DISSOCIATING WATER, A KEELY Project

[hansvonlieven]

The Required Software

Keely?s system calls for the generation of the same chord in three different octaves as the introductory impulse.

A basic major chord consists of three notes, namely the first, third and fifth note of the scale. In the scale of C-Major this would equate to C-E-G for instance.

This gives us a total of nine notes that are required as the audio input to the transmitter. Each note must have its own oscillator.

Furthermore the three groups have to have a specific relationship to each other as far as amplitude is concerned. That means that each group must have its own amplifier.

These are then the basic requirements the software must meet to be of use.

Fortunately there are a number of programmes available that not only meet, but far exceed these basic parameters.

The programme I favour at the moment is a Java application called JSyd. The beauty of this programme is that it has a graphical interface and it does not need installing on your computer. Simply download the file, unzip and click on the programme icon.

Of course that means that you computer must be Java enabled, though I would judge that most people here in this forum would have that already. The other beautiful thing is that the programme is free. The zip file is attached.

There is reasonably good documentation that comes with it.

The beautiful bit is that you simply drop and drag each component like oscillators, amplifies, mixers, speakers etc onto a canvas, connect them with patchcord in the desired configuration, click on each component and adjust the parameters and you are in business.

A click of the button will render the waveform, which is displayed on the bottom like an oscilloscope trace.

Once traced the sounds can be saved as a .wav file and replayed in real time.

The drawback is that depending on the complexity of the waveform, the sampling rate and the sample length, it can take quite a while to render the waveform. In other words you cannot generate the required sounds in real time.

For the generated sample to be of any use to us we need a second programme that can take the sample, analyse it, find a zero crossover point and loop the sample.

This way we can sustain the sound generated indefinitely. Suitable audio editors can be downloaded here. Both programmes are freeware.

http://www.snapfiles.com/get/wavosaur.html

http://www.snapfiles.com/get/audacity.html

This is about all you need to get started on the audio end.

Hans von Lieven

[Pirate88179]

Hans:

May I suggest "Audacity" as a very good (free) audio editor?  I use it all of the time to record original music.  You can create hundreds of tracks, mix, edit very accuratley, and save into many different formats.  I am not familiar with the other one you posted. I would think that in order to get all or most of the waves you would have to be very careful as to which compression format you might use.  This would rule out mp3 tpyes of compression files as there is a loss when saved to them.  Perhaps some of the loss-less formats might be better.  There might be some subtle sound "information" in your triads that might not be transferred.  Just my two cents.

Bill

[IronHead]

The problem with digital sound reproduction or creation is that the signal is a square wave, no matter what sound is produced . Look into it,  you will find the digital can not replicate a sound in its pure form. There will always be the square wave breaking up your sound pattern.

This is the nature of digital and its 1s and 0s or on and off
IronHead

[hansvonlieven]

G'day Ironhead,

You are absolutely right, of course. A digitally produced sine wave resembles a staircase, each step representing the signal in a square wave fashion for each step of the sampling frequency. Perhaps I am not stating this very well, but essentially, that's what it is.

I have thought long and hard about this, because it seemed to be a major hurdle in my approach. In the end I decided that it probably would not matter, as long as the sampling frequency was in a direct harmonic relationship to the audio signal it simulated.

My reasoning went thus:

Take a pendulum of one meter in length. Give it a push and it will complete one cycle of swing every two seconds or so, depending on where on earth the pendulum is located. Variations in frequency being determined by the length of the pendulum and the forces of gravity, which vary from location to location.

If now, instead of pushing the pendulum once every swing, you would push it twice, once at the beginning and once EXACTLY half way through the cycle with half the force each, the pendulum would swing as before. There would be no deviation as far as frequency and amplitude is concerned.

The same thing happens with three, four or n subdivisions as long as they are in phase.

That is why we can have sub-harmonics.

A resonant body will accept energy at its own level of resonance and reject energy far removed from its own level of resonance. That much is basic acoustics. The same is true for the harmonics of the fundamental frequency of that body.

My conclusion was:

As long as all the elements of the sound wave are in a direct harmonic relationship to the fundamental frequency of the body being operated upon (in this case a quantity of water) it really does not matter if the basic sine waves are fragmented.

Of course, though well founded on established knowledge, this is only a theory at this stage, and as such has yet to be validated by experiment.

This is what I am endeavouring to do.

Hans von Lieven

[Paul-R]

Keep an eye on what the electrolyser people are up to. I am fairly sure that the Bob Boyce circuit board puts out the Keely frequency of 42.8khz, and 21.4khz and also 10.7khz. They go to a 101 cell electrolyser, each cell getting a volt or so, described here:
http://www.panaceauniversity.org/D9.pdf
and here: http://www.bobboyce.org/
and discussed at length on the hydroxy, watercar and workingwatercar Yahoo Groups. I think Keely's orginal experiment had water in a quartz bowl which resonated at 42,800 cycles per second. I don't know how he tuned the bowl to this frequency.
Paul.