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A History Of Rife’s Instruments And Frequencies

Updated 11/12/06 This article from it’s first writing has been an evolving document according to the new information received. When new information has been obtained we have tried to correct errors irregardless of the fact it may change everything that has been previously believed as correct. This article was last updated on 12/15/05. Now a little more information has come to light, therefore this article dated 11/12/06 takes precedence over all previous dates. The new informa-tion about super-regeneration has caused an almost complete rewriting of this article and changes almost everything we have previously believed about how Rife instruments worked. Super-regeneration up to the writing of this updated article has been overlooked. The following questions will be discussed. When did Rife start using audio frequencies and how were they used in super-regeneration? What frequencies were Dr. Rife’s accurate RF M.O.R.s? Were all of Rife’s instruments super-regeneration instruments (Rife Ray #3, #4 and the Beam Rays Inc.)? The understanding of super-regeneration will challenge the dates, arrived at through specula-tion, of some of the instruments that have been built and may bring about a change in how in-struments are built in the future. When new information is obtained this article will be updated. In this article we will examine the way Dr. Rif e’s instruments worked. We will look at the evi-dence by quoting the sources such as Dr. Rife, John Crane, John Ma rsh, Dr. Couche, Dr. Lara, Dr. Stafford and Bertrand L. Comperet , Rife’s attorney in the 1939 Beam Ray Corporation trial, and later John Crane’s attorney for Life Labs’ trial in 1961. Hopefully anyone who reads th is article will have a better understanding about Dr. Rife and t he methods he used. Our goal is to try to give people infor -mation so that they can make a more informed decision. We have tried to explain in laymen’s terms so that anyone can understand. We hope this will be helpful.

What is a ray tube and how does it work?

Dr. Rife used a phanotron ray t ube with his instruments. A ra y tube was made out of glass, quartz or Pyrex and was filled wit h a noble gas or a mixture of n oble gases. Dr. Rife used different mixtures of gases but finally ended up using helium. He stated: Rife: “We have experimented with various inert gases and we found that helium stood up by the bom-bardment better than any of the other gases. That’s why we use it. We don’t care about the color or anything of that sort. It stood up better over many more hours of bombardment than the argon and the crypton and those different gases that we tried.” (John Marsh collection - G onin and Siner papers pages 25 & 26. www.rife.org)

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The ray tube was connected to the instrument by two wires. These wires were connected to two round metal bars that went into the glass tube and they had round disks connected to their ends. One disk was straight and the other one was on a 45 degree angle. This gave it a directional effect towards the patient. Dr. Rife stat ed that the ray tube was “a partial directional antenna”. Because the scientific technology behind ray tubes had already been perfected, Rife worked wit h that technology and only had to make some adjustments for it to work the way he wanted it to in his ap plications. Bertrand L. Comperet, Rife’s attorney, stated in an interview: Comperet: “Now, the original instrument had a tube, like an X-ray tube. That was the way in which Rife developed it. You see, all the X-ray work necessarily was done with a beam projected from a tube. So, Rife worked on the same basis.” (Comperet interview papers - 1970’s) There are l imitations to ray tubes that need to be understood which have to do with the laws of physics. This is a simple explanation but should suffi ce since we are trying to stay in layman's terms and make it easy to understand. Ray tubes when proper ly tuned are very efficient. About 95% of the energy that you put into a ray tube comes out but only if the impedance is matched properly. Dr. Rife’s instruments put out about 50 to 60 watts. This mean s about 50 watts came out of the ray tube. When it comes to metal antennas and an out put of 50 watts you have to divid e the 50 watts that come out of the metal antenna by four for every f oot that you move away from the antenna in or der to take into ac-count the laws of physics on signal loss. The exact power loss in the output of a ray tube is not known, but for our illustration in this article we will use the standard loss with metal antennas as the power loss ratio for a ray tube. Ther efore, at one foot away from the ray tube you onl y have 12.5 watts. At two feet you only have 3.125 watts and at 3 feet you only have about .78 of a watt. The laws of physics are important to understand because Rife and the doctors that used his equipment put the ray tube within a few inches of the patient’s body. Dr. Couche said that he would some times touch the body of the pa-tient in the area that needed to be tr eated. Dr. Robert P. St afford said when we asked him, that when he treated cancer patients he would put the ray tube within a few in ches of the body and treat a 6 inch square area. He would move the ray tube up and do wn and back and forth so that the whole 6 inch area was treated. He said that he did this because of the way the phanotron ray tube worked. The de-sign of a phanotron ray tube makes it parti ally directional and concentrates its energy or power into a small area. With the power loss from the ray tube it is easy to under stand why Dr. Stafford, Dr. Couch, Dr. Rife and the other doctors used the ray tube right next to the body.

We built both the 1939 Beam Ray instrument (this instrum ent is not a 1939 Beam Ray instrument as has been bel ieved but is actually a 1940’s Vern Thompson ma chine and will be e xam-ined later on in this article) an d the 1950’s AZ-58 ray t ube instruments. The AZ -58 (a 1950’s Rife in-strument made by Life Labs) was built from schematics that are on Stan Truman’s site, http://www.rife.org, under AZ-58 research information. This instrument is almost the same as the 1940’s in-strument built by Vern Thompson. We built the 1940’s instrument made by Vern Thompson from sche-matics found at http://www.scoon.co.uk/Electrother apy/Rife/BeamRay/index.htm. The 1940’s instru -ment uses sine wave audio frequenc ies and the AZ-58 uses squar e wave audio frequencies. We tested the AZ-58 and the 1940’s Vern Thompson instrument for penetration and found that at about 32 inches from the body full penetration of the carrier frequency emitted from the ray tube was lost. John Crane listed the AZ-58 as outputting 50 watts out of the ray tube but we tested it and found it only puts out 15 watts. The 1940’s Vern Thompson instrument only puts out about 15 watts also. The audio fre-quencies broadcast out of the ray tube from both th ese machin es could only resonate a crystal de-signed to test resonance through about two inches of ti ssue. From the tests made, it takes a carrier frequency of at least 0.125 watts to penetrate all th e way through the body. It could take an output of 50 watts from a ray tube to resonate a crystal through 14 inches of tissue. These te sts showed that it takes more power to penetrate all the way thr ough the body when modulating an audio frequency o n a carrier frequency than when a single un-modulated carrier frequency is used. The tests were done us-ing the AZ-58 and the 1940’s Thompson machines using a phanotron ray tube outputting 15 watts. An-other interesting thing worth noting is when we turned t he ray tube more than 45 degrees either to the

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right or the left of center we could not resonate the crystal. Another test showed we could not resonate the crystal at all on the backside of the phanotron ra y tube proving what Rif e said: “The ray tube is a partially directional antenna.” One interesting fact worth noting is, Dr. Johnson had in his lab one of the three Rife Ray #4 ins truments that were built by Philip Hoy land. It malfunctioned an d produced an amazing ef fect. Dr. Johnson wr ote Dr. Grunner a let ter dated November 4, 1936 an d told him what happened. In that letter, wh ich we will quote from later on in th is article, Dr. Johnson mentioned the instrument killed all the organisms in his lab and broke all the quar tz glass of a certain s hape. This in-strument, when it malfunctioned put out many frequencies, perhaps many thousands simultaneously and the power in each frequency would have been so minimal that it makes one wonder how much power it really takes to kill micr oorganisms. Fractions of a watt w ould have been all the power that reached these organisms and killed them. It appears from this event that power is not as important as having the correct frequency and the crystal we used is not as sensitive as microorganisms.

What power levels did Dr. Rife use?

According to the documents we have Dr. Rife’s #4 instrument and the inst rument built by Beam Ray Corporation of the 1930’s put about 50 watts out of the ray tube. The AZ-58 Life Labs instrument of the 1950’s and the Vern Thompson 1940’s instrument only output about 15 wa tts. Because som e of Dr. Rife’s informati on about instrum ent power levels is confusing, mo st have believ ed Dr. Rife’s in-struments put out 400 to 600 watts to the ray tube but new information shows this may not be correct. The problem has been that the people who wrote down this inf ormation were incorrectly giving the power usage of Rife’s instruments as the output power. Dr . Rife’s instruments used 400 to 600 watts but they only output about 50 to 60 watts out of the ray t ube. In the paper “Development of the Rife Ray and use in devitalizing of pathogenic micro-organisms” it states: “The frequencies were generated by a tube oscillator with many stages of amplification, the final stage being a 50 watt output tube.” It appears from the documents that Dr. Rife’s instruments did not output any more power than about 50 watts out of the ray tube. When Dr. Rife, Crane and Marsh were working on sea water conversion which used frequencies in t hat process, they boosted the output power in the in strument. Concerning that instrument and some 1930’s B eam Ray instruments that D r. Yale had increased the power lev el on, Dr. Rife said the following: RIFE: “Now this outfit here - the way we have it boosted up here now with an extreme lot of power be-hind the actual output that is coming out of the thing...I wouldn’t want to use this - or I wouldn’t want to use this instrument here the way it is souped up there for this salt water proposition to treat a patient with.” GONIN: “No.” RIFE: “You can get beyond the limit.” GONIN: “Yes, quite.” CRANE: “That’s what Dr. Yale did. You see, he stepped it up and up and up…” RIFE: “When Verne Thompson used to go down there and take care of Yale’s machines - when he be-gan stepping them up and so...where you get up into that extreme power…oh yes, that is not good. With the power that is in these [50 to 60 watts of power co ming out of the ray tube], there is absolutely no harm because I had my microscope here - I had my tube [ray tube] right here in front of it - oh, about 11 or 12 inches away from the slide in the microscope and here I was with this thing all around like that and that tube going here and my specimens and the microscope year after year tuning that thing and it never harmed me any.” (John Marsh collection - Gonin papers pages 2 & 3. www.rife.org)

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Dr. Yale’s 1936-39 Beam Rays Co rporation instruments were pu tting out a lot more power than Dr. Rife felt was safe. If Yale’s instruments were changed to put out the maximum power that the main output tube could produce then they may have been pu tting out around 100 watts out of the ray tube. It may be that Dr. Rife was just ov er cautious but his st atement should be consider ed when one starts using power levels of 100 to 300 watts. These power levels are probably not necessary if a phanotron ray tube is used.

Is it necessary to use a ray tube to put out the frequencies? We really shouldn’t care if an instrument uses a ray tube or a pad as l ong as it will kill the micro-organism we desire. In the strict est sense of the word just because a ray tube is used doesn’t mean it’s Rife. By the time you read this whole article you will find out that no one is doing exactly what Rife did. But does this mean that these instruments don’t work? Thos e building pad inst ruments are not using ray tubes and most are not usi ng Rife’s original frequencies. Those that are building ray tube in-struments are also not us ing Rife’s original frequencies. We have quite a paradox. This is the problem we face. If we were to build a ray tube instrument that worked exactly the way Dr. Rife’s did and use frequencies from 87000 hertz to 17 m egahertz then we would be violati ng FCC regulations and the in-struments would be il legal. These ray tube instruments w ould have to be used with a faraday cage which is a conducting cage used to stop electromagnetic fields. We can build a pad instrument that will use all the frequencies Dr. Rife used but then we are not using a ray tube. When we consider the legal problems we face today with building instruments, the only instrument we can legally build that woul d not require a faraday cage is a pad instrument. This type of instrum ent could produce all of Dr. Rife’s frequencies. Therefore we s hould look at this method carefully and not reject it out of personal bias. As we already said, it really shouldn’t matter if an instrument uses pads or a ray tube so long as it works. With this in mind let’s look at the r easons why pad instruments w ere first built. John Crane and John Marsh had really good reasons why they built pad instruments. A fter nearly 50 years of use there is enough ev idence that a pad in strument works just as well as a ray tube instrument as long as there is sufficient power used. In some ca ses, because of the electrical stim ulation like a tens instru-ment, they may work even better than a ray tube on some conditions. We will now take a look at some of the reasons that prompted Crane and Marsh to use pads: Rife: “But the principle of this thing is basically built on a coordinative vibration. Just like one tuning fork pitched to the C. Another one here—you strike this one and this one vibrates.” Dr. Lara: “What kind of vibration is it? Electromagnetic vibration?” Rife: “We won’t say magnetic, we will say electronic frequency vibration. The same as put out on a broadcasting station for the radio. The same thing you know, only it’s transmitted into a tube. And the tube acts as a partial directional antenna you see.” (John Marsh Rife CDs - CD 6 track 2) In the John Marsh papers describing his trip to Ohio we read a statement made by Dr. Rife: Rife: “You know we had an idea when we had our Clinic in La Jolla, of course that was battery and mo-tor generator operated that set, you know, and boy it would sure raise the devil with all the radios so we had a couple of cars that was equipped with car radios and we sent them out and we would take the switch of that thing, and had a code you know like an S.O.S., and one of them went up north, and one of them went south from La Jolla. Before we started in we wanted to see how far we were going to dis-turb things with it you know, and incidentally we had it in a steel room, a steel lined vault about this size at the old Ellen Scripp’s home. It was the vault in the library of the Scripp’s home where they kept their valuable manuscripts and books in all steel lined and a door on it like a safe. We had the thing inside of that too, but it didn’t make much difference, but we started in, and one car lost the pick up on top of Torry Pines, and the other one half ways through Mission Beach picked it up, and then they could go a

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hundred feet and lose and then they would have to pick it up again. Old Henry [Henry Siner] the boy that was with us out there, one of the lab boys, boy he went up in the air. He says, “By God” he says “look, we’re going to fix them up right. At two o’clock we’ll hook this up to a big radio station, a big transmitting station, and at two o’clock next week we’ll broadcast for tuberculosis, and at half past three the week after we will broadcast for cancer, and everybody at the radio will pick it up”. See, boy I said Henry that really is an idea.” (John Marsh collection - Trip to Ohio papers page 7. www.rife.org) It is apparent from what we hav e read that Dr. Rife be lieved it was the frequency that was devi-talizing the organism and the method of application really didn’t matter. He understood that the fre-quencies could be broadcast by a radio station if it had enough power. Metal antennas are equal to or more efficient than a ray tube. When John Crane and John Marsh, Dr . Rife’s two business partners in the 1950’s, came to understand this, they eliminat ed the ray tube and used p ads or hand cylinders to apply the frequencies. The pads and hand cylinders work just like an antenna except you do not want too much power so that they are safe to use. The bo dy also becomes an antenna when you hold the hand cylinders or use the pads and this is why pad inst ruments work. Comperet stated this in his int er-view: Comperet: “Now, Crane said “Well now look, Rife himself admits that no matter how much tube and ray ,and so on, you have, you can’t get any results unless you’ve got the right frequency. Therefore the real clue to the thing is the frequency and not the means by which you deliver it.” Comperet als o said: “Well, Crane originally was, with more modern techniques, duplicating the Rife machine, tube and all for early experiments. And, as I say, he came to the conclusion that you just weren’t getting any-thing additional by the use of the tube. If you didn’t get the frequency, you could run the rest of it indefi-nitely and nothing happened. So, what Crane did, he got an audio frequency generator. Now, you could make them up yourself by an awful lot of work, or you could buy a Heathkit audio frequency gen-erator and get all the same results with a lot less time and effort. So he was using these Heathkit gen-erators. Now, instead of a beam projected from a tube, a ray, he simply had two wires. I think they were aluminum knobs on the end of them, which would be used. They would be put on the body in such a position that the natural flow of the current from one to the other would go through the diseased area, and he got astonishing results.” (Comperet interview papers - 1970’s) These pads or hand cylinders act just like an ant enna when in contact with the body, but only if you have an RF carrier frequency. Without an RF carrier frequency the audi o frequencies will only go through the connective tissue and not the cell. There are ex ceptions to this and they have to do with the wave form of the frequency. If a square wa ve audio frequency is used t hen the higher harmonic s produced from this wave form can penetrate the cell. How much power from these harmonics pene-trates the cell is not know n. But this may explain why instrum ents that do not use an RF carrier fre-quency work. All of Rife’s original frequencies exc ept two were in the (RF) broadcast band of frequen-cies and we will cover these frequencies an d the audio frequencies along with the importance of a car-rier frequency later in this article. Some have thought that it was t he light from the ray tube that made it work . But the evidenc e doesn’t seem to support that either because in the Gonin pap ers of J ohn Marsh, Dr. Rife said this in regards to the light that came from the ray tube: Rife: “We don’t care about the color or anything of that sort.” (John Marsh collection - Gonin papers page 25. www.rife.org) Dr. Couche, when he visited Rife’s lab with some other men, said: Dr. Couche: “There was fifteen inches of concrete on the floor so as to stop any earthquake shocks from interfering with his work. And in his laboratory upon the ground floor he had a microscope with a slide on it that this group of people and myself looked at. And this was not stained, there was no killing

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of the bacteria on it. It was just a fresh culture of the colon bacillus…..Well we all went down under the stairs into the cellar right immediately under the microscope upon the floor above us and the Rife ma-chine was down in underneath there under the culture in the cellar probably I suppose about ten feet away, eight or ten feet away. And he turned the machine on and gave it less than a half minute’s fre-quency for the colon bacillus...Then he turned the machine off and we all came upstairs and waited for ten or fifteen minutes. And presently he came back to his microscope and he said, “Well gentlemen come and look at the slide now.” Well to my astonishment the bacilli all had been killed and they were all stacked up on the slide.” (John Marsh Rife CDs - CD 3 track 1) There is no possible way the light from the ray tube could have penet rated that fifteen inch con-crete floor. It is obvious that th e light didn’t make any difference but that it was the frequencies that were broadcast through the ray tube. It is easy to s ee that there is more than one way to deliv er the frequencies. The ray tube could be easily replaced with metal hand cylinders and foot pads. It is inter-esting to note here, Rife said Abrams’ Oscilloclast would devitalize the BX cancer virus and it was a contact type device. The wave form the Oscilloclast produced is shown in Rife’s 1936 film. Crane and Marsh probably used this contact method because of the success of Abrams’ instrument. The Abrams instrument proved that a contact type device would work and it was used before Rife even started us-ing a ray tube. In fact Abrams’ contact instrument predates all of Rife’s work. Pad instruments like Abrams’ instrument came in contact with the body. Pad instruments with an RF carrier turn the body into an antenna and work on the same principle as a metal antenna or ray tube. People have been us-ing pad ins truments without an RF carrier for almo st 45 years now and hav e had very good results. But to work the way the ray tube instruments do an RF carrier frequency is necessary.

What is Super-regeneration and how did work?

This information on super-regeneration has been a jo int effort of Jim Berger, James Cunning-ham and myself and a few un-named engineers. I appreciate all of Jim’s hard work and effort and wish to give him the credit he deserves. We know t here are a few different ways super-regeneration could have been used, but in this paper we will show from the evidence how we believe Rife used it. Rife’s 1934 #3, 1935 #4 and Beam Rays In c. instruments appear to have been super-regeneration instruments. In simple terms this is how supe r-regenerative receivers worked. Edwin Howard Armstrong was the one who discovered or in vented super-regeneration. This took place be-tween his junior and senior year s at Columbia. He was greatly interested and involved in what was called "Dxing" (picking up signals fr om all around the world). The r adio signals were very faint and there was no way to pick t hem up well. Armstrong f ound that if he took a radio tube (what we woul d call a trans istor today) and fed the si gnal received by t hat tube back thr ough the tube many times, he could strengthen the signal with each pass. This method of amplification is regeneration, in a very sim-plified form. Rife’s instruments were a s uper-regenerative transmitter. Bec ause these instruments are an-tiques most people do not understand how a super-re generative transmitter worked. In order to find out how these instruments worked we had to talk to a few engineers who have built, or are still building, old tube ty pe instruments and h ad them lo ok at all the old documents on s uper-regeneration. S uper-regeneration was used for audio frequencies below about 25,000 hertz. A super-regenerative transmit-ter would use a combination of an audio frequen cy which was super-regenerated and an RF radio fre-quency. The implication of this is that Rife must have used a comb ination of both an audio frequenc y and an RF or radio frequency. This shows he used at least two frequencies at a time in his instruments to accomplish the de- vitalization of each organism. In reality super-r egeneration in a transmitter i s a red herring but Rife probably just called it this because he used the principle used in super-regeneration. What is really taki ng place in the circuit is a mixing of the audio frequency output back into the audio circuit. The princi ple of mixing the audio back into the circuit and what it would produce will be talked about in this paragraph. Let us firs t talk about how Rife woul d have used a combinat ion

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of at least two frequencies at a time in his i nstrument. Super-regeneration means he was modulating the audio onto the RF M.O.R. frequency. This new information is very important to understand. Be-cause no one has ever considered t hat he might have had to use the co mbination of at least two fre-quencies to destroy an organism instead of just one. Super-regeneration used at least two frequencies at a time, one audio and one RF. In Rife’s 1961 deposition he revealed t he fact that he was using two frequencies on organisms from the very beginning of his work with frequency instruments:

Rife: “Initially I worked with loose couplers to get an audio oscillation and then with the use of transmit-ters, I tried to balance the audio and modulate the audio on a carrier wave to transmit the audio en-ergy.”

Rife stated from the very beginning of his work back in the days when he was using lo ose cou-plers in his frequency instruments that he was al so using audio frequenc ies which he modulated onto an RF or radio frequency (the RF ca rrier frequency was the M.O.R. frequen cy). This statement lets us know he was using at least two frequencies at the same time to devitalize the organisms he was work -ing with. Rife said he began his work using frequency instruments in 1923. It is interesting to note that this is the year that super-regenerat ion was invented. There is even more proof this is what he was doing. It i s well known becaus e of Rife’s lab notes and other documents that his early instruments were super-regenerative instrument s. The 1935 Rife Ray #4 instru ment was super-re generation and the documents show it could put out two RF or Radio frequenc ies simultaneously. Since it was super-regenerative then it would have had to have had at least three oscillators. There would have been two high frequency oscillators and at least one audio oscillator for it to be a super-regenerative instrument.

Audio Low frequency Oscillator

First High frequency Oscillator

Second High frequency Oscillator

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The documents of the Rife Ray #4 on the previous page show that this was indeed the case. In the past because super-regeneration instruments were not understood it was bel ieved that Rife only used a single frequency for the M.O.R. Everyone ignored the fact that the #4 instrument did have three oscillators. The first oscillator , which is the audio osc illator, was listed as OSCILLATOR and the sec-ond and third oscillators are listed as GROUP 1 an d GROUP 2. The #4 instrument documents als o show the frequency range of the two high frequency oscillators and the dial settings of the audio oscil-lator. If you look on the #4 document on the previous page y ou will notice the fr equency on the audio oscillator for the BX filter passing organism was se t at switch 3 dial number 85.50 and the carrier fre-quency M.O.R. was set at switch 6 dial 18.8 which was 1604 KC or 1,604,000 hertz. You could also set group 2 to any carrier frequency you wanted and thus output two RF frequencies simultaneously. Having a second high frequency would allow for a higher carrier frequency if the M.O.R. frequency was too low to light the ray tube. Most likely this instrument had a fixed carrier frequency of around 40 MHz so that two M.O.R’s could be used *simultaneously. The only thing we are not told in these documents is the audio frequency at switch 3 dial number 85.50. Both what Rife said in his deposition and the Rife Ray # 4 paperwork confirm that the audio frequen cy needed to be modulated wit h the BX M.O.R. fre-quency of 1,604,000 hertz in order for it to work. Maybe this is the reason no one has been able to get Rife’s cancer frequencies to work very well. The effect this audio frequency w ould create is a pulsing in the M.O.R. of the B X. Is it po ssible this pulsing or shaking effect is what caused the organism to come apart? This may be a part of the answer but there is more we need to understand and we wil l talk about this. In the summer of 1936 Rife made a lab video in which he showed the method he used to find the BX cancer virus. He also showed in this film the wa veforms of the frequencies his instru-ment put out. Since i t was the summer of 1936 th e only two instruments he wa s using at this tim e would have been the Rife Ray #3 which was used in the 1934 clinic sponsored by Dr. Milbank Johnson or the Rife Ray #4 which had been built by Philip Hoyland and completed by the fall of 1935. With this in mind we know that the wave forms are from one of these two i nstruments. Most likely it was fro m the Rife Ray #4 because Rife is shown using this instru ment in the film. Either way it really doe sn’t matter because the wave forms show he was using AM modulation. The first three photos show a sine wave frequency of either the sine wave car rier or the audio frequency or both. The other two show his AM audio modulation.

These photos are proof that Rife’s instruments were using audio frequencies in 1936 contrary to what has been previously be lieved. The first engineer that I showed this video to said that it was “ a really lousy form of AM modulation” compared to what we can do today. This is what we would expect

*Dr. Rife "We found the frequency of the virus, we found the freque ncy of the rod, wh ich we had for years of course. But if we use the two of them simultaneously over the same carrier wave, the patient gets well and the Guinea pig gets well, but if you use one or either individually you either kill the patient or you don't do nothing". (Rife audio CDs Marsh collection)

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from an instrument built in the 1930’ s. John Crane said on the lab video that it was the spikes of these frequencies that were the killers of the organisms. The sine wav es we see in these photos resemble a saw tooth wave form more than sine wave. In the third phot o we can see that the oscillator is over saturating. There is nothing clean or pretty about these waveforms of Rife’s instrument. Anyone look -ing at thes e waveforms can see they would be full of harmonics. Rife said he did not like harmonic s and only used a pure frequency. But the fact is he di d not have a spectrum analyzer in the 192 0s or 1930s. His instrument was a M.O.P.A. and M.O.P.A. transmitters output a lot of harmonics and this is why they are illegal today. When we put the M. O.P.A. 1950’s AZ-58 design on a spectrum analyzer the harmonics from the carrier frequency went to over 100 MHz. Rife probably never really understood that his instrument was outputting many harmonics from the carrier frequency. This makes one wonder if it is entirely possible that the M.O.R. for the BX is a harmonic frequency of 1,604,000 hertz? If it is then we would want an inst rument that would produce all the harmonics the same way that the old M.O.P.A. instruments did. There are other statements that also verify Rife’s stateme nts that he was using audio frequencies from the very beginning. T he fact that the 1934 instrument could modulate an audio frequency is described by Rife in this statement we previously quoted:

Rife: “You know we had an idea when we had our [1934] Clinic in La Jolla, of course that was battery and motor generator operated that set, you know, and boy it would sure raise the devil with all the ra-dios so we had a couple of cars that was equipped with car radios and we sent them out and we would take the switch of that thing, and had a code you know like an S.O.S., and one of them went up north, and one of them went south from La Jolla. Before we started in we wanted to see how far we were go-ing to disturb things” (John Marsh collection - Trip to Ohio papers page 7. www.rife.org) In order to be able to put out an S.O.S. type signal he would have had to modulate the audio fre-quency onto a carrier in order for the radios to pick up the signal. On the John Marsh collection of Rife audio CDs, Dr. Couche makes an interesting comment about the #3 instrument. He was present at the 1934 clinic sponsored by Dr. Johnson and the University of Southern California. He stated: Dr. Couche: “They gave him a treatment of the Rife frequencies which are in the auditory band.” (John Marsh Rife CDs - CD 3 track 1) This statement of Dr. Couche’s verifies that audio frequenc ies were used by the Rife Ray #3. Though Couche did not understand everyt hing about t his instrument he di d know they were using au-dio frequencies in the instrument. We also know t hat Rife’s RF M.O.R. frequencies were also used by this instrument. This statement along with the other quotes of Rife’s read earlier, verifies that the 1934 instrument was a super-regeneration type instrument which used both a high frequency M.O.R. and an audio frequency. Here is a statement made by Rife of the full range of his frequencies: Rife: “Some of them are in the visible band, or I mean not only the visible band but, uh, band of fre-quencies audible to the human ear. Some of them are way beyond either way. They run through a very, very large gamut. Some of them are very, very broad, long. Some of them are...not extremely short. There are none of them what we call our ultra short wave that I have found yet. Well there’s many of them...we would, uh, classify in the ultrasonic band because they’re not visible [sic] with the human ear. They’re way beyond you know. And some of them are even in the broadcast band. Your cancer is very high. You can’t hear it, the oscillation. But now you take your T.B. [Tuberculosis]. Now that’s down. A little more you see...if you don’t have an absolute coordinative resonance, you have nothing. One tenth of one meter off and you have nothing. Its got to be absolutely correct for that indi-vidual organism. Its got to be precise...the virus of cancer has a certain frequency. And it has to be there, otherwise if it’s a little one way or the other, no good, no good for nothing. Infrared will pene-trate, yes, but the heat is not the thing because the heat is not the frequency, its [Infrared] way down in the very low band of frequencies and the laboratory rate of the BX is up into the high band.” (John Marsh Rife CDs - CD 5 track 2, CD 6 track 2, CD 7 track 1 and CD 9 track 1)

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In these statements Rif e clearly explains the broad range of his frequencies. Some were audio and could be heard by the human ear, ot hers are in the ultrasonic r ange and some are even in th e broadcast band. Cancer he said was very high. He st ates the frequencies have to be very accurate to work. One tenth of one meter off and they would not work at all. Th is one tenth of a meter is most likely the reason Rife used a super-regenerat ive or mixing circuit in his inst ruments. I think all of these statements we have read, waveforms we have looked at and Rife’s own words should have proven that Rife was using audio frequencies right from the beginning of his work in 1920. The whole conc ept of super-regeneration I believe will now come together and make sense.

Super-regeneration or mixing of the audio frequencies Next we need to take a look at this principle of mi xing the audio frequency back into the circuit . As mentioned earlier in this article, Armstrong found that if he took a radio tube (what we would c all a transistor today) and fed the signal received by that tube back through the tube many times, he could strengthen the signal with each pass. We can’t be 100% sure Rif e used this principle of mixing the au-dio back into the circuit called super-regeneration or if he just modulated a single audio frequency an d called it super-regeneration. But the evidence we will now take a look at shows it is almost certain h e did super-regenerate. The engineers we t alked to said it probably would not need to be super-regenerated more than about 20 to 50 times. The frequencies that would be produced are what will be called in this paper octave steps. All the octave st eps would have the same power level as the original frequency. Along with thes e frequencies you would get any harmonics which may have been pro-duced. To show some of what would have been produced in this circuit we will start with the frequency of 2128 hertz. To the right in t he graph you can see all the other frequencies which would also be pro-duced and many more up to the limits of the bandwidth of the circuit if it was allowed to continue mixing unchecked. The interesting thing about a super-regenerative or mixing circuit is , it would output many audio frequencies in octave steps. If 2128 was used and super-regenerated t en times then 10 octave steps would have been produced. T he last frequency as shown in t he graph would have been 2128 0 and this frequency is only 5 hert z different than the 10X frequency of 21275. These frequencies were used in an early 1940’s instrument built by Verne Thompson and reverse engineered by Aubrey Scoon. These audio frequencies were in most cases 10 time s higher than the audio frequencies used in the

BX Carcinoma

2128 4256 6384 8512 10640 12768 14896 17024 19152 21280 21275*

BY Sarcoma

2008 4016 6024 8032 10040 12048 14056 16064 18072 20080 20080*

B. Coli Rod

800 1600 2400 3200 4000 4800 5600 6400 7200 8000 8020*

B. Coli Virus

1552 3104 4656 6208 7760 9312 10864 12416 13968 15520 17220*

Gonorrhea 712 1424 2136 2848 3560 4272 4984 5696 6408 7120

Leprosy 600 1200 1800 2400 3000 3600 4200 4800 5400 6000 6000*

Pneumonia 776 1552 2328 3104 3880 4656 5432 6208 6984 7760 7660*

Staph Aureus

728 1456 2184 2912 3640 4368 5096 5824 6552 7280 7270*

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1950’s instruments which were also built by Verne Thompson. The 10X frequencies are in bold in both graphs. Five of them are exactly the same and most all the rest are not off by very much. Some of the frequencies may only be off because the instrument i s near ly 65 years old and it has drifted a little . This is what one would expect afte r nearly 65 years. Many of these old audio osc illators we tested have been off, depending on the band set ting, 30 to 50 hertz or more. Th e higher the frequency the more drift i n the oscillator. This was a real problem mentioned in connection with *Hoyland’s Beam Rays instrument. Now to continue on with how this super regenerative mixing circuit worked. The audio frequency used in the super regenerative mixi ng circuit and all of the created oc tave step frequencies would then be modulated onto whatever carrier frequency Rife used. This means any organism treated was bom-barded with many audio frequency octave s along with the RF M.O.R. freque ncy and its harmonics. In this type of circuit the amplitude of all the audio fr equencies would be the same. We can see that su-per-regenerative instruments had many harmonics in the carrier frequency and created many audio fre-quencies in octave steps which created many si de band frequencies spac ed at whatever audio fre-quency was used.

We mentioned a few paragraphs earlier that we bel ieve that the “one t enth of one meter” men-tioned by Rife is probably the k ey to the purposes of the audio frequenc ies. Rife’s 1920’s and 3 0’s in-struments were not very accurate. This was due to the electronic components of those days. Many of the parts used in that era were 20% tolerance parts. Today we h ave digital readouts, but in those days all they had was a dial with marks on it like the one shown on the next page. If Rife’s instruments were even 2% accurate he would have been very lucky. Even though you turned it to the same place on the

Streptothrix 784 1568 2352 3136 3920 4704 5488 6272 7056 7840 7870*

Syphilis 660 1320 1980 2640 3300 3960 4620 5280 5940 6600 6600*

Tetanus 120 240 360 480 600 720 840 960 1080 1200 1200*

Tuberculosis Rod

803 1606 2409 3212 4015 4819 5621 6424 7227 8030 8300*

Tuberculosis Virus

1552 3104 4656 6208 7760 9312 10864 12416 13968 15520 16000*

Strep Pyogenes

880 1760 2640 3520 4400 5280 6160 7040 7920 8800 8450*

Typhoid Rod

712 1424 2136 2848 3560 4272 4984 5696 6408 7120 6900*

Typhoid Virus

1862 3724 5586 7448 9310 11172 13034 14896 16758 18620 18620*

*Philip Hoyland: He was one of Rife’s engineers. Hoyland bu ilt the Rife Ray #4 for Dr. Rife in 1935 an d later became one of Rife’s partners in a company called Beam Rays Corporation. The corporation was founded in the fall of 1936 in order to build Dr. Rife’s instruments for the purpose of selling them to doctors. All of the audio frequencies we have proven to come from Dr. Rife have wrongly been attributed to Hoyland. We will discuss how this happened in this article. In 1936 Hoyland built a new instrument for the Beam Rays Company. This instrument was not built on Dr. Rife’s original principles. Aubrey Scoon purchased an old instrument and made the mistake of thinking it was an original Beam Rays Corporation instrument. We will prove in this article that i t was not one. This mistake caused many, including us, to believe that the audio frequen-cies came fro m Philip Hoyland inste ad of Rife. This mistake has caused all kinds of confu sion about wh o really used the audio frequencies first, Rife or Hoyland. We now know it was Rife. The frequ encies with the * aste risk and in bold shown above in the frequency chart are the frequencies wrongly attributed to Hoyland.

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dial you would not get the exact sa me frequency each time. We tested an old osc illator that went from about 2 MHz to 5 MHz. This is about the same range of the Rife Ray #4 on switch setting number 6, group 1. The Rife Ray #4 ranged from 2.15 MHz to 4.85 MHz. The tests showed when we set the dial at 2.5 MHz and then tried to come back to that fre-quency we were off the first time about 6,940 Hz, second 2,190 Hz and the third time 3100 Hz. Then we te sted 3.3 MHz and were off 1 7,100 the first time, 10,190 t he second time and 19,260 the t hird time. Then we tested 4.7 MHz and were off 17, 950 the first time, 10,170 the sec-ond time and 20,220 the thir d time. Each time we tried to mak e sure the frequency dial was center ed on the mark. This proved to us that it would have been all but imposs ible for anyone to ev er hit a frequency

within “one tenth of one meter” just by going back to the same dial setting. The next test we did was to find out if Rife could have held a frequency within the “one tenth of one meter” tolerance he gave on the Rife CDs. Our tests show that he could have done this with his instruments. This proved to us Rif e could have found out what frequency ki lled an organis m within this toleranc e. All thes e tests that we did only convinced us more that Rife’s instruments would have h ad to have used a super-regenerative mixing circuit in order for the people who used it to hit the frequency of an organism without using a mi-croscope to verify they were on frequency. These tests clearly s howed us t hat Rife’s origina l h igh RF fr equencies would hav e been ball park numbers, hard to hit, for anyone turning a dial us ing his equipment. These tests we be lieve give us the reason why Rif e would have used a super regenerative mix ing circuit. Those old M.O.P.A. de -sign instruments could wa nder + or - 30,000 hertz because of the old com ponents used in them . At 1,604,000 hertz the “one tenth of one meter” tolerance would be 858 hertz. Rife said that if you were off by this amount it would not work. It would ha ve been all but impossible fo r those doctors who used his instruments to turn the dial and hit the exac t frequency with those old instruments. A super regen-erative mixing circuit would have solved the accura cy problem with this old equipment. If Rife used an audio frequency of 700 hertz for the BX cancer virus, which would be less than the “one tenth of one meter”, and then super regenerated it in his inst rument 50 times he would have had 100 sideband s covering a bandwidth of 35,000 hertz. Using this method it would have been very easy for those using his instruments to hit the correct M.O.R. of the organism. Depending on the quenching frequency used in this circ uit Rife could hav e produced as many si deband frequencies as he desi red. Using the “one tenth of one meter” as a measuring stick it is possible to figure out what audio frequency would be best for the sideband spacing for each organi sm. Dr. Milbank Johnson had hi s Rife Ray #4 instrument mal-function. Most likely the super- regenerative quenching circuit m alfunctioned and if it di d it could pro-duce thousands of sideband frequencies that could kill many organisms at the same time. This may explain the effect Dr. Milbank Johnson wrote Dr. Gruner and Rife about in a November 4, 1936 letter.

Dr. Johnson: “Last summer, in hunting for the M.O.R. for the other two reproductive forms of the cryp-tomyces pleomorphia, we ran into a new band of oscillations which introduced itself to us by killing all three forms - those that we called BX, our filter-passing form; then a transitional form such as you found in the monocytes in the blood; and then the third or highly developed form coming from the spo-rangius forming from the hyphas of the mycelium. At the same time that this new wave band arrived, we broke all the glass in the laboratory of a certain shape, not only in the room where we were working but in all the other rooms...we had been troubled a great deal with a mold because in the microscope room there were no windows, but this band not only destroyed that mold, which was growing on the leather objects in the room, but every bacteriological culture that we had in the laboratory! It cleaned us out completely so we had to start from scratch and replace our losses. In fact, we were all so surprised that we began to feel each other’s pulses to see if we were still alive. As no harm had been done to us, we proceeded to test the new band out on mice, rats, rabbits, guinea pigs and dogs. So far as we were able to discover, it is not at all destructive or injurious to normal cell tissue. While we have been forced to modify our machine so as to produce this new band, still it is so much more effective clinically that

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we look upon it as a very advantageous discovery. However, our experience has forced us to do all of our experimenting with the new ray completely outside of our laboratory building or abandon all form of bacteriological experiments, because it instantly kills them all.”

If we consider that a supe r-regenerative mixing circuit using a low audio frequency c ould pro-duce, if desired, thousands of octave step frequencies up to the bandwidth of the circuit, then these fre-quencies when modulated would produce many thousands of side bands. Using this method, frequen-cies could be only 200 to 300 hertz apart. With a little drift in the carrier frequency, which was normal in that type of instrument it is possible every M.O.R. frequency could be produced simultaneously. This may be the only explanation as to wh y this happened. As we said earlier only 20 to 50 octave steps would have been us ed. But if the circuit malfunc tioned then wh at Dr. J ohnson described could have happened. Dr. Johnson said they had to modify their instrument to make it produce the same effect the second time. If all Rife’s RF M.O.R.s have harm onic frequencies in the lower bands, which it appear s they do, then it would be possible to simultaneously el iminate all the organisms at the same time as Dr. Johnson was able to do. This I believe shows the inherent possibility of a super-regenerative instru-ment. With everything we have now discovered a bout how a super-regenerative circuit worked, the fact that the 1934 #3, 1935 #4 and Beam Rays and 1940’s and 50’s instruments used audio frequen-cies seem s to link all of Rife’s instruments together in a way neve r before even considered. This knowledge seems to f inally give us the ans wer to the question: Why was Rif e working with an instru -ment that used only audio frequencies modulated ont o a fixed carri er frequency in the 1950’s? This has been a mystery that no one has been able to explain except to say it was Crane who came up with the audio frequencies by dividing Rife’s RF M.O.R. frequencies down until he reached the audio range of frequencies. Which we now k now is not true. Now that we have an understanding of how s uper-regeneration would have worked the only logic al explanation is the audio frequenc ies used in the 1940’s and 50’s instruments must have been derived fr om the audio frequencie s used in the 192 0’s and 30’s s uper regenerative mixing c ircuit. We will discuss thes e frequencies later on when we talk about the 1940’s and 1950’s instruments.

History of Rife’s instruments and changes made There is not enough information to know exactly w hat Dr. Rife did in the early years, from 1920 to about 1928. This is because very little documented information has survived. His lab notes detailing 26 conditions and their frequencies have been preserved. The earliest information we have shows that he used frequencies ranging from the audio range to just over 17 MHz. He used many different carrier frequencies at this ti me. People are beginning to experiment with these frequenc ies and are claiming very good results. The operation of the Rife Ray #3, #4 and Hoyland’s Beam Rays in struments along with the in-struments that used only audio frequenc ies built in the 1940’s and 1950’s by Verne Thompson are now somewhat understood. The Beam Ra y Corporation instruments of 1936-39 built by Philip Hoyland are no longer as big a mystery as they once were. What was once thought to be an original Beam Ray in-strument we now know is not one and was built by Verne Thompson in the 1940’s. It i s wrongly be-lieved that the frequencies that were used in the instrum ents built in the 1940’ s by Verne Thompson are the audio frequencies used by Philip Hoyla nd’s 1936-1939 Beam Ray Cor poration instruments. These are referred to as the 10X audio frequencies and will be discussed in more detail later on in this article. Much of the information we currently have has come from a 1950’s AZ-58 built from schematics, and the knowledge of how super-regenerat ion instruments worked. Usi ng an oscilloscope, what were wrongly believed to be Philip Hoyland’s audio frequencies are now known. Their possible correlation to the 1950’s instruments will also be discuss ed in greater detail in this articl e. In order to follow the evo-lution of Rife’s technology, we will first examine t he Rife Ray #3 that was bu ilt prior to 1934 and then

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his next instrument, the Rife Ray #4, that was built by Philip Hoy land in 1935. Then we will look at the 1936-39 Beam Rays Corporation ray t ube instrument followed by the AZ-58 ray tube and pad instru-ments built by Life Labs in the 1950’s.

1934 Rife Ray #3 Super-Regeneration Instrument

1) Was a super-regenerative instrument that used a ray tube. 2) Had three oscillators. One audio oscillator and two high frequency oscillators. Because Rife’s lab notes show two high frequencies, this instrument had to have had three oscillators of which two could have produced two RF M.O.R. frequencies. 3) Output three sine wave frequencies. Had an audio oscillator for super-regeneration. 4) Power usage was from batteries. Output to the ray tube about 50 RF watts? This instrument was used in the 1934 clinic by Dr. Milbank Johnson. In order to get a greater understanding of this instru ment we will hav e to take a look at the frequency range of Dr. Rife’s lab notes which he recorded prior to 1934. Each lab note had two frequencies . On e was listed in cycles per second and the second was listed in meters. The super-regenerativ e audio frequencies are not known. For the purpose of making this arti cle easier to understand the meter frequency on Rife’s lab notes have been converted to cycles per second or hertz. As we discussed earlier in this article Dr. Rife used at least two frequencies for each organism. One was in the audio range and the other in the RF range. The RF frequency was the M.O.R. and the other was the audio frequency for the spacing of the sidebands. In this instrument it appears from his lab note he us ed three frequencies for each or-ganism. Some have mistakenly believed that Rife onl y used audio frequencies. This is becaus e Dr. Rife worked with John Crane and John Ma rsh in the 1950’s with the AZ-58 instrument that used only audio frequencies. The Rife Ray #3 frequencies listed on his lab notes are given below. Rife’s lab note frequencies from before 1934 First Frequency Second Frequency In Hertz Meters to Hertz Actinomycosis (Streptothrix) 678,000 186,554 Anthrax 900,000 272,539 Anthrax Symptomatic 400,000 16,655 Audio range B. Coli (Rod form) 683,000 317, 914

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B. Coli (Filterable virus) 8,581,000 11,103,424 Bacillus X & Y. Cancer 11,780,000 17,033,662 Bubonic Plague 160,000 512,466 Catarrh 1,800,000 1,713,100 Cholera Spirillum 851,000 960,873 Contagious Conjunctivitis 1,206,000 2,025,625 Diphtheria 800,000 1,090,154 Glanders 986,000 736,591 Gonorrhea 600,000 150,649 Influenza 1,674,000 1,946,704 Leprosy 743,000 251,926 Pneumonia 1,200,000 381,901 Spinal Meningitis 927,800 1,795,164 Staphylococcus Pyogenes Aureus 998,740 555,171 Staphylococcus Pyogenes Albus This frequency found in Rife’s papers 549,070 Streptococcus Pyogenes 1,214,000 2,111,214 Syphilis (Treponema Pallidum) 900,000 2,775,856 Tetanus 700,000 15,779 Audio range Tuberculosis (Rod form) 583,000 541,142 Typhoid Fever (Rod form) 900,000 868,964 Typhoid Fever (Filter passing) 9,680,000 13,943,835 There isn’t a lot more known about this instrument other than the fact that Hoyland said Rife had not read the frequencies correctl y off th is instrument. We will cov er this in detail when we discuss the Rife Ray #4.

1935 Rife Ray #4 Super-Regeneration Instrument

1) Was a super-regenerative instrument that used a ray tube. 2) Had three separate oscillators. One audio oscillator and two high frequency oscillators that produced 2 frequencies from 87,000 hertz to 22.5 MHz.. 3) Power usage was about 450 to 600 watts. Output to the ray tube about 50 RF watts. Some have asked how we can be sure these photos we have are of the Rife Ray #4. It is a sim-ple process of deductive reasoning. John Crane, one of Rife’s 1950’s bu siness partners, misdated the Rife Ray # 4 as a 1942 instrument and this has led to the confusion. We will now clear up this confu-sion. In the photo above on the right we have Rife us ing the inst rument Crane dated as built in 1942.

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The lab film this picture was taken from was made in the summer of 1936 for use at a confer-ence Rife was going to attend l ater on that fall. He was going to this conference to demonstrate the isolation of the BX cancer virus. This properly dates the instrument as having been built before the summer of 1936 and shows Crane was inc orrect. In t he background of this photo, behind the instru-ment Rife is using, we see his 19 34 instrument back against the wall. Therefore this instrument would have been built in late 1935 or earl y 1936. The Rife Ray #4 documents s how it was completed in the fall of 1935. This logically dates t he instrument he is using in the 1936 film as the Rife Ray #4. Rife’s attorney Bertrand Comperet said th ree of these instruments were bu ilt. Dr. Milbank Johnson, M.D. used one in his clinic in 1936 and Rif e had one in his lab. It is not known where the third instrument went. With the proper dating of this instrument which shows it is the Rife Ray #4 we will now discuss it in detail. The following information comes from the 1939 Beam Ray tria l papers that are on Stan Tru-man's site, www.rife.org, and various other documents. Anyone who wishes to can read these papers. We will tell the story and quote from the various documents as necessary. We said earlier in this article that Hoyland said Dr. R ife had not read his frequenc ies correctly and if this is true then all of hi s lab note frequencies prior to 1935 ar e incorrect. We will now discuss this controversy. Philip Hoyland was hired by Dr. Milbank Johns on, M.D. and the University of S outh-ern California Special Medical Res earch Committee in 1935 to build a more up to date portable fre-quency instrument to be used for res earch by doctors. Dr. Rife’s 1 934 instrument was very cumber-some and almost filled a whole wall in his lab. In order to build the new inst rument, Hoyland needed to know what frequencies Dr. Rife was using. So he brought to Dr. Rife’s lab what we would call today an oscilloscope to read the frequencies. Up until about 1933 there was no such instrument that could eas-ily and accurately measure frequencies. It was very diffi cult to read the correct frequencies prior to this time unless you were very proficient at doing it. Philip Hoyland had to know exactly what frequencies Dr. Rife was using in order to build the new instrument. On the stand in the 1939 trial Hoyland stated this about how he obtained the frequencies: (Beam Ray trial papers www.rife.org) Hoyland: “They were taken off the last machine [the 1934 instrument] that was built by Dr. Rife. I transferred them from one machine to another.” At another point during the trial the transcript reads as follows: Comperet: “In June of 1935 was when you made an agreement with the [transcript missing words] medical research to build a Rife Ray machine, [the Rife Ray #4] you did build it soon after that?” Hoyland: “Yes.” Comperet: “You had an agreement with them that all work was to be done under Dr. Rife’s direction?” Hoyland: “That’s what the contract called for.” Comperet: “Did you do this work without getting the frequencies from Dr. Rife?” Hoyland: “I calibrated the machine according to the bacteria.” Comperet: “What specifically did you do that constituted this recalibration?” Hoyland: “I used a standard oscillator against his machine to see what frequencies he was using.” Comperet: “He set his machine and you measured his frequencies?” Hoyland: “Yes.”

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Comperet: “Did you make any memorandum of these particular frequencies?” Hoyland: “Yes, I gave Dr. Johnson and Dr. Rife a list of them.” Later during the trial Dr. Rife was asked where the frequencies came from: Judge Kelly: “When you constructed this Beam Ray machine [the1934 instrument] you had a dial rep-resenting the frequencies or harmonics?” Rife: “We had many dials on the original machine.” Judge Kelly: “Is that the machine Mr. Hoyland got the frequencies from?” Rife: “Yes, he took them off that old machine [the 1934 instrument].” From the court testimony giv en by Rife and Hoyland we see th e frequencies were read by Hoy-land off of the 1934 instrument and used in the next in strument which was the Rife Ray #4. Now let’s continue on reading the court testimony: Comperet: “Now going back to your assumption that Dr. Rife knew the frequencies, had Mr. Hoyland ever told you that Dr. Rife knew them?” Edwards: “No, he told me that Dr. Rife only thought he had them.” Comperet: “What did you think that meant?” Edwards: “Well, Mr. Hoyland told me about that time [1934 and before], that Dr. Rife measured the fre-quencies only by the length of the wire and that he did not take other factors into consideration.” Here in the court testimony we just read that Dr. Rife had not read the frequenc ies correctly when he measured them. This was a very easy mistake to make in the 1920’s and 30’s. But the real question is did Rife really misread his frequencies? The frequencies Hoyland r ead off of Dr. Rife’s #3 instrument were different than t he earlier lab note frequencies recorded by Rife. This has caused a lot of confusion. Perhaps Dr. Rife read a harmonic of the frequency inst ead of the correct frequency. It appears this may have been what Rife did. Dr. Rif e understood how easy it was to read a harmonic frequency instead of the correct frequency and recogni zed that he may not have had true fundamental frequencies. He stated: Rife: “I’ve talked to you [John Crane] and Verne [Verne Thompson] and other people too that there may be some of the frequencies that we are using that may be harmonics, you know...It’s not an impos-sibility that some of those frequencies may be a harmonic. We may not know the true frequencies of some of them. But it does the business. Maybe if we had the true frequency it would do it better be-cause it has more power than a harmonic.” (John Marsh Rife CDs - CD 7 track 2) What needs to be said here is Hoyland was claiming in court that he was the real brains behind Rife’s technology. There is no questi on that Hoyland was trying to make Rife look bad. But also the fact is, there were different frequencies used in t he Rife Ray #4 and we cannot ignore this. The real answer may be the fact that Rife’s #3 was a supe r-regeneration instrument. In a super-regeneration instrument that used audio fr equencies and two high RF M.O.R. frequenc ies a lot of harmonics would be created. If you use the two high frequencies Rife wrote on his l ab note for the BX (cancer) w hich are 11,780,000 hertz and 17 6/10th meters or 17,045,000 hertz you could get a very strong harmonic at 1,604,000. This frequency is the frequency used for the BX in the Rife Ray #4. This possibility alone

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may show that Rife w as not misreading his frequencies but that Hoyl and only read a strong harmonic at 1,604,000 hertz and he used this strong harmonic in the Rife Ray #4 and it worked. Maybe Hoyland used these lower frequencies because it would be easier to build an instrument with them and as said earlier he was only trying to make Rife look bad. It is har d to believe that Rife would be off by 10 to 16 million hertz and not know it. This would be a far st retch for almost anyone's imagination. Another pos-sibility is Rife was tuning his in strument to 11,780,000 her tz and then he would tune the wavelength to 17 6/10 meters. Whatever frequency t hat came out was the true M.O.R of the organi sm and this fre-quency or a harmonic was 1,604,000 hertz . No matter how we look at it Rife just could not be that in-ept. In the list below are the Rife Ray #4 frequencies Hoyland read off of Dr. Rife’s 1934 instrument. Rife Ray #4 frequencies

Actinomycosis (Streptothrix) 192,000 Anthrax 139,000 B. Coli (Rod form) 417,000 B. Coli (Filterable virus) 770,000 Bacillus X (Cancer carcinoma & sarcoma) 1,604,000 Gonorrhea 233,000 Spinal Meningitis 427,000 Staphylococcus Pyogenes Aureus 478,000 Staphylococcus Pyogenes Albus 549,070 Streptococcus Pyogenes 720,000 Syphilis 789,000 Tetanus 234,000 Tuberculosis (Rod) 369,000 Typhoid Fever (Rod form) 760,000 Typhoid Fever (Filter passing) 1,445,000 We mentioned audio frequencies being used when we talked about super-regeneration. The list of the audio frequencies from the Rife Ray #4 are only known as s witch settings. The only thin g we can do is use the “one tenth of one meter” as a m easuring stick to figure out the best possible audio frequencies. We can also try th e 1950’s audio frequencies but they would place the sidebands a little further apart than the “one tent h of one meter”. But it i s possible that they were the audio frequencies used in the Rife Ray #4 and we cannot overlook this possibility. Putting all speculatio n aside we are only sure of one thing. Rife used super-regenerati on and these instruments used the combination of the high frequency RF M.O.R. which was modulated with an audio frequency and possibly the octave steps produced in the super-regenerative mixing circuit. This type of instrument would have created all kinds of interference with radio stations. Let’s consider the harmonics from the carrier going to at l east 100 Megahertz and the many sidebands created from the super-regenerative audio circuit. This would have produced interference which today would make it impossible to use without a faraday cage. In this statement Rife indicated the 1934 instrument did create problems for radios: Rife: “You know we had an idea when we had our Clinic in La Jolla, of course that was battery and mo-tor generator operated that set, you know, and boy it would sure raise the devil with all the ra-dios...Before we started in we wanted to see how far we were going to disturb things with it you know, and incidentally we had it in a steel room, a steel lined vault...but it didn’t make much difference”. (John Marsh collection - Trip to Ohio papers page 7. www.rife.org) This description of the 1934 instrument given by Rife resembles the kind of interference one would expect from a super-regenerative tr ansmitter. But, on the other hand, it is not the kind of inter-ference that would be expected fr om an instrument that put out just one modulated sine wave fre-quency. We will now talk about the next instrument built by Philip Hoyland.

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1936-39 Super-Regeneration Beam Ray Corporation instrument 1) Was a super-regenerative instrument that used a ray tube. 2) Had two oscillators; one audio and one RF. Also had a fixed carrier possibly 4.68 MHz 3) Modulated sine wave audio frequencies onto the variable RF carrier frequency M.O.R. 4) Power usage was about 450 to 600 watts. Output to the ray tube about 50 RF watts. Just as with the Rife Ray #4 we must determi ne what a Beam Rays Corporation instrument looked like. The reason we need to determine this is because unless we know what those instruments really look ed like we may think we have a true Beam Rays instru ment and find out later that it is not one. This is exactly what happened. We mentioned this earlier and will talk about this in this part of the article. First we will prove th e photos we have are photos of Beam Ray s instruments. The instru-ment above on the left is a photo of one of three in struments owned by Dr. James B. Couche wh ich he purchased from Beam Rays Inc. Dr. Couche sold this instrument to Dr. Tully in 1951. This photo gives us an instrument we can make co mparisons against when look ing at ot her instruments. The above photo on the right is of Dr. Rife and Philip Hoyland his engineer and business partner in Beam Rays Corporation. In the phot o is an instrument. We will prove that this instrument is also a Beam Rays in-strument by making s ome comparisons. This phot o of Rife and Hoyland was taken for a May 6, 1938 newspaper article published by t he San Diego Tribune. In the newspaper the caption below the photo said: “Royal Raymond Rife, left and Philip Hoyland with Rif e ray apparatus”. At this ti me Beam Rays was selling their instruments to doctors and this front page newspaper article had the capability of sell-ing a lot of instruments. It is only logical they would have used the instrument they were selling. The next two photos below are close up phot os of these instrum ents. You will notice the similarities of

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these two instruments. They are almost exactly alike except for the case. Dr. Couche’s instrument was in a case that extended all the way down to th e floor. It had handles on the side and most likely had wheels on the bottom which would ma ke it very easy to move around. Both instruments have two os-cillator dials which are exactly al ike and they both go to 100. They both have power meters all the way over to the right next to where t he ray tube is connected. They both also have a tuning eye above the dial to the right for calibrating the instrument. Below the dial to the left was a power indicator lamp. Dr. Couche’s instrument had a timer bel ow the power meter to help him ma ke sure he treated the patient for the correct amount of time. The filament, sweep and output s witches are not clearly marked on Couche’s instrument but we can see what appears to be thr ee different switches, two below the center oscillator and one below the timer. The comparison we have just made with Dr. Couche’s Beam Rays instrument shows they are both Beam Rays instruments. Next let us take a look at the photos above. This instrument was mistaken for a Beam Rays in-strument. It was at one time for sale on www.Rif e.org. John Bedini and a group of men who had worked with John Crane for a year and a half considered purchasing it. After ca reful examination they found that this instrument was not a Beam Rays instrument but was built by Verne Thompson in the 1940’s. Thompson was a radio repairman who wor ked on the police radios fo r the San Diego polic e department. Rife had him doing all the repairs on t he instruments after Beam Rays Corporation had closed down. Verne Thompson built sever al machines in the 1940’s. He also built the 1950 ’s AZ-58 which Rife, Crane and Marsh used. Aubrey Scoon and a group of men from England purchased the above instrument believing it was a Beam Rays instrument. The r eal Beam Rays i nstrument was known to be full of harmonics. Because Sc oon’s group used the wrong main output tube in repair ing it the instrument had a lot of harmonics. This convince d them even further into believ ing they had a real Beam Rays instrument. A few years ago I was communi cating with Aubrey about this instrument. In the course of our communications he told me t hat he had used the wrong main output tube in the in-strument when they fi xed it. Because they had us ed the wrong tube the instru ment had a lot of har-monics in the carrier frequency. He said that when they discovered this mist ake they put the proper tube in and all the harmonics wer e gone. Scoon menti ons the change of this tube on his web s ite. All of the photos of waveforms on his web s ite are of an instrument that is malfunc tioning. This sim ple mistake, that anyone could make, led to a great deal of conf usion causing many to believe this instru-ment was a Beam Rays instrument. Both James Burger and I built Scoon’s instrum ent with the correct tubes and found that the RF output is clean and has no visible harmonics on an oscilloscope. This confirmed to us what Aubrey had said about using the proper tube. It also proved that it didn't have the harmonics whic h the genuine Beam Rays instruments had. This was ev en more of a confirmation that Scoon's instrument was not a Beam Rays instrument. The frequencies obtained from this instrument are very important because this instrument shows that Verne Thompson early in the 1940’s changed the instrument so that it only used

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audio frequencies modulated onto a fixed c arrier frequency. It also confirms th at different audio fre-quencies were used in this early 1940’s instrument than were used later in the 1950’s instruments. This Thompson instrument worked almost in an iden tical way to the 1950’s AZ-5 8 except it used sine wave audio frequencies and the AZ- 58 used square wave audio frequencies . Thompson’s early 1940 instrument also used audio frequencies about 10 time s higher than the 1950’s instruments. The fre-quency graph shown earlier (page 10 & 11) has those frequencies listed in bold with the asterisk. When we built this instrument and compared it to the 1950’s instrument we found the AZ-58 appears to be the better design since it was built later in the 1950’s.

When we compare the above photos of these two instruments si de by si de they look nothing alike. The Beam Rays instrument on the left has two oscillator dials fo r two different frequencies. The Verne Thompson instrument on the ri ght has only one audio os cillator dial repres ented by the large knob in the center. The two other li ttle dials are for changing the band settings of the audio frequencies and the amplitude. Having shown that these are two different instruments let us now take a look at the history of the Beam Rays Corporat ion. Philip Hoyland became Rife’ s Engineer in 1935 when he built the Rife Ray #4. In 1936 Hoyland st arted building a new instrument to be used in the newly formed Beam Rays Corporation. Rife, Hoyland, Dr. Couche and several other men started this company in order to commercially sell the instruments to doctors. Hoyland who it appears had a little larceny in his blood made changes to this new instrument without telling Dr. Rife about those changes. Hoyland also found different frequencies than Rife’s #4 frequencies to use in thi s new instrument and claimed in the trial that he was the real brains behind the frequency instruments. In the 1939 Beam Rays trial docu-ments we find out where Hoyland’s new frequencies came from. Here is the trial testimony given by Rife and Hoyland: Comperet: “Has the Plaintiff [Philip Hoyland] ever informed you that the machines that he designed and built for the Beam Ray were not operating on the same frequencies as your own?” Rife: “They were supposed to be operating on the same…with harmonics.” Philip Hoyland when he was on the stand was asked: Comperet: “I understand that you say that the frequencies used in the machines put out by the corpo-ration were not set to the same frequencies as Dr. Rife’s machines [Rife Ray #4].” Hoyland: “That is correct.” Comperet: “Then it was during the period between September and November that you told Edwards at his home that the machines you were building were not putting out the same frequencies as Dr. Rife’s machines?”

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Hoyland: “Yes.” Comperet: “How did you explain that?” Hoyland: “In the summer of 1936 I designed a new machine, or rather I checked it there at the lab [The Beam Rays instrument]. I had designed it in Pasadena, and we tested it out then and the frequencies were not the same as on Dr. Rife’s machine.” Comperet: “Did you tell him how great the difference it was?” Hoyland: “I explained that there was quite a fundamental difference.” [Harmonic frequencies] Comperet when asked a question by Judge Kelly said this: Comperet: “Hoyland has said that the design and the frequencies of the machine itself is not that of a Rife Ray machine, and that the machine is in fact different. The company will have to have these ma-chines junked, must draw up new designs according to Dr. Rife’s ideas, must have Dr. Rife ok these designs, etc…Dr. Rife is not going to be a party to a fraud, and if the machines we sell are not the true Rife machines they are a fraud.” (Beam Ray trial papers www.rife.org) When Edwards was on the stand he said this: Comperet: “Did Mr. Hoyland tell you at any time in the fall of last year that the machines he was manu-facturing for Beam Ray corporation operated on a principle fundamentally different from Dr. Rife’s ma-chine?” Edwards: “Mr. Hoyland told me at one time that Dr. Rife thought that he had the frequencies but he didn’t have them [here Edwards is talking about the Beam Rays Corporati on instruments not the Rife Ray #4 ins trument because Hoy land said, on the st and, that he gave the Rife Ray #4 frequencies to Dr. Johnson and Dr. Rife in 1935].” (Beam Ray trial papers www.rife.org) Philip Hoyland also said this on the stand: Hoyland: “Regarding the frequencies of the machine [Beam Ray Corporation instrument], you will re-member me telling you that the frequencies used are not the same ones on the Rife machine [The Rife Ray #4]. They [The Rife Ray #4] were in the upper bands [139,000 hertz to 17,045,000 hertz].” (Beam Ray trial papers www.rife.org) Though what Hoyland did was not right there are some good reasons why he built the instru-ments the way he did. Rife and Hoyland became partners in Be am Rays Corporation in 1936. Rife had 45% ownership and Hoyland had 55%. Hoyland wa s worried about keeping the frequencies a se-cret because he felt people wo uld try and steal their technology. This concern of Hoyland’s was not unfounded because Mr. Parsons of the British Group did try to steal their instrument. From the trial we learn they had no way to patent the instrument because everything they were doing was in public do-main. Hoyland felt that he had to come up with a wa y to keep anyone from finding out what the true frequencies (frequencies in t he upper bands) were. So he built the instrument a different way using harmonic frequencies of the Rife Ray #4 frequencies. In 1939 Rif e sent a letter to Dr. Gonin and c om-mented on the changes Hoyland made: Rife: “I spoke only Friday evening to a Mr. John Chamblin, a radio man now connected with Beam Rays Inc., about the redesign and building of a device according to the old Rife Ray principles; as the present instrument has been so deviated away from that old principle that it is nowhere near the

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same...those devices which you have are merely working on a harmonic and not a true frequency; and in our research on electronics, we definitely know that there is no possible way of controlling electrical harmonics of a frequency.” (Rife to Gonin letter May 14, 1939) We are not 100% pos itive that Hoyland supe r-regenerated the audio frequencies in th e Beam Rays instrument but it is highly li kely that he did. These instru ments would have the same problems with accuracy as the Rife Ra y #4. Hoyland said in the trial t hat Rife’s frequencies were in the upper bands and his were in the lower bands. This would have to do with the RF M.O.R. frequencies and not the audio frequencies . The reason we know this is because Rife’s RF M.O.R.s were in the upper bands and his super-regenerated audio fr equencies were already in the lower bands. Let us now take a close look at the Beam Rays instrument photo below. From the evolution of the Rife Ray document we know the instrument had a fixed car rier. You will notice in the above photo that the instrument has two oscillator dials which would produce two fre-quencies. One would have been for the super-r egenerated audio frequency and the other would have been for a lower harmonic RF M.O.R. fr equency. The fact that it had tw o oscillators indicates it was super-regenerated. What lower harmonic RF M.O.R . frequencies were used is not known but they would have been calculated from the Rife R ay #4 frequencies. The super-regenerated audio frequen-cies used in this instrument would have been lower audio frequencies because the RF M.O.R. frequen-cies were lower. Hoyland put a lot of work into this instrument and didn’t finish it until late 1936. Benja-min Cullen said Philip Hoyland spent a lot of time at the lab. In Cullen’s taped interview he said this: Cullen: “Philip Hoyland was in there quite a lot...Hoyland developed some few items in the lab...Hoyland seemed to help quite a lot and he got into the bacteriology side with Rife a good deal be-cause Rife had so much to work out...he finally got to the point where he [Rife] had to delegate some of the work.” (John Marsh Rife CDs, CD 6 track 1) From the trial we learn Hoyland developed and tested his instrument in the lab. How could Hoy-land have tested it unless he put mi cro-organisms under the microscope? From the trial papers we learn that Hoyland didn’t tell Rif e what frequencies he was using in t he instruments. Rife thought the instruments were using his frequencies (the upper band frequencies) but w ith harmonics. We read earlier Dr. Rife eventually found out about this and was very unhappy that the instruments were not working on his frequencies and principles. Even though Hoy land changed the ins trument it still worked. In fact the doctors that used them reporte d astounding results with their patients. Hoyland was most likely still using Rife’s principles but only used lower RF M.O.R. harmonic frequencies.

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After the 1939 Beam Rays tria l Rife and Hoyland ended their associ ation. Rife had to get an-other engineer to build and repair instruments. Verne Thompson eventually becam e his enginee r sometime around 1940. Verne built the next generation of instruments which we will discuss next.

Verne Thompson’s Early 1940’s Instrument

1) Used a ray tube. 2) Used 4.68 fixed carrier. 3) Modulated sine wave audio frequencies onto a sine wave carrier frequency. 4) Power usage was about 460 watts. Output to the ray tube about 15 watts. We now know that this instrume nt was built by Verne Thompson in the early 1940’s. It is most likely the first instrument built that only us ed audio frequenc ies modulated onto a fixed carrier fre-quency. It also stands to reason that Rife was involved in the building of this instrument since Rife had Thompson fixing the old Beam Rays instruments. The puzzling question is why would Thom pson change the instrument to this design when Rife’s earl ier instruments work bette r. The FCC is most likely the answer. The frequencies that Rife used in hi s original equipment were in the A.M band. By the 1940’s they would have been interf ering with many radio stations. Super-regenerative instruments were eventually made illega l. Stricter bandwidth regulations were being made to protect the airwaves . This would have meant that Rife c ould no longer build his original in struments without those who pur -chased them using a faraday cage. I think Rife r eally had no choice but to change the instrument. Verne Thompson was making a living bu ilding and repairing radios. He w ould not have been willing to jeopardize his FCC license and lose his income. When one understands what really was happening in radio communications at this time it is easy to see what most likely brought about the changes in Rife’s instruments. Out of these circ umstances the limited audio frequency instrument was born. Below ar e the frequencies used in this early 1940’s instrument. These audio frequencies must have been derived from the audio frequencies used in the super-regenerative mixing circuit and were output sine wave.

Rife’s 1940’s Verne Thompson instrument frequencies BX (carcinoma) 21275 Typhoid Virus 18620 BY (sarcoma) 20080 Tetanus 1200 Treponema 6600 Typhoid Fever (rod form) 6900 Staphylococcus 7270 Pneumonia 7660 Streptothrix 7870 B. Coli (rod form) 8020 Tuberculosis (rod form) 8300 Streptococcus 8450 Tuberculosis (virus) 16000 Worms 2400 B. Coli (filterable virus) 17220

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1950’s AZ-58 Life Labs ray tube instrument

1) Used a ray tube. 2) Could change between 2.2 and 5 MHz sine wave carrier frequency (First used 4.68 carrier). 3) Modulated square wave audio frequencies onto a sine wave carrier frequency. 4) Power usage was about 460 watts. Output to the ray tube about 15 watts. We have learned that the 1950’s AZ-58 design instrument began with Verne Thompson in t he 1940’s. We will cove r this information in more depth. This style of instru ment has never worked as well as the Rife Ray #4 or the Beam Rays instrument s built by Philip Hoyland . From the stress of th e Beam Rays trial, Rife became an alcoholic and all that he had worked so hard to accomplish was al-most destroyed. Many of the doctors had returned t heir instruments because of AMA threats. All but one or two of these returned Beam Rays instruments Rife parted out and sold to anyone who wanted radio parts. Under these circumstances the AZ-58 st yle instrument was built. Rife didn’t like the har-monics of Hoyland’s Beam Rays inst rument and could no longer build it because of FCC regulations. The FCC began policing the airwav es in 1935. Super-regenerative instruments produced too many harmonics and interfered with radio st ations and were eventually outlawed. These were the conditions that Verne Thompson was working under when he built the AZ-58 style of instrument. This style of in-strument no longer us ed the RF M.O.R. frequencies anymore. Audi o frequencies were used but they were not super-regenerated. They were individually modulated onto a fi xed carrier. In the early 1940’s when Thompson started building this new type of instrument Rife wa s an alcoholic, depressed and de-spondent. Rife probably left Verne to build it his own wa y. At this time hundreds of new radio stations were being granted licenses and the RF M.O.R. frequencies wer e all in the radio band of frequencies and would interfere with these new br oadcasting stations. This is mo st likely the reason Verne made these changes and quit using the RF M.O.R.s. Thompson’s des ign was als o less powerful than the Beam Rays instrument. The Beam Rays instrum ent output 50 watts out of the ray tube and Thomp-son’s design only output 15 watts. This was also most likely done to make sure the fixed carrier fre-quency would not interfere with radio st ations. It is logical to assu me Verne would have derived the audio frequencies from the super-regenerative audio frequencies used in ei ther the Rife Ray #4 or The Beam Rays instrument which he was fixing. Thompson most likely knew nothing about the Rife Ray #4 which had been built 5 or 6 years ear lier. He would have most lik ely used the audio frequencies Rife gave him as a basis for deriving the new audio frequencies that were to be used in this new style of in-struments. The frequencies used in the Beam Rays instruments and the early 1940’s instrument were sine wave and this was not changed until the 1950’s. This is when John Crane and John Marsh met Dr. Rife. In Rife’s 1961 deposition he said he gave Crane his frequencies in 1950. Since the audio fre-quencies used in the early 1940’s we re higher than those used in t he 1950’s AZ-58 there must be some explanation for this. John Crane sa id that the first inst ruments they built in 1953 didn’t work very

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well. Perhaps they first tried the higher audio frequencies and eventually found that when they lowered the frequencies and changed them to square wave they worked better. We can only speculate on what really happened. Below are three phot os of instruments Verne Thomps on built. The first instrument,

going from right to left was built in the early 1940’s. The second is believed to have been built in th e mid to late 1940’s but some of the transformers are 1960’s vintage which may indi cate it was built in the 1950’s or 60’s. The audio frequenc ies used in it were even lower than the 1950’s AZ-58. The third is one of the AZ-58 instruments built by Verne Thompson in the 1950’s for Rife, Crane and Marsh of Life Labs Co. This instrument is the most signi ficant because we have m ore information about what went on in the 1950’s than any period before this. At this time in the 1950’s Crane and Marsh recorded interviews with Dr. Rife, Dr. Couche, Ben Cullen, Henry Siner and many other individuals who were key players in the early years of Rife’s work. All three of the instruments had one main frequency dial for adjusting the audio frequencies . The other two smaller dials were for adjusti ng the amplitude and changing the audio frequency bands. There is very little difference in the way these instruments work. We built two of the three, tested them, and found no significant difference other than the use of sine or square wave audio frequencies. We will now cover the history of the instruments in the 1950’s. Some of the following information comes from the John Marsh collection of Rife aud io CDs. In 1950 John Cr ane met Dr. Rife and in 1952-53 he met John Marsh. Marsh became John Cr ane’s supervisor at Convair Aeronautics when Marsh moved from Tucson, Arizona to Calif ornia. Marsh’s wife had cancer and they were not able to help her in Tucson so the doctors recommended that he take her to San Diego for specialized c are. Marsh and Crane bec ame friends. Crane told Marsh about Dr. Rife and so they went to see him. Dr. Rife gave them an old Hoyland Beam Rays instrument which they had Verne Thompson repair. Crane and Marsh then used this instrument on Marsh’s wife and after several treatments Marsh said that she fully recovered. Here are Marsh’s statements which he made in 1976 and 1986: Marsh: (1976) “I met this Rife. I said Dr. Rife, I said, my name is John Marsh, I’ve got a wife that’s dy-ing. She’s got cancer of the uterus.” Rife said: “I won’t touch that thing with a 20 yard pole.” After some discussion Rife said: Rife: “I have an old instrument down here in the basement.” Marsh: “I dug up that old instrument and of course it had tubes in it, antique stuff, and so I rebuilt the darn thing.” (John Marsh Rife CDs, CD 10 track 1) Marsh: (1986) “I went to see him [Dr. Rife], and I talked with him and he said he didn’t want to have any part of it...I said look, I got a wife that’s dying and I need your help! And so I got him out of his co-coon, so to speak, and we took an old instrument and rebuilt it. And I treated my wife and by darn all the pain left her and she got well.” In another part of the tape he said: “I discovered that this Dr. Rife was a very great individual...I told John [Crane], I said look if we have any of those old instruments lay-ing around loose, let’s rejuvenate one of them and see if we can get my wife well. Well Verne Thomp-

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son who was with the San Diego police department radios, uh, radio expert, uh, had built some instru-ments and they were antiques when I saw them.” (John Marsh Rife CDs, CD 2 track 3) Marsh and Crane then decided they would like to wo rk with Dr. Rife and tr y to get the frequency instruments built and back into do ctor’s hands. They wanted to hel p people who were suffering from many incurable diseases. From earlier quotes we learned that Verne Thompson had in the late 1930’s worked on Dr. Yale’s Beam Ray s Corporation instruments. He knew these in struments inside and out and this is why Marsh and Crane had him repair the in strument that Dr. Rife gave them. From Rife’s deposition we learn that he and Verne Thompson gave Crane the fr equencies in 1950. We know Dr. Rife did not approve of Ho yland’s instrument so he would have given Crane the Rife Ray #4 frequen-cies. This most likely would have included the super-regenerative audio frequencies. Instead of us-ing the Beam Rays Inc. instrum ent Rife gave to Marsh and Crane they had Verne T hompson update his style of instrument for them to use. They then started using square wave audio frequencies instead of using si ne wave audio frequencies. The fact that they started using the square wave type of wav e form may have a super-regenerative connection and we will discuss this a little later in this article. John Crane in his later years (1980’s) was not very truthful and said that they had to build the first instrument without any schemat ics. Verne had been building this instrument for many years s o Crane’s statement does not ring true. Most people have felt that this instrument and the audio frequen-cies it used were John Crane’s invention. The facts have shown that this instrument design was built by Verne Thompson and updated for Rife, Crane and Marsh in the 1950’ s. The evidence we hav e shown up to this time points to the fact that the frequencies used in this instrument were most likely de-rived from the super-regenerative audio frequencies used in the Rife Ray #4. Rife would have had too much pride to use any of Hoyland’s frequencies. Ot hers have felt that Crane took advantage of Dr. Rife. This may be true in some things that took place later on in the late 1960’s, 1970’s and 80’s but the evidence does not support this in the 1950’s and early 1960’s. He re is a quote from the Marsh Ohio and Gonin papers that are on www.rife.org under the John Mars h paperwork. Dr. Rife, Marsh and Crane were talking at gr eat length about Marsh’s trip to Ohio to see Dr. Stafford. In the Gonin pa-pers they talked about the frequencie s. As we read this paper work the evidence ge ts stronger and stronger that the frequencies used in the 1 950’s instruments were derived from the su per-regenerative frequencies used in t he Rife Ray #4. I would re commend that everyone r ead these papers bec ause they show that Rife, Crane and Marsh worked as a team and Marsh and Crane co nsidered the fre-quencies and the AZ-58 instrument to be Rife’s instrument. The following statements confirm this: Rife: “Well I have lived my life for the benefit of humanity, and it is the end result of the accomplish-ment.” Marsh: “Yes, now here is what I did tell them. They wondered where I fit into the picture. I told them I had lay outs at the base, I designed part of it. You would say that I was possibly not an exactly an in-ventor, but I think we are all co-inventors of a sort by adding what we think would make the instrument better and if they try to validified (verify) any of the statements that I have said to them please don’t let me down, and say no this isn’t so, which might upset what might be the truth to them. I mean just by accident. Now what I mean by that is this. I don’t think that I have in my own right lied to them. I did [didn’t] try to impress them with the idea that I was the one that did it. I did impress that you [Rife], John Crane and myself had worked together on this thing, but that you [Rife] were inventor and John [Crane] was the designer and inventor, co-inventor and myself for putting this thing together and mak-ing it. They asked if I helped putting this thing together and making it from time to time. I couldn’t tell them that I didn’t, because if I had built up a feeling in them that I knew nothing about what I was doing; psychologically that could have torn down, or have caused delay the foundation that now is laid. Now I think we have a solid footing there. I under no circumstances would want that torn down, and I will not under any circumstances accept the credit for this instrument as being invented, because it is Rife’s instrument as printed on the plate in front and that is one of the reasons in building you up to them, which I don’t think is unwarranted; not by a darn sight, and that is why they want you there. They want

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to hear you talk, and they also want to know your past experiences with the people of La Jolla and also I was very happy to have received the paper concerning the Dr. etc., because I’m sure Stafford will contact every blooming Dr. that you had given him to me and I turned over all the letters to him, be-cause I didn’t want anything to stand in the way if he could contact him, now whether he would do that, before he would talk to the group, and I do not know. I suppose he will, but he wants the truth as badly as you do. Now I don't know an easier way it can be done. I don't think there is going to be an easy way to get it on, but I think I’ve outlined this thing. I studied the moves I was going to make be-fore I ever went there. I studied what I was going to do if I had the opportunity to do so, which I did.” Rife: “Well I think that you did a very excellent job.” (John Marsh collection - Trip to Ohio papers pages 4 & 5. www.rife.org) And in the Marsh Gonin papers we read: Crane: “So the frequencies [audio] we have written down. I will give you those or Rife will give them to you. I think you ought to have them. Each one [organism] has a different frequency, you see. I don’t remember any of them off-hand. I should memorize them all, but I haven’t yet. I’ve just written them down and they are in the lab.” Gonin: “Those frequencies that you have written down, would only apply to your own machine [AZ-58], wouldn’t it?” Crane: “That is because they have been calibrated for each machine. Each machine has its own cali-bration.” Gonin: “And that’s constant?” Crane: “Yes.” (John Marsh collection - Gonin and Siner papers page 15. www.rife.org) After reading these documents the facts stand out t hat all three of these men knew the frequen-cies and they were not Crane’s inv ention. We proved from Rife’s ow n statements that he was the one who started using audio frequencies from the very be ginning of his work on microorganisms. Mar sh and Crane considered the instrument to be Dr. Rife’s. Rife also had a plaque on the front of the instru-ment with his name on it. It is al so clear from Marsh’s papers that Dr . Rife was not on the sidelines but was a working partner in Life Lab s. Rife by this time had become what some people call a working al-coholic. This type of drinker would have a little to drink during the day to ta ke the edge off but would not be a total drunk. Rife knew how the instrument worked and wa s as hopeful as both Crane and Marsh that it would work using just the audio frequenc ies. In the Rife CD’s a ll of Rife’s recorded con-versations were very positive about the instrum ent and this does not sound like a man who was igno -rant of what was going on as some have claimed. When Rife was asked about the frequencies in about 1957 he said that they were from the audio band to the broadcast band of frequencies. This tells us that he was still reserving his final decision about the audio frequenc ies until after the instrument was fully tested. Dr. Rife said he never fooled hi mself and I don’t believe that he did on this AZ-58 in-strument. Anyone who reads the documents from this period of time can tell t hat there were a lot of high hopes for this instrument. No w the real question is how well did this instrument work after they updated it. There were a lot of good reports on how we ll the instrument worked but what really counts is how well it worked in the hands of the doctors that used it on their patients. Dr. Stafford used the AZ-58 for 5 years on his patient s. His report is on www.rife.org with the John Marsh documents. His report is very favorabl e on many conditions that he us ed it for but when it came to cancer this instru-ment did not work as well as Ho yland’s instrument. Dr . Stafford’s report showed he treated 16 canc er patients and had a 100% failure rate using the AZ-58. Dr. Stafford said this about the AZ-58 audio fre-quency instrument:

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Dr. Stafford: “As yet, we have failed to “cure” any case of advanced, terminal malignancy. It appears in several instances that we may have impressed the disease favorably, temporarily. It is difficult to rule out the psychological, morale booster effect to the terminal patient when some definitive effort is made again in his behalf. However, several improvements have appeared to be more physical than emotional...All the patients in the series were treated with the same frequencies (e.g., 728 - 784 - 880 - 2008 - 2128). Perhaps these frequencies may be wrong, or only nearly correct.” (John Marsh collec-tion - Dr. Stafford’s report on using the AZ-58. www.rife.org) Everyone who has been ar ound Rife technology for a long time has seen the very same results as Dr. Stafford. Today these frequencies 728, 784, 880, 2008 and 2128 are used by just about every -one for cancer. It must be remem bered that there is about a 35% plac ebo effect in whatever medical test is done. This can fool almost anyone if they are not careful. Dr . Stafford followed these 16 people over many years and in some cases things looked g ood at first, but the peopl e eventually died from their cancer anyway. In the 1934 clinic 16 patient s who had cancer and tuberculosis were treated and cured. This is quite a contrast; 100% success in 193 4 and 100% failure on cancer for the five years Dr. Stafford used the AZ- 58 instrument. Dr. Stafford sent his report to John Marsh and I am sure John Crane received it also. The big question we have to ask ourselves is why did Crane and Marsh con-tinue to tell people these audio frequencies would cure cancer when the medical proof showed they would not? And why do people today c ontinue to say these frequencies cu re cancer even after they have seen the same results? Could it be because having had a few good res ults which most likely fell under the placebo effect, they ignored the evidenc e and fooled themselves ? By the time all the evi-dence was available, Marsh and Crane were in jail on three or four different legal counts. One of which was for treating a woman. Dr. Rif e didn’t want to have anything to do with all the legal trouble they were in. He was able to avoid it because he nev er made any claims and he wo uld never treat anyone. The legal problems shut down Life Labs. Had this not happened I wonder if Dr. Rife would hav e ig-nored this evidence? The sad thing is this, because so few really understand Rife’s early instruments a whole industry has been built on this type of instrument believ ing it is the same as the one used in t he 1934 clinic. All because we didn’t know the truth. Are we today just fooling ourselves also? Are we try-ing to get these types of instruments and the frequencies they use to do what Dr. Stafford could not get them to do? Cure cancer? We know there have been incredibly good results on many other condi-tions which show this type of instrument is of great worth but the truth is sometimes hard to accept. As we have already read, Dr. Stafford came to suspect that the audio frequ encies were not true M.O.R.s and he wrote a letter to Dr . Edward Jeppson in Salt Lake City because Dr. Jeppson was hav-ing the same type of results Dr. Stafford was having. Here is his statement from his letter: Dr. Stafford: “Please excuse my format in the following letter for I intend to ramble a bit and forget strict grammatical dictum. I am writing you at this time partially because John Marsh informs me in a recent letter that you may be somewhat disheartened or at least worried about your role in the experi-mentations with the Rife Machine. Believe me, Dr. Edward I know how you feel for I too have been through this same feeling with this matter. I have observed clinical results after treatments with this gadget which I can scarcely believe myself. Yet, despite these good results, I have been confused by some rather simple failures such as a recent experiment which I conducted at Good Samaritan Hospi-tal where we used the machine to treat some cultures of Staph Aureus and Strept. Fecalis. In this work we failed to inhibit growth at all or influence the cultures with the Rife Rx. I sent the results to John Marsh and asked for clarification and to be very frank I am not satisfied with John’s excuse of the fail-ure as described by Dr. Rife. I am afraid I’m not a very good apostle for I’m getting some ideas myself on how this thing may work. I really wonder if this ultrasonic kills bacteria and virus at all or does it work like other forms of ultrasonic and merely stimulate the tissue in some unusual manner thereby im-proving the circulation and secondarily enhancing the body’s defenses against infection…To summa-rize some of this rambling: I feel that the Rife Ultrasonic Therapy has a very definitely beneficial effect on the human (and canine) body...I furthermore feel that we, as doctors of medicine, using this ma-chine must remain constantly alert to the condition of our patient and vary the Rx as indicated.”

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Clearly Dr. Stafford didn’t believ e the audio frequenc ies were correct. Little did he know they needed to be used with the Rife Ray #4 frequencies and the AZ-58 could not output these frequencies. Whatever was told to Dr. Stafford by Dr. Rife through John Marsh there was no way they were going t o tell Dr. Stafford he w asn’t using all the frequencies. This would ruin everything they had worked for. Besides they really had no choice because of the FCC regulat ions. We must remem ber they wer e testing the AZ-58 to see how well it would work us ing just audio frequencies with a fixed carrier. At this time it is apparent the AZ-58 wa s not performing as well as Hoyland ’s Beam Rays inst rument or the Rife Ray #4. We need to remember Hoyland tested hi s instrument using Dr. Rife’s microscope. When Henry Siner was in England testing Hoy land’s instrument he reported that i t would kill the organisms while they were looking at them under Rife’s microscope. This fa ct shows that Hoyland’s lower har-monic RF M.O.R. frequencies were working on Rife’s same principle of coordinative re sonance. Dr. Stafford found out the AZ-58 was not capable of do ing this when he tested it on microorganis ms. In the 1950’s Rife no longer had a lab for testing any mi croorganisms. There is no evidence they ever tested just the audio frequenc ies with the microscope. So they did t he only thing they could. They let the doctors use the AZ-58 and tell them how well it worked. We must rememb er the instrument Rif e gave to Marsh and Crane was Hoyland’s Beam Rays instrument and it worked. Marsh said it cured his wife of cancer. Again the fact is the Verne Thompson 1940’s and 1950’s AZ-58 instrument never worked as well as Hoyland’s Beam Rays instrument or the Rife Ra y #4 in strument. How Hoyland came up with his idea to build his instrument and make it work is still not fully understood. The changes made to the AZ-58 produced very good resu lts but not on cancer. But still even with the changes the AZ-58 worked very well on just about ever ything else but cancer. These square wave au -dio frequencies are what people have been using for the past 50 y ears believing they were Rife’s true M.O.R.s without knowing they were not Rife’s original frequencies he used in his earlier instruments built in the 1920’s and 30’s. No t until the 1939 Beam Ray trial pap ers, John Marsh papers and the un -derstanding of super-regeneratio n came to light did we have the ability to finally figure out where all these frequencies c ame from, or which frequencies were the correct M.O.R.s. Not withstanding the various setbacks Dr. Stafford w as still amazed at th e wonderful results he achieved with the AZ-58. The following list has the frequencies used in the AZ-58 by Dr. Stafford.

1950’s Life Labs ray tube instrument frequencies

BX (carcinoma) 2128 Typhoid Virus 1862 Streptococcus 880 BY (sarcoma) 2008 Tetanus 120 Gonorrhea 712 Treponema (syphilis) 660 Typhoid Fever (rod form) 712 Staphylococcus 727 Pneumonia 776 Streptothrix 784 B. Coli (rod form) 800 Tuberculosis (rod form) 803 B. Coli (filterable virus) 1552 Tuberculosis Virus 1552

Harmonic audio frequency myth? All the documents we have quot ed and the understanding of how super-regenerative instru-ments worked, prove as a myth the long believ ed concept that the audio frequencies used in the 1950’s were created by Crane and Marsh by dividi ng Rife’s high frequency M.O.R.s down by harmonic steps until they reached t he audio range of frequencies. The evidenc e we have quoted in Rife’s own words was that he used audio frequencies from the very beginning of his work using frequencies. Rife said he gave all the frequenc ies to Crane in 1950 and th is clearly proves Crane and Marsh did not cre-ate the audio frequencies by just dividing down Rife’ s higher RF M.O.R. frequencies . The evidenc e shows the audio frequencies were most likely der ived f rom the su per-regenerative audio frequencies

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used by Rife in his earlier instruments and were not just harmonic M.O.R.s. They were only used to create the spacing for the sidebands so he could easily hit the M.O.R . The documented information also shows that Rife’s M.O.R.s were the higher RF frequencies used in the Rife Ray #3 and #4. Fro m Rife and the court documents we l earned Hoyland’s Beam Rays inst rument used lower band RF har-monic frequency M.O.R.s derived from Rife’s higher RF M.O.R. frequenc ies. These lower RF M.O.R. harmonic frequencies are not known, but they must have been close enough to the original frequencies in order for them to work. These lower RF M.O.R. frequencies of Hoyland’s would have had to of been modulated with his audio fr equencies matched to his lower RF M.O.R. frequ encies in order to cre ate the proper spacing in the sidebands. Hoyland’s instrument was also full of harmonics in the carrier fre-quency. Henry Siner reported Ho yland’s design killed the organisms under microscope observation. Dr. Stafford was not able to kill any organisms us ing just the audio frequenc ies with a fixed RF carrier frequency. And he did his tests under microscope observation. Today, like Dr. Stafford many hav e tried to kill the organisms which these audio frequencies correspond to, with no success. If these audio frequencies, as some have claimed, were really harmonic frequencies derived from the higher RF M.O.R. frequencies then they should be a ble to kill the microorganism they correspond to. If an audio frequency harmonic of Rife’s RF M. O.R. will not devitalize an organism under microscope observation, can the harmonic association be valid? No rational person would believe this. Yet today this is exactly what most people believe because they do not have all of t he facts. What the ev idence we have given seems to show is, if the RF M.O.R. frequency is lower ed by too much it will lose its ability to devit alize an organis m even though it is a ha rmonic frequency. Hoyland’s Beam Rays instrument used lower harmonic RF frequencies and it worked. B ut we also must point out that he st ill would have had to use audio frequencies with his lower RF harmonic frequencies bec ause of the accuracy problems with those instruments. Dr. Stafford and many others found when they treated the or ganism with the audio frequency that was supposed to devital ize it the organism continued to grow. Then when they trans-ferred it from one culture to another it still grew on the new m edium they used. Can there be any greater sci entific proof than this? Not even Rife would argue wit h this method of determining true M.O.R.’s because this is the method he used. This is the greatest proof we have that the 1950’s audio frequencies are not just harmon ic frequencies derived from Rife’s higher RF M.O.R. frequencies. We know many other people who have m ade the same tests as Dr. Stafford and told us they obtained the same results he did. John Marsh said on the Rife CDs that they came up with the frequencies u sing math. If every audio frequency was a perf ect harmonic match to its higher RF M.O.R. then we could say they were all derived from the RF M.O.Rs, but they are not. Even if the audio frequencies were de-rived from the RF M.O.Rs and do not devitalize the organism in the same way is the principle valid?

What the evidence certainly prov es is, without really knowin g it, Rife, Crane and Marsh discov -ered that these audio frequencies derived from the super-regenerati ve audio frequencies without using the high RF M.O.R. are beneficial. Since they will not dev italize an organism under microscope obser-vation then how do they seem to help people? From Dr. Stafford’s statement we read that he also won-dered why they would work on s ome conditions and not others, like cancer. He felt that these audio frequencies stimulated the adrenal glands and immune system much like ultrasonic frequencies do. And this stimulation is why the frequencies help even though they do not work like a true RF M.O.R. frequency would. The fact is we really don’t k now why the audio frequenc ies are beneficial, but for some unknown reason they are. Though the me thod of modulating an audi o frequency onto a fixed carrier did not work as well as Ri fe’s super-regenerative method did, nevertheless it works very well on some cond itions. Even though the audio f requencies are beneficial in many ways this still does not prove the myth that the 1950’s audio frequencies are harmonic M.O.R.s.

We talked about Rife modulating audio frequencies be fore and need to look at it again. W e proved to ourselves by testing t he old M.O.P.A. designs that Rife c ould have hit a specific frequency within the “one tenth of one Meter” to lerance he mentioned. In the 1920’ s and early 1930 ’s the instru-ments were only us e by him in hi s own experiments. No doctors would be using them until Hoyland finished the Rife Ray #4 in the fall of 1935. Rife wa s at the 1934 clinic but it was Dr. Johnson who treated the patients, not Rif e. Ben Cullen, Rife’s fr iend since 1913 said in the early years Rife had a very difficult time hitting the correct frequency on a cons istent basis. Rife said that he had to use sticks

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with rubber ends on them in order to change the frequencies on his in strument because if he g ot too close to the instrument with his body it would change the frequency. It is apparent that his body was coupling with the frequency instrument. With bette r equipment t his problem was eventually s olved. With this in mind why would he have used an audio frequency right from the beginning of his expe ri-ments as he stated in his depos ition? His equipment d id have the ab ility to hit the M.O.R without th e use of an audio frequency. Then why not use a single f requency? Rife was aware of the many thera-peutic devices on the market of his day. He had tested Abrams instrument and found that it worked and would kill many differ ent organisms including the c ancer virus. Rife s howed Abram’s instrument and its waveform in his 19 36 lab film. Abram’s in strument produced harmonics with a high potential frequency spike. Almost all of these early instruments had one th ing in common. They had non linear waveforms. Abram’s instrument had a wav eform that looked like a nerve pulse. When John Cra ne was narrating the 1936 lab film he sa id that it was the spikes of t hese frequencies that were the k illers of these organisms. Rife most likely told him this.

If we look at these photos agai n of Rife’s AM waveform we can see the spikes caus ed by the audio frequency he was modulat ing. In the 1936 film, Rife put up a title befo re he showed his wave-forms which said “Lethal Frequencies To Electrocut e The Cause Of Disease”. It is apparent that Rif e found he need to puls e his waveform in order to get it to devitaliz e the organisms? The frequencies that Rife shows look more like a triangle wave than a sine wave. It is not a nice pretty sine wave wave-form. Square wave audio frequencie s are used today in almost every type of instrument made. And they seem to work the best. Could it be that the square wave works the best because of the puls ed waveform? It is apparent that Rife found that he had to use an audio frequen cy to get his instruments to work otherwise why did he us e it? It is also appar ent that super-regenerating the audio frequency came next in his testing in order to make it easie r to hit the organism’s M.O.R . Essentially it appears possible that he was able two kill two birds with one stone. The audio frequen cy created the puls ed waveform and the sideband spacing. Super-regeneration compared to square wave

We will now compare a super-r egeneration mixing circuit and the harmonics produc ed by a

square wave waveform. Because of the close similarity of super-regeneration to square wave this may have been the reason why Rife, Cr ane and Marsh used square wave audi o frequencies instead of sine wave in the AZ-58. They may have used square wa ve in order to try and mi mic the super-regeneration circuit. Could this be just a coincidence? Rife, Crane and Marsh used 50% duty cycle square wav e au-dio frequencies in the AZ-58 instrument in the 1950’s. This duty c ycle only produces odd harmonics. If you used a 1000 her tz frequenc y then your first har monic would be 3000 hertz, second 5000, third 7000, fourth 9000 and the fifth 11, 000. These odd harmonics keep going up as long as you have suffi-cient power to drive them. In most cases by about the fifth harmonic the power in a square wave is so weak that you don’t get any real benefit. If you use a duty cycle that is 60, 70, 80 or 90% then you get both odd and even harmonics. They would be 2000, 3000, 4000, 5000, 6000, 7000, 8000, 9000 and continue up in this m anner. A 60% or higher dut y cycle square wave resembles a super-regenerative mixing circuit’s output the closes t because it produc es both odd a nd even harmonics but we still h ave to remember the amplitude of each harmonic from a square wav e is lower in power than the previous harmonic. A super-regeneration circuit was different because it used sine wave frequencies and all the

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octave step frequencies created were output at the s ame power level. It also could produce m any more frequencies of equal amplit ude than a square wave. Another major difference is a super-regenerative circuit could produce many octave st ep audio frequencies. These audio freque ncies when modulated would produce many sideband frequencies. If it was set to produce 20 octave step audio frequencies then when they were modulated on to the RF M.O.R frequen cy forty side band fre-quencies would be created. A super-regenerative instrument could very easily hit whatever M.O.R. fre-quency was de-sired. The accuracy problems Rife faced and the difficulty in hitting and holding a s pe-cific M.O.R. frequency in order to kill an organism appears be the real reasons why he used the super-regeneration method. May be today with the accuracy of modern technology it would be possible to use just the RF M.O.R. frequency in-stead of the super-regenerative method Rife used?

Labs1950’s pad instrument (without ray tube)

1) Used round disks that came in contact with the body. Later changed in the 1960’s to hand cylinders or foot pads. 2) Had no RF carrier frequency. 3) Used the square wave audio frequencies used in the AZ-58. It was about 1957 when John Crane and John Marsh began building instruments without a ray tube. Earlier in this article Comperet was quoted as saying: Comperet: “Now, Crane said “Well now look, Rife himself admits that no matter how much tube and ray, and so on, you have, you can’t get any results unless you’ve got the right frequency. Therefore the real clue to the thing is the frequency and not the means by which you deliver it.” (Comperet inter-view papers - 1970’s) Crane and Marsh replaced the ray tube wit h a type of pad that they dev eloped which came in contact with the body. As we pointed out earlier in this article it is interesti ng to note that Rife said Abrams’ Oscilloclast would devitalize the BX cancer virus and it was a contact type device. Crane and Marsh probably us ed this contact method because of the success of Abrams’ instrument. From the documented information we have it was also the high cost of building ray tu be instruments that caused them to look at doing things a diffe rent way. In addition to being expe nsive to build, the ray tube could break very easily. They had many problems with them. I don’t believe Rife, in his early years, ever had a reason to look at doing things differently. Cran e and Marsh did! They didn’t have the kind of money to spend that Rife did. Necessity is the mother of invention! Crane and Marsh used a Heathk it function generator to produce the frequenc ies. These Heath-kit function generators had no built in carrier frequen cy on which to modulate the audio frequencies.

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Therefore, the carrier frequency was no longer used. Though Cr ane and Marsh achieved great results with these instruments, they did no t use a carrier frequency. What w ould have been the results if they had used these audio frequencies with a carrier frequency? From what we have previously discus sed in this article, the carrier frequency was very impor tant. Rife would never ha ve approved of using an instrument without a carrier . The positive part of using a Heathk it function generator in this way was that they were inexpensive ( $200) and a lot more people could affo rd one. Many people can thank John Crane and John Marsh for this innovative me thod. Crane and Marsh prov ed that the audio fre-quencies worked the same whether applied through a r ay tube or pads. Many people think that Cra ne and Marsh built the pad instrument wit hout Dr. Rife being fully informed about it. This was not the case. In John Marsh’s trip to Ohio papers we read this: Rife: “That is the only way that it can be handled properly.” Marsh: “Maybe we can sell small instruments for the purpose of small diseases like colds, flu and stuff like that, which are minor, which the Dr.s prefer not treating those kind anyway, because they are chronic, and there isn’t anything they can do with them. People keep coming in and coming in and they take up his time where he could spend it taking care of a bad case, or something or other. Dr. Stafford said that he would prefer that a small instrument would be made...What do you think John? I've been doing a lot of talking not even giving you a chance to get a word in edgewise.” Crane: “There is no doubt there is going to be an awful lot of development on this design…” John Marsh collection - Trip to Ohio papers page 10. www.rife.org) From these statements we learn that Dr. Rife knew that they wanted to bu ild small instruments. Also we learn that it was Marsh and Crane’s idea to build the pad instruments and not Rife’s. We know that Rife was upset with Crane over some of his changes becaus e he expressed it to Comperet during his 1961 deposition. Comperet said: Comperet: “And I asked Rife, because I thought Rife would certainly say that the way Crane was work-ing on it then was still using the Rife principle, but he indignantly denied it.” (Comperet interview pa-pers - 1970’s) At this time Crane and Marsh were working on both the ray tube instrum ent and the pad instru-ment. We know that Dr. Rife considered the ray tube instrument his, so it must have been the pad in -struments without a carrier frequency that he was ups et with. Rife, from the documents we read knew about the small pad instrument s but apparently did not like them. Let’s face the facts, either Dr. Rife didn’t like any instrument that didn’ t use an RF carrier or he didn’t like any instrument that didn’t us e a ray tube. Either way this inst rument had not been proven to work at this time and Rife had every rea-son to be skeptical of it. But now after some 40 years of use and the good re sults that people hav e been getting with this type of instrum ent, maybe Dr. Rife, if he were alive today, would approve of it. Marsh and Crane’s innovation with a pad ins trument did prove that the ray tube could be removed and still produce the same results using just audio frequenc ies as long as you have sufficien t power. This made it possible for more people to have access to Rife’s technology. Today all the frequencies which Rife used can be produced by any function generator with the proper frequency range. Crane and Marsh made one mistake with these pad in struments. Because the Heathkit function generator that they used didn’t have a Megahertz (M Hz) carrier frequency they didn’t use one. Rife and Hoyland’s instruments used some kind of carrier frequency. Audio frequencies will not broadcast , therefore, they are modul ated upon the carrier frequency so that they will p enetrate the body. In lay-men’s terms, modulation is piggy -backing one or more low frequencies on another higher frequency. The frequencies travel together but st ill remain separate and distinct. M any instruments built today do not use a carrier frequency even though Dr. Rife’s did. If Rife could have removed the carrier frequen-cies from his instrument and gotten t he same results, I believe he woul d have. As it is, Dr. Rife never

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removed the carrier frequency from any of his instruments. If a person wants to try and get the results that Rife had then a carrier frequency should be considered. We realize that ther e are ray tube instrument s today that do not use a carrier frequency. These use a high electromagnetic field which will transfer the energy into the body. They appear to work very well and we are not trying to upset these manufacturers either. We do not doubt that these instruments work. We know people that are using these instruments and getting ve ry good results. But what we are talking about in this article is the way that Dr. Rife used an RF M.O.R. carrier frequency modulated with an audio frequency. Some peo ple say th at audio frequenc ies in a pad in strument w ithout a carrier will on ly travel along the skin of the body and won’t penetrate it. In scientific studi es on Bioelectric Impedance Analy-sis in the body it has been sho wn that sine wave audio frequencies will e nter the body but will only travel in the connective tissues around the cells. Also in these scientific studies it has been shown that the closer you get to 1 megahertz the greater the penetration into the cell. At 1 megahertz the fre-quency will go straight through the cell and fully penetrate the body. This is why it is so important that a carrier frequency be used. A virus can enter a cell. An RF frequency can enter the cell where it can do the most good. These kind of sci entific studies and thei r importance were not understood by John Crane and John Marsh in the 1950’s and 1960’s. Rife’s instruments always used a carrier frequency. Below is a complete list of all the frequencies used in Rife’s in struments. Hoyland’s Beam Rays instrument frequencies are not known therefore they are not inclu ded in this list. Though the audio fre-quencies were not true M.O.R.s they were derived from Rife’s super-regenerative audio frequencies and this is why they are included. They worked very well in the 1940’s and 1950’s instruments.

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Some may ask why we do not list Sarcoma as t he BY organism in this frequency list? Here is the reason why. Rife lists in his lab paper work that the BX was a purple red color. He also sa id that the BY was also purple red. The BY he said was just larger in size. The reason there is no frequency given by Rife in any of his paperwork for the BY is because the frequency for the BX must also hav e killed the BY. They both had the exact same color and the same chemical constituents. This could only mean the same frequency killed them. I do not know of anyone that has notice this and made this con-nection. What caused me to noti ce it was when making the new DV D called "Royal Rife-In His Own Words" in which I used Rife's own voice as a commentary, he made a very interesting statement. John Crane recorded Rife for about 50 minutes talking about his work in bacteriology. Here are Rife’s state-ments:

Rife: “Now we will come to the BX again. The BX [purplish red] will pass through the porosity of the W berkefeld filter...now we alter the media slightly of that organism, in the tube, and we have another pur-plish red organism that we call BY. Now this organism is considerably larger than the BX”.

From this statement made by Rife he confirms that the BX and the BY are the same color.

Rife: "We have done very little work on the Sarcoma because we do not associate that as a malignant tumor in comparison with the work we have done with the true Carcinoma".

In this statement Rife said he did very little wo rk with the Sarcoma and did not associate it as a malignant tumor in comparison with the Carcinoma.

Rife: "Many people believe that the Sarcoma will turn into a Carcinoma. We have found in some ex-perimental animals that, that is true, but nothing that we can place as absolute".

From this last statement we are told that a sarcoma will sometimes turn into a carcinoma. When we consider all that Rife has said there seems to be only one reason why there is no frequency for Sar-coma. He must have never had one because, as he said, “we have done very little work on the sar-coma”. Since a Sarcoma would sometimes change into a Carcinoma could the frequency for the BX and BY als o work on Sarcoma? It is also clear, BX and BY are for Carcinoma not Sarcoma. We all have been led to believe that BY was for Sarcoma and it is not. It wa sn't until the 1940's and 1950's Verne Thompson instruments did we see a fr equency for Sarcoma (20080 and 2008) . How or why they came up with these frequencies for Sarcoma is not known.

Summary

In summary, with all the historical information that has come to light in the past few years we fi-nally know the truth about whic h frequencies were Rife’s M.O.R .s and where the audio frequencies came from. These audio frequencies have accomplis hed a lot of good and have helped many people. With the use of even more audio frequencies a whole new field of frequencies are available for our use. With this said we still have to remember Rife st ill maintained h is true M.O.R. frequencies were in the upper band of frequencies. Even t hough Rife, Crane and Marsh tested t hese audio instruments in the 1950’s and early 1960’s to see how well they would wo rk, it wasn’t until after Crane and Marsh got out of prison that they received Dr. Stafford’s report showing the failure of audio frequencies on cancer. From about 1964 on, Crane and Marsh continued to build the audio frequency ins truments even though they had the evidence from Dr . Stafford which showed the audi o frequencies alone didn ’t work on cancer. Just because Crane and Marsh said the audio frequencies were Rife’s true M.O.R.s does-n’t mean they were. They were only half the equat ion. The RF M.O.R. freq uencies also needed to be used. It is hard to understand why they chose not to believe the truth when it was right before their eyes. We would still be in the d ark had it not been for the written documents that revealed Rife’s hig h frequencies and the audio tapes which have Rife’s own voice on them telling us his frequencies ranged

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from the audio to the broadcast bands . Dr. Rife was a pure scientist and onl y believed what he could prove. Had he seen Dr. Stafford’s final report I am sure he would hav e considered the cancer tests a complete failure. Rif e said “he never fooled himsel f”. It is entirely possible that Rife would hav e in-sisted they go back to his original design and use a faraday cage. Hopefully this information will help make a change and in the future we will begin to see what Rife’s original high frequency M.O.R.s will do. It was the release of the John Marsh i nformation from Marsh’s nurse to AAA Production Inc; the Beam Ra y trial papers from the Rif e Research Group of Canada; the purchase and analyzing of the Verne Thompson instrument by Aubrey Scoon and the Brit-ish Rife group; and the help of James Cunningham along with Jim Berger who gave the greatest help on super-regeneration. Until su per-regeneration was considered it has been impossible to figure out how and where the audio frequencies ca me from and what combinatio n of frequencies were used in the 1934 c linic. Though we cannot be 100% sure of anything we hope tha t this information will be helpful. As more information comes out we will update this article as necessary.

J. Garff, AAA Production Inc.

2003 & 2006