Preston Nichols

Interview with Duncan Cameron and Preston Nichols if you can raise the consciousness of 10% of the population the other 90% will fall into the pattern sooner or later. They'll fall in just on the fact that 10% are there.

ORION TECHNOLOGY AND OTHER SECRET PROJECTS

http://www.bielek.com/preston.htm

Montauk Project by Preston Nichols
Montauk Revisited by Preston Nichols

Books
[2000] Music of Time by Preston Nichols  

Quotes
Leary, who was associated with Harvard University, was initially hired by the CIA and military intelligence to develop conditioning drugs in order to make soldiers aggressive and that sort of thing. The aggression drug they use on soldiers today started with Timothy Leary. There were also experiments with truth serums, i.e. drugs that make people talk. The CIA and military intelligence has a vast drug section which Leary was heavily involved in. [2000] Music of Time by Preston Nichols  

Rock 'n roll is basically a reproduction of the orgasmic cycle put to music. In this "orgasmic cycle," you have these groups and ensembles of music that just bounce back and forth. The heart rate speeds up and then synchronizes to the rate of the frequencies of the music. The spinal channel is also excited. All of this occurs through the art of music. If rock 'n roll was just the reproduction of an orgasm, it would be a simple and perhaps innocuous matter. The problem is that when the orgasmic channels open, the person is totally opened up psychically and is prone to suggestion on the deepest most archetypal levels. As mind control meets rock 'n roll, there is a "raw gut thought form" taking hold of the audience. The process begins with a thought form which is reproduced with audio tones or music.
....If you take your stereo and turn it up loud, you can begin to entrain another person. The neural-net is using only so many differentiated pulses with its floating "synch- pulse." When loud music begins to generate many more multiple pulse positions than the neural-net is accustomed to, it creates an overload. The idea in mind control is to jam the neural-net and stop it from its normal functioning. Loud music in itself can do that, but it can also be used, quite deviously, to lay in coded messages. Wacky or fringe people often spout out that they are receiving coded messages through the television or radio. The further study of this phenomena might reveal that some of these wacky claims might have some basis in fact.
    Entrainment by music can also be witnessed in indigenous tribal rituals or even New Age drumming circles. If drumming is loud enough, you will feel it and your body will become entrained. For example, it is a scientific fact that a normal heart beats at about seventy beats a minute. If a drummer beats at eighty beats a minute, what is going to happen? The heart rate is going to rise to eighty beats a minute, too. If you do not believe me, you can try it yourself. If you drop to a nice and slow beat, after a while, it will have a hypnotizing effect and slow your heart rate down. This is the whole idea of using music as a method of mood control. It also shows how sensitive the neural-network is to music.
    In this chapter, I have given an overall view of how sex, drugs, and rock 'n roll combine to make excellent tools for mind control. In the next chapter, I will discuss my involvement with one of the key performers from this period who to this day is still considered a "god" to his legion of fans. [2000] Music of Time by Preston Nichols  

 There are two types of subliminals that were used in this time period. One was the psychic overlay just described. There were also true sonic subliminals. Many people will remember the Beatles' record where "Paul is Dead" was recorded 30 db below the chorus. There are other ways to do this as well. "Paul is dead" could also be recorded backwards in the chorus. Whatever method is used in the sonic route, it can be just as effective as the psychic overlay.
    The music was basically formulated to be hypnotic and grab your attention and entrain the person listening. But, in the psychic overlay technique, I realized we could put in whole messages. Basically, I discovered that what I concentrated on as I ran the mix board and watched the tape going through the machine was just as important as what the sound actually sounded like at the other end. I finally got to a point where I had an interim step between the mix down and the final master. This consisted of me making a dub or a copy and concentrating on the recorder head as the copy was being made. That is where the psychic overlay was particularly successful.
        When I explained this psychic overlay technique to Phil Spector, he said he did not believe me and wanted to see proof of it. Consequently, we set up an experiment. As we did the dub, I concentrated on a phone number. When the record was finally released, we got thousands of calls to that number. The message got through to people. The psychic overlay was impressed into the master tape and from there to the vinyl. When the record was played on the radio station or in the home, people got the idea to pick up the phone and dial this particular number. It should be pointed out that there was no phone number mentioned in the music. We were very careful to have a piece of music where there was no phone number in the lyrics or any-where else. A special phone was set aside for the experiment, but he did not keep track of the individual calls......In 1970, I built a studio out at Montauk. There, we were far more concerned about subliminals than audio function........However, the agenda at Montauk was much more bizarre and far-reaching than just adding in subliminals. There were a number of record producers in cahoots with this operation. They would sign up a group they felt might be popular and could sell a lot of records. Upon reporting to their local studio to record, the group was abducted and taken out to Montauk where a broadcast recording was made. After being programmed, they returned home thinking they had made the record at their local studio.    [2000] Music of Time by Preston Nichols