When an audio recording is created, the storage medium captures far more than perceptible sound. Also present are subtle phase relationships that describe the physical make-up of the recorded environment and all items within it, even if only a single microphone is used. This information is picked up and embedded within the audio media as hidden vector potentials. If this signal is then caused to oppose itself electro-dynamically upon playback, these impressions self-extract to reoccupy the full expanse of sensory perception.
The resultant listening experience can be described as more intense, alive and “present”. With eyes closed, you may feel as if bodily transported to the time and place of the original recording. Due to our instinctive empathy with natural environments, ambient soundscapes, such as the one linked below, are particularly engaging. Hundreds more are available online. The applications of this technique for musical listening, enriched room ambience or creative inspiration are virtually unlimited.
Rainforest Birds Recording (10 minutes)
This project can be performed with due care upon nearly any home or automotive hi-fi system. It requires fabrication of only a one component, a spiral-wound “pancake” coil. One advantage of this flat configuration over cylindrical is that a CW/CCW field symmetry can be established between inward and outward moving currents. This enables electron spin between adjacent electrical currents to balance, thereby producing a cleaner output.
As illustrated in the diagram at the beginning of this article, the same audio signal is fed into the opposite end of each winding. This causes a cyclic compression and rarefaction of adjacent field lines, the rate of which varies according to the real-time amplitude of the conducted current. Force vectors thereby sum toward zero, converting the mode of transmitted energy from transverse to a scalar function. The latter equates to formative perturbations of the sub-structure of space itself.
Although single core wires can be wound side-by-side, shielded 6-7mm microphone cable is the preferred option for ease of winding. Alternatively, single conductor shielded coaxial cable may be used, as described on the Vibrational Transfer page. Start at one end by joining its two stranded conductors to separate contacts of a terminal block. The latter is then glued or bolted to the center of a panel of thick ABS plastic, masonite or similar rigid substrate. A simple counter flow can be produced by simply shorting the coil at this end. However, the scalar product will tend to distort due to electrostatic bleed-off caused by resistive imbalance between adjacent parts along each winding.
As indicated by the calculation below, if the cable’s outside diameter (OD) is 6mm, 30 turns will occupy a circular footprint of about 400mm in diameter. Cut a length of PVC tubing the same as the intended ID of the cable, and glue it to the center of the panel to act as a former. Make a notch to pass the cable through. Drill two holes either side of the cable and secure with a cable tie. Proceed to wind outwardly in either direction, leaving no gaps between successive turns.
At the outermost turn, secure the termination with another cable tie. If the cable will not lie flat during winding, first cover the panel with a layer of thin double-sided adhesive tape. After completion, a few layers of liquid polyurethane sealer can be applied for permanence. Finally, add the single-conductor interconnecting wires as diagrammed at the beginning of this article. The audio speaker is wired into the return leg of the circuit to float the coil above ground potential and thereby “load” it up for improved transmission.
To benefit from the intensity of converging wave fronts, position two coil assemblies directly facing each other a few meters apart. They can be driven in series by the same stereo channel due to combined negligible resistance. To physically support windings when in vertical position, a second panel may be fitted tightly over each coil. In this case, the interconnecting wires would pass through holes to terminal blocks on the outer surfaces.
Alternatively, a motional effect can be created by feeding an anti-phase (inverted) replica of the original signal into the second channel of a stereo amplifier. Its output then drives the second coil separately through its own speaker. This will sound the same to the ear as the other channel, due to reciprocation of the speaker diaphragm. However, the plane of maximum field intensity will now oscillate back and forth between opposing coil faces, emcompassing whatever is in that space.
Although signal content remains the same, each of the above configurations will feel different on a subjective level. Vectoral opposition between windings can be boosted by clamping the pancake coil between two voltage charged aluminum disks as described on the Tensor Fields page.
If completely silent and undetectable operation is preferred, the speaker can be replaced with a compensating load resistance. Choose a value and wattage about 25% more than the amp’s specified rating to avoid overloading. If a deterministic-type signal with high repetition or duty cycle is employed, this value may need to be further increased until the resistor no longer becomes hot.
It is relevant to this project that most consumer sound systems block frequencies below about 10-20Hz. Accordingly, any intended subaudio stimulus must be embedded as modulation within a conventional audio signal. Providing the latter is chosen to be “neutral” in effect, the desired subaudio attribute will still dominate. This technique, as well as halving the frequency content to remove the doubling effect of any unwanted current reversal, is explained in detail on the MP3 ELF Entrainment page.
Keywords: Psychotronics, Longitudinal wave, Mood modulation, Neuro-entrainment, Psycho-acoustics, Silent sound, RR77, Subliminal influence, Standing wave, Robert Beck ELF, Bifilar non-inductive coil, Scalar vector potential