As I know that there are quite a large number of our customers who do not have access to the Internet, I have compiled another selection of 'postings' which have appeared on the P.W.B. Internet Discussion Group over the last few months.
I feel sure that this selection will be of interest as an addition to this P.W.B. Newsletter.
The P.W.B. Internet Discussion Group can be accessed via:-
http://groups.yahoo.com/group/PWB/
10th March 2004 from Bob Benn, USA.
Subject: can you suggest a demo for me....
Hi!
Although I am a new member of the PWB group, I have a number of friends that I think would be open to a demonstration of the PWB products and concepts. I know that I can put a silver foil strip on a CD or LP and that I can apply some cream-electric, and they will hear an improvement.
But then I want to demonstrate the PWB principles and how everything interacts with the music and how unrelated items (such as CD cases and LP covers) when treated can have a positive effect with the musical enjoyment.
So given that I have silver rainbow foils and the cream-electric, what would you suggest would be the surest, and most dramatic demonstration of treating unrelated components to improve the musical experience, and as importantly be able to reverse the process and remove / take away the improvement as proof of the effectiveness of the PWB perspective? thanks in advance for your suggestions....
Bob
11th March 2004 from P.W.B. Electronics, UK.
Subject: Can you suggest a demo for me....
Dear Bob,
The Cream-Electret is very effective and can be used to treat quite a number of things quickly but it is difficult to demonstrate in before, after and back to before experiments because once the Cream is applied, it has done it's job, it cannot be removed. The only way you can destroy the effect of the Cream is to apply another chemical over the top of the Cream - an adverse chemical something like furniture polish.
So, if you want to do before, after and back to before experiments, you have to look at such devices as strips of Rainbow Foil which can be attached and removed, sections of Spiratube which can be attached around cables and then removed and such things as Reef knots in cables which can be tied and then untied. I have found that the Reef knot idea is very good for using in demonstrations as you can tie a Reef knot in two AC power cables, listen, then untie the Reef Knot. Similarly a Reef knot in a single cable. As I have mentioned before, Peter has given remarkable demonstrations using Reef knots on completely unrelated components such as the AC power cable of a vacuum cleaner, stored in a cupboard or the AC power cables of PASSIVE Quad Electrostatic speakers, just standing in a passage way, outside the listening room.
When you come to demonstrate, you will obviously try attaching such as strips of the Rainbow Foil to items where you yourself have had success. But, I will describe what has happened when Peter has given demonstrations (as an example) so that you can be forewarned.
During one demonstration to a group of audio journalists, Peter applied strips of Foil to a couple of items of equipment and played some music. He was met with blank faces - no one appeared to hear any improvement. Peter carried on, applying a few more strips of Foil, playing music between each application - again being met with blank faces. Then when he applied (say) a strip of Foil to
the seventh object and played some music, someone in the audience suddenly said "Oh, I heard THAT. What did you do then Peter ?" Peter replied that he had just attached a strip of Foil to the telephone. The other person said "Well, that is obviously a very important place to treat, why didn't you treat that first ?" So, the next time Peter gave a demonstration, he applied a strip of Foil to the telephone - at the very beginning. Same thing happened again - he was met with blank faces. It was probably not until he applied a strip of Foil to the fifth item that he got a response from someone of "Oh I heard THAT. What did you do then Peter ?" Peter replied that he had just attached a strip of Foil to the glass ashtray on the window ledge. As Peter progressed, more and more of the people present heard improvements.
So, Bob, you may have to apply a strip of Foil to a few various items before you have success. Another thing to do is to attach strips of Foil to (say) five different things, apply a few sections of Spiratube to a few cables, tie some Reef knots in other cables and wires and then listen for a short period to some music. Then, when people have had time to get used to the (better) sound, remove any one strip of Foil, or any one section of Spiratube or untie any one Reef Knot and then listen again. Quite often, letting people's working memoryhave time to upgrade to the new standard and then taking them back down to the previous standard makes it more obvious that an improvement had taken place without them actually being aware of it.
To use the expression I use many times. When they cringe, it is the working memory shouting, kicking and screaming because it had just become accustomed to a better standard and is now being taken below that standard.
The point I am trying to make is that people react differently, in different surroundings to different things being treated. Some people can hear the effect immediately, others take some time and on a few occasions, it is after treating some quite obscure objects which can create the most surprising result.
Some of the unusual places to 'treat' are telephones, water pipes, central heating pipes, gas pipes, aerial wires, doors, windows, mirrors, wall lights, light switches, battery powered clocks, electric clocks, power plugs (of none associated items) and so on.
Even after all the treatments we have done at HQ, Peter and I can still be surprised. Just this morning, Peter applied a tiny amount of the Morphic Green Cream to a small area of a wooden door frame and we got another improvement in the sound.
May.
12th March 2004 from James Takamatsu, Honolulu.
Subject: power plug charge barrier?
I've reading some PWB archive reviews from the late eighties/early nineties and they mentioned a resistor mains plug. Is this a power plug charge barrier or something else?
James Takamatsu
12th March 2004 from Robert.
Subject: Ideas
Hi The latest postings have given me a lot of ideas. Treating five different non-electrical objects in a room. How my own appreciation of PWB treatments has changed; The first time I used the black foils to make the little arrow heads ( if your reading this and thinking I must get some of those they were an early product, superseded, but still effective ) and hearing no improvement in sound quality but left them attached and listened the following day and my strident, vague stereo was now the sweetest most relaxed communicative musical experience. PWB treatments are so simple and effective that I do them sometimes without regard for the consequences! At work one corner of A4 paper is regularly removed, and today the part-time guy asked me why I did this. Sad to say after a long pause my feeble response was "It makes me feel better" so now I'm thinking of some way to elaborate, on this without losing the rapport we have.... mmmm. How to cope with the challenge the PWB products do pose to certain beliefs.
Regards
Robert
13th March 2004 from Paul, Australia.
Subject: Cheap Portable System.
I had an experience with a piece of Spiratube and a small mini system. I was travelling and had a good set of headphones with me. I ended up living in a DJ's house who was away for a few weeks. I had one piece of Spiratube with me attached to my headphones. I began to listen to his personal made compilation CDs through my headphones on his mini system. the Spiratube on the headphones made no noticeable difference in sound, but when I took it off and attached it to the power cord it was quite amazing how full bodied the sound became. There were a lot of songs I knew but did never interest me. but with the Spiratube on the power cord the rhythms and the weaving sounds and melodies really enchanted me. With the listening anymore and have to turn the music off reaction.This was going to be a story for the newsletter but I forgot about it till now.
Paul
15th March 2004 from Tom Marsden. UK.
Subject: Re: can you suggest a demo for me....
Bob, a very effective technique I have used on several occasions is to smear the finger tips of the listeners with Cream Electret. I suggest you first play a short piece of music ( about 30 seconds worth ) 3 or 4 times to fix it in their minds; then apply the cream and listen again. In my experience the response every time has been " it's now much louder and clearer ". Another useful 'trick' with spectacle wearers is to place foils on the rims of their glasses. If you have any Morphic Liquid? also try the effect of cleaning of their glasses with it. My own reading glasses are ,of course, extensively treated and I am reminded of this every time I read the newspaper while music is playing. Mind you, you might invite some very odd looks if you tell people that you put on reading glasses to listen to music - could be something out of the 'Goon Show'!.
Tom Marsden.
16th March 2004 from V.R. Sola. USA
Subject: late night listening
Late night listening.
Often many enjoy music in late night periods.
The reasons may be many Quieter environment, less RFI and EMI, lesser electrical usage and lesser power pollution
To alpha and beta brain wave pattern Serotonin, and other hormonal levels, with peace at themselves etc..
But I think in a PWB treated environment the perceived sound quality in the daytime gets closer to late night listening. even with out expensive power conditioners.
Any comments???
V.R. Sola
18th March 2004 from James Takamatsu, Honolulu.
Subject: Bulbs, balloons, etc....
Remembering back about some Hi-Fi show where (I believe) Mission's display included some advertising balloons which May Belt commented that the sound was degraded by said balloons. I had my blood pressure cuff sitting next to me in my listening room (in case playing my Belted stereo system gets me too excited!); I sealed the cuff and stethoscope in a ziploc freezer bag and stuck it in my treated freezer. Greater naturalness (especially in the vocal range), more substantial images, more space. The pressure bulb? The pressure dial? I don't know which the culprit was, but the ziploc bag and freeze technique works again. A fab freebie!
By the way, V.R. Sola's description of the results of Belt treatments being cumulative, linear, or logarithmic never made sense, until very recently. I believe the last few "tweaks" have been in the logarithmic range.
James Takamatsu
17th March 2004 from Bob Benn, USA.
Subject: Re: can you suggest a demo for me....
I realize that I am still very new to the theory and products of P.W.B., but I have a theory of why I didn't hear the sonic improvements that everyone else has obviously heard with the Green Morphic cream
To quote a P.W.B. article.. Because of his latest findings, Ian Russell is now beginning to believe that the outer hairs act differently to the inner hairs. That the outer hairs are under the direct influence of the brain by electrical (ionic) signal. That when the brain wants to hear a sound more distinctly, it sends a message to the outer hairs to become more rigid to 'tune in' to the sound. Alternatively, when the brain is getting too much noise, as in a loud work situation or a loud disco, then the brain sends a message to the outer hairs tobecome limp, to lay flat. According to Ian Russell, it now looks as though the outer hairs are the ears 'fine tuning' mechanism.
I would suggest that audiophiles with golden ears and sight impaired people may have been able to naturally harness the fine tuning mechanisms of the inner ear. For the rest of us, the P.W.B. products and the way they influence the electroionic energy fields within a given listening room and indeed the entire building, allows the outer hairs to become more rigid as we listen and the music becomes cleaner and louder.
Individuals that can not hear a sonic difference in a P.W.B. product or a conventional system upgrade may lack the ability to enable the outer hairs to become more rigid and thus cannot fine tune their hearing enough to perceive the sonic changes. Individuals that are opposed to tweaking a system or applying P.W.B. products may very well 'will' the fine tuning mechanism not to work naturally.
In the case of the Green Morphic Cream, individuals may assume the sound will improved, after all at that cost it should, so they are receptive to the electroionic changes that take place. Some who believe the cost of the Green Cream may be prohibitive may subconsciously inhibit the fine tuning mechanism, and thus not hear the improvements that the Green Morphic Cream actually creates in the listening room, and on the components. In my case, I may very well have a mental block against the Green Cream and never allowed by fine tuning mechanism to work properly. I say that because all of the other P.W.B. products to me are audible and beneficial.
Maybe this is all very obvious to many group members, but for me, understanding the fine tune hearing mechanism helps me understand the theory and accept the real improvements that I now hear since using the foils, cream and red x pen in my music playback system. your comments and opinions are welcomed....
Bob Benn.
18th March 2004 from V.R. Sola. USA.
Subject: few other culprits robbing the sound
Few people think that the metal spring coils used in Bed Mattress, sofa and chairs also produce negative energy. It may depend upon the direction of the coil, like clock- wise or anti-clock wise spiral. (the direction may depend upon whether one lives in the northern or southern hemispheres).
I guess it is easy and in expensive to treat with a small piece of Spiratube and cream Electret, I tried it and I guess it makes a difference, but to be conclusive it should be repeatable by others.
regards
V.R. Sola
19th March 2004 from Bob Benn. USA.
Subject: treating a guitar.
Has anyone had any experience treating either an electric or non-electric guitar? What PWB products did you use to treat the guitar and what were the results from the treatment.
thanks
Bob Benn.
19th March 2004 from Chris Porada, USA.
Subject: RE: treating a trumpet
Hi everyone, Has anyone had experience treating a trumpet? What did you use? How did it work?
Thanks Chris Porada
19th March 2004 from James Takamatsu. Honolulu.
Subject: re: treating a trumpet
Chris-
There is an old newspaper article regarding freezing a trumpet; check the archives from 1999. As for PWB products, I don't remember seeing anything.
James Takamatsu
19th March 2004 from Geoff Kait. USA.
Subject: Re: treating a trumpet
I have not treated a trumpet, but if it were mine I'd use the following, some of which are invisible, others not:
Cream Electret
Sound Has Priority label
Sol-Electret for valves
Green cream
Morphic Liquid
Gold Foil with Red Pen messages
After treatments have been applied, Clip trumpet with P.W.B. Clip and subject trumpet to two freeze/thaw cycles in home freezer.
Regards,
Geoff Kait.
19th March 2004 from V.R. Sola. USA.
Subject: listening chair
Treating listening chair
The 2 sofas in my listening room are well treated with brown ccu clips on each and foils the metal frames .
All these made a significant improvement.
Recently I moved them for vacuuming the carpets. I noticed the 2 brown CCU clips on safety pin. I moved them (relocated) to another place under the sofa cushion.
I noticed several metal coil springs.
I have some Spiratube left over. I attached them to the coil springs. Of sofa
I looks to me some times even moving the Spiratube a little around will make change in our perception of sound. We take the treatments for granted and after some times get acclimatised to them and may not notice much difference. And forget them. Now I think I will attach a small 5mm length of Spiratube to the bedsprings also.
I moved the Spiratube a little., On all my power cords and cables I think it makes noticeable change.
Any comments
V.R. Sola.
23rd March 2004 from James Takamatsu. Honolulu.
Subject: Tapping with Cream Electret Jar?
Hi Richard-
I saw you mention- in the back pages of this discussion group (around '01), using a Cream Electret jar to tap ties and foils in treating a freezer. What can be so "treated"? Should I tap all foils (including Morphic foils)? What about items already treated with Cream Electret?
Thanks,
James Takamatsu
24th March 2004 from Richard Graham UK.
Subject: Re: Tapping with Cream Electret Jar?
Hello James!
Basically you tap any foil, tie, magnadisc, or Spiratube (and there may be others I've missed) that can have Cream Electret applied, after the Cream has been applied. I forget how effective it is, but always do it.
Similarly, tapping the ink line/disc with the chunky pen used to apply the ink is also good. I usually tap with the cap, but there may be even more benefit tapping with both ends.
The tap is a small energy shift that seems to assist that establishment of the better pattern in an object. Other methods have included changes in heat too.
As another tip, dial your own telephone number and then tap the mouthpiece of the phone with the red pen. Really seems to 'harmonise' treatments.
Richard
24th March 2004 from Chris Porada. USA.
Subject: RE :treating DIY speakers while building
Dear P.W.B.'ers,
I am soon going to begin building an amplified sub woofer to add to my audio system and was wondering if anyone could make recommendations as to what treatments I should do while constructing the cabinet and while installing and wiring the amp and the woofer.
Thanks for any tips,
Chris Porada
25th March 2004 from A. Martherus. The Netherlands.
Subject: Re: RE: treating DIY speakers while building
Chris,
There are so many things you could do! Next to creaming, foiling and writing messages with the Red 'x' pen on EVERY part, panel, etc.. you could think of:
- the freezing process (twice) of speaker units, electronic parts, cables
- tying reef knots in the cables
- use an uneven number of screws to attach the speakers, panels etc.. to each other
- align all those screws (horizontally)
- use three feet
- avoid 90 degree corners, so on the inside of the boxes you could place triangular bars/beams (I don't know the English word for those lengthy pieces of wood you can buy in every do-it-yourself store) into the corners of the box.
- use as little damping materials as you dare, or try removing it all.
Well, we could sum up every single P.W.B.-treatment you're aware of...
Regards,
A. Martherus
26th March 2004 from Tom Grande. USA.
Subject: Re: Tapping with Cream Electret Jar?
Dear James,
Just to expand on the reply to your question about tapping - Dr. Graham and Phillip Turner each wrote a piece on quantum cream (and foil) describing these products and the wonderful results that can be obtained by tapping. It can be accessed through the P.W.B. web site by going to the Newsletter section and bringing up Vol.. 00, No. 8. The write-up is a few pages down under the New Products section. Also see the very informative description of quantum cream and foil by clicking on the link to that item in the P.W.B. price lists section (the description is not available from the products section of the site, however).
My understanding is that Quantum cream is similar to Cream Electret but more specialized and particularly suited to interfacing P.W.B. products and foils (particularly Quantum foil) to the objects they are attachedtoo. I've experienced great enhancements to the sound by smearing a tiny amount of quantum cream to the standard rainbow foil on a CD, super-wiping and then tapping with the jar. The more people observing the tapping the better the results (you can even go back and tap later if there are more people available to watch!) The cream is extremely cost effective (only $18 US currency even with the recent price increases due to the strength of the British Pound!)
Sincerely,
Tom Grande
26th March 2004 from James Takamatsu. Honolulu.
Subject: Re: Re: Tapping with Cream Electret Jar?
Hi Richard-
Thanks for the tips. I'll be sure to try the "tapping" to see the results. I don't have any PWB pens yet, but I did try a Staedler red 313 pen, and I didn't get the results others have (My local stationery store only had the ultra fine tip pen on hand. I don't know if that may have affected things; the sound got generally thinner and brighter. I tried a fat tipped purple marking pen- drew a straight line on the edge of a couple of floppy discs- and the sound got noticeably slower paced, the sound stage compressed, and rolled the highs. I had to scrub the purple ink off those discs! (The point being, of course, not if it sounded better or worse, but that the sound changed at all).
Thanks again,
James Takamatsu
29th March 2004 from Gary Lee. USA.
Subject: Gold Message Foil
When writing messages on the Gold Foil, does the message have to be in a continuous line on the same plane? For example, here is a message I put on my CD recorder:
MARANTZ PRODUCES EXCELLENT SOUND O.K.
But the first time I tried to write the message it had to be written like this:
MARANTZ PRODUCES EXCELLENT SOUND O.K.
That's because it wouldn't all fit the narrow width of the Gold Foil. There is a limit as to how many words can be fit, especially when using the Red X Pen. Though the Red X Pen has a fine point, it is sufficiently broad to limit how small letters can be written.
Should the Gold Foil be cut lengthways, thus allowing long messages to be fit on one line? I'm so used to cutting the Foils across that it seems odd to cut it lengthways, but it could be done. Anyone with thoughts or experience with this?
Also, I'm eager to try the Present Foil. Is it cut on the lines between the letters, or does one use 2 or 3 mm pieces?
Thanks. The new Newsletter is most interesting. Does everyone stop and read at least part of it after retrieving it from the mailbox? I always seem to.
Gary
31st March 2004 from Tom Marsden. UK.
Subject: Newsletter/New product
Thanks Richard for the latest Newsletter and to all the contributors. Hard to believe it is 10 years since you produced the first Newsletter. I can only begin to imagine the effort and number of hours you have put in over the years to help bring to the attention of hi-fi enthusiasts the gains in sound quality that are there for anyone willing to embrace PWB techniques. I am sure May Belt will give due recognition when the Peter Belt story is written. I first became aware of PWB , probably you likewise, with the articles written by Jimmy Hughes in HI-FI Answers but where is Jimmy Hughes now ? Since those early days the power of PWB products have increased beyond belief and what opportunities he would have today. I suspect Jimmyis probably fully aware of what is going on - with sneak logon's to the web site - but is gnashing his teeth in frustration at being censured by his pay masters. What is astonishing to me is that the spring from whence these products/ideas come to the surface shows no sign of drying up; indeed it seems to the flow is increasing ; which brings us to the new 'Present Foil' and the experiment that came with the Newsletter. 'The Experiment'. How can one explain it to another! Anyone unfamiliar with PWB and being shown the experiment and told it would make music sound better would surely gaze in disbelief and most likely feel their intelligence was being insulted. After all what can be more stupid than to believe that the sound in your room will improve if you take a rectangle of plain paper, put five pin holes in it ; place it over a photograph of a four legged animal and then put a aspirin over the centre hole and then place the combination on top of a loudspeaker. Surely anyone who claims to hear a difference must be bonkers . Well, include me in the bonkers brigade. Initially having put the device on a loudspeaker I couldn't hear a difference but when it was removed I heard what seemed like a fine sand paper quality had been introduced into the sound and that sand paper didn't clear until the device was replace on the loudspeaker- it is still there now . It was now time to try out the free sample Present Foil. For listening I was using the Sacd of the Gergiev recording of the 'Leningrad' symphony . I have a up market Sony Sacd player but I am not yet equipped for surround sound., however, the player can be switched to give the higher resolution on stereo. For the test I was using the CD layer. This Sacd I have been listening to quite a lot in recent weeks and seemed the most suitable choice. After putting a strip of the new foil on the jewel case and playing the disc it became obvious that this was another top of the range product from PWB. The tonal colours became much more vibrant and it seemed as if time had slowed because hearing different layers of the orchestra was much clearer but more importantly was the feeling of involvement with the performance which produced a inner glow of pleasure with every note having extra significance. This was, without doubt, way above every other previous listening of this disc. Having experienced the qualities of the 'Present Foil' I e-mailed for a new type CD Electret Disc for evaluation . When trying this out , I again chose the same Sacd. and waited expectantly as the player was started. The immediate impression was that my loudspeakers had had a major upgrade which produced a much deeper and wider sound stage and the sound quality was phenomenal ; the apparent increase in dynamic range had me shaking my head in wonder. Top quality Hi-fi is often equated to standing outside a doorway and listening into the recording venue. With the new Electret disc this has changed ; now you are standing inside the doorway and getting a feel of the ambience. The Electret Disc was sent on approval and I approve so much it is staying here. This new disc is a very pricey item and one has to consider other priorities. After all for the cost of this product, these days you can buy a good quality SACD player; but having said that the sound quality will be less than when using the CD Electret in a CD player. I speak from my own experience.
Tom Marsden.
2nd April 2004 from Richard Graham UK.
Subject: Re: Newsletter/New product
Tom,
It's good to hear how someone else found this 'new generation' stuff. It is very unnerving, even for the hardened PWB user, to do the experiment, and then feel compelled to leave it in place because it helps. But I am so impressed with the Foil and Disc. I leave my photo wallets in the same room as the Disc, and the benefit to the sound is awesome - when I am in the car! It really does seem to enhance all devices and objects in the room.
You also echo my feelings about the Hi-Res formats, although I only have experience of DVD-A. Without any shadow of a doubt, these devices make every CD better than an untreated DVD-A. But put the two together - a true heavenly marriage.
Richard
2nd April 2004 from John Tverdik. UK
Subject: Re: Re: Newsletter/New product
Richard, why can't I find anything about the four-legged device in the products or price sections of the web site?
John
6th April 2004 from Richard Graham. UK.
Subject: Re: Newsletter/New product
The official title is ' "Friendly" Four Legged Stance Device ', and if you have the Newsletter, I found it a quarter of the way down the second side of the price list that came with the Newsletter.
I had rather hoped May Belt would have directed you to the correct page of the web site, but given that these things are just great, I thought I'd spare you further delay. We can only hope that May and Peter aren't slacking, or, God forbid, recovering from a rather too wonderful time elsewhere.
Richard
9th April 2004 from James Takamatsu. Honolulu
Subject: Wood floor- treat one or all?
I'm planning on PWB treating a wood floor. The floor is made of thin planks (maybe 2" wide) of hardwood. Do I just treat one piece of the wood flooring or do I do each and every piece?
Thanks,
James
13th April 2004 from Kevin Kehoe. UK.
Subject: Re: Wood floor- treat one or all?
It so happens I am presently lifting an old carpet to decorate before having a new one fitted. The same thought occurred to me and I have a sinking feeling I know what the answer will be! The best result possible will only come from treating each plank as an individual item. In my case each floorboard is about 4.5" wide so it is not as daunting as your situation. Even so, I will only put a smear of Electret cream followed by clipping on each plank and leave it at that. Even if you only treat every other board to a small degree you should get a significant return for the effort. Other timbers worth some treatments are those that support the roof-if you have access through a loft entrance that is. This is something I have yet to carry out in the present house but brought some improvements to sound when I treated the previous dwelling.
Kevin.
14th April 2004 from Chris Ingram. Hong Kong.
Subject: Re: Wood floor- treat one or all?
Hi James,
Here is an extract from a short article I wrote entitled "Bizarre PWB" for the 2003 Vol. 5 No 2 PWB Newsletter. Hope it helps.
All the best,
Chris Ingram
"That journey recently had an interesting and exciting twist for me. I live in an apartment which has flooring consisting of many strips of solid timber laid on top of concrete slabs. Reading the Morphic Green Cream instructions and the recommendation to treat wood, I asked May whether it was necessary to treat each individual wooden strip. The answer I feared came back. Yes, it was. I proceeded to treat (Morphic Green Creaming each strip followed by Quantum Clipping, with the latter adding considerable enhancement) a section representing about 25% of the listening room with stunning results. A horrible thought then occurred to me. How would this wonderful treatment be affected by the weekly floor polishing? May advised that a subsequent chemical application such as this would neutralise the treatment. The flooring could only be cleaned with water. There is a doubt in my mind as to whether chemicals in my domestic water (e.g. chlorine and fluoride) will also have a detrimental effect. I am yet to experiment on this point."
14th April 2004 from James Takamatsu. Honolulu
Subject: Re: Re: Wood floor- treat one or all?
Thanks for the help, Chris and Kevin. I guess I could start treating the floor in steps and see what improvements would be sufficient. Maybe treating under the area rug or sofa where it wouldn't be cleaned as often, or maybe some rainbow foil near the corners of the room where people don't normally tread.
Thanks again,
James
17th April 2004 from Tomtweak. USA.
Subject: Quality of Equipment
I am fortunate to own a speciality audio store and I have the opportunity to experiment with all PWB products with different levels of equipment. While most of us can hear improvements when we treat a boom box, the better the equipment the larger the improvement. I recently demonstrated adding a Morphic message to the side panels of Marantz's new reference products. The customer was more than amazed but what really amazed me was when a customer outside of the room asked what change I had made to the system as he heard the improvement in sound from the hallway. I will have the opportunity to compare a totally treated Marantz SA14V2 to an untreated one. Fortunately I have a large treated freezer so I can include freezing the SACD player as well. I will gladly post the results when I'm done. I'm very guilty of reading all the posts but not contributing. I hope to change this in the future for I'm totally convinced of all PWB products. The only problem I have with some of the PWB products is clarity on applications. For instance the new paper with the 5 holes attached to speaker wires and interconnects. How can you attach the 5 hole paper to interconnects that are hanging down from your equipment. That's were Richard and May really can help us all. I hope everyone who reads the posts in this chat room has tried the 5 leg photo with the 5 hole paper and the aspirin. It's a freebie and works.
Good Listening,
Tomtweak.
20th April 2004 from Geoff Kait. USA.
Subject: Re: Quality of Equipment
ditto tomtweak's comments regarding the 5-hole paper; I find a 3 inch length of Scotch tape over the middle of the 5-hole paper + aspirin works well for "difficult" objects like cables, book spines, vertical panels, etc..
Geoff Kait
20th April 2004 from A. Martherus. The Netherlands.
Subject: acoustically friendly lacquer
Hello,
I'd like to respond to something May described in the Newsletter. She described the 'acoustically friendly' lacquer on the cones and boxes of the new Sonus Faber loudspeaker. Before I ever heard of PWB -only one year ago, shame- I tried to tweak my stereo equipment with better components. It kept me busy for about ten years. Just take out the bad electrolytic, ceramics, op-amps, and replace them with something 'audiophile'. That worked, indeed, but I was not yet satisfied with the sound. Then, in 1998 I discovered C37-lacker. With this sticky goody, I treated my loudspeakers, but also pickup arms, cartridges etc.., even the CD-players drive-unit and, because it worked so wonderfully, I also treated every transistor. It has a drying period of 4-6 weeks nonetheless. This lacquer is made by a man named Dieter Ennemoser and if you read his home page http://www.ennemoser.com you can imagine why this works, mechanically. The resonance's are shifted towards frequency-bands where the brain automatically suppresses them, for they are the same frequencies as our bones resonance frequency. It sounds very reasonable and indeed, it works, so, maybe Ennemoser is right, right? After I applied the lacquer, there was immediately a huge improvement. The sound became Alive. Instruments seemed Real, even synthesizers sound like piano's, wonderful! And the voices and the 3D-image...
Moreover, this was BEFORE I even heard of PWB.
In hundreds of years, many people have struggled to make such a lacquer to recreate a Stradivarius from an ordinary violin. And they have all a 'secret ingredient'. So, what is this secret, 'acoustically friendly', better said, friendly to the ear, ingredient in Ennemoser's C37-lacker? I will tell you, it is ground bones, and I believe even human bones. So, in fact our lacquered music system is, yes, a little stiffer and if it resonates, it does so at the Ennemoser frequencies. However, because it is covered with a bit of human remains, our system becomes friendly to our senses! Now where did we hear that…?
Since I learned about P.W.B.-devices, I think I finally truly understand how it works. And, I realised there are more people in the world, doing a 'Belt'-work of art. The only difference is that Peter does research continuously and the others stop when they found something hat works. E.g., here in Holland we have an inventor named Henry van der Heide. He could be the PWB of our country, for I suspect he is equally brilliant. Van der Heide was a technician at the NOS (Dutch BBC) and discovered among others that "information can be transferred, and recorded, in sound and that information is carried by gravitational waves" So, you could transfer the message 'vote George Bush' through a piece of music!!! Fortunately, this technique is not worked out. But it seems similar to writing messages with the Red 'x' Pen. And "metal is a bad conductor (for information transfer) as are plastics and chemicals in capacitors; a better material is carbon, because it is closer to humans" Later, our Dutch pride Aalt Jouk van der Hull bought his technology and developed The First interconnects, made out of carbon. Also, our inventor Van der Heide could 'order' or purify pictures, slides, movies and sound; so that the viewers had a picture/sound quality as good as they have ever seen or heard. Pictures of sunlight shining through the trees looked real and bright and the sound quality of a simple Philips CD-player was like heaven. He even used Homeopathy to achieve these results.
Does the above look familiar to all of you?
17th April 2004 from Andreas Makrides. Greece.
Subject: Re: Quality of Equipment
Well, if I have understood the instructions clearly, you have to pass the interconnect through the center hole.
At least this is what I have "discovered": The center hole can be too big in order an interconnect or a jack to be able to pass through it, and I could say, it is better for the cable to have a bit of air around it to "breath" (not to have a hole too small).
On the other hand, I was astonished to hear the change of the sound, after I had apply the 5 hole paper to the three Goldring cones that support the self under my record player. You could guess an alteration (in the case of interconnects) to be due to some known law, and I found no difference applying a 5 hole paper around a pencil, or a pen. But it worked brilliantly around the cones, and even at the floor, around the cone-screws of the speaker stands (with the tip of the screw at the middle of the center hole).
Mysterium my friend!
Andreas
20th April 2004 from P.W.B. Electronics. UK.
Subject: New Generation Devices
Tom,
You can attach the five hole etc. device to a cable using such as Blu-Tack (a removable adhesive). The purpose of the five hole device experiment is for people to experiment with a lot of them in different positions to begin to realise just how so many things in the environment are a problem. It is because Peter realised that it would be impossible to 'treat' all the book spines, all the CD case spines, all glass and transparent objects, all wood, and so on in the listening room that Peter has worked (for a long time) on trying to produce a device (the New Generation Electret Disc) which, when used as described, will alleviate many of the problems caused by the things listed. However, the New Generation Electret Disc Device is in addition to all the other P.W.B. Techniques you have been using - things just get better !
And, Andreas,
You have read the instructions incorrectly. You place the five hole etc. device on the centre part of an interconnect - not, as you have interpreted it - the interconnect through the centre hole of the five hole device.
May Belt.
20th April 2004 from Paul. Australia.
Subject: C37-lacker
Yes, I have come across that web page in my Internet surfing. Good to hear from someone who has tried it and liked the results. I will have to put in an order for some when I built my next speaker project. Using bones to make violins is nothing new. I have lived next door to a violin maker, and he would make the glue by boiling bones for 12 hours I cannot remember the next stage in making the glue. I am guessing in the old days the lacquer was also made with a similar process which is now no longer remembered. But wait till I tell him It might be better if he uses his grand mothers bones, Now that's getting a bit scary. Perhaps it is more the crystalline calcium structures which may mimic ancient cosy warm water based living environments such as in caves when life was still in its elemental stages. But you would have to ask peter or may about that one they seem to have got the earliest water based environments sorted. So perhaps just the bones from your favourite dog will do''' Here Roxy.
And it is good to hear from you too Mr Tom tweak, I have been wondering about the effects on different classes of equipment! I have just upgraded my amp. It came to a point where my old amp although improvements could be made using PWB treatments, It was still just more of the same inadequate sound. Now with my new amp I now know I had bad imaging, no sound stage depth. edgy trebles and a missing octave of Bass which I had previously blamed on room acoustics. Quite simply too much of a job for PWB treatments to cure alone. Having said that due to discovering and using PWB devices I was in fact very happy for quite a long while and quite lost my need for spending hours on tweaks because everything was sounding so good already from the treatments alone. But the time came when my ears said more. I think for this reason alone the Hi-Fi Companies do not need to fear PWB devices as equally treated devices will still maintain their relative sound quality separation. And if what you state is true that the effects are greater the better the equipment which makes sense after all, as there is more intact information to improve upon, then there is very good reason to have a devoted Belt device shelf space sitting right along side the exotic cable interconnects section in any serious Hi-Fi store.
Cheers,
Paul.
1st April 2004 from Andreas Makrides. Greece.
Subject: Re: New Generation Devices
May
It seems that I was led to a discovery myself, through the incorrect reading of the instructions!
I hope that someone could explain the changes that occur thus to the sound: At least there was an improvement in passing the FM aerial through the center hole!
Nevertheless, I would like to ask a question: You write to your article: "All these energy patterns, prevent the sense of hearing from creating stationary energy patterns on the objects within our environment". How can our sense, create energy patterns on the objects? Isn't a sense, a perceptive (passive) phenomenon? If I have understood incorrectly again, excuse my poor English!
Another idea that I believe could be explained further, is the connection between the photosynthesis process and the four legged animals, since the latter do not share the benefit of photosynthesis.
Andreas
21st April 2004 from A. Martherus. The Netherlands.
Subject: Re: New Generation Devices
Question 1.
Maybe you created something like a coloured ring tie. Read the instructions about them on the P.W.B.-website. Some cables benefit of a white centre.
Question 2.
According to Sheldrake and even quantum-scientists will admit this: in Nature there does not exist a passive receiver. As soon as you look at or hear something, you have "reached out" and influenced the signal.
Question 3.
I don't know. The dog is higher in evolutionary ranks than a leaf??
Martherus
21st April 2004 from Heiko Eingender.
Subject: Re. acoustically friendly lacquer
Hello A. Martherus,
thanks a lot for your very interesting post! I am also using C37 with very beneficial effects on cartridge, cantilever and cones. I have found that C37 with an additional Electret cream treatment after properly drying works extremely well. It can completely transform the performance of a cartridge. Where from do you know, that there are ground bones in it? Once I made the lacquer extremely thin and I could observe some light and extremely fine "dust" which deposed in the bottle. Perhaps this is actually the bone dust? I have a pound left which we used to feed the cat as supplement and I am pondering to fill the carbon tube of my self made schröderclone-tonearm with it...
Best Wishes
Heiko
21st April 2004 from P.W.B. Electronics. UK.
Subject: friendly lacquer.
A. Martherus,
The reason why I made the reference to the 'acoustically friendly' lacquer was to make people aware of the general things used in the manufacturing of audio products which may have other explanations as to why they were being described as 'improving sound' than the strictly conventional acoustic explanations which are usually put forward by engineers. My reference was also prompted by the latest reports of loudspeaker drive unit cones made from wood, where the wood had previously been soaked in sake. And, this followed from Ron Adamson's posting that he had remembered improving the sound from his loudspeakers very many years ago by 'creaming' the drive unit cones with P.W.B. Cream-Electret. I was going to add to this reply the recommendation that whatever you chose to use (lacquers and so on), you should apply a small amount of Cream-Electret to it - when Heiko has already beaten me to it !!
Engineers who find that when they use certain lacquers or use certain adhesives they can get better sound, usually struggle to find an explanation from conventional acoustic theories - and end up claiming that the lacquers are (somehow) improving the frequency reproduction or, in the case of adhesives (somehow) dealing with vibrations. Improvements in the sound may have nothing whatsoever to do with any of the conventional theories but may be because of how the human being is reacting to the different chemicals and components used. That is the point I had intended to make.
Regarding your description of the message 'vote George Bush' which did not work.
I would not expect such a message to work. Such a message does not 'tap into' the Morphic resonance of universally used beneficial language. For Morphic resonance messages to work for human beings, they have to 'tap into' already established, strong, beneficial energy patterns which mean 'safe'., 'secure'., 'peaceful'., 'friendly'., 'good'., and which have those individual meanings whichever language is used. These reassuring energy patterns were established long ago in evolution.
May.
21st April 2004 from A. Martherus. The Netherlands.
Subject: Re: acoustically friendly lacquer
Hello Heiko,
I'm using the same method: C37 lacquer on my Linn K-9 cartridge and Cream Electret on top of that. Marvelous improvements indeed. I even got rid of nearly all of the tracking problems at the end of a record. No more audible distortion! How do I know what Ennemoser is doing...? I really don't remember where I read this. At the time I couldn't order the lacquer (only in large quantities) I tried to read all I could on the Internet about C37. And that is a lot:) There was also a user's forum. Anyway, that is not important, maybe he wants to keep it a secret. You're not serious about filling your tonearm with (animal) bones? C37 plus Cream Electret should be enough. Maybe a beneficial message with the Red 'x' pen?
Greetings,
Arkie Martherus The Netherlands
22nd April 2004 from A. Martherus. The Netherlands.
Subject: scientific experiment ESA/Soyoez
Hi all,
First of all I'd like to thank May for her clarifying answers.
Since we have a Dutch astronaut in space, my attention was drawn to one of the many scientific experiments they are performing. One experiment is about a theory of Albert Einstein of 1916. A large object like the earth will warp the space-time continuum. Scientists developed a system of four little balls and a gyroscope to measure this in space. In addition, some scientists suspect since a few years, that rotation of an object also warps the space-time continuum. I hope they will succeed in their measurements and this will become common knowledge.
http://www.space.com/missionlaunches/delta2_gpblaunch_042004.html
Why do I bring this up?
It just reminded me of a guy named Peter Belt, who already knew years ago, that rotating objects like a spinning CD, affect the space-time continuum and worse, that it can be "measured" by our own ears. Better said, our senses become disturbed because of the warped space-time.
On top of that, he developed a "cure", the Silver Rainbow Foil (and many more).
Arkie Martherus The Netherlands
25th April 2004 from Richard Graham. UK.
Subject: Re: Quality of Equipment
Over the years, I have moved from 'budget' models, to higher end stuff, and absolutely agree that you can go to staggering levels with the right combination of equipment and PWB devices. I am still shocked by how amazing the New Generation Electret Disc is, and of how this so surpasses the paper/aspirin device, it is unreal.
We went to the opera last night in London, and afterwards came home and switched on the TV. Now most people would think the sound you obtain at home should be much poorer than live sound. We were also fortunate enough to hear a good 'Rosenkavalier' at the Royal Opera House; the reviews acknowledge that the orchestra is on top form. Yet on coming home, the sound of our satellite box through the system was far better. Indeed, I kick myself for not taking the Electret Disc into the opera house. This creates a rather different problem of course, but what an astonishing difference. I will also urge you to try the related 'Present' Foil if you don't wish to go the whole distance of getting an Electret Disc. It really is worryingly good.
As Tom recently showed, these items make ordinary CDs sound better than the High-Res. formats, but bring the two together...
Richard
22nd April 2004 from VR Sola. USA.
Subject: spinning discs and ceiling fans.
A year ago, I attached piece of rainbow foil and other foils to all the ceiling fans, a pedestal fan and to the auto radiator fan blades and creamed the motors. I think they all produce subtle changes.
The paper with five holes, I used a thick paper and a white card board, made holes with a hole puncher (office supply) and used only aspirin tablets. Attached using a double sided tape. For fun try it on T.V. Power Cord, Video cable and the satellite or cable TV Cable. Soon I will experiment by substituting aspirintablets with real plant products such as herbal supplements such as Ginko, other capsules such as Co enzyme Q10, and a animal product such as fish oil capsule. Who knows they may work!
regards
VR Sola
27th April 2004 from P.W.B. Electronics. UK.
Subject: New Generation Devices
Andreas,
I started a reply to you but it has already reached three pages long with no end in sight !
The subject touches so many different areas and the world (including the world of Nature) is a pulsating, dynamic world - not a passive (only receiving) world.
Regards (for the moment),
May
26th April 2004 from Andreas Makrides. Greece.
Subject: Re: New Generation Devices
Martherus
As it is obvious by now, that I cannot hope to receive an answer by May, please give me your comment on the following:
If "as soon as you look at or hear something, you have "reached out" and influenced the signal", then, does the extra musical information that someone receives by applying the PWB products, is a by product of our mind?
At the end, do we all hear the same musical piece?
Andreas
27th April 2004 from Bernard Knoop. The Netherlands.
Subject: Treatment inside
Hello.
I treat mine equipment with a lot of foils ,creams etc.. But I did treat the inside only with Cream Electret. What can I do more inside equipment? Is it necessary to use all the foils/cream outside also inside?
With kind regards
Bernhard.
27th April 2004 from Ulf Osterbrink. Denmark.
Subject: Re: PWB treatments.
Hi,
once again my question....
Has anybody tried Belt-Devices on Computers or Laptops??? Where to put them?? I tried Spiratube on the power cable but could not recognize any differences.
Greetings
Ulf
27th April 2004 from James Takamatsu. Honolulu.
Subject: Smart Metal trials
I just started experimenting with PWB Smart Metal. It's difficult to put into words the results of doing a few (relatively) simple tests.
I first tried the Smart Metal on the magnet ring of the speaker. The Mordaunt Short MS-30i has a pretty decent sounding tweeter- smooth, balanced, slightly soft at the top-end, but nice and inoffensive. The 8" woofer, on the other hand, lags behind the tweeter in both speed and performance. I started by treating the woofer per PWB instructions, then reattached the woofers.
The difference was startling. Not only did I notice the lower noise floor and greater neutrality of the woofer section, but the tweeter now sounded horrendously harsh and irritating by comparison. It brought to mind the violin comparison in the "Challenging the Conventional" article written by May Belt. It wasn't that the tweeter got worse, but the woofer was just so much better; I was forced to treat the tweeter (which was a bit of a pain, being attached with those 5 point "star" head screws). After the treatment, the tweeter was improved exactly as the woofer had improved.
I went on to treat the CD (AC power solder joints and two circuit joints, and the power amp (AC and input RCA connectors). The sound now is more transparent, faster, quieter, smoother, etc.. All good things, but the real difference is the "human-ness" of the voices, and a certain "logic" or order to the music. Again, hard to describe, but understandable when you experience it.
James Takamatsu
Subject: Re: PWB treatments.
Hi Ulf-
I used Cream Electret on the monitor's screen, and on small areas of the outside of the CPU tower, the underside of the keyboard, the printer and all the power cords. I also used the standard rainbow foil on the underside of the keyboard, a Morphic foil (I think I used the "Comfort" foil) on the top edge of the monitor's housing, and Spiratube on the power cord. I ended up replacing a freeze-treated Absolute power cord for the CPU original cord. And I "Smart Metal-ed" the power strip's AC connecting pins.
James Takamatsu
28th April 2004 from Andreas Makrides. Greece.
Subject: Re: PWB treatments.
Hi Ulf
For the Laptop:
1) Real Foil at the back
2) Reef Knot and Spiratubes on the cable
3) If you can open the hard disc and detach various part (like dvd) of the laptop, extract the barcodes or erase them with the red 'x pen.
4) Freeze effect foil on the hard disc
5) Cream Electret on the metal parts of the dvd
6) Write a message FLOW> O.K. and stick it in the drawer of the dvd.
7) Sol Electret on the screws
Unfortunately, the computers have a very bad influence on the sound, and I am afraid, that without opening them you cannot do many things to improve the situation.
Andreas
3rd May 2004 from P.W.B. Electronics. UK.
Subject: New Generation Devices.
Andreas asked me,
You write to your article:
"All these energy patterns, prevent the sense of hearing from creating stationary energy patterns on the objects within our environment". How can our sense, create energy patterns on the objects? Isn't a sense, a perceptive (passive) phenomenon? If I have understood incorrectly again, excuse my poor English!
Another idea that I believe could be explained further, is the connection between the photosynthesis process and the four legged animals, since the latter do not share the benefit of photosynthesis.
Andreas,
Here is my long awaited answer.
Andreas,
I find it extremely difficult to describe 20 years of thinking in just a few sentences, even in a few paragraphs.
I will have to be oversimplistic to attempt to describe a very complicated subject.
You have to combine the subject of how human beings evolved to where we are now, with Sheldrake's Morphic resonance energy patterns.
In order to survive, Nature must have programmed creatures to sense/monitor their environment every millisecond of every second of every minute of every hour of every day. In order to detect movement Nature must have dictated that the early creatures had to take note of certain co-ordinates (taken from the many different energy patterns which existed at that time). Let us imagine that there were (hypothetically) at least 20 different co-ordinates which the creatures had to read/sense and then take a mental photograph of them. This mental photograph was then stored in the working memory. The next millisecond, the creatures had to again read/sense the same 20 co-ordinates and take a mental photograph which was then compared with the previous mental photograph. If any of the 20 co-ordinates had changed, this then alerted the creature to the fact that a change had taken place within their environment. Each subsequent millisecond the 20 co-ordinates were read/sensed because the creatures had to determine whether any predator was moving towards them, moving away from them, or staying parallel with them and to decide what action to take in order to survive (the well known flight, fight or freeze). To be oversimplistic, the creatures had to be able to establish a reference point (a stationary point) from which to determine when and where any changes took place - what Peter and I call the 'x' point - and that all these things were happening long before the senses as we know them evolved but that we (human beings) have still retained (through evolution) many of those ancient abilities.
What Peter and I believe is that objects in the modern environment, with their different energy patterns, are not allowing us to determine the correct 'x' point (a correct reference point), which means that we cannot resolve our environment correctly, which means that we remain under tension. One very good example, if one was needed, is the moving and alternating AC power energy - this particular energy pattern was never available when the early creatures were evolving !! Who knows, in this modern environment, we may be presented with hundreds of pseudo co-ordinates which cause confusion and which we cannot resolve. It is not that our sense of hearing is creating energy patterns on objects, it is that the objects themselves have different energy patterns which our sense of hearing (as well as our other senses) are struggling to resolve but cannot - the sense of hearing is a far more complex system than being a mere receiver of air pressure waves. What Peter has discovered are ways of creating, on objects, via our devices, particular 'friendly, reassuring' energy patterns which allow us to relax more. Because, when you think about it, Nature could not allow creatures to be constantly 'on the alert' - it would be too wasteful of energy - there must also have been energy patterns which meant "it is OK, you can relax, the danger has gone away". And Peter and I believe that the early creatures learnt to communicate with each other (long before the senses of hearing and sight developed) and to send each other 'danger' signals and 'reassuring' signals - so, the early creatures would have been 'looking out' for both danger signals AND reassuring signals and we (human beings) are still continuing to do that. So, the senses are not passive, they are interacting the whole time with our environment and, we believe, there are other ancient 'senses ' within us which do not come under any of the descriptions of the five known senses - touch, smell, taste, hearing and sight. So, Peter and I believe that (with acknowledgement to Sheldrake) basic Morphic resonance patterns appertaining to living things were established millions of years ago.
Now we have to jump to one side and look at plant life. Again, I will have to be outrageously simplistic. By the time the early creatures emerged from the dark depths of the oceans, plant life had already established Morphic resonance patterns of how to 'deal with' light energy (again with acknowledgement to Sheldrake). But this was not just passive photosynthesis. Plants also developed different means of propagating, different defensive mechanisms and, when creatures emerged - how to make use of different insects and animals We believe that Nature makes use of energy patterns which already exist so, she could have used a combination of the way plants 'deal with' light energy and the already existing 'hearing' sense when the early creatures emerged from the oceans and had to 'deal with' the (new to them) energy of light. We believe that Naturemade use of parts of the already existing hearing mechanism to create a primitive 'seeing' mechanism and this was so successful from a survival point of view that the sense of sight was given priority.
Now, looking at both creatures and plants. Both types are 'linked' to their past and use particular mechanisms to achieve this linking.
Peter and I believe that when the human (Homo Erectus) evolved, standing up on two feet gave humans one main advantage - and that was to develop a more sophisticated brain but, in doing so, we lost some of the 'linkage' to the past - which animals retained via their four legs and tail.
We believe that the energy patterns (co-ordinates) which were initially used by the early creatures were all natural - there was nothing unnatural millions of years ago but, in today's modern environment there are thousands of man made objects and materials which have no 'link to the past' because they have no past.
Let us have a look at a few concepts. As I have said before, I regard concepts as stepping stones, they allow you to explore, providing you remember to put up a marker flag at the point where you are starting.
If you look at a man made, modern object, in the modern environment - yes, light energy enters it but the man made object does not 'know' how to deal with the light energy - it does not have a link to the past ! And, because the object does not 'know' how to deal with the light correctly, we (human beings) cannot resolve the energy pattern produced by the object - so we stay under tension.
I do not have great knowledge of medicine but I understand that sometimes, when a person is injured and has many serious injuries, the brain shuts off the pain signals coming from the injuries and concentrates all it's energy on survival. When the brain decides the person is safe, the pain signals are allowed to resume.
Imagine now a Compact Disc, or vinyl record or audio tape with a wealth of information stored on it (a far greater wealth of information than anyone has so far realised). This wealth of information is processed perfectly adequately by the audio equipment and is eventually presented into the room and this information reaches the person's ears. But, the human being's body and mind is struggling to resolve the numerous and conflicting energy patterns in their environment, searching for 'reassuring' energy patterns, so the brain says to the hearing mechanism "Hold on a moment, I will have to put you on low power until I can resolve the environment". If, however, you can superimpose on the man made objects and materials in the environment a 'friendly/reassuring' energy pattern, then more of the brain energy can be released and the brain can return to the hearing mechanism saying "Now, what was it you were listening to, I have more power to devote to you now ?"
Again, as I have said many times before. If you can 'treat', with P.W.B. Devices, many objects in the listening room (objects which could not be associated with the actual audio signal nor the acoustic air pressure waves) and get an improvement in the sound, then this improvement in the sound means that you are hearing additional information. But, where has this additional information come from ? The only answer seems to be that this additional information has been there, in the room, all the time you have been trying to listen - you just had not been able to 'hear/perceive' it before 'treating' the objects.
Now, to your original question Andreas.
Peter began to ask the question. "If the modern objects, in the modern environment have no 'link to the past', how can we provide one ?"
We have known for some years that a specific number of holes pierced in a piece of paper was 'beneficial'. It would seem that light travelling through these particular holes creates a specific energy pattern which we do not react adversely to. So, Peter linked the five holed piece of paper with the image of a four legged plus tail animal to create one 'link to the past' and then added the aspirin tablet. The basic chemical now used in aspirin was created specifically by the bark of the willow tree to give the willow tree a specific advantage. So, he used the aspirin tablet, with it's link to a tree which HAS learnt to 'deal with light', which in turn has another particular 'link to the past' and then placed this combination onto a piece of equipment. The result is the experiment he has given to people to try for themselves. If you can hear an improvement in the soundwhen attaching this combination to an object I.e. you can hear additional information, then this should show people just how much they (human beings) are sensitive to different energy patterns in their environment and just how this sensitivity can affect their hearing/perception.
In a recent posting, James Takamatsu referred to my description in my paper "Challenging the Conventional" of the playing of a violin to illustrate how the working memory upgrades itself automatically to new standards and that you cannot then go below that new standard without cringing. Another description I often use is what I call "the ticking clock effect' to illustrate the points I have just been making. This was more common many years ago when most rooms had a wind up, loud ticking, mechanical clock in it (not like today when most clocks are quiet, electrical or battery ones). You could be totally engrossed reading a book when all of a sudden you looked up startled. But, when looking around, you could not see any reason why you should have been startled because nothing appeared to have happened. Then, you realise that the clock had stopped ticking. Your body and mind had been, subconsciously, constantly monitoring/sensing/reading your environment every millisecond without you being aware of it whilst you were quietly reading. Then, you were alerted because your brain had realised that something had changed from one second to the next. The clock had stopped ticking.
I have two articles amongst my archive material which you may find interesting.
The first one is by John von Radowitz entitled "Deadly fish uncovers hidden human genes."
"Unlikely similarities between people and the Japanese puffer fish have uncovered almost 1,000 previously unknown human genes.
An international consortium of scientists said yesterday it had completed a draft blueprint of the genetic makeup of the puffer fish, Fugu rubripes. The sequence contains roughly the same number of genes as the larger human genome, but they are much more densely packed.
By comparing human and puffer fish genomes, the scientists were able to predict the existence of almost 1,000 unidentified human genes. Most of these genes, yet to be located in the human genome, have unknown functions, the researchers reported in the journal Science.
Dr. Samuel Aparicio, of the Wellcome Trust Centre for Molecular Mechanisms in Disease at Cambridge University, said: "For the first time we are seeing the overall differences, as well as the similarities, in the protein parts that make up fish and man.
When we matched the predicted Fugu proteins directly against the human genome sequence, for 961 cases we found that there was a match in humans that didn't overlap an already predicted or known human gene.
This flags up for geneticists the position of potentially novel human genes. Direct comparisons of the fish DNA show more human genes will be found by comparing fish with man.
The puffer fish sequence is helping to find previously undiscovered features of the human genome - a process compared with the decipherment of the Rosetta stone."
**************************************
The second article was published in the Independent (a British Newspaper) in May 2002.
It is by Roger Boyes and entitled "It's not easy being green - just hear your plants scream."
"Tread softly in the garden and pluck that rose with care: flowers cry when cut, cucumbers squeal and even healthy fruit gurgles according to new acoustic research on the stressful life of plants.
The findings, released by the Institute of Applied Physics at the University of Bonn, could have important implications for farmers since, with the proper eavesdropping device, one can now distinguish between healthy and sick vegetables. Talking to plants, it seems, is not as rewarding as listening to them.
The Bonn scientists have developed laser-driven microphones that pick up sounds inaccessible to the human ear. When a leaf or a stem is sliced, the plant signals pain (or perhaps merely dismay) by releasing the gas ethylene over it's entire surface.
Doctor Frank Kuhnemann of Bonn University has been trapping the ethylene in a bell jar. The gas molecules are later bombarded with calibrated laser beams, which makes them vibrate. This produces a soundwave picked up by the microphones. "The more a plant is subjected to stress, the louder the signal we get on our microphone" he said.
The Bonn scientists have tested a range of plants, always in rooms with controlled temperatures and simulated natural light. But they were most surprised by the reaction of the cucumber. The vegetable appeared to be in good shape, yet according to the acoustic measurements, it was virtually shouting with agony.
A closer study showed that it had developed mildew, yet the symptoms were not visible. This finding is likely to make an impact on agriculture. "We can detect an infection the day after it has set in" said Dr Kuhnemann's colleague Ralph Gaebler, "Farmers, looking at their plant in the field, have to wait eight or nine days until the mildew spots have visibly broken out before they notice the problem," he said in an interview with Deutsche Welle radio station.
By eavesdropping on plants it should be possible to develop an early warning system to detect pests and disease. Knowing the stress level of fruit and vegetables can also be an aid in efficient storing and transporting. Acoustical evidence demonstrates that apples emit higher levels of ethylene, which causes neighbouring plants to wilt. As a result, the scientists urged fruit producers to store apples separately.
When ripe fruit is packed with unripe, a substantial amount of fruit often ends up rotting even when the shipments are separated by type. The scientists in Bonn have solved this mystery: differences in ripeness are often invisible, but can be detected acoustically in the form of ethylene. It should therefore be sufficient to measure fruit with laser microphones to separate it into batches of appropriate ripeness before loading it on to ships and trucks.
But the Bonn University team believes plants do more than chatter about aches and pains as if passing time in a doctor's waiting room. The team also thinks plants warn each other about approaching danger. The 'alarm signal' is a chemical message transmitted between individual plants: this too can be measured by the new equipment." (My italics - May Belt.!!)
**************************
As I said in my earlier e-mail to you Andreas - the world is a pulsating, dynamic world.
Plants are more involved than with mere photosynthesis. They do not have a sense of hearing or a sense of sight but they communicate with each other by chemical means - as must have been the case with the early creatures. And, there is a strong possibility that we (human beings) have retained many of those ancient abilities through evolution.
When you get even a glimpse of the complexity of the world, some of the reports in audio magazines of unexplained things 'changing sound' can begin to make more sense. In the Spring 2004 Newsletter, I made reference to certain adhesives, lacquers etc. which were being described by the manufacturers and journalists as 'friendly to acoustics'. Also, there was the chat forum comment by one of our long standing customers, Ron Adamson, after reading about the wooden speaker cone which had been soaked in sake (rice wine), saying "When is the audio world going to put two and two together ?" And also his reference that he had 'treated ' his normal, standard, speaker cones some sixteen years ago with our Cream-Electret and gained considerable improvements in his sound.
I have just been reading again a review of a Koetsu cartridge by Ken Kessler a year ago. Ken describes the Koetsu as sounding excellent but there is one sentence in the middle of his review which says " Thecartridge's body is covered in hand-applied lacquer made from the sap of the urushi tree........." In an earlier review Ken had presumed that the lacquer used on the Koetsu
cartridge was good because "with time, the lacquer will harden even further, enhancing the strength of the already-rigid body, eliminating whatever vestiges of resonance might remain."
One has to ask the questions "Is the lacquer used beneficial because (as Ken presumes) it hardens with time therefore reduces resonances ?" or "Is the Koetsu cartridge perceived as sounding good only because of how it is made from a technical or mechanical point of view or could it be perceived as sounding good because of how we (human beings) are reacting because of the use of lacquer made from the sap of the urushi tree ?" Because no one is yet thinking along those lines, nor are they yet prepared to 'throw an intellectual switch' and consider different concepts, hardly anyone in the audio industry is yet at the stage of asking the question "If I cover a 60 Dollar cartridge with the lacquer made from the sap of the urishi tree, would it 'sound' much better ?" From my experiences with the few journalists who have actually been prepared to ask that question, and the corresponding question "If I 'treat' this, or that, or that, or that with Peter's Cream-Electret, will it 'sound' better ?" they were/are not allowed to publish the answers.
So many P.W.B. customers already know the answer to that type of question - they have already climbed many of the rungs of the 'ladder of progression', they have been prepared to consider a new concept.
May Belt.
3rd May 2004 from Ulf Osterbrink. Denmark.
Subject: Feng Shui.
Hello May and all the others on this forum,
I just wondered what you all say to the art of feng shui, because I think it is about the same way we are doing.... making the energy of our environment more comfortable. And what about colours being painted on objects. Any colour has it s own wavelength and wouldn t the colour "energy" be transferred on objects painted with that colour??
And when I think about these two topics transferred on audio-equipment, wouldn t it be useful, if the engineers would build there pcb s etc. following the feng-shui rules and putting energy (colour) to the components??
One example:
I thought about capacitors, which save elektrons and giving them away, I think this (seen with feng shui) would be the "water" element. As in feng shui fire destroys water, red would be a bad colour for an cap and as blue and black are water-colours this colour would be good for caps....
I hope you all understand what I mean....
I ve been searching the web for a long time but couldn t find someone who also thought about that.... anyone here??
Ulf (I m sorry for my bad english)
1st May 2004 from Gary Lee. USA.
Subject: Smart Metal and Present Foil question
James mentioned treating his speakers with the smart metal. I did the same a few weeks ago and my results were similar: the improvement in sound was astonishing. Everything was more detailed and the sound stage got a foot wider on each side and a bit deeper. It was amazing. I also put Foils and Morphic messages inside the cabinets and on the speakers. It amounted to an upgrade in speakers, all for perhaps $25 in materials or less (and 4 hours of time well spent). Another example of PWB products working superbly. Some frustration resulted when I spotted the crossover on the second speaker, but since I hadn't treated the first speaker's crossover, I realized that was a project for another day.
I am looking for new speakers but feel frustrated. How much will it cost to beat the sound of my PWB-treated speakers? Honestly, I may be PWB-ing my way past the point of new speakers I can afford.
As for the new Present Foil, I want to try it, but am not sure where to put it. Someone mentioned putting it on a CD jewel case. Has anyone applied it to equipment? Any comments on how it sounds?
Thanks for any information.
Gary
3rd May 2004 from Andreas Makrides. Greece.
Subject: Re: New Generation Devices.
Dear May
Your answer was extremely satisfactory. Thanks for your efforts and I wish you find some time and strength, from time to time, to develop further some of the ideas you surveyed in this article.
To hear and think something new, I believe, can be more satisfactory than improving the sound of the hi-fi!
Andreas
4th May 2004 from Dieter Karner. Austria.
Subject: Help request
Hello,
I am reading along in this forum for a couple of months now and am very pleased with the "manners of conduct" and how people treat each other here.
So far I actively used only the beginners pack (cream, rainbow foil, Spiratube, red tie) and do hear some difference between treated and non treated discs or components. Actually, the biggest difference I hear, is with CDs that are treated with rainbow foil. Of course I have also tried freezing and some of the other freebies.
As you might guess by now, I have never personally experienced the impact of any of the advanced devices on my hearing. One reason for not having gone further is that I am reluctant to spend a significant amount of money without knowing the results first. Another reason is the huge amount of devices to choose from (can't try them all, which is best ... ?).
Now I would like to tell you the actual reason for my posting. I request help.
I am in the process of building a listening room in my basement and I seriously consider to BELT it quite extensively. Since I don't want to experiment for months/years until I find the final solution I was hoping that I could find an experienced "Belt enthusiast" living close enough to me who would be open to treat this room (and more if necessary) for and with me. Or to put it bluntly: I am a (lazy) consumer and would like to avoid having to learn what took others years and years. Be assured that I do not expect alms and am willing to reward value. I live in the eastern part of Austria.
If this is not possible, I will have to go down the trial and error route.... :-(
thanks in advance and thanks for you patience reading this article.
Dieter (Karner)
5th May 2004 from VR Sola. USA.
Subject: water and color.
I heard a comment in one of the forums that having a small cheap water fountain in the listening area is helpful in dry hot places like Arizona. Some one commented humidity plays a role in hearing mechanism.
I see no reason why many people use Black Techflex mesh as a cover for the Inter connects and Speaker cables. Most of the power cords are either black or Grey. Why not use a different color?
Some caps come in blue and white color such as auric caps and sonicaps. But unfortunately some audiophile grade caps come in black.
I think it is not too difficult to have odd number of screws on the chassis for a manufacturer.
Why all the chassis of audio equipment is made with black or grey , or silver steel chassis. Few of them add another element wood for the side panels and Knobs.
I tried a simple experiment . connecting a night lamp (3 volt incandescent ) to the power strip at the back of equipment. I tried blue and pink commonly available light bulbs. It does some thing. Further experimentation is necessary.
regards
V.R. Sola
13th May 2004 from A. Martherus. The Netherlands.
Subject: 90-degree angle
Hello,
Discussing with my colleague who is also a PWB-user, we noticed something remarkable. You have to know my colleague is an astrologist. I told him that 90-degree angles are detrimental for audio and he replied, "Peter Belt must be an astrologist as well, because this is a rule, a law in astrology". So, which angle is advantageous then? He states: an angle of 60, 120 or 72 degrees is always beneficial. Other angles are neutral.
Another thing is that we are for years now, thinking of just HOW and WHY astrology works. So far, nobody had an answer. Just the philosophy that "what happens up there, happens here".
Enter Peter Belt.
The human being is sensitive to a rotating CD, that is, to the minute alterations in the space/time. If this is true, then it isn't hard to imagine that all life is sensitive to the movements and rotations of the planets in our solar system.
This is something I just wanted to share with you.
Regards,
Arkie Martherus
15th May 2004 from Steve Paines. UK.
Subject: P.W.B. talk
I recently came across one of the Newsletters from 2002 after moving house. One of the letters refers to a talk that May gave to a group of PWB users some years ago.
Being curious I was wondering what this talk was about and if a further one could be possible if there was enough interest. I am sure there must be a number of us who were not PWB users then. I think its a great idea for us to meet up to share a common interest.
Further to the Rainbow Foil article in the forum, can I say well done to Richard in his responses to the 'non believers'.
Steve
18th May 2004 from P.W.B. Electronics. UK.
Subject: My talk. (The Video).
My talk. (The Video).
Regarding the talk I gave in the summer of 1998. Someone who was present at this talk made a camcorder recording and we have transferred this onto a video tape. Unfortunately the sound quality for the first two thirds of my talk is not as good as we would like because the camera had been sited at the rear of the room.
However, after the interval, the camera was moved closer and for the last third of the recording, the sound quality is better. The video tape is three hours long and I think that enough can be heard to get a fair understanding behind our thinking. My talk does not concentrate on how to 'treat' equipment etc. or how to carry out various techniques but concentrates more on the journey we have made to the position we had reached in 1998.
However, the video tape is made within the UK standard. Anyone who can view it in the UK standard is welcome to request a copy of the tape. We are also in the process of transferring it onto DVD (computer viewing). For those of you who cannot view VHS UK standard this will be available shortly.
Kind regards
May
Subject: Feng Shui
In answer to an earlier question posed by Ulf Osterbrink.
The more one becomes aware that there could be things in the environment having an effect on people, there will be many concepts such as the Feng Shui concept which will be considered.
Again, in giving our opinion, I will have to be simplistic in my answers.
I know something of the concept of Feng Shui which, in part, recommends placing, certain specific objects in specific (advantageous) positions, re-positioning other objects to more advantageous positions, redesigning layouts and so on. But, the problem with that is that Peter and I see things as more serious, as far more involved than being able to position or re-position objects to create beneficial situations or beneficial atmospheres.
For example (and again I will have to be simplistic).
Peter and I know that items such as audio equipment, video equipment, electrical equipment, objects made of glass, wood, plastics, man made materials, processed metals and so on are a problem for human beings and that this problem cannot be resolved by re-locating, re-positioning etc.. Such objects are a problem so matter where they are in the listening environment or which position they are in. So, for example, you cannot solve the problem of the TV and audio equipment by re-positioning it, you cannot solve the problem of glass by removing it from this wall and placing it in that wall, you cannot deal with the problem of CDs, vinyl records, audio tapes, by strategically placing them in the room (or the building). I personally believe that even if you followed Feng Shui recommendations and positioned objects as suggested by Feng Shui concepts, you would still have to 'treat' them with our devices or techniques if you wanted good 'sound'. Another example is mirrors. In the Feng Shui concept, mirrors are important and the correct positioning of mirrors is important. We have also found that mirrors are important but we also know that wherever a mirror is positioned, it still has to be 'treated' if you wish to have good 'sound'.
What I have just said does not mean that I am dismissing the Feng Shui concept. I see no reason to challenge the concept that positioning certain things in strategic places, re-locating things or re-positioning things should not create a more relaxing and peaceful environment but we believe that all have to be 'treated' to get the best benefits - particularly in relation to having good sound. What Peter has discovered is obviously there, in the environment, and there will be many other concepts that will overlap with what he has been discovering. We are also aware that there are simple things which one can do to create a more relaxing environment - these are what Peter and I have always called 'naturally occurring situations' - and Peter has given them as 'free techniques' over the years. Such suggestions as placing a plain piece of paper under one of the four feet of a piece of equipment, turning up one corner of a curtain, tying a reef knot in cables or in the string of window blind pull cords, freezing objects using a domestic deep freezer, treating your photograph by placing it in the deep freezer, and now the latest five holed piece of paper device and so on. Could all these be considered within the Feng Shui concept ?
Peter and I are also extremely aware that colours are important. We work with colours constantly, but even when Peter finds which is the most beneficial colour for a specific situation or device, he still has to 'programme/specially treat' the device in addition to the chosen colour to deliver the best sound.
Regarding electronic components. It is interesting you should mention those, Ulf, and their colours because there is a story I sometimes tell. It is about designers and engineers of a certain item of audio equipment which is regarded by the audio world as 'an industry favourite'. Such things happen in the audio world from time to time - a piece of audio equipment which everyone likes the sound of (at one time it can be a particular amplifier, another time it can be a particular cartridge, another time it can be a particular CD player, another time it can be a pair of loudspeakers). The 'industry favourite' piece of equipment could have particular components which have (say, hypothetically) brown insulation around them. After a few years, the designers and engineers decide that they will design a new product and decide, amongst other things, to fit similar but technically superior components (better toleranced components ??). Unfortunately, the designers and engineers can then find that many people do not like the sound of their new, latest product, and the designers and engineers cannot understand why. As far as they are concerned, the new equipment is technically superior and has better measurements than the previous 'industry favourite' model. They do not realise that the previous components had (hypothetically) brown insulation around them - a colour which human beings did not react so harshly to whereas the new (technically superior) components have (hypothetically) red insulation around them (a colour which human beings react more adversely to). If, however, either the components with brown insulation or the components with red insulation were 'P.W.B. treated' then BOTH would sound better !! Showing that yes, colours are important, but you can go further than just having 'the best colour'.
Anyone who has been involved in the audio industry, over quite a number of years, and who knows much of the history of audio, will be aware that what I have described has happened quite often. The same technically brilliant designers and engineers who had designed and made the 'industry favourite' model, a year or two later introduce their next model only to find that it 'bombs' and they cannot understand why because, as far as they are concerned, it was technically superior and had far better measurements than their previous designs.
May Belt.
7th June 2004 from Bob Benn. USA.
Subject: Re: Help wanted
Without a clearer understanding of how and why the various foils, creams, and clips work, how can I intelligently apply the PWB products? I would like to know what the challenges are why a specific PWB products works on specific pieces of equipment and their internal components. Now all I can do is apply these products without an understanding as to why we're doing it, or how they effect the components; without the ability to predict if I am helping to solve the specific challenges of the equipment or not.
I purchased the Beginners Kit and had great success with the foil and cream. I build record players and I wanted to apply the PWB treatments to each record player to maximize the optimum musical presentation. I ordered the Green Morphic cream and used it on my record player and various devices and components in my system. At the time, I thought the benefits did not warrant the cost difference between standard issue cream and the green cream. I went to the post office to returned the Green cream to Mary and when I got back home, I listened to a record and used for the first time a record weight that had been treated with the Green cream, and the whole system sounded improved! I a/b the two otherwise identical record weights and I could hear the Green cream difference every time!
What happened???? I don't KNOW, but I offer on potential an explanation: I don't have a lot of discretionary money and I am thinking there was a psychological issue at play. Did the tension, due to the significant price difference, impeded my ability to hear what was really going on with the Green cream. In other words, did tension and its affect on the anatomy my inner ear (caused by the anticipation on sonic improvements after applying the more expensive Green cream) negate my ability to hear the Green cream improvements?
In my opinion, a better understanding of what and why specific PWB products affect specific pieces of equipment is critical. It would assist in the purchase of PWB products and minimize the tensions some people experience in applying the PWB products without understanding how or why the products might work would go a long ways to optimize the results of the PWB products.Any thoughts or comments?
Bob Benn, Nashville, USA.
9th June 2004 from Geoff Kait. USA.
Subject: Beyond Equipment per se
I have recently completed a somewhat tedious undertaking (unless you consider shining shoes entertainment) that involves treating records (and other media) in other rooms. The objective of this undertaking is to address Morphic resonance issues related to both information stored on the discs and special numbers & words on the record labels and jackets - e.g., "33 1/3" and "STEREO" as well as "brand names" like RCA, LONDON, MERCURY, Deutche Grammophon, etc.. A small dab of PWB Cream Electret and on all offending words and numbers is sufficient for very good results. All Photos on jacket or inner sleeve can also receive a small and very thin dab. Records can be frozen after creaming for additional benefits. Booklets found in box sets should be treated as well. All books, records and tapes should be stored in a vertical position on shelves for best results, esp. in listening room. All this is pretty "standard" PWB fare but definitely worth repeating.
All this results in a pretty dramatic boost in sound, with a deeper perspective and greater dynamics.
Geoff Kait
9th June 2004 from P.W.B. Electronics. UK.
Subject:
To answer Bob, from nashville.
Over the past twenty years, Peter has gradually identified different adverse energy patterns which we (human beings) react to and has attempted to produce devices and treatments to counter those adverse energy patterns. Over the past twenty years, Peter has realised that we (human beings) have acquired, via evolution and by necessity for survival, the need to read/sense/react to numerous energy patterns. To name a few.
1) The need to sense predators and to then decide what action to take (fight, flight or freeze) in order to survive. But, that in this modern world, we are confronted with numerous energy patterns which we cannot identify correctly and anything which we cannot identify, Nature dictates that we stay under tension (on the alert) until we can. However, the more Peter became involved in that area of research, the more it became obvious that there are other energy patterns which Nature also dictates that we search for/read/sense and they are:-
2) The need to sense/pick up 'reassuring' energy patterns which say that the danger has passed and we can relax.
3) The need to be able to identify such things as where our boundary is, where is the nearest 'safe hole'., 'bolt hole'., 'sanctuary'.
4) The need to be able to pinpoint a stationary pattern to use as a reference point from which to judge changes and movements in the environment (and one has to ask oneself if that is possible, in the modern environment, with the alternating (constantly changing from positive to negative and back to positive) AC power energy saturating everything in the environment - surely we are just left in a state of confusion).
5) When groups or herds or shoals evolved, creatures had to hand over some responsibility for the individual's survival to a 'leader'., or 'sentinel' and had to obey instantaneously - without question - orders such as 'run like hell - and that we (human beings) are still searching the environment for these warning instructions or reassuring signals.
What our devices are designed to do is to provide 'reassuring' energy patterns which can then be superimposed onto objects in the modern environment, objects which are giving us mixed or indefinable and confusing energy patterns.
I fully appreciate the difficulty that people have, particularly people who are fairly new to our devices and techniques, when presented with a huge list of various devices. People who have been involved with us for the past twenty years have been able to accumulate knowledge and experience slowly, in step with us, and in step with the new devices and techniques we have gradually introduced over the past twenty years.
I fully appreciate that the main problem for people, when presented with the full range of our devices, is what to fit, where and for what purpose. But, let me explain the problem we have.
If, say, we discover that the energy patterns which we can induce into the first three Morphic Message Foils we produced I.e. X Film, Blue Z and Black 26 are all needed on (say for example) a transformer, and the sound improves with the application of each strip of the different Foils, then, obviously, that transformer must have certain adverse energy patterns which are being dealt with by those Foils and, if the sound improves, then that means that we (human beings) need those adverse energy patterns to be dealt with. Now, some time later, Peter begins to discover that there is yet another energy pattern which we (human beings) need - and that is the energy pattern of 'safe hole'. If, the 'Safe Hole' Foil is then applied to the same transformer and the sound improves, then this means that there must have been another adverse energy pattern on the transformer which needed dealing with. Ditto, Comfort Foil and New Type Communication Foil.
If then, later, Peter goes on to discover yet further different energy patterns which have to be dealt with and he develops further procedures to deal with these adverse energy patterns, introduces another Foil and you attach a strip of this latest Foil to the transformer and the sound is perceived to have improved, then this means that the transformer was producing yet another adverse energy pattern which had to be dealt with. It also means that there are numerous and different adverse energy patterns created by the transformer and this can be proved by removing any one of the different and individual Foils on the transformer and hearing the sound deteriorate.
What I am trying to say is that there is no single Foil or treatment for transformers - or for anything else !! In our experience, everything appears to have numerous and different adverse energy patterns and we have not found ONE single treatment which deals with them all. Although, there is sometimes the situation where Peter finds that he can combine the treatment for one particular adverse energy pattern with the treatment for another different adverse energy pattern on the same device or Foil but this then requires numerous procedures to be applied to the Foil during manufacture - which makes the resulting Foil or device more expensive.
I think that the reason why the effect of our different Foils etc. can vary with different people and can vary in their effectiveness in different environments and situations is dependent upon what the individual person is (subconsciously) searching the environment for and what they are regarding as important.
It may be of extreme importance for one person to be able to resolve friendly, relaxing energy patterns from all the numerous energy patterns presented to them within their environment in order to get good sound but it could be of lesser importance to that individual to resolve where the safest place is.
But for another person, being able to resolve the safety aspect from within all the numerous energy patterns presented to them within their environment may be of the greatest importance. We cannot say, which, in any circumstance, would be the most effective of our treatments for any particular individual, all we can advise is that people experiment for themselves.
Let me use again one of the hypothetical examples I use from time to time - the example of a party.
Say you are having a party and you greet every guest entering the room with the sentence "Hello, how are you ? Welcome to our home." And each time you greet a guest with this sentence, the sound in the room is perceived as 'better'. The sentence you are using is a 'reassuring' sentence, a 'good' sentence, a 'friendly' sentence - it can never be a wrong sentence.
Say, hypothetically, you have already greeted ten guests with the same sentence and the sound in the room has improved each time. You then greet the eleventh guest with the same sentence but this time there is no improvement in the sound. This I would acknowledge could happen - there will be the occasional instance when no improvement is heard. Now, say, that when you greet the twelfth guest with exactly the same welcoming sentence, the sound is perceived as worse. But, logically thinking, it cannot be the welcoming sentence which is at fault - it must be something else that has happened at the same time. Could (hypothetically) the twelfth guest have carried into the room, under their arm, say two polystyrene cartons containing bottles of vintage wine ? Could this be what had caused the sound to be worse ?
(Many of our customers who have been experimenting with our treatments for quite a number of years will know that such a material as polystyrene - a particular mix of chemicals - has an adverse effect on the sound.)
A beneficial message is a beneficial message. If it works when applied to ten guests, then it cannot be wrong when applied to the twelfth guest - there must be another reason if the sound is perceived to have deteriorated.
Kind Regards,
May Belt.
10th June 2004 from Gary Lee. USA.
Subject: One-sided
At least I seem to be on the right track from what May said. My hope was that someone might suggest a possible source of change that I had overlooked, some "wine in plastic containers" that might have gone unnoticed. Since I had great success treating a Creek cdp that isn't generally regarded in the same class as the Arcam CD92, it doesn't seem like the treatments could cause any lack, especially since several more high-powered treatments were included on the Arcam. Also, previously when just a few treatments were applied to the Arcam, there were some significant improvements. It occurred to me that perhaps I had combined some treatments in the wrong way or unwittingly changed something while applying them and, thus, negated the treatments.
The only other time something similar happened was in treating the water heater and pipes in my home. In that case nothing negative was perceived. There was just no positive increase in the perceived sound. Since reaction to the treatments is highly individual, that is understandable in some cases, but disappointing, of course. But even including these two situations, my percentage of successes with PWB products and treatments is delightfully high.
The neutral results of the water heater treatments tie in with Bob's situation. Rende and I have exchanged some notes, and recently I mentioned putting Quantum Cream on the side of cd's that are read.
This is a practice I have always done, ever since first receiving a sample of Cream Electret several years ago. It has always produced excellent results. Rende had reservations about doing anything to the playing side. He had always put the Cream only on the label side. But he got adventurous and gave it a try. For him, the perceived sound was not as good with the Cream on the playing side. So the same treatment gave two different results for two different people. There have been other examples like this here at the PWB group. That's why we seem to have our favorite foils. It is just a matter of trying things out to see what works best with one's own system. That is why May's generous practice of sending samples is such a blessing. Several times I've had to say, "Wow!", and send for a new foil. Other times I've decided to wait before acquiring more.
I haven't had much time to listen since the weekend disaster and actually felt it might be wise to let my feelings realign, so to speak, before listening again and trying to evaluate the results of the treatments. This also seems to tie in with May's notes. I'm metaphorically waiting for the spider to leave the room before listening again, although this area does have an overabundance of 8-legged creatures. Maybe that is the problem. Perhaps each spider around here should be treated with a pair of PWB four-legged devices.
As usual, thanks to all for the notes. Any other reactions will be equally appreciated.
Gary
10th June 2004 from P.W.B. Electronics. UK.
Subject: disaster relief
There is one particular example I remembered after writing my latest 'posting'. Of where one of our treatments can give a perc