What if Every Sound You Hear is Shaping Your Cells?

A chance encounter with the ancient acoustics of Egypt's Great Pyramid transformed John Stewart-Reed from an acoustics engineer into a pioneering scientist on a mission to unlock the healing power of sound. During our conversation, John reveals the extraordinary moment when a simple sound experiment unexpectedly healed his debilitating back pain – a discovery that would change his life's trajectory and potentially revolutionize our understanding of healing.

The cymascope, John's groundbreaking invention, allows us to literally see sound – revealing intricate geometric patterns in water that mirror the acoustic vibrations creating them. Through this technology, John shares how dolphins might be communicating in sound-pictures rather than words, sending actual visual information through acoustic signals. This same principle explains why human blood cells dramatically regenerate when exposed to specific frequencies, with laboratory tests confirming a 15-18% increase in red blood cell viability after just 20 minutes of musical immersion.

Perhaps most fascinating is John's explanation of sound's spiritual dimension. He details how sound waves enter through our eyes, travel along water-rich pathways to our pineal gland, and potentially enhance our connection to higher consciousness. The specific frequency E3 (165Hz) appears particularly effective at stimulating this spiritual center – a finding that bridges ancient wisdom with cutting-edge acoustic science.

With "frequency medicine" already gaining acceptance in mainstream hospitals through light therapy and music treatments, John's research stands at the threshold between conventional medicine and a new paradigm of healing. 

Discover how the vibrations surrounding us might be reshaping our cells, enhancing our vitality, and connecting us to dimensions beyond our ordinary perception at https://tinyurl.com/43tvr8yr . 

Chapters

• 1:38 Introduction to Cymatics Science
• 4:03 Transformative Pyramid Experiences
• 12:42 Discovery of Sound's Healing Power
• 21:21 Cymascope: Making Sound Visible
• 28:25 Dolphin Communication Through Sound Images
• 35:01 Sound's Effects on Blood Cells
• 44:33 Pineal Gland and Spiritual Connection
• 51:41 The Future of Frequency Medicine

Transcript

Speaker 1: 0:50

Hello everyone, welcome to our Spiritual Spotlight Series. Today I am joined by John Stewart-Reed. He may have one of the most remarkable healing modalities to meet science and medicine and it's called cymatics and he has the invention of cymoscope and he is an acoustics physics scientist and inventor who has become a real pioneer in the field of cymatics and he assesses sound as the foundation of almost all matter in the universe and was a potent force in the creation of the life in the primordial oceans and carries the power to heal life. Thank you so much for coming on Spiritual Spotlight Series. I'm so happy you're here.

Speaker 2: 1:29

Wow, thank you for that lovely introduction. I'm really happy to be with you today, Rachel.

Speaker 1: 1:33

Thank you, and I'm so excited to jump into the work that you do because I do feel like musical medicine is so vital now, especially for what's going on in the world, and it's something that I've definitely been leaning more and more and more and more into in my life. And can you maybe share the journey into the world of cymatics and sound healing? What first inspired you to explore this field?

Speaker 2: 2:01

Well, I had been an acoustics engineer. Thank you for the question. I'd been an acoustics engineer for well, almost 30 straight years. At the point when I visited the Great Pyramid with my father in 1996 in Egypt, you know. So Cairo, egypt, the Giza plateau, those three amazing pyramids, and the Great Pyramid in particular, you know, is really astonishing when you go into the Grand Gallery, as it's called, and the King's Chamber itself and the Queen's Chamber, they all have remarkable acoustics, because at that time I was an engineer, I wasn't a scientist at that part of my career but I was really interested in the acoustic properties of the sarcophagus in that King's chamber.

Speaker 2: 2:53

Have you been there yourself, rachel? I have not, but I know what you're talking about. It's very special. The chamber as a whole is and the sarcophagus is amazingly resonant. So I lay in that sarcophagus because we actually had found ourselves all alone. That's amazing, found ourselves all alone. We had been in the tournament before, but you know, this particular time in early 96, we were completely alone. Just happenstance, you know, we were just lucky, really, and towards lunchtime and I think everybody that had bought a ticket had already come and gone, anyway, so I lay in the sarcophagus and I made a vocal glissando which is a kind of smooth, and I made a vocal glissando which is a kind of smooth, unstepped enunciation of a single tone, just to experiment a little bit with the resonant properties. And at one particular vocal pitch it felt like every well, every cell in my body felt like it was tingling, basically, and goosebumps, you know, broke out all over my flesh. It was an amazing experience and that really was a kind of turning point in my life in many ways.

Speaker 2: 3:57

When I look back now, you know exactly how things happened for me, because I then pretty much immediately, you know, when my daddy and I left us, left the pyramid, and ultimately had a chat about about those effects that I had received and experienced and decided that I would want to go. I wanted to go back to the pyramid, but this time armed with acoustics instrumentation. So I did that. I did that later in 96 and that was another amazing experience, and this completely different, but still in the sarcophagus. One of the experiments that I conducted with the acoustics instrumentation caused the sarcophagus to beat like a heart, literally boom, boom, boom, boom. And the Antiquities inspector, he got pretty excited about that. Actually, I think he thought I was going to damage it or something, but there was not really any chance of that. But anyway, um, it was an amazing experiment and one of the aspects of that that came out of it ultimately and it's only just now, after all of these years, come to full manifestation is because I started looking into the into the rebirth hypothesis relating to the Great Pyramid.

Speaker 2: 5:16

You know, it was Dr René Friedman, the famous Egyptologist, who said that the Great Pyramid is a resurrection machine. In fact, all the pyramids are what she classes as resurrection machines and the Great Pyramid is the greatest of all the resurrection machines. Anyway, so it's very much connected with rebirth symbolism and the Egyptians were really, really big into rebirth. And it turns out that this beating heart of the sarcophagus that I discovered with sound is very much part of the at least hypothetically anyway, of the ceremony that would have been conducted in the King's chamber. It's called the opening of the mouth ceremony. It's where the, the Pharaoh, who was just passed his body and has been embalmed, he has stood upright, all you all covered, head to toe in bandages and they, basically they cut open the mouth of the bandages with a little tool, a little special little tool called a Pesh En Kef instrument and this you know, according to the symbology, this reanimates him and at the same time the new Pharaoh is in the same area and he receives the spirit of the outgoing Pharaoh.

Speaker 2: 6:42

And it's a long article. I say so myself. Everyone check it out.

Speaker 2: 6:57

On Egyptian rebirth sonic rituals, and this is a kind of culmination of all of these years of, because this is a Egyptology is a hobby for me. You know it's not, it's not my career path, right, it's not my career path Right, but because of all the times that I've been to Egypt and all of the experiments that I've conducted in Egypt, therefore I've been able to, you know, create a scientist. How that all came about was because of the 97 experiments. So in 96 is when I discovered this beating heart phenomenon in the pyramid. But I wanted to carry out what's termed a cymatics experiment, and cymatics is spelt with a C, c, y, m, a, right, and this is basically the the science of visible sound. It's how you make sound visible. So some people watching this might say well, we already know how to make sound visible. You know, use a spectrum analyzer or an oscilloscope or whatever. Yes, but they are graphic forms. They are showing you the graph of sound energy. Say, right, it's not showing you what sound actually looks like. So when you see sound made visible, it's very beautiful actually. And so I wanted to conduct this experiment cymatics experiment with the sarcophagus, where I would stretch a membrane across the open top of the sarcophagus, and one of the principles well, the primary principle of cymatics is that the patterns, whenever you have membranes and you have sound, there will be a cymatic pattern imprinted on that membrane, but it's invisible to the unaided eye. I liken it to a fingerprint, you know, or a thumbprint on glass. You pick up a glass and you hold it, put it down and immediately look where your finger or your thumb was. You would be really hard pushed to see any imprint whatsoever. But if you sprinkle on some fine powder like talcum powder, oh, straight away you can see your fingerprint or thumbprint. And of course, this is the science of forensic science, and it's a similar sort of thing with cymatics. For those of you who are not familiar, sound imprints a geometric, usually geometric pattern onto a membrane. And this membrane, by the way, it doesn't have have to be. What I used in this case in the sarcophagus, was a PVC membrane. It doesn't have to be plastic, it can even be metal, you know, it can be any. Almost anything actually will receive a pattern of acoustic energy and in this case, with the membrane that I stretched across the sarcophagus, I used sand, because they've got plenty of sand in Egypt, you know it's like it's everywhere, and so they collected some sand for me outside the pyramid and that's what we used.

Speaker 2: 10:02

But before I kind of tell you the rest of the story, I have to tell you the great gift that occurred, and this gift is how I came to be a scientist. Basically, I'd um, in my very early days, in my youth, I wanted to be a scientist, but it was actually my daddy who he advised me to go into engineering first, he said, to get a really good grounding in engineering, and I'm so glad that I did that, but anyway. So then this event that I'm about to describe was life changing and ultimately, you know, from it, I became a scientist. So what happened was about three weeks before going out to Egypt. On this particular occasion, 97, I injured my lower back quite badly. I was in a lot of pain and it was just through lifting something at an awkward angle and I damaged the muscles basically in my lower back.

Speaker 2: 10:58

And whenever your body is damaged in that way, in the spine area particularly, what happens is your muscles in that area go into a spasm, and sometimes in medical science this is called the splinting cycle. You know, if you have an injury, say a fracture of your arm or your leg or whatever. You would splint it, wouldn't you, in order to make sure it doesn't move while it's healing. Well, it's very similar what happens automatically in your body if you have a spinal injury your spinal muscles go into. It's kind of like a cramp, but really it's not quite like a cramp but just spasm. It's similar to a cramp and it's very, very painful. It's actually more painful, way more painful than the original injury. So I was in great pain that day. This is three weeks later, don't forget.

Speaker 2: 11:56

Three weeks after the injury, I was still in this great pain and anyway, somehow I gritted my teeth, took a lot of painkillers and somehow managed to get myself into the pyramid. When you eventually go there, rachel, you understand why it's not so easy, because what's called the ascending corridor is only about four feet high, so you have to bend low when you're going up. It Right, and it's going up at a 26 degree angle. And so me with this splint in my back right, a natural splint Right, really difficult to get in. Other people carried in the equipment. Then we set up the antiquities inspector and I set up this experiment together. He was very helpful. You saw that I was in great pain. Yeah, I told him Anyway, set it up and then, instead of lying in the sarcophagus this time, I placed a small speaker there to make sound.

Speaker 2: 12:56

I sprinkled sand on the membrane from a cappuccino chocolate shaker, by the way, that's what I used just like sprinkle it on, you know and then turned on the speaker from a powered oscillator, so from a little electronic oscillator that makes pure tones into the speaker, right? And then what happened was absolutely astonishing, because on the surface of this membrane where I'd sprinkled the sand, an ancient Egyptian hieroglyph emerged in the sand. And it's just like what.

Speaker 1: 13:47

That is amazing, oh my.

Speaker 2: 13:49

God, rachel, what I had expected was something like what you're looking, what I'm looking at behind you there, that beautiful double spiral piece of geometry. Right, I was expecting what I would typically have seen. I have seen so many times in my life. Cymatic patterns are usually geometric and very often beautifully symmetrical and, you know, just very lovely to behold. But in this case, no, this was actually a hieroglyph and it was very obviously. It was obvious to the antiquities inspector, as it was to me, because straight away we recognized it as what's called the jed pillar, that's d-j-e-d. Jed pillar of the backbone of the god Osiris. And this hieroglyph was dynamic, it wasn't static, it was like snaking writhing, you know, on the surface. Oh, my God, it was really quite something.

Speaker 2: 14:46

And so then the Antiguities inspector, who had been standing up against the north wall filing his, originally looking across at me as I started this experiment, thinking, probably thinking this englishman's a little bit crazy, but anyway, he now rushed across to where I was working with the sarcophagus and he said how you do that, how you do that? And he suddenly became very animated. And what can I help? How can I help you? What can I do? He? He could see now that this was actually a really exciting experiment, right. And so we became a little team and he would be scraping off the sand and then I would, you know, sprinkle on fresh sand and we would change the frequency, and many of the frequencies that we looked at created a new hieroglyph, so there was a whole series of the ancient Egyptian hieroglyphs, right. Well, without going into any further detail on that now, the point I want to make is that, within 20 minutes of starting that experiment, I suddenly realized there was no pain in my lower back. All the pain had gone, vanished, completely gone, right.

Speaker 2: 15:54

And in that moment, rachel, I thought I actually still remember very clearly the thought that I had after all these years, which is because it was a momentous moment in my life and I'd had pain, severe pain, for three weeks. So, anyway, I thought this my bloodstream is flowing with endorphins because I'm so excited, you know, and of course it was a peak experience in my life. When anyone has a peak experience, their natural opioids are created, right, and these opioids give one, well, first of all, a sense of euphoria, but also and I was definitely that I was euphoric, all right, but in addition to that, they wonderfully mediate pain. And so I thought in that moment ah, my bloodstream is flowing with endorphins that's mediating the pain, and I'm very glad about that. And when I get back to the hotel the effect will wear off and the pain will come back. Yeah, the pain never did come back, right? So then I knew that something really very, very important had happened that ultimately would be important for medical science Right, absolutely.

Speaker 2: 17:16

And the other aspect of that amazing experiment was that the ancient Egyptian hieroglyph aspect of it said to me that this could be a new tool for science. If we can find ancient Egyptian hieroglyphs in an ancient Egyptian sarcophagus, what else can we find with this science, scientific method, anyway? So so that set me on a completely different life path. At that time, I was an acoustics engineer. I was running my own acoustics consultancy business. As soon as I got back to the UK, I began to make plans to sell that business and to move into science, you know, to actually become a scientist. And so that's exactly what's happened.

Speaker 2: 18:03

So in all those years since then, I've been studying the biology of sound frequencies and music frequencies and how they support healing in the body, and also developing this new instrument, this we call the cymoscope. This is. You see an iteration of it behind me here. This is the portable model which, by the way, we want to take back to where it had its genesis in 97 in the Great Pyramid. We're trying to get permission right now to do just that and that'll be an exciting experiment when we go back there. But that's the life path that I've been on, rachel, since those amazing experiments.

Speaker 1: 18:42

So I do want to talk about the simascope. So that is a groundbreaking invention. How does it work and what have been maybe some of the most surprising discoveries while using it?

Speaker 2: 18:54

Well, great questions, thank you. Well, first of all, how it works is very similar to that simple experiment that we conducted in the King's Chamber, where you have a membrane we had a speaker in that case, if you remember, in the bottom of the sarcophagus that made the sound. And then, whenever you have sound present and you have a membrane present, the principle of cymatics is there will be a pattern of acoustic energy imprinted on that membrane, usually invisible to the unaided eye, right. Well, the same principle is at work in this beautiful little instrument that you see behind me, but instead of using, say, plastic as a membrane, we now use the surface of water, just very, very pure water, and this that's medical grade water, the kind of water that you could inject into your vascular system, into your veins, if you wanted to, so very pure and that the surface of it is exquisitely sensitive to sound. So when we we use the term inject, when we inject sound into that water, it organizes all into the depths of the water, and so trillions and trillions of molecules of water are in a blink of an eye, are organized into great beauty, and that's the cymatic pattern, which is a kind of an analog or a model of the sound that you inject into the water.

Speaker 2: 20:33

Now I should, you know, say the difference between, explain the difference between an instrument like this and what a lot of people do at home with cymatic apparatus at home, because a lot of people now are really excited about cymatics, and for good reason. It is an amazing new science. However, one of the aspects to the cymoscope instrument that makes it completely different to what you might be able to do at home, for example, is that all objects in the universe have resonant properties, basically resonant frequencies, a frequency of sound at which they are most resonant, and there's no exception, any, any. Every object does have these, you know, natural resonances, natural resonant properties. The same is true of the cyma scope instrument and the same is true of all the home experimenters who are working with cymatics. Right, the difference is that with this instrument, we have identified, within the mechanical systems of the instrument, we have identified those resonant frequencies, and then we tune them out electronically. So now we have a kind of virtually a flat response to any sound that we put in, that we inject in within the bandwidth of that of that instrument. Right, so now we get a really accurate and replicable model of a sound when we inject it into the cymoscope. So so, going on from there to the second part of your question, we have made some amazing discoveries with the cyberscope instrument.

Speaker 2: 22:21

One of them, many years ago now, was with working with dolphins. So a good friend of ours now in Florida, jack Kasowitz, he and his wife Donna, they work with dolphins a lot, and Jack had an amazing idea. He contacted me, told me about this idea and said John, what would happen if we injected a dolphin sound? What would happen if we injected a dolphin sound? Because dolphins make a lot of sounds and a lot of marine biologists have believed for a long, long time that dolphins communicate with sounds in a kind of language of words, right. And so Jack had this idea. He said if we inject a dolphin sound into the assignment scope, what would we see? I said I have absolutely no idea, jack, but he had this amazing idea to submerge a series of plastic objects under the water and task the dolphin to use its echolocation beam because dolphins can see with sound, right. So to use its echolocation beam, which is ultrasound, high frequency sound, to to literally look at the object not with its eyes but with its ultrasound beam. Jack then had a hydrophone, which is a kind of underwater microphone, placed somewhere near the objects, and so when the sound from the dolphin reflected from the objects, the hydrophone would pick up a little bit of that sound.

Speaker 2: 24:09

Well, what then happened was really quite astonishing, because Jack sent me just as email attachments, right these various sound files that he had recorded, and he didn't even tell me what these sound files were. He didn't tell me that this one is a plastic cube, this one is a plastic cross. You know, it didn't tell me any of that. I just had to do it blind and I put these, these wave files, as they're called, into the cymoscope instrument, one by one, and one by one I saw those objects. So I saw the plastic cube, I saw the plastic cross, I saw the ball, I saw the plastic duck, and so on these different objects, right will, could be created with the cymoscope instrument, and so this was a kind of major discovery really.

Speaker 2: 25:06

What came out of that? Uh, we still there's still more research to do in that area but one of the exciting aspects that came out of it is this idea that dolphins communicate with each other, not in words, but in pictures, and and they're sharing, literally sharing pictorial information. One of the reasons we think this is the case, or why dolphins would do this, is because a pod of dolphins have a scout dolphin who circulates circles the pod, basically kind of looking out for any predators, like sharks for example, and if a dolphin, if a pilot dolphin, sees a shark, for example, it would take a photograph of it, literally with its sound, beam, and beam that to all the other dolphins in the pod. So suddenly in the mind's eye of the dolphins, shark, shark, and then they obviously take avoiding action. They know what to do under those kind of emergency situations, right.

Speaker 1: 26:15

Yeah.

Speaker 2: 26:16

That's one of the scenarios that we've talked about. But what I would love to do in the future, rachel, is to make visible with the Simuscope instrument a conversation between two dolphins, like interrupt their beams and literally measure, record with the you know, with the hydrophone the conversation and then see what it is they're sharing with rain. That would be so exciting, wouldn't it, you know anyways, I'll give you one more example, because I literally all day on this subject.

Speaker 2: 26:50

But one more exciting example that comes from the CymaScope instrument concerns an experiment that we conducted here in 2018 with Professor Sung Chol Ji of Rutgers University, very much relating to this new shift network course, which is all about frequency medicine and how sounds, and music in particular, uh, catalyze the body's healing, natural healing response, and the experiment was really it was. It came from an idea about about pythagoras of samos and how he had said he was a famous greek philosopher who said that music could be used in place of medicine, and, uh, I realized that that that statement was very powerful but had never really been adequately tested, and so the idea for this experiment came out of simply out of Pythagoras's quote, and I designed this experiment using human blood, and Professor G came here to help me design the protocol for running the experiment, and then he stayed for the first few experiments, which I'm going to describe to you now. So, in essence, you simply take a test tube of whole human blood and decant it into two smaller test tubes. One test tube goes in a very quiet environment in the lab here called a Faraday cage it's really quiet in there and also electromagnetically screened. And then the other little vial goes in an incubator in the main body of the lab here and that in that case there's a little speaker so we can play music to that blood. And so, in essence, we test. We test the number of viable red blood cells before and after, pre and post the music, in other other words, right. And of course we've also got the control in the Faraday cage to test, and the results were, right off the bat, amazing, really amazing. I mean, with all kinds of music we were seeing all genres of music we were seeing great improvements in the viability of the red blood cells.

Speaker 2: 29:14

This is the ratio of dead blood cells to living blood cells. So I need to explain that when we receive blood from the blood bank which was only taken from a donor the day before, by the way, so it's very fresh blood, right Blood can last up to four weeks before it has to be thrown in a blood bank situation. In this case, we literally get it the next day, so it's very fresh, but even so, it will still contain millions of red blood cells that are dead, because that's how it is in your body. They're being that, they're dying all the time and they're being mopped up all the time, right? So always there will be millions that are dead. There'll also be millions that are dead. There'll also be millions that are alive and well thank you very much. And there'll also be many more millions that are classed as medically old. This means they're starting to die. The outer membranes that are that have that beautiful lozenge shape, normally starts to break up, loses integrity, and so ultimately they would die in the body and again they would be mopped up by the body systems.

Speaker 2: 30:19

In this case, what we were finding was that these old red blood cells were being made new again within 20 minutes of immersion in the music, right? So this is why the pre and the post showed completely different results. Within about 15 to 18 percent rise in viability within 20 minutes of immersion in music instrument comes into. The picture is as follows that we we try to figure out what. What is the mechanism that's driving this? Okay, we know where. Maybe the music, maybe the blood likes the music, right, you know that's. That doesn't really tell you anything at all, it it? We needed to know the mechanism, the biological mechanism, and so we hypothesized about it and we said that the results from the classical music, when we tried classical music were not as good as the results from the popular music, and that was a clue. We thought classical music would have been, you know, a far better result. That's what we thought.

Speaker 1: 31:33

Fascinating.

Speaker 2: 31:34

It was counterintuitive, you know to find that Anyway, so it would. But that was a great clue because we then reasoned well, the main difference between classical music and popular music is the bass beat Boom, boom, boom, boom. Take me back to that pyramid I was telling you about earlier, anyway, the bass beat. So we thought, ah, so it could be the low frequencies in the music that's actually driving this healing mechanism, repair mechanism of the old red blood cells instrument. And we actually and the reason for that is because the speaker in the in the incubator is has a very relatively poor bass response because it's only a small speaker, right, so you need really big speakers if you want a really good bass response usually. But as it happens, the cymoscope instrument has an amazing frequency response. It goes down to three hertz. Amazing frequency response, it goes down to three hertz. So we put some blood direct into the cymoscope instrument and then we we injected a very low frequency tone, a pure tone, into the blood and we saw a beautiful cymatic pattern right on the surface of the blood. That was not a surprise, rachel, because, as I was saying earlier, when you have a membrane and you have sound, you will always get a cymatic pattern and we light it from above, and so this is how we get special lighting makes visible the imprint of the sound on this case on blood. So we saw this beautiful cymatic pattern from this low frequency sound, and then we removed the sound. We just brought the fader down on the audio mixer and expected the pattern to disappear. Because that's what normally happens with cymatics. Like I said earlier, if you inject a sound, within a blink of an eye it creates all this beautiful order and a beautiful pattern will emerge, but then, as soon as you remove the sound, it goes back to Brownian motion, it goes back to just random. You know there's no pattern anymore, right, and that happens usually instantly. In this case, the pattern remained fixed on the blood. My God, yes, love this, love this. This was so exciting and we'd never seen anything like it. I'd never seen it. I'd been working in cymatics for many, many years, never seen anything like it.

Speaker 2: 34:06

And so the reason this is a new medical discovery, right, absolutely. And what it means is that when sound enters into blood, particularly low frequency sound, it causes the oxygen that's already dissolved in the blood to bind to the hemoglobin molecules in the red blood cells and this causes them to go to turn in their color from very dark maroon color, kind of very, very dark red, to bright scarlet, right, just like that, in a fraction of a second. And so the fact that there's no sound you take the sound away doesn't matter to the red blood cells, because they've already received their oxygen thank you very much and they are going to hold on to it. They've got it and they're holding on to it. And don't forget, this is in vitro in a test tube, so they can't release that oxygen as they would in the body in a vivo environment. They're constantly being charged with oxygen and then releasing the oxygen to the tissues Can't do that in a test tube, right, basically, as soon as they receive the oxygen, they just hold on to it, right, and they've got it. And that turns the blood bright scarlet. And there's this bright scarlet cymatic pattern just sitting there on the surface. Oh my God. So that was a kind of major medical discovery.

Speaker 2: 35:33

And the way that it works in your body, rachel, is that every heartbeat, every time you have a heartbeat, that is a pulse of low frequency sound and that is the primary mechanism that causes the oxygen to bind, you know, rhythmically, every time there's a heartbeat boom, boom, boom, it's causing the oxygen to bind, to know rhythmically. Every time there's a heartbeat boom, boom, boom, it's causing the oxygen to bind to the hemoglobin. And you know what would happen if your heart stopped. Well, there's no sound anymore. And if there's no sound then you would lose consciousness within a second.

Speaker 2: 36:09

Perhaps you know, it doesn't take very long for your brain to say no, thank you, I don't like this, not having any oxygen. And even though at that moment where your heart would stop, your brain is still engorged with oxygen, the blood is still got masses of oxygen in it, but it can't bind to the hemoglobin because suddenly there's no more sound. Right, right, the heart is not just pumping the blood around the body, which of course it is doing, and it does many things, actually many other things. But in addition, one of the other primary mechanisms, as we've discovered, is the sound itself actually causes the binding of the hemoglobin. And then, when you understand that oxygen is the key healing molecule in the body, you know, if you've got more oxygen in your body, then you've got more ability to power all of the healing mechanisms in your body. So it's very, very important.

Speaker 1: 37:08

Fascinating. So you just brought up the course that you have upcoming at the Shift Network, which is Explore the Secrets of Sonic Sciences and Cymatics, so it teaches you how to connect with the spirit world through sound. What can participants expect to gain from this experience?

Speaker 2: 37:23

From the spirit world, did you say.

Speaker 1: 37:26

Yes.

Speaker 2: 37:27

Wow, I wasn't expecting that question. One of the wonderful discoveries that I've made over the years have been what I call the postulated four postulated laws of cymatics. And I go into these postulated laws. I say they're postulated because, of course, they have to be proven by other scientists, you know, but I've worked me through working with cymatics, and one of the laws in this case that I'd like to describe right now that is very important from a spirit point of view, is the second law of cymatics.

Speaker 2: 38:15

The second law of cymatics concerns the way that sound enters our body, how it enters our body. Now, you will know, obviously, that sound. Well, I think you will know that sound looks like a wave, but the reality of sound in air, its actual space form, is that of a bubble. So the sound that's coming out of my mouth now is literally a bubble, and that bubble is oscillating in and out and of course, it's expanding as well at the speed of sound. And those little oscillations within the bubble are literally the energy information which, in this case, is coming from the vibrations of my vocal folds. Right, but this, when sound enters into water, something amazing happens that is not generally known, and this came out of the second law of cymatics. And what happens is that the sound, the what's so-called wavelengths of the sound, are automatically compressed in a ratio of 829 to 1. And why that ratio is what it is is simply because in air, the particles of air, you know all the various gases, have little atoms, and molecules in air make up the gas of the air. They have a certain distance apart, right, but when, and that causes a certain propagation, speed of sound in air, propagation speed of sound in air. But when sound enters into water, for example, it suddenly finds that the molecules of the water are much, much closer together. Therefore, that increases the speed of propagation, because the, the energy can be passed on from molecule to molecule much faster, more efficiently, let's say, than it can in air.

Speaker 2: 40:19

Right, but the discovery that that I made relates and this is relating to the second law of cymatics is that that ratio of 829 to 1 is at work, and this means that when sound frequencies enter into our eyes, which is obviously, they're containing a type of water. It's very, it's, it's not much different to water, actually the fluid in your eyes. That water is a really beautiful medium for sound. And so the sound, if you're making sound from any musical instrument. The sounds literally are entering into your eyes. They go straight through the eyeball and then they meet the retina, which is made mainly of water. It's a form of liquid crystal that's mainly water water, it's a form of liquid crystal that's mainly water. Those sounds then go through into the optic nerves, which are also mainly water, liquid crystal again and then through to where the pineal gland is in the brain. And the pineal gland is also in its own little sack of water, protective water. So it's almost like you know water, water all the way through. So now you get the idea that all the sounds that we're creating with musical instruments whether that be a gong or a Tibetan bowl, you know, or a harp or a tuning fork, whatever it is all of those sounds are penetrating through our eyes and straight into the pineal gland.

Speaker 2: 42:01

Now, of course, other aspects of the body are receiving sound as well, but I'm talking here specifically about to answer your question about the connection with spirit, because the pineal gland has been known for millennia to be a gland that is connected with spirit or that connects us with the divine energies. Basically, even the ancient Egyptians knew this, or how they knew it is a bit of a mystery, but they did know it and it's really pretty astonishing. Anyway, the fact is that, from this second law of cymatics, we now have a way of being able to optimally stimulate our pineal gland. And how this works is you. As I mentioned earlier, every object in the universe has a natural frequency of vibration. This is the frequency at which it will most readily absorb acoustic energy, say, in this case, and in the case of the pioneer gland, it's just the same. So all you need to do is to know the dimensions of the pioneer gland in order to work backwards from this 829 ratio.

Speaker 2: 43:14

Right, and then you will find the frequency which is going to be optimal for optimal stimulation of that gland. And lo and behold, it is e3 on a piano which is roughly 165 Hertz. Right, there's a few decimals involved, but that's essentially the frequency. So when you make e3, however you make it, whether you make it on a piano or a harp, or you know, gongs are a very rich source of frequencies and they've got thousands of frequencies. So you'll always be receiving E3, regardless of the fact that you're going to be receiving a lot of other frequencies as well. But the fact is, when you receive E3, then you know that you are stimulating your pineal gland and, of course, because that is the gland that gives us connection to spirit, then we're going to obviously have an enhanced hopefully have an enhanced spiritual connection.

Speaker 1: 44:14

Thank you so much. That's awesome. I'm excited. So I have one final question for you. I did have 20 questions but we only got through a couple. But I'll have to have you come back on. But where do you see the future of cymatics and sound healing heading? Do you think mainstream medicine will embrace these discoveries?

Speaker 2: 44:37

Well, yes, I do, because it's actually already happening, not in a major way, but it has started to happen. I'm going to give you a couple of examples here. First of all, I think we should really talk about the umbrella term frequency medicine, because that's very much part of the title of this course. And frequency medicine, what does it mean? Well, it means basically a form of medicine in which energy is being applied to the body, and this energy can be sonic, it can be sound, it can be music, but equally it can be light. So light frequencies, you know, are still vibrations, but they're not vibrations of sound now, they're vibrations of electromagnetism. And so one of the examples I'm going to mention now is that frequency medicine although they don't use that term, but it's already being used in hospitals, in hospitals and it's being used in the dermatology department, for example, where if you go into hospital with some form of skin condition you know, given like eczema or you know some other horrible skin condition, they won't give you a pharmacological pill, they won't give you a substance you know to imbibe. They will give you light therapy. They call it usually call it phototherapy or photobiomodulation therapy, but still it's essentially frequency medicine. So that's one you know wonderful aspect of mainstream that's already recognizing the frequency medicine has its place, has a very important place.

Speaker 2: 46:20

Another one, rachel, which I really love is this new clinical term, music medicine. So you've probably heard of music therapy. I think most people have come across the term music therapy in their lives. Music therapy really started in the 1950s. It really started to escalate, to burgeon into the world in the 1950s and onwards and it's still with us today and it's a very popular form of therapy and essentially it's a form of psychology as well as physical therapy. So you got, so you've got the patient with working with a therapist and then, of course, the therapist is helping the patient to choose the music, although it's very important for the patient to actually want the particular music, whatever it is. You know that they have to love it, really ideally. But the therapist then obviously gives them talk as well, talk therapy, and this is very important form of therapy for pre and post-operative stages of a hospital stay. However, of course, there can never be enough music therapists to go around. There are millions of people in hospitals all over the world right now, but only a handful, relative handful of music therapists. So the the good news is that mainstream medicine has now accepted that music has powerful therapeutic facility even without the therapist, even without the intervention of the therapist. In other words, it has physiological benefit just because of the frequencies in the music itself. That's one aspect of it.

Speaker 2: 48:08

But there's another aspect to music which I think is also fairly well known now, which is that when, if you experience music that you particularly love, it actually has a wonderful effect on one's dopamine levels. So when dopamine is created, particularly in the brain, it's also created in the body. But when it's created in the brain there's an immediate correlation with white blood cell proliferation. So leukocytes in the body then proliferate when you have a lot of dopamine running in your bloodstream, right? So, in other words, when dopamine, by the way, has been given this dubbed this title the happy hormone.

Speaker 2: 48:57

Happy hormone, you are feeling happy when you have an experience where you're in joy. Whatever that experience is and it can come from music, but whatever it doesn't matter what it is you will get more dopamine in your body. And when you have more dopamine, you will have an immune system boost, yourocyte production will will rise significantly, right? So happiness and health are very much, you know, in tandem. They need to work together. It's very important to be happy, in other words, if you want a good immune system, and so, in this case, the music medicine was one of the many mechanisms. If, if you're enjoying the music, then you will have more dopamine in your bloodstream and then you will have more leukocyte proliferation, so you'll have a boost of your immune system. Right, there are many, many other mechanisms that I talk about in the course, rachel, but that's one of them.

Speaker 1: 49:57

Yeah, there's seven different modules. This course does launch on April 3rd. It's's one of them. Yeah, there's seven different modules. This course does launch on April 3rd. It's on the Shift Network. It's Explore the Secrets of Sonic Sciences, Antimatics, Musical Medicine for Radiant Healing. Also, there's bonuses.

Speaker 2: 50:13

Oh yeah, there's bonuses. I'm going to give you the URL, though, now, because there's this beautiful the shift network are wonderful for creating really concise URLs, and they've got this, this URL, which is frequencymedicinecoursecom. I love that. It's so simple. I love that medicinecoursecom and that takes you straight to the page. You know where you can.

Speaker 1: 50:36

I love that for the, for the course, and so yeah well, I want to thank you, john stewart reed, so much for coming on the spiritual spotlight series. It truly has been amazing to connect with you today.

Speaker 2: 50:48

Thank you so much oh, it's been a great pleasure. Rachel and I'd be happy to come by anytime and we can carry on the conversation. I'm so excited, thank you.