I have found this a very gratifying Newsletter to type, edit, arrange. I think this is related to two factors. Firstly, there is the matter of so few articles being written by myself; I am terribly pleased that the process of writing for the Newsletter appears to be getting easier for many. Secondly, despite the fact that there has not been anything like a new product from P.W.B. since the last Newsletter, many of us, including most of the writers here, communicate a quiet excitement. This confirms my view that P.W.B. is truly exploding the notion of a limit to good sound. I would like to take these points in turn.
Contributions to this Newsletter have invariably been well written, thoughtful and inventive, and I think that the high standard, at times, may have prevented some from feeling that they can contribute thoughts or views. I have always felt rather sad about this because I take the view that no one person can represent all aspects of something (even P.W.B. - he often takes up some of the techniques pioneered by the customers!). It is thus wonderful that there are more 'letter' contributions, and I would like to remind all readers that even three lines may contain a real nugget, something very important. I am more than willing to add a Letters Page for such offerings, and so encourage all to put pen to paper. Of course, we will all remain grateful to those providing a longer article, and I think you will join me in thanking them for the fascinating pieces in this Newsletter.
The pieces in this Newsletter, I think show an increasing congruence of views, an agreed excitement about current developments. The Q Clip is clearly responsible for much of this, and this extraordinary product continues to defy understanding. Phillip Turner points to possible future developments that are even more exciting, and I think all of us wait, with baited breath, for the products that emerge from that work. The situation, I think, is one of exponential improvements, and with each step now, the benefits simply escalate. I think it is difficult to recommend a relatively expensive device, but for anyone curious, there is no alternative, and do consider the Clip; it is probably worth its weight in gold
There seems to be something of a pause, or a lull at present, and the absence of new products pushes us to re-evaluate, and to thoroughly treat all around. This is useful, and I have found that enormous benefits come from ensuring everything at home has had some sort of treatment e.g. those cassettes hidden in a cupboard really do affect our perception of sound. It is worth doing, and provides a solid foundation for what may be coming. Watch this space.
Richard Graham
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
There isn't really a new product in this Newsletter, but there has been a new lighter. For those that don't own one, this lighter triggers the Q Clip, and quite frankly, the most recent lighter, I have found, brings up the effect of the Q Clip to such a level, it is almost like having a new Clip. Indeed the change felt as great to me, as the introduction of the Clip. Consequently, what you may read about in this Newsletter, in terms of the effect of the Q Clip, may be only a shadow of its current potency. Further, as the Clip is 'mastered', as you read this, it may have improved. This has certain implications.
I think it is important to consider the Clip as almost like a life form, or child that is developing all of the time. Its abilities seem to increase. Therefore it is worth Clipping a number of key items or objects, on a weekly basis. This activity can lead to staggering improvements, and should not be overlooked. I try to Clip most of the key electrical items, the electricity meter, the telephone, my Photo Folder and the carpet weekly. There is another aspect of the Clip to bear in mind.
If your home is like mine, that are lots of books, magazines, videos, cassettes, discs, and the thought of Clipping all of these is rather depressing. It is depressing if you haven't heard what benefit comes from such activity. It is shocking to discover what effect a collection of books, in a room distant from the listening room, can have if un-Clipped. My view is that one needs to create some sort of timetable for systematically treating everything in the home, in an ordered and steady manner. I really mean everything, and simply resting the teeth end of the Clip against an object, and igniting, can be more than adequate. Do try some things that you had rather ignored, and ascertain the size of the effect.
One then runs into a Forth Bridge phenomena; when you have finished at one end, there is value in starting again. I would wait before treating everything again, after all there could be a further advance in lighter technology; however, it is impossible to waste time with the Clip. The more precise the Clipping, the greater the rewards; treating each pin of a plug, treating the fuses inside, treating objects inside objects, all lead to better sound - and how! Stop reading, start Clipping!!!!
RG
Many readers will probably despair of me, but I have to confess that watching a good film now fills as much of my free time as listening to music. Not that unusual, but I do find this 'Home Cinema' lark really does make watching films at home a good experience. However, if you want variety when it comes to films, you're really stuck when it comes to quality - unless you have the financial attributes of the Trumps, whereby you might pursue Laserdisc. I have avoided the latter as it is costly, and likely to be replaced, and I am not sure that there are that many films that warrant repeat viewing. Then a leaflet popped through the door.
Well, I had thought about satellite, but was bothered by having to replace equipment at intervals. I hate video cassettes, and hope P.W.B., one day, manages to find an answer to the problems of magnetic tape. The leaflet said Cable TV was the alternative, and indeed it can be. Depending on your area, you can get fairly good quality pictures (better than video, but not as good as my high gain aerial) plus a good FM signal. It's cheap to install, and any advances are dealt with - Digital TV is around the corner (thank God). You simply get a box that decodes a signal, which then feeds into your aerial socket on the TV/video - quite different from satellite. I suspect that satellite might have the edge on quality, but given the price difference, plus the cheaper telephone line, who's quibbling?
Well, me. But it would have been the case, even if I'd got a satellite receiver. The introduction of the box, and the cables, turned off the sound in my lounge so badly that demanding calls of 'Help' to P.W.B. resulted. After the use of the Clip, to experience the deleterious effect of untreated cables had to heard to be believed - I felt I'd gone Amstrad !!!
Well, a few Ring-Ties later, some Foils, much Clipping, and things were edging back to normal. However, there is still much to be done, and I would suggest to anyone thinking of purchasing new cables or items, think about what might be needed to bring the sound back to where it is now. If you have a Clip, you can hear what I mean by Clipping a of wire that you had so far ignored, or even a coat hanger.
Off now to watch 'Immortal Beloved' - a film about Beethoven, of course.
(p.s. They show good operas on Cable e.g. the Boulez/Stein 'Pelleas')
RG
I recently received an interesting CD from a fervent P.W.B. user, and past Newsletter contributor, Damien Bowskill. It is a disc of his band 'Dogs on Stilts', and their first disc has been recorded using P.W.B. devices. Further, the disc itself has been mastered, and thus requires no further treatment. It is an exciting experiment, and although I suspect that not everyone will like the music, there is no denying the energy and immediacy that comes across. The music is definitely in the post-punk rock field, and if you have a taste for this type of music, or are curious as to how the disc sounds, you can obtain a copy by sending a cheque for £10, payable to D.Bowskill, to:
Dogs on Stilts
58, Woodland Lane
Leeds LS7 4PD
West Yorkshire
Of course, this disc may become a collectors item, and I would like to wish Damien and his band every success, such that there may be a second disc, No. 1 sales, world tours, and a P.W.B. recording studio....
Now that is an interesting thought.
RG
Nearly all of these selections feature the Human Voice as the main instrument.
First off, three discs from England's first family of traditional music, The Watersons. First issued on vinyl in 1975 'For Pence and Spicy Ale' (Topic 12TS265) is now on CD (Topic TSCD462). It features sisters, Norma and Lal, brother Martin, and then new member Martin Carthy. With the addition of 7 extra tracks it is a wonderful album of full blooded vocal harmonies of mainly unaccompanied traditional songs. With a little magic P.W.B. treatment, not to be used as background music!
Just out is Norma's first solo album, 'Norma Waterson' (Hannibal HNCD 1393) with husband Martin Carthy, daughter Eliza, plus Roger Swallow, Danny Thompson and Richard Thompson. This is an album of lovely covers of songs by Gerry Garcia, Billy Bragg, Richard Thompson, Elvis Costello, Sister Lal etc. Very different from 'Spicy Ale'.
Also out this year is a new album from Lal Waterson 'Once in a Blue Moon' (Topic TSCD 478) with her own son Oliver Knight on guitar. It contains sparse but powerful arrangements of riveting self-penned songs. Again, it is very different from both the earlier album and Norma's recent album.
Now for two discs from the Classical World.
The lovely voice of soprano Catherine Bott could not be bettered on 'Mad Songs' with songs from Purcell, Eccles, Blow etc. (L'Oiseau Lyre 433187-2. These are songs of madness, lost love and rage, all in beautiful settings.
Last off is the Gidon Kraemer (Violin) and Martha Agerich disc 'Beethoven Violin Sonatas 6-8' (Deutsche Grammophon 445652-2). When my number comes up, I'll take those with me!
The Waterson's discs can be obtained from
A.D.A
33 Saturday Market Place,
Beverley,
East Yorkshire HU17 9AG
Tel/Fax 01482 868024
The cost is £10.50 each, including P&P. The Beethoven disc was mid-price, but the Bott one is full price.
Kevin Kehoe
So far as I am concerned, that Clip exceeds the performance of any of P.W.B.'s previous devices: it is almost as if anything that has gone before was leading up to this. Costly it may be; but my difficulty is to comprehend the mind of somebody like that silly fellow David Vivian in Hi-Fi Choice (September 1996, p.130) who dismisses the work of P.W.B. in a 'joke' which suggests to at least one reader that he has never actually listened to anything that P.W.B. has done. But let such people demonstrate their ignorance and leave one to evaluate their other opinions.
That Clip can be used virtually anywhere; and I suggest that the way to use it is to work through the room, gradually doing just that - starting naturally with the system-boxes. I think you will find, however, that the maximum effect is obtained getting inside the boxes. Forgive me if I issue a warning against going inside any of the boxes without switching off and removing the plug from the mains: working with the system still live is a job for a qualified electrician ONLY.
Which brings us to the next stage; the Clip Film. I have certain problems with this: it does seem to me that the already-described-as-costly Clip might be expected to need no further device to bring the best out of it. But... there is no such thing as a finality to the P.W.B. process. How often have you felt that there cannot possibly be any further to go, only to be presented with further vistas? Such are provided by the Clip Film, which is initially stuck on the outside of boxes, and the object is Clipped. But take it inside those boxes, and the effect is greatly enhanced. I have found that the transformers are very important: my Naim equipment is built around massive transformers, and these are excellent places to install the Clip Film. The output capacitors respond well, and it does no harm to treat the circuit boards. I find that three foils are really all one needs. Don't forget - I find it terribly easy to do- to apply the Clip roughly where the foil has been placed.
Then there is the matter of treating CDs, tapes and LPs. One is warned not to do this unless the Clip is being retained, because the untreated discs will sound inferior. That is probably sound advice. Assuming that one proposes to keep the Clip, don't forget that a Rainbow Foil is needed on all discs before anything else is done to them: the new Rainbow Foil is not a substitute for the old in this connection. Given the Rainbow Foil, the process is very quick, and one can cover the entire collection of discs as they come up for playing.
Another point which I find very easy to fall for is to refill the lighter but forget that it needs to be treated with the Clip afterwards. I confess that I haven't tried the effect of omitting the Clipping to see what happens
(Addendum)
As these things do (keep experimenting, brothers) there entered my head the thought of all those mains-plugs sitting there in the wall. They had been treated with various foils and a Red Magnadisc on all of them, with very little audible (to me) result; but I had been getting such success with the new Clip Film that I felt I had to try them.
I stuck a Film on each plug. finding that the best place was inside the plug. It isn't entirely easy to get the Film there, owing to the length; so, if you don't fancy the task, outside the plug gives very good results. It is important to finish with the Quantum Fluid (?Cream - RG): it makes a considerable difference. Naturally each Foil should be Clipped after it has been applied. I like to do this before applying the fluid; you may care to do it after.
Peter Turner
I am always grateful to any person writing to this Newsletter, because more often than not, I learn an approach or technique that really brings something more from a device or product. This is definitely the case with Peter's helpful piece.
Of course I have other thoughts too, and in this case, they were mentioned by Phillip Turner in the last Newsletter. There is always an anxiety about going inside a piece of equipment. Whilst undoubtedly there are benefits, there are also dangers - not just loss of life! I worry that some component or other might be affected/damaged by my clumsy fingers. So far, I haven't damaged anything yet, but I still think it worth a mention that there is an economic factor here that is worth considering. Phillip wrote of how it is probably more worthwhile Clipping other household items than sweating on removing all cables, for a 'full' Clipping. I think this is so. Getting inside a box is definitely very effective, but so is treating all the books in the home. Measure for measure it could be a close run thing. Treating everything fully is the obvious ideal, yet there are many approaches to this ideal.
In other words, if you don't want to go inside worry not: you may usefully spend time Clipping Photographs, Nail Clippers, Plants, Keys, tins of Food....
RG
Hearing without expectations is different from just hearing; listening for is different from listening to. All too often our efforts to appreciate a Hi-Fi system's merits, or pinpoint its weaknesses, involves us inactively expecting or searching out, at the expense of unquestioningly attending to the music.
My experience with P.W.B. experiments has been refreshingly different. More often than not, ones expectations are overwhelmed by astonishment, ones analytical mode blown apart by a sense of delight and pure enjoyment.
Having decided to investigate whether I could increase my loudness with P.W.B. techniques, I mentally logged the results over a period of three weeks. Here is what happened.
Using a combination of Boundary/Territory Ties and Comfort Foil, I repeatedly treated pipes which passed through our flat, and then continued on, into someone else's flat. In particular, water pipes that climbed from top to bottom of the building seemed a good place to start.
The first experience was both unexpected and astonishing. After attaching my first Ring Tie to one of the pipes, I noticed a feeling of physical lightness. As I moved around the flat, I felt exhilaratingly pleasant - the sensation of walking on a cushion of air! This lasted for around half an hour.
The first impression on listening to music was equally surprising. There was no particular increase in loudness as such! What struck me instead was a totally different transformation taking place before my ears. This was to do with what I now realise Hi-Fi Reviewers refer to as the 'speed' of a system. This, of course, has nothing to do with 78, 45 or 33.3 RPM. Rather it concerns the degree to which notes, and runs of them, start and stop in a life like way, and also how well transients are imaged - that is to say the way notes decay after being struck or produced, according to the instrument involved.
What I noticed was that my system was noticeably faster; the separate notes that were involved in a solo on guitar or trumpet were now tangible entities that combined intensely in rhythm to make music; there was much more to hearing piano as well - unbelievably, I could now see/hear how a piano is in fact a hammer-operated string device, whereas before I always imagined a pianists fingers running up and down an ivory keyboard.
This stopping an starting of sound was a reality to be followed up with a more fanciful brain-wave on my part - or was it so absurd? I leave it up to you, the reader, to decide.
I had been assiduously applying Boundary devices to pipes that joined our flat with other peoples (Dominant Male and Female Labels are also attached to the main walls.) the result was supposed to create a safe area where sound could be perceived as 'louder', without carrying with it the threat of encroaching on other people's territory, or fear of being encroached on in a hostile manner by somebody else. Now, I was in fact finding that notes were given more space; they started and stopped in a more defined way. This was surely an elaborate pun - for how else can boundaries and territories be defined than as areas that start and stop, in patterns agreed, or sometimes disputed, between sentient beings.
In other words, Boundary Ring Ties were acting as stopping/starting devices, creating improved sound, perceived as a faster system.
The above conceptualisation occurred to one rapidly, within about 10-20 mins of listening to music and attaching the Ring Ties to the Pipes.
In subsequent days and weeks, this improvement in the system continued to command attention, but what of the original purpose of my investigation? The answer to this question is that the improvement in the quality of perceived sound subtly altered the nature of the question itself.
High volume levels, per se, ceased to be of any real interest in my list of priorities. Even at quite low settings, the power and dynamics of a piece of music came across well.
At about the same period, I can also say that the flat increasingly became a place where listening to music at any reasonable level was not only satisfying, but felt as if it were posing no threat, nor was it creating irritation to anybody.
To arrive at a satisfying conclusion, based on the above observations, I have been forced to abandon my original premise - namely that real world loudness is an essential platform on which to build all other attributes. Wandering past a building in our locality, I recently heard a full scale drum-kit being played by a competent percussionist (I know it was this, and not someone's very good Hi-Fi system because it was clearly practice and not performance.) To produce such sound does not make sense in a confined space - even without amplification it could surely have been heard at the back of a concert hall.
The real world level in a living room is arguably not a full scale orchestra or band level of decibels, but a scaled down version. Through the P.W.B. Boundary Devices, our living rooms can indeed be transformed into concert halls and jazz cellars - but to scale up the decibels beyond the dimensions of the living space is not necessary; in fact, it could be detrimental to the sense of realism. If this is the case then a new concept has emerged.
When a system appears to lack loudness or dynamics, this failing is rarely remedied by raising the volume control. Nine times out of ten, this will only lead to a more pronounced experience of poor sound!
Conversely, when the contrasts and dynamics in a piece of recorded music or broadcast sound good, we can usually put this down to effective deployment of P.W.B. products. Ironically, the better a record sounds at lower volume settings, the more reason we have for turning it up, and the less we need worry about doing that.
Summary
| P.W.B. Devices Used | Site Applied |
| Blue and Green Boundary Ring Ties
Comfort Foil, and protective Clear Film (cut slightly larger than the strips of foil for sticking to pipes). |
Hot and Cold Water Pipes, Gas Pipes, Electricity Wires and Pipes Also on Pipes and on Morphic Message Labels, on Dominant Male/Female Labels, on equipment generally, including the fridge. |
The purpose of the above treatments was specific, that is they were deployed to counteract a particular problem. This can be summed up as the loudness versus condideration problem dichotomy. In Part I, I was able to identify an area for research and predict a result.
1. Research Question: Could loudness and intense dynamics be experienced in an environment where proximity of neighbours suggested caution with the volume?
2. Prediction: A 'Safe Area' could be established where it would feel 'OK' to listen to music at impressive levels.
3. Results:
a) Much better perception of individual notes' starting and stopping i.e., the system sounded much faster.
b) Gradual freeing up of the sense of constriction connected to disturbing, or possibly disturbing others.
c) Very impressive dynamics experienced even at low volume settings; instruments sounding more three dimensional.
Kenneth Hyam
Not being a very imaginative soul when it comes to experimentation with P.W.B. products, it is therefore very welcome to read articles from the more adventurous, such as John Dymond's and Kenneth Hyam's pieces in issue 9, and Phillip Turner's in issue 8.
I too have an X-Pen, and have had good results using it. Nearly all of my use of the pen involved electrical equipment around the house. Being a bit more liberal with its use, as suggested by the above mentioned articles, has had a marked effect for the good. It would seem that experimentation is the key, along with an open mind, and make no prior assumptions.
The same could be said about Ring Ties. I have had a number of those devices attached to the CD mains lead, amplifier mains lead and also to the speaker leads. I had fitted those at about the same time that the new Foils arrived, so that the great leap forward in sound quality experienced then was contributed to by those little devices; by how much I could not be sure.
I took the plunge and kitted out the speaker leads with a full set. Playing a CD produced another one of those mind boggling moments! How can this be? All the writings of Sheldrake and the P.W.B. papers did not prepare me for the change the simple act of attaching a few Cable Ties to a cable could produce. The effect from all those devices seems to be much more than the readily perceived increase in volume and clarity. Complex songs unravel themselves in the mind much more easily, and a better understanding of how pieces are put together now comes across.
How far can this be taken?
Kevin Kehoe
Answer: Further still.....
RG
At the end of a recent letter I asked what now seems to have been a very silly question, namely, how far can the P.W.B. effect go? This was just after being knocked sideways by the result of a complete set of Ring Ties on the speaker leads. Well throw away that letter (Too late - the Cruel Editor) as I've just used the 'Q' Clip!
All this sound!! And it was there all the time. The old pair of Rogers LS6 speakers that I've been threatening to put out to grass for years are now producing holograms in the air before me. And not any old artificial sound either, but real, solid live voices and instruments - just like that you might imagine were possible yet never attain. This device really does demonstrate just how far we are in the fog of technological pollution.
I've only had the device for a couple of days, but I'm already looking at the means to purchase. Richard Graham said it; once you try this device, parting with it will be very difficult. It's very hard not to go over the top trying to describe the change it brings about - it could just be that at some point in the future the Q Clip will be looked back upon as some kind of turning point, a key that opened the door on a new science. I have a strong feeling the above may be understatement. I think I've come a long way in trying to get a grip on this utterly amazing phenomenon - from feeling that Peter Belt was some kind of mad Hi-Fi designer, wronged by the industry, taking his revenge and laughing his head off at those who fell for it all to the certain conviction that a manufacturer will soon grasp the potential of his devices. Once someone starts to make money on Belted products, offers from multinational companies will be sitting on the doorstep. For me, the whole thing has gone in a circle. The really crazy now are those who turn out power amplifiers, for domestic use, that resemble brick-houses and produce a similar result. I find that I agree with Mr. Irvine in Newsletter 7, along with RG's comment.
My system is not by current standards expensive: £400 each for the amplifier and CD player, £250 for the speakers (now quite old). I do have a Linn LP12 turntable (again quite old), but I have gone backwards when replacing cartridges - from an original £300 Asak to the current £60 one. The sound has improved way beyond what I was getting from the expensive cartridge. Maybe I should pursue this line to its conclusion and try even cheaper items, but as RG has pointed out, competent design is open to debate, and I find that a £60 cartridge and P.W.B. a very acceptable balance.
To conclude on the question of how far this phenomenon can go, it must be an open road, and we can go as far as we want to. Having recently read Rupert Sheldrake's book 'Presence of the Past' it seems to me that Peter Belt's research is but the tip of a very large iceberg, and we really do live in a very strange but wonderful world.
Kevin Kehoe
In June, I had a major mishap with my CD player, which resulted in a telephone call to P.W.B., and a visit to the local tip with the aforementioned player. It went something like this...
I switched on expectantly... Silence; but for the whirr of a spinning disc .... My heart sank as my worse fears were realised....
After anxiously fiddling around, for what felt like an age, I finally admitted defeat, and concluded that the CD player had slipped into early retirement. A real shame, since I'd only just fitted some new Ferrites for its second birthday.
Major difficulties ensued attempting to get the thing repaired. so, despondent and disgruntled, I sought out a replacement. Luckily, the nice people at P.W.B. heard of my dilemma and very kindly offered to modify a budget CD player for me. this would cost less than a new Sugden CD player, and save the hassle of fitting all of the Foils.
A few days later, May and Graham popped round with the new device for installation. We unpacked what looked like a bog-standard budget Pioneer CD player, with no apparent differences, other than an additional Dome, and a small plastic box with the words 'THE FRIENDLY HUMANISER' labelled on top. Graham introduced me to a new branded Passive Electret Disc, for inserting inside the CD's case, whilst playing the disc (the Active Disc remained the same.) He also informed me of a little box and a single label inside the CD player. There wasn't a single Foil, or anything on the Remote Control. I was told any brand of CD player would do.; I had no preference, Peter liked the look of the Pioneer, so Pioneer it was.
I didn't know what to expect, especially since my last CD player had a Dome, Flat Pack, Digiplus, 18 Ferrites, 12 Limpets, 15 In-Lines, 35+ Magnadiscs (and a partridge in a pear tree..... An envious RG!) and the full complement of Ties/Morphic Message Labels/Strips. I'd have been pushed to add anything else.
I WAS TAKEN ABACK! Even from cold, the sound was vivid, clean, and inviting, with a luscious vibrant tonal quality I'd never heard before. I was soon to realise this was only the beginning... We then experimented with the 'Friendly Humaniser' box, placing it outside of the room; the sound then hardened and slowed. We returned it to a position behind the CD player; the sound returned to its former glory. In fact, we noted that the sound was better when the box was behind the CD player; more so than when anywhere else in the room. Also the CD case with the passive Electret Disc inserted 'worked' best near the racks of stored CDs, on the same shelf as the CD player.
A small Quantum Foil Label was presented, marked old print +>PIONEER++O.K<<+, with further lines of text. May asked for my Photo Folder, and described how these would allow me to perceive the 'Pioneer' brand as a second cousin or distant relation. I was astounded. Just placing one of these on the outer bag of my Photo Folder produced an obvious lift in the sound, and I myself felt lighter, as if a weight had been lifted from my shoulders. The sound gained pace, space, height and depth. May and Graham noticed the improvement too. Removing the Label was uncomfortable, and it slowed and flattened the sound.
Label in place, the most bizarre and unexpected was to come. May and Graham proceeded to describe a process known as 'burning in'; this is similar to Clipping a piece of equipment. Graham took a slightly different version of the above Label, stuck it onto my Clip, attached the Clip to the mains plug of the CD player and set fire to the Label! Up it went in smoke, and up went the atmosphere! On re-auditioning the sound, I was in awe; I'd never heard timbral consistency and tonal texture like it before! I have one CD of Chinese Dulcimer music which previously sounded as if the instrument were made of steel; now you could hear the wood in the instrument! It all sounded so tuneful and melodious. Discs that used to 'poke me in the head', were presented without the usual glare.
An effortless glittering air graced the sweeping sound stage, bringing a new-found depth, breadth, and dynamic to the proceedings. Layers of sound filled the room. Each instrument could be focused upon individually and completely, with no one sound blocking out the others. It all hung together with a completeness that I'd not experienced before. I was delighted. 'Can I try just one more' I kept repeating to May and Graham, as I swiftly picked out all of my difficult discs in an excited frenzy of rediscovery. Cloud nine had settled in my living room and I was floating high in its embrace.
I thanked May and Graham for installing the player plus devices, said my goodbyes, and rushed back to play with my new toy.
I was amazed that I couldn't add anything to the player to alter my perceptions. I tried placing a strip of Rainbow Foil over the CD logo on the remote control - no appreciable difference. then on the logo on the disc drawer - again, no perceivable difference. The only change I could make was with the instruction manual and packaging Bar-codes. The equipment seemed immune. Locked out (in another Quantum universe) it would appear? An enigma one could conclude. Putting speculation to one side, I rang P.W.B. and was told that the box should do everything, but to try my Photo Folder under the feet of the CD player. It worked. I also had some spare Electret Disc feet, which I placed under each foot of the CD player, but these had no effect until I burnt in the CD player again, this time through the interconnect. I was also advised to try placing some small passport sized photographs (of each person in the house) inside the 'Humaniser' box. This worked wonderfully, refining the sound still further.
A few days later a small Rainbow Foil Disc arrived in the post. Following instructions, this was fitted to the Passive Electret Disc; up it went again! This allowed me to place the CD case anywhere in the room without the hot spot being next to the CD stacks (well, not quite as much.) By now, I was beginning to wonder if any further improvements could be made, as I couldn't fault the sound.
A couple of weeks later, May and Graham popped over again. More Goodies! A new 'Friendly Humaniser' box, a Rainbow circled film for the Passive Disc, and a Rainbow circled bag for the passport photos. We 'burnt in' the CD player again, and sat back to listen.
These new improvements sent me reeling, as the euphony and cadence pouring from the speakers sent a tingle from my head to my toes - I was caught up and carried away by the undulating, flowing, homophony of it all!
These new developments made a greater jump than the arrival of the player on that first day! I'd surpassed my experience of what I'd call really good sound. A lot of discs, I could honestly say, I'd never heard before. Even friends didn't recognise discs I'd played to them a week ago!...
'Who's this?'
'It's Tao Tei.'
'It isn't, is it?'
'Yup. Here's the case.'
'Eh!?! It never sounded like this before!'
'I know. Wonderful isn't it?'
Complex and orchestral pieces really shone; the subtle backing of string harmonies could be heard behind, and through, the layers of the main melodies, or massed vocals, as clearly as if on their own. Modern Eno-esque works, and ambient music brought forth almost 'trip' like sensations, with shimmering images and twisting phase effects swooping around and behind me, as I took flight in a world of pure blissful fantasy!
I was left tingling!
It's the best music source I've ever had or heard. Period.
In the past few months P.W.B. have added further devices to the player. All I can say is that the current products they are working upon are unbelievable. the potency of one strip of a new Film is equivalent to all the others put together!
I'd like to thank Peter, May and Graham for all their hard work, overwhelming generosity, precious time, and for allowing me to experience the sheer visceral thrills of superb sound. I love it!
Phillip T Turner
Few of us, I think, will be able to stand the excitement, curiosity and envy stirred by this piece. It is a landmark description of the possible. It reminds me of how I longed to get my hands on the Alba CD player that was much discussed, in the early days of P.W.B.s 'new products'. Sadly, the CD player Phillip describes is a one off, an experiment, and unless one thinks Phillip, and his friends, have gone completely psychotic, it finally puts to rest the notion of hierarchy. The player I understand cost £200'ish in its naked form, and then outclassed a fully treated Sugden player, using, of course, some of the newest P.W.B. techniques.
Fear not though, if you are feeling this experience is beyond reach. At some point, P.W.B. is likely to release developments from his current work, in a range of products that are more generally applicable. For the impatient, I can only suggest that this range is likely to be costly, but as with the Clip, and Phillip's CD player, such expense is clearly justified by the results. This piece also shows an aftercare service that puts the so-called care of other manufacturers to shame, and one knows with a P.W.B. product that advances are often passed straight down the line, often free of charge e.g. new advanced lighters for the Clip.
For the moment, we can only wait for news from P.W.B., secure in the belief that when the products do emerge, they will possibly have advanced further the possible. Watch this space, or your letterbox!
RG
For some years now, having grasped the notion that within the world of P.W.B. the whole environment influences our sensory capabilities, I have wanted to experiment with P.W.B. techniques within the actual music making process itself. After all, if the Belts are right, the implications for musicians and audiences alike are great and wide ranging
One quite amusing example is the pursuit of 'authentic' performance, employing original instruments, which has become so widespread nowadays. If viewed from a Belt perspective, this practice has greater complications surrounding it than are usually recognised. The fact that our man-made environment has changed greatly since, say, the 18th Century, must surely mean that the instruments of that period sound significantly different at the present time from how they originally would have done. Developments such as electricity, new materials etc., coupled with an ever accelerating rate of man-made environmental change, must have affected our perceptions, albeit to an unquantifiable extent, yet enough to make a real difference. Having experienced the degree to which instruments can be improved by the application of P.W.B. devices, the notion of authentic performances takes on a whole new light - perhaps at least they should go back to candle lit performance!
Experiments using P.W.B. treatments within different music environments have consistently brought about large changes to the perceived sound. For me, the longest standing change has, of course, been to my own piano at home. Changes in both the sound and touch continue to amaze and delight, even after several years of Belt evolution. However it is one thing to be delighted and convinced by the effect of P.W.B. devices in one's home, but quite another to attempt the same transformations in a 'foreign' environment. Bearing this in mind, I have for some years now wanted to experiment with P.W.B. devices in a small modern jazz club. This venue, known as the Boxford Fleece, is situated in a large upstairs room of an 18th century pub (still retaining authentic features). Through several visits I had become familiar with the sound of the place - which was not very good; something which seems all too familiar these days in music venues. To my ears, the sound was made all the worse for being over amplified through a PA system. It always strikes me as ironic that something designed to enhance and make music more audible, usually has the opposite effect, even causing discomfort and confusion, which only serves to scramble the music, rendering it unintelligible. Being scheduled to tune the piano virtually every week, it seemed a great opportunity to try out a few Belt things.
The piano itself is a respectable Yamaha upright, which prior to P.W.B. treatments, required a little conventional sorting out to get it to work at its full potential. So, on most Friday afternoons, I would tune the piano before the evening performance, and try out a few P.W.B. things. When confronted with the task of improving an entirely untreated situation like this, one's faith in the efficacy of P.W.B. devices is certainly tested, for it is outside of one's own space that the notion that a few tiny strips of plastic can make difference, brings the credibility problem into sharp focus. Anyway, I took the plunge, and apart from one or two exploratory room treatments, which had a very positive effect, I restricted myself mostly to treating the piano alone - resisting any urge to go mad and put Foils everywhere, partly due to economics, but also because it seemed sensible to approach things in a very systematic and controlled way.
The results so far have been very encouraging, and, as already observed, the improvements are similar to those achieved on a domestic Hi-Fi system, both in kind and degree. It has often surprised me just how much effect the application of one device can have; for example putting one Blue Z Foil on the hammer rest rail within the instrument was really quite startling! In addition, the recently introduced Q Clip has magical effects on 'live' instruments, equal to those described by others in the last Newsletter relating to domestic Hi-Fi sound. This device, surely another breakthrough, still amazes me after several months of use. Thus far, I have Clipped various parts of the jazz club piano, and the instrument has responded as positively as my own piano at home. So far, it has been possible to achieve large improvements on a piano by Clipping many different places within the instrument. This, I imagine, is because of the complex nature of the beast, with its thousands of moving parts.
One of the overall main benefits of the Q Clip is that it becomes possible to do a general environment very quickly and easily. Before long, I hope to do some environment Clipping trials at the jazz club, using only the Clip, and a few Foils to enhance the effect, but this will require the permission and co-operation of the club organisers, which perhaps will be the most difficult part of the exercise! The results will hopefully be more than a little interesting.
The positive results achieved so far on the jazz club piano have also shown something else very clearly. This being the way in which the sound of the piano varies between a relatively empty room in the afternoon (during tuning and treatment) and the evening performance, when the place is full of musicians, instruments, PA equipment, not to mention the audience. To say that the piano in the evening only sounded like a pale reflection of its afternoon self would not be an exaggeration. This is not to say there was no improvement, for there certainly was a large one compared to previous evenings, but it demonstrates how great the overall environmental problem is. I often find this aspect of the Belt phenomenon a little disheartening, for the task of thorough treatment in such a situation can seem a bit daunting. Hopefully though, the Q Clip will come to the rescue, and make it possible to achieve a significantly large improvement, without resorting to hundreds of Foil strips. If it does do the business, then perhaps the sky really is the limit - but I expect even that can be treated!
Todd Cunliffe
It's always been interesting to get a packet from P.W.B., and to wonder what it would be and do, and if it could possibly make the sound better yet again.
The Quantum Clip doesn't look very promising (but neither do Foils with different patterns - do they work!)
I treated CD player, DAC, turntable, amplifier and Stax headphones, and listened to my test LP - a 1959 recording of soprano and orchestra. (I don't understand why current digital recordings are supposed to be better - can anyone explain?). There was just more of everything, sound and music.
Then my critically listening friend came, and we treated the speakers and listened. Almost immediately he said, 'There's a lot more treble', 'Listen to the bass playing tunes', 'I've never heard that list of accompaniment so clearly', and even I heard some accompaniment I'd never noticed before.
And that was before I treated all CDs, LPs and books in the listening room, and I still haven't tried the Clip upstairs.
Many thanks to all at P.W.B. Electronics - surely things can't go on getting better can they?
I seem to have thought that before!!!
George Moscrop
I really don't know whether this is a sort of piece that readers might want, but I thought I would at least share some thoughts about some rather wonderful, bargain discs that the classical companies are releasing. Some readers might know that most record companies now release a 'two CDs for the price of one' series of discs, which go under different names. Many are bargains, and they go under the names of Philips Duo or Double Decca etc., depending on the label. There are also many bargains in the mid-price ranges, and it is important to know that some are the 'Building a Library' recommendations, even though they cost less than full price. I would thus like to focus on these discs, working on the presumption that it is better to have a good performance above all else; all the recommendations though have good sound too.
Starting with orchestral music, it is always worth having a good recording of Berlioz's 'Symphonie Fantastique', which displays a wonderful range of colour, and is conducted by the Berlioz specialist Sir Colin Davis, on Philips Solo 446 202-2, at mid-price. A later style comes from Debussy, with a wonderfully produced and conducted collection of his works, including 'La Mer' and 'Images' (conducted by Bernard Haitink) available on a Philips Duo set, number 438 742-2. The definitive recordings of the Schumann and Grieg Piano Concertos, played by Stephen Kovacevich, are now available on one mid-price disc (Philips Solo 446 192-2) and this really is an essential, basic disc. But if you want more thrills, the recently remastered Liszt Piano Concertos, and the Liszt Sonata, now come on a Philips Solo disc, stunningly played by Sviatoslav Richter (No. 446 200-2); again this is a clear first choice. If you are wanting rather more fun though, I would recommend Andre Previn's disc of the Offenbach music that has been joined up to make a ballet suite. The suite 'Git Parisienne' is marvellous, and contains not only the sublime 'Barcarolle' but also the music that you may think of as the 'CanCan'. Riotous, and on Philips Solo (442 403-2)
For something more reflective, but intensely moving, late Schubert piano sonatas take some beating. There is a Philips Duo set (438 703-2) of Alfred Brendel playing the last three sonatas. You will find few pianists greater in this music. Another pianist that is closely associated with a very different composer is Jorge Bolet. His recordings of some of the great Liszt piano pieces have been gathered together on a Double Decca set: 'Liszt:Liebestraum'. Many pieces will seem familiar, but expect fireworks.
I couldn't conclude without a bit of opera, and would suggest to you two fabulous recordings from the Philips Duo series; unfortunately they come without texts. However, as an introduction to a work, they are more than serviceable, and have been recommended when at full price not too long ago. 'Tosca' with Jose Carreras and Montserrat Caball in the lead roles, is a remarkable recording, and perhaps the most beautiful of all 'Tosca's. It is stunningly recorded, and the canon fire at the end of act one is a real test of your system (Philips Duo 438 359-2). It is conducted by Colin Davis, who also conducts an excellent, digital recording of 'The Magic Flute' (Philips Duo 442 568-2). Perhaps more adept in the Mozart, Davis does remarkably well in the excesses of Puccini, and both recordings would shame no collection.
RG
Ø