The Rem Pod utilizes a mini telescopic antenna to radiate an independent EM field around the device. It is believed that spirit energy can manipulate, distort, and influence such an EM field. To activate the REM feature, one must simply extend the antenna and press the white power button located on the bottom next to the 9v battery. The four LEDs will blink twice as they go through their diagnostic routine which verifies the system is working correctly. When another energy source or spirit comes into close proximity of this unit and its emanating power, an audible sound and LED lights will illuminate indicating that a generated field of energy has been detected. Each LED has a distinct sound when illuminated.
But this is basically what a rem pod is …
The theremin was originally the product of Soviet government-sponsored research into proximity sensors. The instrument was invented by a young Russian physicist named Lev Sergeevich Termen (known in the West as Léon Theremin) in October 1920 after the outbreak of the Russian civil war. After a lengthy tour of Europe, during which time he demonstrated his invention to packed houses, Theremin found his way to the United States, where he patented his invention in 1928. Subsequently, Theremin granted commercial production rights to RCA.
Although the RCA Thereminvox (released immediately following the Stock Market Crash of 1929), was not a commercial success, it fascinated audiences in America and abroad. Clara Rockmore, a well-known thereminist, toured to wide acclaim, performing a classical repertoire in concert halls around the United States, often sharing the bill with Paul Robeson.
During the 1930s Lucie Bigelow Rosen was also taken with the theremin and together with her husband Walter Bigelow Rosen provided both financial and artistic support to the development and popularisation of the instrument.
In 1938, Theremin left the United States, though the circumstances related to his departure are in dispute. Many accounts claim he was taken from his New York City apartment by KGB agents, taken back to the Soviet Union and made to work in a sharashka laboratory prison camp at Magadan, Siberia. He reappeared 30 years later. In his 2000 biography of the inventor, Theremin: Ether Music and Espionage, Albert Glinsky suggested the Russian had fled to escape crushing personal debts, and was then caught up in Stalin’s political purges. In any case, Theremin did not return to the United States until 1991.
The components of a modern Moog theremin, in kit form.
After a flurry of interest in America following the end of the Second World War, the theremin soon fell into disuse with serious musicians, mainly because newer electronic instruments were introduced that were easier to play. However, a niche interest in the theremin persisted, mostly among electronics enthusiasts and kit-building hobbyists. One of these electronics enthusiasts, Robert Moog, began building theremins in the 1950s, while he was a high-school student. Moog subsequently published a number of articles about building theremins, and sold theremin kits that were intended to be assembled by the customer. Moog credited what he learned from the experience as leading directly to his groundbreaking synthesizer, the Moog.
Since the release of the film Theremin: An Electronic Odyssey in 1994, the instrument has enjoyed a resurgence in interest and has become more widely used by contemporary musicians. Even though many theremin sounds can be approximated on many modern synthesizers, some musicians continue to appreciate the expressiveness, novelty and uniqueness of using an actual theremin. The film itself has garnered excellent reviews.
Today Moog Music, Dan Burns of soundslikeburns.com, Chuck Collins of theremaniacs.com, Wavefront Technologies, Kees Enkelaar and Harrison Instruments manufacture performance-quality theremins. Theremin kit building remains popular with electronics buffs; kits are available from Moog Music, Theremaniacs, Harrison Instruments,PAiA Electronics, and Jaycar. On the other end of the scale, many low-end Theremins, some of which have only pitch control, are offered online and offline, sometimes advertised as toys.On July 20, 2013, a group of 272 theremin players (Matryomin ensemble) in Hamamatsu, Shizuoka, Japan, achieved a Guinness world record as the largest theremin ensemble. The name Matryomin is a portmanteau of the words matryoshka and theremin.
Block diagram of a Theremin. Volume control in blue, pitch control in yellow and audio output in red.
The theremin is distinguished among musical instruments in that it is played without physical contact. The thereminist stands in front of the instrument and moves his or her hands in the proximity of two metal antennas. The distance from one antenna determines frequency (pitch), and the distance from the other controls amplitude (volume). Higher notes are played by moving the hand closer to the pitch antenna. Louder notes are played by moving the hand towards from the volume antenna. Most frequently, the right hand controls the pitch and the left controls the volume, although some performers reverse this arrangement. Some low-cost theremins use a conventional, knob operated volume control and have only the pitch antenna. While commonly called antennas, they are not used for receiving or broadcasting radio frequency, but act as plates of a capacitor.
The theremin uses the heterodyne principle to generate an audio signal. The instrument’s pitch circuitry includes two radio frequency oscillators. One oscillator operates at a fixed frequency. The frequency of the other oscillator is controlled by the performer’s distance from the pitch control antenna. The performer’s hand acts as the grounded plate (the performer’s body being the connection to ground) of a variable capacitor in an L-C (inductance-capacitance) circuit, which is part of the oscillator and determines its frequency. Although the capacitance between the performer and the instrument is on the order of picofarads or even hundreds of femtofarads, the circuit design gives a useful frequency shift. The difference between the frequencies of the two oscillators at each moment allows the creation of a difference tone in the audio frequency range, resulting in audio signals that are amplified and sent to a loudspeaker.
To control volume, the performer’s other hand acts as the grounded plate of another variable capacitor. In this case, the capacitor detunes another oscillator; that detuning is processed to change the attenuation in the amplifier circuit. The distance between the performer’s hand and the volume control antenna determines the capacitance, which regulates the theremin’s volume.
Modern circuit designs often simplify this circuit and avoid the complexity of two heterodyne oscillators by having a single pitch oscillator, akin to the original theremin’s volume circuit. This approach is usually less stable and cannot generate the low frequencies that a heterodyne oscillator can. Better designs (e.g. Moog, Theremax) may use two pairs of heterodyne oscillators, for both pitch and volume.
So you see we really need to do the reaches on what we are buying now I am not saying that it does not work as ghost hunting equipment but to know why it was built for make it knowing it more and understand the principles of it.