The sound analysis indicated it was coming from some kind of electro-magnetic generator.
In the preliminary investigation report which Wendelle Stevens published, he listed the findings from the sound analysis of the beam ship sound which had been recorded by Meier. The analysis indicated that this sound is coming from some kind of electro-magnetic generator. Which would make sense as the craft could be using this for propulsion or for a defence field.
This theory also agrees with the extra-terrestrials statement concerning use of a light-emitting drive, since light itself is electro-magnetic energy. The extra-visual analysis of light energies in the photographs reportedly detected by light distortions surrounding the craft apparently supports this possibility.
Again, a magnetic generator may be causing these distortions. The basic relations exist for supporting the case, Stevens here concluded.
As mentioned, another unusual aspect was the intensity of sound level emitted by the craft, where on one occasion the sound was recorded, people from as far as 4 kilometres away came their location to find out what was happening.
Hans Schutzbach, one of the witnesses who were present with Meier on one occasion when the sound was recorded, told Wendelle Stevens that two days later they took the recorder back to the place and there played back the tape recording at full power.
This time the tone seemed to come from the ground, and was rather weak in power, and certainly came from the speaker. It was so weak they had to come more than half way closer to the recorder to hear the tone with the same loudness as on Good Friday, the day Semjase carried out the sound demonstration. Hans Schutzbach also told Stevens he looked for evidence of loudspeakers hung from trees or suspended from a balloon to produce this effect and could find none.
The sound, which might be best described as a sort of metallic sounding humming whine with a whirring swish and a variable beat, can only be heard if the ship is not screened, as in this special case. Another interesting thing to note in this event is that only a small channel toward the ground was opened and the ship was not visible from the sides.
The ship can be made visible or invisible by sectors. On this occasion, Meier, from his position directly under the ship could see it and he estimated its height to more than 50 meters (164 ft.). Hans Scutzbach and the others could not see it when they looked up, only Meier could, as they were outside of the visibility corridor. Same as what happened when Edith Beldi and Freddy Kropf photographed the Pleiadian crafts. Also then, only a tiny visibility corridor was opened up towards the craft, so that photographs could be taken.
What Wendelle Stevens wrote about the sound analysis
Wendelle Stevens report about the analysis of the sound recording contains many important details.
This is what he wrote in the preliminary investigation report.
Quote from the book UFO… CONTACT FROM THE PLEIADES A PRELIMINARY INVESTIGATION REPORT (1978/1982) by Wendelle C. Stevens page 428 to page 450
Wendelle Stevens:
“SOUND ANALYSIS
The fact that the witness in this rare case has also recorded the sounds of the spacecraft in flight offers another exceptional opportunity for analysis. And we will resort to computer science to give us our best assessment here too. We pick out the various tones and all of their parts and isolate them for study. From them we can determine the frequency and amplitude of the sound waves, and many of the characteristics of the emitter or emitters. We can even tell a little about how the sound is produced and what kind of sound it is.
We will then program the computer to look for doppler variations on the basic tones and convert the rate of change to rate of motion. Now we will be able to tell how fast the object was moving with respect to the sound recorder and by adding time we can also get changes in distance, which we can then check against the witness’s original statements about the contact.
After removing scratch and extraneous noise on the tape, the computer showed the sound recorded to be composed of a mix of 32 very narrow frequencies, 24 in the audible range and another 8 out of the range of the human ear all perfectly band-locked together.
These frequencies showed a regular spacing on a curved plot of an ever ascending scale and all 32 of them were continuously emitted by separate emitters. Doppler shift, if any, was so small that it was effectively obscured by a regular fluctuation in amplitude on all of the frequencies.
Changing amplitude produces an effect similar to doppler shift and when the rate of change is small enough it is difficult to distinguish. This bears out the witnesses testimony that the ship was hovering or moving slowly in his near vicinity. The “beat” heard is an effect produced by the fluctuating amplitude.
According to the witness, a dog heard barking throughout most of the recording, was pushing his head in the grass and trying to put his paws over his ears. The dog, about 300 feet away, may have been reacting to some of the frequencies to which he may have been particularly sensitive.
It is estimated that to duplicate this sound one would need a minimum of 8 very expensive synthesizers and highly sophisticated mixing equipment costing no less than $100,000.00 on todays market. There is no way they would be perfectly band-locked together.
As with the photo analysis, in examining the sounds of the Pleiadian spacecraft recorded in Switzerland by Eduard Meier, we ended up resorting to innovative techniques.
A Micro programmer working late at night (02:00) was sitting at the computer designing soft-ware systems for electronic funds transfer procedures when all of a sudden he began typing instructions for making the digital synthesizer circuits, and in 20 minutes he typed out all the Fourier transforms and everything for converting sound to digital logic. Four months later he built a prototype at his home where Jim Dilettoso ran into him and explained how to convert the digital Fourier transforms into analog signals for music.
This was previously considered impossible, that one can not digitally process sound because digital electronics have no analog signal going on inside. There was no output transformer to convert digital clicks into some kind of audio signal.
Dilettoso helped him build a digital to analog converter which was used to feed the data into an analog oscillator which then produced the sound. Mr. Chowning at Stanford University, who had been working on something similar for 10 years, said “We can do it but we can’t do it in real time”. He thought that maybe in 10 hours of programming it might be possible to set up Bethoven’s Sonata. But the new hook-up gave results in real time. One could sit down and play the buttons like a keyboard.
Discussions then turned to synthesizers and how they could be used to generate VERY FINE transduced waves in nanohertz (billionths of a frequency) that would do very specific things. What if a signal for a theta wave, an emotional mandala transfer is 6.02975841 Hz? How would one get that precise? Well, all we do is punch the necessary buttons and plug the output into the newly invented sound-spheres which reproduce the sounds perfectly, including sub-sonics, and transduce it out there.
So when Dilettoso first came into contact with the sounds of the spacecraft recorded by Eduard Meier he took them into the laboratory working on these problems and asked them to tell him what these sounds were.
They proceeded to make some tests on the sounds in the audible range, from 20 Hz, deep base, to 20,000 Hz, high limits of human audio hearing. They found a harmonic formula in there. In that recording all the frequencies are present at the same time. By extending the formula they could conjecture the frequencies that are out of the human hearing range, above and below, by just plotting a graph. They found that there are 32 frequencies present simultaneously, 24 in the audible range and 8 out.
What appears to be a sweeping sound is not a band with sweep – still remain present but their relative amplitude decreases as well as volumn. This could be further analysed with a digital frequency counter if one had been available.
Now in order to come up with a formula for production of a sound like this recording, because some of the frequencies are very odd-ball, the person would have to have a very sophisticated electronics music laboratory. They couldn’t do it with just a collection of synthesizers. This is why it would be very difficult to produce this sound artificially.
First of all, the most advanced synthesizers on the market only have 4 oscillators, which means that he would need at least 8 synthesizers. The synthesizers do not go into sub-audible ranges. We can only detect these ranges by using sound spheres to transduce the sound, and the tape has harmonics between the 24 audible frequencies which are overtones. Let’s say that a 10 Hz signal will have overtones of 20, 40 and 80. But if we do not have an 80 cycle signal in the audible range, yet we detect a trace of it, that tells us that it is a natural harmonic of a lower frequency.
So that is why we can say that we believe that there are sub-harmonics, -sub-audible frequencies, being generated. It is because we pick up their overtones and that is what we base our belief upon. This means that there are 32 sound sources that are producing pure sine waves, which makes them accessible to human technology – that is pure rings. Sound waves propagate like ripples in water.
We could not measure doppler shift accurately because, as a frequency would go out of range where we should be hearing doppler, which is a wave length shift, it was obscured by the amplitude change and the different harmonics reaching it at different times.
If the amplitude of various harmonics is changing in a relative complement to the distance it is moving away there would be no apparent doppler effect. The ascending and descending strength of the amplitude obscured the frequency changes.
From the above we can tell that there are 32 fixed wavelengths, very pure tones of narrow width and equal spacing being generated simultaneously. And in a formula of time the amplitude of some of the frequencies increases as the amplitude of others decreases. There is some relationship between the frequencies and the time or rate-of-change. The amplitude increases by about 50 decibels and then decreases by about 40, producing the beat heard in the audible sound.
Where the aircraft sound and the spacecraft sound are heard together it was possible to determine that they were in fact recorded simultaneously. There was no evidence of sound-on-sound dubbing. All frequencies were very pure and were very stable, and were regularly spaced along the frequency scale.
The Pleiadian spacecraft sound recorded in Switzerland by Mr. Eduard Meier were also turned over to Mr. Robin. L. Shellman, a highly trained sound technician working on very sophisticated sound technician working on very sophisticated sound programs that cannot be discussed here, who performed a mechanical sound analysis intended to reveal the nature of the sounds recorded as compared to the scientific analysis of the wave length and amplitude and all the characteristics of the wave, the emitters, and the power behind the sound production.
Shellman performed his audio analysis on 20 April 1980 using a spectrum analizer built by Spectro Dynamics of San Diegeo, California. This processor has a demodulation mode and it also has an analysis range window from 10 Hertz to 20 Kilohertz, and a translator mode so one can select the center frequency with a given window.
Demodulation indicated a rotating device at approximately 249.6 rpm by a modulation rate of 4.16 Hertz. The tape was slowed to 1/4th speed and a weaker audible beat was detected at 4 times this rate or 9098.4 rpm. This weaker beat may be caused by a rotating device passing by four individual electrical or magnetic fields. The same result could be expected by four vanes or protrusions on a rotating device as it was rotated in the air, much like the beat heard from the blades of an electric fan.
A brief spectrum analysis from zero to 5 Kilohertz, using a time versus frequency display, indicated a a variable high speed device rotating from 29,500 rpm to as high as 59,400 rpm, and was only evident when the slower beat was heard.
Both sounds seemed to be directly related however the slower one did not change its rate throughout the recorded sample. The high speed device would start from a fundamental frequency of 520 hertz and ascend in steps to 990 hertz and then using the same frequency steps descend back down to 520 Hertz.
The frequency steps were a little rough because the bandwidth of the tonals at times seemed to blend together. The group of tonals surrounding 520 Hertz would fade out together at 520 and reappear at 600 and fade out together again until 720 and fading again but coming back very strong at 990 Hertz. It did exactly the same thing as it shifted back down the band, using the same Hertz threshold. It would remain stable for a short period of time and then the shift would begin all over again.
At one point in the sound cut the spacecraft was evidently motionless as it emitted a low throbbing beat, and then the high speed rotating device came on and the sound rose rapidly to a high pitch whining crescendo in the upper 50,000 rpm or better realm. At the same time the slower 249.6 rpm device again became audible. The whine was produced by the high speed device coming in at around 29,000 rpm and speeding up to above 59,000 rpm.
Perhaps the rotating device is suspended in a magnetic field and has no bearing friction at all! This certainly is no sound that could be produced by any conventional machinery known to Earth technology.
Shellman took the sound recording to another laboratory, the Naval Undersea Sound Center at Groton, where he was joined by two other researchers, Mr. Stevens Williams and Mr. Howard Ilson, both from NUSC, who also helped in obtaining pictorial display data from the equipment used.
They first tested to identify all sounds not originating from the UFO. Three conventional aircraft were detected, two of which were propeller driven. The third was a single-engine jet. Each aircraft was identified and frequency graphs were prepared.
The first aircraft identified was a “Pilatus Porter”, a single engine turbo-prop light reconnaissance plane. The frequencies gradually decreased toward the left of the visual display chart. This was caused by the plane’s movement, and is referred to as “Doppler Shift”. During this period, the plane was showing 45-50 knots of range rate, which demonstrated the actual movement of the aircraft with respect to the recorder.
The second aircraft was determined to be a Junkers Ju-52, an older tri-motored transport aircraft built in 1933. Again, the frequencies from the plane’s engines demonstrated linear motion detected from the “Doppler Shift”. This aircraft was moving away, turned slightly and continued on its way out of the recording.
The third aircraft was a “mirage” jet fighter. The jet was fairly distant, and no distinct frequency change could be detected on this portion of the recorded sounds. No evidence of “Doppler” was detected due to the aircraft’s range. No unusual characteristics were detected concerning the conventional aircraft sounds recorded.
The following infrequent additional background noises were detected:
1. Small dog barking
2. European Police Siren
3. Crow (cawing).
4. Clicks and vibrations.
These sounds were brief and inconsistent.
A weak European police siren was detected in the background on a particular segment. A photograph was made from the video display and shows the siren frequency shifting from 1164 Hz down to 196 Hz and back. (The witness making the recording reported a small dog some 300 feet away pushing his head in the grass and trying to cover his ears with his paws as he yelped in a pained way. He also reported the arrival of a Kanton Police patrol car after the Mirage jet broke off contact and flew away. The police officers pulled up and got out and came toward him until the sounds from the spacecraft rose rapidly in a very loud whine, at which point the officers ran for the car, jumped in and sped away. He did not mention the other sounds observed here.)
From here on the craft was called a device in order to maintain the desired objectivity in the testing. The most predominant sound from the device was a distinct rhythmic whine which increased and decreased in frequency. The major source of this whine was a device revolving at approximately 242 to 249.6 rpm. The audible whine is a group of strong harmonics directly related to the rotational rate of (some part of) the machine.
Listening to the sounds, the band of frequencies starts near 300 Hz and increases to approximately 980 Hz, then shifts back down. The cause of this is the amplitude (or loudness) of the harmonics shifting up and down and NOT the device changing speed. The (basic part of the) device did not change its rotational rate throughout this recording.
Display grams have been prepared to show all this information so far. On a combination chart, the lower gram shows the dark vertical lines 4.03 Hz apart. Multiplying this by 60 to obtain rpm we get 242. The upper gram shows the same segment but shows each frequencies amplitude. This clearly shows the wide range of fluctuation in amplitude recorded
The next gram, photographed from the video display, shows how the amplitude of the harmonic frequencies shifts up the band. The brightness of the lines represents the amplitude level of each frequency. The frequencies themselves do not shift, only their amplitude. Each frequency found was a direct harmonic of the original rotational rate (4.03 Hz in this case). The device revolving at 242 rpm is built in such a way as to vibrate, causing its upper harmonics to be reinforced.
The recording tape was slowed to ¼ speed and was aurally monitored. The aural characteristics indicated the machine was revolving past multiple magnetic fields, much like an electric motor or generator. Multiple beats or vibrations were detected on each revolution. At first, one could hear 4 distinct elements or magnetic fields passing on each revolution. Then, it seemed to shift from 4 to 3 elements.
As the sound increased in level and pitch, the multiple beats or vibrations heard would vary rapidly from 7 to 8 beats to a volume too rapid to count. The machine seemed to have the capability of selecting certain combinations of magnetic fields or elements without affecting its rotational rate. There is no counterpart for this and the mechanism is not understood. Indications are that this machine was built for a specialized application. Recognizing all sounds from such a machine would be difficult.
As mentioned, the device seemed to be selecting combinations of elements or magnetic fields as it rotated. For example, if we have one shaft with two elements attached to it (a two bladed propeller) we will see reinforcement at twice the frequency of the rotational rate (In this case, 4.03 Hz x 2 = 8.06 Hz). If there are three blades we will see a reinforcement of 3 times the rotational rate, or the 3rd harmonic.
Observing the harmonics of the device from 0 to 50 Hz, we noticed the level of the harmonics shifting as the pitch of the sounds changed. This is demonstrated clearly in two more grams. We noted that any combination of the 6th and the 12th harmonics would increase and then decrease in level alternately.
With this, together with the aural characteristics, it was our conclusion that the machine was electro-magnetic in nature, with multiple combinations of elements rotating past multiple magnetic fields. In simple terms the device is a complex electro-magnetic generator (in theory).
Other unusual characteristics from this sound source were detected. The first was a vibration which occurs near 233 Hz. The vibration is weak when first detected, then an abrupt increase in amplitude takes place. A very distinct “click” occurs immediately prior to the amplitude change. Later on, two more brief hollow “clicks” are detected. Again, they are very distinct and there was a clear indication of close proximity to the recorder.
The most unusual fact about these “clicks”, is that they appear at exactly the same frequency as the vibrations from the machine. It has not been determined whether these “clicks” are coincidental or accidental, (or a part of the function of the device).
More videographic images were photographed from the screen, which showed a 233 Hz vibration coming from the device. This is confirmed by the 4.03 Hz spacing of the frequencies. On the same gram, the thin line to the left shows the Pilatus Porter. No change in level comes from the plane. The vibration from the device is weak at first, and then an abrupt amplification occurs as shown by the sudden increase in brightness and width on the gram for the device.
The double “click”, also indicated on this gram, might possibly be a switch. The analyzer picked out two rapid succession pulses associated with the “click” (the double pulse seen on the gram). This may be a double contact switch, with each contact making its own pulse. The click occurred within 1 second of the amplitude increase. Another two clicks, almost identical, were found later on in the sound recording. These were not accompanied by an amplitude increase. The 233 Hz line continued right on by them with no change.
This analysis has shown that the statements made by the recording witness are consistent with the laboratory findings. The alleged conventional aircraft in the background were found to exist. Both the Pilatus Porter and the Junkers Ju-52 demonstrated the appropriate engine related frequencies and dopplers. The European police siren correlates to the witness’s report of a police car responding to the loud sounds in the area. The sounds from the craft are not as easily defined.
As the analysis indicated, what we are listening to is some kind of electro-magnetic generator (this is our accepted theory). This would make sense, as the “craft” could be using this for propulsion or for a defence field. This theory also agrees with the cosmonaut’s statement concerning use of a light-emitting drive, since light itself is electro-magnetic energy.
The extra-visual analysis of light energies in the photographs reportedly detected by light distortions surrounding the craft apparently support this possibility. Again, a magnetic generator may be causing these distortions. The basic relations exist for supporting the case.
Another unusual characteristic was the excessive sound level emitted by the craft. However, since we may be dealing with something completely alien, the sound level may not be of concern. Another indetermined phenomena detected was the unusual clicks and vibrations. The first click included sufficient information to indicate a possible switch being thrown, to amplify the vibrations recorded. It cannot however, be correlated to the recorder switches because the plane’s frequencies did not change nor was the tape stopped.
Either the click was a coincidence, or the sounds were amplified when a switch was thrown. The second set of clicks (when no change in vibration was detected), because of their sound quality, seemed to have originated near the recorder. These clicks appeared at the exact frequency of the vibration from the device. The clicks seemed to vibrate themselves and may be originating from the device. Then again both sets of clicks may be completely anomalous, such as the microphone contacting something solid during the recording.
If this case is a hoax, the individuals creating it have gone to great extent in trying to insure it’s acceptance. The negative aspects of this analysis are not conclusive proof that the cause is a fraud any more than the positive aspects prove it valid. There is more evidence in support of than non-support of its validity, however these results cannot be ignored. We must keep an open mind.
The foregoing has been abstracted from an analysis of the spacecraft sounds performed by a team from the Naval Undersea Sound Center at Groton, Connecticut and signed by Robin L. Shellman. When they performed this study, these researchers did not know that the witness who recorded the sounds also snapped 14 photographs of the jet fighter’s passes on the spacecraft, and that the basic tactic of the spacecraft was to wait until the fighter was on his firing pass and approaching effective range, at which point the spacecraft would just “jump” to a new position, instantly.
There was no skirmishing because the spacecraft did not cruise about waiting for the jet or trying to escape it. This may possibly account for the sudden and abrupt increase in amplitude. This may have been a time when the “jump” was in the direction of the witness. He recorded only a few minutes of the sounds because he was also very busy trying to get as many photographs of the attack as he could, and may only have captured one “jump” in the segment tested. This may also account, in part, for the lack of Doppler.
A quick review of the 14 photographs taken during that event shows the spacecraft at about the same or nearly the same distance from the observer in all but one picture. Most of the changes in positon were lateral with respect to the observer. It might also be pointed out here that the sounds emitted from the spacecraft did not seem to be related to any mode of flight or operation. It could hover in place silently as well as while it was undergoing all of the sound changes recorded. It also was both silent and loud in various modes of flight. Much study of these sounds remains to be done.
Mr. Nils Rognerud of the Rognerud Research and Development Company of Los Angeles, advised me in his letter dated 12 December 1981, “Regarding the taped UFO sound from the Swiss case, I found a very complex and changing sound pattern. The sounds were somewhat changed through poor tape duplication effort vis microphone. In future, try to use direct wire or cable-link between tape recorders when duplicating.
Microphones are a link that one sometimes can do without. However, I did retrieve some information that should be of some value. The sound pattern is very dynamic and changing, and the only thing that seemed to have a repeatable pattern was an amplitude modulation (a signal in which the volume is varied at a low periodic rate).
For the three UFO recordings, this frequency worked out to be 4.9 cycles per second, 4.6 cycles per second, and 5.0 cycles per second. It is worthwhile revealing that Nicola Tesla discovered a natural electro-magnetic resonance of Earth at 6.6 cycles per second. A second gentleman named Schuman also discovered a second resonance at 7.8 cycles per second.
Now, these are all natural resonances, and it seems kind of interesting to note the UFO sounds having vibrations in a similar if not identical pitch. You mentioned that your tape was running a bit slow. This could explain why the vibrations are a little bit lower than expected.”
Ar Excaliber Studios on Ventura Boulevard in Studio City, California, Nils Rognerud and Steve Singer, sound engineer and electronics systems designer, working together with a Hewlett-Packard model 3580 Frequency Spectrum Analyzer with a memory unit, a Two-channel Oscilloscope, a Multitrack Mixer with Amplitude Readout and Full Frequency Sound Control Board, studied and analyzed a 3-minute segment of the later spacecraft sounds that were recorded in front of 15 witnesses.
As before, they found them to be truly unique in at least the following aspects:
1. There were many, at least 30 or more, discrete frequencies in a random and constantly shifting mix in ranges from 4 to 2170 Hz, but averaging 470 to 1452 Hz.
2. The amplitude of these frequencies also constantly changed whereas one would be dominant
for a moment and then dominance would shift to another.
3. The wave form also changed constantly, and would come into and go out of synchronization in a random periodic rhythm that produced a characteristic beat.
Two other sound engineers and a sound synthesizer specialist joined the analysis team and the sounds were re-examined with a view to possible duplication. These specialists all agreed that the sounds were unique in character, and that any synthesis, if at all possible, could only re-produce parts of the whole soundtrack we were examining; and that duplication of any part of the whole sound, even in a short linear segment may be impossible.
The number of discrete frequencies, constantly shifting, and the migrating and constantly changing amplitudes, shifting in relative dominance, presented problems in duplication beyond the capability of present state-of-the-art equipment.
Sometimes the multiple waveform characteristics were so alike that they fell right on top of each other making one heavy wave trace of many fine lines. Sometimes the wave form was perfectly symmetrical, and sometimes it was totally asymmetrical. Then the waves would go out of synchronization again and there was no pattern at all.
An overall beat was noticed at about 4 to 6 Hz, which just happens to be the natural resonance of Earth. This may become significant in future analysis. After some 4 hours of testing these sounds it was generally agreed that they were truly unique and that they were not produced by any mundane source.
RECORDING OF SPACECRAFT SOUNDS
On Good Friday in 1976, Eduard Meier and other witnesses recorded the sounds of the Pleiadian spacecraft for the first time. As usual, Meier was guided to the contact site telepathically. He rode his Mo-Ped ahead of the others travelling in a car. Meier went into the forest preserve outside Hinwil, signalling them to wait at the forest edge. They waited more than an hour before Meier came riding from the woods and told them to follow. He led them across the preserve to the other side and turned into a dead-end road. Again they were advised to stop and wait while Billy went forward about 100 meters and stopped.
They could see him standing in the middle of a edge-grown clearing slopeing down in its center. Here Meier stopped and positioned his tape recorder and then held the microphone into the air. Above where Meier stood, from about 30 meters in the air, came a strange whirring, humming sound which changed frequently.
The sound was similar to a jet engine or a lathe working a piece of metal with much variation. Then Meier raised his arm above his head and correspondingly the sound increased and went down again. The two frequencies, the lower and the higher continuously inter-mixed together and then separated again, clear and loud. The tones reached us clearly with just occasional scattering by the wind. “I was very much amazed by the tones from the air, and could not understand this”, Hans Schutzbach said. The sounds lasted ten minutes and then they stopped. “By now we had unexpected visitors”, Schutzbach added, “A VW ‘Beetle’ stopped behind my 2-CV. It’s two passengers looked toward Billy with great interest. One of them even had field glasses. A moment later, from another side, a man walked up with a sheep-dog on a leash. From another direction two motorbike drivers arrived. All of them were interested in the clearing where Billy stood, above which hung the stirring sound. They seemed to appear from nowhere. The two men in the car turned out to be Forest Rangers and the man with the dog was a canton policeman in civil dress”.
“This sudden appearance of humans was surprising because when we arrive there was nobody around but ourselves. I believe Meier is shadowed when he leaves his house, because many people of Hinwil seem to be interested in UFOs and want to see something with the help of Billy. These people do not come directly to us but they seem to respect Billy”, Schutzbach added.
Normally Meier does not hear so much of the sounds of the spacecraft, and lasting so long and so loud, but only a short stirring upon reaching the spacecraft or upon its preparation for departure. This extensive demonstration was intended specially for tape recording and Billy was advised in advance of the proposed event and was invited to bring selected witnesses to the demonstration.
Schutzbach said that the tones were caused by the rotation of the outer parts of the ship in air, which produces the observed noise. When the velocity of rotation is changed the tone of the sound changes correspondingly. This can only be heard if the ship is not screened, as in this special case. In this event, only a small channel toward the ground was opened, and the ship was not visible from the sides. The ship can be made visible or invisible by sectors. Meier, from his position directly under the ship could see it and he estimated its height to be more like 50 meters.
Another effect was noticed by Meier from beneath….as the tone went up the scale to higher key the ship became more transparent, and as it came down the scale it became more dense-looking to him.
“Two days later”, Schutzbach says, “We undertook an examination. We took the recorder back to the place, and there played back the tape recording at full power. This time, the tone seemed to come from the ground, and was rather weak in power, and certainly came from the speaker.
It was so weak we had to come more than half way closer to the recorder to hear the tone with the same loudness as on Good Friday. I looked for evidence of loudspeakers hung from trees or suspended from a balloon to produce the effect and could find none. All of these things had to be checked out before conceding the reality of the experience.”
The sound might best be described as a sort of metallic sounding humming whine with a whirring swish and a variable beat. This sound has been heard by several of the other witnesses around Eduard Meier and has been recorded on five separate occasions.” Unquote
