Really good point about the 55 divisions of 440... I hadn't even seen that bizarrely... I wonder how that relates harmonically then? Did they choose 440 because it divided? They were certainly choosing rocks based on some qualities, mixing them up and dragging them like 500 miles when they had rocks all over the place locally.

 

That's an interesting idea - to use sound as some kind of measurement method. You might be onto something here, what left is "just" to figure that out, how they went about, how to create a practical tool and I recon it has to be very complex and elaborate otherways we would'v known about it. Someone, somewhere would have figured that out if it was intuitive and applicable.

 

Wow... Somebody actually understands this...

So measurement method... Here's a really interesting aspect... The whole Khufu machine is tuned to 440 right... So this relates to cycles per second. That's a division of the Earth, which seems to be a recent thing and we have no frame of reference... But the cycles are still the same. Its still 440 cycles of sound...

So I looked into the wavelength of a single cycle... Its 77.95cm... The Cubit is 52.3cm... Weird ratio so I did the math. Nearly 1.5 Cubits...

The base of Khufu is also 440 Cubits...

So I'm wondering if they measured the base in wavelengths, not Cubits? So yeah, as you're seeing the measurement tool.

Its weird that we now measure waves into seconds and that they match, so its very hard to understand how they could be related... But as you wrote it feels more like a measuring tool...

This would account for the measurements being not precise Cubits... Once you have it vaguely right and its working its good enough, right?

How would you actually measure? Well if they were already levitating stuff then you hold an object in the middle until you find a perfect reflective pocket, standing wave and at the right distance it gets pulled out of your hand and starts to levitate...

I believe they were using tuning forks, so that could have been 440...

This doesn't translate in Cubits to Red though, which I believe is 420. I guess you might have a different tuning fork there, they seem to be built at different times.

None of this, as incredible as it sounds and would be as a tech, needs to invoke any precision measurement etc. Its pretty simple operations...

How the small cutting holes, tube drills etc would come about, other people would take my theory here at this stage and think 'I can make this tube thing'... Someone else invents a 'vase' etc...

Egypt is full of depictions where they have their hands out, like they're reflecting something to each other. The Lightbulbs have what look like mirrors on their heads, only two though and I can't figure out the symbolism there.

The first lightbulb also depicts somebody holding something sonic to the left, I forgot about. I don't know what it is.

I appreciate I'm difficult to understand but as soon as I saw the numbers and that feeding a sound into another like this was how you make a sawtooth, I referenced it to all the cutting technology that nobody can explain... To me there's a giant machine sat staring at everyone that makes a sawtooth... I know it takes a bit of tweaking to get it sawshaped, but its exactly the harmonics found in a sawtooth and exactly how you would shape it... You want it sharper, so you add another chamber and see what it does...

The issue I have is that although I've just found the potential evolution in my theory in Barabar its even more crazy. These designs never really look like each other, they just have weird similarities like nubs, tiny blocks in the middle and melted stones... I think that the atoms were melting when they put a block on top of another. Most of the time they were brilliant at fitting them but sometimes they screwed up. Same removing the 'Lotus'...

When I was trying to figure out how to make a soundwave cut I looked into lasers and how they cut through metal... Apparently they build like a 'big chamber' (big to the tiny light) and leave a small hole that it can exit, but it struggles to find that hole, so it bounces around the chamber... This increases intensity and pressure I believe to the point where it gets squeezed out and this is enough to cut through metal...

So looking at a similar concept in sound, could they be creating an intensity strong enough to cut through rock?

All crazy stuff, but I think you need to come from a sound design perspective to see it because the 'ancient tech' don't seem to understand... Which is why I think it has to be FM. Its why nobody could ever figure out what's going on because 'nobody understands FM'. You can't just feed a single harmonic into an identical harmonic and get a series back in return, that's crazy...

Which is why its even crazier that the sums add up... That adding the LFO to the chamber gives you the matching number... I'm guessing with the upper chamber in Red, but its visually slightly bigger to account for those sums, which doesn't make any sense... And I can't get an FM synth to replicate this concept. It modulates, like a flickering flame so this might give the soundwave the energy needed to cut, but I can't figure in this addition aspect.

One potential might be those shafts... I have them figured for 'guitar tuners'. They put handles on the outside to pull them to the perfect length. They didn't go into the chamber, just into the vibrating walls, so that could potentially add tension to the room, bending its sonic vibration, but 8.17hz seems like a lot of tension to me... I had it down as being 0.17 worth of tension, which seems feasible, to perfectly match the numbers... And more evidence of tuning and not knowing exactly what they were doing.

I think they might have been measuring in wavelengths, not Cubits, but I don't know how that works exactly. If I'm getting this right, Khufu's base would be 660 cycles, but at 420 Cubits, Red wouldn't measure in the same way. It would fit with a tuning fork resonance but I don't know why it would then measure in Cubits, unless they just assumed that its Cubits because you will always find a Cubit measurement, just like you will always find inches etc...

Something interesting there is that the frequency of Red doesn't seem to be 420hz... Someone did some VERY rudimentary tests and said it was I think F# +18-23 hundredths, which is nowhere near 420hz, but he didn't even report the octave that these F#'s were in. He spotted harmonics, especially on the octaves, but didn't report what his other harmonics were... And this guy was a Musician... I think you have to be a Sound Designer to see this stuff.

I was basing the frequency of Menkaure on the Cubits and guessing that its frequency would be 241hz, which divides by 8 to give 30 standing waves... But if its base is 45 LFO cycles then its frequency would need to be something akin to 240 to divide perfectly to create those standing waves.

 

I sincerely hope that you eventually come to the conclusion that such hypothesis are simply the product of a fertile imagination and that it doesn't lead to permanent psychosis.

Ancient Egypt was an authoritarian dictatorship using religious methods to subjugate it's citizens and regulate a strict class system, taking advantage of the gullibility, conformity and subservience of the lower classes, in order to service the wealth, power, arrogance and self-serving ego of its monarchy and aristocracy.

THERE IS NO MAGIC IN ANCIENT EGYPT.

Next up, Atlantis...

 

There's magic in everything if you make it magic. Song ideas are everywhere...

When I saw this it inspired a new song and I coded the sound of the pyramids into the chorus ;)

So I'll take the insanity if it keeps inspiring me like this... Its better than having no ideas, no inspiration...

 

Well that's fair enough but really you don't want to trade sanity for inspiration because that will actually lead to a complete shutdown of inspiration.

 

Wow!... Thanks for this... This would either mean that if this is a giant FM Synth the known fundamental of 440 is either wrong and its actually the second harmonic, or whatever FM Synthesis they were doing this gave them the shape that they wanted...

The harmonics in the roof seems to me like the behaviour of Ableton's Operator, adding harmonics directly... And I think it might even have had a feedback loop, its hard to tell what's going on there... The layout of this thing is super complicated.

 

In relation to anti gravity and how we use these 'acoustic levitators', it seems like the wavelength of 8hz is 42.875 meters. I'm not sure if I'm getting this right but I think that is the length of the maximum pocket for acoustic levitation, but it might be half of that...

The longest obelisk ever known to have been created is the 'unfinished obelisk', which would have been 41.75 meters, so possibly short enough to fit in one of those pockets...

If the measuring tool is not the Cubit at all, but the Earth's wavelength, it seems to make a lot more sense than trying to draw a straight line with a rod that is half a meter and trying to keep it straight while you measure out 440 times.

Anybody's imagination lit up yet?

 

What the Egyptions picked up on was the following to enable the lifting, perfect placement and precision cutting of the huge up to 15 ton stones when fabricating pyramids...

Bumblebees do not fly. While it appears they do, what is actually being witnessed is something called ‘acoustic levitation’. Inside a bumblebee there is a hollow cavity next to the larynx. When they beat their wings, they begin resonating energy within this cavity. Once that resonance matches the 7.83Hz of Earth’s magnetic field, it becomes a free-agent surrounded in an electromagnetic envelope, enabling levitation. The Earth's resonance fluctuates slightly but bees can feel it out and compensate the changes and fly else they couldn't pollinate the plants and trees and we'd all starve to death.

 

Fascinating... I haven't heard this before. It makes me wonder how they counter the Earth's LFO with their tiny bodies. Its not like they have the volume to create a 42 meter sound wave in their tiny little throats. I think we struggle to get below 100hz with our size.

Yeah those bricks were bigger than 15 tonnes in places as well. Some of the rocks inside are getting towards 3 figures if they aren't over it. Then there's rocks like this Unfinished Obelisk. I think the heaviest is over 4 figures in tonnes - I've heard 2 million pounds in weight. Somehow they were moving these things.

It makes you wonder why nobody has spotted all of this already if its possible. Elon is still firing his missiles using fuel so I'm guessing he hasn't conquered gravity yet... Then you need to figure out the sums to get off Mars...

I've been wondering if its possible to traverse the Universe using anti-gravity. You'd fire a sonic pulse ahead of your craft and slipstream through because the forces would be neutralized. Whacky idea, but it seems like anti-gravity isn't just science fiction, its been here all along.

Maybe I'm not crazy after all?

 

“Give me a place to stand, and a lever long enough, and I will move the world. ”
― Archimedes

Don't spend your time ;)

 

No, you're not. You're probably just a romantic guy that didn't study physics.

 

That is if you ADD them but here we talk about FM, the resulting wave going to look very differently based on the configuration ("8hz to 432hz" or "432hz to 8hz" or "8hz to 432hz plus output of one of the osc or both osc") 5 different scenarios on just 2 osc and that without taking feedback into the account.

I think you are bit unclear on this concept of harmonics. The Fourier analysis is just a mathematical representation of a signal, it's not that we "add" harmonics out of the thin air, they are already embedded in the sound itself but with a different amplitude (so you can think of a sine wave as having all the harmonics but at amplitude =0 except for the fundamental, by the way there are no pure sine waves in the nature for that reason) and when you add an another signal, you in essence amplifying the original signal and thus changing the harmonical structure in that signal and the outcome depends on what kind of method you use (subtractive, addictive, phase distortion, FM). So it's not crazy, it's how it works. Think distortion, when you amplify the signal at some point it has no where to grow and starts to fold on itself, we say we "add" harmonics, but its a bit misleading taking it literally at the face value, another way to look at it is that we change the amplitude of the harmonics.

I think it's an overstatement that "nobody understands FM". There are a lot of people who does, but purely FM synthesis it's not really "musician friendly" as it is hard to control and hard to program and even the slightest changes in amplitude or operator configuration can change the sound drastically. That's why its much safer to stick to ratios exclusively. And I don't think ancient Egyptians used FM synthesis, it's already hard enough to compute just sine to sine relationship (and I scratch my head thinking how they would get a pure sine wave just with stones alone. What about reverberation? that alone would distort the sine wave) and if they didn't have sine waves then they would have to compute complex to complex wave relationships and without the Fourier analysis it's a mission impossible.

To sum it up: reziduchamp I do find the idea of using sound as a way of measure to be a very interesting one, however everything else you've described (like a cutting with a sound-lazer, or atom smashing) is a bit of a journey to a fantasy la-la-land. Chill out dude, don't loose the grip on reality.

 

Last edited: Mar 30, 2024

Yeah that's true, I didn't know that these harmonics exist at zero amplitude. I was aware of part of the function that they exist in the synthesis at zero amps, but I didn't know that the original sine has these harmonics.

So I guess that people kind of understand this concept... But I think that you explained how Red is working, that they duplicated chambers for a reason... Maybe its not to create a giant cutting machine, or to lift 2 millions pound rocks, but in that case it needs a different explanation. The video is really interesting and it proves that people could use innovative ways to move rocks a few feet, but not 500 miles, or across rivers and up mountains at the other side... They did some really crazy stuff in history and levitation looks like a serious possibility.

Its nowhere near proof I accept that, but if you are adding two numbers and half it, that goes a long way to explaining why I was seeing this pattern... And given that the maths does make sense in physics it answered my original question... So now I can believe in aliens again (As I already said, I think it was developed on Earth because I see its evolution).

With regard to your 'ADD' you need to follow the original path in the pyramid. These two operators are not feeding into each other, they both feed into what is assumed to be a 440, so its a sum of the two. I got the shape pretty close to a sawtooth using these numbers. Of course we have no idea how these function in reality unless a lunatic is going to start running the calculations. I'm certainly not, I like the mystery part... I've got this mystery to the point where my lunacy has been cured

Oh, if the Ancients were using this then I don't think they were doing any sums at all... I think they were measuring wavelengths, likely the 8hz and bouncing that off stuff as a measure. It explains why their measurements are often pretty bad. People have this idea that they knew astronomical alignments etc, but if you map your pyramid to take the Earth's LFO (which is a fact, they dug all of these things into the Earth for some reason) then if it aligns to the equator then the 'true North' is just a by-product and you start seeing all kinds of other measurements.

Even when things have Pi coded into them, to say that they must have known Pi is a stretch. They only have to be using some tech to get this kind of coding naturally... So I think that applying tech like this to 'stone age' people is reasonable if they never really knew what they were doing, didn't have computers, didn't have electricity etc. If sound is your culture then it feels like a stretch to somehow put those other things onto them...

But as this modulation exists in nature, its also a stretch that when they didn't have a lot of distractions that they would not have noticed a harmonic series and investigated it. Its a very realistic possibility that they built on that, whereas some of the other ideas that I've heard about harnessing electricity really are a stretch, because it puts a level of ability on them that feels too far a leap... The evolution of sound I think is very realistic if you can show how it would have evolved. If the sound in the caves at Barabar could first function as a windmill, then as a cutting wave, then its not a stretch to put this achievement down to sound.

But of course I have no proof... Which is where this conundrum of the numbers was bugging me. 'Why does it 'add' up'? I got my answer to that.

As for reverb though, that's a bizarre thing that was in that video above from BAM. They covered this aspect. Somehow they added a diffuser into the design. They slightly curved the walls to diffuse the reflections, its an incredible design and it feels way beyond what humans should be capable of understanding, as I think you're pointing out.

But yeah, for the pure sine wave, other than the Earth's LFO, which should be close to being that pure sine wave mentioned above, albeit alternating slightly, I would imagine that you probably need to activate it somehow, not just to turn it on, but to turn it off as well... They designed a permanent 'off switch' into the design at the bottom of the Grand Gallery, 3 locking stones that prevents any acoustic levitation I would assume, because the one behind couldn't levitate past the middle one, that was locked into the far one... So they put a lot of thought into the design for sure... Whatever the function of those locking stones.

As for the Grand Gallery its known, I have no idea how, to not reverberate properly. You can hear it as well, its bizarre. So maybe that is also diffused somehow. This would then put the burden of energy onto the original Operator 'sine' to keep resonating. All of these rooms have a weird lack of echo when you listen.

Yeah, I don't think they did any calculations by numbers, I think its just finding a resonant room, by choosing the right kind of resonant rocks, then just measuring out with wave reflections, not advanced maths. I don't think you get precision, you just get in the ballpark. For something like a tuning fork to divide by 8 you just keep cutting bits off it until it sits nicely. It isn't a huge stretch to make numbers relate to 8.

But the idea of atom smashing looks very realistic. Do you have a better explanation as to how rocks across the planet appear to have lost their atomic structure and melted into each other? Lets be real, they were not carved to that precision with the same crazy curve and an appearance that the rock above melted into the rock below... I think if you have levitated a rock you have removed its gravitational structure, so its not a stretch to think that while it has no atomic stability it would 'melt'.

But yeah, this is all fantasy stuff and the numbers seem to make sense to me now... In the image I used 220hz btw. C and D are 432 and 8 and the harmonics on EQ look quite pure... FM8 is digital so I don't think we have any idea what a pure analog wave would do.

But great thoughts all the same and thanks for the pushback. Totally appreciated. I don't know how feasible my arguments are, but they feel more realistic than when I was starting at two numbers that I didn't think that you could just add together, so I learned a lot here.

 

Correct. I wrote this having in mind the cave/temple thing, which is oscillation superposition (and what the op is really after). I should have clarified

 

reziduchamp but why do you need that sawtooth that much? The thing is, you not going to get a sawtooth wave by combining 8hz, 432hz and 440hz waves, doesn't matter what configuration. A sawtooth wave have a certain quality such as amplitude of the harmonics are 1/harmonic numer X the amplitude of the fundamental, so as 1h = 1/1, 2nd =1/2, 3rd = 1/3 and so on, you not going to get it because the slightly detuned osc's introduce beating (phase cancellation), it doesn't matter what image FM8 shows, its a low res. momentarily blueprint. Even if you find resemblance its going to be only to a certain point and the higher up harmonics you introduce the more skewed waveform will become. I mean you've seen it all yourself, just crank the numbers in those FM8 white squares, but for some reason you still insist and post pictures.

But ok, lets play with a thought that sound indeed can cut, then I would assume it doesn't need to have, so to say, a "tooth" in the physical sense, cause the the nature of impact going to be different not like the brute force of a saw. So why a sawtooth?

 

I don't 'need' it... I saw a lot of unexplained 'cutting' around Egypt and I think the world, things that people are putting down to having computers, to precision technology etc... I get what they are saying and I see what they see, that there are signs of a cutting machine that existed in ancient times, but they put this down to some higher intellect... I'm not convinced. I think its a lot of hacking. I think they had a cutting wave and they were smart. I think that sound became the electricity of their era.

I think you missed the point of the pictures. Its a vague sawtooth shape. I was thinking if you whip a wave over a rock that is shaped like a sine it would be harmless but if you turn it sharper I think it might start to cut... You would need to increase some parameters like pressure, intensity and squeeze it out I'm guessing. I really have no idea...

Its something in the psyche of the design that I can't explain. Instinct, as crap as my instinct might be. I have this in my head that it looks like an evolution. Like they tried to make a windmill pump energy faster and it blew a hole in the windmill, so a cutting device was invented...

Its something about the rafters in Khufu, where they didn't know about the harmonics in FM in previous designs. They built a similar pathway to Red and added harmonics after, as if to focus certain harmonics, which looks like identical harmonics to me. Its tuning for certain, because they have scoop marks, just like they tuned pipe organs in churches with hammers.

The smoking gun is Red, however that works. I just see duplicate chambers, oscillators (operators) and I struggle to see any logical reason for building two identical chambers in series that clearly have some tuned acoustics. It looks like an FM Synth to my crazy mind. It looks like they discovered a cutting machine, then wondered what happens if you add a third chamber... But I'm probably wrong about that aspect, having only just seen Barabar. Those appear as if they already had a sine wave cutting tool... So in a weird backward way I might have come up with this FM thing in the wrong way, but found a series of numbers that seems to suggest its FM and got to the right answer with the wrong sums... Who knows?

I think its shaped like a sawtooth, because that's the harmonics found in a sawtooth, whereas a square would just be odd harmonics. I just think that they built these oscillators in this order, after accidentally creating sound, then added another oscillator, then another...

I have a feeling that a sine could also cut, as you suggest, so yeah, I don't know why they would deliberately shape it saw shaped. It has become my focus for some bizarre reason, since I saw cutting evidence and put 3 and 2 together and got 6

If its not a cutting wave, and its not FM, can you think of any reason why these numbers would add up like this? Why would it look like FM?

We've proven here that we can't even figure out a way to make this thing work, or how to set the numbers properly, so you can understand why nobody has ever put this together as a theory. There is no solid theory at this point... Which makes me think that its incredibly difficult to reverse engineer... So if its FM, this is not intelligent design. Its accidental. Right? We seem to agree on that.

They might have got more clued up with each version and advanced the tech better, choosing better rocks that resonate at better harmonic relationships? Something on those lines. You'd think they'd keep most of the working theory and repeat it, but none of these things ever really repeat. The designs change dramatically.

The other reason I think its a cutting wave is the dude on the right in Dendera. When I saw the Djed for the first time it took me ages to find out what that was. I thought it looked just like the rafters in Khufu. The knives to me say that this is a cutting tool. The one lifting the rocks tells me its levitation. All 3 Giza pyramids fit with those depictions and I can't get that out of my head. Its hidden and was limited access in ancient times. Other tablets have clearly been destroyed, so they must have been more obvious knowledge to whoever destroyed them.

 

What numbers? Add like how? I don't have any idea where you got them from or how to verify them, but I know who saw a pattern where there was none, it was John F.Nash in the movie "A Beautiful Mind". It's a bit concerning to be honest, but we are all adults so .

And again just for the sake of argument, IF the sound can cut, then I would look more into beating, the pattern of vibration rather than focusing on a sawtooth, I just don't see how a wave shape can affect that much but I've seen videos where a resonance can brake glasses and move small objects. Also there are specialized military tools like the one that target riots and make people sick. Whenever a sound have a physical impact it has to do with intensity, amplitude not the shape.

 

A sinwave has no harmonics as it is the fundamental wave...as far as I've been told, but I'm no soundwave physicist but have been mistaken for one once on line at a Starbucks because when asked I said that my name was Niels Bohr. I ordered a cappuccino but instead was incorrectly given a machiato which was entirely apropos in this situation. Since then I use the name "Bob" to avoid this kind of confusion.