SOUND

SOUND

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RESONANT ARRAYS AND GENERATION OF SOUND

As everything I have written so far, I cannot go into every possible detail of the phenomena dealt with and I describe just the general and gross principle of causality. I have to start with what at least one material is all about in its microstructure, before I can get to the subject itself, the resonant array responsible for electric conductivity as well as sound generation, propagation and resonance. I cannot enter into all the details of alloys, which are self-treatable and non-treatable etc. and it is not really necessary. I apologize for the length of this article.

Each atomic nucleus (a cluster of nucleons) is retained among other atomic nucleuses by closed valence bonds. The structure appears usually as hexagonal when interpreted by scanning-tunneling microscopy. This would be quite applicable to carbon molecular sheeting, but iron does not show any plies in its structuring and therefore we have to conclude that its three dimensional structure is six bonds at the surface plane and at least two bonds in the direction orthogonal to this plane within the material. The valence bond, which is on the near side of the plane of the surface remains open and may appear as a hole or as a bright center depending on its polarity and the polarity and interpretation of scanning apparatus.

The important fact is, that as much as the iron has closed valence structure tying together its nucleuses, it also has valence structure tying together its crystals and its crystal clusters, the material grains. Somewhat more practical material to use for descriptions is a carbon steel alloy, because all “iron” as we know it is an alloy of iron and other elements anyway, with the exception of two ancient "pure" iron columns in India (Dili) of an unknown origin.

Carbon is the one alloying element, which is always present in man made steels, be it carbon or stainless steels. It functions as filler among the crystals and grains of steel as well as a binder. Contrary to the depictions in chemistry textbooks where carbon sits in the center of the steel molecule, or crystal, it has been found out in metallurgy of welding that carbon precipitates in inter-crystalline cavities along reheated areas, that carbon is in solution with steel, rather than being imbedded inside steel crystals or molecules. This carbon precipitation is responsible for corrosion and especially inter-crystalline corrosion, which is equivalent to galvanic corrosion. It is also responsible for stress cracking in the transition zone between a weld and the base metal.

We can look first at the processes of forging and tempering of steel. A piece of steel is heated to “red hot” color, which is roughly equivalent to 800-900C. The steel softens at this temperature quite noticeably, can be easily forged and easily bent.

When we bring the temperature still further up, to some 1450C, the steel melts and it should be noticed that it looses its property of electrical conductivity at this stage as long as the current is not passed into it by an electric arc. This is caused by interruption of integrity of closed valence bonds, which cease to chain the steel across the material and create a path of valence bonds and nucleuses, a quark path, across the bulk of the material. In principle, this is the same phenomenon as the non-conductivity of distilled water.

When steel is brought to the 800C temperature range, some valence bonds within the structure fall apart and can easily shift due to their stretching which is due to increase in thermal energy and some of the material begins to fuse. Forging of steel while it is cooling compacts the still solid steel grains and crystals and the fused metal between the grains is being forced by impact pressure to fill the gaps. Part of this material is carbon, which is dissolved in the solution and can be considered mono-atomic. Carbon atom is substantially smaller than iron crystal or grain or molecule and it fills in gaps among solid crystals too small even for the fused iron. The distances between the iron grain planes become smaller and better filled with the fused iron and carbon, which allows creation of more closed valence bonds between the crystals and the steel hardens to a degree due to forging, but most of all toughens by forging. Relatively slow cooling of steel from these temperatures leaves the steel soft and tough. Relatively fast cooling leaves the steel hard and brittle.

When steel is cold formed or forged, its inter-crystalline structure is again compacted, but without the benefit of the partly fused iron and carbon filling into the gaps. This causes somewhat greater hardness and toughness then in hot rolled or worked steel.

In all, the toughness of steel comes from the compactness of the steel grains while the hardness comes from the disparity of lengths of valence bonds between crystal and grain edges and planes. When we begin to understand the crystalline steel structure as a heap of crushed stone, we may appreciate that the distances between valence bonds joining the crystals come in an assortment of lengths and that these length do not necessarily vary in some harmonic increments of length. While all the closed bonds between the crystals tend to achieve a harmonic length, the more or less random size and shape of the crystals and grains disallows this and sets conditions for stressed and stretched valence bonds among them. So, we have stressed (shorter than harmonic) bonds, the harmonic bonds and the stretched (longer than harmonic) bonds present in an alloy at the crystalline and grain boundaries.

It can be stated that the greater is the disparity of inter-crystalline and inter-grain valence bond lengths within the material, the greater is the tension of a greater proportion of valence bonds. The stretched bonds function within the material in the same way the pre-stressed armature steel bars function in “pre-stressed” concrete. Their tensile strength is close to its limit, which makes these bonds less flexible than the harmonic and than the stressed bonds, but they also increase the general strength of the material being closer to their limit of breaking, disallowing further material stretching, but not breaking. These stretched bonds first of all resist further stretching to a greater degree than the harmonic and stressed bonds and when further stretched, they give in and break before the harmonic bonds stretch to the limit and break and the stressed bonds become harmonic. Stressed bonds on the other hand tend to push the grains apart, acting in opposite direction to the stretched bonds.

At the same time, we have to keep in mind the function of carbon dispersed among the crystals and grains of iron. While iron itself bonds by what is called a covalent bond, the carbon binds with iron by what is called an ionic bond. There is no qualitative difference between the two, as both are dipole electric fields (actually also magnetic fields), but there is a substantial quantitative difference between the two. While steel has its own peculiar spectral frequencies of electric field only, as any other element, its “covalent” valence bond includes only its own spectrum of electric frequencies and it can be said that the covalent bond lacks many other frequencies, by which other elements tie into a bulk material. This makes for a weak magnetic bond.

When carbon is introduced into the soup of the alloy, it brings in its own spectral frequencies, which are not normally present in iron, but which can be induced in it and vice versa. Therefore, carbon atom widens the electric field spectrum of valence bond, creating quantitatively stronger “ionic” bond, which contains many more electric frequencies in its magnetic node, the general magnetic valence bond wave. It ties the grains between which it is imbedded into a stronger structure reinforcing the inter-crystal and inter-grain bonding of the alloy. This alloying is much more pronounced in what is called ceramics, where the mixture of elements is mostly based on “ionic” bonds, rather than “covalent” bonds of metallic alloys.

When “red hot” steel (carbon steel) is fast cooled in water etc. it hardens and the grain in its break appears relatively fine. When the same piece of steel is allowed to cool slowly, it stays relatively soft and the grain in its break appears rough. When the hardened piece is reheated to around 300C, it again softens and appears rough in its break.

This can only mean that the grain of steel is a cluster of crystals, a smaller crushed stone heap within the heap of grains, the bulk. While moderate reheating of the material (circa 300C) allows the small grains to regroup into larger grains, fast cooling from this temperature does not cause regrouping of the large grains into small grains. It is easier to break valence bonds than it is to create them. All in all, when we look at alloys, meaning all commercially produced metals, we are looking at atoms creating regular arrays of crystal, which are again joined by valence bonds into irregular arrays of grains, which are again joined by valence bonds into irregular array of the bulk material.

We can then expect that we will find an assortment of crystals as well as crystalline grains in the bulk, but that these particles will repeat in similarity of size, shape and relations through out the bulk, which allows sorting them into classes of similar, if not identical crystals and grains. Then we can expect that each such class of crystals and grains has its own resonant frequency, a frequency at which it oscillates within the bounds of its neighbors being retained by valence bonds. The rate of oscillation of each class depends on the mass of its clusters and on the overall tension and stress of its valence bonds as they are imbedded among other clusters. Each class can be considered to represent a set of tuning forks with its own peculiar frequency of resonance and responsible for a particular pitch of sound (timber in the over all tune) corresponding to its frequency of oscillation. The whole material will then sound as a chord of frequencies we call a tune, which is a composition of timbers produced by oscillation of individual classes of material clusters.

The whole body of material sounds as one only under the condition that its clusters in each class are spaced so and vibrate so, that their sound wave compounds as it progresses through out the material in step with the progressing sound wave and this sound wave is harmonic to the mechanical frequency of the body. The progression of the mechanical oscillation itself is conditioned by the grain compatibility of harmonics.

 This is further conditioned by:

 1) The temperature of the material. The hotter is the material, the more does the thermal grain oscillation interfere with the in step mechanical sound wave propagating across the bulk, with the in step resonance of grains and with the mechanical oscillation of the bulk as such. The sound of the object becomes dull with elevated temperature. On the other hand, thermal oscillation interferes less within colder material and its sound becomes clearer with lowered temperature. The same goes for the pitch. The elevated temperature releases the stresses while decreased temperature increases the stresses. The result is the same as when releasing and tensioning a guitar string.

2) The organization of the individual grains of the same class through out the material. The more even is the spacing among the grains of each class, the less random interference (which could be considered thermal) will be produced by out of step resonance(s) wandering within the body. The closer is the material to having its grains organized in a regular repeated pattern the cleaner is its tune.

3) The fewer classes of grains and their condition of mutual relationship a body has, the more is the material homogenous, the clearer is the material resonance as such. This can be conditioned into a material by chemical composition, by heat treatment, electric or magnetic treatment, vibration treatment and mechanical work.

All of the above though is conditioned by having stresses in the material. That means having stressed and stretched valence bonds present in the material structure in the first place. Those valence bonds, which are at harmonic length, do not introduce tension into the material and behave like fairly loose strings. Materials, which are homogenous in the sense of having most or all valence bonds close to or on the harmonic length sound dull, are soft and pliable and have an indistinguishable pitch. This would be the case of lets say led or soft copper or aluminum, even soft steel. Exception is a material like bismuth, which is soft and dull sounding, yet brittle. The bismuth exception is caused by its crystallization into comparably huge crystals.

The bulk body sound can be regulated by its shape and size (or a cavity etc.). While the individual cluster classes are responsible for the generation of the sound timber in a material. The over all mechanical longitudinal wave oscillating across the body changes the local stress among the clusters at its nodes and therefore changes the resonant frequency of the affected grains at the nodes. Therefore, the over all mechanical wave changes the timber sounds in particular localities and each of the classes of the clusters temporarily and alternately split into subclasses, because the longitudinal stress and stretch progressing through the body along the mechanical oscillation of the body changes their condition of stress as retained among other clusters.

The higher is the frequency of the mechanical longitudinal wave, the greater is the tension it produces at its stretched and compressed phase. This changes the condition of stress on clusters in the stretch-stress areas and their resonant frequency increases. This causes higher pitch of timber sound of so affected clusters and the higher over all composition pitch of the sound tune of the whole material body. On the other hand, the locality of compressed phase of the mechanical wave adds to the compression of stressed bonds and causes stress and higher rate of oscillation. Both locally stressed and stretched valence bonds are responsible for increase in over all pitch of a tune of a body like a bell or a string.

Over all tension or compression of a bulk of material has again the same effect of increasing the pitch of the over all tune.

NOTE:

Just to set a record straight on ionic and covalent bond, it is an arbitrary definition between what is considered to be + and – charged atoms (ions) together and what are electrically neutral atoms joined together. As I have shown in the previous stages of TTF series, the charge as such is a superficial excess of single polarity in a dipole entity, be it a charged comb, or emitted electron. The same is valid for ions. The reactivity of ions is somewhat higher than reactivity of non ions, but as dramatic as the reactivity can be in case of lets say sulphuric acid with kalium hydroxide, it can also be as mild as the reaction of carbonic acid with baking soda, which tells us that different ions have different values of charge. Once a valence bond closes, it is electrically neutral (unless distorted) and it does not matter whether the atoms it joined were ions or neutral atoms, because the neutral atoms are electrically balanced dipoles.

CONDUCTION OF SOUND

We can readily observe that the same sound produced by a speedboat engine is entirely different in air and in water. If you don’t believe me, test it. The mechanical sound wave crests cannot hit the ear at different frequency in air and in water while the motor and the observer are at relative standstill to water. They propagate faster in water, but that only means that they get faster from the source to the observer in water. They cannot be observed at faster rate of frequency by the observer than is the rate at which they are generated at the engine. It is actually again readily observable that the hum of the engine, the strokes of the engine pistons and exhaust, have the same frequency above water as below water.

This means that the mechanical wave in water has the same frequency and wavelength as the mechanical wave in the air yet, the pitch of the over all sound is quite different in the two observations. This shows that the material stress of the medium, through which the mechanical sound wave propagates, has bearing on the timber pitch and therefore, on the over all sound pitch of the sound as it is communicated by different materials.

The frequency of the mechanical wave in the material, which is currently considered to be a sound wave, and the cause of sound and its perception is quite inadequate in the description of what sound really is. The mechanical wave is only a moderator and a condition of the real sound composition of the individual timber sounds. Such a mechanical wave carries no sound if the material grains and crystals do not resonate with it. Such a mechanical wave can be readily produced in rubber and a whole slew of similar materials, yet none of them will squeak a bit. On the other hand, a tense steel rope 1½” thick and a 300Ft long will produce high-pitched sound, even ultrasound, if hit by a child’s foot clad in a rubber soled shoe, despite the fact that the transverse wave generated on that rope will have the wavelength of at least 30Ft and a frequency of 1Hz at the most. If you don’t believe me, kick some long and heavy guy wire on some transmission tower and don’t get caught.

When we take the sound speed in air, we can deduce that its speed is related to the resonant speed of air molecules. But, we have to keep in mind that air molecules make up neither liquid, nor solid material at ambient. As much as it is claimed that air is composed of diatomic molecules free of valence bonding among them, I have to argue that the clinginess of air molecules to themselves and to any solid material substrate is still a case of valence bonding, albeit extremely weak and qualitatively different. It is again a question of the length and strength of valence bond, but most of all the spread of valence bond and sharing of any single valence bond field among many molecules of gas, rather than only between two molecules. When a valence bond reaches its threshold of energy content, which is electric energy content, it elongates far enough to be able to tie to more than one other molecule of gas. Magnetic field of an array does the same thing.

The latent heat of fusion and evaporation is energy, which is necessary for elongation and split up of enough closed valence bonds before their expansion overcomes the remaining closed valence bonds breaking them apart and again opening them. The temperature may not change during the evaporation and will not change at boiling, because the oscillation rate of the liquid material clusters may not change. The energy of latent heat goes into the electric energy of the vapor, not into the liquid. The latent energy of fusion goes again into the electric energy of open valence bonds within the liquid, but the open valence bonds are electric phenomenon and lack the magnetic property of temperature.

This is similar to the behavior of magnetic fields in magnetic arrays. The lines of force created by steel shavings represent closed paths of magnetic communication. The space between the shavings is free of magnetic field. The spacing of magnetic lines of force due to the coarseness of the shavings represents the saturation capacity of the shaving grains, which again is conditioned by their size.

When the field of the valence bond has low energy, it can bridge only a short distance and it will join only two nearest points of two molecules or atoms, if anything. When the field of closed valence bond is expanded by its energy content, it can split among a few atoms or molecules and join them across much larger distances and keep them there. When that happens, the state of liquid becomes the state of vapor, gas, because the well defined magnetic closed valence bonds become undefined, shared and transient electric and open valence bonds. The liquid state is actually only a transitional state where there are quite a few closed valence bonds between molecules and/or atoms and/or grains, but also quite a few open valence bonds.

The pressure in gases represents compression among the gas molecules of air and to a degree within the molecules of air, which again is responsible for the ability of air to pass sound. The lower pitch of sound and the lower speed of sound in air, as compared to water, is the direct result of the mean speed of molecular oscillation. Molecular and crystal and cluster resonant speed is not exactly dependent on their temperature. It is dependent on the degree of stress within the material (and the masses of clusters etc.), which can in some cases result from increased thermal energy (or electrical energy) content. The phenomenon of latent heat of fusion itself proves that the temperature of the material does not necessarily express the thermal energy content in a material. That is why different materials have different coefficient of heat absorbency, the specific heat.

While any crystal of cluster or grain necessarily accelerates and decelerates during its oscillation, the speed of sound in a material can be taken for a mean speed of resonance of all the classes of material clusters in the bulk. This also spells out what the molecular speeds and grain speeds and crystal speeds of oscillation are in different materials, including air, and that the molecular speed as arrived at from the wrong assumption of the thermal cause of kinetic motion of water molecules, causing Brownian motion, is all absolutely wrong and that Brownian motion should be researched and tested for its relation to the rate of evaporation, rather than temperature.

The frequency and the pattern of the mechanical wave (currently called sound wave) propagating through a solid material like steel can be modulated and the variety of stress and stretch localities gets modulated as well. At the same time, this mechanical longitudinal wave can be compounded and can compound itself by reflection in a lot of shape arrangements and gives the birth to the so-called beat notes, which were not originally generated. The beat note occurrence depends not only on the wave generation, but also on the material of propagation and its conditions of shape and size etc.

The more interesting phenomenon is sound produced in materials, which do not conform to the over all mass and size and shape of the body. The sound in such materials keeps its pitch at a steady level, disregards the mass and the shape of the material bulk itself. These materials are not subject to overall resonation and sound resonance cannot be induced in such a body by purely mechanical means like hitting it with a stick. We can induce sound in them, resonating only some of their cluster classes either by an outside sound generator, or by magnetic resonance and possibly by sustained mechanical vibration.

These materials are so called ceramics, usually metallic oxides. The difference between the alloy of metals and the “alloy” of ceramics can be found in the fact that while the metal alloys depend mostly, but not solely, on the “covalent” bond, ceramics depend mostly on “ionic” bonds. The inter-crystalline and inter-cluster bonding in ceramics is substantially stronger (per bond), but also much more tense and brittle. The size of the grains and their consistency, or inconsistency for that matter, gives the ceramics their acoustic as well as electric properties. As much as any small grains within their polycrystalline structure function as resonators at relatively high frequencies, large grains function as very low frequency resonators. When the large and small grains are not in harmonic proportion of mass and size and tension and distance, the same sound can resonate only some classes of the grains and crystals in these materials, while the rest of the grains function as dampers of any general mechanical oscillations. The over all mechanical waves of “sound” can propagate through such material, but cannot mechanically resonate the whole body.

The only sound, which will come from such body, is the sound of the grains, which belong into harmonic family of classes under resonant condition of tension. The rest function as insulators, or dampers of mechanical oscillation. These materials are polycrystalline ceramics, like most ferrite magnets, high temperature superconductors and finally stones like limestone and granite etc.

They have all one thing in common, that is the fact that their inner structural components can be resonated without mechanically resonating the whole body of the material. This brings an advantage in that sense that each of these materials has only a few lines of harmonics of timber oscillation, if not only one, at a given temperature and stress. This means that a single tune of external sound will induce the timber oscillation in a reasonably consistent ceramic material disregards its size and shape.

There is also the electric side to the sound. I have mentioned the spectrum of frequencies of the electric valence bond field. Every time a valence bond is stretched, it absorbs energy from the gravitational field, distorting that field to a degree. Whenever the valence bond is compressed, it returns energy to the gravitational field distorting it again. The word distortion is really a relative term. There is no symmetric field anywhere in the universe. Even the magnetic field of the most precise permanent magnet or electromagnet is a distortion within the ambient field, although it itself could be called symmetrical. All there is to distortion is a change in mutual relationship of communication within a multitude of superimposed and interrelated fields.

This has a few practical implications:

1) Partial solution to the enigma of Ed Leedskalnin’s Coral Castle and his stone levitation as well as building of ancient stone monuments with the help of sound resonation. The timbers of sound resonation of a stone like granite or coral etc. can be well beyond the human hearing and therefore beyond human acoustic detection. On the other hand indirect method of using fine grained salt spread on the stone and watching its behavior should do. The salt grains should organize themselves into nodes when the grain class resonance is achieved even with the human voice as sound generator. The material in such resonation mode induces alternate and identical field at each resonating grain of the material. This creates what could be called Meisner magnetic field around the chunk of the material. This field is seriously disturbed and influenced by outside fields, such a geomagnetic field and all the possible and impossible radio and microwave transmissions. The way around this can be found in the steel shavings and lines of force. One can build a double row of “iron” posts around his work in order to create a gap in magnetic field of earth as well as a gap in radio transmission waves. Hosing the ground should prove quite beneficial too.

2) Acoustic solution to room temperature superconductivity. As I have explained in my Tour the Force, the ceramics allow the hot superconductivity in them exactly because the large grains in these materials damp out what is called chaotic thermal oscillations, but most of all the thermal oscillations of inter-crystalline and inter-grain valence bonds. Sound resonance cannot damp these oscillations, but it can organize individual chaotic oscillations in well-designed ceramics into a stable pattern, therefore stabilizing and homogenizing the random thermal oscillations into in step acoustic oscillation. This will allow a synchronized pulsed DC superconductivity through such ceramic at room temperatures.

3) Acoustic solution to energy generation. As long as the acoustic resonance in the ceramic can be generated so, that the pattern through the material resembles a standing wave, the compression and stretch nodes in this pattern will have different energy potentials. If hooked together in parallel and split by diodes, the ceramic can be drained for electric potential, which can be converted into electric current through a tube (lamp) diode, or at least a spark gap. The material itself would have to be shielded from the spark gap in order to limit the EM disturbance from the spark. The energy itself does not come from nowhere. It comes from the ambient electrical potential of the earth and universal gravitational field.

WHAT IS SOUND?

Sound is a wave of alternate induction of electric fields among the material molecules, crystals, or grains; whichever is applicable to the particular material. It is for all the practical purposes a partly longitudinal and partly transverse wave of altering electric potential. This wave transfers from material to material, as long as the material is able to support the mechanical wave propagation and grain or crystal (or cavity) oscillation. The perception of sound by human ear needs the barrier of the eardrum, which passes the mechanical oscillation to the hammer and then to the anvil. Never the less, the sound itself is electric in its substance and the repeatedly altering value of electric induction along the mechanical wave is partially passed from the medium, such as air or water into the ear and the nervous system.

Nervous system of the ear translates these values into its own electrical signals and passes this information to the brain, as well as it translates the mechanical frequency of the eardrum beat into its own electric signals and passes that information to the brain. The old age deafness is not caused by the malfunction of the ear. Each of our sense organs interprets and passes the information from the outside to the brain. The sensitivity of those organs remains fairly constant through out the life, unless afflicted by some debilitating disease. But the brain itself learns to ignore and/or to neutralize that information, which comes repeatedly and often and to which the conscious mind does not react by some action. The old age deafness should be cured to substantial degree by teaching the affected person to somehow react to such sounds, to consciously listen for such sounds, to train their hearing back. Since the brain knows little about the sound combination, but a lot about the frequencies, it isolates the frequencies rather than their harmonics and sequences.

Such a process can be seen in persons who have lost their eyesight. Their hearing capability and their touch sensing capabilities get enhanced with time only because they become the important means of perception of the outside world.