This  Project is an attempt to re-create Keely?s system of Aqueous Disintegration.

Since trying to duplicate Keely?s system with acoustic resonators is difficult to do and prohibitively expensive, the idea is to use modern electronic equipment to arrive at the required wave forms.

On the surface this sounds like an easy task, you simply take a number of oscillators and generate the chords that Keely?s system calls for and subject some water to the resulting vibrations and, if Keely is right, this should work.

In reality there are a number of hurdles with this approach that Keely did not have to battle with, though the generation of the primary wave forms can be done with the same accuracy that Keely stipulates but with much more flexibility and far less effort.

My basic approach is visible in the attached diagram. Please bear in mind that this is a diagram of the basic principle only. As it has been pointed out when I first published the diagram, if I used that much water and if I was lucky enough to reproduce Keely?s results, there would be little left standing of the house and I would not be around to tell the tale. It was a fair comment.

Any attempt to dissociate water is fraught with at least some danger and the threat of an explosion is always there.

In the coming posts I will go through the system step by step describing the software and hardware being used in detail. This is a project that is currently being actively worked on by a number of people and reports of any progress and failures will be forthcoming as they occur.

This is meant to be an open sourced project, so please feel free to contribute and/or criticise along the way.

For the moment I will stick with the carrier frequency that Keely allegedly used though I have reservations about this, a subject I shall address when it comes to frequencies.

Hans von Lieven

G.day Bill,

As I said, the above diagram is an in principle arrangement only. In this example there is depicted a simple way of introducing the waveform into the water by means of two electrodes. This is the most direct way possible. This is also the approach taken by Stanley Meyers, Kanzius and Fleischmann and Pons in their cold fusion experiment.

I do not believe that this system will be successful as far as the Keely phenomenon is concerned, though for the sake of thoroughness it must be tried and thoroughly investigated.

Keely was working with PRESSURE WAVES. They behave in a different fashion to electromagnetic waves and are, in my humble view, an essential component in Keely's system.

This is one of the major hurdles I spoke of earlier that Keely did not have to contend with.

Traditional transducers are not of much use here as they do not have the required frequency response. Keely relies on the creation of powerful overtones way beyond the inaudible, something that can be achieved with resonators in an atmospheric medium, but not with loudspeakers, piezo electric transducers and the like because of their structure.

I am working on a number of ideas how to do this which I will publish here as part of this research programme, so please be patient for a few days.

Each stage of the above diagram will be discussed in detail, I am working on it now.

Never feel sorry for asking questions, it is for people like you that I am writing this.

I have always felt that each piece of knowledge that we gather as we go through life carries with it an obligation. The obligation is to pass it on freely to anyone who needs or wants it.

Most of what I have learned came from others and their willingness to share and to educate. Once having learned it it is now my turn to pass it on. Without that we would be still living in caves and throw rocks at each other.

Hans von Lieven

IronHead went beyond Meyers' work.  You might look up his posts on this forum concerning electrolysis cells and HHO.  Lot of good stuff there.

Hi Hans,

Sound at the speed of light?

http://physicsworld.com/cws/article/news/23467

http://www.msnbc.msn.com/id/16599496/

A new meaning for Mach 1 (c ) ? 

Ps,
Sound at light speed would make for some awesome headphones don?t you think?
Unless it liquefied your brain of course.

Keely?s system relies on the generation of complex waveforms constructed along very rigid and precise lines. Because of the technology of the day he was forced to use a series of acoustic resonators. This imposed a number of restrictions as to usable frequencies and relative amplitudes. It is my view that it is because of these  restrictions that Keely found out what he did and that modern replications involving electronics have failed to produce the same phenomena because the restrictions were not taken into account.

For instance, using acoustic resonators, the only way to increase amplitude of a certain note is to add more resonators of the same kind. This may sound banal and of little consequence until one examines the relationships here.

Take one resonator. If you now add one more resonator you increase the volume by 100%. Or by a factor of two. Adding one more again you increase the original volume by a factor of three and so on.

See what I mean?

The volume increase follows the same arithmetic progression as the harmonics.

This where Keely parted company with contemporary acoustics. His machines exhibited not only precise mathematical relationships between the notes, but also in their relative amplitude.

I consider this a vital aspect in the overall design of his machines.

I have in all my research never come across a comment that mentions that fact.

Modern electronic circuits allow incremental increases in amplitude. Therefore Keely?s system is NOT being replicated unless one knows of this. I believe many failures can be attributed to that particular oversight.

Hans von Lieven

Keely?s system calls for the generation of the same chord in three different octaves as the introductory impulse.

A basic major chord consists of three notes, namely the first, third and fifth note of the scale. In the scale of C-Major this would equate to C-E-G for instance.

This gives us a total of nine notes that are required as the audio input to the transmitter. Each note must have its own oscillator.

Furthermore the three groups have to have a specific relationship to each other as far as amplitude is concerned. That means that each group must have its own amplifier.

These are then the basic requirements the software must meet to be of use.

Fortunately there are a number of programmes available that not only meet, but far exceed these basic parameters.

The programme I favour at the moment is a Java application called JSyd. The beauty of this programme is that it has a graphical interface and it does not need installing on your computer. Simply download the file, unzip and click on the programme icon.

Of course that means that you computer must be Java enabled, though I would judge that most people here in this forum would have that already. The other beautiful thing is that the programme is free. The zip file is attached.

There is reasonably good documentation that comes with it.

The beautiful bit is that you simply drop and drag each component like oscillators, amplifies, mixers, speakers etc onto a canvas, connect them with patchcord in the desired configuration, click on each component and adjust the parameters and you are in business.

A click of the button will render the waveform, which is displayed on the bottom like an oscilloscope trace.

Once traced the sounds can be saved as a .wav file and replayed in real time.

The drawback is that depending on the complexity of the waveform, the sampling rate and the sample length, it can take quite a while to render the waveform. In other words you cannot generate the required sounds in real time.

For the generated sample to be of any use to us we need a second programme that can take the sample, analyse it, find a zero crossover point and loop the sample.

This way we can sustain the sound generated indefinitely. Suitable audio editors can be downloaded here. Both programmes are freeware.

http://www.snapfiles.com/get/wavosaur.html

http://www.snapfiles.com/get/audacity.html

This is about all you need to get started on the audio end.

Hans von Lieven

The problem with digital sound reproduction or creation is that the signal is a square wave, no matter what sound is produced . Look into it,  you will find the digital can not replicate a sound in its pure form. There will always be the square wave breaking up your sound pattern.

This is the nature of digital and its 1s and 0s or on and off
IronHead

Keep an eye on what the electrolyser people are up to. I am fairly sure that the Bob Boyce circuit board puts out the Keely frequency of 42.8khz, and 21.4khz and also 10.7khz. They go to a 101 cell electrolyser, each cell getting a volt or so, described here:
http://www.panaceauniversity.org/D9.pdf
and here: http://www.bobboyce.org/
and discussed at length on the hydroxy, watercar and workingwatercar Yahoo Groups. I think Keely's orginal experiment had water in a quartz bowl which resonated at 42,800 cycles per second. I don't know how he tuned the bowl to this frequency.
Paul.