We use the basic vowel sounds with a “B” and “H” in front of them in order to get a better left/right brain activity. In every language the vowel sounds are simple and easy to say. In most cases the client relaxes and might even laugh at how silly it is to repeat them over and over again. This is what we are after. If we could get genuine laughter to analyze, the client would have a great experience, and we would achieve the best results. Imagine removing the energetic stresses that has taken away their joy. In every case I have deliberately done something to cause my clients to laugh while recording the vowel sounds.

Understanding the process and analysis segments

Analysis segments 1 though 12 are based upon the actual weakness and strengths we determined from the voice sample using Sound Energy Research’s proprietary algorithms. Analysis segments 13 to 19 are octave wave frequency pairs from the Periodic Table of Elements. We used our proprietary frequency information derived from analysis segments 4 through 12 to determine which pair of elements to play.

The first 3 analysis segments are taken from the complete linear voice sample. They are based upon maximum amplitude (power) in the voice. Each of these tones is played for 1 minute at their actual frequency in pure Sine waves (no harmonics). This is the only step that we ask the client to participate in. We want them to repeat back audibly the tone they are hearing. It is important that they have their eyes closed while doing this process.

Most people will say they cannot do this but you must encourage them. The process sets the stage for them to give permission to themselves to accept the change that will come from the Sound Energy process. In every case if you do a simple muscle test on a person and ask them if they would like to get better they will say, “YES” but their body will test “NO”. This simple attempt to replicate the tone they are hearing will produce brainwave coherence and usually you will see “RAPID EYE MOVEMENT” (REM) occurring.

These first 3 tones are played for 1 minute followed by 10 seconds of silence. Most people will find it exhausting to repeat these first 3 tones for 1 minute. We take advantage of a natural phenomenon that occurs when you stimulation for 1 minute followed by 10 seconds of silence. This process encourages the awareness, which is now lively but undirected to seek the greatest source of charm. In other words you will automatically seek out and experience deeper levels of consciousness.

Keep in mind that during our Sound Energy process we use the voice sample to guide the client to deeper levels of their own consciousness. When the mind settles down, the body also settles down, and the release of deeply stored stresses occur. These are deep stresses that are not normally released even during regular sleep.

After the first 3 tones are completed advise the client to just relax, keep their eyes closed and enjoy the inner journey. There is nothing further for them to do. All the following analysis segments will be lowered down and played in the Alpha, Theta, and Delta levels using Saw tooth Waveforms with Sine wave modulation. Saw tooth waveforms are the only waveforms that produce both odd and even harmonics.

Analysis segments 4 through 7 are based upon an energy triangle that is created using the information derived from layering 5 octaves on top of each other. We then break down the individual 12 notes within the octave and determine the strongest consistent amplitude within that note (analysis segment 4) then the strongest consistent amplitude within the low note (analysis segment 5) and finally the strongest consistent amplitude within the lowest note (analysis segment 6).

We play analysis segments 4, 5 and 6 for 2 minutes followed by 10 seconds of silence. Analysis segment 7 is the same as analysis segment 4 but this time it is only played for 1 minute. We have always found a direct relationship within the element kingdom that exists between the weakness and strength when examining the voice sample. After stimulating these systems we close the process by returning to the strongest note, analysis segment 4 again. In every case this dominant strong note when first played was very enjoyable because their energy was focused on it. Now it is not as charming as it was in the beginning simply because we have stimulated the two lowest energy points through the principles of resonance. In other words the dominant energy of analysis segment 4 had a direct influence on suppressing the energy in analysis segments 5 and 6.

The frequency from analysis segment 4 was used to select the element pair played in analysis segment 13. The frequency from analysis segment 5 was used to select the element pair played in analysis segment 14 and the frequency from analysis segment 6 was used to select the element pair played in analysis segment 15.

Analysis segments 8, 9 and 10 are in fact the same frequencies played for 1 minute followed by 10 seconds of silence. These three analysis segments are based upon information gathered from the fundamental first or prime octave that the client normally speaks in. The harmonics that follow in their speech pattern are based upon this fundamental octave. We used this fundamental octave to determine the strongest consistent amplitude within the highest note and the lowest consistent amplitude within the lowest note. We then play these two frequencies together three times using the principles of stimulation and rest to set the stage for the balancing frequency analysis segment 11 to be introduced. Analysis segment 8 was used to determine the high and low element pairs that are played in analysis segments 16 and 17.

Analysis segment 11 is played for 2.5 minutes and represents the balancing or average frequency from segment 8. Analysis segment 11 was used to determine the element pair that was played in analysis segment 18.

Analysis segment 12 is again based upon the complete linear display but this time we used the information to create a weighted average based upon the strongest consistent amplitudes from all the octaves. This frequency is played for 2 minutes followed by 10 seconds of silence. Analysis segment 12 was used to determine the element pair that is played in analysis segment 19.

In conclusion

Analysis segments 1 to 12 deal with frequencies taken directly from the clients voice sample. Their weakness and strengths were used to determine, which pairs of elements needed to be introduced from the Periodic Table of Elements to stimulate and restore balance. To date technology does not exist that allows Anyone to play an actual element frequency. We do however; have a special algorithm that is based upon the resonant frequency of an atom in saline solution at body temperature. This special algorithm has enabled us to stimulate the appropriate systems responsible for the selected elements. Over the years, hair, blood or urine analysis has been spot on with the elements selected from the Sound Energy Research Voice Frequency Analysis.

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Decending Musical Scale

Delta .5-3	Delta .5-3	Theta 4-7	Alpha 8-13	Beta 14-30	Descending	Octave	Descending	Octave	Note
1.02	2.04	4.08	8.17	16.3518	32.70	65.40	130.81	261.33	C
1.08	2.16	4.33	8.56	17.3237	34.64	69.29	138.59	277.18	C#
1.14	2.29	4.58	9.17	18.3537	36.70	73.41	146.83	293.66	D
1.21	2.43	4.86	9.72	19.4456	38.89	77.78	155.56	311.13	D#
1.28	2.57	5.15	10.30	20.6018	41.20	82.40	164.81	329.63	E
1.36	2.72	5.45	10.91	21.8268	43.65	87.30	174.61	349.23	F
1.44	2.89	5.78	11.56	23.1243	46.24	92.49	185.99	369.99	F#
1.53	3.06	6.12	12.25	24.50	49.00	98.00	196.00	392.00	G
1.62	3.24	6.48	12.97	25.9562	51.91	103.82	207.65	415.30	G#
1.71	3.43	6.87	13.75	27.50	55.00	110.00	220.00	440.00	A
1.82	3.64	7.28	14.56	29.135	58.27	116.54	233.08	466.16	A#
1.92	3.95	7.71	15.43	30.8675	61.73	123.47	246.94	493.88	B

 

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Physical Correlation (physical effect of each note in an octave)