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Scott Scheferman -- known throughout the cybersecurity and music communities as Shagghie -- brings a rare combination of backgrounds to this conversation: classically trained on trumpet, a live techno producer since the late nineties, a student of synthesis at its lowest circuit level, and now a full-time researcher working on what he calls the Joy Protocol -- a frequency-based framework designed to produce measurable physiological and neurological benefits through sound and light.
The conversation opens with Scott recounting his musical journey -- from blues trumpet in the Caribbean to losing his cherished instruments during a move to the United States, to a 25-year silence before his daughter convinced him to pick up the horn again. Then came the synthesizers. He describes performing live techno with six drum machines and synthesizer sequencers at a San Diego club, his parents in the crowd, sweating and dancing by 2:00 AM. For Scott, that was the moment of arrival -- not just as a performer, but as someone understood.
From there, the conversation moves into the physics. Scott and Sean explore how frequency operates across the entire spectrum -- from the 7.83 hertz resonant frequency of the Earth itself to the quantum oscillations that defy measurement. Scott makes the case that sound is not merely an aesthetic experience but a literal force, one that operates on the body, mind, and cellular structure in ways now being confirmed by a new wave of scientific research. The Solfeggio scale, long dismissed by mainstream music as esoteric, turns out to have been built around frequencies that have specific, studied, physiological effects on the human body.
The conversation doesn't shy from harder territory. Scott discusses directional sound weapons he witnessed firsthand at Booz Allen Hamilton, the documented Havana syndrome incidents, and how blue light frequencies are engineered into consumer electronics to trigger dopamine responses. These aren't conspiracy theories, he argues -- they are the same science, used from the opposite direction. The Joy Protocol is the inverse: taking those same mechanisms and applying them to produce healing, not harm. Even the 40-hertz frequency -- which Scott now seeks out on his wife's Power Plate machine at the gym -- produces a physical response he describes as immediately and unmistakably real.
The episode closes on the question every musician, listener, and creator should be sitting with: if certain frequencies heal and others harm, if the A-440 tuning standard may have been a deliberate departure from something more resonant, and if the spaces between notes matter as much as the notes themselves -- then what does it mean to produce music intentionally? Scott points toward the guitar as a last frontier that AI cannot replicate: the harmonic overtones that physically manifest in wood when an instrument is tuned to a resonant frequency cannot be induced after the fact. That reality, he suggests, is both a challenge and an invitation.
Sean Martin, Co-Founder at ITSPmagazine, Studio C60, and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/
Scott "Shagghie" Scheferman, Cybersecurity Strategist, Musician, and Researcher | Website: https://www.scottscheferman.com/ | On LinkedIn: https://www.linkedin.com/in/scottscheferman/
Scott Scheferman's Personal Website | https://www.scottscheferman.com/
Music Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/
scott scheferman, shagghie, frequency healing, quantum consciousness, cymatics, solfeggio frequencies, sound as medicine, live techno, music production, joy protocol, sean martin, music, creativity, art, artist, musician, music evolves, music podcast, music and technology podcast
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Music
Music
Music
Everybody, you're very welcome to a new episode of Music
Evolve as I'm Sean Martin your host, where on this show I get to explore the
world of music and creating music, recording music, performing music,
listening to music. It's all in my head, all stuff that I love to do, but more
specifically, I'd like to connect to technology and how we can leverage
technology to push the boundaries on all those things that I just mentioned. I
think music clearly has an impact on individuals and societies and humanity
large and I think the more we understand how music plays a role in our lives
and how technology can help in my opinion better our lives. I work better when
I have music going and I feel better when I play certain types of music and I
think a lot of people listening probably have some of the same things and my
guest today, Shaggy, we've actually talked about that a bit and on previous
episodes on this show and other shows for that matter. I'm thrilled to have
you back on. It's good to see you in my friend. Me too. It always feels like
coming home when I'm on this show talking to you. And yeah, people may not realize
but we talk in general as well and that's kind of the trigger for this
conversation, some of the some of the work you've been up to and the research you've
been doing is like that's really cool, totally connected to what what I'm doing
on this show. Let's wrap about that. So before we get into it, maybe a few
few words about some of the things you're doing musically. I know you you
actually record, you play, you form, all kinds of your artistic and in the
broader sense, music being part of it. Also creative in other things you
build. So maybe a few words about some of the things you're up to and then we'll
get into the topic. Yeah, I mean, music is just you know, it's life for many of
us. You know, a lot of our conversations and years past have been in like the
cyber community and there are just so many people. Let me just make sure my
laptops plug in here properly. Yeah, no battery warning. I realized, okay,
it wasn't actually plugged in. Yeah, sorry about that. So yeah, that's going to
be the demise of. Well, you need electricity. That's one of the stronger forces
we'll talk about. Yeah, music is life. How has it been? I you know,
classically trained on the trumpet and went into jazz marching band. Then I
got into the blues really, really heavy and I was actually by others' accounts
pretty damn good at one point in my youth right around, you know, upper teens.
And then I moved from the Caribbean to the United States. And when I did that,
the guy that was packing up my two horns, which were my cherished one. One was
a flugal horn, Chuck Man, Joni model, like a very special model. The other one
was a gorgeous boxelmer horn, the sweetest tone, silver horn. And the guy
packing up was asking me questions about him. He was super enthusiastic. He was
about all this talking about the suns that were learning to play trumpet. And all
that happened. I got to the United States and everything arrived except for both
instruments. And remember that story. It makes me say right. And and remember,
this is like for me, the peak of my blues era. And you would think I would just
buy another horn and start playing the damn blues after that. But I actually got
so hurt, so so painfully hurt that I promised I would never play the horn
again in spite of despite the world. Like I don't I don't know where there's no
rational reason why I did that. But I did. And it wasn't for about 25 years
before I picked up another horn again later on in life. Actually, when we have
my daughter, who's now playing the horn, they come, but he's like, Dad, you have
to play the horn. I'm like, all right. So music is life. And music is this
constant rhythm, right, that takes you through your life. You can remember your
life through the lens, if you will, or the sonic lens of music wherever you
were and what you were doing. And it's just this impactful thing for all of us.
And the real question we'll talk about today is, why is that the case from a
spiritual perspective, from a scientific perspective, from a physiological
perspective, from a even larger quantum galaxy perspective, right,
studying all the quantum forces that are at play and that field of work is
what got me into this current conversation we'll be having. But yeah, my
music background is also techno. I'm a live techno producer of like Sean said,
I play live shows with all the instruments. I was doing that back when only a
few guys and gals were doing that way, way, way back when like late 90s, early
2000s. And now it's quite common where people bring their boxes and they play
and half the time it's still sucks. It's not as good as the DJ said for the
people dancing. But if you're into the kind of the artistic in the moment,
creative side, it's much like going to see your favorite jazz horn player,
where they're improvising and they're vibing off of you and you're vibing off
of the fact that it's unscripted, it's not pre-recorded, it's live, right?
There's a certain fascination we have with live music, that anticipation,
that space between the notes, when you're not quite sure how they're going to hit
you, right? And that's why I've always been a live player because I've always just,
maybe from my trumpet background, appreciated that liveness aspect to it.
And the thing with the techno and the sense and all that stuff is, I mean,
I, I dabble in it and I record some stuff from it. But yeah, just the idea of
performing just blows my mind. There's no way I can even wrap my head around the
ability to do that because I think the cool thing about it and the powerful thing
about it is you can push the limits on things and end up in a place you never
expected. And to your point, that may or may not be what the listener is
expecting at the time. And so a good, a good performer will have the ability
to work that.
My, my piticle moment, my life is actually on a birthday.
I played a live show with like six drum machines and synthesizer sequincers
at a pretty big club in San Diego. And my parents showed up and they didn't
really know this musical side of me. They kind of left off at that old horn
stuff, right? They knew I did techno, but that's all it's a statement, right?
It's not a reality. And their mind were blown by then by 2 a.m.
They were sweating and dancing and screaming in my own parents that I was just
like, I've arrived. You know, it's one of those bucket list moments where you're
just like, no matter what else happens to me the rest of my life. Or if I die
today, I feel like I'm understood. My parents know me. That was a profound
moment. For sure. I mean, talk about complexity. I even did a show downtown
Houston at an art gallery. And I brought a modular Euro rack system this big
with, you know, literally many, many dozens, maybe even a hundred interconnecting
wires on logic circuits and audio circuits and modifiers and all the modulation
you do in that kind of context. And I created like a live techno acid, you know,
303 acid type of vibe set. And I think I pulled it off. I would say I hit
the 70 to 80% of what's possible mark. And your mind you always think, I know I
could have done better. I know it could sound better if I just kind of went
this direction instead of that one. I mean, you're making a thousand mistakes
per second. You know, I mean, it's all real time. You have infinity possibilities
infinity soundscape. I mean, literally, that's why I shifted from hacking the
planet and cybersecurity to becoming a synth person, a subtractive, you know,
additive synth FM synth person. I literally studied synthesis in its
rost form at the the modular, the lowest level of component tree, even design those
circuits for that whole industry for a while. And that it's part of what I'm
drawing from when I'm looking at this, the idea that vibrations or what we loosely
call frequency, how we measure these damn vibrations happen across the whole
spectrum, right? That's not just sound. It's also right. And it's above light and
even infrasound, which is below sound frequencies, vibrations that are slower
than what we can hear. But realizing that they're all vibrations, nonetheless,
and they have this perfectly analog linear scale, we say we measure frequencies,
but there's really an infinite number of frequencies on that scale, an infinite
number. We just have all marks where we can we can do something with those markers.
Yeah, in a decimal system, right? Like we can refer to that frequency with some confidence,
right? Yeah, but yeah. So it's this realization that this whole massive frequency from
the lowest ones that have to do with how the galaxy spin, the oscillation so low that it would
take infinity lifetimes to even experience two beats, right? All the way up to the frequencies
that are so high, you can't even fathom how fast they are at the quantum level, right?
The oscillations that still to this day defy our ability to even measure the intervals,
they're so high, right? They're so and and also so random and hard to observe without
affecting them, right? The quantum problem. Yeah, so that's very different, but like
dogs hear things that humans, right? But that's pitch, but is it that also frequency?
Is that why the certain animals here are different things, you know? Yeah, I mean,
animals amazingly operate in some of them that we can with high confidence infer that they have
a quantum portion of their brain, even even a hawk. Rather, no, it's the falcon rather.
They've measured the ability of a falcon to descend off of like a hot air balloon
from their trainer and retrieve an object that's been thrown down with great force that's hundreds
and hundreds of yards in front of them. They're the fastest animal in the world, the way they
can defy gravity, almost go faster than what they should be able to based on the contours of
their body as they're tucked. And they can intercept that object and there's no way their brain,
the size of it is, is operating in a classical, you know, transistor synapse level, right? People
have always humanity. We've always thought the brain is being a computer in the large of the
brain. The more intelligent something is, but it's absolutely not true. There's a quantum level
that allows our brains to operate regardless of the mass of the brain matter, of the gray matter,
right? And there's people that have either been born this way or through an accident have lost
vast portions like 95% of their gray matter and are still high IQ fully functional,
fully operational individuals after those events are being born that way. So there's always been
something going on. We're finally on unlocking and fully studying and in codifying if you will,
what the quantum consciousness is. That thing that keeps us connected that allows us to know when
something on the other side of the world just happened, that gut feeling, that ability to
to have a gut feeling in the first place, it's all quantum driven, right? So it's a
and quantum operates still off of vibrational frequencies as well.
States of your brain's consciousness, alpha, theta, beta, those, those inference lower than audio
frequencies, like one to three hertz versus 20 hertz where you can hear, right? So it's something
lower than that. That affects literally your state of mind and that state guides everything about
the rest of your brain. It divides your dreams, it drives your body's physiological ability to heal
or not. It just drives your whole body, your whole corpus, your mind, your body, everything.
And it's it's all about frequency, what frequency it's operating.
Yeah. And we were we were talking about it the other day, and
there's your daughter that said, listen, listen to a good, quote unquote, a good good song,
and I feel good for the day, right? Yeah, I feel the same. And sure, it's
it's the melody, the beat, whatever, the lyrics, whatever that somebody's going to tap into
that they need to get that feeling, but it's more than that, right? There's there's a sound or
a level of, yeah, the frequency perhaps has, and I remember there's, I think it was a thing on
Instagram, I think I mentioned this the other day we were talking. We're guy was saying that
most popular songs end up, even at the recording and a different, different pitch or different
frequency, they, they readjust them to actually hit properly, hit, hit, yeah, yeah. So anyway,
what what is music, but frequencies and intervals, AK, rhythmic intervals between words, like
a lot of people don't realize and vocals, vocals is one of the hardest things to to get right
when you're producing music, right? As a music producer. And what I found is that the best vocalists
are not the ones that are pitch perfect, but they're the ones that have the best timing.
The best, they play like a jazz instrument between the spaces of the rhythm that's structured
underneath them. And that's why I like shot a, you know, her drum and bass. If you, if you, just
a concept of drum and bass, right, the structure foundation, but then on top of it, it creates a
canvas where you get to Bob and weave and play in between the spaces. And if you listen to shot
a and think about it through that lens, it's amazing what you'll hear. Same thing with Miles Davis
on the horn. It's not the notes he's playing. It's the notes he's not playing. It's, it's the spacing
between the notes, the timing against the drum and the bass. That's, that is what really makes
music feel alive. It's what makes you lean into music. It's the, the whisper if you're not the
shout, right? There's very few songs that are loved that are just in your face and superstructured,
right? There are a lot of songs that have this dynamic understanding. Like, so what, I mean,
this conversation goes a thousand places at once, which is why my stumbling, my brain is going so
many places at once. But like, even I was doing public speaking, Sean, you've been with me on
my journey long enough to know that I started with great fear in public speaking. What unlocked
it for me was this, I wish I can remember his name to give him credit, but this, I believe he's a
Vietnamese guy that doesn't even, didn't even speak native English that said, I want to go to America
and I want to be wealthy and I want to succeed, but he was a magician. And some of you listening
might recognize who I'm talking about right off the bat, but he basically teaches people how to do
public speaking by focusing on five areas of the voice and as long as you're focusing on your own
voice, whether you're lowering your voice or increasing your cadence or pitch inflections,
like, he teaches you about how to use all five things and me being an audiologist for lack
about words, it resonated with me and it just unlocked my whole public speaking career. I was no
longer afraid. In fact, I was anxiously eager to get on stage. I like, you couldn't keep me off the
stage because I was able to like, present with dynamism and make the message actually resonate.
You think about that back to where we were just talking about voice words are extremely powerful
forces. We know this sadly through people whose parents were verbally abusive or their spouse,
right? But in even a child's voice, the words they say at the right moment with the right
inflection, even if they say it softly hurt a parent's heart to the point where they need a
week to heal afterwards, even though the child's innocent, right? So voice is extremely powerful
because it brings in all the elements of sound design. Our vocal cords are very powerful in how
they can articulate their rhythmic capability, their ability to pause, to whisper. There's so much
going on with just the voice that our brain is tuned to as well, which is one of the reasons why
music hits us so hard as our brains are tuned to understand sound at the level of what I call force.
Sound is literally a force and when you go down to the study that maybe we can transition the
conversation at some point, but into what I've been doing and the white paper I've written and all
the stuff, it's all about how vibrations affect the human mind, the human body, and then at some
level it's easy to get spiritual with this whole thing as well, which is another level of consciousness
or quantum consciousness transcendence. There's a lot of, you know, this goes, this is ancient stuff,
this goes way back well before modern history, right? This goes back thousands millennia of years,
so. But sound is not to be underestimated as a force. Yeah, so I want to talk about the sound
because the example I gave where they're pitching and adjusting the recording to hit a certain
level that they know will resonate with a white audience. Marco, my co-founder and I, we talk
about this and there's a lot of stuff that we see online as well where like analyzing a Beatles
song where why did John throw that note in there? It makes no sense, right? It doesn't connect with
all the rest of the notes in that, but it works. Jimi Hendrix. Yeah, Jimi Hendrix, same. I was just
trying to stay you know from fish. I was at a performance within the other day, and he had a,
he had his guitar and a keyboardist. They were doing basically a dueling thing, and
the notes didn't work together. They were completely at odds, but they worked together,
and there was a big, big drum and percussion thing underneath it to kind of keep things
growing and kind of people within it. But you're listening to him like, that doesn't sound good,
but it sounds good. And then when Tray and the enemy says, I can't, I wish I remember the keyboard
his name. He says, he's the best skunk or skunk. Yeah, slinging the skunk by the tail person I know.
But don't shed out of his. Yeah, just making it raw and nasty, and the last year of God and the
more competing it got with the guitar, it was just, it was, it worked. But I guess my point is,
it gave me a feeling of energy and bit of discomfort at the end of it. You're like, wow.
So amazing. You know, there's this idea of happy accidents in music creation, right?
There's another idea that's very similar to that that my jazz instructor taught me a long time
ago. And he was like, if you're playing a solo, he got all your support, you know, chords and
everything else around you. And you play the wrong note. Don't stop playing that note. Hold it for
as long and use whatever reflection you need to to make that note on purpose and trust your gut
through it. No matter how wrong the note is, whether it's ill timed or ill the wrong pitch,
just the wrong fucking note. Don't stop and just hold it. Because like you said, things that don't
make sense are what we kind of crave. And what we crave really is the artist to have enough confidence
to define the moment for us. In techno, we used to say I was floored literally in raves in the 90s,
when the beat hit right in the DJ literally dropped the perfect drop, we would sit down to show
respect, sit on the ground and stop dancing. It's literally exciting. You know, when you're saying
that track, it floored me, it literally means sit your ass on the down. Because you're submitting to
the idea, submission as a listener is really important. Like you can go in headstrong and try to
analyze, which is what often happens when you produce music, you listen to something and you're
taking it apart, you're analyzing it, you're trying to understand it. But instead of just actually
submitting to the music, right? I have to switch that part of my brain off in order to actually
experience music. I'm sure you do too, right? It's same thing with photography. Like it's hard to
look at a photograph, you being a photographer and not analyze it, you know, with the wrong
part of your brain, right? Versus just experience it first. Yeah. Exactly. Exactly. So let's talk about,
I mean, we feel, and I'm certain everybody listening, we'll know that they feel music, right?
And it touches them in a certain way and gives them a certain response. It's not just the gut.
There's a reason behind it. So let's talk about some of the work research we've been doing and
and how that connects to the physical aspect of who we are. Yeah. So what's amazing about the
era we live in right now is, and I think AI has a lot to do with it. It's progressing scientific
discovery at a rate that was just unimaginable five years ago, right? So in the last three or four
years, there's been a massive amount of very significant hard hitting research that should
inform us going forward. It's almost like we need to delete all of the books that we've studied
in the past, almost delete them and start anew. That's how fresh quantum physics is. That's how
even the research just on sound and healing is, it's affirming what we've always kind of
intuited to your point, like I like how I feel when I listen to this track or, right? But it's
affirming it scientifically, right? In a way that's irrefutable, that endures the test of time
through thesis and study. So I would say that we're in this special era and that's really been
beneficial to me. And we're, I think we're on the just the cusp of where we're going about to go
in this specific field. And I don't know even how to define this feeling of field other than
it's all of frequency. So the visual spectrum, which sits obviously above the audio spectrum,
it's the infrared audio, which is below the audio, and it's even the ultra high frequencies that
are above visual, right? And you look at the body of work on how certain frequencies affect the
body and the mind, right? But we'll just focus, we have to break this conversation apart somehow.
So we'll start physiologically. If you take just, I think examples are the best way to tell the
story. I can't summarize five months in a 55 page white paper on the podcast, but if you take
just like, well, let's use techno, a kick drum, those are usually tuned between like, you know,
30 hertz up to maybe a hundred and 110 hertz, right? A kick drum. That's the base that's hitting
you in the thump. Well, that thump in your chest is right where your body's resonant frequency of
about 100 hertz is, right? So some 100 hertz frequency is so hard, they literally heal your body.
Um, this is why people like our bass addicts, like there's a genre of music called bass music,
it's just about bass that hits you and makes you feel good. But now we know scientifically that 40
hertz is a universal healing frequency. We've known that all the way back to looking at
ancient, uh, the hermetics, like wait, wait back a long time ago, the sulfagio scale, a long
lost scale that you don't hear in pop music, right? Because it's not tuned to A equals 440.
That sulfagio scale, each one of those frequencies now has, and through scientific research,
each one has scientifically studied to produce certain discrete physiological benefits to the human
body at a cellular level. And that frequency is a scale that has been used throughout thousands
of years to get to present as healing. There's churches that were acoustically tuned so that it
would amplify those sulfagio frequencies, right? There's, this is ancient science now being,
I guess, almost vindicated is one way, one weird word to say because I personally looked at a lot
of that stuff as Fufu esoteric, cool idea. It's probably right even, but I don't really care.
And I've changed 180 degrees to holy shit. This is going to unlock what we need in humanity
today more than ever. I've taken a full swing and, um, it's like 40 hertz back to the kick drum,
hits you in a healing frequency just below above 40 hertz is 50 and 60 hertz. And what is your
power run on 50 60 hertz, right? In Europe, it's one and here it's another. But that, those frequencies
happen to be incredibly damaging to your body. Being exposed to those frequencies brings about
depression, a bunch of other studied physiological and mental harmful outcomes when you're exposed
to those frequencies. So I've been like, when I produce, produce music, this is an analog to the
protocol that I'm writing. I'm literally writing a protocol for all of this throughout the entire
frequency spectrum that I can't talk too much about because I'm doing it for a company literally
as a full-time job. But, um, there's there are sets of frequencies in the audio range since we're
talking about music. And this is the show that are absolutely healing. And there are other frequencies
that are harmful. And when you're watching a horror film and they bring in that base, guess what
frequencies they're bringing in, right? Like Hollywood, the best studios, the bigger cities, I've known
a lot of this science for a long time. There's a whole like when I'm doing this research, there's
all these tangents that spider off. A lot of those tangents are a whole volume of conspiracy theory.
You might call it that talks about the CIA and ultra MK32 and like MK Ultra, all these
things that we're using light and sound frequencies that were meant to help control the population,
right? But by the same mechanisms, right? But through the same science, if you will, right? So
what works rating is the inverse of what has been used historically, according to conspiracy theory,
right? To control and harm human humans, right? The weapons, for example, the stuff that happens in
Havana. Those those frequencies were using the inverse of those frequencies to create a protocol
for media that only brings about what we call joy. It's called the joy protocol. It's about the
most I'll say. Yeah, specifically in music, you can create sounds almost like you're saying about
retuning what they're doing now. Well, instead of just retuning to a scale that aligns with the
song before and the song after and brings about the most amount of harmonic congruence, which is what
those algorithms are doing. Because like the same song in a different scale has more or less
congruent frequencies. By congruence, we mean intervals that produce harmonics that are
sound good for like a matter of words that are even harmonics, right? So it's it's,
well, you can talk about the the geometry of music and the universe for that matter as well with
the study I've been doing as well. I think it's 538 frequency is one of the 528, I forget which is
I stand here, but that frequency is extremely healing to the human body. It's just it's right in the
middle, right? Between 20 hertz and 20,000. It's of audio range. It's right in the middle. We can hear
it perfectly and it's super healing. But that frequency, if you go up a number of octaves, perfect
musical, you know, mathematical octaves, you reach a light frequencies that is one of the most
healing frequencies for for your body at a cellular level. I mean, as far as you stay within the octaves.
Exactly. So there is a an absolute set of geometry that governs all the way down to the
lower frequencies. You take the resonant frequency of the whole earth, this planet that the humans,
human civilization has been born from and evolved through. That's 7.83 hertz, right? It's below what
you can hear at 20 hertz at the bottom level of what we can hear, but it's definitely something that
you feel. It's a very powerful. It's a low frequency, right? Low frequencies travel far. So our
atmosphere and our earth creates 7.23 hertz. That ends up being a fundamental for a whole set of
healing frequencies above it. As it happens to those are in the sulfatial scale that we were just
talking about as it happens, right? So our body has been looking for these geometries
to ground us. If you think of it, almost like a computer, what hurts is my clock running on my
computer back in the 90s when I built computers. We got up to 200 hertz and oh my god, we were
ecstatic. The place is fast as 100s, but it's these geometries are the true clock. It's not the
frequency. It's the geometry just like phi, right? That curvature and that we observe in the
universe at the macro level all the way down to the smallest quantum particle levels. You see that
phi occurve and that is basically the universe is what we see as humans measuring things through our
senses. It's not a causal thing. phi doesn't cause congruence rather it's symptomatically how we
observe congruent structures of universal intelligence quite frankly like it's literally the whole thing.
It's the answer at every single level from macro to micro and that same geometry is reflected in
octaves and harmonic intervals, et cetera, that we love in music.
My brain's already. Sorry. I had to stop just because that went on. I have 10,000 in my head probably
10,000 different from you. I'm going to say a couple things here and we'll figure out where we
go next because let's just see. So the first thing and it's not sound, it's light and power.
I have this thing that's this company's building that's using hundreds of LEDs and they had
had some quality control issue that that forced them to refactor a bunch of stuff but the
general gist of it I think was the level of power to the circuit of LEDs wasn't set quite right
which let them let them burn or let them light but not consistently not from expected long period of
time and so they actually found that dropping the dropping the power level gave them consistency they
wanted and also the longevity that they were wanting. Yes. So in there there's that. Let's just
leave it at that. I'm on your thoughts and that kind of music and frequency and all that stuff.
Well, it's literally the perfect analog to what I'll share which is that
remember music is frequencies but also intervals. It's also dynamics, right? Loud and soft.
If you look at all the studies there's one thing in common which is what you just reference which is
that it's not the frequency as much as it is how long it's applied and how intensely it's applied.
The energy whether it's a light source or it's sound frequency matters, right? Intervals matter
and dynamic or power level matters. And every single one of those studies is the three common
denominators which I'll say too much if I tell you how that would apply in the protocol I'm
building, right? But yeah, it's it's it's there for a reason. So like what is it? 630 to 660
nanometers of light? That's it like your reddish light. That's a super healing frequency. But
there's actually five red area frequencies that are individually do different things at a cellular
level when your cells are exposed to these things. All five are healing beneficial positive outcomes
at a cellular healing level, right? When you combine all five however there are harmonic synergies
that happen that where the sum of the five is much greater than five, right? It's it's it's some
exponential higher. So when you're talking about red light frequencies like the the interval matters
how intense to your point to that story you just told matters but also the combinations of the
frequencies at the same time. Go figure back to music. That's what a chord is. I mean, you know,
this is it's all about the relationships. That's geometry that heals, right? It's not the
frequency. It's the frequency in relation to everything else going on in that cell and all of those
geometric relationships. Even at the quantum level, why do we feel like the human brain could
possibly be doing what we call quantum compute? Well, you can't hold quantum state at room temperature
or at brain matter temperature, right? You need to freeze that shit super cold to hold a quantum
state long enough to compute. That's what what mankind would have thought just a few years ago even.
But now with the study of quantum consciousness realize that there is a lattice structure in these
protein microtubules that we have that is constructed so geometrically perfectly. It can hold a
quantum state regardless of the temperature. Okay. So there's even a scientist that's looking at
a certain asteroid out there. This isn't a sound super esoteric because it is. But
any through some of the image, what is the asteroid that we sent a space field call out to study?
I forgot the name of the asteroid, damn it. But we literally studied an asteroid,
took pictures of it up close and all this stuff. And part of the asteroid has this crystal
lattice structure in it. And it it's structured in a way that the scientist went way out on a limb
and it tips to in the context of quantum consciousness to suggest that asteroids might have consciousness.
Why not? Right? If all you need is a certain lattice structure that geometrically
produces quantum state, now maybe their reality as a as a rock is not that of ours where we're
we're we have five senses to worry about and and put together into a stream through something we
call time. Right? For linear evolution of our of our existence. The rock might be stuck in a quantum
state without any other senses beyond the cold air of space, sort of not the lack of air hitting it,
right? Like in the light from the stars, but it doesn't mean that it doesn't hold a quantum
state sufficient to have a weird form of intelligence, right? That's how far out on a limb the guy went.
But that's only he he couldn't even go out in that limb until we started to realize that the
human mind and also certain other species of animals hold quantum state in their damn minds, right?
Super interesting and I'm going to I'm going to bring it to the other extreme now and kind of go
back to the the scale you mentioned earlier and and kind of the the sound and I'm thinking the sound
bowls there are sound rooms and I wish I have a good friend that that she does she's basically a
musical health therapist. Yes. And I wish I had a chance to ask her what what does that mean
technically? I think the ultimate is some of them don't I have a yoga instructor here
knows exactly how to work the bowls and what to do but doesn't hasn't studied it I guess at a
scientific or academic level yet. I I have because I take those yoga classes with those bowls
and in Shavasana I do go places and my friend actually works in the health care system.
Oh so she she I don't know about your friend I just mean like this person didn't but
it it's a lot of those frequencies aligned to the ancient monks that you know what a
mandala is it's like a geometric shape sometimes it looks like a lotus flower of or or triangles
and whatever it's a mandala right the ancient monk mandalas. I threw my study reverse engineered
to what somatic frequencies those mandalas actually represent like why are they why is that geometric
shape important in the first place the answer sound right if you don't know what site if you're
listening you don't know what simatics are it's you've seen it you know what it is but it's just like if
you take sand on a on a drum like a stretch drum what do we call the top of a drum and you play
certain frequencies it will form these geometric shapes same thing with water or any liquid substance
and that's called that study is called simatics so through the geometric shape you can actually
reverse engineer and infer what frequency or set of frequencies right created that mandala and some
of those frequencies are the same as with yoga. It's so interesting and they they're I know there are
sound I'm trying to remember the name of them are the sound rooms where they're I don't know
they're basically big big sound sound healing spaces I'm going to add that so I guess kind of to
your your points sound and the frequencies have an impact you mentioned some conspiracy stuff I
don't necessarily want to go down that conspiracy theory part but but so there's there is being
passive in in life and letting the sound and the frequencies and the vibrations do whatever
they're going to do to us and then there's yeah being being an aggressor we're using that to
to to yeah you mentioned to control people I'm thinking government but certainly in the media
right to it be able to want to buy stuff or yeah or that kind of thing so what what are you
what are you thinking in terms of in the intent behind some of this stuff.
Well on the conspiracy side jeez I have to switch my brain over to that chapter right because
okay forgetting all this all the rabbit holes my brain was going to go down so
yeah I mean it's it's I don't go down those rabbit holes too much I I know enough to know that
they exist that there are people large groups of people entire populations that are online
populations that are very much convinced convicted whatever you want to use that that this thing
is not only real but it's hitting people today as we speak right so they're the stuff that happens
in Havana with a low frequency sound stuff that made everybody sick and they continue to be sick
to this day um you know when I when I was working at um I don't mind saying the name Busan Hamilton
way back in 2000 right um they they gave us a demo of this new technology at the time and they
brought two speakers that were like panel speakers and they brought us into a room and this was a
weapons application uh not not to kill people but to to mess with them right and these two panels
if the woman holding them turned up the amplitude to one on a scale of 10 right so as low
lowest level that the damn thing can operate at where you can still hear it and it was the weirdest
thing in in the world um she was able to literally make us all sway our heads and do crazy stuff
with these two panels bouncing them off the walls i'm crossing them over right to where your ears
were which made us nauseous literally almost to the point of salivating like you're about to throw
up before she back off um we had to sign waivers and all the stuff um it was it was profoundly um
eye-opening to your point for me at that time that early in my you know career in my life
to say that is how powerful sound is um that's used for crowd disruption but also
if you have a building you can literally use these panels it creates a linear
laser if you well of sound where if you're literally it's few inches away from that laser of sound
you can't even hear it so it could pass right by you and hit its target and you can't hear it
that's how that technology works like actually how it works i forget um but it creates some kind of
vacuum in front of it that just draws the sound through i can't remember right but
so if you have a building here and you're gonna approach this building as let's say a group of
platoon you might you have somebody else over there with the speakers projecting at high volume
the sound of tanks rolling in from that sound and all enemies of course will look that way
and anticipate while you approach from this other side right um that's some of the kind of
theoretical application for this stuff but yeah it's used in sound disbursement too there's uh
we call it the brown note and there's been studies on whether or not it actually causes you to
defecate um i know i went to an iron maiden concert in the 80s and i almost defecated
don't know if it was the brown note or it was just the 60 000 watts of sound that broke the Guinness
Book of World Records after that concert that that changed my life um i never heard a wall of sound
like that it was just like all frequencies from just those several instruments i couldn't it's amazing
it's probably what led me on this journey to be honest yeah i think in duck but yeah all right let's um
yeah i mean we can go down a gazillion different paths here
might but uh control as well as is the whole other aspect of this thing so not just a weaponry but like
certain blue frequencies that hit the certain dopamine receptors at certain intervals make you
addicted to that source right right a blue light is not a natural light in nature very rarely ever
occurs and so when you see that frequency your your body is is genetically tuned to absolutely
pay attention to that damn thing and it also creates endorphins uh it's a dopamine
the dopamine receptor is the one that triggers the most off of that and so you become
um a lured like almost like a muse to a blue light um an electronics manufacturers realized this
when we went to the blue tooth era when everything was blue tooth enabled part of that branding
campaign was to make every led blue i had a Volkswagen sometime in the mid-2000s where the whole
dash was blue i could barely look at the road because the dash was so beautiful
well this side have a blue blue strip behind me there's actually a story about the the blue led
that it took ages for them to actually figure out the technology to actually create the blue one
all the other colors were easy enough to white obviously go figure just like nature just like
make sure there's a reason why blue doesn't occur very often but it's it's a very powerful
frequency um there's very little healing um research around blue light but you know blue's not
just one frequency it's a whole suite of them right and some of them are extremely powerful
they hit the dopamine others of them can be healing at the right interval to help mood
right because it is dopamine and that's what a lot of depressed people need more dopamine
so they put the blue light on right that's what we do when they're done that so yeah it's it's part
of our journey so let's um i wanted to recall the story about the the gym and the the the machine
that you use oh yeah so tell one i hear that folks do hear that story and then we'll spend the
next couple minutes kind of bringing it back to just traditional rob music and yeah and our
lives with that uh that but tell the story about the the the machine and the vibration and the
frequency there yeah so i've been doing this study and understanding how healing forty hurts
so i i put the subwoofer underneath my couch i will literally put on a sine wave
there's websites you can make it the website play a frequency so i just go to that website put
in forty hurts turn up the sub full volume and sit on my couch and it's like it like a
15 minutes of that is like a full body massage you come you literally walk around like heman Hulk
after that it feels amazing so i'm at the gym and my my wife is a certified power plate um you know
instructor if you will and that has different intensities and different frequencies you can turn
the dial between one and eight and i was watching it and the display happens to show the frequency
and i've been always at eight like max that thing out you can give me the most amount of benefit
in the shortest amount of time but i've recently been putting it at six six happens to be
forty hurts it's up it's moving in four different planes xyz uh all four you know axes is if you
weld shaking you all different ways to improve your blood flow and and but it's so powerful that
it's also kinetic enough to bring you physiological healing at the cellular level so now i go five
minutes at forty hurts and i feel absolutely incredible absolutely incredible i'm not i i thought in
my mind is it psychosomatic is it just what i want to believe just happen but no if i go off of
forty hurts now and back up to eight just to get maybe more of a resistance work out if i'm using
the bicep straps that you can use right to work the muscle harder i literally don't feel good when
i get off of it but forty hurts feel amazing every time so these are not coincidences that things are
uh yeah so let let's let's go let's go with that as kind of the theme to wrap then uh i'm thinking
so the whole show is about yeah creating music performing music yeah listening to music
each of those has people have a role in all of them right and and then we're impacted by those
things so i'm i'm just wondering as a creator how does this change how you think and what you do
as somebody who's listening are there are the things if you want to feel good or the things we
you can look for yes i'm just throwing stuff out there and then if you're going to a performance other
things you can do or as a performer are there things you should do that that will make the crowd
respond better or differently so yeah i mean you don't have to follow them but just kind of that
general what what what do we do with this information so i'll answer it in two parts at a general
music theory level absolutely and one of the hardest things in the world to do is to produce a song
that makes you feel good it's very easy to produce a song that makes you feel sad or angry or aggro
or um introspectively like like the darker side of our emotional spectrum it's very
easy to produce those songs it's very hard to produce music traditionally it has been
now with AI it's very easy but it's been hard to do that the best songwriter i know i forget
his name i think his name is Ryan i used to know for a period of time in a living in San Diego
he's the main singer from one one republic the band right but a lot of people didn't know is
for a long period of time and maybe even still i don't know but for at least 10 years
at any given time he had written like 80% of the top 20 billboard tracks any given time
right pop music and he i talked to him about it over a dinner at the ocean air after one of his
concerts and he's like yes i have a strong formula for what i know works every single time
he's like i can't tell you why it works but i know it works and and and every artist that comes
to me i give them back a song with that formula no matter what they tell me they want to write
they're still getting the formula and this was a human songwriter that knew what worked and what
didn't more importantly um half of it is removing what doesn't work right but but now with AI
it's very formulaic it's frequencies harmonics intervals beats um even the the drum kit you use
not just an eight so like the 808 is the most popular drum sound you'll ever hear in any pop song
rap song any damn song right it's literally that kick drum that goes boom and it's at hi-hat and
sets crispy snare that drum machine has been sampled and re sampled a billion times but certain kits
certain versions of that kick drum versions of that hi-hat versions of that snare hit way better
and harder than every other 10,000 sampled 808 kits right so it's even down to the kits that are
formulaic in in the music industry today it's it's all it's sound is like frequency and volume like
we talked about but it's also texture and textures where you're the nuance of what makes you enjoy a
sound a lot of times or a frequency that has modulation to create texture or not this way some
people's voices I mean as as a guy right like some women's voices I'm really attracted to
because I'm all audio I'm not visual at all I'm audio and others I can't stand I almost don't
even want to get to know the person because I can't get past just their voice right so texture
um that's that's everything and so on so what I'm picturing is like a multi-dimensional thing
because I'm just wondering you said it's harder to get good yes I'm wondering if if the ranges
and maybe it's infinite range but ranges this and most of it's bad where where it is good
sit and that's just right within two lines and you have the texture and the volume and
what all the other stuff but so I'm just wondering is it is it a very very small
sphere within the broader spectrum that I don't know the question I imagine it's it's a small
it's a much smaller sphere than what sounds bad right the good is a much smaller Venn diagram sphere
um I I I applied a lot of what I learned at the audio frequency level of this research
to music production recently and I created a set of tracks that guide you to the different
states of consciousness um and they're very heavily tuned all the bad frequencies are tuned out
the melodic structures only sulfasial frequencies like you know hard hard bound that
and even some of the rhythmic structures are based on Fibonacci cycles right that the human body
enjoys uh which are they don't sound structured to most people but when you're singing in your
phraseology is a Fibonacci that that that that that that that that that that that that this is very powerful
some of the best singers do that intuitively but you can actually count mathematically a Fibonacci
in their phraseology it's it's fascinating um so I produced a song using both music classical
music production tools and frequencies I can tune and instrumentation to certain frequencies
that are non a 440 scale like cd e fg like that scale is bullshit that scale has been around since
the 40s or so um and and mass but it's part of conspiracy theory is that Hitler created was one
of the ones that institutionalized equals 440 because prior to that I think it was 438 or something
or another frequency just below above it that when you look at harmonics like if you tune a
guitar to 440 and you strum it which you listen for in a guitar is the wood to do the harmonic
vibrations that make a guitar sound good to all of us right but when you tune a guitar to this
other frequency that's been around way longer than 440 it sounds like the whole instrument
just comes alive it's like it's a new person it sounds fundamentally different so you know this
is when I made music production I I'm actually frequency specific tuning to that other scale
so that the chords and you this other thing if you're doing this acoustically you can't do this
later on in AI you have to do it with the actual instrument because the instrument has an analog
infinity resolution scale and you need the harmonics to actually physically manifest in the wood
to create the harmonic effect of a guitar properly tuned you can't later use AI to induce that
so one of the only left hard limitations that AI is not going to be able to do is to
hit the wood differently unless we have robots doing it better than we can do it all right
you on oh boy ah Scott I don't think I don't think I gave you a chance to answer the second part
you're gonna you're gonna mention that we can we can keep chatting another time let's um yeah
I think I can hours a good good time let people kind of chew on this I'm
I'm starting to I'm gonna I'm gonna try different tunings on my guitar now and see the see what happens
I'll let you read the white paper if you want um I trust you like a brother uh it's not going
outside to anyone else but it's up to you all right yeah I'm uh I'm happy to happy to take a look
at that see you see what you've been up to that'd be super cool and uh yeah I mean this is mind
blowing but shouldn't be exactly that's you can't end it better than that that's full circle
my own first experience as well it's like how are we not living our lives
frequently frequency optimized well there's all sorts of gadgets and widgets and
by neural beats you can buy but you don't actually do the damn thing most of the time yeah like
you're saying earlier yeah I think the other thing that sticking in my head is um what I think of
waves and sound it's a line and the thing that I just kind of was trying to figure out is it more
of a sphere and funny we just said full circle yeah and then I'm looking at the uh the logo of the
show and it it's a circle there's like a record the circle see it I don't know um maybe maybe we're
in we're infinitely inside something not not just a long yes point on something I don't know
circles are very special geometrically trying to be philosophical but I'm probably not doing a
great job at it but anyway that's what's in my head I'm sharing it make fun of me that's how the aliens
communicated in the invasion series if you've watched that that has simatics and alien communication
and it makes you realize that there you go the waves are actually centric concentric yes yes
ah too much fun man too much fun and uh not everybody gets the joy of
doing that kind of research that you do so I'm glad you get to and hopefully you are enjoying it
and hopefully the results are what you want and and I know you're you're a good dude and uh
hopefully the results are good for uh for uh society and humanity which I based on what you
shared earlier I think I think it is so it's that's all I want is to be able to do the right thing
at scale so that my daughter goes up in a world that is acoustically healing and beneficial and
doesn't grow up in a world where she's mind controlled and she's getting cancer and her RNA is
breaking down because literally of vibrational frequencies that she could have otherwise been
avoided was she's using media of all types that's that's the joy protocol there you go
right on brother well it's uh you know I love chat with you we could keep going um some people
probably still tune in and continue listening but uh we'll have another chat
for sure we have we have lots of things we can talk about um I'm going to point people you you
described uh the uh the taking the scents on the road and one of our other episodes uh you gave
give me a brief tour of of your setup and uh yeah some of the cables and the all the euro track
your uh your rack stuff that's uh euro crack is right that's right after buy more modules every day
so people can look that one up if you want to get a visual of what uh what up sky was talking about
there all right shaggy thanks uh thanks again man for having this conversation with me sharing
me what you've been up to and uh hopefully this people listening found it interesting I certainly did
lots to lots to chew on there and uh as you do that keep listening if you're up for it keep creating
and uh hopefully well keep enjoying uh music so thanks everybody yes thank you shag
appreciate you
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