Hail Eris !

 

I think it was Christopher Dunn that recorded the Grand Gallery and got a frequency of 440. I've had that in my head for a while, its why I posed the question because its always seemed insane to me, that they would add 8 to 432 and get 440 because it made no sense.

Kings - I'm not sure where this comes from but it seems to be a common theme. I think I've seen it recorded but some say its also 444, so who knows...

Queen's - This dude actually recorded it as 432...

In all honesty though, this pyramid is the worst for trying to figure out because its full of blast holes from gunpowder etc and had endless work done to tweak it... We've no idea how close these numbers are to accurate... But its strange to me how they add up, which makes me think its probably close to accurate... Then the base is also 440 Cubits, whatever that means. Both a weird number if they aren't related to the 8 and 55 divisions... I don't think they were measured, just that the wavelength and resonant frequency are harmonically connected to the dimensions of the pyramid, however that works.

Red would be much better to figure out because its simple but the best data available is that its 'above an F#' whatever that means.

Menkaure is the one to solve if this is FM, because its anti gravity and its important in getting to other planets and saving humanity when the ones on here finally decide to kill each other... I wish there was more data for that one... I've only just wrapped my head around the routing in the bottom chamber and its roof, but the rest is a mystery. The more I look at it, alongside the Dendera stuff, the more it looks like they have two waves inverted and somehow this creates a standing wave... But that's total guesswork...

So I'm really stuck with where to take this, because unless people buy into this idea and collect data it will go nowhere and if this can advance our species for the future it might be worth looking into.

I'm totally stuck on Red because its so simple. Its the easiest to check. I can't get over how its just 2 identical chambers and one slightly larger that seems to mix the LFO in the chamber, which is slightly bigger, which would account for a longer wavelength... I think... But I get stuff backwards a lot so I might have it mixed up... And it depends on how the summing works. Its different to Khufu where its two input channels for the LFO and first chamber. Its kind of mixed in a pot in this one.

I'll take the lunacy all day long if it keeps me creative btw... Music is flying in right now, I'm finishing stuff finally and full of inspiration and I don't have an ego to hold onto or people to impress etc. I finally feel free in my musical creativity and that's working brilliantly, so bring on the insanity

Yeah I totally get your angle about vibrations... There's evidence everywhere though that the cutting tool changes. Its nowhere near a couple of blades, this is a whole culture of different saw sizes, shapes and techniques. The scoop marks are the biggest sign for me. If you've seen the ones on the Unfinished Obelisk its like they're just sweeping across... What I can't wrap my head around is if they're just cutting these rocks, where does all the crap go? Its like they're destroying atomic bonds and the rocks turn to sand... Then we see a giant lake of sand and wonder where did all of that come from? Yeah just wear over millennia, sure, but it seems to me more like they're firing a wave at rocks and they just melt atomically. If its slicing through the rocks it looks like they're touching it, vibrating it as you say, but I wonder could a vibration leave scoop marks? I don't know? Any thoughts?

Check these scoop marks. It looks effortless, like they fired a wave at it... But what strikes me is where do the rocks go? If its just cutting you'd think they'd be falling on their hand, crushing them, but this looks like no effort, one sweep after another, very rough, like they destroyed the atoms, turned it to harmless sand that falls over their hands...

Again crazy idea, but what is a better explanation... Btw the official line that the real lunatics try to sell is that somebody sat here pounding it with a stone ball... I'm perfectly sane by comparison.

(incidentally I've looked at the rock he's standing on and I think it came from the upper ledge, like it was left hanging whenever this got abandoned. It seems like it flipped 180 horizontally, which feels a bit weird)

 

Is it David Guetta?

 

We're talking FM synthesis and pyramid building, mystery and the untapped potential of seemingly magical forces . The bi-wing of the bee is capable of independent flap and somehow bees can manipulate phase relationships that mathematically create wave frequencies in the single digits. When their tiny little throats begin to roar, up and up they go!

 

No, just a dissonant chord. David Guetta is French.

 

That's why I wondered if it was one of Guetta's masterpieces

 

you dont "get" 440 Hz (in the sense of "only"), but that is how FM works: if you modulate A with B the first (of many) upper sidebands is (A+B)

https://www.sfu.ca/~truax/fmtut.html

depending of the depth of modulation and the frequency ratios you will sometimes hear the pitch more somewhere in the sidebands area than near the carrier.

 

Last edited: Apr 27, 2024

So this is as opposed to A+B divided by two? Either way you can add the two together to get 440 and feed that into 440.

I've just been experimenting with a chamber that I built and I've discovered some interesting things. The room itself is like the carrier and when you feed, in the case of my chamber I believe its around 2160hz, you get a harmonic series. It gives some weird results though...


This is with as much volume as I could get into it. I think the two highest spikes are down to distortion, but it kind of resembles a square wave. My chamber is a cube... When I feed a different tone in, like 700hz, it gives a load of distortion and its hard to spot the fundamental. I think these suggest it might be 2k, but it might also be around 1k.



When I dropped the volume, so the 'modulation' feeding into the chamber, it gives a harmonic series no matter what frequency I change it to, which was really interesting.

It looks like the Ancient Egyptians knew this phenomena. I think that these pyramids are FM Synthesis. Otherwise its a strange coincidence to build something so huge that just happens to mirror FM.

Cheers for the link and the explanation.

 

the frequencies of the upper sidebands is always A+B, A+2*B, A+3*B,.... their level is another story.

the phenomenon with the carrier beeing below the hearing range is actually covered in the first paragraph of the article.

to explore how basic linear or exponential FM works, use two free running sines of 200 and 500 Hz with no vibrato at all, both of the same level and an index of around 100%.

for your comparison of FM against tri/saw/square waves take into account how those waveforms would be constructed using fourier synthesis, and while you do, do not miss out that the spectral content makes the sound and not the waveform as it is presented to us.

for a example the saw is nothing but the overtone series, i.e. all numbers contained: F, F*2 (at a volume of 1/2), F*3 (at a volume of 1/3) and so on).
so to mimic a waveform like this, you have to use certain ratios between carrier and modulator first in line (because you only have those numbers from line 1 of this post^^)

 

Thanks. Yeah this is really interesting. I was wondering about the bends below 2k and above 6k. This seems like very similar behaviour when I feed 500 into 200. 500 disappears and we get 300 and 900 instead...



Cheers for the link. I did read the early part about the lower sidebands vaguely but I have bad ADHD and I can't read this article. At the points where I lose focus or interest I can't pick up again. I skipped through to get as much as I could but you seem to have summarized it well... In general the sawtooth is the equation of half volume. 1/3 volume etc...

This raises all kinds of questions about whether these Ancients could have known the mathematics or if they just built by feel until the sonics either sounded or felt right, but its a very strange coincidence to take nearly 8hz from the core, add that to 432 and then create a chamber that this mix feeds into that matches the sum at 440, which then feeds into something currently around 441 after dynamiting etc... The chances of previous humans creating something like that seems incredible, but the chances of this being a coincidence seems like nearly 0 to me.

Its probably going to take some time for what you explained to sink in but thanks for the explanations. I can see how complicated all of this is.

 

Not sure what this thread is about at this point, but you arrive at 432hz because it's how the Pythagorean tetractys is built. You start with 1 at the top and multiply numbers by 2 on their left hand side and by 3 on their right hand side.

Code:

                          1
                      2       3
                  4       6       9
               8      12      18      27
           16     24      36      54      81
       32     48      72      108     162     243
    64     96     144     216     324     486      729
128    192    288     432     648     972     1458     2187

 

Oh that's interesting knowledge. I don't think its relevant because it doesn't seem to contain 440, which occurs twice if we generalize 441 as being 440. Basically if you feed 440 into 440 you enhance the harmonic series in the acoustic world in a chamber (where FM works in exactly the same way), but as we've already argued it depends on the input volume what harmonics are produced, in order to produce a sawtooth, which is my theory...

When I looked at the mapping of the numbers in The Great Pyramid (Khufu) my first instinct was that this is FM Synthesis. I looked at The Red Pyramid and saw the same mindset, producing a sawtooth with identical chambers, with a chamber slightly bigger feeding the initial signal.

Other pyramids like Khafre seem to produce a basic sine wave or a simple triangle, so it feels like a pushing technology. Similar to how a Helmholtz Resonator works, pushing air.

I think Menkaure is acoustic levitation, infrasonic/sonic, not the ultrasonic that has already been produced. The mapping seems to send a harmonic of the initial through the roof of the lower chamber into a mixing chamber, where its possible that standing waves are produced. If you feed those into a rock then I'm theorizing that this will make the rock 'weightless' and easier to move around, regardless of its size, as long as it fits the wavelength.

Ultrasonic is obviously a real thing too, but not sonic at this point, as far as I can tell, but it looks likely that this is the tech that the Ancients were using to create perfect granite vases etc. Perfect sine waves, which might be what Khafre produces. There appears to be a 'Boat Pit' alongside, which could fit a giant circular saw. If the saw is a sine wave then I'm guessing that you might not need any physical material blade... But its just theory at this point unless somebody can actually create this.

But on your point about Pi, it does seem to be everywhere across Egypt so its no surprise to see it pop up like this... But the number inside the Queen's Chamber, 432hz, relates to seconds, which don't seem to have existed at that point in time, unless they had timepieces that measured seconds, which I think is a stretch. To claim that they got this perfection of Pi with a flint is even crazier than my theory.

 

i hope so.

but when it comes to FM, mine and everyone elses understadning for certain things hits a limit somewhere.

the topic "upper sidebands" is a relatively easy part, there are a few other things which i also do not understand.

you guys have lost me with this weird stuff and i am completly missing the link between FM synths and pyramids.

but one thing is clear: the egypts kind of invented most of what we know today about math, except for irrational numbers and such things which require machine computing to explore.

you can be sure that the priests and architects of these days had their fun to use this knowledge to make up some funny shit for burial ceremonies and temples and all that spiritual stuff.

you´ll find interesting math and astronomy releated things in all of these pyramids, as well as on the easter island, stonehenge, maya temples, you name it.

it is a bit like composing music with numbers. ;)

 

Very much, thanks for some clarity at least... Yeah you me and everyone I reckon. Nobody has spotted this relationship between synthesis inside a computer or what we know as a synth, DX7 etc and the real world - The 'Harmonic Series' as nature knows it and its relationship to the pyramids. Its just not available as knowledge without piecing it together... I didn't know any of this until days or weeks ago. I'm still learning, but this is a very real phenomena, FM, its not just inside a box... Inside a room we get FM Synthesis, just like we know as FM.

What I've figured out is that you start with a sine wave, which is the first 'Operator'. You feed this into a cave or chamber. The cave itself is the second Operator. So the wave you feed in becomes the 'Modulator' as we know this in FM and the cave is the 'Carrier', which is interesting. This is what you are seeing above... I'm feeding a sine wave out of my laptop from a speaker into this chamber that I built, before outputting it down a 15mm square corridor into my phone.

So when we look at Barabar Caves and pyramids and see aspects of sound design, chambers that absolutely MUST produce a Harmonic Series at some frequency, and when those frequencies that have been identified are exactly what we see and know in FM Synthesis, I have to ask the question how it is possible for this to be anything other than FM Synthesis? How could they have created such a coincidence at the same time as creating something else?

So I'm now certain that FM exists inside chambers. When these Ancients built two identical chambers in series in The Red Pyramid, to me that's obviously FM Synthesis as we know it. What else could that be? Nobody has ever given a proper explanation for it. Its all nonsense. But even though my theory here sounds crazy on the surface it has more merit than anything else, that is if you have even a vague understanding of FM. If you don't, then I'm just a crazy person spouting more 'alien nonsense'. These things were built and developed here on Earth. There is an evolution of the tech, where they add more 'Operators', culminating in Khufu with adding harmonics directly to the final 'Operator', just the same way that Ableton's Operator allows. You can add 5 direct bands to emulate that pyramid and as each level is further away, that would account for a dip in amplitude being reflected back into the final 'Operator' before it leaves the pyramid through those shafts...

If you follow the sonic path in Menkaure its mind blowing. Very hard to follow, but it seems like they mixed two waves to create standing waves. I've been trying to get this to work along with AI, which is why I've built my chamber (it will get used as a unique analogue reverb as well). AI understands the concept, but I believe we need over 150dB to create any kind of levitation. I asked whether we could use an ultrasonic speaker and get lower harmonics inside a chamber, which I think you've confirmed today to be possible, so a piezo that runs ultrasonic at 40k should produce something in the audible range that can levitate things larger than the current tech, that lifts around 1 gram right now. I'm thinking if I can create a bigger wave and feed this back on itself at 150dB I might get something larger to float.

At the point that any of this works, pushing tech, cutting tech, levitation, it proves what they were doing. I'm already certain because I can't see those numbers being a coincidence if not.

Btw, there's a lot of jabber about this being some superior race etc, which I think is an attempt to shut down conversation. This was not aliens if I'm right. It was developed here on Earth, most likely in Egypt. The evidence is there in a single spot really. Red evolved into Khufu, its clear. The ones that came before, which would create a less sharp sawtooth, you can take your pick of pyramids, but translating the names of the pyramids I think I'm already understanding what's going on. Its right before everybody's eyes if they bother to look. These are not names of the pyramid's Kings, they're descriptions of the tech... There are many mentions of 'Re' in pyramids, which convention says is 'The Sun God' etc. If you look properly, this is often depicted with a dot in the middle. Pi. Often it sits on the head of people, which to me says 'knowledge of the circle', or knowledge of Pi. MenKauRe for example is the circle, a block that looks like waves coming out of the ground and arms lifting up. This is the raising of objects through the knowledge of the circle, 'Men (gravity) Kau (lifting) Re (with the circle)'. Levitation... Its the same as the 'Dendera Lightbulbs' which represents the 3 pyramids at Giza. Levitation, sine wave and sawtooth. They show that this tech reaches inside the rock to control the soundwave. On the opposite wall it shows them 'lifting' a rock after firing a soundwave into it. And the other just shows 'knowledge of the circle' and a woman pushing the rock, after firing a wave into it. Which seems like maybe this was a propulsion tech or something? I'm a bit flaky on its exact use, but this would be the original tech, surely? I think you start with a pushing tech, create a windmill of sorts which you want to turn faster. So you add a modulator, thinking it will just push with double the power and it blows a hole in the windmill... You just invented a cutting tech.

Nobody really listens to this because it goes over their heads. This explains why nobody can figure out this ancient tech, because of how complicated FM is. I'm absolutely certain at this point that this is what the Ancients were doing. I had been confused about how it could be possible to 'just add two waves together and get the number that it adds up to', which seemed insane, but those were the numbers that I was looking at... But taking the same instinct into The Red Pyramid its obvious. As soon as you see those two identical 'Operators' you know. Its obviously a sawtooth... They've been finding mysterious cuts everywhere for centuries and nobody can understand or explain any of it... I think the tool has been staring at them all along. Pyramids are giant machines.

And yeah, I must be crazy because I'm the only person that can see any of this and I need to keep hold of my sanity apparently.

 

so you are a pyramidoist like others are synesthetes... well, as long as you do not hurt yourself by smashing your head against a wall, any perspective and any analogy which is somehow useful for you is legit.

for me this all is just numbers, integer arithmetics and some basic logic, which i look at completely separated from the magic i might feel when playing bass preset #17.

FM and most other signal processes we´ve built work somewhere in the triangle (there we go again) between the amplitude, phase and time values, and you can easily prove that for FM by calculating the waveform yourself, or by running it with very low frequency content and looking at the oscilloscope to see what happens.

well, actually you can also prove it by directly changing the frequency of a physical or digital phase accumulator of a sine generator, like yamaha did in 1984.

the accumulator is a ramp:
/

and it a good visual representation of what "phase" means in the context of a continous function generator.

behind this ramp we now put the function which makes a waveform out of the ramp:
~

if the ramp runs at 5 Hz, the cosine will run at 5 Hz, too.

if you now change the frequency of the ramp slowly to another frequency, we get a frequency slide for our sinewave.

if we change it up and down, we get a vibrato.

watch out, now it is getting interesting. when the frequency of the phase goes up and down 16 times faster than the average frequency we were coming from when it was fixed, our sinewave gets completely distorted and begins to look more like the modulation signal than like the unmodulated signal.

from here the rest is imagination, but all still based on the same simple math. rational factors between carrier and modulator will sound different from nonrational factors, and putting a slight vibrato or pitch envelope modulation on either of the signals, it will sound completely different again.

and then there was the day when RA created bass preset #17.

 

Lol, yeah, I am now literally (at the point where I use my reverb) a pyramidoist. I think I've finally got a description for the fuckin noise that I make - Pyramidoism. Top genre name...

So if I'm understanding the numbers right, by creating a ramp at 5hz and a cosine also at 5hz this is also an equilateral triangle?

This is the beauty of FM really, where nobody really has a clue what will come out the other side, but if you grasp enough of the basics of what you are doing to sound its enough to create some awesome patches... Its hard to imagine that people were deliberately designing sound like I've said and its a real stretch, but it just looks like this is what they were doing.

 

my fault, too much in my own filterbubble.

no, i was trying to explain the relevance of phase: that ramp/cos thing is simply one possible method to digitally create a sine oscillator. you start with a ramp from 0-1 (or actually from -pi to pi) and then you play this ramp through a cosine function in order to retreive the cosine waveform - no second operator involved here yet.

or you can run such a ramp of 0-1 though an >= 0.5? function - in order to get a sqare wave.

multiply that ramp from 0-1 with -2 and then deduct 1 - and you get a ramp from 1 to -1, which is a sawtooth.

or you can run the ramp through a wavetable or some sample content in order to loop the sample.

it is a simple method to produce oscillators while having control over frequency and phase. phase distortion synthesis and (some) FM synths use exactly that, you also need to do it this way for oscillator sync.
and it is super educational to look at such graphics, to grasp what FM means or what happens but without diving to deep in maths.

eventually the part we do not understand is the more interesting though, as you say, in the end it only has to sound nice.

 

Last edited: Apr 28, 2024

So in short, if I've come up with this batshit idea of cutting with sound and I get the locals convinced to build a giant triangle with me, I get the local dude who is good with sums (you) and get you to do the engineery type stuff...

Here's my theory on the measuring, that they might have not been using sticks of 52cm, but actually a sine wave. You point it at a mirror and when it reflects you either get cancellation, standing waves to float something or just basic resonance that you instinctively know is in tune. So you have the measurement...

So taking the same dude, he can manipulate the cosine etc to create a similar ramp and a set angle, related to Pi?

My thinking is that if you're building triangles into the sky, you might just be pointing sound upwards at a set frequency variation and the top of the triangles, maybe you use 4 ramps, all meet where you want the top to be?

Does that madness make any sense at all as a theory? I've been wondering why they make certain angles, for example, I believe that the ramp of the Sub Chamber in Khufu is exactly half the angle of the slope of the pyramid or something, which seems weird... It just seems so random... But if you're taking sine waves and creating sums based on interactions you don't need to know anything. You can be dumb like me and just point a stick and shit just works. You never need to know any of the maths...

I agree... The whole thing is super complex and mind blowing. I'm not even sure exactly what frequencies Khufu resonates at or where I got those numbers. I found the 432 again and it could be wrong, who knows. Even if someone measures them its going to be off in some way because of gaping holes everywhere... So its hard to prove. The big one for me is that The Red Pyramid has duplicate chambers and I can't see a single reason for that. It just looks like a sonic pathway. In FM you'd want identical oscillators for a sawtooth.

 

a sinewave signal corresponds to a circle figure.

the ramp which is run through a cos() math function in a computer program to make a sine wave signal corresponds to the circle´s outline rolled out to a straight.

the lenght of this straight is F in hertz.

to distort the waveform you can now distort the straight - simply because it is easier to do the math for it, and because it´ll work with any other waveform too without modifcation.

to modulate F in realtime, you change the length of the straight.

we´re using a cosine as most simple case because of... the theory behind fourier theorem (simply put: every signal or vibration consists of sinewaves, and so we can also recreate every signal using sinewaves.)


Ra is more powerful than Khufu.