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  1. This experiment was more of a joke but I also wanted to see how randomly varying low frequency impulses would be shaped while going through a mechanical spring. This is part of my current work to investigate the transformation of sound by spirits. I found out that a spring adds reverb and a bandpass filtering to a signal going through it, much like the old reverb spirals for guitars back in the 70s. VID_20210808_1221391.mp4 As a source of impulses I used a self oscillating relay and connected a spring to the vibrating anchor. The other side of the spring was hooked into the mylar membrane of a cardboard tube. Depending on the amount of mechanical 'bias' tension the spring behaved very different. Also the mechanical tension it imposed on the relay made the whole arrangement very agile. With some tensions I got different standing waves in the spring I assume and I could make it emit strong or very low sound. After all the pk effect was minor compared to the roaring sound. In another recording I could isolate some voices at least perceivable without post processing but accompanied by strong sound. I don't think I could make an ITC device with satisfying results from this setup but at least it was interesting how sound can be shaped by only applying mechanical means. Bedanke.wav Dankeschön.wav Es geht.wav Hier ist nichts neues.wav
  2. 1. Abstract Following my experiments with the RS-FlipFlop EVP receiver I was looking for other setups that would generate impulse encoded spirit speech patterns as well, as I stumbled across this YT video. The guy in the video used a neon lamp to generate rhythmic sound patterns. As i heard these sounds my ears grew because i recognized speech patterns. The physics of a neon bulb is not hard to understand. It is a gas discharge lamp that is very well explained here. The neon bulb or neon lamp contains rarified neon gas and also other gases in a glas cylinder. By applying a voltage the lamp starts to glow. The working principle is based on electrons emitted from the cathode that become accelerated by the electric field of the voltage. As the electrons make their way through the space between the electrodes they gain speed and energy. Since the electrons don't move through empty space but through rarified gas they'll hit a gas molecule after a while. The molecule takes the kinetic energy from the electron, i.e. the outer electrons in the molecule move up to a higher level. Because the molecule tends to get back into a stable state the energy is now emitted as photons. This is the light we see. Because ionized gas is called "plasma" I used this term for my receiver. Every electron hit cause a small current impulse. If the current goes through an af transformer it can be heard as a crackling spark sound, similar to a radioactive counter. The interesting thing about this effect is that electrons are emitted from the cathode when a certain voltage is reached and the electron emission, acceleration and gas molecule impact is a nonlinear avalanche effect. My idea was to raise the voltage just up to this critical level so that a small spirit impact would kick off the avalanche effect. In short words the spirits would trigger the impulses. 2. Electronic schematic of neon bulb receiver The electronic was a bit of a challenge. As already explained in the abstract I needed an adjustable driving voltage for the neon lamp. The problem is that neon bulbs start to work between 90V and 120V, not really a voltage you can get in a battery. The solution was a relaxation oscillator with the transformer, TR1 and the components R3, R2, D2 and C5. The oscillator generates a high ac voltage up to 150V that gets rectified by D2 and charging C5. The voltage at C2 is routed via a potentiometer and the primary winding of TR2 to the neon lamp. The potentiometer limits the current ans helps to tune the neon lamp near the avalanche start. The crossover switch S1a/b is a bit of a special gimick. If you run a neon lamp permanently on dc voltage a degradation of the cathode is taking place. This phenomenon is called "cathode sputtering" . Every electron leaving the cathode takes a little of the cathode material with it and layers it over the anode. Thus by the time the cathode shrinks and the anode grows. In normal applications this is no problem since the neon lamp is operated with ac voltage and not dc. In my device I simply put in a crossover switch that should be actuated from time to time to reverse the sputtering process. A word regarding the neon lamp. Neon lamps are used abundantly in many applications. For examplesome screwdriver contain a neon lamp for the technicians to check if power supply outlets are carrying voltage. For my design I used a "flickering candle light effect" lamp. Its electrodes are not small wires but bigger surfaces. That gives the discharge streamers more opportunities to spread and this provokes impulses, an ideal configuration for ITC. 3. Mechanical Assembly Without my deliberate intention, the receiver design resembled a steampunk machine. I used an aluminum profile as a heat sink for the transistor. However in the end it turned out thet the BUT12 was switching so fast that it hardly generated any heat. ITC Plasma Voice Receiver complete device Electronic module and cables The Neon Bulb in Action 4. Test results The experiments with this device were amazing. A lot of good voice samples and some strange anomalies occurred during the tests. The basic signal characteristic is shown in the picture below. Signal characteristic of plasma voice receiver The impulses are very short and were meeting my expectations so far of a signal characteristic that is dominated by avalanche effects. The impulse levels are varying. This is a clear advantage compared to the RS flipflop where the impulse levels are constant more or less. Varying levels means better modulation possibilities. Zoomed representation of impulses As I started my tests it appeared to me as if the spirits were surprised. It seemed they immediatly started testing the device with the typical sentence "Eins, Zwei, Drei.." what means "one, two, three,.." in English. "Eins, Zwei, Drei" Moreover I ecountered some anomalies. On one sequence I got a sound like an old rotary dial jack as it was used in old analog telephone systems. Dial Sequence Another attitude I observed was the tendency to emit sudden low frequency oscillations like these. And another strange encounter that I was facing was a a remarkable hollow sound, very faintly here. Apart from the fact that the sound was rendering a flying by UFO there was another thing that thrilled me. I had heard this sound before! Approximately ten years ago, before I became spiritual and before I was enlisting for ITC I was experimenting with modulated light. To put it simply I developed a simple light microphone with an photo transistor. I installed it in my car and was driving around while recording all the sounds of street lamps, neon lights, CFL's, headlights of cars a.s.o. In one of those recordings i catched the same hollow sound. For comparison you can hear here the old recording. Both sounds just differ in pitch but not in the general characteristic. Thus I already caught my first ITC recording 10 years ago or both recordings are something else not related to ITC. Who knows? A complete gallery of all sound samples can be found here. The sound of the voices is rather deep and distorted but most amazingly noise free. At the time I tested my design I used audacity denoising to convert impulses in more intelligible sound. I didn't know yet that Paulstretch was a better way to achieve this goal as denoising is. This is the reason why I want to run another test sequence in the future with Paulstretch signal processing. In a final evaluation it can be determined that the generation of spirit impulses by use of a neon bulb has lots of potential. Two weeks ago I have tried something with a very simple technique. I took a piece of plastic foil and crumpled it gently with my fingers. After recording the sound I almost found an ideal configuration of impulses in terms of frequency, pulse width and level that could be very well transformed with Paultretch. The impulses from the neon bulb are very similar to then one gained with plastic foil. The impulses are less "harder" in sound compared to the RS-Flipflop and timing and rhythm are very near to human speech. I think there is still unduscovered potential in this fascinationg steampunk-like technique.
  3. Funny idea. A thought came to my mind that water soaked up by a sponge would yield into electrical irregularities if you would route a current through it. I made a quick setup with two graphite electrodes in a soldering sponge. An OpAmp was used to amplify the signal. I got a strong noise rich in impulses. Voices in it which sound totally oversaturated. See the strong impulse blocks shooting out from the ground noise level. Voices are of poor legibility but very strong. Track Export.mp3 I am hypothesizing that all semi conducting media in granular form with irregular contact points, are forming an extremely sensitive but highly nonlinear transfer function between the hereafter and the physical realm. If we assume something like modulated energy coming from the spirits, this signal seems to push against an interdimensional border. This border could be flexible. If the signal amplitude energy pushes against it, maybe it becomes deformed and at uncertain trigger point becomes disrupted. For a short moment the barrier opens a hole like in a flexible plastic diaphragm and releases the ethereal amplitude maximum as an energy impulse into the physical realm. After this injection of energy the diaphragm closes again. The amplitude information gets more or less completely lost in this transformation process. This is the reason why the voices are extremely distorted. Only the maximum parts of the spirit amplitude make it through the barrier and are converted into spikes. The spike levels are only loosely related to the original spirit amplitude. Could this be a first thought for an ITC impulse model?
  4. Audacity is a perfect tool for ITC. If you use it consequently like I am doing since years for ITC you don't want to miss it anymore. To get Audacity you first need to download it here. After installation you can make some basic setups I will show you now and that are optimized for ITC. I configured Audacity mainly along with its usage, thus everything I found out as best practice is empirically found. First go to Edit->Preferences: Another menu with lots of tabs is showing up. Here we can make all the basic settings we want to use in order to facilitate our work. I just will talk about the tabs that are useful for us. Leave the rest of them in default settings. The first tab contains settings for the input/output devices. Since all my ITC devices are using the line input of my soundcard it is favorable to specify it for the recording device. In my eyes it makes sense to set mono recordings as default. Stereo tracks don't make sense in ITC. The rest can stay as it is. Next interesting tab is the recording tab. I valued it as useful to put a default track name "ITC Track" in the Custom Track Name field and enable the naming extension by time and date. Quality settings are important. Sometimes we need to do a lot post processing. Therefor it is favorable to set the sample rate up to 95KHz instead 48KHz and 32 bit Float to preserve enough reserve in accuracy. For the same reasons i selected the highest quality settings for the Sample Rate Converter as shown. For copyright reasons Audacity comes without an MP3 encoder. We will do all our exports in MP3 since we want to save disk space and bandwith. Installing an MP3 encoder is not much of a problem because you can usethe famous Lame encoder. It's free and you can get it here. After installation it should be visible in the Libraries tab. If not use the buttons for FFmpeg Library to show Audacity the installation paths. The Effects are not important for the start but later we will use the Nyquist extensions. Thus it makes sense to check the respective box already. Now restart Audacity. In the lower left corner you should see now the new Project sample rate of 96.000 Hz. For the audio position check hours, minute, seconds and milliseconds and for the selected areas "Start and Length of selection". This is useful if me measure duration and spacing later. In the upper left corner you should see now Line input as default. Now you are done. Audacity is now ready for ITC.
  5. In the past 2 weeks I was experimenting with a circuit that utilizes race conditions on the R and S lines of a digital flipflop. My idea was that spirits could influence the runtime of clock signals and thus generate fluctuations in the dc component of the output signal. I had a nice noise signal and also fairly good voices. So far so good. While trying to improve the signal to noise ratio I accidentally ripped off the driving clock signal from the flipflop. To my utter amazement the voices still remained. Then I methodologically stripped off any electronic components until everything that was left was the final OpAmp stage that amplified the flipflop signal for the line output. Voices were still there! After some more investigations I finally found out that the noise was coming directly from the resistor network I used to bias the OpAmp. It was a simple 1:2 voltage divider made of two 2k2 resistors and by pure accident I took two very old carbon compound resistors. As I replaced them by metal film resistors the signal was gone. So my current circuit I am using now is this one. The signal it produces has much from the coherer setup but the voices sometimes are really good. The behavior of this circuit is varying. Sometimes I got almost clear voices and then later more spiky ones with good modulation but bad quality, some voices that are more the envelope function of speech and some voices are completely over limit! The difference compared to the coherer voices is that the signal to noise ratio is really outstanding and I could decode lots of them without post processing even though they are still hard to hear for an untrained ear. I was totally fuzzied that I suddenly get strong EVP signals from a simple biased OpAmp. Even with a polarized cap from the center of the voltage divider against ground I still got strong impulses (the envelope style voices). I never had this before and I built hundreds of amplifier stages like this, so this must be something new! From a session I did not archived I deciphered the following. The spirits picked up my idea of working with graphite/carbon and conducted experiments and researches to "meet me in the middle". They said it is my concept they are realizing and called me "professor". I don't know if this an academical grade in the hereafter but it certainly was motivating anyway. Then they said it works very good but I should give them more time to improve their technology. I talked to Michael Lee in our research group and he quickly replicated my circuit. It was almost similar to a design he made a year ago and called "whistler". He sent me a sample and it showed many of the qualities I had found in my audio exports. threema-20210702-141833834.aac I have the feeling that maybe we will face a breakthrough caused by research done in the hereafter and a new portal is starting to open. I would like if more people would replicate this easy circuit to check if they get similar results. Enevlope style voices Du hast den Kontakt.mp3 Du redest mit uns.mp3 Export.mp3 Spiky voices Bis sieben Uhr fertig.mp3 Export.mp3 Echo.mp3 Wavepad 2021-07-03.mp3 Distorted and strong voices Ergebnis.mp3 Unknown.mp3 (Here the first part is unprocessed and the 2nd is the same but processed) Very strong voice - processed.mp3 More clear voices Gleichstrom.mp3 Lassen sie sich bitten.mp3 Montag Verluste.mp3 Wir treffen uns.mp3
  6. In my ongoing research to manufacture my own CCRs I again experimented with epoxy glue mixed with graphite. This time I wanted to achieve lower resistance values and I mixed in a lot of graphite. I placed the 'blob' between two thumbtacks I used as electrodes. The resistance value is around 13 KOhm now. I placed this new component into my circuit and recorded the signal. A lot of crackling noise was in and some fairly good pk modulation. Here is the raw audio:Sample Thumbtack CCR-2.wav Here is the processed audio:Pocessed Sample Thumbtack CCR-2.wav
  7. InI thought about making a document template for ITC session protocols where you can enter when, where and what you where doing in an ITC session. I think there are some templates around in the community but I would like to take advantage from the fact that lots of skillful people are in this forum who could participate with their knowledge. I own a program named "PDF Maker". You can design pdf documents with it that can be filled out electronically and then saved as a fix(non editable) pdf. Or you just print it out and fill it out by hand. I would like to discuss what data is useful to be documented and what not. I think a minimum set of data should be: Name of experimenter Date and time of session Type(Image/Video/Audio) Referenced files (image/video/audio) Environmental conditions? Interpretation of received content Peer reviewed? Any more ideas?
  8. 1. Abstract In this document I will describe how I accidentally unveiled one of the most powerful and simple ITC devices I was able to realize since the start of my engagement with ITC years ago. I found it by spiritual guidance. The experiments described in this document are a spin-off from my various coherer experiments I did before. Sample of a very strong voice: Very strong voice - processed.mp3 I will show how I came to discover the ITC properties of carbon composition resistors, how they do perform in ITC applications and also what processes I developed to identify and optimize their ITC-relevant parameters. I also have a theory about the working principle in the observed phenomenon that is aligned with the concepts I have laid out in my paper "The Coherer Effect", published in the Varanormal section "Papers - Research, Theories, Concepts" As usual I will share all schematics, pictures and test results in this document. My hope is that lot's of people are going to replicate this most simple device and make up their mind on their own about this stunning phenomeon. 2. Preface Personally I thought my quest for the coherer effect in ITC ended by publishing my paper "The coherer Effect" (See the Varanormal section for papers). In a way I felt "through" with this topic and I wanted to continue with investigations on direct microphone voices. There was one thing left I wanted to shift-in as a transitional project and it was based on an idea for a digital ITC circuit. I had the vague idea of using a clock signal to drive the SET and RESET lines of an ordinary digital flipflop simultaneously. Thus the digital output of the flipflop would be determinded by race conditions on the respective SET and RESET lines. Depending on what signal made it first into the flipflop the balance of 1s and 0s would be shifted up and down, causing a varying dc component in the signal that would carry spirit imprints hopefully. I got a fairly good noise from the circuit and also some pk-modulation (psychokinetic modulation from spirits). In my pursue to optimize the signal I accidentally ripped off the clock line from the flipflop. Strangely enough the pk modulation remained! Now I started to remove more and more electronic components from the breadboard methodically, always checking if something in the signal had changed. In the end everything was left was the final OpAmp (Operational amplifier, a widely used standard component in electronics to amplify signals) I used to adapt the signal level to the line input of my computer sound card. The voices still were there! After some detailed scrutinizing I finally could identify the reason for this phenomenon in a simple resistor network. This network was made of a simple 1:2 voltage divider I used to bias the OpAmp in the middle of the power supply range. Again, this is a standard procedure done in electronic design and absolutely nothing special. Thus the resistors were causing the voices and nothing else and the simple question was, why? The fact that makes everything what happened so strange is that, by pure accident, I picked two very old resistors from my component box just because they did fit very well mechanically into the constraints of my breadboard. These resistor were the remnants of a package of unused but scrapped components I literally had pulled out of the trashcan in the company I formerly worked for and that went bankruptcy 14 years ago. Those resistors were VERY old! I was bewildered by the strong modulation that came out of this hilarious simple circuit and I simplified it a bit to make it work with only one of those precious resistors. 3. The test circuit Fig.1: Schematic of test circuit This circuit is so simple that it almost isn't worth to loose a single word about it. Transistor T1 is a 2,5mA DC current source. The current flows through R1 which is one of the miraculous resistors. The current is calculated such that the nominal resistor value of R1 causes a voltage drop across it that is half of the 12VDC power supply. The Opamp is perfectly biased then. The circuitry around the OpAmp makes it a simple non-inverting, high impedance amplifier with an adjustable amplification between 56 and roughly 100.000. He also works as a moderate band-pass but this is not essential for the performance of this circuit. The modulation was pretty strong. Even with a polarized capacitor of 47uF across R1 there were strong impulses, however of course lacking spectral content. Voice with 47uF cap across R1 Du redest mit uns.mp3 Voices without bandwith limitation Bis sieben Uhr fertig.mp3 Export.mp3 Massnahmen.mp3 The following pictures are showing the remarkably well pk modulation and signal to noise ratio. Fig.2: pk-modulation and SNR The left picture shows a signal with strong bandwidth limitation while the right one is just limited by the band-pass features of the OpAmp. Signals like that are rare! What confused me was the low amplification I needed to get huge noise amplitudes from this circuit. I adjusted the potentiometer roughly to a value of 100 ohms. This gives an amplification factor of 560 or 55dB. If you take usual noise amplitudes into account from semiconductor elements, or even thermal noise from resistors, this low amplification is absolutely a joke! Normally you would need amplifications of 10.000 and more to get a reasonable noise amplitude and I could generate a one Volt amplitude easily by applying just an amplification of 560. That means the noise was incredibly strong! 4. Curious Incidents The results I accidentally gained from this little circuit made me scratch my head, to say the least. I discussed the phenomenon with Michael Lee in the research group and because the circuit was so simple he replicated it fast. However he did it with a simple voltage divider instead of my current source but this made no difference regarding the observed effect. Besides, the circuit was almost similar to one Michael had tested a year ago and he called a "whistler", because of the flute like sound it creates. Michael sent me back an audio sample and it showed the basic characteristics of what I had observed. However I do not know if he also had carbon composite resistors at hand as he replicated my circuit. Audio sample from Michael Lee: threema-20210702-141833834.mp3 Fig.3: signal from Michael Lee's circuit To make further investigations easier I decided to make a more advanced prototype from my breadboard setup and quickly constructed this little device. Fig.4: Carbon Composition Resistor Prototype After finishing and adjusting this device I let it run on Varanormal stream 4. It gave a very nice and strong noise but apparently, no pk-modulation and thus no voices! I double and triple checked every component in the circuit but everything was running perfectly in terms of electronics. The effect came out of nothing and seemed to have disappeared again into the void? Slowly my head became dizzy from this strange behavior. Luckily I still had my breadboard setup that continued to function. The logical thing was to exchange the resistors. Both resistors were from the same type of carbon composition resistors (CCR) of course. Fig.5: Comparison of CCR and standard resistor The CCR is the bulky resistor. The other one is a standard metal film resistor. Both resistors I used in my breadboard and in the prototype, were the bulky one type. After exchanging the resistors I had pk-modulation in my prototype and none in my breadboard. So it became clear that necessarily not every CCR of the same type gives pk-modulation. I valued this insight as very important! I found some more resistors of the same type and luckily also some that gave good pk-modulation. Finally I had the prototype running and did more experiments. Recording the stream several times in small chunks and analyze them turned out to be favorable. Since I am well trained to decode even noisy and distorted voices I was given some very strange messages. From what the spirits told me in their, sometimes weird structured speech, was that they picked up my idea of the coherer and started to conduct experiments on their side, obviously with the goal to "meet me in the middle". I was named as "the professor" even I don't have a beard. Two development streams, one starting in the physical world and another coming from the hereafter, mutually connecting somewhere was the idea. They said they utilized my concept of carbon coherers and that there was more to follow. The asked for more time to adapt "their circuits". Strong voice burst recorded 2021-04-07 in the morning:Very strong voice - processed.mp3 A little later a German ITC friend of mine contacted me. She usually is doing sessions with discarnated people and other "beings" and she said she suddenly heard my name. And then, again a little later, a person with mediumistic skills who do not wants his identity being unveiled, reached out for me and said he received messages addressing me. In these messages I was told to continue the research on coherers and especially organic ones (made from carbon). There would be a higher principle behind it for a new type of understanding of ITC coming in the future. Remember I decided weeks ago to quit with all that coherer stuff but this was a new context starting to open and I was willing to pick up the ball. 5. The physics of a Carbon Composition Resistor Time now to specify what we are talking about. A carbon composition resistor or "CCR" is the first type of resistor that was commonly used in the uprising world of electronics starting somewhere between WWI and WWII and extending into the beginning of the 70's. This type of resistor was easy to produce, it was cheap and it was bad. CCR's were known to have very high manufacturing tolerances, they changed their resistance while being soldered, by the influence of high voltages or just by lying around in a stock for years, at a rate of roughly 5% of their nominal value per year. Ah yes and they were known to produce much noise. So electronic engineers hated them but ITC experimenters should instantly fall in love with those bitchy beasts. The answer why one resistor produces noise and good pk modulation and the next one not, obviously is caused by the individual behavior of those components. Technically a CCR is a bunch of fine powdered carbon mixed with resin. The carbon particles are embedded in the non conducting resin and depending on their concentration in the resin compound they give more or less conduction that makes up the resistor value. Of course the image of millions of small carbon particles with loose contact among each other immediately made me think of a "frozen" coherer and explained very well the ITC results I obtained. For me two important question were arising from this context: Are there any measurable parameters to identify a resistor with good pk-modulation? Are there any means to turn a CCR with bad or no pk-modulation into a working one (in terms of ITC)? 5.1 High Voltage treatment I used an old high voltage generator I built years ago to bombshell a CCR, which had a very bad pk-modulation, with 5cm sparks. Maybe this was a little too much since the CCR decreased his nominal value from 2.2 KOhm down to 1k ohm and showed no more noise, let alone pk-modulation. So that was not the right treatment. I decided to proceed more methodically and took what I could find of the 2.2 KOhm CCR type I used and measured their real impedance and their pk-modulation. The results are as follows, ordered by impedance. Fig.6: 1k-CCR - noise and modulation You see the damaged 1k resistor (real impedance) was literally dead. Please skip the lower part with the heating for now. I will come back to this later. Fig.7: 3.27KOhm CCR pk-modulation Another resistor had a real impedance of 3.27 KOhm. This is an increase in impedance of already 50% of the nominal level. An electronic engineers nightmare, so to speak. But you can see there is a remarkable amount of noise in it and roughly 40% of pk-modulation. The pk modulation was estimated from the ratio of the maximum amplitude swing compared to full swing. Fig.8: 3.75KOhm CCR pk-modulation The next resistor really stirs up the dirt. With a real impedance of 3.75 KOhm the pk-modulation reaches 90%! Fig.9: 4.2KOhm CCR pk-modulation The 4.2KOhm CCR puts the end point to this row of measurements. It reaches about 95% pk-modulation! Obviously there is a stable relationship between the rising impedance level of the resistors and their pk-modulation. Thus we can put an answer to question one, saying yes, there is a measurable parameter. We just need to check the real impedance and if it is approx 70% or more OVER the nominal level we have a good pk-modulation. 5.3 Heating Now let me come back to the thing with heating a CCR. What I found out in the internet was that CCR's are increasing their impedance during soldering, that means while applying heat to the resistor. It was logical to take the damaged 1 k resistor and apply some heat from a lighter to it. In fact the resistor value climbed up to 1.12 KOhm what gives us a rise of 12% in impedance AND an increase of noise from -56 dB up to -48 dB. A noise gain of 8 dB is not bad. Sadly further heating cycles did not yield into more noise gain, so this mean to improve noise and pk-modulation is constrained by definition. 5.4 High Voltage Treatment V2.0 To conduct more experiments I purchased a bunch of 15 KOhm CCR's from Morganite, a former british manufacturer of resistors mainly used in radio equipment up to the 70's. I had some nice discussions about CCR's and their physical and "spiritual" properties in the forum with Ron and especially with Jeff. He told me that Morganite was known as the engineers curse because of their unpredictable behavior to change their impedance. I did a lot of internet recherche because Jeff told me that CCR's were conditioned by exposing them to a high voltage. This treatment was more or less emulating what the resistor was facing in the electronic circuits of yesterday that mainly were made of vacuum tubes and their corresponding high anode voltages of 250 VDC. So I decided to give it a try and took one of those Morganite beasts and measured the noise coming out on my breadboard setup, then pulled it out, hooked it up to my power supply in my shack and "baked" it at 80 VDC for some minutes, where it became moderately warm. Now see the results in the following figure. Fig.10: Comparison of 15 KOhm Morganite CCR before and after HV treatment Before the treatment the noise level was at -39 dB in average. After 3 minutes of treatment it climbed up to -13 dB. A noise gain of 26 dB by just some minutes of HV treatment AND I got some pk-modulation for free on top! I repeated the experiment with another Morganite resistor and let it bake for 4.5h at 80 VDC. Again the noise level was increased but I almost got no pk-modulation. OK, I thought, resistors are individuals! I left it aside for a while and then turned it on again to verify my measurements. First there was nothing but then I realized a thick oxide layer on the leads and scratched it away. After switching on the circuit again my headphones tended to explode, the noise signal was over all limits and drove my amplifier into saturation. I also observed uncontrolled self oscillations. There is definitely a need to investigate this in more depth. We now can also put an answer to the second question we formulated. By applying a moderate HV to a CCR we can increase noise and pk-modulation remarkably. 6. Outline of a possible explanation I already wrote a lot about coherers in ITC and hypothesized how they might do what they do. So, in this article I just want to emphasize again that a carbon composition resistor shares a lot of similarities with the graphite coherer I scrutinized so deeply. Both devices work with fine carbon particles and loose connections. They produce the same voice characteristics, often distorted voice signals with exceptional signal to noise ratio. The CCR has some benefits compared to the standard graphite coherer, since it is more stable. Coherer receivers occasionally require readjustments while the CCR retains his characteristics. The problem is that not every CCR is a good "carbon coherer". The quality of fragile interconnections between the carbon particles that are so important for a good pk-sensitivity, is a random output of the manufacturing process. Generally aging and HV treatment are good for the CCR in ITC applications. This is logical because aging likely means a degradation of the carbon contacts. The HV treatment causes molecule migration and thus is making the fragile interconnections even more fragile. This increases the quantum tunneling effect and thus the noise generation and pk-modulation of the CCR. If this is true then CCR's with higher impedance values could yield better results in ITC. Their share in the mixture with resin is smaller. Lesser particles mean lesser and more fragile interconnections and more noise. This is yet to be proven. To round off this article I present some samples to you that were decoded by using KRISP. Zwölf ist hier.wav Chesapeake is late.wav Ears button.wav 7. Epilogue I'm hoping for people in the community willing to replicate my findings and sharing their results with me. Since now I am committed spiritually to deeper investigations on this topic I'd love to have some comrades at my side to accompany me on this journey. My special thanks go to Michael Lee, Jeff and Ron who gave me so much support. Thank you guys! Jetzt wird Kontakt.mp3 Habt ihr ganz gut gemacht.mp3
  9. Since two weeks I am scrutinizing the effect of lose point contacts that are in move and thus creating a kind of sliding or scratching noise since I observed spirit voices manifesting in sequences several times when I turned a potentiometer shaft. I now tried to utilize this effect deliberately. Please see the video. The Graphite Slider effect_LR.mp4 Transscripts of some of the messages I got in german (translated for you into english) i put here. They sound very enthusiastic but I know I need to be careful since I am developing clairaudience and I cannot rule out that some wishful thinking interferes with my perception. This is running good All will do this now We use something similar on our side You can do it You recognize immediatly A coincidence succeds Special friends are present today Then I got some very personal messages related to my deceased father and myself that touched me deeply but this is nothing to put here. Can post audio samples here. However they are difficult to understand for untrained ears. This is still no spirit news channel.
  10. Maybe this isn't quite the right section for my topic but I need to put it somewhere. Let me tell you what I experienced lately. In the night from 14.04.2021 to 15.04.2021 I had an exceedingly realistic dream. I woke up first at 00:02 and had to go to the toilet. Already at this time I felt that something was different, something was brewing. A mixture between slight fear and expectation overcame me, so I turned on the light in the bedroom and in the bathroom. When I went back to bed I fell asleep with the feeling of the presence of something in the room. In the dream I was on the job at the company Bergmann Automaten, where I had actually worked in this reality from 1997-2006 in Rellingen. It was totally real, I was really there! I felt a great disturbance because something about this other reality didn't feel right. The Bergmann-Automaten company in the otherworldly reality was very different from the one in this reality. In this reality, the company was an unadorned medium-sized flat building made of Eternit and glass with a rear extension on an asphalted site that was not particularly large. In the other reality it is a large area which consists of rather overgrown green spaces and old trees, almost like a park. In between are many larger and smaller one-story low buildings made of old red clinker. Inside are wooden tables, desks and wooden holders for tools, drills, semi-finished products, etc. Large dirty windows on all sides let in light. One enters through a large wrought iron work gate, about 10m wide, set into brick foundations on the right and left. Behind the gate is a worn area of earth with remnants of grass, weeds and crushed stones. One then walks directly toward the only multi-story building on the site. It has two raised floors. On the first floor is a sort of large warehouse, probably for employee sales of various items. On the upper floor is a canteen. From the architecture and landscape everything is very green, a close interweaving of nature and architecture. The buildings are always made of red brick, often with additional floors of wood. Several buildings are half-ruined, overgrown with weeds, rusty metal and machine parts are lying around. Some of the buildings are warehouses, others contain prefabricated parts. There is milky sunlight over everything. There are no harsh shadows. People are happy and relaxed. They like to work, there is no hustle and bustle. They seem balanced and content with their lives. Everything has a certain romanticism and in terms of architecture it is a mixture of what would have been in our reality between the 50s and 80s. But it is not like our 50s-80s architecture was, it is different. It's as if the people there decided not to introduce the modernist style of architecture with steel, glass, concrete like ours, but to stick to materials like stone and wood, moving forward into a close connection between architecture and nature. Back to the plot. I know that something is wrong. I remember events in my job that did not take place in this other reality. It seems to me that I used to work for a company called Weinmann and then joined Bergmann. In this reality it is the other way around, I worked at Bergmann until 2006 and then changed to Weinmann, where I still work. In my distraction, I seek out my colleague Bruce in the corner of a workshop. He also existed in this reality at Bergmann between 1997 and 2006 and he also looked the same as in the dream with his bald head. I greeted him, started with some small talk and then tried to direct the conversation to my problem. I said "Bruce, can you imagine living two different lives at the same time, in two different places, possibly married to two different women at the same time and not knowing about this duality?" He looked at me dumbfounded and raised to an evasive answer. Then a colleague came around the corner, in her gray work clothes, who had overheard the conversation. "I can well imagine that, she said. Maybe there are parallel worlds." Then I asked "Bruce, how long have I been with Bergmann?" and Bruce replied "15 years". Then I was in the canteen of the corresponding building which I had already described. I was alone there. Simple wooden tables with 4 chairs each filled the large room. On one of the inner long sides was a kind of long bar or counter, several meters long and behind it compartments for dishes and cutlery. I was near one of the corners of the room, milky light filtered into the room through the large panes. I had a hanging folder of brown cardboard in my hand, with hanging hooks on the sides, and was sifting through the contents. It's hard for me to remember but I think they were pay stubs I was looking through. They contained my pay stubs from Bergmann and Weinmann. I don't know exactly what I found there, but I remember something I read at the very end that threw me off course as if a vortex was engulfing me. In the pay stubs I found out that they did not match my reality there and that I seem to have a second life in another reality, the one where I am writing this text. After waking up from this dream, or returning to this reality, I recorded my impressions with the voice recorder. I then went through my head again what Bruce had said, that I had worked at Bergmann for 15 years. In this reality, the Bergmann company went bankrupt 15 years ago and I then came to Weinmann, where I am still working. In the otherworldly reality it seems to have been the other way around, I was first at Weinmann and then at Bergmann. The date of the upheaval was the same in both realities but the consequences were completely different. I also remembered to have dreamed earlier about the other company Weinmann. It is located in the "other" Hamburg, which differs from this one by exactly that outdated architecture paired with a lot of nature. In the other Hamburg, too, there is a harbor with cranes and quays and docks and warehouses. There is a square paved with cobblestones. The sidewalks are lined with small bollards which are connected with chains and separate the sidewalk from the street. I used to go to work there by car and searched for a long time for a parking place. There was also a parking garage where I parked from time to time. It is small and quite narrow. The Weinmann company was in a very large and unadorned cuboid building in a brown-beige color. The first floor consisted of a very large glazed entrance area with a sort of lobby from which elevators led to the various floors. The building was not as beautiful from the outside or the inside as the other clinker brick buildings I saw there. However, the interior design was pretty much 60's style, with wood paneling, thick carpets on the floor, and woodcuts on the walls. The offices were large rooms, some of them winding, with simple wooden desks and drawer cabinets. Old telephones on the tables with dials and I remember an old heavy laptop with a small black and white display that was my work tool. I also sometimes rode to work on an old motorcycle to Weinmann and later also to Bergmann. While Weinmann was located in the city center, Bergmann was far outside in the countryside. I remember driving a long time over dirt roads before I arrived there. In the otherworld apparently I live in a parallel reality to the "old country". In this reality it is a nature-loving fruit-growing area south of Hamburg. In the otherworldly reality it is similar but architecturally different (as already described). There a river runs through the middle of the place and there is a car and motorcycle workshop there, which I visit regularly with my vehicles. I have also bought cars there. I apparently live there in my own house, have already moved within the area once and have a small second home for rent in the “parallel” Hamburg in the inner city area. Something else from the dream, I witnessed a murder. I was with someone in the city (probably Hamburg), in a small hotel. Again, the architecture was as described at the beginning. The lobby was very small, a typical long counter of polished dark brown wood and behind it compartments for keys, mail, old telephones, etc. To each end of the counter were small entrance/exit doors that were open. Opposite the counter were stairs going up and down to other floors. A young woman was lying on the floor in front of the counter. She was small (about 160cm), had short black hair (bob hairdo), wore a tight black shirt and was not older than thirty. With her right arm she pushed a man away from her who was leaning over her. With her left hand she pushed his hip away. The man was tall (about 185 cm), slim, wearing a pigeon blue cotton shirt with pale blue and green criss-cross pattern. He had an 80s man's hairstyle, so his hair was blow-dried a little fuller, his ears half-covered, and his hair down the back to the nape of his neck. The hair was auburn and he had a mustache of the same color. He smiled and stabbed the woman twice in the neck with a medium length knife. I still have the sound in my memory when the knife cut the skin, horrible! But before the woman died she also rammed a short knife into the man's neck with her right hand. My companion and I quickly rushed past the scene. Probably we fled. The strange thing is that this parallel world remains consistent in its nature throughout all my dreams. There is always the architecture I described, the close connection between living and nature, the use of wood and stone, the milky light, the joyfully living people. There are also restaurants, cafes where I was with my wife. Yes there is also a “parallel” wife! There is a mountain right next to the "other" Hamburg with a huge church ruin and an abandoned cable car station. In this Hamburg there are no mountains or even hills. In the otherword there is a parallel allotment garden association mirroring the one in my childhood where we had a garden. There is a leisure and vacation center with a big old wooden barn at the entrance and in the entrance area an artificial fountain that is half dilapidated with a Neptune figure in the middle surrounded by lots of sand. So it's the structures of a complete living world that intertwine, housing, living, working, leisure, transportation, it's all there. Where is this place? Strangely I had similar experiences a year ago. They seem to happen always in April and May in the night between 0:00 and 03:00. Could this be the temporal opening of an interdimensional portal connecting me with other fragments of my inner self living on parallel planes?
  11. I had this idea long ago. Using a rubber tube coherer that makes some noise. Amplifying the noise and driving a loudspeaker with it. The coherer is mounted on the loudspeaker. Thus we get a closed loop. Today I realized this setup with a pair of active PC loudspeakers. The coherer is mounted on a cork that is glued to the cone of the loudspeaker. VID_20201212_130008.mp4 I could regulate the coherer bias with a potentiometer. Of course the circuit very easily gets kicked into self oscillation. The trick is to keep the bias so low that it is just before self oscillation. The signal contains burts and areas where the signal is more calm and continous. I recorded the signals with a microphone in Audacity and applied Paulstretch and denoising. Andrés sie ham dich verwirrt (Andrés, they fuzzied you): Andres sie ham dich verwirrt.mp3 Anführung (Remark): Anführung.mp3 The following samples are doubled. At the beginning aou will hear the raw signal and afterwards the same signal processed. Ich hör (I can hear): Double_Ich hör.mp3 Alles ohne Sacher (All without Sacher):Double_Alles ohne Sacher.mp3 Sie sind noch da (They are still here): Double_Sind noch da.mp3 Sind sie doch auch noch lange (They are still for a long time): Double_Sind sie doch auch noch lange.mp3 In einem Serkra aufdreht (Turned up in a Serkra(?)):In einem Serkra aufdreht.mp3 Wir entscheiden (We decide): Wir entscheiden.mp3 The results are not groundbreaking but definetly better than the ones I gained with a static coherer. Double_Ich hör.mp3
  12. This paper has a scientific focus and in it I'm trying to outline a model for voice ITC in the particular case of coherer reception. I dedicated this work to the whole Varanormal community and especially to Jeff. I wouldn't have made it without all of you. The Coherer Effect.pdf
  13. I started a new series with experiments with LDR's (Light dependent resistors. These are semiconductor components that are changing their impedance if exposed to light. I had the vague feeling they might produce usable noise for ITC under certain conditions. My investigations are not finished yet and currently I am unsure if this is yet-another-noise-source (YANS) or if there is more in it. Results are ambigous so far. In my current setup I use a yellow LED with a low current of 0,5mA that projects it's light onto an LDR. Both are sealed in a black plastic tube to protect the LDR against ambient light. The voltage across the LDR is pre-amplified and recorded. It is pink noise so far. I combined the noise output with Michael Lees ML application. From a sequence of roughly 4 Minutes I could distill 45 audio samples which are pretty goos. Most of them in german but also some in english. Andrés: Andrés.mp3 This audio was nice. I got a "hangup" in the ML algorithm that cause a series of phonem repititions. Directly after that incident I got this message. "Es hakt" -> "It hangs":Es hakt.mp3 "Massen Krieg" -> "Masses war": Massen Krieg.mp3 "She's a christ": Shes a Christ.mp3 "Sie war der Anschiss" -> "She was the scold": Sie war der Anschiss.mp3 "Streber" -> "Nerd":Streber.mp3 "Our answers are keen": Our answers are keen.mp3 "Er verwandelt sich" -> "He changes": Er verwandelt sich.mp3 When my experiments are finished I will put a detailed documentation into the experiment section. Moreover I am planning to write a study paper about using an LDR for ITC provided the results are encouraging.
  14. Most ITC aficionados start with the gold old germanium diodes as noise sources for ITC sessions. The noise structure is more rough compared to silicon diode noise and the noise much louder than with the latter ones. The best diodes for ITC I ever tried were the old OA9. These are very rare now and probably obsolete. Years ago i stumbled upon an article about the work of Oleg Lossew. He was a russian radio technician and the first one who scrutinized semiconductor properties of certain materials like crystals and sulphite- and oxide layers. He was supposed to be the first one who encountered the LED effect in carborundum crystals as well. Then I found the website of Nyle Steiner who turned Lossew works into real practice. I followed Nyles advices and fabricated a zinc oxide substrate by burning a piece of zinc galvanized iron in the flame of a butan torch. A layer of white and black zincite flakes was the result. If you now take the iron sheet as one electrode and a spring beared steel needle as a second, slightly touching the zincite flakes and you route a small current over a resistor in series through it, then you'll hear a strong noise if you are tapping the audio at the zincite electrode and pass it over to an amplifier or recorder. I made a real device from this setup. The noise is pretty strong with spirit voices but of very low quality. However if you give the spirits some time to align with the physical properties of this setup, it will go better. A drawback is that the bias you need to establish by properly placing the needle is unstable. It take some seconds to find a place for the needle tip that gives good noise. Sadly by the time because of the weight, the needle will press itself though the soft flakes and the bias will change. So readjustment or even replacing of the zincite substrate will be necessary. Electronic schematic of Zincite EVP-Receiver Making an EVP receiving device
  15. 1. Abstract My first laser experiment was a failure. But now as I had dived into this area I wasn't willing to give it up too fast. In our group discussions we talked about laser interferometry. This well known technique is based on the overlay of two laser beams coming from the same source and running over different paths by use of a beam splitter. If both beams come together again they are creating an interference pattern. This phenomenon is due to the oscillating nature of light that shows a sinusoidal waveform. The cool thing about LI is that it is a very susceptible measuring technique for tiny changes in the laser path. The wavelength of a laser is measured in nanometers. These are the thousand-billionth part of a meter. If a change of the path lengths appears in one of the laser beams that comes to fall in this magnitude there will be a tremendous change in the interference pattern. My idea was that maybe spirits could project enough energy on the path to cause such changes. 2. Principles of laser interferometry In the schematic above you can see the classical "Michaelson-Morley" interferometry setup. A laser beam, emitted by a laser diode, is hitting a beam splitter in an angle of 45°. The beam splitter merely is a simple sheet of glass. It lets pass a part of the beam and another part is reflected. The difference between a beam splitter and ordinary window glass is that a bleam splitter is covered with a thin layer of reflecting material so that the original beam is split in two new beams with each 50% intensity. A normal sheet of glass does not provide the 50:50 ratio but later it turned out that this fact was not that important. Both beams go over separate paths that are having a mirror placed. The mirror throws the beam back to the splitter. There again they become split and one part of each beam now runs through a biconvex lens. The lens is projecting both beams overlayed on a screen. In the area on the screen where this happens a characteristically interference patterns appears, a structure of bright and dark lines. If you now would place a small photodetector at one of these lines so that it just gets the light from this line you made one of the most susceptible instruments on earth. If anything on the laser paths changes down to a fraction of a nanometer the light of the lines will change. The dark lines will become bright and vice versa. You just need to amplify the signal from the phototransistor a bit and you are done. A good article covering laser interferometry can be found here. An introductional video from Varanormal can be seen here: Varanormal video about laser interferometry 3. Mechanical setup While the previous setup was tricky, this one was challenging! As I already said in the previous chapter, the slightest change of the laser paths yields into a strong change of the interference pattern. Thus I had to make everything solidly fixed. Another challenge was the needed accuracy. Mechanical setup of laser interferometer The beam needed to be split. Therefore I obtained some pretty expensive and rare beam splitters, small sheets of glass with a very slight reflection layer on them. Everything, splitters, mirrors, diode and phototransistor should be adjustable but also capable of being fixed. Otherwise the laser beam would be defocused permanently. Thus I used magnets as mounting bases and angles and screws for the splitters. The phototransistor was placed on a threaded rod where you can adjust its height by using nuts. I placed it accurately so that it was getting light from one interference line, more or less. 4. Electronic schematic As you see the schmatic is simpler compared to my first design. This is because some experience was getting in the considerations. The laser driver is now simpler as I observed I didn't need as much preamplification as I expected before. Also the receiver unit became simpler. The use of a phototransistor facilitated the electronic a lot and since the interference pattern changes dramatically we don't need so much amplification here too. To keep it simple I just used simple transistors. What I did was to throw in an AC hum filter. Most powers supplies and wall adapters are a mess in respect of audio applications and some capacitors and inductors help a lot to get around this annoying problem. 5. Test results Signal after switching on the laser The signals the LI produced are not comparable with anything I have investigated before. What I got was a noise, pure and clean sound, like ocean waves on a shore, going up and down in the amplitude very slowly. After switching on the laser they appeared more rapidly but then calmed down more and more. I think there are temperature effects playing a role here. When the laser heats up it affects the length of the laser paths and this signal calms down the more the temperature distribution reaches equilibrium. But this is just a hypothesis. It does not explain the up and down of noise. The signal appeared to me like energy waves. Energy wave in detail The spectrum of the signal was a little weird. I was used to the more or less spectral compositions that are declining with 1/f but this spectrum showed more of a bandpass characteristic. Spectrum of interference signal The first experiments I did without any laser modulation to make a slow approach at the start. Then I found voices. They were scattered unevenly over the signal. Sometimes they occurred very strong when the energy wave was reaching it's maximum and sometimes they hid as whisperings in the calm areas. An example of a strong sound (Denoised): "Wir werden noch mehr" An example of a soft sound(Denoised): "Wo Licht?" Another example (Slightly denoised): "Der Arme stirbt" This was impressive by its simplicity: "Hallo?" Basically I got two types of voices, fast ones and slower ones. The fast ones I needed to slow down with the tempo function in Audacity and they became a more vocoder-like quality. Another thing I observed was that the most voices appeared shortly after switching on the device. This phenomenon I was already facing with direct microphone voices in an extreme manner. By some miraculous effect it seems that the energy for the voice transmission is stronger after switching on the equipment and decreases by the length of time. The authors Spirik & Loos also reported this phenomenon in their book "Nachrichten aus dem Jenseits" A gallery of recorded voice samples can be found here. 6. Anomalies It's always weird to talk about anomalies in ITC that is regarded as an anomaly itself but since we experimenters see ITC as a normal part of our life we can talk about anomalies in a sense that we observed something we haven't expected. I want to put right here at the beginning that we currently have no explanations for the observed effects. Thus I will only document them here without putting any theories or assumptions so far. 6.1 Bumps I called them Bumps because they resemble a very deep bumping sound. They normally occur in a pair of two: "Bump" 6.2 Spooky Sound I had no better designation for this sound because it really sounds a bit spooky, like a soft howling voice: "Spooky Sound" 6.3 Laser shots Sound pretty much like the laser shootings in StarWars: "Laser Shot" 6.4 Hum bursts I think these are also voices but they come in like a strange humming wave: "Hum Burts" 6.5 Tones This is the weirdest thing we observed with the laser interferometer. To be honest we actually don't know if it is really a paranormal phenomenon yet. It is an ongoing research to discover what is behind this and we will post our proceedings in one of the blogs soon. We oberved the "tones" only after a while after we employed the interferometer as an audio stream for long term investigations. The tone is sudden and very strong, having an outstanding low frequency burst with a duration of almost exactly 1s. Hear: "Tone" Time domain signal of tone The tones are following special rules I just want to put here. They were found empirically. Width of tone is always around one second with very low deviation The distance between two consecutive tone in a group are generally 1.5s, 4s and 9s. There may be some particular distances that deviate from those values The dominating frequencies are basically 27 Hz, 70 Hz, 129 Hz, 227 Hz, 327 Hz Don't ask us anything about the meaning of these tones yet. We have no idea! 7. Evaluation In my eyes the first steps and results in laser interferometry are opening up a complete new field of research. We have only begun to lift the cover a bit. What now is needed is a more stable setup that I already developed and it will be described in a following topic. Then we can do more long term experiments. This is really something I would like to get some volunteers aboard to analyze the huge data we will gather by the time in search for voices and tones. Anyone is welcome to participate!
  16. 1. Abstract In our group we are collaborating in the research of the principles of the manifestation of ghost imprints in audio, image and video signals. We conducted an abundance of experiments with very similar outcomes. More or less the voices and images seem to pour out everywhere while the used technique does not seem to play the major role always. The main question for me from a more mundane point of view still is where in the chain of noise generation, signal conveying, transformation and reception is the place and the moment where the spirits break through to manipulate the signal leaving their imprints in it? Is this a localized phenomenon, is it bound to time? To anticipate the result of this experiment, I did not find the answer but I maybe can shed some light on a possible explanation. This work is based on my results with mylar foil crumpling. I found out that this process gives excellent results in form of a signal that consists mainly of impulses. For some reason the amplitude and density of the impulses are resembling the rhythm of human speech. The Audacity function "Paulstretch" is very effective in converting the spiky sound into intelligible speech. Still I don't know why. This needs to be the focus of a separate investigation. Based on my results the conclusion could be drawn to synthesize those spiky signals with some abstractions and to investigate the results for spirit imprints. I was pretty sure that this would work but things turned out to be very different. Some more experiments followed the first one and in the end I am trying to draw an conclusion in the form of two hypothesis. 2. Analysis and synthesis of base impulses. Mylar foil crumpling is realized by taking a piece of mylar and softly pressing it with your own fingers, bending and crumpling it slowly. Mylar has a stiffness that is in accordance to it's thickness and material properties. From an abstract point of view the foil is constituted of an 2-dimensional array of small surfaces with spring characteristic and nonlinear behavior. Because of their stiffness these subareas don't follow the deformation of the foil immediately, instead they are storing the deformation work as mechanical tension. At some point the an area is overloaded with mechanical power and suddenly "pop's out", releasing it's stored energy in the shape of an oscillation. I found out that this oscillation is merely centered around 4KHz. In Audacity I cut it out as a single event. Image 1: A single mylar impulse You can see it is a damped oscillation as you would it expect from my previous explanations. This is the first important finding that impulses, spirits are favorably working with, are in fact quick and strongly damped oscillations. The idea was obvious to take those impulses and to construct a synthesized "mylar" signal from it. My original goal was to find a way to generate this signal electronically to facilitate the mylar foil technique. So I copied this sample and inserted it randomly in an empty Audacity track multiple times. I did this by hand because at this time I had no means to do this automatically based on a random function. I took care that the impulses were unevenly spread across the track since this is typical for human speech. Image 2: Synthesized Signal I exported the synthesized signal as a wave file on a SD card that I inserted in a MP3-loudspeaker box that could play the audio clip in a loop endlessly. Image 3: Test setup with synthesized signal The MP3-box was positioned in a distance of 30cm to my ITC microphone. The resulting signal was recorded in Audacity. My expectation was that the impulses would be influenced by the spirits. After the test run I aligned the synthesized signal with the recording to see the differences. Image 4: Source and result signal aligned The first surprise was that the resulting signal looked very homogeneously. After magnifying one of the spikes I could see that the resulting signal just showed an additional small oscillation, likely produced by the loudspeaker of the box itself. Image 5: Magnified signals This result was far from spectacular and showed just normal physical system responses. My impression was acknowledged after applying Paulstretch to the result. There was not a single trace of a spirit voice in it! Resulting signal:Test run-1.wav Resulting signal after Paulstretch:1872400553_Testrun-Mylar-Paulstretched-1.wav I repeated the experiments under the same conditions and gained the same result once again, no voices. Well not absolutely since I got one very weak voice but it was totally out of sync with the impulses and I frequently get microphone voices during my experiments. I see it as a spiritual contamination. Spirit voice in test run 2:Test run-2 voice.wav I did the test a third time and again there were no spirit voices, absolutely none! It was not just that my expectations were not met, moreover it was a real contradiction to my previous results where I got voices in varying quality and strength but at least always! 3. Repeating the mylar experiment The experiment results confused me and thus I decided to repeat the standard mylar experiment with a piece of plastic foil. Image 6: Repeating the mylar experiment Fortunately the mylar was still working. After paulstretching I could isolate lot's of voices. "Andrés, liebe deinen Vater" (Andrés, love your dad): Andres liebe deinen Vater.wav "Ich glaub wir müssen ächzen" (I think we have to groan): Ich glaub wir m├╝ssen ├ñchzen.wav 4. From mylar to synthesized signals The next idea I had was to use the mylar signal and to make it more like the synthesized one. The main difference is that after the impulses additional signals appeared that grew when huge spikes or densities of spikes injected more energy into the signal and decayed if the spikes became lower or lesser. These additional modulations are a home of the spirit voices normally i assumed. I thought if I could strip them away then I would get a suitable distribution of impulses but without the spirit modulation I could use to repeat the experiment described in chapter 2. So I wrote a Nyquist script that could set all values below a selectable threshold level to zero, thus in theory only the spikes would remain. Essentially this was a gating process. Image 7: Gated signals The first track shows the original mylar signal. Track no. 2 shows the paulstretched content of mylar signal where I extracted the voices from. Track 3 is the gated signal. You can see that the low level modulation is almost gone. Track 4 shows the content of Track 3 paulstretched. Most amazingly even after removing the spirit modulation parts from the mylar signal, the paulstretched version of the gated signal still contained strong voices. The modulation was even better as with the original paulstretched mylar signal! Then i decided to remove even more spirit modulation from the signal since it was thinkable that the different amplitudes of the impulse train of the gated signal still contained spirit imprints. Thus I wrote a variant of the Nyquist script that did not only removed the low level modulation but moreover was setting all impulse amplitudes to the same level. This way no more amplitude information was present. Image 8: Gated and clipped signal The first track shows the original mylar signal. Track no. 2 is the gated and clipped signal with no more amplitude modulation. Track3 is Track 2 paulstreched. By aligning the paulstretched signals from the gated and the gated and clipped signals I could see very easily substantial equivalence. Image 9: Comparing gated and gated/clipped paulstretched signals The upper track shows the gated and paulstretched mylar signal. The second track the gated/clipped and paulstretched signal. You can see the characteristic of both signals is identically. We can see a slight deterioration the modulation of the clipped signals compared to the signal that was only gated. Please note that not further signal processing like filtering or denoising was done here. Mylar-1 (gated and paulstretched):Mylar-1.wav Mylar-2 (gated/clipped and paulstretched):Mylar-2.wav Obviously you can do a lot of harm to a signal with spirit imprints and their footprint still is visible. The lower level parts of the signal don't play a major role for the spirit content and neither does the amplitude of the impulses. The core element seems to be the distribution of impulses and their varying density. I decided to go my way back to the synthesized signal with the new knowledge I gained. If the secret of success is lying in the impulse metrics than it should be possible to mimic the mylar signal by placing artificial impulses according to the same scheme. So I got back again to my original synthesized impulse signal. I took the gated and clipped mylar signal as a blueprint and placed the oscillation impulses according to the density of the mylar signal. Image 10: Magnified compare of composed and mylar signal The upper track shows the composed signal and the lower one the gated and clipped mylar signal. My rule of thumb was to place as much artificial oscillation impulses after one another that they required roughly the same space as the impulses in the mylar signal. Image 11: Compare of mylar and composed signal Upper track is the composed signal. The lower track shows the gated and clipped mylar signal. Now I exported the freshly generated composed signal as an MP3 file and stored it on the SD card I then inserted into the MP3-box. Then I repeated the original experiment described in chapter 3. I recorded the sound from the MP3-box in Audacity and analyzed it. The result again was not according to my expectations. After paulstretching the signal I could clearly see and hear a speech rhythm but since in the original mylar signal (gated and clipped) a clear voice modulation was perceivable the sound of the paulstretched artificial track was just modulated noise without intelligible speech. Original mylar signal(gated an clipped):Mylar-2.wav Artificial signal (paulstreteched):Synthesized Paulstretched.wav Artificial signal without paulstretch:Synthesized Recorded.wav Also comparing with the unprocessed recorded signal shows clearly a rhythm but no voice elements. Now see the signals in graphical representation. Image 12: Graphical representation of mylar and artificial signal It's obvious that the characteristic of both signals is identically. Nevertheless the artificial signals does not contain speech. 5. Conclusions As I said the results I gained were not testifying my own expectations and confused me a lot. Despite this fact I dared to draw some conclusions from the experimental results. 5.1 The core of spirit modulation in impulse signals What the results are showing us very clearly is that in a signal that got "processed" by spirits, the root of their impact is not coded in the low level, more "analog" looking parts of the signal. After cutting them out the modulation stays strong. The assumption that the voices are hiding in the amplitude fluctuations of the impulses itself also proved as wrong. After clipping the impulses all to the same level the voices are still strong. Thus the very core or the root of the spirit impact is coded in the density pattern, in the distribution of impulses across the signal. 5.2 The role of entropy The second finding is even more disturbing. It means that replicating the density pattern of a mylar signal that proved to be excellent for spirit modulation gave me not the same results as the original mylar signal. The resulting signal is mimicking the same envelope as the spirit influenced signal but without voice modulation. It's just amplitude modulated noise, a form without content. This raises the question, why? Why can't spirits grab the same suitable density pattern and put their imprints into it if the signal was composed artificially? My hypothesis is as follows. There is a clear distinction between creation and repetition of a signal. What the spirits can do is influencing anything that is uncertain or let's say new born. A signal that is born out of a physical process that is based on entropy has zero predictability. This is where the spirits hook in. They can tackle something that comes freshly into the world and they grab it in the very moment of it's creation. A composed signal on the other hand has no entropy. Since it was already generated, composed or recorded the predictability of the signal is 100% and the entropy is zero! Seems that there is no way for the spirits to change something that is already "there" and just repeated. Repetition brings nothing new into the world, there is no additional information created. This hypothesis also gives an answer to the question where in the chain of signal creation, distribution, transmission and reception the spirit impact takes place, it is right in the moment of creation and not while the signal is traveling through the air as an audio wave from the loudspeaker to the microphone. I also would hypothesize that MAYBE the spirits have a chance to do their thing at every point in the creation-transmission-reception chain where the signal undergoes a physical change that alters it's information content like filtering, adding echo, conversion from analog to digital and vice versa. This hypothesis would also explain why spirit messages once recorded don't change afterwards. The content is not undergoing any information change. A last question remains to be answered that is not clear to me. Since science states a very good definition of entropy and information in an objective sense we as ITC researchers know that we can't separate the phenomenon from the experimenter. Thus the objective explanation of entropy in the sense of mainstream science may be questionable in our realm. The question is what really means predictability of a signal in ITC setups? Is predictability the objective description of a situation where no one in this universe, no man, no computer could by all means foresee the next upcoming value of an entropy signal? Or does it mean that the just the experimenter does not know? Is it something that is taking place when the experimenter is giving the process of creation out of his hands and rejects to control it? Would a random number generator that spits out deterministic noise with no entropy still produce ITC phenomena because the process of creation is out of control from the viewpoint of the experimenter? What really means predictability and entropy for our experiments? This is up to be discovered. Andres liebe deinen Vater.wav Ich glaub wir m├╝ssen ├ñchzen.wav Test run-1.wav Test run-2 voice.wav Test run-2.wav 1240831028_Testrun-3-Paulstretched.wav 1523320170_Testrun-3.wav 2088334816_Testrun-Mylar-Paulstretched.wav 1872400553_Testrun-Mylar-Paulstretched-1.wav 1639034973_Testrun-Mylar.wav Random Impulses-synth.mp3 Synthesized Paulstretched.wav Synthesized Recorded.wav
  17. 1. Abstract One of the best ITC related teachbooks I ever bought is "Nachrichten aus dem Jenseits" written by Herbert Josef Spirik and Horst Rudolf Loos. In fact this is the only book I ever knew that handles ITC from an engineer's point of view. Both authors are electronic engineers and the whole book is a startling practical work with lots of experiments and also some hypothesis about the nature of ITC. If I had to move to an island where I'd just be allowed to take one book with me, this would be my choice. A whole chapter (5.5) is dedicated to the works of Dr. Ing. Franz Seidl, an austrian engineer born in 1912 and a pioneer in experimental transcommunication. One of his best designs was the psychophon. This device was a product of Dr. Seidls experiences with ITC radio sessions. Those worked pretty well and Dr. Seidl thought that the special type of noise generated in the radio receiving process was a crucial factor for ITC. He concluded that more bandwith would let in more of this noise in terms of more usable entropy for the spirits. The problem with standard radio equipment in terms of ITC is that all those device are narrow banded. Thus Mr. Seidl decided to take a standard radio setup and throw out everything thats limiting the bandwith to get a receiver in the end that was entirely broadband. He gained remarkable success with this idea. As I studied his design and electronic schematics in the aforementioned book it quickly became pretty clear to me that this design could be dramatically simplified by use of more modern circuits. This was the goal of my experiment. 2. Electronic schematic of Psychophone My design is pretty straightforward. The core of the device is the IC TAA7642 that is a descendent of the famous ZN414. This was a miraculous circuit from the 70s where mediumwave broadcasting was abundant. The ZN414 came up with a standard transistor casing and also had 3 legs. In fact it looked like a transistor! But inside was a very nice 3-stage regulated HF amplifier and a high quality AM(amplitude modulation) detector. The whole design of this circuit was broadband! The only thing that limited the bandwith was a standard lumped LC-circuit that had to be connected to to input. Thus for the psychophone it was logically to take this design and replace the LC circuit by just a simple receiving coil. I added a simple transistor to the output of the TAA7642 in order to boost the demodulated AF(audio frequency) a bit and I was done. Moreover I wanted to incorporate another concept I read about in the books of Spirik&Loos. They wrote that an inductor antenna coiled in the shape of a pentagram has special properties that makes it very useful for ITC. It was simple to construct the receiving coil at the input of the TAA7642 in exactly this way. Sadly I lost the antenna somehow and don't have a photo anymore but it's really easy to make if your are downloading a pentagram shape like this from the internet, print it out, glue it on a pice of plywood, drive nails through the edges and follow the interconnecting lines with your wiring. Coil some 30 turns of wire and you're done. 3. Test results with Psychophone The results were really awesome. The signal itself was as you expect it from radio with lots of statics. With a little denoising of around 25dB lots of voices appeared and could be made audible. However many of them were extremely fast aandI used the tempo change in Audacity to slow them down by 30%. This post processing added a new quality to the voices. They adopted a vocoder like sound with some reverb in it. But this did not affect the intelligibility of the voices. Raw signal of Psychophone A gallery of voice samples can be found here. I also discovered some anomalies. The following one was intruiging. It was a strange hollow sound like a weird howling or like a big crowd of cheering people heard from the distance Listen here: Anomaly The results can even be improved by use of an additional transmitter. Due to Spirik&Loos an energy field from a small mediumwave transmitter can improve the quality of voices. This could easily be realized with an NE555 or any other Schmitt-Trigger inverter. However this is stuff for another topic. My final evaluation of the Psychophone is that it is a brilliant idea that can be simplified without lack of quality with modern highly integrated electronic circuits. The pentagram antennas worked very well. However it might be that other antenna types perform the same. This is up to more tests.
  18. In the past I had some very good voice ITC results with plastic foil that I crumpled gently with my fingers. The generated audio signal sounds a little like crackling fire. As my mediality grew over the years I started to recognize speech patterns in lots of sound sources. Since I am a fan of wine gum to my utter amazement the crumpling of those plastic bags containing the gums had a sound like a clipped voice. After I discovered that those signals can be greatly improved by applying the Paulstretch function in Audacity I got very good results! Recently I talked to Michael Lee and he told me he had programmed an ML model for impulse voices, exactly what I would need to decode my signals. I installed his phython application and did some tests with a 1 minute sequence of a PFC recording. Despite the fact that all the parameters Michael provided to tweak his ML, are not yet fully exploited the results are impressive. Hear the following excerpts. "Ich funk Basis"->"I am transmitting from base": Ich funk Basis.mp3 "Big challenge": Big Challenge.mp3 "Charlie Smith": Charlie Smith.mp3 "Brutal ist"->"Brutal is":Brutal ist.mp3 "Das finde ich toll"->"This is great!":Das find ich toll.mp3 "So ist es eben"->"That's just the way it is": So ist es eben.mp3 "Ist Hitze"->"Is heat": Ist Hitze.mp3 "Pellets seen":Pellets seen.mp3 "Trage dieses Wasser"->"Carry this water":Trage dies Wasser.mp3 "Sie hassen Dich"->"They hate you": Sie hassen Dich.mp3 "Sie sind selber schwach"->"They are weak themselves": Sie selber sind schwach.mp3 "Ich faxe"->"I am faxing": Ich faxe.mp3 The messages are a bilingual mix of german and english phrases. One phrase has a relation with water. This is interesting so far since I am doing experiments with water currently. Maybe this is an advice to take some drops of water with me and let it be conditioned by my own PSI field. Then I got the messages that there are some beings hating me and that they are weak. This could be related to physical or hereafter beings not wanting me to evolve. Very interesting was the message "I am faxing" as this is a hint to a specified technology. Faxing means the decomposition of a document in lines of pixels that are transmitted as sequences of tones over a communication line and the reconstructed at the endpoint. Could that be an advice to see spirit signals as frequency modulated signals encoding images or text? I'll keep this in mind.
  19. I had two incidents where I was supposedly touched by ethereal beings or I was touching them. The first time was in May 2020. A spiritual friend told me if I agree I would go through the first part of an inauguration from a hereafter spirit group. I was perplexed but agreed and at the evening before the night of this incident my expectations and fears were going haywire. In the night I had wild lucid dreams and somehow was half asleep and half awaken. Then, after midnight in this metastable state of mind I clearly felt something touching my right hand and a calm female voice saying, "Don't get scared! Everything is alright!" Nevertheless I was shocked. The touching was a strange feeling. In my imagination I felt like I had put my hand in quicksilver. It was a vibrant fluid feeling more like a force field instead of touching matter. The second incident was some weeks ago. I occasionally get visits from a negative being in my sleep. In my childhood it was like getting tortured but know it isn't a big thing anymore. I had kinda of lucid dreaming again as I felt a dark presence before my bed reaching out for me. "Now wait, I'll get you f*cking bastard" I thought and grabbed for him. I remember me turning in my bed trying to grab something that felt like the shape of a worm or snake meandering below my legs trying to escape my hands. The closest analogy would be trying to catch a slippery fish. I woke up and sadly this thing was gone before I was able to kick his ass. Meanly the ghost left me with the imagination of the corpse of a little dog that was cutted open along his body. As I said this thing is a nasty bastard. After thinking about this incident I found another analogy that was matching my experience even closer. Take two strong neodymium magnets, one in each hand with identical poles towards each other and try to bring them together. Then you'll feel this slippery ultra fluid force field experience I had by touching ghosts. Sorry for my maybe disturbing descriptions. Hope you all can sleep well tonight.
  20. I just did a quick check on the laser interferometer stream running as a long term experiment in our groups private area. I checked it because Keith retuned the signal post processing and I was about installing mr recorder on my tablet. Thus I just intended to try out if the stream recording works. In the first 30s the stream is vivid with mixed voices but not unusual in its characteristic apart from a very low frequency rhythm with approximately 1s repetition rate. Then suddenly at around position 35s the characteristic is shifting into a single voice that sounds like being scrambled. Did not analyzed it yet. After 2m the stream returns to normal again. Stream 5.mp3 Something is going on there.
  21. Cosmologists say that they have uncovered hints of an intriguing twisting in the way that ancient light moves across the Universe, which could offer clues about the nature of dark energy — the mysterious force that seems to be pushing the cosmos to expand ever-faster. Researchers’ first guess — which remains the leading theory — was that dark energy is an intrinsic property of space, which would mean that the amount of dark energy per unit volume of space is fixed as a ‘cosmological constant’. But some cosmologists theorized that dark energy is made of something else entirely. They call this a quintessence field, after the fifth element, or aether — the name that ancient Greek philosophers gave to an invisible material thought to fill all the empty space in the Universe. https://www.nature.com/articles/d41586-020-03201-8
  22. This paper is not a technical one, well at least merely. In first line it is a documentation about my results with natural transcommunication (NTC) in moving water in creeks and it widens the scope of results I already showed by the water images I gained from the surface of a lake. But there is a second intention in this document that is not a technical one. I want to push a door open for the magic that is taking place every day before our very eyes we just don't see because of ignorance and blindness. My hope is that this document, that has more the character of a story or fairy tale than of a technical paper, could be useful to reconfigure the human perception to make it pick up supernatural information. Thus it's a mix of technical description, imagination and perception transformation. I hope you will enjoy it! The Magicians Chamber.pdf Since the quality of the embedded images in the document suffered from deterioration caused by the PDF conversion process I here put the link to the original Google Doc document. "The magician's chamber" original document
  23. Another very interesting way to obtain spirit images is the use of structure reflection in moving water. Again the moving water waves on the surface of the lake are the driving energy. The water is reflecting imgages from everything that surrounds the lake, mostly these are trees. In winter, the bare twigs and sticks of a tree are giving a perfect structure to be worked upon by the distorting forces of the water. When you take single pictures or even better a small movie you are disassembling later into single frames you will see weird structures coming up the more you zoom in on the images. There is really a point when your mind starts to flip into surreal perception. It needs some good luck to obtain good images. Again these images were part of the first glimpses of the spiritual world I got before I even started with ITC. I took some shots of plants growing around a small lake near my flat just because they were beautiful. Later I zoomed in by accident a little too much on one of those images and got petrified of what I suddenly saw! The first impression were not really images of faces or bodys but already something that appeared as structures. As if a painter was trying to draw something not really perfect. This lookes like a map of a landscape with a river running through it. Then figures appeared as blurred outlines of bodies in a row like a family Now things started to become really weird as i discovered lots of animal like, dog faced beings aligned around the rims of a dark area Here in more detail. You can clearly see a fat something like a mixture between dog and pig with hanging cheeks. It is surrounded by more dog-like beings. The blurry shape of a slender woman with long hair in the middle of the picture. Right to her is the big head of a dog taking about half of the picture. Another shape of a tall person in the middle of the picture. Probably a woman with an indication of breasts. To her left is a big laughing face and to her right another smaller person raising his/her arms into the air as if he/she was greeting me. Both seem to "grow" out of the ground. The "bearded man". I use him as my logo. He has black hair, a black beard, you can see his neck and he is wearing a kind of a poncho. Right of the blue encircled area you can see a creature looking like kermit the frog but deceased. In the blue circle there are totem like figures. Doesn't this look like the outlines of a big ancient city with houses built into the flanks of a mountain? Maybe the upcoming city of the new Jerusalem. Maybe now you can understand why I think water has magic properties. I think water is a portal to the otherworld and it's transdimensional power is lurking in every lake, pond or puddle your are unconsciously passing by. Even a drop of water is magic!
  24. 1. Basic principles of used technique This was the first experiment I did with NTC 2 years ago. I noticed that the light of the sun, reflected by the tiny waves on the surface of a lake gave some kind of "light pumping" process. I focused the digital camera in my smartphone on this sport of light that was permanently oscillating between bright light and darkness due to the motion of the waves. After taking a short movie of some seconds I disassembled the movie into single frames by using the app Grabi. Then I analyzed every frame. After a while I noticed that every time the light went from brightness to darkness something showed up that appeared to be faces or face-like structures. 2. Some examples To give you an impression of what the effect looks like I put some simple examples here. I used moderate post processing with a standard image editor (irfanview), enhanced the contrast, regulated the brightness down and did some sharpening. 3. Faces in water In these experiments I could catch some fairly good images that showed more face-like properties and some even had a personal characteristic. This face looks a bit like the head of a robot. A distorted face of someone looking at you. This man immediately reminded me of Lenin! One of the best images I could get. It shares some similarities with Friedrich Jurgenson. However this might be wishful thinking. Basically this is the same "setup" used when you are taking shots from agitated water in a bowl, the bowl is just bigger and the agitation is done by wind.
  25. Germanium diodes were a huge research field for me in the past. I tried numerous designs with single diode, arrays and feedback. In general the noise germanium diodes are producing is pink and rough in sound. Similar to the coherer sounds the germanium noise produces voices with a good SNR but bad intelligibility. However the voices are less croaky than with the coherer. "Aber sie lernten es" -> "However they learned it": Aber sie lernten es.mp3 "Onkel Erhan" -> "Uncle Erhan": Onkel Erhan.mp3 "Ich mache ihre Sache" -> "I am doing their thing": Ich mache ihre Sache.mp3 "Jetzt hast du die" -> "Now you have them": Jetzt hast du die.mp3 "Machst so viel" -> "You are doing so much": Machst so viel.mp3 "Und einer für alle" -> "And one for all": Und einer für alle.mp3 "Wir sind die" -> "We are they": Wir sind die.mp3 "Zum Glück hast du mehrere" -> "Gladly you have more": Zum Glück hast du mehrere.mp3
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