Announcement

**vvolt** · 06-28-2011, 03:28 AM

Great post Ash

Good info there. another "angle" to evoke energy

started reading Behind The Flying Saucers

**mikrovolt** · 06-28-2011, 04:33 AM

resonance and timing within a structure or cavity.
Ex: filaments a curiosity in biological cell vitality.

YouTube - ‪Julie Theriot (Stanford Univ) Part 1: Cell Motility‬&rlm;

The speed of a filamentous structure traveling thru various medias a close look at one resonace effect in a cell.
meanwhile at a smaller level with
ideal conditions microtubles forming in reponse to stimulus to perform cell function.
YouTube - ‪Microtuble - Structure function and Dynamics.mov‬&rlm;

Repair can be facilitated by balance of which resonance plays a part.

**MonsieurM** · 06-28-2011, 09:28 AM

Originally posted by mikrovolt View Post

resonance and timing within a structure or cavity.
Ex: filaments a curiosity in biological cell vitality.

YouTube - ‪Julie Theriot (Stanford Univ) Part 1: Cell Motility‬&rlm;

The speed of a filamentous structure traveling thru various medias a close look at one resonace effect in a cell.
meanwhile at a smaller level with
ideal conditions microtubles forming in reponse to stimulus to perform cell function.
YouTube - ‪Microtuble - Structure function and Dynamics.mov‬&rlm;

Repair can be facilitated by balance of which resonance plays a part.

following on that:

Joel STERNHEIMER: DNA Music

When we think of plants being affected by sunlight we are really looking at the effect of a portion of the electromagnetic spectrum on plants that portion which includes visible light. It should not surprise us that sound also impacts plant growth because it is, in essence, an extension to other parts of the electromagnetic spectrum.

More on This:

Joel Sternheimer -- Protein Music -- French Patent # 2,136,737

**rickoff** · 06-28-2011, 06:09 PM

Something way better than multiple tuning forks

Hi Ash,

Your thread post interested me because I spent about 25 years of my life tuning, repairing, and restoring pianos, reed organs, and pipe organs, as well as many smaller instruments. I would use a tuning fork at the start of a tuning session, and after matching the vibrating frequency of the fork with one string, reed, or pipe, would tune the other remaining strings, reeds, or pipes in harmonic relationships to the first one tuned. It is a rather time consuming process, since there are usually about 235 string on a piano, and there are often many more individual reeds in a church size reed organ. A medium size pipe organ can have well over a thousand pipes. Anyways, many interesting phenomenon became quite apparent to me while doing that tuning work. For example, a piano string, or string on any other stringed instrument such as a guitar or violin, can be made to vibrate in resonance if you produce a tone of that frequency (by any means of tone generation) near the string. Likewise, a tuning fork or metal reed can be made to sound if placed near a source tone having the same frequency characteristic. And, as your post noted, multiple tuning forks, or strings for that matter, of the same tuned frequency, can be set into vibration from one source tone, thus augmenting the power of the original source tone according to how many multiples are used.

An organ pipe that is tuned to a specific frequency will not sound if placed near a tone source of the same frequency, and that is because the organ pipe requires a certain quantity of airflow at its mouth in order to generate sound. A pipe organ derives power by combining ranks of pipes that are each tuned in unison, octaves, or other semitone intervals such as thirds, fourths, or fifths, which can be coupled together. In tuning a pipe organ, I would start out by tuning one medium toned rank, and then tune each of the other ranks by sounding each pipe together with the corresponding pipe of the first rank that I tuned. The shortest pipes, which are also the pipes having the smallest diameters, have very high pitch, whereas the longest pipes (normally made from wood) can be sixteen feet long in a medium size pipe organ, and 32 feet in a really large organ. These larger bass pipes have very low frequencies that can extend to the limits of the human ear to be heard. When the lowest of these bass pipes is sounded, the vibrations are powerful enough that you can feel them in your body, and the structure housing the organ pipes will often begin to vibrate. When tuning one of these bass pipes to another large pipe which sounds one octave above it, a situation occurs when the two pipes are close to, but not quite in tune. Unless the tuning of these two pipes is perfect, dissonant vibrational beats will be heard, with the beats being slower as the tuning approaches perfection. In pipes of that size, beats of around two per second or less will cause the entire building to vibrate, and can make you feel very sick in just a few seconds. If two large bass pipes of the same frequency were tuned just off unison pitch, the result could be catastrophic enough to actually bring the building down. I explain this phenomenon simply to show that while multiple resonant vibrations can be powerful, an even more powerful vibration can be generated by just two low frequencies in dissonance. Tapping that power, in a non-destructive way, might prove difficult, but it does seem possible.

A very interesting approach to tone generation and augmentation that fits in well with your thread is a system of electrically driven tuning forks, combined with Helmholtz resonators that was featured in a 1899 Koenig catalog, and which now is housed at the University of Toronto. This system was called "Helmholtz's large apparatus for compounding timbres of 10 harmonics," and utilizes ten tuning forks that are each successively tuned an octave higher than the one before. The ten forks are driven by a master fork that is tuned in unison to the lowest pitched fork of the ten, and which makes and breaks electrical contact to the electromagnets that drive each of the forks to vibration. The most interesting aspect in this setup is the use of the Helmholtz resonators, which dramatically increase the power of the tone created by each fork. Each resonator is simply an enclosed air chamber with a small opening that faces the tuning fork, and each of these is tuned to resonate at the same frequency as its adjacent fork. As can be seen in the photos below, when any of the 10 keys on the small keyboard are depressed, they move a corresponding shading pendulum away from the port of a brass resonator, allowing the augmentation of tone power to be gradually increased to its full potential, depending on the amount of key movement. All 10 keys can be played at once, if desired, and the resulting augmented tonal power is amazingly strong.

The shading mechanism is most clearly seen in the second photo (a backside view), with the brass resonator fully shaded. These resonators act very much like the portion of an organ pipe that extends above the pipe mouth, in that while the mouth configuration determines the tonal characteristic or "voice" of the pipe, the section above the mouth acts as a resonating chamber, the length of which establishes the actual frequency of the tone. Quite similarly to an organ pipe, a Helmholtz resonator is tuned either by providing a method by which the resonating chamber can be shortened or lengthened a certain amount, such as by telescoping the chamber, or using a two piece chamber that is threaded together.

To me, what is most interesting about using an electrically driven tuning fork with a Helmholtz resonator is that the fork itself will only produce a faint tone that you would need to hold somewhat near your ear to hear. When the Helmholtz resonator is added, the power of the tuning fork tone is greatly magnified (far more than could be gained even if 100 tuning forks were utilized for sympathetic vibrations) without increasing the demand on the electrical input power required to drive the fork. From this realization, I can visualize a concept whereby one could utilize the magnified output from the resonator to drive a microphone (or a speaker used as a microphone) to create an induced electrical current. If it takes very little electrical power to set the tuning fork into vibration, it stands to reason that the greatly amplified tone produced by the Helmholtz resonator could quite possibly drive a microphone (or speaker acting as a microphone) to generate more electric power than is required to drive the tuning fork.

Something to think about, and consider for an experiment, it would seem. Anyways, that's my take on the subject for what it's worth. I hope that this has proved interesting.

Best regards,

Rick

**DrStiffler** · 06-28-2011, 08:15 PM

Originally posted by Stealth

This is exactly what Keely did with his machines. He used varying wavelengths tuned just out of resonance to manufacture a complex wave that doubles,triples then quadruples back on itself,each time gaining strength and frequency as it tried to get into resonance with each other. Being out of resonance draws power from the aether as it tries to stabilize in harmony. The more waves you have and the more unstable the harmonies,the more aether is drawn to harmonize it. This is the way he disassocited water into H H O. He disassociated other matter also into its elemental atoms. He used sympathetic vibration to accomplish all this. He was a music teacher and a philosopher as well as a scientist. He made his investors rich by disintegrating quartz to make old gold mines profitable,which had been worked out and abandonded. They sued him in court wanting his machines and technology. They were awarded them,but he had caniballized them so they couldn't operate them. Like Tesla,he wanted to give the world free energy and they wouldn't allow it. Good luck. stealth

This is nice rhetoric and makes for good story, but who has duplicated this? It is always great to hear and explanation when there is never a duplicate device to show that the explanation is correct.

I would not get so involved in what one reads, reading is the processing of words which invoke visual and stimulus perceptions in the mind to allow one to feel the answer is resolved, yet it is mere words, where are the actual replications?

**Armagdn03** · 06-29-2011, 03:59 PM

Originally posted by ashtweth View Post

Hi ALL, Jerry D sent me this just wanted to share.

Ash

Dr. Hartmann writing about Keely's views on tuning forks;

http://keelynet.com/keely/klybrain.txt

Everybody knows that a note struck upon an instrument will produce sound in a correspondingly attuned instrument in its vicinity.

If connected with a tuning fork, it will produce a corresponding sound in the latter; and IF CONNECTED WITH A THOUSAND SUCH TUNING FORKS, IT WILL MAKE ALL THE THOUSAND SOUND, AND PRODUCE A NOISE FAR GREATER THAN THE ORIGINAL SOUND, WITHOUT THE LATTER BECOMING ANY WEAKER FOR IT.

Here, then, is the AUGMENTATION OR MULTIPLICATION OF POWER. If we had any means to TRANSFORM SOUND again into MECHANICAL MOTION, we would have a THOUSANDFOLD MULTIPLICATION OF MECHANICAL MOTION.

Jerry @ Keelynet in Ixt

This is not quite the case.

Two tuning forks, share each others energy. The problem with the situation lies in the fact that the reaction (what we call BEMF in electrical terms) from the pick up tuning fork is in phase with the source. Any work used on either fork has a reaction in phase with the source. I have seen this countless times electrically, and acoustically it works out in very much the same way, except that the inverse square law is modified. Look up inverse law for acoustic phenomenon)I can show the math behind this, and I have several demonstrations which talk about this.

What IS very interesting that the tuning forks will have a preferred distance from one another for power transfer. There will be a radial distance around the source of vibration which will constitute the point of maximum power transmission, and the greatest ratio between high coefficient of restitution (Q in electrical) and energy transferred.

This means that around a resonance point, there is a circle drawn around it that represents the best possible spot to place a receiver of the same tune, which will subsequently have its own circle drawn around it. If you want to use more than one receiver, then you must realize that each additional receiver has its OWN preferred distance, or radii, or circle drawn around it which represents its transmission points for all other receivers and the source. Placing all of the resonant structures at these points creates nifty geometric patterns, one of the most recognizable being a 6 pointed shape much like the star of David.

To see this happen,

1)draw a point, now draw a circle around it. This represents your resonant source, and its circle of preferred transmission.

2)Pick a point on the circle, this will represent your receiver, placed on the circle of preferred transmission. Because our receiver is resonantly the same as our source, it too will have a circle of preferred transmission, which is the same size as our source, meaning they will have circles of equal circumference.

3)Draw a circle around your reciever the same size as the circle from your source. Because they have the same radius, and each is a radius distance separation, the circumference of each cycle will touch the center of the other circle.

http://i210.photobucket.com/albums/b...g?t=1309362664

Now if you want to add more receivers, they should all have preferred transmission points which intersect at logical geometric spaces, for example here are two receivers and one transmitter.

If you follow this geometric pattern around the transmitter, you will end up with 6 places where a receiver should be placed. If I were to draw this out with the transmitter and 6 receivers it would look like this...

Which brings photos like Edwin Muller photographs of cystaline elements atoms into perspective.

**MonsieurM** · 06-29-2011, 08:30 PM

If you follow this geometric pattern around the transmitter, you will end up with 6 places where a receiver should be placed. If I were to draw this out with the transmitter and 6 receivers it would look like this...

Also called a fractal figure

from my thread: http://www.energeticforum.com/renewa...tml#post145703

Computational Modeling of New Kinds of Fractal Antennas and
Fractal Frequency-selective Structures Based on Them

Abstract| Authors' realized modeling of two kinds of fractal antennas with similar structure, but different algorithms of development. The first antenna geometry is a figure "Life Flower" and the second one is series of crossed circles nested to each other. The obtained results were analyzed and conclusion of the practical applicability for these antennas was made. The obtained theoretical results allow us to conclude that synthesized fractal antennas have multi-band and wide-band features. Besides the direct usage, such fractal structures performed on micron-level may reveal an application in a wide class of new fractal frequency-selective materials and surfaces. The applicability sphere of fractal antennas in modern technologies was shown: cellular communication, wireless information transmission and reception, and radar location devices. Also application filed was described for fractal antennas in modern technology: cellular communications, wireless receiving and transmitting information devices, and radar.

http://www.google.com/url?sa=t&sourc...KlN5Rob9nwlwYA

As John W. Keely put it

...When these harmonics form unisons or direct harmonic relations the two vibrating aggregates and their chords of vibration are said to be sympathetic to each other. This unison of frequency dictates that what happens to one vibratorily happens to the other simultaneously.

John Ernst Worrell Keely : Sympathetic Vibratory Physics

**ltseung888** · 06-30-2011, 01:08 AM

From tuning forks to multiple LCR circuits

Originally posted by ashtweth View Post

Hi ALL, Jerry D sent me this just wanted to share.

Ash

Dr. Hartmann writing about Keely's views on tuning forks;

http://keelynet.com/keely/klybrain.txt

Everybody knows that a note struck upon an instrument will produce sound in a correspondingly attuned instrument in its vicinity.

If connected with a tuning fork, it will produce a corresponding sound in the latter; and IF CONNECTED WITH A THOUSAND SUCH TUNING FORKS, IT WILL MAKE ALL THE THOUSAND SOUND, AND PRODUCE A NOISE FAR GREATER THAN THE ORIGINAL SOUND, WITHOUT THE LATTER BECOMING ANY WEAKER FOR IT.

Here, then, is the AUGMENTATION OR MULTIPLICATION OF POWER. If we had any means to TRANSFORM SOUND again into MECHANICAL MOTION, we would have a THOUSANDFOLD MULTIPLICATION OF MECHANICAL MOTION.

...Nor does the idea seem to be Utopian if we remember that modern science heretofore only knew the law of the conservation of energy; while to the scientist of the future the law of the AUGMENTATION OF ENERGY will be unveiled.

��.

I wish this Lawrence fellow the best of luck in producing a new type of resonant power generator.

Dear Ash,

Thank you for quoting from keelynet the case of a thousand tuning forks. The following applies:
1. Two or more identical tuning forks at resonance sound louder and last longer than when one is alone. There is extra "sound" energy coming from the kinetic energy of the air molecules.
2. Mathematically, we can prove conclusively that a moving piston can give kinetic energy to a ball moving towards it and can receive kinetic energy from a ball �hitting it from behind�.
3. If the moving balls are in a pulsing pattern, more energy can be transferred from the moving balls to the piston. This is a molecular view or explanation of the resonance or sympathetic vibration phenomenon.
4. If energy can be brought-in from the air molecules in the case of resonating tuning forks, can energy be brought-in from the resonating LCR circuits?
5. Experimentally, the above point 4 appears to be confirmed. FLEET is an example. The Prof. Steven Jones Joule Thief Variant is another. The Lasersabler Joule Ringer is another.

The Steven Mark TPU is the most powerful demonstration of the Multiple LCR circuit in resonance shown on Internet. A number of teams in USA and China with good oscilloscopes implied that they had achieved the same but are unwilling to share the results freely.

The standing power waveforms we obtained in Hong Kong since July 13, 2010 are conclusive proofs of resonance and COP > 1. Amen.

You can all produce resonate power generators if you have the equipment and are willing to spend the time to tune. The other alternative is to wait for the manufactured product from one of the teams (if they were not stopped.)

Lawrence Tseung

Announcement

Tunning/Resonance as a universal theory

Tunning/Resonance as a universal theory

Comment

Comment

Comment

Comment

Comment

Comment

Comment

Comment