I need help with a KEELY project

[Paul-R]

If we can deduce the algorithm used in the scale construction from the progression in size we are most of the way there, because it is an almost safe bet that the fundamental of the scale is a B-flat....

...remembering, of course, that B flat then is not B flat now. The convention changed. I thought he was keen on 42.8khz,
which, taken down a dozen octaves or so, gets to be E or
thereabouts.
Paul.

[hansvonlieven]

G'day Paul,

In some of his experiments Keely refers to 42.8 KHz, that is true. Where the liberator and the motor is concerned he only ever talks about the "Transmissive Chord of B-flat". I am aware that we can only guess at what concert pitch Keely used.

Hans von Lieven

[zero]

I believe you need to find an expert in 3d modeling.

By taking the picture as a backdrop, and modeling 3d parts to match the
perspective of the photo,  one should be able to reproduce the part.

[premako]

Hi,

I am a 3D CAD designer and I can help but I need some real dimension there to make the picture in the real size so I can make the parts. This is the best solution . If the real measurements are not possible than as you suggested relationships will work too but if the machine is design to work with some specific value than we will do nothing. But that is why research is. To try.  .

Best rregards,

Goran

   

[hansvonlieven]

G'day premako,

Relative sizes are enough, it will reveal (hopefully) Keely's system of chord construction. You see, all musical scales (harmonic ones, and we are talking pure harmonics here, not tempered scales) follow the same relationships.

In other words if you were to build a musical scale on a fundamental of C=150 Hz you would on top of this construct your scale according to a strict algorithm.

If you now had a clock that generated the impulses creating that scale, it would not matter if the clock slowed down or sped up, you would still arrive at a musical scale that was constructed along the same parameters, regardless of the pitch of the fundamental. It would just sound different.

We could never determine, just by knowing the absolute dimensions of the resonators exactly what note they would produce, much depends on the material, whether it's hollow or not and how much stress there is. The note of a string changes with tension the length and diameter of the string can be the same. (within limits of course)

All I need to know is how these (presumably 64) resonators relate to each other, assuming that the diameter and material is the same for all of them.

Thank you for your interest. I appreciate your help.

Hans von Lieven