Latest / UK Column Radio / Rockefellers Were Behind the Change in Music Frequency | Jerm Warfare

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Rockefellers Were Behind the Change in Music Frequency | Jerm Warfare · UK Column Radio

• 0:30
  Speaker 1: My name is Jim. This is Germ Warfare The Battle
• 0:33
  Speaker 1: of Ideas. Alex Michael, otherwise known as Conspiracy Music Guru.
• 0:39
  Speaker 1: This is the first time you've been on my show.
• 0:41
  Speaker 1: And as I said to you before I hit the
• 0:43
  Speaker 1: record button, I've had so many requests over the years
• 0:46
  Speaker 1: to have you on. I am so sorry it's taken
• 0:48
  Speaker 1: this long.
• 0:50
  Speaker 2: No worries. I'm quite flatt that you've had so many requests.
• 0:52
  Speaker 2: So that's that's good. So I must be doing something right.
• 0:55
  Speaker 1: I guess exactly. And and I am a musician, but
• 1:01
  Speaker 1: I say that very loosely because I don't really know
• 1:05
  Speaker 1: what I'm doing most of the time. I just basically
• 1:08
  Speaker 1: I just basically pay some play some punk rock power
• 1:11
  Speaker 1: chords and inverted power chords, and that's that. I've got
• 1:13
  Speaker 1: two guitars, and I see behind you you've got a
• 1:15
  Speaker 1: whole pile of instruments.
• 1:17
  Speaker 2: I've got about fifteen guitars, all tuned to four three too.
• 1:21
  Speaker 2: We'll get into that, I'm sure. And yeah, I'm getting
• 1:23
  Speaker 2: I'm building up some percussion and I'm sort of outgrowing
• 1:27
  Speaker 2: my studio now. I desperately need a bigger space because
• 1:30
  Speaker 2: I want to have a stage I want to have
• 1:31
  Speaker 2: some light and I want to do professional and this
• 1:33
  Speaker 2: space is just I'm just growing out of it. So
• 1:34
  Speaker 2: I'm even talking about selling up a moving house, which
• 1:37
  Speaker 2: is daunting, but like I say, I'm bursting into the scene.
• 1:40
  Speaker 2: So especially when you get sort of five or six
• 1:41
  Speaker 2: people in it, you're just like, we're all crammed in
• 1:44
  Speaker 2: this little space. I was like, ah, we need a
• 1:46
  Speaker 2: biggest we need a bigger boat man.
• 1:48
  Speaker 1: For seen guitars, what's your favorite?
• 1:52
  Speaker 2: That's that's tough because they all do different things, you know,
• 1:55
  Speaker 2: different sounds, you know. So if I wanted to play
• 1:57
  Speaker 2: a blues if I wanted to make a blues album,
• 1:59
  Speaker 2: I'm going straight from Offender strat cast or a telecast,
• 2:02
  Speaker 2: or I've got a couple of Fender nice yeah, or
• 2:05
  Speaker 2: you know, if I want to rock sound, I've got
• 2:07
  Speaker 2: a couple of custom made guitars here that won Leslie.
• 2:10
  Speaker 2: I'll show you this one. This was made for me
• 2:13
  Speaker 2: by a fan in the UK and he actually put
• 2:15
  Speaker 2: flat Earth into the threat board.
• 2:16
  Speaker 1: It's probably reverted, so that looks like a custom That
• 2:19
  Speaker 1: looks like an SG that's been customized.
• 2:21
  Speaker 3: Yeah.
• 2:22
  Speaker 2: Well he got me to pick the body and what
• 2:25
  Speaker 2: kind of hardware and I wanted and I wanted the
• 2:27
  Speaker 2: as a muffled equidistant map on there as well. So
• 2:30
  Speaker 2: he's carved that in and uh yeah, incredible bit of crafts.
• 2:33
  Speaker 2: Which is that? So that's what a compliment that is
• 2:36
  Speaker 2: for you know, I moved a guy so much in
• 2:38
  Speaker 2: the States, a guitar maker Luthia, that he contacted me
• 2:41
  Speaker 2: and said, I want to make you a guitar free
• 2:42
  Speaker 2: of charge, and this is worth like grands, you know.
• 2:45
  Speaker 2: So that's how you touch. That's how music could be
• 2:47
  Speaker 2: so powerful.
• 2:48
  Speaker 1: How does it sound?
• 2:50
  Speaker 2: That sounds really rocky? I mean it's really really chunky.
• 2:53
  Speaker 2: So if you want a real hard rocks down or
• 2:55
  Speaker 2: you want to do anything heavy metal, that that's the
• 2:57
  Speaker 2: guitar I would go to. Also got an Iban airs,
• 2:59
  Speaker 2: which is great for rock. I'm a big Steve vaifan
• 3:03
  Speaker 2: that guy is just just I think he's an alien.
• 3:05
  Speaker 2: I don't know how his fingers work so fast.
• 3:07
  Speaker 3: Man.
• 3:08
  Speaker 2: But and then's so, and I've got a bunch of acoustics.
• 3:10
  Speaker 2: I've got some classical guitars here for that classic Spanish sound,
• 3:13
  Speaker 2: and sometimes I do a bit of that in some
• 3:15
  Speaker 2: of my sol fedio stuff. So I've got all the
• 3:17
  Speaker 2: sort of ingredients I need in front of me. I've
• 3:20
  Speaker 2: got a big piano, midi piano in front of me,
• 3:24
  Speaker 2: So I can, you know, do all string compositions. If
• 3:26
  Speaker 2: I wanted a sitar, I could, you know, turn that
• 3:28
  Speaker 2: into a citar or a trumpet or a trombone or whatever.
• 3:31
  Speaker 2: So I can do a lot of things digitally as well,
• 3:33
  Speaker 2: and add my voice to all of that, you know,
• 3:36
  Speaker 2: and the harmonies and the production and everything else, and
• 3:39
  Speaker 2: I can I can create. You know, I've got enoughing.
• 3:41
  Speaker 2: I'm no guitar maestra. I'm a jack of all trades
• 3:46
  Speaker 2: if you like, but master of now. So I'll play
• 3:48
  Speaker 2: a little bit of piano, play a little bit of drums,
• 3:49
  Speaker 2: play a little bit of bass, a little bit. I've
• 3:51
  Speaker 2: got enough ingredients to put into it like a song.
• 3:53
  Speaker 2: You know, I know some things. I need to put
• 3:55
  Speaker 2: this in a song and tell people about this particular subject,
• 3:58
  Speaker 2: and I'll make a song about that.
• 4:00
  Speaker 1: Well, I've got a grand total of two guitars and
• 4:02
  Speaker 1: a ukuleady.
• 4:04
  Speaker 2: That's a good start. Well I started with one. You know,
• 4:07
  Speaker 2: you got to start somewhere. Ukuleles are nice, they're they're
• 4:09
  Speaker 2: quite pleasant to listen to.
• 4:11
  Speaker 1: And I've also got the smallest of the of the range.
• 4:14
  Speaker 2: All right, guitar.
• 4:20
  Speaker 1: Wait, I've got a Fender Strat with with a Symour
• 4:22
  Speaker 1: Duncan humbuck on it. So I love, I love playing
• 4:25
  Speaker 1: against the bridge and then and then I've got to.
• 4:28
  Speaker 2: Tailor that Harsher sound then by the sounds about the
• 4:30
  Speaker 2: Harsher rockie sound, right.
• 4:31
  Speaker 1: Yeah, I mean punk rock is my is my thing.
• 4:34
  Speaker 1: I grew up with that Johnny Rotten clash. But yeah,
• 4:40
  Speaker 1: but I've got a beautiful Taylor GS Mini, so it's
• 4:44
  Speaker 1: slightly smaller, which is really really nice for for you know,
• 4:48
  Speaker 1: for taking away on weekends. It's got a it's got
• 4:51
  Speaker 1: a malgany wood, so it's got still got a very
• 4:54
  Speaker 1: deep sound. So but those are my two guitars, and
• 4:56
  Speaker 1: I really enjoy them. I can't afford more.
• 4:58
  Speaker 2: I wish I could, so do I man, but I
• 5:01
  Speaker 2: just bought another Fender. It's a Fender copy and this
• 5:04
  Speaker 2: company is called Sire, Larry Carlton Sire, and this was
• 5:09
  Speaker 2: this is better than any Fender I've played. Fender are
• 5:11
  Speaker 2: really going downhill at the moment. I don't know if
• 5:13
  Speaker 2: you're aware of the Fender lawsuit. At the moment, Fender
• 5:15
  Speaker 2: are taking a bunch of guitar makers to court because
• 5:17
  Speaker 2: they're copying the Fender body, which is like that kind
• 5:20
  Speaker 2: of shape. But this was three hundred euros, three hundred
• 5:23
  Speaker 2: and fifty euros. This pay plays better than the two
• 5:25
  Speaker 2: thousand dollar Fender Strat cast. So it's incredible that, Sire
• 5:29
  Speaker 2: Larry Carlton, and this is probably my favorite guitar and cheap,
• 5:33
  Speaker 2: like so affordable at four hundred euros for three fifty
• 5:36
  Speaker 2: I think it was its It's insane what you can get,
• 5:38
  Speaker 2: the quality you can get now, so you know, I
• 5:41
  Speaker 2: try not to use that. Oh I can't afford more guitars.
• 5:43
  Speaker 2: Well really you can. If they're just a couple of
• 5:45
  Speaker 2: hand that's actually good play as good as you know.
• 5:48
  Speaker 1: That's a good point. Yeah, I mean I heard about
• 5:50
  Speaker 1: that Fender story. I mean that's going to send them
• 5:52
  Speaker 1: sparring downwards.
• 5:54
  Speaker 2: Yeah, it's not a good look. It's really not a
• 5:56
  Speaker 2: good look. Why don't they just make better guitars? You know,
• 5:58
  Speaker 2: people are going for other Strat cop is, you know,
• 6:00
  Speaker 2: Strat sort of style guitars because they're better. You know,
• 6:03
  Speaker 2: the craftsmanship's on a prs with a strat kind of
• 6:08
  Speaker 2: body that the crass was shit on. That is way
• 6:10
  Speaker 2: way better than any friend of strat cast that's coming
• 6:12
  Speaker 2: out now. So they need to pull their socks off,
• 6:13
  Speaker 2: and they've just pissed a lot of people off. So
• 6:15
  Speaker 2: it's really not a good look that it'd be interesting
• 6:16
  Speaker 2: to see how that ends up.
• 6:19
  Speaker 1: Alex. Take with your background for those who are listening
• 6:22
  Speaker 1: to you for the first time.
• 6:24
  Speaker 2: Well, I come from a quote unquote musical family. My
• 6:29
  Speaker 2: father was an organist in a band with his brothers
• 6:31
  Speaker 2: in the nineteen seventies. I was born nineteen seventy two,
• 6:34
  Speaker 2: and I always remember a piano being around or an organ.
• 6:37
  Speaker 2: My dad used to play the Hammond organ, so there
• 6:39
  Speaker 2: was always a piano or an organ and I in
• 6:41
  Speaker 2: the house, I started, did.
• 6:42
  Speaker 1: You say Hammond, That's like the ultimate rock organ.
• 6:45
  Speaker 2: It's awesome, especially when you got the Leslie speakers where
• 6:48
  Speaker 2: they've got they've got that in terms go, it's incredible.
• 6:53
  Speaker 2: I can emulate that sound on my on my MIDI
• 6:56
  Speaker 2: keyboard here. So I'm a big fan of the Hammond organ.
• 6:58
  Speaker 2: I use it a lot in a lot of my tracks.
• 7:00
  Speaker 2: It really feels a certain area of the space where
• 7:02
  Speaker 2: you're just like, if you want some warmth, get that
• 7:04
  Speaker 2: Hammond organ in there. It just particularly if you're going
• 7:06
  Speaker 2: into a chorus and you get there, ey, it's great.
• 7:11
  Speaker 2: So he had one of them. He had the organ.
• 7:12
  Speaker 2: He had the big leslie speakers and you click a
• 7:14
  Speaker 2: little button, the speakers starts spinning inside. So I played
• 7:18
  Speaker 2: around with the organ for quite a while, and then
• 7:21
  Speaker 2: I got myself a little keyboard. I think I did
• 7:23
  Speaker 2: my first gig when I was eight years old. I
• 7:25
  Speaker 2: was playing Christmas songs in an old people's home, and
• 7:29
  Speaker 2: bless them, they went around with the with the glass
• 7:31
  Speaker 2: and they kind of collected a few some tips for me.
• 7:34
  Speaker 2: You know when you go around with the hat and
• 7:36
  Speaker 2: they all put some money and it's like and I
• 7:37
  Speaker 2: got nine quid or something like that. I was like,
• 7:40
  Speaker 2: oh wow, as an eight year old boy, that was
• 7:42
  Speaker 2: quite quite quite amazing. I thought maybe I could make
• 7:45
  Speaker 2: some money out of music. And I think that's when
• 7:47
  Speaker 2: I first realized that, you know, I could actually make
• 7:48
  Speaker 2: money from making music, regardless of you know, what it was,
• 7:53
  Speaker 2: if it was Christmas songs or even ring tones. I
• 7:55
  Speaker 2: started making ring tones as well. But anyway, cut a
• 7:57
  Speaker 2: long story short, when I got to about twenty one,
• 8:00
  Speaker 2: I picked up the guitar, and because I already knew
• 8:03
  Speaker 2: core progressions and melody and that kind of thing, picking
• 8:06
  Speaker 2: up the guitar was pretty easy. I advanced fairly quickly
• 8:09
  Speaker 2: on that. And when you can play the guitar, you
• 8:10
  Speaker 2: can play the bass. I started playing the bass, and
• 8:12
  Speaker 2: then I started learning about music production and started putting,
• 8:15
  Speaker 2: you know, all of my ideas into the computer. I
• 8:18
  Speaker 2: did a thousand gigs as well. You know, I was
• 8:20
  Speaker 2: a karaoke compare, I was a DJ, I was an
• 8:22
  Speaker 2: acoustic guitarist. I was a singer. So if anybody wanted
• 8:26
  Speaker 2: any entertainment, they would call me. So I was always
• 8:28
  Speaker 2: busy doing one of those things. And yeah, so when
• 8:32
  Speaker 2: I got into music production, I sort of moved away
• 8:35
  Speaker 2: from doing all those gigs and started making music in
• 8:38
  Speaker 2: my little man cave and just you know, putting all
• 8:42
  Speaker 2: my thoughts and ideas into music that way. Once you
• 8:45
  Speaker 2: realize that a computer can record all of these instruments,
• 8:48
  Speaker 2: it was sort of that sort of blew me away.
• 8:49
  Speaker 2: And in twenty twelve I started getting into alternative narratives,
• 8:53
  Speaker 2: and then that really gave me food for thought. And
• 8:56
  Speaker 2: gave me this huge creative burst. Really, it was like
• 8:59
  Speaker 2: a whole Now I know that nine eleven is a lie.
• 9:02
  Speaker 2: I need to put that into music, you know, so
• 9:04
  Speaker 2: you don't make love songs anymore. At that point, when
• 9:06
  Speaker 2: you've been you know, exposed to this kind of these
• 9:10
  Speaker 2: kinds of ideas and information, You're like, oh, no, more
• 9:12
  Speaker 2: tepid love songs. I've got to sing a song about
• 9:14
  Speaker 2: nine to eleven or fluoride or vaccines or chemtrails, which
• 9:18
  Speaker 2: I've done now. So that seems to be my purpose,
• 9:20
  Speaker 2: just putting all this stuff into music so other people
• 9:22
  Speaker 2: can think critically about the world they lived.
• 9:26
  Speaker 1: I've had maybe two Damascus moments, is like, that's what
• 9:30
  Speaker 1: I like to call them, you know, two sort of
• 9:33
  Speaker 1: black Swan revelations over the years. One was around two
• 9:40
  Speaker 1: thousand and nine, and that was for the first time
• 9:43
  Speaker 1: when I started questioning a mainstream narrative, and that was
• 9:46
  Speaker 1: the climate change thing. And then a number of years
• 9:49
  Speaker 1: passed until around twenty eighteen twenty nineteen when I started
• 9:53
  Speaker 1: thinking about nine to eleven and related topics. Would you
• 9:58
  Speaker 1: say you have had any Damascus moments or was it
• 10:02
  Speaker 1: more like a gradual evolution of critical thinking.
• 10:08
  Speaker 2: I mean I literally that that That was the sort
• 10:13
  Speaker 2: of the catalyst that got me into Yeah. Well the
• 10:16
  Speaker 2: nine to eleven was the mind blower for me, going,
• 10:18
  Speaker 2: oh my god, how can they How did they pull
• 10:20
  Speaker 2: that off? So lies on that scale are possible? It
• 10:23
  Speaker 2: just blew my mind up and wow, they actually pulled
• 10:25
  Speaker 2: it off. It was a huge, you know, psychological operation.
• 10:28
  Speaker 2: And then then that was that was when I kind
• 10:30
  Speaker 2: of had that realization, Wow, we you know, this world
• 10:34
  Speaker 2: isn't screwed up, because I'd always had that that splinter
• 10:36
  Speaker 2: in my mind driving me mad, as as Morpheus says
• 10:39
  Speaker 2: in the Matrix, like you feel it when you go
• 10:41
  Speaker 2: to work, when you pay your taxis, and I felt that.
• 10:43
  Speaker 2: I felt there was something wrong with the world. And
• 10:45
  Speaker 2: then when I when I got into the nine eleven information,
• 10:47
  Speaker 2: I realized that the world isn't screwed up. It's working
• 10:49
  Speaker 2: exactly how they want it to work. You know, that's
• 10:52
  Speaker 2: this is this is how it's designed. So that was
• 10:54
  Speaker 2: the big boom, and that blew my mind open and
• 10:57
  Speaker 2: it just opened so many other doors. It showed me
• 10:59
  Speaker 2: more doors to into it. And I was and of
• 11:01
  Speaker 2: course back in the day, back in twenty twelve, twenty thirteen.
• 11:05
  Speaker 2: Up to about twenty eighteen nineteen, YouTube would just feed
• 11:09
  Speaker 2: you this stuff. You know, you looked at this nine
• 11:11
  Speaker 2: eleven conspiracy video, how about another one, how about another one?
• 11:13
  Speaker 2: Hawd aout another one, and of course you're seeing all
• 11:16
  Speaker 2: of this new terminology like New World Order and Illuminati.
• 11:18
  Speaker 2: These were all, you know, new concepts for me, and
• 11:22
  Speaker 2: I was just drinking it in for many, many years.
• 11:24
  Speaker 2: And then of course the censorship hit and it's impossible
• 11:26
  Speaker 2: to find any good information now on YouTube. So and
• 11:29
  Speaker 2: then that's so after I think Mine eleven blew the
• 11:31
  Speaker 2: blue the doors off of my mind, and then it
• 11:34
  Speaker 2: just opened me up to all of these other things.
• 11:36
  Speaker 2: And then here I am twenty twenty six with about
• 11:38
  Speaker 2: seven albums under my belt. Because it just gives you
• 11:41
  Speaker 2: this huge creative verse. So it is like an apprenticeship.
• 11:43
  Speaker 2: I guess everything I learned, I go, wow, that needs
• 11:47
  Speaker 2: to have a song. Or during COVID, I was very
• 11:49
  Speaker 2: very angry and just so frustrated with the acquiescence, and
• 11:52
  Speaker 2: I wrote a bunch of rock songs. I got in
• 11:54
  Speaker 2: the studio and shouted into a microphone, you know, it's
• 11:56
  Speaker 2: my therapy and a rock album popped out, you know.
• 11:59
  Speaker 2: So it's just my solution of just learning stuff and
• 12:02
  Speaker 2: you know, putting this information in the music. That's kind
• 12:04
  Speaker 2: of what I do.
• 12:06
  Speaker 1: I hope this works. I'm gonna see if I can
• 12:08
  Speaker 1: just quickly play one of your songs or at least
• 12:11
  Speaker 1: a piece of it.
• 12:12
  Speaker 4: You got the guys about term blue. We're breathing again,
• 12:15
  Speaker 4: thank the line.
• 12:37
  Speaker 3: Well, A funny thing happened on the weight of the Moon.
• 12:40
  Speaker 5: That's the title of a video that I watched on YouTube.
• 12:43
  Speaker 5: You can see astronauts hanging from wires, proving that astronauts
• 12:48
  Speaker 5: and natural liars. They analyze photos and highlight mistakes with
• 12:53
  Speaker 5: the moon landing missions, they show it was faked. You
• 12:56
  Speaker 5: could see him faking the photos of Earth. They use
• 12:59
  Speaker 5: a window to faint the curve. Hmm, that's suspicious, don't
• 13:05
  Speaker 5: you think. Yeah, listen up. I watched another documentary called
• 13:10
  Speaker 5: Astronauts Gone Wild. Astronaut buzz All Drink gets a little rild.
• 13:15
  Speaker 5: All he was asked to do was to swear to
• 13:17
  Speaker 5: God that he went to the moon, but he would not.
• 13:21
  Speaker 5: He was faced with the moon landing denial, had a
• 13:24
  Speaker 5: chance to show that he ain't no war. But buzz
• 13:28
  Speaker 5: decide it's a punch that dude just for asking him
• 13:31
  Speaker 5: to swear if he went.
• 13:32
  Speaker 6: To the moon.
• 13:33
  Speaker 5: Hmm, that's suspicious. So do you still believe we went
• 13:38
  Speaker 5: to the moon? Do you still believe what they're telling you?
• 13:42
  Speaker 5: Just connect the dot said print is soon.
• 13:45
  Speaker 6: You'll find out what I've.
• 13:47
  Speaker 3: Found out too.
• 13:48
  Speaker 5: But if you question this stuff, you'll be labeled alone.
• 13:52
  Speaker 5: You'll be called a conspiracy theory buffirm.
• 13:55
  Speaker 6: But I don't care, man, I'm.
• 13:56
  Speaker 5: Still gonna make this too, because I know the queen
• 13:59
  Speaker 5: didn't go to the moon.
• 14:03
  Speaker 4: Were in the final that you walked on the moon?
• 14:04
  Speaker 4: You're oneho and you walk to the moon?
• 14:06
  Speaker 2: You did?
• 14:07
  Speaker 3: And how about those moon rocks?
• 14:09
  Speaker 5: They gave to museums and thousands and thousands of people
• 14:13
  Speaker 5: did see them, But one museum took.
• 14:15
  Speaker 3: A closer look.
• 14:17
  Speaker 5: They soon realized that something's a foot The rock they
• 14:21
  Speaker 5: were given turned out to.
• 14:22
  Speaker 3: Be a fake, just a piece of old wood, not
• 14:25
  Speaker 3: a rock from space.
• 14:26
  Speaker 5: Yeah, when God made the moon, he saw it was good,
• 14:29
  Speaker 5: but apparently made it from petrified wood.
• 14:33
  Speaker 6: Hmm.
• 14:35
  Speaker 5: Yeah, that's a supicious. Listen up in another museum, sits
• 14:40
  Speaker 5: an astronaut suit. Take a good, look at the tread
• 14:44
  Speaker 5: on the foot. It doesn't match up with the prince
• 14:47
  Speaker 5: on the moon. And y'all still believe what they're telling you?
• 14:51
  Speaker 5: Or how about that phone call that Nixon made to
• 14:54
  Speaker 5: the moon that's a quarter million miles away when I
• 14:58
  Speaker 5: can't get a signal on myself phone line.
• 15:00
  Speaker 3: I guess phones were better in sixty nine.
• 15:04
  Speaker 5: Hmm, Well there, you still believe we went to the moon. There,
• 15:10
  Speaker 5: you still believe what they're telling you? Just connect the
• 15:14
  Speaker 5: dot said, pretty soon you'll find out what I've found
• 15:18
  Speaker 5: out too. But if you question this stuff, you'll be
• 15:21
  Speaker 5: labeled alone. You'll be called a conspiracy theory buffore.
• 15:25
  Speaker 6: But I don't care, man, I'm still gonna make.
• 15:28
  Speaker 3: This too, because I know that we didn't go to
• 15:31
  Speaker 3: the moon.
• 15:38
  Speaker 5: Yeah, you went straight through those final belts. It wasn't
• 15:42
  Speaker 5: a problem, right, nothing was felt. But now you see
• 15:45
  Speaker 5: it's a problem and you can't get through. This problem
• 15:48
  Speaker 5: needs to be.
• 15:48
  Speaker 3: Solved according to you.
• 15:50
  Speaker 5: But didn't you solve that problem back in sixty nine
• 15:53
  Speaker 5: and you flew straight through it five more times?
• 15:56
  Speaker 4: Up?
• 15:57
  Speaker 5: You wonder why I think it's fake when there are
• 16:00
  Speaker 5: so many apollow the snakes like the telemetry data of this,
• 16:05
  Speaker 5: I'll go missing thirteen thousand reels?
• 16:08
  Speaker 3: Are you kidding?
• 16:09
  Speaker 5: Giant leap for all mankind? But you lost the data
• 16:14
  Speaker 5: and no one could find m Come on, man, are
• 16:18
  Speaker 5: you kidding?
• 16:18
  Speaker 3: Do you still believe we went to the moon?
• 16:22
  Speaker 5: Do you still believe what they're telling you? Just connect
• 16:25
  Speaker 5: the dot said pread is. Soon you'll find out what
• 16:29
  Speaker 5: I've found out too. But if you question this stuff,
• 16:32
  Speaker 5: you'll be labeled a loon. You'll be called a conspiracy
• 16:36
  Speaker 5: theory of film.
• 16:37
  Speaker 6: And I don't care, man, I'm still.
• 16:39
  Speaker 5: Gonna make this too, because I know that you can't
• 16:42
  Speaker 5: go No, there's no less crator from the lunar module,
• 16:47
  Speaker 5: probably because that thing is it's just a model all
• 16:50
  Speaker 5: the flag that flutters with no atmosphere. Don't you think
• 16:54
  Speaker 5: that's a bit queer? Intersecting shadows means another light source?
• 16:59
  Speaker 3: Do I think it's faked?
• 17:01
  Speaker 5: Yeah?
• 17:01
  Speaker 3: Of course.
• 17:02
  Speaker 5: The whole thing was filled on a Hollywood.
• 17:04
  Speaker 3: Set directed by Cubridge is my best bet.
• 17:08
  Speaker 5: The mood's so cool. We'd love to explore it, but
• 17:12
  Speaker 5: we can't get past lawyer Orbans. Do your research, people,
• 17:16
  Speaker 5: I think you'll find but NASA amidst that a bunch
• 17:20
  Speaker 5: of times.
• 17:20
  Speaker 7: Listen right now, we only can fly in our inform it.
• 17:24
  Speaker 7: That's the furthest that we can go in. This new
• 17:25
  Speaker 7: system that we're building is going to allow us to
• 17:28
  Speaker 7: go beyond and hope we take humans into the Solar
• 17:30
  Speaker 7: System to explore. So the Moon, Mars asteroids are a
• 17:34
  Speaker 7: lot of destimations that we could go to, and we're
• 17:36
  Speaker 7: building these building block opponents in order to.
• 17:39
  Speaker 3: Allow us to do that.
• 17:40
  Speaker 8: And actually, I can go to the Moon in a
• 17:48
  Speaker 8: nano second. The problem is we don't have the technology
• 17:51
  Speaker 8: to do that anymore. We used to, but we uh
• 17:55
  Speaker 8: destroyed that technology and it's a papal process to build
• 17:59
  Speaker 8: it back again.
• 18:00
  Speaker 1: Yea, I love your reference to what's his name now?
• 18:10
  Speaker 1: Yeahsable Yeah, Sorry, we're completely blanked for a second. So
• 18:13
  Speaker 1: he's been on my show a few times. He's done
• 18:15
  Speaker 1: some great work and he was the one that buzz punched.
• 18:18
  Speaker 2: Yes, yeah, just asking him to swear that he went
• 18:22
  Speaker 2: to the moon. He said, put your hand on the Bible,
• 18:24
  Speaker 2: swear that if you actually went, swear that you went,
• 18:26
  Speaker 2: and he wouldn't touch it. And a lot you know,
• 18:28
  Speaker 2: he interviewed a lot of astronauts who were just they
• 18:33
  Speaker 2: wouldn't put their hand on that thing. I mean, I'm
• 18:34
  Speaker 2: not being if that was me and I went to
• 18:36
  Speaker 2: the Moon and they said, swear on this book. You
• 18:38
  Speaker 2: went to the old You know, no worries I put
• 18:39
  Speaker 2: my hand on a problem at all. So that's a
• 18:41
  Speaker 2: bit curious.
• 18:43
  Speaker 1: Buzz has never really answered any of those questions with
• 18:46
  Speaker 1: a straightforward answer. I remember when you was on some
• 18:49
  Speaker 1: late night show. Was it Worth Conan O'Brien or Jimmy Fallon,
• 18:53
  Speaker 1: I don't know, and the host was saying, you know,
• 18:56
  Speaker 1: we watched, we watched you walk on the moon. You said, no, no, no, no, no,
• 19:00
  Speaker 1: he didn't you just saw an animation.
• 19:02
  Speaker 2: Yes, yeah, it can't. He can't lie straight in bed that.
• 19:08
  Speaker 2: I mean, he's probably obviously very He carries a lot
• 19:11
  Speaker 2: of trauma. I mean, imagine carrying that with you and
• 19:14
  Speaker 2: having to be wheeled out and do all of these
• 19:16
  Speaker 2: speaking events, knowing full well that every word that comes
• 19:18
  Speaker 2: out of your mouth is a lie. And he tries
• 19:20
  Speaker 2: to sort of navigate around and say something a little
• 19:23
  Speaker 2: bit more subjective, and you know how it's just like,
• 19:26
  Speaker 2: just answer the question, man. So it's quite painful to
• 19:29
  Speaker 2: watch now, and that that Apolo thing just hasn't aged
• 19:31
  Speaker 2: very well. And then you fast forward to art and
• 19:33
  Speaker 2: us what we were treated with the whole Artm's thing.
• 19:35
  Speaker 2: It's that was a whole gift. Even the space lovers
• 19:38
  Speaker 2: were going, that's a bit underwhelming. You know, where's where's
• 19:41
  Speaker 2: the video footage? Where's you know, in this age of technology,
• 19:44
  Speaker 2: we should be having twenty different angles, but again we
• 19:48
  Speaker 2: just get this this parabolic curve. Switch to animation. Then
• 19:51
  Speaker 2: it's over to your imagination. As I put in one
• 19:53
  Speaker 2: of my songs.
• 19:54
  Speaker 1: Well, I mean, Alex, come on, why would you dart?
• 19:56
  Speaker 1: Great astronauts like Katie Perry.
• 20:01
  Speaker 2: Oh, don't even get me started on that. That was
• 20:03
  Speaker 2: a whole fast as well, wasn't it. Yeah, I mean
• 20:07
  Speaker 2: I think I've put all of these ideas into music
• 20:10
  Speaker 2: at this point. You know, if you're still believing NASA
• 20:12
  Speaker 2: and all of this space stuff, to me, it's like
• 20:14
  Speaker 2: a massive cult. It's like scientology on steroids. It's just
• 20:18
  Speaker 2: this utter Narnia nonsense that we get given and people
• 20:23
  Speaker 2: still lap it up. But like I say, Artemus was
• 20:25
  Speaker 2: a real gift. A lot of people are now questioning
• 20:26
  Speaker 2: what they're being told from these agencies. So I see
• 20:30
  Speaker 2: an awakening when it comes to quote unquote space travel.
• 20:34
  Speaker 2: It's not happening as fast as I would like it too.
• 20:36
  Speaker 2: But you know, because we were banging on about this
• 20:38
  Speaker 2: ten twelve years ago that you know, they're faking everything.
• 20:41
  Speaker 2: But now I think people are opening their eyes a
• 20:43
  Speaker 2: little bit. They're starting to see, which is nice.
• 20:46
  Speaker 1: Now the segue here is the hurts thing. Now, this
• 20:51
  Speaker 1: is a topic that I don't think just about anybody
• 20:54
  Speaker 1: knows much about.
• 20:57
  Speaker 2: Yeah. Well, once I opened my mind to the to
• 21:01
  Speaker 2: the nine to eleven and everything else on the floor,
• 21:03
  Speaker 2: iride and the chem trous it became quite apparent to
• 21:05
  Speaker 2: me that we're under this multi pronged attack. You know,
• 21:09
  Speaker 2: it's not like they're spraying vitamins from the sky, are they.
• 21:12
  Speaker 2: You know, they're not putting fluoride in the water for
• 21:14
  Speaker 2: your teeth, you know. And the information that you know
• 21:17
  Speaker 2: we get is all poison. The food is poison, you know,
• 21:21
  Speaker 2: the education system, big farm all poison. And I just
• 21:23
  Speaker 2: see that we're under this attack. And then I could
• 21:25
  Speaker 2: sort of thought, oh, music, what have they done to music?
• 21:29
  Speaker 2: And I started coming across all the four three two
• 21:31
  Speaker 2: stuff from the four forty and how four forty has
• 21:33
  Speaker 2: been slowly spreads as this tuning standard and the people
• 21:37
  Speaker 2: behind it that instigated or implemented this tuning standard, and
• 21:41
  Speaker 2: it's very very shady. So I started, you know, doing
• 21:43
  Speaker 2: a little bit of digging as to, you know, who
• 21:46
  Speaker 2: was behind the four forty and what did we use
• 21:48
  Speaker 2: to what should we be tuning to, you know, learning
• 21:50
  Speaker 2: all about Solfedgio healing frequencies and putting those frequences into
• 21:54
  Speaker 2: music and seeing if it has a healing effect, and
• 21:56
  Speaker 2: low and behold, all these people started messaging me when
• 21:58
  Speaker 2: they bought the album and they had these ailments and
• 22:00
  Speaker 2: they just disappeared. So I'm like, wow, music could really
• 22:03
  Speaker 2: be a real part of our well being. But of
• 22:06
  Speaker 2: course it's been tuned up, you know, to make it
• 22:08
  Speaker 2: a little bit more aggressive, and you know, this is
• 22:11
  Speaker 2: why everybody's so agitated and sick. Simatics is a good,
• 22:15
  Speaker 2: you know example, when you look at what's going on
• 22:18
  Speaker 2: simatically with four three two versus four forty. So there's
• 22:21
  Speaker 2: so there's so much information there that I put it
• 22:23
  Speaker 2: into a presentation which is on my channel. So it's
• 22:26
  Speaker 2: it's it's a very big, big subject. But I think
• 22:29
  Speaker 2: they've absolutely bastardized music from a tuning perspective, From a
• 22:33
  Speaker 2: lyrical perspective, they've compressed it as well. So when you
• 22:36
  Speaker 2: compress something that I make in my studio, it actually
• 22:39
  Speaker 2: removes about eighty five percent of the audio. Information loses,
• 22:42
  Speaker 2: the warmth, loses, the clarity lose. So people listening to
• 22:45
  Speaker 2: music four forty hurts music on Spotify or whatever streaming platform,
• 22:49
  Speaker 2: they're listening to it in four forty, which I do
• 22:51
  Speaker 2: believe is probably not doing you any good. And it's
• 22:54
  Speaker 2: an MP three as well, so you're, you know, they've
• 22:56
  Speaker 2: removed eighty five percent of the you know, the overtones,
• 22:59
  Speaker 2: the under times, the warmth of clarity. So look, I
• 23:02
  Speaker 2: don't even think you're listening to real music at that point.
• 23:04
  Speaker 2: And then add into that AI music, which is becoming very,
• 23:08
  Speaker 2: very popular at the moment. It's just the music industry
• 23:11
  Speaker 2: is utterly, utterly poison. That's how I see it now.
• 23:15
  Speaker 1: Yeah, but okay, so let's let's simplify thes even more.
• 23:19
  Speaker 1: When you say four forty I mean, I know that
• 23:21
  Speaker 1: you're recording four thirty two hurts. I have an idea
• 23:25
  Speaker 1: of what you mean, but the average person doesn't. What
• 23:27
  Speaker 1: do you mean, I mean, so yeah, I've got a
• 23:28
  Speaker 1: good tie, right, and I'll buy some Ernie ball strings
• 23:30
  Speaker 1: and I put them on and I tuned to GA. Whatever.
• 23:34
  Speaker 1: What is four forty.
• 23:36
  Speaker 2: Well, four forty hurts. It was attributed to a guy
• 23:40
  Speaker 2: called Heinrich Hertz who came up with the idea that
• 23:44
  Speaker 2: four forty vibrations or cycles a second. So when you're
• 23:47
  Speaker 2: tuning a piano, you have to have a reference point.
• 23:49
  Speaker 2: You have to go, right, what are we going to
• 23:50
  Speaker 2: tune the A above middle C. It's always the A
• 23:53
  Speaker 2: above middle C. So we take that note. So we
• 23:57
  Speaker 2: take a tuning for which is tuned to four hundred
• 23:59
  Speaker 2: and forty five vibrations a second, which means it vibrates,
• 24:02
  Speaker 2: you know, a vibration, a pure sign. Where we go
• 24:08
  Speaker 2: until you get to four forty vibrations a second, and
• 24:11
  Speaker 2: you tune the piano the A above middle SA to
• 24:14
  Speaker 2: four hundred and forty vibrations a second, and then you
• 24:16
  Speaker 2: tune everything else around that. So that starting point is essential.
• 24:21
  Speaker 2: Why they picked that starting point the four forty hurts, Well,
• 24:24
  Speaker 2: we could get into that, but if you start hearing
• 24:26
  Speaker 2: names like Rockefeller and go bells chows, this particular frequency
• 24:29
  Speaker 2: then you know, if they make if those guys made
• 24:32
  Speaker 2: me a cup of tea, I wouldn't drink it, So
• 24:33
  Speaker 2: why would I listen to their four forty hurts?
• 24:35
  Speaker 7: You know.
• 24:36
  Speaker 2: So it's that starting point. And there was a guy
• 24:39
  Speaker 2: by the name of John Deagan who started you know,
• 24:41
  Speaker 2: he was in bed with the Rockefellers and go Bells
• 24:44
  Speaker 2: that they picked this tuning standard, and he ended up
• 24:47
  Speaker 2: having this massive musical instrument factory, you know, which was
• 24:52
  Speaker 2: possible by a Rockefeller grant RB, you know. So, and
• 24:55
  Speaker 2: he's making all of these instruments, these very fine instruments,
• 24:58
  Speaker 2: all in four forty hurts, which could not be re tuned.
• 25:01
  Speaker 2: So they were like marimba phones and xylophones and chimes
• 25:04
  Speaker 2: and all these sort of things, And so they're impossible
• 25:06
  Speaker 2: to retune unless you start shaving metal off of them
• 25:08
  Speaker 2: or adding mel So now all of these fine instruments
• 25:11
  Speaker 2: are being sold all over America, and if you wanted
• 25:13
  Speaker 2: to play with one of these fine instruments, you had
• 25:15
  Speaker 2: to tune to four forty as well. So all the
• 25:18
  Speaker 2: orchestras were now getting into fotos. This is kind of
• 25:20
  Speaker 2: a spread of a standard. Also, his chimes were going
• 25:23
  Speaker 2: into big cathedrals, all tuned to four hundred and forty hertz,
• 25:26
  Speaker 2: and he built, he built four hundred and forty of
• 25:28
  Speaker 2: those systems, which is you know, they love their numbers,
• 25:31
  Speaker 2: don't they. And then he started building public address systems
• 25:34
  Speaker 2: and speakers and just blasting these four forty chimes all
• 25:38
  Speaker 2: over rural areas and communities. And then he got his
• 25:41
  Speaker 2: chimes onto radio with the NBC chimes supplying all the
• 25:44
  Speaker 2: NBC chimes and getting his four forty onto radio and
• 25:46
  Speaker 2: then eventually onto television. So you could start to see
• 25:49
  Speaker 2: this necesarious spread of this tuning standard, which is four
• 25:52
  Speaker 2: hundred and forty vibrations a second. And I don't think
• 25:54
  Speaker 2: it's a contributing to human wellness personally.
• 25:59
  Speaker 1: Yeah, I mean there's chain which happened I think around
• 26:01
  Speaker 1: nineteen thirty five with their standardized They had.
• 26:04
  Speaker 2: A couple of stabs at a thirty nine I think that
• 26:06
  Speaker 2: they'd had a conference in London at thirty nine in
• 26:08
  Speaker 2: thirty nine, and eventually it became a worldwide standard in
• 26:11
  Speaker 2: fifty five. So we've been so we've had this for
• 26:14
  Speaker 2: a while now, with.
• 26:16
  Speaker 1: Just coincidentally the backing of the Rockefellers yeah.
• 26:20
  Speaker 2: Coincidentally, Yeah, and you know the NBC as well, that's
• 26:23
  Speaker 2: owned that's owned by Rockefeller, and some of these churches
• 26:27
  Speaker 2: and cathedrals where Degan's chime installations were put are all Rockefeller.
• 26:31
  Speaker 2: So when I've done about you, but when I hear
• 26:32
  Speaker 2: the name Rockefeller, I don't think of little puppy dogs
• 26:34
  Speaker 2: and rainbows. So you know, these are the guys that
• 26:37
  Speaker 2: are bringing you for forty hurt so and these so
• 26:40
  Speaker 2: you know, I'm just saying.
• 26:42
  Speaker 1: So the the underlying argument here is that the adjustment
• 26:47
  Speaker 1: to four forty, which is kind of unnatural, like there's
• 26:50
  Speaker 1: something off but your component and it makes you a
• 26:53
  Speaker 1: little bit uncomfortable and anxious and whatever, would have been
• 26:57
  Speaker 1: a deliberate shift to keep society under the thumb.
• 27:03
  Speaker 2: I think. So, I just think that that slight adjustment
• 27:06
  Speaker 2: can can put everything out. I mean, if you were
• 27:08
  Speaker 2: to look at the actual raw frequencies of a keyboard
• 27:11
  Speaker 2: tune to four three two hurts, you get a lot
• 27:13
  Speaker 2: of whole number ratios. You're starting to look at Pythagorean tuning,
• 27:16
  Speaker 2: where he was using mathematical ratios to get you know,
• 27:19
  Speaker 2: whole number ratios across the piano. But when you tune
• 27:22
  Speaker 2: to four forty, everything becomes fractured, you know, and then
• 27:26
  Speaker 2: you start to look at that simatically. Well, that's probably
• 27:28
  Speaker 2: the reason why the simatic image in four forty is
• 27:30
  Speaker 2: looking really cloudy and agitated. Yet when you're using whole
• 27:34
  Speaker 2: number ratios and four three two Pythagorean tuning, then you
• 27:38
  Speaker 2: start to get more clarity and geometrically brilliant, you know,
• 27:41
  Speaker 2: like snowflakes. And if that's an indication as to what's
• 27:44
  Speaker 2: going on on a cellular level from a health perspective, well,
• 27:47
  Speaker 2: I would like my water, if I'm seventy prezent water,
• 27:50
  Speaker 2: I would like that to be very structured rather than
• 27:53
  Speaker 2: this this aggressive muddiness. You know. So I think there's
• 27:56
  Speaker 2: a reason why they sort of just took a slightly
• 28:00
  Speaker 2: a tune of nature. And I do believe it's that
• 28:02
  Speaker 2: four three two is a natural is a natural frequency.
• 28:06
  Speaker 2: Because there was a guy by the name of Ananda
• 28:09
  Speaker 2: Bosnan bas And Bosman Bosnan I can't remember, but he's
• 28:13
  Speaker 2: a fourth three two advocate and made a bunch of
• 28:14
  Speaker 2: movies on it, and he stated that the majority of
• 28:19
  Speaker 2: musical instruments that are dug up from archaeological sites in
• 28:22
  Speaker 2: Egypt and in Greece are predominantly tuned to four three two.
• 28:26
  Speaker 2: And now think and if that's true, how the hell
• 28:27
  Speaker 2: were the Egyptians and the Greeks tuning to four three
• 28:31
  Speaker 2: two hurts. They didn't have digital tuners or anything. But
• 28:33
  Speaker 2: what was happening is when talented people, I'm not just
• 28:36
  Speaker 2: talking about everybody. I'm talking about people with a natural gift.
• 28:39
  Speaker 2: When they open their mouth and they sing, they sing
• 28:41
  Speaker 2: in four three two hurts. And I prove that in
• 28:43
  Speaker 2: my presentation because there's one guy by the name of
• 28:47
  Speaker 2: Jacob Collier who I don't know if you're aware of
• 28:49
  Speaker 2: Jacob Collier in his work. He's a musician. Lad, Yeah,
• 28:54
  Speaker 2: he's He's probably one of the musicians that I actually
• 28:56
  Speaker 2: have an awful lot of respect for. He has got
• 28:59
  Speaker 2: per perfect pitch. He's an incredibly talented composer, pianist, guitar player,
• 29:03
  Speaker 2: does a lot of concerts where he does a lot
• 29:05
  Speaker 2: of audience participation and when he sings, and he said
• 29:10
  Speaker 2: in an interview, he said, when I sing, my natural
• 29:13
  Speaker 2: state is about thirty cents below the tuning standard, which
• 29:17
  Speaker 2: is four three two. And he said it's a bit
• 29:19
  Speaker 2: of a problem because you know, if I get the
• 29:21
  Speaker 2: audience singing and I go ah and they will sing ah.
• 29:23
  Speaker 2: Then he plays his guitar, and his guitar is a
• 29:25
  Speaker 2: little bit sharp, so he has to sort of and
• 29:27
  Speaker 2: he sees this as a problem, and he says, my
• 29:30
  Speaker 2: mom has got perfect pictures. Well, oh, by the way,
• 29:31
  Speaker 2: perfect pitch means like I could just play a chord
• 29:33
  Speaker 2: and he didn't know what it is instantly without any reference.
• 29:35
  Speaker 2: Or I could play a note and you're going, that's
• 29:36
  Speaker 2: a B flat be flat, or that's a C minus
• 29:39
  Speaker 2: Seventh's just like that. Ability to have perfect pitch is amazing.
• 29:42
  Speaker 2: But when he sings naturally, he's singing flat of the standard.
• 29:46
  Speaker 2: He's like, oh, it's a bit of a problem. He said,
• 29:47
  Speaker 2: my mom has the same problem. She's got perfect pitch.
• 29:50
  Speaker 2: And he said, I know so many other people with
• 29:51
  Speaker 2: perfect pitch that have the same problem. They sing about
• 29:53
  Speaker 2: thirty cents below four forty, which is exactly four three two.
• 29:57
  Speaker 2: So he doesn't realize that he's a fan of fourth hurts.
• 30:00
  Speaker 2: He just doesn't know it. And there was another guy
• 30:03
  Speaker 2: that discovered the Gregorian chants, and these Orthodox clerics as well.
• 30:08
  Speaker 2: They sing all these chants and they don't have a
• 30:10
  Speaker 2: tuning reference. They just sing, and they're singing naturally in
• 30:12
  Speaker 2: four three two when you test it with a tuna.
• 30:14
  Speaker 2: Same is true with with digiidoo's and all these sort
• 30:17
  Speaker 2: of things. So I think people with a natural ability
• 30:20
  Speaker 2: when they open and I do it myself, well, I'll
• 30:22
  Speaker 2: get up in the morning and I will sing with
• 30:23
  Speaker 2: no reference point, and I'll sing something, and I'll get
• 30:25
  Speaker 2: on the guitar and I'll go bang. I'm banging four
• 30:27
  Speaker 2: three too. So I seem to be a natural four
• 30:30
  Speaker 2: three too singer, And a lot of opera singers say
• 30:32
  Speaker 2: they sing better in four three too. It's more, you know,
• 30:35
  Speaker 2: it's much more natural, and that four forty just takes
• 30:38
  Speaker 2: them out of that. And it's more it's harder work
• 30:40
  Speaker 2: to reach those notes. I know, it's only eight hurts,
• 30:42
  Speaker 2: and it's such a little difference when you listen to
• 30:44
  Speaker 2: it from an audio perspective, it's very difficult to tell
• 30:46
  Speaker 2: the difference. But it's just just out of natural for
• 30:50
  Speaker 2: most people, it seems.
• 30:51
  Speaker 1: Yeah, it's like if you sing a harmony voice and
• 30:53
  Speaker 1: it's just slightly flat, it'll throw you off.
• 30:59
  Speaker 2: Yeah, yeah, So I think.
• 31:01
  Speaker 1: It was an Italian composer, the Italian composer Giuseppe Verdi.
• 31:06
  Speaker 1: I think yeah. He also argued that four three two
• 31:10
  Speaker 1: hurtz is more natural and better for the for the
• 31:14
  Speaker 1: voices of singers.
• 31:16
  Speaker 2: Yeah. Yeah, A few composers have said that. Yeah. It's
• 31:18
  Speaker 2: known as Verdi tuning in a lot of circles. And
• 31:20
  Speaker 2: there's even modern day composers that prefer this standard. There's
• 31:24
  Speaker 2: one guy by the name of what's his name Yanakiev.
• 31:28
  Speaker 2: I've got him somewhere here, but let me just find him.
• 31:31
  Speaker 2: What's his name? Uh yeah, Ivan Yanakiev. He's a he's
• 31:37
  Speaker 2: a modern day composer. He's a Bulgarian conductor and musicologist,
• 31:42
  Speaker 2: deeply passionate about four three two hurts, believing it produces
• 31:45
  Speaker 2: a warmer, more harmonious and spiritually uplifting sound compared to
• 31:48
  Speaker 2: four forty hurts. And he's famous quote after hearing four
• 31:51
  Speaker 2: three two hurts, I think he heard a cello playing
• 31:53
  Speaker 2: four three two, he said it was like I heard
• 31:55
  Speaker 2: God speak, describing it as pure light and love. He's
• 31:58
  Speaker 2: still around today. He's conducted a low of different studies
• 32:01
  Speaker 2: on brain activity when it's into four forty versus four
• 32:04
  Speaker 2: three two so it's not just Verdi and other composers.
• 32:07
  Speaker 2: There's modern day composers that have looked into this and
• 32:10
  Speaker 2: this is what we should be tuning to.
• 32:12
  Speaker 1: And then you also have what's called the Skummen resonance.
• 32:16
  Speaker 2: The Schumann residence. Yeah, seven point eight three hurts. I
• 32:20
  Speaker 2: mean I didn't really look too much into that, but
• 32:24
  Speaker 2: I mean, who's measuring that? It would I wonder if
• 32:26
  Speaker 2: it's actually eight hurts exactly eight.
• 32:28
  Speaker 1: H eight Yeah, I mean apparently alignes with the electromagnetic
• 32:34
  Speaker 1: heartbeat of Earth.
• 32:36
  Speaker 2: Because how who's measuring that? And what I'll question that
• 32:40
  Speaker 2: because if it's if it's eight hurts, if it's exactly
• 32:44
  Speaker 2: eight herts, then that would fit more mathematically with four
• 32:47
  Speaker 2: three two and the golden ratio and all of these
• 32:50
  Speaker 2: whole number of ratios that we find with the Fiminacci sequence,
• 32:53
  Speaker 2: and four three two does seem to have a numerology
• 32:55
  Speaker 2: numerological connection with the golden ratio as well. So basically
• 33:00
  Speaker 2: uses more whole numbers, which I think is that you
• 33:02
  Speaker 2: get more of a pure and natural sound when using
• 33:05
  Speaker 2: whole numbers.
• 33:06
  Speaker 1: Sorry, just off topic, but I said Schumann, and you
• 33:09
  Speaker 1: said Schumann, So yeah, and South Africa because we speak
• 33:12
  Speaker 1: predominantly Afrikaans. Also, so that s c H sound for
• 33:16
  Speaker 1: us becomes an schoo sound, not a not a shoe
• 33:19
  Speaker 1: sound that I thought that was interesting.
• 33:22
  Speaker 2: Well, yeah, it might be school school month, school month.
• 33:28
  Speaker 1: I mean, does does this actually matter?
• 33:33
  Speaker 3: Though?
• 33:35
  Speaker 2: Yeah, I think it does because I learned about these
• 33:38
  Speaker 2: soul fedio healing frequencies from a guy by the name
• 33:41
  Speaker 2: of Jamie. But he was putting out these sulf fedgio
• 33:43
  Speaker 2: healing frequents. He said, these are the frequencies that hell,
• 33:45
  Speaker 2: they're the old true soulf veggio is based on the
• 33:47
  Speaker 2: Gregorian chance. There's this new set of sulf fededio healing
• 33:51
  Speaker 2: frequencies that you get when you type into Google. It
• 33:53
  Speaker 2: gives you, Ah, these are the soul there's not. There's
• 33:55
  Speaker 2: there's two sets, the old fashion, the ancient ones is
• 33:58
  Speaker 2: what I'm using, the true old fedio healing frequencies, which
• 34:01
  Speaker 2: is why I call my three albums true sol Fedio.
• 34:04
  Speaker 2: What I did is I took these frequencies, put them
• 34:06
  Speaker 2: in there and built tracks and instrumental soothes, very soothing,
• 34:11
  Speaker 2: very relaxed, kind of Pink Floyd esque instrumentals around these
• 34:14
  Speaker 2: healing frequencies, and I started selling these albums and I
• 34:18
  Speaker 2: didn't ask for any feedback, but I got it. And
• 34:21
  Speaker 2: I have a whole list of reviews and testimonies from
• 34:23
  Speaker 2: people who have listened to these albums and have had
• 34:26
  Speaker 2: profound healing effects and profound spiritual effects. And I've got many,
• 34:30
  Speaker 2: many of these testimonials. So the reason why I think
• 34:33
  Speaker 2: it matters is because if everybody was doing music like
• 34:35
  Speaker 2: that that could really encourage health and well being, would
• 34:39
  Speaker 2: be looking at a completely different landscape in terms of health.
• 34:42
  Speaker 2: So I think if all music was tuned to four
• 34:43
  Speaker 2: three two hurtz, if all music wasn't compressed and bastardized
• 34:47
  Speaker 2: by compression, and I think would be looking at a
• 34:51
  Speaker 2: very different landscape in terms of health. So that's why
• 34:54
  Speaker 2: I think it matters.
• 34:56
  Speaker 1: I actually rid of study recently that said that music
• 35:00
  Speaker 1: that has tuned to four three two hurts. It's also
• 35:03
  Speaker 1: just simply easier on the human ear.
• 35:08
  Speaker 2: I've got many studies, for instance, I mean Jamie Butteth,
• 35:13
  Speaker 2: the guy I learned from, has his own studies as well.
• 35:16
  Speaker 2: But I don't know if you've ever heard of Royal
• 35:18
  Speaker 2: Raymond Rife, have you who invented the rife machine. You
• 35:22
  Speaker 2: can look him up on Wikipedia. He invented the rife
• 35:24
  Speaker 2: machine and he was basically obliterating cancer cells with certain frequencies.
• 35:28
  Speaker 2: And I have his list of frequencies which could cure
• 35:30
  Speaker 2: any ailment. So if you've got toothache, look look down
• 35:33
  Speaker 2: the list for toothache, and there's a frequency for it, insomnia,
• 35:36
  Speaker 2: frequency for it, diarrhea, there's a frequency for that. So
• 35:39
  Speaker 2: he seems to have found every frequency, every healing frequency,
• 35:42
  Speaker 2: for every human ailment. And his great nephew contacted me
• 35:48
  Speaker 2: and he said, I've got all my great uncle's blueprints
• 35:51
  Speaker 2: and journals and everything, and I'm continuing his work and
• 35:53
  Speaker 2: I've done a bunch of studies on the healing effects
• 35:56
  Speaker 2: of four to three to two hurts, and he gave
• 35:58
  Speaker 2: me the studies which are on my website. You can
• 35:59
  Speaker 2: find on conspiracy music guru dot com and click on
• 36:02
  Speaker 2: four three two hurts and you'll see the studies there.
• 36:04
  Speaker 2: But so one of them, and I'll just summarize the
• 36:06
  Speaker 2: four or five studies that he's given me here. One
• 36:09
  Speaker 2: was the effects of music at four three two hurts
• 36:11
  Speaker 2: and four forty hurts on dental anxiety, and the bottom
• 36:14
  Speaker 2: line is music helps reduce dental anxiety and four three
• 36:18
  Speaker 2: two hurts music provides greater physiological relaxation, relaxation by lowering
• 36:23
  Speaker 2: stress hormone cortisol levels. That was the bottom line on
• 36:27
  Speaker 2: that particular a crap on that particular study. Another one
• 36:33
  Speaker 2: that is the effects of music on a specific frequency
• 36:36
  Speaker 2: four three two hurts on the sleep architecture of EEG
• 36:39
  Speaker 2: pattern in individuals with delayed sleep latency. The bottom line
• 36:43
  Speaker 2: there is four three two hurtz. Music promotes relaxation by
• 36:46
  Speaker 2: enhancing alpha brain activity, which may improve sweet sleep quality.
• 36:51
  Speaker 2: That's another bottom line there. Another study was the influence
• 36:54
  Speaker 2: of music on the perception of anxiety during endodonic treatment,
• 36:58
  Speaker 2: So teeth listening to music during end thedonic treatment significantly
• 37:02
  Speaker 2: improves vital signs and reduces anxiety, enhancing the overall patient experience. Now,
• 37:08
  Speaker 2: the study listening to music tune to four forty verses
• 37:11
  Speaker 2: four three two to reduce anxiety and stress in emergency
• 37:13
  Speaker 2: nurse nurses during the COVID plandemic. And the bottom line
• 37:17
  Speaker 2: on this study was listening to the music, particularly tune
• 37:19
  Speaker 2: too four three two significantly reduced anxiety and improved vital signs.
• 37:23
  Speaker 2: In emergency nurses during the COVID nineteen plandemic. And the
• 37:27
  Speaker 2: last one is music tune to four three two verses
• 37:29
  Speaker 2: four to forty for proving sleep impatients with spinal cord injuries.
• 37:33
  Speaker 2: And the bottom line there was the conclusion was listening
• 37:36
  Speaker 2: to music tune to four three two significantly improves sleep
• 37:39
  Speaker 2: sleep quality in patients with spinal cord injuries compared to
• 37:43
  Speaker 2: four forty music. So, people going, where are the studies?
• 37:46
  Speaker 2: I want to see the studies. You know, I have
• 37:48
  Speaker 2: plenty of them, and they do exist.
• 37:52
  Speaker 1: So realistically, if I buy a set of strings for
• 37:56
  Speaker 1: my guitar and I put them on, how do I
• 37:59
  Speaker 1: adjust to four three two herds?
• 38:02
  Speaker 2: All right, you want one of these?
• 38:05
  Speaker 6: Just show you.
• 38:07
  Speaker 2: Right, if we just this is this is basically a
• 38:10
  Speaker 2: guitar tuner. You clip it onto the end of the
• 38:12
  Speaker 2: guitar and some of these allow you to change the
• 38:16
  Speaker 2: tuning frequency. So at the bottom there you see it says,
• 38:20
  Speaker 2: oh you can't see it. It's not but there's a
• 38:23
  Speaker 2: little number at the bottom there where I can change the.
• 38:27
  Speaker 1: If you can see it.
• 38:28
  Speaker 2: Yeah, I wish it would focus. Yeah, so yeah, I
• 38:35
  Speaker 2: said it to four three too. It goes from four
• 38:38
  Speaker 2: thirty to four four something. But so I said it
• 38:40
  Speaker 2: in four three two, boss, like that, and then put
• 38:43
  Speaker 2: it on the guitar and then tune the guitar to
• 38:46
  Speaker 2: this tune. And that's how you get your guitars in
• 38:47
  Speaker 2: four three too. If you want to do a piano,
• 38:49
  Speaker 2: that's a little bit more of a pain in the
• 38:51
  Speaker 2: ass because you have to get open the lid and
• 38:53
  Speaker 2: start getting all the the alan keys and spanners and everything.
• 38:57
  Speaker 2: Is a huge job to do it on a piano.
• 38:59
  Speaker 2: For a digit instrument like your MIDI keyboard that I've
• 39:01
  Speaker 2: got in front of me here, I can just tune
• 39:04
  Speaker 2: that down eight hurts digitally. So if I want a
• 39:06
  Speaker 2: string section in four three two hurts, no problem. I
• 39:08
  Speaker 2: can do it all digitally. So yeah, it's not that
• 39:11
  Speaker 2: difficult to choose.
• 39:12
  Speaker 3: Right.
• 39:13
  Speaker 1: So if I just bring my guitar over and it's
• 39:15
  Speaker 1: currently tuned standard tuning in four forty, and I say
• 39:18
  Speaker 1: let's jam a song, we're going to be out. We're
• 39:19
  Speaker 1: not gonna sound horrible.
• 39:22
  Speaker 2: Yeah you will sound you will sound sharp, or I
• 39:25
  Speaker 2: will sound flat.
• 39:28
  Speaker 1: That little bit to make such a big difference, it
• 39:30
  Speaker 1: really does.
• 39:31
  Speaker 2: In fact, I had a gathering at my villa last
• 39:33
  Speaker 2: year and we had some musicians and one guy turned
• 39:35
  Speaker 2: up with his piano, his electric piano, and he wanted
• 39:37
  Speaker 2: to play with us, but he had no idea how
• 39:39
  Speaker 2: to tune his piano to four three two. And we
• 39:41
  Speaker 2: started playing together and it was just so often. I said,
• 39:43
  Speaker 2: we can't do it. There's no way.
• 39:46
  Speaker 1: So that song that we played a moment ago of
• 39:47
  Speaker 1: yours about the moon landing, was that four three two tuning.
• 39:50
  Speaker 2: Everything I've released is in four three two. All my albums.
• 39:53
  Speaker 2: I've done six albums so far. I'm about to release
• 39:55
  Speaker 2: a seventh next month, all in four three two. Yeah.
• 40:00
  Speaker 1: Sure, it's it's actually incredible. How subtle this is? So okay,
• 40:05
  Speaker 1: So let's go let's go back then a little bit.
• 40:08
  Speaker 1: So bands like the Beatles and and all the big
• 40:11
  Speaker 1: all the big music, Queen led Zebelin, that's all four
• 40:15
  Speaker 1: forty tuning.
• 40:16
  Speaker 2: Everything. It's a tuning standard. Everything you hear on the radio,
• 40:19
  Speaker 2: every commercial, you hear, every jingle, every everything, basically everything
• 40:24
  Speaker 2: is all tuned to four forty. It's it's a standard.
• 40:27
  Speaker 2: So you can't deviate from that standard if you've got to.
• 40:29
  Speaker 2: I mean I can, because I'm not I don't have
• 40:32
  Speaker 2: a contract with her with a record lab already, So
• 40:34
  Speaker 2: I can't do what I want musically in terms of genres,
• 40:36
  Speaker 2: in whatever frequency I want to do. But if you're
• 40:38
  Speaker 2: a band like Queen or Beatles or Jimmy Hendrix or
• 40:40
  Speaker 2: even Bob Marley or whatever, you have to tune to
• 40:42
  Speaker 2: four for you can't. You know, you can't dictate your
• 40:46
  Speaker 2: own tuning standard. You know it has to be for
• 40:49
  Speaker 2: forty if it's if it's coming out of that industry.
• 40:51
  Speaker 2: So no, A lot of people say, oh, Pink Floyd,
• 40:53
  Speaker 2: they tuned to four three too. Well, I found no
• 40:54
  Speaker 2: evidence of that. They're all tuned to four forty. That's
• 40:57
  Speaker 2: some people say, oh, Jimmy Hendrix used to tune down
• 40:59
  Speaker 2: to four three two. No he didn't. He tuned down
• 41:01
  Speaker 2: a half step. He wasn't playing an E. You tune
• 41:03
  Speaker 2: a guitar to E mostly, but he tuned down to
• 41:06
  Speaker 2: E flat D sharp. But that's still in four to forty.
• 41:08
  Speaker 2: You're just playing a semitone lower. So I found no
• 41:11
  Speaker 2: evidence of Jimmy Hendrix tuning to four three two. I
• 41:14
  Speaker 2: did find a couple of Bob Marley songs which were
• 41:16
  Speaker 2: tuned to four three two. But again, you don't know
• 41:18
  Speaker 2: how they were uploaded to YouTube, so there could be
• 41:21
  Speaker 2: but no, I think all of these mainstream artists, I
• 41:23
  Speaker 2: think you'd struggle to find a main street artist. Even Prince,
• 41:27
  Speaker 2: he said he knew about four three two hurts. Somebody
• 41:31
  Speaker 2: asked a question on his website. He was answering questions,
• 41:35
  Speaker 2: and four thousand people asked Prince the question and he
• 41:37
  Speaker 2: chose this one question to answer, and the question was,
• 41:41
  Speaker 2: our greetings, Prince, you know, please tell us the importance
• 41:43
  Speaker 2: of tuning to four three two hurts, And he chose
• 41:45
  Speaker 2: this one question to answer, in which he replied the
• 41:48
  Speaker 2: gold standard. So he knew about four three two hurts tuning.
• 41:51
  Speaker 2: But when you listen to Prince's music, it's all tuned
• 41:53
  Speaker 2: to four forty. So although he knew the benefits of
• 41:56
  Speaker 2: that tuning frequency, he wasn't allowed to record his music
• 42:00
  Speaker 2: in four three two. It has to be four forty.
• 42:02
  Speaker 2: It has to be for them.
• 42:04
  Speaker 1: And I'm wondering about Michael Jackson. I mean he was
• 42:06
  Speaker 1: very awake.
• 42:08
  Speaker 2: Yeah, yeah, Michael Jackson, all music, all that's in four forty.
• 42:12
  Speaker 2: So although he might have been aware of these things
• 42:14
  Speaker 2: and probably started to get a little bit vocal as
• 42:16
  Speaker 2: Prince did you know he started talking about chem trails recently,
• 42:19
  Speaker 2: well in the last ten years. He went on a
• 42:21
  Speaker 2: popular talk show, started talking about that, and you know,
• 42:24
  Speaker 2: no more prints anymore. Michael Jackson starts to, you know,
• 42:26
  Speaker 2: talk against his record label and tells you that all
• 42:29
  Speaker 2: history is a lie, and no more Michael Jackson saying
• 42:32
  Speaker 2: with George. Michael started being a bit outspoken about the
• 42:34
  Speaker 2: record industry, and no more George.
• 42:36
  Speaker 6: You know.
• 42:37
  Speaker 2: So there's a recurring theme here. So they started to
• 42:40
  Speaker 2: wake up. But they started to realize what they were
• 42:42
  Speaker 2: a part of. Prince put on his face slave if
• 42:44
  Speaker 2: you remember that, realized what exactly he was used for.
• 42:48
  Speaker 1: So it's actually sad to see how enslaved those musicians
• 42:54
  Speaker 1: are because they're so high up in the system that
• 42:56
  Speaker 1: they can't actually say what they're thinking. So they've got
• 42:58
  Speaker 1: to be very subtle in the music. I know Michael
• 43:00
  Speaker 1: Jackson tried very hard in his lyrics. We all had
• 43:04
  Speaker 1: him wrong, didn't we everybody had him wrong.
• 43:07
  Speaker 2: I think he's still alive.
• 43:11
  Speaker 1: He would be very old today with neild like seventy.
• 43:14
  Speaker 2: No when he did. I think he might be sick.
• 43:17
  Speaker 2: He maybe in his sixties. Now, if he was alive,
• 43:20
  Speaker 2: I think that I found some you know, some very
• 43:22
  Speaker 2: dut I don't know. I think he's still I think
• 43:25
  Speaker 2: he's just wait wait, wait, wait wait, that's I've never
• 43:27
  Speaker 2: heard anybody say that. Okay, right, just just go into
• 43:30
  Speaker 2: that a little bit. There's oh god, you'll have to
• 43:33
  Speaker 2: watch a documentary. I think it's called Leaving Neverland. Is No?
• 43:37
  Speaker 2: Is he leaving? No? No, not no one. It was
• 43:38
  Speaker 2: one done by buddy of mine. But anyway, there's some
• 43:42
  Speaker 2: there's a bit of video footage of the ambulance arriving
• 43:46
  Speaker 2: to pick up his dead body. Somebody took the number
• 43:49
  Speaker 2: plate of that ambulance, and then there was a bit
• 43:54
  Speaker 2: of footage later on where the same ambulance is at
• 43:57
  Speaker 2: the morgue or whatever, delivering his body, and it's from
• 44:00
  Speaker 2: a distant camera and they zoom in. The number plates
• 44:01
  Speaker 2: are same, and the back door opens, Michael Jackson gets
• 44:05
  Speaker 2: out and walks into the building. If you can find
• 44:09
  Speaker 2: that footag, I'll see if I can find it, I'll
• 44:10
  Speaker 2: send it to you. The same number plate. Yeah, yeah,
• 44:13
  Speaker 2: I'll see if I can find it. It's amazing, it's amazing.
• 44:16
  Speaker 1: I mean, it makes sense. The guy was under serious attack.
• 44:20
  Speaker 2: Yeah, and then the same with Bowie. Did you see
• 44:23
  Speaker 2: when David Bowie died? They had a they I think
• 44:27
  Speaker 2: it was. It was on news program and they interviewed
• 44:30
  Speaker 2: David Bowie's A and R manager and his name was
• 44:33
  Speaker 2: Jack Stevens. Look this up. This will blow your mind.
• 44:36
  Speaker 2: So they're interviewing this guy called Jack Stevens. So when
• 44:38
  Speaker 2: we're going to talk about Bowie's death, now we've got
• 44:41
  Speaker 2: David Bowie's A and R manager, Jack Stevens. Welcome to
• 44:43
  Speaker 2: the studio, Jack Stevens. And the camera goes on and
• 44:45
  Speaker 2: You're like, that's David Bowie. It's David Bowie. He speaks
• 44:50
  Speaker 2: the same, he's just put on a little bit of way.
• 44:52
  Speaker 2: So I think we've got another actor here. And I
• 44:55
  Speaker 2: think they like to rub it in our faces this
• 44:58
  Speaker 2: kind of stuff. It's like, you know, a revel of
• 45:00
  Speaker 2: the method. But look up Jack Stevens, bowie A and
• 45:03
  Speaker 2: R manager on this news program and he's talking about
• 45:06
  Speaker 2: Bowie so fondly, and it's him. I swear it's him.
• 45:13
  Speaker 1: I mean it's not.
• 45:16
  Speaker 2: Well, I think about it. Michael Jackson as well. Have
• 45:17
  Speaker 2: you have you looked into Dave Dave.
• 45:20
  Speaker 1: I've heard of Dave Dave.
• 45:21
  Speaker 2: Dave Dave sounds very much because this Burns victim, right,
• 45:25
  Speaker 2: And you know, we know how Michael Jackson loved to
• 45:27
  Speaker 2: dress up in different you know cost you know different
• 45:31
  Speaker 2: you know, real have cosmetic not not surgery, but you know,
• 45:34
  Speaker 2: real thick makeup to make him look like someone completely different.
• 45:37
  Speaker 2: And this Dave Dave is supposed to be the best
• 45:39
  Speaker 2: friend of Michael Jackson and a Burns victim. And when
• 45:41
  Speaker 2: Dave Dave opens his mouth, it's like, yeah, I used
• 45:44
  Speaker 2: to know Michael Jackson he was. It's like exactly the
• 45:46
  Speaker 2: same voice. It's like, are they fucking with you?
• 45:50
  Speaker 1: I mean, it's plausible. That's the crazy thing. It has
• 45:53
  Speaker 1: to be on the.
• 45:53
  Speaker 2: Table at this point.
• 45:57
  Speaker 1: I I wonder, I wonder if if this is actually
• 46:03
  Speaker 1: a lot more common than we realize. I mean, you know,
• 46:09
  Speaker 1: a way away for big name musicians to just get
• 46:14
  Speaker 1: out of the matrix.
• 46:16
  Speaker 2: Yeah, that's what I think is going on. I think,
• 46:18
  Speaker 2: you know, Prince got to a point where he was
• 46:20
  Speaker 2: getting a bit of a big mouth, and maybe maybe
• 46:23
  Speaker 2: he's sitting on some island that we don't even know exists,
• 46:26
  Speaker 2: you know, in the outer lands, sipping cocktails with Kurt
• 46:29
  Speaker 2: Cobain and Marilyn Monroe and Elvis. You know, I like
• 46:33
  Speaker 2: to think that.
• 46:36
  Speaker 1: Kurt Cobain was a phenomenal musician. I wonder if he
• 46:41
  Speaker 1: knew anything about four thirty two and four forty. I mean,
• 46:44
  Speaker 1: you didn't know much about guitars.
• 46:46
  Speaker 2: Actually, I don't really rate him as a musician. I
• 46:50
  Speaker 2: don't really rate any of them really, because I don't
• 46:53
  Speaker 2: think even the Beatles.
• 46:54
  Speaker 1: A lot of people have beatles, Well, no, they didn't write.
• 46:56
  Speaker 1: They didn't write, So so.
• 46:59
  Speaker 2: How can we know that that Kirk Cobain wrote any
• 47:01
  Speaker 2: of that stuff with Nirvana? You know, how do we
• 47:04
  Speaker 2: know they're not ghost writers and put in all this
• 47:06
  Speaker 2: stuff Because all of these these sort of so called
• 47:08
  Speaker 2: anti establishment bands that came out of the sixties, and
• 47:11
  Speaker 2: the Laurel Canyon stuff and all this this CIA stuff
• 47:13
  Speaker 2: that was coming out of there. I mean, you can't
• 47:15
  Speaker 2: tell me that's not going on in the modern day
• 47:17
  Speaker 2: with bands like you know, Nirvana, and so I questioned
• 47:21
  Speaker 2: whether they really did write their stuff. So then I
• 47:24
  Speaker 2: don't think that you know, there's such thing as a
• 47:26
  Speaker 2: really talented musician anymore. Like I say, Jacob Colly are brilliant.
• 47:29
  Speaker 2: Prince also multi instrumentalist as well. You know, I've got
• 47:34
  Speaker 2: a bit of admiration for people that could write their
• 47:37
  Speaker 2: own stuff, compose their own stuff, and play across multiple instruments.
• 47:40
  Speaker 2: He's just rare you see that these days.
• 47:42
  Speaker 1: But now let me throw a counter arguing at you,
• 47:44
  Speaker 1: and that's it's very obvious. But Alex, this song was
• 47:50
  Speaker 1: beautiful and it just relaxed me so much.
• 47:53
  Speaker 3: Yeah.
• 47:54
  Speaker 2: Absolutely, I mean you can get emotion and I would say, well,
• 47:57
  Speaker 2: take that same song if it really moved you, how
• 48:01
  Speaker 2: are you listening to it? Were you're listening to an
• 48:02
  Speaker 2: MP three. If you were listening to an MP three,
• 48:04
  Speaker 2: Imagine what it would sound like uncompressed in a full
• 48:07
  Speaker 2: WAV file or on vinyl. Now, imagine if you've got
• 48:10
  Speaker 2: access to the original recording and it was recorded in
• 48:12
  Speaker 2: four three two hurts. I think you'd be talking, you know,
• 48:15
  Speaker 2: it'd be moving you more. I think so. Actually, imagine
• 48:17
  Speaker 2: the possibilities if it was uncompressed. Imagine the possibilities if
• 48:20
  Speaker 2: it if it was recorded that same song you're talking about,
• 48:23
  Speaker 2: what would it do to you, you know, spiritually, emotionally
• 48:25
  Speaker 2: if it was recorded in the right way and the
• 48:27
  Speaker 2: right frequency, probably you'd get you'd get more of a reaction.
• 48:30
  Speaker 1: I think, yeah, I get what you're saying. Some other words,
• 48:34
  Speaker 1: if you really enjoyed that song, you might enjoy it
• 48:37
  Speaker 1: even more.
• 48:38
  Speaker 2: Yeah, exactly, yeah, yeah, but I think that the four
• 48:43
  Speaker 2: to four is just you know, if you love that song,
• 48:45
  Speaker 2: it's just an indication of how much you could love
• 48:47
  Speaker 2: that song. You know, the demographic that listens to music
• 48:50
  Speaker 2: the most, which is teenagers, and they've always got their
• 48:53
  Speaker 2: headsets on, probably wireless these days, and they've got all
• 48:56
  Speaker 2: these frequencies buzzing around. Like for those people that don't
• 48:59
  Speaker 2: know that the wireless earbuds, they communicate between earbuds, so
• 49:03
  Speaker 2: they're sending signals right through your head, right through your brain.
• 49:07
  Speaker 2: So that's one issue. And they're listening to their favorite
• 49:10
  Speaker 2: you know, slip not listen to that in four forty
• 49:14
  Speaker 2: and then we wonder why teenagers are such a problem.
• 49:16
  Speaker 2: We wonder why they're so aggressive and moody and unresponsive.
• 49:21
  Speaker 2: You know, they're just like they're just like monkeys, you know,
• 49:24
  Speaker 2: dragging their knuckles. So I think, you know, if you're
• 49:27
  Speaker 2: listening to rock music in four forty hrtz all day long,
• 49:30
  Speaker 2: it's going to absolutely have an effect on your personality.
• 49:35
  Speaker 1: Which then makes me wonder how on point you know,
• 49:40
  Speaker 1: some of those, like African musicians, are not the recording.
• 49:44
  Speaker 1: I mean if you go into like a village for
• 49:46
  Speaker 1: a weekend.
• 49:47
  Speaker 2: Yeah, which is why the instruments that are dug up
• 49:50
  Speaker 2: on archaeological sites, they're all tuned to predominantly to four
• 49:53
  Speaker 2: three two. And the Tibetans as well, with their Tibetan
• 49:55
  Speaker 2: singing bowls. I have some videos of babies crying just
• 49:59
  Speaker 2: screen and then a hand comes into shot with a
• 50:01
  Speaker 2: Tibetan singing bowl and they just tap it lightly and
• 50:04
  Speaker 2: the baby goes a and then just stops crying, and
• 50:07
  Speaker 2: it's just it's amazing. So the ancient Tibetans day were
• 50:11
  Speaker 2: they didn't have digital tuners like I just showed you.
• 50:13
  Speaker 2: They obviously knew something that they could feel the resonance
• 50:16
  Speaker 2: and they were tuning to this frequency naturally.
• 50:19
  Speaker 1: What's the solution, Yeah, because this sounds like this is
• 50:23
  Speaker 1: a musician talking to musicians.
• 50:26
  Speaker 2: Yeah, I mean there's things that if musicians come to
• 50:28
  Speaker 2: this information, they will want to tune to four three too,
• 50:30
  Speaker 2: once they realized that their music will have more of
• 50:32
  Speaker 2: effect if they chose this tuning, then they would absolutely
• 50:35
  Speaker 2: do it. And as I showed you, it's very very
• 50:37
  Speaker 2: easy to do. Not so easy with an actual piano,
• 50:39
  Speaker 2: but with digital instruments and guitar, it's very easy to
• 50:41
  Speaker 2: tune to four three two. And if any listeners, like
• 50:44
  Speaker 2: non musical people, want to do something about their music
• 50:47
  Speaker 2: that's tuned to four forty hurts, you can retune it.
• 50:49
  Speaker 2: There are apps available on from the app Store which
• 50:52
  Speaker 2: will play all of your music that's stored on your
• 50:54
  Speaker 2: phone in four three two. You just click a button
• 50:56
  Speaker 2: and reduces it by eight hertz. So there's things you
• 50:58
  Speaker 2: could do to you know, you could use different software.
• 51:00
  Speaker 2: You can you know, you can ask AI or ask
• 51:02
  Speaker 2: Google how can I reduce my music by eight eight hurts?
• 51:05
  Speaker 2: Or get it into four three two, so you can,
• 51:07
  Speaker 2: you know, do some conversions with your playlist if you
• 51:10
  Speaker 2: wanted to.
• 51:30
  Speaker 5: Well, let me tell you something about the space station.
• 51:33
  Speaker 5: It's only really there in your imagination.
• 51:36
  Speaker 6: That thing ain't real.
• 51:37
  Speaker 5: It's science fiction. It's there to feed your space addiction.
• 51:42
  Speaker 5: Thos Astronauts and not in Space has written all over
• 51:46
  Speaker 5: their stupid face seat I can smile a life from
• 51:50
  Speaker 5: one hundred of miles, and I can smile a fraud
• 51:52
  Speaker 5: from the way they smile. Didn't you learn nothing from
• 51:56
  Speaker 5: the fake? More miss on that off its show from
• 51:59
  Speaker 5: President Nick. Well, listen up, they're doing it again, it seems.
• 52:03
  Speaker 5: Check out the harnesss and green screens. I used to
• 52:07
  Speaker 5: work a lot in filmm and TV. I know a
• 52:10
  Speaker 5: bit about the television drick or read to create the
• 52:13
  Speaker 5: illusion that you're somewhere, that you're not.
• 52:15
  Speaker 3: A green screen is what you're gonna use a lot.
• 52:18
  Speaker 5: Or if you wear a harness in, attach you to
• 52:20
  Speaker 5: the ceiling knee illusion that you're floating is why they'll
• 52:23
  Speaker 5: be believing. Ah, y'all watching is a Puffins show. Yeah,
• 52:27
  Speaker 5: the whole wild stage as true naughts. Their actors are forcing.
• 52:33
  Speaker 6: Yeah, they all get paid.
• 52:35
  Speaker 5: You look at me by I'm r in space. No,
• 52:40
  Speaker 5: you're not your light into the human race. So let
• 52:49
  Speaker 5: me tell you something about a zero G playing this
• 52:51
  Speaker 5: thing fines up and then down against some weird stuff happens.
• 52:56
  Speaker 5: If you're on the inside you start to float, ask
• 52:59
  Speaker 5: the plane, take a dive, simply out an actor the
• 53:02
  Speaker 5: strain to the scene, and you got yourself an astronaut
• 53:05
  Speaker 5: or so you believe blame flies Appa mats everyone's queue,
• 53:09
  Speaker 5: then action, We got some deceiving dude. Blame flies down
• 53:14
  Speaker 5: a man, everyone knows to start the ISS Live show
• 53:19
  Speaker 5: floating in a plane with zero G. But you only
• 53:22
  Speaker 5: see astronauts are on your TV. Ah, y'all watch it
• 53:26
  Speaker 5: as a puffins show. Yeah, the whole wild stage astrunauts,
• 53:32
  Speaker 5: their actors are, of course.
• 53:33
  Speaker 6: And yeah they all get paid.
• 53:37
  Speaker 5: Look at me, by I'm fluting in space. No, you're
• 53:40
  Speaker 5: not your line into the human race. Well, another thing
• 53:49
  Speaker 5: I noticed when I looked at these pools. They're filming
• 53:52
  Speaker 5: space walks in buoyancy pools. That's gonna tell you that
• 53:56
  Speaker 5: it's just for training to practice for space station, maintaining
• 54:01
  Speaker 5: what I've thought about that. But if that's the case,
• 54:04
  Speaker 5: then why the hell can I see bubbles in space?
• 54:07
  Speaker 5: Take a hard look at the next space walk. Tell
• 54:10
  Speaker 5: me if you can see bubbles at all, open your eyes, man,
• 54:14
  Speaker 5: I'll betch you a quarter those space walks the film underwater,
• 54:19
  Speaker 5: I can see space bubbles everywhere. Hey, Guessa, how the
• 54:23
  Speaker 5: hell did those get there?
• 54:25
  Speaker 3: Oh?
• 54:25
  Speaker 5: Y'all watch it as a puffet show. Yeah, the all
• 54:29
  Speaker 5: wild stage as true nauts, their actors are, of course,
• 54:34
  Speaker 5: and yet they all get paid. Look at me, man,
• 54:38
  Speaker 5: I'm fucking in space. No you're not in your line
• 54:41
  Speaker 5: into the human race. So when you see an astronaut
• 54:50
  Speaker 5: abought the ISSS, take another look at your TV. Said,
• 54:55
  Speaker 5: they're pretty good of faking, So you gotta look close.
• 54:58
  Speaker 5: Pay some attention to the way the actor floats. If
• 55:01
  Speaker 5: you ask me, that ain't zero gravity but Hollywood effects
• 55:05
  Speaker 5: that I see on my TV. Take a good look
• 55:08
  Speaker 5: at the whole damn thing. These live bastards, Utch's puppets
• 55:12
  Speaker 5: on the string. It's all a big science fiction puppets show.
• 55:16
  Speaker 5: The game's up, NAS holes, because we all know. Thanks
• 55:20
  Speaker 5: for the show, NASA. It's been a blast. Now take
• 55:23
  Speaker 5: your fake station and shove it up here. Ah y'all
• 55:27
  Speaker 5: watching as a puppet show. Yeah, the all wowed to
• 55:30
  Speaker 5: stay our stronauts there actors of course, And yeah y'all.
• 55:36
  Speaker 6: Can't pay you.
• 55:38
  Speaker 5: Look I mean, ma, I'm fluting in space. No you're
• 55:41
  Speaker 5: not your lying to the whole human race. Ah, y'all
• 55:45
  Speaker 5: watching as a puppet show. Yeah, the all wowed to
• 55:48
  Speaker 5: stage our stronauts. They're just actors, of course, And yeah,
• 55:54
  Speaker 5: the y'all cant paid.
• 55:56
  Speaker 3: Look at me, Ma, I'm flumped in space.
• 55:59
  Speaker 6: No you're not.
• 56:00
  Speaker 3: You're lying to the whole human race. A yeah, watching show.
• 56:05
  Speaker 5: Yeah, the oh wold estape astronauts. There are actors, of course,
• 56:11
  Speaker 5: and yeah, look at me, mom.
• 56:17
  Speaker 3: No you're not. You're lying to the whole human race.
• 56:21
  Speaker 3: Wat Yeah, of course.
• 56:34
  Speaker 1: Are you.
• 56:37
  Speaker 3: Yeah?
• 56:37
  Speaker 1: So you said earlier that these videos are a lot
• 56:40
  Speaker 1: of work and zero budget, I suspect makes it a
• 56:43
  Speaker 1: lot of work. I mean, how do you do it?
• 56:45
  Speaker 1: Just with the green screen?
• 56:46
  Speaker 2: Yeah? Behind you can see the Neon sign there behind me,
• 56:49
  Speaker 2: just above that, there's a there's a green screen rolled
• 56:51
  Speaker 2: up and I could just pull that down and then
• 56:54
  Speaker 2: it's sort of over to my imagination, like what kind
• 56:56
  Speaker 2: of scene. Because once you have a green screen and
• 56:59
  Speaker 2: you film yourself in out of a green screen, you
• 57:00
  Speaker 2: put it into software. It removes the green and you
• 57:03
  Speaker 2: can you can put whatever image or whatever video you
• 57:06
  Speaker 2: want behind you. And as you saw there, I'm lying
• 57:08
  Speaker 2: on a green bench, and of course the software takes
• 57:10
  Speaker 2: all the green out, so it looks like I'm floating.
• 57:12
  Speaker 2: And I actually turned myself upside down, so all my
• 57:14
  Speaker 2: hairs now pointed to the floor and then I just
• 57:17
  Speaker 2: reversed the video and it looks like my hair's pointing up.
• 57:20
  Speaker 2: So there's all sorts of little, you know, techniques that
• 57:22
  Speaker 2: I use and just to show out easy it is
• 57:25
  Speaker 2: with a green screen and zero budget and an imagination.
• 57:28
  Speaker 2: And you know, I wish I had NASA's budget of
• 57:30
  Speaker 2: eighty million dollars a day. I could do so much more.
• 57:33
  Speaker 1: And you do all the instruments yourself. Yeah, yeah, I
• 57:37
  Speaker 1: don't see a drum set behind you, is that, MIDDI?
• 57:40
  Speaker 2: Yeah, all the drums and media. I did have a
• 57:41
  Speaker 2: drum kit, but it just took up too much room.
• 57:43
  Speaker 2: And to record drums as well, you have to mic
• 57:45
  Speaker 2: up the tom tom, the kick drum, the stare everything,
• 57:48
  Speaker 2: and it's a real pain in the ass. So I
• 57:51
  Speaker 2: just it's a lot easier to do digital drums. So
• 57:54
  Speaker 2: I sequence all the drums and I do play a
• 57:55
  Speaker 2: little bit, but it's a lot easier just to let
• 57:57
  Speaker 2: the machine do the work these days. And bit live, Yeah,
• 58:02
  Speaker 2: I played live last year. I used to play live
• 58:04
  Speaker 2: a lot, you know, mostly on my own into some
• 58:06
  Speaker 2: backing tracks. I did work with some bands, but I
• 58:08
  Speaker 2: found it very difficult working with other musicians, so I
• 58:11
  Speaker 2: always thought I was destined to be just this solo
• 58:13
  Speaker 2: artist until very recently, the last couple of years, I
• 58:17
  Speaker 2: bumped into a couple of awake and aware musicians. You know.
• 58:20
  Speaker 2: That really helps, you know, trying to find someone on
• 58:23
  Speaker 2: this level that wants to do this kind of music,
• 58:25
  Speaker 2: in this kind of tuning and make this kind of
• 58:27
  Speaker 2: music where there's no perse at the end of it.
• 58:29
  Speaker 2: You know. So, because this is the worst business decision
• 58:32
  Speaker 2: I ever made in my life. I can't make money
• 58:33
  Speaker 2: out of conspiracy music because I'm so censorive. So recently
• 58:36
  Speaker 2: I've had a couple of musicians that I bumped into
• 58:39
  Speaker 2: and we're working. Now, We've got a band. Now, we're
• 58:42
  Speaker 2: working on our sound, and we're doing this kind of
• 58:44
  Speaker 2: MTV unplugged sort of sound with acoustic instruments and with
• 58:47
  Speaker 2: very defiant lyrics and a few cover versions in there
• 58:50
  Speaker 2: as well. And we've got our first live gig this
• 58:52
  Speaker 2: September in Spain in Alicanti, right on the beach. So
• 58:56
  Speaker 2: tickets for that are available on my website, Conspiracy music
• 58:59
  Speaker 2: Guru dot com. Click on events and you can come
• 59:01
  Speaker 2: and see us live as well as hangout with with
• 59:03
  Speaker 2: your kind.
• 59:04
  Speaker 1: I think your name. Conspiracy music Guru is very smart
• 59:08
  Speaker 1: because you're owning it. You're not pretending, which is also
• 59:12
  Speaker 1: very good. I mean, that's pretty authentic.
• 59:14
  Speaker 2: It's it's a bit of a mouthful for people to
• 59:16
  Speaker 2: remember because when you say conspiracy music, they go, well,
• 59:18
  Speaker 2: hold on, hold on, let me write that down. It's like,
• 59:20
  Speaker 2: I wish if I'd had my time again, I would
• 59:22
  Speaker 2: have probably made it a little smaller. But it does
• 59:24
  Speaker 2: kind of encapsulate what I do. I mean, the word
• 59:27
  Speaker 2: guru simply means to sort of bring darkness into the
• 59:30
  Speaker 2: bring light into the darkness, and to inform and to
• 59:33
  Speaker 2: teach and to guide. And I do believe that I
• 59:35
  Speaker 2: am informing and teaching and guiding people with the music,
• 59:38
  Speaker 2: and it's all about conspiracy. So conspiracy music Guru is
• 59:40
  Speaker 2: kind of quite apt, really, and it's just a moniker
• 59:42
  Speaker 2: that I'm stuck with now.
• 59:43
  Speaker 1: So well, I mean, people like you have I think
• 59:47
  Speaker 1: had a very positive impact on, particularly during the COVID era,
• 59:52
  Speaker 1: on a number of people. I mean, I think people
• 59:54
  Speaker 1: were searching for what the hell is going on because
• 59:58
  Speaker 1: nothing made sense In twenty and twenty, everything got turned
• 1:00:01
  Speaker 1: on its head and went.
• 1:00:03
  Speaker 2: To artists out there that was that was screaming about it.
• 1:00:06
  Speaker 2: Apart from me and a couple of others where it
• 1:00:09
  Speaker 2: was punk rock. Then where all the rockers going, you know,
• 1:00:12
  Speaker 2: you know, rage against the machine. They were you had
• 1:00:15
  Speaker 2: to be vaccinated to go to a Rage against the
• 1:00:17
  Speaker 2: Machine concert. They're very irony in that there.
• 1:00:21
  Speaker 1: Yeah, exactly, yeah.
• 1:00:22
  Speaker 2: So yeah, I was screaming about it into a microphone,
• 1:00:25
  Speaker 2: and I was singing songs like I Told you So,
• 1:00:27
  Speaker 2: which was like I told you sold like quite a
• 1:00:29
  Speaker 2: rocky vibe to that. And I was singing songs about
• 1:00:31
  Speaker 2: big farmer and vaccine injury and that, and you know,
• 1:00:33
  Speaker 2: quite angrily doing it. And I made a rock album
• 1:00:36
  Speaker 2: during that time of you know, frustration. I think everybody
• 1:00:38
  Speaker 2: resonated with the frustration because they were also going, why
• 1:00:41
  Speaker 2: can't you see it? Why can't you see that clearly,
• 1:00:43
  Speaker 2: something that nefarious is going on. So yeah, for me,
• 1:00:46
  Speaker 2: I don't need a therapist. I just need a microphone
• 1:00:47
  Speaker 2: and a guitar.
• 1:00:49
  Speaker 1: Do you think there are any big conspiracies that perhaps
• 1:00:53
  Speaker 1: aren't conspiracies.
• 1:00:56
  Speaker 2: Like what I think they're all a conspiracy. Everything's on
• 1:00:59
  Speaker 2: the I mean, these little conspiracies have been going on
• 1:01:02
  Speaker 2: for hundreds of years. If you can go back to
• 1:01:04
  Speaker 2: the Titanic, you know there's a huge conspiracy there, right,
• 1:01:07
  Speaker 2: So how long has it been going on for?
• 1:01:09
  Speaker 1: Well, let me let me change my question. So David
• 1:01:12
  Speaker 1: Ike argues that we're all in a simulation. I'm not sure.
• 1:01:18
  Speaker 1: I'm not sure where I stand on that.
• 1:01:20
  Speaker 2: What do you think I never thought I would lean
• 1:01:22
  Speaker 2: towards simulation theory. I thought it was particularly people like
• 1:01:25
  Speaker 2: Elon Musker talking about it. I'm like, oh, shut up,
• 1:01:27
  Speaker 2: but it's on the table for me. I don't know
• 1:01:31
  Speaker 2: if you've seen the d MT experience experiments where the
• 1:01:34
  Speaker 2: people they get a little bit high on DMT and
• 1:01:36
  Speaker 2: then they get basically a laser which you can buy
• 1:01:39
  Speaker 2: from any home depost stores, like a level laser, and
• 1:01:42
  Speaker 2: they shine it at the wall and they smoke some
• 1:01:44
  Speaker 2: DMT and they look at the laser and they can
• 1:01:46
  Speaker 2: see like this matrix code in it. So, I mean,
• 1:01:49
  Speaker 2: what's all that about?
• 1:01:50
  Speaker 1: You know, Well, it could be the drugs.
• 1:01:54
  Speaker 2: Could be the drugs, but it's been everyone's seeing the
• 1:01:57
  Speaker 2: same thing. It's just Q. I don't know. Does that
• 1:02:01
  Speaker 2: lend to simulation? I don't know, but it's you know,
• 1:02:03
  Speaker 2: we are transmitters. And receivers of something. We're getting this consciousness.
• 1:02:07
  Speaker 2: It's coming from somewhere, so it's on the table for me.
• 1:02:10
  Speaker 2: I'd like to see a little bit more evidence, but
• 1:02:12
  Speaker 2: I wouldn't dismiss it.
• 1:02:14
  Speaker 1: Your music, Alex also is very well produced. Do you
• 1:02:16
  Speaker 1: mix everything yourself?
• 1:02:18
  Speaker 2: Yeah, that was quite a learning curve to do the
• 1:02:21
  Speaker 2: you know, learn the production side of it, you know,
• 1:02:23
  Speaker 2: becoming because normally musicians would just do the music stuff.
• 1:02:25
  Speaker 2: They would just go in the studio and play and
• 1:02:27
  Speaker 2: then you have a sound engineer do all that hard work.
• 1:02:29
  Speaker 2: But I've had to learn how to do mixing and
• 1:02:31
  Speaker 2: mastering and equing, and it's quite a task really, but
• 1:02:34
  Speaker 2: you know, I get it to a decent level where
• 1:02:37
  Speaker 2: you know, it doesn't sound crap. You can hear all
• 1:02:39
  Speaker 2: the instruments and they're all separated well in the mix,
• 1:02:41
  Speaker 2: and you can hear what I'm singing. The voice is clear,
• 1:02:44
  Speaker 2: you know, as long as the song's good enough and
• 1:02:45
  Speaker 2: catchy enough. I don't obsess too much, you know what
• 1:02:48
  Speaker 2: I'd probably do. Actually, I try and get it to
• 1:02:50
  Speaker 2: sound as good as possible. And I've got good ears
• 1:02:52
  Speaker 2: and that's you know, that's a blessing and a curse
• 1:02:54
  Speaker 2: because if I hear something that's microscopically sharp or microscopically
• 1:02:58
  Speaker 2: out of time or flat, I notice it and I
• 1:03:00
  Speaker 2: have to fix that. I have to fix that. So
• 1:03:01
  Speaker 2: as long as I'm entirely happy at the end of
• 1:03:03
  Speaker 2: it and I can't make it any better, that's when
• 1:03:04
  Speaker 2: it leaves the studio.
• 1:03:06
  Speaker 1: Do you use Logic?
• 1:03:07
  Speaker 3: Yeah?
• 1:03:08
  Speaker 2: Yeah, I love Logic. I'm still only using it about
• 1:03:10
  Speaker 2: ten percent of its capabilities. It's vast software, but you know,
• 1:03:14
  Speaker 2: it allows me to do what I want to do.
• 1:03:16
  Speaker 2: You know, if you can't get a decent sound out
• 1:03:18
  Speaker 2: of Logic, then you probably shouldn't be using it.
• 1:03:22
  Speaker 1: Or at least then just use garage band.
• 1:03:24
  Speaker 2: Yeah, well, that that's a good start. I started with
• 1:03:26
  Speaker 2: garage band, and there's a lot of free software out there,
• 1:03:29
  Speaker 2: free digital audio workstations that you can get online. And
• 1:03:32
  Speaker 2: once you get the bar and you might want to
• 1:03:33
  Speaker 2: step up and pray pay three hundred bucks for Logic,
• 1:03:36
  Speaker 2: But the three hundred bucks is so I would have
• 1:03:37
  Speaker 2: paid five grand for Logic. It's so worth it.
• 1:03:41
  Speaker 1: It really is phenomenal software. I've better under the Also.
• 1:03:45
  Speaker 2: It's incredible. It's kept me busy for years and years
• 1:03:48
  Speaker 2: and years. I was quite successful with ringtones. I was
• 1:03:50
  Speaker 2: making ring tones on Logic. That's how I first learned
• 1:03:53
  Speaker 2: how to do productions, and I was sending ring tones
• 1:03:55
  Speaker 2: on iTunes. That's what got me to Spain. Actually, that's
• 1:03:58
  Speaker 2: what bought my house. I did quite well at that.
• 1:04:00
  Speaker 2: It's the different market. Now AI is completely ruined that business.
• 1:04:02
  Speaker 2: But so that was a lot of fun. That's what
• 1:04:04
  Speaker 2: really got me into making music. And I thought, well,
• 1:04:06
  Speaker 2: if I can make a ring tone for thirty seconds,
• 1:04:08
  Speaker 2: I can do a whole song. And then it just
• 1:04:11
  Speaker 2: there was just a snowball effect. After that, I just
• 1:04:13
  Speaker 2: really got the barger and now I'm pretty good at it.
• 1:04:14
  Speaker 1: And actually your music sounds really really good. I mean
• 1:04:18
  Speaker 1: you would think that there is a professional producer behind it.
• 1:04:23
  Speaker 2: Yeah. I'm just obsessive with it really, you know, I
• 1:04:26
  Speaker 2: think if you throw yourself into that, you know, because
• 1:04:28
  Speaker 2: when you first open Logic, you're like, oh my god,
• 1:04:30
  Speaker 2: there's all these buttons and knobs and parameters that I
• 1:04:33
  Speaker 2: can twist, and it's like this is quite daunting. I
• 1:04:36
  Speaker 2: guess once you just dip your toe in the water
• 1:04:38
  Speaker 2: and you start, Oh that's how you record. Oh, that's
• 1:04:40
  Speaker 2: how I can make it sound better that oh, just
• 1:04:42
  Speaker 2: a little tweak here, And it's fascinating. You're becoming a
• 1:04:44
  Speaker 2: bit of a sound engineer at that point, and an alchemist,
• 1:04:47
  Speaker 2: you know. That's what I'm doing with the frequencies. It's
• 1:04:49
  Speaker 2: kind of like alchemy, really putting these healing frequencies in
• 1:04:51
  Speaker 2: this music and building tracks around it. And so it's like,
• 1:04:54
  Speaker 2: you know, I'm a little mad wizard in my little
• 1:04:56
  Speaker 2: sound room.
• 1:04:57
  Speaker 1: I love how you challenge bad ideas through entertainment, So
• 1:05:03
  Speaker 1: God bless you for that. How can I follow your work?
• 1:05:09
  Speaker 3: Well?
• 1:05:09
  Speaker 2: If people can remember three words conspiracy music guru. Those
• 1:05:13
  Speaker 2: three words, if you type that into YouTube, YouTube will
• 1:05:15
  Speaker 2: probably be the best place to find me. There's two channels.
• 1:05:18
  Speaker 2: Click on the one or subscribe to the one that
• 1:05:19
  Speaker 2: has the most amounts of describers, because that's where all
• 1:05:21
  Speaker 2: the video content, all the visual stuff I've made. And
• 1:05:24
  Speaker 2: it's quite powerful because, like you say, when you couple
• 1:05:26
  Speaker 2: all of this dark stuff and all the stuff you
• 1:05:29
  Speaker 2: learn and you add a little comedic layer to it,
• 1:05:31
  Speaker 2: it travels a lot further. People want to share it
• 1:05:33
  Speaker 2: because it's made them laugh, regardless of whether they are
• 1:05:36
  Speaker 2: on board with the topic. You know, if you put
• 1:05:38
  Speaker 2: a little joke in this on where, they're more than
• 1:05:40
  Speaker 2: likely to share it. And people don't have the attention
• 1:05:43
  Speaker 2: span these days to watch a two hour documentary on
• 1:05:46
  Speaker 2: a particular subject. So putting a little truth grenade together
• 1:05:49
  Speaker 2: in a song with a catchy chorus, you know, they're
• 1:05:51
  Speaker 2: really good at of you know, sewing seeds, and I
• 1:05:56
  Speaker 2: see those seeds germinate all the time in my comment section.
• 1:05:59
  Speaker 2: You know, I'm looking at this information because of this
• 1:06:00
  Speaker 2: song or this chorus. So it's actually quite a powerful medium,
• 1:06:03
  Speaker 2: which is why I'm being censored so much, because that's
• 1:06:06
  Speaker 2: how much power it has.
• 1:06:08
  Speaker 1: Alex Michael, conspiracy music Guru, thank you for joining me
• 1:06:12
  Speaker 1: in the trenches.
• 1:06:13
  Speaker 2: Thanks for having me on mate. I've enjoyed it.
• 1:06:15
  Speaker 3: Cheers,