Beamship Sounds/光船声音

资讯源头:FIGU/ ‘Billy’ Eduard Albert Meier
资讯主题:光船声音

资讯参考:「TheyFly. Michael Horn」
http://www.theyfly.com/PDF/UFOSoundRecordings.pdf
资讯链接:「Futureofmankind. James Moore」
http://www.futureofmankind.co.uk/Billy_Meier/Beamship_Sounds

中版译者:利昂小子
推送类型:中文域-[中译]

资讯备注:这是一篇非正式且未经授权的中译版资讯,内容基于英文源版译制,请注意我们的译文可能存在错误。

Semjase’s Beamship During a Demonstration Flight
一次展示飞行中的Semjase(的)「Beamship/光船」:

Another sound analysis that was filmed with professional cameras on high-grade 16 mm film was performed in the Excalibur Studios in Studio City, California.
另一项使用…基于高端16mm(视频)胶片的…专业摄像机的‘sound/声音’分析,在「California/加利福尼亚州」-「Studio City/斯蒂迪奥城」的「Excalibur Studios/神剑工作室」中…被执行。

There, Nils Rognerud and Steve Singer, sound engineers and designers of electronic systems, worked on a Hewlett Packard spectrum analyzer (Model 3580) that contained a memory unit, a dual-channel oscilloscope, a multi-track mixer with amplitude output, and a full-frequency sound-control panel; they studied and analyzed a 30-second segment of the aforementioned sounds and a longer segment of the spaceship sounds that were recorded in front of fifteen witnesses.
在那里,同为‘sound engineers/声响工程师’兼电子系统设计师的Nils Rognerud和Steve Singer,依托「Hewlett Packard/惠普公司」的(3580型)频谱分析仪展开了这项工作,该频谱分析仪包含一个记忆(/存储)单元、一个双通道示波器、一个具有振幅输出(功能)的多音轨混频器,以及一个全频声控面板;他们对之前所提(的)声音(即:「Beamship Sounds/光船声音」)的…一段长约30秒的…截取片段,以及该宇宙飞船更长的一段声音截取片段,进行了研究和分析,这些声音是Billy(当时)在15位见证者的见证下录制的。

This tape recording was made on July 7, 1980, in Ober-Sädelegg, Switzerland.
这盘录音带,是(Billy于)1980年07月07日,在「Switzerland/瑞士」-「Ober-Sädelegg/奥伯斯德莱格」录制的。

  • 第三次录音:(1980年的07月07日)

There, the sounds of the new Variant III ship were recorded for forty-eight minutes in front of fifteen witnesses with a total of four cassette recorders.
当时,Billy在十五位见证者的见证下,共使用了四台(使用盒式录音带的)录音机,录制了48分钟这艘(在当时)崭新的变-III型「Beamship/光船」的声音。

Meier had three recorders with him: an Aiwa with an audio suppression unit, in order to prevent distortions of the excessive decibels by means of limiting, as well as two smaller and cheaper portable cassette recorders without volume suppression.
Meier随身携带了三台录音机:(其中)一台是带有一个音频抑制装置的「Aiwa/爱华牌」(即:日本爱华品牌)录音机,以便通过限制过量分贝来防止声音失真;以及(另外)两台更小…也更便宜的没有音量抑制(装置)的(使用盒式录音带的)便携式录音机。

Meier positioned himself approximately sixty to eighty meters below the point from which the sounds in the sky appeared to come.
Meier站在…距离天空中的‘发声点’(即:「Beamship/光船」)下方…大约60~80米的地面上。

Meier’s wife Kalliope used her own Aiwa recorder.
Meier的妻子Kalliope则使用她自己的「Aiwa/爱华牌」(即:日本爱华品牌)录音机(进行录制)。

She and Jacobus Bertschinger, Engelbert and Maria Wächter, Eva Bieri, and two of Meier’s children remained approximately 488 yards west of the position taken by Meier, who had gone to a point on the other side of a group of tree trunks that can be seen on the first of the Ober-Sädelegg photographs taken on March 8, 1975.
她和Jacobus Bertschinger、Engelbert和Maria Wächter、Eva Bieri,以及Meier的两个孩子,守在距离Meier所处位置西面大约488码的地方,Meier则走到一片树林的另一边,这片树林可以在…Billy于1975年03月08日在「Ober-Sädelegg」拍摄的…首张照片中看到。

Semjase驾驶「Beamship/光船」做展示飞行/ O-S1
  • 拍摄时间:1975年03月08日
  • 拍摄地点:瑞士苏黎世州的「Ober-Sädelegg」
  • 拍摄执行:’Billy’ Edward Albert Meier

On this day, the sounds were so loud that two members of the D. family, who lived a half-mile away, ran out to see what was causing all of the noise.
在这(/那)一天,(「Beamship/光船」发出的)声音是如此之大,以至于住在半英里外的D家族的两名成员,都跑出去查看究竟是什么引发了这些‘noise/噪声’。

They came just in time to observe the final minutes of the recording operation.
他们来得时机刚刚好,可以观察(/见证)到(Billy他们)执行录音操作的最后几分钟。

Several inhabitants of the small hamlet of Zinggen, approximately three kilometers away, ran up the mountain in search of the source of the strange noise, which had been heard by many of the inhabitants.
一些来自…大约三公里外的…小村庄「Zinggen」的居民(也)跑到山上,寻找那奇怪‘noise/噪声’的来源,(当时)有许多居民都听到了这些‘noise/噪声’。

The sounds stopped when the new arrivals appeared on the scene.
当人们到达现场时,(「Beamship/光船」的)声音(随即)停止了。

From Meier’s position, the noise was a deafening screeching sound that was so loud that Meier had to lay the recorder on the ground so that he could wrap his jacket around his head.
从Meier所处的位置(上方)传来的‘noise/噪声’…震耳欲聋,以至于Meier不得不把录音机放在地面上,并将他的夹克包裹在自己头上。

Even after doing so, he had an excruciating headache that lasted for hours.
但即便如此,在录完(「Beamship/光船」的)声音之后,他还是连着头痛不已了好几个小时。

Until the next day, he was unable to hear anything and his eyes hurt.
直到第二天,他仍然听不到任何动静,眼睛也疼的厉害。

The recordings made by Ms. Meier from a half-kilometer away were clearer than the tape that Meier had made at close range.
Meier女士(即:Kalliope)在半公里外录制的声音,要比Meier在近距离录制的声音更为清晰。

The distance was so great that we could not understand each other at the scene, even when we yelled; therefore, we had to send runners back and forth.
(在当时,我们之间的)距离…离的如此之远,以至于我们在现场喊叫着…也不能理解彼此的意思,为此,我们不得不派出信使来回传递消息。

Now, the sound specialists examined this new segment of the recorded sounds and found the same as the previous teams.
如今,‘sound specialists/声响专家们’检查了这份新(截取)的录音片段,所得结论与之前的团队相一致。

They found these sounds to be truly unique in three respects:
他们发现这些声音在三个方面具有真正的独特性:

1. There were at least thirty or more discrete frequencies in a random and constantly shifting mix that ranged from 4 to 2170 Hz, but varied on average between 470 and 1452 Hz.
1. 这些声音随机包含着至少30种或更多的离散频率,并经常性地在4到2,170Hz范围内变化混频,但变化的平均值处在470和1,452Hz之间。

2. The amplitude of these frequencies was also constantly changing, whereby the dominance alternated.
2. 这些频率的振幅(本身)也处在经常性的改变之中,使得峰值交替出现。

3. The wave shape was also constantly changing in a random, periodic rhythm that caused a characteristic beat. The wave pattern in the oscilloscope showed this constant and random shift in frequency, in which the principal waves of all frequencies came together in perfect synchronization at one moment, only to travel at the next moment in different directions and stages, thereby generating different patterns-at one moment seemingly moving in a cluster in one direction and, at the next moment, in the other direction. Then they gradually expanded until, for one moment, they formed a mutually precise and evenly distributed pattern, only then to move again into different relationships. Although these changes appeared to be random and were not repeated in a particular order, they always appeared in geometric relationship to one another.
3. 波形也在一种随机的、周期性的节奏中…经常性改变,这种周期性的节奏引发了一种独特的节拍。示波器中的波形表明:在这种频率恒定且随机的变化中,其所有频率的主波能够在一瞬间完美地同步聚合,并出乎意料地在下一个瞬间前进到不同的方向和阶段,由此,在一瞬间生成的不同波形,看起来似乎是一个集群(朝着)一个方向移动,然后,在下一个瞬间中,又朝向另一个方向(移动)。在那之后,它们逐渐扩大,直至到达某一个瞬间,它们形成了一个相互精确且均匀分布的形态,然后,又再一次出乎意料地进入到不同的(形态)关联之中。虽然这些改变看起来似乎是随机的,且并没有按照一种特定的秩序进行重复,但它们彼此之间…总是以几何关联(形态)…出现(/显现/呈现)。

Two other sound engineers and a synthesizer sound specialist joined the analysis team, and the sounds were reexamined, this time for possible duplication.
另外两名‘sound engineers/声响工程师’和一名声音合成专家加入到该分析团队,并对声音进行了重新检查,这一次是为了尝试复制的可能。

All of these specialists agreed that the character of the sounds was unique and that any type of synthesis, if in fact such was possible, could produce only portions of the recordings we had examined and that duplicating only part of the sounds, even in a short linear segment, would be impossible.
所有这些专家都认为这些声音的特性是独一无二的,任何类型的合成,如果事实上这有可能的话,只也能制作(/复制)我们先前检查过的录音部分,也就是只能复制声音的一部分,(除此之外,其它)即便是时长很短的小片段,也是不可能的。

The number of traveling and constantly shifting discrete frequencies and constantly changing amplitudes, which were shifting in relative dominance, exhibited duplication problems that exceed the abilities of a current state-of-the-art device!
前进中的且经常性变化的离散频率的数值,以及经常性改变的…在相对优势中变化的…振幅数值,都显示出复制所面临的问题,即:复制所需要的,(远远)超出…现阶段最先进(的)…设备所具备的能力!

Sources:
来源:

— —Lt. Col. Wendelle C. Stevens:
— —「Wendelle C. Stevens」中校:

“UFO contact from the Pleiades, A Preliminary Investigation Report”;
“「UFO contact from the Pleiades, A Preliminary Investigation Report/来自Plejaren的不明飞行物接触,初步调查报告」”

“A Supplementary Investigation Report”;
“「UFO contact from the Pleiades, A Supplementary Investigation Report/来自Plejaren的不明飞行物接触,补充调查报告」

— —Ing. Alfred Buberl:
— —Ing. Alfred Buberl:

“Worauf warten wir noch?” (What Are We Waiting For?)
“「Worauf warten wir noch?/What Are We Waiting For?/我们还在等什么?」”

— —Michael Horn


Sound Analysis
声音分析:

The strange whirring sounds of the Pleiadian-Plejaren spaceships could be recorded several times on tape, for example, twice during the spring of 1976 (at the Frecht Nature Preserve near Hinwil on Good Friday and at Schmärbüel-Maiwinkel on April 14th), and, finally, on July 7, 1980, in Ober-Sädelegg near Schmidrüti (a copy of this recording can be purchased as an audiocassette from FIGU).
Plejaren宇宙飞船(所发出)的奇怪呼啸声,曾在录音带上被记录过几次,例如,1976年春季有两次(一次是在「Good Friday/耶稣受难日」,在临近「Hinwil」的「Frecht Nature Preserve/弗雷希特自然保护区」;另一次是在04月14日,在「Schmärbüel-Maiwinkel」),还有,最后一次,是在1980年07月07日,在临近「Schmidrüti」的「Ober-Sädelegg」(这一次的录音副本可以在FIGU以盒式录音带的形式买到)。

  • 第一次录音:(1976年的「Good Friday/耶稣受难日」)

Regarding the first recording, Wendelle C. Stevens writes:
有关第一次录音,「Wendelle C. Stevens」(这样)写道:

“As they (Eduard Meier and a few eyewitnesses) arrived at the aforementioned location, they all waited for more than an hour. Then Meier walked alone approximately one hundred meters into the meadow clearing. There he stopped, positioned his tape recorder, turned it on, and held the microphone up in the air.”
“在他们(Eduard Meier和一些目击者)到达上述地点之后,他们等待了一个多小时。然后Meier独自一人走了大约100米进入到一片空草地。在那里,他停了下来,安置好他的录音机,打开它,并向上空举起麦克风。”

According to Hans Schutzbach, a strange whirring, buzzing noise, which was constantly changing, sounded from approximately thirty meters above them.
根据Hans Schutzbach的说法,一种持续改变的奇怪呼啸声,嗡鸣声,从他们上方大约30米处传来。

The noise was a kind of mixture between a jet engine and a high-speed saw processing a piece of metal in many variations.
这种‘noise/噪声’是一种介于喷气式引擎(所发出的声音)和高速电锯在变动中切割一块金属(时所发出的声音)之间的混合(音)。

The noise increased and decreased in intensity and pitch, apparently in a random sequence, and sometimes, it completely died away, only then to return to its full intensity. . . .
这种‘noise/噪声’显然是以一种随机的次序在强度和音高上增强和减弱;有时,它会完全消失,然后有出乎意料地返回到最大强度…

The tones clearly reached the witnesses in spite of the wind.
尽管(当时)有风,但(这些‘noise/噪声’的)音调还是清晰地传到了见证者耳中。

The noise lasted approximately ten minutes, and then it stopped when intruders arrived on the scene in a VW ‘Beatle’.
‘noise/噪声’持续了大约十分钟,之后,当有人开着一辆「VW ‘Beatle’/大众’甲壳虫’」来到现场时,它就停止了。

Its two passengers looked at Meier with great interest.
两位乘客怀着极大的兴趣看着Meier。

One looked through a pair of binoculars.
其中一个人透过双筒望远镜查看着。

A moment later, another man came along, accompanied by a German Shepherd on a leash.
过了一会儿,另一个男人牵着一只绑着皮带的「German Shepherd/德国牧羊犬」也走了过来。

Two motorcycles approached from a different direction.
(与此同时,)两辆摩托车也从不同的方向来到了现场。

Everyone was interested in the clearing where Meier stood and above which the very loud noise could be heard.
每一个人都对Meier所处的空草地充满兴趣,(因为)在那上方可以听到非常响亮的‘noise/噪声’。

It turned out that the two men in the Volkswagen were forestry workers.
后来我们才知道,那两个「Volkswagen/大众汽车」里的男人是林业工人。

The man with the dog was a plain-clothes cantonal policeman.
而那个牵狗的男人,则是一名州便衣警官。

The arrival of the others was surprising, since no one else had been present when the group (i.e., Billy’s companions) arrived.
其他人的(迅速)到来令人感到惊讶,因为当小组(也就是Billy和他的伙伴们)到达现场时,(除他们外)还没有一个人在场。

Normally, Meier does not hear such loud ship noises, certainly not for such a long time.
按理说,Meier(也)没有听到过如此响亮的「Beamship/光船」‘noise/噪声’,当然,这是指持续时间如此之长的‘noise/噪声’。

At the most, there is usually a very short noise when the spaceship lands or takes off.
(在此之前,)他通常都只会在宇宙飞船着陆或起飞时,听到最多持续时间很短的一阵‘noise/噪声’。

This demonstration was intentionally given for the purpose of the tape recording.
而这次展示,则是出于录音目的…而有意为之的。

None of the other eyewitnesses saw any type of spaceship, but Meier said that he could see it from below and observe a strange effect.
其他见证者并没有看到任何类型的宇宙飞船,但Meier说他可以从(「Beamship/光船」)下方看到它,并观察到了一些奇怪的效应(/变化)。

As the sound went up on the scale, the ship became more transparent, and when the pitch became lower, it looked denser again.
伴随音量尺度的提升,「Beamship/光船」也变得越加透明;但当音高变低时,「Beamship/光船」又再次显得更加具象化。

Since they themselves had not seen the ship, the witnesses began to discuss the incident and speculate upon how this could have happened.
由于他们(即:见证者们)自己并没有看到这艘「Beamship/光船」,所以见证者们就开始讨论这件事,并推测这是如何发生的。

They took Meier’s tape recorder, along with the tape, back to the same location and positioned it in the same manner as Meier had done.
他们把Meier的录音机连同录音一同带到与之前相同的地点,并按照Meier之前的操作方式将设备(在地面上)安置好-[注]。

利昂注释:

Billy在「Good Friday/耶稣受难日」当天录制声音时,为了腾出手来用夹克堵耳朵,就把录音机安置在了地面上。

Then, they adjusted it to full volume.
然后,他们把它调到最大音量。

This time, the sound seemed to come from ground level and was quite soft.
这一次,声音听起来是从地面上传来的,而且相当柔和。

It was certainly coming from the loud speaker of the recorder.
当然,这些声音就是从(地面上的)录音机(的)扬声器里传出来的。

The sound was so weak that, in order to hear the sound at almost the same volume, the witnesses were forced to stand more than twice as close to the device as they had on Good Friday.
然而,这些声音太微弱了,为了听到(与之前在现场听到的)音量相一致的声音,目击者们被迫站在…比之前在「Good Friday/耶稣受难日」当天所处的位置,更加接近录音机两倍的位置上-[注]。

利昂注释:

这里的意思是,目击者们这次站在了…之前在「Good Friday/耶稣受难日」当天所处的位置与录音设备之间…更靠近录音设备的1/3处。

They looked for signs of loud speakers that could have been hung in the trees, but they found nothing.
他们(在现场)寻找有可能挂在树上的扬声器的迹象,结果一无所获。

  • 第二次录音:(1976年04月14日)

On April 14, 1976, Eduard Meier was contacted by his extraterrestrial visitors, summoned to a particular location, and asked to bring his camera and tape recorder.
1976年04月14日,Eduard Meier被他的外星访客联系,并被召唤前往一个特定的地点,同时要求他带上自己的相机和录音机。

He followed their telepathic directives and reached the area of Schmärbüel und Maiwinkel, south of Bettswil.
他(即:Billy)按照他们(即:Plejaren)的心灵感应指令,来到了「Bettswil」南部的「Schmärbüel」和「Maiwinkel」地区。

He did not have to wait very long-due to a Swiss Army military exercise in the area, he was late in arriving–and already heard the familiar spaceship sounds.
由于(当时)「Swiss Army/瑞士军方」(正好)在该地区进行军事演习,所以他不得不耽搁了一些时间,当他(最终)到达约定地点时,他已经能够听到…那熟悉的宇宙飞船(的)声音了。

Searching the horizon, he spotted the extraterrestrial ship, a 7-meter Variation 111 Version flying northwest inside the hillcrest.
他(即:Billy)在地平线上巡视,并发现了外星飞船,那是一艘(直径)长达7米的变-III型(「Beamship/光船」),后者正在山顶中(即:在群山之间)向西北方向飞去。

Shortly thereafter, he heard the sounds of a jet fighter.
在那之后不久,他听到了一架喷气式战斗机的声音。

He took out his camera and shot pictures of the approaching spaceship.
他拿出他的相机,对着接近中的宇宙飞船照片拍照。

248#案例照片
  • 拍摄时间:1976年04月14日
  • 拍摄地点:「Bettswil」南部的「Schmärbüel」和「Maiwinkel」
  • 拍摄执行:’Billy’ Edward Albert Meier
  • 拍摄注释:可以从照片中看到,在「Beamship/光船」的左后方,有一个小黑点,就是那架「Mirage 111/幻影-III」(型)军机。

Then he saw the jet fighter, a Mirage 111 of the Swiss Army, heading straight for the Pleiadian ship.
然后,他看到了那架喷气式战斗机,那是一架「Swiss Army/瑞士军方」的「Mirage 111/幻影-III」(型)军机,后者直奔Plejaren光船而去。

He turned on the tape recorder and continued to take pictures of the attempted interception.
他打开录音机,并继续拍摄后者(即:「Mirage 111/幻影-III」)试图拦截前者(即:变-III型「Beamship/光船」)的照片。

As the jet fighter approached the round ET ship, the spacecraft quickly ‘shot’ up, allowed the jet fighter to pass, and then returned to its original position.
当那架喷气式战斗机将要接近圆形的「ET/外星」飞船时,该宇宙飞行器迅速‘shot/弹’升,让喷气式战斗机扑了个空,然后又(迅速)复返其原来的位置。

This maneuvering continued in this manner for twenty-two passes by the jet fighter.
(该宇宙飞行器)以这种方式持续机动了二十二次…每一次都让喷气式战斗机扑了个空。

During this time, Meier took fourteen pictures of the ET ship, ten of which included the jet fighter.
在此期间,Meier拍下了十四张「ET/外星」飞船的照片,其中十张包含那架喷气式战斗机。

The first picture of this series was taken at 4:14 p.m. and the last, at 4:24 p.m.
该辑照片的第一张拍摄于(当日)16:14,最后一张拍摄于(当日)16:24。

He recorded a little more than six minutes of this skirmish.
他(即:Billy)记录下了这场‘小冲突’的六分多钟(过程)。

Jim Dilettoso, our research consultant, took samples of this noise to Peter Gimer and Rick Coupland of Micor in San Francisco.
我们的研究顾问,Jim Dilettoso,将这个‘noise/噪声’样本带到了「San Francisco/旧金山」-「Micor」公司(即:美国MICOR防务公司)的Peter Gimer和Rick Coupland那里。

There they performed tests in the audible range, from 20 Hz to 2000 HZ.
在那里,他们在20到2,000Hz的可听范围内,对该‘noise/噪声’样本进行了测试。

They found twenty-four characteristic frequencies within the audible range and eight outside of it.
他们在可听范围内发现了24个特征频率,并在可听范围外发现了8个(特征频率)。

They found all thirty-two frequencies concurrently at different amplitudes and volumes.
他们在不同的振幅和音量下同时发现了所有32个(特征)频率。

All thirty-two tones are somehow produced simultaneously.
所有这32种音调是通过某种方式同时产生的。

In a time matrix, the amplitude of some frequencies increases, while that of others decreases.
在一个时间矩阵中,一些频率的振幅增加,而与此同时,其它一些频率振幅则会减小。

It was observed that the amplitude periodically increased by ca. fifty decibels and then decreased by ca. forty, and at other times, just the opposite was the case, which produced the characteristic beat that was audible.
可以观察到:振幅周期性地增加约五十分贝,然后又减少约四十分贝;在其它一些时候,情况刚好相反,这产生了一种可听的特征节拍。

Other normal sounds were audible on the recording, but there were no signs of a tone-on-tone tape dubbing.
在录音上还可以听到其它常规的声音,但是,并没有任何音调叠加的录音带配音迹象。

All frequencies were clear and stable, and they were regularly lined up along the frequency scale.
所有的频率都清晰且稳定,并依循频率刻度…有规律地排列着。

A portion of these recordings was also given to Robin L. Shellman, an undersea sound technician, who studied them with a spectrum analyzer (a state-of-the-art device) built by Spectro Dynamics in San Diego.
这些录音的一部分也发给了Robin L. Shellman,一位海底‘sound technician/声响技师’,他使用一台…由「San Diego/圣地亚哥」-「Spectro Dynamics」公司制造的…频谱分析仪(当时最先进的设备)对这些声音样本进行了研究。

The demodulation showed that one must be dealing with a rotating device-249.6 U/min. modulated at 4.16 Hz.
解调(/检波)显示:必须应对(/解决)一个…249.6U/min并以4.16Hz调制的…旋转装置。

The high-speed device produced a sound that began at 520 Hz and increased in steps up to 990 Hz, only then to decrease again down to 520 Hz in the same frequency steps.
该高速设备产生的声音从520Hz开始,逐步增加到990Hz,然后,又出乎意料地以相同频率变化节奏…逐步减少到520Hz。

The tonal groups comprising 520 Hz disappeared together at 520 Hz and reappeared at 600 Hz, only to disappear again at 720 Hz.
包含520Hz声音的音调组在520Hz一同消失,并在600Hz时再现,之后又出乎意料地在720Hz消失。

At 990 Hz, however, they reappeared and were very strong.
然而,在达到990Hz时,它们又重现,并变得非常强大。

The same occurred in the other direction.
相同的情况也发生在另一个方向上。

The condition remained stable for a moment and then shifted again.
这种情况仅保持稳定了一会儿,然后就又发生了变化。

This shift was somehow random, but nevertheless constant.
这种变化在某种程度上是随机的,但却是持续不变的。

At certain times, the high-speed device was still, and a deep, throbbing beat was audible; and then the high-speed rotation began again, and the sound increased rapidly to a high vibrating crescendo in the upper 50,000 U/min. range or higher.
在某些时候,高速设备静止下来,可以(从中)听到一个深沉的、悸动的节拍;然后,高速旋转再次开始,且声音会迅速增加到一个…逐渐增强至50,000U/min范围或更高的…高频振动。

Simultaneously, the slower 249.6 U/min rotation again became audible.
与此同时,较慢的249.6U/min旋转又再一次变得可以听到。

The vibration was produced by the high-speed rotation of approximately 29,000 U/min., which accelerated to over 59,000 U/min.
这种振动是由大约29,000U/min的高速旋转产生的,并可以加速(延伸)至超过59,000U/min。

This was most certainly not a normal sound!
(所以,)这肯定不是一种正常的声音!

These sounds were brought to the Naval Undersea Sound Center in Groton, Connecticut, where Steven Williams and Howard Ilson–both from NU.S.C–used different equipment to obtain visual data representations.
这些声音(样本)被带到了位于「Connecticut/康涅狄格州」-「Groton/格罗顿」的「Naval Undersea Sound Center/海军海底声响(研究)中心」,在那里,来自「NU.S.C」的Steven Williams和Howard Ilson使用不同设备…获得了可视化的数据展现。

Initially, they identified all sounds that did not originate in the target object.
在最初的时候,他们就已经识别出了并非源自目标物体的所有声音。

Three conventional airplanes were discovered, two of which were propeller-driven.
有三架常规飞机(发出的声音),其中两架还是螺旋桨驱动的。

The third was a single-engine jet.
第三架则是一架单引擎喷气式飞机(所发出的声音)。

Frequency graphics were prepared, and attempts were made to find consistencies in the ‘sound archives’.
他们准备了频率图,并试图在‘sound archives/声音档案库’中寻找一致性(即:可匹配的声源主体)。

The first airplane to be identified was a ‘Pilatus Porter’, a light, single-motor Swiss Army reconnaissance plane.
第一架被识别出来的飞机是‘「Pilatus Porter/皮拉图斯·波特」’(型),这是「Swiss Army/瑞士军方」使用的一种轻型、单马达侦察机。

Its ‘Doppler effect’ showed that the plane was flying at approximately forty to fifty knots, which corresponded to the actual progression on the tape recorder, but which also corresponds to the normal speed of an airplane on a reconnaissance flight.
其‘「Doppler effect/多普勒效应」’显示,该飞机(当时)正以大约40到50节的速度飞行,这与录音机上(记录到)的实际进程相符,同时也与一架飞机在执行侦察飞行时所应有的正常速度相符。

The second plane was identified as a Junker JU-52, an old tri-motor transport plane that was built in 1933.
第二架被识别出来的飞机是一架「Junker JU-52」(型),这是一种老旧的…建造于1933年的三马达运输机。

And again, the frequencies of the plane motors exhibited a linear movement, calculated with the Doppler shift.
同样的,该飞机的马达频率,基于‘「Doppler shift/多普勒频移」’计算,显示出一种直线运动(的轨迹)。

This plane moved away, turned slightly, and then flew off on its way toward the recording.
这架飞机离开后,稍稍转了个弯儿,然后沿着其(背)对录音机(麦克风)的方向/轨迹(渐渐)飞离。

When we listened to the tape ourselves, we never heard these sounds, which is why we had to examine this information.
当我们自己听这些录音带时,我们是听不到这些声音的,这就是我们为什么需要检查这些信息的原因。

One can imagine our surprise when we discovered that the Swiss Army Pilatus Porter planes were routinely used for reconnaissance flights; and even more astounding was the confirmation that the Junker planes, JU-52 Transporters, were still being used for skydiving flights and that one had been used on this day in the area of Bettswil!
当我们发现「Swiss Army/瑞士军方」的「Pilatus Porter/皮拉图斯·波特」(型)飞机通常是用于侦察飞行时,你能想象到我们当时有多惊喜;还有更令人震惊的事情,是确认这种Junker飞机,也就是JU-52(型)运输机,仍被用于跳伞飞行,并且其中一架(确实)曾在这一天…在「Bettswil」地区使用过(即:执行跳伞飞行任务)!

All of this fit together perfectly.
所有这一切…都完美地结合在了一起。

The third plane was a single-motor Mirage jet fighter.
第三架飞机,是一架单引擎的「Mirage/幻影」(型)喷气式战斗机。

With respect to conventional plane sounds, no unusual characteristics were determined.
对于常规的飞机声音,并没有确认到任何异常的特征。

Furthermore, background noises that were discovered included a small barking dog, a crowing rooster, a European police siren, and some clicks and vibrations, possibly the clicking of a camera shutter release.
除此之外,他们还发现了一些背景‘noises/噪声’,这包括小狗吠叫、公鸡啼鸣、‘European police siren/欧洲警笛声’,和一些咔嗒声和振动声,后者很可能是相机快门发出的咔哒声。

In this study, no consistency of the targeted sound of the spaceship was discovered in the ‘sound archives’.
在这项研究中,他们并没有在‘sound archives/声音档案库’中发现(/匹配)任何…与目标宇宙飞船发出的声音…相一致的声音记录(/数据)。

— —Michael Horn


Excerpt from Light Years by Gary Kinder
附:Gary Kinder所著「Light Years/幽浮光年」 之 摘录:

While Dilettoso conducted his campaign with the scientists, Lee Elders returned from Switzerland with a new sound tape from Meier.
当Dilettoso与科学家们一同展开研究时,Lee Elders带着一盘从Billy那里得到的新录音带从「Switzerland/瑞士」返回了(美国)。

Eva Bieri, one of the witnesses present when the sounds were recorded, had described to Elders the experience of listening to the sounds as a beam-ship, unseen, hovered overhead.
Eva Bieri,录制声音时呆在现场的见证者之一,他向Elders描述了(当时)听到「Beamship Sounds/光船声音」的经历,那是一种无法看见的,萦绕在头顶的声音。

An attractive Swiss woman in her mid-twenties, Eva had stood in a meadow only two miles from the farm, balancing her two-month-old son on her hip.
Eva是一位迷人的(当时)年仅二十多岁的「Swiss/瑞士」女性,她就站在距离农场仅两英里外的一块草地上,正在扶正依附在她背上的两个月大的儿子。

Popi, a tape recorder in her hand, stood nearby.
Popi(注:另一个人),手里拿着一台录音机,站在她(即:Eva)附近。

Near the edge of a pine forest 200 to 300 yards away, Meier had sat on his tractor, as another tape recorder turned in the small trailer behind it.
在靠近一片松林边缘的200到300码处,Meier坐在他的拖拉机上,另一台录音机(的麦克风)转向它后方的小拖车。

Soon, Engelbert and Maria Wachter and others had joined them, and then everyone had watched the sky and waited.
很快,Engelbert和Maria Wachter以及其他人也加入了他们,然后,每一个人都抬头注视着天空,并等待着。

Eva, who had sensitive ears, disliked loud music and loud people.
Eva的耳朵非常敏感,她并不喜欢嘈杂的音乐和吵闹的人。

But when the deafening sounds suddenly filled the sky over her, she became angry not for her own discomfort, but because she felt it would harm the ears of her baby.
但当那震耳欲聋的声音突然响彻她头顶的天空时,她(虽然)变得很生气,但却并不是因为她自身的不适,而是因为她觉得这会伤害她宝宝的耳朵。

“On tape it sounds different than it really was,” she said.
“这种声音在录音带上听起来与实际的有所不同,”她说道。

“It was like the sky was full of sound, not from one place. The sound was everywhere, and we were thinking it must be very loud because people came from far away to see what had happened, and they were running, not walking.”
“就好像整个天空都充满了这种声音,而不是(具体)来自某一个地方。这种声音无处不在,我们很确定它非常响亮,因为在很远处的人们都跑着…而不是走着…来看究竟发生了什么事。”

Shrill and unnatural, seeming to echo from within as it rose and fell, the sound, though loud, seemed almost pleasant to Eva’s ears.
这种尖锐的和不自然的声音,似乎是从内在回响起来的,起起伏伏,虽然很响亮,但看起来对Eva来说…却几乎是愉快的。

Her child did not cry, but only craned his neck and blinked his eyes and listened.
她的孩子也没有哭,只是伸长了脖子,眨巴着眼睛…听着。

For years Dilettoso had worked at creating sound using digital sound synthesizers; whereas analyzing photos involved techniques new to him, he understood the analysis of sound.
多年来,Dilettoso一直致力于使用数字声音合成器…来制造这种声音;然而,分析照片牵扯到对他来说是完全陌生的技术,但他对声音的分析还是很在行的。

Through a former employer, Micor Corporation, he arranged one evening to examine the recording with a digital audio analyzer.
透过其前雇主「Micor Corporation」(即:美国MICOR防务公司)(…的帮忙/许可),他安排用一整晚的时间,借助一台数字音频分析仪对录音(样本)进行了检查。

But after taking the sounds apart he could not figure out how to duplicate them.
但是,在将声音拆分开之后,他(还是)无法搞清楚应该如何复制它们。

“That was the point at which I was blown away,” he said.
“这就是最让我蒙圈的地方,”他说道。

“To the ear they don’t sound that unusual. It sounds like what you’d expect a sci-fi flying saucer to sound like. But upon analysis, they’re continually shifting and changing, and combinations of them are getting louder and softer and doing things at such a rapid rate that even with a synthesizer being able to generate that many sounds it would be really, really complex.”
“当用耳朵听的时候,它们并没有显示出有多么不寻常。它听起来就像是你预期中的科幻飞碟所发出来的声音那样。但上升到分析层面,(你就会发现)它们处在不断地变化和改变之中,其组合也变得更加响亮和更加柔和,并以如此快的速率进行着,即便是使用一台能够生成这多种声音的合成器,(合成操作)也将会非常、非常的复杂。”

But needing independent verification, Dilettoso sent the tape to Rob Shellman, a sound engineer with the United States Navy sonar sound laboratory in Groton, Connecticut.
但这仍需要进行独立的验证,于是,Dilettoso又将录音带发给了Rob Shellman,后者是一位在「Connecticut/康涅狄格州」-「Groton/格罗顿」的「United States Navy sonar sound laboratory/美国海军声纳声响实验室」(工作)的‘sound engineer/声响工程师’。

Also intrigued with their complexity, Shellman immediately eliminated one major possibility: “Meier could not have used any electrical AC source to create the sounds. The equipment was set up to analyze for 50 or 60 hz ute frequencies, which are common electrical outlets.”
Shellman同样对录音的复杂性充满了好奇,但他当即就排除了一种主要可能:“Meier不可能基于任何电子AC(即:「Analogue Controller/模拟控制器」)…制造出这种声音。这种设备是用来分析50或60Hz初始频率的,是很常见的电力设备。”

Shellman wrote to Dilettoso.
Shellman在写给Dilettoso的回复中如是说。

“If the device that generates the sound was an electric motor or machine the line frequencies would be evident. No such frequencies were detected.”
“如果生成这种声音的装置是一台电动机或是机器,那它的线性频率应该是很明显的。但这样的频率并没有被检测到。”

Seeking further verification of what seemed to be an unusual recording, Stevens located in Los Angeles an electronics consultant and computer engineer, Nils Rognerud.
为了进一步验证这段听起来不同寻常的录音,Stevens联系了一位「Los Angeles/洛杉矶」的电力顾问兼计算机工程师,Nils Rognerud。

A designer with a large electronics firm, Rognerud took the tape to a sound lab and converted the sounds to wavy lines on a spectrum analyzer.
Rognerud是一位拥有一家大型电力公司的设计师,他将录音带拿到一间声响实验室,并在一台频谱分析仪上将声音转换成了波形线。

As he watched, the various frequencies vibrated up and down across the screen, converged into a thick zigzag, then split apart and converged again.
正如他所看到的那样,各种频率透过屏幕上下振动,汇聚成一个厚厚的锯齿形,然后又分开…并再次聚合在一起。

“I was being very skeptical from a scientific viewpoint,” Rognerud said later, “but the sounds were unusual.”
“从科学的角度,我对此持非常怀疑的态度,”Rognerud后来说道,“但这些声音(确实)不同寻常。”

— —Gary Kinder
「Light Years/幽浮光年」

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