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16th December 2008 From Richard Graham
Subject: Lifted Spirits
Although this is usually the time for lifting spirits, usually when poured over ice in a fine tumbler, I wanted to add one of my own.
I received my Newsletter, and although the content was familiar, it is always better appreciated with a hard copy, but instead I searched for that 'something else' in vain. With some bitterness, I expected more, at least with Elves on....
So glumly flicking through the pages of the Newsletter, my eyes were distracted by sparkle, and the legend was reborn.
I could talk about details (is that Nail Varnish inside?) but won't spoil the surprise.
And it is effective at lifting the spirits!
Richard
22nd December 2008 From Richard Graham
Subject: Fuses
Just a quick query... has anyone (Brian?) using the Russ Andrews found them to be superior to standard fuses.
Did anyone find a further freeze, post-treatments helped?
It may be me, but January may the time of soldering!
Richard
22nd December 2008 From Richard Graham
Subject: The Advantages of Feeling Blu
As the holidays approach, there is often time to sit down properly and appreciate not only what one's P.W.B activities have achieved, but also what newer technologies have brought.
It will be apparent from the title that I am now a fan of Blu-ray, and have a couple of good operas stored up for the holiday season, plus some blockbusters. I cannot make use of the high-resolution sound formats as yet, but even so, the great quality pictures and sound so far have been very pleasing. Inks, foils, creams, liquids and freezing all help, though the discs have a weird anti-scratch coating that does create some problems.
However, it is the archiving aspect of the technology that most appeals, and over the weekend, I really enjoyed watching and listening to the David Gilmour discs, partly because they capture one of the last recorded performances of the late Rick Wright. His contributions to the DSOTM songs, and especially 'Echoes', were great, and I felt lucky to be able to witness them, having not got to the performance itself. Of course it was terribly sad to think that now the Floyd can never reform again, and those songs never sound they way they did again. But even with the grainy film, one could get a sense of a great night, and the loss of a great talent.
As more concerts appear, with our enhancement techniques, we might be in for a really good year.
Richard
24th December 2008 From Brian Hannen
Subject: Re: Fuses
Richard,
I treated the RA fuses, as you suggested and re-froze them to 'lock-in' the treatments. I did not have a lot of time, so did not try the fuses untreated. What I found was that there was a greater clarity in the TV picture, with colours and textures being positively enhanced.
Things were further 'complicated' with the arrival of the P.W.B Xmas card and with the borrowing (and eventual purchase) of an Isotek Mira, more of which I will deal with later.
All in all, the new fuses were well worth trying and at a relatively modest price, too.
By the way : Was that you, Richard, on the BBC Morning News a few weeks ago, talking about computer games and youth?
I wish all a Happy Xmas and a very Happy New Year,
Regards,
Brian
31st December 2008 From Richard Graham
Subject: Re: Fuses
Thanks for the update Brian.
I look forward to your further ideas about fuses and mains conditioners.
And yes, in true Warhol-ian style, I had my 15 minutes of fame, which went much further than expected, with friends and colleagues thinking they were hallucinating when they awoke to hear me on Radio 4!
Perhaps I can debate with Barry Fox next....
Richard
31st December 2008 From Richard Graham
Subject: Another test
Later today, we are going to the O2 to hear Mr Elton John bring in the New Year, which will be broadcast on ITV. I have no idea what to do, other than try to do something, say, after 'Candle in the Wind', and hope that doesn't occur too late in the set.
For those that cannot abide the man, Happy New Year!
Richard
31st December 2008 From Heiko Wingender
Subject: AW: Re: What should we?
Richard, this is intriguing!
I have made a midday run through the dwelling treating especially wooden parts as doors, frames, furniture, shelves and also gas pipes. This was not the first course but the immediate sound lift exceeded my not so humble expectations.
Currently listening through a PC based system with external nos usb DAC and Sennheiser HD-650 headphones I am enjoying a much more powerful, natural and vivid performance.
Especially the boost of depth and texture of bass quality is amazing. I have been wondering whether the improvement would possibly fade.
But I can actually confirm a slight further improvement during the two following holidays without applying any further P.W.B tuning.
I suppose the collective relaxation of Christmas is supporting as well as a cleaner mains supply.
Happy New Year
Heiko
1st January 2009 From Bill Kenny
Subject: Re: What should we?
Happy New Year to all.
Sorry to have been off the map for a few days. I did manage two goes at clipping on Christmas Eve, one at home at mid-day and another at some friends' house at 7 pm.
I didn't notice all that much happening during the Christmas Eve King's College Carol Service at 3 pm - goodness wasn't the selection dull this year? - which I listened to on my FM Tuner but there was one particular curiosity at our friends in the evening.
We had given them the City Waits / Sneak's Noyse carol disc as a small present which they played on the cheap 'stereo' that they use.
Normally this is so awful that it's hard to listen to for any length of time, but after the clipping, I was very surprised to be able to hear every word of a set of fairly unfamiliar carols even though the disc was playing very quietly indeed. I'd rate that as a major step forward.
Having said this, I have also been particularly impressed by the quality of our TV pictures over the holiday period and can confirm that the improvements from the clippings seem to have been cumulative over about 24 hours The set is a very old 'steam' telly, fed by a Sky Digibox. Both pictures and sound (through the set's tiny speakers) have been exceptional since the clipping took place so much so the sound seems to be in true 'out of the box' stereo most of the time and pictures do seem brighter, more colourful and also sharper.
I guess that something really did happen then !
Best wishes,
Bill
1st January 2009 From P.W.B. Electronics
Subject: Re: What should we ?
"What happened later over Christmas was rather more interesting. I would swear that the contrast steadily improved, with better, ink-like blacks evolving, with the associated improvements in depth of field very apparent. In short, the picture, even on standard definition was marvellous."
Strange you should mention better 'blacks' with the TV picture, Richard.
The first thing I commented on, re the TV picture, after the communal clipping, was how whiter than white the whites on the TV picture were !!!!!
Kind Regards,
May
1st January 2009 From Warrick Moore
Subject: P.W.B Christmas card.
So my P.W.B card has been sitting on top on our CRT TV for a while now. I have noticed an improvement in our TV picture, rich and vivid and at times 3D like.
Watched Elton John on TV, The audio mix wasn't great to start with and he was slurring his words on Candle in the wind, The song that sounded the best was Daniel sang with Will Young. and then after that it varied.
It would be great to go along to Jools Holland and do some treatments.
Warrick
2nd January 2009 From Richard Graham
Subject: If there are lessons to be learned....
I will post later today in more detail on a process that has rather blown my mind. I have been very pleased with the Christmas bonus from our Clipping adventure, and pleased with the Christmas card. However, I noticed that my two photos in the freezer, and their bags, had only rudimentary Foil coverage, and had never been Super-Wiped. Just before seeing Sir Elton (more on that too), I attached a strip of each available Foil to the front and back of each photo, and to the front and back of each bag. These were then Creamed, Sprayed, One-Dropped and Super-Wiped, before a Clipping, and return to the Freezer. Not necessarily the cheapest approach, but my goodness, the effects have been extraordinary. Really mind blowing.
And of course, such benefits occur where you go, and are not confined to a listening room. So I get this major lift, everywhere.
What a start to 2009.
Is the time ripe for a Photo Opportunity?
Richard
2nd January 2009 From Kevin Kehoe
Subject: Re: What should we
Following up on the success I had Belting our very own old 'steam powered' TV over the last few years, I have, just before Christmas, purchased some P.W.B. Gold Message Foil and other devices specifically to see if I could take the improvements a bit further.
This experiment overlapped our communal Christmas Eve clipping escapade somewhat, so I don't know to what extent - if any - the picture and sound lifts were influenced by it. As for the Elton John concert, we always watch the Jools Holland Hootenanny on New Years Eve but I switched between the two shows a number times and, on our TV at least, Elton's sound was far superior - especially his piano and vocals, the whole sound ambience was also far better, with glorious pinpoints of detail from the support musicians. Picture quality too was very good indeed.
I must say though, the Jools Holland show sound quality has been a bit of a hit and miss affair on our TV for years - made more obvious to hear, I am certain, by Belt treatments. When some guitar bands are playing (especially at volume), there are some very obvious use of compression detectable - or, whatever they use to level the sound playing field. This has the effect of reducing what low end sound there is available so that what we hear is more like the noise made by a pair of out of phase speakers (this is a little exaggerated but is the best I can describe it). Even the sound recorded at some of the outdoor musical festivals is better balanced. A music programme could come on straight after this show and sound fine. Maybe it is to do with our TV not being compatible with the more exotic methods of sound transmission those days but the effect is particularly noticeable on the Jools show. I have tried the various sound options available on the hand control to no great benefit. Pity, as it is one of the best music shows on the box those days.
If I can make some time available, I intend to use the Gold Message Foil and Red `X' Pen to try a few experiments of my own based around Bill Kenny's article in the latest Newsletter. As always though, when following P.W.B. tips from others, the temptation is to go for the messages he found to work best and, if I get a result, leave it be and play a stack of CD's.
Regards to all,
Kevin Kehoe.
2nd January 2009 From Tomtweak
Subject: Strange Looping
I would like to thank Bill Kenny for his excellent article on strange looping in the latest newsletter. You are not barking up the wrong tree. The addition of these messages to my system, "strange looping gives perfect device acoustic transparency > O.K." and "this message enhances the positive effect of all P.W.B.devices > O.K." gave me an improvement beyond belief. Since every message was written on white paper it was easy to remove all of these specific messages for friends and family. As May so rightfully points out, once you listen with them you can't go back. They are now permanently written on all devices. I encourage others to post any new messages that work for them.
TomTweak
3rd January 2009 From Steve Paines
Subject: Fuses again
I have done some experiments with fuses. An electrician friend who was looking at my Valhalla power lines said you know the weak point is the fuse. Unfortunately here in the UK every appliance must have a plug in the fuse. So all that current has to flow through that thin fuse wire.
That's the reason why I upgraded my fuses because they are the weak link in the power cord chain.
I have tried the Furutech audiophile fuse. At £40 it isn't cheap.
However it does have a significant design fault. The casing is glass and whilst removing one power plug from the wall I discovered the glass had broken. Did secure a refund though.
So my preference is the HiFi Tuning fuse with its stronger ceramic case. All plugs in my system now have these. They produce a wonderful sweet treble, firmer bass and better sound staging. Well worth the investment.
Thanks
Stephen
8th January 2009 From Richard Graham
Subject: Group Survey
I tend to get rather caught up with particular treatments for a while, and have no sense of where others are in relation to this, so I would like to pose a question.
Do you, and if so how do you, treat photographs of yourself?
How much do you prioritise the treatment of you photo?
Any feedback would be very welcome.
Richard
8th January 2009 From Graham M.
Subject: Re: Group Survey
Richard,
I have really only treated the photos of me that are in the freezer. Other photos were treated years ago but only with the two clear strips which were of different widths (one for the front and the other for the rear). These were not specifically pictures of me. The ones in the freezer are not treated to any great degree.
Graham M
9th January 2009 From Geoff Kait
Subject: Re: Group Survey
As you imply, the photos are very powerful, even not treated too much, can make your hair stand on end. But the photos definitely respond very well to everything you can do to boost the effects. One of my favorite things to do with photos is first make xerox copies of the originals and use those instead, they're more powerful than the originals. I use lots of foils, creams, red pen, all on both sides of each photo; a Missing Link (alligator clip version) holds the package together.
Tip: Superwipe the Quantum Clip and Yellow Tweezers. Then use the treated Clip/Tweezers on the Superwipe to pump up the Superwipe a bit more. Then use the pumped up Superwipe and pumped up Clip on the package of photos and the Missing Link device.
Geoff
10th January 2009 From Kevin Kehoe
Subject: Re: Group Survey
Richard,
For the past 10 years - perhaps more - I have had a P.W.B. Photographic Wallet within which I have placed my photograph. Attached to the photo are especially treated white and Purple Magnadiscs front and rear. The Purple Magnadisc also had to be additionally `programmed' with the Q-Clip if I remember correctly - I have been trying to find the P.W.B. information regarding this device and, so far, have had no success.
Apart from attaching various foils to the enclosed photo, I have left it pretty much alone in the room where we play music. I also purchased one for Wendy at the time.
Kevin.
10th January 2009 From Bill Kenny
Subject: Re: Group Survey
Geoff, Kevin and Richard - and also Tom Tweak 2 who kindly posted about my Strange Looping piece.
I have had photographs in my freezer for some time now and curiously have not found them to be as powerful as the rest of you report. In response to Richard's initial posting though, I tried to make a Superwipe with foils, creams and One Drop etc and re-applied this to the photos but once again with nothing like the effects that Richard reported. The upshot is that I have tended not to give photos much in the way of priority over my current preoccupation, Red X Pen messages.
I conclude that I must be doing something wrong, so could someone kindly let me have details of the photo process again please and also the 'recipe' for a Superwipe? I don't have the Missing Link device though.
Having said all this, I am mightily intrigued by Geoff's comment about superwiping the Q clip and tweezers and then reclipping the Superwipe. Wouldn't that be a bit of self-referencing looping?
Bill
10th January 2009 From Warrick Moore
Subject: Photos in freezer newbie questions
I hope someone can answer these for me.
1) Do the photos have to be head to toe of the person, or is a picture of just their face OK.
2) I believe the photo get placed is separate bags is this correct ?
3 How big do the photos need to be ?
I think that's it.
Warrick.
10th January 2009 From Michael Parin
Subject: Photo Poll
Hello All, I too have had limited improvement with treating photo (self) in the freezer.
That said, I have let slip most of my previous regular belting habits-since my red pen ran out, have not been deleting bar codes etc and have been very sparing with my dwindling? supply of Green cream.
Now having got through the worst of my own local financial crisis, am planning to restock my P.W.B goodies box over the next couple of months - those massive sound lifts are really too incredible to not experience again!
Oh, and thanks for the Xmas card May! I will be in touch soon
Michael...
12th January 2009 From Tom Marsden
Subject: Re: What should we?
Happy New Year to everyone. I know I have left it rather late but I have been away from the computer for some time and I am only now catching up with emails. I didn't go out 'Clipping and Foiling' on Christmas Eve but stayed in doors and watched the Carol Service on BBC2. I have to report I was not aware of any change in broadcast quality during the entire programme. I also recorded the broadcast and subsequent comparing early sections of the recording with sections at the end there is no difference in quality that I am aware of. But what remarkable weather we have had over the Christmas period here in the UK. I have probably seen more Christmas days than most people but I can't recall one quite like 2008. I was indoors most of the time but on the evening of the 26th, after listening to a cd, I decided to stretch my legs and go for a short walk. The weather felt intensely cold but being well wrapped up it was a joy to be out and about. The air almost crackled and with the high atmospheric pressure there wasn't a cloud in the crystal clear sky. It is many years since I last saw so many stars in the sky over Manchester. Feeling invigorated after the walk, with the blood flowing and fresh air in my lungs, I went indoors. Playing the same cd again it was noticeable how much better it now sounded. Conclusion: to pep-up your perceptions - take some exercise and fresh air! Recommended.
Regards
Tom.
12th January 2009 From Brian Hannan
Subject: Re: Group Survey
Hi to all,
In reply to Richard's e-mail ; I have added, what I now accept as the bare minimum, to my photos and tend to forget that they are there. They have been SR Foiled, Creamed Red-Penned and signed and that's it. I must dig them out. In fact, Chris did literally did dig them out of the freezer when she de-frosted the freezer box recently. Needless to say, they were placed back, immediately.
I have been thinking :Speaking generally, would it be of any benefit to you, or me, if my photos were in your freezer and yours in mine? Is the photo phenomenon a singular thing or could a greater effect be gained by collaboration?
Also, would it be beneficial to have a Team Photo placed in a freezer somewhere (or a Team Photo in each participants freezer)? It could be done by using Photoshop.
Food for thought.
More later on fuses, cables and Isoteks.
Regards to all,
Brian
13th January 2009 From Francisco Godoy
Subject: newcomer to P.W.B
Bonjour à tous
I'm Francisco Godoy, Spaniard living in France, my age is 50. I have a formation of civil engineer and I studied mathematics and physics for pleasure in the university, I taught these too, but my real passion is music and its reproduction. When I was teenager I started buying Radford, Spendor, Quad, Decca, Rogers... stuff and so on. In the 90's I owned a shop but sold it as I had no more time to go to concerts and I disliked a lot the way the whole hi-fi industry works (I'll speak about that later).
I know about P.W.B since the late 70's, beginning of the 80's thanks to articles in British press, I've experienced myself how the classic way of designing hi-fi components and using them is insufficient. I'd like further on to make a post on what is knowledge in physics and applied physics - to sum up it is absolutely the contrary of what is commonly thought. Although we accumulate knowledge our ignorance is much more important and expanding everyday...
I tried a few months ago various free improving sound technics and was not prepared to the obvious changes they made - some very bad sleeping nights - than I decided myself to go on (rather reluctantly) and I asked May Belt for free samples of Rainbow Foils and Cream-Electret. I applied some of these to the children's low -fi Philips compact system worth only 150 € and I am really stunned by the vast musical improvement, everything is much, much better. The music gains an incredible veracity it increases dynamics, density, weight, openness and at the same time improves blatantly naturalness of voices and instruments and global understanding of what is going on. We have another pricier (350€) compact system which is now totally outclassed by the small Belted (lightly) one.
What I do regret is not having contacted P.W.B much sooner; I'll go now the natural way of learning Belt devices, starting next week with Beginners kit, and I'll think the way of presenting Beltism to many past customers.
Let me say too, that I am accustomed to many, many tweak products and none I know of even compares for musical effectiveness, some bring improvements but not as global as these two Belt products; furthermore their price is very low (50 or 60 cents in my case if bought in Beginners kit) not to be compared with any other product by a vast margin.
So I'll tell my findings with Beginners kit on a very classic system (Quad, Radford, Linn) I'll stop treating children's systems as I don't want theirs to be better than mine -"le ridicule" is the worst disease in France.
A bientot
Francisco Godoy.
16th January 2009 From Francisco Godoy
Subject: Cream-Electret
Hello
Can I use Cream-Electret safely on LCD screen? For super-wipe I've folded in 4 a white cloth placed a black dot in the centre and a foil in the corner, do I use the cloth unfolded or folded?
Has anybody noticed once a Foil has been creamed on a cd that quality increases steadily during a few minutes - it's not at the top immediately.
A bientot.
Francisco Godoy.
P.S. I'll order at the beginning of the week Beginners kit. I've opened that little Philips compact system and used my last samples of cream and foils inside, on electronic and electric components, very nice quality jump, above all a naturalness I did not think this system could have.
17th January 2009 From Brian Hannan
Subject: Re: Cream-Electret
Francisco, and welcome.
I have applied Cream-Electret, Quantum Cream, Green Cream, Morphic Liquid and One Drop Liquid to my flat-screen LCDTV with no adverse effects. I usually apply them in the corners and along the edges, wiping them off with the Superwipe, unfolded. There have been no adverse effects on the screen itself. You can see small smudges on the screen when it is switched off, but not once it is switched on. The improvements in the picture, and sound, far outweigh this.
Keep Belting,
Brian
20th January 2009 From P.W.B. Electronics
Subject: Fw: freezing signed photo's of oneself.
The Message below was sent to us for the P.W.B. User group.
Your thoughts and observations would be appreciated.
Regards
Graham
Sent: Monday, January 19, 2009 From Andrew
Subject: freezing signed photo's of oneself.
Can somebody please explain to me what exactly occurs when you sign a photo of yourself and put it in the freezer. Does music sound better? Do we improve?
Exactly where do you sign it. What size should it be? what surroundings should be in the photo? Anything which you think should be beneficial please also note. I will appreciate any thoughts people have on this issue.
Andrew
21st January 2009 From cico_buff
Subject: Re: Photos in freezer newbie questions / Fw: freezing signed photo's of oneself.
I noticed reading the printed digest today that Warrick Moore also asked newbie questions on photos over 2 weeks ago, and they seem to have not been answered. I don't have much experience experimenting with photos in the freezer (all I know is it works!), and I know others here have fooled with this technique more extensively. But I like to encourage new adherents to our strange ways, so I'll attempt to answer both of your queries on the photo-in-freezer technique, until or if someone else can provide further information.
>>1) Do the photos have to be head to toe of the person, or is a picture of just their face OK.<<
Either will work, yes, but they are unlikely to provide equal quality of sound. Use what you have, but try different photos to see what I might mean, if you wish. Although this isn't strictly necessary, what was originally prescribed, was both a childhood or baby photo of yourself, and a current one.
>>2) I believe the photo get placed is separate bags is this correct ? <<
Yes. (But I personally don't use a bag, because I don't like the sound of plastic zip bags).
>>3 How big do the photos need to be? <<
Any size you wish. (But I'm guessing you'll do better with a smaller pic, ie. wallet size).
>>> Can somebody please explain to me what exactly occurs when you sign a photo of yourself and put it in the freezer. Does music sound better? Do we improve? <<<
Yes to both those questions. Our senses improve, thus music sounds better. Technically, all sounds sound a bit better, so long as you remain within the residence that contains the freezer (but if you treat the photos with P.W.B products, you can bring them with you in your wallet, and thus the effect is not limited to your residence).
>>> where do you sign it. What size should it be? What surroundings should be in the photo? Anything which you think should be beneficial please also note. I will appreciate any thoughts people have on this issue. <<<
You sign it on the back. Near that, you can also write the x co-ordinates, which are: 'x 26 'x
As inferred above, I believe different photos are likely to produce somewhat different qualities of sound. So if you really want to get into this, you can experiment with simple plain portraits or those with a background, scans or copies of the photo, or different photos of yourself, or that of your loved ones. Anticipating your next question, yes, the sound is improved for all in the household, regardless of who's photo is in the freezer.
If you do a search of this newsgroup, you'll find many here have greatly enhanced the effects of photos in the freezer with P.W.B's foils, creams and whatnots. That's what takes it to the next level.
cico_buff
26th January 2009 From Francisco Godoy
Subject: morphic foils
Bonjour à tous
Just received Beginners kit including 3 samples of Morphic foils, I suppose I should cream and superwipe these but I would like some advice about the best placement.
Thanks.
A bientot.
Francisco Godoy.
27th January 2009 From Kevin Kehoe
Subject: Treated Photos
Hello Warrick,
One more word on photographs: The one I use is not a full body one and, if I remember correctly from the original instructions - I have not yet managed to find them - it is important that the photo is only of you with no other people in shot.
Regards,
Kevin Kehoe.
27th January 2009 From Kevin Kehoe
Subject: Morphic Foils
Hello Francisco,
When I first used those foils I had my first big Belt treatment event.
I attached them to the amplifier, tuner, speakers and, way back then, the turntable. In spite of what it said in the P.W.B. literature about our senses being attenuated by everything else in the listening environment such as central heating radiators, light bulbs, infra red security sensors and even potted plants, I don't think I was ready at the time for something as mind scrambling as attaching a foil to the amplifier and hearing a substantial difference - let alone after attaching one to the parlour plant pot! But, once the P.W.B. Genie was out of the lamp, it has never gone back in.
Best of luck with your little wonders.
Regards,
Kevin Kehoe.
27th January 2009 From Brian Hannan
Subject: Re: morphic foils
Hi ,Francisco,
It does take a bit of a 'leap of faith' to attach the foils to anything but the equipment, but perseverance will bring its own rewards. I have used the Blue Z foil on anything wooden, like tables and chairs. I also have them on plant pots. The Safe Hole foils can be used on anything that has a void within, such as fuse boxes, fridges and other electrical goods. Creaming and Superwiping will add to their efficiency.
When I first joined up in the WWB (Wonderful World of Belt), I did think that there may be a hierarchy of treatments and that the path would be clearly set out. That is not exactly the case and you will find that whatever you do, based on inclination, or finance, should give differing degrees of result.
Personally speaking, I would go to town on the Cream and Rainbow Foil, applying and Superwiping them to as many things as I could get away with doing, without being spotted by anybody. It is surprising how may foils can be hidden away, out of sight. The Cream can be applied to walls, ceilings and skirting-boards without leaving any tell-tale marks. Just an application of about an inch in each direction is sufficient.
I have found that the PA Beginners Pack is great for giving you lots of other foils and access to the lovely Green Cream. That way you can treat each item of kit in an intensive way.
I hope that this helps,
Regards to all,
Brian
2nd February 2009 From Kevin Kehoe
Subject: Re: Strange Looping
I am happy to report very favourable results following some message applications based on Bill Kenny's article in the Christmas Newsletter. So far, I have used messages as described by Tom Tweak on the interconnect leads between the amp and CD player, as well as the interconnect lead between the TV and DVD player/tuner using Gold Message Foil and the Red 'X' Pen. To rule out as much as possible effects from other P.W.B. activity, I refrained from using any foils, creams and liquids for a few days before attaching the messages.
I wrote out the messages in one long line along the length of a sheet of Gold Message Foil and then cut them as a long strips. I then peeled a bit of backing paper off each end and temporary attached it to the interconnect leads and listened. It was quickly apparent that something good had happened so, being the impatient sort that I am, I attached them more permanently by removing the backing paper and wrapping the strip - Spiratube like - around the interconnect leads.
Musical transparency is one of the most valued properties perceived in my listening environment through the use of P.W.B. devices and it is readily easy to recognise when you hear it pushed even further. I will try and do a little further experimenting when I get some time but, when time is available, all I want to do is listen to music those days.
In earlier times, after some treatments, I would perceive a lift in volume to have occurred. Now however, as my environment gets more and more treatments, it is easier to define those apparent volume lifts as a strengthening of the musical image in the room - much more discernible musical detail at top and lower registers. At the bass end, this can be quite hair raising when you hear a new depth and weight to a familiar piece of music not played in a while! It's a sure fire way of seeing how far Belting has progressed.
Regards to all,
Kevin Kehoe.
3rd February 2009 From P.W..B. Electronics
Subject: Re: Strange Looping
That was a very interesting 'posting' Kevin.
It really IS surprising just how effective the "Red Pen" technique is.
Particularly when, as you have been doing, you can experiment to your heart's content with different messages and with different positions for those messages. And, even better, to initially just attach the message label by a small area of it's adhesive backing so that you can experiment with the same message (wording) in different positions.
May.
3rd February 2009 From Brian Hannan
Subject: Re: Re: Strange Looping
Hello to all,
I wrote a message on two pieces of the Gold Foil, using the Red Pen, and attached one each to my front speakers. I did a different message on two other pieces of Gold Foil and attached those to the same speakers. It all sounded very good but my gut feeling was that I had put too much onto the one set of speakers. I detached one pair of messages and applied them to the rear speakers. I got a much more focused sound and felt 'better' about it all. My music has a much more holographic quality and, as per Kevin's experience, the bottom end was deeper and tighter.
Regards,
Brian
7th February 2009 From P.W.B. Electronics
Subject: Rupert Sheldrake
Hi everyone,
Rupert Sheldrake wrote his first book "A New Science of Life" in 1981. I have always preferred his second book "The Presence of the Past" but only from the viewpoint that he got into describing his concept of morphic resonance much quicker in his second book.
However, Rupert Sheldrake has just published (5th February 2009) a revised edition of his first book "A New Science of Life" and it is now available in paper back.
I have copied below a short review in today's (6th February 2009) issue of the Independent (UK) Newspaper.
>>> "When this book was first published in 1981, John Maddox, then editor of 'Nature' described it as "the best candidate for burning there has been for many years". Sheldrake is unrepentant in this revision. Indeed, he suggests that his theory of "morphic resonance", whereby "all animals and plants draw upon and contribute to a collective memory", explains the astonishingly small number of genes discovered in the Human Genome Project. Sheldrake even argues that morphic resonance applies to new organic compounds, so their melting point increases with time. Akin to sympathetic magic, it's all very odd indeed, but little odder than quantum physics which, according to Sheldrake, provides a "promising context for morphic fields".
I have not yet been able to read Sheldrake's new, revised version of "A New Science of Life" as I have only, today, ordered it from Amazon.
But I will reprint another summary of it below :-
>>> "After chemists crystallised a new chemical for the first time, it became easier and easier to crystallise in laboratories all over the world. After rats at Harvard first escaped from a new kind of water maze, successive generations learned quicker and quicker. Then rats in Melbourne, Australia learned yet faster. Rats with no trained ancestors shared in this improvement. Rupert Sheldrake sees these processes as examples of morphic resonance. Past forms and activities of organisms, he argues, influence organisms in the present through direct connections across time and space. Individual plants and animals both draw upon and contribute to the collective memory of their species.
Sheldrake, now Director of the Perrott-Warwick Project supported by Trinity College, Cambridge, reinterprets the regularities of nature as being more like habits than immutable laws. Described as 'the best candidate for burning there has been for many years' by Nature on first publication, this
updated edition will raise hackles and inspire curiosity in equal measure." <<<
By way of information. The price of the this new, revised edition of "A New Science of Life" is Recommended Price 9.99 (UK Pounds). Amazon price 6.49. (UK Pounds).
Regards,
May
11th February 2009 From Francisco Godoy.
Subject: Cream Electret
Bonjour à tous
I've been down with flu for more than a fortnight, so I could not test cautiously the starter kit. I'll begin today treating the environment with cream electret, rainbow foils, spiratube, morphic foils.
As today the research motor of the P.W.B. discussion group does not work could anybody tell me about the use of the jar cap when applying Cream Electret (I think I saw something about it in the discussion group but I do not remember)?
A bientot.
Francisco Godoy.
12th February 2009 From P.W.B. Electronics
Subject: Re: Cream Electret
Hello Francisco,
Welcome to our P.W.B. Yahoo Chat Forum.
I am not aware that we have given any advice for using the jar cap of the cream jar when applying the Cream-Electret.
Regards,
May
12th February 2009 From Brian Hannan
Subject: Re: Cream Electret
Hi Francisco,
I always apply the cream, then put the top back on the jar and tap the application with the top of the jar. It works for me. Anyone have any other ideas?
Regards,
Brian
13th February 2009 From cico_buff
Subject: Re: Cream Electret
Bonjour et salut,
You may be thinking of this thread, about tapping foils and things you have creamed, with the jar, as suggested by Richard:
http://finance.groups.yahoo.com/group/PWB/message/914
Bonne chance.
cico_buff
14th February 2009 From Richard Graham
Subject: Re: Cream Electret
A step into the past perhaps.....
When Peter first developed his 'Charge' Theories in the 1980s, we used to coat Jar Lids in Electret Cream, usually after sticking 3 together, to make Charge Traps. Indeed, using metal jar lids, we would make these, and then stick them on speaker magnets, to good effect. Of course Magnadiscs etc took over, and were better still.
Anyone for a Spiratube Limpet?
Richard
14th February 2009 From Richard Graham
Subject: Re: Fuses again
Catch up time....
I agree with the suggestion that HiFi Tuning Fuses are best, and are strong enough to take Smart metal, and the full works. Now that is a fuse!
Richard
17th February 2009 From Richard Graham
Subject: Re: Rupert Sheldrake
May,
As my memory fades, it is good to have this reminder of Sheldrake's work and thinking.
Perhaps you can help me with one question. To my memory, Sheldrake is addressing 'morphic resonance/fields' as a largely positive process, that perpetuates patterns, including behaviour, across space and time. Does he indicate any negative possibilities? The reason I ask is that in Peter's implementation of the ideas, one tries to break down the resonant link, as the perceived object is 'contaminated' by too many links to other patterns. Thus all phono sockets link up negatively, unless a Digiplus breaks the link and allows a more positive perception to occur (if that makes sense). What is unique or new is better than the successful, because there are less things to link with.
My reason for raising this is also connected with developments in disc manufacturing. I have given way to the impulse to buy an SHM-CD and a Blu-Spec CD (which are on their way), to ascertain of the different plastics etc involved make a difference. However, it might also be the case that they would be 'different' anyway, as they are 'different' from usual CDs, and not the victim of noxious links.
I hope this makes some sense.
Richard
18th February 2009 From P.W.B. Electronics
Subject: Re: Rupert Sheldrake
Hi Richard.
In answer to your first question. I cannot remember seeing Sheldrake specifically refer to negative possibilities when addressing 'morphic resonance' fields. I personally see them as 'morphic resonance' fields, full stop. BOTH positive and negative.
One experiment you can do for yourself (which we did many years ago) is to use the Red 'x' Pen and write DANGER on the Gold Foil - in fact write about four such labels, attach them to various items of equipment and listen. The sound will be perceived as worse. The sound would not come back good again until you remove those labels. There would be your answer. For convenience sake I see it quite simplistically. A Hypothetical Energy Band D has all the 'morphic resonances' of danger, war, conflict, aggression, enemy, predator etc and Energy Band R has all the 'morphic resonances' of reassurance, relaxation, safety, peace, friend, etc - and whatever 'bad' words you use links you to Energy Band D and whatever 'good' words you use links you to Energy Band R. I am sure that 'linkage' to Morphic Resonance Energy Bands must have been used by plants and the earliest of creatures long before sight or sound communication was possible between them and certainly long before communication by speech and words.
If 'morphic resonance' "perpetuates patterns, including behaviour, across space and time", then surely this must mean BOTH positive and negative. I am sure 'morphic resonance' does not discriminate between what is positive and negative - it just perpetuates 'patterns' of behaviour.
You may be right that a new form of disc design may take it away from what you call 'noxious links' to existing CDs but what you have to remember is that the materials which anything new is made from - the materials themselves will have 'links'.
Peter and I have always pondered - IF a particular quartz crystal device is used in (such as) the Sidewinder missile and an identical quartz crystal device is used in the CD player in your room, are they 'linked' by morphic resonance ? Similarly are the magnets used in the millions and millions of antipersonnel mines 'linked' by morphic resonance to the magnets used on such as speaker drive units ? Is that why writing beneficial messages can be so effective - particularly when used in areas where one might not expect them to be as effective ?
This is another area where Peter and I have thought long and hard. Can a morphic resonance link ever be broken ? OR does one 'deal with' the 'link' by 'treating' the end of the 'link tentacle' which is in your room by creating a link (beneficial messages) to a more reassuring 'morphic resonance' - in other words, making the morphic resonance link less adverse ???
All very thought provoking !!! As, of course, is Rupert Sheldrake's concept in the first place.
May.
20th February 2009 From Karl Keeling
Subject: Violet Terminator Quantum Pen
In the last few gays I purchased a chunky violet pen from P.W.B for application to cds, lps and fuses. I had recently experimented with black marker application to the outer and inner edges of cds with some promising results and with the cost of a black marker pen at about a pound this seemed like a good value tweak. This also made it difficult to spend £100 on the violet marker but I had always got positive results from other P.W.B applications I thought I would give it a try.
All I can say it is easily one of the best P.W.B products I have tried.
Applied to Cds it certainly brings more out of the mid and high ranges. Freezing and applications of foils and creams brought out more of the bass but the violet pen when applied with the other applications is unbelievable, symbols and drums are sharper and crisper and vocals and guitar solos clearer. I have also applied the pen to all fuses in my surround sound and hifi ste ups. I have yet to experiment on Lps and just can't stop listening to Cds because I can hear so much more.
I always check to see what other people thought of applications and how to use them before buying but I could not find anything on the P.W.B user group letters. I did find a little bit on the Advanced Audiophile site. Can other members let me know what they thought of this in my view marvellous product.
Cheers
Karl
20th February 2009 From Richard Graham
Subject: Re: Violet Terminator Quantum Pen
Hi Karl,
The P.W.B pens are perhaps under reported, though were one of the earliest products, and moved us out of the 'electrostatic' model. At the time when the green pen ink was allegedly absorbing stray laser light inside the CD player, Peter's suggested 4 segments of violet ink blew that theory out of the water. The application to fuses remains a key treatment.
What I always found exciting about the Chunky pens, was that if I treated discs whilst sat in front of the TV, the TV picture would improve as I progressed! I hadn't anticipated that. I think it takes us back to May's last posting - we turn the Morphic Resonance Field to positive when using the products, rather like one of those Schumann devices or ion generators are supposed to i.e. you really do improve the environment you are in.
And don't forget to tap!
Hope you continue to enjoy the benefits - those pens go a long way.
Richard
20th February 2009 From Richard Graham
Subject: Re: Rupert Sheldrake
Great answer Mrs B.,
In fact this really filled a gap in my thinking. I have often perceived the products to be 'enhancing' of the environment, rather than 'damage limiting', and really like the theory that the P.W.B products make bad, good.
It is undoubtedly fascinating to think about how easy it is to start influencing the field. You quote the Red 'x' pen, and using language to influence the Fields. I think there are two aspects to this.
Firstly, how one can influence the Morphic Fields using any red pen, labels, and choice language - 'danger' or 'good sound'. It sounds bizarre, but repeated experience has shown that we do achieve something with such simple steps.
Secondly, and more cryptic, is what happens when one tries the same step with the Red 'x' pen, and Gold Message foil. The differences are much greater, and the products themselves enhance the process, presumably changing the Fields more powerfully. My reason for writing this is that I am a rather more fond of how the Red 'x' pen influences the Fields when drawing a line through a barcode. Whilst I am grateful to those who experiment, and find the symbols and words to produce the 'Great Messages' to put on Gold Message Foil, I just love the effect of the pen on a few tins of soup! Indeed, these more mundane, non-equipment measures are often the more impressive, as they are less well tried.
And so the question arises, what would happen to the Fields if, like during a moment of extreme Clipping globally, we all ensured every tin, every book, every CD, and every magazine in our territory has a Red 'x' pen line drawn through the barcode? The upsurge of new behaviour, using a P.W.B device...
Beats pecking open milk bottle tops (which I admit I have never tried...).
Richard
25th February 2009 From Richard Graham
Subject: Re: Rupert Sheldrake
Update on the Red 'x' pen and Gold Foil.
Rather like Rainbow Foil, the Gold Message Foil has acquired some coloured lines on its paper backing, and I am assuming this is an upgraded version. After sorting out some problems with our boiler, I detected that some old speakers, that I use to accompany my attempts to cook, had no Gold Message Foil upon them. I wrote out six messages for each speaker, including messages for the materials they were made from. I have to say, despite the below listed enthusiasm for lazy 'lining' through barcodes, I was knocked back by the effect of the messages on the Gold Foil.
I have no idea how good the more sophisticated messages might be on the upgraded Gold Foil, and will try later.
Richard
25th February 2009 From Richard Graham
Subject: Re: Rupert Sheldrake
Update on the Red 'x' pen and Gold Foil.
Rather like Rainbow Foil, the Gold Message Foil has acquired some coloured lines on its paper backing, and I am assuming this is an upgraded version. After sorting out some problems with our boiler, I detected that some old speakers, that I use to accompany my attempts to cook, had no Gold Message Foil upon them. I wrote out six messages for each speaker, including messages for the materials they were made from. I have to say, despite the below listed enthusiasm for lazy 'lining' through barcodes, I was knocked back by the effect of the messages on the Gold Foil.
I have no idea how good the more sophisticated messages might be on the upgraded Gold Foil, and will try later.
Richard
25th February 2009 From Richard Graham
Subject: New CD Technologies
Well, the first SHM CDs have arrived, and are interesting, though it is too early to draw conclusions, as they are not fully treated to a level where I can compare them to their older versions.
What is impressive, is that the plastic seems harder, and more reflective. Looking at the playing side of the CD is more like looking at a mirror. After Rainbow Foil, I can detect that the sound is very 'clear', but as stated above, am waiting to find a moment to treat them more completely, to really test them out.
You can just imagine the 'Just 1s and 0s' brigade getting angry at the thought of these new CDs. I can't wait to see and try a Blu-spec CD now!
Richard
27th February 2009 From Richard Graham
Subject: Re: New CD Technologies
Update.
Since this post, a second batch of SHM CDs arrived from CDJapan, including some samplers with a usual CD as well as the SHM version.
I listened to the untreated CD, before moving onto the SHM version, starting with the 10cc classic, 'I'm not in Love'. The SHM version certainly sounded smoother, with more effortless detail, but the difference was not enormous between the two versions. So I sat down, and let the discs play, without much concentration on detail.
I changed the disc to the classical samplers, and then to Prince's 'Purple Rain', and magic happened. The excerpts from Bohm's Mozart 'Requiem', Karajan's Beethoven No. 9 (1962), and especially the closing chorus from Richter's 'St Matthew Passion' completely arrested me. I don't think I have heard such an organically moving sound from a disc in decades. There was a vinyl-type warmth and organic flow, but without the snap, crackle and pop. I kept having goosebumps. Switching to the Prince disc, with it's early eighties recording and the sound was just as revelatory. 'The Beautiful Ones' (rather like at the O2 a couple of years ago) almost induced tears. I am not a valve lover, preferring clarity over warmth, but it was as if these discs were played through a valve amplifier, but again without the downsides. As some others have commented, these discs seem to be better than any SACD or DVD-A I have heard.
I cannot wait to get the discs through a full treatment, but linking to May's hypotheses about materials, might it be the case that the CD has always suffered from the plastic specified, rather than just the aluminium disc? I cannot believe it is just about a better reading of the data.
You can get the samplers at this link, and I have Blu-specs on order now too!
http://www.cdjapan.co.jp/detailview.html?KEY=UICY-91296
I'll keep you posted.
Richard
28th February 2009 From Warrick Moore
Subject: Equipment placement
Hi
In Belt terms where is best to place your equipment ? Between the speakers or off to one side ? How do others have theirs set up ?
Warrick.
1st March 2009 From Mike Wodek
Subject: Re: Equipment placement
Warrick,
I am not intentionally answering the first of your three questions but will answer the next two.
In my opinion as much as you could put on the floor centered between your speakers with some level of isolation would be best.
My listening room is on the second floor and thus has a lively floor. I use 30" flower pot trays filled with sand, then a MDF board, and finally wooden tiles from a Jenga game under the feet of my amps. The same for my LP 12 turntable plus in addition I use six 3" neoprene end caps (for plumbing) with racquet balls on them and place another MDF board above the racquet balls then the Jenga tiles and finally the turntable. Because of space limitations I have my tube pre-amp on the bottom shelf of my audio rack but with a similar set up as my turntable except the pre-amp sits on top of the racquet balls. Also on the audio rack are my tuner on a sack of tennis balls and CD player on a sack of racquet balls. (The tennis balls and racquet balls each have a slightly different sonic effect on the gear.) My speakers, Anthony Gallo Ref. 3.1a's with their original bases, are each set on a stack of 3 cutting boards with a layer of ployurethane shelf liner between each cutting board and 3 spikes on the bottom. My floor was sucking half of the energy out of the speakers until I added my homemade speaker bases.
I have my speakers off of the short wall side of my media room (which has a double entry door just left of center of that wall). The speakers point long ways into the room. My rack is nearest to the wall just to the right of the doorway. The amps and turntable are set up in a arc around the rack. My pre-amp and turntable transformers and PS Audio Duet (conditioner for the source gear and pre-amp) are also on the floor atop this stack; sand bag / pillow / MDF / hockey pucks / Jenga tiles. All my power cords and speaker cable runs sit on hockey pucks to avoid contact with the carpeting.
Mike
23rd March 2009 From Brian Hannen
Subject: Re: Equipment placement
Hi Warwick,
My apologies for not replying sooner, but I have recently been experimenting with Magnadiscs, more of which soon.
As far as I can make out, placement of kit is largely a matter of what space you have available and what is domestically acceptable. I have my gear in a unit that sits in the front bay, with the speakers either side and firing down the long axis of the lounge/ dining room. All pretty much what you would expect from conventional, magazine advice.
From memory, I can't remember anyone posting on this forum re optimum/specialised placement.
Regards,
Brian
28th March 2009 From cico_buff
Subject: Xmas Card 2008
Thanks to all the furry little elves at P.W.B-Land for the magical Xmas card of Dec. 2008. I see it even made it into an audio article.... cool! I really liked the design of the Xmas ornaments bearing flags of different nations, and noticed some extra funny stuff in the inside centre of the card, and the lower edge of the back (I had initially wondered if it came like that). If that is indeed magic P.W.B stuff, then I'd say it looks like the elves had been working all year to improve upon last year's version. Which did not seem to have this extra magic stuff, but I have yet to compare the two. Should be interesting! I can no longer find the notes I'd written on my experiences with the sound it produced when I first set about trying it out, but I remember it wasn't at all difficult to hear the improvements. Figuring out how best to use it was a bit of a mystery. Some locations (I think next to the salt lamp in the bedroom) were clearly better than others. I ended up just sticking it under a foot of my router. So, as there are no instructions that came with it, I was wondering if there was any special location or way that others have used their cards?
cico_buff
28th March 2009 From cico_buff
Subject: Obama vs. Bush: Title fight for the heavyweight championship Belt.
I've been following U.S. politics closely lately, and knowing that President Obama did pretty good for himself in the 2008 elections, I decided to see how good he'd do on a P.W.B-level. Because after all, that's what -really- matters. So I applied this morphic message on a (passive) CD's inner hub: "PRESIDENT BARACK OBAMA > O.K.". I then put on Chris Garneau's version of Elliot Smith's "Behind the Bars", and where the sound was "okay" before, it was a lot more moving this time. Was it a fluke? Well the next spin, Everything But The Girl's version of the Smiths tune "Back To The Old House", had similar characteristics.
Interestingly enough, "PRESIDENT GEORGE BUSH > O.K." had the opposite effect. It was atonal and unmusical. Go figure. :) In fact, "BUSH" beat out "WORST SOUND EVER", "THIS SOUND IS SH*T", and "MURDER > O.K.". Even the chilling "YOU WILL DIE" did not disturb "BUSH" from his lowest place ranking. Actually, that one made it to about four rounds before being KO'ed by President Bush. (Bush had a larger soundstage, though). Who would have figured he's not just bad for your country, he's also bad for your sound?
cico_buff
28th March 2009 From P.W.B. Electronics
Subject: Re: PWB Xmas Card 2008.
Hi Cico,
I am surprised you did not get the instructions with the P.W.B Xmas card. The short instructions said "after the Christmas period has passed you can either place the card under any one foot of a piece of equipment or place it in the pages of a book on a shelf."
Regards,
May.
28th March 2009 From cico_buff
Subject: Re: P.W.B Xmas Card 2008.
Thanks, those instructions seem familiar, so I probably did read that somewhere, but it probably got lost in a shuffle of papers. I haven't tried the card yet in a book, I'll have give that a go.
cico_buff
30th March 2009 From Andreas Makridis
Subject: RE: Obama vs. Bush: Title fight for the heavyweight championship Belt.
Cico,
You should try
EX-PRESIDENT GEORGE BUSH > O.K.
GEORGE BUSH FORMER PRESIDENT OF U.S.A.> O.K.
Or even better
PRESIDENT GEORGE BUSH NEVER AGAIN>O.K.
GOOD-BYE GEORGE BUSH > O.K.
It should sound much better; although I suspect that every message which includes the Forbidden Name will have a more or less adverse effect!
Andreas Makridis
31st March 2009 From P.W.B. Electronics
Subject: Re: Title fight.
Andreas,
When writing messages, you have to be careful you do not introduce any ambiguities with the words you actually use.
I know I am constantly encouraging people to do experiments for themselves, so I welcome you trying different things. All I am cautioning is, be careful.
However, let us look at certain wording:-
If you use the words THERE IS NO DANGER then, yes, that is, in itself, a reassuring message. If you use the words SAFE AND SECURE then, that is also a reassuring message BUT, with the first message, you would have introduced, into the middle of that message, the word DANGER. Working within Sheldrake's concept that the more often a word is used, the stronger will be it's morphic resonance, then the word DANGER will have a strong morphic resonance and a strong meaning BUT with entirely the wrong morphic resonance for reassurance.
The sentence you ended your posting with shows you were already considering that :-
>>> "although I suspect that every message which includes the Forbidden Name will have a more or less adverse effect!" <<<
Keep having fun but be careful with the words you use.
May.
31st March 2009 From Andreas Makridis
Subject: RE: Re: Title fight.
May
I guess I understand what you mean, but every word includes some kind of ambiguity - even the word "danger", or the words "anxiety", "tension", "caution". In our previous example, Mr. Bush was still approved by the 35% of the Americans, on January.
Every one wishes to live on a "safe and secure" world, in order to take his personal or professional "risks" with the least negative consequences.
Composers and musicians use tension, film directors play with fear, people seek a sensational tonic in extreme sports. The ideal universe of total serenity has been abandoned already before the Middle Renaissance. And every policeman would assure us, that an experienced burglar has a much higher listening potential than the average citizen (or audiophile), just because he is in a constant danger.
I have never really come to terms with that conception of yours - if I understand it correctly - and I find that my little experience with your products hasn't disprove my approach; for in many cases (not all though, fortunately), I have experienced after your treatments, a softening of treble, an emphasis on midband and a looseness of attack - and I've always wondered, whether those changes confirm your theory, but in an undesirable way…
I would welcome your comment on the above.
Andreas
31st March 2009 From P.W.B. Electronics
Subject: Re: Title fight
Andreas,
My personal description of your experiences of "a softening of treble, an emphasis on midband and a looseness of attack" would be that 'gone is the harshness, brightness, shouty' sound and instead I would have 'open, airy treble, more definition and better separation of instruments etc'.
Put someone under tension and they will experience the sound to be 'worse' - to be harsh, shouty and aggressive. Yes, people may use stress, tension, in certain circumstances to 'go that further mile' but, in my experience, actual stress and tension, when you are trying to listen to and enjoy music just makes the 'sound' worse.
As you say, other people's comments and experiences would be interesting.
May.
9th April 2009 From A Martherus
Subject: Re: Title fight.
The universe doesn't know the word "no"!
From now on, try to learn to rephrase that what you want.
E.g. imagine my children are jumping on the couch. If I say "don't jump on the couch" they simply continue jumping. Why? They hear only the words "jump on the couch".
Instead, I now say, "guys, a couch is made to... sit on". It works, they stop jumping. In the daily life, this proved to be an excellent way of communicate with my kids. But! It is so hard, not to use the word no. You almost do this automatically.
Of course you should integrate this way of thinking on your work (and in HIFI:).
There is a famous example of a psychologist who asks us not to think of a big, hairy, dangerous bear. The only thing you keep seeing is that bear.
On another level -and it actually works- this is the way for success. E.g. When driving your car and wanting to park it in a busy place, it helps when you, in advance, visualise or picture an empty parking place. These are my own experiences and that of many friends.
It could be that just because you think of something, you give a command to the universe to provide it to you.
A long way to explain that we have to use positive words only, for our P.W.B. messages.
A Martherus
9th April 2009 From A Martherus
Subject: P.W.B.'ing a live concert
(this was written for the newsletter, but never made it in time)
P.W.B.'ing a live concert
-------------------------
Last year I have been experimenting a bit with the so called lemniscate figure (the figure of eight shape, a.k.a. the mathematical symbol for infinity). This symbol represents the reef knot energy, love, or whatever you call it, with a beneficial effect on our perception senses.
Actually, there's a story behind this, which involves my wife, who is a non-audiophile and who knows nearly nothing about P.W.B. In fact, the experiments were done by her, on me, not even knowing she did anything! In the end, I translated this to a concrete P.W.B-procedure, which I will describe below.
I attended three live concerts which I compared: Morrissey, Tori Amos, and Sting/The Police. All three suffered from bad acoustics, and a way too loud sound level. These levels can not be healthy for our ears anymore.
Tori Amos (fortunately) was the 'belted' one, and boy, was I happy! We've been rewarded with an amazing sound quality, that not only me, but also an audio-friend commented about. Pure joy, goose bumps, in short, a thrilling experience! The sound was beautiful, never distorted, and I felt very emotional hearing Tori sing.
Morrissey on the other hand, in the same hall - the Heineken Music Hall in Amsterdam - was a pain to my ears. I still could enjoy it, only because I'm such a huge fan. The sound was distorted, like we heard some kind of "clipping" in the peaks, shouty, it hurt my ears, even with earplugs in, such a shame!
I have attended him before, at Muziekcentrum Vredenburg in Utrecht, which has a wonderful acoustic quality (a round building with only few 90 degree-angles, in contrast to the HMH, which is a square building.) And in Utrecht, Morrissey sounded very good.
How can Tori perform so well, in the same HMH, with the same insane sound levels, using lots of electronics? Sting/The Police and Sting's son in the Amsterdam Arena were good, despite the known very bad acoustics and extreme large distance to the stage. I've enjoyed this concert very much.
To cut a long story short, this is the procedure.
You need:
- A printed picture of the concert hall (you can obtain this from the internet)
- a paper tissue, on which you place a black dot in the middle
- a red X pen
The procedure:
- On the picture, superwipe the image of the concert hall, with the tissue
- draw a lemniscate (horizontal figure of eight) through the building, slightly bigger than the building. The centre of the lemniscate is in the middle of the building, the outside edges are drawn outside the building.
(I will try to make & show some pictures, in time.)
Nothing more, no more belting at this stadium, this will be enough. Now go, and enjoy the music!
I kept this procedure simple. Don't you think it is completely in line with the P.W.B. knowledge as we know it?
It seems nothing new, and very logical, for a belter.
Of course, signing the picture with YOUR_NAME>O.K. and 'x 26 'x, will take it slightly further, as will some foils, or putting it inside a freezer. I did not test this, satisfied I already am with the results so far.
Before testing this in a live concert, you can of course take a picture of your house, and do the same thing.
A Martherus
30th April 2009 From Richard Graham
Subject: Improving the Barrier
It has been a very productive month or so, for experiments and for improvements, and I hope to post some more on these at the weekend. Yet one thing completely blew me away, and I wanted to share this, as the cost of the device is so utterly reasonable (£10 each).
As you may remember, Peter has been subtly upgrading many products, such as Rainbow Foil, with additional coloured lines, to great effect. What I don't always know is which products have been improved, and only discover them when buying some more of them.
Last weekend I finally set up my Squeezebox with an NAS Server and needed some more Charge Barriers for the extra plugs. For those of you unfamiliar with them, Charge Barriers are pieces of purple card, with a distinct pattern printed on them, that are placed over the body of a electrical mains plug. They are effective, and really rather essential in a listening room. The Charge Barriers have now been enhanced by a 'blob' of 'lacquer', which is barely noticeable.
Consequently, I wasn't expecting much from the new Barriers. How wrong I was! I was completely blown away by the uplift in quality, of audio and video equipment, and the ever startling reduction of harshness quite amazing.
I haven't checked recently, but I think the Barriers remain very competitively priced, and in their new form quite something.
Really worth checking out.
Next stop...'Adventures in Time and Space with the Red Pen'...
Richard
3rd May 2009 From Giuseppe Scardamaglia
Subject: Chemicals sensitivity and hearing loss
http://ec.europa.eu/research/environment/pdf/env_health_projects/noise/n-noisech\em.pdf
I found this pdf very interesting and I think, there's some attinence with P.W.B theories about chemicals presence in listening room and perceived loss of sound quality.
Best regards
Giuseppe Scardamaglia
4th May 2009 From P.W.B. Electronics
Subject: Re: Chemicals sensitivity and hearing
Thank you for the link Giuseppe. We have found that all the chemicals mentioned in that article DO have an adverse effect on the sound.
However, as I explained in my talk, we discovered the effect of certain chemicals quite by chance. We discovered that after applying a certain chemical to a stain on a coffee table we had completely spoilt our sound but we had no explanation as to why. Only months later did we read that when a certain plant is under stress, it produces a certain chemical - which just happened to be one of the ingredients of the chemical we had used on the coffee table. Even then it did not explain why it could have the effect of spoiling our sound !! Even though it might be described as a 'stress' chemical in plants, it could not have had any effect on the information encoded on the disc we were playing. It could not have had any effect on the signal travelling through the audio equipment. It could not have had any effect on the acoustic air pressure waves generated in the room - so, the only explanation remaining was that it was us (human beings) who were 'sensing' the 'stress' chemical and going under tension ourselves - thereby making the 'sound' worse !!! In the course of investigating what other everyday chemicals could possibly be having the same (adverse) affect we then discovered a chemical which had the opposite effect - it gave us better sound than we had ever experienced, when applied to various objects in the room !!!
From these experiences we began to formulate the concept that various chemicals must have been used, during early evolution, for communication purposes - between plants and between the early creatures (long before the senses of sight, hearing, touch, taste and smell ever evolved) - and that we (human beings) have, through evolution, retained sensitivity to certain chemicals - sensing them as either 'stress chemicals' (watch out, there's danger about), or 'reassuring chemicals' (it's OK, you can relax, the danger has gone away). And, that if we interpret some of these chemicals as 'warnings of danger' chemicals, then we ourselves go under tension, producing stress chemicals in the brain which could then, quite possibly, have an effect on the electro-chemicals (positive and negative ions) which carry the (sound) information along the auditory nerve - so changing the sound information !!! The actual SOUND information is what finally reaches the working memory - to be interpreted by the working memory to create a 'sound picture' to present to the brain, and, therefore, can be different (changed in some way) to the sound information carried by the actual acoustic air pressure wave information which originally reached the ear !!!
Regards,
May
4th May 2009 From Trevor
Subject: Peter Belt, Proven Right on Barcodes!
Hello everyone, I had been following the earlier messages on this group quite heavily for a while, but then the past few months I rarely visited. But I found the following article and I knew I had to let this group know about it right away. Dr. Peter Lindemann is very well known and respected in free energy circles (just google his name and "free energy") find out what he found out about barcodes!
http://www.free-energy.ws/pdf/barcodes.pdf
This is remarkable confirmation of Peter Belt's work.
All the best,
Trevor
4th May 2009 From P.W.B. Electronics
Subject: Re: Peter Belt, Proven right.
There are some points of interest in the article referred to.
The first was Lindemann's sentence "Even this magazine now carries one (a bar code) because of the requirements of mass circulation". This sentence is interesting because it was our initial experience of 'treating' the bar code on the front cover of a Hi Fi Magazine with a strip of Rainbow Foil - and improving the sound - which first alerted us to the adverse effect that Bar Codes can have.
And this discovery came immediately after discovering that 'treating' the CD logo on the label side of a CD also gave an improvement in the sound !!
Both of those experiences pointed to the concept that "things which are identical are (somehow) linked" - which is very much within Rupert Sheldrake's 'linkage by morphic resonance' concept. Lindemann is referring solely to Bar Codes whereas we found that not ONLY Bar Codes could be 'treated' but so can such as the CD logo on the label side of CDs and 'treating' both gave identical improvements in the sound - but, the CD logo is NOT a Bar Code, with numbers or bars, so there must be something else 'going on' !!!
Identical bar codes are 'linked' to thousands if not millions of other identical bar codes and the CD logo is identical with and also on thousands if not millions of other CDs, even though the CDs may be different, have different label illustrations and contain different musical information.
Yes, the bar code of such as that on a Hi Fi Magazine will be specific to that magazine, for that month, but we also discovered that every bar code of anything printed in the UK started with exactly the same numbers - 77, so, the bar code on a specific Hi Fi Magazine, of any particular month, would be identical for that month's circulation figure (say 30,000) but the first two numbers of any bar code for anything printed in the UK would be identical to millions.
Lindemann says "Like other geometric designs, each barcode has a signature. You can think of it as a subtle energy antenna."
I personally see it more like Sheldrake's concept of 'linkage by morphic resonance'. Yes, linked by it's geometric design and yes part of an energy antenna but our concept can include everything which is identical, including the CD logo on the label side of CDs.
Lindemann talks of "the effect of the 'barcodes' penetrating the packaging and imbeding in the product inside". I see it again more as 'linkage by morphic resonance' because 'penetrating the packaging and imbeding in the product inside' does not explain the effect the bar code on the front cover of the Hi Fi magazine has on the sound nor the effect the CD logo on the label side of a CD has on the sound !!
However, although I am not in agreement with some of the claims and explanations in the article referred to (especially "The Mark of the Beast"), it is interesting that others, in a different field, are finding similar effects !!
You can, at least, experiment quite easily, with such as 'treating' bar codes and their effect on 'sound'.
Regards,
May
5th May 2009 From Trevor
Subject: Re: Peter Belt, Proven right.
Thank you May for your reply. As you point out there may be a lot more going on with barcodes than Mr.lindemann might realise. It seems to me, however in the case of the author's photograph and the barcodes possibly making him ill, that the barcodes are a serious problem. I think that Peter Belt may be doing a greater service than he might realise, not just improving sound but also health conditions!
Trevor
4th May 2009 From Andreas Makridis
Subject: RE: Re: Peter Belt, Proven right.
The most widely circulated product code is the one for the copyrights. The "c" in the circle.
I tried to strike it out with the Red X Pen on several cd's and products, but the result was not satisfactory for me. The sound became too warm, slow and lifeless. On the contrary, striking out the Compact Disc logo on the cd booklet, resulted in most cases, to a more dynamic and interesting sound.
Food for thought and experiments, for those who have the appetite…
Andreas
6th May 2009 From Tom Marsden
Subject: Rupert Sheldrake
For those interested and able to attend. Rupert Sheldrake will be giving a lecture on Morphic Resonance, Collective Memory and the Habits of Nature at the Royal Horticultural Halls, Victoria, London SW1P 2QD. The lecture starts at 12 noon - 2pm on the 21st May and is on the 2nd floor. It is part of the Mind Body Spirit Festival.
Regards
Tom.
6th May 2009 From Andrew Lugg
Subject: Red 'x' pen
Will different hand writing styles affect messages written with the red x pen.
I think my hand writing is terrible and only easily read by me. I came up with an idea to use a letter stencil to write all messages with, as this way they clear and easily read.
Andrew Lugg
7th May 2009 From cico_buff
Subject: Re: Peter Belt, Proven Right on Barcodes!
I have no idea what "free energy" is. But I wish I did, because I have to pay for mine every 2 months.... Well the article was interesting, so thanks for sharing. It was educational to see someone concerned about the effects of bar codes on humans, but for different reasons. Reading (more like "skimming", actually) the article, it was easy to put myself in the place of a P.W.B skeptic, because it all sounded pretty silly. So that was interesting too. Still, I was curious to see if their findings had any relevance to human senses; specifically, hearing. So I tested 3 pages of the article. The first was a symbol, designed by someone named Michael Theroux. "Tests show that when this symbol is placed either on top of or behind a barcode, the toxic effects of the barcode are eliminated". Printing it out and cutting it in a square, I placed the symbol on top of a barcode printed on a package label (plastic lid). For what it matters, I was expecting either an improvement from this, or no discernible change. But interestingly, it seemed there _was_ a discernible change. However, it was a change that made the sound worse. Same deal when I taped it to a can of soup.
Next page to be printed out was a series of rings, with an affirmation in the centre. It seemed pretty silly, but you were supposed to place an object with a barcode in the center of the rings (I used a can of Campbell's soup), and then say the affirmation out loud. Which I did. This was supposed to permanently eliminate all toxic effects from the bar code, and everything the bar code was affecting. If "bad sound" was supposed to be one of those "toxic effects", well it didn't work, because it also made the sound worse. Since the article said it could take up to 5 minutes to work, I waited more than 5 minutes and listened again. It was still making the sound worse. Maybe I should have tried Cream of Mushroom, instead of tiny pasta fishes in chicken broth, I don't know.
Third page was a large barcode. I drew a line through it with the red x pen.
Well, at least that cheered things up a bit. But its kind of 'cheating', because it wasn't exactly a "free energy" or "radionics" idea.
The final test was one where they mentioned putting a piece of black tape over the barcode would improve things. I couldn't find where I put my black tape, so I used a piece of blue (masking) tape over the barcode. Well that idea wasn't as bad as the others, soundwise, because it seemed to help just a bit. But a strikeout line from the red x pen is still far better.
Maybe the wavelengths of the "living energy fields" in my house are outside of the 50-900 nm range.
Cico
8th May 2009 From P.W.B. Electronics
Subject: Re: Peter Belt being proven right on Bar Codes.
As you say, cico, it was educational to see someone else concerned about the effect of bar codes.
Our own experiments re Bar Codes were carried out solely using 'sound' and the effect on our hearing !!
As I explained in my talk, by the time (some 26 years ago) that we had eventually acquired a CD player and a few CDs, we were already aware of the problem that different colours had on 'sound'. When Peter saw the different and extensive coloured printing on the label side of the different CDs he asked himself the question "Where on earth do I start treating all that printing ?" Also, as I have explained before, by this time we had also discovered how to 'treat' such as Rainbow Foil - which could give us all the colours of the rainbow which we needed, in one strip !!
Peter began to systematically place a strip of the Rainbow Foil on all parts of the label side of a CD, listening each time, trying to find which area (which colour, which pattern) was the worst 'offender'. What took him by surprise was that it was when 'treating' the actual CD logo which gave him the best improvement in the sound - not the different and numerous colours. !!
Peter then turned his attention to the multi coloured printing on the front cover of the Hi Fi magazine, just laid on the sofa next to him. He carried out the same exercise. Placing a strip of the Rainbow Foil systematically in each area of the front cover and listening each time - to try to identify which area or areas were the problem. Again what took him by surprise was that it was when placing the strip of Rainbow Foil over the bar code, on the front cover of the Hi Fi magazine, which gave him the best improvement in his sound !!!
The major problem for someone like Peter (an expert in audio) was in coming to terms with what he was experiencing. Any explanation to do with "the colours on the label side of a CD interfering with the way the laser light reads the information" could not be used because it was the PASSIVE CD (an identical CD to the one we were actually playing but passively resting on the sofa next to Peter) which Peter was experimenting with using strips of Rainbow Foil on it's label - and being able to change the 'sound'!!! And, it was 'treating' a PASSIVE Hi Fi magazine's front cover, using strips of Rainbow Foil, which was also manipulating the sound !!
It was in searching for some form of explanation for what we were experiencing which took us in the direction of Rupert Sheldrake's concept of 'linkage by morphic resonance'.
Regards,
May
8th May 2009 From Trevor
Subject: Re: Peter Belt, Proven Right on Barcodes!
Hello Cico_buff. Thank you for your reply. You said you were unfamiliar with free energy. I don't want to go to far off topic' but basically, it means that a machine can run giving out more energy than you put in. in some cases it runs without any (conventional energy) being put in. Numerous inventors have built cars that run on water, for example. Recently a Doctor made national news when he managed to get sea water to burn by aiming a special frequency radio beam at it. The energy from the seawater was more than the energy required for the radio beam. There are literally thousands of other examples, but the use of this free energy has been ruthlessly suppressed. If you are skeptical, just think of the suppression of Peter Belt's discoveries. Because he might affect the profits of some manufacturers of expensive audio products, many of his supporters have been intimidated. So imagine a technology that threatens the trillion dollar oil, nuclear and gas industry! You can get a good introduction to this here.
http://www.free-energy.ws/lindemann-1.html
I have a theory why covering the bar codes with black tape does not help with sound. Dr. Lindemann pointed out that while the black tape will stop it from harming you it will not stop the energy from affecting the food, so I suppose that would go for sound too. In other words. The cereal in a box will be degraded by a barcode even if you cover it with black tape, so even if you cover the barcode on a CD or DVD with black tape, the sound will be degraded. I do not know why the radionic symbols did not work, however.
Regards,
Trevor
11th May 2009 From cico_buff
Subject: Re: Peter Belt being proven right on Bar Codes.
Thank you for the explanation. I am always fascinated to learn how Peter stumbled across this or that discovery, because I am always asking myself how he could have possibly come up with the idea of testing such incongruous notions (like the cd logo, the reef knot, parking your car parallel to the house, telling a lie, fingernail on a photo, etc).
On the weekend, I was asked by my friend's sister, who had heard and was impressed by what I had done to my friend's car (with P.W.B tweaks), to do the same for her new car, because she didn't like the stereo it came with, as much as the one in her old vehicle. So I spent an afternoon working on treating her car, parked on her property just next to her house in the country.
Since it was all (both car and house) a "virgin environment" (untouched by any sort of Beltism), I decided to use a very "methodical" approach, because there were a couple of concepts (as opposed to devices) that I'd long been wanting to explore, that required such an environment. Starting with the virgin, never-been-treated car, and keeping the few P.W.B products I had brought with me in the owner's house, I brought only a single red x message to the car. The one that reads "enhances pwb devices...". I applied the message and it worked.
Despite the presence of no other P.W.B devices in the car, and no P.W.B applications installed in the car owner's home. So presumably, this worked by morphic resonance on the presence of P.W.B devices around the world, and does not need to rely on what is present in the home or car.
During the afternoon, as I would treat the car, I'd go inside and keep checking the stereo system (which as I say I never treated. The entire house was never treated). To make a long story short, by the end of my work on the car, it was clear that her stereo had significantly improved, becoming more refined in sound, and quite nice to listen to, especially considering this was no audiophile system.
The problem was, I had to tell the sister that she could expect her stereo to have improved while I was working on the car -- and of course, I was expected to explain why this was so. Well here's where the concept of morphic resonance (if I understand it correctly), falls apart for me. My grossly oversimplified explanation went something like...
Me: "Well, there's a linkage from the car to the house..."
Her: "You mean this is a spiritual thing??"
Me: (thinking: "Uh-oh". How am I gonna explain this in an even semi-credible manner...). "No, it's not spiritual, it's really scientific actually. You see, it works because the owner of the car owns the house, and the link..... oh? Is THAT the time? I didn't realize it was so late.... Well I would really love to explain this to you some day, but I'm sorry we have to get going, I've got to shampoo my hair, you see....."
So yes, while it's wonderful to be able to treat your car and have your home receive its effects (though I have no idea how far the car can be), this is one of those pieces of the P.W.B puzzle that I'm not at all sure how to explain, using what I know of Rupert Sheldrake's concept of 'linkage by morphic resonance'.
Cico
11th May 2009 From P.W.B. Electronics
Subject: Re: Peter Belt being proved right
>>> "So yes, while it's wonderful to be able to treat your car and have your home receive its effects (though I have no idea how far the car can be), this is one of those pieces of the P.W.B puzzle that I'm not at all sure how to explain, using what I know of Rupert Sheldrake's concept of 'linkage by morphic resonance'." <<<
*****************
Cico, I don't know whether EVERYTHING can be explained from Sheldrake's concept of 'linkage by morphic resonance'. I don't know if what I am going to describe could come under Sheldrake, or not !!
If behavioural patterns, established over many millions of years, are 'out there', 'available', (a la Sheldrake), and can be shared, then maybe.
Here goes - May's tentative explanation.
The earliest of creatures, for survival purposes, must have had to be 'sensitive' to their environment. And, there will have been various levels of what they would regard as 'their environment' and, therefore, various levels of that 'sensitivity'. And, therefore various levels of "tension" associated with guarding their own (and kin's) safety within that designated environment !!! So, let me give some hypothetical levels (hypothetical percentages) of 'sensitivity'.
In their burrow, den, hole, nest, hidey hole, they would have been (say)100% sensitive to anything that went on in that specific place. At the entrance to that burrow etc, they would have been (say) 80% sensitive. At the area immediately surrounding the entrance they would have been (say) 60% sensitive and, if they had established themselves a designated territory (by marking it out with their scent) - say a 10 metre radius from the burrow entrance - then they would have been (say) 30% sensitive to (keeping a wary eye, ears, smell etc) to what might be happening in that designated territory - even though it might be some distance from where they actually, physically, were.
The question is "Have we (human beings) retained a lot of that sensitivity to some extent ?" And. "If we have, then will there be a level of tension associated with that sensitivity ?"
Think back, particularly if you have lived in different dwellings during your life.
If you have lived in a terrace house (no garden) fronting straight onto the street. You would have been (say) 100% sensitive to what went on in the room you were in. You would have been (say) 80% sensitive to what went on (keeping a wary eye, ears, smell etc) in the actual territory of the house - up to the front door. You would have been (say) 60% sensitive to what was going on immediately outside the house and you would have been (say) 30% sensitive to what might be going on in that particular street !!! The boundary of sensitivity (wariness) would probably end there, at the end of the street !!
If you have lived in a house with a garden, then there would be similar differences in the different sensitivities - i.e. The room you are in, the boundary of the actual house, then the boundary of the garden, and, maybe, the part of the road where you usually parked your car !!
If you lived in an apartment in an apartment block, there would be similar differences in sensitivity. Your own apartment, the shared landing, the floor, the apartment block entrance hall, the parking area and, if a gated area, to the actual boundary fence.
Way back, over 25 years ago, we carried out numerous experiments on this theme. It was one particular experiment which started this area of thought. We were investigating just how far our 'devices' were effective. Our house shared a boundary wall with the house next door. It was only a waist high wall in which we had planted flowers. When we attached a (P.W.B) device to OUR side of the wall, there was a remarkable beneficial effect on our sound but, when we removed the device and attached it to our neighbours side of this boundary wall, the effect on our sound was barely noticeable - until we replaced the device back onto our side of the wall again.!!!
Another experiment which took us (and Jimmy Hughes) by surprise. Jimmy (a well known UK audio equipment reviewer) lived in an apartment block which had car parking for each apartment on the same floor as each apartment, immediately opposite the entrance door to each apartment. Peter went outside Jimmy's apartment and placed a P.W.B device on the boundary wall of the car parking spot and Jimmy listened to the sound in his listening room. The sound was considerably improved. When Peter removed the device and Jimmy listened again, the sound was much worse !! This took place even though Jimmy did not own a car, so never used the car parking spot personally but visitors to Jimmy's did, occasionally, use that car parking spot.
I don't think that people are aware just how sensitive they actually are within their immediate territory and within their own designated boundaries.
I also do not know of any other way of people becoming aware of this sensitivity other than through listening to their music and comparing before, after and back to before 'treatments'.
The morphic messages are within Sheldrake's 'linkage by morphic resonance' because words (written or spoken) etc are communication (behavioural patterns). Sensitivity to 'territory', to territorial boundaries, to immediate environments (including being in a car environment) are very much to do with evolution and the survival of whoever was the most aware !! If many of the earliest of creatures had not been so successful at being aware, we would not be here today.
Regards,
May
12th May 2009 From Trevor
Subject: Re: Peter Belt being proven right on Bar Codes
That was a fascinating example of the power of the red pen, I have been thinking about buying it. What I would like to know is has anyone tried the red pen on their bank statement? Seriously!
Why should it not work with appropriate wording?
Trevor
13th May 2009 From cico_buff
Subject: Re: Peter Belt being proven right on Bar Codes.
Well, the pen will work on anything Trevor, but it won't work equally as well on anything. I usually prefer either blank paper (self-adhesive or not) or P.W.B foils. The foils are preferable to blank paper, but the blank paper is preferable to random printed paper, because the printing will affect things to some degree. And if that is not specifically geared to this use, then it will probably be a negative degree. But its worth testing if you're curious. You can write the same message on a bank statement that you do on a blank paper or a foil; then compare each. Maybe writing on money could be something to try as well, though I never have.
But that's the great thing about the red X co-ordinate pen. It really lends itself to experimentation. It's a fascinating tool, because you just can't fully appreciate the power of language until you have experimented with this pen. With which you can literally hear the differences that different word choices make, and the power behind phrases, and something I've been experimenting lately, the
effect of the pen on something as abstract as concepts.
Cico
13th May 2009 From P.W.B. Electronics
Subject: Re: Peter Belt being proved right.
What would you want to do on your Bank statement, Trevor.?
What wording would you want to use, what effect do you want to have ?
Regards,
May
13th May 2009 From Trevor
Subject: Re: Peter Belt being proven right on Bar Codes.
About the red pen on Bk account, I quote your statement
"And if that is not specifically geared to this use, then it will probably be a negative degree"
I suppose that is my only concern, I would not want it to DECREASE the account!
Trevor
13th May 2009 From Kevin Kehoe
Subject: Re: Peter Belt being proved right
A good way to hear how boundaries affect our senses is to attach an Inside Foil to the door frame of every door that exits to the outside of the house - including the garage if you have one. I attached the foil to the frame where the door hinges so that when the door is closed, it cannot be seen. A dab of P.W.B. Morphic Green Cream - if there is some to hand - and a rub with a Super Wipe should bring about a worthwhile difference.
Regards to all,
Kevin Kehoe.
13th May 2009 From P.W.B. Electronics
Subject: Re: Peter Belt being proved right
>>> "So yes, while it's wonderful to be able to treat your car and have your home receive its effects (though I have no idea how far the car can be), this is one of those pieces of the P.W.B puzzle that I'm not at all sure how to explain, using what I know of Rupert Sheldrake's concept of 'linkage by morphic resonance'." <<<
**********
Cico, I have given you a tentative answer to your question but, as you will probably already be aware, as usually happens, this gives rise to further questions. From many years of experience, I know what many of those questions will be, so I will continue from where I left off in my earlier reply.
One major question which arises out of what I was describing earlier is :-
"We (human beings) may, yes, have retained a sensitivity to our environment via evolution and that sensitivity may, yes, vary, at different levels, at different concentrations, depending on a person's particular interpretation of 'territory' BUT, how is that affecting 'audio' and 'sound' ???"
My tentative answer would be the following:-
The whole survival purpose of being sensitive to one's environment is to 'read/sense' that environment every second of every minute of every hour of every day of one's life - comparing each 'reading' with the previous 'readings' - to be able to detect any changes - to be able to 'sense' danger and to then be able to take the necessary immediate action.
With each 'reading' (through millions of years of evolution from the earliest of creatures to now) we have to be able to 'sign off' our environment as 'safe'. What I believe is that with what is going on in the modern environment, we can no longer 'sign off' our environment as 'safe' and therefore remain under tension. Nature dictates that if we cannot 'sign off' our environment as 'safe', then we remain under 'tension' until we can !! To highlight just one thing from the modern environment - the AC power.
It is pulsating (fluctuating), going through it's cycle 50 or 60 times per second - in ALL modern environments. It does NOT necessarily mean that the pulsating AC power is producing 'danger' signals, but it does mean that because of it, pulsating and fluctuating constantly, we cannot 'sign off' our environment as 'non changing', as 'safe' and therefore, surely, must remain under some degree of tension !!
Add to that the various chemicals etc, in the modern environment, some of those chemicals which may have been used as part of a communication system between creatures - LONG before the senses of sight, hearing, taste, touch and smell as we know them now ever evolved !!!! From our considerable experimentation it would appear that some chemicals may have been used as communication between creatures to signal 'danger' (watch out, there's danger about) and other chemicals may have been used to signal 'reassurance' (it's OK, you can relax, the danger has gone away)
I also believe that, in the same way that we are programmed to 'read' danger signals, we are also programmed to look for signs of 'reassurance'. So, if one can provide some of those 'signs of reassurance' within the modern environment, using various methods, one can begin to be under less tension, therefore creating less 'stress' chemicals and therefore resolve MORE of the information already contained in the music which our hearing system receives.
As is well known by the majority of P.W.B customers it was a chance happening, some 28 years ago, which alerted us to what we later discovered was a chemical produced by a certain plant when under stress. As manufacturers of high end Hi Fi equipment it was quite worrying that we could, so simply, spoil our sound by such as introducing a particular chemical into the listening room !!! But, as the saying goes "Chance favours a prepared mind".
So, in systematically investigating what other chemicals might be similar culprits for 'spoiling' sound we, again, inadvertently in the course of our investigations, discovered what could 'improve' the sound.
The rest, as they say, is history - P.W.B history !! We realised that we could 'tap into' some of Nature's "reassuring energy patterns" in various ways - by 'treating' Rainbow Foil, Cream-Electret, Morphic Message carrying Foils - extending 'treatments' from spinning discs, to the actual audio equipment, to the actual listening environment, to the extended environment (territory).
To give one example of what goes on in the natural world. When a tobacco plant is attacked by the tobacco leaf virus, it alerts the other, healthy, tobacco plants. How does it do THAT ?? It cannot use sound (i.e shout), it cannot use sight (i.e semaphore signals), not touch, nor taste etc, so what does it use as it's form of communication ? If the affected tobacco plants can send out 'danger' signals, then they must have some form of transmitter.
If the healthy tobacco plants can receive those 'danger' signals, then they must have some form of receiver. So, does the affected tobacco plant use the production of certain 'chemicals' as it's form of communication ? If so, how then does the healthy tobacco plants receive those signals ?
You only have to look at all the chemicals present in our modern environment and ask "Which of those chemicals might have been used, in the evolutionary past, as a 'danger signal' chemical ?" Look around at all the chemicals now in everyday use. Acrylic, nylon, all the different plastics. In electronics, look at the different chemical mixtures used in the different insulation materials around audio, electronic and electrical cables. For example :-
Bextrene., P.V.C (Poly Vinyl Chloride) ., polythene., polyethylene., polystyrene., polyurethane., polypropylene., polyalkene., P.T.F.E., Teflon. the list is endless.
In a further reply, I will look further at this subject of chemicals (and sound).
On the subject of reading/sensing our environment every second of every minute of every hour of every day of our lives. Many of you will have had a similar experience to the one I am going to describe - particularly if you have lived some time ago during the period when there were far more 'loudly ticking' (non electric) clocks than there are now !
I remember, as a teenager, sitting quietly on the sofa, completely engrossed reading an interesting book, obviously not taking any notice of my environment. Suddenly I was startled. I looked up from the book, looked around to see what it was that had startled me and could not see, nor hear, nor smell anything unusual. Later, on looking at the clock to see what time it was, I realised that the clock had stopped some time previously !! What had obviously alerted me, way back, had been the clock stopping ticking. So, completely subconsciously, my senses had been reading/sensing my environment for me (every second etc) whilst I had been engrossed in reading my book, and had alerted me the very second that a change had taken place - i.e when the clock had stopped it's regular ticking !!!
Similarly, I could have been engrossed in reading my book when suddenly my senses could have told me that I smelled gas, or smoke !!! All examples of our body (senses) working constantly on our behalf, even though we are not actually always conscious that it is doing so. One other example is how our body is constantly monitoring the temperature of it's environment and adjusting itself constantly in order to maintain a constant body temperature (exactly as it is programmed by Nature to do) - all without us actually being aware that that is what is constantly happening !!
Regards,
May
13th May 2009 From Trevor
Subject: Re: Peter Belt being proved right.
I took a lot of notes from the earlier messages on this group. On the bank statement I would probably write something like Trevor Lawrence>O.K. or Trevor Lawrence >excellent. My notes say that all capital letters would be even better. Possibly in relation to money write something like "more" after the > sign. It seems like a fun experiment and easy.
Why not do it? It may seem far out but look at some of the results people in this group have gotten! I belong to some exotic yahoo groups where people claim they increase they have increased prosperity by sending chi (life energy) or love to their bank accounts, so the idea does not seem that unlikely to me.
Trevor Lawrence
14th May 2009 From Heiko Wingender
Subject: Re: Peter Belt being proved right.
This subject is also fascinating.
I did print a couple of affirmations to invite prosperity on the envelope in which I keep some cash in the house, repeating the affirmations all over both sides with a very small font sizes.
Seems to begin to taking effect... ;-)
greetings
Heiko
14th May 2009 From Trevor
Subject: Re: Peter Belt being proved right
Yes, well I just love to push the envelope, when I find a useful techniques like Peter Belt's I immediately ask myself what else can you do with it? How else could it be applied? What are the limits?
Trevor
14th May 2009 From P.W.B. Electronics
Subject: Re Peter Belt being proved right.
Obviously, Trevor, the Red 'x' Pen does not perform magic tricks. Whatever wording you chose to write on your bank statement will not alter the amount of money in your bank by one pence - less OR more !!
However, the Bank statement could come within the 'linkage' concept. It carries your name and address - as do other things such as the Gas Bill, the Electricity Bill, the Telephone Bill, the Credit Card statement etc. Try some (listening) experiments. For easy experimental purposes (to do before, after and back to before listening experiments) you can use such as the small, self adhesive address labels. Write, with the Red 'x' Pen, your name followed by the chevron and OK - exactly as you have described, on the address label and attach the label by one corner onto the Bank statement and listen to some music for a short period. You will find that the sound is better !! Then remove the label and listen to the same piece of music again and you will find that the sound has deteriorated and you will not get the better sound back until you attach the label to the Bank statement again !!
Ditto the Gas Bill, the Electricity Bill, the Telephone Bill etc.
You are, in effect, taking charge of YOUR end of any linkage by using your signature or your name on the object and using positive words like GOOD can only BE good !!!! Such as the word GOOD does not have any other ambiguous interpretation !!
Regards,
May
14th May 2009 From P.W.B. Electronics
Subject: Re: Chemicals sensitivity and hearing
Further comments on Guiseppe's link to the article on the research involving the effect of chemicals on hearing.
Looking in particular at one set of chemicals referred to in that article - styrene.
Many years ago we discovered that the presence of any polystyrene in the listening room spoilt the sound. The obvious solution is to remove the polystyrene - which if you do, the sound will be better. However, it is not always possible to remove all noxious (to sound) chemicals.
Reading the article mentioned, the obvious response would be that whilst ever the noxious chemicals were in the room then the sound would be worse - but this is not necessarily the case - which we discovered !!
We discovered that if you have such materials in the room (made from different mixtures of chemicals) such as nylon, acrylic, made into such as carpets, curtains, upholstery, or such as the reticulated foam used for decorative speaker fronts, or man made fabrics used as decorative speaker fronts, numerous cables all having plastic insulation etc which CANNOT necessarily be removed - if they are 'treated' then they can remain in the room and their adverse effect on the sound is reduced !!!!
If it was the CHEMICAL only (as a chemical - giving off a noxious chemical) which was the problem for our hearing (as is suggested in the article linked to by Guiseppe), then the effect of the chemical (i.e product), still remaining on the room, would still be adverse (on our hearing) - no matter what treatment you gave it !! If, however, you can reduce the adverse effect on the sound whilst still having the chemical (product) in the room, then there must be something else involved - with hearing and sound - over and above just the chemical !! Which leads me back to my concept that different chemicals must have been involved, during early evolution, with either 'danger' signals or 'reassuring' signals. If a particular chemical is creating a 'danger' signal and you can superimpose on it a 'reassuring' signal, then you can neutralise the adverse effect (on the sound). Which is EXACTLY what the sound is telling you when you can hear improvements after 'treating' such as carpets, curtains, upholstery, the insulation of cables and such as other man made plastic objects !!!!!!
Let us have a look at a few things which other people have discovered over the last few years. Whilst at the same time being aware of just how often 'chance' discoveries have happened throughout history.
I do not think that Dieter Ennemoser worked out a formula for a lacquer from reading conventional text books. I think he discovered a lacquer (a particular chemical mix) which he suddenly found gave him an improvement in the sound and therefore went on to develop his C 37 lacquer which he (and others who have tried it) have found improves the 'sound'. I think he initially used it as a lacquer on musical instruments. In other words, I do not think that his initial discovery was via a conventional path.
I do not think that the engineers at Sonus Faber (loudspeaker manufacturers) worked out a formula for a lacquer to apply to their loudspeaker cabinets from reading conventional text books. I think they used a particular lacquer on their speaker cabinets one day, and suddenly found that it gave them an improvement in the sound. They now describe the lacquer they use on their speaker cabinets as "friendly to audio" but I do not think that the loudspeaker engineers discovered it via a conventional electronic or acoustic path !!
I do not think that the engineers at Nordost (cable manufacturers) worked out a formula for a chemical to apply to the LABEL SIDE of CDs and to the LABELS of vinyl records - to improve the sound - from studying conventional electronic text books !! I think the engineers, one day, used a chemical on the label side of a CD, and found that that particular chemical gave them an improvement in the sound. And I suspect, as they experimented with it further, they found that they could apply it to the outer insulation of cables, including AC power cables, and get similar improvement in the sound. But, I don't think their initial discovery was via a conventional electronic or acoustic path.
What they have all found just mirrors what Peter discovered over 25 years ago. We were 'treating' the label side of CDs, the labels of vinyl records, etc, 'treating' the insulation material of cables, ALL cables including passive cables, way back then !!
I have always said that "if something is there, to be discovered, then it will be discovered at some time, by someone." This is so true with such as the freezing/slow defrost technique. Some 28 years ago Peter was putting things through the freezing/slow defrost and improving the sound by doing so, using our own domestic deep freezer. Completely separately and completely unknown to each other, someone else - Ed Meitner, in Canada - was, during the same period, discovering that if he put things through the cryogenic freezing process he could get improvements in the sound !!!!
Again, if there is something to be discovered, then it will be discovered, at some time, by someone. It is just that one person can discover it much earlier than others do.
Regards,
May.
14th May 2009 From Geoff Kait
Subject: Re: Re: Peter Belt being proved right.
Someone on an unrelated topic pointed me to a feng shui master website who expressed the idea below:
The Chinese call this holistic well, qi. While no word in the English language can accurately describe qi , in popular mythology, qi is synonymous with "energy," a natural or intellectual power that exerts activity. Energy, in all of its various forms (solar, natural, nutritional, for example), is just one aspect of qi we understand through sensory perception (the five senses of sight, smell, taste, hearing, and touch). Actually, qi underlies energy. Qi is an information field that gives energy its impetus to move and change. In fact, qi is the underlying, holistic, and vital force at the center of all things. If we describe qi as an energy flow, we deny its metaphysical qualities (since these are not recognizable to sensory reality). Intuition, fate, dreams, and hunches--surely, we agree these things are real, but can we prove their existence? A good way qi can be best characterized is as "life breath" or "cosmic breath."
Information field? hmmmm.......
Geoff Kait
15th May 2009 From Heiko Wingender
Subject: AW: Re: Peter Belt being proved right.
Here in Germany there is a company producing a PC based information emitting system which is based on the principles of radionic, called Quantec.
http://www.quantec.ch/english/index.html
All you need for the interlinkage is a image file of the object to be treated.
It includes a huge library with collections of predefined patterns of different topics to choose from.
You can manually add your own libraries and affirmations and only your imagination is the limit.
It is useful to improve wealth, success, health, home, garden, car, what you want.
Seems like a magic wand.
It works quite well, even on Hifi gear and I wonder if Peter Belt uses also a similar automated method.
But P.W.B products here seem to be more effective than Quantec...
Heiko
16th May 2009 From cico_buff
Subject: Re: Peter Belt being proved right.
******.About the red pen on Bk account, I quote your statement
"And if that is not specifically geared to this use, then it will probably be a negative degree"
I suppose that is my only concern, I would not want it to DECREASE the account!.*********
I guess I misunderstood your intention Trevor, because I wasn't meaning to suggest a negative or positive effect on your bank account, but simply on your sound. I suggested it was powerful but... I don't if it's THAT powerful. I did test it on a few concepts, but not on the concept that it can increase the size of my bank account. I guess we all have our limitations... In any event, I'm sure it can't hurt, if it's a positive message. If you get anywhere with this, do let us know!
*****.Yes, well I just love to push the envelope, when I find a useful techniques like Peter Belt's I immediately ask myself what else can you do with it? How else could it be applied? What are the limits?.*****
It works on the senses, and best perceived on the sense of sound. But if you just want to push the envelope here, you might see if you can perceive anything via the other senses. I've done blind tests with one SR foil at the bottom of a glass of water, against another identical glass with no foil. I could usually pick the foiled glass, because the taste of the water was smoother. You can maybe try one on the wrapper of two identical trail mix bars or chewing gum or perhaps better still, two apples (but avoid eating the foil - believe me, it doesn't taste as good as it looks), and see if any difference in taste can be registered. Another fooling-around-session could include identical scented objects (candles?), one with foil, one without. I'm guessing it'll be harder, if at all possible, to perceive differences with these alternative trials, but that's not from experience, as I have not gotten around to try these myself.
cico_buff
17th May 2009 From P.W.B. Electronics
Subject: Re: Peter Belt being proved right.
>>> "Seems like a magic wand.
It works quite well, even on Hifi gear and I wonder if Peter Belt uses also a similar automated method." <<<
No, Heiko, we do not use a similar method to those described in the linked article. We have developed quite different (and sometimes quite complicated) techniques during the past 28 years that we have been working in the particular area of improving sound.
Regards,
May
17th May 2009 From Andrew Lugg
Subject: barcodes.
I have finally got round to crossing out all barcodes of items in my listening room with the red 'x' pen. I have treated around 100 or so dvd's, and around 20 books. I can happily say that there is considerable improvement with both picture and sound in my system. I urge everyone to do this easy task.
Andrew Lugg
18th May 2009 From Richard Graham
Subject: Re: barcodes.
Hi Andrew,
Whilst the Red pen is quite something, to really blow your mind, add the Violet, Black and Blue inks to disc and case, in the correct pattern. No barcodes, yet it still improves your TV!
It seems colour matters as much (?more) as language and data, and is perhaps one of the earliest patterns.
Richard
25th May 2009 From Andrew Lugg
Subject: chunky
I would like to know how else the chunky marker pens can be used besides what is mentioned on the P.W.B website.
Andrew Lugg
27th May 2009 From P.W.B. Electronics
Subject: re Chunky Pens
Andrew,
Colours are very significant and you have to be very careful when using them. We specify where (for example) the colour Violet can be used to beneficial effect because we have checked those specific areas fully. We would advise not using the colours in other areas - which have not been specified by us.
It was over 25 years ago when Peter discovered the effect of different colours on 'sound' and it was some 18 years ago when Jimmy Hughes first reported using our Chunky Violet Pen.
Colouring the edge of CDs caused considerable controversy 20 years ago and, interestingly, just this month, there is an article in Positive Feedback Online (PFO) on this very subject.
Teresa Goodwin has done an article on Greening CDs etc in the May/June 2009 issue of PFO.
I have quoted parts from this article below. As you will see, Teresa is STILL repeating the original explanation put forward for the effect of Greening CDs even though, as you will see from Jimmy Hughes 'mentions', the effect of improving the sound (particularly using a Violet pen) is equally effective on Vinyl discs !!!!!! When you can have a similar effect by 'colouring' the edge of Vinyl discs, then ANY explanation of "absorbing stray red laser reflections" is not valid - there is NO laser beam involved with Vinyl discs !!!!!!!!
So, that means that there is something else 'going on' - with colours - which has nothing to do with a laser beam and how (or not) a laser beam reads the information !!!
Kind Regards,
May
******************
Various quotes below.
Teresa Goodwin, on Greening CDs etc in Positive Feedback Online May/June 2009 issue.
>>> "Remember the controversy over painting the edges of CDs with green felt-tip pens? The aim was to improve sound quality by absorbing stray red laser reflections that might cause jitter in the data read from the disc. Sony's audio division in Japan is now backing an intriguing project which tests the theory.
A batch of new SACDs from Sony Music has green labels. This is not "green" to help the environment; it's to help audio quality by lightening the burden on the servo mechanism for the player's tracking head and to introduce fewer errors for the player's error correction to handle.
The project was inspired by Sony's Japanese audio engineers Takashi Kanai and Motoyuki Sugiura. Sugiura has compared the new green label SACDs with the original SACDs of around five years ago and finds the difference "amazing." Sony plans public demonstrations at audio shows so that interested consumers can judge for themselves." <<<
Teresa quotes AudioPrism's claims that their Green Pen "reduces the scattered reflections of the laser beam and increases the signal-to-noise ratio of the detected laser."
**************
Quotes from British Hi Fi Magazines (early 1990s) - Colour Green versus Violet.
Audiophile April 1991.
From Jimmy Hughes article entitled :-
"Coloured Pens and Compact Discs - the story continues. Plausible explanations are in doubt now effects are heard on Vinyl too."
>>> "Peter Belt discovered the beneficial effects of different pen colours some time before the whole business was publicly aired. For those wanting a single colour, he suggests violet........... Results are audibly lower levels of congestion and less sense of strain. Clarity and fine detail are improved, and in general terms musical instruments and voices sound clearer and firmer in outline, as well as being more solidly focused.......
One final piece of information. Not only does this peripheral colour technique work on digital compact discs, it also has an equally beneficial effect on vinyl LPs. It surely proves beyond doubt that this whole colour business has nothing whatsoever to do with lasers, digital replay or CD."
<<<
***************
Hi Fi World March 1992
From Jimmy Hughes article:-
>>> "Hard scientific proof may yet be missing, but that is no reason to just dismiss the whole thing out of hand. After all, isn't it often the case with science that observable, repeatable phenomena are witnessed long before a convincing explanation de-mystifies things ?
And how to explain the fact that it works very effectively on vinyl LP records ? No scattered light there ! " <<<
Hi Fi World June 1992
Letter from Peter Turner :-
>>> "Never having tried the Green Pen, I offer no opinion about it; though I have tried the (P.W.B) Violet pen and can answer for it's effectiveness." <<<
Regards,
May.
1st June 2009 From Richard Graham
Subject: Re: re Chunky Pens
Dear all,
I would want to move away from the issue of colour alone, as it is the pattern of colours that seems just as important. The Green pen for discs that has sold well is too simplistic, as well as wrong. The Chunky Pens allow a more complex pattern to be (easily) applied to discs, tapes, magnetic discs etc, but it doesn't end there.
I think one needs to consider the Chunky Pens in the same way one does the Quantum Clip, albeit not so flexible in their application. But I would take it further; it feels like the Chunky Pens turn discs into very positive devices.
This is as true when in their cases as when played. As I have stated many times, adding inks to a series of discs will improve the TV picture. It is as if a positive effect has been added, rather than a negative one taken away.
I cannot comment on the value for money implicit in questions about the usage, as it might be dependent upon how many discs one has. If you have 'a lot', then you can effect huge changes with the Pens that nothing else can. And this comes from a person who tires of violet ink on his fingers, and would prefer another solution!
Am I the only one who would also rebrand the Pens by changing the lettering - get rid of the 'Ch', and change them to 'F'. Now we're talking..
Richard
1st June 2009 From P.W.B. Electronics
Subject: Re: The Importance of Colours and sound.
An article by Teresa Goodwin in the May/June 2009 issue of Internet audio magazine "Positive Feedback Online" has co-incided with a search I was carrying out on some archive papers. Teresa's article was based around applying the colour Green to discs.
The whole debate on 'colouring' discs has been going on, off and on, in my memory, for the past 22 years - and still has not reached any solution as to the "Why and How" it affects the sound.
From my archive papers I have copied below some of the interesting parts.
**************
A general extract from an article by Laszlo Darvas, the Editor of the Hungarian "Hi Fi Magazine".
____________________________________________________________________
Laszlo Darvas, the Editor of the Hungarian Hi Fi Magazine, knowing of Peter's discoveries that the printing on the label side of CDs affected the sound decided, during the early 1990s, to do some of his own investigations. He commissioned, from a Hungarian manufacturer of Compact Discs, ten identical (music-wise) Compact Discs, but with nine of them each printed in a different colour on the label side. Eight of the colours were Black, White, Red, Green, Blue, Lilac, Yellow and Brown. The ninth disc had the normal production printing on it's label and the tenth disc was left completely clear (no paint at all).
After listening to all ten discs the Editor's conclusion were as follows :-
That every colour has it's own sound.
For example. The disc printed Yellow was described as 'hurting the mind'.
The disc printed Brown was described as 'gritty', 'empty', only one degree better than Yellow.
The disc printed Lilac was described as sounding 'funny', 'murky', 'gritty' like the White One.
The Best sounding disc was the clear one, the one with no printing on at all.
The heading of Laszlo's article - published in the Hungarian magazine "Hi Fi Magazin" - some 20 years ago !!! (roughly translated) was :-
"It should be on the Painter's Brush"
Even knowing of Peter's findings, the Editor was still surprised at HIS results so he gave all the different coloured Compact Discs to a second person to also try. Because of the deadline for the printing of the article, the second person was only able to try four of the discs, but his results were exactly the same as the Editor, i.e that the clear (no printing at all) disc sounded the best.
Their conclusion, from these experiments, was that the results could not be anything to do with laser reflections etc - that the results cannot be explained by classical electro acoustic theories !!
***********************
After Laszlo's experiments, he sent a letter to Steve Harris (the then editor of the British audio magazine "Hi Fi News") offering Hi Fi News a similar set of the 10 CDs so that Hi Fi News could carry out their own - listening - experiments. All Hi Fi News did however, after receiving Laszlo's letter, was to forward Laszlo's letter to Peter with a note from Christopher Breunig (Hi Fi News Musical Editor) attached saying "We think you will find this interesting, Peter." !!!! I have copied Laszlo's letter below.
>>> "To Steve Harris, Editor. HiFi News and Record Review.
Dear Mr. Harris,
You may be aware of the trick that sound quality can be manipulated by applying colours on CD. The recent method, suggested by several Hi-Fi magazines, refers to the label of the CD inasmuch you have to "Paint It Black". (The Rolling Stones in the sixties were Hi-Fi nuts, I bet).
Everybody knows that this manipulation must have absolutely no effect at all, yet it DOES have - and some of our colleagues are, in a permanent search for the Reasons, ready with the explanation: "the black surface blocks the way of the laser beam, therefore, it blocks data corruption".
One could argue that before making statements like the one above our theories should have made experiments with different colours, among others NO COLOUR etc, not to mention some basic measurements. But we all are ready to accept that "Black IS Black" (once more a hit from the sixties) as well as the fact that neither the journalist nor the consumer has the opportunity to experiment with several examplares of the same disk.
As a man of method I acquired several sets consisting of no less than 10 CDs directly from the factory (Gloria, Hungary). The discs are absolutely identical but they are painted with 8 different colours. No 9 is clear (has no paint at all) and No 10 is the ready made CD with the usual labeling. All the paints are the types intended for professional use in the CD factory. As a preliminary, I have to inform you that any auditive difference should be attributed really to the colours, not technical imperfections because other sets produce always the same result, with all of the colours maintaining
their characteristic sound qualities.
May I offer a set of such CDs to you. Now you have the opportunity to judge for yourself what colour a good sounding CD should have on its label. Or, if you allow me to make some suggestions, please check up the validity of my statements as follows:
1. Every colour has its own sound.
2. Black, dark blue, dark violet and dark brown all have nearly the same opacity on their surfaces so they would "block the laser beam" practically with the same effectiveness. Yet they produce very different sound quality.
3. Black really has a special sound on its own: that's the sound of LP. The BAD LP, played on BAD equipment. Closed miked, no treble, no air, no life.
4. Best of all is the record with absolutely no paint on its label. Though it has the more transparent surface, with no extra block "in the way of the laser beam"...
5. Conclusion: sound differences caused by paints on the disks have absolutely no connection with the notions of the classical electro-acoustics.
Very truly yours,
Laszlo Darvas, Editor HiFi Magazin." <<<
***********************
Christopher Breunig - the Musical Editor of Hi Fi News - was no stranger to Peter Belt's work and concepts. Way back in 1988 (21 years ago !!!),
Christopher wrote an article for Hi Fi News called "Foiled Again" and in this article Christopher described removing all the coloured ink from the label side of a CD and found that the sound from that 'washed' CD was "opened up, losing it's stridency and sharply defining the acoustic halo behind the singers".
**********
In the Stereophile open discussion at the 2009 Montreal Hi Fi Show, John Atkinson admitted that "after being told that the improvement in the sound he had heard occurred after an LP had been 'demagnetised' (John went on to say):-
"Oh No. I know if I tell anyone outside of our (audio) community they will laugh. They will think we are crazy and that we all have fairies at the bottom of our garden, sitting on toadstools." <<<
This attitude, within the audio industry, - of not wanting to be thought of as 'crazy' had also been shown previously when, in 1992, after Christopher Breunig had been having success with our Coloured Ring Ties, Christopher wrote a letter to us and, whilst describing all the improvement in his sound he had gained, said :-
"This letter may be copied to anyone. However, I cannot guarantee persuading Steve Harris to allow anything in the magazine (i e Hi Fi News).
Subjectively, the effect (of these Coloured Ring Ties) seemed to 'stabilize' the sound, and the overall quality became very impressive indeed, with loud strenuous climaxes clearer, less a strain".
Also, at the end of an article in Hi Fi News by Martin Colloms, where Martin had been describing gaining improvements in the sound by 'greening' the edge of CDs, Christopher Breunig added a postscript. In his article, Martin had also repeated the explanation that 'the effect of greening the edge of CDs was something to do with "laser beam reflections and refractions" !!
Christopher's postscript referred to Peter Belt also recommending that the edge of CDs should be 'coloured' but that Peter recommended the colour Violet should be used and not Green.
Even though Christopher Breunig was fully aware of all Peter's work, and was fully aware of Peter's recommendation of 'making an identical marking on the edge of Vinyl discs with the same colour Violet', Christopher did not have the courage to point out, in his postscript to Martins article, that IF the effect on the sound from colouring the edge of a Vinyl disc was similar to that from colouring the edge of a CD, then any explanation to do with "laser beam reflections and refractions" COULD NO LONGER BE VALID !!!!
In Teresa Goodwin's article in the May/June 1009 issue of Positive Feedback Online she writes :-
>>> "Sony's audio division in Japan is now backing an intriguing project which tests the theory. A batch of new SACDs from Sony Music has green labels." <<<
Teresa goes on to say :-
>>> "It's over a decade since I had tried 'greening the edge of a CD' and with Sony releasing Green label SACDs based on their research with green pen treatments I thought it was a good time to try it again." <<<
A DECADE ago when Teresa tried the 'colouring CDs technique', 21 YEARS since Christopher Breunig, following on from the investigations done by Peter Belt, experimented by removing the printing on the label side of CDs, some 20 YEARS since Laszlo Darvas, also following on from Peter's experiments, listened to ten different (label coloured) CDs. Just when is the world of audio going to stop being paralysed with fear at being thought of as 'crazy' when they HEAR things changing the sound ??????????????
Even Teresa has given her article the title "The Greening of SACDs, (gulp) CDs and other digital madness." - Still carrying on the inference of 'madness' !!!!!!!
Regards,
May
3rd June 2009 From Richard Graham
Subject: Re: The Importance of Colours and sound
It is odd, given the fundamental role of colour in nature, that we cannot understand its importance more readily. Without the green pigment of chlorophyll, we would not be here. The red warning sign might have saved a few.
But I suppose colour, like an odour, might be perceived as too primitive for the language burdened, lexical man. The posts on wording for the Red Pen are much greater than those on colour, an observation alone that is of interest.
What I found myself thinking of May was how in the early 1990s (270 years ago!) we used ordinary permanent markers as a means of ascertaining the benefits of just adding coloured lines to discs. I wonder if anyone out there is interested in just trying the Chunky Pen patterns with ordinary Staedtler or equivalent pens. You could argue the same for those that can get coloured ring ties for cables. Then the issue of colour, and its influence could be assessed, distinct from Peter's other treatments (those lacquers!).
Any thoughts?
Richard
4th June 2009 From P.W.B. Electronics
Subject: Re: The Importance of Colours and sound.
Not to forget the humble Rainbow Foil which was the first product following our investigations into the effect of colours !
Regards,
May.
4th June 2009 From P.W.B. Electronics
Subject: P.W.B. - New article - "The Importance of Colours and Sound"
Hello Everyone.
I have published, on our P.W.B. Home Page, an article with an interesting look back at the controversial subject of colours and sound.
This has been requested by some of our customers in response to a resurgence of interest in this particular subject - as featured in an article by Teresa Goodwin in the May/June 2009 issue of "Positive Feedback Online".
The link to my article on the P.W.B. front page is below
"The Importance of Colours and Sound"
or via the address below.
http://www.belt.demon.co.uk/The_Importance_of_Colours_and_sound.html
Kind regards
May
20th June 2009 From P.W.B. Electronics
Subject: Re: Continuing Controversies.
Hi everyone.
During these past few years, there has been one controversy after another discussed on the Stereophile (USA audio magazine) Chat Forum. The latest one has been about whether applying a demagnetiser to LPs and CDs can give actual improvements in the sound or, as has been argued in that forum extensively, whether any effect experienced is merely 'auto-suggestion', a 'placebo effect', 'imagination', 'effective marketing' etc.
I have just replied to one person (giving Internet name "gdeering"), in the thread titled "Re: Michael Lavorgna on subjectivists vs objectivists".
"gdeering" asked :-
>>> "Why do we assume that we are at a stage where what we measure relates to what we hear." <<<
I have copied my reply to "gdeering" below as it may be of interest also to our P.W.B Forum members.
Kind Regards,
May
*******************
>>> "Spot on, Greg. Some people DO presume that what we can measure must relate to what we 'hear'. This is one of the major stumbling blocks in progressing forward in gaining an understanding of what might be going on.
The people who insist on 'measurements' as being able to give an ultimate answer obviously believe that 'what is available to measure is heard in the same way - i.e at the same volume, the same information, the same acoustics etc. And, from that belief, then, any changes which people claim they can hear MUST BE able to be measured - and, following on from that, any measurement must follow the intensity of what was heard !! That then becomes the brick wall !!
Let me give you an example from the subject which started this particular controversy.
Michael Fremer described, in an article in Stereophile October 2006, that he heard an improvement in the sound by applying a demagnetiser to LPs. Michael said later:-
"What I heard was so obvious, so repeatable, so clear, it was like "is that the Empire State Building?" Not "I'd better do an A/B/X to prove it really is the Empire State Building" (I know that analogy is not valid). The point is, not one skeptic---and I'm talking recording engineers, mastering engineers whose names you know, and the editor of the magazine have all heard the difference...."
Then, during a visit to Michael's in 2009, Stephen Mejias also heard an improvement from a similar demagnetising demonstration by Michael and Stephen said:-
"We only had time to try it with one LP, but, with that one LP, it made a big improvement. There is a difference and it is obvious and it is immediate. The applause at the very beginning of the LP sounds more like real applause, more like pairs of human hands coming together to make sound, and less like Styrofoam or static."
*********
We then had the 'measurers' coming into the discussion i.e such as AlexO saying :-
>>> "If it can be heard, it can be measured." <<<
That, to me, shows that the people who are so insistent on 'measuring to provide the answers' are not understanding well enough how people (human beings) and their brains function.
It is a basic understanding amongst most scientists that human beings do not 'hear' exactly the same volume, the same information, the same acoustics etc as the sound being physically produced. A microphone picks up the (acoustic) sounds but the hearing/brain can discriminate - from exactly the same information.
It has to be discriminate because the brain has to be economical with the amount of energy it devotes to specific things. I can best describe this from Richard Dawkins in "Unweaving the Rainbow" quoting Cambridge physiologist Horace Barlow.
>>> "To summarize, it is as if the nervous system is tuned at successive hierarchical levels to respond strongly to the unexpected.
In Barlow's terms, it is the unexpected, it is 'news', and that is why we register it.
>>> "a type of computer model, programmed by past experience and continuously updated by new sense data from millisecond to millisecond, are running inside the skull of every swimming fish, every galloping horse, every echo-ranging bat."<<<
>>> "We could say that the brain constructs a virtual world which is more complete than the picture relayed to it by the senses." <<<
>>> "It is as if the nervous system is tuned at successive hierarchical levels to respond strongly to the unexpected - and weakly or not at all to the expected.
To push the idea to an extreme, most of the time the brain does not need to be told anything because what is going on is the norm. The brain is protected from redundancy by a hierarchy of filters, each filter tuned to remove expected features of a certain kind.
We see that the sensory coding units with which the brain confronts the environment also constitute a statistical description of that environment. They are tuned to discount the common and emphasize the rare." <<<
>>> "Everything that we know about the world outside our skulls comes to us via nerve cells whose impulses chatter like machine guns...... How would you translate information from the outside world say, the sound of an oboe or the temperature of a bath, into a pulse code ? The hotter the bath, the faster the machine gun should fire..... Actually this would not be a good code because it is uneconomical with pulses. By exploiting redundancy, it is possible to devise codes that convey the same information at a cost of fewer pulses..... To signal "It is hot, it is hot, it is still hot" by a continuously high rate of machine-gun pulses is wasteful; it is better to say "It has suddenly become hot". <<<
>>> "Most nerve cells are biased to respond to signal changes and programmed to exploit what is referred to as redundancy - screening out the wastefulness of energy. By using the term 'redundancy', it does not mean that the brain throws away information. The brain is told only about changes, and it is then in a position to reconstruct the rest" <<<.
**********
One example would be of a daily Newspaper and what headline it will print each day.
It will not print the headline "The Sun rose in the East this morning" day after day, because that is mundane - nobody would want to read that, nobody would buy the Newspaper. But if they printed the headline "The Sun did NOT rise at all this morning" or "The Sun rose in the West this morning" then everyone would want to buy/read that Newspaper to find out what was happening. THAT would be new - that would be rare !!
THAT would be taken notice of, would take on a greater importance than the mere words used - but in pure 'measurement' terms the number of letters in the different Newspaper headings would hardly be that different !!!!!!!
So, to come back to people's experiences when listening. If a person is listening to their favourite disc, one they were used to, one which they have heard many times, then their brain would be in some sort of 'ticking over' mode - the disc is something they are used to, something they have experienced being the same each time, the brain feels quite safe in being in 'ticking over/idling' mode but they then do something which gives a change, which makes a difference in the sound they are used to. Suddenly the brain is alerted, and goes into 'alert', 'what is going on' mode. Into Barlow's "surprise", "unexpected", "news" - hence far more notice being taken of the change !!! BUT a change has taken place, nevertheless !!!!!!!!!!!!
I can best quote Stephen again as an example of what I mean :-
>>> "We only had time to try it with one LP, but, with that one LP, it made a big improvement. There is a difference and it is obvious and it is immediate." <<<
Barlow's "surprise", "unexpected", "news" - triggering the brain to 'take notice', 'it might be important' - hence Stephen's words. But not only Stephen's words but similar words when other people have experienced a similar thing !!! I.e "Something, suddenly, gave me an improvement in the sound."
So, Greg, we have the people who are in the 'measurements will explain all' camp. I.e If there are no changes in the measurements, then no changes have taken place in the information, therefore people cannot have heard what they say they heard.!!
And then you have the people who KNOW what they heard, who were taken by surprise by what they heard. And there are many of those people, dotted around the world !!
Hence the continuing controversy." <<<
May
*******************
23rd June 2009 From Andreas Makridis
Subject: RE: Re: The Importance of Colours and sound.
The first evidence we lack, Richard, is the laboratory research. If we can listen to the changes in sound (some times quite obvious) what do the machines have to say?
There has been much research in cable working except in that field. I wonder what will Sony's audio division come with, after her own efforts to back the green color phenomenon.
Andreas
P.S. By the way, it seems that Mr Darvas has given up continuing the Belt experiment, reaching to the same problems many friends (including myself) have indicated from time to time - although he still defends the Belt phenomenon as real against the insulters.
(http://forums.naim-audio.com/eve/forums/a/tpc/f/48019385/m/9992910907?r=2222930907#2222930907)
25th June 2009 From Paul Rowan
Subject: RE: Re: Continuing Controversies.
Hi May,
I know it may be going somewhat off subject, but I've been using a handheld tapehead demagnetizer on Records, CDs, DVDs, Cassettes and Videocassettes since about the late mid nineteen nineties, as part of my routine and is usually the last thing I do before clipping. I believe I told you about it , May, at the time. I'd read about it in "Hi FI News". It was a tweak originating from the U.S.
The result is a bit like what happens using the old P.W.B Polarising tweezers, but more so. Louder, more three-dimensional and alive. The only measurable effect, I would think, is a faster heartbeat. Could that silence the critics?
Best Wishes from a trembling
Paul Rowan
25th June 2009 From P.W.B. Electronics
Subject: Re: Continuing Controversies
Paul,
I don't think the critics WILL be silenced. The controversy surrounding using a demagnetiser surfaced yet again earlier this year.
Way back, in the October 2006 issue of Stereophile, Michael Fremer described how he had improved the sound of LPs by applying the Furutech demagnetiser to them. The usual controversy flared up after this article.
Then, earlier this year, Stephen Mejias (who moderates the Stereophile Forum) and John Atkinson (Editor of Stereophile) both paid a visit to Michael's and Stephen was given a demonstration of the demagnetiser applied to LPs. Stephen heard an improvement in the sound AS DID John - but John was in another room !!!! Stephen wrote of his (and John's) experiences on the Stereophile Forum. The controversy was re-ignited !!!
The particular thread "A Visit to Mikey's & the Furutech deMag" can be found on the Stereophile Forum section under the section heading "General Rants'n'Raves"
This particular thread went on for some 77 pages until it was closed, but it is still available to read. It is the top one on the Forum page of "General Rants'n'Raves".
The usual responses were, yet again. "It cannot happen, therefore it did not happen, people must have imagined it."
It really is Continuing Controversies.
Regards,
May
4th July 2009 From cico_buff
Subject: Re: The Importance of Colours and sound
For the benefit of Richard's curiosity, I have already done the x-periments he's referring to, so maybe I can help clear this up. Colour matters. Period! (no, exclamation mark). My first experiments with colour were back in the late 80's I believe, using a violet Staedtler marker, on the inner and outer perimeters of a CD. I had a green CD Stoplight pen at the time, and had heard about the color violet. While I can't remember every detail, I'm 99.9% sure this idea came via Peter Belt's advice (but I don't think I knew about his pens at the time). Using 1 cm lines at 4 points, I compared the violet Staedtler with the green CD Stoplight. Indeed, each had their own characteristics, I remember. I liked the sound of the violet, but the Stoplight had a wider soundstage and other nice stuff. It's a shame the cd marker controversy of the 80's was always over the CD Stoplight or generic markers (that people thought were equivalent).
Except the generic markers many people were using to test the efficacy of the so-called "green pen", thinking they were perfectly comparable, were *not* equivalent to the quality of sound the ink from the CD Stoplight could produce.
It's even less valid to compare the Chunky Pen to a Staedtler or UniPosca. I have no doubt P.W.B's treated Chunky Pen blows them all away; both "official" green pens and non-official green pens, or other coloured markers. Whatever has been done to Mr. Chunky, is like amplifying the effect of the colour itself. So in my opinion, the green pen controversy of the 80's (and its inevitable conclusion that colored markers don't work) kind of got a bum rap, because the Chunky Pen was not the marker at the forefront of this controversy. (BTW, I was just reading on snopes.com the other day, a popular "information" site that many consult to find out the "scoop" on something, about how green pens don't work. Up until then, I occasionally read and used Snopes like anyone else. Since reading that, I can no longer trust anything in there!)
In more recent years, after rediscovering Beltism, and seeing the extent of the use of colour in Peter's products, out of curiosity to find out what this was all about, I started doing further experiments on colour; starting with revisiting my old experiments on coloured markers on CD's. Went down to my local art & graphics shop, and bought about a dozen different coloured markers; everything from bright yellow to bright green to metallic silver, orange, blue, black, etc. And surprise, surprise, every single colour added its own characteristic to the sound of the CD. This was repeatable and consistent, of course. (Though after sorting through all that, I didn't care for what any of these generic markers did to the sound of my CD's). To see how colour works on other objects (that have no interaction with a laser!), I experimented with generic colored plastic ties, on things like headphone cable, IC's and power cable.
Again, each colour added its own "coloration" to the sound. What was even more interesting, was how that "coloration" could vary somewhat, by moving the tie even a few mm's, along the cable. And how certain locations along the cable would produce a more ideal sound; which could be repeated on different cables.
But despite the changes in sound quality from changes in location, each tie would still retain the overall characteristics of its colour. The headphone experiments were repeated with coloured (metallic) twist ties, and coloured rubber bands. Again, each material had its own sound, and each colour within these objects had their own sound. And as with the markers, they were only temporary in my system. I didn't really care to use any of these generic objects other than on an experimental basis. Though I can change the sound a thousand different ways like that, I don't like changing the sound just for the sake of changing the sound. The P.W.B ties are quite a different matter. I only wish they were better known. They can take a generic 50 cent throwaway IC, and turn it into something more interesting (sonically) than an audiophile cable. I think it's great that someone at Sony is reviving the green CD idea. But I am guessing that like their predecessors, they haven't really experimented with color, and believe this has only to do with CD's and some sort of interaction with the laser. Heavens forbid they ever find out that just the printing on the label can degrade the sound....
cico_buff
7th July 2009 From Michael Parin
Subject: Home made solid pine speakers
Hello All, I have posted some photos of my latest project- solid pine stand mount speakers with the lot!
I had a recurring thought that I could build a pair of speakers affordably that would sound like speakers that I couldn't afford.
Some things like thick solid wood instead of thin MDF, super solid stands and top shelf crossover components just seemed to make sense to me. Others things like the shape of the cabinets were down to my amateurish woodworking skills-I had never even held a Router or electric plane before I started.
After some practice with the tools ,I took a week 's holiday and built them to the working stage (on computer desk) The last day took a 16 hour stint to get them playing at about 11.30 at night.
I listened to them atop a stack of concrete blocks while I made the stands, final crossovers and 10 coats of clear polyurethane.
What can I say -even now after listening to them fully run in and now through a lovely new Cambridge Audio 840C CDp (replacing Denon DVD) The sound just blows my mind!!!
The sound has a body and punch to it that I never expected - everything just sounds so lifelike. I think the cab. design and rock solid stand has a lot to do with it.
I would be more than happy if I'd bought these speakers for twice the cost, but the fact that I made them in the spare room of my rented 2 bdr flat (early on had to shut down production to get through a quarterly property inspection!) just makes the music all the sweeter.
Overview:
All sides, front baffle, removable back plate -38mm solid pine (2 x 19mm glued)
Minimal internal damping -a piece of sheepskin rug glued to rear plate another piece glued to bottom of cab. and extending 3 in. up each side.
Vifa XT25 tweeter
Peerless HDS 134mm woofer
Eichmann Binding posts
Externally mounted, full Mundorf crossover
Xover plate rubber mounted on back plate
Each xover component sits atop small bits of foam padding
Hookup wiring - signal, medium gauge copper hookup wire with one strand of 0.5mm pure silver wire wrapped around it - return, 3 strands of 0.5mm pure silver wire.
Stands - Base plate 1/2" mild steel plate, column 3" x 5" x1/4" tubing top plate 3/8"
Speaker screwed to top plate on copper washers to allow speaker to breathe
All separate components have a strip of foil, greened and clipped
Exterior of cabinets polished with cream electret
Total cost AUS$2,000
Man, I'm in Audio Heaven......
Michael Parin.
12th July 2009 From P.W.B. Electronics
Subject: Re: Home made speakers
Michael,
If you can unscrew your speakers again, I would seriously suggest you apply strips of P.W.B. Inside Foil to as many separate items INSIDE your speakers as possible. In fact, if you can, apply strips of Inside Foil to the inside of other items of equipment.
P.W.B. Inside Foil is really quite remarkable.
Kind Regards,
May
15th July 2009 From Tom Marsden
Subject: Inside Foil
Thanks May for the information about Inside Foil. I had always thought that one strip of foil concealed inside a piece of equipment was sufficient but having read your posting I have since dismantled all the drive units in my TDL speakers and placed a foil on the back of each unit. The result is most gratifying to say the least. From the results of this experience I will soon be opening up the boxes of all the other audio and video boxes. As you say Inside Foil is a remarkable foil.
Best regards
Tom.
16th July 2009 From P.W.B. Electronics
Subject: Re: Inside Foil.
Yes, Tom, as I say, the Inside Foil is quite remarkable.
Other significant and effective places to attach a strip of Inside Foil is to any internal part of the battery compartment of such as remote controls and to any internal part of the battery compartment of such as battery operated clocks, battery operated walkman players, MP3 players, iPods. !!
Regards
May
15th July 2009 From Giuseppe Scardamaglia
Subject: The body is an antenna, a living antenna....
Just like your antenna on your radio reacts to the presence of a radio signal. Now if you envision a structure that can convert that reaction to a biological signal, then you have some understanding of how "transduction" takes place.
Outside the body, all you have are physical forces such as gravity and electromagnetic fields. But inside the body, all of the signaling-- all the of ways one cell knows what another cell is doing-- is by virtue of hormones secreted, messages sent from one cell to another cell, or electrical activity of the nerves. That's the nature of the internal information transfer. When energies outside a living system are transduced, hormone levels or the electrical activity of the living system change.
When I apply external fields to a human being, for example, there are two sets of energy-the external electro-magnetic energy I can impose on a human body and the human body's bioelectricity, such as the activity of the nervous system and brain. I have measured changes in.....
(page. 5 of: Interview with Andrew A. Marino)
Read the complete interview:
http://andrewamarino.com/
see also:
http://brainslab.wordpress.com/2009/05/27/electromagnetic-receptors-in-humans/
Guiseppe
16th July From Kevin Kehoe
Subject: Re: Inside Foil
Like Tom, I too thought it sufficient to attach Inside Foil anywhere within the cabinet to be fully effective. A few days ago, I gained access to both drivers and the crossover on each of my Mission speakers. I attached an Inside Foil to each component followed by a dab of Green Cream and got a very wonderful result.
I will also be opening up equipment boxes and doing a bit of extra foiling.
Regards,
Kevin Kehoe.
17th July From Graham
Subject: Re: VR/CD Blue Magnadiscs
Kevin,
Can you explain what you mean by "a full set of VR/CD Magnadiscs"
I have blue magnadiscs attached to the inside of the tops of various pieces of equipment. Is this the same thing. The P.W.B website specifies VR/CD Magnadisc PENS only.
Graham M
17th July 2009 From P.W.B. Electronics
Subject: Re: VR/CD Blue Magnadiscs
Graham,
The VR/CD Blue Magnadiscs are described at the end of the leaflet on the Chunky Pens, link below.
http://www.belt.demon.co.uk/product/chunky/chunky.html
One or more of these Special Blue VR/CD Magnadiscs can be positioned above and facing the spinning disc (CD or vinyl).
Regards,
May.
18th July 2009 From Kevin Kehoe
Subject: Re: VR/CD Blue Magnadiscs
Graham,
I think May's link to the use of VR/CD Blue Magnadiscs pretty well answers your question but I would like to add that as well as attaching a set of Blue Discs to the underside of the top cover of my CD player, after treating all my vinyl albums with the Blue Chunky Pen, I also attached a set to my turntable. As I do not use the top cover of the turntable, it is acceptable to attach the Magnadiscs to the underside of the platter.
Regards,
Kevin Kehoe.
19th July 2009 From P.W.B. Electronics
Subject: Re: VR/CD Blue Magnadiscs.
It would appear from the various Internet Chat Forums and a few of the Internet Hi Fi sites that turntables are making something of a comback. That was a good reminder Kevin. Because the emphasis around 20 years ago swung to CD players, the use of the VR/CD Blue Magnadiscs on turntables was mainly forgotten.
Regards,
May
21st July 2009 From Richard Graham
Subject: Re: Inside Foil
This makes me wonder what else Peter and May have in their minds that they think we know, but we don't! To my mind, this is as important as applying Green rather than Electret creams to Foils. Like all those who have posted before, I was of the 'one strip of Inside Foil' within an object. However, it now seems we can make much greater use of this extraordinary Foil to fantastic effect. Like Kevin, a dab of Green Cream, superwipe, and One Drop Liquid on the top (and superwiped again) enhances it further.
Liberally applied to the objects in your equipment... the transformer, all those large capacitors, the PCBs. The list goes on.
My question, mainly relating to batteries, is just how narrow can a strip be?
For disposable items, one wants to keep it thin!
But overall, another fantastic advance, and much thanks for it.
Richard
22nd July 2009 From Graham M.
Subject: Thomson Sky HD Box
My Sky HD box is covered by an annual repair scheme and apparently when anything goes wrong it is replaced by a reconditioned box. (my brother had 3 replacements in as many months.
I have not 'Belted the inside of the box mainly because I cannot see an obvious method of entry, but also because of the possibility of something going wrong and losing my 'Belt' treatments.
Now this bring me to a question. Would attaching the various foils etc to, say, pieces of clear plastic which were then attached to the inside of the box be as effective as attaching the foils etc directly to the box/PCB's themselves.
Has anyone tried anything like this?.
Any opinions on this and info as to how entry is gained would be appreciated.
Best wishes
Graham M
22nd July 2009 From P.W.B. Electronics
Subject: Re: Inside Foil.
Graham,
Yes, you could try attaching strips of the various Foils you have onto a piece of plastic and placing it inside the equipment.
Another thing people should consider doing if they are not able to gain access to the inside of equipment. Attach a strip of Inside Foil to the outside of the base of the piece of equipment.
When the equipment is sitting on a shelf, the bottom of it is HIDDEN away from view, so it would be the next best place if you can't actually go inside the piece of equipment.
As everyone is saying, the Inside Foil is quite remarkable !!
Regards,
May
31st July 2009 From Graham M.
Subject: Re: Re: Inside Foil
May,
Thanks for that. Another question. Is the bottom of the strip of Inside Foil with the name printed on it usable as a device as I now have four!!
Best Wishes
Graham
31st July 2009 From P.W.B. Electronics
Subject: Re: Re: Inside Foil.
Graham,
Sorry. No.
The part of the Foil with the printed name has only two functions. To identify the Foil and to hold whilst cutting thin strips from the rest of the length.
Regards,
May.
10th August 2009 From P.W.B. Electronics
Subject: Re: P.W.B. Treatments.
Hello everyone,
One of our Forum members - Giuseppe Scardamaglia from Italy - has asked me to 'post' on his behalf, the results of his experiences with the Rainbow Foil and Cream-Electret. Giuseppe has requested that I correct his English to make 'clear his concepts'. I really feel humble at doing so because, even though he has said that it is only his second attempt at writing at such length in English, his description is excellent and will mirror so many other people's experiences. I have therefore, deliberately, only made the absolutely necessary corrections !! I feel that a person's own words when describing their own experiences are always the best.
Regards,
May.
**************************
From Giuseppe.
After many hours of experimentation followed each by accurate listening test in my shop, my conclusion is that rainbow foils are a very good product and also a very big value if used as tweak for improving the CD reproduction.
http://www.videohifi.com/forum/topic.asp?ARCHIVE=&TOPIC_ID=110581
I did try some other adhesive aluminium foils and also some homemade ones, and, at first listening, my sensation was of more speed, more clarity, more dynamics than the disc treated with rainbow foils but after a month, I changed my mind: A prolonged time of listening revealed a sense of hardness followed by listening fatigue and a sense of added artificial clarity absolutely absent when using the Rainbow Foil.
Especially when listening and comparing with frozen CDs they become at long term unlistenables.
I tried rainbow foils with frozen CD and the sound, a little clear after the freezing become sweeter after the application of Rainbow Foil.
However the application of rainbow foils on normal CDs sweetens the natural hardness of digital, and do this adding more clarity on the mid band with a more natural sense of perspective.
I obtained the best result, truly extraordinary, after freezing the CD with a rainbow foil applied after the treatment ( I know that is better freezing with rainbow foil applied first, I will try in the next days), but with a small sign with a blue Staedtler pen on the external border of the disc.
I tried with every other color, but always I preferred the blue to the green (the closest in performance), other colors (violet, brown, yellow and red) have a lighter effect, but the main difference is that only the blue restore the natural timbre of the instruments, adding body and density and avoiding and removing every form of unnatural brightness, improving soundstage and depth of images.
In a word, freezing with a blue sign and rainbow foil the sound is simply beautiful.
The Cream Electret is astonishing.
After trying every form of application, my sensation is like a "widening" of ear's frequency response, every application broadens the band perceived, especially if, like in demo room, the hardware is close to me at a distance of less than one meter.
Thanks to experimenting with the Cream Electret, I changed my idea about what causes the difference in perceived listening with different units like cd, preamps, amps power amps etc.
I noticed that every passive object present in the listening room in front of me and by the side of the amplifier which is playing i.e:
( cd player____amplifier_____X object), worsened the quality of the sound, especially if the object made or contained red plastic including capacitors like the reds Wima, very bad (statically) sounding and also putting a cable on a cd player or an amplifier or every piece of hardware was readily noticed a worsening of the sound quality of the system actually playing.
What was astonishing was to discover that the unit that was worsening the sound, dull trebles, compressed soundstage, loss of dynamics, when actually working sounded exactly with the same character that was present when being a purely passive (non working) object.
I tried also with different cables, some (always not in use) was very sound degrading, but some had little influence on the sound of the system playing.
The objects, cables, cd players, amplifiers etc., out of the room at minimum three meter from the system being played, loosened the "negative" force and restored the sound quality in the room.
So, an idea!
A good test for the Cream Electret!
If the Cream works, the sound must be the same when the "negative object" is near me or is at three meter out the door.
This happened!
Conclusion: every unit, every amp, every CD player, every turntable, has, in my experience, it's own character which is the way of reducing the sound quality perceived.
Applying the Cream Electret, removes this strange negative imposition, reveals the true potential and the true quality of the design, and often, is possible see, or better, listen some units, damaged by excessive negative influence on the listener, take the edge on more expensive units whose the true potential was fully disclosed, having less influence on the listener.
I noticed that some, (rare), objects have not only any influence on the sound perceived, but, present in the room, have some beneficial influence.
I hope all this will be comprehensible, is hard work for me write in English, is the second time in my life..
Kind Regards
Giuseppe Scardamaglia
10th August 2009 From Brian Hannen
Subject: Re: Re: P.W.B. Treatments
Welcome to you, Giuseppe.
It is great to see that you have been open-minded enough to try the P.W.B products, have been willing to experiment and have put it so well in English. I'd hate to think what my attempts to write in Italian would come out as!
May I suggest that you try a violet colour pen to mark the edges of CDs? Years ago, I used the Green Stoplight pen on some CDs and found it messy and, with hindsight, not as good as the Violet Pen. Try to make certain that you mark the edge as suggested in the P.W.B literature, though.
After quite a few years I have tried lots of the P.W.B products and have been very impressed with the results. My favourite is the PA Improvement Pack, because you can treat a lot of items with more than one type of foil, plus you get access to that lovely Green Cream. It is fine spread across foils and then given a Superwipe (see previous postings).
Happy experimenting,
Brian Hannen
11th August 2009 From Richard Graham
Subject: Re: P.W.B. Treatments.
A further welcome Giuseppe!
I almost envy you at the beginning of such a thrilling journey of discovery! As Brian indicates, there is so much more to do, and one of the starter packs would be a good way forward. I cannot help but suggest that both Green Cream and One Drop Liquid take Rainbow Foil to stratospheric levels, but there is so much else that can be done.
I had one thought regarding the placement of inks on the CD - the P.W.B suggestion is for Black ink applied to the inner ring of the CD, and the 4 segments of Violet ink applied to the outer rim. This is quite specific and may give better results than Blue ink, which is best applied to the centre of the case that holds the disc. Worth a try.
You might also get a further lift from re-freezing discs/objects AFTER the Foil is applied. The first freeze is important, but the second enhances the treatments applied to the object.
Happy experimenting.
Richard
11th August 2009 From Richard Graham
Subject: Holidays and resolution
I am in a curious mood after a holiday, and it is not related to the English summer (aka rain...).
Yet again I discover how important the environment treatments are to good sound, as a much loved portable player, which sounds truly great at home, sounded really rather poor in a hotel room. Like May, I do take a bit of Green Cream away with me, and a few strips of Rainbow Foil, but I cannot get close to the home sound. Incidentally, the portable is massively treated, and I mean massively.
However, and thanks to a pre-holiday flurry of adding extra Inside Foil (respect, Mrs B!) I had some amazing experiences with an iPod. Almost despite myself, I cannot get beyond loving that poorly recorded 1973 live, triple album, double gate-fold experience that is 'Yessongs'. So, with an iPod dock connector giving me a line out into a small, portable headphone amplifier, all treated, I reclined on a sun-bed to listen to the opening murmurs. The first few minutes are largely crowd noises, as the finale of Stravinsky's 'Firebird' are horribly distorted through a PA system, filters through. At this point I was quite shocked that the crowd noises were alarmingly vivid, but also that I could also hear what words they were shouting. As stated above, the album was not well recorded, but I could not believe the detail retrieval, on an equipment set-up that is largely the same as the last few years, apart from the ever-improving P.W.B treatments.
I know May has constantly emphasised that this information must always have been there, but it is alarming to have so-called bad recordings sound so good, and so clear.
How this all fits with my earlier point about the environment, I know not. But I will continue to apply what Inside Foil I still have until I have no more, or the rain stops. At home, the sound and pictures from the TV are just so good it feels crazy!
Happy summer!
Richard
20th August 2009 From cico_buff
Subject: Re: P.W.B. Treatments.
Thank you Giuseppe for attempting to write in English, so you could share your experiences with us (I had no trouble understanding you, you did a perfectly good job). I read with great interest your theory on how the character of a component is the same whether it is plugged in or passive. (Also the effects of objects like red plastic). You have a good pair of ears. I have it in mind to repeat your experiment at some point, to see if I find this to be true for me as well. I have always said the best system is no system, for this very reason. And your experience seems to support that. This is of course less of a concern if you have a jar of Cream Electret!
I also found the "tuning chip" product on your VideoHifi forum thread interesting as well. The company who makes it, "Creaktiv Systems" (from Germany, it appears), make a whole range of unique products that seem related to what P.W.B is doing; in that they address problems in the "environment" that they believe affect perception of hearing. Except what they say they are addressing is "electronic smog", eddy currents, and something called "electric whirls"?? I wonder though, if their products aren't addressing the exact same phenomena that P.W.B is. After all, I believe Peter once thought the problem in the environment was caused by EMI.
cico_buff
23rd August 2009 From P.W.B. Electronics
Subject: Re: P.W.B. Treatments.
In your reply to Giuseppe, Cico, you said :-
>>> "(The German company) make a whole range of unique products that seem related to what P.W.B is doing; in that they address problems in the "environment" that they believe affect perception of hearing. Except what they say they are addressing is "electronic smog", eddy currents, and something called "electric whirls"?? I wonder though, if their products aren't addressing the exact same phenomena that P.W.B is. After all, I believe Peter once thought the problem in the environment was caused by EMI." <<<
I think it IS inevitable that people who are experimenting constantly with 'what can effect sound' must finally come to the conclusion that "Something" is happening in the modern environment. And, it is also inevitable that engineers will come to conclusions around "electronic smog", "eddy currents", and something called "electric whirls" because that is how technical electronic engineers are trained to think??
Yes, you are also correct Cico that Peter (and I) DID believe, for many, many months, that the problem in the environment was connected with "electrical charge" being created, on objects, by the electromagnetism in the modern environment. We also spent many, many months believing that "vibrations" were the cause of many problems associated with audio equipment and sound !! But, eventually, many of our experiences pointed to "smog" being created by far more than electromagnetism alone - that not only was the modern environment swamped by electromagnetism but also swamped by numerous chemicals, man made materials, etc.
And, yes again, Cico. You can achieve quite a remarkable 'treatment' for so many of these problems with something a simple as the P.W.B. Cream-Electret.
Kind Regards,
May
2nd September 2009 From Richard Graham
Subject: Make it your own.
I had been discussing with May the problems of prints and mirrors hanging on the wall, when she reminded me of the principle of personalising such items. This can either be with the Red X Pen alone, or preferably, with the Gold Foil. With an air of frank smugness, I said to Mrs B that of course I personalised prints, and was confident I had. Imagine my horror to discover how many prints had no Gold Foil on - just the Red X Pen.
Result, a very nice lift, enhanced by a new Magnadisc development, of which more later....
Of course the prints look better too, and the mirrors have that uncanny sparkle.
Richard
4th September 2009 From Graham M
Subject: Purple Magnadisc
I have found a cigarette lighter that used to be used with the Clip before the tweezers superceded it. The lighter has a purple magnadisc attached and I wondered what would be the most effective application for it. The lighter is no use to me and will be jettisoned.
Any ideas would be appreciated
Best wishes to all,
Graham M.
9th September 2009 From Kevin Kehoe
Subject: Re: Make it your own
It has long been a habit of mine to hold back small quantities of various P.W.B. Foils, Creams and other devices in case someone posts a favourable result using something I might have in my stash. That way, with a sample of the device to
hand, I can give it a try straight away and should I experience a similar sound lift, purchase more. Like Richard, I too found that I had not attached signed Gold Foil to the back of mirrors, prints and other items attached to the walls - all the hi fi and TV components have been long since treated in this way. With a nearly full pack of Gold Foil available, I set to work and included light fittings, room security detectors, temperature controllers, the underside of shelving - especially those containing CD's - and on and on until I ran out of Foil. My first pause to listen came after I done the mirrors and prints and confirmed this was indeed a very worthwhile exercise and I then carried on until the foil was all used up. Listening again at the end of the exercise and hearing yet more improvement, I feel there are yet further gains to be had in this area of treatment.
Regards to all,
Kevin Kehoe.
9th September 2009 From Bill Kenny
Subject: Freezing Equipment, Sheldrake and (lastly) Ambisonics
Hello All,
I am sure that this question must have been answered long ago, but I can't remember what the answer might have been. I now have the facility for freezing the larger components in my system and although my power amp should be no problem, all the other bits, pre-amp, players and such have LCD displays. Does anyone know if these are likely to be damaged by the freezing process please?
I'd be grateful for all ideas about that.
The other two things are just bits of news. I have been reading another Sheldrake book - co-written with two other thinkers - in which they make the interesting observation that in evolutionary terms, the universe has become more complicated (complex) as it has cooled down - following the now popular idea of the Big Bang event. Sheldrake also makes the point that this happens everyday when water vapour cools too -gas, liquid, ice crystal and ultimately ice. It stuck me that an extra factor in improved performance after freezing discs, cables and equipment - over and above changes to metal grain structures or whatnot - is this the increasing complexity caused by cooling might also promote greater and beneficial sensitivity to positive morphic resonances in the frozen gear. Just a thought.
Lastly, members of this group who are old enough may just remember Michael Gerzon and Peter Fellgate's development of Ambisonics UHJ - a superior surround sound system to both so-called Quadrophony in the 70s and to the current Dolby 5.1 and THX systems currently in vogue.
I happened to be at the Nimbus disc factory at Wyaston Leys near Monmouth in April and was surprised to discover that their CDs and indeed their DVDs are still recorded in Ambisonics UHJ - using the same microphone they had built for the purpose about thirty years ago. The Nimbus people still regard this as the best recording set-up especially as it is apparently compatible with modern Dolby decoders.
It also works the other way round though and an Ambisonics decoder - now not made any more sadly - will give decent results from 5.1 SACDs and other Dolby encoded material through only FOUR channels and adds something to ordinary two channel stereo. Fortunately, someone gave me an old UHJ decoder to play with and I discovered that a small pair of rear speakers - from the same firm as my big ones - driven by the remarkable Sonic Impact T-Amp gives really very nice results from all disc sources when the right buttons are pushed on the decoder.
In my small listening room, the added sense of spaciousness coupled to even more rock solid stereo is very pleasing even at low listening levels. Mind you, the decoder sounded lousy before being liberally tweaked with P.W.B products and the little rear speakers didn't match the front ones well either until given some Inside Foil to bring them into line. Hithertoo I had thought that surround sound was a waste of time and money, but here is a largely forgotten system that certainly works for me. The decoder - which has no LCDs - will be next in the freezer!
All best,
Bill
9th September 2009 From Richard Graham
Subject: Re: Freezing Equipment, Sheldrake and (lastly) Ambisonics
Complex post Bill!
Will try to respond.
Firstly, I have never had a problem through freezing equipment. Indeed the only problem I have ever had with a P.W.B product was an early use of a soldering iron with Smart Metal. I don't use it on PCBs now, though an expert might.
The issue of ice is very interesting. Peter was clear that when freezing, ice crystals needed to be present. Can't remember why - perhaps the answer is buried in a decade old Newsletter. Perhaps the introduction of four states was crucial to evolution? Of course it is hard to eliminate water from the atmosphere, so you always get them. Wet water though often worries me with electrical equipment, so you could always try to freeze large items in a a large clear bag, with appropriate treatment to the bag (at least some cream). That seems to reduce the condensation issue.
As for Ambisonics...I am a big Bob Stuart fan (after Peter, of course), and Bob still includes the Ambisonics decoding in all current, and most old, Meridian processors, as he rated it so highly. On their processors, you can always change the DSP to suit.
And pleased to hear the noble Sonic T Amp is going so well - it really is bargain of the century, treated, of course.
Richard
9th September 2009 From Brian Hannan
Subject: Re: Freezing Equipment, Sheldrake and (lastly) Ambisonics
Hi Bill,
I seem to remember, from my reading on Cryogenically freezing equipment, that the process is a dry one and that they were not keen on treating equipment that had LCDs. Also, some glues and plastics did not take well to the process. If anyone were to think about going down that route, it might bode well to check with the Company first.
As you say that you are going via the domestic freezer route and there will be ice crystals around, I would double, or triple, bag the equipment and ensure that you had some tape to seal the bags thoroughly. A long thaw out at room temperature would also be desirable.
Hope that this helps,
Regards,
Brian
10th September 2009 From Bill Kenny - "Seen and Heard Editor - MusicWeb International" Subject: Re: Freezing Equipment, Sheldrake and (lastly) Ambisonics
Thanks Brian, that's helpful.
All best,
Bill
11th September 2009 From Richard Graham
Subject: Re: Freezing Equipment, Sheldrake and (lastly) Ambisonics
I can't speak for TVs, but have put loads of phones, cameras, and laptops through the freezer, and have never had a problem with a display. LCDs seem pretty robust these days.
Although I don't think you can ever completely replace any treatment with something else in the P.W.B world, but there are a few products that have tried to capture that beneficial frozen 'pattern'. Most obviously there is the Freeze Effect Foil, but also the Heat/Freeze label. Safer for those who are anxious about the process.
Richard
p.s. Of course freezing all of the other items in the room helps, and gives an improvement of equal measure to that from treating the equipment. Indeed, food fights to get in our freezer :) And I like treating cutlery and pans!
17th September 2009 From Richard Graham
Subject: More Tales of the Inside Foil - Go Green!
Given the very excellent results of putting Inside Foil onto more than one surface/item inside compartments, I took the plunge and added strips to the batteries in the TV remote control....quite a lift.
Now Inside foil might be a bargain relative to hardware costs, but to be adding strips to batteries in remotes that consume them quickly, or portable audio players, was not on. A quick check with P.W.B Central confirmed that some special Clear Film could be applied over Inside (and other) Foil Strips to protect them if placed on rechargeable batteries. Battery technology has come a long way, and rechargeable batteries are now really good. Of course, if like us, you have DECT telephone, you have been using them for years.
So applying as many Foils as I could to AA batteries, covering them with Clear Film, applying Green Cream and Liquids to the Clear Film, scribbling some Red Pen, and then Clipping and Freezing the batteries, they were ready for the Charger (which was also treated).
End result, very impressive. I think you could do a lot worse than just treating batteries with Inside Foil, but this way you get to keep the benefits when the charge runs out, and save the planet!
Richard
15th October 2009 From Tom Marsden
Subject: Crystal and messages
Hi everyone,
Most Sundays I listen to the BBC Radio 3 programme `Private Passions`. The programme is presented by the composer Michael Berkeley and each week he has a guest on the programme who is invited to bring along a selection of music that has a special interest for the guest. Last Sunday the guest was Paul Mckenna; the famous Hypnotist. My ears pricked up when, during a conversation between music, they began to talk about recent research work carried out by a Japanese Scientist.
The Scientist had been playing a variety of music to jars full of water. Later, water crystals had been taken from the jars and it was discovered that the crystals varied enormously depending on the type of music played to the particular jar of water. However, my attention was really riveted when they went on say that the Scientist had also written messages on pieces of paper which were then attached to jars of water for a few days. Water crystals were again taken; where it was discovered that the message `LOVE` produced beautiful crystals and the message `HATE` produced ugly crystals.
Could it be that the Scientist has looked at the P.W.B website; and does it now give scientific credence to what the P.W.B fraternity has known for nearly twenty years of the significance that written words have on our perception of music.
After the programme finished I, of course, had to investigate the effect of writing LOVE on a CD.
I thought it appropriate to choose the Love Duet from Act 2 of Tristan und Isolde (Carlos Klieber recording). This CD has had no treatment other than freezing. Sure enough after the Red `X` pen message the sound stage opened up much wider and the sound had an extra smoothness.
On the subject of Red `X` pen messages. I find WELCOME > O.K. to be particularly effective.
Besides writing on the CD I also write on the booklet and each component part of the jewel case; a total of five times.
Best regards,
Tom.
16th September 2009 From Tom Marsden
Subject: Fw: Japanese scientist
Message to Tom from Peter Ellsinger and forwarded to the group by Tom.
Subject: Japanese scientist
Hello Tom,
I am a silent member of the group and had no log in when I tried to answer for all to see, so I send this reply directly to you.
The scientist is:
Masaru Emoto was born in Yokohama in July 1943. He is a graduate of the Yokohama Municipal University's department of humanities and sciences with a focus on International Relations. In 1986 he established the IHM Corporation in Tokyo. In October of 1992 he received certification from the Open International University as a Doctor of Alternative Medicine. Subsequently he was introduced to the concept of micro cluster water in the US and Magnetic Resonance Analysis technology. The quest thus began to discover the mystery of water.
He undertook extensive research of water around the planet not so much as a scientific researcher but more from the perspective of an original thinker. At length he realized that it was in the frozen crystal form that water showed us its true nature through. He has gained worldwide acclaim through his groundbreaking research and discovery that water is deeply connected to our individual and collective consciousness
He is the author of the best-selling books Messages from Water, The Hidden Messages in Water, and The True Power of Water. He is a long-time advocate for peace in relation to water. He is currently the head of the I.H.M.General Research Institute and President Emeritus of the International Water for Life Foundation, a Not for Profit Organization.
His homepage is:
http://www.hado.net/
I have read one of his books and in it he mentions a meeting with Rupert Sheldrake so they are definitely linked and interested in each other's thinking.
Very best regards
And many thanks for all your interesting input over the years
Peter Ellsinger
Sweden
16th October 2009 From John Peter
Subject: Free tweaks
Hello all;
I am sure you are familiar with a picture of a dog, with rectangular white with holes in the appropriate places, one hole on each corner, and one in the Centre, this done with a safety pin.
I usually put crushed soluble aspirin on the centre hole, with a little bit of glue.
Apart from attaching the device to places as recommended, I actually opened up the audio equipment, and attached the device to each individual pcb board, keeping away from where heat is produced.
Of course, unplug the unit you are treating.
The result, you decide for yourself, but for me its just awesome, its like upgrading the power supplies and capacitors.
Another freebie that is so amazing.
Happy listening.
J. Peter.
18th October 2009 From P.W.B. Electronics
Subject: Re : Crystals and Messages.
Very, very interesting, Tom and Peter E. If there is 'something', out there in the world of Nature, to be found, then it will be found by someone at sometime. Clearly, there IS 'something' which can influence water !!!!
This, we discovered some 27 years ago.
I found particularly interesting, Peter E, your comments regarding Masaru Emoto's
>>> "discovery that water is deeply connected to our individual and collective consciousness"
And
"I have read one of his books and in it he mentions a meeting with Rupert Sheldrake so they are definitely "linked" and interested in each other's thinking." <<<
Surely Emoto's findings must be going some way to, if not confirming Rupert Sheldrake's concept of available 'morphic resonance energy patterns', then to at least giving serious credence to Sheldrake's concept ?
We were first alerted some 27 years ago to 'something going on' when we found that we could 'treat' the label side of a passive CD (just laid passively on a sofa) but one which was identical to the CD being played and improve the sound of the actual CD being played !!! We began to search the scientific literature for who might be investigating "linkage" (i.e things which are identical being 'somehow linked'). Sheldrake's concept of 'morphic resonance' began to make sense in the light of our own experiences. I.e that as soon as something exists, it has a 'morphic resonance energy pattern'.
That the more things which are identical exist, the stronger will be that particular 'morphic resonance energy pattern' - and that this also applies to behavioural patterns. Communication is a behavioural pattern and communication (between species) has existed throughout evolution - long before the senses of hearing, sight, taste, smell and touch as we now know them ever evolved. Actual words and language are merely the latest versions of this 'communication' technique - so this form of communication must, surely, also be 'linked by morphic resonance energy patterns' ? Some form of communication of danger (however primitive) must have existed over millions of years of evolution, similarly some form of communication of reassurance (, it's OK, the danger has gone away) must have existed for the same length of time. Using the correct (and meaningful words) can provide you with a 'link' into the appropriate (and beneficial) 'morphic resonance energy patterns'.
Regards,
May
19th October 2009 From cico_buff
Subject: Re: Re : Crystals and Messages
"P.W.B. Electronics" wrote:
>>> Some form of communication of danger (however primitive) must have existed over million of years of evolution, similarly some form of communication of reassurance(, it's OK, the danger has gone away) must have existed for the same length of time. Using the correct (and meaningful words) can provide you with a 'link' into the appropriate (and beneficial) 'morphic resonance energy patterns'. <<<
Just watched an interesting documentary on treehoppers in the Amazon forest (these are highly unusual looking insects that often have very clever ways of camouflaging themselves to their environment). There is some 10,000 species estimated. One researcher studying them invented a novel way to understand how they communicate, by creating a contraption that read and later played the vibrations along the branches they live on, using a phono pickup and amplifier. They discovered through this technology that the insects have quite a language unto themselves... they will emit these sounds through vibration to alert the mother that a predator is endangering the larvae for example, and in groups, have been observed transmitting these vibrations at once, throughout the group (while they usually make sounds individually). More unusual, is that they can communicate with the ants that are often around them, and the ants can communicate back.
What's interesting though is, despite the breakthrough in understanding their ways of communication, scientists don't know how that treehoppers looking to mate know to find suitable candidates ready for mating, when they are not on the same tree, and can't transmit vibrations from one tree to another.
cico_buff
22nd October 2009 From cico_buff
Subject: The 5-Minute Freezer Experiment?
I was bored tonight, so I asked myself the question that probably a lot of people are asking: "Do I really need to wait 8 hours to put an object through the P.W.B Freeze Process, and another 8 or more to thaw it out? And isn't there an alternative more suitable for lazy and impatient guys like me?" I knew that a music CD or CD-R could improve the sound just by being in the freezer, so why not. Since I had been treating stuff this evening and listening to the results on my mp3 player, I decided I would start by stuffing the (mp3 player and headphones) into the over-filled freezer, wrapped in a kitchen towel. Just a few minutes, no more than 5. Then no more than 5 to "thaw" it out, still wrapped in the towel.
I was quite sure the sound had improved, as it was musically engaging to where I wanted to continue the test. I just wasn't sure if it was due to the freezer experiment. So I continued with other items. This included a flashlight (torch) with battery installed, an mp4 player with its accessories, a brass candlestick, etc. I got less consistent results, where the original sound got worse. But yet in a certain way, it was still better than what I was hearing before the freezing experiments. Then I believe it got a bit better, then worse, and then after the last item I briefly "froze", I saw that the sound definitely got better, and just as good or better than the first experiment. My guess is that the sound came into being only after every second item went through the process.
I'm pretty sure at this point that the changes go beyond what I would expect from just the variations that normally occur when you replay the same song numerous times over, even on an mp3. I was careful to control all other variables, and since I was the only one awake, I could do that. So I'm 99% sure the flash freezing helps. I'm just not sure if it's as good as the full 8 hour method, and I would naturally doubt it would be. Still, seems it might be interesting as a proof of concept, particularly for newbies. Because if by chance they can hear a difference, this definitely can not be explained by any physical changes to the object! Plus, I have never experimented much with the freeze process, because of the time and hassle involved. So if the flash freezing works, maybe it might prompt me to try this a bit more.
cico_buff
22nd October 2009 From Andreas Makridis
Subject: RE: The 5-Minute Freezer Experiment?
Cico_buff,
When you have already a certain amount of treated objects in your house, putting electrical objects in the freezer makes in my experience, an almost instant audio impression: Sound becomes more "dynamic", but in many cases, quite a bit harsh. Nevertheless, if you enjoy a bit of audio "awakening", you may enjoy that interval; and you may be tempted to leave such an object in the freezer permanently. In my experience however, when the item exits the freezer, you get back the old sound; (well, not quite the same really, but not the one you had experienced during freezing).
In your case so, I suspect that you were placing a series of object in the freezer continuously. That could lead you to retain the initial impression while an object was inside – but in the end, the evaluation should be after the emptying of the freezer. At least, 8 hours after!
Andreas
24th October 2009 From Tom Marsden
Subject: Crystals and Messages
May, I always look forward to your contributions to the discussion group and. in particular, your reminiscences of P.W.B insights over the years. Your mention of the discovery that treating a passive Cd could effect the sound of an identical playing Cd may have solved something that has been puzzling me for months. Let me explain. About 18 months ago I joined the local Photographic Club and as I got to know the other members I found two who were keen on Hi-fi - both Naim enthusiasts. Of the two I realised John was the audio-file. John has his equipment switched on full time and has a signal passing through his loudspeakers 24 hours a day 7 days a week - obviously , John is serious about sound quality. I got into conversation with him and brought up the subject of P.W.B treatments. John had never heard of P.W.B so it was agreed I would supply him with some foils for him to hear the effects for himself. The following week I gave him a strip of Present Foil and two strips of Rainbow Foil and instructed him to place Present Foil on the CD player and a strip of Rainbow Foil on the logo of the test CD and the other foil on the Tone Arm of his Record Player. The next time I met John I asked him what he thought of the treatments. John explained that he had decided the best way to test for any differences was to get two identical CDs and compare the treated one against the non treated one; which seemed a good idea to me. The result - he couldn't hear the slightest difference. This left me feeling a little incredulous but if he couldn't hear any changes who was I to argue otherwise. However, on my way home that evening I decided I would get two identical CDs and give one the `full works` and the other non and show John just what a difference
P.W.B treatments really can make. The next time I was in my local Morrisons store I therefore went to the CD shelves and picked up the cheapest CDs on display; which happened to be identical Tom Jones CDs. which cost £2.95 each. ( I have to say; for the sound quality, the price was a rip-off, but so what, the object was simply to prove that one could be made to sound better than the other ). One CD was now `bombarded` with P.W.B treatments; you name it, it got it. Freezing, Creaming, all the Foils, Clipped, Coloured Pens, Red `x` Pen messages, Morphic Spray, One Drop - the lot. Come the big day when I would prove what effect this barrage of treatments would have! I played the treated disc first and then the non treated one. To confirm what I heard I then played the non treated disc followed by the treated disc - and the result - not a smattering of difference. I couldn't believe what I was hearing or, should that be, not hearing. ( Prior to typing this out I have played the two discs again; they still sound identical but due to many other treatments, elsewhere, they both sound much better than last time they were played). From my above experience I can only conclude that Morphic Resonance is at work similar to the discovery that May and Peter have known about for 27 years. It would seem that the same phenomena happened to a letter writer to Hi-fi News many years ago. ( This was at the time when there was a great debate about the benefits of painting the edge of CDs with Green Ink ). The writer; who I seem to remember was the Manager of a Local Radio station, had set up two identical Cd systems and had an identical CD playing in each system. One Cd had the Green Ink treatment and the other non. With his set-up he was able to easily switch between the Cds being played and compare any differences in sound quality. His conclusion - there was no difference. From all the above it would seem that one has to be very careful that what may seem to a simple way of proving P.W.B effects can have the opposite result. I would certainly be interested in others treating identical CDs and whether there findings agree with mine.
Best regards to everyone.
Tom
25th October 2009 From cico_buff
Subject: Re: Crystals and Messages
Tom Marsden wrote:
*****From all the above it would seem that one has to be very careful that what may seem to a simple way of proving P.W.B effects can have the opposite result. I would certainly be interested in others treating identical CDs and whether there findings agree with mine.
Best regards to everyone.
Tom *****
Hi Tom,
Sounds like you super-charged that treated CD. Should have made a difference and I think it likely was, but I wouldn't expect to hear that much of a difference while both CD's were in the same room, as, figuratively speaking, the treated one will have an influence on the other. I have done many CD tests on myself and third party subjects using a lot less than what you applied to the Tom Jones clone. But rather than use duplicates of the same CD, I simply try to negate the effect of the treated CD. This way, I completely eliminate variables from the CD itself (I don't know about others, but I always hear differences with CD copies). I do this by simply taking the treated CD out of the room (out of the house, if I really want to negate its effect). Yes, this implies that I am not using the treated CD as the test CD, but other CD's are used to test the influence of the test CD in the room. If I were comparing copies of a CD and playing them directly, then I would just leave the treated one outside while the untreated was playing. Yes, I agree about being careful! If I can, I do try to be careful before relating or personally engaging in a demonstration of a P.W.B product or device to someone who's never had one, by testing it myself beforehand. Sometimes I'll get a friend to test it on, if I want to see whether it is still effective on "non P.W.B ears".
cico_buff
25th October 2009 From P.W.B. Electronics
Subject: Re: Crystals and Messages
Tom, I had started a reply to you late last night before going to bed but it looks as though 'cico_buff' has beaten me to it !!!
Tom, this is going to be difficult to explain. I might have to do it in two parts. It involves at least three different areas, "linkage", the environment and human beings and it involves mentally switching backwards and forwards between and taking into consideration all of them. And, it is going to be the immediate environment and the human being which will be a crucial part of this reply.
I agree with you that my describing our (P.W.B) 'insights' over the past years could be of help to people's understanding and that is why I did my talk back in 1998. I felt that the more people understood how, when and why we came to our concepts, they would be better able to understand the techniques we were suggesting people should do.
The best general example I can give is the "Germs in the Air" concept from 100 years ago. At that time, the doctors and surgeons were taught that the micro-organisms which caused septicaemia were in the patients own (bad) blood and that septicaemia could erupt spontaneously i.e quite by chance, and not because of anything else or anyone else.
Louis Pasteur (the famous French chemist) made his own wine but he found that when he left the tops of the bottles open to the air to let the fermentation bubbles escape, his wine went 'off'. He devised a contraption to fit over the tops of the bottles which would allow the fermentation bubbles to escape but which would prevent the outside air from getting into the wine. After fitting that, his wine was OK. From that experience he deduced that there must be something 'in the air' - what he called 'vibrios - which must have been 'getting at his wine' !!
A Scottish Doctor and Surgeon, Joseph Lister, either read about Pasteur's discoveries or was told about them and Lister began to wonder if the 'things in the air' which Pasteur had described might, possibly, be the cause of patients developing septicaemia !! I feel sure that if the hundreds and thousands of other doctors and surgeons of that time had been more aware of where Lister had got the concept of 'germs in the air' from and had been aware of Pasteur's original discoveries then they would not have been so antagonistic towards Lister's antiseptic techniques and his suggestions that carbolic spray should be used around the patient during operations and that antiseptic gauzes should be applied to open wounds and that they would also not have continued for so long with the disgraceful habit of going from performing an autopsy in the mortuary straight into the operating theatre without washing their hands, without washing their surgical instruments and without changing their dirty, filthy, blood stained, pus stained frock coats.
Back to the P.W.B techniques. In my talk I tried to describe the sequence and stages of what Peter had been discovering to try to enable people to mentally travel the same path and therefore gain a similar understanding of how we got to our concepts.
Our early discoveries - different wires sounding different, different metals used as conductors sounding different, different insulation materials sounding different, different colours of the different insulation materials sounding different. Also when investigating Ivor Teifenbrum's claim that passive speakers, when present in a room, could adversely affect the sound of the actual speakers being played, we subsequently found so many other things, in the room, which were in no way associated with the audio system, were also having an adverse effect on the sound. These were all discovered whilst using only vinyl discs as our source of music. So, by the time we actually got a CD player and some CDs, we were already aware that the room environment and the numerous things present in the room (things in no way associated with the audio system) were a problem with regards to the 'sound' !!
The discovery that we could 'treat' a passive but identical disc to the disc being played and improve the sound of the actual disc being played pointed to TWO things. "Linkage" (of things which are identical) and also the fact that PASSIVE discs in the room, whether identical to the one being played or not, were also a problem regarding 'sound' and have to be 'treated'.
Let me look at the subject of 'treating' one of two identical discs. During the late 1980s, in my descriptions of trying to get people to 'try' the freezing technique, I would suggest that instead of experimenting with one of their favourite CDs, that some months, one or other of the British Hi Fi magazines would have a free CD attached to their front cover. So, it was quite easy for people in the UK to get two identical CDs to experiment with quite cheaply. I would suggest that they keep one of the CDs untreated as 'a control' and put the other CD through the freezing/slow defrost procedure. However, for this particular experiment, BOTH CDs had to be out of the room and only ONE brought into the room each time for the listening experiment. You don't compromise the experiment by having BOTH CDs in the room throughout the experiment. During experiments, you would not have both CDs in the room at the same time when you are fully aware of the adverse effect that the very presence of passive CDs can have on the sound !!!
You listen to each CD, individually, to confirm that they both 'sound' the same, before doing any treatment. After 'freezing' one CD you bring that 'treated' CD into the room and listen to it. You should hear an improvement in the sound from that CD in comparison to how it had sounded before 'treatment'. You then take that 'treated' CD out of the room and bring in the untreated CD and listen to that one. By comparison, the sound of the untreated CD should not be as good as the 'treated' CD. BUT, if you have BOTH CDs (one 'treated' and one untreated) in the same room at the same time, the comparison in the sound between them would not be as noticeable.
As another example, let me move away from CDs (or anything associated with the audio system) and look at something else which might be in the room. Say, hypothetically, two new, identical perspex photoframes !! Exactly the same experiment can be carried out. Keep one as the 'control' and put the other one through the freezing/slow defrost process (or, alternatively, treat with P.W.B Foils and Cream). With both frames out of the room, only bring into the room the 'treated' frame and listen to some music. Register what that sound is like. Now, remove the 'treated' photo frame from the room and introduce the untreated frame, place it in exactly the same position and listen. This time, by comparison, the sound will not be as good as it was when the 'treated' frame was in the room !!
Are you presuming, Tom, that by P.W.B 'treating' one of the Tom Jones CDs, that by 'morphic resonance linkage' all other identical Tom Jones CDs will sound better ??? I would suggest that the P.W.B 'treatment' of ONE Tom Jones CD would not be strong enough 'morphic resonance wise' (I WISH !!!!!) To improve the sound of all other identical Tom Jones CDs, anywhere else in the world. In the same room, maybe, but certainly not worldwide. I am sure that the STRENGTH of 'morphic resonance linkage' comes from sheer weight of numbers and usage and that is why we always suggest, when writing such as morphic messages, that the words used should be words in frequent and common use, with strong positive meanings (no ambiguity). I think, Tom, that if you do the experiment again but this time keep the 'treated' Tom Jones CD out of the room whilst listening to the identical but untreated one, you should be able to hear greater differences in the sound between the two.
Let me now bring in the 'morphic resonance linkage' aspect. Yes, we believe that the Tom Jones CDs you have, Tom, ARE linked by 'morphic resonance' to all the other hundreds, thousands if not millions of identical discs but that the 'linkage' is not a good one. To lessen the adverse effect you have to superimpose on the CDs reassuring energy patterns (in effect 'tapping into' the morphic resonance energy patterns of "it's OK/acceptable/friendly")- which is what our techniques are designed to do !!! Which is also what you did Tom with the new WELCOME message you wrote earlier.
Let me now bring in the room - the immediate environment !! Whichever room we are in is our immediate environment and we are programmed (by evolution) to be constantly reading/sensing our environment, so, the actual room we are in will have the greatest importance. Let me look at the percentage of this importance. Let us say, hypothetically, that the percentage of importance of our immediate environment (the room we are in) has 100% importance, so anything present in and going on in that immediate environment will be of extreme importance. Mentally move away to adjacent rooms - all the way to the entrance and the boundary of the building and the percentage of importance will be gradually less, although we will still be reading/sensing all that area of our territory to some extent. We are doing all that just as automatically and as constantly as our body is automatically and constantly reading/sensing the temperature of it's environment in order for it to maintain a constant body temperature. It is doing it whether we are aware of it doing so or whether we want it to or not !!!!
'Treating' one of two identical CDs using P.W.B techniques and listening to both IS a good experiment to carry out providing you also are fully aware of what is in the room and what can affect the 'sound' and providing the disc not being listened to is kept out of the room. I am sure that the friend you referred to Tom must have had both identical CDs present in the room whilst listening to one or the other and that the friend would not have been at all aware of just how important the actual environment and what is in that environment is for 'sound'.
It IS a case of switching (mentally) backwards and forwards through what can affect the audio signal travelling through the audio system, what can affect the acoustic air pressure waves presented into the room by the loudspeakers, what can affect those acoustic air pressure waves whilst in the room before they reach the human ear drum and what can affect the (sound) information as it travels on it's journey along the auditory nerve to the brain's working memory, for the working memory to then resolve that information and create a final 'sound picture' to present to the brain !!
Regards,
May
26th October 2009 From Bill Kenny
Subject: Re: The 5-Minute Freezer Experiment?
Andreas, Cico_buff and everyone else
Just as a small addition to our collective knowledge about the processes of freezing electronic equipment, I was initially worried about potential damaging effects of freezing on liquid crystal displays. However, two bits of my set up are from Primare who are of course in Sweden and so know quite a lot about very cold temperatures. When I mailed them with this query, they said that their LCDs are safe down to -50 Celsius. Encouraged by this I then froze my Primare DVD30 disc player with the usual beneficial effects, increasing the substantial benefits of my already frozen power amplifier. That's from a different company but has no LCD, only an LED to show when it is switched on.
I was unable to find out the lowest safe temperature for the LC display on my pre-amp which is from the same maker as the power amp but decided to risk freezing that too and today find that it is also unharmed. The general effect of freezing the pre-amp though is really spectacular. I just thought that this information might be useful to anyone else with the same initial concerns about freezing electronics as my own.
By the way, the best damp proofing system I have discovered so far is to wrap all electronic equipment in lots of layers of Cling Film, remembering of course to allow the film to dry out thoroughly after the slow thawing process is completed, before removing it.
Bill
26th October 2009 From Kevin Kehoe
Subject: Re: Crystals and Messages
Regarding the question posed by Tom about the treatment of identical discs. I was about to relate my rather mixed results some years ago on this subject with both discs and vinyl when May's very eloquent and insightful posting appeared.
I found that, in spite of watching her video talk of 1998 a number of times over, I made one of the very mistakes she referred to when, on doing the comparisons, I had the two test discs in the room at the same time. Worse still, I recall that on many of those testing occasions, I was trying to impress the benefits of Belt treatments to already highly skeptical family and friends! To satisfy my own curiosity I will make time to try this test again soon.
I did try Tom's suggestion of writing the word WELCOME > O.K. with the Red 'X' Pen on a few discs and vinyl albums and the result was impressive enough for me to write the word a number of times on Gold Message Foil and attached them to the components of the hi fi, the gas, electric and water meters as well as to the internet cable junction box, the telephone connection, room security sensors and remote hand sets. The result was worth every bit of the effort involved and I have now wrote the word on about fifty discs and I can tentatively say that the treatment appears to be cumulative.
Incidentally, in the process of doing this bit of Belting, one of the albums I pulled out for treatment was a vinyl collection of Jelly Roll Morton 78 recordings made between 1926 and 1927 issued by RCA in 1978. I have not listened to this record for a number of years now and I almost laughed out loud with sheer surprise at how good it mow sounds. The drums and bass information captured in the grooves of the original old acetate discs is minimal and the piano faired little better but, how warm and full it all now sounds! There is new flesh on the bones with perceived new thump to the drum kit, slap to the bass and ringing harmonics about the piano. Its hard to escape the feeling that even those primitive recordings have very nearly all the information right there in the grooves which, with a little help from P.W.B., is enough to allow the brain to fill in the missing information and paint a sound picture every bit as satisfying as a modern recording. For that alone, Belt treatments are priceless.
Regards to all,
Kevin.
27th October 2009 From Richard Graham
Subject: More decoupling of Morphic Links
It is interesting to see that, like birds (?), we are all following a similar vein at present. The only difference is that out of necessity, I have been applying the easiest products, without a Red Pen in sight.
My focus has been on the phono plug, or more accurately the phono socket. A bit of cleaning reminded me just how many there are on the average TV now, and so many more on the average AV processor. This is not good news! Like the 'compact disc' logo, these sockets are so common, they link up very unhelpfully.
As you may know, P.W.B provide two solutions. The first, is the Premium 'Digiplus', which frees your equipment to a fair degree from the noxious morphic resonance that links all phono sockets. But if there are many phono sockets, there is a cheaper, less effective sibling with a black rather than green ring tie on it, to go alongside the Digiplus, for any additional, empty sockets. Now, I have put Digiplus plugs on all equipment with phono sockets, but I became curious as to how much further one could go with the standard Black ones.
First up was the TV, for which I needed 7 Black phono plugs! Thanking Graham for his energy to make them up, I plugged them in with a little Sol Electret on the pins and socket, and sat back. I had the experience that I am more familiar with from audio, in that the picture seemed 'less harsh', but also smoother, richer, and more film-like. Very pleasing. So, thanks to Graham, I plugged in some more into my AV processor - similar response; addictively smooth sound, and a sense of greater soundstage - the walls disappeared.
I know not how each of these products relate to each other, and whether there are different Morphic Links that, when broken, improve the sound in different ways. What is clear is that like the CD logo, phono sockets are still a powerful and unhelpful factor in design.
Richard
28th October 2009 From Andrew Lugg
Subject: Freezing equipment
I would like to know if anyone has frozen a home cinema projector successfully.
I wish to do so with my DLP projector but am unsure if it is safe as I am worried the lens housing could become built up with condensation and be damaged.
Any feedback would be appreciated.
Andrew
30th October 2009 From Kevin Kehoe
Subject: Red 'X' Pen
Recently, with a bit more time on my hands than is good for me, I decided to do as Bill did and carry out a little research not only for my own sonic benefit but to also hopefully add to the collective knowledge of the group. I Have had very positive results over the past few months with the Red 'X' Pen on Gold Foil, and, more recently, writing the word WELCOME > O.K. on both discs and on Foil labels attached to various pieces of equipment. After writing the word on about 60 discs as well as the storage trays and information booklets, I felt that there was a detectable lift to other untreated discs within the room. It is now a few days later and several hundred treated discs further on and the difference is unmistakable. I now intend to treat every disc in this way as I play them and perhaps do a few here and there when time allows.
Andrew, The closest thing I have to the kind of kit you have is my Plustek 7300 slide copier which is a lot less complex and does not contain a lens assembly. Even so, I have not dared to put it through the freeze process so I too would be interested if anyone has tried anything like this. I did recently take the plunge and put an iPod Nano through the freeze process without any problems with the result that it had a taming effect on the slightly 'screechy' top end and a more warm overall sound.
Regards to all,
Kevin.
30th October 2009 From Tom Marsden
Subject: Crystals and Messages
Thanks cico_buff for your comments and May for your comprehensive explanation which I found to be very useful, is no doubt, did every other member of the discussion group. The Tom Jones saga continued last Monday night when through curiosity I placed the untreated disc on the ground outside my front door and played the treated disc. The discs were then reversed with the untreated played while the treated disc was placed outside. The procedure was repeated several times. Could I hear any difference? No. I began to wonder whether the relevant processing parts of my brain had, some how, been switched off; so I took out some Gold Foil and with the Red `X` Pen wrote LOVE > O.K. five times; cut the foil into five strips and placed them on five items of equipment. Before and after playing of a favourite Cd satisfied me that, perception wise, my audio system had received another upgrade. I haven't given up on Tom Jones and I am hoping I can obtain another copy of the disc that hasn't been within a mile of my home; when comparing with my two discs should be interesting; otherwise, I will attempt the experiment from a different tack.
Best regards to all.
Tom
*************************
30th October 2009 From Richard Graham
Subject: Re: Crystals and Messages
For some time I have had the feeling that when we treat a CD it does not change the sound of that CD but Changes the sound of all sources by treating the environment as a whole. I have a number of CD's that have not been treated (due to sheer idleness!!) at all but they sound superb. When A number of CD's are treated the sound of my Tuner, DVD Player and TV improve also. Could this be the problem with not being able to discern differences between identical treated and untreated CD's.
Richard
31st October 2009 From Bill Kenny.
Subject: Re: Crystals and Messages
Richard and Tom
As I gain more experience with P.W.B, the more baffled I become but I am sure that Richard is right here. After my last but one post I went on to freeze my pre-amp and was startled to discover just how dramatic the improvements were to the stereo sound from all sources - a huge lift equivalent in magnitude to anything that I have achieved so far with any combination of devices
A temporary downside though was that my recently resurrected Ambisonics set-up began to sound terrible, even though I had frozen the decoder, the cabling and the T-amp that I use to drive the rear speakers as well as having adding misc P.W.B doodads to all of these as I went along.
Oh well, I thought, in for a euro - all four of my speakers are French - and so yesterday, I froze the small rear speakers too. The freezer is in a small separate building behind my house and as May has often pointed out, removing 'treated' speakers from a listening room often causes a small but noticeable deterioration in the the sound from the remaining equipment. It was still good but lacked the startling quality it had after freezing the pre-amp. This persisted until the small speakers were fit to be reconnected. After which, even with the speakers reinstalled but with rear channels switched off, the main (front) system sounded better than ever before. After switch on though, the Ambisonic sound became quite wonderful again - also much better than ever before.
Now it happens that one of our 'test' recordings is an old Decca CD set of Puccini's La Fanciulla de West, orginally made in 1958 although remastered along the way. These discs have had no treatments at all except for a bit of inside foil in the box, one of my early experiments with 'action at a distance.' These discs - and many others - have always sounded better as my 'Belting' has progressed and yesterday with the whole system at work again, produced the results I am always after - the replication of concert hall or opera house sound - in magnificent detail. BUT, to echo Richard's comment about ever increasing synergy, the TV picture and Blu Ray disc performance have also improved too, as indeed has the initially very dubious FM radio sound in the new car that we bought about a year ago. (It's a cheap car with a very cheap radio/disc player.)
The only catch with these synergic effects of course is that they obviously make 'blind' comparisons of 'treated' / 'untreated' discs - in the way that Tom has been describing - rather more difficult and in fact I might have a further think about this in another article for MusicWeb shortly. It's all very intriguing: I am quite sure that the sound is in the room just as May often reminds us, but the 'spooky action at a distance' is still a real puzzle to me, Sheldrake, Mr. Emoto the water crystal man and the quantum theorists notwithstanding.
Time for Radio 3's CD Review now though, on my still unfrozen but spookily improving FM tuner. More soonish, once my brain gets re-engaged.
Bill
31st October 2009 From P.W.B. Electronics
Subject: Re: Crystals, Messages and The Freezing Technique
Hi Everyone.
Very many thanks for again sharing your various experiences. I can't help feeling that other people, when describing their own experiences, can be so influential in easing some of the scepticism some new customers may feel regarding trying our techniques.
I really can't believe that it is some 20 years since Peter introduced the world of audio to the relatively simple technique of 'freezing various things' using a domestic deep freezer !! It is 16 years since Jimmy Hughes
was able to get an article on Peter's freezing technique published in a Hi Fi Magazine, and that article was followed by a published letter from Tom Marsden describing not only freezing CDs but 'freezing' his CD player, tuner, re-amp, interconnects and mains cables "with excellent results". And, following from Tom's letter was then one published from John Peter describing HIS experiences freezing CDs, interconnects etc and also saying "the freezing techniques have also markedly improved my Walkman".
And yet, in 2009, I still see, on numerous audio Internet forums, it being denied that the simple freezing technique could possibly have any beneficial (to the sound) effect !!
In fact, during a discussion on the Stereophile Forum earlier this year I was forcibly told by someone calling themselves Buddha :-
>>> "Can you quit it with the "cryogenically frozen" stuff?
The objects in question are already solids, and placing them in a home freezer does not 'freeze' them." <<<
In other words I was being told 'stop mentioning the freezing technique, May' - even though I had been describing the simple technique of 'treating' batteries by putting them through that simple freezing/slow defrost procedure. What can be more simple for people to try ??
Many of you who have viewed the video of the talk I gave will be aware of how I describe how Peter had discovered how to 'treat' the simple pen torch batteries and how we had many of them dotted around the room (as beneficial devices) but they LOOKED like slugs crawling on the walls and the various objects in the room, so, he decided to attempt to 'treat' the much smaller hearing aid batteries. He was successful and was able to replace the pen torch batteries with the tiny batteries so that you could hardly see them dotted around the room. Then the realisation hit him like a 'bolt from the blue'. Of all the things which deals with sound and uses a battery - a hearing aid !!!!!!!!!!
That, as they say, is yet another story !!
Regards,
May
2nd November 2009 From John Peter
Subject: speaker cables
Hello friends,
I have been wanting to share this awesome find. I am sure you are all aware of the positive attributes of the colour purple, as PB. has mentioned many years ago. I have been using this colour very effectively in conjunction with black. This brings me to a cable that I have been using as a speaker interconnect. Up until about four years I have been using Kimber TC4s and TC8 speaker cables for my main stereo systems, of which I have a few around my home. I am constantly looking out for something to tweak my system using the thinkings of PB. The place where I used to work, were installing computers around the building. The computer network cables they were installing had a violet outer insulation. I asked the engineer to spare me a few metres of this towards the end of his shift, which he duly did.
I went home that evening, stripped the ends of the cable, to expose the wire, they consisted of solid core copper, according to my eyes of high purity. I had made two metre runs to each speaker from an integrated amplifier, put on a CD. The sound was quite shy, very little treble, with a pronounced bass, the bass was good. I disconnected the speaker cables. I twisted the cables by hand, criss cross effect, the positive and the negative run, and also took into the directional printings on the cables. Connected it back. What I heard was awesome, by comparison to the TC8, it was so controlled, the bass so extended, tight and very articulate, and there was no overhang of any sort. The treble was so pure and unexaggerated, every instrument was played in its own space, without any smearing, the background vocals were so pure and clear, the voices were so natural and unforced. One's ear could easily reach into the heart of the music. For the first time, I was listening to music, not Hi-Fi.
The TC8's were impressive to listen to, sharp and superficially detailed, they seem to skim the information, but the computer network cables were pure music. No matter how loud one played, it maintained its composure, amazingly. Even my amplifiers give the impression that they running effortlessly, and not as warm as before. I keep going to the Kimber which already have the full compliment of ties, creamed and freeze treated, I have to revert back to the network cables, which were not treated in anyway. Only recently I have been treating them with belt techniques, and it is responding amazingly. Currently, they have been freeze treated, Spiratubed, Creamed, with some tie-rings. What a pleasure to listen to music, even my ghettoblaster has been wired with this cable, and it even sounds amazing. Okay, my environment is heavily beltised, but hang on the TC8's are in the same environment, but no match to the Molex computer network cables. I went out and bought a whole reel (about 305 metres) I was told by the supplier that it was one of the best computer network cables (comes from France). It is a bit pricey, but he did not notice a difference, when used for networking. Try it as a speaker cable, and it is just music to the ears. It is a bit stiff-because of its solid core status. Go for it friends, and let me know.
Regards,
John Peter
3rd November 2009 From Tom Marsden
Subject: Crystals and Messages
Richard,
like you I have a number of cds that have never been treated but still sound superb in my much P.W.B treated environment; this contrasts sharply with the situation years ago when an untreated cd came across as harsh and flat sounding. ( The first complete opera cd I ever bought and the first on cd was the Serafin recording of 'Madame Butterfly'. The recorded sound was so poor that I took the cd back to the shop to be exchanged it would be interesting to now hear what that recording sounds like ). I agree that when we treat a cd we are in effect treating the immediate environment and our perception benefits by this; allowing us hear more and see more - hence the experience of seeing a better TV picture after treating a pre-amp, for instance. It seems to me that what critics of P.W.B cannot understand or will not accept is that P.W.B treating a piece of equipment does not have the slightest effect on the parameters of that equipment. Testing an amplifier, before and after treatment, with the finest measuring apparatus will not reveal any difference; neither will the numbers coming off a cd be increased by freezing. The critics of P.W.B want to see a change that can be measured - and hence the debate between the Objectivists and Subjectivists that has been ongoing as long as I can remember. As an ex-Electrical Engineer I used to agree with Peter Walker of Quad that if you couldn't measure it then it was imagination but when Peter Belt introduced me to the 'Reef Knot' then my attitude changed completely. As an Engineer a reef knot could not possibly affect the sound but my ears were telling me differently. The critics will argue that it is 'all in the mind' and in a sense that is true but it is not imagination. All objects around us influence our perception and P.W.B treatments change that influence. As I see it, the only way to prove the effects of P.W.B techniques is to monitor brain functions - are there any Brain Surgeons out there who will lend us a Brain Scanner please?
One final word. May has frequently stated that colours in the environment affect our perception. At present I am involved in major changes to decorations at home. Paper has been stripped off walls and temporarily emulsioned white. The effect on sound quality is very satisfying. But is it due to the white walls or throwing out some old carpet?
Best regards to all.
Tom.
3rd November 2009 From Paul Rowan
Subject: RE: Crystals and Messages
Hi Tom,
About your carpet and white walls, the answer is yes!
Best Wishes,
Paul
To: pwb@yahoogroups.com
From: vinylmaster@btinternet.com
Date: Tue, 3 Nov 2009 12:52:40 +0000
Subject: [PWB] Crystals and Messages
Richard,
like you I have a number of cds that have never been treated but still sound superb in my much PWB treated environment; this contrasts sharply with the situation years ago when an untreated cd came across as harsh and flat sounding. ( The first complete opera cd I ever bought and the first on cd was the Serafin recording of `Madame Butterfly`. The recorded sound was so poor that I took the cd back to the shop to be exchanged it would be interesting to now hear what that recording sounds like ). I agree that when we treat a cd we are in effect treating the immediate environment and our perception benefits by this; allowing us hear more and see more - hence the experience of seeing a better TV picture after treating a pre-amp, for instance. It seems to me that what critics of PWB cannot understand or will not accept is that PWB treating a piece of equipment does not have the slightest effect on the parameters of that equipment. Testing an amplifier, before and after treatment, with the finest measuring apparatus will not reveal any difference; neither will the numbers coming off a cd be increased by freezing. The critics of PWB want to see a change that can be measured - and hence the debate between the Objectivists and Subjectivists that has been ongoing as long as I can remember. As an ex-Electrical Engineer I used to agree with Peter Walker of Quad that if you couldn`t measure it then it was imagination but when Peter Belt introduced me to the `Reef Knot`then my attitude changed completely. As an Engineer a reef knot could not possibly affect the sound but my ears were telling me differently. The critics will argue that it is `all in the mind`and in a sense that is true but it is not imagination. All objects around us influence our perception and PWB treatments change that influence. As I see it, the only way to prove the effects of PWB techniques is to monitor brain functions - are there any Brain Surgeons out there who will lend us a Brain Scanner please?
One final word. May has frequently stated that colours in the environment affect our perception. At present I am involved in major changes to decorations at home. Paper has been stripped off walls and temporarily emulsioned white. The effect on sound quality is very satisfying. But is it due to the white walls or throwing out some old carpet?
Best regards to all.
Tom.
4th November 2009 From Andrew Lugg
Subject: Re: Freezing equipment
I couldn't resist and took the plunge. I froze the projector for 24 hours and thawed it slowly in my spare fridge. All was good and the result was spectacular. Thoroughly recommended.
Regards,
Andrew.
5th November 2009 From Richard Graham
Subject: Re: Freezing equipment
Apologies for the delay, though you have beaten me to the conclusion, and the very satisfying results. I have frozen projectors before - at this point all DLP - and like yourself, have found the results quite amazing.
It is also worth noting that 'One Drop Liquid' on the key optical parts is even better, and preferable to the creams which can leave a smear.
As stated before, freezing seems to be pretty safe for almost everything, if you are careful about condensation, and slow thawing, and then airing the product.
Richard
5th November 2009 From Richard Graham
Subject: Re: Crystals and Messages
Ahh, know that 'Butterfly' recording well, and think that Tebaldi's voice is the most difficult of all to reproduce. Might try the re-mastered Solti 'Don Carlos' one day, to see if the engineers are more able to help now.
Good question about brain-imaging, though I would wonder if even functional magnetic-resonance imaging could detect such subtle changes, though wouldn't rule it out.
As for coloured walls....what would happen to us if Peter suggested Violet and Orange walls were the way forward? Could anyone survive the '70s again?!?
Richard
9th November 2009 From cico_buff
Subject: Re: Crystals, Messages and The Freezing Technique
--- In PWB@yahoogroups.com, "P.W.B. Electronics" <pwb@...> wrote:
> And yet, in 2009, I still see, on numerous audio Internet forums, it being denied that the simple > freezing technique could possibly have any beneficial (to the sound) effect !!
True. (sigh). But not all....
*** Copied from various Internet Forums ***
BSD:
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Well the players went thru "operation big freeze" succesfully! I reviewed both players here prior to the operation:
http://www.mympxplayer.org/15-2gb-and-18-4gb-ipod-nano-clone-review-vt5428.html
I gave them 6/10 for sound quality. After the freezing, the 1.5" unit would be a 8.5 to 9 out of 10. This impressive result is in part due to the "upgraded" isolation I used on the electronic components to get rid of the interference. The freezing process made the music more vivid even thru the sh*tty earphones it came with (which were also freezed).
The 1.8" unit sounds much better but isn't on par with my standards. The music is vivid and really crisp (better than the 1.5") but there's so much background interference from the player itself it's unbearable. Constant popping and buzzing. I tried to isolate it better to no avail. I'm still looking around for a fix.
As for the freezing itself, DO IT!!! It's free, little time consuming and well worth the effort.
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clackers91:
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slept over mates last night i got him to start his Ipod Nano Remastered and i can say it improves both the earphones and the ipod itself. there is less distortion all around and especially at high levels, it sounds much "cleaner" and sorta more life like. it seemed to effect the mid-range to hi-range sounds. i was quiet impressed with it and i cant wait for my BH and FMP to be done =D.
Sound quality of my BH (internal speaker) is alot better at high levels, not as much crackling. it sounds like it isnt just a tweeter. the LCD is ever so slightly clearer if you look really hard. it hasnt affected the camera but I haven't compared propperly on the computer. i didnt test the cheap headphones but the difference in the internal speaker has me thinking...
will report back with updates i decided to try one more cycle with the BH to see what happens
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hows about a sticky? did this to a friends old (CHEAP!) 128MB player and it worked a charm. he is happy
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Hotboxx:
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So, as promised, here are the results after I did the "cryogenic" threathment to my very very very very cheap Uxcell SD card mp3 player.
I followed the instruction, and now, 2 days later I can say that the sound quality improved. There is much more detail in the music and it sounds more crispy. Even with this low-end mp3 player the sound is extremely good.
I have now in the freezer my Sandisk SDMX 1gb mp3 player. That little devil delivered allready very good sound quality, and after the threathment I will give more test results.
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I did the freezer threatment on my Sandisk SDMX1 mp3 player, and again, the sound quality improved a LOT. Thank you for the good advice.............but I am scared to tell my friends LOL.
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Th3_uN1Qu3:
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DaremoS wrote
This thread is for relaxing and laugh a little... isn't so? Very Happy geez!!!... maybe a user indeed have put his MP4 in the freezer !!! Shocked
Yeah, i really did put my old one. And it DID work
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Booboo773:
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I've done it and it does seem to improve the quality. I was skeptical at first so I used my hacked player that I didn't mind trying it out on. The sound was clearer with less background noise. If you do decide to try it, just be sure and follow the instructions from the first post.
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Lattesurf:
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Surprise Surprise.. i've noticed something VERY different with the after-freezing process.
As soon as i finish my tests, i'll post my findings here. Somehow this freezing mambo-jumbo did something noticeably different to the player.
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After a very busy week, i've finally had some time to sit down and compare the Before and After recordings of the songs in my clone.
First major difference i've heard would be the disappearance of Distortions. Some members have reported that they hear this soft buzzing sound when no music is playing, you might need to crank up the volume on your player to be able to hear that. Well, my player does that, and the Before clip recorded them down.
But the After clip, surprise.. The distortions are not there. Well, maybe they are present, but not audible at all. The 3 sample songs are located below, and all 3 exhibits the buzzing sound in the first few seconds. If you might ask, i started recording first before i clicked on the Play button. Oh yes, you need earphones to be able to hear the distortions. You can't really hear them on speakers unless you are blasting the volume high enough.
Next difference i've noticed (and this was after repeated hearings of the music), would be the Faster response of the audio driver. Faster in a way I would describe it, that the sudden soft to loud transition was much better in the After, rather than the Before. The Before clip had this slight slur or draggy response, whilst the After clip had an instantaneous response. I loaded both Before & After clips into an audio mixer to view the audio waveforms. And indeed the After clip did show cleaner step responses. Perhaps Clip 2 below would demonstrate this improvement. The other clip 1 & clip 3 are kinda "noisy" music..
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Of course, there is always a skeptic in the audience...:
freddyzdead
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What an utter self-delusional load of bollocks. You'd be lucky if your LCD and battery survived the ordeal. Any improvement in Audio or video quality would be because you believed you would hear/see it, so you did.
Don't try this unless you were planning to throw your player away anyhow.
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If you have nothing useful to say then please don't post.
I think I'm being very useful warning ppl not to ruin their player for nothing. There is no science that supports this freezer idea.
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