This Post is short, though I spend quite a lot of time working out this artefact. Please note the two triangles I have outlined in the diagram, one has an angle of 51.913 and the other 42.374, these are significant as they correlates closely to the Great Pyramid and the Senusret II Pyramid, these were the on the opposite sides of the pyramid field in my previous posts. Regards Arto
As we can see by the many pictorial representations of the Dynastic Egyptian ruling class of their jewellery and the articles they adorn, is represented as their innate culture. For example the Uraeus represents the conscious frontal lobe and its functions of awareness and decision, where the Eye of Horus is the centre of the physical brain and where the pituitary gland, hypothalamus and pineal gland reside, while the vulture represents the subconscious and its dark and powerful presence, where its physical appearance and its function are aligned. The trinary mind is easily understood when seen this way and shows that mankind has lost the connection to many of these symbols that the Ancient Egyptians took as a given and well known among its intellectuals, artisans and officials. The scarab represents the brain both as the physical understanding of the skull and as a symbol of good fortune. When the scarab unfolds its wing caps and prepares to fly, it creates a frequency of sound that becomes flight, just like our brain when we unfold ideas, buzzing and with lots of activity, beside these ideas, the sound it creates indicates an acoustic element ignored by archaeologists.
These symbolic functionaries were not just an understanding of our mind but a slightly degraded version of an earlier technological connections with how sound was a vital part of our physical and psychic health. The understanding of illness and disease was also a holistic concern for all the ruling class as that was part and parcel of the knowledge that was passed on by heritage and learning. The great artworks created by the ancient Egyptians also recorded the rituals, procedures and psychological adoptions of their mannerisms, habits, priories and also any profound knowledge they utilised in their civilisation. For instance the 42 commandments that they followed was a great model for pious, virtuous, a well balanced way of life and personal being. These were artefacts from a previous civilisation that predated Dynastic Egypt, the legacy to help continue a way of life that was productive, organised and high cultured Kemetian history, now forgotten but partially understood by the Dynastic Egyptians.
All these symbols, writing, art and even games help reinforce the spiritual and psyhic health, where psychopathic, parasitical and criminal behaviour were easily filtered out and dealt with. The Kemetians knew the pitfalls of mankind’s behaviour as the degradation of mans fall from the Golden age, to the Silver, Bronze and the lowest Iron age (500 AD). It followed the precession of the equinox, which is the great Year cycle (25000 yrs) and was encoded into most of the structures and mythology so the torch of understanding could be awaken in the new upward cycle.
So many layers of knowledge was re-wrapped into mystery as the Dynasties time line grew, where their consistency of natural order was kept alive by the priests, the knowledge bearers and the families of the Pharaohs and leaders of Egypt. They codified, kept records and repaired the legacies from the past, until they lost much of the skill sets required to build and maintain the great Pyramid machines.
With the advent of rediscovery of the those great monuments of the past in the 16th century and onward, the early archaeologists were at a loss to explain its history, meanings and building techniques. They created scenarios, dates and interpreted much as mere ritual, superstition, death cults and fanatic multi God worship. They were reading the remnants of the Kemetian super culture that was decimated by catastrophe and rehabilitated by the Dynastic Egyptians who only decorated the structures built by their ancestors. All of the pyramids were built prior to the many catastrophes that Ancient Egypt endured, a great flood being the most pronounced, while much evidence for plasma storms also exist.
I can see by the ritual outfits that their were many forms of technology attached to them, long misunderstood intentions that became mere decorations. Without specifics I must agree that some of the technology was still functioning in early Dynastic times, the false door, the acoustic crowns and the many hand held articles seem to have a function attached, not just pure symbolic.
The Dynastic Egyptians even stated that much of the older writing was called the Sacred text and much of it was only reinterpreted into other forms as they could not even read it. The Narmar Pallet has no hieroglyphs as we know them in the later Dynasties. The Archaeologist believe this was a more primitive time, before the proper formulation of writing, where as we can clearly see much of the older text was already carved deeply and permanently into many pillars and monuments that already existed in the Dynastic period. This is why they adopted painting and plaster over the blank walls that were left by the Kemetians. Any sacred text was merely copied and adopted to the whims of Pharaohs and officials.
The funerary texts were written as a half forgotten parable of the technology I have uncovered. The deep caverns of the underworld were the stratified layers of different rocks and the densities, giving transmission times and quality of reception as this dark misunderstood place. The few remaining sites that were still functioning became centres of worship and ritual. When the last of the pyramid machines stopped, all was now a worship of the dead as the rituals no longer bore fruit. The times of reception and the cannons of codes now were mere decorations and in reality the Egyptians lost connections to the past not long after, possibly around 1500 BC.
I needed to update the last post as a few errors crept in, here a diagram of the upper portion of the Pyramid field and also a few more ideas about the different functions of each pyramid. I see the whole as a set of communication exchanges, with generators, amplifiers and redirection of the sonic pulses, much like a Telephone System but with the bedrock as the wires and the false doors as booths and the multiple tombs as frequency shifters, multipliers, multiplexers encoders and decoders. An ancient audio sonic technology that we can easily rebuild as we already use these techniques in audio engineering, ground radar , speaker and microphone technology. No need for laying down pipes, cables or wires, an endurable system that can function without maintenance for centuries, as for mobile communications, many monuments have direct connections to the bedrock, so a stone pillar with a portable Ank, a Sistrum and a suitable Hat/Crown can be used to communicate.
I hope these pages will go beyond the Ancient Egyptian technology and you can find the similarities in the Vedic Indians, Mayans and Olmecs and their head gear and Pyramids. Sound is the key to a clean and sustainable future where music is part of what we know about the nature of Mankind inner soul, physical being and creativity. Regards Arto.
Here is the data for the Sonic Pyramid Field, the first graphic reveals the structure for the first section. The other table is the measure in Ancient Egyptian measure, note the Conversion to meters is 1 RC = 0.5232365464746810 Mtrs. These are my first data sets, excuse any errors, Regards Arto.
The Resonant Crowns of Khemet
Looking at the White Crown of Upper Egypt (Hedjet, hdt) indicates a technological reasoning behind it design, yes I do not think they just randomly invented it without simple reasoning and logical inclusion. As with the other crowns they all served a similar function, one of communication through logical utility and natural means. “Per Neter”, “House of Nature”, the nature of sound, light and vibrations of communion to each other and other living beings. This is understood as the longitudinal vibrations of sound and of light, each only being a multiple octave distant from each other, one medium is the Ether the other is Matter (Air, Water, Earth).
The messenger of our time who understood this “Neter” was Nikola Tesla, in the past Christiaan Huygens was a proponent of it in his time and Roger Boscovich in his time as well. Fortunately you cannot fudge the longitudinal “neter” of sound, it is all around us and our ears and voices are organs we are closely connected to. On the other hand the fake Scientism movement which began in the early part of the 20th Century, which hijacked the symbols and contorted the mathematics to be some surreal multidimensional occult scheme. We are lucky that we have had some great minds and logical thinkers who knew the false paradigm was being perpetrated onto our scientific community.
As a Musician, I could recognise the acoustic volumetric of the crown almost immediately, that being in a vocal range. After taking great care to find the measure of what constituted the Resonator, I quickly found the design concepts that was used by the Khemtians. The next step was to look if there were schematics in any wall art, as possible translations of vibrations of sound to electricity and back to sound was taking place.
The fundamental wave length came from a careful measure using Google Earth was to reveal the base wave frequency that I should look at. After reading many volumes of Geological data regarding the Density, Bulk Modulus and Sonic Velocity of rocks of different genre, local to Egypt and other ancient sites, I can estimate the bedrock sonic velocity is usually around 5979.85 m/s, the Density about 3000 kg/vol and the Modulus is 10.7 Gpa, when translated to the Ancient measures, we have a Velocity of 80000 P per sec, a Density of about 2 Q/vol and the Modulus of about 1500. The distance from Senusret II Pyramid to The Great Pyramid is exactly 160000 Royal Cubits, simple calculations reveal that 14 seconds will transpire before your signal will be received and 28 seconds for the return signal, this could be considered a Time standard.
The Resonant frequency of the source to and from the destination = 0.0714285714 Hz
The Vocal Chord Range
= 65.714 – 4600 hz Wide Band
= 131.43 – 2044.44 hz Medium Band
= 262.857 – 920 hz Narrow Band
Male Speaking Vocal Range = 85 – 155 hz
Female Speaking Vocal Range = 165 – 255 hz
Children’s Speaking Vocal Range = 180 – 360 hz
The Crowns and head gear Range = 36 – 440 hz
The Wave Lengths
WB = 343.841/65.714 = 5.232365 mtrs = 10 RC = 280 F
= 343.841/4600 = 0.074748 mtrs = 1 P = 4 F
MB = 343.841/131.43 = 2.616194 mtrs = 5 RC = 140 F
= 343.841/2044.44 = 0.168183 mtrs = 1 SH = 9 F
NB = 343.841/262.857 = 1.308091 mtrs = 5 LS = 70 F
= 343.841/920 = 0.373740 mtrs = 1 D = 16 F
The design of the Hedjet Crown was a well drawn out study, I referred to many icons that show clear pictures, the first being the Narma Palette and many beautiful sculptures and large statues. It seems to have a slightly different size depending on the region and the Dynasty that had created the artwork. So instead of slavishly copying something that we had no sample of, with only diagrams or sculptured versions, I went with the most direct method, think like an Ancient and design like an artist of the time and build like an engineer of Khemet. As the Royal Cubit was the fundamental rule that all these ancient wonders that were created, I used my perfected measure of 1 RC (523.2365mm) as the foundation of design and engineering, also being 28 fingers (18.687mm), where I could use the finger as the smallest measure.
The large curvature of the circle D3 of the Hedjet is 4 RC, I could have chose 3 RC but the cavity would have been too small and the curve too tight, also if it was 5 RC the crown would have been to tall, 4 RC was the best fit that also matched the edge of D4, which is 12 F or 1 Small Span. The A1 dimension of 2 F was not a hard choice, it lined up to most crowns and was easy to pick, whereas the body had to be dissected to cylinders to get an approximate volume, using a basic form of calculus and the Egyptian measure I achieved a simple design tool that could be used on many semi-organic designs. The inside of the Hedjet could be two chambers or more, in line with the design of the cochlea, when unwound has two basic chambers, this could indicate a slightly modified version of my interpretation, which I will express in another design.
My intuition told me that I would arrive at a tonal resonance around the vocal region, being 95 Hz it was just about right for the low end of a set of large male vocal chords. The measure was the key, whole numbers of Fingers is the how we can design natural machines, like a resonator. The DNA understands these forms, your ears and your vocal chords are the result of this understanding, how can we imagine these were randomly adapted, they were designed by a master architect of the universe, we can only imitate its great design.
Here is is short list of Gems used by the Ancient Egyptians (PZ is the preferred piezo ):
Tourmaline Blue PZ
Amethyst Purple PZ
Sapphire PZ
Emerald PZ
Ruby PZ
Diamond PZ
Garnet Red
Lapis Lazuli Blue
Obsidian grey
Carnelian Orange
Jasper Orange
Turquoise Blue
Carnelian
All the crowns have the basic form of an acoustic device of some sort, this was their unique mastery of this most ancient technology and science, Tourmaline was the first choice for the Piezo crystal, this was one of the regular stones used in Egyptian jewellery and art.
Sound Refraction
The focal length of a spherical lens (measured from the surface of the lens to the focal point) is given by focal length sphere where r is the radius of the sphere, m1 is index of refraction of the surrounding medium and m2 is the index of refraction of the lens material.
r = Radius of Sphere
m1 = Index of refraction of surrounding medium
m2 = Index of refraction of the lens material
v1 = Velocity of Sound of surrounding medium
v2 = Velocity of sound of the lens material
f = Focal length from the surface of sphere to the Focal point
f = r*(2-m2/m1)/2*(m2/m2-1)
f = r*(2-v1/v2)/2*(v1/v2-1)
If the lens material has a greater velocity then it becomes a convergent lens and if it is less that it is a divergent lens.
Zp = Acoustic Impedance Piezo Electric Material
Zl = Acoustic Impedance of Loading Material
Wm = Matching Material Layer Wavelength
Best impedance match:
Wm/4 = Zm
Impedance of matching layer material is:
Zm = (Zp x Zl)^(1/2)
Wide band acoustic impedance:
Zm = (Zp x Zl^2)^(1/3)
Improving acoustic matching:
Zm1 = (Zp^4 x Zl^3)^(1/3)
Zm2 = (Zp x Zl^6)*(1/7)
Mixing powdered piezo materials with hard resins and creating a polymer is one way of fabricating matching layers.
Hedjet Crown
This was the first I had seen that would work acoustically, using the Helmholtz resonator as the basic design to follow. The volumes are best approximated as the chambers are narrow band devices and not just singular tone, The narrow band fits the voice well, my criteria was to use it like a musical instrument, where pure tones resonate distinctly, a vibration from an external source being simple not highly modulated, one from the vibrations of a staff or device that has a limited tonal range. The connections to the circuit and ears are not included, these would be more decorative and need to be adjusted for the head of the user. The main chamber could be split in two, as per the uncoiled cochlea. I chose the size in accordance to the Royal Cubit as the standard, by it having direction relationship to the Longitudinal velocity of light. The original crown was worn by Narmer and he was a giant, so I figured this was the most suitable size, as I noticed the Hedjet sometimes seemed over size when the king was not as big in many wall carving. Later Hedjets could have been smaller, making the frequencies much higher than 95Hz.
Deshret Crown
This one was simple once I found the first crowns acoustic design logic. The spiral piece could be a hollow chamber as well, making it look like the cochlea, where adjustments to the tone and frequency could be made or even a direct contact to another acoustic vessel. The Green outlined section is the simplified version of the crown volumes that makes the mathematics much simpler. Tr1 is a golden triangle that was found after I had almost drawn the whole unit, it points to the heart, the size is 471/18 x 818/18 fingers = 488,977mm x 849.221mm. The Uraeus I put on the crown is mainly to show its location and design elements, the scale is not correct, it would be at least 1/2 to 3/4 of the size I have drawn.
Hathors Head Gear
This was a simple progression, now using the symbolic shapes of the sun disk and horns to create the necessary configurations. The C2 chamber in green is an approximation of the neck of the horn resonators. The P5, P6 and P7 are other positions the Piezo crystal could be placed and change how the horn chambers worked harmonically. The P6 is also connected to the main chamber, so a feedback will occur. The P7 connection is used when you use both horns, what you will get is one horn in compression while the other horn is in expansion, as opposite phases. P5 will drive the side horn but will also have a short wave of 1/7nth the of the wave length of the horn, thus giving you a complex sound wave. Tr2 is another golden triangle that I discovered after drawing most of the head gear, it points to the mouth, the size is 18.2 x 28 Fingers(1 RC).
Other Crowns and Head Gear
After intuitive generating these designs, I could see every crown and head gear designs were connected to the cochlea and other sound chambers. The feathered version of the Hedjet called the Atef Crown makes me consider that the internals as two chambers and the feathers as ticklers for a variety of harmonics. Amun crown has two distinct chambers, and it’s appearance is significantly like a straightened out cochlea. The Shuti Crown has spiral chambers(rams horns) which would be a shorter version than long straight chambers. The blue Khepresh Crown is much shorter and has a chamber as well, while the Cap crown has even a smaller chamber,
Each crown or head gear or combinations seems to indicate a narrow band of frequencies and could possibly be that each has a function of communication at those frequencies, where the deployment of signals were directed to those who wore a specific crowns or hats in a region. What I could gather by the wonderful hieroglyphs is that stock holdings were relayed among the Khemtian empire using false doors as exchanges with a schedule using specific times by officials with certain hats, which were regulated in a religious fashion to keep the communication channels linked up. The pyramids served to create, amplify and relay the complete network of acoustic signals around the empire.
The transmission of signals via a sonic device inside the sarcophagus like I have previously described would be linked to the regular acoustic carrier pyramid frequencies, with the use of a Sistrum as the calling ring when pressed against the walls in certain locations, like the false doors, when done at regular intervals to indicate a transmission signal.
The Uraeus is a 1 1/2 or 3/2 wave system, the locations of the Piezo crystal help with feedback tuning and aerial reception of Sonic frequencies, these would be coupled to the main acoustic chamber and also act like the diode mixer in radio when separating frequencies to be decoded. By the design it looks like a single balanced mixer, where the RF (Radio frequencies) is the Sonic wave and the LO (Low frequencies) is the voice and the IF (intermediate frequencies) are the carrier frequencies.
As this is still a working document, excuse any errors or omissions, but if you found this work of value please donate to keep this and other projects alive. regards Arto
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This blog will be short, I will upload this picture file only, the transcript will be in part 3.
Thank you for being patient and if you would like to help with all my research endeavours, please donate, regards Arto.
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DonateDonate monthlyDonate yearlyAncient Royal Cubit and How a Pyramid Works
(This is a draft of part of the Archaeology chapter, so please excuse incomplete data and any errors)
When studied and looked at from one view of the ancient Egyptian measure, it has so many variants, that it makes you wonder, what was reasoning behind the differences? The main stream Archaeologists never delved into any logic or reason and discounted it as just poor standards that had no relevance to an exact science, while only being a measure of ones arm, hand or finger.
After many years of thought I concluded, that the original pyramids and the many fine stone objects inside them were the remnants of the true science of the Kemetians but not fully understood by the Dynastic Egyptians, they seem to have forgotten some parts of the ancient technology, it became a ritual, the remaining shell of its true intentions, it was stylised. In my last volume I elucidated the Royal Cubit as the unit for the measure of the Longitudinal velocity of Light.
This was the start, as we now had a clean beginning with a absolute measure of 900000000 Royal Cubits. As you can see by the diagram, the number of waves are always the same, the type of medium is what causes the measure to change. This methodology can account for the variant sizes, the Illhan sarcophagus measure shows that Ozone was the medium inside the pyramid, as this is the dielectric that will give you the correct Royal Cubit measure for the internals.
The Pyramid complex is a machine that uses stone both as a dielectric in the higher frequencies and as an audio conduit in the mid frequencies through the stone with coupling with the lower Earth frequencies in the cavities filled with a gaseous or liquid medium. The contents of the sarcophagus should be filled with structures that emit frequencies that resonate with the structure , these are materials that could be radiation emitters. Most gem stones are emitters of radiation, with elements like cobalt, boron, uranium, potassium, much of these are in a natural state all around us, these appear as the offerings required to keep the machine running, it was ritualised over time. The atmosphere inside the sarcophagus and the tombs will become ionised, thus changing the permittivity of the gas, also allowing the conductivity to increase, this will drive a differential heat engine, that have audio and plasma acoustics to have two nodes, each will be charged with different polarities , hot = +, cold = -, as per an electrical generator. This now becomes a natural electrical charge accumulator, that drives a cavity shock wave generator that creates a current of electricity. The pyramids cavities reveal a Thermo-Acoustic plasma engine. The mud-brick layer on many Pyramids acted like an energy reservoir and a acoustic baffle, Pyramids acted like motors, generators and accumulators, where some were passive in their functions.
The addition of frequencies inside the sonic wave, due to each material being of different permittivity, permeability, EM refractive index and mass density, impedance to electricity and to the acoustic properties will give you the velocity of energy transfer in, on and through the material. This velocity can be used to dissipate the heat loss through the crystal lattice as you lower the frequency by the impedance, both electrically and with sonics. This will give you a differential of temperature at either extreme interface, thus the sonic created and maintained by heat, can be recoverable back to electricity by a engineered Peltier layer of materials or other means. No moving parts, the initial impulse is an amplified Earth sonic that is always present as 8 hz in the atmosphere and 12 hz in the Earth and its low sub harmonics.
A pyramid is the earth frequency reflector to a focal point, the many rooms and corridors are carefully designed, as a acoustic receiver, in the lower frequencies. The reason they are so big, is that the sound it captures is directed at the correct angle to the acoustic antenna system, where the acoustic channel drive a sound in high resonance and activates the differential heat engine.
The sarcophagus can now be the focal area of transmission or/and reception, as this diagram(next blog) shows the different sound modes inside the sarcophagus. You can articulate these by frequency adjustment by an acoustic lens and other means inside the box, which is inside the tomb and inside the pyramids sub structure. This type of pyramid is of interest as it is easier to understand, we must walk before we run. Pyramids as functioning machines, is not a common subject in any library, so we will start here.
The scheme of measure used by the engineers of Kemet was Royal Cubits, Standard Cubits, Hands. Palms and Fingers. The use of these divisions of metrology will be clear when you work out the sonic of materials and how they work together. The scheme of layout and cross sectional designs were purely a work of the ancient genius that understood vibrational technology and the natural environment. The machines were built from stone connected to the bedrock and only had the smallest components crafted from metals and dielectrics.
Let us look at a few simple but hidden knowledge of the the measures used by the Kemets.
Longitudinal Velocity of Light( light x pi/2) =9000000000 Royal Cubits per Second
470912789.827213 / 9000000000 = 0.523236546474681 meters
This will give you the Length of a Royal Cubit = 1 Royal Cubit
1 Palm = Royal Cubit / 7 = 4 F = 0.0747480780678116 mtrs
1 Hand = Royal Cubit / 5.6 = 5 F = 0.0934350975847645 mtrs
1 Finger = Royal Cubit / 28 = 0.0186870195169529 mtrs
__________________________________________________________
Using C = 299301329.866211 ms as Light Velocity(per Illhan)
The velocity of Sound in Air (344 m/s velocity at 22 deg C)
344.40553733326 / 0.0748707073333 =4600 Palms per second
___________________________________________________________
Using C = 299792458 ms as Light Velocity
The velocity of Sound in Air (343.843 m/s velocity at 21.075 deg C)
343.84342857142 / 0.0747485714285 =4600 Palms per second
The velocity of Sound in the Bedrock (5989.6586 m/s velocity)(Illhan)
5989.658666666 / 0.0748707073333 =80000 Palms per second
____________________________________________________________
The Wavelength of Hydrogen (EMF from the Universe= 1420405751.768 hz)
Meters = 0.211061140538923
Royal Cubit used = 0.527652851347307
Velocity profile of RC used = 297283280.062913 mtrs/sec
Royal Cubit/ 2.5 = 0.4 RC = 0.211061140538923 mtrs
2.8 Hands = 11.2 Fingers = 1 Elbow to Wrist (EW)
_____________________________________________________________
The Density of a Stone used in a design
2452.02927295 = Mass / Volume = Kilogram/Mtr3
1/1.715 CF = 0.58309038 = Volume of 1 Qedet in Cubic Fingers
1.715 Qedets = 1 Cubic Fingers x Density
1 / (1/1.715) = 1.715 = Density in Q/CF
49320584224.971 = Modulus Of the stone in SI units
______________________________________________________________
The Modulus in Qedets and Palms per second
600000 PS = 4484.8846840687 mtrs per sec Velocity of Stone
1.715 x 600000^2 = Density x Velocity^2 in Qedets and Palms per sec
6174000000 QPS2 = 6174000000 / 9000000 = 686 M *
So we have the velocity, density, mass, volume and modulus of the stone that we need to use to build or to transmit and receive vibrations. We can use geometry to adjust all the parameters to create acoustic lenses or direct the vibrations to a focus point for interpretation using some form of acoustic technology.
1 Palm = 0.074748078068 mtrs
1 Cubic Finger = 0.0000065255950149 cubic mtrs
1 Qedet = 0.00933 kg (Flinders Petrie)
Density = Mass / Volume
Mass = Density x Volume
Volume = Mass / Density
How I derived some of these values, it will be easier to understand as I show you the data I have accumulated by the study of all the pyramids.
So how do we start to form a communication channels and power generation from geometry, stone, acoustics, plasma and resonant heat channels. We must start with the geometric means, where the stone amplifiers with stone antennas must be built into the bedrock, where sonic vibrations can activate.
There are a few equations that will help in this design process, let us inspect the communication between two pyramids. I discovered the the distance between Senurset II (sewaset)and Giza to be is exactly 160000 royal cubits. This was one of the clues that has led me to this clear knowledge.
Distance = 160000 Royal Cubits = 1120000 Palms
Velocity of Sound in Bedrock = 80000 Palms per second
Time =D / v = 112000/80000 = 14 seconds
Frequency = 1/ time = F = 0.0714285714 hz = D (A= 438.36184192 hz)
Lowest Piano D = F *1024 = 73.142857138 Hz
The wave length inside the tomb = 4 Royal Cubits = 28 palms
So it looks like we could use octaves of “D” to make a communication channel between Senurset II and Giza.
Test case #1
Velocity profile of Limestone 0% porosity = 6813.236733 mtrs per sec
As Royal cubits = 13000 RC per sec
Velocity profile of Limestone 10% porosity = 5109.92755 mtrs per sec
As Royal cubits = 9750 RC per sec
Velocity profile of Limestone 20% porosity = 4087.94204 mtrs per sec
As Royal Cubits = 7800 RC per sec
Velocity profile of Limestone 30% porosity = 3406.61836 mtrs per sec
As Royal Cubits = 6500 RC per sec
In a Test Case above we have 4 different Velocity profiles, this seems innocuous, until you compare it to the 0% porosity, here are the figures:
13000/13000 = 1 = 0 % porosity
13000/9750 = 1 1/3 = 10 % porosity
13000/7800 = 1 2/3 = 20 % porosity
13000/6500 = 2 = 30 % porosity
These are musical and concordant frequencies. When the whole gamut of limestone, red granite and many other stones are put into the correct context, lined up with density, velocity, modulus, porosity, dielectric, permeability and impedance are factored and aligned to resonances with harmonic content, you will not see the true nature of the Pyramids.
This understanding is clear that their intentions was to resonate stone and air, creating communications and energy transfer, this is of a past technology that lay hidden in the Kemetian engineering. When you look at the all the concordant data you will see the science of ancient Egypt, they had a science not just a geomatra of holy numbers , worship of idols and Gods.
The Dynastic Egyptians had lost much of the ancient knowledge after the flood destroyed most of the Ancient world, many of the machines stopped functioning, maybe Giza was still running, it was after all the main trigger for all network of ground longitudinal waves, both electrical and acoustic between all the pyramids. The survivors may have had some technology left, but the link to the priests of that knowledge were gone, they developed a philosophy aligned to the downward spiral of mankind, just as the Yuga cycle was nearing it nadir, all the knowledge to read the language vanished. The Egyptians called it the underworld, the lost dark chasms of mankind, where memory of our past gets destroyed, misaligned and lost.
Measure and Metrology
We need to try and recover what was lost in the engineering of the pyramids, by means of the actual objects and structures left behind. Much of what I have looked at was already found by Petries and he did a wonderful job of recording his findings. I will list my own interpretations along side the what has been found and measured. I will start with the Royal Cubit, as the standard, it this seems to be the most scientifically defined unit that I have been able to decipher, in all of Egypt. Do not forget that this is the unperturbed unit, not the regular measure as noted by my earlier iterations regarding the dielectric as the change in length. So here are the first list to define the length to meters, so we can relate it to modern understanding.
* New Names and Lengths based on conjecture.
So the base length by historic discovery is the Finger, this makes the building of a Metrology system easier. Here are the divisions of lengths according to written and measured discovery, with a few added “ * ” to indicate new sizes. The requirements of building is the volume standard, then the mass and the density considerations. This list is based on 1 Cubic Finger as the smallest usable unit.
Now that we have established a system based of 16 different unit measures, we must now move to weights, mass and density to complete our approach to the transmission and building process.
These volumetrics are already useful in liquid measurement, such as the equivalent in litres or gallons. This will not enough to create a technology, the Density of the materials plays a major role, this can be done with a set of scales and a ruler.
The Qedet is a weight that was used in much of ancient Egypt, this was a found by Petrie to be about 9.33 grams, a size of it was also noted. I simplified the size and cubed the sides to arrive at 1.715 Qedets = 1 Cubic Finger with a Density of about 2452.03 which can be found by making a standard that it can be checked against. Other densities can be found by comparing volumes against the mass using a scale.
Now that we have some clue on how to proceed, I have found many interesting unit values that pop out when crossing over to the ancient units.
Here is a quad set of figures that show some very musical values, when you add a suitable length to create the required fundamental tone in the material.
In Ancient units:
Name – Material – Density – Velocity – Modulus
Set – Stone – Q/CF – P per sec -Den x Vel^2/9000000
Set A – Sand – 1 – 30000 -100
Set B – Granite -1 143/200 – 57000 – 686
Set C – Dolerite – 2 – 60000 – 722
Set D – Basalt – 2 34/343 – 80000 – 1492 244/343
_________________________________________________________
Now in SI units:
Name – Material – Density – Velocity – Modulus
Set – Stone -Kg/m3 – mtr per sec – Den x Vel^2
Set A – Sands -1429.754678 – 2242.442 – 7189589537.171
Set B – Granite – 2452.03 – 4484.884 – 49320584224.971
Set C – Dolomite – 2859.509 – 4260.64 – 51908836458.377
Set D – Basalt – 3001.2343 – 5979.846 – 107319820496.616
As you can see the ancient units are much more unified and much easier to remember and calculate with.
The rest of the unfinished chapter will include the acoustic map of all the pyramid sonic fields, with frequencies and the inclusion of some of the devices inside the sarcophagus and sonic translator devices. I had to reinvent all the parts from some of the artefacts I have seen in the museums. I will add some schematics of these machines in the next blog, if all goes well I will be able to test these in a small scale, if resources are available. Regards Arto
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DonateDonate monthlyDonate yearlyBack in 2008 I was studying many types of ancient artefacts and the relevance to star charts that do not appear on the walls or objects from ancient Egypt and was intrigued to find very little to say the least. After much research I later wrote an article “The Hidden Star Charts of the Ancients”, where I found the Narmer palette and some Sumerian seals had hidden star maps within the graphic design, I included it in my last Volume but left out the other side of the Narmer palette.
Here is the file that I didn’t include, I have also included a simple composite of the first side as well, which I had elucidated with much more details in my first volume. The details included the pictorial relevance to actual stars, galaxies and nebulae as they visually appear by modern powerful telescopes, an amazing revelation of this work. Regards Arto.
Below is the original side I studied.
Below is the Other Side.
If you want to read my original documents from 2011, Scribed has a copy you can down load, I have updated in 2013, here is the earlier version here:
Hi Fellow researchers ,
Adam Bull has released a 4 Hr interview on Youtube, it is informal and free flowing, about my book “Talking to the Birds”.
Here is the Link-
Here is the Press Release:
After many years of research, personal discovery and seeing the world through the perception of an Artist, one who by his very nature must understand something very deeply before he renders its likeness, Arto Heino has released his first volume “Talking to the Birds”. The subjects covered in his book are as varied as his pallet, he shows a different perspective about each subject he studies. Volume I, A compilation of his best works, you will see the many different hats he wears as he sifts through a broad spectrum of knowledge with a profound insight into several pieces of hidden information ignored by most other researchers.
To understand the author of this work is to peer into layers of understanding that have not been lifted in most researchers lifetime. In the chapter on Archeo-Astronomy Arto looks at some of the basic assumptions about the nature of man’s history and came to some simple conclusions, the evidence he uses is not a rehash of another theory but new and startling revelations about the cyclic nature of our consciousness. The artist and writer Arto Heino shines the light where few others have on past ancient artifacts and current sciences that should give you a new way to see the past.
As a young child, Arto found meaning in natures chaos and his deep connection to some of its hidden attributes long before he articulated his understanding to others. Books gave him one of the tools to peer into history and find those who could help him guide his vision, great artists like Leonardo Da Vinci took him to a simpler way of personal scientific and artistic discovery. To show some of what he has learned from the master he gives a brief insight into one of Da Vinci’s more famous artworks.
The lure of electricity is never far from his thoughts, he has several chapters that deal with Electronics, Invention and Machines they cover some of the most important works of Nikola Tesla. Arto shows his own artistic method of understanding the circuits of Tesla and removes a lot of the mystery that surround his work. The circuit models by Arto are more like artworks that have a landscape of parameters and clues to other possibilities. He pries into some of the mystery that surrounds the work of Lester Hendershot, Don Smith and Henry Moray, giving new insights that could help to guide other researchers to new conclusions.
The nature of the geometric abstraction is not just pretty patterns like most modern conveyors, to Arto this is where you can find a deeper connection to the sciences. He sees a simple form such as a triangle as a new beginning to a new and non-complex form of mathematics, Quantum Arithmetic. As he implies he is only expanding on something that the geometers have tried to bury, Arto shows some of his studies in Quantum Arithmetic and the expansion of a new type of geometric discovery, where he applies it to the Giza pyramid, the Kings chamber and an Egyptian artifact that has alluded many archaeologists and geometers for the past 80 years.
The surprise in the book is not just his varied perspective of technology but in one chapter Arto lifts the surface off our modern paradigm, he includes some of his more popular cartoon images to highlight the high paced and disturbing reductions of our elite. Arto as an artist and a musician gives those inclined an interesting group of studies.
If you would like a copy of the book –
Also Available from –
The Kings Chamber Cavity Resonator
Now that I have worked out the size of the Kings Chamber in Quantum units, let us see if we can explore the implications of its functions as well, this was one of the most rewarding puzzles I had to solve of recent times. This would become more helpful as I could now scale it to something a lot smaller and useful for experimentation. I have also completed the Quantum Coffer as part of this process, armed with an understanding of quantum arithmetical methods I now could apply my work to just about any Ancient monument that was built to those exacting requirements, this information will surely help give some clarity to date these constructions so we can finally put an end to the time wasting debates that have been festering for the last 200 years.
It occurred to me a few years ago that the Ancient monuments that are of the most interest were those built pre 3000 BC(my reckoning), as the dating of most monuments are not of that early era, something is distinctly wrong is the way Academia view and date the time-lines of civilizations, each new discovery pushes the dates back further than they would like to admit. To attribute many ancient buildings to a later era distorts the history in a way that denies the true origins of cultural fashions and technological beginnings. As we know writing and mathematics were fully developed at the beginning of the accepted historical time line , not at the end, the Greeks learned from the Ancient Egyptians and the Romans learned from the Greeks, this is also true in India where the Vedic texts have a fully developed society , science, art at the oldest time period. The Aztec’s only rehabilitated the more ancient buildings and a culture they discovered. This brings me back to the Great Pyramid and its function, I can only make assumptions based on facts and some evidence that the Great Pyramid was some sort of machine that was designed by a people that were well versed in structural engineering that surpasses the best efforts of today. The Khemitians as I like to call them , had profound understanding of Astronomy, Geometry and Chemistry, these are evident in the materials, methods and designs of what they have left us, this is a profound and obvious fact that no real researcher can deny.
I would like to forward an idea what the possible usage was for at least part of the mechanism of the Great Pyramid, mainly the Kings Chamber acting as a Cavity Resonator . As I was working with the measurements of the Ante-chamber, I could see that the design vaguely resembled an adjustable resonant cavity mechanism. It seemed there has been a lot of conjecture about what was the original function and design layout of the Ante-chamber, the common view was a sealing mechanism of granite portcullis blocks that were strung up with ropes and made to move up and down locking the treasures of the Kings Chamber from greedy grave robbers. This idea seemed plausible if the Kings chamber really had a King with his treasures to hide, sadly there is no proof that it was ever intended for a dead Pharaoh, a simple fact that no hieroglyphs have been found in the great pyramid can attest to its lack of funerary ritual hieroglyphics that dominate the walls of real graves of the well to do Egyptians and Pharaohs. The scribbles that have been found in the sections above the Kings chamber that were attributed to the builders were the result of a rogue Archaeologists idea of getting some credentials and notification, in reality the markings were of nonsense and of the wrong period.
Christopher Dunn describes a possible Hydrogen power-plant that might be the mechanism of the Pyramid, this interested me a great deal, it started to dawn on me that this is a real possibility. The few clues I found was the sooty deposits in the air shaft in the Kings chamber and the green Dolerite ball that was found by Petrie, the unusual cavity in the South air shaft, and the 4 grooves at the end of the Ante Chamber. The early accounts reveal a few more clues, early accounts attest to finding a 6x4ft slab in the antechamber, now gone, also the results that somebody had blasted their way into the kings chamber passageway, gouging a section from the top part, suggesting this small passageway was tightly closed.
Most researchers attribute the grooves in the wall of the rear of the Ante-chamber to rope clearances or such, where I think it would be ideal to create some sort of piezo vibrator or tuned half pipes to transfer a 7.84 hz tone to the inlet of the Kings Chamber, the inlet for the hydrogen gas would also have been part of the pipe mechanism as well. The Grand gallery could have been a gas fractionator unit that was tuned both acoustically and electrically polarised allowing oxygen to stay in the lower portion while hydrogen could rise into the ante chamber and on through to the Kings chamber via 4 pipes and/or resonators. The action could even have water present allowing water to become part of some sluicing gas production process.
All this is just conjecture at present, the Kings Chamber has 2 shafts, one of those has a unusual cavity that looks like some sort of ball valve system, possibly to allow the valve to close or open when pressure was correct and the other shaft is connected to the outside , possibly connected to another mechanism at the outer exit. The only way for us to discover the purpose is to a build scale model of it and test the many conjectures.
I have drawn a overhead scaled version with the sonic inlet being the column of gas that is in the passageway between the Ante-chamber and the Kings Chamber . This is a typical Helmholtz Resonator design, nothing mysterious here, just well engineered for low frequency resonance. The approximate frequency response for Air was a low 2hz, this at first seemed remarkable as a lot of conjecture has been out there in the public for at least 50 years that it resonated at much higher frequencies. If you treat the chamber as a microwave resonator you will have frequencies of about 1.76Mhz, this is a suitable band for communications, but not remarkable in nature.
The most surprising result of looking at the resonant values for the Ante-chamber was a close match of 47Hz, ever though I did not have all the exact measurements for the missing parts. I made an approximate of what has been conjectured by many other researchers, the result was amazing to say the least. I will be working of the Grand Gallery and the Queens chamber as next set of parameters to see if they reveal any evidence of a mufti-chamber pyramidic gasifier that breaks-down water into useful gas energy products such as Hydrogen and Oxygen.
Regards Arto
***Update 22nd October 2016 – I have replaced the drawing, the Helmholtz resonator frequency equation had a typographical error. (bracket was in the wrong place), regards Arto.
The Hidden Code of Bruce Cathie
Again I am presenting material of importance from my book, one that cannot wait to be presented only revealed. When I first read Bruce Cathies books in the 1980’s Harmonic 33, Harmonic 695 and later The Bridge to Infinity and The Harmonic Conquest of Space, I was amazed and fascinated by Bruces simple facility in bringing all his explorations into the 144 light velocity and all the harmonic frame work as well. I loved reading his material and all his exploits.
I could not at first see why he chose 144 as the numbers as the velocity, Bruce had made some assertions about the ancient metric and a lot of biblical and Geomatra references, this made me question the historical reasoning, only later did I find the real reason. You see this was not a common number when measuring anything linear only area, cubits were the rule in the period Bruce points out, besides the Ancients had no need of a decimal version of PHI and its endless decimal fractions or 143.889, 6.9444 decimals fractions either, they are only used in his methods to justify the use of 144 as light speed, the Ancients built and located to natural prime and whole numbers, this is was gives you the PHI ratio. Who had use of a calculator in 3000BC and surely nature never uses parts of anything only whole quantum units for any process. It seems there is something not quite clear in his explanations and has a possible bogus written on this scheme, let us look at some of those that contain vagueness.
Look at the tables and you will see that Standard Cubits and Fingers become rounded off to whole numbers and surely would become more useful that Bruce Cathie’s numeric web of harmonic decimal fraction values, why create new measures when the Ancient measure of cubits had so much to offer. The use of a light velocity in ancient times did make for great reading, only its use would have been for astronomy and some form of technology, I could see many ancient places that could have used laser cutting such as Sakkara, Machu Pichu and Puma Punka. Why would the ancients complicate the natural whole number science with complex algorithms with multiple decimal places and complex formulas just to put a monument, where a simple whole number solution would explain more and reveal complex ratios that come from its prime quantum nature.
Only by studying the mathematical and geometric works of Euclid, Archimedes and Pythagoras can you see the numeric tricks that Bruce has employed to result in what may seem like almost magical answers. This sort of manipulation has truly some amazing reverse engineering to give you the results you seek.
The methods are not hard or magical, the term used is the intervals of the harmonic discipline, these are named as Sesquitertian ratios, Sesquiquialter comparisons, Multiple Superparticulars and its attendants. Without writing a formal doctorate on the subject, I will just show you the numbers and how they function. You will recognize an abundance of Geomatra numbers and harmonics that a lot of people write about.
As you can see the top row of the Duple table it is pure doubling, nothing very complex, this is how octave work in music, light, radio etc To get the start in next number row you add the first two numbers then place the result in the column under the second number. The process continues for every number pair on the top row, this will now give you the second row, now do the same procedure with this row and this will give the next row, continue with the same process and you will have a table like the one I have made.
As you can see the second table(Triplet) the numbers are tripled, the same process of addition and carry to the next row the sum is the same as the first table, will give you the table the same as I have made.
A careful study of the first and second table will reveal the tripling is also occurring in the first table, only as the diagonal values. This same view has the diagonals of the triple table now creates quadrature. Many more numeric harmonies are present in these tables. An example of this can be shown, if 256 = C1 in music the its octave is 512 = C2, the next octave in now 1024 = C3, this seems logical and simple, now the 5th of diatonic harmony in music is the most concordant next to the tonic, if the tonic 256= C2 then the fifth is 384 = G2, the 2nd is 288, the ratios are 256 x 3/2 for the fifth = 384, 256 x 9/8 for the second = 288. This is how harmonies function numerically, no mystery here, this information dates back at least 5000 years.
The sextuplet table I am including shows you another Geomatra group that are written about, including the Nineveh Constant. This set is in multiples of 6 , the second row, 7nth element is 1959552.
As you can see these are very simple arithmetic calculations, not requiring PI, PHI or Log, this is how nature creates harmonies and natural intervals that exist everywhere not just on your piano. If you require more knowledge to pursue, you must create complete harmonic tables and you must also be willing to understand and make frequency charts covering many octaves.
In the first table and the following table I have created the precise light velocities in:
Meters per second
Miles per second
Feet per second
Nautical Miles per second, Cathie Arc Minutes
Royal Cubits per second
Standard Cubits per second
Fingers per second
Cathie Grid miles per second, Adjusted for maximum
Cathie Grid feet per second, Adjusted for maximum
Art miles per second ( an addition to show how it can be done )
Art feet per second
The Royal Cubit = 525.1816774904 mm
The Standard Cubit = 450.1557235632 mm
The Finger = 18.7564884818 mm
These sizes where chosen as the least rounding error.
I have also created a set of new time scales in seconds, N28, N30 and N34 as N36 is the standard second and N32 is Bruce Cathies Grid second. I could extend this time scales in both directions as required. The Grid , and Art lengths are listed here;
Grid inch = 1.011904379 standard British inch
Grid mile = Grid Inch x 12 x 6000 = 72000 Grid Inches = 72857.1152911442 British Inches
The only problem that Bruce had with these tables is lack of justification on the velocity in a different medium, as he shows that maximum is 144000 minutes of arc per grid second, now for this to be correct he must have either the length of the arc grid mile to be different or the grid second to be slightly different. If he uses the grid second as 8/9 of the normal second as he proposes in all his writing then you will get 143888.868730502 minutes of arc per grid second, to correct this he must change the ratio of the grid second to equal 1.124131787 not the theoretical 1.125 as he suggests. Not to labor the issue we will accept a slight variation that allows the value 144000 to be the speed of lights maximum, this will be the adjustment to the grid mile of 1.1498913398, with the Nautical miles as 1.150779448, on the normal minute arc scale, I will include the maximum values in my tables, to be accurate they should be all equivalent. We know the velocity of light changes with the medium and this is where he can create a variety of values that nobody can question. The absurd idea that PHI reduction is evident is a slight of hand as you can see that 161874.977321814 Nautical miles per sec is very close to PHI (161803.4), this can be used to make fractional values based on this and rounding errors. The values of PHI from the minutes of arc is a result of ratios that are evident in the size of the earth and the number of degrees in s circle, such as;
In these simple equations you can see some of those harmonic numbers and PHI factors appearing at rounding and simplifying.
360 x 27 = 9720
9720 / 6 = 1620
velocity miles per second x multiple ft per mile / length of N mile in ft = Phi
Here is the equations, the way you can fudge these to fit:
186282.397051221 x 5280 / 6076.1154855643 = 161874.977321814
18.63 x 5.28 / 6.08 = 16.18 Simplify
37.26 x 2.64 / 6.08 = 16.18 Halving
36 x 2.7 / 6 = 16.2 Simplify, Halving and Rounding
Just to note 2.64 is the harmonic that Bruce says is inbuilt into the polar grid structure, which is really another factor of 5280/2 ft in a mile. The other harmonics he mentions are 2545.56, which again is 25.4 ratio mm to inches hiding as this value. Two other numbers Bruce quotes regularly are the magnetic field lines crossing in 1257 and 1850 spacing, firstly 12.57 is a half an inch and 1850(6069.5538 ft) is close to meters in a nautical mile(1852 exact), not a coincidence but as designed so he can correlate his data to fit any situation. As Bruce mentions the double cycle of the universe is 360 x 2 = 720 = 1440/2 as you can see he is eluding to the 144 value again. His use of the pentagon and golden triangle geometries are also used to make it appear to be more of the same harmonics of light generated from these shapes when he maps his grid points to fit the angles of 36, 72, 144 degrees.
One of the main points on Bruce’s grid map was his Eltanin Aerial , which was a bogus interpretation as this has been confirmed as a sea sponge(Cladorhiza) that has multiple arms and club like ends , this was revealed by Larry Hatch back in 2006. This and many of Mr Cathie’s findings have been exposed by Peter Brookesmith in an article “The Eltanin Enigma”. I will not elaborate here so please check his site here http://www.forteantimes.com/features/articles/155/the_eltanin_enigma.html
If the link is broken, there is a you-tube video here:
The Art miles and Art feet are also in whole number harmonic structures, very easy to use as these numbers are called perfect,deficient, super-perfect and superabundant numbers, most common in harmonic sequences.
Art ft = 1.1383924264 British Ft
Art Mile = 1.2936277573 British Mile = 7761.7665438009 B ft
So the Grid foot also comprises of 12 grid inches, so instead of using B/ft and B/inch you create a new unit that divides exactly 6000 times 12 = 72000 grid inches, this simplifies your figures and also creates a base 2,3,4,6,12 etc for harmonics as you can see from the tables 972, 144, 6 are all part of the harmonic structures.
One of the alarm bells that I heard when first viewing his work was his acceptance of Einsteins work as valid science, as we all should know his equations were the borrowings of others mainly Ruđer Josip Bošković and the hard work of his first wife and the blatant plagiarism of the work of David Hilbert, perhaps the most brilliant mathematician of the 20th century, and Felix Klein . Albert was a figure head put their by the power hungry establishment to teach us how to believe a metaphysical universe created from a false set of rules and hide the true knowledge and to accept this false dogma for fear of ridicule and banishment so we can serve the elite. He possess no genius that I can find in any of his writing, because it was not his writing that I was reading it was a patchwork of plagiarism from many sources, great men have a core of clear communication that goes beyond stereotypes and speaks to all men, many of the quotes of Einstein were lifted from other people, original thinking was not the premise of this fascist.
We should also be aware of Max Plank as he had reversed engineered his constant so it would fit with the velocity of light, as noted he was quite disturbed by force fitting this by using Boltzmann work and tried to ignore the implications of his earlier work please refer to the work of Charles William Johnson. Together with Einstein they accomplished an early burial to the science of Walter Russell, Nicola Tesla, Victor Schauberger and others like minded Artists, Scientists and Engineers. It seems Bruce was either ignorant of this side show of the establishment or he was just another unwitting puppet that had been used so his work would give credence to the puppet masters agenda, this way the independent researchers started looking in the wrong direction.
Remember it was not Einstein who created the atomic bomb, it was the Engineers who were disciples of Teslas work that made it work, theory had very little to do with its creation only practical men can build such devices. The Tesla rotating brush was the first step, the disintegration of matter by implosion of spherical reflected force was Tesla’s second step, it was this that led men to the atomic era. There are no mysteries on how to create and explode an atomic bomb, only misinformation. The work of Einstein will be long forgotten and relegated to the dust piles of history when the work of Tesla will light the hallways of knowledge for aeons.
As Nikola Tesla quoted in the New York Times (11 July 1935)
“Einstein’s relativity work is a magnificent mathematical garb which fascinates, dazzles and makes people blind to the underlying errors. The theory is like a beggar clothed in purple whom ignorant people take for a king, its exponents are brilliant men but they are meta-physicists rather than scientists. “
Einstein’s formula
Energy = Mass x Velocity of light squared
This simple relationship was obviously borrowed from Newton’s well known equation;
Kinetic Energy = Mass x Velocity squared
The Bruce Cathie Equation is a unique combination trying to include a version of the Fitzgerald contraction, this being the 1/sqrt(C), this would not help those who are in favor of an Etheric understanding of the Universe. The purpose of the Lorentz-Fitzgerald formula was designed to invalidate Michelson- Morley experiment.
Lorentz Factor = 1 / sqrt(1 – v^2/C^2)
Cathie Equation
E = ( C + 1/sqrt(C)) x C^2
This would validate any slight variations due to variable factors, each variable would be unique to the subject he was describing similar to Carl Munck’s manipulations. I suspect the reason the authorities were interested in Bruce’s work is he was using the powers of the velocity of light in his work, which is what they presented in the scientific community as fundamental constants. They did not want the public to know the level of deception the scientific hierarchy had perpetrated on world regarding the nuclear situation along with the complicity of the military industrial complex and the theoreticians to hide the real truth.
I hope this small snippet can elucidate the unwitting attempts by Mr Cathie over the decades in trying to steer you in unwillingly to a cult-e-sac of misinformation, not much different than the establishment has done for the last 100 years. I am an advocate for what Bruce has tried to do, but his efforts have not been realized by many researchers, scientists or engineers and have not resulted in usage that produces any advantages in designs or concepts. Not to deride his work as I have built many Tesla coils using Bruce’s numeric guidance and the results are no different than using, millimeters or inches, as to the advantage I have gained from his work it is primarily by using frequency tables that are clearly of harmonic content. What you gain from Mr Cathie’s work is the truly amazing value in understanding harmonic concepts and musical ratios that the Universe is built from Regards Arto
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