Recording Osho's discourses on audio and video

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Uc5.jpg This page is under construction.  

to do

  • Add the history of Hindi audio. Can be added to the same table.
  • Add the history of video-editions. For this, make a separate story and table. English and Hindi can be combined.
  • Ask Niskriya to participate?
  • Add elements from Chaitanya Sagar (Laheru)'s Blessed Moments with Osho.
  • Determine definitive name of this page. Just thinking out loud:
Recording Osho's discourses
Recording Osho's Discourses on Audio and Video
Audio and Video Recording and Editing
  • Check OshoNews on audio and video (nothing found, asked ON)
  • In the recent audio from Osho.com, there is a postscript in the filename: _24.mp3. It is in every file, so we get e.g. Osho_Gita_Darshan_Adhyaya_1-2_01_24.mp3.
    What does that _24 mean?

Introduction

All in all, at least 2,485 of Osho's Hindi discourses have been recorded. And at least 3,079 English discourses have been recorded. (Maybe 16 more could be found).
This page describes the recording of those discourses and interviews, and the various conversions and editing-processes that have occurred. This has resulted in several editions of the audio and video recordings existing next to each other.
This is based on accounts given by Sw Jalal, the main audio technician from 1979 to 1995, in E-mails from 28 June 2019 to 28 April 2020, and in 2022.
It also describes what is known about changes to the content of the audio. Up until about 2003 audio quality was being ameliorated, but content seems to have remained largely unchanged. Well, that is apart from occasional cuts made on the orders of Ma Anand Sheela, including one "lost" tape.
But from the audio edition of about 2003, systematic changes to the content are being made.

Recording

Pre 1974, Lecturing to mass-audiences throughout India; Bombay
Recording was done by various people around India (including Laheru, see his Blessed Moments with Osho).
Recording tape was on cassette and small tape reels (1/4 inch, mainly at 1⅞ ips).
Sw Anuragi 2020-11-10 16:39MET reports : "One point I remember on the recordings of pre-Poona days is that Laxmi always carried a small tape recorder with her and recorded Osho’s talk. This was told to me by Ishvar Bhai’s associate cum assistant. Ishwar Bhai also recorded the talks."
  • Spool, cover, and notes of a 1962 recording, see Rare Hindi Talks from 1962: spool E.
    More examples in it's discussion page.

  • Media of the original recording of Dynamics of Meditation ~ 11 (1972).

  • And it's container.

  • 1974-79 Poona 1
    Recording was done by Ashvagosha and Pratik
    There were occasional video recordings done by outside people. Most footage from this time was film footage.
    The first film department started in 1979. Ma Prem Samadhi (American) was put in charge by Sheela. She was getting direct guidance from Osho on how he wanted the filming to be done. Sometimes she was called into his room to get the instructions personally. German Bodhigarbha was also an important member of her crew.
    Video recordings were limited to about 20 minutes at a time, because of that was the maximum length of recording tape available. Osho would be instructed to limit one answer to that time. Then the videos would consist e.g. of Osho entering, then one question, then one question skipped, then again a recording of a question, and Osho leaving.
  • Tape Case-labels 1979-02 - 05
    Many more examples, see ORAC Original Recording Tapes.

  • Cover back - The Book of Wisdom nr.15 - 21

  • Reel - The Book of Wisdom nr.15 - 21


  • 1979-81 Poona 1 continued
    Recording of audio was done by Hasibo and Jalal
    Recording of video was done by Mutribo, Harp, Maharaj. E.g. a VHS record of Osho talking about the death of Chinmaya (Prem Chinmaya - The Right Time to Go (1982)), has closing captions stating:
    Camera: Sw Anand Devesh, Sw Deva Mutribo, Sw Anand Parigyan
    Recording Engineer: Sw. Bodhigarbha
    Production: Ma Prem Samadhi
    Audio recording was done on 10 inch reels, ½ inch tape (Ampex 456, BASF) at 7.5ips on a Nagra 1S [1] with a backup cassette on a Nakamichi 550. Microphones were Neumann KM84 for Osho and KM85 for Teertha's questions. Osho had increasing back problems exacerbated by leaning to the right to speak in to the mic, so during 1980 some experiments were done with a PZM microphone attached to his clipboard.
    Video was recorded on U-Matic/NTSC recorders. Early tapes had a maximum recorded time of 20 minutes.
    1981-85 Ranch
    Recording of audio was done by Premartha, Sharno, Arpito Hans and others
    Recording of video was done by Mutribo, Harp, Maharaj and others.
    Mahendra adds:
    When I started working in Edison in April 1985 there were lots of cameramen besides the ones you mention: Toby Marshall, Harideva, Devaprem, Amano, Mudito and two teenagers come to my mind. The teenagers were --as far as I recall-- Dodger (Jane Stork’s son, who died a few years ago) and Bikkshu. The cameramen were quite privileged, because they were able to be in the "Frozen Few" discourses, which happened from the end of 1984 until about March 1985. When the discourses in Mandir started again after the 1985 summer festival the cameramen were again privileged, because they were standing with their cameras between the first row and the master.
    At one point one of the teenagers collapsed behind the camera with a big “thump”. Osho of course noticed it and told Sheela to train more cameramen and to change them during discourse. From then on the cameramen were changed after one hour. That’s how the Edison moms Bhavani and Mahimo also became cameramen.
    From 1983 to 1986 audio was recorded on PCM coded VHS cassette (first digital recording). There was also reel to reel recording that was used for the cassette masters.
    From 1983 to 1986 video was recorded on U-matic/NTSC tapes.
    1986 World Tour
    Early tour recordings were done by Rafia (and others) on VHS/PAL and Video8 tape. From Uruguay onwards, tour recordings of audio and video was done by Niskriya and others on SuperBeta format.
    1987-90 Poona 2
    Recording of audio was done by Jalal, Pashupati.
    Recording of video was done by Niskriya, Bhikkhu, Ananya.
    Mahendra adds:
    In Poona 2 was in the video department with Sw Shunyam Niskriya from autumn 1987 to about summer 1989. I did the side camera a few times, but mainly I was in charge of recording the video tapes, sitting next to the musicians and the audio guys Jalal and Pashupatti, so you can mention Ananya (my name then) as one of the recording people. First we were using Sony Superbeta PAL tapes, but later we upgraded to ED Beta for video recording.
    (We did have an S-VHS and an ED Beta machine, but I don’t recall, if we ever used them as masters. We also had a huge PAL to NTSC signal converter for the American market.)
    I think in 1988 we had a special cable construction directly from the camera in Buddha Hall to the audio/video room in Krishna House. The disadvantage was that one person had to stay in the a/v room during discourse, but the advantage was that we had much better quality and less work for the directly recorded VHS tapes, which were sold afterwards in the ashram bookshop.
    From 1986 to 1990 recording was on Betamax for both video and audio (digital) (xxx check). Microphones were a pair of Schoeps mics mounted in the chair. In the later years there was a PZM microphone mounted on the podium roof to capture ambient sounds which could be mixed in later to the recording. For a period there was some videos recorded in 3D format, although these were not very successful and dropped later.
    Jalal adds:
    Throughout the period 1974-94 there were full notes kept of what was done by whom. The archive project information was kept on computer and I have that, but all before that was written in notebooks. I know the notebooks survived for a while (they traveled to the Ranch and back to Pune 2 (I think) but then I lost track of them. Probably mouldering somewhere in a basement.

    Mono / stereo

    Jalal 2022-01-31 and -02-16:
    All recordings of Osho's voice are in mono.
    So, Pune 1 - only mono. All the tapes were full width, mono, 1 7/8 recordings.
    The Ranch - mixed down to mono. Or just from one mic with the other as backup, I'm not sure.
    Pune 2 - mono, with stereo ambience introduced from approx '88 from a pair of PZM mics above the podium.
    There is an exception in about '89, when Niskriya insisted that we record using the two chair mics and have Osho's voice in stereo (Schoeps mics). We tried it once. When we listened to it later it was clear it didn't work, as Osho sounded like he was leaping from left to right and back on the sound stage. So we went back to mixing the chair mics to mono and got some PZM mics for the stereo ambience.
    The video recordings use the same microphones as the audio, as described above.
    DAT tapes (see below under "Remastering"): They only had two tracks.
    From the Zurich work, one track had the original mono sound, the other track has the cleaned up, mono sound.
    DAT tapes from the Ranch are normal, stereo recordings.
    DAT tapes from the London archive project are either the cleaned up original OR the stereo video sound track.
    The Betamax archive project tapes have (I think) two track original sound, two tracks cleaned up sound.

    Conversions

    Jalal: There have been various copying and archiving setups over the years.
    Poona 1
    1/2 inch tape was copied on to a cassette master from a TEAC reel machine to a Nakamichi cassette deck. I think two cassette masters were made, one for production, one for storage/backup.
    90 minute discourses fitted on one C90 cassette, otherwise "third sides" were put on to a second C90 cassette.
    These were then duplicated on Telex tape duplicators for sale in the shop and for sending out to centres abroad.
    Ranch
    Discourses recorded on reel to reel (as per Pune 1), cassette back up and PCM digital audio on VHS tapes. Reel to reels mastered down to cassettes and duplicated for sale and centres.
    World Tour
    Not known, video on U-Matic, audio probably taken from there.
    Poona 2
    All audio recording done on Super Beta and Betamax video tapes with digital audio. Audio was pulled off to make cassette tapes for sale and for centres.

    Remastering/archiving

    There have been a few remastering processes over the years, the main one being in London from 1993 to 1997. This was also an archiving project as the tapes were all collected together for long term storage.

    1988 to 1993, Zurich

    The first remastering project ran from the end of the 80s until about 1993 and was done by Hasibo in Zurich, Switzerland. This project was specifically concerned with the original audio recordings on spools and on PCM tapes, recordings made before the video recording started.

    This was a matter of some urgency as some of the original Ampex reels from the 1970s were disintegrating and needed to be transferred to digital format.

    The Ampex tapes had been manufactured with a binder that started to disintegrate after a decade or so, and also became sticky, they had Sticky-Shed syndrome. Treating them involved 'baking' in an oven to dry out the tape enough that it could be passed through a tape machine and recorded on to DAT tapes, at the same time as trying to run them through a signal processor. This was before computer based DSP, so was analog noise reduction. After this process the original tapes were basically useless, although still archived.

    In general, magnetic tapes on a spool suffer from print-through, where one layer of tape will effect the next layer. This is why so many discourses from that time have a strange delay (or precog) of up to a second or so. In a professional studio all tapes will be rewound every year or so to make sure that this didn't happen, or at least to mitigate the effect. This hadn't happened over the years, but there was very little that could be done about the 'echo' problem.

    1993 to 1997, Audio/Video remastering project, London.

    The Audio Video remastering project was started in 1993 in London at a studio run by Diva Ltd.

    This project was concerned specifically with the video, and with the audio from video recordings.

    It had a staff of about 8-9 people and a full set of studio equipment to play the various archive formats and run them through audio and video signal cleanup.

    All tapes were gathered in FTS Storage in London. In Diva we remastered the audio and video tapes to digital format (D2 tape format). The D2 tapes have 4 audio tracks, T1&2 had processed audio on them, T3&4 had the original, unprocessed audio (about 4 frames ahead of T1&2). The video signal was cleaned up and color adjusted as much as possible, given that many of the originals were in NTSC format.

    Sound processing was done by the latest technology, the CEDAR system. The audio from the video tapes were remastered on to DAT format with one track storing the original sound, the other track with the cleaned up sound.

    As well as the remastering of all the tapes, copies were created for the Archive purchasers (*1). There were 4 NTSC archive sets, 6 PAL archive sets (both sets on S-VHS) and two sets of DAT tapes.

    After Diva Ltd went insolvent, the remastering and archiving passed to Masterzone Ltd (London) until completion.

    Upon completion of the archiving project in London, and distribution of the archive sets, the complete set of originals were shipped to New York, which was the headquarters of OIF.

    Köln, Germany

    Details and dates to come.

    200? to 2009, Osho Resort, Pune, India

    One (or both?) of the DAT audio archives, and one S-VHS archive, had been sent to Pune at the end of the London project. There was a project to take the remastered audio and remaster it again, although the result was not so good (*2).

    2012 to ????, New York, USA

    All archived tapes were transferred over to hard disks for long term storage. (Possibly in MP4 format?). As far as I know, there were no attempts to process the signal.

    Notes

    (*1) At the time of remastering, the Archive purchasers were in: Pune, London, Berlin, Köln, Sweden, Columbia, USA (LA), Korea, Japan and Switzerland. However, this may have changed before final shipping.

    (2*) Note about improving sound quality. When working on an audio recording it's normal to do A/B comparison to check that the voice is not degraded too much. It is possible to take out so much noise that the voice will sound alien. So, take out just the right amount of noise to improve the recording but without effecting the quality of the voice. To do this we would A/B switch between source and output to find the right balance.

    The problem is, in 10 years time, someone repeats this with the processed audio, this time B/C, to get a cleaner recording, but with further voice quality distortion and, in some cases, this is repeated (C/D) again a decade later. So the final result is a sound that would not be acceptable if you compared it to the original, but as that never happens, it is considered OK.

    Editors notes

    Editor: By the way, the original tapes would sometimes be stored in a careless way. Sugit was working in the commune in the late 80s to wipe rat's piss and shit from hundreds of Hindi master tapes.
    Sugit:
    In Amsterdam, Netherlands, I was crowd-funding a set of "master-tapes" from the Zurich (or London?) remaster. This started in 1990, and for some 15 years I was copying those tapes. Those were then sold by Osho Publikaties. The foundation was called "Osho Master Tapes".
    We received our master tapes from Köln. They came in batches: batch #1 on 1990-10-30 and the last batch #18 on 1994-08-27.

    Editions and versions

    This table gives an overview of the different editions (editing of contents) and versions (technical amelioration of the audio quality).
    edition
    (content)
    version
    (technical)
    name and generations when location of the originals by
    e1 v1 Original master tape
    (Reel, Digital PCM, Betamax audio track)
    throughout New York (probably) various
    v2 Original distribution master tape (*1)
    (Pune 1 & Ranch: cassette; Pune 2: S-VHS audio track)
    everywhere
    e2
    (*5)
    v3 Zurich Remaster
    DAT tapes digital audio (*7)
    1989-93 unknown Hasibo
    v4 London Remaster
    DAT tapes digital audio (*7)
    1993-96 11 remastered archives around the world Loki, Jalal, Michel, many others
    v5 Distribution master tape (*2), (*6)
    CrO2 audio cassettes
    distributed in 18 batches
    from 1990.10.30 to 1994.08.27
    some 30 sets, all over the world
    e3 v6 Resort 2003 Remaster (*3)
    (digital)
    ca. 2003-10 Pune resort ?
    v7 Resort distribution MP3-audio (*3)
    Sold on OSHO.com
    from ca. 2009? Pune resort? ?
    v8 Transfer to hard disk (4) ca.2012 New York? ?
    notes
    (*1) Distribution tape: we could call it First Generation tape or master cassette. After a discourse, the Master tape was taken up to the studio and checked, copied down to a master cassette which was duplicated for sale. Sometimes there were more than one master cassette.
    (*2) The Zurich and London Remaster-edition for consumers can be recognized by it's intro, always spoken by Amrito (English) or Devendra (Hindi). It does not have any extra music.
    "Osho, <Series-title>, <Series-subtitle>, given at <venue> <place> <country>, discourse number <number>"
    (*3) The Resort 2003 Remaster-edition audio can be recognized by it's copyright statement at the end "1953 to 2003". The intro and outro have soothing elevator muzak around it. The intro is spoken by Amrito, or for Hindi audios a Hindi speaker:
    "An Osho talk, <series-title>, <series-subtitle>, number <number>"
    This is the first audio edition where content has been deleted and voiced-over, see below under Content editing.
    It is not known if any audio-quality editing has happened with this edition, or if it is just the material of v4 with content edits.
    (*4) Assuming here that there was no editing, just a transfer of existing digital material. Or should it be a separate edition "e4" ?
    (*5) There was no editing of content in the Zurich or London remastering projects, except for the introduction, which was changed from the original intro, see (*2).
    (*6) The distribution master tapes, made in Köln (also other places?), were made from the Zürich remaster v3 (mostly the earlier and Poona 1 discourses) and from the London remaster v4 (mostly Ranch and later discourses). check
    (*7) It may be that the DAT tapes actually include the original intros. Which were then replaced by Amrito's/Devendra's voice in the distribution-masters on CrO2 tapes.
    One set of the DAT tapes may be still in Sedona.
    By the way, it is likely that the DAT tapes are now (2022) pretty much useless, as they deteriorate and develop drop-outs over time.


    Mahendra on video

    On Feb 7, 2021 Sw Mahendra sent us his comments on this topic.
    The first film department started in 1979. Ma Prem Samadhi (American) was put in charge by Sheela.
    She was getting direct guidance from Osho on how he wanted the filming to be done. Sometimes she was called into his room to get the instructions personally. She told me this personally during our Zoom meetings last year.
    German Bodhigarbha was also an important member of her crew. She remembers doing a film about Vimalkirti after his death.
    Samadhi was told already in March 1981 about the impending move to the US. She secretly prepared for the move and was told to go with her team to NJ a few days before Osho traveled. They filmed at least some of the satsangs at the castle.
    After the ranch was purchased, the video crew including Samadhi was sent to the ranch to film everything from scratch. About mid or end of 1982 Samadhi was replaced by another Ma as mom of the video department.
    For the audio department on the ranch Sharno was equally important like Premartha. He still works in the recording field (mkpe.com).
    When I started working in Edison in April 1985 there were lots of cameramen besides the ones you mention: Toby Marshall, Harideva, Devaprem, Amano, Mudito and two teenagers come to my mind. The teenagers were --as far as I recall-- Dodger (Jane Stork’s son, who died a few years ago) and Bikkshu. The cameramen were quite privileged, because the were able to be in the Frozen Few discourses, which happened from the end of 1984 until about March 1985. When the discourses in Mandir started again after the 1985 summer festival the cameramen were again privileged, because they were standing with their cameras between the first row and the master.
    At one point one of the teenagers collapsed behind the camera with a big “thump”. Osho of course noticed it and told Sheela to train more cameramen and to change them during discourse. From then on the cameramen were changed after one hour. That’s how the Edison moms Bhavani and Mahimo also became cameramen.
    In Poona 2 was in the video department with Sw Shunyam Niskriya from autumn 1987 to about summer 1989. I did the side camera a few times, but mainly I was in charge of recording the video tapes, sitting next to the musicians and the audio guys Jalal and Pashupatti, so you can mention Ananya (my name then) as one of the recording people. First we were using Sony Superbeta PAL tapes, but later we upgraded to ED Beta for video recording.
    (We did have an S-VHS and an ED Beta machine, but I don’t recall, if we ever used them as masters. We also had a huge PAL to NTSC signal converter for the American market.)
    I think in 1988 we had a special cable construction directly from the camera in Buddha Hall to the audio/video room in Krishna House. The disadvantage was that one person had to stay in the a/v room during discourse, but the advantage was that we had much better quality and less work for the directly recorded VHS tapes, which were sold afterwards in the ashram bookshop.
    The 3D thing was Niskriya’s idea in 1986 in Bombay. He used two cameras, which were placed next to each other. The person in the recording booth (often me) had to start two recorders simultaneously, so the two recordings would be 100 % in sync. That’s why we made two master tapes each time. In theory the two tapes could be projected on a screen and with a special set of glasses you were supposed to get a proper 3D image of Osho. We tried it once or twice. If all technical conditions worked, you could indeed see Osho three-dimensionally. Niskriya thought, this would be the future. I liked it, but it seemed unnecessary and a waste of money for me, because most people were listening to discourses with closed eyes. So this caused some discussions between me and Niskriya, which finally led to a meeting in 1989 with the Hollywood guys. As a consequence I was kicked out of the department. So I’m not sure, if the 3D was continued afterwards, but I think so, because Niskriya thought it was extremely important and he had a strong position being one of the main money givers for the construction of the Lao Tzu Samadhi.
    Equipment was very expensive, because there was no hi-tech stuff available in India and imports were charged a 100 % tax. So it was difficult to get money to bring in stuff from the West, or from Singapore or Hongkong, where it was a little cheaper.


    Content editing

    Jalal: As far as I recall, there was no editing of the audio in Pune 1. Many people would only buy the main cassette of a discourse (and not the third) so would miss the end of the discourse....
    During the Ranch, the discourses were occasionally edited, mainly for legal reasons. The PCM digital audio on VHS could not be edited, so when in doubt, these were definitive. And there is of course the infamous "missing tape" from Dec 19 1984, which was destroyed.
    In Poona 2, as far as I am aware, none of the original Betamax video tapes were edited. Sometimes Osho requested that we change something in the recording but this was rarely possible and is somewhat obvious when it was attempted. After the Fatwa against Salman Rushdie was announced (14th Feb 1989), Osho made some comments on the matter that was removed from the sales copies (but not the master tapes).
    All of the above cover the original source recording of the audio (and duplication for sales). This all happened before 1990 (of course) and most of the archiving has been since.
    Instructions for content editing after 1990 came from Sw Prem Amrito, and possibly from Klaus Steeg (Sw Anand Pramod).
    Editor: we have listened to many Resort 2003 Remaster-audios now. This is what we hear:
    1. The word "Bhagwan" (as a salutation by the questioner) has been systematically cut out. This occurs not just at the beginning of the discourse, but also with later questions in the middle of discourses. (What we have seen so far is that when there is a specific discussion about "Bhagwan", then that has been retained. Of course, not all has been checked.)
    2. The names of sannyasins, i.e. the questioner who is referenced by Osho (often in an exceptionally loving way), have been systematically cut out.
    3. Sometimes questions on the original recording were inaudible. In the early days, e.g. the questioner would not have a separate microphone. These questions have been voiced over.
    4. But in several instances the questions put before Osho were perfectly audible, but they have been cut out and have been dubbed in an altered form by Amrito or Maneesha. Apparently this is done to reduce verbiage and excise all devotional elements. The table below shows examples.
    5. In Hindi audios we have seen a peculiar edit, namely excising of silence. For example in the series Sadhana-Sutra (साधना-सूत्र) and Samadhi Ke Sapt Dwar (समाधि के सप्त द्वार), in 17 discourses each, we see that in the Resort 2003 Remaster many small parts have been cut out, so the audio is between 14 seconds and 5 minutes shorter compared to the London Remaster.
    6. Accidental transcription errors could also occur. Transcribers would have a cassette deck with footswitch to listen to the recording as they typed and pause it as they went. Sometimes a distraction would mean that they missed a chunk of talking and rewound to the wrong place, hence missing some words.
    We are researching if more editing has taken place. If you, dear reader, know of other edits, please let us know, with the name of the audio and the time where it occurs.

    Audio quality

    It is remarkable, actually amazing, that if one listens to very old audio cassettes made in the 1970's, the quality is often better than the quality of edition 2 or edition 3 digital audio, that can be downoaded / bought on the internet. More on this, with an example, see Audio Quality.

    One correspondent has said that the original tape-spools, the ones used until 1976, are of very good quality until now (2022). Many spools after 1977 get stuck to the head of the player. Not all spools are bad but they aren't dependable.


    Examples of edits / cuts in audio

    The table below compares the content of the original recording with the Resort 2003 Remaster.
    Here, questions that were being read by Maneesha were perfectly audible, but nonetheless have been cut out and replaced by dubbed questions.
    This list is by no means complete, it was just a check of one series, Beyond Enlightenment.
    Original recording, question read by Maneesha Resort 2003 Remaster : question dubbed by Maneesha
    Beyond Enlightenment #13, q.1
    Maneesha:
    Beloved Bhagwan,
    When I close my eyes, I feel such an enormous presence, such a vast isness, such a beatitude. But it is a fullness, not an emptiness. Could you please say something about the difference between this fullness, and the emptiness or nothingness which you are speaking of?
    Osho:
    Maitri, the fullness that you are experiencing …
    Maneesha:
    .
    When I close my eyes, I feel an enormous presence, a fullness. Could you please say something about the difference between this fullness and the emptiness or nothingness which you are speaking of?
    .
    Osho:
    - - - the fullness that you are experiencing …
    Beyond Enlightenment #13, q.2
    Maneesha:
    Beloved Bhagwan,
    As you were talking about Indian and Western sannyasins, I felt what you were saying is true -- sometimes the Indians are too much of the heart. It is hard to say no to them, yet you cannot say yes to their expectations and theories. They are deaf.
    Will you please explain why this is so?
    Maneesha:
    .
    When you were talking about Indian and Western sannyasins, I felt what you were saying was true -- sometimes the Indians are too much of the heart. It is hard to say no to them, yet you cannot say yes to their expectations and theories. Why is this?
    Beyond Enlightenment #14, q.1
    Maneesha:
    Beloved Bhagwan,
    You heard my prayer and called me to you on the 8th of August.
    As I entered your room, i experienced you as a large ocean, an emptiness that I have never experienced before. I saw your beautiful being, and I was immersed in that emptiness and beauty. I felt that the ocean's emptiness was flowing into me from you.
    After that day, new songs and melodies are coming from that emptiness of yours, and I don't know anything.
    Beloved Bhagwan, please explain how this can happen so easily in the master's presence. Is it so simple? It doesn't feel possible for me to exist in this life without having had that meeting -- is that so? :I feel that such a feeling might not have otherwise happened to me for many lives.
    Please explain the meeting of the master and the disciple.
    Osho:
    Ashok Bharti, the most obvious in life seems to be the most difficult; ...
    Maneesha:
    .
    When I met you, I experienced you as a large ocean, an emptiness, that I had never experienced before. After that day, new songs and melodies are coming from that emptiness of yours, and I don't know anything.





    Please explain the meeting of the master and the disciple.
    Osho:
    - - - the most obvious in life seems to be the most difficult; …
    Beyond Enlightenment #14, q.2
    Maneesha:
    Beloved Bhagwan,
    I wonder whether as your disciple I can be utterly selfish, to find my way to enlightenment whatever I am doing. Or do I have to fulfill a certain function for you to spread your vision?
    Maneesha:
    .
    As your disciple, can I be utterly selfish? Or do I have to fulfill a certain function for you, to spread your vision?
    Beyond Enlightenment #14, q.3
    Maneesha:
    Beloved Bhagwan,
    These days here with you are certainly the most beautiful. Doing nothing, so much time to sit silently in the garden, in my room, and watch the trees dancing in the wind, sparkling in the sun... So much beauty.
    My mind is finally getting used to the idea of being turned off. I am so peaceful, so happy. Now, today, again going inside on this path of silence, with thoughts drifting away and emptiness surrounding me, I am aware of a tension inside me as if i am holding on to something.
    My beloved master, what am I holding on to, and how do I let go?
    Maneesha:
    .
    Being here, I have been so peaceful, so happy. But today, when going inside on this path of silence, I was aware of a tension inside me.


    What am I holding on to, and how do I let go?
    Beyond Enlightenment #14, q.4
    Maneesha:
    Beloved Bhagwan,
    I seem to be so unconscious so much of the time, so very unaware and just simply involved in life and loving living it.
    When you speak about the totality and intensity of the search, and how nothing else really matters, and how important it is to let nothing become a distraction, I fear I will never manage it.
    In my heart I feel nothing else does matter, yet I am not living in this awareness all the time and in every situation.
    Would it be good for me to try to bring this awareness to each and every moment, even if it requires intense effort? If you feel this is good for me, I will try it even though i am afraid I may lose some of the fun and spontaneity and ease of just living, and even though I don't know if I can manage it.
    Maneesha:
    .




    Should I try to be aware all the time, even if it means losing some of the ease of just living?
    Beyond Enlightenment #19, q.1
    Maneesha:
    Beloved Bhagwan,
    I am a two-year-old child in sannyas at the age of sixty!
    I consider myself blessed to have come into the fold of your grace.
    Was this destined to be so? Then why was it so late in life? Can the child in me become mature in what remains of my life? How? Kindly help.
    Osho
    Anand Yeshwant, the question you have asked has many implications. …
    Maneesha:
    .
    I am a two-year-old child in sannyas at the age of sixty.


    How can the child in me become mature, in what remains of my life?
    Osho:
    - - - the question you have asked has many implications. …


    Example of an edit / cut in video

    The table below compares the content of original recording with what is published on YouTube.
    Original recording As shown by OIF on YouTube
    Zen: Zest, Zip, Zap and Zing #02
    Osho:
    The first question
    Bhagwan,
    Do you think that you will go to heaven when you die?
    Prem Pramod, …
    Osho:
    The first question
    .
    Do you think that you will go to heaven when you die?
    Prem Pramod, …
    On YouTube **
    Editor: It's not a major cut, just the usual removing of "Bhagwan".
    But it's quite amazing how well the cut has been done,
    you wouldn't notice it even on video. So let's watch out...


    see also
    Editing of sources
    Of Coincidence and Guardian Angels Interview with Sw Shunyam Niskriya, World Tour and Poona 2 cameraman, in OshoNews 2020-01-13 in English. Originally in German in the German Osho Times, 2019-12.


    Osho Source Book:
    section 2.8 First Printed Booklets: subsection Audio, Radio, Photo and Video
    section 3.6 Discourses and Publications: subsection Audio
    section 4.11 Audio-Visual Media. Photos, especially Jalal on recording technicalities (1991)
    section 5.9 Audio-Visual Media. Photos
    section 6.10 Publishing and Editing: subsection Audio-Visual Media
    section 7.8 Photos, Audio, Video and Digital Media: subsection Audio (not yet on line)
    Sources: chapters 6. Audio. Cd and 9. Video. Dvd. TV (not yet on line)