AA-EVP member, Tina Laurent, lives in Wales. As a long-time EVP experimenter, she offers lectures on ghost and paranormal communication. Tina is a considerable authority in the subject.
On the EVP example of Tina’s that is offered here, you can hear Tina ask if the communicating entities “Pray to God.” She was using a French speaking radio program for background noise, and you can here the French words as they are remodulated to form recognizable English words. We believe the answer to her question from the entities was, “Of course I pray, the very idea.” Look for French words at the beginning of the answer, and then the words turn into recognizable, “Of Course I pray.” This is followed by more French words and then ends with, “The very idea.”
Please note that the original sound track has been selectively amplified and filtered. It is the filtering that causes a slight “tinkle” sound in the sound track.
by Tom Butler Copyrighted Material Previously published in the Spring 2012 ATransC NewsJournal, (Updated 12-12-2013)
Transcommunication via telephones has been around for years. In their groundbreaking 1995 book, Hello From Heaven, Bill and Judy Guggenheim (after-death.com) identified twelve of the more common types of After Death Communication (ADC). One was telephone calls, about which they wrote: “These ADCs may occur during sleep or when you are wide awake. You will hear a phone ringing, and if you answer it, your loved one will give you a short message. Two-way conversations are possible. His or her voice will usually be clear but may seem far away. If you are awake, you will probably not hear a disconnect sound or a dial tone when the call is completed.”
Please note that the ATransC has not received official permission to use it here, and is doing so with the hope that the owner will contacts the Association to provide background information.
Possible Cellphone Message from a Person Still in the Physical
Shortly after an appearance on the Montel Williams Show, the Butlers were contacted by one of the show’s staff, asking for an opinion about a cell phone message a viewer had submitted. They were told the woman was sleeping in one room and her husband, John, was sleeping in another. They were also told that he was snoring rather loudly.
The first part of the recording is a confusing sound similar to the sound of quickly turning a radio dial between a strong station and noise. During that sequence, a woman’s voice can be heard to
saying “speak,” something about “Johnny,” “John” and several unintelligible words, all intersticed with bursts of noise and short intervals of relative quiet. The last of these sounds are shown in part (1) of the waveform to the right.
“Johnny” raw file
“Johnny” part discussed below enhanced
As if the intelligence controlling the signal finally found the right frequency, there is a strong burst of noise (2) which tapers off to relative silence and a woman’s voice says “Johny” (3). This is followed by the same voice singing “Johny, I’ve got Johnny in my ear, in my ear, in my ear.” (4-8) After this you hear the telephone company announcement that the message is complete.
Even though we provided a detailed analysis of the recording, the Montel Williams staff did not respond to our questions and we do not know who made the recording. It is a very interesting example and we would like to know more about it. We are interested in receiving other examples.
Other examples have many of the same characteristics as the Montel Williams example, leading to the speculation that the study of these messages might shed light on a form of transcommunication that is not normally experienced with transform or opportunistic EVP.
As the Guggenheims described telephone call ADCs, the voice typically sounds “far away.” Other characteristics include:
The circuit often sounds hollow as if there is a little echo, but echo that is unstable as if blown by the wind.
There is often a “tuning in” or “breaking in” of the signal. As in wave shape (2) in the figure, this “tuning in” is heard as a gradual suppression of noise and momentary emergence of a coherent signal.
Both in the Montel Williams example and in the one sent by the website visitor, speakers often seem to be speaking near the limit of their vocal range as if trying to project their voice to be heard.
The message is not always personal or even meaningful to the receiver. As with the Montel Williams example, the message is more like the subconscious musing of a sleeping wife.
In the calls referred to in the article on Bobby (page 3) received by the Michael Hauser family, the calls came first on an answering machine and then showed up as coming from various family members’ cell phones without any physical record of them coming from those phones.
In other examples that we have received, there are no telltale telephone circuit sounds. The calling number may be shown but the calling telephone is turned off or broken, again leaving no evidence the call was made by that device.
These characteristics lead to the speculation about some form of discontinuity in time, much as Ken Webster described in his book, The Vertical Plane. In that book, he reported a spontaneous series of messages in 1984 from a person living in the past, and later, a person living in the future–all via his low-tech computer. *
Are some of the telephone calls evidence of a slip in time, rather than messages from people on the other side? If some of the messages are via slips in time or even slips in space, are trans-etheric messages (EVP and the telephone calls from loved ones) made possible by the same technology? Some EVP are clearly communications from transitioned loved ones, but some are also from people still in the physical.
This is one of the reasons we speculate in the Implicit Cosmology essay that our personality is always in the etheric–whether we are still in the physical or transitioned to the other side. If this is true, then all phenomena involving subtle energy are probably a trans-etheric influence. Considering this, then do all of the messages Alison is recording–slips in time and normal EVP– involve the same technology?
It is interesting to speculate about these phenomena, but there is considerable work that needs to be done before we can speculate with any authority. More telephone call examples need to be studied and it would be nice to receive more examples of messages that seem to be from the past or from time slips. On her part, Alison has agreed to work with scientists to better understand the nature of her communication but that would need funding and qualified scientists to carry out the work. And as always, what our members are interested in studying does not even come close to what mainstream science is interested in studying. The issue of money continues to be our biggest problem with research.
Let us know if you have other examples or ideas that might further our understanding of these phenomena. The website article will also ask for input and you can use that as a reference.
The following examples have been recorded by Sara Estep, the founder of AA-EVP (now the ATransC). She usually used an audio tape recorder and external sound source; however, she also has had great success recording in the field with little more than a simple hand-held cassette recorder.
Sarah asked, “Were you aware that I was on the porch last evening when I went out there?” Answer, “I found you there.” This is a singing voice.
As Sarah begins recording, someone said, “That is your girl.” This is taken from the reverse side of the tape–you can hear Sarah’s voice in reverse followed by a singing voice.
An entity said, “Death no more a casket.”
Sarah had been setting in her office reading the night before this recording was made. She noticed a black and silver object spinning about a foot off the floor, several feet from her. It was in view for about two seconds. The following morning, she asked what the object was. On the reverse side of the tape, a voice replied, “We’re down beside ya.” You can hear Sarah’s voice in reverse followed by a male voice.
Sarah has taped in many places that would be considered to have ghosts. This voice was recorded at Point Lookout, a haunted lighthouse in Maryland. It was used during the Civil War as a prison camp. “I was seeing the war.”
Please read before emailing us about this EVP: It is interesting that we have had several messages from visitors to this site that have wanted us to know that they hear the EVP we call, “I was seeing the war,” in other ways. For instance, “I was seeing the water” or “I will see you no more.” We can understand how these alternative interpretations are possible. Sarah was in a lighthouse that was used as a Civil War hospital, and it is natural for her to have been looking for a Civil War related interpretation. Someone listening to the EVP in a different setting could very easily hear the utterance in a different way. Sarah has given her permission for Universal to use this example with the interpretation that better supports the story in White Noise. We do not know who the person is to which Universal attributes the voice.
The Butler’s were on-site for a television program and standing in front of the video camera for an interview. On cue, the “I was seeing the war” example was played over a pair of very large studio speakers that were on the floor directly behind them. There was no doubt that there was a “ter” sound at the end of the utterance. This might be a good example of how EVP are not made like normal voice, and how they are listened to has a lot to do with how they are understood. See the online listening trials report for a discussion about this.
Sarah asked entities how they can locate her when she is sitting at her tape recorder. Answer, “I found the link.”
Sarah was apparently in contact with the great composer, Beethoven for many of her experiments. Here is one saying “Ludwig.” You first hear Sarah introducing the example. This is a Class C example and would not normally be exhibited except for its historical value.
In this example, you hear Sarah introduce the EVP and then the EVP: “You have the famous Beethoven.”It is repeated after about a half second of silence. Some of the noise has been removed in the repeat. This is a Class C example and would not normally be exhibited except for its historical value.
Sarah recorded an EVP stating that Beethoven would play music for her that evening. Even though there was a thunderstorm underway, she recorded and you will here the resulting music. You also hear Sarah speaking over the music at one point, and also the sound of thunder. Remember that she could not hear the EVP as she recorded it.
In late February, Brazilian ITC Researcher and long-time friend of Sarah Estep, Sonia Rinaldi, asked her contact in spirit, Mr. German, if it was possible to contact Sarah. [Mr. German helps Sonia by “arranging” to have specific people available for communication via EVP.] Sonia received about ten replies from Mr. German. First, just as she started to record, an EVP was received that shows he knew she wanted news on Sarah:
Mr. German: “Cê pergunta pela Sarah!” Translated: “You ask for Sarah.
Then he says that she rested after she left her physical body and is now recovered:
Mr. German: “Desperta do passagem!” Translation: “(she) waked up from the Transition.”
Sonia recorded many statements from Sarah and we have included five of the more understandable examples here. Her native language is Portuguese but she speaks English very well. Mr. German speaks to her in Portuguese with a German accent but Sarah spoke to her in English. Sonia uses a standard audio recorder approach with Portuguese-language crowdbabble for background sound.
The first example is one previously used on the Sarah Estep examples page. It is here to give you a sense of how distinctive her voice was while she
Phyllis Delduque is a Brazilian researcher who has been working with ITC since 1998. She works with both voices and images. She told us that ITC not only changes one’s ideas about the continuation of life but also transforms the consciousness of the individual. Her contacts from the other side share teachings as well as messages from friends and relatives who have already gone to the other side of life. Phyllis feels that the majority of what she receives through ITC is related to spiritual mediumship with the other factors being the equipment and methodology.
Martha Copeland’s daughter, Cathy, transitioned as a young woman. Martha had accidentally left Cathy’s dog, Dojo, in the house when she left to go shopping. She had also left her voice activated IC recorder on. No one was in the house except for the animals. Dojo tore up a potted plant and made a great mess. You can hear an EVP from Cathy as she scolds the dog saying, “Doja No.”
Martha was repeatedly recording the voice of a grumpy old man. She decided that it might be her grandfather. When she asked, “Can you tell me the grump’s name,” you hear the sarcastic response, “Tell her it’s Satan!” The “Tell her it’s Satan” portion has been amplified.
“Can you tell me the grump’s name”? … “Tell her it’s Satan!”
Linda has sent us a number of interesting sound tracks. Included here are three that you may find interesting. Linda began recording when she encountered a “negative entity” where she once worked. She purchased a Dictaphone to keep oral notes about this continuing encounter at her work place. As you might guess, she discovered unexpected sounds and voices mixed amongst her recorded thoughts. Thus, began her search to understand EVP.
We should note that Linda is Scottish. Thus, you will note that her EVP have a detectable Scottish accent.
The first track is a man saying, “I need a match.” The voice is thought to be that of the grandfather of a person who was present for the recording session. He was always running out of matches.
We have been so inspired by the amazing results of Diane and Alan Bennett, and their results from reflecting light off of crystals, that we had been wanting to also try experimenting in this way. Diana and Alan had been kind enough to provide a couple of diagrams of their experimental setups, and we now had a higher resolution camera, so set up an area in the ITC room to run a couple of crystal experiments. After arranging the camera, lights and crystal in a configuration we felt would work, we did our normal meditation and then took a few pictures. We actually recorded some interesting results on our first attempts. The fourth experiment brought several more faces along with this interesting three-dimensional face. We were very pleased with the open mouth, as the mouth is often obscured in many of our pictures.
Our next success with the crystal experiments was quite a surprise. We met with a small group every Sunday morning for an hour of meditation. After our meditation, one of the members, Mary Beth, handed Lisa a picture of her parents and ask us to keep a lookout for them in our experiments. Lisa asked her to write the names of her parents on the back of the picture and then put it on her desk when we returned home. That afternoon we did another meditation on our own and conducted a few EVP experiments to test various settings on the two recorders we would be using at a video session for a shoot with the Sci Fi channel. We also worked with reflecting light off a couple of different crystals. When we looked at the results, the image of a man was clearly seen on the very first picture. The resemblance between the ITC picture and Mary Beth’s dad was noted with surprise. It was like he had heard her and stopped by during our experiment to make sure she got an ITC picture of him.
Mary Beth felt that it was her father. We were so surprised with his answering her request so quickly that we wondered if he had been a powerful medium or something, but she explained that she had never known her father. He had left her mother before she was born. He had crossed over many years ago and they had never met. Mary Beth also told us that she had received a message from a medium at a Spiritualist church who had asked her who Franklin was (this was her father’s middle name). The medium told her that Franklin was saying that he was sorry that he had not been part of her life. We were honored that the picture was so meaningful to Mary Beth and we also felt that the positive result was also due to the wonderful positive energy of our meditation group.
We are pleased to be able to share with you some of our more recent work in the field of ITC imaging.
Since our Scole Group days, Diana and I have been continuing our work in trans-dimensional imaging. As some of you may know, this new work has taken us on quite a different path from those interesting experiments back in ‘96 – ‘97. In those days we relied entirely on ‘spirit’ communication for direction, now it is a combination of communication and (more recently) allowing our ‘higher minds’ to guide us.
We have felt for some time that the chances of getting good results are greatly improved if we offer as many variables as possible within the experimental framework. By this we mean, thinking of the experiments themselves as multi-dimensional and not just a singular attempt to get a singular result. We firmly believe that by supplying a randomized source of material for the ‘other side’ to use, we (and they) stand a far greater chance of suc
cess. Having found a working ‘formula’, we then attempt to get repeatable results until inspired to change direction.
Faces seem to be the most common results up to this time. From the many images we have, around 90% are faces, or parts of faces. Sometimes the images are very small, so we cannot overemphasize the importance of studying in detail when checking the results.
Our current experiments mainly take the form of a joint meditative session, where we raise our consciousness and focus together on our objective for that experiment. The equipment is pre-configured and ready to run, allowing us to focus on providing the best energy conditions. We usually have several ‘takes’ during a typical session, again leaving it to what feels right.
Refraction and Reflection
We have used mirrors in a variety of ways. For example, to reflect a light source back into the point of focus (where we capture the images), to give the subject depth. Have you ever looked through a simple microscope and seen how adjusting the mirror (light source) gives the object greater depth and makes it stand out against its background? This is similar to what the camera sees during our experiments.
Within our light experiments, we generate a vast spectrum of color and light intensities. Some of the light frequencies generated are of course beyond our own visible spectrum, so the resulting light contains much more information than we realize.
We may include a mirror between the source and the subject or even beyond the focal point, allowing the light to flood back onto the subject. Apart from ordinary mirrors, we have used convex and concave types to very good effect. We have also experimented with polished metallic disks such as brass (yellow) and copper (red), which have created some of the more striking images.
We are now experimenting with other cameras and video, trying to increase the clarity of the images. Without getting too technical, it is the resolution of the captured image that governs the quality. If you haven’t captured a particularly clear image to start with, enlarging it (often necessary) only makes it worse not better. We have found that most video cameras ‘off the shelf’ offer a far too low resolution for what we need. Having said that, they certainly have their place and do allow us to capture a ‘stream’ of frames all in one go. As a point of interest, we have captured at 25 frames per second but get better results at 10 fps. The reasoning behind this, again, is image (frame) quality. We also capture as a stream of individual bitmaps and not frames (more on this perhaps another time).
Another factor that governs resolution and image quality is transferring your images into your computer. This requires imaging software and a ‘Capture card’ to be installed. We have found that some of these capture devices can be insufficient in their capture capabilities, so it’s money well spent when buying the best you can.
Some of our best images have been obtained using ordinary photographic film. The results, whether transparencies or not, can be magnified many times without losing quality, allowing for a very fine image definition. This is due to fact we’re working with the ‘grain’ of a film and not ‘pixels’ as in digital photography. In an ideal world we need the best of both systems, and it is to this end that we are now working toward with new equipment.
Most of our members know about the Scole Experiments. The four members of the Scole Experimental Group (Sandra and Robin Foy and Diana and Alan Bennett) sat over a period of four years. The Spirit Team at Scole was prolific, using a new spirit-world technology that did not require the use of ectoplasm for the production of physical phenomena. Phenomena included solid spirit beings and fifty small objects received as apports. People, such as psychic researchers from the SPR, witnessed physical phenomena including pictures, handwriting, symbols and messages that appeared on factory-sealed unopened photographic film.
The phenomenal success of the group and their Spirit Team resulted in the book, The Scole Experiment, by Grant and Jane Solomon and 32 issues of The Spiritual ScientistBulletin, a quarterly magazine, which was temporarily retired with the Winter 2002 issue.
With the sadness of seeing the last publication of the Bulletin also came excitement. The Scole mediums Diana and Alan Bennett have been exploring their own particular interests in psychic phenomena and healing. They felt that they owed so much to those in the higher realms and knew in their hearts that they would continue to experiment in one way or another. Alan wrote, “I have always seen in my mind’s eye, a phoenix rising from the ashes with renewed vigor to live through another cycle. Diana has always had that wonderful gift of ‘far sight’ and receiving guidance in her dreams, so it was no surprise when she told me that she had ‘seen’ the two of us working together again. She was told how we should take the first step in the form of a shared experience. We followed her vision of a simple experiment using a crystal, where the two of us linked together mentally and shared a journey of exploration.
“This experience was incredible; as we were both shown such wonders and places. We were guided by a sentient being through a wonderful ‘magical mystery tour’ where we met another being whom we conversed with. Through several other forms of communication, we were shown how to set up an experiment that would, they explained, enable us to glimpse into other worlds (dimensions). We found that it was necessary to continue to follow our intuition, and to be ‘guided’ by them, if we were to achieve satisfactory results. It has required total dedication and perseverance as well as an open but still discerning mind.
“Before I continue, I would like to mention one very important factor, and that is that old chestnut ‘total darkness.’ We were ‘guided’ to do this new work in full light. After so much criticism in the past regarding physical phenomena obtained in total darkness, we decided that we would only continue to work as mediums in full light. This has proven not to be prohibitive in anyway whatsoever, as we have achieved very encouraging results.
“These experiments are primarily attempts to see into, and capture, visions of other dimensions of existence. To be more precise, these visions are more like frozen images or pictures, of different moments in time as we look into these dimensions.”
Since that first experiment, the Bennetts have conducted many more experiments, progressing and building on what they have learned. Alan told us, “It seems that the possibilities are endless, as we modify and introduce other equipment into the experiments. The experiments are based on the idea that there are dimensions not only beyond our own but within them also. By using a combination of electronic and photographic equipment coupled to image enhancement computer software (for magnification purposes only), we have been fortunate enough to obtain fleeting glimpses into these ‘other’ dimensions during our experimental sessions. The experiments also require focused visualization by the two of us to create a central focal point for the experiment.”
Diana writes, “The images pictured here were obtained with the use of an ordinary camera and a good lens (not digital). The process requires us to strategically place crystals, according to instructions given by spirit. (This varies with each experiment.) Light is focused over the crystal area, some through mirrors, colored filters and/or reflective surfaces. We intuitively know when it is the optimum time to take the picture. When the pictures are developed, they are digitized, enlarged and then examined using Photoshop. As you can see, the images and colors are fascinating. Sometimes, the images take up most of the frame sometimes only a small part.”
What excites Alan is that, “this new approach is only now possible with the advancement in electronics and the related computer technologies. Therefore, where will we be and what will we discover in the years ahead?”
We are very excited to be able to report on Diana and Alan’s work and thank them for sharing some of the results that they have achieved.
Visual ITC can be encountered in many different ways. The common denominator is the availability of chaotic light somewhere in the field of view of a camera. For instance, the video feedback loop is used as a chaotic light generator. As you will see below, light reflected from many different surfaces is also chaotic, and when closely examined in photographs, may support phenomenal images.
Please note that the examples shown here have been enhanced to make them more evident. In most instances, this form of ITC produces less well developed features than does the video feedback technique.
If you are tempted to discount the examples on this page as tricks of photograph editing software, we suggest that you try to collect a few examples for yourself. We would not dream of showing any enhanced examples if it were not for our confidence that you can easily prove the validity of what we are saying.
This example was collected by Arthur Soesman using what is sometimes referred to as the Arthur Soesman method. It is illustrated in the accompanying picture (right). In this technique, the bottle is partially filled with liquid and then agitated while a picture is taken of the surface of the water.
In the picture at the left, you can see the face of a man inside of the red square.
This picture was taken by James Jones. It is of a turned off television screen that has light from the room reflected from its surface. Turned off television screens provide excellent texture for visual ITC.
The small white arrow in the picture is pointing to a brighter area, which has been cropped and enlarged as you see in the two versions of the cropped area at the right.
As with the other examples, the picture here have obviously been greatly enhanced to emphasize the phenomenal feature. This enhancement consisted of selectively blurring the background, as you can see by comparing the two pictures at the right, and changing the intensity and contrast. None of the facial features were changed.
The Reverend Catherine Stewart of the Spiritualist Desert Church in Las Vegas, NV brought this interesting and phenomenal image to our attention. If you look closely at the wall just behind the organ in the church, you can see the outline of a face in the variations of the paint. As you can see below, it is a light blue wall and the image is also shades of light blue, so we have enhanced a photograph of the face and provided it below for clarity.
Look just to the left of the large round speaker, which is at the upper-right of the first picture. The face is in the middle (left to right) of the picture and about even with the center of the big speaker.
If you look closely at the woman, you can see evidence of a lapel and a slender neck. See also, the bottom picture.
There is evidence that the communicating entity is able to use any chaotic, well illuminated optical environment to produce their images. One person even found a decent face in well illuminated piece of sandpaper. (See the example here) This would be predicted by our working hypothesis.
The Rev. Catherine Stewart wrote, “We do see other faces… The one face is always there, but sometimes her face is full, sometimes thin, sometimes she appears to be wearing a garden hat. One Sunday as we were singing our closing hymn several of us heard from that corner, a beautiful choir singing along with us. Years ago I was given a message that we would have physical phenomena in the church that would draw many people to witness. That’s why I’ve been working with the trumpet; I thought that would be it—-maybe not. I do know that Spiritualism will reign.”
We understand that such images are believed by physical scientists to be the chance arrangement of random events, but you should know that this argument does not accept the existence of a nonphysical reality or personal survival. If you take those two most important aspects of our reality into account, then it is more likely that communicating entities seize the opportunity offered by physical noise to impress their likeness.
New Chapter for the “Face on the Wall.”
A recent ITC experiment conducted by Tom and Lisa Butler with their development group resulted in two images that look a lot like the woman whose face is shown above. The picture on the left most resembles the face on the wall, but the one on the right also has the narrow chin. If you look closely, you can see that they both have a hairline similar to the face on the wall. Again, both of these images were collected during the same ITC experiment.
We cannot make the claim that they are the same, but other than the obvious similarities in facial characteristics, when the image was collected is evidential. The church congregation conducted a meditation at the church just before it was closed for the summer. At that time, they asked the lady on the wall to appear to other people. That was on a Sunday and the ITC images were collected by a Spiritualist development group in Reno, NV the following Monday evening.
Of the many forms of paranormal photography, faces sometimes found in photographs of turned off television screens seems to be the most unusual. In spirit photography, the presence of an “extra” or apparition in the photographic frame is consistent with the concept that we who are still in the flesh are providing sufficient energy (perhaps ectoplasm) with which the entity can become visible to the sensitive film or digital circuitry. In Photographic ITC, faces and other features that can sometimes be found in the optical noise of photographs is consistent with principles thought to be involved in Video ITC and EVP. But the presence of a face on a television screen, as if it were a photograph cut out and glued to the screen to be photographed, does not agree with any of the hypotheses presented thus far.
By the way, we have seen enough examples of this form of phenomena to accept the validity of these examples.
Thus, we are beginning a collection of such pictures with the hope that a pattern will emerge that will either fit this form of nonphysical phenomena into existing hypotheses or suggest a new one. So please, if you have an example of the phenomena as shown here, send it to us along with permission to use it in our study and details of how the picture was taken.
This picture was taken in Las Vegas, Nevada and originally published in the October 1995 National Spiritualist Summit magazine. You can see a little boy taking his first steps. The picture was taken by the boy’s mother who is also the sister of the lady whose upper portion of her face is visible on the turned off television screen.
A confirming point to this is that it is reasonable for the deceased sister to “show up” for the boy’s first step. The face was not visible when the picture was taken.
Please Note: We have recently had a complaint that this picture must be a fake because the camera is aimed more at the TV than at the boy–odd for such an important event in the Boy’s life. We, as a matter of fact, are more interested in the face on the wall than the boy and have cropped the original picture, which was indeed, centered on the boy.
Also, it is an interesting characteristic of phenomenal faces in all forms, that the bottom of the face is frequently obscured in some way.
It is important that you do not let your natural suspicions keep you from the opportunity to learn about these phenomena.
We know that this picture has been used in a preview for the movie, White Noise. Universal received permission to do so.
Speech Synthesis can be tricky to work with, so please be sure to use a witness panel.
As the technology of EVP recording evolves, new techniques have brought new forms of the phenomenon. The most common and best understood is the technique using a recorder, microphone and supplied noise for voice formation. It is theorized that actual voice formation is accomplished by amplifying a small telekinetic signal in the active region of transistors via stochastic resonance acting on ambient noise energy. This is a hypothesis, but it answers most of the evidence. We refer to this form of EVP as “Transform EVP,” and most of the examples on this website are of this kind.
A currently popular technique for EVP collection is referred to as “radio-sweep.” This may be automated or manual, and depends on the live voice of broadcast radio as a sound source. Small fragments of sound are formed into a new sound stream by rapidly sweeping the radio dial. This form of EVP may be referred to as “opportunistic EVP” because it depends on the availability of sounds necessary to form the message just when they are needed at the moment each station is selected.
A second approach to opportunistic EVP is EVPmaker. This computer program loads an input sound file into a buffer, and then using a random process to determine which part of the buffer to use as the next fragment of the output sound stream, forms a new sound stream. Several “random” sources are available and the fragment length is determined by the operator. Assuming prerecorded voice is used, the output is a staccato sound that contains randomly arranged voice fragments. Meaningful messages are sometimes found in the output, and it is thought that the communicating entity is influencing the random process to access the buffer to select the needed sounds.
A great deal is known about transform EVP and false positive results are usually easily detected. Radio-sweep and EVPmaker pose the problem that normally occurring words and phrases in the live voice are easily mistaken as phenomenal message, and use of live voice makes these technology unlikely candidates for research. See Locating EVP Formation and Detecting False Positives for a discussion of this problem.
A new technique for voice formation involves speech synthesis, rather than live voice. For instance, Stefan Bion introduced a set of SpeekJetallophones on his website. These are fragments of sound used for the synthesis of speech for robotics. A few words may naturally occur when the allophones are used with EVPmaker, but in general, if a word is formed and it seems to be meaningful, then it is unlikely to be a natural product of the technology.
Real-Time Conversation Using EVPmaker and Allophones
Margaret Downey has recorded convincing examples of EVP using just about every technique she has tried. In the example provided here, she used the allophones with EVPmaker in an attempt to conduct a real-time conversation. The output of EVPmaker is a steady staccato string of pieces of voice. Margaret spoke over this, so that you can hear her voice and the EVPmaker output in the background. She then lowered her voice in the recording and removed the non-relevant EVPmaker output for clarity. Here is the script:
Margaret: Can you say A.B.C.?
EVP: A.B.C.D.E. (this is buried in the main sound)
Margaret: How about Tom Butler?
EVP: Tom Butler.
Margaret: Do you know the name of either of Tom Butler’s cats? EVP: (Sh)asta’s their cat. (the “Sh” sound is weak or missing)
“Shasta” is the name of one of the Butler’s cats.
Margaret: Do you have any pets? EVP: I have a pet.
Margaret: I heard you say I have a…? EVP: Pet.
Margaret: You have a what? EVP: Pet.
Margaret: What kind of pet do you have? EVP: An animal. (Ask a silly question, get a silly answer!)
Margaret: I understand you have a pet animal, but what is the species? EVP: A purple deer.
Margaret: OK, I could have sworn you said you have a purple deer. EVP: I told you, purple deer.
Margaret: OK, I’m gonna close for the evening. Can you tell me goodbye? EVP: I love you.
Margaret: I heard you say I love you. Love you too. EVP: Thank you.
Conversation With Arthur
It is important to note that it is common in in transform EVP to recognize the voice of the person thought to be speaking, sex and approximate age of the speaker. This added information helps people recognize loved ones, and a message from a loved one is often very therapeutic. The output sound stream of EVPmaker can be transformed into voice as in transform EVP, but it is more common for EVP made with current applications of speech synthesis to be a more robotic voice with little personality.
Another point that needs to be made is that, even though the voice is an emulation of live speech made by transforming noise into voice, transform EVP often includes the nuances of speech, such as plural and accents. Opportunistic EVP is more often an approximation based on available sounds that are close to what is needed. Thus, “I love you” might actually sound like “eh ove u.” In speech synthesis, the word can be more closely matched, but we do see novel spelling when the words are translated to text.
Real-Time Communication Using the Paranormal Puck and Allophones
A recent innovation in technology for EVP is the introduction of the Paranormal Puck by Digital Dowsing: Owner and developer is Bill Chappell. This device connects to a Windows computer via a USB port. It includes temperature and electromagnetic sensors and a SpeekJet microchip. In one mode, the output is an environmentally stimulated string of allophones.
Margaret Downey conducted sessions with the Puck by asking a question, and then turning on the puck for thirty seconds. She then turned off the puck and asked another question for repeated sessions. The result is the appearance of conversation, but be aware that this is a very new technology and it is difficult to know what is actually occurring. The impression is that questions are ask and correctly answered.
In this example, Margaret had the device turned on but had not decided whether or not she was going to conduct an experiment so she had said nothing.
Puck: Talk to him.
Margaret: In this I asked, “Please say my grandson or granddaughter’s name.” (Dylan Scott or Hazel Ann – both on the other side)
Margaret: This wasn’t the answer I expected, but I like it, “Who are the babies with?” At 16 seconds, I heard, “Margaret” followed by “Dylan” at 23.5 seconds phoneme: ovrat (for Margaret) oops, forgot to note what it was for Dylan. Timing altered.
Puck: Margaret, Dylan
Margaret: The previous three questions where answered the first time I asked. This was the third time in a row I had asked this question (and would have been my last attempt before moving onto the next question.)
It is important to remember that the technology being used in these examples should not normally produce recognizable speech. Yes, there is the probability of an occasional string of sound bits producing a recognizable word. A good comparison is that a thousand typing monkeys will eventually produce something meaningful; however, what is the likelihood of the monkeys producing something meaningful that is also a correct answer to a question just asked?
We were invited to help Universal Pictures to help them market the movie, White Noise. For the DVD release party that was held in the famous and haunted Hollywood Roosevelt Hotel,we were asked to record for EVP in the hotel and play the resulting examples on camera. During that process, Lisa recorded, “John Belushi” in the Lombard-Gable Penthouse. We later learned that Belushi lived in the hotel when he first moved to LA, and that he learned to love the old hotel.
We are often asked about the dangers involved in opening communication with the other side. All and all, recording for EVP is safe, but sometimes it is in the eyes or ears of the perceiver. In this case, we recorded the EVP, “Prepare to die,” when we asked, “Do you not want people here?” The words are spoken by what sounds like a southern gentleman about to engage his opponent in a duel, and we feel that the utterance being so dramatic, is more a humorous response than something that should be taken as threatening. This was recorded in the Levi House in Reno, Nevada.
In an investigation of the Cal-Neva Resort at Lake Tahoe for the Dead Famous television series, we were able to record in the theater built by Frank Sinatra while he owned the casino. Several mediums had reported a threatening personality lurking at the back of the stage area. In that same area, we recorded, “We keep looking for peace.” Our sense is that it was spoken by one of the body guards who protected some of the famous personalities who visited there.
On the Nevada Side of Lake Tahoe is the Thunderbird Lodge built by George Whittell. We have participated in a couple of media events there that included opportunities to record for EVP. In this example, you will hear the voice of a woman say, “Hidden morphine.” We later learned that Whittell was addicted to morphine and his lady friend was a nurse who gave him morphine shots.
One of the bonus features on the White Noise DVD includes us recording in the haunted, Hollymont Castle in Beechwood Canyon, near Los Angeles, California. Lisa recorded “Betty’s in there” as we approached a bedroom. The Bedroom is at the top of the same stairs near which an orb was seen in the DVD bonus feature at about three minutes. As you can see in the picture below the white arrow is pointing at the black, fussy puff. It is shown a little clearer in the inset. The orb was rapidly moving and was only in a few frames.
When we visited Alcatraz, we recorded for EVP at a place from which San Francisco can be seen through a barred window. The city is beautiful and seemed very close. We knew it must have been a terrible torture for the inmates to see freedom so close, yet so far away. Lisa said as much while recording, and captured this voice saying, “Think Positively … instantly away.”
We had expected to encounter angry and confused personalities, but instead, recorded many positive remarks. We even recorded several voices saying “Paolo Presi,” an Italian ITC researcher we sometimes work with. This is followed by other voices saying, “Alexander MacRae.”
An example of an EVP being appropriate to a circumstance is an EVP recorded by Lisa Butler. The Butlers were asking a woman about the upstairs lighting and sound room for the Frank Sinatra Theater at the Cal-Neva Casino at Lake Tahoe, CA. They had heard that the heavy door to the room often shut for no apparent reason, scaring the crews setting up lights and sound systems for shows. The woman told them that she would never ever go up there. Lisa’s recorder was on while she thanked the woman for her assistance. On the recording, Lisa can be heard saying, “Thank you very much.” Underneath her voice, is a clearly heard paranormal voice saying, “Please don’t come.”However politely said, it seems obvious someone did not want to be disturbed.Audio Player
Carol Barron-Karajohn, wrote “ This is my favorite Class ‘A’ EVP Message, largely because I knew the fellow who had just crossed over and it sounds just like him! I have an audio cassette of his voice while living and it’s the same voice.” The enthusiastic voice states “I’m Alive!”
This one of Carol’s can be heard to say, “Hello Mother.”
by Tom and Lisa Butler Pictures from the Winter 2003
Collecting photographic quality Video ITC features is turning out to be an elusive goal. We do not know if the techniques we are using will ever provide such quality, but we are certain that we can improve on the quality of what has been collected. It is also clear that our transpartners are also seeking to improve the images. In the following set of features, you will see that there is evidence of movement in consecutive frames and the possibility of larger scenes and groups of people.
These examples have been collected with the camera standing about three feet from the television screen. In some instances, the camera is also placed at about a forty degree angle from the centerline of the screen. The resulting features tend to be larger but they also tend to be less sharp in focus and contrast. The result is more a suggestion of something recognizable than a clear cut image. If you take time to carefully examine the examples, you will see that these represent an important evolution in our work.
Woman from just below her knees, up. She is facing, possibly walking, to the right. We believe you can see her arms holding a basket or gourd. She is wearing some kind of a hat. It also appears that there are trees and blue sky behind her.
Calf. As with the dog, the area of bright white is the forehead and the nose is below the white area. You can make out a little of the animal’s back in the lower-right area.
Apparently a man (profile) whose head is in the middle-left portion of the frame. He appears to be looking to your right. It seems that he has something in his left hand. The area of dark extending to the right, just under the head, may be the person’s right shoulders and arm.
Dog. Look at the spot of bright white. That is the dog’s forehead. Follow the area of gray to the right and down to find the dog’s nose.
This dog showed up on consecutive video frames. In this one, the dog is facing you. It has upright ears. Some of the body may be showing.
Now the dog is closer to you. All you can see is from the nose up.
This appears to be a group of people. Only the man in the center (facing to your left) is evidently a person. The others are little more than a hint that something might be there. But collectively, the frame suggests that this is a group of people. For instance, there is a rather well formed man at the bottom and to the left of center.
by Tom and Lisa Butler Pictures from the Summer 2002 AA-EVP Newsletter
We have continued to receive interesting results from both our ITC and EVP experiments in the past three months. We were preparing to do a presentation at the International Spiritualist Federation Congress in Toronto, Canada and asked to receive some EVP messages that would be of interest to this group and that would be clear and loud enough to play for the members. Immediately after we said this, a loud Class A voice said, “Spirit is helping.” We asked what our friends thought about mediums and they replied loudly, “Hear us through them.” We asked them what they thought about the Spiritualist belief in life after death. Again they came through loud and clear with the message “In the end has tendency to help you.” We laughed at this message but they certainly made their point. Our friends on the other side never fail to be there to help us, and when we ask for EVP messages for presentations, they have always come through.
Other EVP messages have been very interesting. On one experiment we asked if a channel to them was open. A voice came back saying, “Test, open the channel.” Another loud message that did not make sense came immediately after. We reversed it and it said, “This is now coded.” Other messages have told us that we, “Now have the computers.”
We have of course asked who is sending and helping us with the ITC pictures. Various names and transmitting stations have been noted. We would like to get more verification before mentioning these. However, one message said they were transmitting through the “AndersonSwitch,” a station that we have not heard referred to by other researchers.
Some of the interesting things that we have found in regards to the ITC pictures are that there are EVP on the audio track of the video. We had read not to bother with listening to these audio tracks, as there was never any EVP on them. This is not the case, but so far these have not come in as clearly as through an EVP experiment with our usual equipment. Two such messages, on the audio track of the video, mentioned dates. These dates had passed by the time we decided to see if there was EVP on the video.
We have set the video camera at various distances from the TV screen. We have defocused the camera past and in front of the TV screen. We have set up inches from the screen and several feet away. In every experiment ITC features have come through.
Our transpartners were providing help to meet criticisms before we even knew that they would come. We are finding the features at all four rotations of the video frames. In other words, we rotate a frame 90, 180 or 270 degrees and find faces. We have faced the criticism that we are doing nothing more than picking up TV transmissions even though the TV is not hooked up to an antenna or cable. We do not believe that TV transmissions are sent sideways or upside down.
It seems like they do things in series. One experiment resulted in many images of people and their pets. For instance, a woman sitting with her dog and another of a man who is proudly holding his dog in his arms. Other experiments seem to have a series of frames with certain nationalities of peoples. One feature that we were very excited about was of a lady sitting at a table. A perfect long stemmed rose is on the table.
The bridge is getting stronger. We know this from the results that we are getting and we feel blessed with the results we have gotten in a mere seven months.
The pictures in order: man’s head; woman’s face; Einstein (?); young woman’s face; clown; man in armor; and, man holding dog.
We have captured the following images using the Klaus Schreiber method for video Instrumental TransCommunication (ITC). We use a Canon 8mm ES2000 analog camcorder that is (most often) set about six inches from a Sony KV20TS32, 20 inch Trinitron color TV. The camera was usually focused well past the screen surface and the composite video out of the camera was connected to the video input of the TV so that the camera was “seeing” its output on the television screen in a video loop. The camera was (usually) zoomed so that about five inches of the screen was revealed to the camera. The television was not connected to cable or antenna and was switched to VIDEO IN. A taping session was typically 30 seconds.
The resulting video clip was loaded into a personal computer and Pinnacle Systems Studio DC10 Plus was used for capture and review. The video was examined frame by frame and interesting frames were “grabbed” as individual pictures. Because the camera was focused on an area of the screen that had considerable optical texture, the resulting frames tended to be dark. The video was also strobing from light too dark. While this seems to have provided ITC, it has also frustrated attempts to display the images with the usual methods of printing newsletters using black and white, laser type 600 dpi printers. Unless otherwise noted, the frames were further processed using an early version of Adobe PhotoDeluxe Business Edition.
Even as pictures on the computer screen, these images are often difficult to make out as anything more than optical noise, so we ask that you look very closely at any pattern you might first notice in the image. The offered text will help explain what you are looking for.
Except for a possible few exceptions, we do not know who or what these people shown here are. It is clear that people of many time periods, and possible worlds, are represented. We know how we collected these images, but we do not know how they are formed in the video or why. Perhaps the most we can gather from these images is that there is a phenomenon, the phenomenon is indicative of an intelligent manipulation of video noise and the represented entities exist outside of our known reality. We take from this a certain sense of friendliness and assurance that there is more to reality than meets the eye. From this, we think we have reason to believe that there will come a time in which we will also be finding a way to imprint our likeness on a video system. We think that when we do, it will be to tell the person in the flesh that we survive and that we are part of a larger reality.
We have developed something of a specialized vocabulary to describe these images:
Frame = One frame of a video clip. There are some 15 frames per second in the video clips we generate with our camera.
Image = A portion of a frame.
Feature = A recognizable cluster of noise such as a face that is found in a frame and that is displayed in a frame or an image.
Major Feature = A feature that dominates a frame. These are often suggestive of human or other forms, but are not usually well defined.
Inserted Feature (Insert) = A feature that is better defined than other features in the frame. These often look like human or other recognizable forms.
Holographic Feature (fractal) = A feature that is suggestive of human or other forms but that is not as well defined as an insert and that is accompanied by numerous other face fractals.
This is a frame grabbed from our first ITC session. Click here for a more complete discussion of this and its associated images. This is an example of a frame that has a major feature with an inserted feature and numerous fractal images. The insert-like feature of Image 4 (below) has been outlined in Image 3 has.
Using editing software that came with Erland Babcock’s Toshiba PDR-M70 digital camera, the insert feature outlined in Image 3 was clipped and enhanced. You can see that the color has changed considerably; however, as things often are with EVP and ITC, the resulting color shift appears to provide a likely rendition for the man. You should be able to see a man from the chest up, wearing a black hat and a full beard.
There are two points that we would like you to note in this and other examples shown on this page: hats are a common feature; the detail of the hat’s curves; and, that the inserted image does, indeed look like an inserted image with much greater detail than the surrounding video noise.
This feature appears to be a standing man wearing light-colored pants and a black blazer. He has a handlebar mustache and apparently short-cut or slicked-back hair. You can see that he is holding something in his right hand. It is hard to see in this version of the image (different photo editing software tends to highlight different features of these images), but the man has his left hand near his throat as if he has something slung over his shoulder. The picture at the right is of the famous medium Douglas Home. We believe this ITC example may be Douglas Home; however, there is of course, no way of being certain and we do not make the claim here.
If you look just under the white beard of the man in Image 4 above, you will see a pink to orange field of color. You cannot see it in Image 1, but if you turn Image 1, 90 degrees to the left, and focus on that pink/orange field of color, you will see that the man in Image 2 is just under the white beard of Image 4. You are welcome to download Image 1 and see for yourself. This is another example of how video ITC can show up by rotating an original frame. This may compare with the fact that some EVP are found by listening to a sound track in the reverse.
The frame to the far left is the original of this series. The second frame is the first, but enhanced to better show the detail. If you look closely, you will see a major feature that looks a little like the left side of a man’s face. The nose would be just to the right of the red dot, which is the reflection of the “Record” light of the video camera. However, we do not claim that this is a very convincing image. What we want to show you is what you see when the frame is rotated 180 degrees. This is shown in the third image of this series.
The lower lob of the “chin” in the above frames is cropped and enhanced to the left. You will see a bald head, two large eyes and an apparently determined look on a face–human or otherwise.
This brings us to another rather interesting aspect of the ITC images we are collecting. As is shown below in Image 7 (below), we are collecting a large number of faces that seem to belong to extraterrestrials. You must be the judge of this.
Look closely. This looks like an extraterrestrials who is standing in front of a round window. Again, this image has been enhanced to make it clear. The original frame was nearly all black.
Of course, we do not know who or what this image represents. However, if you are familiar with the Irish legion of Little people and the popular New Age concepts of nature spirits, you will see that this man is very reminiscent of an elf. We see a little man mostly cloaked by green foliage. he seems to have something of a beard and mustache and is definitely wearing a domed hat with a dark brown band. We collected several such images in this ITC session conducted just before Saint Patrick’s Day. The image below was also in this session.
This is another ‘Elfish” feature. We will not further address the question of the Little People here, but we would like to point out a most fascinating aspect of the features we are collecting. The feature at the left appears to be that of a man who is looking to your right. He is wearing a tall hat and has a rather elongated chin. You can see his right eye rather well and most of his left. Focus your eyes until you can see this.
Now refocus you eyes so that you can see a man looking straight at you. Most of his face is illuminated by the spot of light at the center of the image. He is wearing the same hat. The left eye of this second man is the same as the right eye of the first.
Now take a good look at the man’s (men’s) hat. Do you see the face feature there?
This is typical of the way face features are appearing in our ITC sessions. This is an example of an inserted feature being composed of numerous holographic or fractal features. As is shown below, we are finding face features in just about every possible arrangement of optical noise.
This feature was found by rotating a frame to the left 90 degrees and represents only three or four percent of the original frame. It appears to us to be a person, possibly a woman, wearing a breastplate and some kind of headdress. Obviously we cannot know for certain, but we tend to think of this person as a shaman or one of the “Little People.”
If you look closely at the light area that defines the left side of the headdress, and elsewhere in the image, you can see the suggestion of holographic features.
Here are two examples of holographic feature. You should be able to see at least four faces in the first image. The features are not well developed but they are obviously features that look like faces. The frame has been rotated 90 degrees to the left. It is common for us to find bands of light and dark video noise which is a product of the video feedback loop. It is also common for us to find rows of faces in these bands of lighter noise.
The second image shows two faces that look as if they can be twins. Sometimes, we will find a row of faces that all look alike and sometimes they will be different from one another. The problem with the second image is that it could, indeed, be twins and not a holographic feature at all.
As we said earlier, we are collecting quite a number of people wearing hats. As with this feature, most are not particularly clear. This is offered here as a typical example. You should see a person (probably a man) looking just to your left. He has a black hat.
This is a sample collection of some of the faces we are collecting. The face in the second image has several holographic features, as well. It is interesting to note that the fifth face (across) seems very familiar to us. Please contact us if you think you recognize anyone in these examples.