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About Me

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  1. I opened this thread because I stumbled across an interesting effect lately. It is not necessarily a paranormal effect but weird at least. I called the resulting device "Spica", a phonetic acronym for "Spirit Chaos" generator. Moreover Spica is the brightest star in the constellation Virgo. By beginning of October 2021 I wanted to built a simple electronical square wave oscillator. This work was related to my ongoing research with the VISPRE. Really no big thing to realize this function by use of the NE555. This circuit is one of the most famous in the world. It is a simple and clever made timing circuit that can be utilized in monostable or astable (oscillating) mode and it was so successful that it flooded the electronic community and industry since the early 1970's in an abundance of applications. This circuit still is produced in number of about 1 billion/year(!) and there are NE555-competitions in the internet of the craziest things you can use a NE555 for. I used this circuit in various aplications as well. Now, in October 2021 I wanted to realize this very simple square wave application with the NE555. However curiously, in my breadboard layout I made a mistake. I forgot to tie together two pins that are controlling the upper and lower trigger levels for the oscillation. It turned out that by omitting the connection between pins 2 and 6 the NE555 showed a very strange behavior I never witnessed before. Instead of emitting just one fixed frequency as I wanted it to generate and what is the only way a NE555 can work, a whole group of frequencies were generated simultaneously almost like a chord. I had implemented a potentiometer that originally just was provided to tune the frequency. Now, turning this poti made the groups of simultaneous tones jump from one configuration to another one with different compositions. Those areas were intermitted by small areas of noise. Obviously the circuit was generating very complex patterns of oscillations. Because the frequencies were rather high (100KHz - 330 KHz) and only partially in the audible range I thought about converting them down to the audible range by using a binary counter stage that divided the frequencies by 2 in every stage. Because the counter has 11 stages I could tap the audio signal very comfortably at the stage where I got the best sound. This video gives yo an impression about the oscillating patterns. Projekt_10-17_SD 360p_MEDIUM_FR30.mp4 At this point I reached out for Jeff to support me with his knowledge and skills.
  2. Abstract I am an electronic engineer by profession and involved in instrumental transcommunication for three years. In the past 10 years I did some experiments with light. Specifically I was investigating different light sources for modulations that could be made audible by a simple setup made of a phototransistor and an amplifier. By the end of the year 2021 I decided to repeat those investigations upon the light coming from the sky, especially at dawn and at night (looking for possibly very low light intensities). This report describes a series of experiments I did with different sources of light and my quest to identify the potential for psycho-kinetic modulation in it. Introduction Modulated light was always fascinating to me. The first experiments I started as a young boy when I discovered that ambient light contains hidden information, by just using a light dependent resistor and a simple transistor. My first encounter was the power line hum imprinted in every light source we use. However, very quickly I found out that TV-screens, monitors, control lamps, remote control LED’s and much more were emitting all sorts of different and often complex modulation patterns. In 2010 I designed the best modulated light receiver I had made so far. It found a place behind the windshield of my car and I drove around to sample as many audio recordings as I could. This way I recorded the sounds of head lights, street lamps, neon lamps, signs a.s.o. You can find some examples in the following. Sound samples with modulated light from around 2010 Sound Link Sound from an external display on a bus Bus_Anzeige_2.mp3 Sound from a LED car headlight LED-Scheinwerfer_4.mp3 Beat of two interfering car headlights Schwebung.mp3 Table 1: Examples for modulated light It was at that time already when I first encountered a phenomenon I could not explain. It was an audible anomaly catched at a moment when no visible source of artificial light was around while I was driving down a country road at dawn. Hear this: Was_ist_das_1.mp3 This sound appeared to me like a bypassing U.F.O and I couldn’t make any sense from it. As I said, back in that time I was not involved yet in the investigation of paranormal phenomena. In the following chapter I will describe the circuit I used for my latest experiments in detail. The SkySound light receiver I named the device “SkySound” because I deliberately designed it for the investigation of light emissions coming from the sky. Paranormal phenomena and spirit voices gained in instrumental transcommunication are merely observed at night, so it was logical to create a device that could pick up those faint modulations also, if present at all. The standard approach for receiving light with electronic components is the phototransistor. Basically this is a standard transistor with a transparent case. That way not only small electrical currents going into the base (control electrode) of the transistor are amplified but also light shining on the transistor substrate. These components are cheap, sensitive and easy to handle. Fig.1: VT9112 phototransistor In my experiments I used the VTT9112 phototransistor because I dragged a bunch of them from the trash can in the company I worked for, 20 years ago. The following image shows the electronic circuit that will be explained in detail. If you are not interested in the electronic functions of this device you can skip this chapter safely. You don’t need to know the inner details to follow my descriptions of the anomaly itself in the later chapters. Fig.2: SkySound electronic schematic The transistor marked as “T1” is the VTT9112 I already described. Instead of the classical load resistor in the emitter path I provided a special circuit made of T2/R1/R2/C9. This is a self-adjusting load that always holds the dc bias in the middle between the power supply voltage and ground to provide always the best output swing for T1. Moreover, it works as a high impedance load for T1 and thus ensures maximum output. Transistors T3 and T4 are used as standard emitter amplifier stages. They are pushing the amplitude level high enough for the circuit IC1 to work with. This circuit is an integrated preamplifier originally designed to pre-process microphone signals. It provides a compressor to limit signal overdrive and a noise gate. The noise gate is a circuit that suppresses signals below a certain threshold and amplifies everything above the threshold. In practice this is not a hard threshold. Moreover, the transmission characteristic is non-linear and, if carefully adjusted, can boost small fluctuations in the noise signal, exactly where the spirit voices are hiding. So in easy words, the noise gate is utilized to increase the so-called “psycho-kinesis modulation” (pk-modulation). However, I found out that this function requires very careful adjusted input levels. The pk-modulations in the signal output is enhanced slightly but the signal quality is not. Obviously the spectral compositions of the signal deteriorated slightly by using noise gating. The use of this feature is up to deeper scrutinization. The other components are used for the power supply of the circuits. As I already said, my intention was to pick-up rather low intensities of light at night. Nevertheless, after my first tests I found out that the receiver should also be capable of handling bright light. the result was the above-described self-adjusting load. The phototransistor has a very small area that is susceptible to light. To make it more susceptible without just raising the background noise the transistor generates, the optically susceptible area must be enlarged. Classical approaches are lenses or mirrors. I decided to build a small reflector funnel that directs every beam of light, entering the opening of the funnel, to the transistor. Fig. 3: The reflector funnel I made the funnel from cardboard that is quite rigid and easy to cut. In total I made 4 triangular shaped planes, covered with reflecting foil and glued them together. At the bottom of the funnel I placed the electronic circuit with the phototransistor “looking” directly into the funnel. The opening of the funnel covers an area of 0.01 m2. Thus the optical area of the transistor of 1.96 10-5 m2 theoretically is enlarged by the factor 509. In practice this factor will be lower due to inevitable reflection losses. The casing for the electronic circuit was realized by pieces of double sided copper plated PCB material, soldered together. This way I obtained an optimal double shielding against electromagnetic interference. Fig. 4: The completed SkySound receiver I made a simple stand from wood with a joint to adjust the inclination of the receiver that looks much like the feeding horn of a satellite LNB receiver. The foot of the stand contained a magnet, so I could attach the whole receiver easily to a metal plate on the window sill. I placed the receiver in my attic where it overlooks the surrounding area from a height of 12m. The inclination angle against the horizon is almost zero, making the receiver looking at the lower sky roughly at horizon level. I connected the receiver to my Windows-10 Notebook with WIFI connection to my home router and used the application “butt” to stream the signal to the varanormal shoutcast server where it was relayed back as “Stream 4” which is reserved for my experiments. Investigation results I started my investigations by the end of 2021 and they are still ongoing. In the previous chapter I already described some of the experiment parameters that I want to list here. List of experiment parameters Parameter Value Height of installation 12m Inclination angle 0° (facing horizon) Viewing angle of funnel approx. 40° horiz. and vert. Facing sky direction North (0°) Stream encoding MP3 44.1 KHz Coordinates of location (Google maps) 53.682491442051194, 9.668064790784461 Table 2: list of experiment parameters General observations I quickly observed some general characteristics of the received signals and the properties of the receiver. Basically the signal was very low at night and very strong at day. This is no surprise because more light causes more current and more current causes more noise in the transistor. This is a rule of thumb in the world of physics. The question is if there would be an additional amount of noise coming from the quality of the light from the sky and not its quantity. We keep this consideration aside for the moment. In any case, the light caused huge signal level changes during sunset and sunrise that were remarkable. Fig.5: Signal level increase at sunrise from february 06-02-2022 (dd-mm-yyyy) At the time I was doing my investigations the sun was rising around 07:45 CET (06:45 UTC). You can see very clearly the non-linear “trumpet” shaped signal rise taking place over a time period of 6 minutes. Fig.5: Signal level decrease at sunset from february 06-02-2022 (dd-mm-yyyy) Sunset these days is around 17:45 CET (16:45 UTC). More or less you can see the sunrise characteristic going backwards in the image above. The shape of the signal is not as beautiful as the “trumpet” at sunrise. You must take into account that clouds passing by and all kinds of precipitation are overmodulating the light from the sun. I recorded and post processed the signals. What I found out was that especially at those transitional periods around dawn the signal contained a lot of spirit voices. At broad daylight there was heavy noise but low pk modulation and at night the signal level was too low for a reasonable signal gain. For the post processing I used Wavepad (NCH). My standard procedures for signal processing were Adding reverb (500ms decay time, 75ms predelay, 50% diffusion, 0dB wet signal gain, -6dB dry signal gain) -3 dB multiband noise gating 20% auto spectral subtraction signal normalization I exported some audio samples, processed with the methods listed above. Of course interpretation of the content of spirit messages is always subjective. Moreover every ITC researcher develops a kind of clairaudience based on the methods she or he is using. The result is that others often can not hear what she or he hears. If the evaluated samples do not have Class A quality they are often interpreted as pareidolia. Thus I won’t blame anyone for evaluating the following examples this way. In order not to influence the reader's perception I provided my interpretation of the samples in a table to be found in the annex of this document. I just want to say that I identified the language as German. Link to audio sample SkySound-A1 SkySound -A1.mp3 SkySound-A2 SkySound-A2.mp3 SkySound-A3 SkySound-A3.mp3 SkySound-A4 SkySound-A4.mp3 SkySound-A5 SkySound-A5.mp3 Table 3: List of exported audio samples from initial SkySound sessions The Stream 4_13 event At February 12, 2022 I was still lying in bed in the morning. It was Saturday and the sunrise had started around 07:45. At 08:17 I decided to switch on the streaming audio app “MR” on my smartphone and recorded the SkySound signal while listening to it with closed eyes. The recording app “MR” named it “Stream4_13”. After 11 seconds I suddenly heard strong bursts breaking through the noise. First it just appeared to me like a periodic interfering signal but then I recognized voice fragments stronger than I ever heard them directly in noise. Fig.6: Envelope of raw signal at the Stream 4_13 event After 8 minutes I stopped the recording and listened to the signal I had picked up. It was full of weird sounding voice breakthroughs. Post-processing of this signal was easily done because of the superior pk-modulation. I applied spectral subtraction based on a noise sample and what came out is visible on the next image. Fig.6: Envelope of processed signal at the Stream 4_13 event This processed audio contained surprisingly loud and partially clear messages overlayed by humming sounds. Stream 4_13 audio samples Raw signal Stream4_13.mp3 Processed signal Stream4_13-processed.mp3 Table 4: Stream 4_13 recordings I leave it up to the reader to make up his own mind upon the results. I evaluated them as most amazing. The interpretation of the voice contents gave me the impression that the spirits had tried something to surprise me or they did something that even surprised themselves. I am not sure about this. Investigation of other light sources At the beginning of the previous chapter I already pointed out the question if the received noise is more a function of the light quantity coming from the sky or, at least partially, also a result of the quality, namely the spectral composition, of the light itself. It is always good to have something to compare your results against to draw further conclusions. So I decided to stimulate the phototransistor with other light sources and to see what comes out. I replicated the SkySound circuit on a breadboard and attached different LED’s to the phototransistor that could be regulated in terms of their light intensity. My first goal was to find out if different LED’s are producing different light intensities and noise characteristics under the same conditions. So I concluded I must operate the LED’s in a way that they are supplied with the same amount of power to make their outputs comparable. Making recordings and evaluating and comparing the results in terms of pk-modulation was also part of the experiments. For the post processing of the recordings I used two different methods in NCH Wavepad. Description of applied post processing methods in NCH Wavepad Id Method Comments #1 Adding reverb (500ms decay time, 75ms predelay, 50% diffusion, 0dB wet signal gain, -6dB dry signal gain) -3 dB multiband noise gating 20% auto spectral subtraction signal normalization This method is a compromise between denoising and the generation of artifacts as they are typical for software-based denoising algorithms. As a result the signal integrity of the outcome is still acceptable but the resulting pk-modulation is not at optimum. #2 Spectral subtraction based on a grabbed noise sample signal normalization This method optimizes the pk-modulation. The downside is that the signal loses much of its original integrity. Nevertheless, voices can be identified easily in general by repeatedly listening to short sequences. Table 5: Description of post processing methods Experiments with a yellow LED A yellow LED is a very rough approach to sunlight since it’s spectrum is limited and does not cover ultraviolet frequencies. I ran the LED with a current of 4 mA. This is a very practical value that gives a reasonable amount of light while keeping the heat loss in the LED low. Because the SSM2167 circuit imposes variable amplification and audio compression on the received signal, I tapped the signal right before this stage (Pin 5 of SSM2167) to ensure the amplification of the signal is stable. The noise signal was measured with the RMS function on my oscilloscope. Here are the values I measured. Results gained from yellow LED Parameter Value IF: LED current 4 mA UF: Forward voltage on LED 1.9 V Calculated input power (UF x IF) 7.6 mW Noise level 36 mV Table 6: Measurements with yellow LED Then I made a recording of a 1 minute length of the noise signal. I could already hear the pk modulation as a faint voice burst on the noisy ground floor. Recordings made with yellow LED Description Link to audio file Raw recording (MP3) Yellow_LED_4mA.mp3 Recording post-processed by #1 Yellow_LED_4mA_1_processed.mp3 Recording post-processed by #2 Yellow_LED_4mA_spectralSubstract.mp3 Table 7: Recordings made with yellow LED The results are showing a fairly strong pk-modulation but rather poor voice quality. Experiments with a ultraviolet LED A UV LED shows a much higher spectrum of frequencies compared to yellow LED. Basically ultraviolet light is higher in energy too. To make the results comparable to the ones I gained from the yellow LED I measured the forward voltage across the LED and recalculated the LED current so that the power consumption of the UV-LED would be identically compared to the yellow LED. Here are the values I measured. Results gained from yellow LED Parameter Value IF: LED current 2.5 mA UF: Forward voltage on LED 2.96 V Calculated input power (UF x IF) 7.6 mW Noise level 40 mV Table 8: Measurements with UV-LED You see that within some tolerance considerations the emitted noise signal is the same compared to the yellow LED Then I made a recording of a 1 minute length of the noise signal with the UV-LED. My first impression was that it was not different from the yellow LED. Recordings made with UV LED Description Link to audio file Raw recording (MP3) UV_Diode_2p9mA.mp3 Recording post-processed by #1 UV_Diode_2p9mA_processed.mp3 Recording post-processed by #2 UV_Diode_2p9mA_spectralSubstract.mp3 Table 9: Recordings made with UV-LED Again the results are showing a fairly strong pk-modulation but rather poor voice quality. My evaluation was that there is no substantial difference between the results obtained from a yellow and a ultraviolet LED. The logical conclusion is that the pk-modulation is not bound to the spectral composition of the light whether it is yellow, ultraviolet or sunlight from the sky. Narrowing the focus Another question that came up during my investigations was if the noise with this substantial amount of pk-modulation was a product of light at all. Phototransistors are producing noise not only from light shining on their substrate but also from any current that flows into the base lead of the transistor causing it to draw collector current. That was easy to test. I disconnected the LED from the power supply and wired different resistors from the phototransistor base to the power supply starting from 680 K ohm up to 15 M ohm. There was almost no noise perceivable, especially not that quality of agile noise interspersed with cracks and bursts. My conclusion was that for the pk-modulation to take place, the transistor needs light but of no special spectral composition. However I was aware that I did not take into account another crucial component, the SSM2167 circuit. Due to its non-linear behavior it imposes a substantial amount of transformation on the signal. I could not exclude that it could contribute to the observed effects. In order to find an answer to this question I changed my experimental setup. According to my measurements the SSM2176 roughly added an amplification of 20 to the system. So, I forked the signal behind the preamplifier and routed it to the SSM2167 or another amplifier stage with an amplification of 20. Thus the resulting signal would always show the same level but one time processed by the SSM2167 and another time just amplified linearly without compression or noise gating. Recordings made with UV LED and with/without SSM2167 Description Link to audio file Recording with SSM2167 UV_with_SSM.mp3 Recording without SSM2167 UV_without SSM.mp3 Table 10: Recordings made with UV LED and with/without SSM2167 Fig.6: Signal without (left) and with (right) SSM1267 I think you can see that there is more modulation visible in the right image that shows the signal processed by the SSM2167. The sound characteristics of the recordings support this observation. The recording of the sample with SSM1267 involved contains some vast and abrupt level changes. These are due to adjustments I did on the potentiometers connected to the circuit and are not related to pk-modulation. Obviously the non-linear behavior of the SSM1267 adds a substantial amount of pk-modulation to the signal while the question, if the processing this circuit does is amplifying the already present modulation or if the circuit itself is a door for pk-modulation itself, remains unanswered. Due to my experience every kind of signal transformation that affects the signal structure is a gate for pk-modulation. Alternative post processing methods So far the post processing methods I applied are standard methods from the signal enhancing software toolbox. One of the researchers in our Varanormal team developed a software that is based on AI algorithms and is able to outperform the classical denoising and filtering techniques under certain conditions. Because I already have the last version of this fantastic application installed I wanted to give it a try. In the following you can see the parameter settings I used. Fig.7: Parameter settings for the machine learning algorithm The parameters were carefully optimized by controlling the output by ear while always only changing one parameter. After reaching the optimum for every parameter the output level of the SkySound device was altered up and down to see if any more improvements could be made. Basically I got a decoded signal that had all properties of the human voice especially in terms of rhythm. I really obtained just one continuously speaking voice instead of a bunch of parallel talking spirits like I got from earlier experiments. Nevertheless the weird metrics of spirit voices remained . Often the pronunciation of syllables is unusual compared to human speech. Some phonemes are enlarged and other shorted unnaturally. I think this is due to the spectral material the spirits find in the signal entropy we give them to work with. They seem to try to put the right words in where these match the actual spectral composition and signal transitions they are observing. However, very often the created vowels and consonants do not match the needed length to form normal speech and that is why the speech sounds so weird. I extracted lots of samples I want to show here. Again you can find my interpretation of the messages in the annex. Audio samples obtained from machine learning Sample Language Sample-B1 Sample-B1.mp3 German Sample-B3 Sample-B3.mp3 German Sample-B6_E Sample-B6_E.mp3 English Sample-B7_E Sample-B7_E.mp3 English Sample-B9_E Sample-B8_E.mp3 English Sample-B8_E Sample-B9_E.mp3 English Sample-B9_E Sample-B10.mp3 German Sample-B10 Sample-B12.mp3 German Sample-B12 Sample-B14.mp3 German Sample-B14 Sample-B21_E.mp3 English Sample-B21 Sample-B21.mp3 German Table 11: Audio samples extracted with machine learning algorithm Final tests and new prototype I did some more tests to support my theory about the origin of the pk-modulation. First I replaced the phototransistor with a light dependent resistor (LDR), a PTC (positive temperature coefficient resistor) and a CCR (carbon composition resistor). I used all these components in earlier ITC-experiments. The CCR showed a bit of pk-modulation but not as good as the phototransistor. Another important part of the circuit I identified to participate on the pk-effect is the self-adjusting transistor stage T2. It's original purpose is to adjust the receiver automatically with changing light conditions. Since working with an LED provides more or less constant light intensity there is theoretically no need for such a circuit. But for some reason it turned out that it adds-up substantially to the pk-effect. So I kept it. At the end I optimized the usability of the SSM 2167 module. It worked very well by replacing the potentiometers for signal compression and noise gating by fix resistor values and do the adjustments only with the potentiometer to control the light intensity of the LED. My findings were the base for a new prototype I made working with a phototransistor and a UV LED. Fig.8: Breadboard layout of prototype Fig.9: Working prototype After making the breadboard layout and the final prototype I recognized they don’t behave identically. The finalized prototype showed large spikes with pk-modulation characteristics breaking through with high energy. They were literally bombshelling the noise gate of the SSM 2167 causing it to full open the gate at every spike that appeared like a small explosion. I could exclude statics and radio interference because the effect grew with the light intensity and at least appeared to me to have the same rhythm as the voices. Sound example of the Prototype: Photon Bridge Prototype.mp3 I processed this recording a bit with reverb and voice pitch. I think at least you should be able to identify a voice although it is so overdriven that you cannot understand it: Noise Explosion Processed.mp3 Conclusions I think this paper is interesting because it does not show a linear and straightforward approach from an idea towards a realization. Instead you can see something that is very typical for the research work in ITC. You are starting with a certain idea or phenomenon to be investigated. While following this path by using scientific methods (experiments, documentation and conclusion) you finally see that the original question is not in your focus anymore. New questions are showing up and very quickly you are following a quest of a yet unknown goal. Someone else now is leading the path you are walking on and in the end you are given something that is not what you were looking for but maybe something even more precious. I was looking for hidden modulations in the light from the sky but what I found was a combination of a noise source with an audio circuit that was designed for a totally different application. Working together they are creating the best quality of continuously speaking voices I ever was able to obtain. Nevertheless there still is a chance that the light from the sky contains more magic than an ordinary LED may cause. At least I don't yet got a Stream4_13 event with a UV-diode. So maybe there is more to come. For now, I just can say “Thank you” to the hereafter. Annex Audio identifier Interpretation Translation SkySound-A1 “Hat Bedeutung gewaltig” “Has tremendous impact” SkySound-A2 “Wir sind schon alle” “We are all here already” SkySound-A3 “Du bereits unsere Achtung” “You have our respect already” SkySound-A4 “Versinken im Feuer” “Drowning in fire” SkySound-A5 “Fenster nun ist fertig” “Window is ready now” Table A1: Interpretation of audio samples in chapter “General observations” Audio identifier Interpretation Translation Sample-B1 “Mich hören jetzt noch andere reden” “Now others can hear me too” Sample-B3 “Nimmt die Freiheit” “Takes freedom” Sample-B6_E “Harm merit” N/A Sample-B7_E “More guess” N/A Sample-8B_E “What a funny kid” N/A Sample-B9_E “Manhatten” Sample-B10 “Es sprechen Erwachten” “The Awakened are talking” Sample-B12 “Und ich war Magie” “I was magic” Sample-B14 “Und wir brauchen Netflix” “And we need Netflix” Sample-B21 “Kann er auch. Verhalten sich schwach” “He can do too. They behave weak” Sample-B21_E “Merryful Crocket” Table A2: Interpretation of audio samples in chapter “Alternative post processing methods” Sample-B18.mp3 Sample-B19.mp3 Sample-B20.mp3 Sample-B22.mp3 Export-1.mp3 Sample-B2.mp3 Sample-B4_E.mp3 Sample-B5.mp3 Sample-B11.mp3 Sample-B13.mp3 Sample-B15.mp3 Sample-B16.mp3 Sample-B17.mp3
  3. 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
  4. Friday night I left my basic Sony recorder hidden in a church very local to me here. On reviewing the recording I have discovered some anomalies, some OK and some not so OK. However there was no one present in the church at the time and the recordings where taken between 1 a/m & 4 a/m. It would be rewarding to have some feedback regarding these uploads, what do you think the voices are saying and what do you think the banging sounds are. I don't really seem to receive as much feedback from members, why I don't know so please let's have some more feedback. Strange flapping .mp3 Movement 2.mp3 Wind.mp3 Movementpossdoor.mp3 Voices2.mp3 voices.mp3 Voices 3.mp3
  5. 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
  6. 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.
  7. 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
  8. 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
  9. In this post I want to share my audio samples i made by use of coherers. See the experiments section for more details. A coherer is a small glass tube or a piece of transparent hose with electrodes at it's end in a distance of some millimeters. It is filled with conductive granular media. I used coherers with nickel, silver, iron, aluminum and graphite/carbon particles.The particles have lose electrical contacts. If a small current is routed through the coherer it starts to emitt strong pink noise. In the noise there are lots of spikes and cracks and strongly but poorly modulated spirit voices. The intelligibility is Class C in maximum. 1. Carbon Coherer voice samples "Andrés" -> That`s my name: Andres.mp3 "Ben" -> Another name: Ben.mp3 "Braucht 33" -> "Needs 33": Braucht 33.mp3 "Du hast die Quellen versucht" -> "You tried the sources" :Du hast die Quellen versucht.mp3 "Fantastisch" -> Fantastic": Fantastisch.mp3 "Gibst Ruhe und hast immer wieder bestanden" -> "You are giving peace and you have been always passing the test": Gibst Ruhe und hast immer wieder bestanden.mp3 "Sie werden.." -> "They will..": Sie werden.mp3 2. Graphite mine coherer voice samples These are voices I obtained by using losely connected graphite mines as a variant for the graphite coherer. "Du schaffst das gut" -> "You will make it very well": Du schaffst das.mp3 Firework. This is a sequence that sounds like a chain of explosions in a firework. A strange anomaly: Firework.mp3 "Vielleicht" -> "Perhaps": Vielleicht.mp3
  10. Version 1.0.1


    Program - Variable Bandwidth Noise Generator by "Programmatic" Hosted by radioscanner.ru Author: "Programmatic" Variable Bandwidth Noise Generator 1.0.0. Useful for measuring signal to noise ratio. The archive contains the complete source code for Delphi 3-7. Original Link: http://www.radioscanner.ru/files/miscsoftware/file10919/ Original Filename: noise_gen_100.rar Uploaded 8 Sep 2010 Google Translation of this original page on Russian Site: HERE Supplemental: Keith J. Clark has been using this program since about 2015 to generate white noise to feed into a variety of experiments. It is ideal because it is small, compact, and allows the user to select which output device to use - which is crucial to experimenting with virtual audio cables. To see a sample of how noisegen could work in an experiment, see video below. HINT: Just feed the noisegen directly into some noise reduction plugins! As of 11/6/20 The program author "programmatic" has provided permission to host this file directly on this site for FREE download.
  11. I have a work in progress of a spirit serial terminal application. Originally I intended to make a spirit morse decoder but it came out that the signals reminded me of RS232 serial data. Thus i hooked it up to a terminal program and got a nice mess of characters. I decided to write an own terminal program that just lets through the letters of the alphabet and numbers. The rest is discarded. It's almost working now. The electronic employs a germanium diode noise source and a discriminator circuit that gives me freedom yo decide what parts of the signal i want to use. The impulse are setting and resetting a flipflop that generates a nice stream of digital pulses of varying length. This signal is directly feeding the input of an RS232 comport on my pc. VID_20201031_161600.mp4
  12. 1. Abstract It was more by accident that we experimented with noise impulses in our setup because they were so abundant in the signals we recorded. First we thought that those spikes were just interference signals from common electric sources like power supplies, electrical machine, CFL a.s.o. After I denoised a sequence of spikes by accident I was amazed to find out that they also contained speech patterns. That was the start of a quest for the meaning and characteristic of spirit spikes or spirit impulses as we called them since we knew they were not interference. The fascinating thing was that by proper signal post processing we could recover a good voice part even from just a small bunch of impulses. It was logical to devise a test setup that was designed expecially to scrutinize these impulses we so far just analyzed as a byproduct of other experiments. I wanted to find out if we could gain good quality voices from pure impulses because this digital representation as impulses is practically noise free. 2. Test setup The challenge was to design a circuit that uses a noise signal as an input signal and generates random impulses from them. I had the idea of making two independent noise sources with the very reliable OA9 diode. The preamplified noise would trigger the set- and reset inputs of a simple RS-Flipflop. The idea was that randomly setting and resetting a flipflop would generate trains of impulses with varying frequency and duty cycle. Electronic schematic of first RS-FlipFlop EVP receiver The schematic shows very clearly the two indentically designed noise generators. The trigger sensitivity for each R- or S-channel can be adjusted independently. I provided two LED's with different colours to indicate the SET or RESET state of the FlipFlop. The idea was to give the operator an indication of the triggering count and if the triggering is symetrically or not. For this test I made a breadboard design and no real prototype. 3. Test results The circuit worked pretty much as expected and the signal was very symetrically. That means that SET and RESET events were more or less in equilibrium. The results were very encouraging if a reasonable amount of denoising and hp-filtering in audacity was applied. I was amazed since it was proven that voice patterns coded in impulses can be recovered up to a certain amount that makes the voice intelligible again. You can hear a collection of samples here. 4. A new design The results of the first design were good but I valued it as a bit too complicated. My consideration was that maybe one noise source could do as well and I wanted to use the excellent trigger facilities of the famous monostable multivibrator circuit NE555. That gave me the base of a new design I made 9 months after the first one Electronic schematic of 2nd design You see that this schematic is much simpler. It contains roughly only half of the components from the first design. Here is only one noise source. The amplified signal is feeding the trigger and threshold inputs of the NE555. Basically the trigger input corresponds to the SET input of a RS-FlipFlop and the threshold can be seen as a reset. The NE-555 triggers its internal flipflop if the voltage on Pin 2 undergoes a trigger level of UB/3 = 4V. The output (Pin 3) is set to HIGH then. If the voltage rises above 2*UB/3 = 8V the circuit resets the internal flipflop again.. 5. Results of test with 2nd design Obviously the distribution of impulses is not that symetrical as with the first design but this had no remarkarble influence on the signal quality. The first track shows the raw signal. The second track shows the signal after processing with Paulstretch. This is an intelligent algorithm in audacity designed to stretch a recording by filling the gaps that naturaally occurr by stretching with data that was synthesized after the specification of the raw signal. In our practice Paulstretch proved as very valuable to convert impulses in readable voices. The third track is the signal from track 1 after 18 dB of denoising which is moderate. The picture above shows the impulse trains in zoomed presentation. As expected frequency and duty cycle are varying randomly. A sequence of experiments showed that much impulses do not necessarily lead to good voices despite as one might think because more impulses mean more entropy and more opportunities for the spirits to form voices. This is not the case. In fact it proved that less impulses give better results than much impulses. The reason is that less impulses are an outcome of higher SET/RESET levels on the NE555. Only the amplitude maxima (positive and negative) are triggering impulses thus the noise below does not trigger impulses and only the high impulses of strong voices are making it through. See it as a special form of signal to noise improvement in the time domain. The picture below shows a signal with less impulses in three parts. Left is the raw signal, in the middle the signal after Paulstretch and on the right after denoising Hear the audio sample corresponding to the picture here. You can hear that the rhythm of the speech is very good perceivable even in the raw signal. After paulstretching the result is of so good quality that denoising is almost obsolete. The last picture shows the spectrum of the raw signal. The spiky outline already shows a good modulation with voices. You can hear samples made with this design in the same audio directory as specified above. 6. Conclusions It was proven that impulses triggered by a random noise signal are representing a spirit voice signal in an, I am tempted to say, digital form with very good signal to noise ratio. The paulstretch function in audacity is an excellent tool to convert the impulse trains into a readable signal.
  13. I already explained the good results I yielded with the coherer devices in the article Research Paper - EVP Reception with Coherers - Basic considerations by Andres Ramos. I decided to scrutinize this effect in more depth and took the graphite coherer as a starting point since it gave me the best voice signals and worked very stable. For my first experiments I used powdered carbon and the graphite powder from a hardware store. In my experiments I wanted to test more materials based on graphite. My next step was to try graphite mines from a papershop. I arranged two of them with ductape on my working desk and fixed two wires to them. A third mine was losely lying across the other ones. Graphite mine setup The electrical contact over the mines was very weak as I wanted it to be. Via a series resistor I routed a small dc current through it with an adjustable voltage from my power supply. The gained results were of the same quality as with graphite powder. Sadly this setup was extremly susceptible for mechanical vibration. It was in fact a microphone! From another project I made i knew another material based on graphite and that was conductive rubber. This is manufactured as small tubes of rubber with a certain amount of graphite mixed with the rubber. I also made a setup with these. Conductive rubber setup The setup was a lot more stable in mechanical terms and also slighly improved in signal quality. Moreover it was very easy to get it to emitt noise. I decided to design a complete receiver around this conductive rubber setup. For some marketing reasons it was coined the "Marconi Mk II" device. The Marconi Mk II device Sadly I don't have an electronic schematic anymore but the design was very much copied and pasted from the zincite receiver while replacing the zincite by a piece of conductive rubber with two electrodes. One with a screw only slightly touching the rubber. The receiver had knobs for rubber bias voltage, volume and also a microphone. By pressing the red button a red LED lights up and the voice of the experimenter is mixed with the noise stream while simultaneously muting the loudspeaker. This feature was implemented to record the questions of the experimenter along with the spirit signals. See the attached test report for more details on the graphite coherer. A collection of audio samples made with the Marconi device can be found here Before finalizing this article i want to mention that I also ran an experiment that I called "Multifeeder". This was in fact a piece of rubber tube with more then one "cat whiskers" and a common electrode. Multifeeder setup I combined all the signals of the three feeders in a preamplifier. However whether the S/N ratio nor the overall signal quality was improved. ITC report 2019-G-003.pdf
  14. I made my first steps in ITC with the zincite receiver I made (Look at topic "1. Zincite as an replacement for germanium in ITC application"). My intention was to find a cheap and easy replacement for germanium since germanium semiconductors are becoming obsolete more and more. But there is also an application with pure germanium that was successfully tested earlier and is said to be a design of Thomas Alva Edison himself. See article here. I don't know if this is true but I wanted to find out if germanium would give me results comparable to the ones I gained with zincite. Thus I bought a disk made of 98% pure germanium at Ebay and constructed a mechanical assembly that allowed me to place it between to electrodes with one of them to be adjustable with a screw. Mechanical assembly of germanium disk holder Since operating the germanium was not different from working with zincite I just replaced the zincite sub assembly in my receiver by the one shown in the picture above. Tests and results Basically my presumptions were proven. Germanium gave the same quality and sound that i already was used to from zincite. The difference was just that germanium was more stable. I already expected this since germanium is a solid crystal structure and not as weak as zincite. So from a signal quality viewpoint the germanium circuit can easily replaced by zincite. A collection of exported audio sounds can be found here.
  15. The use of the coherer effect is relatively new for ITC. The first occurrence l encountered in an article of the german VTF association. The carbon powder cell described in this article appeared very familiar to me as I had intensively studied the structure of coherers and thus the works of Branly, Marconi and J. C. Bohse. A coherer is an amazingly simply and effective early device for the reception of radio wave energy. It contains fine granular media, particulary metal filings of iron, silver and nickel and two electrodes in lose contact with the filings. The filings are normally covered with thin films of non-conductive media like oxide. In idle mode the coherer has a high impedance of several megaohms. If a radio wave hits the coherer there is something amazing happening. In a moment of some nanoseconds the impedance drops down to some 10 ohms and the coherer may switch a relais or drive a lamp with current. Apart from this amazing effect I discovered that a dc current running through the coherer, provided a proper configuration of the filings, generates a strong noise! To scrutinize this effect I fabricated coherers myself. What you need for this is a file and different metals. I used iron, aluminum and silver I used a vise to fix the material and then filed it down until I had enough filings to fill a small glass tube with them. I made a simple device to apply a voltage and an adjustable current to the coherer. On a lathe I cut a plexiglas rod and drilled in a cavity with an electrode at one end to fill it with filings. The second electrode was a screw thus I could adjust the pressure on the filings very accurately. Experiments with the coherer setup I made tests with iron, aluminum, a nickel-silver mixture and graphite powder (used for lubricating locks from a hw store). Iron gave average results. The noise was not very agile. Aluminum was very eager to noise with huge amplitude changes but it was unstable. The noise ripped off very fast and the coherer needed to be readjusted. An outcome of the fast oxydization of aluminum in air. See below two signal examples from my tests. Aluminum noise signal Graphite Powder signal I analyzed the spectra in Audacity. They were more or less the same. For me that was evidence that the signal quality was an outcome of the naked effect and not the material that emitted the effect. It seems that any conductive material in lose contact would do. What really differed between the materials was the stability of the noise. From this point of view nickel-silver and graphite were superior over the rest. Typical spectrum of a coherer signal Principally the voice quality is rather bad, however there is a steady stream of voices and thus some of them have better quality if you catch the right moment where the actual spectral composition of the noise was at maximum. I needed to do a lot of post processing, mainly denoising and filtering to achieve acceptable results. A collection of audio sample exports as mp3 can be found here. Later i made a heavy simplified version of the coherer that also worked excellent. It contained a piece of plastic tube and two screws as electrodes. See the attached test report for more details on the coherer tests. ITC-Report 2019-G-001.pdf
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