The key is to understand that whether you have a defined Throat or not, the gates in your Throat are a key to you, because it’s something that you need to hear. You need to hear it. You need to hear your own voice, and to know when the conditioning forces are there. The moment that you begin to understand somebody’s design, somebody close to you that you have contact with. And you examine carefully their Throat, you look at what their voice is and then listen to them speak. Just listen to them speak.

It is just so obvious when you know somebody’s design and you hear them speak, you can always tell when they’re speaking from their voice or not. And that if you’re somebody that has an open Throat where you’re very vulnerable to the way in which you’re going to be conditioned verbally, to know what is your natural potential in your Throat is very important for you, because at least you’re going to express your quality, because it’s the quality that’s important. These are tools for us. None of us want to be flat in the quality of our expression, this monotone, even—we don’t even like dealing with acoustically people where you cannot get this movement in the quality of their voice so you can read them, because our voices carry these things.

My 62 carries the potential of the reasonable/unreasonable expression. But I have a complex Throat, I have many gates, so they all come together and you begin to synthesize the nature of the voice, and out of that its character.

~ Ra Uru Hu