RECORDING TELLURIC SIGNALS
by Gerry Vassilatos
ABSTRACT
Materials which have been buried in the ground emit audible signals. These may be monitored and recorded through conventional audio equipment. With mild amplification an unsuspected world of sounds is discovered. Each material is found to release its own specific "tone-signature", and can be identified from other materials through specific (warbling) overtones. Discussion concerning the characteristic of a primary (and indispensable) ground power follows a detailed description of the experimental arrangements by which such tone-signatures have been recorded. The "master tone-signature" of the ground is an everpresent feature in each sample and represents the generative power of the earth. An audio cassette of these tone-signatures is offered for diagnostic purposes along with a brochure.
BACKGROUND
I conducted several series of experiments (last April) in order to learn whether free electrical energies could be derived from the ground. Michael Theroux had been conducting similar (but distinct and dramatic) experiments in California at roughly the same time. Mr. Theroux suggested that I try recording the sounds I had been monitoring. This began a succession of cooperative researches between ourselves. We began encouraging each other and compared our findings with great regularity across the continent by telephone. We each found different results with the employment of different equipment. Each series of recordings made by us offers distinctive revelations of a singular primary energy found in the earth beneath.
Mr. Theroux has published his excellent and remarkable findings in a previous issue of this Journal. His excellent series of experiments and historic recordings include the capturing of two earthquake events! In addition, Mr. Theroux has monitored the "thunder waves" emanated through the human body (as receiver) when the same is part of a Vitic Battery circuit. In all of his researches the successive cascades of sounds becomes extremely evident. Whether as very abrupt "ping" sounds or as a thunderous roar, his findings corroborate the fact that spontaneous energies are entering our experiential realm as successions of power.
Since that time several well-qualified investigators (Dan Winter and Leroy Chambers) have been studying the recordings made with our various buried probes and systems. Unexpected features have manifested their presence throughout these studies. Future articles from each contributor will faithfully report the various new details which have emerged since this time. CAUTION! NEVER ATTEMPT THESE EXPERIMENTS DURING STORM CONDITIONS!
MAGNETIC PICKUPS AS TONE-DETECTORS
In the course of designing, building, and utilizing several magnetic percussion instruments (1985), I had developed a design for making very large magnetic pickups. These were made to receive the vibrations of "struck" steel objects: chimes, discs, ribbons, and sheets. The thundering and ringing sounds produced by these objects in the presence of a magnetic field exceed their acoustic signals. I have used these in obtaining "ultra low" percussive sounds for certain special musical compositions. It was with one such pickup assembly that I accidentally recognized the presence of shrill and spontaneous "noise". It occurred to me that this noise was a possible free-energy source. I decided to examine the characteristics of sounds spontaneously produced in the pickup.
My design for the pickups is simple. I used a 2×4 as the mounting surface for my 16 ceramic magnets (permanent). They each measure roughly 3 x 1 x ¼ inch in size; and are applied with epoxy to the thin edge of the mounting. I alternated the polarity of each adjacent magnet (north-south-north . . .) for purposes of my own. To the ends of this array I drilled and twisted simple machine screws, surmounted by very wide iron washers (3 inches diam.). It is around these end pieces (and over the faces of the magnets) that I wound several hundred turns of very thin telephone wire. These windings were terminated and soldered to a phone jack outlet (which was also glued to the board edge.)
The experimental setup required the isolation of the large magnetic pickup from stray induction fields (60 cycle). For this reason, I stood the pickup upright behind a stone wall (1 foot thickness) in my cellar (6 feet below ground level). The pickup was allowed to stand in contact with the ground and the wall at a slight lean-angle. I tapped the output of the pickup with an ordinary phone jack coaxial cord (20 feet). This was then plugged into a Yamaha mixing console (line level input). The tone settings were all placed at maximum level in order to receive every possible tone.
The headphones alone did not detect any audible volume (as is the case with the "whistlers" detected by Barkhausen). My disappointment required some reflection. I thought of using transformers as did Rossetti (early telephonics) and Stubblefield (earth communications); but with the mild amplification of my mixing console these strange spontaneous sounds could be raised to audible monitoring levels.
The tonal activity of such a large magnetic pickup is very shrill and ear-splitting with mild amplification I began to focus my attentions on the activities of tone and pitch taken from the magnets. These sounds are penetrating when the high-tone setting is boosted and the instrument is properly aligned. I discovered that careful attention to the ground orientation of the apparatus was the key in receiving more powerful signals. Ground alignment and placement were an especially important and intriguing aspect of Old Wireless systems.
The input signals were excessively "hot". The sizzling and ringing sound proved to be too much for the ears. I found a surprising shrill quality which required constant attention. Fear that the channel would actually burn out was my greatest concern; warranting the lowering of the attenuators to very safe levels. A small amount of amplification brings out the shrill characteristic of sounds spontaneously emitted by the pickup. I recorded several hundred feet of tape with the pickup so positioned behind the stonewall. I was amazed by the overtones which "swung wildly" among the other received noises. It was the high overtones which fixed my interest; these would be pivotal in my discovery later on.
While the background noise was fairly powerful and constant, I found the shifting overtones at the very "peaks" of the background noise. These overtones executing a defined "warbling" pattern which mutually differs among materials.
Old wireless systems resonated considerably with ground energies, much more than with the "aerial waves" they were presumed to export through space; Tesla repeatedly insisted on this fact. They were in fact modulators of a ground energy which was their principle means of signalling. The anomalous reception of signals by the old method [10] exceeds calculated signal strengths by factors of 4 or 5 when examined. Preston Nichols had mentioned these pertinent facts in a lecture which he conducted in 1984. The significant portion of the signals which Marconi claimed to have received in Poldhu could not have been Hertzian in nature. While some are content in citing longitudinal electrical pulsations as the true signal, I have pursued a different view which I feel has far-reaching ramifications. I believe that auric energies of a living nature are responsible for such communications. Ultimately we must develop technologies which utilize these energies alone.
The shrill spontaneous activity of magnetic pickups is evidence that power of a primary nature is indeed present throughout the ground. Much of the later radio engineers dealt with ways and means by which such "static" could be eliminated! It is possible to discover designs by which we may actually derive power from special earthed receivers. That energies can be harnessed by the proper design, alignment, and tuning of magnetic pickups (or material probes) is historically supported. The work of Nathan Stubblefield, Lester Hendershot, Hans Coler, and Harry Periggo can be better appreciated from this perspective. In addition, the reconstruction of their work can be approached with deliberate progress when certain distinguishing facts show their work to have little association with mere electricity.
What I find so impressive and distinct is the fact that such a free-standing magnetic array could continuously receive tonal signals from the ground. Stubblefield, Murgas, Tesla, and Rogers had done the same before us. The directionality of the system was further proof that the arrangement was tied to geology: responding with ground energies alone. My receiver worked best when aligned with a ground ray-line (which I had dowsed and used for numerous other experiments through the years). Mr. Theroux recorded the same kinds of findings with ground ray-lines. According to the conventional analysis, the magnetic pickup array is so highly inductive that it cannot be receiving radio signals above the audio range. The magnets used in the pickup are not ferrites. What then is the source of the audio levels we receive? The rattling ("helicopter") and throbbing sounds (received and recorded when the human body approaches the coil) are not radio signals. These rattling sounds only appear when living organisms are sampled.
ORGANISM AND OVERTONE
Living organisms were found fully capable of actually intensifying (amplifying) and augmenting the normally received signal. The energies engaged are thus accumulated in the living presence: auric energy. Whether from trees or humans the significant observation is that these ground tones are all principally located within our own audio range, representing an accessibility which implies many forgotten human potentials. The true and intended cooperative function of both the ground power and the human organism remains a dormant gift in most persons. It remains a sleeping and suppressed dragon among the obsolescent technologies of the world. Sing into the woods and feel the power in response. Read the several books written about Vril energy.
Holding the pickup to my body (along the vertical axis which connects face, throat, heart, thorax) I heard the dramatic appearance of very strong "howlers". These howlers modulated very much with body position in relation with the ground ray-line. An additional variation appeared when the pressure (with which the insulated coil was held) in proximity with the body was altered: a primitive auric tuning mechanism was realized. This signature was different in its content of overtones when compared with the signature taken from the free-standing coil.
There are highly rhythmical pitched elements in this signature; whose tempo increase and relax over long time intervals. There are sudden "bursters" whose sound is rather like strong gusts of air. These were especially powerful when I had gripped the coil with both hands. I felt each burst in my thorax as I was recording the sounds with the headphones on.
The magnetic pickup can potentially act as a transformer when responding to local electromagnetic fluctuations. This is not sufficient proof however that these received energies are originally "electrical" when in the geo-radionic environment. Magnetic transducers simultaneously respond to hosts of diverse energies. That we are traditionally trained to wrap coils around magnets (in order to "obtain responses" from them) indicates the degree to which our ignorant conventional habits have overcome our intuitive vision. The magnet needs no "extra" material or power for it to operate in its native (rayic) resonance; sensitives have long known this. Other (non-electrical) energy enters the system which is more radionic than electrical.
The electrically amplified outputs of magnetic pickups are the coil-manufactured responses to the presence of a primary ground activity (which I have strong reasons to believe is rayic in character). Entering the sides of magnets, this rayic energy is measured as modulations in the aetheric flow of the magnetic field.
The use of the "pickup" coil (helix) must be carefully comprehended, not from the electrical but from the radionic viewpoint. The need to translate primary ray energy into "electric and electrical" potentials is an embarrassing impasse for vitalists. We are seeking newer kinds of experience with living signals while using its electrical side-effects! Our situation can be ameliorated with the proper knowledge and design which must come to use the direct rayic energy alone. While these systems "look" inactive they actually are operating in modes which exceed the ordinary human ability to perceive. A simple example of proof is that the unamplified pickup appears "dead" when externally observed through the 5 senses, yet it is very active!
There are those persons who directly sense the primary energy and work with its power with special non-powered apparatus. [11] An essential output of magnets which I have described elsewhere are the black rays (which are collimated at the sides of permanent magnets). These black rays permeate our world at the most fundamental levels of experience. They are responsible for the numerous other energetic manifestations which we identify throughout the environment.
TONE-SIGNATURES OF PLANTS
I have a belief that all material things share various degrees and resonances of Space Consciousness. Each material also permutes this consciousness in specific ways. There have been distinguished individuals whose work indicates that even metals and stones are "aware" (C. Bose). Others have also shown that such materials emanate peculiar overtones whose content - seems intelligent (O. Pixley).
Tesla repeatedly stated that earth signals and planetary signals were imbued with "an intelligence". Critics reviled his claims from every academic direction; stating that pulsating signals were not ample evidence of intelligent transmissions among the planets Tesla calmly emphasized that the use of interplanetary Morse Code was not that to which he was referring: the "intelligence" was implicit in the overtones received and experienced!
Such synaesthesic signals (such empathically active signals) would later be used by T. G. Hieronymus, R. Drown, and G. W. de la Warr to register life-form readings on other planets, take radionic photographs of specific organs and systems, and charge light-beams with thought-forms. None of these energetic manifestations register on inertial meters; being the experiential energies of the universe through which meaning is transacted to us. Measuring systems can respond to pressures . . . but cannot savor meanings or respond to that inherent presence which gives us meaning. Meaning and consciousness are eternally admixed and are received by sensitive, sentient beings alone. Therefore there is a vast gulf between the inertialist and the vitalist.
Artist, researcher, and colleague Duncan Laurie, shared several examples where the sounds of a living vine were translated through special sensing apparatus (designed by M. Bradshaw). I was fortunate enough to hear these signals one night last winter. These sounds were so vibrant, pulsating, and thrilling that I attempted a similar experiment in order to share the recorded sounds. Mr. Laurie mentioned in numerous instances the strong connections between the sounds and musical compositions with which I have been involved.
I use a very simple arrangement to study tree sounds. This involves driving a very thin iron rod a short distance into the sandy soil surrounding the roots of any tree. The recordings I made used a tall Linden tree. I was amazed at the numerous results. The sudden transients received through tree-probes are truly wonderful. One finds the persistent "rattle" of the tree-signals a very intriguing feature: messages of unknown and primitive language. There are sudden and powerful bursts which come through the tree as asymmetric undulations: like cascades and avalanches. Though cyclic and approximately regular, there is no clock-like rhythm with these throbbing pulses of life. A thoroughly fascinating account of another such recording system used with plants may be studied in the film "The Secret Life of Plants" (P. Tompkins). The sounds recorded corroborate our claims.
There are very significant overtones present when sampling trees. The amazing thing is that tree sounds resemble signals taken from a pure (isolated) carbon rod. In this recording I witnessed the masking of the iron probe signal by the "carbon" signal of the tree! When comparing the recorded sound of tree roots with those made with pure carbon I was astounded to find a nearly complete match. The important fact to realize here is that the probe was not carbon; the probe was iron. The iron tone-signature was overshadowed by the carbon presence of the tree and the evidence is audible.
In addition the tree carbon and the pure carbon (though very nearly similar) are not an exact match - they are isotonic! This implies the presence of "new" radionic elements. Such masking, shadowing, and unexpected tonal appearance is explained through radionic admixture and permutation; the aura of iron and carbon blend to produce (radionically discerned) new transient elements. We must learn more about radionic permutations and how they differ from the (inertial) formation of chemical compounds.
The most intriguing feature of signals obtained through living organisms is the dramatic appearance of powerful "helicopter" rattles in the lower pitched region. These penetrating rattles are always present when sampling living organisms. They are present in the "Vitic" recordings of Mr. Theroux. Sudden aerial energetic "bursters" are detected when sampling trees. These bursters are heard through samples made with the human body (though at lower power levels). Were these "bursters" the result of aerial electrical discharges of tree branches into the surrounding air they would come through the headsets as an ever-sharpening "buzz" which finalizes into a "snap". They do not.
The very essence of a substance seems to be the very kind of sound it will emanate. Sounds emanating from tree-roots are "soft" in their empathic activities. One senses spontaneous "excursions of consciousness" while listening to these tree sounds. These send our thoughts into sudden indeterminate portions of space: the very thing we generally feel when looking up through trees. The rayic communion of trees with distant reaches in outer space has been investigated by other excellent researchers (T. G. Hieronymus, G. Lawrence, B. Payne).
THE THROBBING GROUND
Audible undulations of power shows how the ground-generator surges constantly in trees and plants. The thrombic nature of these strange energies occurs throughout the recordings of Mr. Theroux and my own, indicating the living potential of the ground itself. The throbbing life-potential permeates the tone-signatures of buried materials (metals, minerals, tubes, plants). In these recordings there are episodes where the V.U. meters on the play-back system will throb with apparently no audible change or difference. Certain other rhythmical components occur too rapidly for the eye or the ear to discern them. This is where the diagnostic tool of tape manipulation enters the picture: slowing down the sample reveals significant and surprising new overtone features.
ELEMENTAL GROUND RODS
Near certain radionic devices one senses an inaudible pressure effect on the ears. This may olden be accompanied by an extremely high pitched sounds "in the head". When radionic devices are grounded these rayo-aetheric effects are enormously empowered: we receive these sounds (albeit at higher pitch ranges) directly through our bodies without need for the audio translators.
A significant portion of my experimental setups with ground rods were conducted the same week in April. These were driven into various portions of the land surrounding my home: in dark-green spots of the (moist) lawn, (on several opposite sides of the property) and into dry ground as well. Both short and long wires were used as lead lines. Neither short or long lead-lines revealed any appreciably altering effect on the incoming signals as registered. Recordings were made with monopolar connection: single-wire recordings through the central line of the cable. I have taken care to isolate these probes iron all other nearby influences. This remarkable feature was discovered: that monopolar connection suffices in registering the ground tones. The best example of shielded and isolated recordings is found in Theroux's research; all of his recordings were made miles tram local powerlines.
I utilized at least 4 distinct places around my property for these investigations. All the ground rods (whether iron or carbon) were of identical diameter and penetration. Plates were each (mutually) the same (8 in. x 1 in.). I used several metal ore and mineral samples in order to assess the relative differences between pure elements and their ores. I also used an ordinary vacuum tube (supposedly a radionic "insulator") and a pyrex test tube probe which was filled with MnO (Manganese Oxide) powder. Probes were driven into ground to about 6 inches of depth: a minimal arrangement.
I began with an iron ground-rod set up and progressed through a series of other materials. This iron rod was driven into a very vitalized section of lawn. This section of lawn was more dark green than any other piece of the lawn. I considered that the possible radionic activity here would be far greater than in dry soil. The association of iron with the human organism is an undisputed fact: iron is a resonance through which living energy is communicating throughout the universe, its sharply stinging emanations discharge living energy, plants are dark green and intensely vibrant when growing near iron fences, blood is especially rich in iron.
The tone-signature of the iron rod was surprisingly "metallic" though weak, having a prolific assortment of high impact tones which were reminiscent of the magnetic pickup. The lack of power in the iron rod disappointed me at first, thinking it to be the most powerful auric receiver. It was not the humanly potent haemic (blood) resonance of iron which proved to prevail with respect to power. Such an unsuspected presence of sound (in earthed materials) is a new revolution in radionic science: a true breakthrough in our understanding of earth energies.
I followed the iron sample with a carbon rod. Carbon is the key life-resonance. The most powerful tone-signature I have yet recorded came through isolated carbon rods. The warbling and throbbing overtones of carbon is so strikingly different that I had to reduce the channel attenuator and tone controls significantly. This anomalous intensity of grounded carbon as a signal source cannot be assessed through conventional means: carbon is supposed to be the weaker conductor, the less electrolytically reactive in soil.
The sensation when listening to the carbon rods (in various configurations) is never without surprises. Most significant is the fact that iron (the better "electrical conductor") does not yield a stronger signal than the carbon rod (a supposedly "poor electrical conductor"). Carbon greatly exceeds the signal strength of iron in both power and overtone content.
Other metals were also buried and sounded (silver, zinc, copper). Each produced an amazingly different tone-signature. Listen to the overtones at the very highest portions of your audio range. They will "dance" and warble in specific patterns between your headsets. YOU MUST USE HEADSETS or the overtones will not be successfully appreciated. Though present in playbacks through loudspeakers these overtones are significantly modified by room dimensions and other (startling) features of the geo-radionic environment. They consequently may not successfully be heard in their full power. In addition, the overtones execute "phase-sweeps" (of an anomalous nature) which cannot heard except through headphones.
Each metal displays a specific kind of overtone "dance". Metal probes yield a "metallic" audio signal characteristic of their true essence. The silver test took advantage of a gloriously full moon. I believed that some significant correspondence would be discovered with this arrangement, and was dutifully rewarded. Subsequent tests made during other lunar phases proved to reveal the curious absence of the high pitched "darting" overtones which were very prevalent during the full moon. Can it be that the pleasing tones which emanate from certain metals (silver, gold, platinum, iridium, palladium, etc.) actually attract human curiosity and interest? Could it be that these tones are the emanations which we perceive inwardly (insensate perception) producing possessive desires? Could radionic tones make these particular metals "valuable"? You may listen to these on the cassette to your own satisfaction with headphones. Silver had the most pleasing overtone warble of all the metals I sampled, being a rhythmical undulation which fascinates the mind.
MINERAL TONES
The next experiments tested the tone-signatures of mineral samples: amethyst, sphaelerite, pyrite, galena. The mineral ores (though probed into the same hole during the very same hour) each took time to reach their maximum volume. Each eventually gave their characteristic tone-signatures with constancy and regularity. I found that the recordings made with mineral samples greatly resembles the tones registered by Michael Theroux in California. Minerals seem (without question) to be the best transducers of these specific metallic "cracking, crishing, and pinging" sounds. These minerals are in tune with a very distinct resonance which metals and organic materials do not release.
The metallic snaps and "pinging" barrages [13] actually seem to be evidence of a strange natural radioactivity (G. Le Bon) whose essence is vitalistic rather than inertialistic. Their gradual surging and pulsating nature may help clarify statements made by T. H. Moray (germanium materials) in Utah. The energy heard in the "pings and pangs" recorded by M. Theroux is enormous enough to cause a resonant ring in his apparatus. This is clearly heard on the cassette. I believe it to be the result of resonances effected within the semi-conductors of his recording apparatus: a real link with the mysterious diode of Moray.
Galena has an overtone dance which bounces back and forth in fairly sharp patterns. I thought I was at first deceived into hearing these effects . . . until I slowed them down to ½ speed. The 2-note warble was still there! The strangest thing occurred when I continued to process that sample at ever slow speeds: the very same overtones were yet there warbling back and forth in their original pitches! Such maintenance of pitch in spite of speed change tells of some "self-righting" process through which persistence of identity is maintained throughout the space of a material. While we may speak volumes on the evidence of crystallographic emanations versus the "inertial ash" of matter, we should direct our minds toward the technological implications of such a phenomenon. I had deciphered this anomaly with some success, seeing that through it there was great promise and vast possibility for the extraction of energy from the ground.
The overtones seem to "rest upon" the peaks of other tones. These overtones ride on the other energies to a set pattern. The tone-peaks discharge the overtones into space spontaneously. These tonal peaks can be urged to discharge their "overtone song" when we entune specific resonances for each material. In other words, the total overtone output of each material can be made to flow into the resonant windows specific to any material. Energies which contribute to the release of overtones can be urged into specifically tuned "windows" FROM THE RECEIVING END. There are materials which can produce prolific amounts of such energy from the universal tone-signature.
The sphaelerite (zinc ore) sample strongly resembled the overtone dance of the pure zinc plate (isotonic materials have surprising over-tone features which indicate another kind of periodic table). These overtones did not undulate in a rapid manner as did the galena. Through this sounding I realized the possibility of using this audio method to identify materials. The remarkable eloptic detector of Dr. T. G. Hieronymus used refractile light-like energies to identify each element and material given him.
Amethyst (a glass) was placed with the crystal points down into the ground (base up). The strong and deep violet aura of amethyst was immediately sensed in playing the tape back! What I have also found is that each material transduces powerful insensate energies which are revealed to us as the qualities associated with the material during playback. The color, mood, "feel" and "sense" of amethyst was strongly radiated from the headset: an empathic transmission of extraordinary permeations. I felt these sensations from the top of the head and down (across) the face . . . particularly around the nasal area. The tone-signature of amethyst contains a special overtone Warbler which oscillates around a tri-tone.
The minerals seem to be "made for the ground": there is a mysterious purpose for them to be where we first find them. They function in the ground system and should be re-investigated in situ. Removing these component materials "en masse" from the earth has frightful consequences unless counteracted. Their function for humanity's needs seems inestimably vast. To realize that metal lodes operate as components of a vast vitalistic circuitry within the ground (functioning on behalf of our consciousness) seems closest to the truth. Perhaps these materials (once having been taken from their parent ground) have entered an "hysterical phase" which requires re-burial in order for re-activation to take place. Perhaps this is part of the lengthy process which they require before releasing their total tone-signature. I have observed that minerals yield their energetic outputs only with time. Therefore it may be wise to allow samples to "soak" in the ground for hours. Who knows what new species of sound may then emerge?
The tone-signature found with each ore was as significant and astounding as all the other sounds received. I did not expect that minerals would yield such an enormous amount of sounds. Each of the mineral ore samples proved to give dramatic proof that materials of various compositions actually produce characteristic tone-signatures. Galena and pyrite proved to be very "hot" tone sources. The sphaelerite sample had slightly different qualities than the pure zinc plate with which I also probed the ground earlier; though both are isotonically related. The amethyst crystal was a good large sample which produced a surprisingly "active" sound, unusual for a material which is glassy. Apparently, the ground power has its own behavioral aspects which we are only beginning to discover. Glass and other electrical insulators are easily permeated by ground-power.
VACUUM TUBES
This exciting study so piqued my interest that I was led to try several other probe forms. I finally began an exotic series of tests which involved some unusual "probe rods": inverted vacuum tubes, pyrex test tubes filled with chemical powders (manganese dioxide), a carbon rod wrapped with wire, groups of carbon rods in series. It was through this variety of samples that I made several corollary discoveries of merit. For the vacuum tube (as probe sample) I connected all the prongs together with the single lead-in wire, burying the tube. I left ¼ inch between the soil and the bakelite base. This probe (wired side "up") was placed in a section of ground which lay among the loveliest trees on our property, directly amid the moist dark green lawn. The sounds so produced were absolutely amazing. They are very stark sounding, having an intense "drilling" type of buzz.
Carefully dried before implantation, each vacuum tube I tested produced a single group of (similar) tone-signatures. The indispensable ground seems to be summoning us [14] toward greater demonstrations of true power. The presence of vacuum was always considered detrimental to the aura. Both (glassy) envelopes worked so powerfully that I then could say without doubt that these received energies were not at all "electric or electrical" in their primary manifestation. What kind of "tension" enters glass with such ease? Experiments made with shorting the elevated samples to ground proved that these energies could not have effected the resultant tone-signatures of the glassy envelopes were they electrostatic or electrodynamic in nature. The ground-energy is a permeating presence, requiring body contact before a reaction can build to maximum. The results caused me to think of experiments performed by T. H. Moray, whose ground-pointing (large germanium diode) tubes were capable of entuning voiced signals through great distances. (I was informed through a special source that these tubes had to "face the ground" in order for them to work; in addition there is a patent of directional vacuum tubes which F. McCullough patented to accomplish a similar marvel). The means whereby one can laterally, vertically, and longitudinally "scan" ground power-points regardless of distance, remains (for me) one of the most mysterious demonstrations of ground ray connectivity. By such means we may be able to locate individuals and the organic emanations of human activities. Apparently no loss of power is ever registered in the ground: it is a self-generative power.
CHEMICAL TONES
Manganese dioxide was tested in a pyrex tube. When used in combination (with powdered iron and carbon) MnO2 powder proves to be a wonderful radionic "softening agent" for experiencing radionic energies. The use of iron plates alone produces a "hard" and painfully "twinging" response upon the human organism. The addition of powdered carbon (charcoal) helps in the ability of reducing this painful sting of the iron. But (by far) it is manganese dioxide which so "smooths" the radionic reactions that I have used it ever since discovering its wonderful characteristics. I have compounded a special mixture and have used this exclusively in my studies.
This powdered mixture (equal proportions of Fe, C, and MnO2 powders thoroughly intermixed) enables the nullification of sharp "spikes" of energy from harming us during personal "fusions" with radionic emanations. The MnO2 powder gave a tone-signature which was distinctly pure and "smooth" sounding. There were no ripples, spikes, or sharp metallic sounds in this sample. Among the dissonant overtone dances of metals and minerals, the MnO2 remained sofa, smooth, and harmonic.
Continued in "Recording Telluric Signals" (Part II)