Andres Ramos

19 hours ago, Sfay said:

Your prototype sounds like it has a lot of protentional!   I hear a voice speaking the last couple seconds of the video.  It's not coming through your device,  but a voice the video camera is picking up.  Was someone nearby speaking,  or is that an EVP I hear? 

No, i was alone in the room at that moment. Could well be. I occasionally pick up voices through the microphone.

Here my new prototype. I found out that the steel needle conveying the sound to the diaphragm should touch the buzzer only very gently. So I made an adjustable assembly for it.

The settings are VERY delicate to do!!

Just forgot this. Ever heard a bunch of discarnated chattering hens?

Some results from today gained from my new prototype with the Spica. The results are not better compared to those gained from my previous devices but I had some interesting insights. Good results were obtained if the system is at the rim of tube resonance and rather slowly excited by a beat frequency coming from the Spica circuit.

Id processed the signal with the lingua and lowered the voice pitch in Wavepad while keeping the formants.

Yes there are. I had a simple thought based on your idea. I could use a tube with a second diaphragm somewhere in the middle. Not really a diaphragm but more a loosely fixed piece of paper fitting into the tube. By blowing some air into the tube the diaphragm will flutter in the stream of air and thus closing and opening the connection to the second half of the tube randomly. The resonance frequency would follow accordingly.

This is a really cool and crazy idea the same time, Jeff!

The tube Arrangement reminds me of the old radial engines they used for those WW1 aircraft.

This really fuels my ideas. Thank you Jeff!

Thank you so much Jeff! Sometimes I feel like the crazy inventor Gyro Gearloose.

Yes Jeff. I think that clearly was Michaels point. I could construct a cardboard lid at the tube end that opens the tube more or less like the choke in a carburetor, controlled by a motor with another spica.

Punk always stays punk! Hm, could be quote from Johnny Rotten from the Sex pistols, I guess.

A very good idea! A mechanically tuned bandpass.

32 minutes ago, Michael Lee said:

That's a really good point, at best I have a linear space of 6 string waveforms for them to form sounds. One my earliest visions, showed I think 7 or 9 lines, so maybe it's enough, especially if you sprinkle some special ML sauce

 

Vegan ML sauce for ectoplasm burritos. Black friday offer with 30% off;

Sometimes I think spirits can affect even real humans very effectively but this is another story. Your right, a guitar string acts as a very sharp resonating band pass. Apart from special guitar grips causing flageolets the frequency is rather constant.

Today I spent some time with putting different cardboards tubes over the randomly snaring buzzer in order to check the creation of formants.

Suddenly I got a very glottal sounding noise like "Aaaaaa" and I realized it came from a piece of cardboard touching loosely the vibrating buzzer. Thus it was a direct transmission of noise through dense matter and not air.

I modified the setup and conveyed the buzzer vibrations through a steel needle to a diaphragm fixed to the tube.

There are a lot of parameters to play with like the chaos pattern of the NE555 circuit and the current through the buzzer. There are literally endless modes possible. Still way to go.

Very cool experiment Michael and the voices are very good! I can confirm all your samples. Did you extract them from the humming noise you showed at the beginning?

Seems we are moving towards an emulation of a larynx and maybe pharynx. It could be useful to add some fluctuation to the stream of air like a small piece of paper fixed to the housing of the blower and moving in the stream of air.

8 hours ago, Michael Lee said:

Yes. Ill need to write a full post, to explain how I came up with the idea. I know, Im becoming so steampunk!

I love it! Can't wait for some audios from your setup.

14 minutes ago, Michael Lee said:

Ive been on a similar track lately. Have no clue why  

Now wait! Are you applying the vibration of a blower to the strings of a guitar? How cool ist that?

I processed the results a bit more with increased pitch and decreased speed. When I set the noise gating threshold in the ML to the maximum that still produces results I get one voice like this.

With lower noise gating i get this type of signal with better voice characteristic but also sometimes with voices stacked on each other.

I tried Krisp for processing but it killed the whole signal, as usual. I think only Steve knows the Voodoo to tame Krisp.

6 minutes ago, Michael Lee said:

It definitely takes some tweaking. Also, I have "denoiser" ML model now that while still produces phonetic fragments, it sounds like the original voice that I trained it with. So everything will start to sound like a US General.

Mr. Petreus, I guess. Yes pass me over that stuff.

Today I tried Michael Lee's ML algorithm with my prototype and I was impressed. Generally the intelligibility is not satisfying yet but it sounds like real speech with tone characteristics and patterns. I recorded a 18m session were I continously optimized the ML parameters and the settings of my device. A lot of short fragments in German could be heard. Maybe you want to browse through it.

Recording from 2021-11-24

Merci beaucoup Alain pour tes interprétations. C'est merveilleux de voir que notre propre psychisme fait partie intégrante du processus de perception. Nous remarquons toujours que des personnes différentes entendent des choses différentes parce qu'elles parlent des langues différentes, mais que malgré cela, les messages ont souvent un sens.

Merci beaucoup Alain,

Ci-dessous, j'ai quelques images modifiées. Elles sont toutes en allemand.

Andrés

• "Und dennoch machen wir Probleme" ->"Et pourtant, nous créons des problèmes"

• "Und Henning mag alle" -> "Et Henning aime tout le monde"
  "Und du machst jetzt Getriebe" -> "Et tu fais quelque chose avec une boîte de vitesse maintenant""
    "Im Garten"-> "Dans le jardin"

   

A very well written summary of your work and the essentials, Keith! I also love the second part with your advices for aficionados. They are very helpfull because they are tried and true.

Your descriptions are supporting an impression I have in my mind for long. I assume the crucial part for spirit interactions in a signal is the change! I mean this in the very abstract way it sounds like, the spirits get their foot into the door everywhere a signal changes qualitatively. That means it's not taking place if you make the signal louder or lower and not even if you are routing it through a high/low pass. But it happens if you mix it, slow it down, speed it up, modulate it, doing reverb and applying feedback, or speaking  more generally if you are doing anything that changes and reconfigures the internal structure of the signal. I think this is a general law and such abstract in it's efficacy that it is not depending on physical effects in detail. It's the change as a principle that comes into play here and this is the reason why ITC also works if you are using computers alone.

Your clip is very impressive in regard of the modulation and that there isn't any more noise in it. It's definetly a prrof of the principle.

Yes I see, a good idea. What I have done today was to connect the + input of the OpAmp directly to the middle of the power supply with no signal input for the OpAmp. Then I looked for pk modulation. In a 2nd run I enlarged the capacitor upt to 2200uF. In both cases I had no pk modulation. To be sure I need to make longer test runs of course.

Have a good night, Jeff!

I had the same thought but the voice is already in the original recording. It's the same phenomenon like the voice saying "Jenny" you discovered in my previous clip. It has a characteristic that is different. Generally the voices in the carbon clips are distorted and spiky. You have to make them intelligible by applying reverb and filters. The other voices are very clear, like gained with a microphoneand in fact I remember those voices ONLY from my experiments with direct voices where I used a condenser electret microphone with a self designed preamplifier.

But here the crucial question comes up again; if we record direct microphone voices, do they really com THROUGH the microphone or are they using another way? It's strange since I had planned to do investigations on direct microphone voices before the carbon thing came up again.

If we are suggesting that natural sounding voices can manifest without a microphone the question arises how they do that? I am hypothesizing that this is the point where Hodowanec comes into play again. What if they are coming in through a capacitor?

The capacitor C2 is a polarized cap like Hodowanec used them and it is in the feedback network of the OpAmp. Thus electrical fluctuations in the capacitor will scale up at the output of the OpAmp. With P1 set to a low value you almost have the Hodowanec circuit here.

Comment to myself and all the other people who had followed this blog entry. I just saw a YT video about the policy changes Audacity did since it now seems to be owned by a russian company that is collecting user data likely being made available to russian authorities.

Video: Audacity

Personally I decided to wipe out Audacity from my computer and to go on with Wavepad. I really loved Audacity especially due to it's Nyquist runtime environment but I will not stick to a data conveyor belt for the russian government. Don't get me wrong, I really like russians and the ones I was privileged to know are one of the finest people I ever met. However this does not accounts for their government.

For this reason I will not write new blog entries referring to Audacity.