Continued from the Nov-December 1992 Journal of Borderland Research.


Against the background of ground generated noises each material is identified through its own differentiable series of overtones. Each tone signature conforms with the essence of the material from which it emanates: materials each maintain their fixed identity throughout every sensate range. Material identities are continuous and fixed, maintaining and representing their created essence. [Iron "sounds" metallic, carbon sounds "warm", amethyst is accompanied by a rich "dark-violet" sensation). The overtones of each material are psychoactive signals: living energies which transact the essence of their parent bodies directly into us. The iron overtones prove to give the sharp odor and sense of the metal upon listening. Copper did the same with a "sweet" odor. The studies of B. Payne with planetary light and water are corroborated in the audio realm with similar phenomena.

In every new sample I have discovered different overtone "warblings", different overtone "dances". These include varieties which (without precedent) suddenly make their audible appearance during each recording. The curious feature of these "sudden overtones" is that (once they appear) they do not cease! This phenomenon suggests that each new such sound registers the advent of some "tonal conductivity" which the materials each engage when in the ground alter a time. For this reason I always allow each sample to "soak" in the ground aura for a long while before committing their tones to a recording.

While listening to the playback and the various speed-regulated tracks taken from each material, I became aware that each tone-signature exhibits measurable radionic aspects. In attempting to balance tones (against a raised volume level) I realized that certain overtones were suddenly appearing in the mix as I simply adjusted the volume control. To my utter amazement, I found it possible to entune 2 or 3 distinct "bands" of overtones in the tree recordings WITH THE VOLUMES CONTROL ALONE! Within these harmonic bands there exist many fine-degrees of overtone shifts which cannot be accurately reproduced on cassette tape. Those bands which you will hear are the major boundaries between tone-groupings. Only these major boundaries are successfully translated to cassette, occurring at the very limit of the tape transfer process. In addition, one MUST USE HEADPHONES to hear each overtone distinction!

Through this simple means I was amazingly able to detect real (radionic) overtone groupings when using various volume settings for each material in my collection. Tuning pitch through a volume control is anomalous if you do not understand radionics. These overtone groups are not the ordinary result of audio distortion: I made sure that the signals were not [28] distorting at the console. The potentiometers (slide controls) were acting just as radionic tuners. Volume settings represent different path-lengths through resistive materials. Auric signals travel outside or through the resistive material according to their energy level. Nodes are formed where the energies emerge. These are sensed and located as "stick points".

The emergence of distinct overtone groups is shattering to all conventional criticisms. If I were to assert the essential living quality which I hear in these overtones few (I doubt) would accept the statement. This demonstrable fact however indicates that tone-signatures are more than just complex collections of tones and pitch: they are possessed of a true and living nature. If the overtone groups were the result of ordinary distortion, then each sample would offer the same variations upon adjusting the potentiometers. But these are found on different locations of the volume setting and each have distinct details which mutually differ. This discovery was an accidental observation.

The discovery that tone-signatures do not all share the same radionic sounds or the same number of overtone bands was unexpected. Two such variations existed for the magnetic pickup recordings but were not as strongly defined as those taken through materials which were buried. The organic recordings were (not surprisingly) the very samples which yielded the greatest number of radionic sounds when "entuned" through the volume control. I have recorded samples in which these variations of overtones (with potentiometer adjustments) are demonstrated. This represents the radionic tuning of sounds through a slide-resistor! I found 2 or 3 overtone bands when testing the tree-root signals.

A critical friend of mine (I have many) cited that capacitance and inductance values could shift these overtones through the subtle tuning effect within the potentiometer. With these audio frequencies the negligible changes in lumped resonance values cannot possibly alter the overtones to such an audible degree. I am sure however that critical analysts will not rest until they have found some corresponding mechanism through which the "living quality" will be reviled. When the mind's eye is opened... all is life.

These recordings may be considered as the first truly original radionic sound recordings. They are ultra-rich in radionic potentials and are capable of being entuned through Hieronymus-type analyzers. What these new facts witness is further corroboration of the non-electromagnetic character of these energies. These signals are so rich in organic energies that they allow audibly detected radionic tunings to take place. I had considered the possible effect of "probe poisoning" of the probe site. I learned with time that each sample requires several moments before it can saturate with the ground power and achieve material-resonance. Time is required for each sample to reach its constant and characteristic tonal signature.

We can actually hear this phenomenon during the course of the experimental soundings. One can hear the very moment at which the probe material becomes "super-radiant". This process seems to involve some form of polarization (but we cannot define the symmetries by which materials polarize) and a certain energetic saturation. We actually hear the spontaneous progression with time. The sudden advent of previously unheard overtones (listen to amethyst!) is evidence of this phenomenon and process. [The key to extracting ground power is the entunement process; through which it is possible to draw all tones into specifically ordained elemental "windows"].

Probes gradually become "energetically polarized"; they take time to reach maximum signal intensity. This is possibly due to a more highly conductive state through which ground power enters both probe and monitoring systems, a conductivity which is more fundamental than electrical conductivity. The gradual and continual appearance of distinct overtones becomes the evident feature of a subtle and progressive saturation process. I am reminded of similar findings reported by Baron Karl von Reichenbach.

It is always wise to allow probes to "rest awhile" in the earth before actually monitoring their signals. This feature of great interest (and anomalously unconventional) represents the mysterious self-intensification of received signals over a time period. We find that these signals (once set in the "safe" recording threshold) suddenly thus manifest the "danger point" at the console.

The discovery of tone-signatures provides a potentially powerful diagnostic tool for chemists and mining engineers. Through such means it would be possible to locate deeply buried ores and mineral lodes (from ground levels) through tones which emanate from the subterranean deposits. The tension which enters the probe must be considerable; it is definitely not electric or electrical in its primary form. When handling the probe rod I find that the personal reception of radionic impressions actually becomes greater in power. Furthermore, this personal awareness increases when simply pointing the probe groundward or along ground ray-lines.

It was intriguing that the handling of the single lead wire (once the sample had reached its conductive state) could produce "microphonic" crackling sounds once the probe was buried. The sound suggested a strange degree of "high tension" in the thin wire: an anomaly. One critic mentioned that this was an effect of such a configuration . . . "acting as an electret": something very unusual with low voltage "electricity". These crackling sounds suggested a degree of tension in the thin lead-in wire. I yet have the strongest impression that this tension is a formative (crystalline) permeation emanating through the sample material: insensate radionic energy.

Furthermore, the fact that the ground potential energies can "spring" into the monopolar single wireline indicates the vigorous degree to which they are "highly active". This activity also does not seem to require specific "wavelengths" of single wire or "oscillatory tanks". The mixing console is not made to oscillate at those frequencies. In addition I wish to point out that each sample was passed through a loading coil of considerable inductance. The filtering effect of such a coil on high-frequency signals is well-known. I have received soundings through long single wirelines (20 yards) and short ones (1-3 yards) with no difference in received overtones. Critical lengths in the receiving circuitry is not an important feature with this energy. Not requiring any "return circuit" in order to effect their signatures, these energies represent an immense reservoir of subterranean power deserving our investigations in earnest. I infer that the ground-generator (while seemingly inactive) is actually vast in its own (insensate) activities.


Space does not produce the volume of sound as found in the ground. M. Theroux demonstrates this with his dipolar ground receivers. The aerial rods never produce the same amount of sound as do the ground rods — except when hand held! The best volumes for recording ground~rods were registered when the central core of my lead lines (the shielded part of the coaxial cable) was used and tapped. This is a perplexing feature when interpreting the results from a conventional stance: there is no reason why either the inner or the outer cable portion of the connecting cable should offer such a vast degree of conductive difference to these energies. No "return wire" was made in order to provide a dipolar circuit in my experiments.

If there is a "return circuit" then it is most certainly of rayic nature. Dr. Drown and Dr. Chapman always spoke of this mysterious "auric connectivity" in the absence of conductive lines. Much of radionic apparatus designs [29] takes these hyperdimensional ray-circuits into account. Furthermore, there is no "ready power" at the console site capable of entering the ground and registering signals. The fact that the varieties of probe materials each are possessed of vastly different overtone content should eliminate these critical considerations entirely. These overtones are not the result of ordinary heterodyning. They continue to appear as constants in spite of graphic equalization.

It is well known that the very ground upon which we walk is seething with all manner of ray energies. That materials do not generally emit such kinds of energies (when held aloft) must be better appreciated. M. Theroux shows this repeatedly in his recordings: where only the buried portion of the configuration (when free) releases sounds. Of course Mr. Theroux conducted several experiments when half of the probe circuitry was held aloft (the ground probe was also held): in which case a thundering and dramatic surging of power was at once evidenced. The organic presence makes the difference!

Investigators of "the subterranean deep" have known that ground-energy manifestations are exceedingly more potent than those of upper-space. The ground is indeed a very special reservoir of life-generating energy, a focus of intense dynamics where rays (of intense power) transact and interblend. We are chiefly intrigued with the rayic aspects which thunder, crystallize, and sustain the very structure of consciousness from the indispensable ground. The ground is a vast generator of conscious and living powers, whose componentry consists of metal lodes and mineral deposits through vein structures. Its caverns are resonators. The nature and regional source of sounds heard "in the head" shortly before entrance into sleep requires afar greater study of ground power surges (which are registered daily alter midnight). Immensely powerful rays have been diffracted into the ground strata where they surge in vast and mysteriously insensate transactions. The ground appears to be essentially inactive except to sensitives. Devices and apparatus which seem "inactive" are actually operating at immensely potent degrees of insensate activity, the key toward comprehending future technology. This energy of the ground is primarily an experiential one through which consciousness is mediated into our being. All the other effects of this singular presence reveal the plenary nature of powers which are ours to use. Through the ordained ground points we may achieve and experience deep rayic connections.

Created things (trees, minerals, mountains, lakes, humans, etc.) are both generated and sustained by this grand power. When Victorian science spoke of the earth as a reservoir of energy, admixing the prevalent view that auric energy was primary to electrical energy. The Victorian emphasis was always upon the vitalistic energies. What we need to pursue are the means through which this energy may be appropriately transmuted into light, heat, motive force, empathic telecommunications, healing force, and mind-expansive potentials.

These new tonal forms offer fresh evidence and insight concerning the "indispensable ground". The power which resides in the ground is potent in giving the listener sudden and impromptu (resonant) displays of extended consciousness. Psychoactive effects began to appear among the discoveries made with tone-signatures. Effects in which the radionic sensitivities of the body are enhanced through exposure to these sounds was marked. While working with the large carbon rod I experienced a distinct sensation of very rapid (10-20 per second) energetic rotations in the space surrounding the rod. This was especially powerful whenever the rod was pointed toward the ground. I had noticed this aetheric action with other materials before. I also learned that by specific kinds of "loadings" on such materials (iron ring, copper windings, organic blocks in proximity) that it was possible to slow and intensify this aetheric vortex. In order to test the aetheric potentials of "vortex action" which was felt surrounding the carbon rod, I conducted an experiment in vortex induction. The concept was to attempt the entrainment of electrical energies in a wire helix.

I used an insulated coil wrapped (CCW) around a large carbon rod and buried it (25 cm. deep) with the remainder (50 cm. standing above the soil level. The coil "wrapping" was made of 200 tight turns of telephone wire in a single layer. This wrapping was single terminated; the ground-sided end was crimped (exposing no metal) and was completely contact-covered by a very thick acetate tape. The free line-end was above ground; this was connected to the monopolar single wire and made connection thus with the console. I allowed this configuration to reach resonance in the ground for 15 minutes before sampling its sound. The results corroborate my claim that an anomalous primary activating energy is entering these arrangements.

The wrapping coil (plastic insulated) formed a powerful combination when coupled with the carbon. This did not impede the appearance of a most unusual (higher pitched) "buzz" along with the original carbon signature. The energy entering the system was strong; but not as strong as those monitored through the carbon alone. This energy is capable then of entering solids and heavily insulated wires alike. These two facts give more evidence which affirms that the primary energy (of ground) is not originally of an electrical nature.

Life-generating energies do not begin as electromagnetic signals. Life-generating energies may leave electromagnetic "tracers" (polarization trails in space) as their energetic presence is encountered. Furthermore, the manipulation of appropriate inertial elements to form electromagnetic polarizations in a space does not imply that living energy will he "summoned" into the core of that polarization: the effect is not reciprocal. In most instances life-generating energies cannot be detected through mere instrumentation, being a space which requires an experiential transaction. Life-generative energies therefore cannot be known except through certain of our senses directly (ganglier vision). Those who deny the subjective element of experiences can never "detect" life.

The generative power is sensed and desired by our beings. To deny its permeating reality is to live in willful ignorance. This power is subjectively sensed and discerned by all who are willing to allow themselves the joy of sensing and feeling with their whole being again. We can detect these energies through our being and can also register their presence through radionic (instrument) tuners; these tuners extend our subjective senses into other (inaccessible) experiential resonances. We have every assurance that cooperative modulations of this power is a singular providence with which humankind has been gifted: to work with the generative power is both our long-lost cultural dream.


My fascination with these sounds (as a musician) is epitomized by the eternal ringing of matter in the ground. When I examine the geo-radionic environment I do not experience "the waltz" melodies of romanticism. I do perceive the steady and endless emanation of eternal tones in their wondrous panoplies and combinations. I hear the mysterious joining of sounds — the permutation of tones through space and ground. Such direct reception is a goal realized. The composers and artists of the twentieth century developed the forgotten arts whereby auric apprehensions were directly expressed. The artistic stylization during this epoch were simply the artists' own receptions of [30] the aetheric worlds with which contact was made. Each artist expressed a different realm and artistic inflection because each artist is in tune with different space-resonances.

The musician has historically been associated with a process of externalization on behalf of the culture which they represent. Through the musical or artistic (aetheric healing, aetheric sight) the musician is able to express sounds which exist in the environment; and the artist is able to structure living forms which have been located in psychospace. These items are not heard or seen by most persons (although many do anticipate and apprehend them in some minimal manner). Expressing the sights and sounds of the geo-radionic environment was a lost art. The emergence of bourgeois artforms (catering to the aristocratic courts of Europe) plunged the world's population into a "belle epoch" of frivolous self-indulgence.

The lost art of directly expressing the ray-auric sounds of the universe (Pythagoras, Fludd, Messaien, Ligeti) has re-emerged with explosive power. The conflagration which accompanied this reemergence (1900) caused some degree of dismay among the romanticists and impressionists. The biopathic inability to receive the higher dimensional sights and sounds of expressionism is ample evidence of schismatic human perception. The consequent social structures which have evolved as a result of this schism is easy to identify and group. There are those whose stubborn fixation on emotional content is sufficient evidence of rigidified and maudlin armoring, an unwilling fear of directly experiencing the true life of the universe without traditional masks, acceptable shields, or bourgeois pretense. Therefore I find this ground noise and matter-noise most fascinating and revelatory. With the rediscovered art comes a forgotten awareness. The frivolous artforms which do not connect us with the universe are self-referential and self-centered. The proliferation of bourgeois music and art entraps those whose attentions have been captivated into auto-emotive loops. The power of an art cannot be separated from its "place of origin". The higher the dimensionality of artistic revelation, the greater the ability of that artform to translate the participants thereof.

Any artform is inseparable from its origin and its power to change lives. The vague and frivolous nature of weak derivative art reveals the degree of revelation which spawned the form. The loss of true connectivity with the living generator produces much of the mass-produced artforms which have flooded our society. Furthermore, those whose lives reflect loss of connectivity with the true and living generator are incapable of appreciating or accessing the pure expression of aetheric worlds. These individuals do not have the spiritual credentials or qualifications to speak. Having no comprehension of the geo-radionic environment and its powerful conscious permeations these persons live out their ignorance while operating through clotted emotions.


The academic professions are known for their stance on subjective and experiential science: they refuse to "feel, sense, or experience" any phenomenon in the universe. With this "no-feel, no-touch, no-sense" doctrine they have effectively separated themselves from the very heart and meaning of the universe, all while professing to know all about it. The excessive descriptions with which they dazzle the naive betrays their essentially vacant experience of the vibrant universe. To merely measure and describe is not essential to our being, or capable of addressing the true need of humanity. Theirs is a message which is vacant as is their experience of the universe. They know nothing of the deeply ancient, enlivening, intelligent, and exotically sensual potentials of space itself.

What sensations and experiences academicians disallow is actually the essential message, meaning, and joy of being in a living; to deny this is to be insensitive and deranged. Through such biopathic dictates "against sensation" the academes have effectively blinded themselves from directly experiencing worlds which supervene and dominate those which they claim are central to the universe. The academe is not aware of the permeating domain through which all true cause emanates: the real source of the effects upon which academia fixates. This is the very rift which irreparably separates us from them. We reject any dogma which indites or disapproves of subjective sensations. We object to all such rule and will never concede our ground: they must come to us. A new barrage of anomalies has emerged from the domain; these will not be understood by academia.

In the matter of ground-power and radionic emanations the academe has been limited. The totality of academic expertise in these regards is pressed between two very narrow descriptive studies: "contact-potential" and "telluric electro-currents". Within these two exceedingly narrow blades they have succeeded in satisfying all of their fears that a living earth actually exists! Measurements of the pressures resultant through the "contact-potential" of metal probes in the earth judge any and all measurable electrical potentials to be the mere result of electrolytic actions (metals-soils).

The second peephole through which they claim knowledge of the organized subterranean depths is summed in their measurements of "telluro-electric" pressures and currents. Geophysicists have charted and mapped many varieties of these currents for nearly a century now. They have a thorough catalogue of the directions and potentials involved in these minute and surface leakages. Telluric currents represent the smallest traction of a far more potent primary causative energy through which all these effects are manufactured.

Telluric pressures of inertia represent the mere fractional (electromagnetic) "debris" of a primary generative presence. This energy [being radionic rather than electrical in essence] is not prized for its work-performing ability. What we derive from this energy is primarily its revelatory potential: ideas, images, visions, symbols, melodies, designs, archetypes . . . "buried treasure".

I have analyzed the comments of my critics to a degree which prevents them from convincing me of error or of damaging my continual joy. I have too often "given place" to such conventional analysis to my own detriment when young and inexperienced in these matters. The academe is a parasite whose discussion can closely parallel those of the vitalist, since inertial effects often simply follow vital causes. Inertialistic science is fully capable of shadowing the vitalist's progress and discoveries. This may be understood by studying the path which vitalistic discovery actually takes.

Wherever there are vitalistic potentials at work in the universe there can be inertial responses and effects. While these do not parallel each other in all cases there is somewhat of a correspondence between both the causative domain and the realms of "effect". Inertial effects do not always follow Vital Causes because of the limits of space-resistance. Space-resistance is the experiential interface through which vitalistic potentials pass. The interaction of vital rays with the space-resistance results in the manufacture of inertial polarizations and detritus. These alluring displays have captivated academicians for centuries. Without recognizing their error, the academes has continually attempted the description of reality from this manufactured level. Mistaking the effects for causes results in a singularly interesting (and annoying) human situation. We find that insensitive individuals are now making cosmological declarations which are entirely unfounded.

Furthermore, the amplified inability to sense vitalistic causes (rays and their aura) among the academes rigidifies their unwillingness to reject the manifestations to [31] which they so passionately cling. This erroneous confusion between phenomenological cause and effect has torn the human community. Power struggles for domination, wealth, masteries, and acquisitions have resulted in the realm of human experience. The damaging results of inertial technology are ever-present. The instances where no inertialistic explanation can follow vitalistic causative action are excessive. The inertialistic "explanations" do not reciprocate the living cause: one cannot arrange a mechanism by which living potentials may be experienced. This was the Victorian "problem" when academicians attempted the regeneration of the dead through (mere) electrical means. Similar theories would insist that a simple mechanistic evolutionary process is responsible for all species. It infers that powders (taken from the crushing of a working watch) could regenerate a working watch after suitable agitation.

There are sensate realities (sensitivities) never known by the academes, causative worlds of living sense and experience. Such ignorance and insensitivity is typical in the pattern of biopathic anaesthesia. In this regard there have been more profound episodes, where significant vitalistic evidences have been totally "forgotten", lost, and actively denied by academia: the very history of suppressed science and technology.

There are those instances where radionic activities do not register in any existing inertial meters, bypassing the space-resistance through which inertial effects (polarizations and detritus) are registered. In a mysterious manner such phenomenology indicates that the joys of radionic activity are reserved for those who willingly experience them. The central core of meaning and life is an experience — not a measurable quantity or a mass of alienating descriptions. Inertialistic understanding relies totally upon the measurable (dead) effects initiated by primary cause. Where no effects are produced the inertialist then dictates (usually vociferously) that "nothing is there". Poor Monsieur Blondlot  . . . you did see and experience the N-Rays!


I have gradually realized that the important overtones in this research represent a real instance where a pivotal vital-inertial nexus has been found. The correspondence of tone and overtone, cause and effect has revealed a class of new phenomena for study. The fact that each overtone dance is material specific offers a fresh anomaly to baffle the academicians.

It is impossible to have predicted that different materials (placed in the same ground) would produce such different tone-signatures. It is only through empirical activity with an opened and subjective attitude which allows such discovery. Each probe sample is found to give its own range and kind of overtone content. There should he no difference in tonal content regardless of the kind of probe used. The only expectable difference would be the one which controls "signal volume" and that would be the result of variations in probe resistance.

If the tones were mere result of electrochemical reactions between the probes and the ground we would not expect the audible differences among such tonalities. There are several reasons why can eliminate the possibility that these sounds are developed through the electrochemical "frying" or "frizzling" of the probe surface areas (in ground contact). According to convention we would have to accept the view that different materials are capable of sudden conductivities "because of electrolytic action in the ground". They would argue that the specific electrochemical reactions of a material in soil would produce specific "sizzling" and "frizzling" sounds in the monitor, as each chemical reaction differs from the next. If I showed them that ungrounded metals (merely placed in acid cups or in elevated pots of soil) would never produce these recorded sounds — could they then believe? Inertialistic understanding relies on effects. Where no effects exist they conclude that no cause exists. The conductivity of any material alone could never allow such sudden (and markedly different) tonal appearances of overtone groups with different probe materials. The sheer volume of sound received is in no way corroborated with the relatively unreacted face of the metals after their short spell in the ground. In addition, I have received just as powerful and as variegated tones through glassy substances which do not react with the soil in an electrochemical manner.

Each material used gives a different "overtone song" only when buried in the ground. Emplacement in acid, water, or pots of soil does not produce the sounds. Aerial elevation of the materials has not yet produced the sheer volume of sounds received unless the human organism (or any living organism) is present near the receiving device. According to the conventionalists, no difference of signals between different materials should have been monitored at all in any of these experiments. The surface area of receivers does not increase the overtone volume levels or their content. These experiments answers those who speak of electrolytic reactions with regard to our research. I buried a group of separate carbon rods and interlinked them with wire. I fully expected these to provide me with ten times the output sound and signal (since I used ten rods and was provided with ten times the electrolytic surface area). They did not offer an appreciably louder signal. Neither did the overtone song alter. Anomaly again.

It is significant that tone-signatures do offer very different "dancing" overtone signals. The astounding feature of all these recordings is that (over the several tracks made) the probes were in the very same ground spot in the very same hour. Groups of these samples were made in this manner. It would be difficult to comprehend how the great variety of signal-forms could otherwise be generated. Out of the very same ground come different tone-signatures . . . the result of different materials placed therein.

The significant overtone songs which differ from sample to sample cannot be the mere result of locale or time. One cannot say that "suddenly" there were "teletype signals" or the like within a sounding. Each one is possessed of its own characteristic overtone song which remains fixed for that sample. Exposure to ground-rays activates these releases. If some local effect of electrical leakage [whether into or out of the recording system] were to blame for these species of sounds, we would expect only variations in amplitude and a constant sound in each sample. This would follow the conventional explanation where varied resistances of the probe would effect changes in volume of a constant tone-signature. This is not what we have discovered however: with each material there is a special and distinct earth tone signature. These sounds are only activated through contact with the ground itself. When they are elevated above the ground they do not emanate any tone-signatures which can be detected. This is evident in the recorded material of M. Theroux as well as among my own recordings.


The sounds of 60-cycle A. C. offer a background "dull hum". We may hear the sudden dull sound ("dmmm") of local appliances turning on and off in the neighborhood in certain samples. Their entrance and exit do not alter the fixed tone-signatures of each material. The presence of 60-cycle induction cannot he ignored. Yet, we have found these levels to be so easily recognized that we (initially) made our discoveries in spite of their slight presence. The 60-cycle "hum" and all its [32] harmonics (low or high) are all of the same tonal variety: a "dark" humming sound.

The enormous volume of living background noise is problematic for most analysts whose biopathic reaction to these tones is both characteristic and predictable. These individuals will tend to focus their attentions upon the merely inertialistic pressures resultant from the primary generative energy. Studying the effects which are manufactured by primary cause is the inertialist's scientific specialty: they know the effects very well. Unfortunately the mere knowing, describing, and predicting of effects does not reciprocate or translate into "life". When we eliminate the 60-cycle hums and their harmonics from these tracks we find a preeminent signal permeating all of the tone-signatures: the master tone-signature.

This is an ever-present tone-signature which we cannot ignore or misinterpret. I believe this tone signature may vary with locale, by which we may also map and chart regions in a new awareness. The greater portion of this signal (which buzzes and rattles with such enormous throbbing power) is not the result of human technology. Isolating this signature of the ground from the sample tones is impossible. Simple adjustments with the graphic equalizer can eliminate the effects of inductive leakage but cannot block the signature-overtones of a material.

The generative power of earth sounds is enormous. They apparently remain potential (silent) until given a material into which they may flow. This flow is specific and distinct for each material-probe buried in the ground, evidenced in the specific overtones which are discharged. Furthermore, the overtone songs are not easily isolated and amplified through the ordinary means of graphic equalization. Their ephemeral and-permeating presence is heard "across the full spectrum". One may eliminate any frequency band and yet find the shadow of the overtone dance present. This persistent feature is truly anomalous. The overtones ride above the master tone-signature in a distinctive dance pattern through which materials may be identified. They offer a spatially disposed behavior when heard. This is why headphones are an imperative when listening.

Electrical appliances (locally used) do not cause the sharp and irregularly syncopated impulses which are heard throughout the recordings. There are "racers" amid these constant throbs whose independent and separate rhythms permeate the background noise. The "racers" are characterized by a great variation of separate and continual rhythmic speeds: these cannot be the result of 60-cycle leakages or the use of local appliances.

Interference from powerlines, ground connections, radio stations, telephone cables, "military signals": these are not the overtones upon which we are focusing our attentions and discussion. When all the effects of such "electrical poisons" are filtered the sound volume is still enormous. Induction and leakage would produce the very same sounds in all samples. The only audible difference would be contained to differences in output volume: the result of variations in conductivity. Tone-signatures are element-specific and possessed of overtone features which are found throughout the collection of elements.


This new field of tone-signatures is a door into the future. It provides us with accessible vision into the otherwise unknown subterranean earth. The constancy of empathic activity in matter requires no "measurement" by those who are sensitive to their activity. The human organism does not natively require transformations from rayic to electrical effects in order to "validate" the existence of anomalous energies: we are fully capable of directly detecting them with our deepest senses. It is merely academic conditioning which "disallows" the existence of activities which each of us can plainly discern. The divergence between academic measurement and radionic experience defines the schism between our factions.


There are enough of the various samples placed on the sample cassette so that the student may apply whatever lab-diagnostic techniques (overtone analysis, graphic equalizers and filters, oscilloscopes, etc.) required. The full appreciation of these overtones is experiential. Lab techniques may not reveal what the human organism alone senses and experiences. Lab tools can never impart or partake of meanings, which is the human providence.

The delicate nuances of tone-signatures can be transmitted through cassette tape, but requires headphones in order to detect the subtleties of overtone movements. These overtones are heard at the very peaks of our audible range. They ring, whistle, and warble with specific patterns which depend on the matter from which they were derived. The spontaneous stereo phasing of the overtones is a thing to be felt and enjoyed. It is my sincere hope that you will spend enough time with each sample to experience the significant and marvelous motions for yourself. It is my deepest desire in these regards that you each experience these tone-signatures and relinquish the "diagnostics of doubt" which separate from you direct experience.

Listen to each sound and savor the overtone motion which rides the background noise. Listen "above" the master tone-signature. Eliminating the soft 60-cycle harmonics is relatively easy. The resultant throbbing undulations of the ground will not be easily suppressed without the graphic equalizer on your stereo. You will be amaze to hear the "overtone song" which is the essential tone-signature of each sample. It does not vary considerably with graphic equalization.

Focus your attentions on the overtones which you hear "riding above" the other sounds. You will find that these will touch you . . . at the chest, neck, and facial areas. This represents the empathic signal which enters the ganglier sensors of your body directly. Do not be surprised at this phenomenon. Listen to the "warbling" overtones of each sample: they are each different and constant for each sample.

Listen and absorb the track where I have "balanced" iron against carbon. The experience of this combination is like being physically connected with as powerful an earth battery as that which Anton Mesmer constructed! Let yourself feel its powerful energy moving through your body from right to left.

The background noise is not the important feature here. Allow your awareness to focus only upon the warbling overtones which ride above the other sounds. Examine every warble with your whole being. Learn to depend on your senses again. Experience. Stop demanding the analytic tools which separate you from direct sensation and meaning. It is the doubt concerning radionic reality which forces humanity into inertial observation. Stop doubting and know.

Dan Winter is a very dear friend of mine for whom I have extreme admiration and respect as a researcher (stunningly successful work on Dirac Waves, Moray diodes, C.E.S. devices, and bibliomancy). In the course of our long-time association we discussed the many features of ground energies. It was he who first suggested that I try slowing the speeds of these ground tone recordings down through successive steps. When I engaged this procedure I was absolutely astounded to discover an unsuspected world.

By recording at the very highest speed, and then successively fragmenting the tracks, I was able to produce ever slower versions of the original. In several instances I used the method of recording at highest speeds (19 ips) to make the original master copies. I then re-recorded each track at successively slower speeds (1/2 master speed for each deceleration). The result is an astonishing succession of ever-decelerated playbacks. I finally reached 1/32 master speed with the gradual approach of distortion entering this last step. The disappearance of lowest audible pitch with slower speeds is only made more mysterious by the sudden appearance of nearly ultrasonic pitches. A pitch which measures a clear 10 KHz pitch at these speeds must be an original 32 x 10KHz or 320KHz: a true mystery!

Each harmonic drops down (from inaudibly [33] high registers) "into view" when the tracks are slowed to this degree. Each such harmonic must therefore have originally been nearly ultrasonic in pitch. I would never have suspected their existence in the tone-signatures made were it not for the successive decelerations of the major tone-signatures. But these recording machines of mine are not supposed to be capable of responding to such extreme tones. Furthermore, a definite mystery persists throughout my 1/32nd speed recordings.

It has been suggested (by conventionalists) that the background noises and rhythmicities are man-made, the mere result of local appliance use. If these sounds were the result of ground leakages, then I would expect silver to receive more of the signals than others (including vacuum). This in fact is not what has been discovered. I find it very difficult to believe that any appliance is capable of emitting the " . . .8-PAUSE-PAUSE-8 . . ." rhythms which carbon so dramatically emits. In addition, the overtone discharges are not the same from sample to sample. Each element emits a different overtone pattern. Some overtones dance with a specific rhythmical emphasis. There is no precedent (to my knowledge) for these tone-signatures.

These radionic tone-signatures are capable of remaining in the magnetic recording medium (magnetic tape) in a permanent manner. If all these manifestations were the simple result of induction, electrolytic "battery action", or varying degrees of "conductivity" there would be no tone-signatures. The fact that these tones are radionically charged is quite enlightening, offering us the privilege of discovering and experiencing new worlds. There are sudden emissions which spontaneously release very sharp "pings" of exceptionally short duration. Not all materials do this. Amethyst, sphaelerite, pyrite, and galena seem to evince these sudden sharp tone emissions. M Theroux discovered these in enormous volumes out West. I see these mineral tones as being akin to forced radioactivity under the impact of the ground-ray (see works by G. Le Bon).

With the graphic equalizer alone it is impossible to isolate the overtones. They are mysteriously a part of the "whole signal" and "dance" among the major tones heard per sample. You must listen to these by directing your attention to the very highest sounds heard "between" the headphones. You cannot isolate or eliminate the overtone dance with the graphic equalizer.

None of the mineral samples were touched or handled during the sampling period. None of the other samples were handled with the exception of the hand-held coil. The crackling sounds you hear are their natural outputs. In addition, all the single wire lines were carefully insulated and avoided; no motion took place in the laboratory. The absence of automobile traffic makes the constant crackling noises more suspect of anomalous source.

Allow your attention to he drawn into the overtone dance: these contain the empathic signals. They seem to hover above and upon all the other sounds. Each overtone "dance" differs from substance to substance. Through them we become empathically entuned with the aura of each sample, savoring their essence directly. Through such a means we may (personally and intimately) experience the minerals and metals in a way never before possible by knowledge alone. Extending these experiences into the tone-signatures of stars and planets is my next experiment. Then comes tele-empathic research: the development of technology through which we may experience distant communications of an experiential variety.

The complexity of the sounds are difficult to specifically analyse, and must be heard, rather than described. The tape is made for purposes of subjective analysis and study. Remember that none of these recordings were made with any kind of "tuning" in the regular (radio) sense. The only tuners were the potentiometers of the Yamaha recording console; and these had an appreciable effect on the tonal varieties throughout the recording and the playback! Potentiometers act as radionic tuners, and represent the use of crystalline carbon as an organic detector. This is not surprising, considering the affinity of earth tones energy for carbon.

I have purposely made the recordings long enough so that students can sample enough of the soundscape to familiarize themselves with the long-time transients which roll and flutter through minutes of time. The most unsuspecting "buzzing" contained such a vast degree of tonal complacity that most researchers have simply discarded these sounds. Certain steady pulsations (too deep to hear) can actually be tracked while watching V.U. meters. The great varieties of overtones is a surprising experience. The new student of these wonderful radionic phenomena will derive great discoveries from these modest beginnings. The pulsations from the pickup or the ground-rod system are remarkable. I provided one minute of each sound sample for the listener. No doubt, there are other ground arrays and "ground-organic" configurations which must be sampled for their additional overtone content.

One may use the samples for subjective {empathic) analysis, or for use in conjunction with radionic tuners. In the case of either, the rationale of offering long samples is to allow sufficient time with any specific sounding to perform needed empirical adjustments and diagnosis. The sounds give a definite sensation throughout the space they are listened in. The foremost fact to remember concerning our ground recordings is that these signals are musical overtones. Be amazed and be opened. Let the sounds move your thoughts where they will. I assure you that you will experience far more than you yet realize through discussion alone. Determine the ray-lines which pierce and penetrate your neighborhood. These sounds should help reveal these ray-lines: by travelling into them and activating some of their potentials. Such an experimentation will lead to breakthroughs in our ability to extract naturally occurring non-electrical energy from the deep strata in the ground. Such energy interactions will (with new materials and new tuners) permit the local release of light, heat, cold, motoring, therapeutics, astral travel, teleportations, transvision, direct-coupled learning, and all the potential future needs of humanity which are indeed generating and surging . . . within the ground.