So, for example, when we look at the 62nd gate as part of the logical process, when we look at that 62nd gate we look at a voice that says: I think, or I don’t think. I think it’s ok; I don’t think it’s ok. Think is a logical key. It’s logical. In other words, when you’re listening to somebody in conversation and they keep on saying, I think, I think, you’re going to find somebody who is logical because it is the natural frequency as an expression of the way in which the logical voice works. It says, I think.

But think about in this context what the quality is, because the quality is very revealing: Reasonable, unreasonable. Now what is the 62nd gate? It is the gate of facts. It is the gate of details. It’s the gate that gives the foundation to the conceptual opinions of the 17, and in working with those conceptual opinions, grounding those opinions in language. And that language in the way it’s expressed is that these are either going to be reasonable beings—I think this is the way it works and what do you think—or unreasonable. And of course, you get that a lot.

For example, 17/62s because they have their own way in which they substantiate their opinions, that doesn’t mean if you have the definition that what you’ve logically organized is a truth. It just means that you’ve logically organized something and you can express it. And you can express it reasonably or you can express it unreasonably and you begin to see character expression in a voice.

We know these people. And though every single one of them has the potential to fluctuate between the binary—the reasonable, the unreasonable—in other words, there is this potential always, we get to see in this life that there are those that are much more reasonable in the way in which the communicate and those that are much more unreasonable in the way in which they communicate. It’s a quality.

Everything about voice is something that the actor/actress has to discover, how one can take a word and change the word through the quality of the expression. This is how we put out information. If somebody says to you, oh, hi (happy voice), it’s like you get certain information. If somebody says, oh, hi (bored voice) you get another set of information. It’s something to recognize that we all do this; we’re all cued to the character quality of somebody’s voice; all of us.

One of the things that we learn when we study the nature of the crystals of consciousness is that the key that binds all cognition is acoustic—sound, frequency. When somebody is speaking to you it’s not their words that carry the greatest value. They carry a value, obviously, but the context of the words, the quality of the words, how comfortable are we with the unreasonable expression of fact. Some people like it, they respect it; some people don’t. In many cases it may be utter nonsense. But again, something to recognize about our voices is that our voices reveal our quality and most human beings are conditioned and are conditioned to speak out of voices that are not their own.

For years students have heard me in moments where for some reason, whatever, the program, being in their aura, I suddenly say something like, I believe, I’ll immediately stop and say, wait a minute, I don’t mean that. That’s not my voice; because it isn’t. When I hear myself say, I believe, I know I’m in trouble, because that’s not me, I don’t have that. I’m not a believer, it’s not my voice. It’s not built into me.

Again, it’s one of those things about coming to recognize yourself and coming to understand who you are, because who you are is expressed through the potential of whatever voice may be for you. Now, not everybody has a defined Throat, obviously. But there are very, very, very few examples of somebody with absolutely no activations of the Throat. It’s a very small percentage. And obviously they operate, have to operate in a physical way of communication. It’s very different from the vast majority. But I don’t want to get into anomalies.

~ Ra Uru Hu