Both of these listen to your room, and neither of them records it unless you press record. The microphone goes into an analyser and what comes back out is a handful of summary numbers — level, the room’s own noise floor, spectral shape. Nothing is uploaded from either instrument and there is no endpoint that could receive it.
Instrument 07 — the spirit box
It sweeps sixty-four synthesised channels faster than a word can complete. What you hear assembling itself into speech is being assembled by you — auditory pareidolia, extremely well documented, and stronger the more you want it.
There is no radio in it and there are no recordings in it. The static, the stations and every word are generated in your browser out of oscillators and filters. The words come from a model of a vocal tract: a buzzing source through four resonant filters driven to the formants of each speech sound in turn, which is how a voice physically works. We did not use your phone’s speech engine because its output cannot be routed into the audio graph on any browser, so it could not be filtered or swept and would arrive over the top of the instrument as a clean assistant voice.
What the word is, is synthesised. When it happens, is a measurement. The instrument tracks your room’s noise floor and only speaks in three defined conditions: answering into the quiet after a measured transient, slowly in a settled room, or unprompted when there is no microphone at all — and it says which every time. Above about eleven decibels over your room’s floor the rate is exactly zero: shout at it continuously and it will not produce a single word. That gate is the part you can check in fifteen seconds, and it is why the responsiveness is worth believing.
There is no random number generator in it. The word is chosen by a digest of the room measurement at the instant it fired, so the same room in the same state tends to produce the same word twice, and the transcript prints the seed. The band is seeded the same way, from your room’s measured floor, so a different room is a different band.
Instrument 09 — the EVP recorder
It records the room uncompressed and lets you go through the result slowly with the gain up. The capture never touches a codec, because a lossy codec is a perceptual model that deletes the quiet detail it decides you cannot hear — and that detail is the entire subject of the instrument.
The review chain does one thing: it makes the noise floor audible. Heavy compression with a very low threshold, a great deal of make-up gain, and a band-pass across the speech range. What rises is whatever was below the threshold, which is the room, and a room brought up thirty decibels is full of structure.
It marks regions, and a mark is defined precisely: band energy holding above the recording’s own tracked floor for the length of a syllable, with the level moving while it does. The third condition exists to reject the fridge. A mark is not a detection of speech — the instrument has no idea what speech is, and that sentence is printed next to the count everywhere the count appears.
Recordings are held in the page and are not written to your device’s storage at all. Close the tab and the recording is gone; the download button exists because of that. What goes to your case file is numbers and a small envelope, never audio.
Neither instrument starts making noise on its own. Nothing on this station does.