Regaining Your Rights

Coming To Know Your Senses Again

The Vibrational Universe As It Arises from Chaos

The Fight for Your Rights

The Fight for

Your Rights to

(Reality Versus Digital )

Enjoy Music

(and Life)

Why Does It Matter ?

Enter the Switch

What YOU Can Do

Still to be Considered

Consequences

"A Comedy of Digital Errors"

Most of us have realized that the world is very wrong. For us it feels wrong most everyday, things occur in the wrong way, hardly anything is as it should be. Overlooked among all the possible reasons and causes of the distortions in our interactions with our world and everyone and everything in it, are the distancing effects of digital technology.

The accretion of this further artificial layer of false correspondences on top of all the other false layers built onto the surface illusions presented by our nominal five senses, threaten to diminish our ability to act humanely. The unquestioning acceptance of intrusive and distorting binary technology has damaged our abilities to gain true knowledge of what is, hence our inability to act correctly towards each other and our planet.

We will show the very subtle, as well as the gross pervasive damages that the misapplication of these de-humanizing technologies have upon even our own views of ourselves. Recall that specialization is for insects and robots, you are not a binary device, nor is your brain a computer. Humans are greater than base two, we are massively multi-valued and complex. Machines should be adapted to human use and purposes, not humans adapted to machine use and purposes.

A: The FIGHT: Origins, Forces, Positions, Making Sense of it All

It doesn't seem possible, yet almost as soon as sound could be heard, there has been considerable conflict over "that noise". It has followed life up out of the primeval swamps all the way into the present days. Who's making it, why are they doing it, how do we make them stop and - can we make that noise? Followed by; how did they make that noise, what other noises are there, does this noise go with that noise and what are these noises good for? Followed again by, stop making those noises! As soon as the noises were organized there were further divisions as to the purpose, use, meaning and desirability of arranged noises. When these arranged noises were conceived to be music, further divisions, questions and forces joined the fray.

There are those who have always wanted to convey only beauty through music. There are also those whose vision of it is of value, hence either an article of commerce or that of healing art. There are those who sought to inspire noble passions through music and those who sought to bend others to their will.

There are those who sought freedom for their spirits while their bodies were in chains. There are those who sought to use music to recruit converts to their cause, superstition or beliefs and those whose beliefs, superstitions or cause inspired them to create music.

There are those who sought in music the liberation of all people from all things and those who sought to enslave whole nations with music. There are those who sought acclaim and fame from their mastery of the forms of music and those who have expressed only their contempt and anger for all the world and life itself through abuse of the forms of music. There are those who have explored all the forms, meanings and uses of music between the widening polarizations of extremes.

For everything under the sun, beneath the stars and almost as many in deep shadow, we have conceived a purpose in music. For music has many unique and diverse qualities, it can echo or evoke all known emotions or combinations of emotions in ways deeper than any learning or culture can imprint or call forth. It can not only inspire life, it can aid it is creation and growth. Sadly forms of it can also deny, damage and destroy life as well. Knowledge of this has created greater conflicts over who creates, who performs, who distributes, who controls music as well as to what purpose and ends, by what means and in what forms.

To glance casually around these days, one could be excused if one thought these conflicts no longer exist, as music seems to be everywhere. It seems to be available almost for free in a lot of forms and situations. You can it seems, take it with you everywhere and enjoy it anywhere. But is it still music? Has it's current forms and methods of conveyance altered it properties and abilities? Do we still have music? Does it still have worth? Is there value to it's modern forms and formats?

We could at this point assign everyone a position in a imaginary binary divide, pick the sides and say it's Us against Them. But that serves no purpose, furthers no understanding and is a too vast an oversimplification of the complexity of everything that pertains to or relates from music. Further, polarity and division are root causes of problems in perceptions of and by music and all that is entangled in it. That sort of False Duality is a trap and a delusion that separates us from one another and keeps us from realizing Unity.

B: Your RIGHTS: What They Are, Why You Need Them

We believe that everyone has a right to music. That everyone has a right to experience for themselves all the benefits of music. That everyone deserves, at base, the simple joys the sensations of immersion in music creates for beings incarnate on this material plane, as well as the higher states and purposes to which such immersion can assist us. That everyone inherently has the same rights to enjoy music undiluted, un-compromised and un-altered to realize it's full benefits, in any form, in any situation and at any time, so long as it harms no one.

That everyone has a right to respond to their perception of music, in any way, in any place, day or night or all day and night, so long as it harms no one. That everyone has the right to create music, to play music, to share music, to participate in music, to dance with music, to perform music, to dance to music, to be music, to be moved and to move beyond themselves.

We belive music has a right to children. That children also have a right to music and not just to children's music. That you can find more of the potentials in music in how children squirm, rock, twist, jump, tilt, clap, shout, scream, jiggle, laugh, sway, bounce, swing, run about and fall down upon hearing music than you can find in a room full of adults sitting in chairs, hearing passively the same music.

That music itself has a right to be heard in it's fullness, for it's effects to sound and reverberate through all levels of the cosmos, without truncation, alteration or polarizing tuned scales ( A=440 is binary , ÷by 2, centered at the base of the head \ A=432 is trinary ÷ by 3 centered in the heart ). That it has a right to be created for enlightening, uplifting and healing purposes, not just for entertainment. That it has a right not to be used as a weapon, disturbing effects occur beyond the immediate and apparent damage from such abuse.

C: REALITY vs. Digital: Is There Really a Difference?

We are, as you will recall, discussing the foundational frequencies of the vibrational spectrum of the entire universe. Add to this that the higher forms of life on our planet are resonant over seventy octaves, although we can perceive less than fragments of twenty octaves with our nominal five senses.

What we do to and with sound affects behavior, vision, emotions, water, atmosphere, environment and the viability of our biology. To limit music's creation, it's expression, it's arenas, it's instrumentation, it's conveyance, it's time or setting, is to limit our response to it's benefits and to damage our potentials and our world. To say the very least of just the possible local consequences.

If however, you believe that man made is the same or somehow better than natural. If you believe all these distinctions between real and not real are meaningless. We suggest you avail yourselves of a high powered optical microscope or telescope and begin to really observe the universe all around you. The closer you look, the more magnification you use, the greater the readily perceivable difference will become.

The man made reveals itself to be incredibly flawed, a rough approximation, not at all resembling what it purports to be to unaided vision. The natural will reveal itself to be multiple layers of chaotic fractal functionality, internally supporting it's visible form. We are seriously deceiving ourselves if we belive our flawed creations, our crude tools, our balky mechanisms, our poorly conceived digital devices can actually convey with fidelity anything of music or of life.

D: Enjoying Music: Do We? Are We? Changes, Effects, Theories.

We all like to believe we enjoy music on occasion. If you ask anyone what kinds of music they like, the most frequent answer is "pretty much everything". If you ask why they like music the answers become wildly variable, but the general theme is that they have a response to the music. It makes them "feel" or "move" it allows them to "be transported". If you ask if they listen to music as much as when they were younger, the usual answer is "no, not as much". If you inquire as to why that is, the answer varies: "It doesn't do that much for me anymore / I do not have much time for it anymore / It's not as good as it was before / I am just not that interested anymore / I do not really know".

This decline in the full use and enjoyment of music does not appear to make sense. We are trying to enjoy music more than ever before. The number of artists performing, the number of different and new styles of music have increased. The number of events appears larger as does the number of venues. The availability of recorded music seems to have increased exponentially and the price of a release appears lower and therefore available to more people.

It is only our enjoyment and ability to fully respond to music that is somehow muted, lessened or failing. There could be any number of reasons for this, it could be that we have become desensitized to music because it's always all around us. Music is used in almost everything , from movies and videos, advertisements to elevators, waiting rooms to offices, gymnasiums to shopping centers, from cars to portable file players to city sidewalks, from background to forefront, it is all around us.

So senses abused by constant barrage could be a reason for a loss of enjoyment of music. Except that there are specific instances where music still receives a full response. Here we are referring to acoustical performances, from folk singers to chamber groups, jazz trios and up, to full orchestras, accapella singers and marching bands. If no one and nothing is plugged in, then nothing has been altered or faked or digitized. There are also certain artists and performers who have the skill and confidence to actually perform live and have the clout to insist that their performance Not be squeezed through the cheese grater of the digital domain. These artists all enjoy the full response of the unfettered enjoyment of their audiences.

So it seems it is only some music in some instances that is conveyed in certain forms and manners that fails to rouse our responses fully. Could it be the changes in music itself, the styles, the content, the context, are at fault? No, because if you download a great old classic song that you love, that you are not tired of, that first came out when viynl records were the standard format (e.g. - a Beatles song) and listen to it, you will not have the same full response to it that you would from listening to either the original record or a live acoustic performance of the song. You may think you are responding, you may even think you feel something, yet it will be somehow evanescent, fleeting, fading too quickly after the song is over, not as fully felt in your heart. Why then?

It is because most of what you hear is no longer actually MUSIC. Usually it is a form of digital noise known as a Computer Music File and you've been fooled - and that is a large part of why you do not feel good. Should you doubt this, look to the studies done in Sweden that corelate the sharp rise in road rage incidents with the replacement of tape players in cars with CD and mp3 players. If you are playing music for enjoyment while driving and yet not getting the full amount of enjoyment and do not know why, you will be much more easily irritated with even the slightest additional stress, prone to over react.

E: Why Does It Matter: Does it? The Basics, The Numbers

Well for most of us, it may not seem to at all. Most of the population, about 80%, cannot hear the difference between older recording formats and the newer digital sampling formats. Only around 20% of the population can hear that there is something "off" about the digital sample. Around half of those people (10%) can tell you that there is something missing from the digital sample. Less than 5% of the population will be able to tell you exactly what is wrong with the sound of the digital sample and sometimes even identify the format of the specific Computer Music File. The rest of us, well, we just do not know, we can not tell that we are being fooled.

So if it fools most of the people, most of the time, what is wrong with it? Well for most of the corporate entities involved, nothing is wrong, it is faster, cheaper, there is greater control over the product, it is much more profitable, less user friendly, for them it is just great. For everyone else, well let us take a deeper look.

What is a computer music file? It is a digital representation of a sample of reality, like a series of snapshots of the audio domain. However many times per second, sixteen bits out of all that is occurring in the sound is sampled. The amount and complexity of intonation that can really be occurring, at any fraction of a second ranges from naught to the Terra byte range. It is not possible to model all the frequencies and their amplitudes and their harmonics and colors of reflection, refraction, echo and decay with a binary impression accurately for such a large, dynamic and variable set of data.

So we take a sample. Sixteen bits of amplitude and frequency information out of the reality domain of sound and keep doing it, tens or hundreds of thousands of times per second. These samples are then sequenced and run through an algorithm that discards data according to the psychoacoustic model (whatever the model posits we will not miss) that type of music file uses, and digitally compresses the remaining according to the extensions' packing rate for file size.

Digital compression rates for different file types vary quite a bit. The most commonly used one is mp3 which is actually Motion Pictures Expert Group type 1, 3rd layer, which is an obsolete format for sound on a film. Mp3 rates can vary from 22:1 @ 64kHz to 4:1 @320kHz which means at worst for every 22 bits sampled, 21 are discarded and one bit gets to stay as representative and at best for every 4 bits sampled, 3 are discarded and one stays.

The reason for all the complexities is simple, our computers cannot handle the file sizes needed to actually fully represent music in it is full range and all it is harmonics and color. Our computers are nowhere near fast enough nor do they have enough memory. It is all just software programming tricks to synthesize an approximation of reality. Perhaps one day we will have ones good enough to handle real music but it will probably not be a binary device, likely something better than base two. So we have to make even the small samples into much smaller files that our computers can handle.

Now if sound and vision were actually analogous (directly similar) to each other, or reality analogous with digital, we could actually fool our senses with a much lower bit rate and vastly lower number of frames. After all we can fool our sense of sight with only 35mm film at 24-30 frames per second. However hearing is very much an older and deeper and more direct sense of perception and sound is much more fundamental to the basis of the nature of the universe. A computer music file (aiff, mpg, flac, ogg, rm, pca, w64, au, wma, ra8, wav, mp3,) has only a statistical relationship to a algorithmic sample of a musical reality domain.

So even beyond 24 bit depth at 256KHz sampling (ripping 3X8 bits 256,000 times per second) rates computer music files cannot fool us into responding as if it were actually hearing music, beyond placebo effects. UNLESS digital samples are all you've ever heard, then you might be deceived into thinking you were having a physical and emotional response to some bits of binary digital code. As if you were actually responding to music in the full reality of the audio domain.

F: ENTER the SWITCH!

From analog to digital radio, analog to digital television broadcasting, still photographs to digital camera images, film cameras to digital video for theaters, beta and vhs tapes to digital video discs, viynl disc jockeys to computer filter dorks and active analog networks to digital audio processing. Our ability to perceive and respond to real events are being degraded. Our senses are being deceived on a continuing and constant basis.

1. Radio:

The Switch from analog Frequency Modulation Radio Broadcasting to Digital FM has been slowed by differing standards and devices and technical failures of early formats. Also TIO have not been as concerned with it as, even if you have and utilize analog recorders, with FM(a) the sound is bandwidth limited and noisy even with good reception. So even tho it is analogous to to actual music, it has already been stripped of some of it is ability to affect people and alter reality. That and TIO already knows how to deal with radio Dj's who get too creative with their resources (r.i.p. Alan Freed ).

Digital FM brags of crystal clear reception, multiple format subchannels and multiple channels. It fails at best. Each station has much smaller area of clear reception even at greater wattage, no fringe reception beyond. That is due to digitals' severely steep drop off in signal beyond it is now limited radius.

Yes, there are multiple formats or subchannels being broadcast by each digital station, so it seems like there is more choice, more material being presented. However this illusion was easily pieced by early adopters of cable, who long ago coined the phrase "57 channels and still nothing on". It is no substitute for a single analog station actually playing music that people really want or need to hear. Rather than what some monetary interests decide they want you to be programmed with.

As for the audio quality itself, once a recording (even an analog one) or even a live performance has been through a AD\DA converter and sampled into binary code, it no longer has any fidelity, not even low fidelity. It has only a slight mathematical relationship to the sounds it purports to represent. This also explains the increased use of multi - channel audio (5.1-9.1 surround sound) as immersion or enveloping effects can mask the lack of fidelity.

2. Television:

The Switch from Analog to Digital broadcasting was more more sudden and forced by the FCC upon the NAB to conceal not only the problems and the reasons behind them, but also the massive theft of the broadcast bandwidth by government agencies. The same airwaves formerly used by analog broadcasters and now resold to private commercial interests.

It should be noted that the airwaves and the bandwidth (frequencies) contained in them are legally the property of all the inhabitants of the planet. Not the monetary entities who buy licenses to use them. These rights are now being obscured and abused. At the time they were granted to be held by us all, TIO already controlled all of the land and deemed the air to be of little value.

Licenses can, have been and should be challenged, as it is plain that broadcasters and other owners of licenses are no longer serving the public good, even by the diluted definitions of the FCC. This is apparent in the "news" that is little more than disaster reports for voyeurs of suffering and horrors. The "weather" that is always alarmist stay at home scare report guessing and exaggeration. The "sports" that are militarized spectacles of combative conflicts, substituting for the actual festivals people used to throw for each other every two or three days.

Add the constant propaganda of the war on humans a.k.a. the war on drugs ; terror ; others. Also known as 'what you should fear right now'. Not to mention the marketing warfare campaigns and subliminal behavior modifications known as advertising. Which now pollute even public television as well as pay television and make watching an even greater hazard to your health.

Much hoopla was made of the "Free Digital Converter Coupons" to compensate owners of older TV sets so they too could tune into the new digital frequencies and be subject to digital programming. These converter boxes were cheaply made offshore with clunky interfaces and unstable chip sets that lose their scanned channel memories often.

Worse is the much smaller digital broadcast range and clear reception area of each station, since this results in frequent total loss of signal. With digital this means shredded images and total loss of audio. Not just rain or bad weather interferes with digital reception. Wind (even a little), if there are leaves on nearby trees, air pollution (particle, mold and pollen counts), humidity, barometric pressure, flocks of birds! With the old analog broadcasts, if reception was poor, there was still a recognizable image, even if it was banded or snowy and the sound while noisy did not drop out entirely.

With digital, even with a good signal, there are still lots of digital artifacts, motion artifacts, lost frames or portions of frames, altered depth of field, pixelization, dropouts, blocking, misplaced pixels, frozen frames or portions of frames , voice sync loss, voice register distortion et cetera. If the FCC and NAB were actually serious about compensating viewers for the added costs of switching to digital, there should have been coupons to cover the cost of mast mounted roof top antennas and installation as well as decently designed converter boxes. We do know if we were an advertiser and saw what the terrible reception did to the digital broadcast picture, we would not be paying money for digital air time.

Perhaps it is all a subterfuge to move everyone to buy newer TV sets and wire them to a pay provider and then illegally sell off the airwave bandwidth yet again. It is clear that TIO profited enormously off the earlier sale of the public airwaves. Some would say that once you have everyone hardwired into the system of networks, it is easier to make it an active network and then make viewing mandatory. Is that a rabbit hole? Or just rabbit ears? Why would anyone want a system that delivers lower quality to fewer people at a higher cost? Why would anyone not want a broadcast station to be able to reach vast numbers of people clearly , with high quality content ... oh wait ... it is another rabbit hole.

3. Photographs:

Those taken with film are actual recordings of photons reflected off material surfaces, focused through a lens onto a light sensitive film emulsion. They are provably real records of real places, people and events. They cannot be altered without the alterations being detected. Images taken with a digital camera are none of these things.

What a digital camera takes is an amplitude pixel grid captured with a series of Charge Coupled Devices, usually one CCD for each color group (red , green , blue =RGB). It may represent something real or it may not. Since each pixel can be digitally altered and the alterations cannot be proven to have occurred. In other words , it can, has been and will be faked.

A more subtle distortion is the difference between taking photographs and capturing digital images. Images are rarely composed with the same attention to technical aspects, detail or artfulness that photographs on film are. Also there are seven (ROYGBIV)colors to real visible light, not the three (RGB) that digital devices are capable of conveying.

4. Films:

Again as with still photos, movies shot on film look real, feel real and are for the most part real. To be precise you can do tricks with lenses, angles, focus, exposure, lighting, shadow, filters, editing and developing the film that will alter what the viewer sees. These alterations can be traced and proven however, unlike digital imaging, digital processing or digital special effects. The latter has become highly developed, especially image capture and 3-D technology and the cost has been coming down. Leading us all closer to mutable realities that cannot be distinguished from actual reality.

For some time now movies have been tending towards becoming much more immersive experiences where one accepts the suspension of disbelief required more and more readily. Now images cast by such relatively dim lumen sources on silver, silica or phosphor screens or induced out of LCD's, LED's or plasma fields have not been shown to have objective effects upon reality like similar sums of energy in the lower wavelengths of sound have. Yet they can and do have subjective effects upon individuals, which collectively can affect reality. If you've accepted the suspension of disbelief to watch a movie and you believe what you see is real and no one can prove it is not. Well, which way really is up?

5. Video Tapes:

The problem here is that Digital Video Discs (DVD's) never lived up to their hype. They were supposed to be indestructible and like CD's, they're Not. One scratch and they are done for. Even fingerprints or dust on the discs can stifle them and ruin players.. Better than tape? Better than tape was about to become? No, just less dangerous, less user friendly and much, much cheaper.

The sound was supposed to be superior and was really only multi - channel(5.1-9.1) Pulse Code Modulation digital. A word here about low frequencies aka "Bass". The point one (#.1) of the multi-channel audio specification is for a monaural subwoofer. This is a mistake originating from the incorrect notion that low frequencies are uni-directional (radiating in all directions). They are not, they become less directional than higher frequencies as their frequency decreases, yet do not become uni-directional until they get well below human hearing range (think earthquake low).

The picture was supposed to superior, when in fact, resolution was less than older user friendly formats like Betamax, SuperVHS and Laserdisc. For example many of the better early DVD's were actually shot on Betamax cameras. They are not user friendly, you cannot copy them, cannot even make analog copies, except for the few released without Digital Rights Management. There are few recording decks and fewer DVD camcorders. The image suffers from digital motion artifacts, the players lock up and skip.

But wait! Now we have a winner in the post - DVD format wars and it is ... Bluray yeah, yay! Hip, hip, horaay! Now we can buy or rent whole catalogs of movies all over again in yet another shiny new format! It used to be that for any new product to make it in the marketplace, it had to be 10 times better than the product it was replacing to be even considered for placement into the market place.

Today it seems we only have be told that something new is somehow better and we fall for it, even unproven, even disproven. If the product has 'Just Noticeable Difference' and we're told it is vastly superior, then placebo affects kick in and we end up thinking it is the greatest advance of technology since sliced bread. That is actually how this "'new boxes for old" game now works.

So is Bluray that much better? We do not know, we have not seen enough of it to say. We do know that you need a new Bluray player and a new HDTV set to even see the difference. That these sets cost more and require three to four times the amount of electricity to operate. That these sets require rare earths from undeveloped regions of the planet and this exploitation of resources is causing exploitation of humans and degradation of the environment.

Some would say 'you can not have an omelet without breaking some eggs' by way of supporting the 'march of progress'. Which we would view the same as saying 'you can not have continual economic growth of the monetary system without ruining some peoples lives'. We do know that before market penetration reaches saturation, there will be a new and improved format and shiny new boxes to tempt us. Also designed with planned obsolescence and environmental waste inside.

6 . Viynl Records:

Disc Jockeys playing Viynl Records, particularly in the rave, party and festival scenes have reached mass audiences with a depth of passion and liberating effectiveness that borders on ecstatic religious experiences. Indeed it is common for participants to state that "this is their church". That these experiences hinge entirely on the DJ's ability to reach and read the participants involvement with each piece of music is supposed to be irrelevant. As is the participants freedom to immerse themselves in the music and their freedom to respond as they feel the music move them. The reality of these crucial factors gives lie to the propaganda that these events are 'simply dope parties with loud music'.

Still the transformative power of such events on the participants has attracted authoritarian notice and the twin forces of commodification and demonization have been unleashed upon them. To the point where such events are now both sponsored by corporations and against Federal law. This despite the supposed protections of freedom of speech, freedom to assemble and freedom of association.

However, much more subtle forces have also been at work to deprive the events and their participants of much of the power of music. We speak here of the various forms forms of digital DJ's. Or since real music discs are no longer used and laptop computers are - " digital Dorks ".

There is no disputing that this form of seeming to play music is easier, lighter, quicker, cheaper, sneakier, faster and more accessible. Viynl records are much heavier than even CD's (180g vs. 6grams - mp3's weigh nothing) they're expensive, hard to conceal, they wear out fast and they are hard to find. So it would seem that there is just no contest, that purveyors of digital should win every time.

However in the real world - what is observed is that Viynl DJ's who have switched and become digital dorks lose the interest of about 20 to 30% of their loyal fan base each time they play out. The response from the people gathered is decreased drastically (again to only 20 to 30%). It becomes harder for them to get everyone dancing and harder to keep them dancing through the mixes and breakdowns.

Now digital dorks will dispute this, since they do not notice it, having their noses, eyes, hands and attention buried in their laptop screen. Which may also contribute the the deceased response, since the amount or lack of attention given to the participants response to what they are hearing is a large factor. The clue to the answer is that these percentages are consistent with the rates of placebo response. A placebo response is what you experience when you think you are getting what you need, even if you are not. It is the response to the fake sugar pill, that you have because you think you are getting the real medicine in a double blind Pharmaceutical study.

With digital files what occurs is, you hear the sounds, they seems like sounds you heard and had a response to before, your memory brings up the recollection of your earlier response and you begin to have it again. Yet it is little more than dancing to the memory of a song and your response dwindles to a fraction over time. Are we saying you cannot have a good time listening and dancing to digital files? No, you can push yourself into having a good time no matter what the situation. Just keep going when you notice the sound is not supporting your efforts like music once did and you'll be fine . . . mostly.

The sad reality is that sounds made from digital files are only amplified digital representations of samples of music. They do not have the ability to create long term beneficial effects on your body, your nervous system, your brain or the electromagnetic and neuro-chemical transmitters that are the basis for your body's feelings, moods and emotional states. Which you need for your health and well being. Nor are digital files of any benefit to the non - material parts of your self, that are usually referred to as your "souls".

Since digital files cannot affect your subjective experience and they have no actual reality of their own (being essentially vapourware composed of binary bits) they have no effects on objective reality beyond vibration as a form of digital noise pollution. Nor are there effects from digital files on quantum states of reality, since there are no lower or higher order harmonics preserved with any sort of fidelity. So, we do not actually have music any more.
So . . . digital . . . what is it good for . . .

7. Analog Audio:

Here we come to the matter of Concerts, which , if they are not entirely performed on acoustic instruments (those capable of creating sound of themselves) or by singers, may involve a system of sound amplification. This can be for the purposes of ensuring that even quiet instrumentation is heard. Or simply to convey the sound to a larger audience. Or to raise the impact of the performance by increasing the sound pressure level experienced by the audience.

There have been large strides made in the accuracy and fidelity of such systems of sound amplification over the last half dozen decades. Great innovation and invention, development and testing has brought large improvements to all parts of such systems. From myriad new types of microphones, transducers and other input devices to the new clarity and versatility of ever larger signal mixing consoles. From more powerful and new designs for amplifiers to better and more precise tone controls (EQualization). There has even been improvements in new types of loudspeaker cabinets, driver elements and array configuration. These were most needed since loudspeakers have always been the weak link in the chain of sound reproduction (least accurate, most distortion).

There has also been a growing cadre of professionals who operate these systems and have accumulated a growing trove of knowledge of what works in each instance. But no longer, everything associated with concerts using large sound systems, over the last decade, has come under the sway of a new methodology with a new class of devices. Discarding decades of knowledge and experience, because it now serves a new master-"profit". Profit first, profit foremost and only profit.

Learned and caring professionals whose mission it was to ensure that the artists' performance reached the audience in ways desired by the artists' in a manner beneficial to the audience have been discarded. Replaced by inexperienced lower paid workers skilled in one area - Manipulation of digital files by digital devices and computer software programs for creating the illusion of performance.

That's right, some of the concerts using large sound systems are using stored digital files to recreate a previously sampled digital representation of the reality of a prior performance or studio recording, in short - it is faked. Recall that Milli & Vanilli had to surrender their Grammys back to the R.I.A.A. not because they were caught lip-syncing , but because Milli & Vanilli were in fact, Not the Artists who performed for the recording that was played behind their lip-synch act. The industry has been tacitly winking at this sort of fraudulent "performance" for some time now.

However, if you still doubt this, take a closer look at the back of your ticket, it no longer mentions that it is for admission to a venue for a performance by the artist(s). It can not legally because in some instances the artist is not giving a performance, just a charade of a pantomime act. It is quite clear why some artists have been convinced to go along with this.

No one is going to be perfectly "on" every night of a tour, and financially they can not afford the risk of losing fans and their attendant revenue. Pull a perfect show out of the digital hat every time though, and everyone gets paid and it fools most of the audience. So the pressure from their management, their record company, the event producers, ticket sellers, venue owners and media corporations is truly immense.

Really, it would only be a shocking story if the technology to stage perfect faked performances were Not Used. Given how much money and how many entities are involved. Now, as stated earlier in this discourse, there are artists skilled enough, confident enough and with enough success to have the clout to not go along with these schemes and to actually perform their works of music.

Sadly it often does not matter if they do, as the large sound systems often contain multiple digital devices and multiple analog to digital and digital to analog converters. These devices can render even the greatest performances of music incapable of having life affirming long term affects on the individuals in the audience.

The most common of these devices is the digital version of an analog active dividing network (crossover). It is used for dividing the sound spectrum into discrete groups for routing to specialized drivers in the loud speaker system. The reason for this is that no single type of loudspeaker driver is capable of accurately reproducing the entire sound spectrum by itself (which *should* cause you to wonder about those itybity things you are putting inside your skull via your ears) .

Most simply, these drivers are referred to by the portion of the sound spectrum that they can handle (i.e. woofer = low range /mids = midrange/tweeter = high range). This makes dividing networks (crossovers) essential to sound systems, however the digital versions of such devices (also called dynamic or speaker controllers) all contain analog to digital/digital to analog converters, since they do all their processes in the digital domain.

It is here that the signals lose their attributes of being music. The reasons for employing such devices (aside from being cheaper and more profitable) are given as the greater flexibility, as they have the ability to model multiple electrical dividing networks that would be too prohibitively expensive to actually construct. There are many other digital devices that can be in the signal chain (effects (echo, delay, reverb) compressor/expanders, gates, vocal tuners, harmonic generators, equalization, mixing console, et cetera). While many can be done by analog devices without loss or damage, it has gotten to the point that an artist would need an expert to ferret such things out of sound system. To have them physically removed to assure that their performance remained analogous to music.

So why isn't it done? Basically, a lack of knowledge of how far the technology has strayed, this information is not disclosed. Again why not? Well all the individuals involved are under contract not to divulge this information. Some are actually under contract to dispute the validity of any of this information about digital devices. All make some or all of their income from either the design, manufacture, distribution, advertising, sale, use, transport, lease, hire, rental, operation or employment of systems of digital devices. So, the controlling entities are assured and certain that the individuals involved have many incentives to maintain silence. So, why would anyone want to control the who, how, where, when and why of how music is conveyed? . . . oh wait . . . it is another rabbit . . . no . . . this one's a gopher hole!

G: What You Can Do: Solutions, Alternatives, Simple Steps

Support actual local musicians, in any and every way that you can, buy their stuff, get them drinks (not too many!), invite them over for dinner, attend acoustic performances. Go see and hear your orchestra, go see and hear a small jazz group or a vocal choir or a chamber group. Take someone with you who would not normally go, or someone who can not afford it. Support big name artists and groups who you know are really performing. Talk or write to such artists and let them know you appreciate them keeping it real. Ask them if they are releasing anything on viynl. Urge them to consider doing so!

Go to venues where you are not tricked, tell everyone you know when you find such places. Really, often a small place that books talented artists themselves is a much better experience than the largest of arenas. Support real recording formats of actual high fidelity stereophonic music. If you have a high fidelity audio system, share the experience of listening to analog full spectrum music with others. You will be treasured for your generosity and wisdom! Even more so if you have the fortune to still be using vacuum tubes! Go to an independent record store and buy some viynl recordings and ask questions and learn how to care for and preserve them. Dust off the turntable. Get a record brush and some new styli and enjoy some music yourself and feel it. Share the feeling - intrigue friends.

Know that a pitch correction of just less than -two tenths of a per cent ( -0.19 to -0.18 down) on your turntable will correct your records to the natural A=432 tuning and you'll be amazed! Dig out the old cassette tape boom box or tape walkman and the old compilations, prerecorded and mixtapes. Consider yourself blessed if a relative passed a reel to reel tape recorder onto you, be it 1/4, 1/2 or 2 inch tape. Honestly, even listening to scratchy old shellac 78's over a Victrola has more benefits to reality than you'll ever get out of a digital representation of a sample of a piece of music.

If you go out to a club (or better) or a festival (or better) and see that the person acting as a DJ has a computer, complain to the management or promoter. Remind them that real DJ's do not touch computers for music, at least not in polite company and certainly not in public! Tell them you did not come to try to dance to the memory of a song, nor to pretend to be entertained by a computerized juke box while some dork with their nose in a laptop does digital filter tricks on the digital samples coming out of the sound system. There is no Skill to that, there is no Art to that, it has no Moments to it, no Colour and certainly not much Depth! Remind them that Viynl Dj's are attentive to their crowds and so much better in every way and for everyone!

After all, your emotional, mental, physical and spiritual health are important! As are the benefits of actual music to everyone within hearing range of the sound system. Support local and traveling DJ's who only spin Viynl and let them know you know why it is important too! Cheer when the record skips, crackles or pops, it is one more way to know you are not being fooled again!

Go to a classic single screen movie theater, especially when they are showing actual 'Films'. Take some friends and treat them to these visual stories made from real things. Older movies are generally films, ask at the box office. The last big budget Sci -Fi movie shot entirely with film where all the special effects were done "in camera" was "Blade Runner", however there have been some in other genres shot on film recently. Ask at the box office if they have a projectionist and if the film is shown with a 'film projector' - it makes a difference!

Maintain and use a VCR, buy blank and pre - recorded tapes. Archive analog material on the blanks so you'll have a source for respite when your eyes, mind and soul tire of seeing digital pixels and hearing digital bits. You can archive analog audio on tape as well, you can compile 6 - 8 hours on some VHS tapes. Record the first play of your new viynl onto your VCR and you will always have a pristine clean print.

Keep your film camera, buy some fresh film and record some real pictures of real things and be able to do so in the moment, right when you click the shutter. Instead of posing and composing and waiting for the digital camera to complete it is image capture to see if the image is what you wanted. Sure, it is a bit more expensive to buy and develop film and yes, digital cameras can be cheaper and you can review and discard unwanted or flawed images. But that's why you can just discard them - they are just - cheap images.

If you've ever seen and looked closely at a silver print Photograph shot with a large format Camera then you already know, there is a difference. Digital cameras decrease the value of digital images, there is a lot more of them, so their worth is diluted. A photograph is 'of the moment' in a way that digital images will never be. Any decent film lab isn't going to charge you for spoiled prints that you do not want anyway. So where is the advantage?

Turn off your Television, Turn it off, what else can we tell you? Turn it off, there is nothing on that is worth even the lowering of your metabolism and reduction in cognitive abilities that comes with passive viewing. Turn it off. There is nothing on that is worth your time and is not hazardous to your senses and sensibility. Turn off your Television! It is all either a lie or it is a distraction! Turn it off. No one needs to live their life vicariously in an induced trance sponsored by corporate entities. Turn it off. There is a whole real world right outside that actually belongs to all of us. Turn it off.

If the "medium IS the message " then the message of the medium of TV is "what is on this screen is more important than you or anyone you know or anything they could be saying, feeling, or doing ". Turn it off, go outside and enjoy what you can still find of the natural and growing world. Breathe. Help some things to grow or just become absorbed with observing the beauty. Breathe. If the weather is inclement, go to a conservatory and revel in nature there. Breathe. Invite some friends over and have some conversations, read a book or write, listen to some actual music or make some. Breathe. Make some art or take time to do some cooking or baking, share and taste. Be with the ones you love, be actually present for them and listen. Breathe. Handwrite a letter to someone no longer in your vicinity. Breathe.

Keep your radio, get a better antenna. Investigate multi - band radio , there is much more than AM & FM out there. Consider getting a multi-band radio with it is own crank or shake generator and solar panel. You can hear shortwave from almost the other side of the planet. Find out what local college and university stations are in your are, as they are more likely to still be broadcasting actual viynl records. If not ask them to consider adding an 'analogous to real music' hour to their programming. You can get a low power broadcasting permit and become your own radio station and play what you want to hear and would like others to hear.

There are lots of alternatives to submitting to the corporate digital machine. There are plenty of reasons to take your music and your life back from those who cannot be bothered to care about you and yours. Why should we ever surrender something so Intrinsic to All Human Cultures and to Life itself as Music & Dancing in fact Are, to any entity that clearly only wants to make a truncated disposable product out of it for only their profit? We should not, we should take it all back for or own peaceful uses and enjoyment forever!

H: Still To Be Considered:

We have not in this discourse, addressed the complex issues of Cell Phones and Cell Tower Networks. Nor the purposes of replacing what was the world's greatest hardwired landline system of telephony communication with something that costs All users much more. While providing less in the way of actual clear, coherent, constant and secure communication. While smothering the planet in yet another layer of electromagnetic radiation. Suffice it to state that it is far too large of a rabbit hole, no, a warren of rabbit holes for us to tackle here.

However, next time you see a cell tower, take a good look at it, get as close as you can, (but do not stay long). If it (even disguised) seems to you to be a harmless sort of huge antenna, well then you are obviously happy with which pill you chose to swallow. Just forget about it and any curious feelings of dis - ease you may experience upon close approach to such Sentinels. Really, it is likely your perceptions and sensations mean nothing. Not a thing, really, go home, turn on the TV and go back to sleep, do not worry, be happy.

Also not fully addressed is the is the subject of Discordant Vibrations or Noise Pollution. For most of us it is constant, inescapable, almost an acceptable background to our lives. All of the machines around us make noise, unrestrained and unregulated in pitch or degree. Some make noises that we cannot actually hear, either above or below human hearing perception.

This taken with the knowledge that most electronic devices emit ultrasonics. Also most mechanical devices create extra low frequencies and infrasonic vibrations. Our electrical transmission networks have extra low frequency, magnetic, electromagnetic and radio frequency emissions. Our communication and broadcast devices emit vibrations all the way up the spectrum to almost visible light. Our medical devices create waves over much of the spectrum above visible light all the way through to gamma rays.

Now just because we cannot hear or see these vibrations does not mean no one does, or that these vibrations have no affects upon our world. Hard science has shown that merely residing within a certain distance from a freeway will shorten the lifespan of your physical body. Not for just the reasons one would suppose (i.e. toxic fumes) but also simple exposure to constant noise and vibration.

Add to this that much secret funding to weaponize all of these frequencies of vibration has happened and continues to occur. Then it will not take a truly great lover of Sophia (philosopher) to draw parallels between the sorry discordant state of the world and all the intrusions into the vibrational foundations of our reality that we have been making since before the steam age without regard to or knowledge of the consequences.

All of which is simply our way of saying: "Stop Making that Noise! Go sit down in the corner and be Quiet until you learn the Harm that such a Racket produces". For we seemingly have no direct apprehension of those portions of reality that we cannot reflectively touch, taste, smell, hear or see through our five normal and nominal senses. So . . .we . . . know . . . not . . . what . . . we . . . do. Or do we?

I: Consequences: What are they?

For the World, in Doing Nothing to Reclaim All Aspects of Our Humanity = DIRE! We have shown and demonstrated in each area that when anything becomes digital it also ceases to be real. It does not become "virtually real". It does not become "hyper real". It becomes a faked simulation that only a computer could consider real. That no one using a computer should ever confuse with everything real outside of the digital abyss.

Despite this, many people treat these digital simulacrum as if they were still the really real objects and never consider that computer modeled objects do not have the same or even similar properties. This false worship and adoration of the unreal has real deleterious effects on people, families, clans, tribes, cultures and societies. It imposes it's stasis upon ideas, creativity, emotions, relationships and possibilities. It distorts empathy and compassion beyond mere weakening of these vital aspects of our selves into becoming actually dysfunctional.

Digital artifacts of binary devices then become a type of poisoned chipset soup for their souls. A really bad for anyone amalgam of plastic fuzzies and cold pricklies. A cheap silicon plastic disposable version of reality that some dis - eased souls actually consider to be digestible sustenance. Is it really any wonder that more than a few of these lost souls far from ease with their selves or the plastic imitation world they have swallowed, treat everything and everyone else as if we are all just scenery in a video game playing out in their heads?

Or, possibly the consequences = nothing, it may just be that some of us did not grow up with sound, well, "sounding" like it does now and we're just not "used" to it. It may well be that we have not adapted to the level of "falseness" that digital devices convey while trying to fake an approximation of reality. On the third hand, we are quite sure we do not want to try to exist in a world where Tin Violins and Concrete Cellos sound just fine to most folks. Nor a world in which binary machines decide what humans can or cannot experience.

As for us, since our words have just finished taking a huge excremental dump in a lot of people's rice bowls, possibly ruined, broken or cracked some of those rice bowls. Or maybe just made them question their ability to continue to feed off of a fraudulent system. Well, it might be dire for us, if this were not a PARODY COMPOSED of SARCASTIC HUMOR. Oh, it'll still rile a lot of folks even after they see it is just an EXERCISE in WRY WIT. After all Not one Word of this could Possibly be True!

We will proudly be denounced as Luddites by the alienated, who still do not "get" that Luddites were only against the MIS -application of (steam) technology in ways Harmful to Humanity! Everything we have said for the PURPOSES of COMEDY will be disputed, denied, decried and de-bunked, since sadly some people and most entities do not know how to laugh anymore! Least of all At them Selves! Still we hope everyone else, who may still remember their individual humanity and how to laugh out loud without being cued by a lafftrack, have been and will continue to be merrily
"Rolling On The Floor, Laughing Their Fucking Asses Off"!
PEACE ! ©02010 ©02011 Cee Are & CkaS