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Lazar Flaws – Omicron Mode Operation

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What follows is a collection of statements in chronological order by Lazar on how the craft operate when in the “omicron” mode. The omicron mode, according to Lazar, is essentially the low speed or hovering mode.

KVEG Radio Interview: December 28th 1989


You were talking about the low- and high-speed modes and the control factors in there. Can you describe those modes and what the ship looks like each time it is going through those modes?


The low-speed mode — and I REALLY wish I could remember what they call these, but I can’t, as I can’t remember the frequency of the wave — The low-speed mode: The craft is very vulnerable; it bobs around. And it’s sitting on a weak gravitational field, sitting on three gravity waves. And it just bounces around. And it can focus the waves behind it and keep falling forward and hobble around at low speed.

March, April 1990 (approximate time of interviews): “Alien Contact” by Timothy Good.

….The craft does not create an “antigravity” field, as some have surmised. “It’s a gravitational field that’s out of phase with the current one,” Lazar explained in a 1989 radio interview. “It’s the same gravitational wave. The phases vary from 180 degrees to zero…in a longitudinal propagation.”

In the first mode of travel – around the surface of a planet – they essentially balance on the gravitational field that the generators put out, and they ride a “wave”, like a cork does in the ocean. In that mode they’re very unstable and are affected by the weather…

“How close do you think you have to get before time distortion takes place?” I asked. “It’s tough to say, because it depends on the configuration of the craft. If the craft is hovering in the air, and the gravity amplifiers are focused down to the ground and it’s standing on its gravity wave, you would have to get into that focused area…”

September 22, 1990: “UFOs and the Alien Presence” by Michael Lindemann.


I don’t know if I mentioned it before, but the amplifiers always run at 100%. They are always outputting a maximum gravity wave, and that wave is phase-shifted from zero to 180 degrees. That’s essentially the attraction and repulsion, and it’s normally at a null setting somewhere in between. It’s a very straight-forward system. It looks more like a coal fired engine than very hi-tech.

Mid 1991: “The Lazar Tape”, 40 minute VHS videotape

Now when a disk travels near another source of gravity, such as a planet or moon, it doesn’t use the same mode of travel that we learned about in our science lesson. When a disk is near another source of gravity, like Earth, the Gravity A wave which propagates outward from the disk is phase-shifted into the Gravity B wave which propagates outward from the Earth, and this creates lift. The gravity amplifiers of the disk can be focused independently and they are pulsed and do not stay on continuously.

When all three of these amplifiers are being used for travel, they are in the delta configuration, and when only one is being used for travel it is in the omicron configuration.

May 1, 1993: “Bob Lazar at The Ultimate UFO Seminar” at Rachel, Nevada


Was the local means of propulsion the same as this across-space distances? What was the local means of propulsion?


The local means of propulsion is essentially them balancing on a out of phase gravity wave, and it’s not as stable as you would think. When the craft took off, it wobbled to some degree. I mean a modern day Hawker Harrier or something along those lines of vertical takeoff craft is much more stable than then in the omicron configuration, which is that mode of travel. The delta configuration is where they use the three amplifiers. Those are the only two methods I know about for moving the craft.


(About using the gravity amplifiers to lift things)


Any of the three gravity amplifiers could do that, could lift something off the ground, or for that matter compact it into the ground. That’s not a problem, because the craft can operate on one amplifier, in omicron mode, hovering. That would leave the other three (sic) amplifiers free to do anything…

April, 1994, Omni Magazine

Per Lazar:

“The craft operated in two modes – omicron and delta, which indicated how many gravity amplifiers were in use. In the omicron configuration, only one amplifier was used; the other two were swung out of the way and tucked inside the disc. In omicron mode, the crafts can essentially rise and hover but do little else.”


This item is not so much a flaw, but rather a very pronounced contradiction in Lazar’s story. If you read the background carefully, there are two areas that are inconsistent. And while this is a part of his story we certainly can’t check for accuracy, we can check for consistency. Notice that in the earliest interviews, when the details should have been freshest in his mind, he clearly refers to the craft using all three gravity amplifiers when in omicron mode. Then, over time, the story changes. He then says the craft uses only one amplifier. We’ll ignore the problems of balancing on something that isn’t under the exact center of the disc. Finally, over 4 years after the fact, he adds that not only do the craft use only one amplifier to hover, the other two fold up out of the way. Quite a change from his first rendition.

The other area has to do with the operation of the gravity amplifiers. In September of 1990, he tells Lindemann, “…I don’t know if I mentioned it before, but the amplifiers always run at 100%. They are always outputting a maximum gravity wave…”

The next year, in Lazar’s own tape, he says, referring to the amplifiers, “…they are pulsed and do not stay on continuously.” Well, either they do or they don’t. Which Lazar is one to believe?

This is pretty basic stuff, or at least should be to an ex-saucer mechanic. It’s very disturbing that his story has changed in this rather subtle detail.

Possible Explanations:

  1. Lazar fabricated the whole story and it naturally mutated slightly with time.
  2. Lazar was at S-4 but really didn’t understand how the discs operate and is giving us his “best guess.”
  3. Lazar is relating a story he heard from someone else and is “filling in the blanks.”

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