© Brian Allan 1999
Doing It With Frequency.
From ancient times there have been examples of ‘civil engineering’ accomplished by our forefathers, which today defy belief in terms of their sheer size and scale. These include the astonishing structures on the Giza plateau in Egypt, (the Pyramids and the Sphinx), the equally gargantuan structures built in the high Andes and of course the cities and stepped Pyramids of the Aztecs, the Inca, Toltecs and the Maya. These structures are also astonishing in terms of the manpower required in their construction, let alone the more mundane logistics of feeding and housing the workforce and keeping them supplied with building materials.
The biggest single problem facing these ancient peoples was surely the superhuman effort required to shape and move the enormous stone building blocks used in the construction of these vast edifices. There is however one very basic and very ordinary force that could have permitted these feats of engineering, it surrounds us constantly; it is part of our lives. It is as natural as the very air that we breathe, it cannot be seen, it cannot be smelled, it cannot be touched.
Those who had the arcane knowledge and skill to utilise it and harness its hidden strength have controlled this primal force through the ages. It is still in use today, at the very cutting edge of technology. This force is currently used both to save and destroy life, this force is..............sound.
There is a theory that the Egyptians had succeeded in utilising one aspect of sound, high frequency vibration. In a recent book, it is hypothesised that during the construction of the pyramids, before the massive blocks were moved, a ritual would be performed, during which a high priest would strike a stone block with his ‘staff’ and apparently render it virtually weightless. Suppose that somehow, this ‘staff’ caused the block vibrate at a very high frequency and alter its crystalline structure and levitate, allowing it to slide over the sand and up ramps. It would certainly help explain how these engineering feats were accomplished. This of course poses the question, where did these ancient people obtain this sort of technology? Is this perhaps a nod to the theory that there really was alien involvement and assistance either directly or indirectly?. However, this is, as we shall see, not the only unusual use of sound attributed to the pyramids and their construction
An engineer named Tom Danley who has an interest in sonic phenomena made some intriguing discoveries relating to the great pyramid, especially the Kings Chamber. He measured its dimensions and those of five ‘rooms’, (the so called relieving chambers) located above the Kings Chamber. He then installed powerful amplifiers and speakers inside the Kings Chamber, created sounds and measured the resulting standing frequencies generated within the five chambers. The frequency measured within the rooms was 16Hz, which is below the range of human hearing; from this he created a fascinating theory. This was: the dimensions of the pyramid, plus the materials from which it is made, combined with the empty sarcophagus within the kings chamber were designed for one specific purpose. This was to amplify whatever sounds were made within the Kings Chamber. Tom also postulates that when desert winds blew across the air shafts leading to the surface of the pyramid - which was originally clad in smooth dressed limestone - this would have created an effect, similar to blowing air across the neck of a bottle. Tom detected a distinct pattern to the frequencies; this pattern was identical to the tonal structure of the F-sharp chord. The ancient Egyptians in their texts tell us that they believed F-sharp to be the harmonic frequency of our planet. Strangely, it is to this very frequency that many Native American shamans tuned their sacred flutes and perhaps still do. One civilisation fashions millions of tons of stone into giant monuments that create this sound, (although this cannot have been their only function). Another, thousands of miles and centuries away creates ceremonial musical instruments to produce the same note; this has to be more than a coincidence. It would be intriguing to discover if other ancient sites have this capability.
Indeed it is plausible to argue that sonic energy could provide the only explanation of how the gigantic megaliths were maneuvered into place. If we cast our minds to the Bible, we should remind ourselves the first sentence used in it is, ‘In The Beginning was the Sound of The Word’. Not The Word, but the Sound of the word. Here we have the story of the creation of mankind and there, right at the beginning, we have it stated, that sound was used in this process. Given that this was true, what magical properties could be inherent within the complex tonal structures of the spoken word, what sonic energies can be released? It would follow on from this that the casting of spells and curses has perhaps more to them than the fear, suggestibility and credulity of the intended victim. Perhaps the energy inherent in the words themselves was enough to create the desired effect, whether or not the intended victim was aware of the original conjuration.
The technology of today uses sound in a wide spectrum of applications. In its most basic form as the human voice, or in our homes as music via the speakers of the domestic stereo system, where the electrical stimulation of the speaker diaphragm moves the air in front of it to create audible sound. Leading from here through to military applications such as ultra high and ultra low frequencies where sound is used in sonar devices for range finding in submarines or in its most extreme form, to kill.
It is also used in medical applications where ultrasonic scans are used to gain internal views of the body as a safer alternative to X-ray’s, and in conjunction with heat in pain relief therapies. In a rather more sinister form, civil authorities in the shape of the police (both American and Russian) have attempted to develop a device nicknamed a ‘curdler’ as a crowd control weapon. This device used highly directional emitters to direct sound of a particular (low) frequency allegedly around 7Hz at rioting mobs to induce disorientation and nausea in those within its field. Its use was discontinued when it was discovered that the users were quite likely to be affected as well. There were also problems with ‘dispersal’ where the sound energy became too diffuse to be fully effective in open spaces.
It is also on record that the French in 1957 were experimenting with a weapon using ultra low frequency sound, or infrasound. A scientist, Vladimir Garveau noticed that a phenomenon, now termed ‘sick building syndrome’ was affecting employees at his place of work. This was eventually traced to a low frequency standing wave of 7Hz generated by the air conditioning system. Garveau attempted to use this sonic anomaly to create coherent sound which could be projected at an enemy in much the same manner as a laser uses coherent light His early attempts although partly successful produced severe adverse reactions in people employed on the project, these included severe headaches, nausea, blindness and other physiological symptoms. It is believed that technicians were killed during testing, this was covered up and the project was shelved. Still, a few deaths in the name of progress never stopped the military from developing better and more efficient ways of killing us, so no doubt it will still be there lurking somewhere in the background until such times as it is perfected. From the paranormal researchers viewpoint, sound could well be responsible for a number of unexplained phenomena.
Recently an engineer at a medical facility was carrying out research experienced a similar occurrence late one night in one of the laboratories. For no obvious reason, he felt unease, the sensation that something was not quite right. He had the distinct impression that he was being watched. A figure emerged in his peripheral vision, grey, silent and indistinct. To his credit, the engineer did not panic, he quickly turned head towards the figure and it vanished. Still feeling uneasy, he packed up and went home. Returning the next day, he decided to take some time making adjustments to a foil, which he used in his hobby of fencing. He clamped the foil in a vise and was surprised to see the tip of the foil vibrating continuously. It occurred to him that perhaps there were low frequency sounds being generated in the laboratory. There was adequate test equipment available, so he was able to check out his theory: his suspicions were well founded. There was a standing infrasound wave of around 19hz trapped within the walls of the lab. The peak intensity of the wave was at a spot beside the bench. This freak condition was being generated by loose mountings on a recently installed extraction fan. The mountings were adjusted, no more stranding wave, no more ghost.
Recent NASA tests show that a human eyeball has a resonant frequency of 18hz. It will vibrate in sympathy with infrasound waves of similar frequency. The result is a smearing of vision that could in the right conditions cause someone to hallucinate in their peripheral vision. These findings give credence to alleged attempts of the military to utilise infra and ultrasound as a weapon.
On a more civilised application, the composer Wagner when writing one of his operas the ‘Ring Cycle’ included a section towards the end which featured a frequency below 16 Hz which is below the range of human hearing (I believe it was intended to dramatise a mountain exploding). The odd thing is, that there was nothing at the time when it was written which could reproduce this frequency so it was not until comparatively recently that the piece was performed exactly as intended, did Wagner know something that we do not? The section was reproduced using a specially designed P.A. system in conjunction with the orchestra, the effect was obviously not audible, but it could felt by the audience as a deep rumbling inside their bodies and was evidently quite effective. This brings us rather neatly to a specific application of music, the enduring enigma of Roslyn Chapel and what secrets it may or may not contain. In the course of my researches I have repeatedly been drawn back to this beautiful medieval building and treasure house of encrypted, arcane wisdom. In many instances this has been unavoidable due to a degree of overlap inherent in many facets of the paranormal.
There is a theory that among the multitudes of carvings, which adorn the building, is the key to unlocking the arcane knowledge of the ages. This concept was stumbled on when a succession of psychics were taken to the chapel. Every effort was made to ensure that each psychic had no knowledge of the previous one. There was one important and interesting common theme throughout all the impressions received by the psychics and it was music. Not just ordinary music, but music with a very characteristic Middle Eastern sound. Researches conducted at Rosslyn by S.P.I. (Strange Phenomena Investigations) have produced similar conclusions.
The overriding impression was that music would open the vaults beneath the chapel and provide the key to the mystery. Just exactly what is in the vaults is unclear although the tales are legion. According to the many theories there is (take your pick) the Arc of the Covenant, the ‘genuine’ Stone of Destiny (it is common knowledge that it never ever left Scotland), the physical entrance to the Kingdom of Heaven, the lost gospels of Christ, the current favourite is the embalmed head of Christ. All that is certain is that the Sinclair family are interred there, the males in full battle armour, and according to the modern Templars (who still hold their ceremonies there) a fragment of the true cross.
You could say that the secret is hidden in plain sight if we had but the wit to see it. There is on one of the pillars a carving of four musicians each playing a different musical instrument. The sounds issuing from the instrument is represented by a line of small stone cubes reaching up in an arc to the ceiling and curving down to the opposite wall. Each visible face of each cube is embellished with rather odd carvings which appear to correspond to the vibration patterns which would be formed by sprinkling fine sand on a small, thin copper or glass plate and bowing it with the type of bow used to play a stringed instrument. All as these things would have been available to the builders of the chapel so the theory is viable. A photographer was commissioned to take photographs of each face of each cube, (a lengthy process), the idea being to design a computer programme that would make sense of the patterns and transpose them into contemporary musical notation.
This music would then be played in the chapel by musicians using instruments similar to the those shown in the carvings, what would follow this is anyone’s guess. It would be a brave or very sceptical person who would remain in the chapel while this was going on.. If this is a viable proposition then the music is serving (in this case) as a vehicle for the three universal keys of vibration resonance and frequency, perhaps with addition of amplitude. Although in retrospect, if it was intended that medieval accoustic instruments were all that was required, then perhaps volume is not too important. Perhaps this information is also encoded in the cubes; there are a great number of variables to be taken into account. Perhaps the positioning of the sound source is also crucial; again, this information may also be there
All in all it’s a fascinating theory, did the builders of Rosslyn have a sufficient degree of sophistication to create a puzzle like this? I believe that they did, bear in mind that William Sinclair and his family who funded the building of Rosslyn belonged to the order of the Knights Templar and as such were almost certainly widely travelled and well educated. They were creating a shrine that would embrace Templar and proto-Masonic beliefs, then literally setting it in stone. The clues are all there, yes, they are encrypted and obscure, it was never intended that they would easily yield their secrets, but surely one day they will.
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