Speaker | Time | Text |
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From the high desert and the great American Southwest, I bid you all good evening, good morning, good afternoon, wherever you may be in God's universe and all his time zones, and I would be all over the world. | ||
We cover every single bit of it. | ||
This is midnight in the desert. | ||
Good evening, everybody. | ||
The rules for our program are ever so easy and short. | ||
No bad language. | ||
unidentified
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And only one call for Joe. | |
The usual thank you list includes fellows, Joe Talbot, Pete Rowland, my webmaster, Wade, my producer, StreamGuys, LB.net, sales, of course, Peter Eberhard. | ||
Pete Eberhardt, I should say. | ||
And TuneIn Radio, which carries us to the masses. | ||
All right, a couple of items right off the bat. | ||
Hundreds of government employees. | ||
I guess you heard about this whole thing with Ashley Madison, right? | ||
These are people, life is short, have an affair of that kind of business. | ||
Well, apparently they got hacked. | ||
And apparently they got threatened, take your site down, we don't like it, or we'll release the hack. | ||
They didn't take down the site. | ||
The hack got released. | ||
And now we find that a lot of the names on it, according to the AP, are assistant district U.S. attorneys, an information technology administrator in the executive office of the president, a division chief, an investigator, and a trial attorney in the Justice Department, as well as a government hacker at the Homeland Security Department. | ||
Good heavens, Tibet. | ||
A lot of scrambling going on out there. | ||
President Jimmy Carter has cancer, and now he's got brain cancer. | ||
He will be treated, but, you know, that's getting pretty serious. | ||
The Dow fell about 358 points. | ||
This is all over China fears. | ||
A global sell-off, as it were. | ||
The U.S. stock market endured the worst, actually, performance in 18 months on Thursday, driven lower by another slump in Chinese shares. | ||
So we'll have to see what happens there. | ||
Coming up in a moment, I know a lot of you have been awaiting this. | ||
Brendan Cook is one of the founding members and key spokespeople of the GIS. | ||
He's been on the forefront of EVP research, ghost photography, and the use of modern technological devices to capture what goes on in the spirit world for nearly 20 years. | ||
He's done all this by being on a number of TV shows, documentaries, and lectures. | ||
His knowledge and at times skepticism, and that's a good thing to have, has been important by giving real people comfort or the advice they need to delve deeper into what's going on at their homes or businesses. | ||
Most of all, he's done this by being sought after as a guest with his radio partner, Barbara Macbeth, for over 14 years. | ||
His perseverance to challenge what we know about the spirit world and people's mindset has him a pioneer in ghost investigating. | ||
People have changed their perception of what is real of ghosts in the GIS core beliefs. | ||
They are just people. | ||
His research with Barbara and the GIS has brought forth new concepts and ideas of what is possible, could be possible. | ||
Barbara and Brendan have been working together to bring this research to the public for 17 years. | ||
Now, Barbara Macbeth says her roots are in Louisiana. | ||
Louisiana, isn't that how they say it? | ||
And her grandparents practiced spiritualism there before relocating to Utah with other members of her family back in the 1940s. | ||
Barbara and her grandma were very close, and her grandma shared many of her theories, beliefs, and experiences with Barbara when Barbara was growing up. | ||
Her grandma had a great influence on Barbara's outlook of life, life, death, and the hereafter. | ||
She taught Barbara never to fear what you don't understand, but to try and find answers. | ||
And Barbara lives that, I might add. | ||
And that all of us are stronger than anything we face when dealing with the unknown. | ||
Having ghostly activity in the house was a natural occurrence while growing up, and Barbara believed that everybody's house had activity just like hers. | ||
Barbara has independently researched and studied the spirit and ghost phenomena for over 50 years now. | ||
She has conducted lectures and presentations, conducted ghost tours at locations where the ghost phenomena has been experienced by many different people over many, many years. | ||
She has also been co-spokesperson on behalf of the Ghost Investigators Society, a USU documentary on television and radio. | ||
She is leery of anybody who claims to be a so-called expert in any aspect of the subject of ghosts and haunting. | ||
She believes that there are simply too many unknowns about it for anyone to claim such a title. | ||
She believes that a ghost is the essence of a conscious soul of a person who has lived on earth. | ||
That's a good definition. | ||
A ghost had a physical body, but the consciousness continues after death. | ||
She believes that whatever kind of personality we have while we're physically alive continues and is retained after physical death. | ||
Good to hear. | ||
Or at least fragments of it. | ||
The EVPs that have been recorded have every range of emotion and personality which clearly come through those recorded strange sounding voices. | ||
So, coming up in a moment, the GIS. | ||
And this is one you're going to want to be warned about. | ||
This will be a little bit scary. | ||
So, be warned from the high desert. | ||
This is midnight in the desert. | ||
Art Bell, at your ghostly service this night. | ||
unidentified
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You don't count me there. | |
You know you don't count me there. | ||
You don't count me there. | ||
You know you don't count me there. | ||
You don't count me there. | ||
You don't count me there. | ||
The clock strikes 12, and Midnight in the Desert is pounding packets your way on the Dark Matter Digital Network. | ||
To call the show, please direct your finger digits to dial 1-952-225-5278. | ||
That's 1-952-CALLART. | ||
Hold your calls for a bit, everybody, of course. | ||
Oh, there is one other thing I wanted to mention. | ||
The time traveler opportunity to subscribe at the $5 price expires at $11.59 Pacific Time tonight. | ||
So, in other words, you get about a little less than three hours to join. | ||
Now, when you join at $5, you get frozen there. | ||
Grandfathered in at $5 because it's going to go to $7.99 after $11.59 Pacific Time tonight. | ||
So, again, a little less than three hours to join. | ||
And that gets you a lot of things. | ||
You know, you can download all our old shows. | ||
You can download last night's show, this show tomorrow morning, and or any old shows. | ||
And it also allows you to use the wormhole. | ||
Speaking of which, let me take a quick look at it. | ||
unidentified
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So I'm talking about Ashley Madison. | |
So anyway, that's the deal. | ||
Keith reminds me to remind you to use your correct email. | ||
Be sure that you're using the email that is your email. | ||
People tend to use their wives' or husbands' emails or something like that, and it gets all messed up. | ||
Keith has headaches. | ||
All right. | ||
Here we go. | ||
I would like to welcome two voices that we have not heard in a very, very long time. | ||
It really has been a long time. | ||
Brendan and Barbara. | ||
Welcome to the program. | ||
unidentified
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Thank you very much. | |
It's good being with you again. | ||
Good to hear your voice, Barbara. | ||
It's been, my God, a long time. | ||
unidentified
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Very long. | |
And I'm a lot older than what I was. | ||
Yeah, me too. | ||
How about you, Brendan? | ||
unidentified
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It's so strange not saying good morning. | |
Yes. | ||
I mean, the old show began, what, 10, so it was evening too. | ||
I try and say good morning, afternoon, evening to everybody because we actually cover the entire world now. | ||
unidentified
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Right, right, right. | |
Pretty awesome. | ||
So what you two do is various locations, all kinds of locations, when you have time, and you record, let's see if I can remember this correctly. | ||
Originally, you used to record, the two of you, with tape decks and microphones and all that. | ||
And then, if I recall correctly, you switched at some point to digital. | ||
Is that right, Brendan? | ||
unidentified
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That is correct. | |
Nothing special is done. | ||
We should tell you the GIS, there's a lot of new listeners. | ||
I mean, it's been years. | ||
So the GIS is an organization of how many now? | ||
unidentified
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It's still the same five. | |
Five. | ||
unidentified
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So the original five that in 1998 when we started. | |
All right. | ||
unidentified
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Same Barry, Jenny, Roger, Brendan, and myself. | |
Okay. | ||
Brendan, say good and close to the phone for me because you guys are on extensions. | ||
That changes things a little bit. | ||
It always did when I talked to you. | ||
It's always been the same all these years. | ||
Not one thing has changed. | ||
unidentified
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Yeah, and I still don't have a cell phone. | |
Really? | ||
unidentified
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Really? | |
You may be the only person I know without one. | ||
Are you like that? | ||
unidentified
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I don't want one. | |
You're holding out? | ||
unidentified
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No, I don't want one. | |
Barbara will just use smoke signals at some point. | ||
I just won't use them. | ||
All right. | ||
So anyway, the point is that GIS is a non-profit. | ||
That's a very important point for people to know. | ||
It's non-profit. | ||
You're not trying to make money from this. | ||
You're not writing books. | ||
You record the voices of those who have, is it fair to say, passed away, right? | ||
unidentified
|
Yes. | |
Okay. | ||
And Barb, you really do feel these are people who were once in physical bodies. | ||
These are not demons or anything like that. | ||
unidentified
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No. | |
Demons are a whole different ball game. | ||
And one, I take it, you care not to play. | ||
unidentified
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No, you know, why invite that kind of thing into your life? | |
But ghosts are experienced by many people, sometimes over hundreds of years. | ||
And so, and they're very subtle. | ||
In fact, a lot of their activity, you've got to watch for it. | ||
It can be missed. | ||
What, in your view, or would you even like to take a guess, either one of you, causes what was a human being, instead of going on to wherever it is we're supposed to go, to become a ghost? | ||
unidentified
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I think there's several different aspects. | |
I think regret and remorse and guilt can cause somebody to stay. | ||
Boy, that includes a lot of people, if not most. | ||
unidentified
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And it's surprising how many places have haunting activity. | |
You know, when I read your bio, it said that you grew up in a house with ghosts, and so you kind of assumed that everybody did. | ||
unidentified
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Yes. | |
Still true? | ||
unidentified
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But I think a lot of the activity in my house was caused by my grandma doing seances. | |
She invited things in. | ||
Oh, see, I never heard that. | ||
I never heard about seances. | ||
This is a verse tonight. | ||
unidentified
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She practiced spiritualism. | |
Well, I did read that, but I didn't, I don't think I said seances. | ||
That's something else altogether. | ||
My goodness. | ||
So virtually anything could have walked through that door. | ||
unidentified
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Oh, yes. | |
If you invite it in and you're done with your playing around, it doesn't necessarily leave. | ||
And it's a different type of entity. | ||
Great. | ||
Perfect. | ||
All right. | ||
The group is sort of somewhat disassembled. | ||
Brendan, if you don't mind, you know, the website, I guess, went down. | ||
It's going to go back up if you can scrape together the time to do it, right? | ||
unidentified
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Yeah, pretty much. | |
So here is the deal. | ||
We will have all the EVP backup. | ||
Originally, we planned on, I guess, last month, actually about a year ago. | ||
What we're doing is we're just trying to modernize it, put everything into a database, make it easier. | ||
Because if you remember, we had, what, thousands of audio clips? | ||
The biggest complaint was there was no way to search it. | ||
So trying to put all that into a database form where people can just easily find the EVP they were looking for. | ||
And it takes time when I'm the only one doing it. | ||
Yes, I understand. | ||
And you have a regular life, children and work and such, right? | ||
unidentified
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Correct. | |
Okay. | ||
How are decisions made about where to go to investigate, to even try to get these recordings? | ||
unidentified
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Well, a lot of times people will approach me and tell me I should check out a specific location. | |
And I always get permission to access these places, get permission by the property owner or the manager. | ||
That can't be so easy, Barbara. | ||
I mean, a lot of people are afraid of ghosts, not only because they're ghosts, but because of property values. | ||
So if you say, well, we found a ghost at such and such a place or somebody's house, wouldn't that potentially affect their property values or something? | ||
unidentified
|
Strangely, I mean, it used to be that way. | |
Not so much anymore. | ||
Now, it is kind of a tourist track. | ||
I mean, I can't count the number of locations who want to charge. | ||
They will literally contact us and, hey, can you come out? | ||
Can you check the story here? | ||
Oh, by the way, we're also going to charge you $1,500 to do it. | ||
Oh. | ||
There's places that we used to be able to access anytime we wanted, but there's been ownership changes and they don't want nothing to do with it. | ||
So we don't have access to that anymore. | ||
I believe we are still being threatened to be sued. | ||
Really? | ||
unidentified
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Yes. | |
For entering someplace, you mean? | ||
Or what? | ||
unidentified
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Barbara, shit. | |
You can't say that. | ||
Well, sued over what kind of issue? | ||
unidentified
|
Let me put it that way. | |
Well, here is the thing. | ||
It is a location we had investigated, and this is the ownership change Barbara mentioned. | ||
Right. | ||
unidentified
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Easily a decade ago. | |
We've investigated this place. | ||
We had mentioned it on the air, I believe, with you. | ||
Hundreds of times we've investigated this place. | ||
And we've mentioned it publicly quite a bit. | ||
It was all over our website at one point. | ||
And ownership change, and next thing we know, we're getting a cease and desist letter from a lawyer going, ah, yes, any reference to this is now gone. | ||
Really? | ||
unidentified
|
Yes. | |
So, well, they're afraid of something. | ||
I mean, they're afraid, obviously, of being identified with ghosts, right? | ||
I would take it, you know? | ||
unidentified
|
Well, you know, I kind of thought that, and now I'm hearing they're charging for a haunted room tour during October. | |
Well, now, wait a minute. | ||
Wouldn't that be enhanced by your work, you would think? | ||
unidentified
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You would think, yes. | |
So what's the, well, okay. | ||
I mean, I wanted to say what's their problem, you know. | ||
unidentified
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Think about it. | |
Yeah. | ||
All right. | ||
So anyway, you decide based on what people tell you that there's something going on where they are or whatever. | ||
And next question is, because a lot of people, after we do this program, as they did in years past, will go out and attempt this themselves. | ||
So what's a good time of day, if there is a better time of day, to get these voices that we're going to hear tonight? | ||
unidentified
|
You can record any time of day. | |
Some of the best voices that we've ever recorded was in the day. | ||
The only time, really the only reason we would go out at nighttime was for the infrared camera. | ||
And it was more quiet. | ||
It wasn't as noisy. | ||
You know, traffic noise. | ||
And, you know, like if you're out in the cemetery and there's not so much activity going on at 1 o'clock in the morning compared to 12 noon. | ||
Now, the average person would say that there's probably a better chance of getting a ghost in a cemetery for whatever reason. | ||
Would they be right? | ||
unidentified
|
There was one particular cemetery that we never failed to get great EVP out of it. | |
But, you know, you don't always get EVP in every cemetery. | ||
And really, I mean, to go to your question there, you know, why would you get anything in a cemetery? | ||
And as Barbara mentioned before, why do ghosts stay? | ||
Why do people stay? | ||
Well, a lot of it's emotion. | ||
And what place has more emotion than the cemetery? | ||
That's right. | ||
Brendan, stay good and close to the phone for me. | ||
Barbara is actually louder than you are. | ||
That's backwards. | ||
unidentified
|
Wow. | |
All right. | ||
That's really weird. | ||
It is. | ||
All right, that's better, whatever you're doing now. | ||
So one cemetery has a lot, but other cemeteries not so much so, huh? | ||
unidentified
|
All right. | |
And I don't know what the reason is. | ||
I can speculate, but I don't know why. | ||
Okay. | ||
All right, this is a big one. | ||
Are there evil ghosts? | ||
And I bet I'm going to get two different answers. | ||
unidentified
|
More than likely, knowing Brendan. | |
What? | ||
No. | ||
So, okay, Barbara, are there evil ghosts? | ||
unidentified
|
I would say if there's an evil ghost, it was an evil person when it was alive. | |
Most ghosts and ghost activity, it's very rare for you to come upon an evil ghost. | ||
I have never. | ||
Well, I'm going to say that I bet it's getting less and less rare because there's funny evil people around. | ||
unidentified
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There's a lot of wicked people around. | |
Wow. | ||
Exactly. | ||
So I didn't mean to push you into a point of view, but Brendan, I think you think there are evil ones, right? | ||
unidentified
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Well, I do. | |
You know, I mean, last time I chat, Jeffrey Dahmer existed, and he was pretty wicked. | ||
I'm not saying he's a ghost, but how many other Jeffrey Dahmers are there? | ||
Hopefully none. | ||
unidentified
|
Well, no, they're, yeah. | |
Well, you're right about that. | ||
But there's plenty of not-so-nice people. | ||
This is not to say they're demonic or, you know, other, well, I guess otherworldly is correct, but, you know, they're not this fallen angel kind of thing. | ||
They're just plenty of wicked people. | ||
All right. | ||
unidentified
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If somebody at home... | |
Well, I guess. | ||
But when they say things like, drag me to hell, you know, I mean. | ||
It's hard to take that. | ||
No, that was a name of some stupid movie. | ||
But the point is, when they say something that really sounds evil, and you've got to admit, you've had a few of those, right? | ||
unidentified
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Yeah. | |
Or scary. | ||
unidentified
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More than I'd like to remember. | |
Right. | ||
So when you hear that. | ||
You've got to wonder. | ||
Anyway, give advice to those who will listen tonight and then want to do this themselves because people can do it themselves, prove it to themselves, and they will get EV fees. | ||
If they persist, they will get them, right? | ||
unidentified
|
That's correct. | |
What do you recommend they do? | ||
unidentified
|
I think you covered one of the main things here, proving. | |
And, you know, there's nothing we're going to do. | ||
We're going to play tonight. | ||
We're going to talk about where we're going to prove it to you. | ||
I mean, it's just, it's not going to happen. | ||
Well, yeah, but, Brendan, this will set them up. | ||
To prove it to them, they're going to have to go out and do it themselves. | ||
unidentified
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Essentially, yeah, we're wetting their appetite. | |
If this is something that interests them or it is a question that they've had during their life, yeah, this is we're going to show them how to do it. | ||
We're not going to charge them to do it. | ||
We're going to show them free of charge. | ||
Here's how easy it is. | ||
Well, we're all getting older. | ||
might as well promulgate new ghost EVP hunters. | ||
unidentified
|
Now, what kind of... | |
There you go. | ||
What would you recommend they use for equipment? | ||
unidentified
|
As of now, here's the thing. | |
And this is, Barbara, you're going to hate me. | ||
Cell phones. | ||
Well, kind of. | ||
Yeah, so essentially a cell phone, make sure you have the antenna shut off. | ||
I mean, because this is kind of the equivalent of the analog tapes always using a fresh tape. | ||
You turn it on airplane mode. | ||
Oh, my God. | ||
Okay, cell phones. | ||
I mean, I just put me in a trance for a second. | ||
I hate cell phones. | ||
unidentified
|
I get it, and the reason I say this is because it makes sense, Brendan. | |
Barbara has one. | ||
It makes what? | ||
Did you say Barbara has a cell phone? | ||
unidentified
|
No, except Barbara. | |
Oh, except Barbara. | ||
unidentified
|
Except Barbara has a cell phone. | |
All right. | ||
This is all. | ||
I'm hearing this for the first time tonight, and it should have occurred to me long ago because cell phones are beautiful digital recorders, right, Brendan? | ||
Oh, yeah, absolutely. | ||
I mean, it just hit me when you said it. | ||
unidentified
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So that's. | |
We never brought this up before. | ||
This is brand new, everybody. | ||
So you can use your cell phone for EVPs. | ||
unidentified
|
Oh, wow. | |
This is cool. | ||
This is Midnight in the Desert. | ||
The GIS is ahead. | ||
unidentified
|
The GIS is ahead. | |
On the night sweeps across America, you found an oasis for the mind. | ||
To call midnight in the desert, please dial 1-952-Call Arts. | ||
That's 1-952-225-5278. | ||
The GIS is here, and it has been years. | ||
Holy leaping iPhones and Androids. | ||
I never thought of it. | ||
It never occurred to me, but they make the perfect recording device. | ||
So you say turn on the airplane mode, which, of course, disables the internet portion of it and other aspects. | ||
So you've now got a recorder with nothing else into it, right? | ||
unidentified
|
That is correct. | |
And I mean, once you disable that antenna, you should have no contamination. | ||
Get close to that phone now. | ||
unidentified
|
Thank you. | |
So, no contamination. | ||
Well, if you start a brand new file, if you start a brand new recording, you're not going to have contamination, right? | ||
unidentified
|
Yeah, but you could still make the argument about the antenna being turned on, so cell bleed-through, which I have yet to hear, but it's theoretically possible. | |
So it's essentially when we used to use the analog tapes, always using a brand new tape. | ||
Got it. | ||
So have you had people working with cell phones on this? | ||
unidentified
|
Yes, including me. | |
Including you? | ||
unidentified
|
Yeah, which we've got some audio tracks that we didn't include tonight. | |
Maybe on the next one we will include. | ||
But quality-wise, obviously they are great and they are different. | ||
They're different. | ||
In what way? | ||
unidentified
|
Well, I used it in conjunction with somebody had wanted me to test out all these different ghost apps that you see for Android, iOS, things like that. | |
And, you know, for the most part, those are all gimmicks. | ||
They're all junk. | ||
But there are a few that make sense. | ||
I mean, scientifically, if you look at them, break them down, they actually make a little bit of sense. | ||
And I hate to say worked. | ||
All right, so this gives people a new tool, and just about everybody carries around a cell phone. | ||
But again, turn it on to airplane mode so you're not getting contamination. | ||
unidentified
|
Right? | |
Correct. | ||
Okay. | ||
unidentified
|
Yep. | |
Okay. | ||
Basically, anything that records, you can use. | ||
Can I get you two to switch phones? | ||
Barbara, you're doing so well. | ||
You're loud. | ||
Whereas Brendan is not. | ||
And that's so not normal. | ||
It's not normal. | ||
unidentified
|
All right. | |
Hearing little strange noises. | ||
unidentified
|
It could be an EVP in that. | |
I think that was a fly. | ||
I don't know. | ||
Seriously? | ||
That was a fly? | ||
unidentified
|
I wasn't shocked. | |
I didn't say. | ||
All right. | ||
Let's get down to it. | ||
And if we can, I would like to do the ones that you send by email first. | ||
Would that be all right? | ||
unidentified
|
Sure. | |
Absolutely. | ||
That way I can get them out. | ||
I'll give you the name of them, okay? | ||
unidentified
|
Okay. | |
This is Talk to the Dead, I think. | ||
Is that right? | ||
unidentified
|
Yes. | |
Can you tell us where this was done? | ||
unidentified
|
This was done in a private residence. | |
All right. | ||
Well, don't name it. | ||
Don't name it. | ||
Again, folks, this is not a profit-making organization. | ||
These people do it as a hobby. | ||
hobby, if you will. | ||
Think of that: a hobby. | ||
Let me see if I can play this. | ||
Okay. | ||
Did I get that? | ||
Did I really get that? | ||
Did I hear that? | ||
unidentified
|
You did. | |
So here, if we set up context for that, and you get a real, a lot of these that we're going to play tonight, I think we're calling this from the vault because it's stuff that has been recorded over nearly 20 years. | ||
A lot of it we've never played or maybe played once. | ||
We may have never even put it on the website. | ||
Okay. | ||
unidentified
|
All right. | |
I'm going to play this one again. | ||
Set it up for me first. | ||
unidentified
|
Okay. | |
So basically on this one, you're going to hear Barry, which is one of the GIS members, say, I hope there's no bodies down there, which Barbara tried to get away from it, saying it was a private residence. | ||
It was actually a funeral home, which is about as close as we can get to saying the name. | ||
Okay, that's how you'll say the name, yeah. | ||
unidentified
|
Yeah, yeah. | |
So it was a funeral home. | ||
We were about ready to walk in. | ||
Barry says, I hope there's no bodies down there. | ||
And this EBP right after him says, talk to the dead. | ||
All right. | ||
Everybody listen very closely for this and what he just said. | ||
Here we go. | ||
Oh, man. | ||
I heard it that time. | ||
All right. | ||
I'm going to attempt to give it to you one more time here. | ||
Here we go. | ||
Listen very carefully. | ||
unidentified
|
Oh, wow. | |
I don't like that one already. | ||
unidentified
|
And this is, you know, here's the thing. | |
This is so old. | ||
If you remember, when we do these tracks now and for at least 10 years, we route these. | ||
So we will play them in context with, you know, the investigator speaking, the EVP, and then we'll cut the EVP out and play that twice by itself just for clarity. | ||
Yeah, and I'm going to do it one more time, too. | ||
And again, the ghost voice says, talk to the dead. | ||
Listen very carefully, folks. | ||
Oh, my God. | ||
unidentified
|
That's awful. | |
I mean, it's great. | ||
Don't get me wrong. | ||
It's great. | ||
It's a great EVP, but it's an awful EVP at the same time. | ||
It's kind of like, okay, talk to the dead. | ||
unidentified
|
The tone behind it is just, I mean, short of what it says, which is creepy enough, the tone is not okay. | |
No, I have had ghost people on tell me that what you are in life is what you're going to be in debt or in Ghostville or whatever it is when you're trapped. | ||
And do both of you think that's true? | ||
Or do you think you become younger, prettier, or more handsome, and suddenly soft-spoken, whereas before you were a lousy, foul-tempered, cussing son of a gun? | ||
unidentified
|
I think your personality carries on with you, however you were in life. | |
Whatever you were is what you are, huh? | ||
unidentified
|
Yes. | |
So the grace of God doesn't do much for your personality. | ||
unidentified
|
Not much, no. | |
How you are is how you are. | ||
Okay, I'm going to have to really straighten out. | ||
All right, we've got another one here, which is called something about death gate. | ||
unidentified
|
This was in a mausoleum. | |
A mausoleum. | ||
unidentified
|
Yes, and Roger recorded this. | |
And you can hear, you know, the mausoleums, they're marble, walls, floors. | ||
And you can actually hear an echo with this voice. | ||
Okay. | ||
Well, you would in a mausoleum, right? | ||
And what does he say? | ||
And then what does the ghost say? | ||
unidentified
|
Roger, I don't know if there's anything else. | |
There is no. | ||
Yeah, I don't think Roger says anything in this. | ||
Roger, what had happened was Roger had his flashlight and was taking pictures with a flash. | ||
And he says, I hope our lights don't bother you. | ||
And this voice responded. | ||
And what we're going to hear is the response, right? | ||
unidentified
|
Yes. | |
Okay, here it comes. | ||
I can't make that out. | ||
Tell me what it says, and then let me listen again. | ||
It's a whisper. | ||
unidentified
|
Our deathgate. | |
Our deathgate. | ||
All right, here we go. | ||
Oh, man. | ||
Why do they have to talk like that? | ||
I'm going to do it one more time. | ||
Our Deathgate. | ||
Now, again, folks, these are not made up. | ||
These are not Jimmy. | ||
These aren't anything. | ||
These folks are amateurs. | ||
They are, well, sort of professional in a way. | ||
But they don't make money. | ||
They don't sell books. | ||
They just record these because it's important. | ||
Now, listen carefully. | ||
There are going to be some of you out there who probably should be tuning this out. | ||
This scares the hell out of people. | ||
Honestly, it does. | ||
It even scares me. | ||
It always has. | ||
There's something about doing this program that just really creeps me out. | ||
There's no question about it. | ||
Our death gate. | ||
Great. | ||
Barbara, again, you know, I don't mean to come down on your case because you're such a sweetheart, and I know you think that they're mostly okay, but these things are terrible. | ||
unidentified
|
They're scary to you? | |
Yes, they are. | ||
I've got to be honest, Barbara. | ||
What I've heard so far... | ||
Yeah, that does it for me. | ||
You bet. | ||
unidentified
|
He even had kind of a... | |
When you had... | ||
When you listen to that with headphones on, you could tell kind of almost like a British accent. | ||
I mean, he... | ||
Here we go. | ||
I don't know. | ||
I can almost hear chains rattling. | ||
unidentified
|
Yeah, but you kind of can, which is, you know. | |
And here's the thing. | ||
That, I think, we recorded in 97, somewhere around there. | ||
Here's one of our first. | ||
So that was recorded probably with some sort of analog device, right? | ||
unidentified
|
No, without a doubt, it was analog. | |
This was on tape. | ||
Okay, what people need to understand is, really, folks, you can take your cell phone. | ||
Oh, God, forgive me for saying that. | ||
But you can take your cell phone, you can take it out, disable the, put it in an airplane mode so there's nothing to leak through, and you can attempt to get these yourself. | ||
You can go to a place where ghosts have been reported. | ||
You probably got a better shot if you do that, right, folks? | ||
unidentified
|
Yes, walk through a cemetery. | |
The cemeteries are beautiful and peaceful, and you just take a walk. | ||
Oh, I know. | ||
A lot of times I'm kicking around during the afternoon. | ||
I say, hey, hon, let's go to a cemetery. | ||
unidentified
|
Well, I was going to say, you know, if you don't get ghost, I'll be at a great story, right? | |
No, I never do that. | ||
unidentified
|
It's very entertaining. | |
Uh-huh. | ||
So let's try this. | ||
Have you ever experienced or do you know of any actually humorous EVPs or ghost events? | ||
You know, because these just scare the hell out of me. | ||
unidentified
|
Off the top of my head, I mean, yes, there are definitely humorous EVPs. | |
And I mean, as many as we have recorded in 20 years, it's hard to pinpoint one. | ||
I know we've all sat around a table, listened to it, and just laughed. | ||
The one that just immediately comes to my mind, I can't say because it wasn't very nice. | ||
Well, okay. | ||
You know, I have a very perverted sense of humor. | ||
For example, when I have a friend who goes on vacation, I wait until they're gone for four or five days, and I write to him and I say, listen, not to worry, it wasn't a big fire, and I think it might be out now. | ||
My other neighbor just went on vacation. | ||
While he was out in park somewhere, I said, don't worry, the police will fill you in when you get home. | ||
So that's my kind of sense of humor, you know. | ||
Pretty bad, huh? | ||
unidentified
|
I know there was one night we were out in a cemetery, and Brendan fell in an open grave that had been dug for burial the next day. | |
Lovely. | ||
An open grave. | ||
Just great. | ||
unidentified
|
Like I said, you know, the stories that you have, even if you don't see a ghost. | |
You really fell in an open grave? | ||
unidentified
|
Yeah, and I believe... | |
I think Barry took your picture just to rub salt in the wound. | ||
If I fell in an open grave, they'd have to wait until I woke up to get me out. | ||
unidentified
|
No, it was a view I never want to see again. | |
Well, it's a view you will not see again, but certainly all of us are going to, I suppose, get there. | ||
All right, now I'm going to move on to the other ones you sent me on email so I can get this out of the way. | ||
All right. | ||
And this is something about why can't they shut up? | ||
Fill me in. | ||
unidentified
|
So this one, and I'm not sure if we included context with this or not, because again, excuse me, this is one of the older ones from nearly 15 years ago. | |
But you're going to hear, I believe it's a woman, and this was in a private residence. | ||
And we were all talking, just, it really had nothing to do with ghosts. | ||
And you just hear this woman just annoyed sounding, saying, why can't they shut up? | ||
Okay. | ||
I haven't previewed any of these folks, so we get what we get. | ||
unidentified
|
But he was by himself when he got that voice. | |
He wasn't in that room. | ||
Oh, man. | ||
What's the big problem? | ||
What's the big problem? | ||
Okay, so that one on all kinds of levels. | ||
unidentified
|
Yeah, but he, okay, so here's a spin on that voice. | |
You hear Barbara talking about one of the investigators who was alone when he got that voice. | ||
Yes. | ||
unidentified
|
It had nothing to do with the voice we just recorded. | |
It was a previous voice. | ||
And it almost makes you wonder if this spirit is referred or speaking back to Barbara, saying, well, why do they keep talking? | ||
And not us, but the spirits that we're recording. | ||
Really? | ||
I didn't like it one bit. | ||
It sounded like a young person to me. | ||
Yes? | ||
unidentified
|
A little bit. | |
A little bit? | ||
Let's listen. | ||
But he was by himself when you're a voice. | ||
he wasn't in that room oh what's the big job what's the big job what's the big job Yeah, I think that's a young person. | ||
It could be. | ||
You know, it's hard to tell. | ||
Been a lot of children EVPs, which are like the most disturbing of them all, I would say, right? | ||
unidentified
|
Yes, they are. | |
and I still don't understand. | ||
I mean, at least half of the voices we've recorded have been... | ||
Really? | ||
Half? | ||
Yeah. | ||
I would say it's over. | ||
Yeah. | ||
Over half. | ||
My goodness. | ||
unidentified
|
I said at least half of them. | |
Oh, my. | ||
Well, aren't there times when I know that you two are hardened to this because you've been doing it for years, and people need to understand that you come home, you do a recording session for hours and hours and hours, then you come home and you review hours and hours and hours of tape. | ||
And maybe if you're lucky, you get one EVP. | ||
So the people in the audience need to understand what they're hearing is the culmination of a very, very great deal of work. | ||
Is that fair? | ||
unidentified
|
That's very fair. | |
If you're out for four hours, you have four hours to review. | ||
And to be able to hear something that even sounds like a whisper in that four hours is lucky. | ||
All right. | ||
We're going to take a brief break. | ||
unidentified
|
So you two hold it right where you are. | |
Well, no, we've got time to just do this one more time. | ||
unidentified
|
But he was by himself when he got that voice. | |
he wasn't in that room what's the big girl what's the big girl what's the big girl laughing They were talking about you. | ||
That's what I think. | ||
I know you don't want to think that, right? | ||
unidentified
|
It doesn't bother me a bit. | |
Barbara wouldn't care either way. | ||
Really? | ||
Yeah, we've been told to get out, and I want to go right back. | ||
You see, if a ghost told me to get out, even if I found this when I got home, I wouldn't go back. | ||
There's no chance that I would go back. | ||
I remember one year I was urging you all to get an instant replay deal, and I think you sort of briefly worked on that so you could hear whether you got one at the time. | ||
unidentified
|
Yeah, it was actually a scientist that listened to your show created one, I think, right after that show for us. | |
That's right. | ||
unidentified
|
Did it work? | |
I think we, because we used it for about two years, and we may have got one voice. | ||
One voice. | ||
unidentified
|
I think that was it. | |
That was it. | ||
unidentified
|
All right. | |
Hold tight, you guys. | ||
The EVP people, Brendan Cook, Barbara Macbeth, are here. | ||
And I'm warning you, this is going to be scary. | ||
unidentified
|
You'll have big more. | |
You'll have big more. | ||
Want to take a ride? | ||
Your conductor, Art Bell, will punch your ticket when you call 1-952-CALART. | ||
That's 1-952-225-5278. | ||
You are in the company of the GIS, which officially stands for Brendan Ghost Investigator Society. | ||
All right, Brendan Cook, Barbara Macbeth, I'm Art Bell. | ||
This is scary stuff. | ||
So you take your chances when you tune in. | ||
All right, so what I've got left on my left computer, I've got things all over the place, would be something about drowning. | ||
Who wants to set that up? | ||
unidentified
|
Yeah, so this one, we played this before it. | |
Here's the thing. | ||
Since the site is down, this was easily the most listened-to EVP we have ever recorded. | ||
Yeah, and simply because, I mean, it's so long, and I mean, it's called drowning just because, I mean, there's no other way to say it. | ||
It sounds like a child being drowned. | ||
God. | ||
All right. | ||
It sounds like a child being drowned. | ||
Any other providence you can give us on it? | ||
unidentified
|
I mean, yeah, so the context of this, this was in an old mental asylum in Ogden, Utah. | |
And the building was abandoned, had been abandoned for years. | ||
The owner of the building was renovating it. | ||
She had called us in to investigate these things that were happening while they were doing the renovations. | ||
Something apparently was upset. | ||
We had set up our equipment. | ||
We had gone through, done a regular investigation, and I decided I was going to leave my mic, because I had this big condenser mic, in this room, kind of in the back of the building. | ||
And I was just going to leave it there, and then we were all going to go, I don't even know where we went. | ||
We went outside, and yeah. | ||
So we were out for a while. | ||
There was nobody in this building. | ||
There should have been really no sound other than maybe cars driving by. | ||
And about 10 minutes in, this picked up. | ||
And I mean, I remember hearing this and just, well, I didn't even want to show you, Barb. | ||
Yeah. | ||
I mean, he didn't tell us about it for a day or two after he heard it because it was recording into his computer from the condensed mic. | ||
All right, so I'm not going to hear any of your voices at all. | ||
Everything I hear. | ||
Should not be there. | ||
unidentified
|
The water sound. | |
This building had no running water. | ||
No plumbing on, no water on for years. | ||
All right. | ||
All right. | ||
With that as a setup, here it comes. | ||
Listen closely at your own peril. | ||
unidentified
|
Let's go. | |
Let's go. | ||
Let's go. | ||
Let's go. | ||
You know what? | ||
I'm going to stop it. | ||
unidentified
|
Yeah, that's basically just the voices. | |
Yeah, am I hearing correctly when the voice comes in? | ||
Is the voice saying, help me? | ||
unidentified
|
The child, the voice that sounds like a child. | |
Yes. | ||
It sounds like he's saying, help me, can't breathe, couldn't breathe. | ||
All right. | ||
See, that I want to hear again, so I don't know. | ||
I hate to play the whole thing again. | ||
unidentified
|
but I guess I'm gonna... | |
And then another voice. | ||
Am I right? | ||
I need to hear that again. | ||
I'm sorry. | ||
This is so freaky. | ||
loosen it here. | ||
unidentified
|
Okay. | |
I was in for the boys Please, I heard that. | ||
Oh, God. | ||
That's just horrible. | ||
It's horrible. | ||
unidentified
|
It is. | |
If you listen really close at the very end of that, it sounds almost like a thud. | ||
Oh, I hear it. | ||
Trust me, I hear the thud. | ||
God, that's awful. | ||
unidentified
|
It's awful. | |
Even you say so, Barbara. | ||
unidentified
|
Yeah, that's horrible. | |
And when Brendan came across it, he was just expecting to see a straight line on the cool edit, you know. | ||
On the waveform, yes. | ||
On the waveform. | ||
And then when he saw this stuff start, you know, the noise graph start. | ||
Well, originally, like I said, I thought it was a car driving by, maybe a diesel. | ||
And, again, there's no water in this building at all, right? | ||
unidentified
|
And it hadn't been for... | |
Yeah. | ||
I just, I don't get it. | ||
I don't, I almost don't want to get it. | ||
Boy, I hear you. | ||
That's just, that's horrible. | ||
I don't know what else to say. | ||
It sounds exactly like what you said. | ||
You know, and what do you feel like when, you know, when you go to your computer and you're just sort of monitoring because hours are going by that you don't get anything, and then you get something like this, how do you handle it, Brendan? | ||
Barbara said you waited a couple days to even talk about it. | ||
unidentified
|
I mean, we recorded that in 2005. | |
And I mean, at that point, I had been doing this for over 10 years. | ||
And I mean, I didn't know how to take it at all. | ||
Like I said, yeah, I mean, like you just mentioned, I didn't tell anybody about it because I'm like, this is just way too much. | ||
Yeah. | ||
Yeah, way too much. | ||
So now let's talk for a second about events. | ||
And this was an event that are somehow caught in some horrible loop or are played again and again or what? | ||
unidentified
|
I would hope so because I'm terrified to think that this is some kind of an intelligent haunting and this child is having to live this over and over. | |
I want to think it's a residual, it's a loop, it's something that for whatever reason was recorded in the atmosphere. | ||
How about you, Barbara? | ||
unidentified
|
I do have a feeling that it's residual, but I think that child wanted somebody to know. | |
Well, there's something to think about. | ||
The child wanted somebody to know. | ||
Well, plenty of people know now. | ||
unidentified
|
That's for sure. | |
God. | ||
It's heartbreaking. | ||
I can remember my feeling when I first heard it. | ||
And Brendan had called and said, we recorded something in that building. | ||
He says, and we hadn't been to that building since we had recorded it. | ||
It had been a couple of days. | ||
And he says, I want you to listen to it and see what you think. | ||
Yeah, I didn't tell you at all what it said, it shouldn't be there, and that was it. | ||
Guys, I've got a question. | ||
Was there ever a time when you recorded something, God knows, like this, and you just said, okay, that's enough. | ||
We don't need to be doing this anymore. | ||
Did you ever come to that point? | ||
unidentified
|
No. | |
Not yet. | ||
No. | ||
Never. | ||
I can see, and it's a good question. | ||
Actually, that's a question we've never been asked. | ||
You know, the fact that you ask it, I can see that there would be a point, but I haven't had it yet. | ||
Have you ever had, everybody always asks this, I'll try and get it out of the way right now. | ||
Have you ever had an entity follow you home? | ||
unidentified
|
Yeah, I think all of us have. | |
There was, in fact, one night, Barry had, we had come home from an investigation. | ||
Barry went home. | ||
Can't remember where we were on this particular night, but when he woke up, he had like four or five lights in his bedroom. | ||
He had gone to sleep, and when he woke up, every light in his bedroom was on, like five lights, four or five lights. | ||
And he rarely, you know, he'll have one light on, but not all of the lights that are in his bedroom on. | ||
And he thought maybe his son had come In and played a joke on him while he was sleeping. | ||
And so when he got up, he went and asked his, you know, to go ask his son about turning on all the lights in his bedroom, and the son hadn't come home that night. | ||
So once something follows you home or attaches to you, can you get rid of it easily or not so easily? | ||
unidentified
|
We've had, me and Roger have had a couple of events where we know that they've followed us home. | |
And one event really made me mad because it kicked my dog down the stairs. | ||
And he was an older dog, and he just went flying sideways down the stairs. | ||
And that was when it dawned on me, somebody's come home with us. | ||
And I said, get out of this house. | ||
You weren't invited to be here. | ||
Get out and go back where you came from. | ||
And it was the only event that's happened in this house that we're living in now. | ||
Okay. | ||
All right, so we've got EVPs. | ||
Let's do it. | ||
Let me see if I can do it properly. | ||
I've got them scattered all over any number of computers here. | ||
This first one, I guess, has a title of Let Me Go, if that helps you understand. | ||
Who wants to set it up? | ||
Barb, I guess? | ||
unidentified
|
Well, Barb's pointing at me, so apparently that's me. | |
Okay. | ||
Yeah, so this one, you're actually just going to hear Barbara say, and again, this is a private residence. | ||
You're just going to hear Barbara say, you know, boy, we were out there for a long time. | ||
And she's actually listening to her recorder. | ||
I'm the one that, I think, recorded this. | ||
Right after that, you hear Barbara kind of exclaim, well, we're still out there. | ||
And then this creepy, kind of disembodied, and I hate to say it that way, but that's really what it sounds like. | ||
This voice says, let me go. | ||
Well, it is disembodied for sure, right? | ||
I know. | ||
unidentified
|
I was just hoping I could come up with some other terms to say that. | |
So the let me go part is going to be the disembodied one. | ||
unidentified
|
Correct. | |
Here it comes. | ||
We were out for a long time. | ||
unidentified
|
We're still out. | |
And that face y'all. | ||
And that face at all. | ||
Well, that's awfully clear, awfully clear, isn't it? | ||
unidentified
|
Yeah. | |
And it has that quality of, I mean, I don't even know how you would describe it other than what I just said, otherworldly. | ||
Yes. | ||
On average, how many hours of, you know, blank stuff do you have to listen to before you get to something where your eyes pop open? | ||
unidentified
|
Well, it depends on where we go. | |
I mean, there's some locations. | ||
I've gotten 10 to 15 EVPs in the location. | ||
Oh, my. | ||
unidentified
|
On average, I would say between the five of us, we probably would go through, what, 20, over 20 hours to get one voice that might sound like that. | |
Now, there you have it, and here you have it one more time. | ||
unidentified
|
We were out for a long time. | |
We were still out. | ||
and that's it off and that's it off and that's it off uh huh I don't suppose you want to speculate on what let me go means ideally I wouldn't. | ||
unidentified
|
I have no idea. | |
The only thing I can come up with is just not pleasant. | ||
So us being there, I think, was keeping this thing around. | ||
Meaning your presence. | ||
unidentified
|
It's bad that we can't hear them at the time it's recorded. | |
It really is a shame, I guess. | ||
I mean, on the one hand, it would be so freaky that I don't know how I'd handle it. | ||
Hearing it later is at least detached in some way. | ||
We'll be right back. | ||
We've got a break here. | ||
So I want everybody to hold tight. | ||
There is a theme you should recognize. | ||
Don't forget, time travelers, you've got about an hour and three quarters, not quite an hour and three quarters, to join us. | ||
This is Midnight in the Desert. | ||
That is to say, join us at the $5 rate that goes up. | ||
I'm Art Bell. | ||
unidentified
|
I'm Art Bell. | |
I want to cry. | ||
The bombs in the bill. | ||
The kids keep coming. | ||
So wait a bit easy. | ||
Time to be your home. | ||
To initiate a dialogue sequence with Art Bells, please coordinate your Valanges and call 1-952-225-5278. | ||
That's 1-952. | ||
Call ART. | ||
If you are just tuning in, warning. | ||
This is really, truly scary stuff. | ||
What you're hearing are EVPs. | ||
These are the voices of the dead. | ||
They are recorded in this case by the GIS. | ||
Represented tonight by Brendan Cook and Barbara Macbeth. | ||
And this has been over many, many, many, many years that they have been doing this. | ||
They do it as, I guess a hobby is the right word. | ||
Is it you two? | ||
unidentified
|
Is that the right word for what you do? | |
Well, I don't consider it a hobby. | ||
I just don't. | ||
Well, we've spent how much money doing it, so it's a very expensive hobby. | ||
How's that? | ||
Accurate. | ||
I love the idea of cell phones, though. | ||
I'm going to try it myself. | ||
Trust me. | ||
Oh, I'm absolutely going to try it. | ||
Yes. | ||
I have an iPhone 6. | ||
I'm ready. | ||
unidentified
|
I'm proud of you. | |
I'm proud of you. | ||
You are. | ||
So that means you're going to get an iPhone soon, Barbara. | ||
unidentified
|
No. | |
No. | ||
Sorry. | ||
Just had to mess with it. | ||
Right. | ||
I've got you. | ||
unidentified
|
She's not even joking. | |
She has a reel-to-reel. | ||
You sell a reel-to-reel? | ||
unidentified
|
Really? | |
Yeah. | ||
Okay. | ||
All righty. | ||
Two questions from the internet, if we could, please. | ||
I get these, and they're pretty good ones. | ||
This one comes, I guess, relayed from Twitter from Darren. | ||
Do EVPs ever contain useful information? | ||
I don't know what they mean by useful, but you know. | ||
unidentified
|
Contemporary? | |
Yeah. | ||
Yeah, well, no, not contemporary. | ||
Useful information like your chair is weak and will break soon. | ||
I just made that up. | ||
I mean, something. | ||
unidentified
|
I'm sure there are cases where they haven't. | |
I mean, we haven't. | ||
The only useful information we got was the plastic eyes. | ||
We played that on your show. | ||
Oh, Reggie. | ||
Oh, God, I remember that one. | ||
unidentified
|
In the mausoleum, and Ginny had recorded that. | |
And I called the funeral director the next day to find out if plastic eyes had anything to do with their business. | ||
Right. | ||
And we found out that yes, they do use plastic eyes on bodies. | ||
And the ghost voice said what exactly? | ||
unidentified
|
It just said plastic eyes. | |
That's awful. | ||
All right. | ||
Another question from the internet. | ||
What's with all the EVPs always being in English? | ||
unidentified
|
They're not. | |
We only play English ones because, you know, here's the thing. | ||
EVPs are so hard to understand anyway. | ||
True. | ||
unidentified
|
And we're pretty much in an English-speaking country. | |
So we do have plenty of EVPs that speak German, French, Native American, Gaelic, even. | ||
All right. | ||
Here's a very important question. | ||
Do you record using two or more simultaneous microphones? | ||
And if so, have you attempted to triangulate any audio source? | ||
Now, this is really an important question. | ||
If I break it down a little further, you do use microphones, I think, right? | ||
Yes. | ||
unidentified
|
Yes. | |
Correct. | ||
But is it absolutely mandatory to use a microphone? | ||
unidentified
|
Well, for us, yes. | |
For everybody else, again, cell phone, just the internal mic is fine. | ||
Yes, we use external mics on everything. | ||
At any given time during an investigation, we have four or five recorders in that location. | ||
So Terry's question went to triangulation of where the audio actually is emanating from. | ||
unidentified
|
Does not work. | |
Doesn't matter. | ||
Yeah, we have had the weirdest. | ||
We have had things where we audibly hear the voice, which is where, but we audibly hear it, and it does not pick up on the recorder, or it only picks up on one. | ||
So triangulating the source is a tad hard. | ||
All right. | ||
Let's move on to the next one, and this is entitled Beautiful, I think. | ||
Is that right? | ||
That makes sense? | ||
Let me go was the first. | ||
Oh, be careful. | ||
I'm sorry, not beautiful. | ||
Be careful. | ||
unidentified
|
It says, be careful, I guess. | |
Who wants to take that one? | ||
unidentified
|
Well, you'll hear me say, please come and talk with us. | |
And it sounds like a child's voice that says, be careful. | ||
Well, here we go again with a child's voice. | ||
All right, listen carefully, everybody. | ||
And I may have to play this more than once. | ||
Here we go. | ||
unidentified
|
Please come and talk with us. | |
Be careful. | ||
Be careful. | ||
Well, that is a child's voice. | ||
There's absolutely no question about it. | ||
That's a child's voice. | ||
And I wonder what the child meant you should be careful of, Barbara. | ||
Any thoughts at all? | ||
unidentified
|
No. | |
The only time I would take any kind of thing like that would be from if the person was alive. | ||
Boy, I hear that. | ||
All right, one more time. | ||
Listen very carefully, folks. | ||
You tell me the age of the person saying this. | ||
unidentified
|
Please come and talk with us. | |
Be careful. | ||
Um... | ||
You know, walk around in the dark sometimes, and I could have been going downstairs. | ||
It could have been saying, be careful, you know, going down the stairs. | ||
Right, this could have been, well, there it goes to the guy's question. | ||
Do they ever say anything helpful? | ||
That certainly is helpful in a way, isn't it? | ||
unidentified
|
I like your thinking. | |
That's fantastic. | ||
Or it could have meant something, I don't know, far more ominous would be the word. | ||
Be careful because something's about to happen, something like that. | ||
unidentified
|
I doubt it. | |
I've never... | ||
says the woman who had a bolt thrown at her. | ||
What? | ||
What? | ||
A bolt of what? | ||
unidentified
|
Oh, it was one of those big heavy metal bolts that, like, bolt down that. | |
Oh, I never heard this. | ||
I never heard this. | ||
Hold on, you two. | ||
unidentified
|
We'll be back a big heavy metal bolt. | |
Nothing like that ever happened, didn't she? | ||
unidentified
|
All the guns have come Here for the hell they've come She's a guy Yeah, baby, she's got it I'm your Venus I'm your fire You're the fire No call screening. | |
No waiting on hold. | ||
No requirement to kiss Art's ring. | ||
Just good talk. | ||
Join ART by calling 1-952-225-5278. | ||
That's 1-952-CALL ART. | ||
Hello, everybody. | ||
This is EVP time. | ||
The GIS Ghost Investigators Society, or did I get that wrong? | ||
I think that's right. | ||
Ghost Investigators Society, right? | ||
unidentified
|
Right. | |
Okay. | ||
Barbara Macbeth. | ||
unidentified
|
Time you've said it, but. | |
I'm sorry? | ||
No, it was a joke. | ||
Sorry. | ||
Okay. | ||
And Brendan Cook. | ||
Barbara Macbeth, Brendan Cook. | ||
The ones who get these things. | ||
And I'm hoping that I can talk you guys into, well, I don't know, a big show somewhere near Halloween. | ||
Can that be done? | ||
unidentified
|
Easy. | |
Easy. | ||
Easy peasy, huh? | ||
All right. | ||
unidentified
|
Again, doing it as long as we've done. | |
If we weren't so busy, we'd have had quite a bit more, I think, here. | ||
Well, you know, my new show hasn't been on the air that long. | ||
And I just really appreciate you folks. | ||
There's something coming up about we want to go to what does that mean? | ||
Barb, what am I about to hear? | ||
unidentified
|
Well, on this, anytime we are leaving an investigation, once we get into the car, I always say, if anyone's in the car, please get out. | |
Smart. | ||
unidentified
|
Most of the time, they will. | |
Oh, I see. | ||
So this is the ghost saying we want to go to after. | ||
So you actually said that. | ||
Are we going to hear you say that in this? | ||
unidentified
|
You're going to hear me say, if anyone's in the car, please get out. | |
Right. | ||
unidentified
|
And you'll hear this sound like a child relieving a cemetery. | |
Okay, dokey. | ||
Here we go. | ||
Brace yourselves. | ||
Anything else, Barb? | ||
unidentified
|
Nope. | |
Okay, here it comes. | ||
unidentified
|
If anyone's in the car, please get out. | |
Leela. | ||
Thank you. | ||
Okay, we're going to hear this again. | ||
And again, Barbara says, the child says we want to go to... | ||
Listen very carefully. | ||
No, no, no, no. | ||
That's wrong. | ||
unidentified
|
If anyone's in the car, please get out. | |
I'm clear. | ||
Wait, I don't get that out of it. | ||
It almost sounds like we can't or something. | ||
That's hard to make out. | ||
unidentified
|
Now, see, I clearly hear we want to go to. | |
Really? | ||
All right. | ||
I'm sorry, folks, again. | ||
unidentified
|
If anyone's in the car, please get out. | |
Oh yeah. | ||
Oh yeah. | ||
Okay, got it that time. | ||
Thank you. | ||
And I know that even you, when you take these things home, you have to listen sometimes multiple times to understand what's being said. | ||
Or maybe you've been listening to ghost voices so long that that's not the case. | ||
You tell me. | ||
unidentified
|
No, the fights that we have been in around hearing say something completely different. | |
Yes. | ||
unidentified
|
And ultimately, you know, that's the key with EVP. | |
You know, we're obviously presenting some of the best voices that we've ever recorded, the ones that are loud enough to be heard. | ||
The majority are not like this at all. | ||
I mean, they're just whispery and syllablic. | ||
There's a lot of what you'd call pareidolia that goes into it, trying to figure out what it's saying. | ||
And EBP is ultimately just subjective. | ||
So you notice context, what the investigator says, what the EBP says, and human nature, your brain is now trained to listen to that. | ||
Gotcha. | ||
You're far more trained than we are, for sure. | ||
As I mentioned, it's been years, so there are a lot of new listeners tonight, and they're probably pretty freaked out, is all I can say. | ||
And, well, no, I'll say one more thing. | ||
Try it yourself. | ||
This is not something only the GIS can do. | ||
Yes, they're very good at it. | ||
Yes, they've been doing it for years and know what they're doing, but you can do it even with a cell phone. | ||
Just remember, turn off, as was suggested, turn on the airplane mode so that you're not contaminating in any way. | ||
You can also do it with a digital recorder. | ||
Do microphones, Brendan, make any difference? | ||
unidentified
|
You know, if nothing else, I don't know so much about on the EVP quality, but ambient noise, understanding what's happening in the room at the time, yes, definitely. | |
It makes it much easier to listen to. | ||
It's always a problem, of course, of signal versus noise. | ||
You can increase the audio gain, but you bring a lot of hiss and stuff with it, right? | ||
unidentified
|
Right, right. | |
And, you know, to kind of go to that, some of the voices we played from the mausoleum, I mean, you can hear that echoey kind of, and it's just, it's very hard to make out things that are being said. | ||
So, yeah, I mean, you know, getting a mic, being able to kind of filter some of that stuff out, you know, in real time, it helps a ton. | ||
Okay, let's go to one, I guess, with Barry. | ||
Something about wake up. | ||
Is that right? | ||
unidentified
|
Okay. | |
So this is a little bit different. | ||
This was from the prison in Rollins, Wyoming. | ||
And you hear Barry, he's actually shutting a cell door, and it almost makes a cliched horror movie sound effect. | ||
So you hear the cell door just shutting and slamming. | ||
Then you hear Barry go, creepy. | ||
That's creepy. | ||
And this woman just, almost like she's yelling slash whispering at him, saying, wake up. | ||
Again, this is in a prison? | ||
unidentified
|
Yeah. | |
You guys just really go to some of the best vacation spots anybody goes to. | ||
Prison. | ||
All right, let's listen to this and see what we get out of it. | ||
You ready? | ||
unidentified
|
Creepy. | |
Creepy. | ||
Wake up. | ||
Wake up. | ||
Who? | ||
Wake up. | ||
Oh, yes. | ||
unidentified
|
Oh, creepy, creepy, indeed. | |
All of her energy. | ||
I mean, it's like she's using every bit of energy she has to get this out. | ||
Yeah, I've never heard any of these. | ||
These are all new ones, huh? | ||
unidentified
|
For the most part, they're new. | |
Well, new in the fact we haven't played many of these on your show, but we've had them for ever. | ||
Again, we were going to call tonight's show From the Vault. | ||
From the Vault. | ||
Well, the Vault is a good word, actually. | ||
One more time. | ||
unidentified
|
It's creepy. | |
It's creepy. | ||
What? | ||
Oh. | ||
Ho, ho, ho, ho, ho, ho, ho, ho. | ||
Let everybody know what you do at the end of these particular ones. | ||
You repeat it three times and you increase the volume so it's more easily heard on the radio, right? | ||
unidentified
|
Well, and normally we don't even amplify the two loops at the end. | |
Sometimes we do if it's really whispery. | ||
That was pretty whispery. | ||
unidentified
|
Yeah, for the most part, I mean, we just like to keep it as natural as we can. | |
So with context, the investigator speaking, the EVP coming in, and then just cutting the EVP out and playing it twice after. | ||
Right, okay. | ||
Have you ever taken a photograph of a ghost is a question? | ||
unidentified
|
Yes. | |
We've taken video. | ||
You'll have to speak up good and loud. | ||
unidentified
|
Our connection. | |
I'm sorry. | ||
We've actually taken video of one walking into a wall. | ||
Walking into a wall? | ||
unidentified
|
Actually, or through a wall? | |
Just disappearing. | ||
Well, it was a wall. | ||
Where it was headed and disappeared at was into the wall. | ||
Okay. | ||
That sounds like walking through a wall to me. | ||
If you see it disappear into a wall, presumably it came out on the other side and you just didn't see it. | ||
But maybe not. | ||
You actually have video of that. | ||
I would dearly love to see it. | ||
And I guess your website is going to have to get back up before we see it, eh? | ||
unidentified
|
Yes. | |
Within the month, it will be back up, I promise. | ||
All right. | ||
And again, you have to promise this Halloween type show. | ||
Bring out the big guns for Halloween. | ||
unidentified
|
Will do. | |
I'm getting this promise from you on the air, so it's got to be kept. | ||
All right, we're going to move on to the next one because I do want to get calls in, and so I want to get these in. | ||
The next one is also Barry, I believe, right? | ||
unidentified
|
Yes. | |
And it's what called The Question to Mind, something about a flash? | ||
unidentified
|
Yeah, so this one, again, is Rollins Prison. | |
Not the same night, though. | ||
I believe this was actually like a year later. | ||
And it was in the death house of Rollins Prison when the night there, the five of us. | ||
And Barry was testing out this new camera he had that had a new flash system. | ||
And you're going to hear Barry say, well, we'll see what the flash is going to do. | ||
Yep, we'll see. | ||
And this really disgruntled old man, it is kind of in the background, but it's almost like he's making fun of Barry. | ||
He's being very sarcastic. | ||
And he says, you'll see in a little bit. | ||
Really? | ||
You'll see in a little bit. | ||
All right, let's listen to that. | ||
Here we go. | ||
Wait a minute. | ||
Let me stop that and do it again from the beginning. | ||
unidentified
|
Okay. | |
With the one with the flash, we're going to do it. | ||
I don't see. | ||
She's a little bit. | ||
Now these are not easy to hear, everybody. | ||
They're not easy to hear. | ||
That one's not easy to hear, particularly, is it? | ||
unidentified
|
No, and that again, I think that was 1998, so there was some audio degradation. | |
There was no carpeting or drapes or furniture. | ||
It's just a cement. | ||
It's a death house, the death house. | ||
There's just cement, nothing to absorb sound. | ||
Do you remember when you switched from analog to digital recording? | ||
unidentified
|
I do. | |
Still, technically, I don't think has. | ||
It would have been the first time was 2004 where I started just doing nothing but digital. | ||
That's when we began getting slightly clearer copies. | ||
I mean, the digital just doesn't have the same kind of, I mean, after all, if you have a recorder, you've got a tape running across heads, so you've got noise. | ||
That's all there is to it. | ||
All right. | ||
Let's move on to the next one. | ||
unidentified
|
This next one was at Deer Lodge Prison up in Montana. | |
And you're going to hear this door, a cell door creaking shut. | ||
And the EDP says, help, I'm in here. | ||
It sounds like an old man. | ||
And then you'll hear Brendan say, is anybody in here? | ||
But the help, I'm in here, that's from the disembodied voice, is that correct? | ||
unidentified
|
Right. | |
And it was actually used. | ||
So Deer Lodge Prison, just to kind of give a little backstory, is gigantic. | ||
I mean, this place is massive. | ||
And I think it was, what, 2003 was when we went. | ||
We were lucky enough to just have the caretaker hand us the keys and say, yeah, we'll see you Monday. | ||
That is lucky enough. | ||
Yeah, we spent Friday up, we have Friday night until Monday morning, just the five of us in this gigantic prison. | ||
So this place where I recorded this voice, I was just there by myself. | ||
I mean, it was just me for an hour or so. | ||
Is it worth asking how you guys managed to stay in these creepy locations and particularly by yourself? | ||
unidentified
|
Well, it's not a scary, I mean, you know, most of the time you're not aware of anything going on around you. | |
You're just in a dark location. | ||
So if you can get over atmosphere, it's not a bad deal. | ||
All right, so we're going to hear an old man and say, help, I'm in here. | ||
unidentified
|
here we go. | |
Here we go. | ||
Oh, yeah. | ||
anybody in case? | ||
No. | ||
I'm there. | ||
No. | ||
I'm there. | ||
Oh, jeez. | ||
That's, I guess, what you would expect to hear from somebody in a jail, right? | ||
unidentified
|
Yeah. | |
Well, and he sounds like a prisoner. | ||
I mean, which is kind of weird. | ||
Like, he has just been there the entire time, and this place was shut down in 1970 or something. | ||
They built a new prison, and they relocated the prisoners. | ||
Somehow you would think if you were a prisoner in this life, that you wouldn't be stuck there in the afterlife. | ||
I mean, that's about as horrible. | ||
But again, maybe it goes to what you are here, you are there. | ||
unidentified
|
What's the old saying that hell is repetition? | |
So, you know, I would imagine a lot of prisoners, that's all they know. | ||
You know, a lot of them are in prison almost all their lives. | ||
Well here's a little hell for you then. | ||
Repetition. | ||
A little hellish repetition. | ||
unidentified
|
A little bit. | |
The two of you, do you think, you don't think that all people, when they die, become stuck here, do you? | ||
unidentified
|
I don't believe so. | |
No. | ||
No, and I'm with Barbara on that. | ||
I think if that were the case, our job would be so much easier. | ||
That's true. | ||
There'd be so many more voices to get, I guess, huh? | ||
unidentified
|
Correct. | |
Okay. | ||
All right. | ||
We've got yet another one. | ||
This is Brendan. | ||
unidentified
|
I guess this is you, huh? | |
Yes, actually, it is. | ||
And what you're going to hear is me just saying, okay, let's go see if Barb's upstairs. | ||
This was actually in that mausoleum that we do quite, well, we did quite a bit of recording in. | ||
We don't so much anymore because we can't really get access. | ||
But, you know, I'm downstairs with, it might have been my wife at the time. | ||
Again, this may have been 15 years ago. | ||
Okay. | ||
So, yeah, I say, hey, let's go see it. | ||
Barb's upstairs. | ||
And this child says, and it's interesting because this was in the middle of the night, we had no flashlights on and no lights on in this mausoleum. | ||
So if you can imagine being in this marble tomb that is pitch black, this child says, I can't see. | ||
All right, and that's what you're listening for, folks. | ||
unidentified
|
Alright, let's associate working with Jason. | |
I hope you. | ||
Oh, my goodness, that's pretty awful, and it's pretty clear. | ||
I can't see. | ||
It's very, very clear. | ||
unidentified
|
And that really sounds like a young child. | |
Yeah. | ||
And the interesting thing is right where that was recorded is this stairway, which I don't know if you remember. | ||
We had a voice of me falling down those stairs and something responding to that. | ||
So that same staircase, that's where the children are entombed. | ||
Little babies. | ||
Little babies. | ||
unidentified
|
Children. | |
All right. | ||
One more time. | ||
Here we go. | ||
unidentified
|
Alright, let's uh, say 14, 6. | |
14. | ||
You know what else it is? | ||
It's the plaintive. | ||
It's kind of a plaintive tone. | ||
It's a very young child, and it obviously is a plaintive tone, almost crying, saying, I can't see it. | ||
Very distressed. | ||
Yes, I would agree with that completely. | ||
That makes it so hard to take you two. | ||
Hold on. | ||
unidentified
|
Well, here's a poke at you. | |
You're gonna take on a tooth. | ||
You're gonna lose that smile. | ||
Because you're the wild. | ||
I've been sick of miles and miles. | ||
Midnight in the desert is a riding trip across the day's devices. | ||
Get your tickets arrived by calling 1-952. | ||
Call Art. | ||
That's 1-952-225-5278. | ||
You know, I thought I'd lighten it up a little bit. | ||
Listen to this. | ||
A man checked into a hotel. | ||
There was a computer in his room, so he decided to send mail to his wife. | ||
He accidentally typed in the wrong email address, and without realizing it, he sent that mail to a widow who had just returned from her husband's funeral. | ||
The woman decided to check her mail, expecting condolence messages from relatives and friends. | ||
After reading the first message, she passed out, fainted. | ||
The son rushed into the room, found his mom on the floor, saw the computer screen, which read, to my loving wife, I know you're surprised to hear from me. | ||
They have computers here, and we are allowed to send mails to loved ones. | ||
I've just been checked in. | ||
How are you and the kids? | ||
The place is really nice, but I'm lonely here. | ||
I've made necessary arrangements for your arrival tomorrow. | ||
Expecting you, darling. | ||
Can't wait to see you. | ||
Oh, God. | ||
Well, I had to lighten it up somehow. | ||
My wife actually showed that to me earlier. | ||
unidentified
|
Incredible. | |
All right. | ||
Well, back to the bad stuff or the good stuff, depending on how you look at it. | ||
unidentified
|
Art, I've got to let you know that Brendan had to leave to go to work, an emergency, but Barry is here. | |
Barry. | ||
unidentified
|
How you doing, Art? | |
I'm doing okay, Barry. | ||
I don't know that we have ever heard from you, or at least live. | ||
unidentified
|
No, I wasn't prepared for this, but I'll do the best I can. | |
You'll do fine. | ||
And I'm kind of glad to have your input, Barry. | ||
My goodness. | ||
Where have you been all these years? | ||
unidentified
|
Actually, I was working a lot of swing shift and late shifts, so I had to fill in and go with the group when I could. | |
I understand. | ||
unidentified
|
I'm retired now. | |
You're retired? | ||
unidentified
|
Yes, I just retired about six months ago. | |
How did you get dragged into the group? | ||
I met Barbara. | ||
Well, I had met Brendan online, and he invited me to a meeting that they were having, and where I met Barbara and her husband. | ||
And we took a liking to one another, and when they set up the group, they invited me to join them. | ||
I mean, it's not the normal kind of invitation you get. | ||
You know, we record Voices of the Dead. | ||
Come join us. | ||
unidentified
|
I had the interest, you know, prior to that. | |
I read a lot, and it was a time that I wanted to experience it myself. | ||
And so I found a group that, you know, was local, and we hooked up. | ||
And we adopted him. | ||
You adopted him. | ||
A lot of people don't know that EVPs go back a long, long way, correct? | ||
unidentified
|
Yeah. | |
Wasn't it Alexander Graham or somebody who experimented with them? | ||
I believe it was. | ||
unidentified
|
I believe it was, too. | |
Yeah. | ||
All right. | ||
Let's move on to the next one. | ||
We've got a lot of people calling wanting to talk, and I want to get them on the air with you all. | ||
But let's get through what we have. | ||
This next one, Barb, or either one of you. | ||
unidentified
|
Me, Brendan, Barbara, and Roger all recorded this, and it says, you guys dead. | |
You guys dead, really? | ||
This was in a cemetery, and Jenny recorded it, and she's saying who is present, and she says, me, Brendan, Barbara, and Roger. | ||
Okay, here we go. | ||
You're listening for you guys dead. | ||
See if you hear it. | ||
Come on, go. | ||
unidentified
|
me brendan barbara and roger Oh, yeah, that's what it says, all right. | |
You guys dead. | ||
unidentified
|
It's asking a question. | |
You think it's a question? | ||
unidentified
|
Yes, I think it's asking a question. | |
You guys dead? | ||
Uh-huh. | ||
Me, Brendan, Barbara, and Roger. | ||
Yeah. | ||
Good answer. | ||
Good answer. | ||
Oh, that is so creepy. | ||
You're right. | ||
It says as a question, you guys dead? | ||
Like that? | ||
unidentified
|
Yes. | |
Clearly. | ||
So, you know, that implies then that the dead don't know if they're talking to the dead or the living. | ||
Is that fair? | ||
unidentified
|
That's fair, yeah. | |
What do you think, Barry? | ||
unidentified
|
That's what I get out of it from, you know, my understanding of the way the voice sounds. | |
It's asking a question. | ||
I don't like that one. | ||
Okay. | ||
All right. | ||
Let's keep going. | ||
Let's do one more. | ||
We've only got a couple more, so let's do one more. | ||
This one looks interesting. | ||
Who wants to set it up? | ||
unidentified
|
Which one are we doing? | |
The second to the last one. | ||
Yeah. | ||
Okay. | ||
We're leaving a local funeral home, and Brendan says I can hear it from back here. | ||
I think he heard him audibly. | ||
And this recording comes on and says, we're not done. | ||
It's a woman's voice. | ||
Meaning, they're not done, I guess. | ||
All right, here it comes. | ||
unidentified
|
I hear it from back here. | |
Oh, yeah. | ||
All right, that one is very disturbingly clear. | ||
Do you agree with that? | ||
unidentified
|
Yes, it's very clear. | |
Disturbingly clear. | ||
How many of them come out that clear? | ||
unidentified
|
Oh, God, percentage-wise, I think clear with percentage, in my opinion, about, what, 25% of that. | |
That are loud and where they aren't so whispery. | ||
She has a good, strong determination. | ||
Yes, one last time. | ||
unidentified
|
I can hear it from back here. | |
Where are you? | ||
Where are you? | ||
Where are you? | ||
We're not done. | ||
So the clear implication, I guess, was if you could have heard that at the time, you probably would have stuck around because you would have figured there's more to go. | ||
unidentified
|
That's right. | |
See, and we were leaving. | ||
We were packing up our equipment and leaving this funeral home. | ||
I would have been throwing this stuff in the suitcase and running. | ||
unidentified
|
Credible stuff. | |
I feel like that myself sometimes, Art. | ||
Do you? | ||
It's good to hear that. | ||
Frequently, the GIS members do not admit real fright. | ||
unidentified
|
Well, I won't admit real fright. | |
I'll say startled. | ||
How's that? | ||
Startled? | ||
unidentified
|
I've only seen Barry Rabbled a couple of times. | |
How come you've never come on the air before, Barry? | ||
unidentified
|
I don't know. | |
I actually have probably, and as a fill-in, but that's about it. | ||
Usually I'm a listener at home listening to the show, or he's been working. | ||
Okay. | ||
unidentified
|
All right. | |
One more time with this next one. | ||
And I think we're listening for a ghost voice to say something like, meet me out back. | ||
unidentified
|
Yeah. | |
Are you ready to do that one? | ||
I am. | ||
You want to set it up? | ||
unidentified
|
We were at a mausoleum. | |
And you can hear Jenny. | ||
She recorded this, and she's asking Brendan for his flashlight. | ||
She says, can I see your light? | ||
And Brendan replies, here. | ||
And this EVP, this woman, said, meet me out back. | ||
Okay, here we go. | ||
unidentified
|
Make me feel right, Wendy. | |
Here. | ||
It's out there. | ||
It's out there. | ||
Well, it's a very whispered thing, huh? | ||
Very whispered. | ||
unidentified
|
Yeah, and a lot of them are like that. | |
They're hard to know for sure what they're saying, very whispery. | ||
That's why we try not to use those. | ||
Well, nevertheless, we went from one that was very clear to one that was hard. | ||
unidentified
|
Can I see the light, Brendan? | |
Here. | ||
Thank you. | ||
And for clarity, let's do this one again. | ||
unidentified
|
Let's see. | |
I can hear it from back here. | ||
There it goes. | ||
There it goes. | ||
There it goes. | ||
Ha, ha, ha. | ||
Quite a difference between them, huh? | ||
unidentified
|
Yes. | |
Amazing stuff. | ||
unidentified
|
All right. | |
I want to do is in a moment we're going to go to a break, and then I would like to take calls. | ||
A lot of people have a million questions. | ||
A lot of people have never heard any of this before. | ||
This is an absolute first for them, and in a way, I sympathize with them because it's hard hearing it for the first time. | ||
It's harder if you're alone. | ||
If you're in a vehicle at night in the dark, it's really tough. | ||
So here we go. | ||
I'm going to give you the phone line information very quickly. | ||
Our public number is Area Code 952-225-5278. | ||
Again, that's Area Code 952-225-5278. | ||
Now, listen very carefully. | ||
If you're using Skype, please listen very carefully. | ||
The way to do this is to add a new contact. | ||
Let's say you've got Skype on your phone. | ||
So you want to go to add a new contact. | ||
And what you add, if you're in North America, America, Canada, add MITD51, M-I-T-D 5-1. | ||
And then you'll see it in your contact list. | ||
And you can click on MITD51. | ||
It will dial us. | ||
Outside the country, put in MITD 55. | ||
Outside America and Canada, put in MITD 55. | ||
Then it will be in your contact list. | ||
Then you can call us. | ||
So there you have it. | ||
That's how to do it. | ||
Now all you have to do is do it. | ||
If you have a question about what you've heard so far this evening, it would be a good time. | ||
unidentified
|
It would be a good time to pick up the phone and ask. | |
From the high desert, from the great American Southwest. | ||
This is Midnight in the Desert. | ||
unidentified
|
So people want to feel the world with silly love songs. | |
What's wrong with that? | ||
Wanna take a ride from the high desert and the great American Southwest. | ||
This is Midnight in the Desert, exclusively on the Dark Matter Digital Network. | ||
To call the show, dial 1-952-CAL ART. | ||
That's 1-952-225-5278. | ||
And again, the two Skype entry points for North America would be the one for North America would be MITD 51. | ||
That's MITD51. | ||
If you're outside the U.S., way out there somewhere, MITD55. | ||
Either way, it is a free call. | ||
And remember this, if you don't get through the first time when calling Skype, for heaven's sakes, call again. | ||
In other words, don't give up. | ||
It just means I didn't get you. | ||
If you begin to hear audio of the show, me, the callers, whatever, that means you have made it through. | ||
So hang in there. | ||
All right, going back now to our GIS members, are you ready to take some calls? | ||
unidentified
|
Sure, sir. | |
Okay. | ||
Those sounded like pretty weak sures. | ||
unidentified
|
Sure. | |
All right, good. | ||
All right, here they come. | ||
Ian on Skype is first. | ||
You're up with GIS. | ||
unidentified
|
Hi. | |
Hey, guys. | ||
A LMAO. | ||
I can't believe I'm on the air right now. | ||
It's pretty sweet. | ||
Yes. | ||
But anyways, so, alright, I got a story, and then the question will come at the end. | ||
All right. | ||
So my friend's mom died a few months ago, and she was a huge, huge fan of yours. | ||
She recorded every single episode since you started, basically, on cassette tape. | ||
And so I've been going over there since you started your show again, and I would play the show periodically, like every few days, maybe twice a week. | ||
And when I would play your show, there would be increased ghost activity, and there'd be some ghost activity throughout regular times. | ||
But when I would play your show, you could literally hear responses to what you're saying on the air. | ||
And it's just mind-blowing. | ||
And I'm wondering, what is the absolute best way to record these EVPs? | ||
Like, say I have unlimited funds. | ||
What is the best way I could record these so I could send them to art? | ||
Well, first of all, if you have that much excess cash, just, you know, send it off to me and I'll try and make the best use of it. | ||
But otherwise, it is a good question. | ||
If he wants to buy the best equipment available, what would you suggest? | ||
unidentified
|
Well, if he has a cell phone, that would probably be the best way if he has a newer cell phone because the quality is very good. | |
I do agree with that. | ||
And I was really heartened, frankly, to hear that suggestion. | ||
unidentified
|
And look who gave it to you. | |
You guys did. | ||
I can't believe it. | ||
I can also not believe that I didn't think of it. | ||
But you know, cell phones have really come along since, frankly, we did our last show. | ||
Good ones, anyway. | ||
unidentified
|
Yeah. | |
Yeah. | ||
That's fair to say, right? | ||
unidentified
|
Yes, it is. | |
All right. | ||
Overseas, somewhere or another, is Marty. | ||
Hello, Marty. | ||
unidentified
|
Morning, Art. | |
Morning, JST. | ||
Where are you calling from? | ||
unidentified
|
I'm calling from Bristol in the UK. | |
Okay. | ||
Fire away, Marty. | ||
unidentified
|
I'll have to set this one up a little bit. | |
In the past couple of weeks, my partner has been diagnosed with cancer. | ||
And ever since then, I've always been interested in the topic of EBP, but we've been starting to hear them with our own ears, which is very unusual. | ||
We've been starting to hear all sorts of voices and just, you know, things just seem to be materializing out of thin air, really. | ||
I just wonder if the GIS team have ever been able to hear such things with their own ears and why might that be? | ||
Because it's only just started happening ever since we've learnt this devastating news. | ||
GIS people? | ||
unidentified
|
Yeah, I would recommend that you start recording and ask, is your partner still healthy? | |
Yeah, she's feeling very well within herself. | ||
She lost her father when she was very young. | ||
She was only 12. | ||
And my personal theory, I haven't shared this with her, but I think it might be him trying to maybe reach through and comfort her maybe. | ||
That's my own personal theory on why this suddenly starts to happen. | ||
I agree with that, too. | ||
I would agree. | ||
That's what I was thinking. | ||
It's somebody that is there and she might have a lot of experiences through her care during the period of time that she is having treatment. | ||
Is she having treatment? | ||
She actually starts her treatment on Monday, this coming Monday. | ||
And it's funny, actually, because she's been having a lot of scans and everything lately. | ||
It's a very complex process. | ||
But on more than one occasion, she actually said before she actually went under, she had to be sedated for a number of tests. | ||
And she said she could actually smell the aftershades that her dad used to wear just before she went under, which is very interesting to me. | ||
I would get a recorder. | ||
Yeah, I would get a recorder. | ||
And again, you know, we're now being told you can use a cell phone. | ||
So give that a try, please, and let me know how you do with it. | ||
All right, here's somebody named Michelle. | ||
Hello, Michelle. | ||
unidentified
|
Hi, Art. | |
Yes. | ||
Hi. | ||
I'm calling from Sydney, Australia. | ||
I've spoken to you once before. | ||
Sydney, Australia, okay? | ||
unidentified
|
Yes. | |
Okay, so... | ||
Michelle, turn down your radio or your whatever it is. | ||
unidentified
|
I will. | |
Okay, thank you. | ||
unidentified
|
Okay. | |
Can you hear me now? | ||
I hear you. | ||
unidentified
|
Yes. | |
Okay, I'm the lady that looks after kids. | ||
Right. | ||
unidentified
|
About four months ago, we had a disembodied voice come to our front door. | |
Basically, it was around four o'clock in the afternoon, and I was expecting one of the parents to come and pick up their child. | ||
And the child's only like 14 months. | ||
Anyway, so I was just washing my hands and I heard this, hello, like this. | ||
And so the little baby actually thought that it was its mother. | ||
And so he crawled to the door. | ||
I walked to the door and two other children ran to the door and she was nowhere to be seen. | ||
And we, so subsequently, the little baby just started to cry. | ||
So I picked him up. | ||
Anyway, she turned up some 15 minutes later and I said to her, were you here, you know, 15 minutes ago? | ||
And she said, no. | ||
And I said, are you sure? | ||
She said, absolutely. | ||
I've only just arrived. | ||
And I said, okay. | ||
But she said, oh, he's crying. | ||
I said, yes, he's crying because he thought you were at the door 15 minutes ago, as we all did. | ||
And she hasn't actually quite a distinctive voice. | ||
So I don't know whether it was a time slip or a ghost, because we have, you know, had a number of things over the years happen, playing tricks on us, like a practical joke. | ||
So yeah, that's my tale. | ||
Okay, well, here's a good question then for our guests, and that is, if you hear something in the audible range, if you actually hear it with your ear, I would assume, for example, that when you record it, if your ear was in the right place listening carefully enough, you would hear it with your ear. | ||
Is that correct or not? | ||
unidentified
|
We've had some audible that we heard out loud that actually didn't show up on the recorder. | |
Oh, that's weird. | ||
unidentified
|
That's happened a few times. | |
All right, Michelle, that probably doesn't help you, but it is interesting. | ||
unidentified
|
I would wonder if the mother was thinking about if it was her, did you say that it was her voice? | |
She did, yes. | ||
unidentified
|
I would wonder if maybe the lady was thinking about getting there at the house to get her baby. | |
There you go. | ||
All right, let's go to the phone. | ||
Las Vegas, Nevada, just over the hill here. | ||
unidentified
|
Hey, how you doing? | |
Art? | ||
Okay. | ||
A couple of questions. | ||
Bell, as I understand it, when these EVPs are recorded, you aren't wearing headphones. | ||
In fact, they're not happening at that time. | ||
I don't know. | ||
I guess I'm confused. | ||
But you're not hearing them in real time, I guess is what I'm saying. | ||
That is correct. | ||
They just leave a recorder and a mic going in a given room, in a given place. | ||
Sometimes they're present as you can hear because you hear them in the EVP, and sometimes they're not. | ||
unidentified
|
Go ahead. | |
Okay, so it's the actual medium of recording that's capturing these sounds or these communications. | ||
And once converted into a digital or analog format, it exists on that tape or whatever format it is. | ||
Could you not put a digital delay in or just basically feed a microphone into a digital delay and then be able to hear within a couple of seconds or whatever you adjust the delay to? | ||
Oh, I see. | ||
Yeah, okay. | ||
Yeah, it's a very good question, one that I asked years ago. | ||
And they did have a device like that for a period of time, but they only ever really got one EVP, I believe. | ||
Right, Barbara? | ||
Yes, that's correct. | ||
unidentified
|
It was very confusing because I can remember the time that Brendan had the earphones on, and we were talking, and he said, I think I just heard an EVP. | |
We were sitting around our table in our kitchen. | ||
Barry, were you there that night? | ||
No, but I remember up in Montana, another incident where he tried that out. | ||
Okay, you've got to speak up good and loud. | ||
We've got a very weak connection with you guys. | ||
unidentified
|
We had another trip in Montana where Brendan was experimenting with that to actually hear the, audibly hear it. | |
In real time. | ||
unidentified
|
In real time. | |
And that's crazy. | ||
It's crazy that it didn't work better. | ||
I thought, and I suggested that he try that. | ||
And then, as he pointed out earlier, somebody actually designed something for him, but it didn't work that well. | ||
Still got to go back and listen. | ||
unidentified
|
I don't care where I go when I'm afraid, when I cry. | |
It's time to wait. | ||
I'm falling in love with me on the day. | ||
It's time to wait. | ||
I'm falling in love with me on the day. | ||
Take a walk on the wild side of midnight from the Kingdom of Nye. | ||
This is Midnight in the Desert with Art Bell. | ||
Please call the show at 1-952-225-5278. | ||
That's 1-952. | ||
Call Art. | ||
All right. | ||
Back with the GIS. | ||
I'm Art Bell, and this is Midnight in the Desert. | ||
You folks back with me? | ||
unidentified
|
Yes, Bart. | |
Good, good, good, good. | ||
All right. | ||
Here come some calls. | ||
Going to Sydney, I think, Nova Scotia, you are on there with the GIS. | ||
unidentified
|
Hi. | |
Perfect. | ||
Hi. | ||
Great, Shia. | ||
I'm really enjoying this topic. | ||
Question: One of your earlier tracks that you played was Let Me Go. | ||
Yes. | ||
I think it was. | ||
To me, it sounded almost like it was something being said backwards, like it was being played backwards. | ||
Have you ever received any noises that, like, have you ever played any of this backwards? | ||
Do you ever, maybe inaudible noise, maybe backwards? | ||
Because it just had that feel like playing a record backwards or something just for that particular one. | ||
So I was wondering. | ||
I'll take this one. | ||
We actually have, it isn't something that we did on a regular basis because we were trying to prove one thing and by playing it reverse, we didn't want to take away from that. | ||
But we were at a local, well, it was a bookstore at one time, and they were doing New Age stuff. | ||
And I actually recorded something that we couldn't audibly make out what it was saying. | ||
And when we played it in reverse, it said, now you can hear it. | ||
Wow. | ||
Okay. | ||
unidentified
|
Do you have that one? | |
Is there any way you can play that one for us tonight? | ||
Brent has it. | ||
I couldn't play it now. | ||
Maybe on another show he could. | ||
We'll do it on the next show. | ||
How about the next show? | ||
Let's make a request. | ||
unidentified
|
Halloween. | |
All right. | ||
We'll turn it on. | ||
Thanks, guys. | ||
All right, you bet. | ||
Can you make a note of that, Barbara? | ||
unidentified
|
I'll remember it. | |
Me and Barry will hound him about it. | ||
Okay, excellent. | ||
Let's go to Chaz, I believe, on Skype. | ||
unidentified
|
Hey, Art, this is Chaz Colin from Las Vegas, Nevada. | |
Yes, sir. | ||
unidentified
|
Hey, quick question for the GIS team. | |
Real quick, I've done research paranormal for the past about five years, and I found that it's really tough to keep a group together of people that are in it for the pure research aspect rather than just what they see on TV. | ||
I was wondering if Barbara and Brandon had any insight on what good ideas for putting a good team together. | ||
Okay, well, it's Barry right now. | ||
Brendan had to go. | ||
But no, no, the question is really good. | ||
It is tough keeping a group together. | ||
Barbara, either one of you, what do you do? | ||
How do you do that? | ||
How do you keep from scrapping and fighting and breaking up like the Beatles? | ||
unidentified
|
Well, you know, like we were talking earlier, life throws things at you and you don't have control of certain aspects of your life. | |
Of course. | ||
But you've got to be able to trust one another and get along with one another. | ||
There has to be a real bond if you want good relationships between everybody in the group. | ||
And I'd keep it as small as possible. | ||
We experienced that when we first got together. | ||
We were allowing people to go with us all the time. | ||
And it just gets out of hand. | ||
There's people that want to throw you under the bus, and it's all for glory, you know, and the research aspect isn't what they're there for. | ||
It's fame and fortune. | ||
Very, very good answer. | ||
unidentified
|
You've got to keep your group, I would recommend, very small and where you're very compatible. | |
Be with people that you trust, where you can believe what they're saying, and they're watching your back, too. | ||
Listen, Barbara, on behalf of my listeners, many, many, many, many of them, I want to tell you how much you were missed. | ||
unidentified
|
Thank you. | |
You're very welcome. | ||
unidentified
|
It surprises me. | |
Well, it shouldn't. | ||
Leave me. | ||
Trust me when I tell you. | ||
Santa Ana, California, I think. | ||
Hello. | ||
unidentified
|
Hi, this is Dave. | |
Hi, Dave. | ||
unidentified
|
Hello. | |
I had a quick question, and I'll take it off the air. | ||
Okay. | ||
For the guests, I was wondering if there's any EVPs that were so horrible that they haven't talked to them about them on the show, or they just kind of wanted to forget about. | ||
And on the other spectrum, are there any happy EVPs like, wow, those roses smell great, or I'm doing great over here? | ||
Yeah, both good questions. | ||
Thank you. | ||
Any so horrible that you have not played them or allowed them to be played on the air? | ||
unidentified
|
Not really. | |
The worst one that we was the drowning one. | ||
That's the most the one that bothered me was we got at the Rollins Prison that said, you laughed at me, cute laugh. | ||
I killed you. | ||
I think that's how it was. | ||
I killed you, you laughed at me, real cute laugh. | ||
Yeah, I don't remember that. | ||
That'd be one to bring back, too. | ||
unidentified
|
My goodness. | |
My goodness. | ||
All right, let's try. | ||
Oh, and the second part of the question was anything really happy? | ||
unidentified
|
Yes, we've recorded laughing, a lot of laughing at different times, you know, but we've recorded giggles. | |
You mean like real giggles or? | ||
unidentified
|
Not that. | |
There was one that, the one, something was said about somebody used Ben Gay and Chanel number five or something. | ||
They said old people, and I don't mean to insult anybody, but the mixture of Ben Gay and Chanel number five didn't do it for me. | ||
And the ghost, it must have caught it off guard because it kind of snorted laugh, you know. | ||
I mean, it was like it caught it off guard. | ||
So they have a sense of humor, and they do laugh. | ||
All right. | ||
Dustin on Sky Pie. | ||
unidentified
|
Hi, Art. | |
Hi, Brendan. | ||
Hi, Barbara. | ||
Brendan's not here. | ||
It's Barry now. | ||
Brendan had To take off for work. | ||
unidentified
|
I apologize. | |
That's right. | ||
unidentified
|
On the way home from work. | |
Barbara, I want to echo art sentiment. | ||
Hearing your voice is like running into an old friend. | ||
It's good to hear you. | ||
Thank you. | ||
That's very nice. | ||
I appreciate that. | ||
I have a question, and I hope this hasn't been addressed. | ||
If it has, please forgive me. | ||
And then I have a comment to share that will be of interest to art. | ||
First, the question is, what is the purpose of this research? | ||
What do you hope to accomplish? | ||
Good one. | ||
Well, me personally, it was I did it for myself. | ||
I didn't, it wasn't out to prove to anybody anything. | ||
I just wanted to satisfy my own interest. | ||
You know, I sympathize with that. | ||
I want to know, I guess that is the biggest question in life. | ||
If there's a bigger one, I'd like to know what it is. | ||
So I get that. | ||
unidentified
|
Caller? | |
Very good. | ||
This dovetails nicely. | ||
MV over at Belgab, some years ago on his podcast, shared his experience of actually doing this, doing the recording. | ||
Yes. | ||
unidentified
|
So this absolutely is real. | |
And no, I am not going to try it. | ||
Thank you all again very much. | ||
Have a great day. | ||
Thank you, Art. | ||
unidentified
|
Welcome back. | |
Thank you, my friend. | ||
Let's go to somebody who might be Maria. | ||
unidentified
|
Hello. | |
Well, maybe it's not Maria. | ||
You're on the air wherever you are. | ||
unidentified
|
Hello? | |
Yes, hello. | ||
unidentified
|
Yes. | |
Hello, I just want to say welcome back. | ||
It's been a lonely time without you being here. | ||
Thank you. | ||
Yes, sir. | ||
Just as I say, first time caller, I live in a shelter right now, which is turned into a sane asylum before. | ||
And there's been many things that we see at night, especially my children, seeing crazy, crazy things. | ||
Some of the neighbors reported seeing somebody walking up and down the hallways at night. | ||
But my father had died over 11 years ago. | ||
And every time I come home, I see his spirit. | ||
And I hear him nonstop. | ||
And I just wanted to know what could cause me to keep hearing him all the time, like at night is when I hear him the most. | ||
Okay. | ||
Either of you? | ||
unidentified
|
I would talk to him like if he was physically there and tell him that everything is okay and that he can go on, that he doesn't have to stay. | |
Would you do that with a recorder, hoping for an answer? | ||
unidentified
|
Yes. | |
Always, if you're asking a question, always try to record it in case you get an answer that you're not able to hear audibly. | ||
All right. | ||
Again, coming through the wormhole, somebody wants to know. | ||
Barb, I guess, wants to know if you've ever done a personal EVP attempt. | ||
In other words, anybody from your own families. | ||
Have you done that? | ||
unidentified
|
Me personally, I have not. | |
That's something I think bothers me. | ||
Maybe not Barbara, but I'd rather communicate with someone I don't know than someone personal. | ||
I hear that. | ||
No, I hear you. | ||
I completely understand. | ||
Jeremy on Skype. | ||
You're on the air with GIS. | ||
unidentified
|
Hi. | |
Hey, Art. | ||
How you doing? | ||
Okay. | ||
unidentified
|
That's good. | |
I'm in Louisville, Kentucky. | ||
I called the other night. | ||
Fellow ham operator. | ||
I'm sorry. | ||
You're where? | ||
You're where? | ||
unidentified
|
Louisville, Kentucky. | |
Louisville, okay. | ||
unidentified
|
Yeah, and fellow ham operator. | |
So I've trained my ears to try to listen as best I can. | ||
But the audio clip that you played a while ago, I think it was a girl talking or a lady. | ||
I think it's called Are You Dead or something like that? | ||
You guys dead? | ||
Yeah, you guys dead. | ||
It was a question, right? | ||
unidentified
|
Right. | |
And, yep, that was it. | ||
And it sounded to me, and I'm on Twitter and I was trying to find out if anybody else can confirm what I'm hearing. | ||
It sounded to me like she said, you guys done. | ||
That's what it sounded like to me. | ||
If you could play that one more time for me. | ||
I can't. | ||
It's buried in a computer right now. | ||
unidentified
|
Okay. | |
Normally I could. | ||
They normally send me a CD, but it didn't get here. | ||
So we had to do everything by computer, which is now Skyped up. | ||
unidentified
|
Okay, no problem. | |
I was just wondering. | ||
I'm sorry. | ||
I'm sorry we can't do that. | ||
Normally we could have done it. | ||
So perhaps on the next show we can do that for you. | ||
Let's go to Rockford, Illinois. | ||
Hi. | ||
Hi, Art. | ||
unidentified
|
Thanks, Ticket McCall, longtime listener, first time caller. | |
Your guests are some of my favorites. | ||
Inspired me to actually go out and do the EVP as well. | ||
Really, really? | ||
unidentified
|
How did you do? | |
I'm still listening to all the dad I recorded. | ||
I went to a famous place that a lot of people have heard of. | ||
Your guests may have even went there. | ||
I went to Waverly Hills in Louisville, Kentucky. | ||
They said that's one of the most active places. | ||
I bought a Spirit Box 11, which I'm going to take my answer off the air. | ||
I wanted your guests' opinion of Spirit Box 7, Spirit Box 11. | ||
Somebody once told me that they're kind of like a Ouija board, and if that's the case, I'm not going to be using it anymore. | ||
All right, it's a good question. | ||
We're so short on spirit boxes. | ||
unidentified
|
Barbara, either one of you, actually. | |
I don't have any experience with them, and I've never even heard of them. | ||
I haven't used one myself either. | ||
I know it has a lot to do with white noise in between frequencies. | ||
I don't know how good they are because I haven't experimented with them. | ||
So I wouldn't advise somebody. | ||
Okay, is there a Ouija board caution type that would go with any device like this? | ||
In other words, you're opening doors, right? | ||
unidentified
|
Yes, but I mean, I really don't know what a spirit box is. | |
If it's a type of, if it is like a Ouija board where you're inviting something to interact with you that is I would just say use caution if that if it's saying that it is like a Ouija board. | ||
Let me try something here. | ||
Are ghosts real? | ||
unidentified
|
Hmm. | |
Okay, I found this on the web for our ghosts real. | ||
That was Siri. | ||
unidentified
|
Oh, God. | |
All right. | ||
Nick, hello, you're on with the GLS. | ||
unidentified
|
We are. | |
Hey, I have three really quick questions. | ||
Have they recorded any EVPs of animals? | ||
Yes. | ||
We've recorded dogs barking when we didn't hear them audibly. | ||
We've gotten a growl. | ||
We got a cat meowing, but there was like a we've gotten a couple of really good growls in different locations when it sounded very close. | ||
If there would have been something growling like that, we would have that was a lie. | ||
We would have definitely heard it. | ||
I'm really glad to hear you got cats on the other side. | ||
unidentified
|
That's good. | |
Cat person. | ||
unidentified
|
Okay, Nick. | |
The other two questions is, have you ever went to an area where someone notable has died and recorded a voice and been able to compare it to that person's voice when they were still living? | ||
No, I haven't, but I would love to. | ||
Celebrity EVP. | ||
unidentified
|
You know, I think the voice changes so much, though these voices that we get, I would bet that they did not sound the same in life. | |
And I think it would be hard to recognize if you recorded a famous person's voice. | ||
Maybe. | ||
And a third question, very quickly. | ||
unidentified
|
You guys do the analog and digital recording. | |
Have you ever done simultaneous recording and recorded the same EBP for comparison? | ||
Oh, yeah, really good question, actually. | ||
unidentified
|
Yes. | |
In fact, there's been occasions where we recorded on five different devices, one on my video camera and on analog. | ||
But, you know, I'm not sure about the digital. | ||
All right, let's go to... | ||
unidentified
|
Well, the camera was okay. | |
Okay. | ||
In Idaho, somewhere in Idaho. | ||
Hello. | ||
Yes, turn your radio off, please. | ||
Please turn it off, or we can't continue. | ||
unidentified
|
All right. | |
All right. | ||
There you go. | ||
Thank you, Eric. | ||
Thank you. | ||
unidentified
|
Yes. | |
All right. | ||
Well, I've just got one quick question for you, Mr. Bell, and for your two guests there. | ||
If you were to take your EVP devices, your recording devices out over the ocean, you know, like out on the sea over, say, like by the Bermuda Triangle or over an old famous shipwreck or something, what do you think would happen? | ||
Yeah, it's a really good question. | ||
Have you ever recorded anything at sea, I guess, the question? | ||
unidentified
|
Yeah, I think it would be hard to hear with the sound of the ocean. | |
It would have to be very calm and no wind blowing because it would be picking up so loud on the recorder. | ||
Right. | ||
Barbara, we're out of time. | ||
This show is ending, and that's all there is to it. | ||
Sorry, I wish I had more time. | ||
Barbara, thank you five million times for being here and Barry. | ||
Thank you for filling in and what can I say? | ||
It was a wonderful show and you promised me you both Halloween, right? | ||
unidentified
|
Yes. | |
And it's so nice to have you back, Art. | ||
Pleasure. | ||
Thank you. | ||
Thank you both and you. | ||
unidentified
|
Thanks great, Art. | |
Good night. | ||
Good night. | ||
Well, that's it, folks. |