok, enough rambling about theories. In my next post, hopefully, I will have some interesting results to share.