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Spirit of Ma'at: "Music of the Spheres" — Vol 3, No 3 with Don Estes by Celeste Adams
Don Estes's interest in sound therapy and harmonics led him to develop technologies that help people gain insight into the universal symphony that is taking place all around us.
While interviewing Estes, I tried out one of his amazing inventions: the wave table. While lying on it, I had the exquisite experience of floating through space, going back in time to where I watched the creation of all things. The wave table is made of a vibrating crystal mattress. An hour spent on this table shifts you into another reality, where everything is fluid, harmonious, and perfect. It is the place where you can forget about all that is wrong in the world and remember the beauty and perfection that lie within our reach. His technologies, which combine light, sound, and vibration, provide exquisite pleasure as they reduce stress and diminish pain. They also can change the brain's frequency and help unlock a person's true potential. Celeste: I have always loved the idea of every planet and star in the universe radiating a perfect tone, contributing to a universal symphony. It's a concept that has been at the center of my focus from a very young age. How would you describe this universal symphony? Don: The Music of the Spheres would have to include all the vibrations between zero and infinity and not just the ones that can be heard by human ears. This music is to be experienced by all the sensory mechanisms. This discovery is what first got me off in the direction of what I've called "VibraSoundTM" technology. It creates a way for more of the sensory mechanisms to be allowed into the experience. Instead of just hearing music, you feel it in every cell of your body. You see it in your head with your eyes closed. You can even smell it. You experience it on as many different sensory levels as you can. Celeste: Did you hear the Music of the Spheres before you invented VibraSound? Don: I've always been really connected to what I would call, for lack of a better word, a "personal God." It's not some arbitrary energy out there that I can't really explain, but something like a friend or a master personality that I talk to. That's been the case since I was a little kid. It's given me a bigger picture of what's going on than I think the average person has. In interviewing people about this, I have been shocked and dismayed to learn how many people don't have these kinds of experiences. When it does happen, it's usually when they're in an unusual and beautiful situation — on vacation in Hawaii, perhaps. They walk out on a canyon rim and look down at some scene, and all of a sudden they get goose bumps and one of those rushes. They realize that life is incredible and that they are so lucky. Getting into this thankful mode usually lasts maybe thirty seconds — until the kids come screaming, or the spouse, or whatever. Then they're back out of it just as quickly as they got into it. I call this a peak experience. In peak experiences you have an overwhelming sense of peace and well being — that everything's under control and happening just as it's supposed to be happening. You feel really blessed and thankful. It's the most energizing kind of experience in the world. You get more energy from something like that than from anything else you can do. Usually if you ask people about peak experiences, you'll find some who, like myself, have been blessed with having them many times. But average people are lucky if it happens two or three times in their lives. Celeste: How did you develop an interest in sound healing? Don: I started out as a musician who, like all good boys of the sixties, finally had to get a real job. I wound up in medical technology and then did a little bit of engineering on human/machine interfacing with hospital-level types of equipment. Suddenly it came together for me when I realized the application of all of that knowledge and wound up inventing a device called VibraSound — which is really a number of devices. It helps people get into a place where they can access higher levels of mind, feelings of peace, feelings of love, well being. These kinds of feelings are really hard to come by on Planet Earth these days. Celeste: You write that your VibraSound technology consists of four main parts and includes:
Don: Our flagship product is the wave table that you lie down on. The mattress is a liquid crystal, and there's a substance that's almost identical to human tissue fluid. Any vibration that is set up inside that mattress transfers into the body with hardly any loss of signal. It feels as though the music or vibrations are coming from you, rather than from a vibrating table.* Celeste: You have developed a unique approach to enhancing a person's individual harmonic through the development of sensory resonance biofeedback. You've explained that sensory resonance is a state of mind that occurs when one is extremely inspired, challenged, or relaxed in a pleasurable experience, and that Bio-Resonance Feedback supports, enhances, and amplifies whatever harmony is already naturally present by capturing and feeding it back to the recipient. Can you explain how your theory of sensory resonance helped you in your design of VibraSound? Don: Our brain wants everything to add up and make sense. It also wants safety and security. We came up with a way of laying a person down on one of these devices where they're safe and warm and floating. When we synchronize all of their sensory mechanisms, they pass into this state of mind that we call Sensory Resonance. These devices were based on a theory that I put forth in the late seventies called the Theory of Sensory Resonance. It is based on a model of how the brain works and how consciousness actually works in the real world. It defines how the body receives, processes, and outputs information. In doing this research, I realized that the only connection that consciousness had to the environment (whether external or internal) was these sensory mechanisms. For every external sensory mechanism, we have a duplicate internal sensory mechanism that we use when we dream. You can see with your eyes closed and hear and smell. We put a lot of research into that and the result was VibraSound technology. It immediately became a hit, and we just had incredible results with it, all over the world. We have hundreds of different systems out in about twenty different countries. It was a really great success for actually delivering the experience. Unfortunately, as you probably know, most people these days don't really trust their own experience so they have to be able to analyze something and make it all add up before they'll believe it. So I was forced into explaining how VibraSound technology worked. That got me into the study of vibration and led me all over the world to apprentice under different people who were doing different aspects of vibration. It also led me to write and illustrate a book about it, which was quite a demanding job.[1] When I started studying this, I read maybe five hundred sources of information that were worthy of reviewing. Most of them disagreed with each other in various areas, such as how light and sound correlate with each other. That was one of the things that inspired me to write my book. I wrote a series of laws or principles that define relationships between all these vibrations. I discovered that vibration is a relative thing. When you say "vibration" you immediately jump out of the absolute world into the relative world. As long as you're stuck in the relative world, you can't really get into any of this good stuff in the center, which is what holds it all together. Celeste: Can you explain what you mean by a universal frequency? Don: Well, this is one of the most amazing discoveries that we've made. We have actually found that there is a universal fundamental frequency. We tested not only human sounds but things like dogs barking, cats purring, wind blowing, and ocean waves crashing. We have found that most of the partials in all of these sounds relate to a single universal fundamental frequency. We're really a little apprehensive about talking about this right now, because we're not really sure what some devious-minded person could do with such a number. Celeste: What is a "partial"? Don: A partial is the musical term for an overtone. There's a whole series of overtones that come from your shape and your size and your cavities and all the things that make you sound like you. If you were just speaking with a fundamental frequency you would sound monotonous; you wouldn't have any inflections or overtones in your voice. We're able to go in and look at all of the partials in a person's voice, and have found that they are whole-number ratios of this universal, fundamental frequency. We pull those out and feed the result back to the person while they're in this system. That way, we're driving them on their own natural resonance. All the noise, all the imperfection, all the other stuff is left out of the picture. Celeste: Is the Western octave an artificial construction? Don: There is a whole-number ratio of the number in the natural overtones scale that causes the octave not to perfectly double as its forced to do in our perfected Western music scale. The C down here is one-half the frequency of the C up above it. But the natural overtone scale doesn't do that, it falls short of exactly doubling. If that imperfection were not there in the universe, everything would be absolute and perfect and there would be no physicality. Materialization is a fall from the state of being perfect. Celeste: Is there a perfect scale? Don: The only near-perfect musical scale was designed with the principle that if you use pi (π) to establish the scale, you end up with an ascending scale and a spiraling scale — twenty-one notes in each octave, because every note has a flat and a sharp. On the keyboard there's no E-sharp or F-flat, but you have both of those keys in this scale. You wind up with twenty-one notes in a perfected music scale. The scale doesn't quite double — there is a slight imperfection. Celeste: Or could this be perfection? Don: Yes. Maybe we're talking backwards, as we do a lot of times about things. Maybe that's the perfected state and the other is not. But we tend to think of God as existing in an absolute and perfected state. That would have to be a state of simultaneous silence and absolute motion at the same time. Celeste: I know that you are concerned with supporting the harmonics already present in a person. In one of your articles you wrote that resonance feedback fills the holes and increases energy levels. In addition, it:
So unlike other sound therapists, you're not looking for missing tones in a person that you can enhance. Instead, it seems that what you're doing is building up a person's dominant frequency. Don: Yes. Most people are focusing on missing and stressed frequencies, and all the things that are wrong about the person. I'm not making a judgment call on that, but for the first time we're able to focus in on what's right about a person. That causes more resonance to show up within them. Celeste: How do you determine the dominant frequency in a person? Is it the strongest tone in their voice? Don: No, it's not — unfortunately. There's something in a person's vocal passages or their nasal passages, perhaps, that can cause an overtone — particularly the second or the third overtone — to have a higher amplitude than the fundamental frequency has. In the average, healthy person, around ninety-five percent of the partials in their voice are all harmonic to this universal fundamental frequency. There are subtle little packets in there that are harmonic amongst themselves but not to the rest of the body. We're pretty sure those represent alliances against the body, such as tumors and bad thought processes: things that go off on their own and establish some kind of harmony amongst themselves that is outside of the natural harmony of the body. If a person has particular issues, you could have a lot of high-amplitude fundamental frequencies that somebody would mistake as the fundamental frequency. They'd be missing the Light and missing the lowest frequency. We've found that a person's harmony is not the fundamental frequency; it's that, plus all of the associated overtones. If you turn around and give the fundamental frequency back to the person, it has an emptying-out effect, not a filling-up effect. That's good when they're burned out and are carrying a lot of baggage. It's good to empty out first, but then you need to fill it back up. Celeste: Do you think that people help to heal the Earth by toning? Don: We haven't run all the calculations on it, but I suspect that some of the Earth's known frequencies, such as its rotational rates or its orbit around the sun, must relate to this same universal fundamental frequency that we've been talking about. The planet is making a sound like any ball that's whirling around. It's just that the sound is at such low frequency we can't really hear it. I think consciousness is the most important factor, and the intent is way more important than the actuality of it. The more people you have simultaneously thinking about these things and setting up these fields, the more the whole planet is going to grow into this. It's like a morphogenic phenomenon — individuals start it, then it grows across groups and out to the whole world. Celeste: What do you think would be the best techniques of sound healing for the planet? Don: Techniques that would assist people in becoming who they say they are. That's the only thing that's ever going to work. I think you're going to see more sensoriums or location-based entertainment facilities. It gets people into the idea that everything is a vibration. Because of the curvature of space, what we are putting out goes all the way around the universe, comes right back around, and slaps us right in the back of the head. There's nothing we can do to stop this once we put something out there. People need to realize that everything they do and say contributes to what's going on out there and what they get back. That, for me, is the bottom line: to provide techniques and technologies that will assist people in balancing their actual selves with their potential selves.
*Don Estes, Harmonic Law: Science of Vibration, Absolute Scale of Relative Cosmic Reality — Chart, Origin, History and Destiny of Universal Reality. |