Bashar on Crystals — the Stones and the Techniques

Crystals, Bashar says, are structured in such a way as to capture and retain and deliver information. They are repositories of vibration — that is the function, before anything else is said about them.

Pressed for a deeper version, he compresses it: "It's a code. It's a code of information." A crystal is a particular kind of order imposed on information, which is what separates it from an ordinary rock. And in the oldest crystal material in the archive he places them close to the edge of the physical — a very basic form of crystallised energy, "not very far removed from the non-physical state."

A questioner asks how a crystal's influence extends beyond its own structure. The answer is the strangest thing he says on the subject: crystals have it built into them to "know" that they exist everywhere at once.

So the wave does not have to cross the room. It propagates through the multiple probable versions of that crystal, all of which he says already exist — the holographic matrix. Nothing travels; it is already there. The same reasoning runs through parallel realities.

That is also his explanation for something he claims two crystals can do. Sympathetic vibration: a vibration started in one crystal appears at the same moment in another of similar form, "no matter how far away that crystal is." Simultaneous transmission.

He tells the room this will change communication on Earth, and when the questioner calls it "training wheels for telepathy," he approves of the phrase.

He rarely gets specific about minerals — but where he does, this is the whole of it. Where a cell is blank, he named the stone without saying what it was for.

No prescribed grid. He describes the clear, the rose and the violet combined in a pattern of your own creation, with small amounts of hematite added as grounding — so that the finished thing reads as "a piece of inspirational energy art" saying that while you are plugging into the stars, your feet are still firmly on the ground.

Then three qualifications, in his own order. Use your imagination for the layout. Another person may find a completely different approach works far better for them. And if you fully understand what the crystals represent, "you may not need the crystals at all."

How to pick yours he leaves to attraction — being drawn to a stone is the signal, and there is no chart. His method for learning what one does is empirical: use it, then notice what surfaces in your imagination, what it puts you in touch with, what it makes easier that was harder before.

"You do not necessarily." The rules people trade about crystals — the salt, the moonlight, the procedures — he treats as differing beliefs about how to trigger your own power, not as properties of the mineral.

His term for what the stone is doing is a remote amplifier for your own energy. And asked whether a generator crystal is needed: no — "you are a master crystal."

The most detailed thing he describes building. Take a natural crystal — quartz, ruby, "whatever you are attracted to" — with as few occlusions as possible. Cut a thin slice, thin enough that it rings when struck. Suspend it so nothing damps the vibration.

Then immerse yourself in water, at least above the heart, and strike it underwater. His reasoning: you are mostly water, and water suspends the minerals in your body, so the tone sets up a resonant pattern inside you rather than in the room. He warns it may make you slightly dizzy.

What it is for, in his framing, is contact with what he calls the consciousness of stones — and crystals are the way in. "They are the ambassadors," he says: the pure keys, the pure gateways, the pure tones that invite you into the world of the stones. (A metaphysical claim about resonance, not a health practice.)

A man has built a clay pyramid scaled to Giza and wants to know whether putting a crystal inside and running a rod out of it will carry the energy. Bashar says it can — the proportions matter more than the size, "as long as the ratio is the same" — and that the pyramid works as a lens for magnetism, focusing it in a specific way.

Then he gives the arrangement he says draws from it most efficiently: a copper base, a copper spike rising through the pyramid, piercing a crystalline cap and emerging from it as an antenna.

Asked whether a crystal left at a magnetic vortex could relay that energy back to a crystal at home, he says absolutely — this is where the sympathetic-vibration answer arrives.

On the vortexes themselves he is looser than the question expects. A vortex is not always a fixed coordinate: whole areas leak into other dimensions, fluctuating with the alignment of the planet, the seasons, the tilt. Every point does it to some degree; some places are simply more conducive to working as a tunnel.

He is asked whether the skulls work the way a human skull does around a brain, and answers that both are resonating containers. The crystal skulls, he says, operate on certain frequencies and resonances that connect them "to other skulls and to other dimensions of reality" — and they translate things in a particular way.

Do they hold information? "Yes." Will raising your own frequency let you unlock more of what they carry about galactic history? Also yes. He describes ancient inscribed stones the same way: made so that people could stay in conscious contact with certain beings by matching the frequency of the stone.

Crystal questions drift constantly toward Atlantis, and he goes with them — the Firestone, the crystal technology, the fall. But he keeps correcting the moral: it was not the crystals. What brought Atlantis down was "the hubris behind creating them."

He is just as clear that the Atlantean method would not transfer even if you had it. The atmosphere is different, the energy is different, the consciousness is different, the experiences are different. His instruction for now is the opposite of an elaborate build: use less materialisation. "Now is the time to simplify."

A woman describes her collection turning strange — orbs shifting colour, gold running through them, amethysts going white — and a large quartz crystal that appeared in her backyard where none had been.

His reading is that the stones are reflecting shifts in frequency inside her own consciousness, showing up as shifts of colour in the crystals; and that a shift abrupt enough begins to manifest things in your reality that were not there before. Asked what she should do with them, sitting in her bedroom: "You are already doing what you need to do with them" — by being attracted to them.

Every practical answer he gives about stones ends at the same place. The crystal is a conductor, an amplifier, an ambassador, a code — and the current running through all of it is yours. "Even though it's still your energy, you're still the one doing it."

Which is why the man with the expensive rock got the answer he did. It broke; he asked why; Bashar told him: "Because you don't need the rock."

The reasoning behind crystals existing "everywhere at once" is parallel realities. Attraction as the way to choose a stone is the same instrument as following your highest excitement. And the underlying mechanics — why a conductor for your own energy changes anything — are in beliefs create reality and permission slips.