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.
“…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
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.