Archive for the ‘Music’ Category

Pyramid Sonic Transceiver Technology – Part 5

October 29, 2021

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.

The Pyramid Sonic Transceiver Technology – Part 2

October 1, 2021

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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A Song Written

September 6, 2018

A Song Written

by Arto Heino (c) 2018

In my current working volume, I have not quite completed my music chapter, besides any personal and family obligations, this delay is the usual problem of simplifying many complex concepts. I will also publish a Song book prior to the next volume, included here is one of those songs.

Song Writing

Is there a a simple methodology to Song Writing?

Yes, by exercising your imagination and highlighting your life experiences by finding your emotional connections to those memories. Now that is as clear as mud, says the guy with a blank sheet of paper and a guitar, eager to write the next classic.

There is three ways to approach this art-form:

1 – Emotional memory

2 – Technical structures

3 – Poetic expression

Emotional Memory

That rush of feeling you get sometimes when you reflect on a turn of events. For example, a blues song writer relies on this for his source material, the subject is usually a fairly well worn experience, such as money problems, relationship difficulties or work related situations.

This capture of a emotional reflection can be painful, happy, sad, euphoric, funny, pleasurable, romantic or even angry. There are no limits to what constitutes a singular or group emotional experience, this all depends on the number of life experiences of the writer.

Technical Structures

These are segments of chordal and rhythmic cadences that exemplify an emotional response within the musician and the listener. They are codified in a multitude of elaborate harmonic structures, which have been used and notated in many genres over the centuries. Modern Jazz uses a many of these passages as either “riffs” or “vamps”, to be used as improvisational tools to create musical coherence.

The tone and instrumentation are also important technical factors when you are constructing the general idiom, for example, folk songs, they are not generally any more than a single voice and one instrument played to compliment the vocal line .

Poetic Expression

This is when the written world of poetry define the content of the musical expression. These are usually exemplified by the unusual word rhymes that a lot of poetry contains. The word combinations can direct the melodic and harmonic outcome in many unusual ways. Not all poems can turn into simple songs, but with enough creativity and adjustment literally every poem is a song waiting to be defined in musical terms.

My Song As An Example

All three approaches are used, regardless of the genre to write any song, saying that, motivation and your inner need are a precursor to any inspiration in song writing.

Written and illustrated by Arto Juhani Heino (c) 2018

Here is one of my songs that I wrote, it uses all three approaches clearly and expresses an emotional release of unrequited love, something that many artists of the romantic genre suffer with an abundance of. As the creator, I own all the copyright and authorship, there are no issues with publishing it on my blog, saying that, I have also broken down many well known hit songs but due to the infringement issues, I will not publish them here, they will forever be my own personal research.

I wrote the chorus as an isolated musical passage that I felt reflected a deep yearning to a loved one, be it any gender or even religious if I replaced “darling” with “Lord”, thus changing the meaning of the song.

The chords were a simple choice, starting at the 5th from the key of C, which is G, yet I chose G6, the reasoning is that it contained an E as a harmony element relating to the E in the next chord, from a 6th tension to a 7th tension. The Fmaj7 has an A as the 3rd which is the melodic note for “you”, which in turn actually goes up in the melody as the Fmaj7 chord go down in the scale, using contrary motion as a way of expressively creating tension. In the end of this first motif, “you” moves down from A back down to G in the melody, which in turn resolves the contrary motion and ends the first passage by the chordal resolution to the tonic C major chord.

The second motif in the chorus is the counter melody, responds to the first part by expressing who the song is directed to. Rather than repeat the last two notes as in the first motif, the melody moves down from the F to the E, leaving an interesting tonic to a 3rd resolution, resulting in a satisfying end to complete the first melodic fragment. The melody is repeated but instead of “love”, I replaced it with “darling”, this term accentuates the endearment and heartfelt stirring of calling to a romantic figure.

The bridge was written much earlier and wasn’t related to the original idea, it was about being shy and not revealing your identity. I used it as it complimented the Chorus by giving a face to the caller, abet a reluctant one. There is a tension that is left unresolved by being anonymous, giving the caller a shy or reserved disposition, someone who could be too fragile to face the reality of their unresolved feelings. The resolution is a minor 5th, (Dm) to a major tonic, being G, which is repeated before resolving to C major in the Verse. These chords carry the questions forward into the Verse.

The first line of Verse one was a revelation of intent of why you were calling, explaining that these feelings are normal and part and parcel of being in love. The two minor chords in the first part soften the emotive and lighten the portrayal. The boldness of the second part of the first passage here is exemplified by the imperative of “must”, implying it is a destiny to be filled, beyond the boundaries of personal desire.

The second line repeats the intent, and the second half of the passage boldly proclaims “forever”. This finality exposes the interesting idea of the human soul and the endless cycles of transmigration that occur in reincarnation, stating that love goes beyond a physical phenomena.

The second bridge, is now tempting fate by asking if the caller should reveal the name of their love interest. This is a desperate attempt to awaken the mutuality that is felt, either imaginary by both or in reality, but not said. These are the romantic notions that are felt by many, but never quite realized.

The second verse moves into the dreaming state of shapes of clouds that spark the imaginations of those who are in love, the end of the first line is a confirmation and acknowledgement that it was linked by fate and that both parties have possibly understood. The second line of the verse in another affirmation.

The “Out”, as an ending leaves the whole cannon in a tension of unrequited love, not showing but admitting love is in possession of your heart, where again the mutuality might not be clear.

I hope you have enjoyed this intimate breakdown of an original song that you have never heard, regards Arto.

Live Interview

December 14, 2013

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 –

Meeting Joe Satriani in 2005

February 9, 2012

After a bit of a clean up, my daughter found the pic of our visit to Allans Music in Sydney on Monday 14th of March 2005, between 2 to 4pm. Here we lined up for 2 hours and were the LAST to be allowed to meet Joe. There was almost a riot that broke out behind me. It went something like this;  Hi Joe I love your stuff, my daughter is a keyboard player who lists you as one of her favorite and most influential musicians. My daughter spoke to him and was very pleased to meet her, I sensed they had a mutual understanding. He was softly spoken and he showed his gentle and kind manner. Joe Satriani is a true Artist of his music and the guitar,  we could all learn from his mastery of his instrument and his spirit.

Joe Satriani and my Daughter and Me

Artone 19 – Expanding the Musical Vocabulary

July 12, 2010
Artone 19 – I designed a 19 tone guitar about 15 years ago but never got around to showing what the concept was all about, here is the intro and some details, this is only my first design. This instrument is quite playable and more will be done in the future, eg electric, bass, etc. I created the name Parvatic (Latin “parvum” , small steps) so I could create the new terms and names of harmonic forms this instrument will introduce to our musical vocabulary. Using “p” instead of  “##” or “bb”  simplifies the scalar structures, it denotes the new notes that are now usable,  the old 3rds are now more in tune than the equal temperament 12 tone system the old 7ths are now sounding good, plus you can now play a lot of other types of music that wasn’t available to the 12 tone guitar. This picture is only the preliminary design for the “Artone 19”.
Due to the nature of this “Artone 19”, Guitar and its construction, the only real help you will need is the unique fret spacing and frequencies, so I made a file that should help.


For a more details you can buy my book “Talking to the Birds“, Regards Arto.