from Montalk Website
There you clearly see a tuning fork and hammer. If both are drawn to scale, then the tuning fork is quite large.
A hammer would be needed to strike so
large a fork. This fork was likely made of bronze, just as bells are
made of bronze, due to the ideal stiffness and resilience of the
material allowing for prolonged vibrations. Other materials like
stone, iron, copper, and wood are unsuitable. Also, the Pict/Celt
civilization traces back to Bronze Age.
Horns have acoustic applications, as explained on Wikipedia:
It’s also worth mentioning that this stone is positioned right in front of a round stone tower.
If you read the
Phil Callahan you’ll know these
towers, made of highly diamagnetic stone, served exotic/occult
functions. Their inner floor is made of dirt and raised off the
ground at varying levels, which Callahan theorizes was to allow fine
tuning of the resonant frequency inside the tower by varying the
height of the inner space.
For comparison, here is an image of liquid being subjected to vibrations (from Hans Jenny’s book “Cymatics, Volume 1”, page 58):
In the above picture, vibrations form
standing waves in the liquid, which impart vortical currents in the
water that form swirl patterns in dye or oil. These vibrationally induced patterns are
virtually identical to design elements found on Pictish and Celtic
There you see two tuning forks joined to each other by strings.
The left fork is joined at two
vibrational nodes, the right at three, possibly implying a 2:3
frequency ratio between the two forks which is the musical interval
known as a “perfect fifth” (aka the power chord for you metalheads).
Beneath them is a four-shaped leaf pattern reminiscent once again of
a flower. Then a dish or convex lens. And further down on the left,
that same anvil or bullhorn flare shape.
Consider the following anecdote reported in 1997 (from keelynet):
The technical details in this anecdote are too clever to be made up, in my view.
The wide U-shape is not something you
ever see in commercial tuning forks, but they are precisely what is
needed to have strings strung between the tines.
This feature is likewise never seen in
modern commercial tuning forks. Bowing the string would be ideal, as
it would make for a steady vibration, just as a violin can be bowed
to make an extended note. That the largest forks were 8-9 feet long
indicates some seriously low pitches and/or powerful and prolonged
sounds were required.
These vibrations may then be applied
toward drilling, shaping, and levitating stones.
Normally it takes a special diamond
cutting wheel and a slowly turning drill bit, lots of cooling fluid,
and very slow progress to drill through granite.
Compared to conventional drilling, this
method is faster, puts less wear on the tool bit, and takes less
The way it works is that transverse vibrations from the tines move the bottom of the U-shape up and down, which sends longitudinal vibrations down through the cutting rod.
At the rod’s resonant frequency, these
vibrations create standing waves with maximum vibration at the
beginning and end of the rod, and a point of no vibration at the
middle where a perpendicular handle can be attached if needed.
The frequency of a tuning fork is approximated by the following equation:
The frequency of a metal rod is:
If the fork and rod are made of the same material, and if the tines have a square cross section with width [W] , then setting these frequencies equal and simplifying:
This simple equation says how long to
make the rod for any given tuning fork size (again, provided the
fork has a square tine cross section and both fork and rod are made
of the same material… if not, then this equation will be slightly
more complicated, but all you do is set (1) and (2) equal and solve
for [L] ).
Notice how long the handle is, relative to the fork, and how this actually looks like a trident or harpoon, and can function as such if the tines are sharpened. This is reminiscent of Neptune, the god of Atlantis. This aquatic symbol shows up in the Egyptian myth of Horus (falcon god) striking his enemy with a harpoon, as well the Egyptians associating their antediluvian ancestors with the harpoon symbol.
The Celts likewise have their legends
about arriving in Europe after fleeing a sinking island to the
northwest (likely Greenland or Iceland).
not the same as acoustic levitation demonstrated in physics labs
nowadays, where little ping pong balls and similar light-weight
objects are levitated by the air pressure impact of standing waves
produced by really loud horns. Rather, I mean sound being the
initiator of a process that ends up altering gravity directly.
Probably because the smaller the stone, the higher its resonant frequency, and the more difficult it is to produce a powerful sound at the required frequency using tuning forks and/or the human voice.
Both forks and the human voice have a
limited frequency range, generally 100-3000 Hz. If you convert that
frequency range into an allowable range of stone sizes, it matches
the range of megalithic stone sizes around the world.
This can only be
because earlier ones were shaped and put in place through an exotic
technology that attenuated gravity.
If its width of 4.8 meters is used
instead, the frequency is 469Hz. Another example, the typical Great
Pyramid block has a length of 2.2 meters, and with speed of sound
through limestone being 3000 m/s, its resonant frequency is 682 Hz.
Furthermore, if you watch (below) the first 15 minutes of Meetings with Remarkable Men (Gurdjieff autobiography) you’ll see precisely this method used to make the rocks sing.
from VideoGoogle Website
was the director of Meetings with Remarkable Men.
Brook tells the story of Asian mystic G. I. Gurdjieff, here played by Dragan Maksimovic.
Gurdjieff devotes his entire existence, from youth to old age, in quest of the meaning of life.
He eventually develops a form of meditation incorporating modern dance.
Terence Stamp, who in Meetings with Remarkable Men plays Prince Lubovedsky,
himself briefly retreated from his career after this picture, in favor of Eastern meditation.
And lastly, see
Chapter 18 of Bringers
of the Dawn for discussion on sound being used to psychometrically
extract knowledge from the hollow skulls of deceased spiritual
masters, similar to how, according to the
Stonehenge was used to download information into the crown chakra
through overtone singing (termed “tonal rill” in the transcripts).
Well, when a stone vibrates at its resonant frequency, a standing wave of compression/expansion sets up within it. What makes stones unique is that they are piezo-electric, meaning they convert pressure into electricity.
sound to a stone converts that sound into electromagnetic or electrogravitational energy.
The point of muting and point of applied vibration can be shifted to direct the stones.
So, the same technology used to drill,
cut, and shape stones, can also be used to levitate them through an
acoustic-electric-gravitational coupling process.
There you see a metal auto axle with wire wrapped around it, mounted on a branch that functions as an electrically insulating support.
Was this an electromagnetic tuning fork that Leedskalnin applied to the his quarried blocks of coral? Did the fork (or rather the metal rod) vibrate acoustically and also electromagnetically? Is that cable going up off the right side of the device the power cable?
Maybe… I’m just including that here because it’s an interesting photo (below image).
It’s possible, however, that something more is needed to levitate a
stone than mere vibration; maybe the vibration only loosens the
stone a bit from the laws of physics, and then etheric/psychic/conscious power must be applied to make it move.
The point of this Research Note is to show how
ingenious use of simple technology can conceivably produce marvelous
effects that not even modern technology can replicate, because
modern technology has been neutered and kept from accessing the
secrets of etheric energy and gravity.