On 3/18/2018 11:19 AM, randy.b...@gmail.com
> Does anyone have this dictation taken by Helen in the 70s?
Ask, and you shall receive:
"The most important color is purple, but it is not a shade that can be seen with
the naked eye. In fact, to us it is generally invisible even when light is broken
down into its component parts as they are known to date.
It is in translating light into the lower frequencies that this purple begins to
have an observable effect. The effect is in sound, not light. Therefore this
color is, strictly speaking, a sound effect. It is a very narrow frequency band
(probably between blue and indigo, or indigo and violet), some of whose properties
are already known. What is not known is its effects in terms of sound. Nor is it
understood that this color can actually be generated by adjacent metals, if
properly combined. It is the combination as well as the alignment that is
important here. Unless both of these factors are correct, the power will not have
a sound effect that can be utilized directly."
This sound potential is already present in the higher frequencies, and in a sense
does not change. This is its intrinsic quality. As the frequencies change from
higher to lower ranges, this one band is constant. This enables it to give out the
power necessary for the apparatus to shift from visual to auditory ranges. (This
seems to refer to the number 317 on page [3, below]) It represents the ratio
between the alignment and combination of the metals and there is some reference to
the "balance pull" discussed before. The constancy of this ratio enables the power
which will give rise to the color-to-sound shift to begin the process as well as
to end it.
The importance of this ratio, which is recognized in another context, is its
inherent energy-production. It directs the splitting-up of energy patterns, which
it creates into new and much more useful forms that can be then put directly into
use. This form of energy in the end will have little or no waste, which will make
it far more powerful than any form of energy yet found. However, the materials
which will make this possible are not yet available. For the time being there will
be waste and also a certain unpredictable and erratic re-forming of the patterns
which will be uncontrollable at present. This is why the safety devices are so
The "blue-purple" band, then, is activated to produce the necessary energy
patterns only where and when the proper "power ratio" is gained. A number of
hitherto unexplained phenomena are the result of the sudden attainment of the
ratio by accident. many experiments have not been replicated because this factor
was unrecognized, and had no known part in the actual design. Therefore it was not
included in the attempts at replication."
- Notes on Sound, Page 26-27, April 14, 1977
"The "blue" color of the electricity is important because it is really colorless
but looks blue. This serves as an identification of something, and has something
to do with numbers or a mathematical formula. It may have something to do with
location. 317 may be relevant but we are not ready for this yet. Oscillations
and a recording drum --this is merely for recording, which is only a translation.
THE NUMBERS 317 probably do not relate to the blueprint as much as to the area or
band to which the blueprint is applicable. THE NUMBERS MAY NOT BE IN RIGHT
SEQUENCE, AND PROBABLY ARE ONLY PART OF THE WHOLE REPRESENTATION, BUT THE THREE
DIGITS IN SOME ORDER ARE PROBABLY RIGHT."
- Notes on Sound, Page 3, October 30, 1972
"Each arch is formed by blue electricity, AND EACH PATTERN OF CURRENT GOING IN
SAME DIRECTION, FROM LEFT TO RIGHT. ALTHOUGH ARCHES ARE SEPARATE, THEY ARE VERY
CLOSE. BLUE ELECTRICITY may have something to do with an "aura". Also, it is a
communication symbol. Sense of transmitting..powerful sending & receiving set."
- Notes on Sound, Page 1, October 30, 1972
Notes on Sound was apparently taken over three dates:
October 30, 1972 - Pages 1-18.
January 15, 1973 - Pages 19-25 - 2 1/2 months later
April 14, 1977 - Pages 26-28 - 4 years, 3 months later