March 31, 2025 • 52 mins
A chance encounter with the ancient acoustics of Egypt's Great Pyramid transformed John Stewart-Reed from an acoustics engineer into a pioneering scientist on a mission to unlock the healing power of sound. During our conversation, John reveals the extraordinary moment when a simple sound experiment unexpectedly healed his debilitating back pain – a discovery that would change his life's trajectory and potentially revolutionize our understanding of healing.
The cymascope, John's groundbreaking invention, allows us to literally see sound – revealing intricate geometric patterns in water that mirror the acoustic vibrations creating them. Through this technology, John shares how dolphins might be communicating in sound-pictures rather than words, sending actual visual information through acoustic signals. This same principle explains why human blood cells dramatically regenerate when exposed to specific frequencies, with laboratory tests confirming a 15-18% increase in red blood cell viability after just 20 minutes of musical immersion.
Perhaps most fascinating is John's explanation of sound's spiritual dimension. He details how sound waves enter through our eyes, travel along water-rich pathways to our pineal gland, and potentially enhance our connection to higher consciousness. The specific frequency E3 (165Hz) appears particularly effective at stimulating this spiritual center – a finding that bridges ancient wisdom with cutting-edge acoustic science.
With "frequency medicine" already gaining acceptance in mainstream hospitals through light therapy and music treatments, John's research stands at the threshold between conventional medicine and a new paradigm of healing.
Discover how the vibrations surrounding us might be reshaping our cells, enhancing our vitality, and connecting us to dimensions beyond our ordinary perception at https://tinyurl.com/43tvr8yr .
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Hello everyone, welcome to our Spiritual
Spotlight Series.
Today I am joined by JohnStewart-Reed.
He may have one of the mostremarkable healing modalities to
meet science and medicine andit's called cymatics and he has
the invention of cymoscope andhe is an acoustics physics
scientist and inventor who hasbecome a real pioneer in the
(00:24):
field of cymatics and heassesses sound as the foundation
of almost all matter in theuniverse and was a potent force
in the creation of the life inthe primordial oceans and
carries the power to heal life.
Thank you so much for coming onSpiritual Spotlight Series.
I'm so happy you're here.
Speaker 2 (00:40):
Wow, thank you for that lovely introduction.
I'm really happy to be with youtoday, Rachel.
Speaker 1 (00:45):
Thank you, and I'm so excited to jump into the work
that you do because I do feellike musical medicine is so
vital now, especially for what'sgoing on in the world, and it's
something that I've definitelybeen leaning more and more and
more and more into in my life.
And can you maybe share thejourney into the world of
(01:07):
cymatics and sound healing?
What first inspired you toexplore this field?
Speaker 2 (01:13):
Well, I had been an acoustics engineer.
Thank you for the question.
I'd been an acoustics engineerfor well, almost 30 straight
years.
At the point when I visited theGreat Pyramid with my father in
1996 in Egypt, you know.
So Cairo, egypt, the Gizaplateau, those three amazing
(01:36):
pyramids, and the Great Pyramidin particular, you know, is
really astonishing when you gointo the Grand Gallery, as it's
called, and the King's Chamberitself and the Queen's Chamber,
they all have remarkableacoustics, because at that time
I was an engineer, I wasn't ascientist at that part of my
career but I was reallyinterested in the acoustic
(02:00):
properties of the sarcophagus inthat King's chamber.
Have you been there yourself,rachel?
I have not, but I know whatyou're talking about.
It's very special.
The chamber as a whole is andthe sarcophagus is amazingly
resonant.
So I lay in that sarcophagusbecause we actually had found
(02:20):
ourselves all alone.
That's amazing, found ourselvesall alone.
We had been in the tournamentbefore, but you know, this
particular time in early 96, wewere completely alone.
Just happenstance, you know, wewere just lucky, really, and
towards lunchtime and I thinkeverybody that had bought a
ticket had already come and gone, anyway, so I lay in the
sarcophagus and I made a vocalglissando which is a kind of
(02:43):
smooth, and I made a vocalglissando which is a kind of
smooth, unstepped enunciation ofa single tone, just to
experiment a little bit with theresonant properties.
And at one particular vocalpitch it felt like every well,
every cell in my body felt likeit was tingling, basically, and
goosebumps, you know, broke outall over my flesh.
It was an amazing experienceand that really was a kind of
(03:07):
turning point in my life in manyways.
When I look back now, you knowexactly how things happened for
me, because I then pretty muchimmediately, you know, when my
daddy and I left us, left thepyramid, and ultimately had a
chat about about those effectsthat I had received and
experienced and decided that Iwould want to go.
(03:29):
I wanted to go back to thepyramid, but this time armed
with acoustics instrumentation.
So I did that.
I did that later in 96 and thatwas another amazing experience,
and this completely different,but still in the sarcophagus.
One of the experiments that Iconducted with the acoustics
instrumentation caused thesarcophagus to beat like a heart
(03:54):
, literally boom, boom, boom,boom.
And the Antiquities inspector,he got pretty excited about that
.
Actually, I think he thought Iwas going to damage it or
something, but there was notreally any chance of that.
But anyway, um, it was anamazing experiment and one of
the aspects of that that cameout of it ultimately and it's
(04:14):
only just now, after all ofthese years, come to full
manifestation is because Istarted looking into the into
the rebirth hypothesis relatingto the Great Pyramid.
You know, it was Dr RenéFriedman, the famous
Egyptologist, who said that theGreat Pyramid is a resurrection
(04:36):
machine.
In fact, all the pyramids arewhat she classes as resurrection
machines and the Great Pyramidis the greatest of all the
resurrection machines.
Anyway, so it's very muchconnected with rebirth symbolism
and the Egyptians were really,really big into rebirth.
And it turns out that thisbeating heart of the sarcophagus
(04:59):
that I discovered with sound isvery much part of the at least
hypothetically anyway, of theceremony that would have been
conducted in the King's chamber.
It's called the opening of themouth ceremony.
It's where the, the Pharaoh,who was just passed his body and
has been embalmed, he has stoodupright, all you all covered,
(05:24):
head to toe in bandages and they, basically they cut open the
mouth of the bandages with alittle tool, a little special
little tool called a Pesh En Kefinstrument and this you know,
according to the symbology, thisreanimates him and at the same
time the new Pharaoh is in thesame area and he receives the
(05:51):
spirit of the outgoing Pharaoh.
And it's a long article.
I say so myself.
Everyone check it out.
On Egyptian rebirth sonicrituals, and this is a kind of
(06:12):
culmination of all of theseyears of, because this is a
Egyptology is a hobby for me.
You know it's not, it's not mycareer path, right, it's not my
career path Right, but becauseof all the times that I've been
to Egypt and all of theexperiments that I've conducted
in Egypt, therefore I've beenable to, you know, create a
scientist.
(06:32):
How that all came about wasbecause of the 97 experiments.
So in 96 is when I discoveredthis beating heart phenomenon in
(06:53):
the pyramid.
But I wanted to carry outwhat's termed a cymatics
experiment, and cymatics isspelt with a C, c, y, m, a,
right, and this is basically thethe science of visible sound.
It's how you make sound visible.
So some people watching thismight say well, we already know
how to make sound visible.
(07:14):
You know, use a spectrumanalyzer or an oscilloscope or
whatever.
Yes, but they are graphic forms.
They are showing you the graphof sound energy.
Say, right, it's not showingyou what sound actually looks
like.
So when you see sound madevisible, it's very beautiful
(07:34):
actually.
And so I wanted to conduct thisexperiment cymatics experiment
with the sarcophagus, where Iwould stretch a membrane across
the open top of the sarcophagus,and one of the principles well,
the primary principle ofcymatics is that the patterns,
whenever you have membranes andyou have sound, there will be a
(07:55):
cymatic pattern imprinted onthat membrane, but it's
invisible to the unaided eye.
I liken it to a fingerprint,you know, or a thumbprint on
glass.
You pick up a glass and youhold it, put it down and
immediately look where yourfinger or your thumb was.
You would be really hard pushedto see any imprint whatsoever.
(08:16):
But if you sprinkle on somefine powder like talcum powder,
oh, straight away you can seeyour fingerprint or thumbprint.
And of course, this is thescience of forensic science, and
it's a similar sort of thingwith cymatics.
For those of you who are notfamiliar, sound imprints a
geometric, usually geometricpattern onto a membrane.
(08:40):
And this membrane, by the way,it doesn't have have to be.
What I used in this case in thesarcophagus, was a PVC membrane
.
It doesn't have to be plastic,it can even be metal, you know,
it can be any.
Almost anything actually willreceive a pattern of acoustic
energy and in this case, withthe membrane that I stretched
(09:01):
across the sarcophagus, I usedsand, because they've got plenty
of sand in Egypt, you know it'slike it's everywhere, and so
they collected some sand for meoutside the pyramid and that's
what we used.
But before I kind of tell youthe rest of the story, I have to
tell you the great gift thatoccurred, and this gift is how I
(09:23):
came to be a scientist.
Basically, I'd um, in my veryearly days, in my youth, I
wanted to be a scientist, but itwas actually my daddy who he
advised me to go intoengineering first, he said, to
get a really good grounding inengineering, and I'm so glad
that I did that, but anyway.
So then this event that I'mabout to describe was life
(09:46):
changing and ultimately, youknow, from it, I became a
scientist.
So what happened was aboutthree weeks before going out to
Egypt.
On this particular occasion, 97, I injured my lower back quite
badly.
I was in a lot of pain and itwas just through lifting
something at an awkward angleand I damaged the muscles
(10:08):
basically in my lower back.
And whenever your body isdamaged in that way, in the
spine area particularly, whathappens is your muscles in that
area go into a spasm, andsometimes in medical science
this is called the splintingcycle.
You know, if you have an injury, say a fracture of your arm or
(10:32):
your leg or whatever.
You would splint it, wouldn'tyou, in order to make sure it
doesn't move while it's healing.
Well, it's very similar whathappens automatically in your
body if you have a spinal injuryyour spinal muscles go into.
It's kind of like a cramp, butreally it's not quite like a
(10:52):
cramp but just spasm.
It's similar to a cramp andit's very, very painful.
It's actually more painful, waymore painful than the original
injury.
So I was in great pain that day.
This is three weeks later,don't forget.
Three weeks after the injury, Iwas still in this great pain and
anyway, somehow I gritted myteeth, took a lot of painkillers
(11:16):
and somehow managed to getmyself into the pyramid.
When you eventually go there,rachel, you understand why it's
not so easy, because what'scalled the ascending corridor is
only about four feet high, soyou have to bend low when you're
going up.
It Right, and it's going up ata 26 degree angle.
(11:38):
And so me with this splint inmy back right, a natural splint
Right, really difficult to getin.
Other people carried in theequipment.
Then we set up the antiquitiesinspector and I set up this
experiment together.
He was very helpful.
You saw that I was in greatpain.
(11:58):
Yeah, I told him Anyway, set itup and then, instead of lying
in the sarcophagus this time, Iplaced a small speaker there to
make sound.
I sprinkled sand on the membranefrom a cappuccino chocolate
(12:29):
shaker, by the way, that's whatI used just like sprinkle it on,
you know and then turned on thespeaker from a powered
oscillator, so from a littleelectronic oscillator that makes
pure tones into the speaker,right?
And then what happened wasabsolutely astonishing, because
on the surface of this membranewhere I'd sprinkled the sand, an
(12:53):
ancient Egyptian hieroglyphemerged in the sand.
And it's just like what.
Speaker 1 (12:59):
That is amazing, oh my.
Speaker 2 (13:01):
God, rachel, what I had expected was something like
what you're looking, what I'mlooking at behind you there,
that beautiful double spiralpiece of geometry.
Right, I was expecting what Iwould typically have seen.
I have seen so many times in mylife.
Cymatic patterns are usuallygeometric and very often
(13:22):
beautifully symmetrical and, youknow, just very lovely to
behold.
But in this case, no, this wasactually a hieroglyph and it was
very obviously.
It was obvious to theantiquities inspector, as it was
to me, because straight away werecognized it as what's called
the jed pillar, that's d-j-e-d.
(13:42):
Jed pillar of the backbone ofthe god Osiris.
And this hieroglyph was dynamic, it wasn't static, it was like
snaking writhing, you know, onthe surface.
Oh, my God, it was really quitesomething.
And so then the Antiguitiesinspector, who had been standing
up against the north wallfiling his, originally looking
(14:05):
across at me as I started thisexperiment, thinking, probably
thinking this englishman's alittle bit crazy, but anyway, he
now rushed across to where Iwas working with the sarcophagus
and he said how you do that,how you do that?
And he suddenly became veryanimated.
And what can I help?
How can I help you?
What can I do?
He?
He could see now that this wasactually a really exciting
(14:28):
experiment, right.
And so we became a little teamand he would be scraping off the
sand and then I would, you know, sprinkle on fresh sand and we
would change the frequency, andmany of the frequencies that we
looked at created a newhieroglyph, so there was a whole
series of the ancient Egyptianhieroglyphs, right.
(14:48):
Well, without going into anyfurther detail on that now, the
point I want to make is that,within 20 minutes of starting
that experiment, I suddenlyrealized there was no pain in my
lower back.
All the pain had gone, vanished, completely gone, right.
And in that moment, rachel, Ithought I actually still
(15:10):
remember very clearly thethought that I had after all
these years, which is because itwas a momentous moment in my
life and I'd had pain, severepain, for three weeks.
So, anyway, I thought this mybloodstream is flowing with
endorphins because I'm soexcited, you know, and of course
(15:35):
it was a peak experience in mylife.
When anyone has a peakexperience, their natural
opioids are created, right, andthese opioids give one, well,
first of all, a sense ofeuphoria, but also and I was
definitely that I was euphoric,all right, but in addition to
(15:56):
that, they wonderfully mediatepain.
And so I thought in that momentah, my bloodstream is flowing
with endorphins that's mediatingthe pain, and I'm very glad
about that.
And when I get back to thehotel the effect will wear off
and the pain will come back.
Yeah, the pain never did comeback, right?
(16:18):
So then I knew that somethingreally very, very important had
happened that ultimately wouldbe important for medical science
Right, absolutely.
And the other aspect of thatamazing experiment was that the
ancient Egyptian hieroglyphaspect of it said to me that
(16:38):
this could be a new tool forscience.
If we can find ancient Egyptianhieroglyphs in an ancient
Egyptian sarcophagus, what elsecan we find with this science,
scientific method, anyway?
So so that set me on acompletely different life path.
At that time, I was anacoustics engineer.
(17:00):
I was running my own acousticsconsultancy business.
As soon as I got back to the UK, I began to make plans to sell
that business and to move intoscience, you know, to actually
become a scientist.
And so that's exactly what'shappened.
So in all those years since then, I've been studying the biology
of sound frequencies and musicfrequencies and how they support
(17:24):
healing in the body, and alsodeveloping this new instrument,
this we call the cymoscope.
This is.
You see an iteration of itbehind me here.
This is the portable modelwhich, by the way, we want to
take back to where it had itsgenesis in 97 in the Great
Pyramid.
We're trying to get permissionright now to do just that and
(17:45):
that'll be an excitingexperiment when we go back there
.
But that's the life path thatI've been on, rachel, since
those amazing experiments.
Speaker 1 (17:54):
So I do want to talk about the simascope.
So that is a groundbreakinginvention.
How does it work and what havebeen maybe some of the most
surprising discoveries whileusing it?
Speaker 2 (18:06):
Well, great questions , thank you.
Well, first of all, how itworks is very similar to that
simple experiment that weconducted in the King's Chamber,
where you have a membrane wehad a speaker in that case, if
you remember, in the bottom ofthe sarcophagus that made the
sound.
And then, whenever you havesound present and you have a
(18:26):
membrane present, the principleof cymatics is there will be a
pattern of acoustic energyimprinted on that membrane,
usually invisible to the unaidedeye, right.
Well, the same principle is atwork in this beautiful little
instrument that you see behindme, but instead of using, say,
(18:47):
plastic as a membrane, we nowuse the surface of water, just
very, very pure water, and thisthat's medical grade water, the
kind of water that you couldinject into your vascular system
, into your veins, if you wantedto, so very pure and that the
surface of it is exquisitelysensitive to sound.
(19:08):
So when we we use the terminject, when we inject sound
into that water, it organizesall into the depths of the water
, and so trillions and trillionsof molecules of water are in a
(19:33):
blink of an eye, are organizedinto great beauty, and that's
the cymatic pattern, which is akind of an analog or a model of
the sound that you inject intothe water.
Now I should, you know, say thedifference between, explain the
difference between an instrumentlike this and what a lot of
(19:53):
people do at home with cymaticapparatus at home, because a lot
of people now are reallyexcited about cymatics, and for
good reason.
It is an amazing new science.
However, one of the aspects tothe cymoscope instrument that
makes it completely different towhat you might be able to do at
home, for example, is that allobjects in the universe have
(20:21):
resonant properties, basicallyresonant frequencies, a
frequency of sound at which theyare most resonant, and there's
no exception, any, any.
Every object does have these,you know, natural resonances,
natural resonant properties.
The same is true of the cymascope instrument and the same is
true of all the homeexperimenters who are working
(20:43):
with cymatics.
Right, the difference is thatwith this instrument, we have
identified, within themechanical systems of the
instrument, we have identifiedthose resonant frequencies, and
then we tune them outelectronically.
So now we have a kind ofvirtually a flat response to any
(21:06):
sound that we put in, that weinject in within the bandwidth
of that of that instrument.
Right, so now we get a reallyaccurate and replicable model of
a sound when we inject it intothe cymoscope.
So so, going on from there tothe second part of your question
(21:27):
, we have made some amazingdiscoveries with the cyberscope
instrument.
One of them, many years ago now,was with working with dolphins.
So a good friend of ours now inFlorida, jack Kasowitz, he and
(21:48):
his wife Donna, they work withdolphins a lot, and Jack had an
amazing idea.
He contacted me, told me aboutthis idea and said John, what
would happen if we injected adolphin sound?
What would happen if weinjected a dolphin sound?
Because dolphins make a lot ofsounds and a lot of marine
(22:14):
biologists have believed for along, long time that dolphins
communicate with sounds in akind of language of words, right
.
And so Jack had this idea.
He said if we inject a dolphinsound into the assignment scope,
what would we see?
I said I have absolutely noidea, jack, but he had this
amazing idea to submerge aseries of plastic objects under
(22:39):
the water and task the dolphinto use its echolocation beam
because dolphins can see withsound, right.
So to use its echolocation beam, which is ultrasound, high
frequency sound, to to literallylook at the object not with its
(23:00):
eyes but with its ultrasoundbeam.
Jack then had a hydrophone,which is a kind of underwater
microphone, placed somewherenear the objects, and so when
the sound from the dolphinreflected from the objects, the
hydrophone would pick up alittle bit of that sound.
(23:21):
Well, what then happened wasreally quite astonishing,
because Jack sent me just asemail attachments, right these
various sound files that he hadrecorded, and he didn't even
tell me what these sound fileswere.
He didn't tell me that this oneis a plastic cube, this one is
(23:43):
a plastic cross.
You know, it didn't tell me anyof that.
I just had to do it blind and Iput these, these wave files, as
they're called, into thecymoscope instrument, one by one
, and one by one I saw thoseobjects.
So I saw the plastic cube, Isaw the plastic cross, I saw the
(24:04):
ball, I saw the plastic duck,and so on these different
objects, right will, could becreated with the cymoscope
instrument, and so this was akind of major discovery really.
What came out of that?
Uh, we still there's still moreresearch to do in that area but
one of the exciting aspectsthat came out of it is this idea
(24:28):
that dolphins communicate witheach other, not in words, but in
pictures, and and they'resharing, literally sharing
pictorial information.
One of the reasons we thinkthis is the case, or why
dolphins would do this, isbecause a pod of dolphins have a
(24:51):
scout dolphin who circulatescircles the pod, basically kind
of looking out for any predators, like sharks for example, and
if a dolphin, if a pilot dolphin, sees a shark, for example, it
would take a photograph of it,literally with its sound, beam,
(25:13):
and beam that to all the otherdolphins in the pod.
So suddenly in the mind's eyeof the dolphins, shark, shark,
and then they obviously takeavoiding action.
They know what to do underthose kind of emergency
situations, right.
Speaker 1 (25:27):
Yeah.
Speaker 2 (25:28):
That's one of the scenarios that we've talked
about.
But what I would love to do inthe future, rachel, is to make
visible with the Simuscopeinstrument a conversation
between two dolphins, likeinterrupt their beams and
literally measure, record withthe you know, with the
(25:49):
hydrophone the conversation andthen see what it is they're
sharing with rain.
That would be so exciting,wouldn't it, you know anyways,
I'll give you one more example,because I literally all day on
this subject.
But one more exciting examplethat comes from the CymaScope
instrument concerns anexperiment that we conducted
(26:09):
here in 2018 with Professor SungChol Ji of Rutgers University,
very much relating to this newshift network course, which is
all about frequency medicine andhow sounds, and music in
(26:32):
particular, uh, catalyze thebody's healing, natural healing
response, and the experiment wasreally it was.
It came from an idea aboutabout pythagoras of samos and
how he had said he was a famousgreek philosopher who said that
(26:52):
music could be used in place ofmedicine, and, uh, I realized
that that that statement wasvery powerful but had never
really been adequately tested,and so the idea for this
experiment came out of simplyout of Pythagoras's quote, and I
designed this experiment usinghuman blood, and Professor G
(27:15):
came here to help me design theprotocol for running the
experiment, and then he stayedfor the first few experiments,
which I'm going to describe toyou now.
So, in essence, you simply takea test tube of whole human
blood and decant it into twosmaller test tubes.
One test tube goes in a veryquiet environment in the lab
(27:39):
here called a Faraday cage it'sreally quiet in there and also
electromagnetically screened.
And then the other little vialgoes in an incubator in the main
body of the lab here and thatin that case there's a little
speaker so we can play music tothat blood.
And so, in essence, we test.
(27:59):
We test the number of viablered blood cells before and after
, pre and post the music, inother other words, right.
And of course we've also gotthe control in the Faraday cage
to test, and the results were,right off the bat, amazing,
really amazing.
I mean, with all kinds of musicwe were seeing all genres of
(28:21):
music we were seeing greatimprovements in the viability of
the red blood cells.
This is the ratio of dead bloodcells to living blood cells.
So I need to explain that whenwe receive blood from the blood
bank which was only taken from adonor the day before, by the
way, so it's very fresh blood,right Blood can last up to four
(28:42):
weeks before it has to be thrownin a blood bank situation.
In this case, we literally getit the next day, so it's very
fresh, but even so, it willstill contain millions of red
blood cells that are dead,because that's how it is in your
body.
They're being that, they'redying all the time and they're
being mopped up all the time,right?
(29:03):
So always there will bemillions that are dead.
There'll also be millions thatare dead.
There'll also be millions thatare alive and well thank you
very much.
And there'll also be many moremillions that are classed as
medically old.
This means they're starting todie.
The outer membranes that arethat have that beautiful lozenge
shape, normally starts to breakup, loses integrity, and so
(29:26):
ultimately they would die in thebody and again they would be
mopped up by the body systems.
In this case, what we werefinding was that these old red
blood cells were being made newagain within 20 minutes of
immersion in the music, right?
So this is why the pre and thepost showed completely different
(29:47):
results.
Within about 15 to 18 percentrise in viability within 20
minutes of immersion in musicinstrument comes into.
The picture is as follows thatwe we try to figure out what.
(30:09):
What is the mechanism that'sdriving this?
Okay, we know where.
Maybe the music, maybe theblood likes the music, right,
you know that's.
That doesn't really tell youanything at all, it it?
We needed to know the mechanism, the biological mechanism, and
so we hypothesized about it andwe said that the results from
(30:30):
the classical music, when wetried classical music were not
as good as the results from thepopular music, and that was a
clue.
We thought classical musicwould have been, you know, a far
better result.
That's what we thought.
Speaker 1 (30:45):
Fascinating.
Speaker 2 (30:46):
It was counterintuitive, you know to
find that Anyway, so it would.
But that was a great cluebecause we then reasoned well,
the main difference betweenclassical music and popular
music is the bass beat Boom,boom, boom, boom.
Take me back to that pyramid Iwas telling you about earlier,
anyway, the bass beat.
(31:07):
So we thought, ah, so it couldbe the low frequencies in the
music that's actually drivingthis healing mechanism, repair
mechanism of the old red bloodcells instrument.
(31:28):
And we actually and the reasonfor that is because the speaker
in the in the incubator is has avery relatively poor bass
response because it's only asmall speaker, right, so you
need really big speakers if youwant a really good bass response
usually.
But as it happens, thecymoscope instrument has an
amazing frequency response.
It goes down to three hertz.
Amazing frequency response, itgoes down to three hertz.
(31:51):
So we put some blood directinto the cymoscope instrument
and then we we injected a verylow frequency tone, a pure tone,
into the blood and we saw abeautiful cymatic pattern right
on the surface of the blood.
That was not a surprise, rachel, because, as I was saying
earlier, when you have amembrane and you have sound, you
(32:11):
will always get a cymaticpattern and we light it from
above, and so this is how we getspecial lighting makes visible
the imprint of the sound on thiscase on blood.
So we saw this beautifulcymatic pattern from this low
frequency sound, and then weremoved the sound.
We just brought the fader downon the audio mixer and expected
(32:37):
the pattern to disappear.
Because that's what normallyhappens with cymatics.
Like I said earlier, if youinject a sound, within a blink
of an eye it creates all thisbeautiful order and a beautiful
pattern will emerge, but then,as soon as you remove the sound,
it goes back to Brownian motion, it goes back to just random.
You know there's no patternanymore, right, and that happens
(32:59):
usually instantly.
In this case, the patternremained fixed on the blood.
My God, yes, love this, lovethis.
This was so exciting and we'dnever seen anything like it.
I'd never seen it.
I'd been working in cymaticsfor many, many years, never seen
anything like it.
And so the reason this is a newmedical discovery, right,
(33:22):
absolutely.
And what it means is that whensound enters into blood,
particularly low frequency sound, it causes the oxygen that's
already dissolved in the bloodto bind to the hemoglobin
molecules in the red blood cellsand this causes them to go to
(33:43):
turn in their color from verydark maroon color, kind of very,
very dark red, to brightscarlet, right, just like that,
in a fraction of a second.
And so the fact that there's nosound you take the sound away
doesn't matter to the red bloodcells, because they've already
received their oxygen thank youvery much and they are going to
(34:07):
hold on to it.
They've got it and they'reholding on to it.
And don't forget, this is invitro in a test tube, so they
can't release that oxygen asthey would in the body in a vivo
environment.
They're constantly beingcharged with oxygen and then
releasing the oxygen to thetissues Can't do that in a test
tube, right, basically, as soonas they receive the oxygen, they
(34:30):
just hold on to it, right, andthey've got it.
And that turns the blood brightscarlet.
And there's this bright scarletcymatic pattern just sitting
there on the surface.
Oh my God.
So that was a kind of majormedical discovery.
And the way that it works inyour body, rachel, is that every
(34:51):
heartbeat, every time you havea heartbeat, that is a pulse of
low frequency sound and that isthe primary mechanism that
causes the oxygen to bind, youknow, rhythmically, every time
there's a heartbeat boom, boom,boom, it's causing the oxygen to
bind, to know rhythmically.
Every time there's a heartbeatboom, boom, boom, it's causing
the oxygen to bind to thehemoglobin.
And you know what would happenif your heart stopped.
(35:14):
Well, there's no sound anymore.
And if there's no sound thenyou would lose consciousness
within a second.
Perhaps you know, it doesn'ttake very long for your brain to
say no, thank you, I don't likethis, not having any oxygen.
And even though at that momentwhere your heart would stop,
your brain is still engorgedwith oxygen, the blood is still
(35:38):
got masses of oxygen in it, butit can't bind to the hemoglobin
because suddenly there's no moresound.
Right, right, the heart is notjust pumping the blood around
the body, which of course it isdoing, and it does many things,
actually many other things.
But in addition, one of theother primary mechanisms, as
we've discovered, is the sounditself actually causes the
(36:01):
binding of the hemoglobin.
And then, when you understandthat oxygen is the key healing
molecule in the body, you know,if you've got more oxygen in
your body, then you've got moreability to power all of the
healing mechanisms in your body.
So it's very, very important.
Speaker 1 (36:20):
Fascinating.
So you just brought up thecourse that you have upcoming at
the Shift Network, which isExplore the Secrets of Sonic
Sciences and Cymatics, so itteaches you how to connect with
the spirit world through sound.
What can participants expect togain from this experience?
Speaker 2 (36:35):
From the spirit world , did you say.
Speaker 1 (36:38):
Yes.
Speaker 2 (36:39):
Wow, I wasn't expecting that question.
One of the wonderfuldiscoveries that I've made over
the years have been what I callthe postulated four postulated
laws of cymatics.
And I go into these postulatedlaws.
I say they're postulatedbecause, of course, they have to
(37:01):
be proven by other scientists,you know, but I've worked me
through working with cymatics,and one of the laws in this case
that I'd like to describe rightnow that is very important from
(37:21):
a spirit point of view, is thesecond law of cymatics.
The second law of cymaticsconcerns the way that sound
enters our body, how it entersour body.
Now, you will know, obviously,that sound.
Well, I think you will knowthat sound looks like a wave,
(37:42):
but the reality of sound in air,its actual space form, is that
of a bubble.
So the sound that's coming outof my mouth now is literally a
bubble, and that bubble isoscillating in and out and of
(38:04):
course, it's expanding as wellat the speed of sound.
And those little oscillationswithin the bubble are literally
the energy information which, inthis case, is coming from the
vibrations of my vocal folds.
Right, but this, when soundenters into water, something
(38:25):
amazing happens that is notgenerally known, and this came
out of the second law ofcymatics.
And what happens is that thesound, the what's so-called
wavelengths of the sound, areautomatically compressed in a
ratio of 829 to 1.
And why that ratio is what itis is simply because in air, the
(38:52):
particles of air, you know allthe various gases, have little
atoms, and molecules in air makeup the gas of the air.
They have a certain distanceapart, right, but when, and that
causes a certain propagation,speed of sound in air,
(39:14):
propagation speed of sound inair.
But when sound enters intowater, for example, it suddenly
finds that the molecules of thewater are much, much closer
together.
Therefore, that increases thespeed of propagation, because
the, the energy can be passed onfrom molecule to molecule much
faster, more efficiently, let'ssay, than it can in air.
Right, but the discovery thatthat I made relates and this is
(39:36):
relating to the second law ofcymatics is that that ratio of
829 to 1 is at work, and thismeans that when sound
frequencies enter into our eyes,which is obviously, they're
containing a type of water.
It's very, it's, it's not muchdifferent to water, actually the
(39:58):
fluid in your eyes.
That water is a reallybeautiful medium for sound.
And so the sound, if you'remaking sound from any musical
instrument.
The sounds literally areentering into your eyes.
They go straight through theeyeball and then they meet the
(40:23):
retina, which is made mainly ofwater.
It's a form of liquid crystalthat's mainly water water, it's
a form of liquid crystal that'smainly water.
Those sounds then go throughinto the optic nerves, which are
also mainly water, liquidcrystal again and then through
to where the pineal gland is inthe brain.
And the pineal gland is also inits own little sack of water,
(40:48):
protective water.
So it's almost like you knowwater, water all the way through
.
So now you get the idea thatall the sounds that we're
creating with musicalinstruments whether that be a
gong or a Tibetan bowl, you know, or a harp or a tuning fork,
whatever it is all of thosesounds are penetrating through
(41:10):
our eyes and straight into thepineal gland.
Now, of course, other aspects ofthe body are receiving sound as
well, but I'm talking herespecifically about to answer
your question about theconnection with spirit, because
the pineal gland has been knownfor millennia to be a gland that
(41:30):
is connected with spirit orthat connects us with the divine
energies.
Basically, even the ancientEgyptians knew this, or how they
knew it is a bit of a mystery,but they did know it and it's
really pretty astonishing.
Anyway, the fact is that, fromthis second law of cymatics, we
(41:51):
now have a way of being able tooptimally stimulate our pineal
gland.
And how this works is you.
As I mentioned earlier, everyobject in the universe has a
natural frequency of vibration.
This is the frequency at whichit will most readily absorb
(42:11):
acoustic energy, say, in thiscase, and in the case of the
pioneer gland, it's just thesame.
So all you need to do is toknow the dimensions of the
pioneer gland in order to workbackwards from this 829 ratio.
Right, and then you will findthe frequency which is going to
be optimal for optimalstimulation of that gland.
(42:35):
And lo and behold, it is e3 ona piano which is roughly 165
Hertz.
Right, there's a few decimalsinvolved, but that's essentially
the frequency.
So when you make e3, howeveryou make it, whether you make it
on a piano or a harp, or youknow, gongs are a very rich
(42:55):
source of frequencies andthey've got thousands of
frequencies.
So you'll always be receivingE3, regardless of the fact that
you're going to be receiving alot of other frequencies as well
.
But the fact is, when youreceive E3, then you know that
you are stimulating your pinealgland and, of course, because
(43:16):
that is the gland that gives usconnection to spirit, then we're
going to obviously have anenhanced hopefully have an
enhanced spiritual connection.
Speaker 1 (43:26):
Thank you so much.
That's awesome.
I'm excited.
So I have one final questionfor you.
I did have 20 questions but weonly got through a couple.
But I'll have to have you comeback on.
But where do you see the futureof cymatics and sound healing
heading?
Do you think mainstreammedicine will embrace these
(43:47):
discoveries?
Speaker 2 (43:49):
Well, yes, I do, because it's actually already
happening, not in a major way,but it has started to happen.
I'm going to give you a coupleof examples here.
First of all, I think we shouldreally talk about the umbrella
term frequency medicine, becausethat's very much part of the
title of this course.
(44:10):
And frequency medicine, whatdoes it mean?
Well, it means basically a formof medicine in which energy is
being applied to the body, andthis energy can be sonic, it can
be sound, it can be music, butequally it can be light.
So light frequencies, you know,are still vibrations, but
they're not vibrations of soundnow, they're vibrations of
(44:33):
electromagnetism.
And so one of the examples I'mgoing to mention now is that
frequency medicine although theydon't use that term, but it's
already being used in hospitals,in hospitals and it's being
(44:55):
used in the dermatologydepartment, for example, where
if you go into hospital withsome form of skin condition you
know, given like eczema or youknow some other horrible skin
condition, they won't give you apharmacological pill, they
won't give you a substance youknow to imbibe.
They will give you lighttherapy.
They call it usually call itphototherapy or
photobiomodulation therapy, butstill it's essentially frequency
(45:19):
medicine.
So that's one you knowwonderful aspect of mainstream
that's already recognizing thefrequency medicine has its place
, has a very important place.
Another one, rachel, which Ireally love is this new clinical
term, music medicine.
(45:41):
So you've probably heard ofmusic therapy.
I think most people have comeacross the term music therapy in
their lives.
Music therapy really started inthe 1950s.
It really started to escalate,to burgeon into the world in the
1950s and onwards and it'sstill with us today and it's a
very popular form of therapy andessentially it's a form of
(46:05):
psychology as well as physicaltherapy.
So you got, so you've got thepatient with working with a
therapist and then, of course,the therapist is helping the
patient to choose the music,although it's very important for
the patient to actually wantthe particular music, whatever
it is.
You know that they have to loveit, really ideally.
(46:28):
But the therapist thenobviously gives them talk as
well, talk therapy, and this isvery important form of therapy
for pre and post-operativestages of a hospital stay.
However, of course, there cannever be enough music therapists
to go around.
There are millions of people inhospitals all over the world
(46:49):
right now, but only a handful,relative handful of music
therapists.
So the the good news is thatmainstream medicine has now
accepted that music has powerfultherapeutic facility even
without the therapist, evenwithout the intervention of the
(47:11):
therapist.
In other words, it hasphysiological benefit just
because of the frequencies inthe music itself.
That's one aspect of it.
But there's another aspect tomusic which I think is also
fairly well known now, which isthat when, if you experience
music that you particularly love, it actually has a wonderful
(47:34):
effect on one's dopamine levels.
So when dopamine is created,particularly in the brain, it's
also created in the body.
But when it's created in thebrain there's an immediate
correlation with white bloodcell proliferation.
So leukocytes in the body thenproliferate when you have a lot
(47:59):
of dopamine running in yourbloodstream, right?
So, in other words, whendopamine, by the way, has been
given this dubbed this title thehappy hormone.
Happy hormone, you are feelinghappy when you have an
experience where you're in joy.
Whatever that experience is andit can come from music, but
whatever it doesn't matter whatit is you will get more dopamine
(48:22):
in your body.
And when you have more dopamine, you will have an immune system
boost, yourocyte productionwill will rise significantly,
right?
So happiness and health arevery much, you know, in tandem.
They need to work together.
It's very important to be happy, in other words, if you want a
(48:43):
good immune system, and so, inthis case, the music medicine
was one of the many mechanisms.
If, if you're enjoying themusic, then you will have more
dopamine in your bloodstream andthen you will have more
leukocyte proliferation, soyou'll have a boost of your
immune system.
Right, there are many, manyother mechanisms that I talk
(49:05):
about in the course, rachel, butthat's one of them.
Speaker 1 (49:09):
Yeah, there's seven different modules.
This course does launch onApril 3rd.
It's's one of them.
Yeah, there's seven differentmodules.
This course does launch onApril 3rd.
It's on the Shift Network.
It's Explore the Secrets ofSonic Sciences, Antimatics,
Musical Medicine for RadiantHealing.
Also, there's bonuses.
Speaker 2 (49:25):
Oh yeah, there's bonuses.
I'm going to give you the URL,though, now, because there's
this beautiful the shift networkare wonderful for creating
really concise URLs, and they'vegot this, this URL, which is
frequencymedicinecoursecom.
I love that.
It's so simple.
I love that medicinecoursecomand that takes you straight to
(49:46):
the page.
You know where you can.
Speaker 1 (49:48):
I love that for the, for the course, and so yeah well
, I want to thank you, johnstewart reed, so much for coming
on the spiritual spotlightseries.
It truly has been amazing toconnect with you today.
Speaker 2 (50:00):
Thank you so much oh, it's been a great pleasure.
Rachel and I'd be happy to comeby anytime and we can carry on
the conversation.
I'm so excited, thank you.
Hello everyone, welcome to our Spiritual
Spotlight Series.
Today I am joined by JohnStewart-Reed.
He may have one of the mostremarkable healing modalities to
meet science and medicine andit's called cymatics and he has
the invention of cymoscope andhe is an acoustics physics
scientist and inventor who hasbecome a real pioneer in the
(00:24):
field of cymatics and heassesses sound as the foundation
of almost all matter in theuniverse and was a potent force
in the creation of the life inthe primordial oceans and
carries the power to heal life.
Thank you so much for coming onSpiritual Spotlight Series.
I'm so happy you're here.
Speaker 2 (00:40):
Wow, thank you for that lovely introduction.
I'm really happy to be with youtoday, Rachel.
Speaker 1 (00:45):
Thank you, and I'm so excited to jump into the work
that you do because I do feellike musical medicine is so
vital now, especially for what'sgoing on in the world, and it's
something that I've definitelybeen leaning more and more and
more and more into in my life.
And can you maybe share thejourney into the world of
(01:07):
cymatics and sound healing?
What first inspired you toexplore this field?
Speaker 2 (01:13):
Well, I had been an acoustics engineer.
Thank you for the question.
I'd been an acoustics engineerfor well, almost 30 straight
years.
At the point when I visited theGreat Pyramid with my father in
1996 in Egypt, you know.
So Cairo, egypt, the Gizaplateau, those three amazing
(01:36):
pyramids, and the Great Pyramidin particular, you know, is
really astonishing when you gointo the Grand Gallery, as it's
called, and the King's Chamberitself and the Queen's Chamber,
they all have remarkableacoustics, because at that time
I was an engineer, I wasn't ascientist at that part of my
career but I was reallyinterested in the acoustic
(02:00):
properties of the sarcophagus inthat King's chamber.
Have you been there yourself,rachel?
I have not, but I know whatyou're talking about.
It's very special.
The chamber as a whole is andthe sarcophagus is amazingly
resonant.
So I lay in that sarcophagusbecause we actually had found
(02:20):
ourselves all alone.
That's amazing, found ourselvesall alone.
We had been in the tournamentbefore, but you know, this
particular time in early 96, wewere completely alone.
Just happenstance, you know, wewere just lucky, really, and
towards lunchtime and I thinkeverybody that had bought a
ticket had already come and gone, anyway, so I lay in the
sarcophagus and I made a vocalglissando which is a kind of
(02:43):
smooth, and I made a vocalglissando which is a kind of
smooth, unstepped enunciation ofa single tone, just to
experiment a little bit with theresonant properties.
And at one particular vocalpitch it felt like every well,
every cell in my body felt likeit was tingling, basically, and
goosebumps, you know, broke outall over my flesh.
It was an amazing experienceand that really was a kind of
(03:07):
turning point in my life in manyways.
When I look back now, you knowexactly how things happened for
me, because I then pretty muchimmediately, you know, when my
daddy and I left us, left thepyramid, and ultimately had a
chat about about those effectsthat I had received and
experienced and decided that Iwould want to go.
(03:29):
I wanted to go back to thepyramid, but this time armed
with acoustics instrumentation.
So I did that.
I did that later in 96 and thatwas another amazing experience,
and this completely different,but still in the sarcophagus.
One of the experiments that Iconducted with the acoustics
instrumentation caused thesarcophagus to beat like a heart
(03:54):
, literally boom, boom, boom,boom.
And the Antiquities inspector,he got pretty excited about that
.
Actually, I think he thought Iwas going to damage it or
something, but there was notreally any chance of that.
But anyway, um, it was anamazing experiment and one of
the aspects of that that cameout of it ultimately and it's
(04:14):
only just now, after all ofthese years, come to full
manifestation is because Istarted looking into the into
the rebirth hypothesis relatingto the Great Pyramid.
You know, it was Dr RenéFriedman, the famous
Egyptologist, who said that theGreat Pyramid is a resurrection
(04:36):
machine.
In fact, all the pyramids arewhat she classes as resurrection
machines and the Great Pyramidis the greatest of all the
resurrection machines.
Anyway, so it's very muchconnected with rebirth symbolism
and the Egyptians were really,really big into rebirth.
And it turns out that thisbeating heart of the sarcophagus
(04:59):
that I discovered with sound isvery much part of the at least
hypothetically anyway, of theceremony that would have been
conducted in the King's chamber.
It's called the opening of themouth ceremony.
It's where the, the Pharaoh,who was just passed his body and
has been embalmed, he has stoodupright, all you all covered,
(05:24):
head to toe in bandages and they, basically they cut open the
mouth of the bandages with alittle tool, a little special
little tool called a Pesh En Kefinstrument and this you know,
according to the symbology, thisreanimates him and at the same
time the new Pharaoh is in thesame area and he receives the
(05:51):
spirit of the outgoing Pharaoh.
And it's a long article.
I say so myself.
Everyone check it out.
On Egyptian rebirth sonicrituals, and this is a kind of
(06:12):
culmination of all of theseyears of, because this is a
Egyptology is a hobby for me.
You know it's not, it's not mycareer path, right, it's not my
career path Right, but becauseof all the times that I've been
to Egypt and all of theexperiments that I've conducted
in Egypt, therefore I've beenable to, you know, create a
scientist.
(06:32):
How that all came about wasbecause of the 97 experiments.
So in 96 is when I discoveredthis beating heart phenomenon in
(06:53):
the pyramid.
But I wanted to carry outwhat's termed a cymatics
experiment, and cymatics isspelt with a C, c, y, m, a,
right, and this is basically thethe science of visible sound.
It's how you make sound visible.
So some people watching thismight say well, we already know
how to make sound visible.
(07:14):
You know, use a spectrumanalyzer or an oscilloscope or
whatever.
Yes, but they are graphic forms.
They are showing you the graphof sound energy.
Say, right, it's not showingyou what sound actually looks
like.
So when you see sound madevisible, it's very beautiful
(07:34):
actually.
And so I wanted to conduct thisexperiment cymatics experiment
with the sarcophagus, where Iwould stretch a membrane across
the open top of the sarcophagus,and one of the principles well,
the primary principle ofcymatics is that the patterns,
whenever you have membranes andyou have sound, there will be a
(07:55):
cymatic pattern imprinted onthat membrane, but it's
invisible to the unaided eye.
I liken it to a fingerprint,you know, or a thumbprint on
glass.
You pick up a glass and youhold it, put it down and
immediately look where yourfinger or your thumb was.
You would be really hard pushedto see any imprint whatsoever.
(08:16):
But if you sprinkle on somefine powder like talcum powder,
oh, straight away you can seeyour fingerprint or thumbprint.
And of course, this is thescience of forensic science, and
it's a similar sort of thingwith cymatics.
For those of you who are notfamiliar, sound imprints a
geometric, usually geometricpattern onto a membrane.
(08:40):
And this membrane, by the way,it doesn't have have to be.
What I used in this case in thesarcophagus, was a PVC membrane
.
It doesn't have to be plastic,it can even be metal, you know,
it can be any.
Almost anything actually willreceive a pattern of acoustic
energy and in this case, withthe membrane that I stretched
(09:01):
across the sarcophagus, I usedsand, because they've got plenty
of sand in Egypt, you know it'slike it's everywhere, and so
they collected some sand for meoutside the pyramid and that's
what we used.
But before I kind of tell youthe rest of the story, I have to
tell you the great gift thatoccurred, and this gift is how I
(09:23):
came to be a scientist.
Basically, I'd um, in my veryearly days, in my youth, I
wanted to be a scientist, but itwas actually my daddy who he
advised me to go intoengineering first, he said, to
get a really good grounding inengineering, and I'm so glad
that I did that, but anyway.
So then this event that I'mabout to describe was life
(09:46):
changing and ultimately, youknow, from it, I became a
scientist.
So what happened was aboutthree weeks before going out to
Egypt.
On this particular occasion, 97, I injured my lower back quite
badly.
I was in a lot of pain and itwas just through lifting
something at an awkward angleand I damaged the muscles
(10:08):
basically in my lower back.
And whenever your body isdamaged in that way, in the
spine area particularly, whathappens is your muscles in that
area go into a spasm, andsometimes in medical science
this is called the splintingcycle.
You know, if you have an injury, say a fracture of your arm or
(10:32):
your leg or whatever.
You would splint it, wouldn'tyou, in order to make sure it
doesn't move while it's healing.
Well, it's very similar whathappens automatically in your
body if you have a spinal injuryyour spinal muscles go into.
It's kind of like a cramp, butreally it's not quite like a
(10:52):
cramp but just spasm.
It's similar to a cramp andit's very, very painful.
It's actually more painful, waymore painful than the original
injury.
So I was in great pain that day.
This is three weeks later,don't forget.
Three weeks after the injury, Iwas still in this great pain and
anyway, somehow I gritted myteeth, took a lot of painkillers
(11:16):
and somehow managed to getmyself into the pyramid.
When you eventually go there,rachel, you understand why it's
not so easy, because what'scalled the ascending corridor is
only about four feet high, soyou have to bend low when you're
going up.
It Right, and it's going up ata 26 degree angle.
(11:38):
And so me with this splint inmy back right, a natural splint
Right, really difficult to getin.
Other people carried in theequipment.
Then we set up the antiquitiesinspector and I set up this
experiment together.
He was very helpful.
You saw that I was in greatpain.
(11:58):
Yeah, I told him Anyway, set itup and then, instead of lying
in the sarcophagus this time, Iplaced a small speaker there to
make sound.
I sprinkled sand on the membranefrom a cappuccino chocolate
(12:29):
shaker, by the way, that's whatI used just like sprinkle it on,
you know and then turned on thespeaker from a powered
oscillator, so from a littleelectronic oscillator that makes
pure tones into the speaker,right?
And then what happened wasabsolutely astonishing, because
on the surface of this membranewhere I'd sprinkled the sand, an
(12:53):
ancient Egyptian hieroglyphemerged in the sand.
And it's just like what.
Speaker 1 (12:59):
That is amazing, oh my.
Speaker 2 (13:01):
God, rachel, what I had expected was something like
what you're looking, what I'mlooking at behind you there,
that beautiful double spiralpiece of geometry.
Right, I was expecting what Iwould typically have seen.
I have seen so many times in mylife.
Cymatic patterns are usuallygeometric and very often
(13:22):
beautifully symmetrical and, youknow, just very lovely to
behold.
But in this case, no, this wasactually a hieroglyph and it was
very obviously.
It was obvious to theantiquities inspector, as it was
to me, because straight away werecognized it as what's called
the jed pillar, that's d-j-e-d.
(13:42):
Jed pillar of the backbone ofthe god Osiris.
And this hieroglyph was dynamic, it wasn't static, it was like
snaking writhing, you know, onthe surface.
Oh, my God, it was really quitesomething.
And so then the Antiguitiesinspector, who had been standing
up against the north wallfiling his, originally looking
(14:05):
across at me as I started thisexperiment, thinking, probably
thinking this englishman's alittle bit crazy, but anyway, he
now rushed across to where Iwas working with the sarcophagus
and he said how you do that,how you do that?
And he suddenly became veryanimated.
And what can I help?
How can I help you?
What can I do?
He?
He could see now that this wasactually a really exciting
(14:28):
experiment, right.
And so we became a little teamand he would be scraping off the
sand and then I would, you know, sprinkle on fresh sand and we
would change the frequency, andmany of the frequencies that we
looked at created a newhieroglyph, so there was a whole
series of the ancient Egyptianhieroglyphs, right.
(14:48):
Well, without going into anyfurther detail on that now, the
point I want to make is that,within 20 minutes of starting
that experiment, I suddenlyrealized there was no pain in my
lower back.
All the pain had gone, vanished, completely gone, right.
And in that moment, rachel, Ithought I actually still
(15:10):
remember very clearly thethought that I had after all
these years, which is because itwas a momentous moment in my
life and I'd had pain, severepain, for three weeks.
So, anyway, I thought this mybloodstream is flowing with
endorphins because I'm soexcited, you know, and of course
(15:35):
it was a peak experience in mylife.
When anyone has a peakexperience, their natural
opioids are created, right, andthese opioids give one, well,
first of all, a sense ofeuphoria, but also and I was
definitely that I was euphoric,all right, but in addition to
(15:56):
that, they wonderfully mediatepain.
And so I thought in that momentah, my bloodstream is flowing
with endorphins that's mediatingthe pain, and I'm very glad
about that.
And when I get back to thehotel the effect will wear off
and the pain will come back.
Yeah, the pain never did comeback, right?
(16:18):
So then I knew that somethingreally very, very important had
happened that ultimately wouldbe important for medical science
Right, absolutely.
And the other aspect of thatamazing experiment was that the
ancient Egyptian hieroglyphaspect of it said to me that
(16:38):
this could be a new tool forscience.
If we can find ancient Egyptianhieroglyphs in an ancient
Egyptian sarcophagus, what elsecan we find with this science,
scientific method, anyway?
So so that set me on acompletely different life path.
At that time, I was anacoustics engineer.
(17:00):
I was running my own acousticsconsultancy business.
As soon as I got back to the UK, I began to make plans to sell
that business and to move intoscience, you know, to actually
become a scientist.
And so that's exactly what'shappened.
So in all those years since then, I've been studying the biology
of sound frequencies and musicfrequencies and how they support
(17:24):
healing in the body, and alsodeveloping this new instrument,
this we call the cymoscope.
This is.
You see an iteration of itbehind me here.
This is the portable modelwhich, by the way, we want to
take back to where it had itsgenesis in 97 in the Great
Pyramid.
We're trying to get permissionright now to do just that and
(17:45):
that'll be an excitingexperiment when we go back there
.
But that's the life path thatI've been on, rachel, since
those amazing experiments.
Speaker 1 (17:54):
So I do want to talk about the simascope.
So that is a groundbreakinginvention.
How does it work and what havebeen maybe some of the most
surprising discoveries whileusing it?
Speaker 2 (18:06):
Well, great questions , thank you.
Well, first of all, how itworks is very similar to that
simple experiment that weconducted in the King's Chamber,
where you have a membrane wehad a speaker in that case, if
you remember, in the bottom ofthe sarcophagus that made the
sound.
And then, whenever you havesound present and you have a
(18:26):
membrane present, the principleof cymatics is there will be a
pattern of acoustic energyimprinted on that membrane,
usually invisible to the unaidedeye, right.
Well, the same principle is atwork in this beautiful little
instrument that you see behindme, but instead of using, say,
(18:47):
plastic as a membrane, we nowuse the surface of water, just
very, very pure water, and thisthat's medical grade water, the
kind of water that you couldinject into your vascular system
, into your veins, if you wantedto, so very pure and that the
surface of it is exquisitelysensitive to sound.
(19:08):
So when we we use the terminject, when we inject sound
into that water, it organizesall into the depths of the water
, and so trillions and trillionsof molecules of water are in a
(19:33):
blink of an eye, are organizedinto great beauty, and that's
the cymatic pattern, which is akind of an analog or a model of
the sound that you inject intothe water.
Now I should, you know, say thedifference between, explain the
difference between an instrumentlike this and what a lot of
(19:53):
people do at home with cymaticapparatus at home, because a lot
of people now are reallyexcited about cymatics, and for
good reason.
It is an amazing new science.
However, one of the aspects tothe cymoscope instrument that
makes it completely different towhat you might be able to do at
home, for example, is that allobjects in the universe have
(20:21):
resonant properties, basicallyresonant frequencies, a
frequency of sound at which theyare most resonant, and there's
no exception, any, any.
Every object does have these,you know, natural resonances,
natural resonant properties.
The same is true of the cymascope instrument and the same is
true of all the homeexperimenters who are working
(20:43):
with cymatics.
Right, the difference is thatwith this instrument, we have
identified, within themechanical systems of the
instrument, we have identifiedthose resonant frequencies, and
then we tune them outelectronically.
So now we have a kind ofvirtually a flat response to any
(21:06):
sound that we put in, that weinject in within the bandwidth
of that of that instrument.
Right, so now we get a reallyaccurate and replicable model of
a sound when we inject it intothe cymoscope.
So so, going on from there tothe second part of your question
(21:27):
, we have made some amazingdiscoveries with the cyberscope
instrument.
One of them, many years ago now,was with working with dolphins.
So a good friend of ours now inFlorida, jack Kasowitz, he and
(21:48):
his wife Donna, they work withdolphins a lot, and Jack had an
amazing idea.
He contacted me, told me aboutthis idea and said John, what
would happen if we injected adolphin sound?
What would happen if weinjected a dolphin sound?
Because dolphins make a lot ofsounds and a lot of marine
(22:14):
biologists have believed for along, long time that dolphins
communicate with sounds in akind of language of words, right
.
And so Jack had this idea.
He said if we inject a dolphinsound into the assignment scope,
what would we see?
I said I have absolutely noidea, jack, but he had this
amazing idea to submerge aseries of plastic objects under
(22:39):
the water and task the dolphinto use its echolocation beam
because dolphins can see withsound, right.
So to use its echolocation beam, which is ultrasound, high
frequency sound, to to literallylook at the object not with its
(23:00):
eyes but with its ultrasoundbeam.
Jack then had a hydrophone,which is a kind of underwater
microphone, placed somewherenear the objects, and so when
the sound from the dolphinreflected from the objects, the
hydrophone would pick up alittle bit of that sound.
(23:21):
Well, what then happened wasreally quite astonishing,
because Jack sent me just asemail attachments, right these
various sound files that he hadrecorded, and he didn't even
tell me what these sound fileswere.
He didn't tell me that this oneis a plastic cube, this one is
(23:43):
a plastic cross.
You know, it didn't tell me anyof that.
I just had to do it blind and Iput these, these wave files, as
they're called, into thecymoscope instrument, one by one
, and one by one I saw thoseobjects.
So I saw the plastic cube, Isaw the plastic cross, I saw the
(24:04):
ball, I saw the plastic duck,and so on these different
objects, right will, could becreated with the cymoscope
instrument, and so this was akind of major discovery really.
What came out of that?
Uh, we still there's still moreresearch to do in that area but
one of the exciting aspectsthat came out of it is this idea
(24:28):
that dolphins communicate witheach other, not in words, but in
pictures, and and they'resharing, literally sharing
pictorial information.
One of the reasons we thinkthis is the case, or why
dolphins would do this, isbecause a pod of dolphins have a
(24:51):
scout dolphin who circulatescircles the pod, basically kind
of looking out for any predators, like sharks for example, and
if a dolphin, if a pilot dolphin, sees a shark, for example, it
would take a photograph of it,literally with its sound, beam,
(25:13):
and beam that to all the otherdolphins in the pod.
So suddenly in the mind's eyeof the dolphins, shark, shark,
and then they obviously takeavoiding action.
They know what to do underthose kind of emergency
situations, right.
Speaker 1 (25:27):
Yeah.
Speaker 2 (25:28):
That's one of the scenarios that we've talked
about.
But what I would love to do inthe future, rachel, is to make
visible with the Simuscopeinstrument a conversation
between two dolphins, likeinterrupt their beams and
literally measure, record withthe you know, with the
(25:49):
hydrophone the conversation andthen see what it is they're
sharing with rain.
That would be so exciting,wouldn't it, you know anyways,
I'll give you one more example,because I literally all day on
this subject.
But one more exciting examplethat comes from the CymaScope
instrument concerns anexperiment that we conducted
(26:09):
here in 2018 with Professor SungChol Ji of Rutgers University,
very much relating to this newshift network course, which is
all about frequency medicine andhow sounds, and music in
(26:32):
particular, uh, catalyze thebody's healing, natural healing
response, and the experiment wasreally it was.
It came from an idea aboutabout pythagoras of samos and
how he had said he was a famousgreek philosopher who said that
(26:52):
music could be used in place ofmedicine, and, uh, I realized
that that that statement wasvery powerful but had never
really been adequately tested,and so the idea for this
experiment came out of simplyout of Pythagoras's quote, and I
designed this experiment usinghuman blood, and Professor G
(27:15):
came here to help me design theprotocol for running the
experiment, and then he stayedfor the first few experiments,
which I'm going to describe toyou now.
So, in essence, you simply takea test tube of whole human
blood and decant it into twosmaller test tubes.
One test tube goes in a veryquiet environment in the lab
(27:39):
here called a Faraday cage it'sreally quiet in there and also
electromagnetically screened.
And then the other little vialgoes in an incubator in the main
body of the lab here and thatin that case there's a little
speaker so we can play music tothat blood.
And so, in essence, we test.
(27:59):
We test the number of viablered blood cells before and after
, pre and post the music, inother other words, right.
And of course we've also gotthe control in the Faraday cage
to test, and the results were,right off the bat, amazing,
really amazing.
I mean, with all kinds of musicwe were seeing all genres of
(28:21):
music we were seeing greatimprovements in the viability of
the red blood cells.
This is the ratio of dead bloodcells to living blood cells.
So I need to explain that whenwe receive blood from the blood
bank which was only taken from adonor the day before, by the
way, so it's very fresh blood,right Blood can last up to four
(28:42):
weeks before it has to be thrownin a blood bank situation.
In this case, we literally getit the next day, so it's very
fresh, but even so, it willstill contain millions of red
blood cells that are dead,because that's how it is in your
body.
They're being that, they'redying all the time and they're
being mopped up all the time,right?
(29:03):
So always there will bemillions that are dead.
There'll also be millions thatare dead.
There'll also be millions thatare alive and well thank you
very much.
And there'll also be many moremillions that are classed as
medically old.
This means they're starting todie.
The outer membranes that arethat have that beautiful lozenge
shape, normally starts to breakup, loses integrity, and so
(29:26):
ultimately they would die in thebody and again they would be
mopped up by the body systems.
In this case, what we werefinding was that these old red
blood cells were being made newagain within 20 minutes of
immersion in the music, right?
So this is why the pre and thepost showed completely different
(29:47):
results.
Within about 15 to 18 percentrise in viability within 20
minutes of immersion in musicinstrument comes into.
The picture is as follows thatwe we try to figure out what.
(30:09):
What is the mechanism that'sdriving this?
Okay, we know where.
Maybe the music, maybe theblood likes the music, right,
you know that's.
That doesn't really tell youanything at all, it it?
We needed to know the mechanism, the biological mechanism, and
so we hypothesized about it andwe said that the results from
(30:30):
the classical music, when wetried classical music were not
as good as the results from thepopular music, and that was a
clue.
We thought classical musicwould have been, you know, a far
better result.
That's what we thought.
Speaker 1 (30:45):
Fascinating.
Speaker 2 (30:46):
It was counterintuitive, you know to
find that Anyway, so it would.
But that was a great cluebecause we then reasoned well,
the main difference betweenclassical music and popular
music is the bass beat Boom,boom, boom, boom.
Take me back to that pyramid Iwas telling you about earlier,
anyway, the bass beat.
(31:07):
So we thought, ah, so it couldbe the low frequencies in the
music that's actually drivingthis healing mechanism, repair
mechanism of the old red bloodcells instrument.
(31:28):
And we actually and the reasonfor that is because the speaker
in the in the incubator is has avery relatively poor bass
response because it's only asmall speaker, right, so you
need really big speakers if youwant a really good bass response
usually.
But as it happens, thecymoscope instrument has an
amazing frequency response.
It goes down to three hertz.
Amazing frequency response, itgoes down to three hertz.
(31:51):
So we put some blood directinto the cymoscope instrument
and then we we injected a verylow frequency tone, a pure tone,
into the blood and we saw abeautiful cymatic pattern right
on the surface of the blood.
That was not a surprise, rachel, because, as I was saying
earlier, when you have amembrane and you have sound, you
(32:11):
will always get a cymaticpattern and we light it from
above, and so this is how we getspecial lighting makes visible
the imprint of the sound on thiscase on blood.
So we saw this beautifulcymatic pattern from this low
frequency sound, and then weremoved the sound.
We just brought the fader downon the audio mixer and expected
(32:37):
the pattern to disappear.
Because that's what normallyhappens with cymatics.
Like I said earlier, if youinject a sound, within a blink
of an eye it creates all thisbeautiful order and a beautiful
pattern will emerge, but then,as soon as you remove the sound,
it goes back to Brownian motion, it goes back to just random.
You know there's no patternanymore, right, and that happens
(32:59):
usually instantly.
In this case, the patternremained fixed on the blood.
My God, yes, love this, lovethis.
This was so exciting and we'dnever seen anything like it.
I'd never seen it.
I'd been working in cymaticsfor many, many years, never seen
anything like it.
And so the reason this is a newmedical discovery, right,
(33:22):
absolutely.
And what it means is that whensound enters into blood,
particularly low frequency sound, it causes the oxygen that's
already dissolved in the bloodto bind to the hemoglobin
molecules in the red blood cellsand this causes them to go to
(33:43):
turn in their color from verydark maroon color, kind of very,
very dark red, to brightscarlet, right, just like that,
in a fraction of a second.
And so the fact that there's nosound you take the sound away
doesn't matter to the red bloodcells, because they've already
received their oxygen thank youvery much and they are going to
(34:07):
hold on to it.
They've got it and they'reholding on to it.
And don't forget, this is invitro in a test tube, so they
can't release that oxygen asthey would in the body in a vivo
environment.
They're constantly beingcharged with oxygen and then
releasing the oxygen to thetissues Can't do that in a test
tube, right, basically, as soonas they receive the oxygen, they
(34:30):
just hold on to it, right, andthey've got it.
And that turns the blood brightscarlet.
And there's this bright scarletcymatic pattern just sitting
there on the surface.
Oh my God.
So that was a kind of majormedical discovery.
And the way that it works inyour body, rachel, is that every
(34:51):
heartbeat, every time you havea heartbeat, that is a pulse of
low frequency sound and that isthe primary mechanism that
causes the oxygen to bind, youknow, rhythmically, every time
there's a heartbeat boom, boom,boom, it's causing the oxygen to
bind, to know rhythmically.
Every time there's a heartbeatboom, boom, boom, it's causing
the oxygen to bind to thehemoglobin.
And you know what would happenif your heart stopped.
(35:14):
Well, there's no sound anymore.
And if there's no sound thenyou would lose consciousness
within a second.
Perhaps you know, it doesn'ttake very long for your brain to
say no, thank you, I don't likethis, not having any oxygen.
And even though at that momentwhere your heart would stop,
your brain is still engorgedwith oxygen, the blood is still
(35:38):
got masses of oxygen in it, butit can't bind to the hemoglobin
because suddenly there's no moresound.
Right, right, the heart is notjust pumping the blood around
the body, which of course it isdoing, and it does many things,
actually many other things.
But in addition, one of theother primary mechanisms, as
we've discovered, is the sounditself actually causes the
(36:01):
binding of the hemoglobin.
And then, when you understandthat oxygen is the key healing
molecule in the body, you know,if you've got more oxygen in
your body, then you've got moreability to power all of the
healing mechanisms in your body.
So it's very, very important.
Speaker 1 (36:20):
Fascinating.
So you just brought up thecourse that you have upcoming at
the Shift Network, which isExplore the Secrets of Sonic
Sciences and Cymatics, so itteaches you how to connect with
the spirit world through sound.
What can participants expect togain from this experience?
Speaker 2 (36:35):
From the spirit world , did you say.
Speaker 1 (36:38):
Yes.
Speaker 2 (36:39):
Wow, I wasn't expecting that question.
One of the wonderfuldiscoveries that I've made over
the years have been what I callthe postulated four postulated
laws of cymatics.
And I go into these postulatedlaws.
I say they're postulatedbecause, of course, they have to
(37:01):
be proven by other scientists,you know, but I've worked me
through working with cymatics,and one of the laws in this case
that I'd like to describe rightnow that is very important from
(37:21):
a spirit point of view, is thesecond law of cymatics.
The second law of cymaticsconcerns the way that sound
enters our body, how it entersour body.
Now, you will know, obviously,that sound.
Well, I think you will knowthat sound looks like a wave,
(37:42):
but the reality of sound in air,its actual space form, is that
of a bubble.
So the sound that's coming outof my mouth now is literally a
bubble, and that bubble isoscillating in and out and of
(38:04):
course, it's expanding as wellat the speed of sound.
And those little oscillationswithin the bubble are literally
the energy information which, inthis case, is coming from the
vibrations of my vocal folds.
Right, but this, when soundenters into water, something
(38:25):
amazing happens that is notgenerally known, and this came
out of the second law ofcymatics.
And what happens is that thesound, the what's so-called
wavelengths of the sound, areautomatically compressed in a
ratio of 829 to 1.
And why that ratio is what itis is simply because in air, the
(38:52):
particles of air, you know allthe various gases, have little
atoms, and molecules in air makeup the gas of the air.
They have a certain distanceapart, right, but when, and that
causes a certain propagation,speed of sound in air,
(39:14):
propagation speed of sound inair.
But when sound enters intowater, for example, it suddenly
finds that the molecules of thewater are much, much closer
together.
Therefore, that increases thespeed of propagation, because
the, the energy can be passed onfrom molecule to molecule much
faster, more efficiently, let'ssay, than it can in air.
Right, but the discovery thatthat I made relates and this is
(39:36):
relating to the second law ofcymatics is that that ratio of
829 to 1 is at work, and thismeans that when sound
frequencies enter into our eyes,which is obviously, they're
containing a type of water.
It's very, it's, it's not muchdifferent to water, actually the
(39:58):
fluid in your eyes.
That water is a reallybeautiful medium for sound.
And so the sound, if you'remaking sound from any musical
instrument.
The sounds literally areentering into your eyes.
They go straight through theeyeball and then they meet the
(40:23):
retina, which is made mainly ofwater.
It's a form of liquid crystalthat's mainly water water, it's
a form of liquid crystal that'smainly water.
Those sounds then go throughinto the optic nerves, which are
also mainly water, liquidcrystal again and then through
to where the pineal gland is inthe brain.
And the pineal gland is also inits own little sack of water,
(40:48):
protective water.
So it's almost like you knowwater, water all the way through
.
So now you get the idea thatall the sounds that we're
creating with musicalinstruments whether that be a
gong or a Tibetan bowl, you know, or a harp or a tuning fork,
whatever it is all of thosesounds are penetrating through
(41:10):
our eyes and straight into thepineal gland.
Now, of course, other aspects ofthe body are receiving sound as
well, but I'm talking herespecifically about to answer
your question about theconnection with spirit, because
the pineal gland has been knownfor millennia to be a gland that
(41:30):
is connected with spirit orthat connects us with the divine
energies.
Basically, even the ancientEgyptians knew this, or how they
knew it is a bit of a mystery,but they did know it and it's
really pretty astonishing.
Anyway, the fact is that, fromthis second law of cymatics, we
(41:51):
now have a way of being able tooptimally stimulate our pineal
gland.
And how this works is you.
As I mentioned earlier, everyobject in the universe has a
natural frequency of vibration.
This is the frequency at whichit will most readily absorb
(42:11):
acoustic energy, say, in thiscase, and in the case of the
pioneer gland, it's just thesame.
So all you need to do is toknow the dimensions of the
pioneer gland in order to workbackwards from this 829 ratio.
Right, and then you will findthe frequency which is going to
be optimal for optimalstimulation of that gland.
(42:35):
And lo and behold, it is e3 ona piano which is roughly 165
Hertz.
Right, there's a few decimalsinvolved, but that's essentially
the frequency.
So when you make e3, howeveryou make it, whether you make it
on a piano or a harp, or youknow, gongs are a very rich
(42:55):
source of frequencies andthey've got thousands of
frequencies.
So you'll always be receivingE3, regardless of the fact that
you're going to be receiving alot of other frequencies as well
.
But the fact is, when youreceive E3, then you know that
you are stimulating your pinealgland and, of course, because
(43:16):
that is the gland that gives usconnection to spirit, then we're
going to obviously have anenhanced hopefully have an
enhanced spiritual connection.
Speaker 1 (43:26):
Thank you so much.
That's awesome.
I'm excited.
So I have one final questionfor you.
I did have 20 questions but weonly got through a couple.
But I'll have to have you comeback on.
But where do you see the futureof cymatics and sound healing
heading?
Do you think mainstreammedicine will embrace these
(43:47):
discoveries?
Speaker 2 (43:49):
Well, yes, I do, because it's actually already
happening, not in a major way,but it has started to happen.
I'm going to give you a coupleof examples here.
First of all, I think we shouldreally talk about the umbrella
term frequency medicine, becausethat's very much part of the
title of this course.
(44:10):
And frequency medicine, whatdoes it mean?
Well, it means basically a formof medicine in which energy is
being applied to the body, andthis energy can be sonic, it can
be sound, it can be music, butequally it can be light.
So light frequencies, you know,are still vibrations, but
they're not vibrations of soundnow, they're vibrations of
(44:33):
electromagnetism.
And so one of the examples I'mgoing to mention now is that
frequency medicine although theydon't use that term, but it's
already being used in hospitals,in hospitals and it's being
(44:55):
used in the dermatologydepartment, for example, where
if you go into hospital withsome form of skin condition you
know, given like eczema or youknow some other horrible skin
condition, they won't give you apharmacological pill, they
won't give you a substance youknow to imbibe.
They will give you lighttherapy.
They call it usually call itphototherapy or
photobiomodulation therapy, butstill it's essentially frequency
(45:19):
medicine.
So that's one you knowwonderful aspect of mainstream
that's already recognizing thefrequency medicine has its place
, has a very important place.
Another one, rachel, which Ireally love is this new clinical
term, music medicine.
(45:41):
So you've probably heard ofmusic therapy.
I think most people have comeacross the term music therapy in
their lives.
Music therapy really started inthe 1950s.
It really started to escalate,to burgeon into the world in the
1950s and onwards and it'sstill with us today and it's a
very popular form of therapy andessentially it's a form of
(46:05):
psychology as well as physicaltherapy.
So you got, so you've got thepatient with working with a
therapist and then, of course,the therapist is helping the
patient to choose the music,although it's very important for
the patient to actually wantthe particular music, whatever
it is.
You know that they have to loveit, really ideally.
(46:28):
But the therapist thenobviously gives them talk as
well, talk therapy, and this isvery important form of therapy
for pre and post-operativestages of a hospital stay.
However, of course, there cannever be enough music therapists
to go around.
There are millions of people inhospitals all over the world
(46:49):
right now, but only a handful,relative handful of music
therapists.
So the the good news is thatmainstream medicine has now
accepted that music has powerfultherapeutic facility even
without the therapist, evenwithout the intervention of the
(47:11):
therapist.
In other words, it hasphysiological benefit just
because of the frequencies inthe music itself.
That's one aspect of it.
But there's another aspect tomusic which I think is also
fairly well known now, which isthat when, if you experience
music that you particularly love, it actually has a wonderful
(47:34):
effect on one's dopamine levels.
So when dopamine is created,particularly in the brain, it's
also created in the body.
But when it's created in thebrain there's an immediate
correlation with white bloodcell proliferation.
So leukocytes in the body thenproliferate when you have a lot
(47:59):
of dopamine running in yourbloodstream, right?
So, in other words, whendopamine, by the way, has been
given this dubbed this title thehappy hormone.
Happy hormone, you are feelinghappy when you have an
experience where you're in joy.
Whatever that experience is andit can come from music, but
whatever it doesn't matter whatit is you will get more dopamine
(48:22):
in your body.
And when you have more dopamine, you will have an immune system
boost, yourocyte productionwill will rise significantly,
right?
So happiness and health arevery much, you know, in tandem.
They need to work together.
It's very important to be happy, in other words, if you want a
(48:43):
good immune system, and so, inthis case, the music medicine
was one of the many mechanisms.
If, if you're enjoying themusic, then you will have more
dopamine in your bloodstream andthen you will have more
leukocyte proliferation, soyou'll have a boost of your
immune system.
Right, there are many, manyother mechanisms that I talk
(49:05):
about in the course, rachel, butthat's one of them.
Speaker 1 (49:09):
Yeah, there's seven different modules.
This course does launch onApril 3rd.
It's's one of them.
Yeah, there's seven differentmodules.
This course does launch onApril 3rd.
It's on the Shift Network.
It's Explore the Secrets ofSonic Sciences, Antimatics,
Musical Medicine for RadiantHealing.
Also, there's bonuses.
Speaker 2 (49:25):
Oh yeah, there's bonuses.
I'm going to give you the URL,though, now, because there's
this beautiful the shift networkare wonderful for creating
really concise URLs, and they'vegot this, this URL, which is
frequencymedicinecoursecom.
I love that.
It's so simple.
I love that medicinecoursecomand that takes you straight to
(49:46):
the page.
You know where you can.
Speaker 1 (49:48):
I love that for the, for the course, and so yeah well
, I want to thank you, johnstewart reed, so much for coming
on the spiritual spotlightseries.
It truly has been amazing toconnect with you today.
Speaker 2 (50:00):
Thank you so much oh, it's been a great pleasure.
Rachel and I'd be happy to comeby anytime and we can carry on
the conversation.
I'm so excited, thank you.
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