posted on Feb, 24 2008 @ 03:52 PM
As per Derek's request:
Robert Post: JPL photo laboratory for 22 years, was the head of that lab in 1979, and oversaw the developing and printing of every photograph that
came out of JPL at the time: "From a photography standpoint, you couldn't see anything that was fake about the Meier photos. That's what struck me.
They looked like legitimate photographs. I thought, 'God, if this is real, this is going to be really something."
The entire story: When Post examined some images with a Magnifying glass, he realized: “a lot of the pictures weren't really photographs at all –
they were lithographs,” or high-resolution ink prints made from photos - and, hence, were worthless for purposes of analysis. Furthermore, the
photos were “a lot fuzzier than the stuff on the lithographs, and I thought that was a little strange.” Apparently for that and other reasons Post
said, “maybe this guy is just a con man. That's not the kind of guy I want to have anything to do with."
Horn admitted leaving out Post's entire quote right here on ATS back some time ago. His excuse was essentially to see if we'd catch him or the
selectively edited quote.
Dr. Michael Malin: Principal investigator for the Mars Orbiter Camera on NASA's Mars Global Surveyor spacecraft at Malin Space Science Systems
(MSSS), San Diego, CA. Analyzed Meier's photographs in 1981: "I find the photographs themselves credible, they're good photographs. They appear to
represent a real phenomenon. The story that some farmer in Switzerland is on a first name basis with dozens of aliens who come to visit him ... I find
that incredible. But I find the photographs more credible. They're reasonable evidence of something. What that something is I don't know." Malin
also said, "If the photographs are hoaxes then I am intrigued by the quality of the hoax. How did he do it? I'm always interested in seeing a master
I set out trying to contact Malin, which was supremely difficult. Malin finally communicated through Michael Ravine, one of Malin's employees at
Malin Space Science Systems who relayed the message that I was curious as to his published comments on the case and if there was validity to them:
Your inference is correct: Dr. Malin indicated to me that he feels the quote referenced above was out of context (NOTE: the quote from Horn's website
referencing Malin -JR). The thrust of his comment was that if the images were a fake, they were well done fakes, but he couldn't tell if they were
fake or not from the digitized versions of the images he saw. And his general observation of this topic was as follows:
"It really doesn't matter whether they're real or not. If they are real, the occupants don't want to have any substantive contact with us, and
certainly they're not offering me a lift to Mars 8^). So screw them! If they're not real, who cares if some nut in Switzerland can make good
So, the idea that Horn puts forth, that Malin did an "analysis" of Meier's photos is untrue, and Malin clearly doesn't endorse them as photos of a
I wrote Nils Rognerud who is listed as one of the sound engineers who listened to the Meier beamship sounds, and his responses to me sounded very much
like someone who essentially wanted the evidence to be real representation of aliens craft sounds.
"I want to believe that Bully Meier is telling the truth".
I mentioned to him about the aspect that I believed the sounds were generated through and old tape delay guitar effect box, an amp and mic. One can
hear listening to the tape on Michael Horn's site, that there is hardly any sound at all at the start of the mp3 file. A "Knock" is heard that
sounds metallic. It echoes, and from that echo sound, the warbling feedback ensues. Feedback coupled with a delay effect needs some base sound to
"set it off" essentially, and begin the loop of feedback layering over itself, over and over. The knock does this by beginning the feedback and the
delay gives it the layered sound by playing itself over "in echo" while the feedback is continuing. I asked Nils what he said to that. His answer
"I have never tried the feedback technique you mention, so I can not confirm or deny the possibilities with this sound technique."
So I have to say a sound engineer not knowing very much about what delayed feedback sounds like rather puzzles me.
I contacted SAE Institute, a sound engineering institute located all over the world, but I called the Nashville area and spoke with Justin Spence, who
is the sound engineer and course coordinator for SAE. I sent him the mp3 file on Michael's site and asked him his opinion on the sound's creation,
and the fact that this was recorded in the 1970's. I mentioned to me that I believed it was a tape delay echo in feedback.
"I completely agree with you", he said, and further stated there was reverb used as well, a fairly standard amp component. Justin commented he
thought there could possibly be another effect in there, but wasn't sure as the sound was of such poor quality. He said the "knock" was very
obviously a tap on reverb springs to set off the feedback loop. He commented that he could create such a sound in 10 minutes with his equipment, but
that the original wouldn't require anything sophisticated. It could be generated by the old equipment with slightly more difficulty due to many
variables like distance of the input device to speaker, and setting of echo on the delay effect, amp, etc.
In essence, all needed items to make the sound were completely available to Meier to do this, and quite easily. It seems the sound engineers who've
"analyzed" the sounds must have been prior believers in UFO contact cases or the Meier case, because the answer was very obvious to the sound
engineer I spoke with.