BIOSONIC

The difference between the FFT analysis and the CHROMATIC TUNER analysis of the voice
It is like the seeing the forest before seeing the trees.
By forest I mean the personalized notes and octaves, because the weakest note in the main octave of the voice is clearly seen in the BIOSONIC program and I will further explain why it is most of the time hard to see in an FFT analysis.

In voice recognition technology it is known that the range of a mans voice goes from 50 to 180 Hz, and the woman’s and child’s voice from 100 to 320hz. approximately, and that is the general tonality or pitch of the voice, and it is the vibration of the vocal chords, from here all the harmonics come out and that is what the FFT picks up.

The chromatic analysis is the best way we can see the weak notes in the main octave of the voice, or the pitch of the voice at that moment, that is what Icall the forest, seeing the landscape and the which trees compose the forest, to see where inside the forest there are spaces with trees missing, so we know where and what kind of trees we need to plant to complete the vocal coherence and achieve harmony. The FFT shows higher in amplitude the 3rd and 5th harmonic, that is why it does not coincide that much either with a 40% in an FFT program, sometimes more than others, it depends if the fundamental frequency has been ample enough to show in the FFT. Maybe that happens when the person has been talking more in his body, because the fundamental frequency shown in the chromatic analysis is the energy of the vocal chords and portrays the physical body's energy.

As an example we will say a person has the highest note in D in -1 octave and A note is the weakest of their vocal chords in -1 octave as well, which is the main octave of their voice at that moment. The harmonics of the highest note D are D and A in the midC octave. In the FFT we will see note A very high too, which comes out from the harmonics of the highest note being D, and then in the +1 octave the harmonics of D in the -1 will be notes D, F and A, so it is hard to see the weakest note not having the fundamental frequencies of the main octave of the voice which is what the chromatic type analysis gives us and it is more apparent the harmonics than the fundamental. in the FFT type analysis. In the FFT we will see very high A in the average or in midC and will be hard to know that the weakest note is A. Most sound practitioners have dealt in the FFT with the highest notes, because that is the way to deal with it in the FFT type of analysis and give the person the inverse of the highs, that is an easy way to simplify something that is not shown in FFT, and many times the highest note changes while the weakest note remains most of the time the same, and this is hard to recognize this in the FFT type analysis. Most of the times as the BIOSONIC shows the weakest note is not radial or opposite from the highest, so by giving the inverse of the highest notes we are getting close but not in the note we need to deliver the person to obtain coherence and harmony. If the highest is radial to the lowest we are in more coherence than if it is not, most of the times it is the one next to it or it is nothing close to the inverse when the incoherence is more evident.

One can see the harmonics happening in an FFT in real time, which is what I concentrated in analyzing before deciding all of this. In the real time FFT the harmonics will show more amplitude than the fundamental frequency most of the times, because we talk reacting to thoughts and emotions, moving the face and using the tongue in different ways we do variations and distortions in the harmonics. We should be able to distinguish with this what the chromatic BIOSONIC is showing us, the physical energy of the main octave and the harmonics of the FFT are showing the way we modulate those harmonics with the resonant box of the mouth, tongue, teeth, and facial gestures, this is due to emotions and thoughts. With this we can distinguish the octaves above the main physical octave (shown in the BIOSONIC program), as emotional, mental and spiritual octave realms, which is what is shown in the 2nd module of FFT for voice analysis.

The main octave we need to take it from the Chromatic type analysis and take that information into the FFT. then we will know too which fundamental frequencies are missing in the main octave and by delivering those we balance and fill all the notes in the Chromatic main octave, as well as the harmonics shown in the FFT.

Then getting into the trees is knowing from the FFT which range of frequencies we need to find with the Nutritional database to deliver to the person, looking at the harmonics (which is what we have in the FFT) and looking at the wave shapes in the FFT program for Voice analysis and then we will obtain a perfectly balanced and fully coherent voice, because we can go exactly to where we need to look for frequencies, as they were trees and also which kind of trees we need to plant in that place. All frequencies will fill in everything through its harmonics, and if it happens that there are still places with holes in the harmonics in higher octaves according to the FFT, then we will need to think that something is happening or missing in the emotional, mental and spiritual realms. The distinguishing of these realms Lauren Gardfield and I started to look at it, since the summer of 1998, she has a good working knowledge of it, but she does not personalize these higher octaves because she does not individualize them for every person and voice plot, she decides -1 for women and -1-2 for men, i disagree not personalizing it, we need to see the whole picture if we do not start with the chromatic type analysis. so i am now concentrating in the fundamental frequencies that come from the vocal chords and the chromatic tuner BIOSONIC and then i will take that reading to the harmonics and the FFT like Sound Assistant. now it is still complicated to use both programs, one can do it, but slowly i will give all the instruments to see this in an FFT real time and analyze the harmonic distortion that occurs from the fundamental frequencies we now have. then we will see what imbalance comes from the physical, which comes from the emotional, mental or spiritual. I still have much to go and the programming seems to be much slower that I would like to.

The BIOSONIC program will relate to a nutritional database, and will show the inverse frequency of all the frequencies spoken , and to see the complete picture body-emotion-mind and spirit we need the 2nd module of FFT. This will give us the possibility to get into the trees, in a certain area of the voice plot and decide which trees/frequencies to plant, where and why, to create a full coherent forest with trees, from the voice, and boosting up the healing system of the body.

To say a little more on harmonics lets say a fundamental frequency of the vocal chords is 150 hz. D in -1 octave, the harmonics are just fractals of 150 (150+150+150 etc....)as a ladder growing up octaves, so 300 hz. is the first harmonic D in midC octave, then 450 hz. the next which is note A in the midC octave, then 600 hz D in the +1 octave, then 750 hz. F in the +1 octave and then 900 hz. A note in the +1 octave, and so on, to see how these come out of the 150 hz. D. And how much harmonic distortion they have, or if they are exact in their fractality is what I need to see, before I decide in which octave we should give the frequency back to the person and why, (what tree and where). According to each higher octave it will portray what we are expressing, emotions, thoughts or spiritual goals. There is so much to see that I hope the tools I will create will help us see all of this in a real simple way, To use both the chromatic BIOSONIC and the 2nd module of FFT will make all of this real simple.

Now until we do not have both modules yet, if you have an FFT program as the Sound Assistant from Dan Kunkle, you can still do it in a simplify way. Just find the range of frequencies you want to treat in the BIOSONIC and then look at these in the FFT and you will obtain better results and more coherence in the voice, which shows that the natural healing system of the person has kicked in to create health. How long, that is the question, I am looking into that.

THE FUNDAMENTAL FREQUENCY, is the first frequency that appears creating all the fractal harmonics and in the human voice is the frequency that comes out of the vocal chords, which we distinguish in the Chromatic analysis like the Biosonic program and the old Korg tunners. It is in the range of Mid octave and -1 in womens voice and -1 and -2 octave in mens voice, the harmonics are changes by the resonant box of the mouth, teeth, toungue and gestures of the face, and the FFT shows these harmonics,
I believe that by recognizing the main octave of the voice of the person which are the fundamental frequencies with the Chromatic analysis and we take this information of the frequency range of the personalized fundamentals we can distinguish in the FFT the octaves above as the harmonics are created, and these can be distinguished and intepreted as the different octaves of the emotional, mental and spiritual realms.
In a real time FFT program we can see the harmonic cascades that the vowel sounds create, these are done by the vibration of the vocal chords, the consonants are the silent sound, hissing sounds and are heard by the modulation of the mouth face, that produces all the harmonics that the FFT shows.

Not transformed FFT in logarithmic mode
ONE HARMONIC CASCADE, FROM ONE FUNDAMENTAL FREQUENCY.
A cascade of harmonics happens when we pronounce a
vowel sound and the vocal chords are vibrating, these
harmonics are fractals of the same frequency progressing to
higher octaves and refer to the emotional intention and the
mental content of what we are saying.

TWO HARMONIC CASCADE, FROM
TWO FUNDAMENTAL FREQUENCIES.
When we have two instruments, as well as when we chant harmonics
we obtain two fundamental frequencies that can give us a double
harmonic cascade. Other research on Coherence contemplates this and
finds amazing relationships to emotions and the separation between
these two cascades can be of the Golden Mean proportion of
Sacred Geometry, as discovered by Dan Winter, creator of the Double FFT
for an EKG interface called Heartlink.

VOWEL and CONSONANT SOUND FFT
CONSONANT SOUNDS have no vibrating vocal chords,
they are silent sounds that are air blowing through the
mouth cavity and create sound, and mostly with vowel
sounds, transforming these to many other frequencies
only shown in the FFT.

The pure CONSONANT SOUND is a hissing and blowing
of air that becomes audible because of the mouth cavity
and the vibration of the vowel sounds, these have much
less amplitud than the vowels and many are eliminated
from the FFT averaging, but have many more variations
of frequencies than the vowel sounds.

Planetary Art Network *SCIENCE-ART-HEALTH*

Planetary Art Network
SCIENCE-ART-HEALTH