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From ebony pucks to magic foil, mystical and controversial tweaks.

RE: some observations ( and a request for Elizabeth)

Part Two.

We now come to the human being, getting ready to settle down to listen to some music.

Of course the human being will physically GLANCE around, checking for danger, for intruders, for predators. And when they SEE nothing untoward, they consider that the environment is safe enough and that they should be able to now relax enough to listen to the music. That everything in the environment is SEEN to be still (stationary – nothing untoward happening) – so let the music commence.

But, we are STILL programmed, by evolution, to be reading/sensing/monitoring our environment every millisecond of every second of every minute of every hour !! And, we still require the readings to be of a stationary nature before we can “sign off our environment as safe”. My concept (from our discoveries) is that we cannot do that now – we cannot now ‘sign off our modern environment as safe’ because things ‘are NO LONGER stationary’ in the modern environment. And Nature dictates that whilstever we cannot ‘sign off our environment as safe’, then we must remain under tension until we can !!!!!

Let us look at just ONE thing in the modern environment - the AC power supply. Not even considering, for this example, additional energy such as electromagnetism from other sources, RF energy and Microwave energy etc !!!!

The last time I talked about the AC power pulsating away, Enophile reacted to my use of the word “pulsating”. He said that he had been standing next to such a cable and had not FELT any ‘pulsating’ from it !!

The AC power supply is going through it’s full cycle 50 to 60 times per second – so – what words would people like me TO use ??? Pulsating ? Changing? Fluctuating ? Moving? Alternating ? - YOU choose !!!

Whichever word you choose, it is still NOT stationary !!! So, in the modern environment, we will never now be able to read/sense/ a stationary state – so that means that we will not be able to ‘sign off our environment as safe’ and if we cannot do that, then Nature dictates that we remain under tension until we can. So, what ‘stress’ chemicals might that state of affairs be producing in the brain ? Could such ‘stress’ chemicals be actually interfering with the electro-chemicals (positive and negative ions) which carry the audio information of (say) Dvorak’s New World along the auditory nerve to the working memory – because it is the information which reaches the working memory, to be identified by the working memory which is the ACTUAL sound – i.e the final information to be received by and resolved by the working memory so that it can present the best ‘sound picture’ to the brain. It can, therefore, cease to be exactly the earlier information presented into the room by the audio equipment and loudspeakers and then carried by the acoustic air pressure waves which then arrived at the ear drum !!!!!!

Now, all is not lost.

Much of our discoveries point to the concept that as well as Nature requiring us to read//sense/monitor our environment for danger, predators, intruders, - every millisecond of every second etc - Nature also requires us to monitor our environment for signs of ‘reassurance’.

If you can superimpose, on offending objects/areas within the modern environment, some of the techniques which have been used by Nature to denote “reassurance”, then you can lessen the adverse effects of problem areas within the modern environment !!!!!!!!!!!!!!!!!!!!!

Which, in turn, will lessen the tension (stress chemicals produced in the brain ???), which in turn will reduce any effect on the electro-chemicals carrying the complex musical information along the auditory nerve, which in turn will allow the working memory to resolve far more of the complexity contained within the music and so present a better ‘sound picture’ to the brain !!!

Which, in my opinion, is WHAT people have been doing, with so many of the various and different ‘tweaks’ – without realising it !!

Hence the IDENTICAL descriptions of the improvements in the sound:-

The following words have been cut and pasted from something recently written by Greg Weaver in PFO but these words so clearly mirror other people’s descriptions and experiences from various and completely different ‘tweaks’ that, with apologies to Greg, I just had to use them. These words are as clearly descriptive as Shakespeare’s were and, if need be, I would feel the same necessity to have to use Shakespeare’s descriptive words.!!!

>> every sound seems to blossom more fully.

reduction of stridency to upper midrange and lower treble bands, a minimization of the "glare" - This is clearly discernable with bronze instruments like cymbals, which were at once rendered with a more "creamy" voice, and had more focus.

While the lowest registers are not any deeper, they are clearly more defined. Picking or fingering of strings in bass runs becomes much more apparent and discernable, allowing a greater ease in following complex bass lines and seemingly faster rise times, with clearer decay and fall off.

more "space" between instruments, and greater "air" around them, a more focused soundstage, with greater specificity to images. Staging is typically slightly wider, deeper, and taller, with heightened "illumination" of the rear left and right corners of the soundstage. The result is an overall perspective that is more honest, more faithful to reality, with better focus and more realistically sized.” <<

Such identical descriptions have been given by different people, listening in different listening rooms, using different audio equipment, listening to different music and applying/using different types of ‘tweaks’ !!!!!!!!!!!!!!!!!!

I don’t think it is as simple a case of ‘tension on, tension off’. I think there will be varying degrees of tension and therefore different concentrations of ‘stress chemicals’ being produced.

Let us say that (hypothetically) in an untreated listening environment there is created (say) 50 units of stress. ‘Treat’ or install or position or add certain things which can mimic some of Nature’s ‘reassuring’ signals, then the 50 units of stress could be reduced to (say) 40 units of stress. And the person will feel better and the sound will be better. It is the human person being able to COMPARE a situation (different ‘readings’ taken of the environment) with now 40 units of stress against the previous 50 units of stress which is the crucial thing. ‘Treat’ more things in the environment, install more (beneficial) things, position more (beneficial) things, add more (beneficial) things and the stress units can be reduced further to (say) 30 units of stress. And so on !!!!!!!

Remove all those (beneficial) things and back comes the level to 50 units of stress and the sound will now be worse !!

What I have suggested does not negate people’s experiences with such as crystals (or many other ‘tweaks’) in the room. The crystals could still (as has been suggested) be reacting to such as the RF energy, but that reaction changing the ENVIRONMENT which we are constantly ‘reading/monitoring’ and NOT actually changing the audio signal travelling through the audio equipment !!!!

The concept I have put forward better explains how some ‘tweak’ or other or some ‘crystal’ or other can have an ‘effect on the sound’ even though positioned many metres away from any audio or electronic equipment !!

Monitoring our environment is not only concerned with ‘seeing’ what is going on. The necessity to ‘read/monitor’ the environment was established, by Nature, long before the usual senses (sight, hearing, smell, taste and touch) as we know them now evolved !!

May Belt,

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