This project combines the advanced methodologies of the trifilar coil and energetic profiling of human emotion. The progression of an electronic signal can be observed on an oscilloscope as a cyclic variation in amplitude relative to a horizontal baseline of passing time. Its inductive effects upon living systems is governed by the rate and contour of this dynamic. These two parameters correspond respectively to frequency and wave shape. Of primary relevance here is the subjective component of the latter as represented by the plots below.
The standard laboratory instrument for custom wave shaping is an arbitrary wave generator. Audio editing software such as Audacity is a free and more readily accessible option that also provides a convenient graphical interface for this same function.
The screenshot above displays the wave shape of “joy”. Audacity depicts it in the mirrored symmetry of a sound card’s bipolar output. Due to the intrinsically slow time frame of somatic response, the optimal cyclic rate is about once every two seconds, or 0.5Hz. Within the conventional limitations of audio technology, this can only be generated through superimposition of an “envelope” upon an existing tone. Criteria for harmonizing these two elements, in terms of evoked response, are covered on the ELF Entrainment page. In the example below, 8KHz, has been selected, being the first lower harmonic of the entraining 16KHz ultrasonic resonance of the inner ear. Begin from Audacity’s top menu bar as follows.
New > Generate > Tone. Waveform: sine, Frequency: 8000, Amplitude: 0.8, Duration: 2 seconds or 2000mS
To now shape this single cycle, drag the lower edge of the track window downward to enlarge the work space. Select the envelope icon situated between the “I” and pencil. Left click your mouse repeatedly along upper and lower margins of this portion of the track to place “handles” in positions that align correspond to the anticipated peaks and valleys of the final wave. Each is then dragged up, down or sideways to define the amplitude at that point. To ensure precision, enlarge one of the above wave plots to the approximate size of Audacity’s active window, print out on thin paper and tape it over the monitor’s screen. Fine tune by inserting extra handles at the key transitions, and drag to smooth the overall contour. In this project, enveloping is only applied to the leading 61.8 percent of the linear time frame. This provides a Phi ratio interval for natural stimulus recovery or reset.
The resulting track is made to play continuously, or “loop” mode, via the graphical interface. Alternatively, an MP3 recording can be made of same for use with a stand-alone device. Here is a saved two second sound file of the above completed envelope.
As illustrated in the diagram and the beginning of this article, a trifilar involves the interleaving of a third conductor. When an identical signal is fed, in opposite directions, through each winding of a bifilar coil, their emitted EM fields mutually repel. The resulting torsional forces imprint any contained information upon the non-cancelled signal within the third conductor. The latter, be it music, sound effects or voice, can then be stored and replayed like any conventional audio signal, yet it carries a substructure that imparts a subliminal response.
Any signal imprinted accordingly may in turn be fed to a second trifilar coil, but this time as the one to be cancelled. The process can be repeated, with each successive cancellation imprinting the new uncancelled signal with an additional freedom of movement. This enables experiments in virtual state engineering based upon orthogonal alignment, e.g. nested wavelengths that express the proportions of a shape or type of object. This functions as a morphic template to predispose its eventual manifestation.
A further refinement is “quantum information sharing”. This is performed by adding, during generation, a very small percentage of white noise to both the cancelling and non-cancelling signals. A sympathetic bridge is thus established across multiple domains, much the same as might otherwise be achieved through incorporating universal or “sacred” mathematical relationships.
For cylindrical coils, the material of the former can be chosen to aid non-linear mixing of convergent force vectors. One option is 25mm OD x 15mm ID x 10mm thick (or similar size) ferrite rings, sold for EMF suppression. Although short, any length can be made by joining together end-to-end with glue or thin wrap of tape. Twenty rings stacked to 200mm is a manageable number.
To begin, wind three equal lengths of enamel coated wire onto separate spools. To maximize cancellation, these can be optionally twisted together at a 45 degree angle with an electric drill. Next apply adhesive tape to fasten one end of each to one end of the former. Then rotate the latter in one hand, while nudging the wires tightly side-by-side with the thumb of the other as it feeds evenly off the spools. Continue until the entire former is covered, and tape the finished end to secure. The amount of current to be passed governs wire gauge selection according to Ohm’s law and charts online. For its protection, the completed coil can be varnished, wrapped with electrical tape or within heat shrink. To ensure a solid solder connection to the amplifier leads, remove 10mm of clear enamel coating from the ends of the wire with fine sandpaper. Double check continuity with an ohmmeter.
Here are three possible variations for skilled experimenters. The mixing region can be intensified by substituting a compact neon or fluorescent tube for the ferrite. To ionize, step-up the “cancelled” signal through a low current transformer connected in series between the coil and ground return. For a more ready made option, in place of any coil and former, insert the same signal into the outermost two leads of a split primary toroidal transformer. The center leads are joined to ground through a load compensating resistor. The separate track to be heard is then fed through the low voltage single winding to a speaker or recording device. Alternatively, twin conductor cable with a continuous foil shield may be employed. The signal to be cancelled travels oppositely through the shield and one center wire, while the audible signal travels through the remaining one. This can be fastened to the floor as a wide area loop to enclose a region uniformly permeated by its field transformations.
All implementations described so far consist of three windings fed by two audio signals referenced to a common ground. The first is the track, such as music, voice or sound effect, to be recorded, or consciously heard from a connected Hi-Fi speaker. The second is the content to be subliminally embedded within it via the coil. It can originate from same type of playback device, but is directed through a separate amplifier. If the output of the latter is bipolar, this signal should first be slowed down by half in software to avoid the frequency doubling effect described on the ELF Entrainment page. For reasons of safety and reliability, to drive the cancellation windings choose a low wattage kit or ready made module powered by a mains-isolated, 12VDC source. The Kemo 12 watt amp pictured below is widely available online along with similarly specified options.
AS illustrated in the diagram at the beginning of this article, its output is load limited to the rated 12W by four 47 ohm 10 watt ceramic resistors. In parallel, their summed resistance provides 4 ohms of headroom over a normally used 8 ohm speaker. This margin assumes the amplifier is not over-driven at its input. If the resistors feel hot after a short period of operation, reduce the volume of the sound source until they are barely warm.
The potential applications for trifilar coils are many., but primarily relate to complimenting and enriching an audible sound environment with a programmed subliminal overlay. One example would be imprinting Hawaiian ukulele music with the recorded sound of lapping waves. Bear in mind, it is unethical, and possibly unlawful, to exert influence upon persons through covert means, particularly without their prior informed consent.
Keywords: Sentic cycles, Music language emotion, Bifilar coil, Sum-zero-vector, Non-linear mixing, Quantum information sharing, Morphogenic field, Kemo amplifier module