A listener asked some important questions about encoded sonic communications and subliminal messages on the Source Vibrations YouTube channel under the track ‘528 Hz Galactic Heart’ from the album Solfeggio Harmonics Vol.2. It really deserves a more thorough response than I’m able to provide in the comment section on YouTube, so I’m answering it here.

LISTENER: The email notification you sent with this video (I had signed up) says “encoded sonic communications are set in.”  What, specifically, do those communications say?  I like to be as careful as possible about what messages I feed my subconscious mind since the subconscious acts upon them as fact, without evaluating their accuracy.  As you likely already know, the subconscious mind does not discriminate or judge truth from falsehood, it just helps manifest the reality we tell it exists.  (Yup, I turn off the radio a lot because of the unhealthy thoughts and ideas in most popular music!)   Knowing the specific wording of the subliminals you have put in your videos is important for all of us seeking to raise our consciousness, so I realize it will take a little extra effort to post those, but I hope you will take the time to do so.  Thanks so much.

ASA: Hi, Thanks for your question. I wanted to first offer that there are no subliminal messages of any kind. Also, I use language metaphorically and poetically to point to some of the esoteric elements of sonic mysticism.

LISTENER: “Encoded sonic communications are set in” is what you wrote to me, and it seems like a fairly straightforward statement.  “Communications,” according to the five dictionary definitions I just looked up, involve the conveyance of information, which in our species nearly always involves verbal language.  And when you say you “set in” these communications, it necessarily means the composer is consciously choosing the information he is adding under the music that already was created. Can you explain what you actually meant by “encoded sonic communications are set in” if it does not mean that?   
Your web site also reads, “Source Vibrations sound meditations subtly deposit celestial filaments of colored light on to the source code of the inner temple.”  Flowery imagery aside, that means it puts an energetic overlay of some kind onto our DNA (which is itself composed of light, as we now know).  Right?

ASA: When I’m “encoding messages” or “sonic communications” into my music, I’m using subtle and causal archetypal forms and translating them into acoustic correspondences. This can happen within several aspects of the composition including the fundamental frequency, key signature, chord progressions, melodies, tempo and rhythms. I do this through the use of key maps or correspondence charts that relate ideas, images, numbers, colors and fundamental geometries to their corresponding frequencies, notes, and patterns. I don’t necessarily apply all parameters in all cases, as I also like to allow for the spontaneity of creativity.

These correspondences are the relational elements between the phases of emanation and formation in what the western mystery tradition describes as the process of involution or the descent of limitless light or pure unmanifest spirit into the world of form as matter. From the nondual to the causal to the subtle and finally the gross – corporeal level of being, the flow of involution represents the stages of the differentiation of the limitless light as it slows down, descends and solidifies to become matter, body, mind, and soul. The reverse process is what the mystery traditions refers to as the path of return or evolution and initiation by way of ascent, reunification and integration with the absolute source and origin of creation or “Ain Sof Aur”, as they call it.

This practice of transcribing archetypal essences is a process I like to call sonic mysticism.

It is non-verbal, non-rational and symbolic. It’s a way for me to focus my intention and enter into a meditative state as a devotional practice, and this profoundly enriches my relationship to music composition. In addition to actually transcribing these elements into the parameters of the music, I also hold images in my mind that call forth in my awareness certain transpersonal ideas or principals that I would like to presence in myself and the music. This component is largely intuitive, aiming at eliciting creative inspiration. It is a method of attempting to embody and therefore “transmit” meaning and intention in a way that transcends the courser elements of language.

This practice, as you might notice, is related to a unitive cosmology, giving rise to an esoteric spiritual technology that holds vibration to be a fundamental attribute to the nature of existence. I don’t often talk about this because it stems from a rather detailed body of knowledge that’s not easy to convey in simple terms and requires a means of validation that’s not empirical, objective or purely rational, and it hasn’t been my project to convey this material to others. I’m just a musician and a spiritual practitioner who’s found a way to combine spirituality and music composition esoterically.

So when I say flowery and what some would call “new agey” things like “Source Vibrations sound meditations subtly deposit celestial filaments of colored light on to the source code of the inner temple”, I’m taking extreme creative license because it sounds cooler, and it’s easier to say than the above, and the real meaning I want to convey is much more abstract, non-rational and symbolic than “energetic overlay of some kind onto our DNA” as you put it. And most people, I imagine, are more interested in listening to music than listening to me blather on endlessly about an extraordinarily difficult and objectively unverifiable topic as sonic mysticism.

That being said, you might be on to something with your comment. Certainly Horowitz and many others think so, particularly in the case of 528Hz, but I know of no evidence that validates this claim. DNA is a physical thing, so to honestly say that anything happens to it deserves empirical evidence since this is an objective truth claim.

I personally am of the opinion that everything is light at a fundamental level, including DNA. But if, how, or in what way sound, and my music in particular, impacts DNA is not something I really know. This, however, does not prevent me from making music and doing these “transmissions”. Perhaps one day scientists will examine this further. In the mean time, I have enough of an intuitive tickle to keep making music with these frequencies and composing with the methods of sonic mysticism.       

From my mind to yours,

“celestial filaments” refers to archetypal images or primordial forms that convey a spiritual luminosity – which can be understood in terms of color – color being a primordial form itself. “Source Code” refers to the archetypal lexicon of the personal unconscious, pointing to those qualities that make you uniquely you; personality, memories, desires, drives, preferences, skills, values and so forth. Certainly DNA plays a role in that, but in what ways I’m not qualified to say. The “inner temple” refers to the interior dimension of your being, the subconscious, subtle, soul level of your inner life where meaning making is happening. A part of you that I consider to be sacred and a place where the divine can be encountered directly, thus the term “temple”.                                        

So to answer the question of what specifically is being said in 528Hz Galactic Heart, the words could go something like this. “The triumphant and eternal intelligence that is the voice of your own higher self and essential nature, unites the oscillating poles of duality through the unyielding strength of Love.”

I have put this idea into words for the sake of answering your question, but it didn’t exist as conscious words when I composed this piece of music. Rather it was represented in my mind as a set of images, numbers, colors and feelings. According to my understanding of the subconscious mind, this mode of communication can be as significant as verbal suggestions, if not more. Additionally, I do not recommend believing or accepting this statement indiscriminately. It’s much more meaningful when it’s lived, explored and discovered in your own direct experience.                    

On Discrimination

It’s also worth pointing out that over time, through personal development or walking the path of return, the subconscious mind will evolve the capacity to discriminate, learning to accept or reject suggestions according to the core values that your conscious mind and higher self decide are in your best interest. And thankfully so! Because our very perception of reality shows us a world of separate, disconnected parts. This partial truth sets up a kind of confirmation bias, reconfirming what we already have accepted and encourages us to follow this suggestion of fragmented awareness again and again – no pop culture music with its superficial values proclamations required.

Together with the conscious mind and higher self, the subconscious mind learns to evaluate the accuracy of not only the suggestions coming in from our culture, but also the suggestions we have already accepted as our ontological reality. It’s a very good idea to be discerning, and it’s also very important to examine what we have already accepted as the inherent truth of our being.

These things are worth contemplating, and my hope is that people will find this music to be a good backdrop for these types of inquiries. Thanks for listening.     

Solfeggio Harmonics Vol.2 is available on our website here.