Today, there is a resurgence of research in Instrumental TransCommunication, the use of electronic devices to communicate with other planes of life. AREI is actively supporting the researchers engaged in the research, and is initiating research that we believe will advance the field.
What to Expect
Using these procedures, anyone can connect with one of the stations established in other realms of life that have been established to allow teams and loved ones to communicate with the earth plane. It takes time for the teams in the other realms to develop and refine the stations, the transmission lines, and the signal.
The North American Station is not yet two years old. The signal from the stations is still only moderately strong, but is becoming clearer. Now, however, you will have some responses to questions that are very clear while others are not so clear. Examples follow. You will hear jumbled sounds used as background that the teams convert into voice sounds.
The researcher asks them to tell her what she is holding in her hand. You will hear “cell phone.”
The researcher asks the team to repeat “Monty,” referring to the researcher on the other side, Montague Keen. You will hear four responses of “Monty.” The researcher then asks them to repeat “Thomas.” You will hear “Thomas.”
You’ll hear “I love you” after the researcher asks if William has any words for his mother.
The researcher asks whether the team on the other side is listening as the researchers in the room talk about the recordings. You will hear “listening” twice.
Quite often, you will hear vague words you know are responses to the question, but they are not clear. You must be careful about not reading words into the sounds when they are not clear. Leave them as just possibilities. If you are sharing recordings with others, don’t share these recordings.
An example follows. The researcher asks for the name “Robert.” You may hear a vague “Robert.” We can tell it’s there, but it’s very weak.
Quality of Sound We Expect in the Future
Once the stations are all fully developed, we will have clear communication from them. This section contains two examples of the quality we know we will have when the stations are all well established.
Sonia Rinaldi, the brilliant Brazilian ITC researcher, has been linking with the Brazilian Station since 2001. The signal is strong and the voices that come through are very clear. Two examples follow. The North American Station should be sending through signals with the same clarity in the coming years.
In the first recording, Sonia is doing a session for the mother of a little girl who has passed. The session had over 200 individual statements. In this recording, you’ll hear Sonia first. Then you’ll hear the little girl’s response:
In the second recording, Sonia wanted to connect with Craig’s mother so we could play the connection at a conference we were preparing. Craig’s mother answers the question before it’s asked. That is very common in these recordings because the person in spirit is receiving the question telepathically and knows the question before it’s voiced. You’ll hear Craig’s mother’s voice first, then Sonia asking the question:
You’re Hearing Representations of Voices, Not Voices
When you make recordings of people and entities on other planes, you must realize that what you’re hearing isn’t a voice at all. There’s no voice in any of the ITC clips. The stations have technology they call a “machine” that receives the person in spirit’s thoughts or telepathy and converts them into electromagnetic patterns that the machine sends from the realm the station is in to the Earth realm and imprints them onto the hard drive of the computer or other recording device. There is no voice in the electromagnetic pattern. It’s just ones and zeros in the correct pattern that a machine has created as a best estimate of the pattern that will play back sounding like a voice. When the electromagnetic pattern is “read” by the computer, the computer sends electricity with the pattern to the speakers or headphones and they vibrate to sound like a voice.
As a result, the sounds you hear that are like voices will vary greatly in nature and quality. No person’s actual voice is there. The machine sends through its best approximation of the electromagnetic pattern that will play back as a voice. We have gotten Montague Keen’s voice with his British accent and without it, in a great variety of sound qualities that sound like a variety of voices. But they all have the message content we know comes from Montague Keen. Montague Keen is thinking to us.
It’s especially important for a parent whose child is in spirit to realize that the sounds coming from the speakers or headphones likely won’t sound exactly like their child’s voice. It isn’t their child’s voice. It is much like sending text messages with no sound at all. The content and intimate knowledge in the messages may clearly be their child’s. And to some extent, intonation and accents may mimic the child’s voice, but the sound may as easily not be like the child’s.
On the other hand, it has happened that a child who comes through regularly has a particular vocal pattern that is repeated much or most of the time. A parent who listens to the ITC recordings comes to recognize the vocal sounds as their child’s communication. And also, some children are able to imprint vocal sounds that are very much like their voices when they were on the earth plane.
Record once or twice a week, preferably on the same day of the week at the same time. Be prepared to make attempts for weeks before you make a connection. It requires patience. The team at the North American Station must know you are serious about connecting. Then they must work at establishing the connection with you. You may connect quickly. We do know the time to make the connection is becoming smaller as the connection is being established.
A series of videos is being prepared with explanations of how to setup, perform, and analyze the results of the ITC procedure explained in these instructions. We suggest you use both the video training and these written instructions.
Link to the video training.
For these recordings, you need the following equipment:
- A PC, Mac, or laptop
- A decent microphone. We use Meteor microphones. Some researchers have used the internal microphone on their PC with good results. If you try the internal microphone on your PC, make sure you get good quality recordings. If you get a recording that has your voice good, but the gibberish sounds like it’s under water or badly muffled, your internal microphone won’t work. Use an external microphone. We have also used a high-quality digital recorder to record. However, you must download the files to a computer to listen to them.
- Fair quality stereo speakers. Good computer speakers are fine.
- If more than one person is involved, buy a Belkin Multi Headphone Splitter so you can all listen through headphones at the same time.
That’s it. The recordings don’t require a lot of sophisticated equipment.
Background Vocal Sounds
You need background noise that is chopped up human speech. The background noise has only half or a third of a syllable from a word so when the chopped up syllables are joined, they sound like gibberish. We use male gibberish when we’re contacting males and female gibberish when we’re contacting females. For general questions for the Station, we use the male. You may download the MP3 recordings for your use by clicking on the links that follow.
We have created gibberish from male Spanish, male Italian, male American, female Portuguese, and female American voices. Which you use doesn’t make any difference as far as we can tell. You might experiment with them to see which works best for you.
As you use the gibberish, you will occasionally hear the meaningless syllables come together in what sound like words. That’s unavoidable. You must be listening for direct answers to your questions, so the occasional stray accidental words should not distract you. Just let them pass by.
Download the gibberish from the links that follow.
Download a copy of the male gibberish we use by right-clicking on one of these links and choosing to save the file (“Save link as”):
American Male American_Male_Gibberish.mp3
Italian Male Italian_Male_Gibberish.mp3
Spanish Male Spanish_Male_Gibberish.mp3
Download a copy of the female gibberish we use by right-clicking on one of these links and choosing to save the file (“Save link as”):
You must have software to play the gibberish and software to record through the microphone. We use Sony Sound Forge to record and Adobe Audition to play the gibberish. However, we’re finding that people have the best recordings with Audacity. You can use Audacity, a free program that both plays and records at the same time. Download it at this link: http://sourceforge.net/projects/audacity/
The video training explains how to use Audacity: Link to the video training.
Listen to this brief recording so you know how loud the gibberish should be in your recordings. We should easily hear your voice above the gibberish. Below is an example. You’ll hear the researcher say “Do you like it when I ask you questions?” You’ll hear the gibberish for a couple of seconds, and then you’ll hear “Oh yes.”
There are instructions below for both types of recording. We usually meet for an hour and a half at a time and do three to five recordings of around five or six minutes apiece.
The video training demonstrates these procedures: Link to the video training.
- Begin each recording session with a prayer of protection. This is the one we use: “We ask for divine protection from any negative entities or negative influences. Bring only the highest and best spiritual energies to us today. Bathe us, our equipment, and this room in a white light of divine protection.”
- Hook up the microphone to the PC, Mac, or laptop.
- Hook up the speakers.
- Place the speakers so they are close to the microphone. The speakers shouldn’t be on the same surface as the microphone. The microphone will pick up the vibration from the speakers if they’re on the same surface.
- Start up Audacity. Click here to see a brief tutorial on using Audacity: Tutorial
- In the recording program or Audacity, set the recording level of 11,025 or 16,000 Hz. In Audacity, that is the “rate” in the lower left corner of the screen. If that sounds too complicated, skip this step until you can get someone to help you or we have a chance to write detailed instructions.
- Click on “Edit” on the Audacity menu. A the bottom of the drop-down menu, you’ll see “Preferences.” Click on “Preferences.”
- Click on “Recording” in the list of options on the left side of the window that appears. Make sure “Overdub” has a check mark and “Software Playthrough” is blank (no check mark). Click on “OK” to save the settings.
- Open up the gibberish in the playback program or Audacity. You’ll see the gibberish in a line of spikes across the screen. You’ll also see controls with a green arrow for play.
- Play the gibberish to see if the sound comes through the speakers. Leave it playing as you test the recording levels in the next step.
- Check the level of the recording. In Sony Sound Forge, click on the red circle that is the record button on the far left of the bar at the top of the screen. In Audacity, click on the green arrow that is the play button. For both playback programs, you’ll see a green bar jittering to show you the level. Make sure it is around three-quarters of the length or height, but make sure you see no yellow or red at the maximum point. However, the sounds should be on the loud side. They shouldn’t be faint.
- Stop the playback. Now you’re ready to test the recording and adjust the volume.
- If you’re using separate playback and record programs, start the gibberish playing. Then start the recording software so it is recording the gibberish. If you’re using Audacity, you’ll see a red record button at the top of the screen a third of the way from the left. Click on it to start both the playback and recording.
- You’ll see green and red bars at the top of the screen bouncing to the left. They should be bouncing about to the middle of the space for the bars. They should not bounce all the way to the right. Adjust the volume using the playback and recording controls with a little speaker icon and little microphone icon near the top of the screen.
- Stop after a few seconds and check the recording. In both Sony Sound Forge and Audacity, you’ll see the recording in the track. In both, click on the play button to listen. Listen to this brief recording we gave you earlier so you know how loud the gibberish should be in your recordings. We should easily hear your voice above the gibberish.
Make adjustments in the volume as necessary.
- Then start the playback software and recording software, or in Audacity click the red record button. While the gibberish is playing, put your face down to the microphone.
- Ask this question: “Are you available to communicate? If so, please say AVAILABLE.”
- After you ask the question, put the microphone close to the speakers so it records the gibberish, but hold it so it doesn’t touch the table and pick up on the vibrations from the speakers. Wait 10 to 20 seconds. Say nothing and try to keep sounds down in the room. Keep recording.
- After 10 to 20 seconds, lift the microphone to your face and ask another question: “Is the signal getting through? If so, please say SIGNAL.”
- Wait 10 to 20 seconds.
- Then ask, “If you are having trouble getting through, please say TROUBLE.” Perform these initial steps only once. Don’t repeat them. Go on to the next steps below.
- We advise that in the beginning you ask some repetitions. They are easier for those on the other side to get through and you can more easily identify them when they do come through. We prefer two-syllable words at the beginning. One-syllable words can too easily be accidentally in the gibberish, and three-syllable words are difficult at first. We use names of presidents, cities, verbs, and any other assortment of words. Use each question once.
- After five or six minutes or less, stop the playback and stop the recording. In audacity, stop both by clicking on the stop button.
- Save the file. In Audacity, you must export the file. To do so, select the track that is the new recording by highlighting it. Click on “File” in the upper left corner. On the drop-down menu, click on “Export selected audio.”
- Put on the headphones. This is very important. At first especially, the words may be very faint. You will hear them best with headphones. You can have several people listening at once by using the Belkin Multi Headphone Splitter.
- Play the recording you made. We play the recording in Sony Sound Forge so we can easily go back to listen to portions. If you play the file back in Audacity, click on the “Mute” button at the far left end of the track with the gibberish. Otherwise, the gibberish will play when you listen to your recording.
When you listen, you have to be attuned to the correct tone. What I mean is that in the gibberish, you’ll hear two or three levels or tones. The foremost is the loudest. That takes over the normal person’s hearing. But if you listen to the other tones, you’ll hear levels that are weaker and lower. Once you identify a word in one of those tones, the words around it in the same tone will pop out. Try listening slowly and repeating segments to listen for the other tones.
- You may hear the answer BEFORE you ask the question. They are responding to your thoughts, not your voice. They communicate telepathically. Thus, when you first think of the question, they may answer it, before you’ve had a chance to voice it. Always check the sound just before the question as well as after.
- If more than one person is listening using the Belkin headphone splitter, if someone hears the word, stop the playback and replay the section, listening for the word. If you have doubts or someone can’t get that word, don’t make it fit. In the beginning, the voices will be faint, but they must be distinguishable.
- When you start to get voices, make copies of the segments with the questions and the voices. Save them so you have a record of your progress. Name the file with the words you hear.
- In each subsequent session, ask for the repetitions so you and the team at the station can refine the signal. They liken it to laying fiber-optic cable. We use names of presidents, cities, verbs, and any other assortment of words. We usually meet for an hour and a half at a time and do three to five recordings.
We recommend you follow this procedure every time until you are getting connections clearly and you can ask open-ended questions. Be patient. Give it time. Don’t give up after a few weeks in frustration. It takes dedication, but when they establish the connection, you will get high-quality recordings.
As an additional comment, Sonia has started using a format in which she has the speakers six feet away from the recording mic, facing away from the mic. She places a walkie talkie directly in front of the microphone. She speaks her questions into the second walkie talkie so the sound of her questions comes out prominently from the first walkie talkie to the microphone. It does amplify the question, although it has a little tinny sound.
You May Hear Words Imprinted on the Gibberish
Don’t worry if you can hear an occasional word in the gibberish. You’re looking for the responses to your questions, so you should get what is relevant to your questions. However, we do clean off the gibberish regularly, so you can let us know about a word that they insert.
We’ve always suspected that the technicians at the North American Station experiment with imprinting words on the gibberish. That was confirmed on May 26 when Rob and Craig were recording. In the past, probably a year ago, we kept getting the word “Gideon,” as in the Gideon Bible Foundation. We just kept cleaning it off. We figured the technicians were experimenting. We didn’t hear it again for a year.
Then, on May 26, Craig had cleaned two minutes of male gibberish seven or eight times to be sure it was scrubbed clean. Rob came in and we went through it again four times. It was perfectly clean, with no words. We then copied the two minutes and pasted it five times to give us 10 minutes of clean gibberish. We were so sure it was clean that we joked, “Well at least we won’t hear ‘Gideon’ again on this one.” We played it to do the first recording, and two or three seconds into the gibberish playing, we heard very clearly, loudly, and distinctly, “Gideon.” We know they listen to all of us when we’re preparing for recording. They’ve said that. So they were going to demonstrate that they can manipulate the gibberish by adding a word we were certain wasn’t there five minutes before. The next day, I did a recording and asked, “If you put ‘Gideon’ on the gibberish, say ‘Gideon.’” I played it back and heard “Gideon” immediately after the question.
So we’ll keep cleaning the gibberish and making that available to you.
We’re finding that after a small number of repetitions, you should start asking questions that have a single answer, such as “What is my full name?” or “Who developed the equation ‘E=MC2?’” After some of them, you can ask open-ended questions, but the signal still may not be clear enough for you to get clear answers.
When you create the record of clips you get responses to, leave the question on and delete the gibberish between the question and answer. You can bring up the volume on the answer. You should have very low volume for a couple of seconds before the answer and after, or silence there. Your clips, then, will have a question, and an answer. If you have more than one answer, have the question, two seconds of low gibberish or silence, answer one, two seconds of lower gibberish or silence, answer two, and two seconds of low gibberish or silence. Always keep the question with the answer. Here is an example: /recordings/available.mp3
Avoid making words out of “almost” words unless you’re asking for a precise response and the word sounds are nearly complete. If you have a good, clear word or two and two or three unclear words, avoid making a phrase out of all of them to fit the two clear words. The words tend to stick to your interpretation and sound perfectly clear to you but not to someone else. Be satisfied only with clear, Class A or nearly A words. The signal will get stronger. Be patient.
As always, ask Craig questions if you have something on your mind. And send Craig clips if you want him to listen. (email@example.com) If you send a session, try to limit it to a couple or three minutes so I can get it back to you more quickly.
Several examples of our use of repetition and their responses are in the links that follow. We’ve chosen responses are very weak so you become accustomed to hearing the weak signal. That will be true for the next several months. Don’t give up on the work. Over time, the signal will become stronger.
Practice hearing the responses using these samples. You MUST listen with earphones. You’ll hear the responses after we say the word. For “Thomas,” you’ll hear two “Thomas’s” BEFORE we say “Thomas.” For “Leslie,” you’ll hear four “Leslie’s” after we say “Leslie.” See if you can hear all four. You may hear some of these and not others. That is usual.
(You may hear a very weak “Adams” before the stronger one.)
(You’ll hear “Leslie” four times)
(You’ll hear the full name Montague, but very weakly. Montague Keen is on the team on the other side.)
(You’ll hear “Leslie” four times)
(You’ll hear “Thomas” twice at the beginning and “Thomas” coming in right after we say “repeat.”)
(We asked whether they were on a nearby sphere or distant. They respond “distant.”)
Please repeat, Montague
(They say “Please repeat” twice,” then “Montague.” The “Montague” is very weak.)
Practice with an Entire Session
Two entire sessions are at these links. You can listen to them to see whether you hear the faint responses. Use earphones. We had chosen to leave the microphone right in front of the speakers, even when we were asking questions, so our questions are not prominent over the gibberish. These are still early in the refinement of the connection with the North American Station, so the responses are faint.