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About Me

Found 6 results

  1. The InClip microphone is one of my latest designs and is described here. In this thread I want to post my experimental results which are very promising in my eyes. If anyone wants to participate on this research please contact me. The "InClip" isn't hard to replicate. I can make more of the easily.
  2. I had some very good experiences with microphone voice I would like to discuss with the community. Due to my observations they do occur if there is slight noise in the background. However I also got very good messages when I recorded chatting people and a firework at new years eve. What was striking me is that the spirit voices adopt the characteristics of the sound you give them. I once got clicking voices as I was typing on my computer keyboard and more roaring voices from wind. Since the origin of this phenomenon still is unknown to me I, it could be a direct electrical impact of spirit energy on the microphone or a truly acoustical phenomenon. Has anyone ever tried to record spirit voices with two or three recorders simultaneously and checking if the voices are always the same at the same time? Have you ever took voices from an electrically shielded microphone? Have you ever used a sensitive microphone in a acoustically sealed box to check if voices can manifest inside this box?
  3. Introduction Fig 1: The InClip microphone in work In this article I will describe the working principle, technical details and experimental results of a new type of ITC microphone that I call "InClip", a contraction of the term "Inversed Clipper". Two years ago I did experiments with a circuit that came out of an idea I had by analyzing EVP signals in the time domain. I observed that with some training I could see where in a signal a possible EVP manifestation hides just by watching the fluctuations of the amplitude extremes in a sound editor. It seemed to me that the very tiny pk-modulation hides in those variations of the amplitude peak values. Because these variations are very tiny compared to the total strength of the signal the resulting modulation is very poor. My idea was to simply cut out the middle area of an audio signal in a way that just the peak values around a specified limit would survive. Initially I described the concept here. In that earlier experiment I described and used a hardware circuit doing this job and I applied it to the noise generated by a germanium diode with some success. Now I thought about the question why I never have tried to apply this concept to other sound sources. So I decided to built a microphone that incorporates this circuit to check out the results of different sound sources being processed this way. The circuit explained The electronic schematic is shown here and described now in detail. Fig.1: Electronic schematic of InClip circuit The frontend contains a simple electret condenser microphone with a preamplifier. I gained very good results with electret condenser microphones and for this reason I am sticking to them in my designs. The LED D2 is used as an "switched on" indicator and to generate a stabilized 2V voltage source for the condenser microphone that generally requires a low voltage supply. As you can see I used standard operational amplifiers and if you are familiar with my designs you will see many stages you know from my other devices. TL072a is used to provide a virtual ground for the operational amplifiers. Something you always have to do if you use an unsymmetrical power supply. It has no functional meaning for the working principle. TL072b is a preamplifier for the microphone signal that boosts the microphone output by 46dB (factor 150) at maximum. The switch S2 provides the use of an auxiliary input instead of the microphone in cae you want to process a recorded signal for example. The preamplified signal is fed into a stage with two comparators (LM339). These circuits are comparing the current signal level against a value the user can adjust with P1. This level is symmetrically to the signal ground, which means that the positive and negative amplitude peaks are handled the same way. If the signal level stays below that limit the circuit is muting the signal and there is no output. If the level exceeds the given limit by positive or negative peak values, the comparator logic actuates an electronic switch (OP1) that gates the signal through a final amplifier stage to the output socket. The working principle One could think that this circuit works like a simple noise gate circuit but this is not the case. A noise gate opens up a conduit for the whole signal swing as long as the averaged signal level stays above a specified threshold. My circuit instead, more or less works like an inverted clipper circuit. A clipper cuts away the parts of the signal that are above a threshold, keeping the parts below the threshold untouched. My clipper works exactly the other way around. It clips away everything that is below a certain level the user can select. The result is a signal composed just of the extreme values of the amplitude. Fig.2: A signal recorded with InClip As you can see in Fig.2 the resulting signal looks normal but a bit "ruffled". The modulation of the signal is very strong. This is because InClip cuts away the signal area that not adds up substantially to the overall modulation. Fig.3: Closeup on InClip signal In Fig.3 we have a closer look on the signal and you can see that it is composed of amplitude peaks which are the extreme levels of the signal swing. Please see that the clipping works symmetrically, i.e. that positive and negative peaks are arranged nicely around the ground level. Operating the InClip microphone Operating the circuit is rather easy. There is one potentiometer P1 to adjust the threshold and a yellow LED that lights up if the signal is going above the threshold. If the threshold is turned down to minimum the signal goes through the circuit almost unaffected. I say ‘almost’ because still the circuit mutes a very small area around the ground level of the signal. Another interesting effect is that the fast switching causes a very subtle chopping effect that seems to improve the pk-modulation. The result is a signal with a very dedicated kind of distortion and a hollow sounding reverb. Basically this kind of signal is what you see in Fig.2+3. If you turn up the threshold at the potentiometer the resulting signal may change depending on the sound source. Signals that have spikes riding on their amplitude peak levels or signals that are looking "spiky" themselves already, are showing a characteristic you can see in the next pictures. Fig.4: Spiky signal with threshold turned up Fig.5: Trains of impulses Results of the experiments I tested the circuit in different conditions. First I used the sound of a self oscillating relay as a source. The result was a very spiky signal like shown in Fig.4. The results were nice but not amazing. I post processed the signals basically by the following functions in NCH Wavepad Applying reverb with the shown parameterization Applying 20% auto spectral substraction Effect filter (Teenager/Kid) occasionally Fig.5: Parameters for reverb effect Examples of recorded clips Clip-1: Voice-1.mp3 Clip-2: Voice-2.mp3 The voices in both clips are not very intelligible and dull. Then I realized that the circuit was not working the way I expected. It generated large spikes always and I quickly found out the the fast rise time of the switching comparators caused glitches that propagated through the voltage supply rail and contaminated the signal output. I fixed this issue by adding two capacitors at the right place (currently not shown in schematic) and continued my experiments. In my test runs it became obvious that the sound material the microphone picked up plays a crucial role regarding the voice quality and pk modulation, which is no surprise at all. With the background sound of a self oscillating relay I gained some good results from the rather spiky signal. Clip-1. My interpretation is "Wir lernen jetzt größer"->"We are learning bigger things" Kanal ist wertlos.mp3 Clip-2 My interpretation is "Du bedankst dich" -> "You said thank you". Actually I really showed my gratitude for the help of my spirits a minute before the recording. Du bedankst dich.mp3 Clip-3 My interpretation is "Arne". This is a name I heard frequently in my session. Ahnung.mp3 Clip-4 My interpretation is "Ich bin Arne " Excellent.mp3 At the same day I did a last recording session before closing my work in the evening around 06:00 pm local time on Saturday 2022-02-07. I had the threshold turned down so that the circuit would let pass all signal components together with the overlayed switching process I already described. The acoustical background was the sound from the street in front of our appartment with cars passing by and a mix of voices. To my utter amazement I could record a sequence of 30s length with continously speaking voices. To be more specific it was one monoton speaking rather female voice and some sprinkled fragments of other voices. I value them all as spirit voices because of their tonal character and more important the content of their speech. Sequence_denoised.mp3 Here is my transscript from the voices I heared in that clip 1. Timestamp 02:00s - 04:00s "Oma sucht den Heibel" -> "Grandma is loking for Heibel" 2. Timestamp 09:00s - 11:00s "One more oven" 3. Timestamp 11:09s - 13:50s "Ganz leichte Entscheidung" -> "A very easy decision" 4. Timestamp 15:00s - 15:50s "Welle" -> "Wave" 5. Timestamp 15:50s - 18:00s "Ist Malu verlogen" -> "Malu is so mendacious" 6. Timestamp 21:80s - 23:50s "Bei meinen Gruppen fällt er auf" -> "In my groups he stands out" 7. Timestamp 25:50s - 26:00s "Wir sind bereit" -> "We are ready" From the content of those messages we can see a clear association with spirits. It is very often they are talking about waves and groups or are expressing feelings. Also the utterance "We are ready" is very common. Conclusions From all results I gained, the last one showed is truly the most impressive for me. I was used to get single words or short sentences in a quality that I could understand rather easy or continous speech in a poor quality. This time I could record a 30s clip in a quality I previously just knew from short ITC messages. However I cannot say if this result is repeatable nor if it is really related to the new circuit I tested. Very often I had to face that a sudden success was followed by a fast decline. It is necessary to continue the experiments with different sound sources and most important trying to replicate the results represented by the last clip. If my results will continue to be successfull I will post them in a blog probably. Andres.mp3
  4. Hi all. I decided to share what I'm working on, even though I'm not sure if I'll get the results I'm seeking with this device. I've been wanting to build something for a couple years and recently I asked for a simpler way instead of building all the boards myself. Here's what I've come up with, which recently I discovered isn't a new idea at all, but I am pressing forward anyway:) I'm using musical equipment for sound. A mini amplifier, music pedals, and connection cables. I cannot explain why but I've had strong impressions about copper, so my husband helped me add copper elements and he designed a cover for me using a 3D printer just to make it look cool. There are countless devices out there for spirit communication. Much of it is difficult for the average non believer to decipher messages (words and sentences, responses to questions, names, etc). One of my ideal goals is for anyone to be able to communicate with the other side as I've been able to do all my life, and then even improve on what I've been able to experience myself. Having real time conversations and information shared. Where I see a person that is not immediately distinguishable from everyone else, others might see a white mist, or nothing at all. I also realize there's a big difference between communicating with those I see from the other side and those that are in different planes that I do not see, but am able to communicate with at times. I'm not sure the difference with communication levels, from those aspects. Here are a few pictures of what we've put together. Tonight I did attempt to connect a microphone, however in putting this all together, there's a big difference in how some things can connect (whether it's an input, output, needs a charging source, and a few other restrictions). The microphones I have connect to computers that also supply power. Attempting to connect those to this device did not work as there's no way to provide incoming power to the microphones and use them. I also have other microphones but ran into similar issues. The only microphone we were able to connect was from a video camera and this microphone has it's own power supply via rechargable battery. So I'm sure I've made some of this a little more complicated than need be, but it's a learning process as well. I've had some success using various software, but it's muddy with other noise built into said software (from outside sources). Seeing posts from Andrés had me thinking how much simpler a microphone could be and although I didn't have success the first attempt, I'll continue to test. I love the idea of just a microphone without all the extra added noise of radio frequencies, mixed in voices, mixed in noises, etc.
  5. Today I tried to implement stages from my SkySound receiver in my microphone circuit. Specifically a self adjusting load for the electret condenser microphone and the SSM 2167 noise gating circuit. I got interesting results. Basically the noise from the microphone and environment provides the same pk modulation as with the LED in the SkySound Receiver. But you get the "real" microphone voices on top. Here some examples. Gained with noise gating A sequence gained with noise gating. At the end the last Utterance was repeated and processed: Noise Sequence with NG.mp3 "Wir sind die Toms" : Wir sind die Toms von Sättingen.mp3 "Mach mein"s: Mach meins -NG.mp3 Here voices gained without noise gating: "Andrés, werden uns beteiligen" (poor quality): Andres -NG.mp3 "Am Fenster sitzen wir": Ein Zerrbild wir sind.mp3 "Hab ihn unterbrochen". This voice was gained from a radio football broadcast in the background Hab ihn unterbrochen.mp3 Apart from the fact that the noise gating adds croaky and hissing voices like I know from other devices, the quality of the voices seems not to be different from normal microphone spirit voices. So I think noise gating is a nice idea and implementing it into the microphone offers some interesting use cases with different backgrund sound levels that could be adjusted to slightly touch the noise trigger threshold but basically one could do without the noise gating as well I think. I will do more tests tomorrow. Uns darf keiner mehr jagen.mp3 Er besitzt einen neueren - NG.mp3
  6. I use a microphone for recording spirit voices that works very well. It contains a standard electret condenser microphone capsule and an adjustable preamplifier. I have the idea of making two of them each feeding one channel of a stereo signal. The question is, if we would operate both microphones with some background noise close together, will we get the same voices on both channels?
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