PSTEC: How does PSTEC work?

How does PSTEC work?

A short explanation by Tim Phizackerley (inventor of the process)

This explantion is given mostly for therapists who want to understand why the majority of users of PSTEC find it so devastatingly effective.

Important! Understanding how PSTEC works is not important. It works anyway.

There is more information about how it works in the PSTEC Level 1 audio and also on the advanced audio.

Before I explain how it works, I do advise you to study the user feedback on the site. You'll get an end user perspective on just how powerful this combination really is and why you can expect it to work for you too.

The explanation here just covers the standard free tracks. There are even more powerful tracks: The EEfs contain significant enhancements, and the Accelerators are much more sophisticated again. (Accelerators available from sometime mid July 2010).

The basic PSTEC audio combines anchors* with pattern interrupts** and a unique form of deep suggestion to create a rapid and lasting release from any problem feeling or emotion.

(*Anchors: Anyone wishing to know about "anchors" should read about the Nobel Prize winning research of Ivan Petrovich Pavlov. An anchor is a modern name for the neurological connections he both discovered and studied which relate to conditioned responses.)

(**Pattern interrupts interfere with conditioned neurological responses in order to open up new possibilities. They are used widely in NLP. For a reasonably clear explanation of pattern interrupts, Edward de Bono's classic book "Mechanism of Mind" is a good place to begin.)

At it's most basic level, the PSTEC Click Track audio technology provides a very powerful and repetitive pattern interrupt. Anyone familiar with the concept of pattern interrupts will realise just how effective this can be of itself in dealing with anything "ingrained". This is however just the first step. There is much more to the process and it works on many other levels (not all of them covered here)

The percussive sounds on the audio perform very specific functions the most important of which are listed below.
1) They create a concentrative and essentially emotionally neutral state at very specific points on the track.
2) They repetitively anchor the concentrative mental state being experienced (at the appropriate times) and those anchors are then used as a direct means to obliterate the problem feelings (at other points on the track).
3) The percussive sounds are designed to maintain a level of user focus on the problem in a specific way and by very careful timing this also provides an effective critical factor bypass at important moments.

There are three primary sound anchors and these all perform the function mentioned above. Having three working in unison means that each one backs up the functioning of the other.

The tone is actually two tones played together as one. This has been done for two reasons. This is partly to make it easier for anyone with a hearing impairment. The second and more significant reason is so as to provide at least one anchoring stimulus which is completely outside of conscious awareness.

The frequency of the clicks was initially optimised by educated guesswork and then fine tuned by means of experimentation. I now use an algorithmic process to determine the precise timing for each sound in relation to the spoken content. This careful timing is absolutely crucial for the tracks to work in the way that they do, and successive generations of the track have become ever more powerful as the algorithm has been improved.

The primary reason for using sounds to trigger physical actions, aside from the reasons already mentioned above is that the anchoring process is not just acoustic. It is also tactile and muscular. There is another very important reason for using sounds rather than something such as a visual stimulus and this relates to the speed with which the brain processes these relative types of information. A visual stimulus would be too fast.

The suggestions on the track are given in very specific way so as to deliver the maximum new linguistic programming to the subconscious mind in any given play of the track. (Whilst most people do not realise it, the interpretation of language is fundamental to the way in which people build their internal realities.)

The suggestions are cyclic and are used in such a way as to create what I would describe as being a "leak proof linguistic matrix". This language is much like a contract in as much as it specifies things comprehensively. Processing is enhanced by the fact that the user experiences what is being suggested which provides direct and immediate corroboration.

I have considered carefully what neuroscientists believe to be required for new neural connections to be made and this has been factored into the structuring of the process. Because people vary significantly there are additional repetitions over and above what should be required.

The reasons for the specific frequency, duration and the timing of particular click/tone combinations is just far too complex to explain here. The relationship between the sounds and the language is extremely precise. I use an algorithm to determine the optimum spacing, frequencies, and dispersion relative to spoken content.

To most people this probably sounds complicated which is why I haven't gone into more detail. Despite this the explanation given here is far from complete and somewhat simplified. The timing aspects are the most complex of all, and there are other aspects to the process which are not covered here at all.

Some of the other factors which would also need to be explained to fully comprehend why PSTEC is so hugely powerful, include the concepts of "overload", "overflow", "diversionary language", "retrospective frames", "subconscious interpolation processes", "buffering of language", "linguistic parallels", "experiential conversions to belief", "repetitive confirmations", "linguisitic compression" and also the concept of "stacks" which is explained in the advanced audio.

There are a number of other PSTEC audios and techniques which utilise similar principles, but on the other PSTEC tracks they are combined in different ways and some additional techniques are used. This simplified explantion just covers the standard free process.