dUb, Higher Learning

Stranjah – Tips & Tricks

Stranjah channel coming in with nuff “how to” videos on drum and bass sound design.
Featuring both shorts and in depth step by step subject exploration, as well as guest producers shining trough, Stranjah is putting in hard works into making your workflow better.

Standard
Dub Disinfo Department, Higher Learning

On sound waves and DNA

“…it is said that under the influence of acoustic, electromagnetic, and scalar waves, the genetic code of DNA can be read or rewritten. 

About impressionability of DNA from the wave frequency, many experimental research studies have been carried out which have opened a new branch in science, called wave genome. Konstantin Meyl adapted the scalar waves described by Nicola Tesla to biology and proposed the relationship between the scalar waves and DNA.
Greg Braddon and colleagues in 3 experiments investigated the impressionability of DNA from human emotions.
Rein and Mccraty studied the impact of music on the DNA. Another study was carried out on the effect of sound waves on the synthesis and genes of chrysanthemum.
Peter Garjajev and his research group proved that DNA can be reprogrammed by words and using the correct resonant frequencies of DNA.
Russian quantum biologist Poponin tried to prove that human DNA has a direct effect on the physical world using some experiments. Also, he found out that our DNA can cause disturbing patterns in the vacuum, thus producing magnetized microscopic wormholes.
Nobel Prize-winning scientist Luc Montagnier known for his study on HIV and AIDS, claims to have demonstrated that DNA can be generated by teleportation through quantum imprint and also showed that DNA emits electromagnetic signals that teleport the DNA to other places, such as water molecules.”

A Mathematical Model for Vibration Behavior Analysis of DNA and Using a Resonant Frequency of DNA for Genome Engineering

Scientific Reports volume 10, Article number: 3439 (2020)

Standard
Babylon Report, dUb, Dub Disinfo Department, Higher Learning

On sound and fear

Sound is often understood as generally having a privileged role in the production and modulation of fear, activating instinctive responses, triggering an evolutionary functional nervousness.
The power of sound to instill dread was well known to the heavily outnumbered Maroons, the tribal nation turned guerrilla fighters who claimed a number of astounding victories in their asymmetric conflict with the English colonialists in Jamaica during the
late eighteenth century.
The abeng, a fashioned cow horn, had two uses: by slave holders to call the slaves to the cane fields and a “traditional form of communication among the communities, warning them and sending messages across difficult terrain.”

The Maroons used the  abeng in tandem with their other special techniques—drum communication, the ambush, and camouflage—in order to outwit the British: “They embedded themselves in leaves and vines and melted into the surrounding bushes. The
British repeatedly walked into clearings where their surroundings would suddenly come
alive and close in on them.”

The abeng, as a system of communication, produced signals “reproducing the pitch and rhythmic patterns of a fairly small vocabulary of Twi words, from their mother language, in most cases called Kromantin (Maroon spelling) after the Ghanaian port from which many slave ancestors were shipped.”

Sentries stationed outside the villages would  use the different pitches to communicate the British approach, the extent of the weapons they carried, and their path. But the abeng also had another affective function: to scare the British with its “hideous and terrible” dislocated tones, sometimes managing to repel the invaders with sound itself. Gradually, as the British learned to assign a cause to its shrieking, high- pitched sound, their terror of Maroon ambush only intensified.

Found in 1738: Bad Vibrations, from:
SONIC WARFARE Sound, Affect, and the Ecology of Fear, by Steve Goodman.
Massachusetts Institute of Technology. 2010.

Standard
Higher Learning, Yogi Dread

On Kuan Yin’s Method Of Listening To Sound

kuanyin.pngFound in:

Twenty-Five Doors to Meditation: A Handbook for Entering Samadhi by William Bodri  and Lee Shu-Mei (1998)

Standard
Higher Learning

Thomas Roebers and Floris Leeuwenberg – FOLI

This reminds me of one time Bob Marley saying that reggae music comes from the rhythm of man chopping woods. This film is a “extraordinary blend of image and sound that feeds the senses and reminds us all how essential it is.”

Standard
Yogi Dread

ON THE HIGHEST SOUND

para.png
From: The Yoga of Vibration and Divine Pulsation by Jaideva Singh
Published in India by Motilal Banarsidass, Delhi , 1980.

Standard
dUb, Higher Learning

DUBUMENTARIES SELECTION VOL 1.

DUB STORIES (2006)

DUB ECHOES (2009)

MUSICALLY MAD (2010)

Standard
Higher Learning

ABSTRACT SOUNDS AND SYMPATHETIC ABSTRACT IMAGES IN CARTOON MUSIC

ABSTRACT CARTOON MUSIC.jpg

From

Film Music: A Neglected Art by Roy M. Pendergast, 1992.

Standard
Higher Learning

PRESTON NICHOLS ON ESOTERIC PRINCIPLE IN SOUND RECORDING

In Chapter One, I alluded to “The Twist” being popular due to a very esoteric principle in sound recording. There are actually two thought inputs into a sound system when a recording is made. This includes what could be termed the “psychic input” of the musicians as well as that of the performer. When the performer stands in front of the microphone and sings, he projectsa thought form into the coil or the capacitative element of that microphone. That capacitative element (the capacitor), basically consists of electronic plates with an insulator designed for the purpose of storing electrical potentials which can be reproduced at a distant point, such as a speaker. There is also an amplification process which amplifies the wave forms and eventually creates loud music at the receipt point (the audience). Sound waves are part of the electromagnetic spectrum. It is the electromagnetic function which is the key. Thought forms also make their own impingement on the electromagnetic background of the universe. For example, if you hear sound waves telling you there is a sale at a department store, you have also acquired the thought form that the managers of the store wanted you to have. Sound waves themselves are generally much more easily measurable and discernible than those wave forms produced by thought forms. In other words, the electromagnetic functions of thought forms are much more subtle and is indeed an esoteric subject in itself. But, all of you can easily perceive how thought forms are carried by sound waves when you consider the prospect of hearing something you don’t believe. For example, suppose you hear a politician say something. Inside of you, you can perceive that he is not telling the truth. It is not necessarily the sound itself which tips you off. The radio or sound system is actually projecting a duplication of what emanated from the origination point. You just “pick up on it”. In actual fact, the thoughts you “picked up on” were the result of electromagnetic impulses. The telepathic wave forms are subtle (less dense) in comparison to what ordinary science would refer to as wave forms, but they are nevertheless present and can be monitored within the realm of the electromagnetic spectrum. As I said earlier, it is an esoteric science. We will go more into the technical details of how this can occur in the physical spectrum, but first it will be necessary to go into some background theory on the metaphysics and physics of music itself.


Preston B. Nichols and Peter Moon in The Music of Time (2000.).

Standard
dUb

SUEDMASSIVE SOUND – COULD U BE REMIXED – MEGAMIX

Standard