Beamship sound tests
By Kåre Bergheim 9th of January 2026
Tests of the sound recording from the beam ship
The sound recording made by the beam ship also went through tests. In the book Auf den Tiefen des Weltenraums…Kontakte mid den Plejadiern/Pejaren (1997) Meier printed an article by Michael Hesemann originally published in MAGAZIN 2000, Nr. 100, Düsseldorf/Juni 1994. It also contains a summary of what the test results revealed.
About the sound, he wrote that they examined the tape recordings of the whirring noises made by the beam ship, which Meier and one of his witnesses, Mr. Schutzbach, had recorded. For this, they also consulted a renowned expert, sound engineer Robin Shellman, who conducted the sound analysis on a spectrum analyzer from the company Spectro Dynamics, a device that captures sound frequencies between 10 Hertz and 20 Kilohertz.
Through demodulation, he discovered that the whirring noises originated from three different rotations, from 242-249 revolutions per minute (rpm) to 9,098 rpm, up to a high-speed rotation ranging from 29,500 rpm to an incredible 59,400 rpm, with a frequency in the spectrum between 520 and 990 Hertz.
Astonished by these results, he took the tapes to the Undersea Sound Center of the U.S. Navy in Groton, where, together with the two sound engineers Steven Williams and Howard Ilson, he ran the recordings through a noise database that contained virtually every known sound on Earth.
In this way, the trio managed to identify the humming of a whole range of conventional aircraft in the background, including a small plane and a Mirage jet of the Swiss Air Force, as well as the barking of a small dog, a European police siren, and crows cawing. These sounds were only significant in that they confirmed that the recording—just as Meier claimed—had been made outdoors.
There was no equivalent for the rotational noise. Its characteristics indicated that 'the main source of the whirring sound is a machine of an electromagnetic nature, rotating within multiple magnetic fields at 242 rpm. The whirring sound in the audible spectrum consists of a group of strong harmonics directly related to the rotation of the machine. The frequency range spans from 300 hertz to 980 Hz. Meanwhile, the rotation speed remained stable... moreover, the rotation of the machine causes a vibration that leads to the amplification of its higher harmonics.'
An analysis by Jim Dilettoso showed that the buzzing consisted of a mixture of 32 simultaneously occurring frequencies, of which 24 were in the audible range and eight were outside it. To imitate this, eight top-notch synthesizers and an excellent mixing console would have been necessary—equipment that, all in all, would have cost well over $100,000 at the time—and even then, it would have been almost impossible to combine the frequencies so perfectly.
Steve Ambrose, the sound engineer for pop star Stevie Wonder and inventor of the micro-monitor, who was also consulted by Dilettoso, was impressed: 'That's hard to duplicate... The ‹sound image of the spaceship› is a unique audio recording with an amazing frequency profile. If this is supposed to be a hoax, then I would have liked to meet the guy responsible for it, because he could make a lot of money with special effects.'
The sound recording made by the beam ship also went through tests. In the book Auf den Tiefen des Weltenraums…Kontakte mid den Plejadiern/Pejaren (1997) Meier printed an article by Michael Hesemann originally published in MAGAZIN 2000, Nr. 100, Düsseldorf/Juni 1994. It also contains a summary of what the test results revealed.
About the sound, he wrote that they examined the tape recordings of the whirring noises made by the beam ship, which Meier and one of his witnesses, Mr. Schutzbach, had recorded. For this, they also consulted a renowned expert, sound engineer Robin Shellman, who conducted the sound analysis on a spectrum analyzer from the company Spectro Dynamics, a device that captures sound frequencies between 10 Hertz and 20 Kilohertz.
Through demodulation, he discovered that the whirring noises originated from three different rotations, from 242-249 revolutions per minute (rpm) to 9,098 rpm, up to a high-speed rotation ranging from 29,500 rpm to an incredible 59,400 rpm, with a frequency in the spectrum between 520 and 990 Hertz.
Astonished by these results, he took the tapes to the Undersea Sound Center of the U.S. Navy in Groton, where, together with the two sound engineers Steven Williams and Howard Ilson, he ran the recordings through a noise database that contained virtually every known sound on Earth.
In this way, the trio managed to identify the humming of a whole range of conventional aircraft in the background, including a small plane and a Mirage jet of the Swiss Air Force, as well as the barking of a small dog, a European police siren, and crows cawing. These sounds were only significant in that they confirmed that the recording—just as Meier claimed—had been made outdoors.
There was no equivalent for the rotational noise. Its characteristics indicated that 'the main source of the whirring sound is a machine of an electromagnetic nature, rotating within multiple magnetic fields at 242 rpm. The whirring sound in the audible spectrum consists of a group of strong harmonics directly related to the rotation of the machine. The frequency range spans from 300 hertz to 980 Hz. Meanwhile, the rotation speed remained stable... moreover, the rotation of the machine causes a vibration that leads to the amplification of its higher harmonics.'
An analysis by Jim Dilettoso showed that the buzzing consisted of a mixture of 32 simultaneously occurring frequencies, of which 24 were in the audible range and eight were outside it. To imitate this, eight top-notch synthesizers and an excellent mixing console would have been necessary—equipment that, all in all, would have cost well over $100,000 at the time—and even then, it would have been almost impossible to combine the frequencies so perfectly.
Steve Ambrose, the sound engineer for pop star Stevie Wonder and inventor of the micro-monitor, who was also consulted by Dilettoso, was impressed: 'That's hard to duplicate... The ‹sound image of the spaceship› is a unique audio recording with an amazing frequency profile. If this is supposed to be a hoax, then I would have liked to meet the guy responsible for it, because he could make a lot of money with special effects.'
Reference:
Auf den Tiefen des Weltenraums…Kontakte mit den Plejadiern/Pejaren (1997)
von <Billy> Eduard Albert Meier
Page 356 to 357