Mahgister
Do you have some photos of your version of the Room Lens?
Aka the Room Organ I suppose because of the copper pipes. Is it vented on the base bottom? Have you tuned the pipes with wool. I will send you a picture of my active audio room conditioner soon. Tom |
No. With me a recording was made of the original hypnotic event so it could be played back as reinforce ment as needed ..I did so for 3 weeks. Tom |
Ignorance is bliss to some. |
They work better on brass points.
What they capture when stable and still is then grounded to the floor. With that benefit added they can then comb the airflow where ever their placed. These control laminar flow in your music room. Clean air is better everywhere.
Tom |
If the Holographs are made of 4 different types of wood then they will have 4 different shear velocities.
The twisted bodies have multiple angles from which they will both receive and relaunch compessive and shear wave energy to and from the hard angles and into the air of the room. Tom |
Like any boundary intersection the Holographs will react differently to drywall, plaster, glass,wood,book cases,record jackets. They all have a varied shear velocity and shape or contour that will react differently to the varied shape and shear velocites of the Holographs. Tom |
Or my Acustafan with special application of materials that conditions the air in my music room. Sounds as if I am using a giant comb to enhance and separate details and overcome room boundaries. No joke..it works very well.
Tom |
With my Argent Room Lenses I can focus and steer the sound stage energy at my chair and all the way across my 21 ft wide room and down the side walls if I want.
I more than suspect the Hallograms will do the same or even more. Very cool I'm sure. Tom |
No nays from me. I do have an understanding of how they work though different than the 3 Argent Room Lenses I still use.
I would love to have a set or 2 of the Hallographs. Tom |
glupson and all..
Look here US Patent 8,735,702 and here US patent 9858903
These methods reduce and or remove a polarity of shear mostly thru dissipation, some with geometry.. The reduction or removal of a polarity of shear lessens "interfering energy" a term my friend Debbie coined. Interference left unchecked can return to the source.. to then again become a part of the signal or the music. For instance vibrating strings can become polluted with energy that is reflected back from the floor thru the endpin..(an adjustable monopole stand) this reflected energy partially becomes 1 with the next note. Debbie can now analyze both mine and her devices when used with a cello and soon for violin.
I have been working with others in the audio field for years and we are now trying to unpack all of this "Interfering Energy" Because of my more recent work Debbie has come forward to decipher her own work and what we the group have been doing for many years. There is a whole lot to unpack with all of these observations and collected information. The hardest thing is to be able to describe to others the why and how and to record and measure the spectrums so we can make further improvements over time. Tom
The Hallograph is a design method to dissipate energy more so than damp energy.
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glupson,
"Reactivation" occurs all the time. When you play music the compression waves which start from the shear motion of the speaker drivers becomes a compression wave to be heard. The sounds we hear are from all the objects and the room boundaries themselves. The motion in and on those objects move, that is shear. The shear motion in solid objects is what modulates the air. The air molecules lay on top of these objects that move and vibrate and that motion of air is how we hear. (compression waves) ..Like the seismic energy of the Earth all the materials above ground have particles that can be and are in constant motion. The air that lays across those vastly different solid particles (lead vs steel vs wood) is activated by the density and shape of those objects even when the air is at rest on them. Even if you think they are not moving they are. The walls the carpet the wood floors the Hallograph they are all always in motion and they always react in conjunction with all of the others. Glass and wool sound different because of their shear velocity and density. Wooly sound..glassy sound, tinny sound, leaden sound all describe the sound we hear when these and other materials are struck by shear waves and the resulting compression waves.
Patent pending is a form designed to protect the inventors ideas before the actual patent is granted. I could not find a patent pending application. A problem with a patent or pending patent is full disclosure which means some or all parts of a patent can be copied or changed or litagated. So you need deep pockets to protect yourself from both copies being made on shore as well as overseas. Shakti probably was conflicted as to keep or disclose materials and methods to build their product.
I know the Argent Rooms Lens were copied and maybe never patented. Bud Purvine of the EnABL process gave up on trying to enforce his patent and just let the masses run with it and benefit themselves.
Everyone has their own method of reasoning on these matters.
Tom
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Lets keep it simple, has any one placed 2 or more plants in the corners of their audio room and encountered a change in sound? The pots could be clay or ceramic or brass or metal or plastic.
That describes 5 different materials with 5 different shear velocities and whose varied shapes are surrounded by the air that touches these vessels. Now how about the soil level and its density.. packed and dense or loosely filled with stones on top. All materials change the shear velocity and reflective angles. Oh and then there is the height and density of the plant.. tall and open with leaves hanging from the top. Could it be a small tree with branches and then a coarse trunk and bark or a dense hanging fern? Do you hang each from a chain screwed to the ceiling. Is the chain brass or aluminum? Do you hang them near the ceiling or somewhere in between..or do you place them directly on the floor or set on a stand. Is that stand closed on all sides or is it on a opened leg wire stand. Every material shape reacts to compression and shear they all speak back to us in our music..Tom
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glupson
Shakti did obtain a patent on the stone but I can locate nothing for the Hallograph. Patents are not cheap..if you hire an agent or a patent attorney. The fees are cheap for a small entity. Tom |
glupson..
Yea it is a hard read and a hard write..takes me sometime to write the correct visual for all of this. What I knew before was based on my own designs, experiments and observations. When Debbie found me after her patent and she had referenced mine she called me out of the blue. After hearing my design in person she thought somehow I corrupted her patent. She flew across country to meet me. TotalIy different application but the end results are nearly the same. I showed her highend audio and she shared her 35 years of being a professional geophysicist and why that field of science is so important in the production of music both live and recorded. Chance encounter. Tom |
I went to school once. Tom |
Try increasing the laminar flow in your room .. it and the contents begin to disappear. Best room conditioning I ever did. Tom
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Removes interfering energy and reduces a polarity of shear but does not reduce interference that travels between the record lip and the paper label..back and forth in and on the vinyl. That cannot be removed by this method. The stylus will see that traveling resonance before this device does its work.
I wonder if they tried c360 or c385 brass as they are lower in speed than titanium and are more elastic.
Very creative concept..like a tuning fork. Tom |
Not everything is a conspiracy. I have never eaten an audio component even when it was new and made my system sound more alive. Tom
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Butt we also have companies design foam and fiberglass devices because they can be easily packaged boxed and shipped so when they are crushed along the way they can spring back into their contrived shape. Their existence does not confirm that there is not a better way to control and maintain live dynamics in a sound room.
Same old same old crap on any given day.
If you want new and creative control over air flow high and low pressure drops look at F1 and Skunk Works. Tom |
I try to control the sound in my room with mostly vented anngular devices on the ceiling and on the floor to capture and redirect energy at or near my listening position.
Some of these are permanently mounted some are portable. In either situation they are all direct coupled to the floor or the ceiling.
No springs damper gliders no sliders..I want to keep all the energy and control its direction.
I see these angles I installed 25 yrs ago in a much better light now that I have moved ahead with an active laminar flow device that also actively treats the air..I have been doing that all along for 25 years with the passive devices I installed back then including the Argent Room Lenses. The active device now gives me more control and improved focus over the entire listening area..The only combing of the air devices I use are at the first reflection points and 3 along the 21ft wall behind the equipment and the speakers. The panels I constructed have have long hair sheeps wool suspended and covered with fabric. Foam and fiberglass sound as if I am wearing a hoodie or a toboggan. This is how I operate. Tom |
Set up to kill the spirits of bad sound with out damping the good spirits of the heart and soul. Tom |
The Argent Rooms Lens have a damped control apperture thru the bottom vent for bass control and pressure relief. My suggested placement after 20 years of use is 6 feet outside the edge of either speaker and 1 dead center of my mechanically grounded audio system..including the Room Lenses. Tom |
Some tweaks are not so fine. When does a tweak become radical ? What's the threshold of a tweak to move above and beyond the mediocrity of its given name.
Is an equipment rack a no name tweak or is it like I have found it to be a system component that is a necessity? I am a member of a company that makes high level resonance control systems and component parts for audio as well as for violin and cello. Tom |
Radical as in a cup full or even a barrel full. A tweak is to me like a pinch or two of salt. Radical as in forward motion not in the reverse.
Tom |
Respectfully,
At what level of improvement does the term Tweak lift itself to the level of a component change? That is what I am asking. Does it require a large out lay of funds to be called a component?
When some friends heard my new acoustic device they said who would have thought that would make that big a difference..but they still called it a tweak..in my home it makes a large improvement one that tells me when it is engaged and when it is not. Lights up or lights dimmed. Tom |
Speaking of a chair...I want to direct couple my chair to the floor with Audiopoints..something I have thought of doing for a long time.
Hope its not a pain in the booty.Tom |
I see that in my minds eye..plus the copper has a nice acoustic flavor. Or even 80% copper 20% tin bronze which I have been searching for, to use in another acoustic project.Tom |
clywnbe
I have a group design of a cd cover we call the Cirkulus..have used it daily for over 20 years. It will only work on drawer load and top load players. It is very light weight and has a shallow lip to enclose the edge/lip of the cd. The edge of the cd causes light scatter to be read by the laser and to engage the error correction. It does reduce the need for error correction allowing the player itself to extract more music. Sounds better. Tom |
Gee we agree on something. Tom |
In part what I posted on the Thiel thread. Not this part though.. If you want to understand how waves interact check out the link below..and yes this does totally relate to the not silly but smart Hallograph and The not silly but smart Argent Room Lens and to an overdamped room and foam and fiberglass and any floor material and dry wall and glass Oh and all the bad that 90 degree angles inflict on our ears.
Any single material boundary can swamp and overwhelm the sound of another material and its boundary.. From the International Atomic Energy Agency below. I found this years ago and forgot and found it again recently. I want to post this on other threads as it will describe how particle waves react with each other and their material boundaries. https://www.ndt.net/forum/files/ut--.pdfLook to pages 38 to 41 or so. What is described is how and what we hear and how different materials and shapes sound the way they do. I want to thank a lady Debbie Miles, a seismologist for 40 years, she has greatly influenced my venture into how materials and shapes interact and their influence on what we hear.. Tom
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40 years ago I was hypnotized in order to stop smoking..it worked. Never touched one again..I wonder if there maybe a hypnotic method to enhance our senses...hearing for me..Tom
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My thoughts on why the music is better with lights out or eyes closed.
The brain is a powerful processor but it does have limits. So if you close your eyes and listen in the dark does your brain use the now unused processing to further enhance the portion that processes the audio portion. Tom
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I agree with myself twice.. eyes open and eyes closed.
Eyes Open gives you a sense of space and proportions to other objects in the room
When I sense that my stage is slightly left or right and then adjust the balance the vocalist in the center ...half of that image is taller than the other half. Strange but true. I then re center the balance control the center image comes together in height. Tom |
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The above is Zappa conducting Yellow Shark in Germany. Music and dance. Tom |
I see the dancing as an expressive art form mixed with music it is very powerful. The French Canadian dancer is Louise Lecavalier world famous and has danced with other musicians such as David Bowie. Tom |
There are no light trails residing in your brain when the lights are turned out on a tour of Mammoth Cave Kentucky..I know ..If your prone to a panic attack this may be too uncomfortable for some. Tom |
If you dont understand the fundamental cause then you can"t find and apply the right cure. Cuts on speaker cones is only one answer of many. If engineers were aware of the cause then there could be more applied answers not just one. A member of our company has a patent on how to reduce shear wave interference in certain strings instruments. Once this is understood I can see new or better methods of interference reduction in audio components and audio environments. Tom |
Butt they work. As does the EnABL process butt you’ll never try them because you would need to remove the books of numbers from either side of your ears. Those books can slow down sound transmission as well as imagination and creativity. Tom |
We identified the causes of the problem a polarity of shear. Bud Purvine in his 1991 patent addreses this with a cure not knowing then that it was shear wave on both sides of and thru the cone material.. Bud now believes what causes the issues on a moving cone is a Raleigh wave that does contain shear and compressive waves. The returning polarity of shear creates interference when it collides with the next wave launch. Buds patent is just over 30 yrs old and only a few today know the reason why it works. US patent 5,304,746
Tom
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