vibrations (Page 1 of 3)

Hi Saracen,

Thanks for the link. I almost bought a Soundbug a few months ago to do some cymatics experiments, but figured out another way to do them. The link you gave has several related products I wasn't aware of, so thanks again for posting it. An idea hit me yesterday, and these devices could come in handy for testing it. 

The idea is as follows: attach one of these things to a metal or stone structure to function as a mechanical oscillator, then have another one attached elsewhere on the structure to function as sensor, converting  vibrations into electrical signals. Then feed this signal into an amplifier and back into the mechanical oscillator.

The idea is to create a positive feedback loop, half of which is electrical and half of which is mechanical. Due to the feedback, in theory only the resonant frequencies at the right phases would circulate through the loop, the other ones cancelling out or drowning out - the frequencies that survive are precisely the ones needed to maximally vibrate the structure.

This way, you can attach the device to anything, and the structure's own natural resonant vibrations will tell the feedback circuit which frequencies to oscillate the structure. Hehe...something like an electronic version of Tesla's Earthquake machine. Probably requires some more complex components to get the phase of applied oscillation correct, but the idea so far sounds attractive.

Ok, now this is getting a bit over my head. I'm more of an "applied science" sort than a "theoretical science" sort. In other words, could you dumb down the casimir effect a bit? Of course I could look it up but even then It would probably take me a while to grasp it....:) Usually if someone tells me what they want done I can figure out how to do it.

In a related topic of the "as above so below" axiom. Pretty much every strange effect I've read about lately involves using a second mode of energy tangential to the first. Usually 90 degrees. Isn't this how they "slowed down" light recently? I also read something about using high voltage currents in the same manner with a quartz crystal to produce levitation effects.

Now, just to show I'm not one of those "just tell me" types.....I'm gonna go look up the "casimir effect".

Yeah, that explains the Casimir Effect pretty well. But somehow I get the feeling that the Casimir Effect isn't exactly the right phenomenon explaining what happens when molecules are compressed through sound vibrations.

I think what happens instead is a related phenomenon whereby "dimensional windows" or "neutral centers" are created. Both are equivalent terms with different names, the first according to the Cassiopaeans and second according to John Keely.  But the concept is basically what you wrote:

Right. What the many references to this null point have in common is that the null point is always the center of a converging or diverging set of forces:

Okay, now compare this to a description of what John Keely called the neutral center:

Essentially the same thing -- the null point is a window through which aether/gravity flows from one dimension into another. This energy flow can be used in a number of ways. An object's internal neutral center can be desynched from the neutral center of the earth, thus losing its weight. Or energy can be tapped to cause increasing oscillations as outlined in the TerraResearch article. Or, as the Cassiopaeans explained elsewhere, stones vibrated with sound can allow higher density intelligence to communicate through the stones, evidently through the null points created in them by the vibration.

The null point must be a point in space from which forces converge or diverge. The earth's neutral center is where, according to the C's, electron currents and gravity field lines converge. So you can apply this to something besides a planet.

In a block of stone, for example, key frequencies will create standing waves within the stone. This sets up one or more neutral centers within the stone around which molecules collectively compress toward and then expand away from. There are also electric and magnetic effects because stone is piezoelectric, meaning it converts mechanical pressure into electrical and thus magnetic fields. So you also get convergent/divergent electromagnetic fields from such standing waves, which may be the real key to creating these dimensional windows.

This explains several things... for example, it explains why megalithic structures were so MEGA-lithic. If you're going to vibrate a stone using your own voice, for example, the stone's resonant frequency better be within your range. Sound moves at 4000 meters per second in limestone, 6000 meters per second in granite. For a block 1 meters thick, the lowest standing wave you can get for a limestone block would be one-half wavelength long, at 2000 Hz.  Half that size requires double the frequency.

That's a pretty high frequency, but the voice can indeed make that frequency using proper technique. What technique?

The editor of the transcripts gave one definition of "rill" which is a small stream. But that's not the correct definition. Here's another I found:

A tonal rill means passing a tone through this arrangement, which is the same technique used in overtone singing. Overtone singing allows you to pick certain frequencies your vocal chords produce, creating a ringing sound on top of your voice. The frequencies of these ringing sounds range between 200 and 4000 Hz. I always had a hunch that overtone singing was significant in relation to levitating or using stones, and after finding the proper definition of "rill" this seems to confirm it.

So anyway, the point is, if you use smaller block the resonant frequency will increase to the point where it becomes difficult to produce.  Therefore, megalithic blocks must be big enough to have low enough resonant frequencies to allow those ancient builders to move them using what they had: their voices. Larger blocks were easier to move than smaller ones.

It also explains why megalithic blocks are "blocky" rather than flatter plates. In order to get a material to compress when it vibrates, you must minimize transverse waves. Transverse waves involve twisting of molecular structure rather than compression. The flatter something is, the more it will contain transverse waves. A block is not good at twisting or contorting, only compressing, so that's what is needed.

See, this whole sound business explains a lot. Really fascinating stuff.

To figure out the fundamental frequency, divide the length or width of an object by the speed of sound through the object. The speed of sound through graphite is around 2500 m/s.  The Washington monument's base is 55.5 feet, or 16.7 meters. If you make it fatter, say 75 feet or 22.9 meters, then the frequency would be 45Hz...very low. Or multiples thereof like 90Hz, 135Hz, and so on which also work but aren't as effective.

So regarding your question, the frequency would be way lower, near the bottom end of human hearing.

Hi all,

Here's a summary of some research I've been doing the past couple days regarding sound waves and ancient megaliths.

For a while I had a hunch that overtone singing was used to resonate certain stones in order to levitate them. Overtone singing is a vocal technique that isolates certain frequencies of the human voice, allowing one to make a pure sine wave tone much like a tuning fork.

So the question is, do the frequencies produced by overtone singing match the resonant frequencies of stone? Indeed. The speed of sound through limestone is around 6000 meters per second. This means a 1 meter long block of limestone will have a resonant frequency of 6000 cycles per second, which is pretty high. Using a spectrum analyzer, I recorded the lowest and highest overtone notes I could clearly produce. The lowest was 600 Hz, the highest was 2700 Hz. This allows me to calculate the size range of stone blocks I could resonate. Answer: anything from 2 meters to 10 meters long. Compare this size range to the height of Stonehenge blocks -- the main support columns are about 9.5 meters high (including the part below ground), giving an approximate resonant frequency of 650 Hz, well within the overtone voice range.

Ironically, the larger the block, the easier it is to levitate because the frequency is lower and thus more within voice range. Smaller blocks require either a less dense material or higher frequencies. The inner stones at Stonehenge, which are smaller, happen to be made of a less dense material than those comprising the larger outer ones. Also, evidently the Egyptians knew of sound levitation techniques and used various types of tuning forks toward that end because tuning forks have high frequencies...when working with granite, for example, smaller blocks require ultrasonic frequencies.

Anyway, all this goes to show that sound and vibrations are important concepts, simple yet profound.

Thanks for the info on Leedskalnin, would be great to keep further Coral Castle info on this thread since it deals a lot with vibrations and the business of levitating stones.

Lyra and I visited Coral Castle a couple years ago. My research on Leedskalnin is limited to his two books, what I saw at Coral Castle, and some other information like what the C's explained. All of it correlates, though the only thing I'm not sure about is whether Leedskalnin used sound, electromagnetism, or both. There was one account you mentioned of him singing to his stones, while other accounts (including a photo) showed him with a white box that contained his secret device. Maybe he started with one and evolved a more powerful technique. He must have known both how to levitate stones and shape them easily. Although he was a mason with experience in shaping stone, the pieces I saw were cut perfectly level and the metal leaf springs he used to pry blocks from the ground created grooves too smooth, so maybe whatever he used made working with coral like working with butter.

That's interesting about the "sweet sixteen" possibly referring to a frequency or musical interval or scale. As for "THE SECRET TO THE UNIVERSE IS 7129 / 6105195" I just checked and:

7129 is a prime number
6105195 == 3 * 3 * 5 * 135671

Hmm...we have one purely prime number, and another being a large prime number times 3's and a 5.  Well, the only place that mentions the significance of both in relation to frequency and sound is the C material. This just keeps getting stranger