CHAPTER EIGHT
SEX, DRUGS & ROCK 'N ROLL

The esoteric aspects of the Montauk Project were very intricate. First, I will address how the human mind interfaces with all of it.

According to current knowledge, the Montauk Project is intimately tied to the creation of our reality or, at the very least, resonates with a project or activity that does so. As consciousness is the basis of reality, the activities at Montauk were designed to regulate consciousness, particularly the electromagnetic grid or matrix of thought forms that permeate and influence our culture. In this book, we are concerned with the latter with regard to the world of music and entertainment. More crudely, this has been termed "sex, drugs and rock 'n roll."

I have spoken about rock 'n roll, but what about drugs and sex? There were definitely drugs at Montauk. One proof of that is Timothy Leary, the famous or infamous (depending on your viewpoint) psychedelic guru. Witnesses from Montauk remember him passing out drugs at Camp Hero during the hippie period. This was during the early years of the Montauk Project. Anywhere you have Leary, drugs are going to be a major factor. He was a very brilliant man in some respects but drove himself to dubious extremes with drugs.

We also see evidence of drug experiments in some of the rooms at Camp Hero. If you look at my video tape. The Montauk Tour, you will see a room on the base with strange wallpaper patterns. There is a black and white room out there, too. Black and white stripes were painted all around the room with a white ceiling and a black floor. If you get a hold of Timothy Leary's second report on LSD, you will find it shows that exact type of room. In addition to the black and white room at Montauk, one was tiger striped, one room had psychedelic patterns, and another was painted with random colors that loosely looked like confetti.

Leary, who was associated with Harvard University, was initially hired by the CIA and military intelligence to develop conditioning drugs in order to make soldiers aggressive and that sort of thing. The aggression drug they use on soldiers today started with Timothy Leary. There were also experiments with truth serums, i.e. drugs that make people talk. The CIA and military intelligence has a vast drug section which Leary was heavily involved in.

Quite a few of the altered states used in the Montauk Project were drug induced. We had one drug I do not really remember the name of it - which took about an hour to take effect, but when it did, it made you psychically wide open to the entire universe. Many people died from it because they could not take the experience. It is not easy to be that wide open. Unless you are prepared to be that open, your heart is going to stop from all the chaos. Next, the whole nervous structure becomes totally confused and your physical body shuts down. Many drugs were administered at Montauk, but I did not get involved with that nor the taking of them. I was more of a radio, tube and antenna person, but I did get involved in programming people.

There is no question that there is a major connection between the drug world and the Montauk Project. This is highlighted by the fact that many locals know Montauk Point to be the major conduit of illegal drugs into the east coast to this day. This came to light when an attorney litigating a case against the East Hampton chief of police reported to Peter Moon that there are virtually no drug convictions for importing drugs in the entire area from Montauk to New Jersey. These "no convictions" are in stark contrast to a higher number on the rest of the east coast. Locals report that fires are set at night on the beach to signal drug laden boats where to come ashore. This is how the drugs are smuggled in. There is no serious enforcement with regard to cracking down on the illegal fires despite many complaints.

With regard to the music industry, drugs are well known to be rampant in that culture. Rock groups or stars are often kept high by key executives in a controlling and manipulative manner. This was particularly notorious during the years of the Montauk Project where many of the artists do not even remember what happened or when or where they recorded what song.

I have given a brief view of drugs, but what about sex? Sexuality has been discussed at various times in the Montauk books, but to get down to the nitty-gritty, your psychic energy is basically your sexual energy. There is absolutely no difference. Sexual energy is your energy with your signature or your group of frequencies encoded on it and that is it. It is open energy or raw psychic energy. Whoever ran these various projects was very much enamored with sexual magick. The Montauk Project was literally loaded with sexual magick. It therefore behooves us to ask what exactly is meant by that term.

Sexual magick basically consists of taking your sexual energies and putting it into different channels within your being and doing things which could best be termed as "magical." It is well known in the orient that if your mind is continuous and whole, you can bring up the kundalini energy flow and do all sorts of amazing things. Kundalini is basically using the spinal system as a laser. You are bouncing the energy between your base chakra (which is at the end of your spine beneath your gonads) to the crown chakra (located at the top of your head).

As you bounce the energy back and forth between the base and the crown, it amplifies with each bounce. It builds and builds until eventually you have a roaring monster in there if you do not know how to control it. Too many people end up in that unfortunate situation when they try to unleash these energies. At Montauk, methods were used to raise these energies to an astronomical figure, but it could not be left in the person. That would kill them. The technique was to tap it or access it and amplify it further. The Montauk Project was basically sexual magick amplified, amplified through ten to the 24th gain via a particle accelerator. I intend to discuss more about this in a future book tentatively planned to be called "The Time Travel Primer". This will discuss how to use an accelerator similar to a gyroscope to time travel as well as several other subjects concerning time.

As far as sexuality is concerned, it is the channel through which your entire psychic energy reverberates. I am not talking about sexual potency here but of the energy flows that take place in the body. If you take these energies and properly use them, you have probably got the most potent form of magick in the world if you know how to use it. This is what was done at Montauk. Sometimes, sexual magick was used to calm down reality. This embraced weather control, including hurricanes.

In term of music and mind control, the music that is of the greatest interest to controllers is that which creates the most response to the raw public. That is, of course, raw sexual music or rock 'n roll.

Rock 'n roll is basically a reproduction of the orgasmic cycle put to music. In this "orgasmic cycle," you have these groups and ensembles of music that just bounce back and forth. The heart rate speeds up and then synchronizes to the rate of the frequencies of the music. The spinal channel is also excited. All of this occurs through the art of music. If rock 'n roll was just the reproduction of an orgasm, it would be a simple and perhaps innocuous matter. The problem is that when the orgasmic channels open, the person is totally opened up psychically and is prone to suggestion on the deepest most archetypal levels. As mind control meets rock 'n roll, there is a "raw gut thought form" taking hold of the audience. The process begins with a thought form which is reproduced with audio tones or music.

When we consider what music really is, it is basically a thought form. If you have a movement in a symphony, that group of frequencies is representing a concept as a thought form. The music becomes a frequency transformer. When we further complicate music by putting together technologically synchronized music through an audio output, there is a whole new set of factors that show themselves. This can be described as a continuous running ensemble of audio frequency tones related by timing, related by frequency, related by phase, and related by amplitude. When the end result of the music is interfacing to a physical system like a human body, timing becomes important because the audio ensemble needs to synchronize to a nerve pulse that runs continuously.

Why?

The reason is that the nerve is acting as a carrier wave for the music or thought form which is acting as mind control. It is just like a common carrier wave in electronics where waves carry intelligent information such as audio for the radio or pictures for the television. In the application I am talking about, the entire nervous system can become a common carrier for pictures, audio and feelings. Those in engineering can better understand the nervous system in this regard if they consider it to be like a stochastic signal processing system. All of this has to do with a common concept in electronics which is called "pulse position."
In order to understand pulse position, it is necessary to first understand the term "synch pulse."

A synch pulse is a pulse that continuously repeats in time. It is synchronous because you always know where it is. It is like a reference point. When there is another or additional pulse with respect to the synch pulse, you have the phenomenon known as "pulse position" which is designated by the relationship between the two separate pulses. The other pulse might be a millisecond away or more. The second pulse is a set time position away from the synch pulse.

While the above is ordinary basic electronics, the equation becomes very complicated when we consider pulse position with regard to human beings. Humans have an entirely different "synch pulse" in that their references are floating or changing all the time. To pin down this floating reference, one has to engage in fractal analysis and stochastic positioning of the different patterns that involve very advanced signal processing. The details are for hard core engineers only.
If you visualize the human body's neural system to contain a "synch pulse" or floating reference frame, you can understand that music can enter the system through the audio sensors and create a pulse position with regard to the human bio-energy field.

Although the music itself could be the carrier of mind control transmissions, it is not always that simple. Modem audio systems can contain pulses that can tag along with the regular electronics of the music and carry coded information that has instructions all its own. The codes could be something simple like a binary code or a Morse code whereby one millisecond equals a zero and two milliseconds equals one. Or, it could be so complicated that it could only begin to be deciphered with a very fancy spectrum analyzer. The codes themselves would be designed to interface with the neural network of the human body.

Pulse position is actually how your nervous system works. There is a synch pulse that represents the normal human state. When other pulses enter the system, they represent different phenomena including human reactions. When we consider these "other pulses," one can literally take one neuron and put thousands of signals on it. The pulses themselves are transmitted through the neurons. Keep in mind that each neuron is not only transmitting the resonant "life beat" of the human being, which I earlier referred to as the synch pulse, but it is picking up all sorts of semi-random pulses that have to do with the organism interfacing with its environment.

Some of these are pleasurable and some of them are painful. If you take an audio amplifier, connect it to a neuron and turn up the gain, you will hear a sound that is like static or white noise. You would actually be listening to semi-random pulses and each pulse that comes through is a click. If you can then locate the synchronizing pulse and decode the pulse position, intelligent information can be retrieved. This is the same way audio or video signals, which are considered intelligent information, are decoded in regular electronics.

All of this is why the start and stop of different notes in music is so important: because it translates to a multiple pulse position system. In other words, different notes or combinations thereof, resonate with different parts of our physical and mental structure. Consequently, the sounds can be pleasing or aggravating, depending upon how they synchronize with the activity that is already present in the neural-net.

Remember, what you hear is going to every part of the mind because your mind is a common carrier. So while some part of the mind is going to find it very enjoyable, another part of it is going to find it revolting. I have had people sit and listen to particular recordings and watched different parts of their body tense up and relax. Observing their physical body reactions demonstrates that one is dealing with a common carrier system. Someone gets excited while listening to music because it is interfacing into the neural-net activity of their body in different ways.

If you take your stereo and turn it up loud, you can begin to entrain another person. The neural-net is using only so many differentiated pulses with its floating "synch- pulse." When loud music begins to generate many more multiple pulse positions than the neural-net is accustomed to, it creates an overload. The idea in mind control is to jam the neural-net and stop it from its normal functioning. Loud music in itself can do that, but it can also be used, quite deviously, to lay in coded messages. Wacky or fringe people often spout out that they are receiving coded messages through the television or radio. The further study of this phenomena might reveal that some of these wacky claims might have some basis in fact.

Entrainment by music can also be witnessed in indigenous tribal rituals or even New Age drumming circles. If drumming is loud enough, you will feel it and your body will become entrained. For example, it is a scientific fact that a normal heart beats at about seventy beats a minute. If a drummer beats at eighty beats a minute, what is going to happen? The heart rate is going to rise to eighty beats a minute, too. If you do not believe me, you can try it yourself. If you drop to a nice and slow beat, after a while, it will have a hypnotizing effect and slow your heart rate down. This is the whole idea of using music as a method of mood control. It also shows how sensitive the neural-network is to music.

In this chapter, I have given an overall view of how sex, drugs, and rock 'n roll combine to make excellent tools for mind control. In the next chapter, I will discuss my involvement with one of the key performers from this period who to this day is still considered a "god" to his legion of fans.
 

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CHAPTER NINE
JIM MORRISON

I met Jim Morrison and the Doors about three days before the session where they recorded "Light My Fire." We met at a diner in Manhattan and struck up an immediate friendship and became pretty good friends. The Doors were a California band and did most of their demo tapes at Bell Sound West. Eventually, it got to a point where most of their recordings were being done at Bell Sound East. I was hired as a sound engineer by Bruce Botnick, a fellow who had a contract with Warner-Elektra, a company who rented the Bell Sound studios. Consequently, you will see that many of the credits on the Doors' recordings go to the Botnick Company and not to myself. As I have said elsewhere in this book, I never wanted groupie attention.

I arranged the sound for many of their songs and also groomed Morrison to be a better singer and performer. When he first started, he was reluctant to face the audience when he sang, especially a big crowd. He stood with his back to them and was very shy in public. He was not so shy in private. In fact, he liked to do recording sessions totally naked or with his shorts on. For some reason, he actually sang better in this state. We worked many hours to develop his style. In the beginning, he drank a little and that was about it. Drugs were not a major factor in the beginning of his career although they consumed him later on. As he performed more and more music, he went the drug route and became more and more stoned. It became my job to sober him up. I remember one particular time when we were recording the song "Touch Me."

That is the song which features the words "I'm gonna love you 'til the heavens start to rain." We started out, and he was just awful. After awhile, I finally told the producer that I was going to take Jim across the street and fill him with coffee and milk. I brought him back to the studio in about two hours, and he was able to do the song. This was the stuff you had to put up with in order to work with him. The song "Touch Me" contained an imprint to make people feel good. Every so often, a song was entered into the repertoire of different groups to make people euphoric when they heard it. That was the song chosen for the Doors. It was done toward the end of their career when they were beginning to fade. That song, with its psychic overlay, is what kept them going a bit longer.

Jim Morrison has been celebrated as a very gifted poet, but it is unknown that he purchased a lot of poetry from Mark Hamill. I remember one of Mark's original poems was "Celebration of the Lizard" which I thought was pretty sick. Mark had hundreds or thousands of pages of lyrics laying around that he had written over the years. If someone wanted to buy some, he would hand over a whole stack and have them pick out what they wanted.

Morrison was also very interested in sexual magick as was his wife at the time who is also known as a Wiccan priestess. Although he tried to interest me in having some involvement with them in that regard, I never took him up on it. We were just very close friends. As Jim's involvement in drugs and alcohol became more severe, he would sometimes act crazy and become violent. I was the only one who could handle him at times and was often called over to assist in this regard. I am not sure why I was able to deal with him. He always claimed that he was part American Indian and said that the Indian side of him was the one who was either in control or out of control. He definitely recognized that I was part American Indian and that could be part of the bond that he and I had.

Most of the world believes Jim Morrison died in 1971. From an objective point of view, the coroner's report raised more questions that it answered, but I person-ally know that Morrison did not die. He took some combination of drugs and alcohol and became catatonic. He was more of a vegetable than a human being at that point. To the best of my knowledge, there was a meeting of producers who discussed what to do about their fallen rock star. Keep in mind, Morrison was viewed as a god in some circles. The producers reportedly came to a conclusion that his music would probably sell well if he had died as opposed to being confined to an institution. The best solution was to fake his death.

I know this to be true because I was called over to his house in the mid-1970's. He was in the Paramus, New Jersey area, and I was well into my study of ESP and psychic activity. I was sought out as an advisor to see if he could be reached by psychic means, and I came over with a number of mediums and the like. Morrison was quite fat by this time and would just sit in a chair and stare into the fireplace. Every so often, he started to come around but would soon revert to the catatonic state. As far as I know, he never recovered.

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CHAPTER TEN
SPECIAL EFFECTS

Besides Jim Morrison, I had the opportunity to work with all sorts of famous acts, but I was not interested in the hyperbola that is associated with that sort of thing. I was basically a sound engineer who happened to be very good at what I did and was sought out by different people for my professional services. In the process, I literally watched the recording industry find itself and made many contributions along the way, not only in sound engineering but in subliminals, too.
 

One of my biggest contributions to rock 'n roll was developing a deep heavy bass sound by basically making a twelve-inch speaker and putting it in front of the bass drum. Before I introduced that concept, in about 1963-64, rock 'n roll was not all that loud. It did not have that big of a bass sound. It was basically a person singing into a microphone with a small PA system and a couple of guitars each plugged into a 20 watt amplifier which used a pair of 6L6 vacuum tubes. This was still the vacuum tube era, and the Montauk/Brookhaven crowd loved their vacuum tubes because there was a lot of semi-black magic involved in the construction of them. But, in order to get the heavy bass sound, we coupled the bass guitars right off the speaker voice coils directly through attenuators and equalizers, or sound-shapers, right into the console. This resulted in a very deep, heavy resonant bass sound which changed the face of rock 'n roll.

In the 1960's, the studio practices were nothing fancy. The age of digital technology had not come in yet, and it was basically just microphones, tape recorders, and mixing boards. Special sound effects were created either through fuzz boxes, phase-shifters (which basically de-lays the sound or signal that goes through the circuit) or echo units. In those days, we did not have harmonizers, vocalizers or any of that stuff.

A typical recording session involved setting up microphones with either an eight-track or sixteen-track unit. Generally, each instrument was recorded onto a separate track. After this was a "mix-down" which consisted of processing all those tracks down to one or two, depending upon whether we were doing a mono or stereo production. In many cases, we did both because LPs were stereo, but 45s were mono and it does not sound good to take a two-channel stereo and mix it down to one. If you do, you get a lot of phase cancellations and it can sound like it is all in a barrel.

Thus, in that era, the recording engineer was much more important because he literally made the sound that was put on the phonograph disc and eventually released. We literally had to "sculpt" the sound from the initial session tapes that were made. Many times, we had to take over a recording session and act as producer, arranger, and recording engineer because although the various groups had their own people, very few of them had any concept of how to make a "live" sound.

They were not necessarily bad musicians, but to do a good job, you have duplicate what it feels like to be in front of a live performance with the band right in front of you and all the ambiance and charisma that goes with it. The "feeling" of the sound has to be canned into a microphone and eventually onto a vinyl disc. This is an art in itself and is why the recording engineer of the 1960's was as much of an artist as the performers were.

Most of your recording engineers had to have a very good working knowledge of music. I learned this from my mother, Virginia or "Ginny" Nichols, who was a fully qualified classical musician. Her primary instrument was the organ. She knew all of her music theory and passed it on to me as I grew up listening to all of the classical pieces on our RCA phonograph. Starting at about the age of six, I was given a good basic knowledge of classical music. All of the themes for the rock 'n roll pieces you hear today come out of or can be found in the classics. There are really no "new" musical themes on this planet. They have all been put down by Mozart, Beethoven, Tchaikovsky and others. After the great composers wrote down all of the musical themes, composing became a matter of rear-ranging and restating them and doing musical statements.

Besides the bass sound and the regular recording that I did, there were many special effects that I created in the music industry. This started with guitar sounds, and I also developed different fuzz boxes or distortion boxes. Al-though acoustical guitars have a great pure tone and sound beautiful, they are not at all suitable when you are trying to produce work that is in the category of "sex, drugs and rock 'n roll." To put it simply, this was raucous music, and the acoustical guitar did not quite hack it. Can you imagine Jimi Hendrix playing an acoustical guitar?

When Hendrix and that crowd wanted to go with their loud sound, I got involved with developing bigger and louder amplifiers for the guys to make their raucous sound. It had to be raucous as well as loud. We would take a guitar with either an acoustical pick-up or a magnetic pick-up on it. Where the acoustical pick up is basically a microphone put inside the sound chamber of the guitar, the magnetic pick up is where the strings actually become a moving magnetic surface. As the strings change, the reluctance of the core structure of the coils and the magnetic structure creates wave forms or signatures. These signatures are based upon the vibration of strings and the intonations put on the vibration of the strings by the design of the structure and design of the body and neck of the guitar. It was an art form that was basically magic.

As each string vibrates, it changes the distribution of the magnetic fields and the pick-up. As you change the distribution in the magnetic fields of the pick-up, it then has lines of force cutting the coils which sit below the string in the electric guitar. It is the increasing and decreasing in strength of these coils that generates the wave form which translates to sound out of the amplifier.

I got heavily involved in distorting and shaping the sound of Hendrix's guitar. In fact, when Jimi was introducing that sound in the 1960's, most of that equipment had been personally built for him by myself. I also built the big amplifiers he plugged into when he played live. And, I can tell you, it was loud. It was blasting. He started out in the smaller clubs with his little practice amplifier that had a pair of 6V6 vacuum tubes in it that put out maybe 10 watts. He cranked the level up full blast and then played with the bass and treble and mid-range control to get the sound he wanted. We later evolved this system into a fairly complex group of pedals. As the musicians hit the different pedals, they could get almost any sound they wanted out of their guitar.

All of these sounds had to be picked up and reproduced faithfully in the recording sessions. I got into designing all sorts of effect boxes or effect pedals. If you went to an early concert, you would have seen a guy playing a guitar with four or five pedals in front of him. He was switching things in and out, changing the levels, and changing the tone. The biggest thing, the Hendrix sound, was very simple. All we did in the old days was to take a ten watt vacuum tube amplifier and drive the thing all the way into a distortion. Turning it up as high as it could go, it came out with a semi-square wave with a raucous sound. I also had to design smaller units that could be put in between the guitar and the bigger amplifier because if you take a 250 watt amplifier and distort that, you will crack windows. Therefore, I had to design a little box so that the same sound could be reproduced with a more powerful amplifier. .

Besides the guitars, I also became involved in choral arrangements. As I alluded to earlier, recording was pretty simple. Your compilations or chorusing was done by having the same person sing four or five different times into a multi-track tape recorder. When all the recording was done, you would then blend those tracks together so they sounded proper. This is another example of what is called mixing, taking 8,16 or 24 tracks down to one or two tracks. Occasionally, it would be taken down to four tracks. Sometimes, one person would be singing, but it would sound like three or four singing with the same voice.

First, the rhythm or musical accompaniment would be recorded. Next, the singer would put on headphones and listen to that track as he sang along. His entire sound would be recorded on another track. The singer would then listen to that track as he again sang along with it. He might do this three or four times, sounding better and better with each recording. This technique is how you get a nice rich vocal sound. This is not really enhancing the singer's ability to sing, but it is giving phase and time differentials within the main vocal so that it does not sound discordant. It makes the voice sound richer.

One of the more popular vocal groups I worked with were the Beach Boys. I originally met the Beach Boys when they came over to the east coast to do their recordings. Although the west coast had better publicity people, we had better studios. Contracts and publicity were often handled in California, but at that time, New York was the Mecca of rock recording and any group that was anybody did their recordings there, including the Beach Boys. Their first couple of songs, "Surfin' Safari" and "409" I believe, were done at Fox Studios in California because the father of Brian, Dennis and Carl Wilson was sort of a director at 20th Century Fox. Unfortunately, the movie studio equipment was not very good, and the only recordings they could produce were monaural.

That is the reason why quite a few of their early songs were only recorded in monaural. When they got some serious money behind them, they recorded their songs in New York and worked with me. The Beach Boys were a nice bunch of guys and were easy to work with. Although they were easy going, they were always very concerned about the sound and wanted to know what every little thing sounded like. I fit right into their concerns because I was the one that basically created the final sound. I worked with their voice harmonies which I call choral rock. I was sometimes known as the chorus man and the bass man. We all learned from each other.

There is an interesting story that my dad likes to tell. One day, he came home from a rock collecting trip to find a big truck backed into the backyard. He got out of his car, walked up to it and found a guy on the back of the truck playing an organ with the tail gate down. The organist told my father that he was playing with the guys in the back yard. When my father got to the backyard, my mother told him that these were the Beach Boys. She told him they had to stop over while they were doing a local concert so I could do some repair work on their amplifiers. As I busily worked in the garage, they made use of their time by practicing and attracted all sorts of people from the neighborhood who watched the free practice session.

The man playing the organ was Daryl Dragon, the son of Carmen Dragon, a famous orchestra conductor. Most of you will recognize Daryl Dragon as "The Captain" of "The Captain and Tenille" who were a popular act in the 1970's.

The Beach Boys were right in the midst of a general change of music in the period of 1967 to 1968. I call it a movement from "frying pan rock" to a more theatrical instrumental rock, of which the albums Days of Future Passed and Sgt. Pepper were prime examples. On albums like Sgt. Pepper with songs like "Day in the Life," we utilized different eight track machines and had about 100 different channels that were blended in to make those strange sounds. I was often asked to come up with a sound and inevitably did so for this album. These were the types of things a recording engineer had to do.

Some time after my sound work on the Sgt. Pepper album, McCartney and Lennon both liked what I did at Bell Sound. They approached me and asked me if I would be interested in building a studio in England. I told them I did not want to go over to England and build a studio, but I did offer to build one here which could be transported and set up over there. They wanted the most modem studio possible. Bell Sound had alot of vacuum tube technology, so I basically built them a solid-state studio. It was built in a warehouse on Long Island, tested here, and then flown over to England. I spent about a week at Abbey Road getting it together and working.

I also worked on creating the Melotron for the Moody Blues. This was put together by myself and two other friends. It was basically a bunch of eight-tracks played with a keyboard. There was one particular belt recorded on an eight-track system and you had a choice of eight tracks to play. The tape was either slowed down or speeded up when you played it. This created some very strange sounds. This was similar to what were known as "broadcast carts."
There were many other songs and effects I created or participated in. Many of you in the reading audience may remember a song called Winchester Cathedral. I did that with a megaphone directed straight into a microphone. I still have the megaphone in a closet somewhere.

One particular good sound effect I created was one with a thunderstorm in it. I had listened to all the thunderstorm tracks available and thought they stunk. I made it my business to go out on the roof of the building with a tarp, tape recorder and microphone and wait for a thunderstorm to come up. I made my recording of a thunderstorm and it was far superior to anything else ever heard. It can heard on the Doors' "Riders on the Storm."

There are countless stories and anecdotes, but the preceding information is just to give you the idea that I really was involved in the music business on a deep level.

The accomplishments I have relayed here were primarily a professional matter. The next chapter concerns another special effect from sound engineering that reaches into the beginning realms of virtual reality.


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CHAPTER ELEVEN
EARTHQUAKE

In the 1970's, somebody decided it was time to add some accent to the typical "disaster" movie and make the audience actually feel what was happening. The venue chosen for this was the film Earthquake. As I had quite a reputation in sound engineering by this time, I was brought in as a consultant to help the production company figure out the best way to create the phenomenon of an earth-quake via sound technology.

The first thing I did was to bring the sound producer for the film over to the Dayton P. Brown company. There, I asked a friend of mine to run what is called a "shake table". This is actually a shake table transducer which looks like a huge bullet and is about two feet long and eight inches thick. Basically, it is a sound device which shakes. I had my friend run it at 10 hertz as we hooked it up to a flat bed device. It actually could displace a ten foot square of wood by about two inches. The sound producer was amazed and said it was the biggest speaker he had ever seen. I told him that we could make the entire floor of a theater shake if we used this same principle and the floor could be hooked up in the same way.

Actually, there were two methods to create the feeling of an earthquake. The shake table system was used primarily in premium, older theatres which had a wood floor as well as a cellar by which you could access the floor with a jack stand. The transducer was placed under the jack stand and hooked up to a huge amplifier. When a subsonic signal from the soundtrack was relayed, the shake table transducer would displace the floor about an inch each way. This became the preferred system for Earthquake and it became known as "Sensuround" or some name like that. It actually worked very well.

As you sat in the theater and the earthquake started to sound off on the screen, the floor would shake. In fact, it worked so well that when we set it up in the old Huntington Shore Theater, it shook the building so much that all sorts of stuff fell off of the acoustical tiles on the ceiling. The manager of the theater called me up over this and said we had to turn the thing down. When I told him where the amplifier was and told him what to do, he called back in fifteen minutes and said he was not going to touch anything. There were too many signs saying "high voltage" all over the equipment. So, I had to drive up to the theater and turn the level down on the shake table amplifier which I had just that day brought into the cellar with a big forklift. Many times, the displacement of one or two inches shook the whole building of the theaters and the shake table was discarded.

Most theaters had cement slabs for floors and were not suitable for the shake table. If there was a cellar with an appropriate wood floor, the manager or owner of the theater had two options. He could either shake the floor or rent big speaker boxes that were placed in the auditorium and driven off of a 10,000 watt stadium amplifier. This was the second method of creating the feeling of an earthquake. Instead of a subsonic signal to shake the floor, a supersonic signal drove the big stadium amp which drove the huge speakers. This made huge rumbles and it felt sort of like a thunder clap. These were actually air pressure blasts from the speaker cabinet.

Although I did not devise the second system, I did come up with the idea on how to implement it by encoding it on the magnetic sound stripes which run down the sides of ordinary celluloid film for making movies. In a simulated movie earthquake, the vibration you felt was the result of sound waves in the supersonic range which were encoded a sub-carrier on the magnetic stripes for the soundtrack (which was made up of four tracks).

These were summed and put into a decoder that gave you an output for 30 hertz on down. In other words, the decoder read the supersonic carrier and put out ELF (extremely low frequency) signals. These drove either the shake table amp, when we were moving the floor, or the subsonic speaker amp for the huge speaker boxes in the theatres. These were so big that you could literally walk inside of them. They had about a dozen eighteen inch woofers in them. Each cabinet took in about 2,000 watts. The stadium amplifier was rented and put out about 10,000 watts. It had a range between 5 hertz and 20 kilohertz.

What created the earthquake sensation was the fact that 10 or 15 hertz was being amplified so that the wave was coming at you as an atmospheric front. The wave consisted of peaks and troughs with significant pressure differences. The audience was basically being shook with the wave front instead of the floor going up and down. Some theaters actually used both systems. While the pressure waves were hitting you, the floor was moving and making for a real dynamite effect.

This is a prime example of how sound waves can be used to create a remarkable special effect. Unfortunately, there are other sound effects which are considerably more subtle and quite sinister. We will explore them in the next chapter.
 

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CHAPTER TWELVE
MIND CONTROL

During my days in rock 'n roll, the use of an echo was a big deal. The basic meat and potatoes of sound enhancement or sound reinforcement was the echo. There were many different types of echo devices, but the first ones to do echo effects were Les Paul and Mary Ford. This was back in the 1950's when the first group of tape recorders had three heads. There was an "erase head to clean the tape, a "record head" upon which the recording was made, and a "play head to play the recording.

When a tape was in record mode, the play mode was not disabled because it was necessary to keep track of what was being laid down on the tape in case their was an imperfection in the sound. This also made it convenient for creating an echo effect because the two heads are an inch and a half apart which translates to about one-tenth of a second delay. If you take the output from the playback amplifier and feed it right back into the recording amplifier, it goes around and around and generates an echo. It is that simple.

There were many different types of echo devices. The most common one was described above. There were echoes recorded relating to both width and depth. There was a cacophony of different echo systems in the music industry. The one I used to get a kick out of was a big coiled garden hose. A speaker was placed at one end of the hose and a mike at the other. It sounded terrible but made an echo and was used. I built a system that had twenty-two different tracks of echo that were all blended together to make a very rich cacophony of sounds. Total harmonies of sound were created using echoes. I did these during my days with Phil Spector.

In order to "sculpt" the sound, one has to be familiar with the entire chain, all the way from the musicians' performance and what the microphone does to what the line amplifiers, echo decks, and coils do. Earlier, I said we were creating a piece of art. This could best be termed as a "painting of sound" which was what I used to call it. We were doing a sonic visualization of a concept in sound that the musicians were performing. It was very important to get this painting of sound to come through the little 45 RPM record player that RCA sold in those days. We had all sorts of equalizers and other sound-shaping equipment in the room as we mixed. Each record was treated as an experiment, but it had to meet certain standards. Did it sound good? Are the kids going to like this? It is not as simple as having the Beatles play in your living room, putting up a couple of microphones and making a master tape which is then recorded onto a phonograph cutter. If you do that, the sound will literally come out like trash.

In making records, we were usually not concerned with whether or not the sound from the musical performance to the audio speaker in the home was faithful to what the musical performance was. In business, the primary objective was to produce a sound that would appeal to the audience so that the record would sell.

Typically, the live musical performance sounds nothing like the sound that comes out of a record player in the home. This is why I literally had to be an artist and shape the soundscape or presentation of each musical recording.

In the 1960's, most of the radio stations were AM, so we had to make sure that the recording also sounded good for that format. This required another whole chain of electronics that went from the radio station to your home. From the turntable in the radio station, which was a better quality turntable than anyone had at home, the sound had to go through the line amplifiers and mixer in the radio station and then to the transmitter. Once there, the sound was processed with peak limiting or over easy compression. These are technical procedures which make a radio station sound good to the public.

Finally, the sound projected out of the little plastic radio on the table and made a noise that could be enjoyed. At the same time, we had to ensure the sound was something close to what came out of the 45rpmrecord player. I now refer to it all as black magic because if I had to sit down and tell someone exactly how to do it, I could not. It is all too complex.

I picked up most of what I learned on my own. When I entered the music field in the early 1960's,there were no great recording engineers at that time. The ambition of recording engineers at that time was simply to reproduce the musical performance as best as possible. That was what RCA did with Elvis Presley. It is also why the Elvis sound, in so many cases, was clean and pure. There was no processing because he really sounded like that. Little Richard and Buddy Holly are two other artists who really sounded like their recordings. If you listen to any of the better recordings of these guys on a modem CD with a really good sound system, it sounds fantastic. It is as if they are right in the room with you.

Of course, most performers were not in the category of the above artists. But, even if they were, producers soon learned that when an RCA record player was replicated by all sorts of other companies, as it was, there was no way one could predict how Elvis or anyone else would sound on a little 45 rpm record player. In the mid 1960's, the entire concept of record production changed. Producers realized that records could still be sold by the older methods, but the teenagers were getting more sophisticated. Therefore, we had to be very concerned with what the sound was that came out of the customers audio equipment when he played a record or tuned in to a radio station.

It did not take long to realize that there were other things going on in the recordings besides the electrical representation of the audio program we were putting on the tape. There were not only hidden agendas and procedures for increasing sales, there were more sinister things afoot. Today, I now realize that I was doing psychic overlays on the tapes. I found out that I could literally influence the way the sound was perceived at the other end of the audio chain by basically concentrating on the head stack as the tape went through it in record mode. I mentioned this previously, but now it will be discussed a bit more technically. This activity was the legacy which I had brought over from my association with Brookhaven and the Montauk Project. This was how the subliminals began.

There are two types of subliminals that were used in this time period. One was the psychic overlay just described. There were also true sonic subliminals. Many people will remember the Beatles' record where "Paul is Dead" was recorded 30 db below the chorus. There are other ways to do this as well. "Paul is dead" could also be recorded backwards in the chorus. Whatever method is used in the sonic route, it can be just as effective as the psychic overlay.

The music was basically formulated to be hypnotic and grab your attention and entrain the person listening. But, in the psychic overlay technique, I realized we could put in whole messages. Basically, I discovered that what I concentrated on as I ran the mix board and watched the tape going through the machine was just as important as what the sound actually sounded like at the other end. I finally got to a point where I had an interim step between the mix down and the final master. This consisted of me making a dub or a copy and concentrating on the recorder head as the copy was being made. That is where the psychic overlay was particularly successful.

When I explained this psychic overlay technique to Phil Spector, he said he did not believe me and wanted to see proof of it. Consequently, we set up an experiment. As we did the dub, I concentrated on a phone number. When the record was finally released, we got thousands of calls to that number. The message got through to people. The psychic overlay was impressed into the master tape and from there to the vinyl. When the record was played on the radio station or in the home, people got the idea to pick up the phone and dial this particular number. It should be pointed out that there was no phone number mentioned in the music. We were very careful to have a piece of music where there was no phone number in the lyrics or any-where else. A special phone was set aside for the experiment, but he did not keep track of the individual calls.

After that experiment, Phil totally believed in concentrating on the tape. He wanted to use it for marketing purposes. Phil wanted us to put a thought out so that when you heard a song on the radio, you had to go buy it. I participated in these psychic overlays through about 1971.

The psychic overlay work began in 1968 when I first began to work for the Montauk/Brookhaven people. There are probably a multiplicity of reasons I was selected for this activity, but it likely had a lot to do with the fact I was doing hot tracks in the studio just about every other day, music that was destined to be heard on air waves across the world. To tell you the truth, I am not even sure myself about all the things they had me do. I was told something by the Montauk/Brookhaven people and would then over-lay it for them. My own personal genius in the area of electronics and sound was, of course, at their disposal.

What I did was develop a "psychic overlay" system to the point where it was actually designed into the hardware as an electrical overlay. This was accomplished through an extra head that was placed on the opposite side of the tape than the regular head and was called the "cross- field head" or "cross-head." This received an input, via a vacuum tube audio amplifier, from a circular coil that was placed upon my head. As I created thought forms, this coil picked up slight magnetic emanations from my brain which are known as scalar waves. There were no real "words" transmitting from the amp to the extra head, only a quantum component (the scalar wave).

This innovation of a second head or "cross head" is exactly where the Aid corporation came up with their "cross-field bias". A bias is defined as a frequency which is above the audio spectrum (100-300 kz) which is mixed in with the audio signal being put into the record head in order to make the recording linear. If this is not done, a recording will sound extremely distorted. People from Aki were in the recording studio one day and saw what I had done. They scratched their heads and wondered what the extra head was for. Eventually, they came up with their own idea, but they had no idea what its true function was. Their product was an abomination and served no useful purpose. It was just a "copycat" action.

In order to avoid any confusion for the reader, I will describe exactly what a bias is and how it functions so that a tape can register sound. The head on a regular tape recorder is basically a piece of magnetized metal, also known as an electromagnet. The reason you have a bias is because of the tape used in tape recording. A typical piece of plastic tape has inlaid upon it a bunch of tiny little pieces of iron or other metallic oxides. It is basically a metal powder. For practical purposes, we can consider these pieces of powder to be tiny little magnets which are confused and jumbled.

Because they are disoriented, it can be considered a chaotic arrangement or a nonlinear function. What the bias does is create a geometric magnetization so that there is a cohesive or orderly pattern. We call this a linear function, but you would recognize it as something which makes sense. To be technical, the bias aligns the domains of the tape with the term domain referring to the way the magnetization arranges itself within the geometry of the tape.

The way this fits in for recording purposes is as follows. A performer creates a sound by reason of his/her voice or through use of an instrument. This generates an electric imprint or representation upon the diaphragm in a microphone which in turn makes an audio signal. The amplifier just amplifies the signal and makes it strong. The audio signal or signals are connected right to the coil in the head (there is actually a coil within the head) which magnetizes and demagnetizes the tape based upon the energy that is there at the exact moment when the head contacts the tape.

As the tape moves across the head, it is magnetizing the tape at many different levels and many different polarities. When the magnetized tape moves along the "play head," the magnetic fluctuation from the tape generates electric current in the head which is a replica of the current that it took to record the tape. This is a very simplified version of how a tape recorder works. It is a somewhat detailed account of an ordinary function. There is nothing paranormal or unusual in this.

What is of particular interest in the above description is the chaotic function of the magnetic particles on the tape. I found that by concentrating on the record head, I could add to the imprint that was being put on the tape via the ordinary audio signals. Do not believe for a minute that scientists can account for every last particle on a piece of magnetic tape. This gets into the area of fractals and an analysis of the infinite. It is an open ended proposition that subliminals can be conveyed this way. I know it to be true based upon my own personal experience and that of others. Those who find this a bit of a stretch can consider an obnoxious commercial or song that repeats itself in your mind. What is the power of that sound so that it can impinge upon your consciousness to the point where it can haunt you, even for a very short time? There are numerous explanations as to why your mind could respond that way, but subliminal suggestion is a very plausible explanation for many such instances.

For me to concentrate on various recordings took quite a bit of time and energy. It was not too practical in terms of time management. The second head or "cross- field head," which I referred to earlier, was very useful in this respect. So that I did not have to concentrate full time, a tape loop of concentrated subliminals was made and looped through a tape recorder and put through to the extra head. This was another electronic means of "psychic overlay." It was often a standard audio program with somebody speaking subliminals into a mike. This tape would be recorded with both heads in use. The original head recorded the ordinary audio input. The second recorded the psychic input.

A typical recording system will have a range from 20 kilohertz to maybe 50 kilohertz. Some even get up to a megahertz, but most music recording does not require anything beyond that. What I had to do was make a system that would enable them to record at a frequency beyond the normal ranges that would be "bearable" to the mind but not within the ranges of ordinary human perception. The signal was there but would best be described as a hyperspatial factor. It could not be detected by ordinary means or measuring devices.

In the above situation, phase plays an important role. When the looped subliminal was then mixed in with the regular recording, the subliminal was fed into the system "out of phase", but the regular bias was "in phase." This worked extremely well, and I did not have to concentrate anymore. This means that the scalar wave was pressed onto the record, the phonograph cartridge picked it up, and the local sound system reproduced it. In fact, we also did the same phone number trick with this electronic means of the psychic subliminal. It worked very well, too. Of course, we never told anyone we were using subliminals at that point because they were illegal. It is still illegal, but the government never came across this method of doing subliminals.

Therefore, they did not know of it so could not regulate it. If you consult pure physics theory as taught in universities, the field was cancelled out. Theoretically, this means that there is zero impregnation on the tape. It is immeasurable by routine methods. If it went to court, the judge would have to throw out the case because if he did not, they would all be admitting to paraphysics. Documenting it would present too many problems for the Federal Communications Commission.

Over the years, we developed a system which could literally put a thought on a phonograph record. You would not be aware of it consciously, and this was the method I believe they used to "tag" the Montauk Boys.* The subliminal thought might be "go visit this particular night spot on this date." Everyone that answered the subliminal and went to the spot was identified and placed on a list just because they had the sensitivities to pick up the signal.

* The term "Montauk Boy" originated as a colloquial term used in my Montauk research to describe boys or young men who have received some sort of mind control programming via the Montauk Project or some similar activity. They are discussed in my books Montauk Revisited: Adventures in Synchronicity and Pyramids of Montauk: Explorations in Consciousness.

This was also great for getting records sold. Just about any record could have significantly increased sales by using this method. Recently, I saw a friend of mine who ran into one of my old colleagues who commented how unusual it was that just about every other record I made was a top ten seller. He definitely believed I was doing something magical to get that kind of a result.

As there were so many different sound systems on the market, maybe 30 or 40 brands, obtaining a consistent sound was quite a problem. None of the systems sounded exactly alike. The point is that what actually sold the record was not so much the sound but the subliminal because it was the only thing that came through unscathed.

In 1970, I built a studio out at Montauk. There, we were far more concerned about subliminals than audio function. Up to that time, everything was vacuum tube oriented. In the 1970's, the transistor reared its ugly head. Most of the studio at the air base was a solid state studio which meant the only way we had to do subliminals was through the extra head.

However, the agenda at Montauk was much more bizarre and far-reaching than just adding in subliminals. There were a number of record producers in cahoots with this operation. They would sign up a group they felt might be popular and could sell a lot of records. Upon reporting to their local studio to record, the group was abducted and taken out to Montauk where a broadcast recording was made. After being programmed, they returned home thinking they had made the record at their local studio.

More or less around this same time period, I was also doing working for Viewlex, a division of a company called Electrosound. Interestingly, they had ties to E.M.I., the company who figures mysteriously in my other books (with regard to their seeming involvement in the Philadelphia Experiment and Montauk Project). I also made good money during this period by designing a record pressing plant for Electrosound. I remember that they erected a big building with the words "Gold Disk" on it. As I knew a lot of people at Electrosound, my partners and I were able to work out a sale of Buddah Records to them. They pumped more money into Buddah and kept it going.

I made a considerable sum from selling my shares in Buddah and utilized the money by experimenting in some rather avant garde projects that had to do with antigravity. Eventually I ended up working for one of the major defense contractors on Long Island. There was a lot that happened during the 1970's. I was not only working for the Montauk Project but holding down a 9-5 job and studying and experimenting with psychic phenomena. Still, my experience in sound engineering would end up landing me another gig in the entertainment business.


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CHAPTER THIRTEEN
STAR WARS

In the mid 1970's, I was temporarily laid off from my job with the defense contracting firm. Before I could start to worry about my employment situation, I received a phone call from my old friend Mark Hamill. He said he was working for a movie producer who was making some sort of strange space epic and that they badly needed a sound man. He asked me what I was doing, and the next thing I knew, Mark handed the phone to George Lucas and I was being interviewed over the phone for a job. I heard George and Mark talking at the same time, and at the end of the conversation, George told me to get on a plane at MacArthur airport on Long Island. I got the job.

I flew on a corporate jet to a place in Death Valley called Furnace Wells. I soon drove out to Stove Pipe Creek. At least, that is the name I remember. It could have been something similar. Soon, I found myself involved in filming a movie. It was Star Wars. Mark was sleeping in a trailer and told me he had an extra bed. I stayed there and routinely found snakes or strange insects in the bed or trailer. It was as hot as hell itself, so I set up a big bowl of ice and water with a fan blowing over it because I could not take the weather. This was right next to the sound deck where I worked with all sorts of equipment and tape recorders. Twice, some of the crew thought it was great sport to dump the table with the entire bowl of water all over me and the tape recorders. Lucas hit the ceiling over that.

The second time it occurred, he saw some of the stage hands who did it and four of them were fired that same day. Working on this film was quite an adventure.
When they actually filmed Star Wars, I literally saw two psychics or adepts that were concentrating on the camera as it was running. They were putting some sort of psychic overlay on the film. I recognized what they were doing because it was similar to what I had done with musical recordings. I assume that Lucas learned the technique on his own. Although it is not necessarily known to the public at large, it is not really a big secret that you can put images on film, audio tape, and phonograph records. I believe this is why the Star Wars movies achieved unprecedented popularity.

I had an opportunity to banter a lot with George. We spoke about sound and metaphysics. Mark and I both had some input on the concept of "The Force" that was used in the movie. This concept was introduced very late in the production. If you look carefully, you will see that not all of the sound of the dialog matches with what the people's mouths are saying on screen. There was a lot of dialog change done at the tail end, just before the movie was done. When you look at the credits of movies, you usually find the term "ADR operator." ADR stands for "After Dialog Recorder".

I found out that Lucas is extremely difficult to work for. He is very demanding and dictatorial. If something does not work, it is your fault, not his. I discovered that I was the fifth sound man he had hired, and although I eventually got the job done, George and I got into a shouting contest. I had enough of George Lucas. I packed up my personal gear and walked.

Upon returning home, my mother told me that my old company had called the day before. I ended up working again, this time in the microwave instrument division. A lot of this work fits in nicely with the Montauk Project. Eventually, I heard back from George Lucas. They wanted me back for the post production stage because I was the best sound man they had. I went back on a consultant basis for a limited amount of time so that I could keep my regular job. I stayed on in a limited capacity for the other Star Wars films, too. There is also another Lucas film in the can that no one has ever seen. It is called Splinter of the Mind's Eye.

I suffered yet another bizarre episode with George Lucas. I developed an idea about how to put digital sound on a magnetic sound stripe on film. This is known today as the "magnetic film track." I took this to Lucas and another executive. They both thought it was great, and Lucas funded me to develop the technology. I did so and it worked like a charm. It eventually became known as THX Sound. Later, we did The Empire Strikes Back in this system and played the first print at the Chinese Theatre in Los Angeles. It was called "Lucas Sound" at the time. I flew out west and set up the decoders in the projection room at the Chinese Theater.

There were a load of people in the theater who were there to see the movie and hear the new sound. No sooner did I start up the system, but a damn radio station began blasting through the system. I think it was KTKA or something similar. It turned out they had a 50 kilowatt tower about a quarter of a mile from the theater. Lucas came in, heard the radio station and virtually kicked me out on the spot. I learned that anyone who works for Lucas gets fired at least once. He was a hot-head, but he eventually hired me back again.

The episode with the radio station surprised me because the technology I had devised was supposed to be insensitive to stuff like that. There was nothing in the system that should be sensitive to a radio station. I told Lucas it was a total surprise and asked for some time to make a shield for the box.

After becoming the most heralded and successful producer in America by reason of his three Star Wars movies, George Lucas chose Howard the Duck for his next movie. That movie had very little commercial value, if any, but was loaded with subtle esoteric references, if you could stand watching it. It was never easy to figure out George Lucas.

The Star Wars movies themselves were based upon Lucas's own writings which were called the Journal of the Wills and was patterned after dreams he had all his life. The theory with regard to this is that maybe George is part of the group that came in from the Old Universe. His dreams could also be a result of mind control. There is a movie entitled Dreamscape which features a character named "Alexander," which is identical to Duncan Cameron's first name. It is about a government mind control program and is based upon an actual project called "Dream Sleep" where Duncan was used to access people through their dreams. One of his targets was Jimmy Carter.

I heard that George eventually bought a ranch out at Montauk. Originally, I had thought he had purchased the Montauk Manor or wanted to. I believe he may have been one of the original partners in the purchase of the Manor before it was turned into a cooperative/hotel. It is ironic that so many Star Wars people ended up at Montauk. Carrie Fisher married Paul Simon who has a house right next to Camp Hero. Mark Hamill ended up buying a house near Dick Cavett. The popular belief is that all these media people come to Montauk because the east end of Long Island is like "Hollywood East" or "Bel Air East." Others consider them to be "celebrity lemmings".

Mark wanted a house at Montauk, and I believe he bought it in the 1980's. It was designed by Stanford White, a famous architect at the turn of the century. Mark refurbished the house and it was gorgeous. I even had the keys to it for quite a while. One day, Mark and I were out at his house at Montauk, and I casually told him I was investigating the Montauk Project down on the old air base and asked him if he knew anything about it. He thought he was connected to it. He could not prove it either way, but he said that he always had an affinity for the air base.

I also recall recording the song "Break My Stride" with Mark during this general time period. He used the pseudonym of "Matthew Wilder," but it was him singing the music. There is also a touring performer by that name who sings the song for live audiences. This piece by Mark was different than most of his music written for Buddah Records which was very juvenile. Those hits were aimed at the kids. Although the words were often trite and corny, Mark's compositions were musically impeccable and very well performed. It appealed primarily to prepubescent teens. The fact that he could plug into that age group invites one to wonder if his music was connected to programming young people for the Montauk Project. I still do not know exactly what his connection was. For the most part, he was not part of the group that I was involved with at Montauk.

Mark also spent time with Duncan Cameron. They shared his beach house at Zuma Beach. This was long before I ever knew Duncan. They were doing porno- graphic films at the time, but Duncan ended up having some sort of weird surgery that left a scar on his midsection. It was supposedly an appendectomy, but that makes no sense whatsoever when you see the scar. It ended his movie career. I remember Mark saying that Duncan was the strangest guy he had ever known. He also said that he never ever wanted to see him again.

Al Bielek remembers being "recruited" for the Montauk Project by Mark while he was in Hawaii in 1958. Al has made numerous attempts to talk to Mark but has never been successful. Mark is generally a very private person. He is not at all happy that he is mentioned in the Montauk books. I last ran into him at a mall on Long Island after The Montauk Project had first been published. There was no mention of him in that book, but he told me he was not allowed to talk to Peter Moon or Al Bielek and that he was doing a film for the government. I believe the film was "Philadelphia Experiment II." Of course, I have always mentioned that the Mark Harnill I knew may have been a different one than the current celebrity. False identities and duplicities are common in this field. Therefore, I can never say who is who. Everyone will have to make their own judgment.

I also believe that Mark made another recording that was sent back in time from the future. It is discussed in the following chapter.
 

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CHAPTER FOURTEEN
SKY HIGH

In the disco era, in about 1975, a song was released under the title of "Sky High." The recording artists were really just a group of studio musicians listed as "Jigsaw." If you research the actual information concerning its production, as I did, you will find that this seemingly innocuous song has a very remarkable history. My personal discoveries led me to the conclusion that this song was recorded in the future and transmitted back through time and into the past.
My discovery of the true history of "Sky High" began in the early 1980's after I finished engineering school and returned to work at BJM, the made-up name I have given for my actual employer in the defense industry.

Because of my vast knowledge of electronics and my involvement in the mind control projects, I was essentially king of the hill at that point and could pretty much do what I wanted. The rest of the company had rather strict dress codes, but nobody ever bothered me about how I looked which was not necessarily neat and tidy. So, no one said anything when I brought in a big vacuum-tubed stereo receiver and connected it to speakers so that it played music all around the plant. We primarily listened to CBS FM who often played the song "Sky High. All of a sudden, in 1983, it quit.

There was no more Jigsaw; no more "Sky High. Quite a few of the employees liked the song, so we called up CBS and asked what happened. They told us the recording they had went to pieces and could no longer be played. They did not know where we, or themselves for that matter, could obtain a copy of the song, for purchase or otherwise. I put that information away in my head and eventually went to a record shop and ordered a copy of Jigsaw's "Sky High". It was a single 45.

I took it home and played it at the correct speed, being sure to use a good needle that was placed correctly on the record. What I heard was the most horrendous cacophony of noise you ever heard. I did not know what that noise was about, so I returned it to the store. They played it and noticed that something was wrong with the record. Consequently, they took it back and ordered another one. Two weeks later, I went back and discovered the new record had the same problem. The clerk said he was sorry, but he was not going to be able to get "Sky High" for me. That was that.

In around 1996, I was watching television when an ad came on for one of those Time-Life series of recordings. It was called "The Fabulous 70's" or something like that. The next thing I knew, I soon heard the song "Sky High" blaring out of the television speaker. I copied down the phone number and ordered the CD. Sure enough, I got the disk; and there it was, listed with all the other songs: "Sky High" by Jigsaw. After noticing that this CD was produced by Warner Brothers, I called up some contacts there from the old days and said that I wanted to find out the history of this particular song.

I was finally referred to their tape archivist. This was a lady who kindly informed me that when they went through the master tapes for the different series, they noted an irregularity on the sheet that listed their master tapes. Next to the words "Jigsaw, Sky High" was the word "noise." This verified and restated the problem I had encountered years earlier. Finally, and for some unknown reason, the recording was replayed and the song could actually be heard. It was eventually put on a CD and made available for purchase.

What happened here? It took some time to figure out what had happened, but between my research and additional recovered memories, I was able to put together a tangible thesis.

The "noise" heard on the original master tape was indeed noise but was "white noise." In the book The Montauk Project, it was mentioned that white noise was the correlating function or "glue" which made everything stick together. White noise is basically a random group of impulses with different positions and different pulse widths which, when added to over a period of time, contains every frequency within the band width of 20 to 20,000 hertz. In other words, white noise represents practically every frequency that is out there. There are actually other frequencies outside of the 20 to 20,000 hertz range, and these are called "black noise," but we do not need to get overly concerned with the difference here. We are basically dealing with a panoply of frequencies.

 
So that you can better grasp the idea of white noise, take the mute off your FM radio and tune in between a couple of stations that come in clearly. You get a hiss. That is white noise and contains every frequency within the band width of 20 to 20,000 hertz, save for the fact that FM receivers are technically only 15 kilohertz wide so it really only picks up frequencies between 30 to 15,000 hertz. White noise basically covers the entire spectrum of frequencies. If you look at this hiss or white noise on a scope or spectrum analyzer, it looks like an infinite group of random pulses. It represents the cacophony of electrical transmissions that we know of as this universe.

The reason you get a clear signal when you tune in a given radio station is that there is a device called a "limiter" which knocks out the noise in all stages of the receiver. This is called frequency discrimination. It is sort of a filtering process from the incoming carrier signal. Actually, the noise is being overridden by the carrier wave generated from the transmitter. The noise is still there but it is way down in amplitude and you do not hear it to any significant degree. Only the desired signal comes through and that is what you hear on your radio.

As white noise contains virtually every potential transmission and every quantum potential, it is a very open ended proposition. Within it are ordinary transmissions but also etheric and esoteric ones. It literally represents the energy stream of the universe. This is very common information to me, but most people are ignorant of the common facts of electromagnetic waves and too many professionals do not have a clue as to their esoteric significance.

The noise on the record "Sky High" was caused as a result of a closed down time loop that occurred in 1983.

The Montauk Project was concerned about opening up a time loop between 1943 and 1983 as these two dates corresponded well to the Earth's forty-year biorhythm. This "forty-year biorhythm" can be compared to a meridian in the body through which life ebbs and flows in the stream of time. When this loop was opened up, it facilitated traveling to other points in time by the project operators. I eventually discovered that when the Montauk Project went down in 1983, the time loop between 1983 and 1943 closed. The "Sky High" recording was actually recorded in the future and was sent back into time. When the project closed down and the loop was broken, the song did not play anymore. All one heard was white noise which was actually the witness to the transmission of the song "Sky High."

The original studio master tape to "Sky High" was done at Montauk. One account indicates it was done around 1987 or 1988 where it was played and sent back in time to 1982. From 1982, it was transmitted through time back to 1972 when I was working at Bell Sound and recording something like disco. The song was actually very early disco. Another account, which I believe to be more accurate, has it being recorded in 1982.

When the hole in time closed, the recording disappeared. What was on the physical recording was basically white noise from the preamp to the tape deck because everything else was blocked out by the time transmission. The actual recording contained white witness that called the recording in through time. In other words, if you took that 45 before 1983 and placed it on your turn table and played it, the white noise on the 45 became a witness to the original transmission of "Sky High." A portal in space and time was opened as the machine played back the recording, making a connection back to Montauk in 1982 where the signal was being transmitted into the audio system. The time transmission preempted the recording on the audio system.

As the record was made in "real time" in the 1980's, it could be heard thereafter. The theory is that if it was played between the time the loop was closed and prior to the original recording, it manifested only as white noise. When I have told this story in public, I have demonstrated the "etheric" component of the recording of "Sky High" by playing it on a tailored boom box I have fixed up. If you put your hand over the speaker, it will vibrate in a manner that you will not feel or experience with almost any other song. Two exceptions are the songs "Shannon" and "Beach Baby," but these are also believed to be time transmission songs.

"Sky High" was what we call a "time mark" recording. Duncan Cameron, the time traveler from "The Montauk Project," recalled having sign posts in time placed around what he was involved in doing. The "Sky High" recording, whenever that was played and the connection was made, was a sign post placed in time. Time travel at Montauk was done by moving from post to post to post to post, through an open ended vortex. This use of music was part of the time travel project.
Interestingly, I heard that a phonograph record that went out on one of the Voyager missions had Sky High on it. If aliens play it in the future, there is a time mark for their civilization, their galaxy, and so on. The time marker would be placed in their time which would become a witness to the Montauk Project.
 

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CHAPTER FIFTEEN
THE MIND AMPLIFIER

The Montauk Project played a definite role in the majority of my activities in the recording business. Earlier in this book, I said that many groups were abducted and taken out to Montauk for their recordings. The mind control operations initially moved out to Montauk in 1969. In the early 1970's, I was handed the assignment of building a recording studio out at Montauk. I built a nice modem studio with all sorts of processing equipment that was of excellent quality. Since most readers are not technically oriented, I am not going to go into the details of it, but we had extensive capabilities. There were sixteen four-channel tape decks which were all synchronized together. There are a lot of advantages to having a lot of individual multi-channel decks along with one big multi- channeled deck. With that type of setup, you can play all sorts of wild timing games between the tape decks.

One of the purposes of the studio I constructed was to pick up the sound and sight of what a person was seeing and hearing while sitting in the Montauk Chair. The Montauk Chair was basically a mind-reading machine. It was based upon sensor technology that ITT developed in the 1950's. It operated on the principle of picking up the electromagnetic functions of human beings and translating those in an understandable form. It consisted of a chair in which a person would sit. Coils, which served as sensors, were placed around the chair.

There were also three receivers, six channels, and a Cray 1computer which would display what was on a person's mind digitally or on a screen. The chair room was about eight feet long and six feet wide. It was sort of a cubicle with a rounded ceiling. In the middle was a big lounge chair. Four coil structures were placed at each comer of the chair with other coils being placed along the wall. There were also four Altec 604 speakers in the room. We wanted to play music into those four channels and pick the music out of the computer that the person in the chair was hearing.

The purpose of the Montauk Chair was discussed in The Montauk Project: Experiments in Time. One of the primary reasons for its design was to enable a human being, such as Duncan Cameron, to think of an alternate reality and have it "picked up" by the sensor technology and in turn transmitted out the huge Montauk transmitter to wherever it was targeted. Originally, this design was to protect human beings such as those involved in The Philadelphia Experiment. The theory was that if the alternate reality was sufficiently transmitted to the sailors, their minds would be completely synchronized to the alternate reality and would not be affected by the invisibility experiments. Although this purports to be a benign form of mind control, it is obvious that sinister agendas made their own mark on this new technology. The Montauk Chair was in many ways a virtual reality transmitter.

Songs were recorded at Montauk and released to the public. The initial versions of such songs were never too clear, but they were then processed through Duncan Cameron's mind and included the particular thought form he was generating. The final versions were always great in terms of their audio. It took a lot of work to get the decoding down so that it all worked properly. One of the more recognizable songs that ran through Duncan was "Everlasting Love" by Carl Carlton. It was used to put him in an orgone trance and set the mood for his work.

Although music generally sets moods, it is possible to incorporate different thought forms into the notes of the music. There is no question about it, and it has been done many times. In 1992, I did an experiment where I created a feedback through what is called a mind amplifier system. Basically, this device picks up the frequencies on the neural-net (short for the network of neurons that run throughout the body) by using audio frequencies. Once the frequencies generated by the person are picked up, they are fed back into an amplifier which amplifies the multiple frequencies of the person and sends it back through the output devices. This process continuously amplifies what the person is emitting and can also change as the person changes. 

The history of my mind amplifier goes back to a device from the old ITT radio transmitting station in Brentwood, Long Island. It was owned by the Mackay company, or some name like that, and I was rummaging through one of the filing cabinets when I discovered a folder that said "Mind Amplifier" on it. When I saw that, I picked the folder right up and brought the information home. This gave me an idea of how to build one. 

My first amplifier was huge. There were two chassis with a big power supply, and it took a lot to move them. There were two speakers and two input devices. The two speakers are set up so that they focus on the person at right angles. This can be easily visualized if you imagine a person in the center of a square room. The speakers would be placed at the comers facing the person and would be directed at their body. Opposite each speaker, in the two comers behind the person, are the input devices.

The inputs are pickup devices, like microphones, that pick up from the person's energetic field. Keep in mind that there is a human being sitting between two inputs and outputs. The outputs (speakers) generate auditory signals which mix with the human being and are then picked up by the inputs. Although audio equipment is used, the mind amplifier is really not a music system. However, its development was facilitated by a musical sound system that I developed more or less at the same time. This is the Biofiss that Peter Moon discussed in the introduction to this book and was the reason he came to meet me in the first place.

In some respects, the Biofiss and the mind amplifier are the same instrument except for the fact that they each use a different carrier system. The Biofiss uses music while the mind amp uses white noise for a carrier. The mind amp is not a music amplifier, and if you try to play music on it, you will get a very strange sound.

In the case of the Biofiss, a digitalized audio signal is coming out of a CD player. The digitalized "ones and zeros" are correlated into a wave form. That output is fed into a pair of vacuum tube amplifiers and in turn to a pair of speakers that are placed at right angles to each other. If you sit at the cross point of the speakers, as described above, you will hear a three-dimensional sound. This instrument is excellent for music therapy. I later on enhanced the Biofiss by adding the input network of the mind amp. This was done in order to incorporate the white noise carrier into the system.

By feeding the white noise carrier, via the input devices, into the tube amps of the sound reproduction system, I was able to emulate the mind amplifier. Of course, one also hears a pleasant musical sound which makes for a more pleasant experience. This device is not as "pure" as the regular mind amplifier, but it definitely does work in this regard.

Earlier, I stated that the inputs were pickup devices like a microphone. They were actually transducers from headphones. A transducer is defined in the dictionary as a device that transmits energy from one system to another, sometimes converting the energy into a different form. The input transducer in the mind amp was basically a microphone with a speaker in the box that generates white noise. This particular transducer is an eddy current device. An eddy refers to a whirlpool or circular motion. It you take a piece of steel or metal and subject it to a varying magnetic field, you will get a circular current flowing around it.

The principle used in the transducer is not unlike that of a generator where the magnetic field is cut in order to generate a current flow. I used head phone transducers because they were basically a varying magnetic field that created a circular current within a metal disc. A circular current going around a disc sounds reminiscent of a flying saucer, but it just happens to be one of the best etheric energy transducers you will ever find. The disc is the metallic constituent in a microphone.

Flying saucers actually did play a role in how I used the transducers for the output speakers. When you are dealing with white noise, you are dealing with a very wide panorama of possibilities. Almost anything you can conceive is out there. Therefore, I wanted to filter out any negativity. I remembered seeing depictions of flying discs that were seen at Lourdes and at Fatima. On the bottom was an inscription that used the letters "I" and "H." I call it the "IH symbol," but it actually looked like this:

The IH symbol is actually an abbreviated version of "IHS" which appears on the back of priests' robes in the Catholic Church. "IHS" is an alteration of the Greek with signifying sigma, the Greek equivalent of our "s." The original Greek word was which means Iesus, the Greek name for Jesus. The IH symbol means different things in Latin, most of which are incorrect. Although one can get more technical in the description of this concept, it basically refers to the consecrated host in Christianity and is a most sacred symbol.*

* There is some interesting etymology with regard to IHS and the host. The dictionary indicates that the word host derives from Old French hoste for "host or guest" and derives from the Latin hospes but also notes that this word is akin to hostis which means "stranger or enemy." Hostis comes from the Indo-European ghostis which means "stranger or guest." All of this shows the words host, ghost, and enemy to be intertwined. Combining all of these concepts can be seen in the Christian teaching of "love thine enemy." This exact concept brings to mind the predicament of the Christ-Antichrist energy which has been a recurring theme in all of the Montauk books.
Additionally, the IH symbol is interchangeable with an early first century symbol which has been used in conjunction with the Pleiades:

Still on this same theme, the consecrated host in the Catholic Church is reposited in a device called a "Monstrance." This word is akin to "demonstrance" as in "demonstrate" but is also a combination of the words "mons" and "trance." The word "mons" refers to the pubic or sexual region of the body as well as phonetically referring to Montauk or "mon" which has been explored fully in past Montauk books. It was a sexual trance state that was induced in so many of the Montauk psychics. (Notes by Peter Moon)

I used the IH symbol in the design of the mind amplifier because it is a sacred symbol of the powers of light and I figured that nothing dark would go through it. The IH design was integrated into the amplifier by laying out the transducers in the output speaker (or audio signal emanation box) in a pattern that looked liked an IH. There were three rows parallel to each other with another row placed horizontal to the others. In his psychic readings, Duncan Cameron had received information that sacred numbers have a sanitizing effect. Although this symbol was not a number in the regular sense, it was deemed to work on the same principle.

The white noise source (as heard on your radio when it is dialed between two stations) was fed into a preamp and multiplier before reaching the main amplifier. This process basically boosts the signal. Once the white noise was fed into the speakers, they would acoustically vibrate the speaker drivers. This would acoustically vibrate the metal diaphragm or disc in the headphone transducer and act as a microphone, thus picking up the psychic energy through the eddy current function (as described above). The white noise was the correlating source.

The is an overview of the mind amplifier. Technical people should realize that the description in the above paragraph is a tremendous oversimplification offered for the lay public.

The original mind amp was carted, with considerable difficulty due to its size, by Duncan Cameron and myself to Lake Forest, Illinois in the mid 1980's. There, we attended a psychotronic conference where I introduced the public to the Montauk Project for the first time. Although I was accosted by purported government agents who were adamant that I not talk about the Montauk Project, I went ahead anyway. We had a vicious shouting match which was witnessed by at least one attendee.

I gave a three part lecture at the conference. The first part was a short twenty minute lecture on the geometry of vacuum tubes. The second part discussed the Montauk Project, and the third part was a demonstration of the mind amp. Duncan demonstrated its use by first walking through the crowd so that the sensitives in the audience could sense what his aura was like. Then, we put him on the mind amp so that he sat in the cross section between the outputs and inputs as it was turned on. Afterwards, he walked through the audience again. The sensitives immediately reported that his aura had been amplified at least a thousand times. They also said that they could feel the amplification of his aura when I turned on the equipment.

The mind amplifier was a big hit. Almost everyone wanted to try it, and we had a line up outside of the room we were staying in just for people to come in and experience it. As there was not enough of it to go around, I promised I would bring one back to the next couple of conferences. As I did not want to transport that bulky monstrosity around, I constructed a more portable version. Instead of a 40 watt amplifier, I used a 4 watt amplifier. For the portable edition of the mind amp, I used a hybrid solid state vacuum tube system. The original mind amp was a string of vacuum tubes which take up a lot of space.

This made the construction of a small device impossible until I realized that, in solid state technologies, etheric patterns are maintained in a device known as an "emitter-follower." An emitter-follower is a class of amplifier that has power gain but no voltage gain. When you are dealing with direct current, power =voltage times amps. The emitter-follower takes the existing current in the system, say a milliamp, and with the existing voltage, amplifies it to 100 milliamps. This gives a power gain of 10,000 with a voltage gain of less than one. In other words, it was perfect for a smaller unit.

Everything except the output stage of the amplifier in the small mind amp were emitter-followers. The multipliers were emitter-followers. The noise source was composed of emitter-followers. For the output amplifier, I used 6688 vacuum tubes which I was already familiar with from Montauk. They must have had 10,000 of these tubes around the base, and they are good for etheric transmissions.

The larger mind amp was designed to amplify the thoughts of a particular person. The IH factor kept anything negative from entering the equation, but the smaller unit was not big enough to allow the IH design. As it had almost as much power, I had to be careful who used the device. Consequently, I ended up using it more as a radionics* broadcasting device. When I constructed the portable mind amp, I placed four transducers (the metallic discs from headphones) facing each other on the top of the box, and they acted like a radionics well. There was a small space, about 4 inches by 5 inches, into which one could place a radionics witness.**

At the same time as I was developing all this, I was experimenting with a Delta-T broadcaster.*** This is basically a Delta-T antenna with three fairly large audio amplifiers. As I already had a radionics input well with the smaller mind amp, I got to thinking. If I put something in the radionics input, it could be broadcast outward into the environment. I realized that if I took the x and y channel out of the mind amp and placed them into the x and y coil of the Delta-T, I would have something.

* The term radionics refers to different procedures whereby a sensitive individual diagnoses and treats a patient through the use of an electronic device or template.
** A witness is an object from a person (hair, clothing, etc.) that is energetically attached to the person.
*** Delta-T refers to a change in time. "Delta" refers to "change" and "T" stands for time. A Delta-T antenna is basically an antenna shaped as an octahedron with three different coils. It is supposed to affect a change in time and is discussed further in The Montauk Project: Experiments in Time.

However, there was still the z coil of the Delta-T, and I could not just let that flap in the wind. I then got the idea of connecting up the z coil with the white noise generator from the mind amp. Low and behold, I ended up with one of the most powerful broadcasters I have seen to date. I constructed a Delta-T that was small enough that I could fold up and take around with me and attach it to the mind amp.

As I carted this new portable device to different lectures, I did experiments which actually demonstrated etheric transmissions. At one Psychotronics conference, I took a photograph of Swan Lake from the cover of a CD and placed it in the radionics well described above. This particular piece of music was written about a beautiful open lake in a beautiful backwoods setting. All of a sudden, the room cooled down 10^o.

People noticed the cooler temperature. Next, I took the CD of the music, stuck it in the equipment but did not play it out loud. Listing many different pieces of music on the blackboard, I went down the list and asked how many people heard each piece of music. When I got to "Swan Lake," which was one of the pieces on the list, about thirty hands went up in the audience. This simply means that those people heard that recording in their mind. It was being picked up off of a thought form imprinted on the CD as it went through all the processing from the original microphones, through all the digitalization and to its final encoding on the CD. By putting a photograph of "Swan Lake" in the input well, the music and the feeling of a beautiful clear lake were being transmitted throughout the room.

People can pick up the thought form of the music without actually playing the CD. It is well known that you can take a CD, a tape, or a phonograph record, put it up in the minds eye and literally pick the music the same way.

One is really picking up the extradimensional representation of the frequencies (or vibes). The mind amplifier uses a moving coil transduction to pick up and transduce the mind energies and amplify them. The mind amplifier feeds one's own thought forms back to oneself, amplified and clarified. It works by synchronizing your mind to the white noise. The transducers then pick up the signal that you are projecting into the system and feed it back to you through the same thing, but it is also amplified. 

The Montauk Project concerned itself with manipulating the way different sections of the mind communicate with different realities in different dimensions. In this manner, one can control what the mind is thinking and what the mind is doing (in this reality). The idea is that the more you can get yourself into other dimensions, the more continuous you can be. Consequently, you would be less subject to anything in this three-dimensional reality.

Time travel at Montauk was basically an amplification of thought forms which were based upon the amplification of musical structures.

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