THE TYMPANI RESONATOR
Photos detailing how tympani resonator paper cutouts were set up in
different ways, and used to conduct ongoing stereo in mono sound
source experiments.
Also detailed in the photos, is use of a 1 inch wafer thin square
tweeter from a Sony walkman which, when climped to the center of
different tympani's, was able to produce stereo sound enough to
be heard long distance from the research room, and convinced a
listener with eyes closed (so as not to see the inch square tweeter
producing the whole of the stereo sound stream), into believing the
lister was hearing a good but modest fidelity stereo set.
The tweeter was a lucky find and no others were availabe, and the
tweeter alone and mono coupled in series with other loudspeakers
had fatal flaws in its reproduction, put away, the tweeter was
never used again.
The stereo is just modicum in these photos yet enough in 3D to show
the environment, and crucial experiment and devices details.
In experiments
underway here, the wafer
thin tweeter was climped to the back
of a stiff art paper cutout with bent paper clips
and when set J U S T right the whole object would begin to
resonate as a new kind of loudspeaker producing loud volume stereo
sound from the single 'mono' source being driven by the
wafer thin tweeter, albiet not very good fidelity, not
a profound stereo. The device was extremely
hard to control, you can guess that if not
arrayed precisely, the weight of the
paper stopped the movement of
the real tiny voice coil of the
wafer thin tweeter. I had
thought in fact that the
tweeter had blown, burned
out, but it later (1 years later) turned
out to be a fact of a lead to the voice coil slightly loose.
ANOTHER TYMPANI RESONATOR EXPERIMENT
Another
similar experiment
with a hand made 'Tympani Resonator'.
In this experiment the 'Resonator is being gripped
upright by a different kind of vice, small, with twin alligator clips,
more easily adjusted and less disruptive in the sound stream
but a lot harder to keep standing upright because
of the weight of the 'Resonator' itself
when leaning at a needed angle
to start working to make
big stereo sounds in
the room, the only
sound generating
source the tiny
2 inch wafer.
EXPANDED TO SHOW
SURROUNDING DETAILS
Cut from
the original.
As you can see Loblaws
Super Market grocery store with
film lab added produced poor quality prints
very greenish (or bluish, purplish, dark) and rarely
detail sharp. In this you can still see useful information for
instance the paper clips climping the wafer thin tweeter to the template.
This print may also have come from an outfit called MOTOPLUS
which did a number or rolls all terrible quality.
Japanese Camera did excellent prints,
bright, colorful, focused, but
very expensive, only a few
rolls could be afforded
for processing there
over the period. A
library of poor
prints exists.
ALL HOOKED TOGETHER
TO ONE SMALL SET OF SPEAKER LEADS
COMING FROM ONE CHANNEL OF THE GETTO BLASTER
At this point
five speakers are hooked
in series from one mono channel
of the getto blaster - the two 5 inch drivers
on the worktable, the 12 inch woofer propped at a critical
angle on the floor, the 8 inch oval also propped at a critical angle,
and the typani resonator tilted at a critical angle. All of these devices
were on but the 5 inch drivers were still faceplates when the often
mentioned philharmonic chord ganged up and produced one super
powerful that literally vibratated the body and an instant
later the faceplate sailed off the table. The point
of repeating this event so many times is that
it is known that in the sound stream is
the potential to move a philharmonic
orchestra into a room with full
power of concert hall kind.
You won't know about it
until you hear it, if
you are ever that
lucky. And when
you do it is
hard to
believe
it is so
powerful, latent,
in the sound stream after
the fact of recording and reproduction
through artificial means, mighty grunt is still there in potential.
We are not talking half wave flat wall equalized sound system
quality, we are talking spherical rebounds repercussions
and reverberations that hang as echos long distancing
until the ends of their time. This is a very
different kind of sound then stereo
louspeaker systems which do not
even come close. Sonic
resonation systems
such as explored in these
experiments do at times come close.
And on occasion, come right on for brief moments in time.
ANOTHER TYMPANI TEMPLATE IS TESTED
ORIGINAL PHOTO
Shows copper
wire climps holding
the wafer tweeter in place
with a slight and adjustable spring tension.
TEMPLATE BAFFLES
A fourth template
is being tried as a baffle
for the 12 inch woofer, just laid over
the rim, not attached. Each of the templates has
different qualities effecting different areas of sound when
used as baffles, their use always reaching an end point - as resonances
got better and better during gradual sonic buildup in a test the
baffles would turn into spoilers and have to be removed.
No tympani test concluded with the best sound
coming with a baffle over the woofer or
over any other speaker. The best
tympani results came with the
drivers all in pure open
air resonation.
It is possible
that a template will work
as a baffle for a woofer or any sized
driver. Of the four different tested - two 12 pointed
stars and two 12 sided doilies, none were good enough to survive
use beyond a certain point in building up initial resonances during a test.
As more sonics got built into the sound stream, the baffles would
start to impart spit and fracturing into the sound stream
and after a point, out they would come. But when
useful, they boosted the whole sound range
top to bottom until the fracturing
would start, breaking up the
sound and out they would
come regrettably. The
idea of baffles was
thought to be a good
one only problem was it
took several hours to draw,
then cut a template with X-acto
knives. 4 were tried, then the idea abandoned.
For instance
it was later found
(3 years later) that bending
the star points to 60 degree angles on
a flat paper cutout dramatically improved its
sonic performance, expecially in increasing the 'Airframe'
long distance carrying quality of a sound stream in
which such modified templates of any size were
used. This simple but significant change
came about 3 years after the last
'tympani' resonator test
was done.
It can't
be seen in this
photo, but the center
of the tympani resonator was
also focused directly through the center
points of the 'flow tube' arrayed off-photo to the
right, the 'flow tube' adjusted to accomodate, and two more
'starflake' devices added to make a longer 'flow tube'.
QUALIFYING REMARK
Big stereo sound
is heard when there is no
sound whatever previous except for a
weak 'tak tak tak' heard with the ear cocked an
inch or so from the wafer. Then suddenly voom sound fills
the room when the 'Tympani Resonator' gets successfully adjusted.
Fidelic it was not although full ranged bass drum even
bottom bass (the lower octaves of bass drum
sound) and higher frequency with cymbols
and high hat each distinctly in the
right character of sound. Stereo
most often was diffuse, vague
general wide source every so
often a kick uphill making
point source clarity that
quickly again dissolved
after a moment or two
of strong vibration
moving things out
of focus enough
to destroy the
effect.
ANOTHER TYMPANI RESONATOR EXPERIMENT
By this time
the main 5 inch drivers
had been removed from the Fisher
Getto Blaster faceplates. The drivers turned
out to be made by Sony and the magnet was almost as big
as the cone. You can see one of the drivers in the background, left.
MAGNFICATION SHOWS ANOTHER TYMPANI
Here another
kind of resonator is
being tried with a piece of
hexagon shaped art paper climped to the
front of a 4 inch tweeter. Here it is being tried
at a 30 degree angle directly behind the woofer propped at
60 degrees, to see if it would kick the woofer. Its contribution
was high end distorted which couldn't be overcome.
The result was not impressive.
At about this point
the 'Tympani Resonator'
experiments were abandoned
because the tympani resonator
kept falling over. At the moment
it got set to a critical angle to start
producing an impressively good sound, generating
stereo out of a single channel mono sound source, including
the use of mono tapes such as Glen Miller and Benny Goodman, it would
keel over. The larger art paper cutout as a diaphram produced more volume
and range top high to bottom base than did the earlier starshaped
diaphram, but, it was a lot harder to get this larger diaphram
to start resonating without being critically killed by
impact vibrations from other drivers sitting
around at work in the open air. The
difficulties forecluded being able
to take the experiemnt beyond
a certain point, so tests were
abandoned but not written off.
It has good portends for the future.
FLOW TUBES PRECISELY ALIGNED
**************************
Stereo is at minimum because the large speaker driver in your face at
the bottom could not be focused by eyesight if details in the rear were
factored for display for best details.
NEXT - Major poor resolution distortion is because a very small cut
was tken from another much larger scene in a photo, the upright 6-leaf
hexagram paper distrupter was in a rear corner across the room, in the
original photo.
To give you
an idea of scale
that's a light switch
for the closet on the wall.
Also, the stereo is not very good,
the piece of mahogany sheet supporting the
flow tube is over 5 feet back to the wall. Only a
few seeming inches are in stereo in this zoomed blowup.
Here is the larger scene containing the 6-leaf sonic distrupter.
Shows how
precisely the flow
tube objects were lined up in
a straight line through their points of center.
TEMPLATES USED TO MAKE
THE 'TYMPANI RESONATORS'
TEMPLATES IN FULL SIZED IMAGES
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