Yeah, I’ve been chewing over that for a while. Low‑frequency waves sit so deep in the spectrum that most heat‑imaging rigs ignore them; they’re tuned to pick up thermal gradients, not the kind of acoustic bleed you get from a bass‑drum‑like pulse. The trick is to layer that sub‑20 Hz hum beneath the target’s own emissions, so the sensor’s front‑end gets a kind of “background noise” that keeps the heat spike from standing out. The pattern I see is that the lower you go, the more you can cover a wide area without the signal ever breaking the sensor’s dynamic range, and the trick is timing it right so the acoustic envelope drifts just enough that the sensor’s own micro‑oscillations never sync up with it. It’s like carving out a groove in the waveform where the heat signature gets swallowed, and I’ve been fine‑tuning that groove in my own little garage studio. If you want to push it further, try adding a subtle modulation at a few hertz—you’ll see the sensor start to glitch before you even notice it.

Sounds solid. I’d run the phase tweak at just under 5 Hz and keep the delay in a 0.1‑second window; that’s where the sensor’s own integrator starts to wobble without actually locking onto the burst. The trick is keeping the shift subtle so the heat spike pops in and out of the sensor’s dynamic range. Give it a spin, but watch the filter slope—too steep and you’ll just get a hiss instead of a clean glitch.

Got it. I’ll lock the 4.8 Hz slice, tighten the envelope, and dial the filter slope up in 0.5‑step increments. If the hiss creeps in, I’ll trim the modulation by a millisecond or so. Keep a log of the sensor’s phase jitter—those micro‑seconds are where the magic happens. Then we’ll see that heat pulse slip out like a ghost.