My experience with smoked DMT was qualitatively different from the realms and beings ayahuasca introduced me to. For whereas the ayahuasca worlds seemed rich, luxurious, and abundant in the transformations of organic and supernatural life, DMT brought me to a world--or to some aspect of a world--that appeared from the outset to be highly artificial, constructed, inorganic, and in essence technological.

THH has the ability to raise your vibration in a most powerful, yet subtle way. It brings a crystalline prismy texture to spice and adds a super clear watery dimension to Aya, like looking down through 10meters of shimmering Caribbean Sea on clear blue day. It brings a dimension of pure light to the entheogenic experience and encourages entities & intelligences of only the Highest Order. If one is not accustomed to perceiving these experiences with a spiritual perspective most of the nuances & subtleties THH brings on are overlooked and remain unseen and one would better enjoy Harmaline as a house painter chooses a roller over a brush, its about preference & choice. You are creating something sacred which few people will ever have the opportunity to experience and you will be forever changed in the process.

Everyone who was into this topic seems to have disappeared,

Everyone who was into this topic seems to have disappeared, and I hate talking to myself, I do enough of that when I'm working.

whose Soma Mandala contains 114 hymns, many praising its energizing qualities.Indra and Agni are portrayed as consuming Soma in copious quantities. The consumption of Soma by human beings is well attested in Vedic ritual."We have drunk Soma and become immortal; we have attained the light, the Gods discovered."It is described as "green-tinted" and "bright-shining" in the RigVeda.The drink is prepared by priests pounding the plants with stones. The juice so gathered is filtered through lamb's wool, and mixed with other ingredients (including cow milk) before it is drunk. It is said to "roar". It is said to be the bringer of the gods.Later, knowledge of the ingredient was lost altogether, and Indian ritual reflects this, in expiatory prayers apologizing to the gods for the use of a substitute plant (somalataa, e.g. the pūtīka) because Soma had become unavailable.

However, in a broad (as yet unpublished) survey of Banisteriopsis caapi, Psychotria viridis and subsequent teas, which included phytochemical analyses of all, plus subjective ratings of the teas, a strong correlation was found with teas that contained high amounts of THH and not DMT! This rating was from a large body of experienced users (regular União do Vegetal members who had consumed ayahuasca for 10+ years).

As to how the THH altered the experience -> I find rue extract+DMT to be very similar to mushrooms I found the THH added to the rue+DMT to shift the experience to a state much closer to that provided by LSD. It was more clear, more energetic, more focused, and when confusion struck it was definitely more "acid-like".

Often, the things I saw under the intoxication impressed me as being so real that the conclusion seemed to be unavoidable: truly existing other realities are being revealed. Believing that this is the case is very common with drinkers of Ayahuasca. Both during the course of the intoxication and afterwards the question repeatedly forces itself: Does this really exist? Over and over again I have heard people express the same feelings of puzzlement and intrigue: Where do all the wondrous things revealed in the visions come from? What do they mean? The things seen with Ayahuasca often strike people as so different from anything they have seen or known that they cannot be the products of their own intellect. Universally, drinkers of Ayahuasca feel that these things are too fantastic to be merely the products of the imaginative power of their own mind. If a supernatural realm [the term usually employed is "the astral"] exists in any sense, many further questions ensue. What is the relationship between this realm and the physical world? What is the relationship between it and the human mind, between it and the brain? Does the supernatural or transpersonal consist of only one realm or many?

Many Ayahuasca visions lead one to an appreciation of the Divine and of the sacred dimension of being.

A Shaman told me that "at first Ayahuasca shows you this world, then later on it shows you other worlds."

Especially impressive are visions that may be likened to visits to galleries or museums. As already mentioned in the previous chapter, once I found myself shown an exhibition displaying the works of an entire cuulture. Various works of art and artefacts were displayed. They were all of a style that resembled nothing that I had ever seen before in my life. What was striking was that the different objects on display all defined one coherent style. Similar visions were reported to me by several other persons.

One of my most experienced informants told me that some of the most impressive Ayahuasca sessions he has had involved his being transferred to other realms which apparently pertained to a different dimension. In these realms, the laws of physics were different from those that hold true here in this world. He encountered there beings totally different from those inhabiting planet Earth. They were flat and they proposed that he stay with them and learn the mysteries of the universe. The requirement was, however, that he lose his materiality. My friend declined and opted to return to this world. The vision with the mathematical formulae reported by a South American man and mentioned in the previous chapter is another example of a vision whose theme was the mysteries of the universe.

An effect that borders between the sensory and the interpretative is that of beautification. With Ayahuasca, music sounds immensely beautiful. One's perception of minute aspects of the music is heightened and it often sounds--literally--heavenly.

The first example consists of a "real-time" verbatim report of what I saw in one session in which I partook of Ayahuasca by myself. I spoke aloud describing what I was seeing and notes were taken by the person who watched me, the entire sequence lasted about 40 minutes:

A golden crystal chalice.

Flowers. In the flowers there are birds and insects and the birds go up and up.

A wheel is turning and there is a rod that is turning round and round. From it, a fire ignites.

An old man holds a taper and from it the fire climbs up and up.

A futuristic city.

A Chinese king is sitting and turning his parasol. Now he is in his study. In the background, birds are kissing one another.

A great hall--like an animated movie.

There is a code here--like that of Morse or the genetic code. The code is constituted by many, many dots, the density between which varies. All this is a language calling to be deciphered.

There is something that pushes up and up. It is like a mountain train. All the time it goes up and up.

A car from the 1920s, Delightfully magnificent. From it emerge light and flowers. Advancing with this light, we pass along gold-plated walls and come out through a staircase made out of gold and ivory. The steps go up and down and reach a theatre.

Up in the heavens there is a woman escorted by a man. In the woman's hand there is a torch that swirls.

Lights come out of it in the form of flags and the flags turn into hats full of gems. The gems are sparkling.

A scene in Europe in the 16th or perhaps the 18th century. Knights are riding. They are mounted upon magic motorcycles full of colours and light. All is like a cartoon and enchanted. It is all part of a big procession. There are also small dwarfs there. Two of them are holding a banner with the insignia of the sovereign.

An Indian is smoking a big pipe. Through an old telescope, a man is peering into the far reaches of the universe. A view of the planet Earth turning round and round.

Beautiful gardens like Versailles and the Tuilleries.

There are ballerinas there. Like a cabaret. Their thighs are exposed. One woman gets to the balustrade and is watching the audience.

The Indian is smiling. The message is that "all of these are the expressions of the same source, a source of bounty and grace."

In a Kings' reception hall. There are chalices full of wine. Long processions of carriages proceed further and further. Slowly, all the time, the horsemen are pushing forward. In the hall, the seats are made out of silver. There is a feast. A big pot is placed in the middle. A fruit salad is offered in goblets of finely polished, very clear glass. Slowly, the chef pours some sort of syrup or gooey topping. The sauce covers the fruit and then it ascends upwards.

An elephant lifts up its trunk high and looks far, far forward. Up there are birds and they are looking in my direction. There are flowers, and butterflies are flying from flower to flower. All are washed in the light of the sun.

Women are dancing. Carriages come one after the other and the wine flows. An officer approaches a carriage and salutes. The footman bows and opens the carriage's door. The Queen is stepping out.

The second example was provided by a young man who partook of Ayahuasca in private sessions conducted in Europe:

Animals. Those seen most frequently were serpents, felines, and birds. Some of the serpents were ornate, like Chinese dragons; the felines included tigers and black pumas; the birds included parrots, peacocks, and toucans. Also seen were a galloping horse, dragons, monsters of all sorts, and evil beasts; with some of the latter blood was associated.

Many human persons were seen. Amongs these were Indians and a sensuous Caribbean dancer.

A person present in the session appeared to have the face of a gorilla with the beak of a bird.

Palaces and mansions. Amongst the buildings seen were skyscrapers and pyramids. Also seen were interior decorations of buildings. These were very exquisitely ornamented; many were gilded. Cities. Many different ones were seen; some had futuristic architecture.

Landscapes. These included forests, open deserts, river scenes, and scenes under water.

Associated with the latter were corals and "tornadoes of fish." Overall, the landscapes had an ambience of serenity and silence.

Especially frequent were disembodied eyes; many of these pertained to big cats. Other items
noted: an Indian in a boat, and old woman turning white and transforming into a young girl,
cars of the 1950's that were colourfully painted in a style which was "rather kitsch", streams of gold.

With open eyes, the trees outside looked like goddesses.