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Keith J. Clark

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Posts posted by Keith J. Clark

    "Spica", an electronic chaos circuit

    in Discuss Instrumental Transcommunication

    Posted

    lol, these sounds are so freakish I suggest you keep the recordings in a separate folder - in case one day we can use them for videos!

    I still hold firm to the idea that the noise dictates our response. I've grown accustomed to any voice and whenever I think I hear something negative I realize Im emotionally involved, then I pull back to an objective state. There are times where some tones have the ability to cause panic attacks for those sensitive, like you and me. I just experienced that the other night. so I changed the tone.

    the second, 4th, and 5th samples seem to hold the most promise

     

    0

    "Spica", an electronic chaos circuit

    in Discuss Instrumental Transcommunication

    Posted

    Hi Andres, is there a way to limit the range in which the tone varies? For example, to first keep it between 80-400hz to get closer to human speech patterns.

    I presume we're not able to input a sound sample and the randomness of the circuit determines the tone?

    Good stuff. imagine if you had 7 of these devices running in parallel...each limiting its fundamental or harmonic base tone to stay within the defined range.

     

    For example:

    Fundamental 100-200Hz

    1st Harmonic 200-300Hz

    2nd harmonics 300-400Hz

    The spacing between the tones is anywhere from 1-100Hz with no overlap.

    Just thinking out loud of ways to modify this to keep freqs within typical human voice range 

    Great experiment!

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    The Basics of Voice Reproduction & Your Help Requested

    in Audio - Software & Advanced Techniques

    Posted

    2 hours ago, Andres Ramos said:

    I value this discussion as a very good attempt to bring together all our results and lessons learned. Like you I am hoping for something like the uniform spirit voice theory.

    For a long time I was just experimenting with noise in all its different flavors. i think I designed a dozen different deviced where noise was created and processed in all thinkable ways. In the end the results were all comparable. Noise seems to be the ideal stuff to wotk with because it is "fluid", very agile and basically contains all spectral components needed for the creation of human voices. The problem is that the pk-modulation in every device is so poor that all results were suffering from a very bad signal to noise ratio (SNR). The SNR was improved with pink noise but I had to pay the price of even more deteriorated spectral material. The voices were rough, croaky like grunting stoneage people.

    It was some weeks ago as I remembered that Keith always worked with tones and harmonics. This led me to the idea to abandon the experiments with noise and concentrate more on the generation of sounds and tones instead of noise. The VISPRE was my first approach and now I am worrking with the SpiCa, a semi-chaotic audio circuit that converts voltage fluctuations into combinations of tones. It's a highly fragile and agile circuit that outputs digital signals.

    I learned two things from my experiments and I can say that my results are aligned with Keith's theory. Firstly the spectral material that we should offer to the spirits should be made of tones and harmonics rather than noise. The nearer these tone combinations are to human voices the easier the spirits can recombine the spectral composition. Secondly, we need something to excite the tone circuit. Jeff calls this dynamism as far as I remember. basically it means that static tones left alone will not produce spirit voices, we always need to add what I call speech patterns which are impulse groups having the shape of a voice envelope function.

    In my experiments with microphone recordings I could abserve that spirits are using everything I offer them as sound. When I was opening and closing drawers, they created voices rumbling with exactly that sound and rhythm. When i was typing on my keyboard they used the rhythm and sound to generate clicking voices. It always appeared to me they were able to reconfigure spectral content but never the rhythm. It appears to me they are constantly analyzing the rhythm of the sounds we create and aligning their desired voice content with it. In short terms, they have to see what they can do with that rhythm we provide because they cannot change it. What they can change is the spectral distribution of the original sound. How they are doing that I have no idea about.

    The speech impulse patterns or impulse trains are clearly to be separated from the, lets call it "tone engine", the circuit that produces tones and harmonics.

    Currently I am testing a new setup that contains two devices I designed previously. First there is the LINGER unit that generates speech patterns from the LED-light on a phototransistor with enhanced pk moduklation by use of the microphone processing circuit SSM 2167. These impulses are rectified, that means they are reduced to an enevelope function and become speech without any content, they are just rhythm.

    This signal is fed into the SpiCa where the voltage fluctuations following the speech rhythm are causing the SpiCa to jump around between different tone combinations. The result sound like human speech but with a very small pool of vocals and consonants so far.

    You can hear the results here: SpiCa

    Basically I can say that Keith's theory is correct. What we still cannot achieve sufficiently is the combination of entropy and steering tones and harmonics.

    On this part below - YES!!

    Jeff calls this dynamism as far as I remember. basically it means that static tones left alone will not produce spirit voices, we always need to add what I call speech patterns which are impulse groups having the shape of a voice envelope function

    Right, we have to pass it through a mutable/modulatable (made-up word) medium whether it be sound, light, radio waves, impulse, other tones OR randomization such as evpmaker, granulizer software.

    2

    ITC Response Patterns?

    in Discuss Instrumental Transcommunication

    Posted

    On 3/17/2022 at 2:25 PM, Operator RT said:

    I wonder if others have noticed apparent emerging patterns from their ITC research - e.g. number of responses, formulation of word sounds, similar responses to the same question over time, specific areas that seem more active than others, timing of sessions and responses,  - that sort of thing. 

    NOTE: This question is in the context of ghost boxes (using p-sb7t (sometimes with noise gates, or multiple boxes running simultaneously), p-sb11 ANC - with noise reduction. We are also using world-band radios to collect DRV direct radio voices but do not have enough recorded apparent responses to notice any patterns yet. 

    1. Do you find that when you ask a question you often get multiple responses (from both m and f sounding voices)? How many?

    2. Do you find that responses come in multiple iterations before they are inteligible? -as if they are attempting to locate or formulate the words from phonemes, or etc. How many does it take for words to be clear?

    3. Have you been able to seemingly 'teach' voices to say specific words?

    4. Do some locations seem more active than others?

    5. Do specific times seem more active than others?

    6. Do responses often seem precognitive?

    7. Do responses often repeat elements of the question?

    8. Other patterns?

     

    Thanks for your thoughts

     

    My responses from my personal experience:

    1. Do you find that when you ask a question you often get multiple responses (from both m and f sounding voices)? How many?
    unlimited. could be anyone

    2. Do you find that responses come in multiple iterations before they are inteligible? -as if they are attempting to locate or formulate the words from phonemes, or etc. How many does it take for words to be clear?
    its our technique that defines the clarity

    3. Have you been able to seemingly 'teach' voices to say specific words?
    no, but they do reply

    4. Do some locations seem more active than others?
    no, I can be anywhere in the world. streams never change based upon my location.

    5. Do specific times seem more active than others?
    no, though late at night my brain seems attuned to hearing more, when the ear and mind are attuneed after a day of practice.

    6. Do responses often seem precognitive?
    not exactly, though they do seem to express hopes of what they think the future holds

    7. Do responses often repeat elements of the question?
    not for me.

    8. Other patterns?
    any sound, anywhere. all of it can be modulated. we just have to fine tune our spirits and energies as well as technological methods.

    1

    "Spica", an electronic chaos circuit

    in Discuss Instrumental Transcommunication

    Posted

    On 3/14/2022 at 12:35 PM, Andres Ramos said:

    Weird things are taking place. I get a stream on new ideas like an inrush since a week or so. One of them is based on a dream I had last night about the current ITC-work of Jeff. I won't go into the details because it is his work but in the dream I saw multiple signal lines with different audio signals and af transformers between them with switches. A control unit was closening and opening the switches arbitrarily and the transformers were gaining the signal difference between the respective signals. All those signals were routed to one point.

    After waking up I thought about what this could mean and it reminded me of the techniques working with scrambled audio. This was a similar idea switching forth and back bewteen different audio lines however not using the audio directly but always the difference bewteen two signals.

    The day before I gained some very interesting results by routing music through my LINGER circuit (documentation for this device is still an open issue). Basically the LINGER produces a special form of noise gained from LED light shining on a phototransistor with some special elements to add more dynamic and non-linearity to the signal. Basically the LED can be modulated and so I tried this yesterday with music, something I never did before and was amazed about the increased spectral richness of the resulting signal. More to this in the LINGER doc if its ready.

    Maybe these findings were the trigger for me to combine both thoughts. I was thinking about a circuit that could be controlled by an external signal but instead of jumping around between speech fragments it should switch forth and back between sounds.

    Curiously I was standing under the shower in the morning as I remembered the Spica circuit that was exactly doing this, jumping between different sound combinations by just gyrating a potentiometer. I quickly rebuild a Spica circuit on a breadboard. Deviating from the original design I implemented a Light-dependent resistor in the oscillation stage together with a LED. Thus the light of the LED can control the resistor value and thus the resulting oscillation pattern. The LED is driven by a preamplifier that is fed with an external audio signal from my computer (Line out).

    First I used music to modulate the Spica but the results were not encouraging. Then I observed that impulses or slow signal changes made the Spica output sound more like speech. Finally I created a noise track in Audacity and rolled a 20Hz low pass filter over it. The result was a rather slow changing random signal.

    525811153_20Hznoise.thumb.jpg.7d3f2e123a0461932d6bf95ced79cf8c.jpg

     

    I fed this into the Spica and recorded the signal. I was amazed about the result! The signal contained lots of tones but also a continously talking froggy voice and I could copy some words directly while hearing it.

     

    In Wavepad I slowed down the speed, added reverb, applied the "Pirate" voice effect and did a little denoisin

    The result was a signal that at least I could read very easily when looping through short recording segments once or twice. There are still a lot of optimizations possible regarding the controlling 20 Hz signal, its amplitude and the proper pattern bias for the Spica.

    The most intriguing finding I gained is that I focused too much on noise like most of us do. We are overseeing the importance of tones and harmonies. I think they will be the gamechanger. I must admit that Keith was the only one who always emphasized the importance of tones and harmonies and it seems he is pretty right with this assumption.

     

     

    sounds like a wobble function!

    1

    The Basics of Voice Reproduction & Your Help Requested

    in Audio - Software & Advanced Techniques

    Posted

    Hello everyone.

    As I continue the work that began 16 years ago I've decided to share some basics with you. The hope is that you will think of some creative solutions to the principles outlined below which are the result of my experiments over a long period of time. With your creativity I believe we can crack this long-term project to achieve at least one-way real-time voice communication.

    We've been successful in creating voice through many various methods and what we lack is a unified approach based upon these principles. I'm hoping for your creative solutions in response to the principles I mention. Please consider that I don't have the technical experience most of you have, my solutions are a combination of intuition and trial and error. So you may need to translate into your own understanding when thinking of a potential solution. The goal here, as I present it, is to mimic human voice. From there, it will be a piece of cake.

        1. Voice requires a fundamental frequency with a fundamental frequency amplitude louder than the rest of the harmonics

        2. Additional harmonics need to be shaped to be similar to reproduction of a human voice OR a perfect averaged voice sample may be provided. Harmonics should never be of the same amplitude as the fundamental. Tones need to be balanced. Without balance it will never be feasible. This may require tuning by ear.

        3. Modulation is required to simulate a glottal pulse and the vocal folds. I dont know if its 20Hz etc, but if we determined this we would be much closer.

        4. Comb filter (delay with reverb) can also simulate a fundamental with harmonics, but the harmonics would need to be toned down to simulate human voice. Overtones come into play.

        5. Impulse train (modulation) is critical and when combined with combfilter is very powerful

        6. Granulized sounds (short samples of sound) can be used reliably as long as a voice is shaped per number 2 above. Usage of the tool "Emissions Control" has proven this theory.

        7. EVPMaker set to 140-600ms with X-fade option only will also produce a randomized form of speech that produces a single voice. If pulsecomb (combfilter (delay + reverb) plus impulse train (modulation) is used in post-processing of randomized sound (live or recorded) this can be a very powerful tool

        8. Software enhancement. We have the ability now to enhance noise reduction and live filtering which in essence can allow sound to be heard that is imperceptible to human ears. Bias Soundsoap has improved greatly, as well as the introduction of Krisp artificial intelligence.

    9. One idea that works is to provide voice is 2 tones spaced 2.5Hz apart. It is not known yet why this is. When tones 2.5 Hz apart are randomized a certain phenomenon happens. It's either a meditative state or conducive to speech patterns we are already trained to recognize. We don't know yet. to hear what that sounds like, listen to Stream 7 aka "Crystal trainer"

    Please feel free to provide your creative interpretations of how we can simulate human voice. I am happy to demonstrate any of the principles outlined above for a better understanding. One of my shortcomings has been not taking the time to explain the ground already covered.
    With your help I am confident we can crack this long-term goal.

    🙂


       

    Summary: We will have synthesized software "voiceboxes" that spirit can use. The fact is we already have this technology. Trial and error has shown that in order to hear a reproduction of a human voice an experimental sound needs to have some sort of randomization or be "energized" through a variety of methods. In the end though - it must mimic human voice characteristics.
    In order to create a voice template for spirit we can refer back to human voice samples and provide a template that mimics normal human speech. This should be done visually as well as listening.

    Different methods can be used such as: granulization, "energize" using a combination of combfilter (delay + reverb), or randomize using software such as EVPmaker. ALL of these efforts have shown the same principles to be true.

    In short - do you have ideas for reproducing a human voice without intelligible signal information? I am happy to credit anyone that contributes to this work. My biggest challenge is that I have not taken the time to explain what I've learned so that it may be expanded upon by other creative people. And when I explain it in technical terms it falls short of what most people would understand or resonate with.

    Feel free to add your comments and suggestions as to how to reproduce a human voice. I would find it helpful if you would consider the principles I placed above and let me know what questions you have regarding any of the items presented.

    it is my hope that together, once and for all, we can crack this code. We already have all of the tools needed in our possession. We just need to work together. And I've held my ideas too close to my chest for too long.

    What questions/suggestions do you have? I'm open to anything, as most of you know. Don't be shy 🙂

    We have already succeeded partially with voice.....lets take it the rest of the way!

    I'm happy to demonstrate any of the methods mentioned or presented to anyone that has interest to better explain the concepts.


    Keith Clark

     

     

     

     

     

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    0

    Raudive Diode Breakthrough

    in Audio - Radio / Ghost Box / Boxes / Sweep Tuning

    Posted

    This evening I started listening to foreign music on an internet app.

    When I turned my attention to the live YouTube stream this clip happened. It's one beautiful thing about YouTube...you can rewind. 

    In this clip someone is asking if I can hear them better.

    Today the Raudive diode device built by Michael Brandel in Garrmany was brought back online after a house move on October 1st, two months and a third ago. 

    It is highly unusual so far in my experience to expect this kind of influence on this specific device. I always listened to the Raudive stream at night because it was the most peaceful and soothing.  I've had breakthroughs through radio, but it has been some time since I've seen this level of energy.

    I'll be tuning in, as the energy has grown quite strong in my new home. Maybe we're almost close enough to break through.

    Keith

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