Schumann Resonance Explained: Earth's Hum and Our Brainwaves

The Schumann resonance is a band of extremely low electromagnetic frequencies that hums continuously in the space between the ground and the ionosphere, the charged upper layer of the atmosphere. In a 2021 episode of The Tabytha Polaris Show, space weather researcher Alexis Buck of Ascension Diaries walked a listener-friendly audience through what that hum is, why its pitch is set by the size of the planet, and why she believes it can reach into the nervous system. She is candid that much of her work sits where a scientist's chart meets an intuitive reader's body, and that tension is what makes the conversation worth your time. What follows unpacks her ideas, the scene that frames them, and the open questions she herself keeps circling.

What does the scene look like when a space weather researcher meets a singing light worker?

The episode opens less like a lecture than a friendly visit. Host Tabytha Polaris, a singer and creator of high frequency music and meditations, starts with a ritual she uses with every guest: she draws angel cards as a small gift. Her first card was "loved one in heaven," which she admitted felt odd to pull, so she drew a second one, "balance," and used it as a theme for the hour. Buck's answer to whether the first card resonated was simply a yes, and the two of them moved on.

That warmth matters, because it sets the tone for everything after. Polaris had discovered Buck's work while scrolling YouTube and said she had "always been affected by the Schumann resonance" without knowing how to read the charts. Buck, for her part, described the hum as a kind of music. In her words, "watching the Schumann resonance is kind of like watching the song that's playing in our environment that we can't really hear or see" (Buck, The Tabytha Polaris Show, Episode 39, early in the interview, around 2:14). That single image is the key to the whole conversation. The planet is singing. Most of us never hear it. Some people feel it anyway.

What is the Schumann resonance, in plain terms?

Buck's working definition is the piece's spine. As she put it on the show, the Schumann resonance is "basically a scale of extremely low frequencies that are constantly humming in our from the ground level up to the ionosphere of planet earth." She added that other planets can have the same kind of cavity and the same properties, and that the specific notes we experience come down to size. "Our planetary size is what causes these notes to be these specific notes," she said, and those notes "swim amongst the electromagnetic spectrum of the whole atmospheric electricity movement."

That framing is useful for anyone who has heard the term and wondered why a planet would have a pitch. Think of it the way a musician thinks of a room or a bell: the dimensions determine which tones ring out. Earth is a large, enclosed cavity between ground and ionosphere, and that enclosure shapes the resonances inside it. Buck's point is that the shape is not decorative. She argued that these particular notes are "very important to life on earth," and that she had seen studies suggesting the frequency matters enough that astronauts would need it in space. She did not walk listeners through those studies on the episode, so treat that as her account of the research rather than a finding she laid out in detail.

Can the planet's hum really entrain human brainwaves?

This is the claim that drives Buck's work, and it is where she is most personal. Her background in psychology gave her a lens on brainwaves, and she framed the nervous system as something shaped by the brain's position in the body. The leap she made was from planet to person: "The fact that there's an entrainment possibility from this big system, the planet, to entrain our brainwaves in our smaller systems is huge in my mind," she said.

Entrainment is a familiar idea to musicians. A metronome can pull a loose ensemble into lockstep, and a crowd can sway in time with a drum. Buck is proposing a version of that at planetary scale, where a slow electromagnetic rhythm might nudge the rhythms of human brains. She is careful to present this as a possibility that interests her rather than a settled mechanism, and the conversation is stronger for that restraint. Her method is observational. She described how she "would feel things and then go check the chart and I'd see things were different, but I didn't know why. I knew that I was affected by it." That sequence, from felt experience to chart to pattern, is the engine of her entire body of work.

She also linked the planetary hum to the human world in a second way: through technology and military history. Buck pointed to decades of radio transmissions and frequency experimentation, and she argued that mechanical frequencies have influenced nature as well. "The earth has its own frequencies and then the humans and whoever else are also adding some flavor," she said. She suggested that such experimentation has since given way to more safety and protocol. Those are historical and political claims, and they are hers to make; the episode does not document them with sources, so they are best read as her interpretation of the record.

What does Buck say about watching charts and physical symptoms?

Here the conversation turns practical. Polaris asked the question many listeners carry: when you have a headache or dizziness, does that mean the resonance is running high or low, and do physical symptoms track changes in the Schumann readings? Buck's reply was that the question is exactly why the study has run so long, because the readings keep changing. Her broader claim, stated earlier in the episode, is that she has seen correlations between the charts and how people feel day to day, including emotional states, energy levels, and even physical pain in the body. She treats these as observations accumulated over years of tracking, not as clinical results.

That distinction deserves attention. A thoughtful reader can take three things from her approach. First, the value of logging your own days against the chart, the way she describes her own practice. Second, the habit of asking what a pattern means before deciding what it proves. Third, a reminder that a chart is a tool for noticing, not a diagnosis. Buck herself stresses the watchdog role: "a watchdog mentality of watching what is going on in the electromagnetic field of our planet for the citizens," as she put it. That is an attitude of paying attention, and it can coexist with a doctor's care when the body is in trouble.

Where do you find the charts and the library now?

One of the most revealing passages is not scientific at all. Buck explained that her largest archive had lived on Facebook, and that it was now scheduled for deletion, with roughly 26 days left before it disappeared. Her response was to move the library to Instagram and to a website, ascensiondiaries.com, where she said she would post major events. Her reasoning was blunt: "in case all social media poops, even YouTube or whatever," people should still be able to find the material.

She also mentioned that others now do similar work with the same charts, using their own perspectives, and that an app for Schumann readings exists, built by a creator she has been in touch with. That matters for anyone who wants to check the data directly rather than trust a voice. A good habit is to compare sources, watch the raw readings, and keep your own notes alongside them. Buck's own work shows that the most useful tool is a steady record kept over time.

Why did the conversation move to Telegram, and what does that reveal?

Buck's frustration with platform censorship runs through the episode. She said she is "very disheartened with all the censorship," and that she believes in free speech. Her move to Telegram was not only a tactic. She said she was having "the most fun on there," and she and Polaris cross-followed each other's channels, with Telegram also hosting an active chat. For listeners, the practical point is simple: if you follow this kind of work, diversify where you learn from it, because a single platform can vanish a library overnight.

What is still unresolved about the Schumann resonance?

Buck's most honest move is to keep the science and the spiritual reading in view at once, without collapsing one into the other. She called the resonance "a musical thing too," and she noted that scientists sometimes miss that dimension. Her appreciation for music and her respect for careful measurement are not in conflict; they are two ways of listening to the same hum. The open questions are real. How strongly does the planetary field affect human biology? Are the body correlations consistent enough to be useful? What exactly is the entrainment mechanism? The transcript we have ends before some of her most specific answers, including her view on the biggest error people make when reading charts, so readers who want those details should watch the full episode.

Near the close, Polaris thanked Buck for "great info," and the exchange felt like two people who had found a shared language. That is what this episode offers: not a settled verdict on the Schumann resonance, but an invitation to listen more closely to the planet's background tone, and to notice what your own body does when the song changes.

Where to go from here

If the idea of a planetary hum is new to you, start with the definition Buck gives and hold it loosely: a constant band of extremely low electromagnetic frequencies between ground and ionosphere, shaped by Earth's size. Then try her method on a small scale. Keep a simple daily log of your mood, energy, and physical sensations, and compare it against published Schumann readings over a few weeks. Look at the charts yourself, use more than one source, and treat any pattern as a question rather than a proof. For the full context, including the parts of her answers this article could not cover, watch Episode 39 of The Tabytha Polaris Show, and visit Buck's Ascension Diaries website to see how she organizes her archive.