Method 46 · VBT · Reps Centering §46 · Book of Secrets, discourse 31
Stopping ears by pressing and the rectum by contracting, enter the sound.
The two exits of inner sound are the ears and the rectum. Seal both simultaneously — fingers press the ears, rectum is pulled up and contracted — and the subtle inner sound can no longer escape the body downward or outward; it fills the interior.
Immediate test: the moment both are sealed, thoughts stop and the world feels non-moving — as if even time has stopped. That cessation of the constant thought-stream signals the technique is working.
Inside the sealed body a ‘pillar of sound’ is felt — the sound of silence. It is not a pleasant sound coming from outside; it is felt as fullness, a deep well-being.
Practice 5–6 times a day; within 3–4 months the inner sound becomes perpetually audible — even in marketplace noise. Once heard continuously, nothing external disturbs you. The world’s noise can no longer reach the still, small voice.
What this inner sound actually is (Q&A, Question 3): Anahat nada — ‘uncreated sound’ — is not an ordinary created sound. It is soundlessness perceived as sound, because we know only the language of sounds. Analogy: someone who lives by a railway station, when the trains stop on a strike day, hears the absence — hears what no one else can hear. We have always lived surrounded by sounds; when all sounds cease, their absence is ‘heard.’
Why ‘uncreated’: every ordinary sound is created and then dies (a clap exists, then is gone); anahat nada is always there, never created. So what you listen for is not a transient sound but an ever-present absence.
How total soundlessness equals total soundfulness: both are complete states. A half-filled jar is ambiguously half-empty/half-full; but a completely empty jar and a completely full jar are each absolutely complete — you can add or subtract nothing. Total silence and total sound both point to the same wholeness, the same perfection.
Where it reappears
variantHindu Yoga (Hatha Yoga / Nath tradition) · Nada Yoga / nada anusandhana — anahata nada listening (Hatha Yoga Pradipika Ch. 4; Nada Bindu Upanishad)The identical core: sit and physically seal the ears with the fingers to shut out external sound, then listen inward for the anahata nada. VBT 046 uses the exact same Sanskrit term ('anahat nada,' the uncreated/unstruck sound) that names the object of nada yoga. Same mechanism (block auditory input so the ever-present inner sound surfaces), same locus (anahata nada itself, not a mantra or image), and same aim (the inner sound becoming continuously, unlosably audible and drawing the practitioner into absorption/laya). A nada yogi would recognize VBT 046 immediately. The genuine twist that makes it a variant rather than identical: VBT adds simultaneous mula bandha (rectal contraction), justified by its distinctive 'two exits of sound' conception, which nada yoga's ear-listening does not require. (Refinement of the proposal: the operative shared gesture is specifically the ear-seal; HYP's fuller shanmukhi mudra also closes eyes/nose, which VBT 046 does not, so the precise correspondence is the ear-closing, not full shanmukhi.)
equivalentHatha & Kundalini Yoga · Mula Bandha (root lock / perineal contraction)GENUINE HOME, PARTIAL PURPOSE. VBT 46 instructs the rectum 'pulled up and contracted' simultaneously with pressing the ears - this rectal/perineal contraction IS Mula Bandha physically, sealing the lower exit of prana. It is the only VBT method containing the perineal lock, so it is the genuine home for the gesture, body-site, and upward-sealing mechanism. Caveat: VBT deploys it to trap the inner anahat sound, not as a standalone lock to drive kundalini up the sushumna; the bandha's kundalini-arousal aim is supplied here only by the separate VBT 70.