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Location: UFOUpDatesList.Com > 1999 > Jan > Jan 11

Re: Fox TV Special

From: Michael Christol <mchristo@mindspring.com>
Date: Sun, 10 Jan 1999 12:56:39 -0600
Fwd Date: Mon, 11 Jan 1999 10:06:59 -0500
Subject: Re: Fox TV Special


>From: Greg Sandow <gsandow@prodigy.net>
>To: UFO UpDates - Toronto <updates@globalserve.net>
>Subject: Re: Fox TV Special
>Date: Sat, 9 Jan 1999 23:54:39 -0500

>How does one determine the resonant frequency of the earth? And
>if one could, what would that have to do with music?

>Musical sounds, I might add, don't normally have any one
>frequency. They're enormously complicated, with frequencies all
>up and down the spectrum sounding simultaneously. Not only that,
>the frequencies change with time. I have software that can
>display this rather neatly. If I had a recording of the sounds
>allegedly made by Meier's alien ships, I could put it in digital
>form on my hard drive, and analyze it with my software. The
>result would almost certainly be a bewildering forest of spikes,
>each representing a small stretch of the frequency spectrum,
>some higher than others, but no single one sticking out above
>the rest. (The software I'm using, for those who might be
>curious, is the Spectrum Analysis plugin for Sound Forge. Sound
>Forge is a standard professional-level digital audio editing
>program for PCs.). A single cello note, apparently sounding a
>single pitch, turns out to have well over a hundred frequency
>components that show up on the spectrum graph. The sound of the
>"beamships" was, I'm guessing, far more complex than that.)

>And if the alleged sound of the ships wasn't musical -- if, in
>other words, it's what we'd call "noise," rather than music --
>then its frequency spectrum would be even more complicated. How
>could it match the resonant frequency of a piece of tin foil,
>let alone the earth?

>We're dealing here with mystical blather.


Greg...

Do you have a copy of the video 'Contact?' It is the
investigation of the Billy Meier case by Wendelle Stevens, Lee
and Britt Elders, and Tom Welch...

This video has the sounds on it...It has a short blurb of the
sounds early on as the explain where the recordings were taken
by Poppi and Billy.

Later in the video, is where they actually analyze the sounds.
One must remember that this analysis of the Meier case occurred
over a five year case, and the video itself was copyrighted in
1986.

A lot has changed in technolgy in the past twelve years, but the
foundations were laid at that time for even more "serious"
investigations today, with the most up to date electronic
equipment available....

The equipment you possess, it seems to me, an untrained
technician, to be adequate to substantiate the aspect of the
sounds which would answer the charges you have made, as well as
those I have suggested.

The sounds were taken to Electronics Consultant Nils Rognerud
and Sound Engineer Steve Amborse for examination, according to
the 'CONTACT' Video...

However, the book, 'UFO Contact From The Pleiades, A Prleiminary
Investigation', By Wendelle Stevens, says the following:

"At Excaliber Studios on Ventura Boulevard in Studio City,
California, Nils rognerud and Steve Singer, sound engineer and
electronics system designer, working together with a
Hewlett-Packard model 3580 Frequency Spectrum Analyzer, with
amemory unit, a Two-channel Oscilloscope, a Multi-track Mixer
and Amplitude Readout and Full Frequency Sound Control Board,
studied and analyzed a 3-minute segment of the later spacecraft
sounds that were recorede in front of 15 witnesses."

Continuing from the Stevens Investigative Report:

"Mr. Nils Rognerud of the Rognerud Research and Development
Company of Los Angeles, advised me in his letter Dated 12
December, 1981, 'Regarding the taped UFO sounds from the Swiss
case, I found a very complex and changing sound pattern. The
sounds were somewhat changed through poor tape duplication
effort vis microphone. In future, try to use direct wire or
cable-link between tape recorders when duplicating. Microphones
are a link that one sometimes can do without. However, I did
retrieve some information that should be of some value. The
sound pattern is very dynamic and changing, and the only thing
that seemed to have a repeatable pattern was an
amplitude-modulation (a signal in which the volume is varied at
a low periodic rate). For the three UFO recordings, this
frequency worked out to be 4.9 cycles per second, 4.6 cycles per
second, and 5.0 cycles per second. It is woethwhile revealing
that Nicola Tesla discovered a natural electro-magnetic
resonance of Earth at 6.6 chcles per second. A second gentleman
named Schulman also discovered a second resonance at 7.8 cycles
per second. Now you mention that your tape was running a bit
slow. This could explain why the vibrations are a little bit
slower than expected.'"

Continuing....after the introduction of the Excaliber Studios
part of the book....

"As before, they found them to be truly unique in at least the
following aspects:

1. There were many, at least 30 or more, discrete frequencies in
a random and constantly shifting mix in ranges from 4 to 2170
Hz, but averaging 470 to 1452 Hz.

2. The amplitude of these frequencies also constantly changed
whereas one would be dominant for a moment and then dominance
would shift to another.

3.The wave form also changed constantly, and would come into and
go out of synchronizaton i a random periodic rhythm that
produced a characteristic
beat.

"Two other sound engineers and a sound shnthesizer specialist
joined the analysis team and the sounds were re-examined with a
view to possible duplication. These specialists all agreed that
the sounds were unique in character, and that any synthesis, if
at all possible, could only reproduce parts of the whole
soundtrack we were examining; and that duplication of any part
of the whole sound, even in short linear segment may be
impossible. The number of discrete frquencies, constantly
shifting, and the migrating and constangly changing amplitudes,
shifting in relative dominance, presented problems in
duplication beyond the capability of present state-of-the art
equipment.

"Sometimes the multiple waveform characteristics were so alike
that they fell right on top of each other making one heavy wave
trace of many fine lines. Sometimes the wave form was perfectly
symmetrical, and sometimes it was totally asymmetrical. Then the
waves would go out of shnchroniza- tion again and there was no
pattern at all.

"An overall beat was noticed at about 4 to 6 Hz, which just
happens to be the natural resonance of Earth. This may become
significant in future analysis.

"After some 4 hous of testing these sound it was generally
agreed that they were truly unique and that they were not
produced by any mundane source."

More could be written on this, Greg, but this is enough for now.
I would suggest that if you are really interested in proving or
disproving the reality of these sound recordings, that you do
your own research and not just reply to one message on this
list.

REgards, Mike




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