Back in my younger days, I owned a large modular Moog Synthersizer (and a large Oberheim too), one of those “Switched-On Bach”, Keith Emerson monstrosities with a plethora of knobs and switches, all connected with snaking patch cables.
The modern music synthesizer, including it’s digital “virtual” equivalents, are all based on a “building block” approach, a system made up of different single-function modules, each performing a particular aspect of sound generation.
The original Moog, Buchla, E-Mu, Oberheim, Arp, EML and other pioneering instruments all implemented this modular design literally, with separate oscillators, filters, amplifiers, and the devices that shaped and triggered their actions on a sound signal, into individual boxes. These were usually mounted together in a large frame so they could be easily connected to each other in whatever way the sound designer wanted.
Robert Moog was the first synth designer to put the sound modules “under the hood” of a keyboard, with only the most necessary control knobs showing, and connected internally with switches instead of swaths of patch cables. This made for a much simpler instrument to control, and led to the wide acceptance of synthesizers by professional musicians that continues today.
Even though the synthesizers of today are mostly digital (except for many purists, and old analog synths fetch high prices), the “modules” use for sound creation still exist as virtual devices that are still controlled in much the same way.
The advantage of the purely modular approach is that the designer is free to connect them together in different ways, and use ones that can best do the job. Using the modular “building blocks”, one can literally create a custom device for a specific purpose, and then dismantle it to create a different one as needed.
The Delawaar Nine-Dial is the core of the system, and in fact it incorporates three “modules” inside it: the bank of tuning dials, a specimen well, and a magnetic field tuner. It’s possible to connect an external specimen well or platform to the Nine-Dial, but the magnetic and tuning dials really are integrated.
Connected to it is an external stick pad for sensing, an Antenna Tuner device on the Nine-Dial’s output, which passes to the Aetheric Beam Generator as the antenna. The tuning armature of the Beam Generator is being driven by a Staodyn Maxima TENS box, which is an excellent “zapper” with a tuning range of 2 to 160 Hz and pulse-width modulation (in fact, in an old modular synthesizer it would be called a “variable-wave low frequency oscillator”.)
Following the instructions in the Delawarr manual, first the witness specimen is placed on the metal plate on the top of the box (in my design, the plate is actually a small, flat metal box with cover) and rotated while scanning with the stick pad to find its most “energetic” position. Then the magnetic tuning dial (on the top next to the plate) is rotated while scanning, to set up the most effective magnetic field around the specimen. Finally, the numbers from the manual entry for acne are set on the dials, and the specimen is scanned to determine of there is an “informational imbalance” of the aetheric body, inhibiting the physical body from healing itself naturally.
If using the stick pad (or dowsing with a pendulum) gets a “yes” reaction, then the dials are re-set to their “opposite” settings on the 1 to 10 scale (e.g a ‘3’ becomes a ‘7’, a ‘4’ is a ‘6’, etc.) to counter the imbalance. Finally, the stick pad is scanned while turning the Antenna Tuner dial to “trim” the antenna to the most effective setting, and the TENS zapper is turned on (it was tuned to 14Hz, as measured with a multimeter, to promote healing.)
So far the results have been encouraging!
Here at Aetheric Arts labs, we expect to be doing more research and development of Modular Radionics – the possibilities truly are endless!