Attempts to reduce the time period between editions of the Newsletter have come to very little as yet, and I had hoped that this Newsletter might have come out earlier to celebrate the extraordinary achievement of the P.W.B. Positive Time Clock. This device is still worth celebrating, and its sibling, the Gold Foil, I rate very highly indeed, but time marches on, and this edition is also forced to confront the complexity of issues that emerge from the development of the P.W.B. Coloured Ring Ties. The world of P.W.B. clearly gets more rather than less complex.
There is much in this edition on the matter of hierarchies in the audio world. The question as to whether certain equipment is fundamentally better than other equipment, despite the effects of P.W.B. devices, is a crucial area for exploration. I think we can only deal with the matter a step at a time, as the issue is clouded by the methodological problems inherent in any assessment. Peter Turner makes a valuable, lively contribution, and I offer a response. I think we may still be suffering rather too much from the impact of Jimmy Hughes' contributions on this subject. I suspect that P.W.B. regrets revealing to him the mythical Alba CD player, as what may have been designed to make certain points was used to make other political points. Perhaps the anger that arose in many manufacturers might have been avoided. Yet, we might ask ourselves, have good ideas ever been free of political machinations ? Jimmy Hughes, like everyone of us, may have been caught up in so much political intrigue that whatever he did, the result may have been the same. Whatever, we are now in a more difficult position, and questions remain unanswered.
The Newsletter remains as desperate as ever for contributions from other readers, and because writing can be such a painful business, I have discussed with P.W.B. the possibility of a carrot to help. This has now been finalised such that contributions for the sixth Newsletter, which should be out late April 1995, will be rewarded with P.W.B. devices. I cannot be more precise yet, because there is much to clarify, but there could be, say, a strip of Gold Foil, or a few Ring Ties, for any piece submitted before Easter. Get writing.
Thanks to those that did write for this edition, and as before, to Peter Turner for his thankless task of correcting my English, and worse, my typing.
Address for correspondence
P.W.B. Newsletter
P.W.B Electronics
18. Pasture Crescent
Leeds LS7 3QB
Or for you sophisticates
E-mail – to Newsletter@belt.demon.co.uk
The P.W.B. 'Positive Time Clock'.
Many of us will have accepted by now that certain aspects of our universe play havoc with our audio systems, or at least our perceptions of them. Indeed our perception of geographical boundaries is a major influence on perceived quality of sound etc.. Up until now, P.W.B. has remained largely within a framework of the perception of spatial parameters, but with this new device tackles that other dimension that we seem to know of, 'time'. If reference points that help us organise our perceptions are at all related to the physicist's construction of reality, then 'time' would undoubtedly need to be explained as to what the effects might be, and this is what P.W.B. has done.
The Positive Time Clock tackles with the problem of reference points in time, as much as the Blue Foil deals as a reference point for Earth, or gravity. The manner in which objects get caught up in this, and our perception of time, perhaps remains as elusive as ever. What cannot be doubted is the effect it has upon us. The simple test of trying a watch or clock put forwards or backwards reveals the impact such a procedure can have on the sound. I find it hard to grasp why having the clock set forward of local time is so, beneficial, but acknowledge that the past might be experienced as death-related, and thus not as attractive as the promise of the future. The Positive Time Clock deals with this phenomenon in such a manner that one does not need fast running clocks to benefit from P.W.B.'s discoveries, and of course the effect is greater than the simple procedure.
The Clock is a simple Alarm/LCD clock, with lots of curious things stuck on it, which then sits on a variant of the Perspex Bridge, which was described in the last Newsletter. To gain full effect from the Clock, it should be placed on some item of electrical equipment, or the top of a Loudspeaker. Here it should deal with much, including glass items/windows, and give such items a less noxious influence on our senses. It is certainly very effective on its own, but in my view it really takes off when used with its companion product, the Gold Foil.
This Gold Foil is a new type, that comes in the usual 2cm width, to be cut into many thin strips. These strips of Gold Foil act as Slaves for the Clock, which is no doubt mastered up in Leeds. Now, whilst the Clock is more than a little effective, attaching the little strips of Gold Foil to most things blew my mind. It is hard to know what to suggest for the best here, as it is simply wonderful on discs, books, remote controls and almost anything else you might care to think of. The accompanying instructions give much good advice, but I have found the following sites worth addressing first:-
1. All Slave Labels on the Photograph Folder should have a strip of Gold Foil attached, plus a strip placed on the Gold inner surface, and one over the image of oneself on the Photograph itself.
2. All Slave Labels throughout the home, with the exception of the Quantum Mirror, can be usefully updated by attaching a thin strip of Gold Foil.
3. Add a strip of the Gold Foil to all instruction booklets for equipment or items within the home.
4. All items in the listening room, particularly plant pots benefit from a strip of the Gold Foil.
5. In addition to placing strips on all equipment, and remote controls etc.. I found it works very well along a cables axis i.e. attached along the length of the cable. It also goes well on l3 amp plugs.
6. It goes well on everything, so start saving for the strips for all your discs, videos, cassettes, books. On many of these things it is superb on the Barcode. You just have to hear what it does to discs.
I hope it is clear that this is, yet again, another breakthrough product, which when used with the readily consumable Gold Foil, takes the sound into another league. The sound, I believe from my experience, to go more in the direction of richness, and sumptuousness, with no loss of agility or detail. For those that purchased the Clock before now, you may already have learnt that there is a useful update involving shocking Orange Magnadiscs, but don't worry, as these aren't seen. They improve the Clock further, but really the thing to have is the Clock anyway, .as its ability to allow one into the moment of a piece almost stops time, at least it seems so in our increasingly fast world.
Coloured Cable Ties.
Whilst in no doubt of the benefits of the P.W.B. Cables described in the previous Newsletter, it was clear that they were not addressing all of the problems of cables, such as fixed mains cables, or the person with specialist cables. Certainly, there were difficulties getting such huge items to other countries, and so P.W.B. has made available to us the benefits of his thinking, but has also widened the scope. For those that have a P.W.B. cable, they will know that a specific pattern of coloured ties was fixed along the length of the cable. P.W.B. has now made available such codes, so that anyone can attach the correct pattern to their own cables, to obtain much of the effect of the P.W.B. cables (note the P.W.B. Cable plugs have Contracaps inside, and Hollow Fibre, which puts them slightly ahead). There are the codes for other cables as well, including Mains cables, Loudspeaker cables, and there are suggestions that there are the codes for Telephone and Aerial cables, but I have not seen them myself.
I have had the opportunity of trying a selection of Ties, both as clips that can be moved around, and as fixed ties. The latter are certainly better than the clips, so don't think any experimentation will give you the full idea of what you could end up with. However the codes do look daunting, suggesting 12 Ties are needed for full effect, and when experimenting it seems helpful to maintain some perspective.
I have been playing with the Ties for a while now, and do not think I have yet found an answer to the question of what to start first. Clearly the more cables within the home that are treated the better, and so it is best to start simply I think, and develop the treatments as funds become available. Many codes have the suggestion of starting by attaching two Ties, one at each end of a cable, as the way forward; for example two Red Ties on all Mains cables, Yellow on Interconnects. This seems sensible, but does not help when it comes down to wondering which cable to treat first. I have no clear answer, except perhaps the sense that it is better to treat Mains cables first, including ones distant to the listening room. Most of my own Interconnects have Yellow Ties at both ends already, so it is difficult to compare without some confusion, and it is clear that with all the moving of clips around, that one needs to proceed slowly and carefully if one is to derive an answer to the problem.
These Ties certainly raise many methodological issues about testing them, but what do they sound like you may ask, with good reason? Well each Tie added to a cable certainly improves the sound, and the full set really does make a big difference. I have a couple of problems with them however. Firstly, I think the Clock and Gold Foil make a greater difference in the first instance than the Ties, and would be my first suggestion for anyone wanting to improve their sound. The Gold Foil is certainly a bargain on this level, and I can't get enough of the stuff. Secondly, when it seems so important to treat all cables, it seems very few of us will move to treating every cable fully, simply because that will involve thousands of Ties. This latter point is a mild grievance, as the same argument applies to any Esoteric product, and it is clear that even when fully treated, the cables will still not cost as much as many other Super cables. I think I am accusing P.W.B. of making things complicated, when the truth of the matter is that he doesn't make things complicated, that is how things are. P.W.B. will supply a kit full of clips for everyone to try out their Ties, and draw their own conclusions. I would very much like to hear about these experiences, as this is an important area, and pooled knowledge would help.
Whilst on the subject of cables, I think it is worth drawing attention to the matter of other treatments that one might carry out alongside the fitting of Ties. I find, after applying Smart Metal to the ends, that strips of Gold, Blue, 2cm Black and White Foil, plus Front and Back Clear Film, applied along the length of the cable makes a significant difference to the cables level of performance. A quick spray with Morphic Liquid, and then Doming the cable, in the Bag, further enhances it. Indeed, I am amazed at how this process, with the Ties, diminishes differences between cables. This takes us back to the ugly subject of Hierarchy again, so I guess it is time to stop.
Since writing the above piece on the Ties, I have been afforded a further opportunity to assess them, or at least one use of them. I continue to feel that the Clock is more important, and remain dazzled by it, but it is clear the Ties are very good.
I recently asked P.W.B. for 6 Red Ties to try on some mains cables. I thought of attaching a Red Tie to each end of the cable. I had decided to fit them to the cable of a distribution block, and to the TV and Video cables, as I think it is hard to treat such things properly, and loathe their awful 'presence'. Well, I was left with the usual 'jaw on the floor' feeling, as these cables opened up new worlds of detail, particularly recorded ambience. My sense is that if you like the sound of the Clips that can be removed, you'll love the effect of the fully attached Ties - the effect goes much, much further, actually a very great deal further.
For those lacking the resources to fully treat a cable, fear not. The effect of attaching two Ties to a mains cable is very worthwhile, and rather cheap, and only difficult when you have to explain to someone what the red things on your cables are....
A week or so ago, my CD Transport decided that it did not like any of the discs I asked it to play, so I sent it for repair, through the supplier, Audio Excellence in Gloucester. They decided that it had to go back to the maker, Arcam. They looked it over, and got in touch with Audio Excellence with the glad tidings that most of the innards would need renewing; what did I want them to do ? It did not take long for the old experimenter in me to assert his supremacy, and the answer went back to send me the new transport I had been reading good reports of. After a couple of days I had a new box to play with.
I had told P.W.B. about this piece of foolishness, and he promised to send me a Dedicated Label and various other bits; but these had not arrived when the transport did; so I just connected it up, and played it without a single foil on it. The Reviewers are always rabbiting on about the need of equipment to run for days in order to get it run in, etc.. etc..; but this sceptic got straight down to it, with the necessary mental realisation that this sound represented the lowest standard I was ever going to get out of the Arcam 250 Transport.
What I got was better sound than I ever had from the Transport that preceded the 250, which had been adorned with every foil and label which became available during its life. I listened with astonishment, hour after hour, while the sound got better as the running-in process took place. I thought I would try the massive cable that came with the 250: an AudioQuest, of course completely untreated, taking the place of a silver Kimber which had every treatment, and sounded gorgeous. To my added astonishment, I liked the AudioQuest, and it is still in use, with the addition of a Red and Black Tie which I had here. I also gave the cable a going over with Cream-Electret, which did not seem to make much change.
By this time I was in full cry, and took a Red and Black Magnadisc off a Remote Control no longer in use, and stuck them on the box of the 250, together with White Foil. All this time the sound was creeping up; how much this was running-in and how much was the P.W.B. additions, I cannot say. As I write this, the haywire Christmas post has not arrived, so no P.W.B. selected bits. I'll add to this note when I have experienced them. Meanwhile I keep listening; the sound improves; and I begin to wonder if I ought not to try for a new DAC. Not yet, not yet; I need to recover.
So there we have it. I am satisfied that a move up the hierarchical ladder gives a sound improvement over a lesser piece of equipment, even one well and truly treated. I am finding out how much further the sound can be improved by treating the better equipment. To me, at the moment, it appears that one piece of equipment can be intrinsically better than another, and produce a sound which may be superior to even a Belt treated lesser piece. There are those, including P.W.B., who do not accept that view. In the present case, a complication arises. I had what I take to be a message from Arcam via Audio Excellence of the extreme importance of avoiding static pick-up, and in particular, the danger of touching any of the PCBs. I confess that in the past I have sinned greatly in this regard. Hence I cannot be sure that the Arcam 70 had been giving of its best - though you can read in Richard's account of his visit here that the 70 was not making nasty noises. I shall always wonder what it should have sounded like, but when its repair has been completed, I shall be able to find out and compare.
Incidentally, Julian Vereker was kind enough to bring the original Naim CD player here, so that I could have a listen. I did NOT tell him that I thought it did not suit the system here!! I did not think it was yet how it would be when finalised. JV's detestation of the CD sound, when it originally came on the scene, was such as to preclude his marketing a player until he had got the bugs out of it, to his own satisfaction. I know something of the amount of experimentation that goes into Naim products.
Part Two
Having given the 250 an adequate trial without the effect of P.W.B. devices, it was time to make a start with such devices as I had to hand. These were by no means a full set; but I had the Clear Film strips, and these I put on the 250 case, with beneficial results. I should say that I have not removed the top of the 250 case, and have no thoughts of doing so for the present. I am given to understand, both by the supplier, and by Arcam, that the thing is very subject to static pick-up, and that to play around blithely on the circuit-boards is to invite disaster. I had not heard about that one before, and wonder just how much damage I may have done, though the answer is none, so far as I have ever been conscious. This time I shall certainly be more cautious.
I also had some White Foil, and one of these went on the cable connecting the 250 to the DAC. That cable is interesting: It is an AudioQuest, which was supplied with the 250, which I tried largely out of curiosity in place of the Silver Kimber cable I had been using, the said Kimber cable having been treated as fully as possible. To my astonishment, I found the AudioQuest certainly not inferior to the Kimber, untreated as it was. I proceeded to treat it with a Red and a Black Tie, and then with the White Foil. It seems highly unlikely that the Kimber will be back, even though the AudioQuest has phono-plugs, which call for an adapter, as the 250 has BNC outputs.
Then P.W.B. came up with a Dedicated Label for the Arcam 250, and some of the new Gold Foil, which had a marked effect; the greatest single step so far. I gradually distributed the new Gold Foil on the case of the 250, and widely around the room, and on the system's boxes. This Foil really demands the new Positive Time Clock for full effect, but it is worth using on its own.
I have had a most interesting experience. In the first place, I had no idea that a transport could have such an effect on the sound of a CD player. I had assumed that the DAC did most of the work there, and indeed reviewers seem to suggest that more or less any transport will do, provided the DAC is a good one. My experience suggests that this is not so: I have not (yet!) changed the DAC, but the sound is by far the best I have ever had here, and goes a long way to reconciling me to CD. It has also been fascinating to note the effect of P.W.B. devices, which have been augmented by White Magnadiscs, the only Green Magnadisc I could find (I used Green Foil on the other side of the box) and sundry other Foils and Magnadiscs. I am sorely tempted to take a peek inside, but for the moment have successfully resisted the urge.
During all this time, I have had the Bridge on the 250, and after reading about the Positive Time Clock, I wondered what might be the effect of placing a digital clock on the Bridge, even though it has not been designed to take one. The effect is not enormous, but in so far as I can detect a difference, I like what I hear, and have left it in place. There is never any need to stop experimenting with P.W.B. devices, since there is no danger of doing any damage with them.
Peter Turner.
There may still be a healthy number of readers using Vinyl Records as the main source for listening, and it is clear that Vinyl is in no way a dead form when it comes to high quality reproduction of music. However, the CD can provide a viable alternative, is horribly convenient, accomplishes where Vinyl fails (I would contest that CD is better for voice, including opera, chamber and piano music,) and gives greater access to wider programme of music. That said, the untreated CD is a wretched item, and the following list of treatments leads to the Super-CD, although any of the treatments can be used alone or in combination to give valuable improvements. This item carries a warning; think carefully before treating a disc to this level, as once heard, it is difficult to live without, and that this does not depend on the production of the CD - the discs are just so listenable to when treated.
1. Open up the back of the CD case, by removing the tray, such that access can be gained to the Barcode of the back cover. Place a thin strip of Rainbow, Green and 2cm Black Foil on the Barcode, and if available, a strip of the new Gold Foil. Also place a strip of Rainbow Foil over any CD logo on the back cover. Spray with Morphic Liquid in the presence of an illuminated, treated light.
2. Reassemble the back cover, by inserting the tray. Place two thin strips of Rainbow Foil on the tray, on the CD logos. Place a strip of Red Foil on the tray, such that it will lie under the playing surface of the disc when it is replaced. Similarly, place a strip of Red Foil on the rear of the Booklet, so that it faces the CD label when the case is closed.
3. Place strips of Green, Blue Earth, 2cm Black, White and Gold Foil on the rear of the CD booklet.
4. Place a strip of Green Foil and a strip of 3cm Front Clear Film on the edge of the case front, and a strip of Green, Blue Earth, 2cm Black, White Foil, and 2cm Back Clear Film on the back of the case.
5. Place two strips of Rainbow Foil on the label side of the CD, such that one is placed over the CD logo. Then attach a strip of Yellow, Blue Earth, 2cm Black, White and Gold Foil, and a strip of both Front and Back Clear Film to the label side of the CD. Finally marked the edge of the CD, using the Chunky Violet pen, with 4 x 4cm lines, which should be perpendicular to each other (or at the points of a cross).
6. Spray everything, including both sides of the CD, with Morphic Liquid, in the presence of an illuminated treated light, and wipe dry with a soft tissue.
What a wonderful development this is though it was not apparent to me from the start.
I phoned P.W.B. just before Christmas and asked if I could try one out. When I unpacked it I noticed that the liquid crystal display was fragmented. Always being ready to accept the inexplicable I considered that this might just be intentional.
When I began to listen to music however, I was disappointed to notice that the sound had an edginess and grain to it. I put up with it for a while, and returned it to P.W.B. after the holiday.
By return post came a replacement with a note to say the one that I had received had been damaged in the post, and would thus cause a degradation to the senses.
What a revelation the new clock turned out to be. In a way I was glad to have experienced the degrading results of the damaged clock. I had a comparison now, and the difference was amazing. The sound just opened out with more goodies throughout the entire range.
But more was to come. A few weeks later I received from P.W.B. two Orange Magnadiscs, with precise instructions for placement on the Clock. Now, here was real magic taking place before my very ears. It was like a doubling of the scale of improvement.
I rate the Positive Time Clock as a landmark in P.W.B. research.
Thank you Peter and May.
Michael Leach.
We are often faced with the predicament in this world that different parties, or individuals hold crucial elements of information, but that this information is not really transmitted to the other agencies. Even more problematic than that is the manner in which differences between agencies prevents exchange of information. Whilst this might seem obvious when considering a divorcing couple, it is as great a problem in the worlds of science and commerce, and because of this, and the small political battles that result, progress is delayed, thwarted or murdered. I use the latter term because I do not think we should doubt the ruthlessness with which the battles are fought. Indeed the worlds of science and commerce may have more in common with Mafiosa organisations than one might predict. This places many of us in a painful position, rather like the children of divorcing parents, who wish the parents to get back together for their needs to be met. As I have stated before, the conflict of the established Audio manufacturers etc.. with P.W.B. does place us in that position.
The ability of a party or agency to take in what the other party is saying, and thus modify their own thoughts, and later practices is a fundamental part of development. I think someone once discussed in terms of a process of Thesis, Antithesis, then Synthesis. The failure to hear an alternative view is of course the block to progress. What is then more difficult is the problem of parties not even communicating, even if one party is desperate to do so. I think that possible summarises the current P.W.B. position. Ears and doors remain closed as much to the possibility of discussion as to the discussion itself.
Those of us using P.W.B.'s marvellous devices are in the uncomfortable place of needing to engage with the conventional audio world if certain questions are to be answered. Peter Turner gives a good account of such a process. He has received a firm slap on the wrist for daring to touch a PCB, and I suspect has had inappropriate fears put into him about such activities by a wary manufacturer. However, much more than this is the difficulty one has in establishing the conclusions of his activities. Where does the truth lie ?
Peter draws a number of conclusions from his experiences with the Arcam Transport, and later with the DAC, and whilst these seem very valuable, I think caution is also needed. In the process of commenting on Peter's experiences, I realise I am subjecting him to a degree of scientific rigour that I have not seen in any Hi-Fi Magazine, as most writers might have some sense of simple experiments, but lack the experience of more complex methodologies. I hope Peter will forgive me for this.
We know from P.W.B. that equipment forces itself upon our senses in a variety of ways, such that introduction of Something new will always have an effect. We would hope, having considered the exchange of money that the effect would be a good one. P.W.B. might suggest otherwise, but we are open minded. We also have a number of P.W.B. devices fitted to discs, meters, equipment etc.., and are aware that the sound seems better with time, as the effects of Mastering chez P.W.B. often lead to improvements, independent of fitting further devices. I am not completely clear how long Peter was without a transport, but I would not be surprised if some of the benefits of the new transport might be attributable to the activities of P.W.B., whether a device was fitted to the transport or not. I also have no doubt that the transport is superior to the one Peter Turner had previously. The problem is one of understanding how the various factors interacted.
In a scientific experiment one would try to eliminate the variables that interfered with our understanding, and try to test out a hypothesis as simply as possible. I think many of us fit, and forget, P.W.B. devices in a rather casual way, without addressing what else might be going on. One might be more surprised if this wasn't the case, as the devices are commercially produced, and research takes a vast amount of that ghastly combination of time, money and energy. However, we lose more and more solutions in doing so, as our homes become all the more complicated through the application of devices. In other words none of us will know now what a piece of equipment might sound like because our homes are modified. This is usually to good effect, but there may be the problem that some pieces, brands or types of equipment that interact more positively than others. Who can say what exactly is giving us the good sound.
I don't think this is a new problem, as one often reads differing reviews on certain pieces of equipment - who is right ? Why is there a difference ? We are unlikely to get much of an answer at present because the audio world is blind to this level of complexity, but that should not stop us thinking further about it. I am aware that I myself have taken a too simplistic view for far too long. Consequently, especially if P.W.B. is to gain acceptance in the wider world, there will be no conclusion drawn without careful thought. That is, my findings may now be described in terms of what we don't know, or cannot conclude, because of the simplistic nature of the test. There is a problem in that many P.W.B. devices excite the heart more than the mind, and thinking about such issues is always difficult. I would also hate to lose such excitement and enthusiasm when fitting devices, but will at least struggle to achieve a balance.
There may be readers who have equipment treated to comparable levels, such as two amplifiers etc.. I think it would be valuable to hear if there are differences that remain despite treatments, or whether the differences become smaller, or greater. I think this is a good time to completely examine afresh all preconceptions, such that we can move forward to better sounds etc.. and know how to achieve Such sounds.
Richard Graham.
I have shared, and can confirm the experience of large objects 'disappearing' in a listening room.
When I first placed a large glass-door cabinet next to the Left channel speaker, could hear the block in the sound, and thought I would have to reposition the speakers. However, after several applications of Foil, in strategic nooks and crannies, including on the cabinet itself, there emerged a convincing stereo image that was coming from the space between the speakers, including the space that was occupied by the cabinet !
The other experience that I can confirm is the sudden apparent increase in Volume directly following the attachment of a device. This has only happened twice, but it was astonishing to witness (and there have been other witnesses).
New Central Heating is being installed, rendering several rooms unusable over about a fortnight, for their designed purposes, including my listening room. This upheaval means having to move my system into temporary storage elsewhere in the house, resulting in the chance for more experimentation with the latest Beltisms, to find out how they will operate in new and unknown surroundings.
For reasons of expediency I had to change the speaker cable back to my old faithful Naim Audio A4. Crossovers are now sited back behind the speakers, whereas originally they were originally kept at one metre lengths from the power amplifier. The whole system is now in a small bedroom, with only one solid wall, a low ceiling and generally cramped conditions.
First up were the White Magnadiscs. I stuck them on my mid-high tweeters, KEF T27s, where they produced an over bright, searing sibilant sound. Next the Green Magnadiscs. Placing one on the ceiling of the top landing of the stairwell, and one on the outside of the CD player, next to the drawer, at the level of the spinning disc. These measures produced an improved, higher level of information retrieval which elevated the qualities of known music, to a much more relaxed state of listening enjoyment.
The next logical state seemed to be the fitting the P.W.B. Quantum Mirror sticker. Our mirror is situated at the bottom of the stairs, some six metres away from the sound system. again, this served to further produce a more open sound, with simply more air around the performers, and in the listening room itself!
Wondering if I could discern any more changes at this point, I stuck the 600Hz gizmo on the underside of the CD player, in as near proximity to the motor as I could. This produced the icing on the cake as far as I'm concerned, singers, especially backing singers became bigger in scale, more prominent, more intelligible, with the biggest bonus being their 'humaness'.
Ed Bennett
Following the principle that the more P.W.B. objects fitted to an item, the greater the effect of freezing that item, the following lists those activities that are worth doing weekly, monthly or as a 'Spring' cleaning activity. The reason is simple: many devices improve week to week by virtue of their 'Masters' at P.W.B. Central and so one can often push progress further. Try some of the following, to determine whether such activity is worth it.
1. Tap the P.W.B. Photograph Folder with the Black Pen, with the attached White and Black ties.
2. Place the P.W.B. Photograph Folder over all items, including the Electricity Meter, Fuse Box, Fridge etc.., such that the Small Red Peace Label lies next to the item, and tap the Green Sanctuary Label that faces outwards with the White tie end of the Black Pan.
3. Place the White Dome over all White Magnadiscs or White Foil, and tap with the Yellow Morphic Hammer.
4. Tap all water containing objects, such as radiators, the cistern and hot water tank, with the Yellow Morphic Hammer.
5. With suitable illumination from P.W.B. treated lights, spray all windows and mirrors, the TV screen, any glass or transparent objects etc. with re-Marked Morphic Liquid.
6. Dial the home telephone number to obtain the engaged dialling tone, and tap the mouthpiece. using the P.W.B. Photograph Folder, placing the Small Red Peace Label on the mouthpiece, and tapping the Green Sanctuary Label with the White tie end of the Black Pen.
I have found the about activities are well worth repeating, and if you have a sense that the sound has got better recently, or if you fitted further devices, try them. They are effectively free, and seem to harmonise the advances you may have experienced.
Richard Graham
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