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Location: UFOUpDatesList.Com > 1999 > Jan > Jan 13

Re: Fox TV Special

From: Michael Christol <mchristo@mindspring.com>
Date: Tue, 12 Jan 1999 21:37:13 -0600
Fwd Date: Wed, 13 Jan 1999 11:39:49 -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: Tue, 12 Jan 1999 04:29:47 -0500

>>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."

>Just so we don't get wowed by this long list of equipment...only
>the spectrum analyzer and the oscilloscope are needed for the
>analysis. The terminology may sound formidable, but in truth
>it's needlessly so. A multi-track mixer is, for instance, a
>redundant term -- all mixers are multi-track, since mixing many
>tracks together is what they're for. And in any case a mixer is
>nothing special or exotic, just a piece of standard studio gear,
>used in any professional recording.

>But nobody, to my knowlege, is in the business of analyzing
>sounds to discover what they are. Maybe the police need to do
>that sometimes, if a tape somehow turns up as evidence in a
>criminal case. But I don't think analyzing sounds to discover
>their origin is a common practice, simply because there's not
>much need for it.

>If I'm right about that, then any opinion these analysts have is
>suspect, because there isn't any body of knowledge they can draw
>on to support it. Even in 1986, it was (I'm pretty sure) easy to
>create unusual sounds simply by manipulating recordings of
>nature, machinery, electronic devices, animal noises, you name
>it. Play something backwards, and it's often unrecognizable.
>Slow it down, filter out some of the frequencies, layer other
>sounds over it (or, for a much more subtle kind of complexity,
>layer it with other manipulated versions of itself), and even a
>familiar sound will turn into something new and strange.

>With so many possibilities, could we ever know that we weren't
>hearing a 1986 Swiss hair dryer?

Greg...This was a total waste of post....

You apparently, based on what I just read, have never even heard
the sounds you commented on....

If I am wrong I appologize...but if I am correct, then before we
go any further with this please get a copy of the "CONTACT"
video, and listen to the sounds, and watch the and his group as
they show you how they arrived at their conclusions.

I know that you have virtually no respect for the material in
question...It is quite evident by the message you posted. Please
don't think that I am attacking you... I am not. I just want you
to listen to the information, then we will have something to
comment on.

The metal samples which Meier gave to Stevens were analyzed by
Marcel Vogel, and a video tape of the analysis was made as well
and is also available for you to see.

It's hard to consider available information if we allow Bias to
get in the way... Just basing one's opinion on what others on
this or other lists have to say against a case is not the
correct way to investigate the merits of a case.

I know there are those which have been classified as: "Noisey
Negativists," on this list. They despise the Meier case and have
openly attacked it from the beginning. These attacks can relate
directly back to William E. (Bill) Moore and Kal Korff... Please
don't be sucked into a conclusion until you have taken the time
to actually check out the available information which has been
compiled on the case.

Thanks for you patience with me Greg...

REgards, Mike

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