Afterlife Research and Education Institute, Inc.
Instrumental TransCommunication

Instructions for Making TransCommunication Recordings


What to Expect

When you make recordings of people and entities on other planes, you must realize that what you’re hearing isn’t a voice at all. There’s no voice in any of the ITC clips. The stations have technology they call a “machine” that receives the person in spirit’s thoughts or telepathy and converts them into electromagnetic patterns that the machine sends from the realm the station is in to the Earth realm and imprints them onto the hard drive of the computer or other recording device. There is no voice in the electromagnetic pattern. It’s just ones and zeros in the correct pattern that a machine has created as a best estimate of the pattern that will play back sounding like a voice. When the electromagnetic pattern is "read" by the computer, the computer sends electricity with the pattern to the speakers or headphones and they vibrate to sound like a voice.

As a result, the sounds you hear that are like voices will vary greatly in nature and quality. No person’s actual voice is there. The machine sends through its best approximation of the electromagnetic pattern that will play back as a voice. We have gotten Montague Keen's voice with his British accent and without it, in a great variety of sound qualities that sound like a variety of voices. But they all have the message content we know comes from Montague Keen. Montague Keen is thinking to us.

It's especially important for a parent whose child is in spirit to realize that the sounds coming from the speakers or headphones likely won't sound like their child. It isn't their child's voice. However, it is their child communicating with them, just as it would be if the child were sending text messages with no sound at all. The content and intimate knowledge in the messages will clearly be their child's. And to some extent, intonation and accents may mimic the child's voice, but the sound may as easily not be like the child's.

On the other hand, it has happened that a child who comes through regularly has a particular vocal pattern that is repeated much or most of the time. A parent who listens to the ITC recordings comes to recognize the vocal sounds as their child's communication.


Record once or twice a week, preferably on the same day of the week at the same time. Be prepared to make attempts for weeks before you make a connection. It requires patience. The team at the North American Station must know you are serious about connecting. Then they must work at establishing the connection with you. You may connect quickly. We do know the time to make the connection is becoming smaller as the connection is being established.

Also, you should know that the North American Station is now being established. They in the other realm are building its technology and establishing the "channels" to transmit signals. It takes time for them to build and perfect the equipment, just as it does on this side of life. We have run into a problem with the signal. One of the realms the signal has to go through has entities that are reducing its strength and quality. They have told us in the North American Station that this is a temporary problem that will be cleared up in a few months. However, in the meantime, the responses you get will be very weak. Be patient and stay with the process. It will clear up.

To let you know the quality of the recordings you'll be getting when they clear up the problem, link here: Listen.


For these recordings, you need the following equipment:

  • A PC or laptop

  • A decent microphone. We use Meteor microphones. Some researchers have used the internal microphone on their PC with good results. If you try the internal microphone on your PC, make sure you get good quality recordings. If you get a recording that has your voice good, but the gibberish sounds like it's under water or badly muffled, your internal microphone won't work. Use an external microphone.

  • Fair quality stereo speakers. Good computer speakers are fine.

  • Headphones

  • If more than one person is involved, buy a Belkin Multi Headphone Splitter so you can all listen through headphones at the same time.

That's it. The recordings don't require a lot of sophisticated equipment.

Background Vocal Sounds

Background noise. You need background noise that is chopped up human speech. The background noise has only half or a third of a syllable from a word so when the chopped up syllables are joined, they sound like gibberish. We use male gibberish when we're contacting males and female gibberish when we're contacting females. For general questions for the Station, we use the male.

We've also created an Italian male gibberish, Spanish male gibberish, and Portuguese female gibberish. You might want to experiment with them. We recommend you begin with just the American male and female gibberish, however. You may download the MP3 recordings for your use by clicking on the links that follow.

Download the gibberish from the links that follow.

Gibberish files

Download copies of the gibberish we use by right-clicking on a link and choosing to save the file ("Save link as"):

    American female gibberish: Download
    American male gibberish: Download
    Italian male gibberish: Download
    Portuguese female gibberish: Download
    Spanish male gibberish: Download

Recording Software

You must have software to play the gibberish and software to record through the microphone. We use Sony Sound Forge to record and Adobe Audition to play the gibberish. However, we're finding that people have the best recordings with Audacity. you can use Audacity, a free program that both plays and records at the same time. Download it at this link:

Also download this sample of a brief recording so you know how loud the gibberish should be in your recordings. We should easily hear your voice above the gibberish: Sample recording

There are instructions below for both types of recording. We usually meet for an hour and a half at a time and do three to five recordings of around five or six minutes apiece.


  1. Begin each recording session with a prayer of protection. This is the one we use: "We ask for protection from any negative entities or negative influences. Bring only the highest and best spiritual energies to us today. Bathe us, our equipment, and this room in a white light of divine protection."
  2. Hook up the microphone to the PC or laptop.
  3. Hook up the speakers.
  4. Place the speakers so they are on either side of the microphone 10 inches or so away from the microphone, facing the microphone. We also have them a few inches back from the microphone (away from where you are sitting), so the microphone and two speakers form a triangle. I don't think that matters. What does matter is that the speakers shouldn't be on the same surface as the microphone. The microphone will pick up the vibration from the speakers if they're on the same surface.
  5. Start up Audacity. Click here to see a brief tutorial on using Audacity: Tutorial
  6. In the recording program or Audacity, set the recording level of 11,025 or 16,000 Hz. In Audactity, that is the "rate" in the lower left corner of the screen. If that sounds too complicated, skip this step until you can get someone to help you or we have a chance to write detailed instructions.
  7. Click on "Edit" on the Audacity menu. A the bottom of the dropdown menu, you'll see "Preferences." Click on "Preferences."
  8. Click on "Recording" in the list of options on the left side of the window that appears. Make sure "Overdub" has a check mark and "Software Playthrough" is blank (no check mark). Click on "OK" to save the settings.
  9. Open up the gibberish in the playback program or Audacity.
  10. Play the gibberish to see if the sound comes through the speakers. Leave it playing as you test the recording levels in the next step.
  11. Check the level of the recording. In Sony Sound Forge, click on the red circle that is the record button on the far left of the bar at the top of the screen. In Audacity, click on the green arrow that is the play button. For both playback programs, you'll see a green bar jittering to show you the level. Make sure it is around three-quarters of the length or height, but make sure you see no yellow or red at the maximum point. However, the sounds should be on the loud side. They shouldn't be faint.
  12. Stop the playback. Now you're ready to test the recording.
  13. If you're using separate playback and record programs, start the gibberish playing. Then start the record software so it is recording the gibberish. If you're using Audacity, you'll see a red record button at the top of the screen a third of the way from the left. Click on it to start both the playback and recording.
  14. You'll see green and red bars at the top of the screen bouncing to the left. They should be bouncing about to the middle of the space for the bars or a little above. They should not bounce all the way to the right. Adjust the volume using the playback and recording controls with a little speaker icon and little microphone icon near the top of the screen.
  15. Stop after a few seconds and check the recording. In both Sony Sound Forge and Audacity, you'll see the recording in the track. In both, click on the play button to listen. Make adjustments as necessary.
  16. Then start the playback software and recording software, or in Audacity just click the red record button. While the gibberish is playing, lift the microphone to your face.
  17. Ask this question: "Are you available to communicate? If so, please say AVAILABLE."
  18. After you ask the question, put the microphone close to the speakers so it records the gibberish, but hold it so it doesn't touch the table and pick up on the vibrations from the speakers. Wait 10 to 20 seconds. Say nothing and try to keep sounds down in the room. Keep recording.
  19. After 10 to 20 seconds, lift the microphone to your face and ask another question: "Is the signal getting through? If so, please say SIGNAL."
  20. Wait 10 to 20 seconds.
  21. Then ask, "If you are having trouble getting through, please say TROUBLE." Perform these initial steps only once. Don't repeat them. Go on to the next steps below.
  22. We advise that in the beginning you ask some repetitions. They are easier for those on the other side to get through and you can more easily identify them when they do come through. We prefer two-syllable words at the beginning. One-syllable words can too easily be accidentally in the gibberish, and three-syllable words are difficult at first. We use names of presidents, cities, verbs, and any other assortment of words.
  23. After five or six minutes or less, stop the playback and stop the recording. In audacity, stop both by clicking on the stop button.
  24. Save the file. In Audacity, you must export the file.
  25. Put on the headphones. This is very important. At first especially, the words may be very faint. You will hear them best with headphones. You can have several people listening at once by using the Belkin Multi Headphone Splitter.
  26. Play the recording you made. When you listen, you have to be attuned to the correct tone. What I mean is that in the gibberish, you’ll hear two or three levels or tones. The foremost is the loudest. That takes over the normal person’s hearing. But if you listen to the other tones, you’ll hear levels that are weaker and lower or higher in pitch. Once you identify a word in one of those tones, the words around it in the same tone will pop out. Try listening slowly and repeating segments to listen for the other tones.
  27. If more than one person is listening using the Belkin headphone splitter, if someone hears the word, stop the playback and replay the section, listening for the word. If you have doubts or someone can't get that word, don't make it fit. In the beginning, the voices will be faint, but they must be distinguishable.
  28. When you start to get voices, make copies of the segments with the questions and the voices. Save them so you have a record of your progress.
  29. In each subsequent session, ask for the repetitions so you and the team at the station can refine the signal. They liken it to laying fiber-optic cable. We use names of presidents, cities, verbs, and any other assortment of words. We usually meet for an hour and a half at a time and do three to five recordings.

We recommend you follow this procedure every time until you are getting connections clearly and you can ask open-ended questions. Be patient. Give it time. Don't give up after a few weeks in frustration. It takes dedication, but when they establish the connection, you will get high-quality recordings.

As an additional comment, Sonia has started using a format in which she has the speakers six feet away from the recording mic, facing away from the mic. She places a walkie talkie directly in front of the microphone. She speaks her questions into the second walkie talkie so the sound of her questions comes out prominently from the first walkie talkie to the microphone. It does amplify the question, although it has a little tinny sound.

Additional Comments from an E-mail to Researchers on June 4

Don’t worry if you can hear an occasional word in the gibberish. You’re looking for the responses to your questions, so you should get what is relevant to your questions. However, we do clean off the gibberish regularly, so you can let us know about a word that they insert.

We’ve always suspected that the technicians at the North American Station experiment with imprinting words on the gibberish. That was confirmed on May 26 when Rob and Craig were recording. In the past, probably a year ago, we kept getting the word “Gideon,” as in the Gideon Bible Foundation. We just kept cleaning it off. We figured the technicians were experimenting. We didn’t hear it again for a year.

Then, on May 26, Craig had cleaned two minutes of male gibberish seven or eight times to be sure it was scrubbed clean. Then Rob came in and we went through it again four times. It was perfectly clean, with no words. We then copied the two minutes and pasted it five times to give us 10 minutes of clean gibberish. We were so sure it was clean that we joked, “Well at least we won’t hear ‘Gideon’ again on this one.” We played it to do the first recording, and two or three seconds into the gibberish playing, we heard very clearly, loudly, and distinctly, “Gideon.” We know they listen to all of us when we’re preparing for recording. They’ve said that. So they were going to demonstrate that they can manipulate the gibberish by adding a word we were certain wasn’t there five minutes before. The next day, I did a recording and asked, “If you put ‘Gideon’ on the gibberish, say ‘Gideon.’” I played it back and heard “Gideon” immediately after the question.

So we’ll keep cleaning the gibberish and making that available to you.

We’re finding that after a small number of repetitions, you should start asking questions that have a single answer, such as “What is my full name?” or “Who developed the equation ‘E=MC2?’” After some of them, you can ask open-ended questions, but the signal still may not be clear enough for you to get clear answers.

When you create the record of clips you get responses to, leave the question on and delete the gibberish between the question and answer. You can bring up the volume on the answer. You should have very low volume for a couple of seconds before the answer and after, or silence there. Your clips, then, will have a question, and an answer. If you have more than one answer, have the question, two seconds of low gibberish or silence, answer one, two seconds of lower gibberish or silence, answer two, and two seconds of low gibberish or silence. Always keep the question with the answer. Here is an example:

Avoid making words out of “almost” words unless you’re asking for a precise response and the word sounds are nearly complete. If you have a good, clear word or two and two or three unclear words, avoid making a phrase out of all of them to fit the two clear words. The words tend to stick to your interpretation and sound perfectly clear to you but not to someone else. Be satisfied only with clear, Class A or nearly A words. The signal will get stronger. Be patient.

As always, ask Craig questions if you have something on your mind. And send Craig clips if you want him to listen. ( If you send a session, try to limit it to a couple or three minutes so I can get it back to you more quickly.


Several examples of our use of repetition and their responses are in the links that follow. We've chosen responses are very weak so you become accustomed to hearing the weak signal. That will be true for the next several months. Don't give up on the work. Over time, the signal will become stronger.

Practice hearing the responses using these samples. You MUST listen with earphones. You'll hear the responses after we say the word. For "Thomas," you'll hear two "Thomas's" BEFORE we say "Thomas." For "Leslie," you'll hear four "Leslie's" after we say "Leslie." See if you can hear all four. You may hear some of these and not others. That is usual.

Adams (You'll hear two "Adams.")

John Paul


Monty (You'll hear Montague, but very weakly. Montague Keen is on the team on the other side.)


Thomas (You'll hear "Thomas" twice at the beginning and "Thomas" coming in right after we say "repeat.")

distant (We asked whether they were on a nearby sphere or distant. They respond "distant.")

please repeat Montague (They repeated the entire phrase: "Please repeat, Montague." The "Please repeat" is stronger than "Montague.")


Practice with an Entire Session

Two entire sessions are at these links. You can listen to them to see whether you hear the faint responses. Use earphones. We had chosen to leave the microphone right in front of the speakers, even when we were asking questions, so our questions are not prominent over the gibberish. These are still early in the refinement of the connection with the North American Station, so the responses are faint.

Session 1

Session 2














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